Tones, Tonal Phonology, and Tone Sandhi

Zhang, Jie

doi:10.1002/9781118584552.ch17

Cited by 19 publications

(14 citation statements)

References 48 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Building upon the work of Chen (2000), Zhang (2014) summarizes some typological parameters for Chinese sandhi. First, systems can be categorized as either "right-dominant" or "left-dominant", where the dominant tone triggers sandhi while preserving its own tone.…”

Section: Typology Of Tone Sandhimentioning

confidence: 99%

Seenku argument-head tone sandhi: Allomorph selection in a cyclic grammar

McPherson

2019

Glossa: A Journal of General Linguistics

View full text Add to dashboard Cite

Seenku (Mande, Burkina Faso) displays a complex tone sandhi system, sensitive to phonological, morphological, and syntactic structure. In this paper, I argue that the opaque, phonetically unnatural alternations are best accounted for in an allomorph selection approach, following work by Tsay and Myers (1996), Zhang and Lai (2008), and others on Taiwanese Southern Min sandhi. In this model, lexical entries contain multiple surface allomorphs along with subcategorization frames, and forms that follow the same pattern are abstracted into increasingly general lexical templates or schemas. Morphology is post-syntactic, with syntactic structure matched with lexical entries, along the lines of Distributed Morphology (Halle and Marantz 1993; Embick and Noyer 2007), but with a richer generative lexicon, as in Construction Morphology (Booij 2010b) or analogical approaches to word formation (e.g. Bybee 1995). The domains of application and the interaction of tone sandhi with both itself and other morphotonological processes point to the need for cyclic application, which I implement using phase-based spell out (Uriagereka 1999; Chomsky 2000). This approach allows for productive extension of the patterns without recourse to an overly complicated phonological component.

show abstract

Section: Typology Of Tone Sandhimentioning

confidence: 99%

Seenku argument-head tone sandhi: Allomorph selection in a cyclic grammar

McPherson

2019

Glossa: A Journal of General Linguistics

View full text Add to dashboard Cite

show abstract

“…Tone sandhi is a phonological process that changes the canonical tone of a syllable into a different one due to the occurence of a neighbouring tone [1]. Four characteristics of tone sandhi as reported in previous literature are summarized below [2,3,4].…”

Section: Introductionmentioning

confidence: 99%

Production and Perception of Rising Tone Sandhi in Mizo

Lalhminghlui¹,

Sarmah²

2018

6th International Symposium on Tonal Aspects of Languages (TAL 2018)

View full text Add to dashboard Cite

Mizo, a Tibeto-Burman language of the Kuki-Chin group is primarily spoken in the northeast Indian state of Mizoram in Northeast India. Mizo has four lexical tones, namely, high (H), rising (R) , falling (F) and low (L). Mizo tones are mostly dynamic, except the H tone which is a static tone. Previous researches have reported that the rising tone in Mizo changes into low tone when it is followed by either high tone or falling tone which is regarded as rising tone sandhi. The present study analyzes the production and perception of rising tone sandhi. The production data of rising tone sandhi is carried out by comparing the F0 contours of the derived low tone of rising tone sandhi in trisyllabic phrases with the citation form of low tone and low tone in phrases. Results have shown that the F0 contour of rising tone sandhi and the canonical low tone in Mizo are different in terms of F0 contour. The result of perception study in the form of identification test has shown that the speakers of Mizo could distinguish the low tone derived out of rising tone sandhi from the canonical low tone which indicates that tone sandhi in Mizo is perceptually categorical.

show abstract

“…Tonal alternation conditioned by the phonological environment in which the tone appears, such as the adjacent tones or the prosodic position of the tone, is often referred to as tone sandhi [1] [2]. Tone sandhi is particularly well known in Chinese dialects, not only because it is well attested in this part of the world, but also because the contour-rich tonal inventories in Chinese present a particularly fertile ground for intricate tone sandhi patterns.…”

Section: Introductionmentioning

confidence: 99%

“…Tone sandhi patterns can be generally classified as "leftdominant" or "right-dominant" depending on the edge of the sandhi domain that preserves the base tone [1] [2][3] [4]. It has been argued that these two types of sandhi have different typological properties in that, generally, left-dominant sandhi involves tone spreading, while right-dominant sandhi involves paradigmatic tone change [3] [4].…”

Section: Introductionmentioning

confidence: 99%

“…Right-dominant sandhi is exemplified by Mandarin, Hailu Hakka, and Taiwanese in (2). The Mandarin T3 sandhi (2a) is triggered by a following third tone [7] [8]; the Hailu Hakka (2b) and Taiwanese (2c) sandhi patterns are both triggered by being in non-phrase-final positions, and the Taiwanese pattern is also characterized by chain shifts [9][10] [11] [12].…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Using Nonce-probe Tests and Auditory Priming to Investigate Speakers' Phonological Knowledge of Tone Sandhi

Zhang¹

2016

5th International Symposium on Tonal Aspects of Languages (TAL 2016)

Self Cite

View full text Add to dashboard Cite

Recent phonological research has shown that speakers may both overlearn and underlearn from lexical patterns of their language. This points to the importance of experimental studies to the construction of phonological analysis. In this paper, I explore the use of nonce-probe tests and auditory priming in the investigation of speakers' tacit knowledge of tone sandhi in a variety of Chinese dialects, with a particular focus on the effect of opacity on how speakers internalize the sandhi pattern. Nonce-probe results show that opaque tone sandhis typically lack full productivity and often categorically fail to apply to novel words, while transparent sandhis are more productive. Auditory priming studies show that disyllabic words undergoing an opaque sandhi on the first syllable are more strongly primed by a syllable carrying the sandhi tone, while words undergoing a transparent sandhi are more strongly primed by the base tone. These results suggest that speakers internalize opaque sandhis as the listing of allomorphs, while transparent sandhis can be derived through productive phonological processes from the base tone.

show abstract

Tones, Tonal Phonology, and Tone Sandhi

Cited by 19 publications

References 48 publications

Seenku argument-head tone sandhi: Allomorph selection in a cyclic grammar

Seenku argument-head tone sandhi: Allomorph selection in a cyclic grammar

Production and Perception of Rising Tone Sandhi in Mizo

Using Nonce-probe Tests and Auditory Priming to Investigate Speakers' Phonological Knowledge of Tone Sandhi

Contact Info

Product

Resources

About