BBN ANG 141 Foundations of phonology 10 Stress & intonationseas3.elte.hu/foundations/10.pdf ·...

BBN–ANG–141 Foundations of phonology 10Stress & intonation

Peter Szigetvari

Dept of English Linguistics, Eotvos Lorand University

szp (delg) intro phono 10/stress & intonation 1 / 18

outline

what is what?

some common stress patterns

some characteristics of stress

levels of stress

how to tell a reduced vowel?consonants before a stressed vowelsyncope, high vowel gliding

weak formsfeetlocating stress

in the word

in the sentence

intonationparts of the tone unittypes of nuclear tone

what is what?

stress (prominence, eg length, higher pitch, loudness)

what is what?

◮ lexical: one (or more) syllable(s) in each word is stressed, this islexical (ie unpredictable)

what is what?

◮ emphatic: to contrast some word with another it is stressed, eg

what is what?

◮ emphatic: to contrast some word with another it is stressed, eg◮ John kissed Jane (not Joe)

what is what?

◮ emphatic: to contrast some word with another it is stressed, eg◮ John kissed Jane (not Joe)◮ John kıssed Jane (not cussed her)

what is what?

◮ emphatic: to contrast some word with another it is stressed, eg◮ John kissed Jane (not Joe)◮ John kıssed Jane (not cussed her)◮ John kissed Jane (not James)

what is what?

◮ the strongest stress in a tone unit (≈ sentence) is called the TONIC

what is what?

intonation

the last stress (=tonic) of the sentence involves pitch change, eg

what is what?

intonation

◮ it wasn’t `me

what is what?

intonation

◮ it wasn’t `me

◮ it wasn’t ˇme

what is what?

intonation

◮ it wasn’t `me

◮ it wasn’t ´me

what is what?

intonation

◮ it wasn’t `me

◮ it wasn’t ´me

◮ it wasn’t´me

some common stress patternslegend: 1=potential tonic, 3=other stress, 0=no stress, reduced vowel

two syllables

10 carry, clever, parrot, ceiling

two syllables

01 adopt, July, derive, taboo, agree

two syllables

11 sardine, thirteen, maltreat, torment

two syllables

13 alcove, ally, elbow, centaur

two syllables

three syllables

two syllables

three syllables

100 cinema, family, animal, obstinate

two syllables

three syllables

103 satisfy, compensate, absolute, microscope

two syllables

three syllables

010 develop, consider, aroma, contestant

two syllables

three syllables

010 develop, consider, aroma, contestant

101 avatar, kangaroo, introduce, lemonade

◮ EARLY STRESS REQUIREMENT: either the first or the second vowel of anyword is a potential tonic: lemonade could not be /l@m@nEjd/ or/lEm@nEjd/ it must be /lEm@nEjd/

◮ STRESS CLASH: potential tonics tend not to occur next to each other:lemonade is not likely to be /l@mOnEjd/, cf also Japan /dZ@pan/ vsJapanese /dZap@nIjz/

◮ content words are always stressed, function words are not alwaysstressed

levels of stress

some words have more than one stress

levels of stress

◮ aspiration /asp@rEjS@n/, Piccadily /pIk@dIlIj/, fourteen /fo:tIjn/

levels of stress

◮ in isolation: asp@rEjS@n, pIk@dIlIj, fo:tIjn

levels of stress

◮ as the first element of a phrase (or compound): aspiration rule/asp@rEjS@n r0wl/, Piccadily Circus /pIk@dIlIj s@:k@s/, fourteen days/fo:tIjn dEjz/ (this is called STRESS SHIFT)

levels of stress

◮ left hand /lEft hand/, left-hand traffic /lEft hand trafIk/

levels of stress

◮ the last stress of a word is sometimes called PRIMARY stress, the firstone (of two) is SECONDARY stress, but this difference is predictable!

levels of stress

◮ return ticket /r@t@:n tIk@t/, maroon sweater /m@r0wn swEt@/, butpontoon /pOnt0wn/ → pontoon bridge /pOnt0wn brIÃ/

levels of stress

◮ return ticket /r@t@:n tIk@t/, maroon sweater /m@r0wn swEt@/, butpontoon /pOnt0wn/ → pontoon bridge /pOnt0wn brIÃ/

◮ sincere wishes /sInsI: wISIz/ vs princess Anne /prInsEs an/ →/sInsI:/, vs /prInsEs/

levels of stress

tertiary stress

stress that is not a potential tonic (but not reduced vowel either)

levels of stress

tertiary stress

◮ alcohol /alk@hOl/, atoll /atOl/, Ceti /sIjtAj/

levels of stress

tertiary stress

◮ October /Okt@wb@/, Titanic /tAjtanIk/

levels of stress

tertiary stress

◮ October /Okt@wb@/, Titanic /tAjtanIk/

◮ unreduced vowel with no stress mark, sometimes marked by a graveaccent: /alk@hOl/, /Okt@wb@/

how to tell a reduced vowel? consonants before a stressed vowel

consonants before a stressed vowel

◮ vehicular /v@hIkj@l@/ vs vehicle /vIj∅@k@l/

◮ alcoholic /alk@hOlIk/, alcohol /alk@hOl/

intervocalic /t/

◮ data /dEjR@/ or /dEjP@/, city /sIRIj/ or /sIPIj/, motto /mOR@w/ or/mOP@w/

intervocalic /t/

◮ attack /@tak/, hotel /h@wtEl/, guitar /g@tA:/

intervocalic /t/

◮ attack /@tak/, hotel /h@wtEl/, guitar /g@tA:/

◮ atom /aR@m/ or /aP@m/ vs atoll /atOl/, Ceti /sIjtAj/

how to tell a reduced vowel? syncope, high vowel gliding

syncope, high vowel gliding

syncope

◮ Deborah /dEb(@)r@/, strawberry /stro:b(@)rIj/

syncope

◮ Aborigine /ab@rIÃ@nIi/, cabaret /kab@rEj/

syncope

◮ chicory /ÙIk(@)rIj/ vs chickaree /ÙIk@rIj/, but */ÙIkrIj/

syncope

high vowel gliding

syncope

high vowel gliding

◮ affiliate /@fIlj@t/, affiliation /@fIlIjEjS@n/, affiliate /@fIlIjEjt/

syncope

high vowel gliding

◮ gradulate /graÃw@t/ vs graduation /graÃ0wEjS@n/, graduate/graÃ0wEjt/

syncope

high vowel gliding

◮ gradulate /graÃw@t/ vs graduation /graÃ0wEjS@n/, graduate/graÃ0wEjt/

◮ folio /f@wl(I)j@w/ vs polio /p@wlIj@w/

weak forms

◮ since monosyllabic function words (prepositions, conjunctions,auxiliaries, determiners, pronouns) are usually unstressed many ofthem have a weak (ie unstressed) form

weak forms

STRONG WEAK FORMS

can (aux) kan k@n, kn"

weak forms

STRONG WEAK FORMS

can (aux) kan k@n, kn"

weak forms

STRONG WEAK FORMS

can (aux) kan k@n, kn"can (n/v) kan —

weak forms

STRONG WEAK FORMS

and and @nd, @n, n"

weak forms

STRONG WEAK FORMS

and and @nd, @n, n"ant ant —

weak forms

STRONG WEAK FORMS

◮ weak forms always attach to some other word in the sentence, theynever occur in isolation

weak forms

STRONG WEAK FORMS

◮ weak forms always attach to some other word in the sentence, theynever occur in isolation

◮ monosyllabic function words that do not have a weak form include:off, on, my, I, they, may, might, ought

weak forms feet

authori tarian

o: TOr@ tE:rIj@n︸︷︷︸︸︷︷︸︸︷︷︸

weak forms feet

authori tarian

o: TOr@ tE:rIj@n︸︷︷︸︸︷︷︸︸︷︷︸

a foot

◮ consists of a stressed syllable (head of the foot)

weak forms feet

authori tarian

o: TOr@ tE:rIj@n︸︷︷︸︸︷︷︸︸︷︷︸

a foot

◮ consists of a stressed syllable (head of the foot) and the followingsyllables; note that tertiary stressed syllables here count as unstressed

weak forms feet

authori tarian

o: TOr@ tE:rIj@n︸︷︷︸︸︷︷︸︸︷︷︸

a foot

◮ there are typically two syllables in a foot (trochee)

weak forms feet

authori tarian

o: TOr@ tE:rIj@n︸︷︷︸︸︷︷︸︸︷︷︸

a foot

◮ there are typically two syllables in a foot (trochee) or three (dactyl)

weak forms feet

authori tarian

o: TOr@ tE:rIj@n︸︷︷︸︸︷︷︸︸︷︷︸

a foot

◮ there are typically two syllables in a foot (trochee) or three (dactyl);feet with more than three syllables are rare; one-syllable feet occurfinally, since stresses don’t like to be next to each other

weak forms feet

authori tarian

o: TOr@ tE:rIj@n︸︷︷︸︸︷︷︸︸︷︷︸

a foot

◮ there are typically two syllables in a foot (trochee) or three (dactyl);feet with more than three syllables are rare; one-syllable feet occurfinally, since stresses don’t like to be next to each other

◮ initially a degenerate foot (lacking a head) may occur

weak forms locating stress

locating stress in the word

◮ the last potential tonic usually falls on one of the last three syllables

◮ the place of stress depends on the weight of syllables (the length oftheir vowel and the presence of a syllable final consonant):e.g., edıt vs. sed´ate

◮ the place of stress often differs in nouns and verbs of the same shape:e.g., tormentn vs. tormentv

◮ there are very many exceptions to the stress-locating algorithms,therefore some consider stress lexically specified

locating stress in the sentence

the basic rule

the stressed syllables of content words are stressed, that of function wordsare unstressed

the basic rule

even distribution of stress is achieved by

the basic rule

◮ STRESS DELETION: a content word becomes tertiary stressed

the basic rule

◮ STRESS DELETION: a content word becomes tertiary stressed, egSue kıssed Joe→ Sue kissed Joe

the basic rule

◮ STRESS DELETION: a content word becomes tertiary stressed, egSue kıssed Joe→ Sue kissed Joe (note that content words may neverlose stress completely (= lose their full vowel))

the basic rule

◮ STRESS CREATION: a function word is assigned an stress

the basic rule

◮ STRESS CREATION: a function word is assigned an stress, egShe will have returned→ She wıll have returned

the basic rule

◮ STRESS CREATION: a function word is assigned an stress, egShe will have returned→ She wıll have returned, cf Sue will havereturned, where will remains unstressed

intonation

phonetically

intonation is rendered by pitch change, ie rising or lowering of thefrequency of the speech signal

intonation

phonetically

phonologically

tones distinguish

intonation

phonetically

phonologically

tones distinguish

◮ modalities, attitudes, (non)completeness in intonation languages (likeEnglish or Hungarian)

intonation

phonetically

phonologically

tones distinguish

◮ lexical words in tone languages (like Mandarin)[ma] ‘mother’, [ma] ‘hemp’, [ma] ‘horse’, [ma] ‘scold’

intonation

phonetically

phonologically

tones distinguish

◮ lexical words in tone languages (like Mandarin)[ma] ‘mother’, [ma] ‘hemp’, [ma] ‘horse’, [ma] ‘scold’

the carrier of intonation

the last part, the nucleus, of the tone unit, the primary-stressed syllable ofthe phrase or sentence

intonation parts of the tone unit

parts of the tone unit

1 2 3 4 5

1 the pre-head, a degenerate foot before the first stressed syllable of thetone-unit

1 2 3 4 5

2 the head, the first stressed syllable of the tone-unit

1 2 3 4 5

3 the body, all syllables from the first to the last stressed syllable notincluding either

1 2 3 4 5

4 the tonic (nucleus/sentence-stress), the last stressed syllable of thetone-unit, characterized by pitch change

1 2 3 4 5

5 the tail, all unstressed syllables after the tonic

1 2 3 4 5

5 the tail, all unstressed syllables after the tonic

⊲ tone-units may lack one or other of these parts: did you ´eat?(1+4); sar dines (2+4), etc.; only the tonic is obligatory:

´me? (4)

intonation types of nuclear tone

types of nuclear tone

◮ Falling tone (long fall): typical of completed statements,wh-questions, confirmation-seeking tag questions, exclamations, eg

◮ Falling tone (long fall): typical of completed statements,wh-questions, confirmation-seeking tag questions, exclamations, eg◮ you always make such a `mess, John

◮ Falling tone (long fall): typical of completed statements,wh-questions, confirmation-seeking tag questions, exclamations, eg◮ you always make such a `mess, John◮ what can you see on the blackboard

◮ Falling tone (long fall): typical of completed statements,wh-questions, confirmation-seeking tag questions, exclamations, eg◮ you always make such a `mess, John◮ what can you see on the blackboard◮ that was a nasty ˇsurprise | `wasn’t it

◮ Falling tone (long fall): typical of completed statements,wh-questions, confirmation-seeking tag questions, exclamations, eg◮ you always make such a `mess, John◮ what can you see on the blackboard◮ that was a nasty ˇsurprise | `wasn’t it◮ what a disaster

◮ High-rising tone (long rise): typical of polar (ie yes-no) questions,echo questions (tonic always on wh-word), information-seeking tagquestions, eg

◮ High-rising tone (long rise): typical of polar (ie yes-no) questions,echo questions (tonic always on wh-word), information-seeking tagquestions, eg◮ is it you who made such a ´mess, John

◮ High-rising tone (long rise): typical of polar (ie yes-no) questions,echo questions (tonic always on wh-word), information-seeking tagquestions, eg◮ is it you who made such a ´mess, John◮ are you ´ready

◮ High-rising tone (long rise): typical of polar (ie yes-no) questions,echo questions (tonic always on wh-word), information-seeking tagquestions, eg◮ is it you who made such a ´mess, John◮ are you ´ready◮ you’re ´ready

◮ High-rising tone (long rise): typical of polar (ie yes-no) questions,echo questions (tonic always on wh-word), information-seeking tagquestions, eg◮ is it you who made such a ´mess, John◮ are you ´ready◮ you’re ´ready◮ (brmhmhrr) ´what did you say

◮ High-rising tone (long rise): typical of polar (ie yes-no) questions,echo questions (tonic always on wh-word), information-seeking tagquestions, eg◮ is it you who made such a ´mess, John◮ are you ´ready◮ you’re ´ready◮ (brmhmhrr) ´what did you say◮ this is Schubert, | ´isn’t it

◮ Low-rising tone (short rise): typical of uncertainty andparentheticals, eg

◮ Low-rising tone (short rise): typical of uncertainty andparentheticals, eg◮ maybe the baby’s a

´sleep

◮ it looks very much like the´other one

´sleep

◮ today | says´Mary | we’ll leave

´sleep

◮ Richard | often called the´Lionhearted | returned from Je rusalem

´sleep

◮ Falling-rising tone (fall-rise): typical of incompleteness ornon-finality, in subordinate clauses, main clauses followed by anothermain clause, lists, personal opinions, eg

´sleep

◮ Falling-rising tone (fall-rise): typical of incompleteness ornon-finality, in subordinate clauses, main clauses followed by anothermain clause, lists, personal opinions, eg◮ when we ˇget there | we’ll have a good `meal

´sleep

◮ Falling-rising tone (fall-rise): typical of incompleteness ornon-finality, in subordinate clauses, main clauses followed by anothermain clause, lists, personal opinions, eg◮ when we ˇget there | we’ll have a good `meal◮ I’d buy you it | if I could ˇafford it

´sleep

◮ Falling-rising tone (fall-rise): typical of incompleteness ornon-finality, in subordinate clauses, main clauses followed by anothermain clause, lists, personal opinions, eg◮ when we ˇget there | we’ll have a good `meal◮ I’d buy you it | if I could ˇafford it◮ I opened the ˇdoor | and `went in

´sleep

◮ Falling-rising tone (fall-rise): typical of incompleteness ornon-finality, in subordinate clauses, main clauses followed by anothermain clause, lists, personal opinions, eg◮ when we ˇget there | we’ll have a good `meal◮ I’d buy you it | if I could ˇafford it◮ I opened the ˇdoor | and `went in◮ ˇone | ˇtwo | ˇthree | four

´sleep

◮ Falling-rising tone (fall-rise): typical of incompleteness ornon-finality, in subordinate clauses, main clauses followed by anothermain clause, lists, personal opinions, eg◮ when we ˇget there | we’ll have a good `meal◮ I’d buy you it | if I could ˇafford it◮ I opened the ˇdoor | and `went in◮ ˇone | ˇtwo | ˇthree | four◮ John could ˇdo it for us

´sleep

◮ Falling-rising tone (fall-rise): typical of incompleteness ornon-finality, in subordinate clauses, main clauses followed by anothermain clause, lists, personal opinions, eg◮ when we ˇget there | we’ll have a good `meal◮ I’d buy you it | if I could ˇafford it◮ I opened the ˇdoor | and `went in◮ ˇone | ˇtwo | ˇthree | four◮ John could ˇdo it for us◮ he’s not ˇthat bad

sample exam questions

which of the following is the carrier of stress?

1. any segment

2. consonants

3. syllables

4. words

1. any segment

2. consonants

3. syllables

4. words

1. any segment

2. consonants

3. syllables

4. words

which is an obligatory part of the tone unit?

1. the head

2. the body

3. the tonic

4. the tail

1. any segment

2. consonants

3. syllables

4. words

which is an obligatory part of the tone unit?

1. the head

2. the body

3. the tonic

4. the tail

BBN ANG 141 Foundations of phonology 10 Stress & intonationseas3.elte.hu/foundations/10.pdf ·...

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