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PITCH ACCENT IN HUPA

BY

PLINY EARLE GODDARD

UNIVRSITY OF CALIFORNIA PUBLICATIONS IN AMERICAN ARCHAEOLOGYAND ETHNOLOGY

Volume 23, No. 6, pp. 333-338

Issued January 28, 1928

UNIVERSITY OF CALIFORNIA PRESSBERKELEY, CALIFORNIA

CAMBRIDGE UNIVERSITY PRESSLONDON, ENGLAND

PITCH ACCENT IN HUPA

BY

PLINY EARLE GODDARD

While I was a member of the Department of Anthropology of theUniversity of California, I devoted considerable time to the develop-ment and application of laboratory methods to the recording of Indianlanguages. The first work was on the Hupa language, for which therewere excellent facilities owing to a Hupa boy's being a member of myfamily during the school year 1902-1903. This boy, Julius Marshall,had spoken Hupa as his mother tongue, he knew English equally well,and was extremely patient as a subject for study. Many Hupa wordswere traced with the aid of the Rousselot apparatus. The phoneticresults of this study it seemed best to publish in parts. The individualsounds were first described,' and illustrated by tracings, palatograms,and photographs of the lips. The main consideration was to employevery means available for conveying to a person who had never heardand who never would be able to hear Hupa a correct picture of thesounds that compose it. For a European ear the most difficult pointsin the simple sounds of Hupa were the degree of sonancy in thestopped consonants, the movements involved in the glottalized con-sonants, and the time relations of these movements. It was my purposeto follow this with a paper devoted to the phonetic problems involvedin the combination of the individual sounds to form words and sen-tences. Such a study involves the assimilation and elision of soundsbrought into close relation and the very difficult matter of the relatioinsof stress, pitch, and duration in syllables when combined into wordsand sentences. Since the Athapascan verbs are also sentences, it waspossible by using verbs for the study to curtail the work somewhat.

The present paper is based on records made in January, 1904,during a visit of Julius Marshall to Berkeley. The highest of the threespeeds of the Rousselot machine was used and the glass diaphragmillustrated on page 3 of the paper cited was.employed. Tracings somade give the vowels in a form easily measured for duration andpitch. Nearly complete conjugations of several verbs were made.These tracings were pasted on cards on which the words spoken were

1 The Phonology of the Hupa Language; Part I, The Individual Sounds. Thisseries, 5:1-20, 1907.

334 University of California Publications in Am. Arch. and Ethn. [Vol.23

typed and on which the speed of the cylinder was noted in order tofacilitate comparisons. Many of these vowels were measured at thetime, the number of waves were counted, and the pitch calculated.

In the lists below, for the sake of convenience and uniformity, thenumber of waves in a space of two centimeters was obtained by count-ing, and the results obtained used to show the relative pitches of thesyllables in the same word. A half-wave is noted as a decimal, .5,and lesser fractions ignored. The speed of the cylinder was deter-mined by the use of a 256 tuning fork. A large number of wordswere tra.ced on the same smoked paper and at the same speed. Thevariation for successive sheets was .004 of a second for the length oftwo centimeters, so small that it may be ignored. Glides are indicatedby the use of > and < between numerals which indicate the range in asingle vowel.

Present tensenauw'a', I havenain'a', you havena'at, he hasnate'o'a'", let him havenai'o'a', let it havenai'a', it hasnada'a', we havena"'at, you (plu.) havenaya'a', they havenayai'a', they (neuter)

havenayatc'o'a', let them

havenayai'o'a', let them

(neuter) have

Past tensenauwai, I hadnaniai, you hadna'ai, he hadnai'ai, it hadnada'ai, we hadna"'ai, you (plu.) hadnaya'ai, they hadnayai'ai, they (neuter)

had

14:11<914:11<915:10<912<13:11>10:914:11:914<16:10>914<15:11:1014<15:11>1013<15:12>9

13:14<15:10:9

Future tenenauw'ate, I will have 12:12:9nafiate, you will have 13:11:8na'ate, he will have 13:11:9nai'ate, it will have 13:10:9nada'ate, we will have 12:11:8na'ate, you (plu.) will

have 14:13>12:10:9naya'ate, they will

have 13:14:12:9nayai'ate, they (neuter)

will have 12:12:1Q:9

12<13:10:9

12<13:14:11:9

12:1212:1212:1212:10>813:11:10>813>9.5:10>812:13:11>9

12<13:14:10>9

Customaryna'iuw'a', I used to

have 12:10:9na'lft'a', you used to

have 12:12:9na'a a', he used to

have 13:12:10nai'a'a', it used to

have 12<13:12:9.5na'ttda'a', we used

to have 12:13:10:9na'o"'a', you (plu.)

used to have 12<13:11:9naya'a'a', they used

to have 12<13:10:9nayaia'a', they (neuter)

used to ha.ve 11:12:9

Goddard: Pitch Accen.t in Hutpa3

Present tenseiuwtsan, I findLltsafi, you findtC'ltsaCf, he findsydltsan, it findsLtdiltsan, we findottsan, you (plu.) findya.Lltsafi, they findyailtsan, they (neuter)

findtc'oltsani, let him find

yate'oltsani, let themfind

yaioltsan, let them(neuter) find

Past tenseiuwtsan, I founddltsan, you foundte'ltsan, he foundypltsan, it foundLtdiltsan, we foundoltsan, you (plu.)

foundya.Lltsan, they foundyailtsan, they (neuter)

found

Present tenseiuwte'Lt, let me dietnte'tt, dietC'otc'Lt, let him dieote"'t, let it die.LtdLttte't, let us dieo' te"'it, die ye.yate'ote't, let them

dieya'ote"'t, let them

(neuter) die

Past tenseiuwte"'t, I diedtntc'it, you diedtC'Ltte'Lt, he diedte'Lt, it died*tdttc'Lt, we diedo tc'tt, you (plu.)

diedyatC'Lt, they diedya.tec't, they (neuter)

died

13.5:1113.5:1114.5:1114:10>911:14:1013:1013.5:10

11<14<15:11>1013:10.5

13:12:10

14:13:9.5

12:1111:1011:1012<14:12>910:12:10

Future tenseiuwtsante, I will find 12:14:10>9dltsante, you will find 15:13:9.5>8.5te'tltscante, he will fiRd 14.5:12:9yLltsante, it will find 14:12:9ttdiltsante, we will find 12.5:14:12:9oltsante, you (plu.)

will find 13:13:9ya.ldtsante, they will

find 14:14:12:8.5yailtsante, they will

find 13:15:11:9

Past tenseiuwtsLs, I saw it 12:10tltsss, you saw it 12.5:10tC'tlts5s, he saw it 12.5:10Ltdiltsts, we saw it 11:13.5:10oltsts, you (plu.)

saw it 13:10ya.-ltsts, they saw it 11:13:11

11:1011:10>9

12<14:11>9

12:10.512:1012:912:1011:13.5:1013:10

11:11:10

Future tenseiuwte"'tte, I will die 12:14:11tnte'ttte, you will die 12:10:10te'Lttc'Ltte, he will die 12:11:10Ltdttte'Ltte, we will die 11:13:11:10o' te'Ltte, you (plu.)

will die 13:10:10yate'ttte, they will die 13:11:11

14:11:10

12:1212.5:1012:9.51211:13.5:10

12>10:1012:10

11<13:10

1928] 335

336 University of Caltifornia Publications in Am. Arch. and Ethn. [Vol. 23

Past tensenaselxat, I tore downnasdlxat, you tore downna.isxat, he tore downnaisxat, it tore downnasdilxat, we tore downnasolxat, you (plu.)

tore downnaya.isxat they tore

downnaya.isxat, they neuter)

tore down

14:12:1014.5:12:1014<15:13:1014:16:1014:14:10

14:14:10

14:14<15:14:12

14:14<16>14:10

Customa.ry tensena.iuwx,at, I used to

tear downna.dxat, you used to

tear downna.dlxat, he used to

tear downnai.Llxat, it used to

tear downna.ttdilxat, we used

to tear downna.olxat, you (plu.)

used to tear down

14:12:12>10

14:14:10

14:14:10

14<15:12:12>10

14:14:12:].1

14:12>10:12>10

yawtmnias, you rolledover

yawLmmas, he rolledover

Present tenseyeiuwda', I carry in 14:15:10yedlda', you carry in. 13:14:10yetc'Llda', he carries in 14:16:10yeydlda', it carries in 13:14:10yeLtdilda', we carry in 13:15:10ye'olda', you (plu.)

carry in 14:14:10yeyadlda', they carry in 13:14:10yeyailda', they carry

in 12:13:10.5

Past tenseyewelda', I carried in 13:13.5:10yewdlda', you carried in 12:13.5:9yetc'uwdlda', he carried

in 13:13:14:9yeyuwLlda', it earried in 12:12:14:9yewttdilda', we carried

in. 13:12.5:14:9yewolda', you (plu.)

carried in 13:13:9yeyawlda', they carried

in 13.5:13:14:9yeyaiwLlda', they car-

ried in 13:14:11:9yetc'uwdLdate, he will

carry it in 13:14:14:10yetc'olda', let him carry

it in. 12.5:14:9yeyolda', let it carry it

in 12:13:9

The simple Hupa verb consists of the stem which is the final

syllable, and of the subject pronominal prefixes which are the firstsyllables. The first person plural form of the verb has three syllablesand so does the third plural. When the dissyllabic forms, of whichthere are twenty-four examples, are considered, we find either an even

or a falling pitch. There are four cases of even pitch, but three ofthese were spoken consecutively and are probably not to be considerednormal but due to some emotional or self-conscious cause. Excludingthese, variation in pitch ranges from 15:11, which may be expressed

14:14:10:9

12<15:12:10

1Goddard: Pitch Accent in Hupa

as 1.36:1, to 11:10 or 1.10:1. There are five examples of ra.tios lyingclose to 12.5:10 or an interval of a major third. There are fourinstances of 12:10 or a minor third, and four cases of 11:10, about aminor second. The average is 1.21:1, or approximately a minor third.

It happens that the second person plural subjective prefix ends inan aspiration, for example, o'tc'tt, you died. This begins at 12, slidesto 10 at the close of the first syllable, and continues at 10 during thesecond syllable.

The first person plural has three syllables. The word begins ona syllable of medium pitch, rises to high, and falls t.o low. There arethree examples of 11:13.5:10, one of 11:14:10, and one of 10:12:10.

There is another verb given with the same number of syllables, tlheverb "to have." In this verb a prefix na, has combined with thesubject prefixes, so that the number of syllables is not increased. Thetone differences are similar to those given above for the simpler verbs.There is one extreme case, nai'a', "it has," in which the normal initialpitch begins at 14, slides to 16 before a glottal closure, and then dropsto 10, giving the greatest change in tone noted.

When the future suffix -te is added to the simple verbs, threesyllables result., with four syllables in the first person plural. Insteadof medium-high-low as in the first person plural, we have in mostca.ses high-medium-low or high-low-low, as nafi'ate, 13:11:8; yltsante,14:12:9; tntc 'ite, 12:10:10. In the first person plural with foursylla.bles, the second syllable is higher than the first, a.s is the ca-sewhen the suffix does not occur. It seems that the suffix is felt as some-thing added on, an enclitic and not an integral part of the word.

A similar inference may be drawn from the adverbial prefix ye-in yEiuwda', "I carry in." The prefix is, in most cases, of mediumpitch, followed by the subjective prefix with high pit-ch.

As might be expected, the pitch is not held at a constant levelthroughout the vowel or diphthong with only a step up and downbetween the syllables. There are glides in the longer vowels, in thedirection of the change. For example in nai'a, "it has," the diph-thong is 14<16 and 'a' 10>9. The striking fact and the significantone is the jump from 16 to 10.

The primitive nouns in Hupa, as in all Athapascan languages,were monosyllabic. There is no evidence that such nouns are dis-tinguished by tone. Homonyms, even when the quality of sounds

1928] 337

338 University of California Publications in. Am. Arch. and Ethn. [Vol. 23

a-lone is considered, are few and these are distinguished by the pres-ence or absence of the glottal stop. It is not intended to imply thatthis was due to a conscious process.

The polysyllabic nouns are in many instances formed from verbs.It happens that the tracings of the Hupa nouns were done with arubber diaphragm and the vowel waves are difficult to count. Thefew which have been counted give results similar to those obtained forthe verbs.

Just what, happens as regards changes in pitch in the Hupa verbsystem is adequately presented in the above tables and comments.The question of the significance and importance of pitch changes tothe Hupa speaker or hearer is another matter. It does not seem thatpitch or pitch change is used to differentiate between words similarin other respects. At one time the writer believed that to be the case,but later it seemed that the differentiation was brought about byglottal stops or by methods not related to tone. Hupa hearers correctmispronunciations which are due to ignoring of glottal elements andsometimes to misplaced stress, but do not correct a white speaker inregard to pitch. That pitch is significant in a less definite way wouldappear from the prevailing pract.ice of using high pitch on certainsyllables and low pitch on others. Its use certainly lacks the freedomof English, in which modulations of pitch are used to express fineshades of both sense' and emotion.

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