By Carlos Gussenhoven
Tone and Intonation are varieties of pitch version, that are utilized by audio system of all languages for you to supply form to utterances. extra particularly, tone encodes segments and morphemes, and intonation offers utterances one more discoursal which means that's self sustaining of the meanings of the phrases themselves. during this finished survey, Carlos Gussenhoven offers an up to date evaluation of study into tone and intonation, discussing why audio system range their pitch, what pitch diversifications suggest, and the way they're built-in into our grammars. He additionally explains why intonation partially seems to be universally understood, whereas at different instances it really is language-specific and will bring about misunderstandings. After 8 chapters on normal subject matters when it comes to pitch modulation, the book's imperative arguments are illustrated with finished phonological descriptions - partially in Optimality concept - of the tonal and intonational platforms of six languages, together with jap, Dutch, and English.
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Extra resources for The Phonology of Tone and Intonation
The idea was espoused more recently by Liberman and Prince (1977) in the ‘metrical tree’ representation (in which every node branches into a strong and a weak node and there is no principled limit to the number of nodes that can exist), as well as in interpretations of the metrical grid in which columns can be infinitely high (Halle and Vergnaud 1987). Conceptions of infinitely gradient stress naturally go together with the notion that phonetically more stress somehow means more of the same thing, and that a single representational device should be used to express these degrees.
Clearly, to represent these contrasts more is needed than a binary feature. The introduction of a further binary feature [±upper] increases the number of contrasts to be expressed to four, but no consensus exists on what is the best feature system (Hyman 2001b). The number of contrasts including contour tones may go up to eight, as in Iau (West Papua) or more (Bateman 1990). Sagart (1999) estimates the range for Chinese languages to be from three to ten, with tonal complexity increasing as one goes from northwest to southeast.
At that point, the sections will be very similar, resulting in a high positive correlation between the strings of values. Alternatively, the duration of the window is gradually increased from a starting duration well below the estimated period duration, and the values in each of the incremented windows is correlated with the values in the next section having the same duration. Again, when the duration of the window equals the duration of the period, the correlation will be relatively high, reflecting the fact that the values in the two periods are now very similar.