DOCSLIB.ORG

LECTURE 1 VOWELS the Vowel Chart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LECTURE 1 VOWELS the Vowel Chart LECTURE 1 VOWELS A vowel is a sound which is produced with little or no obstruction to the airflow in the mouth. English has 20 vowels divided into two groups: 12 pure vowels (or monophthongs) and 8 diphthongs. All vowels are voiced, oral and continuant. Vowels are described according to: 1. The height of the tongue in the mouth (close, half-close, half-open and open). 2. The part of the tongue involved in the production of the vowel (front, central and back). 3. The shape of the two lips (spread, rounded and neutrally open). In describing vowels, "close" means that the tongue is in a high position in the mouth, and "open" means that the tongue is in a low position in the mouth. "Half-close" and "half-open" are two midway positions. The Vowel Chart 1 Pure Vowels (Monophthongs) A pure vowel (or monophthong) is a vowel during whose production the tongue assumes one stable position throughout. There are 12 pure vowels in English: 7 short vowels and 5 long vowels. (A) Short Vowels English has 7 short vowels: /ɪ/, /e/, /æ/, /ə/, /ʌ/, /ʊ/ and /ɒ/. /ɪ/ is a front vowel produced with the tongue between the close and half-close position and the lips slightly spread. Possible Spelling: a as in village, private ai as in fountain, mountain e as in pretty, wicked, women. ey as in monkey, donkey, storey i as in fifth, rich, with ie as in ladies, sieve o as in women u as in busy y as in in city, rhythm, symbol /e/ is a front vowel produced with the tongue between the half-close and half- open position and the lips slightly spread. Possible Spelling: e as in egg, blend, went a as in any, many eo as in leopard, jeopardy ea as in bread, measure, realm ei as in leisure 2 /æ/ is a front vowel produced with the tongue at the close position and the lips slightly spread. Possible Spelling: a as in man, hat, pat i as in impasse ai as in plait /ə/ is a central unstressed vowel produced with the tongue between the half- close and half-open position and the lips neutrally open. This vowel is called "schwa." Possible Spelling: a as in arrive, advise, negative ar as in particular, regular, nectar er as in driver, baker, stranger e as in seven, haven, violence eo as in surgeon, dungeon o as in person, sermon oar as in cupboard or as in actor, victor, minor re as in manoeuvre, ochre, spectre ou as in famous, dangerous, poisonous eou as in outrageous, courageous, righteous iou as in precious, religious, delicious u as in lettuce, serum, column ure as in furniture, culture, literature /ʌ/ is a central vowel said with the tongue just above the open position and the lips neutrally open. Possible Spelling: o as in come, won, sponge oo as in flood, blood u as in sun, fun, rub ou as in courage, touch oe as in does. 3 /ʊ/ is a back vowel said with the tongue at the close position and the lips rounded. Possible Spelling: o as in woman, wolf oo as in good, foot u as in put, full, pull ou as in could, would, should /ɒ/ is a back open vowel said with the lips slightly rounded. Possible Spelling: o as in sorry, spot, stop au as in because a as in what, want, wander ou as in cough, trough ow as in knowledge 4 LECTURE 2 (B) LONG VOWELS English has 5 long vowels: /i:/, /ɜ:/, /ʊ:/, /ɔ:/ and /ɑ:/. /i:/ is a front close vowel produced with the lips slightly spread. Possible Spelling: ee as in see, screen, speed ea as in eat, meat, dream ie as in yield, field, shield ei as in seize, deceive, perceive e as in scene, meter, meteor i as in police, machine eo as in people ey as in key uay as in quay /ɜ:/ is a central long vowel produced with the tongue between the half-close and half-open position and the lips neutrally open. It is called "long schwa." Possible Spelling: or as in word, worm, attorney our as in scourge, journey, journal ir as in firm, bird, fir yr as in myrtle yrrh as in myrrh er as in serve, herd, person ur as in fur, burn, hurt ear as in earth, learn olo as in colonel. 5 /ʊ:/ is a back vowel produced with the tongue at the close position and the lips moderately rounded. Possible Spelling: o as in who, those oo as in fool, spoon u as in rude, rule ou as in soup, coupon oeu as in manoeuvre oup as in coup ew as in few, new ue as in blue, due eu as in feudal oe as in shoe ui as in fruit, suit /ɔ:/ is a back vowel produced with the tongue midway between the half-close and half-open position and the lips rounded. Possible Spelling: a as in water, call, talk aw as in law, claw, saw au as in taught, caught oa as broad oar as in board, coarse or as in sport, horse, force ore as in ore, spore oor as in door, floor ou as bought, fought our as in course, four wor as in sword 6 /ɑ:/ is a back vowel said with the tongue at the open position and the lips neutrally open. Possible Spelling: a as in ask, pass, past, father ar as in art, part, start au as in aunt er as in clerk, Derby, sergeant ear in hearth, heart al as in calm, palm 7 LECTURE 3 DIPHTHONGS Diphthongs are those sounds that consist of a movement or glide from one vowel sound to another. The first part of a diphthong is always longer and stronger than the second part; as the sound glides into the second part of the diphthong the loudness of the sound decreases. There are eight diphthongs in English. Diphthongs are divided into front closing diphthongs, back closing diphthongs, and centering diphthongs. Diphthongs end in either /i/, /u/ or /ə/. The front closing diphthongs are called so because they all end in the front close vowel /i/. They include: /ei/ as in make, rain, break, eight, play /ai/ as in arrive, island, aisle, high, die, try, buy /ɔi/ as in boy, soil, voice, buoy The back closing diphthongs are called so because they both end in the back close vowel /u/. They include: /əu/ as in go, no, boat, toe, grow, though /au/ as in now, how, out, cloud, bough The centering diphthongs are called so because they all end in the central vowel /ə/. They include: /iə/ as in hero, idea, dear, beer, here, igneous, curious /eə/ as in care, share, chair, fair, swear, bear, where, there /uə/ as in jury, usual, sure, poor, tour, doer 8 Triphthongs Triphthongs are those sounds that consist of a movement or glide from one vowel to another and then onto a third. They are very similar to diphthongs, but have an extra schwa on the end of the diphthongs. The five clear examples of triphthongs in English are as follows: /eiə/ as in layer /leiə/. /aiə/ as in liar /laiə/. /ɔiə/ as in loyal /lɔiəl/. /auə/ as in power /pauə/. /əuə/ as in goer /ɡəuə/. Practice the pronunciation of the following words: police /pə'li:s/ person /'pɜ:sən/ manager /'mænɪdʒə/ monkey /'mʌŋki/ Caesar /'si:zə/ violence /'vɑɪələns/ plays /pleiz/ place /pleis/ mashed /mæʃt/ voices /'vɔisiz/ sergeant /'sɑ:dʒənt/ breakfast /'brekfəst/ universal /ju:nɪ'vɜ:səl/ asked /ɑ:skt/ passed /pɑ:st/ past /pɑ:st/ scientific /sɑiən'tɪfɪk/ receive /rɪ'si:v/ photo /'fəutəu/ photograph /'fəutəgræf/ patience /'peiəns/ adjunct /'ædʒʌŋkt/ lieutenant /lef'tenənt/ assign /ə'sɑin/ psychology /sɑi'kɒlədʒi/ thanks /θæƞks/ drinking /'drɪŋkɪŋ/ jury /'dʒʊərɪ/ house /hɑʊs/ houses /'hɑʊsiz/ colonel /'kə:nəl/ bread /bred/ breed /bri:d/ thieves /i:vz/ straight /streit/ jeopardy /'dʒepədi/ surgeon /'sɜ:dʒən/ perceive /pə'si:v/ 9 machine /mə'i:n/ journey /'dʒɜ:nɪ/ breaks /breɪks/ brakes /breaks/ foolish /'fʊ:lɪ/ friendship /'frendʃɪp/ scenery /'si:nəri/ stairs /steəz/ height /hɑit/ weight /weit/ soap /səʊp/ soup /sʊ:p/ hungry /'hʌŋgri/ airport /'eəpɔːt/ proud /prɑʊd/ abroad /ə'brɔːd/ pride /prɑid/ teachers /'ti:təz/ blue /blʊ:/ blouse /blɑʊz/ blouses /'blɑʊziz/ fountain /'faʊntɪn/ virgin /'vɜ:dʒɪn/ pleasant /'plezənt/ scarce /skeəs/ scares /skeəz/ woman /'wʊmən/ women /'wɪmɪn/ laughter /'lɑ:ftə/ journal /'dʒɜ:nəl/ bloody /'blʌdɪ/ picture /'pɪktʃə/ punctual /'pʌŋktjʊəl/ stranger /'streinʤə/ education /edjʊ'keiən/ literacy /'lɪtərəsi/ pressure /'preə/ treasure /'treʒə/ during /'djʊərɪŋ/ private /'praɪvɪt/ village /'vɪlɪdʒ/ charade /ʃə'rɑːd/ relation /rɪ'leiən/ spongy /'spʌnʤi/ borrow /'bɒrəu/ follow /'fɒləu/ phonetics /fə'netiks/ culture /'kʌltə/ university /ju:nɪ'vɜ:sɪtɪ/ conversation /kɒnvə'seɪʃən/ religion /rɪ'lɪdʒən/ pleasure /'pleʒə/ phlegm /flem/ literature /'lɪtərɪtə/ heart /hɑ:t/ mother /'mʌðə/ version /'vɜːʃən/ vision /'vɪʒən/ xylophone /'zɑɪləfəʊn/ doubt /dɑʊt/ paradigm /'pærədɑɪm/ column /'kɒləm/ 10 LECTURE 1 VOWELS A vowel is a sound which is produced with little or no obstruction to the airflow in the mouth. English has 20 vowels divided into two groups: 12 pure vowels (or monophthongs) and 8 diphthongs. All vowels are voiced, oral and continuant. Vowels are described according to: 1. The height of the tongue in the mouth (close, half-close, half-open and open). 2. The part of the tongue involved in the production of the vowel (front, central and back). 3. The shape of the two lips (spread, rounded and neutrally open). In describing vowels, "close" means that the tongue is in a high position in the mouth, and "open" means that the tongue is in a low position in the mouth.
Load more

Recommended publications
  • The Violability of Backness in Retroflex Consonants
    The violability of backness in retroflex consonants Paul Boersma University of Amsterdam Silke Hamann ZAS Berlin February 11, 2005 Abstract This paper addresses remarks made by Flemming (2003) to the effect that his analysis of the interaction between retroflexion and vowel backness is superior to that of Hamann (2003b). While Hamann maintained that retroflex articulations are always back, Flemming adduces phonological as well as phonetic evidence to prove that retroflex consonants can be non-back and even front (i.e. palatalised). The present paper, however, shows that the phonetic evidence fails under closer scrutiny. A closer consideration of the phonological evidence shows, by making a principled distinction between articulatory and perceptual drives, that a reanalysis of Flemming’s data in terms of unviolated retroflex backness is not only possible but also simpler with respect to the number of language-specific stipulations. 1 Introduction This paper is a reply to Flemming’s article “The relationship between coronal place and vowel backness” in Phonology 20.3 (2003). In a footnote (p. 342), Flemming states that “a key difference from the present proposal is that Hamann (2003b) employs inviolable articulatory constraints, whereas it is a central thesis of this paper that the constraints relating coronal place to tongue-body backness are violable”. The only such constraint that is violable for Flemming but inviolable for Hamann is the constraint that requires retroflex coronals to be articulated with a back tongue body. Flemming expresses this as the violable constraint RETRO!BACK, or RETRO!BACKCLO if it only requires that the closing phase of a retroflex consonant be articulated with a back tongue body.
    [Show full text]
  • Sociophonetic Variation in Bolivian Quechua Uvular Stops
    Title Page Sociophonetic Variation in Bolivian Quechua Uvular Stops by Eva Bacas University of Pittsburgh, 2019 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Bachelor of Philosophy University of Pittsburgh 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Eva Bacas It was defended on November 8, 2019 and approved by Alana DeLoge, Quechua Instructor, Department of Linguistics, University of Pittsburgh Melinda Fricke, Assistant Professor, Department of Linguistics, University of Pittsburgh Gillian Gallagher, Associate Professor, Department of Linguistics, New York University Thesis Advisor/Dissertation Director: Claude Mauk, Senior Lecturer, Department of Linguistics, University of Pittsburgh ii Copyright © by Eva Bacas 2019 iii Abstract Sociophonetic Variation in Bolivian Quechua Uvular Stops Eva Bacas, BPhil University of Pittsburgh, 2019 Quechua is an indigenous language of the Andes region of South America. In Cochabamba, Bolivia, Quechua and Spanish have been in contact for over 500 years. In this thesis, I explore sociolinguistic variation among bilingual speakers of Cochabamba Quechua (CQ) and Spanish by investigating the relationship between the production of the voiceless uvular stop /q/ and speakers’ sociolinguistic backgrounds. I conducted a speech production study and sociolinguistic interview with seven bilingual CQ-Spanish speakers. I analyzed manner of articulation and place of articulation variation. Results indicate that manner of articulation varies primarily due to phonological factors, and place of articulation varies according to sociolinguistic factors. This reveals that among bilingual CQ-Spanish speakers, production of voiceless uvular stop /q/ does vary sociolinguistically.
    [Show full text]
  • Lecture 5 Sound Change
    An articulatory theory of sound change An articulatory theory of sound change Hypothesis: Most common initial motivation for sound change is the automation of production. Tokens reduced online, are perceived as reduced and represented in the exemplar cluster as reduced. Therefore we expect sound changes to reflect a decrease in gestural magnitude and an increase in gestural overlap. What are some ways to test the articulatory model? The theory makes predictions about what is a possible sound change. These predictions could be tested on a cross-linguistic database. Sound changes that take place in the languages of the world are very similar (Blevins 2004, Bateman 2000, Hajek 1997, Greenberg et al. 1978). We should consider both common and rare changes and try to explain both. Common and rare changes might have different characteristics. Among the properties we could look for are types of phonetic motivation, types of lexical diffusion, gradualness, conditioning environment and resulting segments. Common vs. rare sound change? We need a database that allows us to test hypotheses concerning what types of changes are common and what types are not. A database of sound changes? Most sound changes have occurred in undocumented periods so that we have no record of them. Even in cases with written records, the phonetic interpretation may be unclear. Only a small number of languages have historic records. So any sample of known sound changes would be biased towards those languages. A database of sound changes? Sound changes are known only for some languages of the world: Languages with written histories. Sound changes can be reconstructed by comparing related languages.
    [Show full text]
  • LT3212 Phonetics Assignment 4 Mavis, Wong Chak Yin
    LT3212 Phonetics Assignment 4 Mavis, Wong Chak Yin Essay Title: The sound system of Japanese This essay aims to introduce the sound system of Japanese, including the inventories of consonants, vowels, and diphthongs. The phonological variations of the sound segments in different phonetic environments are also included. For the illustration, word examples are given and they are presented in the following format: [IPA] (Romaji: “meaning”). Consonants In Japanese, there are 14 core consonants, and some of them have a lot of allophonic variations. The various types of consonants classified with respect to their manner of articulation are presented as follows. Stop Japanese has six oral stops or plosives, /p b t d k g/, which are classified into three place categories, bilabial, alveolar, and velar, as listed below. In each place category, there is a pair of plosives with the contrast in voicing. /p/ = a voiceless bilabial plosive [p]: [ippai] (ippai: “A cup of”) /b/ = a voiced bilabial plosive [b]: [baɴ] (ban: “Night”) /t/ = a voiceless alveolar plosive [t]: [oto̞ ːto̞ ] (ototo: “Brother”) /d/ = a voiced alveolar plosive [d]: [to̞ mo̞ datɕi] (tomodachi: “Friend”) /k/ = a voiceless velar plosive [k]: [kaiɰa] (kaiwa: “Conversation”) /g/ = a voiced velar plosive [g]: [ɡakɯβsai] (gakusai: “Student”) Phonetically, Japanese also has a glottal stop [ʔ] which is commonly produced to separate the neighboring vowels occurring in different syllables. This phonological phenomenon is known as ‘glottal stop insertion’. The glottal stop may be realized as a pause, which is used to indicate the beginning or the end of an utterance. For instance, the word “Japanese money” is actually pronounced as [ʔe̞ ɴ], instead of [je̞ ɴ], and the pronunciation of “¥15” is [dʑɯβːɡo̞ ʔe̞ ɴ].
    [Show full text]
  • Vowel Sounds Can Symbolise the Felt Heaviness of Obje
    CORRESPONDENCES AND SYMBOLISM Cross-Sensory Correspondences in Language: Vowel Sounds can Symbolise the Felt Heaviness of Objects Peter Walker1,2 & Caroline Regina Parameswaran2 1 Department of Psychology, Lancaster University, UK 2 Department of Psychology, Sunway University, Malaysia Correspondence concerning this article should be addressed to: Peter Walker, Department of Psychology, Lancaster University, Lancaster LA1 4YF, UK e-mail: [email protected] tel: +44 (0) 1524 593163 fax: +44 (0) 1524 593744 1 CORRESPONDENCES AND SYMBOLISM Abstract In sound symbolism, a word's sound induces expectations about the nature of a salient aspect of the word's referent. Walker (2016a) proposed that cross-sensory correspondences can be the source of these expectations and the present study assessed three implications flowing from this proposal. First, sound symbolism will embrace a wide range of referent features, including heaviness. Second, any feature of a word's sound able to symbolise one aspect of the word's referent will also be able to symbolise corresponding aspects of the referent (e.g., a sound feature symbolising visual pointiness will also symbolise lightness in weight). Third, sound symbolism will be independent of the sensory modality through which a word's referent is encoded (e.g., whether heaviness is felt or seen). Adults judged which of two contrasting novel words was most appropriate as a name for the heavier or lighter of two otherwise identical hidden novel objects they were holding in their hands. The alternative words contrasted in their vowels and/or consonants, one or both of which were known to symbolise visual pointiness. Though the plosive or continuant nature of the consonants did not influence the judged appropriateness of a word to symbolise the heaviness of its referent, back/open vowels, compared to front/close vowels, were judged to symbolise felt heaviness.
    [Show full text]
  • Part 1: Introduction to The
    PREVIEW OF THE IPA HANDBOOK Handbook of the International Phonetic Association: A guide to the use of the International Phonetic Alphabet PARTI Introduction to the IPA 1. What is the International Phonetic Alphabet? The aim of the International Phonetic Association is to promote the scientific study of phonetics and the various practical applications of that science. For both these it is necessary to have a consistent way of representing the sounds of language in written form. From its foundation in 1886 the Association has been concerned to develop a system of notation which would be convenient to use, but comprehensive enough to cope with the wide variety of sounds found in the languages of the world; and to encourage the use of thjs notation as widely as possible among those concerned with language. The system is generally known as the International Phonetic Alphabet. Both the Association and its Alphabet are widely referred to by the abbreviation IPA, but here 'IPA' will be used only for the Alphabet. The IPA is based on the Roman alphabet, which has the advantage of being widely familiar, but also includes letters and additional symbols from a variety of other sources. These additions are necessary because the variety of sounds in languages is much greater than the number of letters in the Roman alphabet. The use of sequences of phonetic symbols to represent speech is known as transcription. The IPA can be used for many different purposes. For instance, it can be used as a way to show pronunciation in a dictionary, to record a language in linguistic fieldwork, to form the basis of a writing system for a language, or to annotate acoustic and other displays in the analysis of speech.
    [Show full text]
  • SSC: the Science of Talking
    SSC: The Science of Talking (for year 1 students of medicine) Week 3: Sounds of the World’s Languages (vowels and consonants) Michael Ashby, Senior Lecturer in Phonetics, UCL PLIN1101 Introduction to Phonetics and Phonology A Lecture 4 page 1 Vowel Description Essential reading: Ashby & Maidment, Chapter 5 4.1 Aim: To introduce the basics of vowel description and the main characteristics of the vowels of RP English. 4.2 Definition of vowel: Vowels are produced without any major obstruction of the airflow; the intra-oral pressure stays low, and vowels are therefore sonorant sounds. Vowels are normally voiced. Vowels are articulated by raising some part of the tongue body (that is the front or the back of the tongue notnot the tip or blade) towards the roof of the oral cavity (see Figure 1). 4.3 Front vowels are produced by raising the front of the tongue towards the hard palate. Back vowels are produced by raising the back of the tongue towards the soft palate. Central vowels are produced by raising the centre part of the tongue towards the junction of the hard and soft palates. 4.4 The height of a vowel refers to the degree of raising of the relevant part of the tongue. If the tongue is raised so as to be close to the roof of the oral cavity then a close or high vowel is produced. If the tongue is only slightly raised, so that there is a wide gap between its highest point and the roof of the oral cavity, then an open or lowlowlow vowel results.
    [Show full text]
  • Glossary of Key Terms
    Glossary of Key Terms accent: a pronunciation variety used by a specific group of people. allophone: different phonetic realizations of a phoneme. allophonic variation: variations in how a phoneme is pronounced which do not create a meaning difference in words. alveolar: a sound produced near or on the alveolar ridge. alveolar ridge: the small bony ridge behind the upper front teeth. approximants: obstruct the air flow so little that they could almost be classed as vowels if they were in a different context (e.g. /w/ or /j/). articulatory organs – (or articulators): are the different parts of the vocal tract that can change the shape of the air flow. articulatory settings or ‘voice quality’: refers to the characteristic or long-term positioning of articulators by individual or groups of speakers of a particular language. aspirated: phonemes involve an auditory plosion (‘puff of air’) where the air can be heard passing through the glottis after the release phase. assimilation: a process where one sound is influenced by the characteristics of an adjacent sound. back vowels: vowels where the back part of the tongue is raised (like ‘two’ and ‘tar’) bilabial: a sound that involves contact between the two lips. breathy voice: voice quality where whisper is combined with voicing. cardinal vowels: a set of phonetic vowels used as reference points which do not relate to any specific language. central vowels: vowels where the central part of the tongue is raised (like ‘fur’ and ‘sun’) centring diphthongs: glide towards /ə/. citation form: the way we say a word on its own. close vowel: where the tongue is raised as close as possible to the roof of the mouth.
    [Show full text]
  • Learning [Voice]
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Fall 2010 Learning [Voice] Joshua Ian Tauberer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the First and Second Language Acquisition Commons Recommended Citation Tauberer, Joshua Ian, "Learning [Voice]" (2010). Publicly Accessible Penn Dissertations. 288. https://repository.upenn.edu/edissertations/288 Please see my home page, http://razor.occams.info, for the data files and scripts that make this reproducible research. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/288 For more information, please contact [email protected]. Learning [Voice] Abstract The [voice] distinction between homorganic stops and fricatives is made by a number of acoustic correlates including voicing, segment duration, and preceding vowel duration. The present work looks at [voice] from a number of multidimensional perspectives. This dissertation's focus is a corpus study of the phonetic realization of [voice] in two English-learning infants aged 1;1--3;5. While preceding vowel duration has been studied before in infants, the other correlates of post-vocalic voicing investigated here --- preceding F1, consonant duration, and closure voicing intensity --- had not been measured before in infant speech. The study makes empirical contributions regarding the development of the production of [voice] in infants, not just from a surface- level perspective but also with implications for the phonetics-phonology interface in the adult and developing linguistic systems. Additionally, several methodological contributions will be made in the use of large sized corpora and data modeling techniques. The study revealed that even in infants, F1 at the midpoint of a vowel preceding a voiced consonant was lower by roughly 50 Hz compared to a vowel before a voiceless consonant, which is in line with the effect found in adults.
    [Show full text]
  • The Sound Patterns of Camuno: Description and Explanation in Evolutionary Phonology
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 The Sound Patterns Of Camuno: Description And Explanation In Evolutionary Phonology Michela Cresci Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/191 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SOUND PATTERNS OF CAMUNO: DESCRIPTION AND EXPLANATION IN EVOLUTIONARY PHONOLOGY by MICHELA CRESCI A dissertation submitted to the Graduate Faculty in Linguistics in partial fulfillment of the requirement for the degree of Doctor of Philosophy, The City Universtiy of New York 2014 i 2014 MICHELA CRESCI All rights reserved ii This manuscript has been read and accepted for the Graduate Faculty in Linguistics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. JULIETTE BLEVINS ____________________ __________________________________ Date Chair of Examining Committee GITA MARTOHARDJONO ____________________ ___________________________________ Date Executive Officer KATHLEEN CURRIE HALL DOUGLAS H. WHALEN GIOVANNI BONFADINI Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract THE SOUND PATTERNS OF CAMUNO: DESCRIPTION AND EXPLANATION IN EVOLUTIONARY PHONOLOGY By Michela Cresci Advisor: Professor Juliette Blevins This dissertation presents a linguistic study of the sound patterns of Camuno framed within Evolutionary Phonology (Blevins, 2004, 2006, to appear). Camuno is a variety of Eastern Lombard, a Romance language of northern Italy, spoken in Valcamonica. Camuno is not a local variety of Italian, but a sister of Italian, a local divergent development of the Latin originally spoken in Italy (Maiden & Perry, 1997, p.
    [Show full text]
  • Palatals in Spanish and French: an Analysis Rachael Gray
    Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2012 Palatals in Spanish and French: An Analysis Rachael Gray Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] Abstract (Palatal, Spanish, French) This thesis deals with palatals from Latin into Spanish and French. Specifically, it focuses on the diachronic history of each language with a focus on palatals. I also look at studies that have been conducted concerning palatals, and present a synchronic analysis of palatals in modern day Spanish and French. The final section of this paper focuses on my research design in second language acquisition of palatals for native French speakers learning Spanish. 2 THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES PALATALS IN SPANISH AND FRENCH: AN ANALYSIS BY: RACHAEL GRAY A Thesis submitted to the Department of Modern Languages in partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: 3 Spring, 2012 The members of the Defense Committee approve the thesis of Rachael Gray defended on March 21, 2012 _____________________________________ Professor Carolina Gonzaléz Thesis Director _______________________________________ Professor Gretchen Sunderman Committee Member _______________________________________ Professor Eric Coleman Outside Committee Member 4 Contents Acknowledgements ......................................................................................................................... 5 0.
    [Show full text]
  • Sound and Fury: English Phonology 2
    Sound and Fury: English Phonology 2 Sound and Fury: English Phonology /'sawnd @n 'fjU®ij: 'IèglIS f@'nAl@Aij/ In this chapter, we look at English sound patterns. We learn about the distinct sounds that make up words (phonemes), and the mech- anisms in the vocal tract that are employed to produce them. We learn a system of writing that can be used to accurately represent pronunciation, the International Phonetic Alphabet. We think about how sounds group into families, and consider one example of sound change from the prehistory of English. This groundwork will allow us, in future chapters, to understand restrictions on phonological words in English, to look at other historical changes that have altered the pronunciation of English words in the past, and to discuss differences between dialects of English spoken today. It will also enable us to analyze other kinds of processes in English words, when we look at morphology. 2.1 English Spelling and English Pronunciation The first thing we have to do, when considering the pronunciation of English words, is find a way to represent their pronunciation accurately in print (since you can’t hear me talking). English spelling is notoriously bad at this: probably, at least once in your life as a literate English speaker, you have mispronounced a word in speech that you learned from a book; that is, you’ve probably used a spelling pronunciation. (I certainly have.) The mismatch between spelling and pronunciation is the reason that English spelling is a hard thing to master. 21 EWC02 21 17/10/05, 11:13 AM Sound and Fury: English Phonology orthography, n.
    [Show full text]