96. Metrical Patterns 1347
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Phonological Theories Autosegmental/Metrical Phonology
Phonological Theories Autosegmental/Metrical Phonology Session 6 Phonological Theories Non-linear stress allocation Metrical phonology was an approach to word, phrase and sentence-stress definition which (a) defined stress as a syllabic property, not a vowel-inherent feature, and allowed a more flexible treatment of stress patterns in i) different languages, ii) different phrase-prosodic contexts. The prominence relations between syllables are defined by a (binary branching) tree, where the two branches from a node are labelled as dominant (s = strong) and recessive (w = weak) in their relation to each other. Four (quasi-independent) choices (are assumed to) determine the stress patterns that (appear to) exist in natural languages: 1 Right-dominant-foot vs. left-dominant-foot languages 2 Bounded vs. unbounded stress 3 Left-to-right vs. right-to-left word-stress assignment 4 Quantity-sensitive vs. quantity-insensitive languages Phonological Theories Right-dominant vs. left-dominant Languages differ in the tendency for the feet to have the strong syllable on the right or the left: Fr. sympho"nie fantas"tique Engl. "Buckingham "Palace F F F F s s s w w s w w s s w w s w Phonological Theories Bounded vs. unbounded stress (1) “Bounded” (vs. “unbounded”) is a concept that applies to the number of subordinate units that can be dominated by a higher node In metrical phonology it applies usually to the number of syllables that can be dominated by a Foot node (bounded = 2; one strong, one weak syllable to the left or the right; unbounded = no limit). This implies that bounded-stress languages have binary feet. -
Nigel Fabb and Morris Halle (2008), Meter in Poetry
Nigel Fabb and Morris Halle (2008), Meter in Poetry Paul Kiparsky Stanford University [email protected] Linguistics Department, Stanford University, CA. 94305-2150 July 19, 2009 Review (4872 words) The publication of this joint book by the founder of generative metrics and a distinguished literary linguist is a major event.1 F&H take a fresh look at much familiar material, and introduce an eye-opening collection of metrical systems from world literature into the theoretical discourse. The complex analyses are clearly presented, and illustrated with detailed derivations. A guest chapter by Carlos Piera offers an insightful survey of Southern Romance metrics. Like almost all versions of generative metrics, F&H adopt the three-way distinction between what Jakobson called VERSE DESIGN, VERSE INSTANCE, and DELIVERY INSTANCE.2 F&H’s the- ory maps abstract grid patterns onto the linguistically determined properties of texts. In that sense, it is a kind of template-matching theory. The mapping imposes constraints on the distribution of texts, which define their metrical form. Recitation may or may not reflect meter, according to conventional stylized norms, but the meter of a text itself is invariant, however it is pronounced or sung. Where F&H differ from everyone else is in denying the centrality of rhythm in meter, and char- acterizing the abstract templates and their relationship to the text by a combination of constraints and processes modeled on Halle/Idsardi-style metrical phonology. F&H say that lineation and length restrictions are the primary property of verse, and rhythm is epiphenomenal, “a property of the way a sequence of words is read or performed” (p. -
Rhythm and Meter in Macbeth Iambic Pentameter (Nobles)
Grade 9 Analysis- Rhythm and Meter in Macbeth Iambic Pentameter (Nobles) What is it? Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this: baBOOM / baBOOM / baBOOM / baBOOM / baBOOM. Why does Shakespeare use it? When Shakespeare's characters speak in verse (iambic pentameter), they are usually the noble (aristocratic) characters, and their speech represents their high culture and position in society. It gives the play a structured consistency, and when this is changed in instances of prose such as when Macbeth writes to Lady Macbeth and when Lady Macduff talks with her son, these are normally instances where a situation is abnormal e.g. when the Porter babbles in his drunken haze. Trochaic Tetrameter (Witches) What is it? Trochaic tetrameter is a rapid meter of poetry consisting of four feet of trochees. A trochee is made up of one stressed syllable followed by one unstressed syllable (the opposite of an iamb). Here is the flow of a line of trochaic tetrameter: BAboom / BAboom / BAboom / BAboom. Why does Shakespeare use it? The witches’ speech patterns create a spooky mood from the start of the scene. Beginning with the second line, they speak in rhyming couplets of trochaic tetrameter. The falling rhythm and insistent rhyme emphasize the witchcraft they practice while they speak—boiling some sort of potion in a cauldron. -
Comparing PENTA to Autosegmental-Metrical Phonology
Comparing PENTA to Autosegmental-Metrical Phonology Janet B. Pierrehumbert University of Oxford Feb 16, 2017 1 Introduction In this volume, Xu, Prom-on and Liu provide an overview of the recent work on the PENTA (parallel encoding and target approximation) model of prosody. This is a third-generation model of prosody and intonation. In characterizing the model this way, I am taking classic works based on audi- tory transcriptions, such as Bolinger (1958); Trager & Smith (1951); Crystal (1969), as first-generation models, and the autosegmental-metrical models (AM models) launched in the 1970’s and 1980’s as second-generation models. Second-generation models benefited enormously from the rise of computer workstations with specialized software for speech processing, which enabled researchers to examine thousands of f0 contours and to create experimental stimuli in which melodic characteristics of speech were varied in a controlled manner. However, the developers of AM models did not yet have the in- ference and optimization methods that have played such a central role in the development of PENTA. Generative AM algorithms, such as those laid out in Anderson et al. (1984); Beckman & Pierrehumbert (1986), were very seat-of-the pants efforts, compared to the multi-parameter trajectories that are achieved with PENTA. So, we can ask whether PENTA has superseded the AM approach? To what extent has it built on insights of the earlier ap- proach? What aspects of the AM research program remain even now topics for future research? A central issue in addressing these questions is the comparison between prosody and word phonology. AM theory, a development within generative linguistics, had as one of its goals a unified formalism for describing seg- mental, rhythmic, and melodic aspects of speech at both the lexical and the phrasal levels. -
Definitions & Identify 1. Which of the Following Is A
Check for Understanding: Definitions & Identify 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. 1 long syllable followed by another long syllable d. 1 long syllable followed by a short syllable 2. Which of these words is an iamb? a. Employ b. Coffee c. Drinking d. Eat 3. Which of these words is not an iamb? a. Unfit b. Unwell c. Behold d. Freedom 4. What is the definition of a metrical foot? a. A syllable b. A group of 5 or more syllables c. A rhyme scheme in a poem d. A group of 2-3 syllables that form a rhythmic unit 5. All of these are types of metrical feet except – a. Iamb b. Trochee c. Spondee d. Taradactyl e. Dactyl 6. True or False: A metrical foot can only be one word. a. True b. False 7. True or False: An iamb must be more than one word. a. True b. False 8. True or False: Poems that rhyme have meter. a. True b. False 9. True or False: Poems that do not rhyme have meter. a. True b. False 10. True or False: A poem’s meter cannot change throughout a poem. a. True b. False Answer KEY 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. -
Thinking in Song
THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Martin Kuester January 2012 © 2012 Martin Kuester THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany Martin Kuester, Ph.D. Cornell University 2012 Eighteenth-century music theorists habitually used terms that were apparently im- ported from grammar, rhetoric and poetics. While historians of music theory have commonly described these words as reflecting metaphorical attempts to understand music by analogy with language, this study emphasizes their technical value, especially with respect to vocal music, which includes both domains. In the case of Johann Mat- theson, Johann Adolph Scheibe, Joseph Riepel and Friedrich Wilhelm Marpurg, the literal meaning of this common vocabulary can be recovered by viewing their general composition rules���������������������� in the previously une�amined������������ conte��������������������������������t of their theories for compos- ing te�t and music of vocal works. Chapter One questions the applicability of a ‘metaphor of music as a language’ to eighteenth-century musical thought and proposes a new framework, centered on what Scheibe and others considered �����������������������������������������������the origin of both music and language, prosody. Chapter Two e�amines Mattheson’s famous minuet analysis and concludes that a prosodic sub-discipline of music theory provided a vocabulary that applied, in ten- dency, to words and notes of vocal music, simultaneously. Chapter Three traces the interaction of prosodic parameters in the longer history of ‘musical feet,’ pointing out eighteenth-century theorists’ successful efforts to adapt or re-adapt their terminol- ogy to the practice of modern vocal composition. -
Basic Guide to Latin Meter and Scansion
APPENDIX B Basic Guide to Latin Meter and Scansion Latin poetry follows a strict rhythm based on the quantity of the vowel in each syllable. Each line of poetry divides into a number of feet (analogous to the measures in music). The syllables in each foot scan as “long” or “short” according to the parameters of the meter that the poet employs. A vowel scans as “long” if (1) it is long by nature (e.g., the ablative singular ending in the first declen- sion: puellā); (2) it is a diphthong: ae (saepe), au (laudat), ei (deinde), eu (neuter), oe (poena), ui (cui); (3) it is long by position—these vowels are followed by double consonants (cantātae) or a consonantal i (Trōia), x (flexibus), or z. All other vowels scan as “short.” A few other matters often confuse beginners: (1) qu and gu count as single consonants (sīc aquilam; linguā); (2) h does NOT affect the quantity of a vowel Bellus( homō: Martial 1.9.1, the -us in bellus scans as short); (3) if a mute consonant (b, c, d, g, k, q, p, t) is followed by l or r, the preced- ing vowel scans according to the demands of the meter, either long (omnium patrōnus: Catullus 49.7, the -a in patrōnus scans as long to accommodate the hendecasyllabic meter) OR short (prō patriā: Horace, Carmina 3.2.13, the first -a in patriā scans as short to accommodate the Alcaic strophe). 583 40-Irby-Appendix B.indd 583 02/07/15 12:32 AM DESIGN SERVICES OF # 157612 Cust: OUP Au: Irby Pg. -
The Learnability of Metrical Phonology
The Learnability of Metrical Phonology Published by LOT phone: +31 30 253 6006 Janskerkhof 13 fax: +31 30 253 6406 3512 BL Utrecht e-mail: [email protected] The Netherlands http://wwwlot.let.uu.nl/ Cover illustration by Diana Apoussidou ISBN 978-90-78328-18-6 NUR 632 Copyright © 2007: Diana Apoussidou. All rights reserved. THE LEARNABILITY OF METRICAL PHONOLOGY ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof.mr. P.F. van der Heijden ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Aula der Universiteit op dinsdag 9 januari 2007, te 14.00 uur door Diana Apoussidou geboren te Mönchengladbach, Duitsland Promotiecommissie Promotor: prof. dr. P.P.G. Boersma Overige commissieleden: prof. dr. H.M.G.M. Jacobs prof. dr. R.W.J. Kager dr. W. Kehrein dr. N.S.H. Smith prof. dr. P. Smolensky Faculteit der Geesteswetenschappen Acknowledgements I consider myself very lucky to have had the support when writing this thesis, whether directly or indirectly, from the following people: Essential to starting and finishing this work is Paul Boersma. I thank him for his support as much as for challenging me, and for enabling me to push the limits. I thank my reading committee Haike Jacobs, René Kager, Wolfgang Kehrein, Norval Smith, and Paul Smolensky for their valuable comments; especially Wolfgang and Norval for enduring tedious questions about phonology. My paranymphs Maren Pannemann and Petra Jongmans never failed in supporting me; they prevented me from going nuts in quite some moments of panic. -
Notes on Prosody
Notes on Middle English Prosody Dr. A Mitchell Sound and Sense Middle English poets typically delight in the accidental harmonies and disharmonies of verbal sounds. Sometimes sound is deliberately made to echoe sense, but more often accoustic patterns do not serve a referential or mimetic function. Syncopated rhythm may just be pleasurable to hear in the voice; variation may aid expressiveness or enhance interest; or sounds may be affective or mnemonic. Sound patterns also function as a sign of the poet’s pedigree, affiliations, or tastes. But in any event critics can probably make only modest claims about the significance of acoustic effects in the vernacular – some measure of irregularity is just a natural consequence of writing in Middle English. Rhyme is the most familiar sound pattern, and it basically demands that the poetic composition be oriented around the music (not the other way around). As a result, the semantic may be subordinated to the sonic or phonetic: e.g., syntax is inverted or contorted so as to get the proper rhyme in place; rhyme words are chosen less for sense than for sound. But of course rhymes may also produce interesting semantic juxtapositions or recapitulations, and occasionally Chaucer among others uses rhyme deftly to produce harmony and discordance, parallelism and antithesis. The main types of rhyme are the following. • end rhyme (most common) • internal rhyme (within a line) • masculine (single-sllable, or when final stressed syllable rhymes as in cat/hat) • feminine (rhymed stressed syllable followed by unstressed as in butter/clutter) • exact rhyme and rime riche (on the same sounds) • near rhyme (not a failed rhyme, it has the salutary effect of avoiding monotony) You will recognize these additional sound effects: • onomatapoia • assonance • alliteration • consonance Metrics: Alliterative and Accentual-Syllabic Some Medieval English verse is alliterative (that of Langland and the so-called poems of the Alliterative Revival), but much is what we call accentual-syllabic. -
Speech Errors and Phonological Patterns: Insights from Psycholinguistic and Linguistic Theory
Speech errors and phonological patterns: Insights from psycholinguistic and linguistic theory John Alderete Simon Fraser University ABSTRACT. In large collections of speech errors, phonological patterns emerge. Speech errors are shaped by phonotactic constraints, markedness, frequency, and phonological representations of prosodic and segmental structure. While insights from both linguistic theory and psycholinguistic models have been brought to bear on these facts, research on the phonological patterns of speech errors rarely attempts to compare analyses from these different perspectives, much less integrate them in a coherent system. This article investigates the phonological patterns in the SFU Speech Error Database (SFUSED) with these goals in mind. In particular, it examines the impact of language particular phonotactics on speech errors and the role of linguistic representations for syllables and tone. The empirical findings support a model that includes both production processes impacted by frequency and explicit representations of tone from phonological theory. Keywords: speech errors, language production, methodology, phonotactics, tone, English, Cantonese 1. Introduction The scientific study of speech errors is chock-full of facts of interest to phonologists. That is, when examining sufficiently large collections of speech errors, certain phonological generalizations emerge. For example, there is the syllable position constraint, according to which sounds slip into the same syllabic positions as their source words (Boomer and Laver 1968; Fromkin 1971), as leading list for reading list. Sound errors also exhibit the phonological similarity effect (Cutler 1980; Dell and Reich 1981), in that intended and error sounds tend to be phonologically similar. Another pattern is the repeated phoneme effect (Dell 1984; MacKay 1970): spoonerisms like heft lemisphere (from left hemisphere) illustrate this tendency for sound errors to share a phonological context (e.g., _ɛ) in both the intended and source words. -
Trochees and Iambs2
CHAPTER III. Some Remarks on the Nature of Trochees and Iambs and their Relationship to Other Metres ‘The iambic is the characteristic rhythm of people as they talk […]. The trochaic rhythm, again, is too much akin to the comic dance, as may be seen in tetrameter verse, for the rhythm of tetrameters is light and tripping. (Aristotle, 1932: 3.8, 1408b). The present study assumes that poetic rhythm in the tonic-syllabic system current in English poetry can be best accounted for by three sets of patterns: First, an abstract matrix of expectations consisting of regularly alternating strong and weak positions. Secondly, the stress-pattern of spoken language. Some aspects of this stress pattern confirm the abstract schema (one could even say that it is from these that the reader abstracts the metric pattern); some aspects deviate from it, and produce tension. These deviations, far from being signs of imperfection, of “unmetricality”, are major prosodic and expressive assets. When the reader encounters some deviation from the abstract metric pattern, he makes adjustments in its performance, so as to preserve both his metrical set, that is, his feeling of regularly alternating strong and weak positions and, at the same time, the stress pattern of his spoken language. The adjustment frequently consists in overarticu- lation, overstressing, and additional grouping of stresses. This constitutes the third pattern, the pattern of performance. The greater the deviation, the greater the adjustment required and the tighter the additional grouping, One of the basic assumptions of the present study is, then, that the rhythm of a poem is accessible only through some kind of performance; an adequate account of a poem’s rhythm can be given only by considering the interplay of three patterns: those of metre, stresses and performance. -
The Tune Drives the Text - Competing Information Channels of Speech Shape Phonological Systems
The tune drives the text - Competing information channels of speech shape phonological systems Cite as: Roettger, Timo B. & Grice, Martine (2019). The tune drives the text - Competing information channels of speech shape phonological systems. Language Dynamics and Change, 9(2), 265–298. DOI: 10.1163/22105832-00902006 Abstract In recent years there has been increasing recognition of the vital role of intonation in speech communication. While contemporary models represent intonation – the tune – and the text that bears it on separate autonomous tiers, this paper distils previously unconnected findings across diverse languages that point to important interactions between these two tiers. These interactions often involve vowels, which, given their rich harmonic structure, lend themselves particularly well to the transmission of pitch. Existing vowels can be lengthened, new vowels can be inserted and loss of their voicing can be blocked. The negotiation between tune and text ensures that pragmatic information is accurately transmitted and possibly plays a role in the typology of phonological systems. Keywords: Intonation, epenthesis, devoicing, lengthening, phonological typology Acknowledgment Funding from the German Research Foundation (SFB 1252 Prominence in Language) is gratefully acknowledged. We would like to thank Aviad Albert, James German, Márton Sóskuthy, and Andy Wedel for their comments on earlier drafts of this manuscript. We would like to thank the Departments of Linguistics at the University of Cologne, the Goethe University in Frankfurt, Northwestern University in Evanston, the Institute of Phonetics and Speech Processing at the University of Munich, and the audience of XLanS in Lyon for their valuable input on this project. Finally, we would like to express our gratitude to three anonymous reviewers and the editor Jeff Good for their comments during the review process.