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S.R. Ramsey writes (1979: 162): "The patterning of tone marks in Old Kyoto texts divides the vocabulary into virtually the same classes as those arrived at by comparing the accent distinctions found in the modern dialects. This means that the Old Kyoto dialect had a pitch system similar to that of proto-Japanese. The standard language of the Heian period may not actually be the ancestor of all the dialects of Japan, but at least as far as the accent system is concerned, it is close enough to the proto system to be used as a working model. The significance of this fact is important: It means that each of the dialects included in the comparison has as much to tell, at least potentially, as any other dialect about Old Kyoto accent."
On the basis of perceptual experiments we show that alveolo-palatal fricatives and palatalized post-alveolars are two separate sounds which are distinguished not only by Polish native speakers but also by German ones. This claim is partly attested by centre of gravity measurements of the two sibilants. In this paper we revise the claim made by Halle & Stevens [1] and Maddieson & Ladefoged [2] that the Polish alveolo-palatal fricatives [˛, ¸] are palatalized postalveolars [SJ, ZJ]. On the basis of perceptual experiments we show that alveolo-palatal fricatives and palatalized post-alveolars are two separate sounds which are distinguished not only by Polish native speakers but also by German ones. This claim is partly attested by centre of gravity measurements of the two sibilants.
Bilabial stops undergoing Surface Palatalization (SP) were analyzed in an EMMA/EPG study. Articulatorily, the point of maximal palatal contact and the labial opening movement were analyzed. The acoustic analysis pertained to stop related timing and the point of the highest F2-value. Results show (i) that SP yields a higher F2 at vowel onset and a lengthened opening gesture and (ii) that morphemeinduced palatalizations are distinguished from word initial ones and sandhi-palatalizations articulatorily and acoustically by a shorter delay of palatal target position with respect to stop production; (iii) no differences are found between ‘repalatalized’ and plain segments in case of sandhi palatalization.
One of the most important insights of Optimality Theory (Prince & Smolensky 1993) is that phonological processes can be reduced to the interaction between faithfulness and universal markedness principles. In the most constrained version of the theory, all phonological processes should be thus reducible. This hypothesis is tested by alternations that appear to be phonological but in which universal markedness principles appear to play no role. If we are to pursue the claim that all phonological processes depend on the interaction of faithfulness and markedness, then processes that are not dependent on markedness must lie outside phonology. In this paper I will examine a group of such processes, the initial consonant mutations of the Celtic languages, and argue that they belong entirely to the morphology of the languages, not the phonology.
In this paper we focus on the similarities tying together the second segment of an onset cluster and a singleton coda segment. We offer a proposal based on Baertsch (2002) accounting for this similarity and show how it captures a number of observations which have defied previous explanation. In accounting for the similarity of patterning between the second member of an onset and a coda consonant, we propose to augment Prince & Smolensky's (P&S, 1993/2002) Margin Hierarchy so as to distinguish between structural positions that prefer low sonority and those that prefer high sonority. P&S's Margin Hierarchy, which gives preference to segments of low sonority, applies to singleton onsets; this is our M1 hierarchy. Our proposed M2 hierarchy applies both to the second member of an onset and to a singleton coda. The M2 hierarchy differs from the M1 hierarchy in giving preference to consonants of high sonority. Splitting the Margin Hierarchy into the M1 and M2 hierarchies allows us to explain typological, phonotactic, and acquisitional observations that have defied previous explanation. In Section 2 of this paper, we briefly provide background on the links that tie together the second member of an onset and a singleton coda. In Section 3, we review P&S's Margin Hierarchy, showing that it becomes problematic when extended to coda consonants. We then offer our proposal for a split margin hierarchy. Section 4 extends the split margin approach to complex onsets. We then show how it is able to account for various typological, phonotactic, and acquisitional observations. In Section 5, we will conclude the paper by briefly sketching how the split margin approach enables us to analyze syllable contact phenomena without requiring a specific syllable contact constraint (or additional hierarchy) or reference to an external sonority scale.
Mechanisms of contrasting korean velar stops : A catalogue of acoustic and articulatory parameters
(2003)
The Korean stop system exhibits a three-way distinction in velar stops among /g/, /k'/ and /kh/. If the differentiation is regarded as being based on voicing, such a system is rather unusual because even a two-way distinction between a voiced and a voicless unaspirated velar stop gets easily lost in the languages of the world especially in the case of velar stops. One possibility for maintainig this distinction is that supralaryngeal characteristics like articulators' velocity, duration of surrounding vowels or stop closure duration are involved. The aim of the present study is to set up a catalogue of parameters which are involved in the distinction of Korean velar stops in intervocalic position.
Two Korean speakers have been recorded via Electromagnetic Articulography. The word material consisted of VCV-sequences where V is one of the three vowels /a/, /i/ or /u/ and C one of the Korean velars /g/, /k'/ or /kh/. Articulatory and acoustic signals have been analysed It turned out that the distinction is only partly built on laryngeal parameters and that supralaryngeal characteristics differ for the three stops. Another result is that the voicing contrast is not a matter of one parameter, but there is always a set of parameters involved. Furthermore, speakers seem to have a certain freedom in the choice of these parameters.