By Andrea Hoa Pham
This new booklet bargains learn that may have an effect on additional learn of tone in Vietnamese and different tonal languages.
Read Online or Download Vietnamese Tone: A New Analysis (Outstanding Dissertations in Linguistics) PDF
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Extra info for Vietnamese Tone: A New Analysis (Outstanding Dissertations in Linguistics)
For example, in (47) all consonants would share manner but use different diacritics for sac and nang in non-stop-final and stop-final syllables. An Eight-Tone System While the eight-tone analysis is little discussed in the current literature on Vietnamese, it was assumed in traditional poetry before the current Vietnamese writing system was created (Cao 1998). , from /p, t, k, m, n, ′/ to /M, N, ′/, where /M, N, ′/ represent places of articulation without specification for manner. It also provides a simpler account of tone harmony in reduplication (Cao 1998).
If nasal and stop in final position are allophones, there are two types of underlying segments in final position, one for consonants and the other for glides. The representation of a final consonant is illustrated in (54) below with only relevant features given. In (a) the surface final voiceless stops and nasals share the same underlying representation, a Root node with C-place as a dependent. On the surface there are two types of consonants: one with the [obstruent] feature and the other without.
The two registers are unmarked and marked. (45) even non-broken broken Unmarked Marked ngang huyen non-even sac nang hoi nga Only sonorants follow ngang, huyen, hoi, and nga. However, this predictability of manner disappears when sac and nang are added since both sonorants and obstruents follow sac and nang. Therefore, manner of articulation must be distinctive with these tones and listed as part of the lexical entry. Why are final stops so restricted in their distribution? This question has been of considerable concern in the traditional literature on Vietnamese tone.