UCLA UCLA Electronic Theses and Dissertations Title An Autosegmental-Metrical Model of Shanghainese Tone and Intonation Permalink https://escholarship.org/uc/item/5hm0n8b7 Author Roberts, Brice David Publication Date 2020 Supplemental Material https://escholarship.org/uc/item/5hm0n8b7#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles An Autosegmental Metrical Model of Shanghainese Tone and Intonation A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Linguistics by Brice David Roberts 2020 © Copyright by Brice David Roberts 2020 ABSTRACT OF THE DISSERTATION An Autosegmental-Metrical Model of Shanghainese Tone and Intonation by Brice David Roberts Doctor of Philosophy in Linguistics University of California, Los Angeles, 2020 Professor Sun-Ah Jun, Chair This dissertation presents a model of Shanghainese lexical tone and intonation based in the Autosegmental-Metrical framework and develops an annotation system for prosodic events in the language, known as Shanghainese Tones and Break Indices Labeling, or Sh_ToBI. Full- sentence phonetic data from 21 Shanghainese speakers (born 1937-1975) were analyzed. Instead of a syllable tone language with left-dominant sandhi, Shanghainese is analyzed here as a lexical pitch accent language, with three levels of phrasing above the syllable. The lowest level of phrasing is the accentual phrase, which is the domain of the three contrastive pitch accents, H*, L*+H, and L*. These pitch accents are paired with one of two AP-final boundary tones: La/L:a or LHa. La/L:a varies freely between a single low target (La) and a low plateau (L:a), and co-occurs with H* and L*+H. LHa is a sharp rising boundary tone which accompanies L*. AP boundary tones always accompany simple pitch accents (H* and L*), while they only appear after bi-tonal L*+H in APs longer than two syllables. AP-initial tone targets, H* and L*, are prominent and are always the local pitch maximum or minimum, respectively. ii Above the AP is the intermediate phrase (ip), identifiable only by its phrase-final segmental lengthening, following pitch reset, and a lack of following silence. The highest level is the intonational phrase (IP) marked with initial pitch range expansion, and one of three IP-final boundary tones (H%, L%, or toneless %). H% is used in particle-final yes/no questions, interacting variably with preceding tones. L% is used in corrective or other emotionally marked statements, creating contours with preceding tones. % is toneless, and is used in most questions and all unmarked statements. It is recognizable via segmental lengthening, pitch range compression, and a following silence. Beyond this re-analysis of Shanghainese tone and phrasing, the dissertation finds intonational differences between two kinds of focus (general narrow and corrective), and explores the application of tonal reduction (also called ‘right-dominant sandhi’) to both monosyllabic and disyllabic APs. Finally, a break index system for labeling the perceived amount of juncture between syllables was developed. iii The dissertation of Brice David Roberts is approved. Bruce Hayes Jie Zhang Kie Zuraw Sun-Ah Jun, Committee Chair University of California, Los Angeles 2020 iv Dedicated to: My father—David K. Roberts My mother—Janet A. Roberts v Table of Contents LIST OF FIGURES .................................................................................................................... IX LIST OF TABLES ................................................................................................................... XVI ACKNOWLEDGEMENTS ................................................................................................. XVIII VITA ..................................................................................................................................... XXI 1. INTRODUCTION TO DISSERTATION ................................................................... 1 2. BACKGROUND LITERATURE ................................................................................. 3 2.1. LINGUISTIC USES OF PITCH .................................................................................. 3 2.2. STUDY OF INTONATION AND THE AUTOSEGMENTAL-METRICAL FRAMEWORK .............................................................................................................. 4 2.3. PROSODIC TYPOLOGY............................................................................................. 7 2.3.1. WORD PROSODY ........................................................................................................ 7 2.3.2. PHRASAL TYPOLOGY............................................................................................. 11 2.4. TOBI LABELING SCHEMA ..................................................................................... 11 2.5. SHANGHAINESE PHONETICS AND PHONOLOGY .......................................... 13 2.5.1. SHANGHAINESE CITATION TONES AND THEIR HISTORICAL DEVELOPMENT ........................................................................................................ 13 2.5.2. INTRODUCTION TO SHANGHAINESE BREATHY VOICE AND ONGOING LANGUAGE CHANGE .............................................................................................. 16 2.5.3. PHONETIC STUDIES OF SHANGHAINESE BREATHY VOICE ..................... 18 2.5.4. SHANGHAINESE TONE SANDHIS ........................................................................ 24 2.5.4.1. SHANGHAINESE LEFT-DOMINANT SANDHI ................................................... 26 2.5.4.2. SHANGHAINESE RIGHT-DOMINANT SANDHI ................................................ 35 2.5.5. PROSODIC STUDIES IN SHANGHAINESE .......................................................... 38 2.6. RESTATEMENT OF GOALS ................................................................................... 48 vi 3. METHODOLOGY ...................................................................................................... 51 3.1. DATASET I .................................................................................................................. 51 3.1.1. DATASET I STIMULI ................................................................................................ 51 3.1.2. DATASET I SPEAKERS ............................................................................................ 52 3.1.3. DATASET I PROCEDURE ........................................................................................ 53 3.2. DATASET II................................................................................................................. 54 3.2.1. DATASET II STIMULI .............................................................................................. 55 3.2.2. DATASET II SPEAKERS .......................................................................................... 55 3.2.3. DATASET II PROCEDURE ...................................................................................... 56 3.3. DATASET III ............................................................................................................... 56 3.3.1. DATASET III STIMULI ............................................................................................. 57 3.3.2. DATASET III SPEAKERS ......................................................................................... 57 3.3.3. DATASET III PROCEDURE ..................................................................................... 58 3.4. SUMMARY OF METHODOLOGY.......................................................................... 59 4. AN AUTOSEGMENTAL METRICAL MODEL OF SHANGHAINESE TONE AND INTONATION .................................................................................................... 60 4.1. INTRODUCTION TO REVISED AM MODEL AND SH_TOBI .......................... 60 4.2. PITCH ACCENTS AND THE ACCENTUAL PHRASE ........................................ 64 4.3. CROSS-AP BOUNDARY TONAL BEHAVIOR ..................................................... 73 4.4. TONAL REDUCTION ................................................................................................ 81 4.5. IDENTIFYING FOCUS AND TESTING THE INTERMEDIATE PHRASE ...... 87 4.6. THE INTERMEDIATE PHRASE ............................................................................. 94 4.7. THE INTONATIONAL PHRASE ............................................................................. 97 4.7.1. IP-INITIAL PITCH RANGE EXPANSION ............................................................. 98 4.7.2. IP-FINAL BOUNDARY TONES ............................................................................. 101 4.7.2.1. HIGH IP BOUNDARY TONE – H% ...................................................................... 102 4.7.2.2. LOW IP BOUNDARY TONE – L% ........................................................................ 106 4.7.2.3. UNMARKED USES OF % – THE TONELESS IP BOUNDARY ‘TONE’ ....... 110 4.7.2.4. USE OF % IN QUESTIONS .................................................................................... 113 4.7.2.5. SUMMARY OF IP BOUNDARY TONES .............................................................. 116 vii 5. BREAK INDICES ...................................................................................................... 118 5.1. BREAK 0 .................................................................................................................... 119 5.2. BREAK