In certain varieties of Bavarian German, where both liquids vocalize in the syllable coda, word-final sequences of /ʀl/ are realized with a flapped r as the onset to a syllable with nuclear syllabic l ([l̩ ]). In this article, I discuss one such variety of Bavarian German, presenting data and analysis of Bavarian German Flapping, as well as Liquid Vocalization. This paper argues that Bavarian German Flapping repairs a sonority plateau created by adjacent liquids; it is shown that Bavarian German necessitates its own unique sonority hierarchy, as opposed to one German-specific hierarchy (cf. Wiese 1996) or a universal hierarchy (cf. Parker 2008; 2011). There are several theoretical contributions of this paper: first, I show that in languages, such as Bavarian German, where two or more rhotics behave differently in terms of sonority, the language's sonority hierarchy must divide the class of liquids, specifically placing trills and flaps at different levels of sonority; I propose such a sonority hierarchy for Bavarian German. Additionally, this analysis engages with research on sonority which promotes universal sonority hierarchies determined via phonetics (cf. Parker 2008; 2011); the current analysis argues that such a universal sonority hierarchy cannot account for the Bavarian German data (i.e. Flapping). Finally, with the proposed dialect-specific sonority hierarchy, it is argued that sonority is emergent and not universal. While emergence has been widely discussed in particularly phonological and morpho-phonological literature (see Mielke 2008; Archangeli & Pulleyblank 2016), it has not been extended specifically to phonological sonority; thus, this is a central contribution of the article.
Old High German (OHG) differs from many other languages in that [w] does not stand in complementary distribution with [u], but rather it exhibits alternations with [o]. For example, the [o] in adjectives like gël[o] ‘yellow.nom.sg’ alternates with [w] in corresponding inflected forms (e.g. gël[w]es ‘yellow.gen.sg’). Based on extant data, we make three claims about OHG [w]. First, we use several analytical lenses – from phonotactics and etymology to sound patterning and feature composition – to argue that /w/ was an underlying consonant. This is surprising from the point of view of phonology since glides like [w] are usually assumed to be allophones of vowels. Second, we propose that OHG /w/ had the same height features as mid vowels. This accounts for the fact that /w/ neutralizes to [o] (and not [u]) in word-final position and also derives independent support from other OHG processes (namely primary umlaut). Finally, we show how the OHG data intersect with literature on the typology of glides and fail to fit naturally within that typology. Our findings place OHG glides into a seemingly unique category, the analysis of which not only broadens our understanding of OHG phonology, but also typological possibilities involved with derived and underlying glides.
Mnemonics have long been considered a useful tool for enhancing short- and long-term recall. For example, most American children learn the alphabet by singing the letters to the tune of Twinkle, Twinkle, Little Star, and many elementary school students memorize states and capitals by utilizing songs written specifically for this purpose. The present paper discusses how musical mnemonics can enhance teaching of foreign language and culture through the writing of new lyrics to well-known tunes. The paper presents popular mnemonic devices used in German L2 classrooms and provides a step-by-step compositional framework using syllabic structure for the creation of original mnemonic songs for new topics in any language.
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