MANUAL OF ARTICULATORY PHONETICS by WILLIAM A. SMALLEY
M A N U A L
OF
A R T I C U L A T O R Y P H O N E T I C S
Revised Edition
by WILLIAM A. SMALLEY Cartoons by George Ivan Smith
PRACTICAL ANTHROPOLOGY Box 307, Tarrytown, New York 10591, U.S.A.
Part One (Lessons 1-14) Copyright © 1961 Part Two (Lessons 15-Appendix B) Copyright © 1962 Revised Edition Copyright © 1963 Cartoons Copyright © 1964 by William A. Smalley 2M [8M]67
PHOTOLITHOPRINTED BY CUSHING - MALLOY, INC. ANN ARBOR, MICHIGAN, UNITED STATES OF AMERICA 1968
NOTICE CONCERNING TAPE RECORDINGS Each of t h e t h i r t y - t h r e e r e g u l a r lessons of the Manual of A r t i c u l a t o r y Phonetics has been recorded, and tape copies are a v a i l a b l e f o r purchase as needed. Appendix l e s s o n s , and lessons numbered -with R (as 2$R) are not recorded. Each taped lesson i s a v a i l a b l e on a 7" r e e l a t 7 1/2 inches per second, double t r a c k . The recordings range from f o r t y t o s i x t y minutes per lesson. Lesson 33 i s a s p e c i a l summary l e s s o n , which some students w i l l want t o buy f o r review and reference when t h e course i s complete. Copies may be obtained i n q u a n t i t y or i n d i v i d u a l l y at the price indicated. Prices Complete s e t # 113>.$0 Add $ 13.50 f o r d e l i v e r y outside t h e U.S.A. For p r i c e s on i n d i v i d u a l tapes i n any combination, terms of payment, discounts f o r C h r i s t i a n missionaries and missionary t r a i n i n g programs, and other information, w r i t e P r a c t i c a l Anthropology, Box 307, Tarrytown, New York 10^92, U.S.A. Prices are subject t o change without n o t i c e .
Orders Please address all orders for tapes only to Sound Recording Service 977 Creekdale Drive Clarkston, Georgia (30021) USA
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ii
Manual of Articulatory Phonetics. Revised Edition
$ 'f.OO
Thirty-three phonetics lessons, plus two chapters on the phonemic transcription of English consonants and vowels. 512 pages. OTHER BOOKS INTEGRATED WITH THIS MANUAL In addition to the tape recordings described on the previous page, two other aids to the student and teacher have been prepared and integrated with the Manual. $ 1.50
Workbook Supplement Blank facial diagrams (for articulators to be drawn in), transcription forms, transcription exercises with blanks to be filled in, forms for tallying transcription errors, forms for the transcription of English vowel and consonant phonemes. 106 pages. Teacher's Guide
$ 2.50
Suggestions for the classroom use of different kinds of exercises in the Manual, efficient handling of the phonetics drill section, lesson plans for each of the lessons. 104- pages. PRICES ARE SUBJECT TO CHANGE WITHOUT NOTICE. 3<# discount (plus postage) for orders of 5 copies or more. Free desk copies of the Manual and/or Workbook Supplement will be sent when requested with orders of at least 10 copies. Books ordered at the retail price are sent postpaid. WE RESERVE THE RIGHT TO SHIP LARGER ORDERS BY RAILWAY EXPRESS, FREIGHT COLIECT. Orders for which shipment by air is requested will be sent by Atlantic Air Freight, freight collect, or against an advance payment of the approximate shipping costs.
Send orders or requests for information on any of the above to: PRACTICAL ANTHROPOLOGY P.O. Box 307 Tarrytown, N.Y. 10591 U.S.A.
iii
CONTENTS PREFACE
i
LESSON ONE —
Description of Sounds
1
Facial Diagrams lj Major Points of Articulation 3j Major Articulators 9/ Some Manners of Articulationt Stops 121 Fricatives 13/ Nasals l6j Laterals 17 LESSON TWO -- Hearing Pitch Distinctions Pitch Distinctions LESSON THREE —
26j
Direction of Glide
37 k3
Voiced and Voiceless Fricatives
Voicing of English Fricatives k3$ ing Ut$ [* fe] U8, [x g] 52 LESSON FOUR —
The Nature of Voic-
Finer Distinctions in Pitch Hearing
Pitch Distinctions LESSON FIVE —
6l|
Levels and Glides
Facial Diagrams; Voiced Stops
Facial Diagrams LESSON SIX —
26
7U| Voiced Stops
Controlled Intonation
Some Tone and Intonation Contrasts the Bird" 91 LESSON SEVEN —
62 7U
79 89 89$
"The Hat with
Voiceless Aspirated and Unaspirated Stops
Glottal Stop Stops 108 LESSON EIGHT —
61
I02j
Voiceless Aspirated and Unaspirated
Longer Sequences of Pitch
118
"The Hat with the Bird" (continued) 118 j Mimicry and Buildups on Longer Sequences of Pitch 120j Mimicry of Gola Tone 131 LESSON NINE ~
Affricates
136
Stop Plus Fricative 136j Affricates in Initial Position 138j Aspirated, Unaspirated, and Voiced Affricates 139| Velar Fricatives and Affricates lk3
102
LESSON NINE R ~ Review
U+8
LESSON TEN — Syllables and Some of Their C h a r a c t e r i s t i c s
150
S y l l a b i c i t y l!?Oj Syllables and Syllabi c i t y 152} Boundaries Between Syllables l£3j S t r e s s l5Uj Juncture 158} Rhythm l59j Syllable C h a r a c t e r i s t i c s and This Manual 161 LESSON ELEVEN — Dental, Retroflexed, Grooved and F l a t A r t i c u lations iolt Dental Stops, F r i c a t i v e s , and Affricates 165} F l a t and Grooved F r i c a t i v e s and Affricates l67j Retroflexed Stops, F r i c a t i v e s , and Affricates 168 LESSON TWELVE ~ Vowels and Vowel Glides
T?U
Vowel a r t i c u l a t i o n l?Uj Vowel Glides 17 5j [y] Offg l i d e , Tongue Upward and Forward 176j [w] Off-glide, Tongue Upward and Back, Lips Rounding 178} [ r ] Off-glide, Tongue t o Retroflexed Position 179/ [H] Off-glide, Tongue t o Central Position l 8 l j On-glides l 8 3 j Glide Onsets with Preceding Consonant 185} Pure Vowels [a o e] 187 LESSON THIRTEEN — Nasals
192
[n] i n i n i t i a l Position 192 j Production of [n] Production of [n n] 195j Voiceless Nasals 196 LESSON FOURTEEN — Some Back and Central Vowels
193j
201
Learning [u] and [v] 203} Learning [o] and [A] 208| Off-glides on t h e New Vowels 212 LESSON FIFTEEN — L a t e r a l s
217
High and Low Tongue Laterals 2l8j F r i c a t i v e Laterals 221} Alveopalatal L a t e r a l 225} Dental Laterals 226j Retroflexed and Velar L a t e r a l s 227} Affricates with L a t e r a l Release 228 LESSON SIXTEEN ~
Some Front Vowels
232
Symbols and Recognition 232} Production of [ i z. e ae] 23li| Review of Vowels and Vowel Off-glides 239| Review of Ong l i d e s 2I4.O1 I d e n t i f i c a t i o n of Vowels 2U2 LESSON SEVENTEEN — Flaps and T r i l l s Flap a r t i c u l a t i o n
21+7/ T r i l l s
2h6 250
LESSON SEVENTEEN R — Review LESSON EIGHTEEN ~
257
Lower-low Vowels/ Length
26l
Lower-low Vowels 26lj Production of [as a a u o] Length of Vowel and Consonant 269 LESSON NINETEEN — Alveopalatal Stops Production of Alveopalatal Stops and T r i l l s 281
263J
275 276j
Review of Flaps
LESSON TWENTY — Some Central Vowelsi Vowel Clusters
285
Demonstration of Vowel Chart 285/ Production of [a A 9 i ] 287j Vowel C l u s t e r s 293 LESSON TWENTY-ONE — Double Stops and Nasals Production of Double Stops and Nasals Alveopalatal Stops 307
298 300/
Review of
LESSON TWENTY-TWO — Front Rounded Vowelsj Glide Clusters
309
Demonstration of Vowel Chart 309j Production of [U t oe ] 311j Glide Clusters 319 LESSON TWENTY-THREE — Fronted and Backed Velar Consonants Production of Fronted and Backed Velars 32l+j Review of Double Stops and Nasals 329/ Review of Alveopalatal Stops 3 2 9 | Review of Length and Vowel C l u s t e r s 329 LESSON TWENTY-FOUR ~ Nasalized and Oral Vowels Producing Nasalized Vowels
336/
333
Producing Oral Vowels
337 LESSON TWENTY-FIVE — Unreleased and Released Consonants/ Clusters with [gj Unreleased Sounds 3k5j Released "Final" Sounds 3h6t Close and Open T r a n s i t i o n 3U8j Clusters with ['] 3W LESSON TWENTY-FIVE R — Review
357
LESSON TWENTY-SIX — Back Unrounded Vowels/ Modification of Vowel Quality 363
322
Demonstration of Vowel Chart 363% Production of Back Unrounded Vowels 3 6 5 | Modification of Vowel Quality 370 LESSON TWENTY-SEVEN — Implosives/ F o r t i s and Lenis Articulation 378 Air Streams sives 3 8 l j
378j Production and Recognition of ImploF o r t i s and Lenis A r t i c u l a t i o n 387
LESSON TWENTY-EIGHT — Voiceless Vowels?
Laryngealization
392
Producing Voiceless Vowels 392| Voiceless Glides 39%i Voiceless Vowels, [ h ] , and Aspiration 396j Laryngealized Vowels 398 LESSON TWENTY-NINE — G l o t t a l i z e d Consonants^ More Consonant Clusters Uo5 Production of G l o t t a l i z e d Consonants U07| More Consonant Clusters Ul3j Review of Fronted and Backed Velar Consonants klhj Review of Released and Unreleased Consonants Ul5j Review of Implosives Ul5 LESSON THIRTY — Retroflexed Vowels/ Breathy Vowels? Voiced Aspirated Stops U17 Demonstration of Retroflexed Vowels Ul7j Production of Retroflexed Vowels Jjl8j Breathy Vowels U20j Voiced Aspirated Stops 1|22 LESSON THIRTY-ONE ~
Clicks
1*27
Discussion of Mouth Air Stream Clicks U28| Nasalized Clicks
U27| h33j
Producing Voiceless Voiced Clicks U35
LESSON THIRTY-TWO — Pharyngealized Sounds
itUl
Production of Pharyngealized Vowels Uhlf Pharyngealized Glides kUif Pharyngealized Consonants 14i6j Phonetic i a n ' s Theme Song U5l LESSON THIRTY-THREE — Review and Summary Consonants U53j Vowels Negative P r a c t i c e U6U
lj.60j
Glides
U53 U6lj
Appendix LESSON A — English Consonant Phonemes
h&l
Pitch
U62/
vii Chart of Symbols LESSON B —
U67| Transcription Exercises I169
English Vowel Phonemes
kl6
Sorting Words by Vowel Nuclei U785 Preliminary Charting of Vowel Nuclei U82/ Minimal Pairs U83j Complementary Distribution U86| Free Fluctuation i|88j Tentative Phonemes U88j Phonemic Transcription I4.89 LESSON C —
Descriptive Summary of Speech Articulations
The Air Stream l+90j Effect of the Larynx on Lung Air U91j The Cavities and their Modifications U92j Articulators and Points of Articulation h93t Manners of Articulation U9Uj Vowels and Vowel Glides 1+975 Other Features h,91i Combining the Geatures of Articulation* Segmentation h$9 BIBLIOGRAPHY INDEX
£02
500
vlii \
OH,/YW UJIPE'S TOM6UE IS PLENTY FLEXIBLE/ SHE JUST HAS TROUBLE WITH THE STOPS .'
ix
PREFACE The Manual of Articulatory Phonetics has been designed for courses in practical phonetics for beginning students.1 The point of view behind this book is that general phonetics is a primary skill of great importance to language students who want to acquire a fluent and accurate spoken mastery of a language in adulthood, as well as to linguists who need it as a basic tool of their profession. To that end one of the goals of this course is to sharpen the student's hearing of sounds which may be exotic and strange to him, and to make him conscious of sounds which he may use constantly in his own speech, but of which he is unaware. A second goal is the development of a flexibility of the speech apparatus such that the student can control the various parts of the mouth and throat which are used in pronunciation. He can learn to manipulate them and produce combinations of movement which he does not use in his own speech but which are necessary for other languages. Another goal is the development of the skill of mimicry. This is the skill of being able to reproduce quickly and accurately a sound, a word, a sentence, in a language which the student is in the process of learning. A lesser goal for the language learner (but not any less for the linguist) and one which is involved in the reaching of the previous goals, is the development of a sound-symbol association. This means the ability to correlate a given segment of sound in a stream of speech with some symbol which is consistently used to represent it on paper. English spelling habits are such that many speakers of English are not conditioned to a sound-symbol association of high consistency. ^This Manual has been in preparation since 1955, primarily as a textbook for intensive courses offered at the Toronto Institute of Linguistics and at the language section of the Missionary Training Conference held in Meadville, Pennsylvania. Both of these courses are designed to introduce prospective missionaries to some of the techniques and skills of learning a language on the field. As such they place a heavy emphasis upon practical general phonetics. This Manual provides a skeleton of material on which the phonetics drill sessions are built. Although this Manual is prepared with a specific teaching situation in mind, iti should be useful in other phonetics courses as well. There is nothing in it but what is adaptable to any course in general phonetics, whether for embryo linguists, language teachers, or any other group.
X
The symbols which are used in this Manual have no particular value in themselves. They are arbitrary, just as are phonetic symbols in any other system. The system is basically that used by many American linguists working on American Indian languages. It is derived directly from publications of Kenneth L. Pike and Eugene A. Nida with certain modifications. These modifications are in the direction of easier teaching (that is, of eliminating inconsistencies in sound-symbol association), or they may be easier to produce on a typewriter or easier to use in some other way. Phonetic Theory The phonetic theory which lies behind this Manual is derived directly and almost completely from Kenneth L. Pike.l It takes up the formation of sounds by the human speech mechanism. It uses what Pike calls the imitation-label technique to a large degreej it strives to help students produce a variety of sounds and gives them information about the mechanics of articulation so that they learn to make an association between what they hear and what they do. It introduces the sound types in a pedagogical progression which is based on their articulations rather than on their occurrence in any language. The phonetics offered, therefore, is general rather than related to any particular language. However, in the Manual and in the recordings which accompany it, there are exercises drawn from actual languages, and most of these exercises are recorded by native speakers of those languages. In each such case the purpose is not to teach anything about that particular language but simply to illustrate realistically the sounds under study. We keep phonetic terminology to a minimum. We use that terminology (usually following Pike) which we find necessary for talking with students about articulations which they are being taught to make. The terminology which is introduced in the beginning is extensively drilled in the first lesson, because it comes in a proportionately larger amount at that time than at later points in the course. After the first lesson terminology is introduced more gradually and is not drilled as extensively, although at certain points, such as at the introduction of vowels, there is some drill on the new terminology needed.
For his principal work on phonetics see Kenneth L. Pike, Phonetics. For full information on works cited in this Manual see the Bibliography.
3d. At a few points the terminology does differ from that used by Pike, largely for pedagogical reasons. An example is the labeling of the various tongue heights of vowels as in Lesson lU» The system used herel has been found much easier to teach than the more usual system of rating vowels as "close" or "open." In Appendix C we include a condensed summary description of speech articulation presented so as to bring together in one place an outline of the information about speech production "which is scattered through the book among the several hundred drills. Content and Use of This Manual The Manual of Articulatory Phonetics is designed to provide one lesson for each 50T0* 55 minute class drill session. That is, the drill sessions follow the progression of the Manual, introducing the new material covered in the new lesson. In these lessons there are sometimes more drills and exercises than can possibly be done in an hour. However, the drill session introduces the new sound type, drills it with a representation of exercises, and then any students who have not fully caught the point or had sufficient practice to get the new sound may continue with other exercises in the lesson, using tape recordings or extra drill sessions as an aid in their practice. The Manual is designed for a schedule of two such drill sessions per day, which accounts for the fact that lessons are alternated, first between consonants and pitch, and then between consonants and vowels. Consonant lessons are always oddnuribered lessons, pitch and vowel lessons even-numbered lessons. The Manual may well be used on a different schedule from this, of course. For the teacher, the Manual provides a large assortment of graded drills for each new sound-type introduced, and thus makes it possible to lead a class through much more oral drill than is usually possible in phonetics classes. For the student it is intended to be used in drill sessions where some drills are of a reading nature, or where the diagrams may be helpful, but for the most part it serves as a supplement to the class period. The Manual is intended also to be useful on the field to any students 'who have previously had seme phonetic training. It may serve as a reference work to help with the practice of sound types in which the students are not skilled. -LAfter H. A. Gleason, Introduction to Descriptive Linguistics, p. 203.
xii The Tape Recordings Tape recordings have been made of the exercises contained in the Manual. They are intended to be used with the Manual at any point where the student feels that his mastery of the sound type or combinations of sounds is not adequate. There are definite problems in connection with the use of tapes for phonetics materials, however. For one thing certain types of sounds do not record in an adequate fashion. This is particularly true of fricatives. The tape recording also obliterates or nearly obliterates contrasts between other sounds in some instances. At such points the usefulness of recordings is relatively small except that they may give some guidance to the student as to the pace, tempo, and rhythm of the pronunciation and utterance. The other difficulty is that when it comes to mimicry and other forms of production a tape machine cannot correct the student, and if the student continues to mimic the tape machine inaccurately he is simply drilling bad habits. Copies of the tape recordings are available, as announced on p. i. Workbook Supplement A workbook is available to accompany this Manual (see p. ii for further details). It is 8 l/2" * U " * with perforated pages so that individual sheets may be taken out and handed in to the instructor when required. Included in the Workbook Supplement are Blank Sammies (see p. 79 below for more information), blanks for transcription exercises of various kinds (both phonetics and phonemics lessons), a tally form for transcription errors, and some exercises designed to strengthen the recall of phonetic symbols, it totals lo6 pages. The Manual may be used without the Workbook Supplement but the latter strengthens the pedagogical efficiency of the former. Teacher's Guide We have found that effective classroom presentation makes an enormous difference to student progress in phonetics. Several good linguists who have worked in our programs have shown little sense of the timing, closely graded progression, and variety which is needed in a phonetics drill section until they had been trained and had developed some experience in these techniques. The procedures, and the detailed lesson plans, that have been used in teaching from this Manual have been compiled in a Teacher's Guide, as announced on p. ii. It contains suggestions for conducting the various kinds of drills in class, and tested lesson plans for presenting each lesson in a class period. Standardized tests are also in preparation.
xiii The Place of Phonemics In this Manual it is assumed that the concept of phonemics is being introduced to the student in conjunction with his phonetics work. Phonemic notation is occasionally used where it is pertinent, but is kept to a minimum. The appendix contains two lessons on the phonemic transcription of English, the one on English consonants and the other on English vowels. The first is intended as a supplementary lesson to be prepared before Lesson 3. Its purpose is to help the student develop a repertoire of consonant symbols as rapidly as possible, and to develop the concept and practice of a consistent sound-symbol association (the student at this stage generally being unaware of sub-phonemic phonetic differences). Unlike other chapters in this book, the "lesson" on English vowel phonemes is really a series of lessons. Suggestions for dividing it up and teaching it are contained in the Teacher's Guide. These lessons are intended to come after Lesson 20. They are designed to show the functional validity of the phonemic concept as a way of making order out of the enormous phonetic variety in English vowel nuclei, as well as to sharpen the student's (phonetic) skill in hearing and identifying these nuclei. Changes in the Present Edition In this revised edition of the Manual of Articulatory Phonetics the most common changes have been in the correction of errors. In addition, what was previously published in two parts is now combined into a single volume. The preface and Lesson B have been partly rewritten and expanded. Lesson C and the Index are new. Plans for Future Development Except for the standardized tests which are being prepared and tested, whether or not I will be able to give any more time to this book and related materials in the future is uncertain. I would like very much, however, sometime to include about twelve new lessons at the end, each built around the phonetic problems in a specific language. The approach to drilling would be the same as in the present work, but all of the material in one of these lessons would be drawn from the same language, graded according to difficulty, and drilled in progressive order. A chapter summarizing some of the insights of acoustic phonetics would also be helpful. Acknowledgments My debts in the preparation of this book are enormous. Eugene A. Nida has provided constant stimulus and encouragement,
XIV
as well as many ideas which have been woven into the teaching of phonetics formalized in this Manual. The American Bible Society gave me much of the time needed in its preparation. Lyndora Smith contributed to the writing of Lessons 10, 12, ll+, 16, 18, and 22, and offered suggestions for the remainder. Jane Smalley wrote some of the drills, and typed the pages for photographing the lithoprinted editions, as well as stencils of previous mimeographed editions. Richard 0. Crane served as recording technician for all thirty-three tapes. Anna-Lisa Madeira prepared the index. Judy Wood drew the "Sammies." Garner Hoyt prepared models for some exercises. The thirty or more different people who served as drill instructors with me, teaching these lessons and earlier versions of them over the past eight years, have contributed by their criticisms and suggestions. Of these, several deserve particular mentioni G. Linwood Barney, Esther Cummings, Robert E. Maston, Fred C. C. Peng, and Earl W. Stevick. But more than anyone else, Donald N. Larson brought his skill in teaching phonetics, his keen sense of pedagogical progression, and his faculty for creative criticism to bear on these lessons and greatly influenced their development. William A. Smalley January, 1°63
The cartoons introduced in the 1?6U reprinting are the work of George Ivan Smith, who recorded his reactions to his first contact with phonetics by drawing the cartoons and posting them for the edification of students and staff. He very kindly agreed to share them with other students and other staff by redrawing them for the Manual. William A." Smalley
June, 1961;
LESSON ONE Description of Sounds The main purpose of this lesson is to get started off fast in the study of phonetics. To do that we begin the study of how sounds are formed, and learn some of the vocabulary needed in talking about sounds. Although the technical vocabulary of phonetics has no particular value for some of you in your work, during this course we need some way of discussing our. subject matter, and that requires some useful words, although we will keep them to a minimum. Facial Diagrams This will introduce Sam Mansfield. Sammy £s a gentleman who always looks westward (if you think of the paper on which his picture appears as being a map), but his "leftist" look is not the most significant thing about Sammy nor the most convenient. The importance of Sammy lies in the fact that you can see inside his head. Sammy is the result of what would happen if you carefully sliced right down through a man's head from front to back and then drew a rough schematized diagram of what you saw, particularly emphasizing those parts of Sam's exposed anatomy which are especially significant for the production of speech sounds.•*• Sammy has holes in his head. The three principal "holes", which we call cavities, are the oral cavity, the nasal cavity, and the pharyngeal cavity. These cavities change in shape by the movements of the vocal organs and thus influence the air stream which passes through them to create differences of sound. More about this later. Even though Sammy has been cut in two, he has not lost his capacity for moving his vocal organs, in Sammy 1.2 you can see him pronouncing a [p] as in English pill. In Sammy 1.3, however, he is pronouncing a [k] as in English call. Although Sammy is useful in helping us to learn the parts of the vocal apparatus and to visualize the movements involved in making speech sounds, it is important to remember that Sammy is very unrealistic in many ways. Speech consists of a
in case you are wondering about the significance of Sammy's name, there is none. However, Sammy's initials also stand for Speech Mechanism.
Lesson 1
Pharyngeal cavity
Sammy 1.1* Introducing Sammy
Sammy 1.2« Pronouncing [p] as in pill
Sammy 1.3t Pronouncing [k] as in call
continuous movement of many muscles simultaneously. This we cannot picture on Sammy because Sammy is static. Samny is really a tremendous oversimplification, but with that reserva-
Description of Sounds
3
tion in mind we will use him profitably throughout this book. Major Points of Articulation If you move your face and mouth into various contortions, you will soon realize that there are certain parts of the mouth which can be moved and others which cannot. In talking, for example, your lower jaw moves but your upper jaw does not/ therefore, your lower teeth attached to your lower jaw move but your upper teeth do not. Your tongue moves but the surface of the mouth just above the tongue (the hard palate) does not move. It is a safe generalization to say that of the interior surfaces of the mouth the upper ones move less than the lower ones. If you will continue this process of contortion in your mouth and face, you will notice that the moving lower surfaces in the mouth can approach and touch the immovable or less moving upper surfaces or they can withdraw to some distance from them. On Sammy 1.2 and 1.3 the highly movable lower lip and tongue have touched the less movable upper lip and roof of the mouth respectively. You ought to be able to feel this sort of thing very clearly if you say asa several times over to yourself. You should be able to feel the tongue come up to the top of the mouth, almost touch it, and then recede again up and downj up and down. We call these less movable points along the upper part of the mouth to which the more movable parts approach points of articulation. Actually there is an unbroken continuum of points of articulation from Sammy's upper lip back to the back wall of his throat. However, for practical purposes we divide this continuum into some useful segments to which we give names. You will find the points of articulation which you will need to know labeled on the following diagram. The naming of certain ones of these points of articulation should give no difficulty whatsoever. You will not have any trouble remembering upper lip, upper teeth, nor probably palate. It will be well to point out that in our terminology palaEe here refers to the region which you can feel from the point where the hump of gum behind your upper teeth stops to the point where the soft palate begins. The other terms may give you a little more difficulty. The alveolar ridge is the gum just behind the upper teeth. The alveopalatal region1 is the back side of that gum as it rises toward the top of the mouth. You
\ t a few points such as this, standard linguistic usage differs from medical usage.
u
Lesson 1
Alveopalatal region Alveolar ridge Upper lip Upper teeth.
-Velum •Uvula
Sammy l.Uf Points of Articulation can feel these configurations with your tongue. Just remember that the surface immediately behind the teeth is the alveolar ridge and that the surface which rises behind that~Ts the alveopalatal region. This continues until you get to the top of the mouth which "is the palate. The velum is what we often know as the soft palate and it continues on down in back to that little peninsula which you can see in the mirror (if you open your mouth wide), a little cone of flesh called the uvula. The uvula is attached at the lower extremity of the velum. The uvula hangs free in the back of the mouth. Recorded Exercises 1.1-1.9. Points of Articulation^ In order to help you learn the points of articulation, and to make sure that the labels are mastered to the point that they can be used in talking about sounds without any hesitation, a set of nine recorded exercises follows. The text of the exercises may be found below, but you should
Numbering of Sammy diagrams, recorded exercises, tables, etc., is in sequence for each type, and is preceded by the number of the lesson. Thus Sammy 1.5 is the fifth Sammy diagram in Lesson'1, while RE 1.1 is the first recorded exercise in Lesson 1.
Description of Sounds
$
AlveopalatalAlveolar Labial Dental
Sammy 1.5t Points of Articulation (Adjective forms) preferably do the exercises without referring to the written text except in problem, cases. Read the directions before you turn on the tape. The first five of these exercises will have two parts. The first part will be a mimicry drill, in which you will mimic the utterances you hear on the tape,, These will contain only English sounds, but will be nonsense (meaningless) utterances. In mimicking them pay close attention to the point of articulation. Each mimicry drill will contain only those English sounds which are natural in this kind of sequence. You will repeat each item twice in the silent space provided for you on the tape. The mimicry sections, which are designed to help you get a feel for the point of articulation, are followed by the drill proper, in which you hear an utterance on the tape and respond by naming the point of articulation. You will hear an utterance which consists of a syllable or two. That utterance will be repeated twice and then there will be a pause. In that pause you respond orally or on paper. Following the pause for your response, the tape will give the correct response. In this way you will know immediately whether or not you were right in your response. Do not stop the machine but continue through the whole exercise in this manner. If you get all of the items right in the exercise, go on to the next exercise.
6
Lesson 1
I f you get them wrong or i f you f e l t unsure about the m a t e r i a l , go back and r e p e a t . The response which you are asked t o supply w i l l be different for different exercises or d i f f e r e n t groups of e x e r c i s e s . The responses w i l l a l l c a l l for one or another of the p o i n t s of a r t i c u l a t i o n , i n the adjective form. After you t u r n on the tape recorder do not follow t h e w r i t t e n exercises below. The recording w i l l i n d i c a t e the proper responses f o r each d r i l l . RE 1 . 1 . Labial Point of A r t i c u l a t i o n a. Mimicry
b . D i f f e r e n t i a l ! IABIAL or NO
1. [op^a]
9 . [apV]
LA
17. [aba]
IA
2 . [aba]
10. [als^a] NO
18. [aza]
NO
3 . [ama]
1 1 . [asa]
NO
19. [p h a]
IA
H. [p h a]
12. [ama]
IA
20. [ma]
IA
5 . [ba]
1 3 . [aba]
IA
21. [ad]
NO
6. [ma]
Ik.
IA
22. [ae]
NO
7. [op11]
15. [ofa]
NO
23. [ab]
IA
8. [ab]
16. [ala]
NO
2k. [ctf]
NO
[apV)
RE 1.2. Dental Point of A r t i c u l a t i o n a. Mimicry
b . Diff e r e n t i a l i DENTAL or NO
1 . [ofa]
8. [a6a]
DE
15. [afa]
DE
2 . [a6a]
9. [ava]
DE
16. [6a]
DE
3 . [ava]
10. [ap^a] NO
1 7 . [da]
DE
U . [aekx]
1 1 . [ada]
DE
18. [va]
DE
5. [fa]
12. [ama]
NO
19. [ae]
DE
6 . [6a]
13. [akVl
NO
20. [an]
NO
lU. [asa]
NO
21. [all
NO
7. [va]
•
Description of Sounds RE 1.3. Velar Point of Articulation a . Mimicry
b . D i f f e r e n t i a l ! VELAR o r NO
1.
[ok^x]
8.
[ana]
VE
15.
[tha]
NO
2.
[aga]
9.
[ap^a]
NO
16.
[da]
NO
3.
[ana]
10.
[aga]
VE
17.
[ga]
VE
U. [akV]
11.
[asa]
NO
18.
[l^a]
VE
5.
[aga]
12.
[ala]
NO
19.
[za]
NO
6.
[ana]
13.
[al£a]
VE
2 0 . [ok*1]
VE
lli.
[za]
NO
21.
VE
7. [ a k r a aga ana]
[an]
RE l . U . A l v e o l a r P o i n t of A r t i c u l a t i o n b . D i f f e r e n t i a l ! ALVE01!AR o r NO
a . Mimicry 1.
[asa]
8.
[ada]
AL
1 5 . [ma]
2.
[aza]
9.
[ana]
AL
16.
[pha]
NO
3.
[atha]
10.
[asa]
AL
17.
[ab]
NO
km [ a d a ]
11.
[al^a]
NO
18.
[an]
AL
5.
[ana]
12.
[fa]
NO
19.
[al]
AL
6.
[ala]
13.
[la]
AL
20.
[az]
AL
111. [ z a ]
NO
21.
[ath]
AL
7. [asa aza] RE 1 . 5 .
NO
A l v e o p a l a t a l P o i n t of A r t i c u l a t i o n b . D i f f e r e n t i a l ! ALVEOJ3ALATAL o r I 10
a . Mimicry 1.
[asa]
6.
[ala]
NO
11.
[ana]
NO
2.
[aza]
7.
[ana]
NO
12.
[ba]
NO
3.
[asa]
8.
[a6a]
NO
13.
[sa]
AP
U. [ a z a ]
9.
[asa]
AP
1U.
[va]
NO
10.
[aza]
AP
15.
[da]
NO
5. [asa aza]
8
Lesson 1
16. [za] AP
18. [ap*1] NO
17. [as] AP
For the next drills you will not have any NO responses. Instead you will differentiate between two or more different points 'of articulation, as will be indicated for each drill. In RE 1.6, for example, you will Tespond LABIAL or DENTAL according to the consonant you hear. As before, do not follow i n your book. RE 1.6.
D i f f e r e n t i a l LABIAL or DENTAL
1.
[afa]
DE
U. [ava]
DE
7. [ava]
DE
2.
[aAa]
DE
5. [a6a]
DE
8. [aba]
LA
3 , [ama]
LA
6 . [api^a]
LA
9. [ma]
LA
RE 1.7.
D i f f e r e n t i a l ! ALVEOLAR or VELAR
[ana]
AL
6.
[ath]
AL
1 1 . [ga]
VE
2. [aga]
VE
7. [ok11]
VE
12. [ad]
AL
3 . [ana]
VE
8. [ga]
VE
13. [za]
AL
k.
[la]
AL
9. [as]
AL
1U. [ana]
VE
5. [za]
AL
10. [ada]
AL
15. [aga]
VE
1.
RE 1.8,
D i f f e r e n t i a l t ALVEOLAR or ALVEOPALATAL
1 . [ana]
AL
7.
[za]
AL
13. [za]
AL
2.
[sa]
AL
8. [za]
AP
Hi. [za]
AP
3 . [sa]
AP
9 . [asa]
AP
15. [as]
AP
U. [ a l ]
AL
10. [as]
AL
16. [az]
AL
5. [ad]
AL
11.
AL
17. [as]
AL
AL
12. [ana]
AL
18. [sa]
AP
6.
[atha]
RE 1.9.
D i f f e r e n t i a l t LABIAL, DENTAL, ALVEOLAR, ALVEOPALATAL, or VELAR
[asa]
AP
2 . [ala]
AL
1.
[al]
'
3 . [ana]
AL
5. [ada]
DE
It. [ap h a]
LA
6. [aga]
VE
9
Description of Sounds 7. [003a]
VE
13.
[va]
DE
19. [al]
AL
8. [asa]
AL
lit. [da]
AL
20. [an]
VE
9 . [aza]
AP
15.
[fa]
DE
21. [az]
AP
[aza]
AL
16. [\£a]
VE
22. [ad]
AL
LA
17. [©a]
DE
23. [ok*1]
VE
AL
18. [ma]
LA
2lw [am]
LA1
10.
11. [ba] h
12. [ t a ]
Major A r t i c u l a t o r s The more movable lower portions of the mouth which were mentioned above we call articulators. This time again we have to be a bit arbitrary as We divide the tongue up into sections for purposes of discussion, Sammy 1.6 gives you the terms for these articulators.
Mid-
Sammy l,6i Articulators (Noun forms)
•hfote t h a t we have not included the p a l a t a l or uvular p o i n t s of a r t i c u l a t i o n . We omitted them because we want t o use English sounds only i n these d r i l l s , and t h e s e points of a r t i c u l a t i o n do not lend themselves t o our purposes f o r now.
Lesson 1
10
By the tip of the tongue we mean its very point. This is the part most of us would us'e in feeling for some unevenness along the ridge of our teeth. It is the articulator most of us use in English for the t in take, (If you do not think that your articulation of -Cake fulfills this description, be sure to check with your teacher so that you can know for sure whether or not it is a safe guide for you.) The blade of the tongue is that part immediately behind the tip. If you clench your teeth and put the tip down behind the lower teeth touching the back of the lower teeth with the tip, then the blade is the part which touches up against the alveolar ridge. In that position also, the middle of the tongue is the part below the palate, and the back"of the tongue is the part below the velum. The root is down in the upper part of the throat. One item on the list of articulators does not fully conform to the description we have so far given. You will notice that the v e H c (the back part of the velum, or the northeast side of the velum) is listed as an articulator. This is done simply because the velic surface does move against the back of the nasal cavity to create a closure. This isffinimportant articulation, essential for many types of sounds. You may not feel it, but it will be demonstrated later and you will learn to control it. For practical purposes the lower teeth can be disregarded as an articulator. Articulation of the lower teeth against the upper lip is, however, theoretically possible. Recorded Exercises 1.10-1,12. Articulators The next recorded exercises follow the same plan as the preceding ones, but now you will be responding with the names of articulators which we normally use in English consonants. (We are leaving out the blade for the moment, however, as it presents a difficulty.) In RE 1.10 and 1.11 there will be a mimicry part first, and then a differential drill. RE 1.10. Tip and Back Articulators a. Mimicryt Tip 1. [ a t h a ]
k. [ a l a ]
b. Mimicryi Back 5 . [ak^a]
2. [ada]
6 . [aga]
3 . [ana]
7 . [ana]
Description of Sounds
11
e. Differential* TIP or BACK 8. [aga]
BACK
13. [atha]
TIP
18. [da]
TIP
9 . [ana]
TIP
Ik.
BACK
19. [la]
TIP
[ala]
TIP
1 5 . [ana]
BACK
20. [na]
TIP
1 1 . [ada]
TIP
16.
TIP
21. [ A t ]
BACK
12. [ana]
BACK
17. [ga]
BACK
22. [an]
BACK
10.
[ak^a]
[atha]
RE 1 . 1 1 . Lip and Back A r t i c u l a t o r s b . Diffe rentialt LIP or BACK
a . Mima cryi Lip
6. [afa]
LIP
33.
[ma]
LIP
2. [aba]
7.
BACK
Ik.
[k^a]
BACK
3 . [ama]
8. [ama]
LIP
15. [pNi]
LIP
h.
9. [apV)
LIP
16. [of]
LIP
10. [aba]
LIP
17. [an]
BACK
1 1 . [ana]
BACK
18. [ag]
BACK
12. [va]
LIP
19. [ab]
LIP
LIP
1 3 . [a6]
TIP
[ab]
LIP
1.
[ap^a]
[afa]
5. [ava]
RE 1.12. 1.
[al^a]
[aga]
D i f f e r e n t i a l ! LIP, TIP. or BACK BACK
7.
2. [ada]
TIP
8. [aA]
LIP
Ik.
3 . [ama]
LIP
9 . [ok^x]
BACK
15. [ag]
BACK
k.
[ala]
TIP
10. [ga]
BACK
16. [ad]
TIP
5.
[atha]
TIP
1 1 . [na]
TIP
17. [fa]
LIP
BACK
12. [va]
LIP
18.
6 . [ana]
[afa]
faa]
BACK
Some Manners of A r t i c u l a t i o n In order to get started in the discussion of the speech sounds, we have to have terminology not only for the articulators and the points to which those articulators move, but we also need to be able to say something about the ways in which
12
Lesson 1
they articulate. These ways of articulation we call manners of articulation. Some of these manners of articulation have to do with the actual relationship between the articulator and the point of articulation. Others have to do with simultaneous features in other parts of the vocal system. Stops For example, one manner of articulation which has to do with the relationship between the articulator and the point of articulation is that which we call a stop. A stop is a manner of articulation in which the articulator so completely touches the point of articulation that no air can escape. (We should also mention that all of the other avenues of escape for the air stream are also closed off. This means in the case of most stops that the velic must 'close off the escape avenue into the nasal cavity. See Sammy 1.2 and 1.3, both of which are stops.) If you contrast the initial sound in English take with the initial sound in English say, you will realize that the t in take is a stop and that the s in say is not. If you exaggerate your pronunciation and prolong the initial sound, you will realize that the air is stopped off by the articulation of the t but it is not stopped off by the articulation of the s. Perhaps you can see this even more clearly if you pronounce ata and asa. You can prolong the s_ as long as you like, getting asssssssa, but the longer you prolong the t the more silence you get because the t is a stop and the* air stream is shut off. It is not until th"e t is released, when the air stream will have to move again, that sound begins once more. The stop, then, is a very important manner of articulation. The stops in English are /p, t, k, b, d, and g/ , as in the words pill, till, kill, bill, dill, and gill. Do not let the English spelling fool you. The initial sound in cat is a /k/ just like the initial sound in kill. Our spelling inconsistency sometimes tends to give us misconceptions about the way we speak.
% e will use three different sets of symbols for speech in this course. Symbols within brackets [ ] will represent speech as it is articulated or heard. We call this phonetic symbolization. Symbols within slant lines / / represent the significant sound distinctions of the language. We call this phonemic synr bolization. Symbols underlined represent the conventional spelling used normally in that language. The meaning of these distinctions will come to you more clearly later, and is not crucial to your understanding at the present point. For symbolization of English consonant phonemes see The Appendix, Lesson A.
13
Description of Sounds
Some of you may feel that the initial sound in chill and in Jill are also stops. They are, but they are a complicated kind of stop which we will not discuss until Lesson 9« RE 1.13. Differential! STOP or NO Most students have no trouble understanding and identifying the difference between a stop and other manners of articulation. However, in order to help those individuals who may need it, we provide the following drill as a recorded exercise. If you find the drill very simple, sample it and go on. If the utterance which you hear on the tape contains a stop, you respond with STOP. If it does not contain a stop, you respond with NO.
s
s
1 9 . [aph]
s
20.
[an]
NO
NO
21.
[ab]
S
[kV]
S
2 2 . [ea]
NO
NO
Ik. [A]
S
h 23. [ a t ]
S
6. [aga]
S
1 5 . [ag]
s
2k. [a6a]
NO
7. [aha]
NO
1 6 . [of]
NO
25. [ a t h a ]
s
8. [ t h a ]
S
17.
[ae]
NO
26.
S
9. [da]
S
1 8 . [ok* ]
S
2 7 . [ada]
1. [ojAx]
S
1 0 . [ba]
2. [okV]
S
11.
3 . [ama]
NO
1 2 . [na]
km [aba]
S
13.
5. [awa]
[tha]
1
[go]
NO
Fricatives A second manner of articulation which we can now take up is that which we call fricative. In contrasting the difference of pronunciation between asa and ata, we said that the second one contained a stop. The first one is a fricative. The difference lies in the fact that the fricative does not make a complete stoppage of the air stream. The articulator instead reaches a point very close to the point of articulation, so close that the air forcing through sets up a turbulence and makes a hissing or buzzing sound. Try the English fricatives in Sammies 1.7-1.10. Remember that the distinguishing characteristic of a fricative is that the space between the articulator and the point of articulation is so narrow that the air forcing through is impeded and is caused to set up extra vibrations.
Lesson 1
3/l
Sammy 1.7i [f] as in fill [v] as in very
Sammy I.81 [6] as in think [«l]a s in them
Sammy 1.9* [s] as in say [z] as in zebra
Sammy 1.10* [s] as in she [z] as in azure
15
Description of Sotinds
This is like air coming through a crack around a door. A strong wind will cause the air to whistle through that crack, whereas if the door is wide open the air comes in without anysuch noise. RE 1.1J*. Differential* FRICATIVE or NO 1.
[apV]
NO
8. [sa]
F
15.
[a0]
F
2.
[ofa]
F
9. [za]
F
16.
[afa]
F
3.
[a©a]
F
10.
[da]
NO
17.
[l^a]
NO
U.
[azaj
F
11.
[aS]
F
18.
[aw]
NO
5.
[aim]
NO
12.
[aS]
F
19.
[na]
NO
6.
[0a]
F
13.
[al]
NO
20.
[bo]
NO
7.
[da]
F
lit. [of]
F
21.
[az]
F
RE 1 . 1 5 . D i f f e r e n t i a l t
STOP o r FRICATIVE
Here your response will be either STOP or FRICATIVE for every utterance. There will be no utterances which do not contain either a stop or fricative. There will, however, be included some sounds which do not occur in English. 1. [ava]
F
8. [xa]
F
15.
[aOa]
F
2. [ada]
S
9. [ab]
S
16.
[az]
F
3. [ap^a] S
10. [ath] s
17.
[ag]
S
k. [aza]
F
11. [av] F
18.
[da]
F
5. [kha]
S
12. [ag]
S
19.
[aza]
F
6. [sa]
F
13. [ada] S
20.
[00]
F
7. [ga]
F
Ik. [sa]
21.
[«]
F
F
RE 1.16. Differentialt STOP, FRIC :iv:E, o r NEITHER 1. [akb-a] S
lw [la]
2. [az]
F
5. [jAx] S
3. [ma]
N
6. [ax]
N
F
7.
[ab]
8. [aga] 9.
[wa]
S
s N
26
Lesson 1
Nasals
Sairmy l . l l i
[m]
Sammy 1.12* [n]
Saiany 1.13t
[n]
A t h i r d manner of a r t i c u l a t i o n i s n a s a l . English nasals are /m n n / . ( / n / i s often s p e l l e d ng i n English standard
Description of Sounds
17
spelling.) If you experiment for a minute you will see that these three sounds are made with the same points of articulation in the mouth as /p t k/. The difference lies in the fact that for /m n n/ the velic is open, letting the air stream go out the nose. Notice that for a nasal the oral cavity has to be stopped off at some point, and the velic must be open. Although the oral cavity is stopped off, nasals are not stops. By definition, a stop must have both a velic closure and an oral closure0 Nasals do not have the velic closure. Neither are nasals fricatives. By definition, a fricative must leave a narrow slot through which the air stream whistles or buzzes. The opening into the nose through the velic is not such a narrow opening as that in a normal fricative sound. The nasals then form a third manner of articulation in addition to the stops and fricatives. RE 1.17. Differential! STOP, FRICATIVE, or NASAL
1 . [cam]
N
h 7. [ a t a ]
S
1 3 . [ana]
N
2 . [033a]
N
8. [crja]
N
lU. [aza]
F
3 . [ok^a]
S
9. [ana]
N
15. [ada]
S
U. [ana]
N
10. [ofa]
F
15. [ama]
N
5. [asa]
F
1 1 . [apha]
S
17. [aba]
S
6 . [aga]
S
12. [asa]
F
1 8 . [aga]
S
Laterals The fourth (and last) manner of articulation which will be taken up in this lesson is lateral. It has to do with a formation of the tongue such that the air comes over the sides (one or both) rather than over the center of the tongue. Compare the following pairs of English wordsi let vs. set, law vs. gnaw, loot vs. toot. If you say these pairs slowly to yourself you will feel the difference (in the initial sounds) between lateral articulation and others. In the case of let vs. set, for example, you can prolong the initial sounds, in let the tongue tip remains up, touching the point of articulation. The velic is also closed. But the airstream continues to move anyhow, because the sides of the tongue are down enough to let it out. In set there is a groove down the center of the tongue and the sides are up against the teeth. English / l / is a lateral. (On Sammy [1] cannot be distinguished from [d] because the sides of the tongue do not shew/.)
18
Lesson 1
RE 1.18. Differential! STOP, FRICATIVE, NASAL, or LATERAL L
8 . [ap*1]
S
15.
[sa]
F
2. [ga]
S
9. [ a t h ]
S
16.
[la]
L
3 . [na]
N
10. [a6]
F
17.
[ad]
S
k» [va]
F
1 1 . [as]
F
18. [ag]
S
5. [ba]
S
12. [da]
F
19.
[ofa]
F
6. [ala]
L
13. [ana]
N
20.
[za]
F
7. [ama]
N
lh.
S
21. [al]
L
1.
[ala]
[akh]
Recorded Exercises 1«1°-1«26» Description of Sounds We will now begin to describe sounds in the terminology which you have been learning. We will begin this process on a gradual cumulative basis to make the description of sounds habitual for you as quickly as possible. RE 1.19» Point and Manner Respond with the manner of articulation as you' did just previously, but also with the point of articulation. That is, for the utterance asa you will respond with ALVEOLAR FRICATIVE. Please note the order in which these different elements are included in the description and use the same order in your response. Here is the total inventory of your possible responses. (Take one from each column.) Keep these before you temporarily if you need them, but as quickly as possible work toward responding without looking at these lists. LABIAL
STOP
DENTAL
FRICATIVE
ALVEOLAR
NASAL
ALVEOPAIATAL
LATERAL
VELAR 1. [ofa]
DENTAL F
3. [a4a]
DENTAL F
2. [ava]
DENTAL F
h.
ALVEOLAR S
[atka]
Description : of Sounds 5. [aba]
LABIAL S
25. [«Q]
VELAR N
6 . [aza]
ALVEOPALATAL F
26. [da]
DENTAL F
7. [ana]
VELAR N
27. [va]
DENTAL F
8 . [asa]
ALVEOPALATAL F
28. [fa]
DENTAL F
9. [ama]
LABIAL N
h 29. [t a]
ALVEOLAR S
ALVEOLAR L
30. \&a]
VELAR S
1 1 . [as]
ALVEOLAR F
3 1 . [ga]
VELAR S
12.
ALVEOLAR N
32. [na]
ALVEOLAR N
33. [op*1]
LABIAL S
33.
[so]
ALVEOPALATAL F
Hi. [ad]
ALVEOLAR S
3h.
[da]
DENTAL F
15.
[az]
ALVEOLAR F
3 5 . [ga]
VELAR S
16.
[az]
ALVEOPALATAL F
3 6 . [ala]
ALVEOLAR L
17. [aB]
DENTAL F
3 7 . [am]
LABIAL N
IB. [akh]
VELAR S
3 8 . [aGa]
DENTAL F
19.
VELAR N
39. [ana]
VELAR N
20. [ad]
DENTAL F
Uo.
[an]
ALVEOLAR N
2 1 . [ala]
ALVEOLAR L
la.
[a&]
ALVEOPALATAL F
22. [ana]
ALVEOLAR N
U2. [sa]
ALVEOPALATAL F
23.
[asa]
ALVEOLAR F
10. [aba]
LABIAL S
2k.
[atha]
ALVEOLAR S
hh.
ALVEOLAR F
10.
[ala]
[an]
[an]
[as]
HE 1.20. D i f f e r e n t i a l ! BILABIAL or LABIO-DENTAL RE 1.20 begins to add information about the articulator to what you have just been doing. When the articulator is the lower lip, and the point of articulation is the upper lip, we speak of bilabial articulation. When the lower lip articulates against the upper teeth we speak of labio-dental articulation. Thus, if you hear afa, respond with LABIO-DENTAL. If you hear ama, respond with BILABIAL.
20
Lesson 1
1. [ofa]
L-D
h. [ava]
L-D
7. [ap h a]
BIL
2. [apVl
BIL
5. [aba]
BIL
8. [ava]
L-D
3 . [ama]
BIL
6 . [afa]
L-D
9. [aba]
BIL
RE 1.21. D i f f e r e n t i a l t BILABIAL, LABIQ-PENTAL, TIP-DENTAL RE 1.21 adds a new r e l a t i o n s h i p between a r t i c u l a t o r and point of a r t i c u l a t i o n , such as we have i n English t h i n and then. The tongue t i p (or even t h e blade i n more exaggerated pronunciation) a r t i c u l a t e s a g a i n s t the edge of the upper t e e t h . Tfife w i l l c a l l t h i s a r t i c u l a t i o n t i p - d e n t a l . 1 1. [o6a]
T-D
h. [ada]
T~D
7 . [a©a]
T~D
2. [afa]
L-D
$, [ova]
L~D
8. [apha]
BIL
3 . [aba]
BIL
6. [ama]
BIL
9. [ada]
T~D
RE 1.22. D i f f e r e n t i a l t BILABIAL, LABIQ-PENTAL, TIP-DENTAL, BACK ^ELAR RE 1.22 adds t h e back-velar a r t i c u l a t i o n . Here t h e back of t h e tongue a r t i c u l a t e s i n r e s p e c t t o t h e v e l a r region. The exercise works j u s t l i k e t h e preceding ones. 1. [ana]
B"V
6. [aOa]
T-D
1 1 . [al^a]
B~V
2. [ada]
T-D
7 . [ak^a]
B-V
12. [aga]
B~V
3 . [aph a ]
BIL
8. [aba]
BIL
1 3 . [ana]
B-V
U. [aga]
B-V
9. [ada]
T~D
XU. [aQa]
T~D
5. [ava]
L-D
10. [afa]
L-D
1 5 . [ama]
BIL
RE 1.23. D i f f e r e n t i a l t
TIP-(or BLADE-) ALVEOLAR or ALVEOPALATAL
RE 1.23 introduces a new type of complication p e c u l i a r t o the a r t i c u l a t i o n of c e r t a i n English sounds. Some sounds, namel y the consonants i n asa and aza are t i p - a l v e o l a r by some speakers of English, and b l a d e - a l v e o l a r by o t h e r s . The d i f f e r ence l i e s i n t h e p o s i t i o n of the tongue t i p . I n t h e t i p A very common term f o r t h i s a r t i c u l a t i o n i s i n t e r d e n t a l , but we are using t i p - d e n t a l simply because i t i s more analogous t o our other terminology, and thus presents l e s s of a learning problem.
21
Description of Sotmds
alveolar articulation the tongue tip is up very near the alveolar ridge, leaving only the narrow silt for the fricative. In the blade-alveolar articulation the tongue tip is behind the lower teeth, and the blade is up near the alveolar ridge. The narrow slit is between the blade and the alveolar ridge. The two articulations can be pronounced so as to be indistinguishable to the ear. They make no functional difference for English. However, you should figure out what you do (with the help of your instructor, if necessary) so as to better get the feel and understanding of the articulatory process. Prolong the initial sounds in see and zee to feel the way in which you articulate! sssssee, zzzzzee. Furthermore, there is a similar problem with the English fricative sounds in fission and vision. Some English speakers pronounce these with tip-alveopalatal articulation, and others with blade-alveopalatal articulation. Figure out what you do by pronouncing fissssssssion and vissssssssion. Here are the possibilities from which you are to select your responses in this drilli TIP-ALVEOLAR, BLADE-ALVEOLAR, TIP-ALVEOPALATAL, or BLADE-ALVEOPALATAL. At any point where you respond TIP someone else may correctly respond BLADE in this exercise. It all depends on what you or the other person actually does in pronunciation. Remember that in this drill you are responding by your articulation of the English sound, regardless of which of1 the alternatives (tip or blade) may have actually been used on the tape. You could not possibly hear the difference. The answer given on the tape will give both possible correct responses. But remember, only one of them is correct for you, unless you actually fluctuate in your pronunciation between the one and the other. 1. [osa]
TIP-(or BLADE") AL
6. [aza]
TIP-(or BLADE-) AP
2. [aza]
TIP-(or BLADE-) AL
7. [asa]
TIP-(or BLADE-) AL
3. [asa]
TIP-(or BLADE") AP
8. [asa]
TIP~(or BLADE-) AP
k» [aza]
TIP-(or BLADE-) AP
9. [aza]
TIP-(or BLADE") AL
5. [aza]
TIP-(or BLADE-) AL
10. [asa]
TIP-(or BLADE") AP
RE 1.2lt. Differential! TIP"(or BLADE-) ALVEOLAR or ALVEOPALATAL RE I.2I4 adds now some tip-alveolar articulations in English for which there are not normally speakers who use a blade
Lesson 1
22
articulation. For example, in ata, most speakers of English will have tip-alveolar articulation, as contrasted with asa where a large percentage have blade-alveolar. Remember that for some of these sounds the tape will have to give two responses, but only one of them is correct for you. The responses are the same as for the preceding exercise. 1. [octV] TIP-AL
6 . [ada]
TIP-AL
2. [asa]
TIP-(or BLADE") AP
7. [aza]
TIP-(or BLADE-) AP
3 . [ala]
TIP-AL
8. [aza]
TIP-(or BLADE-) AL
li. [ana]
TIP-AL
9. [ a t h a ]
5. [asa]
TIP-(or BLADE-) AL
TIP-AL
10. [ala]
TIP-AL
RE 1.25. Description of Sounds Now you finally get the opportunity to put all of this together, to drive home the terminology we have introduced so far, and to test your use of it. Here is the total inventory of your possible responses. (Take one from each column.) BILABIAL
STOP
IABIO-DENTAL
FRICATIVE
TIP-DENTAL
NASAL
TIP-ALVEOLAR
LATERAL
BLADE-ALVEOIAR TIP-ALVEOPALATAL BIADE-ALVEOPAIATAL BACK-VELAR
It takes a little practice to get used for the description of new sounds, but that here presented are for. This is not all we sounds. However, we do not yet know enough anything more, and what we do have gives us of talking about them and of building other 1. [asa]
TIP-(or BLADE-) ALVEOPALATAL F
to the terminology is what the drills could say about about them to say a very useful means information.
2.
[aga]
BACK-VELAR S
3.
[ana]
BACK-VELAR N
23
Description of Sounds k» [aBa]
TIP-DENTAL F
25.
[aph]
BILABIAL S
5.
T I P - ( o r BLADE-) ALVEOPALATAL F
26.
[akh]
BACK-VELAR S
27.
[ath]
TIP-ALVEOLAR S
28.
[of]
LABIO-DENTAL F
29. [ear]
LABIO-DENTAL F
30.
[ad]
TIP-DENTAL F
31.
[as]
T I P - ( o r BLADE-) ALVEOPALATAL F
32.
[am]
BILABIAL N
33.
[ma]
BILABIAL N
[aza]
6. [ana]
TIP-ALVEOLAR N
7 . [ada]
TIP-ALVEOLAR S
8.
[apV|
BILABIAL S
9.
[ofa]
LABIO-DENTAL F
10.
[ala]
TIP-ALVEOLAR L
Ho [za]
T I P - ( o r BLADE-) ALVEOLAR F
12.
[pM
BILABIAL S 3k.
[a-9]
TIP-DENTAL F
13.
[sa]
T I P - ( o r BLADE-) ALVEOPALATAL F
35.
[an]
TIP-ALVEOLAR N
Hi.
[ga]
BACK-VELAR S
36.
[k^a]
BACK-VELAR S
15.
[za]
T I P - ( o r BLADE-)
37.
[na]
TIP-ALVEOLAR N
ALVEOPALATAL F
38. [an]
BACK-VELAR N
16.
[ma] BILABIAL N
39.
TIP-ALVEOLAR L
17.
[la]
TIP-ALVEOLAR L
kO. [am]
18.
[da]
19.
[va]
20.
[fa]
21.
[an]
22.
[ad]
2 3 . [aS] 2ii. [ a s ]
TIP-DENTAL F LABIO-DENTAL F LABIO-DENTAL F BACK-VELAR N TIP-DENTAL F T I P - ( o r BLADE-) ALVEOPALATAL F T I P - ( o r BLADE-) ALVEOLAR F
[al]
BILABIAL N
2k
Lesson 1
RE 1.26. Description of Sounds RE 1.26 reverses the above procedure. This time the tape will give you the description and you pronounce the sound in the space provided. Then the tape will follow with the sound between two vowels. If more than one sound is possible for the description, both will be given. This is just another way of practicing the same material.
[apVl
1 . BILABIAL S
[aba] or
2 . TIP-ALVEOLAR N
[ana]
3 . BACK-VELAR S
[ a g a ] o r [ak a]
U. TIP-DENTAL F
[asia] o r [a©a]
5 . LABIO-DENTAL F
[ a v a ] o r [afa]
6 . T I P - ( o r BLADE-) ALVEOLAR F
[ a z a ] o r [asa]
7 . T I P - ( o r BLADE-) ALVEOPALATAL F
[ a z a ] o r [asa]
8 . T I P - ( o r BLADE-) ALVEOLAR F
[ a z a ] o r [asa]
9 . BACK-VELAR S
[aga] o r [rik^a]
h
1 0 . LABIO-DENTAL F
[ava] o r [afa]
1 1 . TIP-DENTAL F
[ a d a ] o r [aGa]
1 2 . T I P - ( o r BLADE-) ALVEOPALATAL F
[ a z a ] o r [asa]
1 3 . BILABIAL N
[ama]
H i . TIP-ALVEOLAR L
[ala]
1 5 . LABIO-DENTAL F
[ava] o r [afa]
S u g g e s t e d Reading Further discussion on the subjects of this lesson will be found in the following references. There are usually some differences of terminology which, however, are usually translatable from one author to another. This list is intended to suggest representative readings which are not overly difficult, and which parallel the treatment of our Lesson 1 closely enough to be useful. Full bibliographic information on these and other books mentioned' in the Manual will be found in the bibliography.
D e s c r i p t i o n of Sounds
25
C h a r l e s F . H o c k e t t , A Course i n Modern L i n g u i s t i c s , p p . 62-7U. pp.
W. Nelson F r a n c i s , The S t r u c t u r e of American E n g l i s h , 51-70.
B e r n a r d Bloch and George L. T r a g e r , O u t l i n e of L i n g u i s t i c A n a l y s i s , p p . 1C-16, 25~28.
A LOWER-LOW CENTRAL UNROUNDED ORAL VOWEL FOLLOWED BV A VOICELESS GROOVED ASPIRATED ALVEOPALATAL AFfRlCATE WITH
EGRessive L O N G
HI6H SACK
ROUNDED
AIR F o m o w e p
ORAL VOWEL
VERNACULAR, A SNEEZE.1
BY AM EXTENDED OR IN TM£
26
LESSON TWO Hearing Pitch Distinctions One of the most common mistakes of English-speaking people learning another language is the negleet of the way speakers of the second language modulate their voices as they speak. We are, of course, aware of the fact that in English we raise and lower our voices as we talk. Most of us realize, for example, that we can signal a difference between a question and an' answer of certain types by change in the pitch of our voice. We know that the sequence "John is coming" can be said either as a statement or as a question. If it is said as a question, there is a rise at the end of the sentence. We do not usually have it called to our attention, however, that we are capable of making distinctions of the following kind. Speaker It
"I saw it there."
Speaker 2*
"What?" (with a rising voice)
Speaker 1»
"I saw it there."
In this case, if Speaker 2 says "what" with a rising intonation, the first speaker repeats' his initial statement. However, look at the following exchange. Speaker It
"I saw it there."
Speaker 2«
"What?" (with a falling intonation)
Speaker It
"A chair."
It is very clear that by two different pitch contours the whole implication of the word "what" is changed. We do not have time here to demonstrate the fact that the English intonation system contains a large number of important distinctions.! For some reason or other, when we learn another language, even though we may learn the consonants and vowels well, we tend to take our intonation distinctions over from English into Kenneth L. Pike, Intonation of American Englishj George L. Trager and Henry Lee Smith, Jr., An Outline of English Structure, pp. Ul_!?2.
Hearing Pitch Distinctions
27
the other language. Perhaps because these are not written in English or the other language they seem less real, and we are less conscious of them. But whatever the reason, we tend to speak French or German or Hindi or Zulu words and sentences with English intonation. This is bad for any number of reasons. In the first place, some languages are so constructed in their pitch systems that a change in pitch makes a much greater meaning difference even than in English, and a difference of another kind. The difference between »I* and 'he' may be a difference of pitch. Pitch does not make this kind of meaning difference in English, but if we carry our English intonation patterns over into a language like that, they may result in our saying things which are either utter nonsense or completely different from what we intended to say. Then, on the other hand, even for languages which do not use pitch distinctions to distinguish words, it is safe to say that by carrying English intonation patterns over we speak with a foreign accent, or we may even occasionally be misunderstood. People may also misunderstand our mood and attitude by such a fault on our own part. If, however, we make a diligent attempt to reproduce the pitch patterns of the language we are learning from the beginning of our study, in most cases they will not be nearly as difficult as we thought. Native speakers of the language are impressed with our learning ability and the "naturalness" of our speech. Care in the mimicry of pitch is not something which can be put off in language study. It has to begin from the very first day. It has to be a basic part of our mimicry of the speech of the language being' learned. It has to occupy a focal point in our attention. We should never be content to say a sentence or a word in the second language without having the intonation or the tone just as correct as we have the consonants and vowels. We can never be said to speak a language well if we do not control its pitch patterns to an important degree. One of the important things about learning to use correct pitch is the fact that the language cannot be practiced orally without some pitch or other. Either English pitch will be used or some other pitch. This is because we cannot talk without pitch. If we use English pitch in practicing the new language, we are simply reinforcing bad habits which become nearly impossible to break. If to the best of our ability we mimic the pitch of the new language, we are on the way toward building new habits which will mean clear and pleasant speech.
28
Lesson 2
The purpose, then, of this lesson is' to begin to train the student's ears to hear pitch distinctions. At first the work will consist simply of listening for pitch sameness or difference. Listening for difference of kind (whether the pitch is rising, falling, or level) will follow. Both nonsense syllables with English sound characteristics and actual foreign language materials will be used in these exercises. Follow the directions carefully and keep going over this material repeatedly until you are confident of it. If you find the drills fairly easy try writing the pitch as you respond. Write from left to right, drawing a line upward for a rising pitch [ / ] , downward for a falling pitch [\ ], and level for a level pitch [ — ] . Recorded Exercises 2.1-2.2. Discrimination Drillt Which is Bifferegb^ On the tape you will now work with exercises which are different from those you have found up to the present. In RE 2.1 each utterance will consist of three syllables in the sequence [mo pi su]. This sequence will be repeated twice. You will be asked to decide which of the three syllables in the sequence' is different in pitch from the other syllables of the sequence. You are to listen to the utterances and in the space following them you* are to respond by pronouncing the syllable which is different. That is, if the first syllable is different from the other two, you will respond with [mo]. If the second syllable is different, you will respond with [pi], etc. If they are all the same, you will respond with NONE, because none of the syllables is different. Now turn on the tape recorder and try the exercise without watching the transcription below. A demonstration is given to you first before the exercises actually begin. If this gives you difficulty, try humming them in imitation of the tape. If you still do not get them, watch the transcription of the exercise and watch the drawings of the pitch levels as you listen and hum. RE 2.1. Discrimination! Name the Syllable Which is Different
1 . [mopisu]
[pi]
U. [mopisu]
NONE
7. [mopisu]
NONE
5. [mopisu]
[su]
8. [mopisu]
[pi]
6. [mopisu]
[su]
9. [mopisu]
[mo]
I ; 2. [mopisu]
[mo]
3« [mopisu]
[su]
Hearing Pitch D i s t i n c t i o n s 10. [mopisu] [pi]
29
llu [mopisu] NONE
16. [mopisu] [pi] i
i
11. [mopisu] [pi]
15. [mopisu] [su]
19. [mopisu] [mo]
12. [mopisu] [mo]
16. [mopisu] [su]
20. [mopisu] [pi] r i
13. [mopisu] [su]
21. [mopisu] NONE
17. [mopisu] NONE
In RE 2.2 each utterance will consist of five syllables. Tour response, however, is to be called out in exactly the same way. Remember that all you have to listen for is which syllable is different and to respond with that syllable. RE 2.2. Discrimination! Name the Syllable Which is Different 1« [somebikona] [na]
11. [somebikuna] [so]
2 . [somebikuna]
12. [somebikuna] [me]
[na]
• i
i
3. [somebikuna]
i t
[me]
1 3 . [somebikuna]
NONE
U. [somebikuna] [ku]
lU. [somebikuna]
[ku]
1 5 . [somebikuna]
[bi]
5. [somebikuna] NONE 6 . [somebikuna]
[so]
16. [somebikuna] [bi] i
7. [somebikuna]
i
[bi]
17. [somebikuna] [ku]
[ku]
18. [somebikuna]
[me]
9. [somebikuna] [na]
19. [somebikuna]
[na]
20. [somebikuna]
[so]
i
i
8. [somebikuna]
10. [somebikuna]
[so]
30
Lesson 2
Recorded Exercises 2.3~2.10. DiscrimLnationi Same or Different In the following exercises you are to listen to each pair of utterances. This is a change in procedure from -what you have been doing before. Instead of hearing the same utterance twice, you will now hear two different utterances in sequence, and you are to decide whether or not the pitch of the two is the same. You are to respond with SAME or DIFFERENT.1 The tape leaves you space for reply, and then indicates the correct response. Those who find these exercises easy should simply sample them. Those who find them more difficult should go over them again and again until they become easier. There will, of course, be opportunity for practice in later lessons. These exercises are written in a phonemic or nearly phonemic transcription. The tone is indicated by extra marks, called diacritics, above or below the word. You are not responsible for* these diacritics or for the transcription used for the words. Listen selectively to the pitch. Do not watch the transcription as you try the exercises. RE 2.3t Amoy2. Discriminationt SAME or DIFFERENT
1. kho«
•class, for dollars' 1
kho*
'bitterness'
D
am
•rice water'
S
2. am
'rice water
3. bak
•to defile'
bak
•wood'
D
u.
'to poison1
th£u
'the head'
D
5. su
'inferior,
su7
'a matter'
D
6. soa n
•a mountain'
soa n
•to disperse'
D
7. b~an
•slowly'
b~an
•slowly'
S
8. bl
•taste"
bi
'taste1
S
9. eng
•an eagle'
eng
•a wave 1
D
tKau
"These exercitees are modeled after ones prepared by Dr. William E. Welmers. 2 Amoy is spoken on Taiwan. Data and tape recording for this and succeeding exercises by Fred C.C. Peng, U. of Buffalo.
31
Hearing Pitch Distinctions 10. hiong
'towards'
hiong
'towards'
S
11. goa
•outside*
goa
'outside'
12. go
»a goose'
go
'a goose'
s s
13. gan
'the eye'
gan
•to cool, as in water1
D
Ik. be
'to buy'
be"
'to sell'
D
15. sng
'ache, sore'
sng
•to play about'
D
16. siu11
•to think'
siu11
'to think'
S
17. lang
'to sport with'
lang
'a person'
D
18. ng
'shade'
ng
•yellow'
D
'cotton'
S
•to strike, as match'
S
1 9 . nrf
'night'
20. khiat
•to strike, as match'
A
mi khiat
KE 2.U» Amoy. Discrimination* SAME or DIFFERENT Hemember t h a t you: a r e d i s c r i m i n a t i n g between t h e words on t h e b a s i s of tone only. I n t h i s exercise consonants and vowels w i l l d i f f e r , but disregard such d i f f e r e n c e s . 1. chhau
grass'
chau
2. hiong
vehement'
khiong 'to be afraid o f
D
3. chhan
a field'
than
'to obey'
D
k. tui
a heap'
thui
'a ladder'
S
5. ng
yellow1
hng
'a field'
6. hong
wind'
khong
•empty'
s s
7. tsoa
a snake1
tsoa n
'to boil'
D
8. phtng
to carry with two hands'
th£ng
'a pail'
D
9. phi
to spread out'
khi
•to lean over'
S
a worm'
hang
•to bake'
D
10. thSng
'to run'
S
Lesson 2
32 11. kiu
'to save1
1U
'tender'
S
12. siu11
'to think'
kiu11
'ginger'
D
13. sxohg
•a picture'
hiong
'vehement'
D
111, toa
•to stay'
koa
'a song*
D
15. mng
'to ask'
nng
'an egg'
S
16. kng
'high'
rang
'hair'
D
17. khd»
'trousers'
tho*
'to vomit'
S
18. oan
•a curve'
khoan
'to forgive'
S
19. fohg
•a cave'
ong
»a king'
D
20. chbit
«a thief
chat
•to wrap up*
D
21, hca*t
'to punish'
thoat
'to escape*
D
22. kam
•sweet'
am
'to cover'
S
RE 2.5t Amoy. Discrimination! SAME or DIFFERENT 1. su
'defeated'
tong
»a company'
D
2. siu11
'a box'
sng
•sour*
S
3. that
'to kick'
suh
•to suck'
s
k.
'to lean'
soa
•to remove'
D
5. soa n
'a mountain'
sng
'to reckon'
D
6. bSng
•bewildered'
g§
'a goose'
S
7. hi3ng
'violence'
goa
'outside'
D
8. ohhau
'grass'
Ing
'leisure'
D
9. Ing
'to fulfill'
goa
«I*
D
10. iP-
'to guard'
ln
«EhJ, TOiat?'
S
11. chheh
•a book'
bak
'to defile'
S
12. kho-
'trousers'
chhau
'grass'
D
the
33
Hearing Pitch Distinctions 23. chhau
•to rot«
hiong
•towards'
s
lU. ban
'slowly'
kho*
'bitter'
D
16.
•to come'
b£
•to get lost'
S
16, b l
'taste'
£m
'rice water*
D
17. bak
•wood'
chheh
'to sink down'
S
18. gong
'stupid'
tsoa
'a snake'
D
19. ti
»a pig'
lai
'sharp'
D
20. kim
'gold'
chhau
'to copy a writing' S
lSi
RE 2.6t Hausax. Discrimination* SAME or DIFFERENT 1. gida
'compound'
kfrf
•fish'
S
2. kuka
'cry'
nama
•meat'
D
3. dlki
'hut'
kaza
•chicken'
D
h» "aba
'father
kare
'dog'
S
5. nans
«meat'
xdo
'eye'
s
6. tsoho
'old'
jakx
'donkey'
D
7. rago
'ram'
bako
'guest1
S
8. £do
•eye'
kxfx
•fish'
D
9. zaki
'lion'
kare
'dog'
D
10. uwa
•mother'
rana
•day'
S
11. kxfx
'fish'
aiki
•work'
D
12. zaki
•lion'
sarkx
•chief'
D
13. uwa
'mother'
ubS
•father'
D
•'-Hausa is an important language of West Africa, centering in Nigeria, Data are from Rev, Charles Kraft, Kennedy School of Missions. Informant for EE 2.6 and 2.7 is Hamalai Mubi.
3U
Lesson 2
llu tsoho
'old'
zafi
•hot'
S
IB.
'machete'
ySro
•boy'
D
15. farS
•grasshopper'
add£
•machete'
S
17. ido
'eye'
a'ki
'work'
S
18. tsoho
'old'
n£ma
•meat'
D
19. zaki
'lion'
iiki
•hut'
S
20. giwi
•elephant'
far!
'grasshopper'
D
addl
RE 2.7t Hausa . Discriminationt SAME or DIFFERENT 1. cokula
'spoons'
dKkuna
'huts«
S
2. tufafi
'clothes'
lab£ri
'news*
D
3. bincike
•investigate'
littinin
'Monday1
D
U. gonakx
'farms'
labaru
•news (pi.)'
S
5. fuskoki
•faces'
lafiya
•well'
D
6. littafi
•book'
jum£'a
•Friday'
S
7. dakuna
'huts'
as£ra
'misfortune'
D
8. tawada
'ink'
kankane
•small'
S
9. cokula
'spoons'
bindiga
'gun'
s
10. littinin
'Monday'
labaru
'news (pi.) 1
D
11. talata
'Tuesday'
sabulu
•soap'
S
12. gonaki
•farms'
tawada
'ink'
D
13. labaru
'news (pi.)'
idanu
• eyes'
D
lU. kujerS
'chair'
kafafu
•feet'
S
15. fuskoki
'faces'
itace
•wood'
D
26,
cokula
'spoons•
idanu
»eyes'
D
17. juml'a
'Friday'
mlfarki
•dream'
D
Hearing Pitch I)istinctions 18. duwatsu
'stones'
tugwaye
'twins'
S
19. sabulu
' soap'
amfam
'usefulness'
D
20. asara
'misfortune1
labaru
'news (pi.)'
D
KE 2.8t Hausa.^L 1. ayoyx
Discrimination! SAME or IDIFFERENT
'verses'
kSfSfl
'doors'
S
•rope'
D
girl'
S
2. hanyoyx
•paths'
3. ayyuka
works»
ySrinya
k,
•greetings'
asali
'lineage'
S
ctanuwa
'brother'
D
galsuwa
5. littafi 6. tufafi
i book' 'clothes'
aminci
peacefulness'
S
7. iyali
' family'
garaje
haste'
D
8. shari'u
'•judgments'
alheri
•goodness'
D
•depends'
akwatai
•boxes'
D
10. wahala
•trouble'
magana
•word'
S
11. alkali
•judge'
aljihu
12. garaje
•haste'
shinkafa
•rice'
D
13. abincl
•food'
shari'u
•judgments«
D
lU. taimako
•help'
takalmx
'shoe'
S
IS. fcokari'
'trying'
kasuwS
'market*
S
16. tabarmi
'mats'
shekaru
'years'
S
17. dariyS
'laugh'
asuba
•dawn time'
D
18. cinikx
•barter*
kadarka*
'bridges'
D
19. ayyuka
'works'
danguna
•clans'
S
9. dangana
pocket'
s
•'-The informant for this and succeeding Hausa exercises Ishmaila Mubi.
36
Lesson 2
20. kujera RE 2.9t
'stool'
iyali
'family,
S
Hausa . Discrimination! SAME or DIFFERENT
1. dalili
•reason'
tSlauci
'poverty'
D
2. al£ma
•sign'
* *_ xgxya
•rope'
D
3. alewa
'onion'
bukata
'need'
S
km amnci
'peacefulness'
alheri
•goodness'
D
$. makaho
'blind man'
allura
•needle*
S
6. fartctnya
'hoe'
Sddu'a
•prayer'
D
7. ajiya
•savings'
jaraba
•test'
S
8. gafSra
•forgiveness'
mag£na
•word'
D
9. llfiya
'well'
tufafi
'clothes'
S
10. Icidlrko
•bridge'
ySrxnya
'girl'
s
11. halitta
•creation'
sabulu
•soap'
s
12. takalma
•shoes'
shekara
'year'
D
33. hadxri
'storm'
irahala
•trouble'
D
111. xg'ya
'rope'
farauta
•hunting'
D
15. dangana
•depends'
lxttafi
•book'
D
16. abxncx
•food'
iyali
'family'
D
17. shekara
'year'
takalmx
•shoe'
D
18. tukunyS
'cook pot'
tunkiya
'sheep'
D
19. lafiya
'well'
ajxya
•savings'
D
20. darxya'
'laugh'
tabarm£
• mat*
S
RE 2.10* Hausa. Discriminationi SAME or DIFFERENT 1. jagabS
•leader'
adfko
•towel*
D
2. hankalx
'character'
fSrauta
•hunting'
D
37
Hearing Pitch Distinctions 3. zuciyl
'heart'
kasuwa
'market'
D
h» ganuwa
'rampart'
cizanci
•meaning'
S
5. xlxmx
•knowledge'
taimako
'help'
D
6. xdanu
'eyes•
alama
'sign'
D
7. fartanya
•hoe'
amf a m
'usefulness
D
8. wahala
'trouble'
talaka
•poor man'
D
9. xtace
'wood'
dangana
'depends'
D
10. tasoshx
•dishes'
alluna
•needles'
D
11. asalx
'lineage'
agwagwa
'duck'
D
12. alheri
•goodness'
sabulu
'soap'
S
13. mutane
'people'
lyaka
'end'
S
lU. bukata
•need'
ajiye
•put'
D
lf>. saurayx
'young man'
dalxli
•reason'
D
16. gaisuwa.
'greetings *
gafara
•forgiveness'
D
17. duwatsti
•stones'
lxttafi
•book'
D
18. talauci
'poverty*
asuba
•dawn time'
D
19. xnuwa
'shade'
makaho
'blind man'
D
20. allura
•needle'
fartanya
»hoe'
S
Recorded Exercises 2.11-2.21. Level or Glided Pitch In this set of exercises you are asked to distinguish between level pitch and glided pitch. A glided pitch is a pitch which moves either up or down. A level pitch is one which is level throughout its duration. You will be allowed space to make your oral response and the tape will correct you. In RE 2.11-2.16 each drill will have a constant frame. This means that whereas the pitch differs from one item of the exercise to the next, other features of the utterance are constant throughout. In this case the frame which is constant consists of the consonants and the vowels.
38 RE 2.11. Differential! LEVEL or RISING 1. w e l l
L
7. wejH
R
2 . wejH
R
8. itelK
R
3 . we}l
R
9 . y&L
R
U. w e l l
L
10. w e l l
L
S>. w e l l
L
1 1 . W^LL
R
6. well
L
12. w e l l
L
RE 2 . 1 2 . D i f f e r e n t i a l ! LEVEL or FALLING 1. mine
L
7. mine
L
2 . mine
L
8. mq.ne
F
3 . m^ne
F
9. ifts^ne
F
k» "mine
F
10. 'toine
F
5 . mine
L
1 1 . ih^ne
F
6.^mine
F
12. mine
L
RE 2 . 1 3 . D i f f e r e n t i a l ! RISING or FALLING 1* «*
R
3.NP
F
2. W*
R
U. "to
F
39
Hearing Pitch D i s t i n c t i o n s 7. y&
H
11. ui
8. ujf
R
12,^
9. ?6
R
10, \q?
F
15. >H>
F
R
16. uj^
F
13.\p
F
17. -an/
R
111, \m
F
18. yff
R
RE 2. lit. Dii'f e r e n t i a l t LEVEL, RISING, or FALLING 1» some
F
7. so?ie
R
13. sonfe R
2. some
L
8. ^ m e
R
lU. some R
3 . sojjfi
R
9. some
L
15. "some F
km some
L
10. "some
F
16. some L
5. some
L
11. some
L
17. \me
F
12. some
L
18. V e
F
>• sojae
RE 2.15-2.16 contain longer sequences. In these exercises we now give you longer stretches of utterance, but w e control them so that you listen only to the last syllable of each utterance. You are to respond to the last syllable of each utterance with the same responses that you had in the immediately preceding exercises, that is, LEVEL, RISING, or FALLING., Do not be confused by the syllables preceding the last one. They will be kept constant, as the frame. Listen only to the pitch on the last syllable. RE 2.15. Differential* LEVEL, RISING, or FALLING !• Will you come hez*e he^e
R
2. Will you come here
L
Lj-0
Lesson 2
3 . W i l l you comefXere
F
1 2 . Will you come here
L
h. Will you come IXere
F
1 3 . Will you come here
L
5. Will you come hep^
R
i l l . Will you come|\ere
F
6. Will you come here
L
1 5 . Will you comefoere
F
7. Will you come h e i ^
R
16. Will youcomefhere
F
8. W i l l you come there
F
1 7 . W i l l you come here
L
9. W i l l you come hepe^
R
1 8 . Will you come he?4
R
10. Will you come he^e"
R
19. Will you comejsnere
F
1 1 . Will you come Yi&yi
R
20. Will you come here
L
RE 2 . 1 6 . D i f f e r e n t i a l t LEVEL, RISING, or FALLING 1. I d i d n ' t seefeghn
F
8 . I d i d n ' t see John
L
2 . I d i d n ' t see John
L
9. I d i d n ' t see Jcjan
R
3 . I d i d n ' t see ^Joh^
R
10. I d i d n ' t see John
R
U. I d i d n ' t seefSohn
F
1 1 . I d i d n ' t see John
L
5. I d i d n ' t see, John
R
12. I d i d n ' t see
F
6 . I d i d n ' t seePfehn
F
1 3 . I d i d n ' t see j'jqhn
F
7. I d i d n ' t see Jobn^
R
l b . I d i d n ' t see Jo!
R
frohn
Ui
Hearing Pitch D i s t i n c t i o n s 15. I d i d n ' t seeigphn
F
18. I d i d n ' t seejjohn
F
16. I d i d n ' t see John
L
19. I d i d n ' t see John
R
17. I d i d n ' t see John
L
20. I d i d n ' t see John
L
RE 2.17t :Mano. 1 D i f f e r e n t i a l s LEVEL,, RISING, or FALLING 1. / g g g /
•spirit'
F
2. / g e e /
•cotton t r e e 1
L
3. /gee/
'green snake'
L
k. /geeV 'Gio (a neigh-1 F boring t r i b e )
t
5. / g e e /
•country d e v i l '1 R
6. /geeV
•rattle'
F
RE 2.18» Mano. D i f f e r e n t i a l * LEVEL, RISING , or FALLING 1. /koV
•arm, hand'
F
2. / s o /
'cloth'
I
10.
3. W
'leopard'
L
11. /k55/
•first daughter*
R
k. / l o 5 /
'week'
L 12. / l 3 o /
•hunger'
R
5. / y o o /
'brotherin-law'
F 1 3 . /noo/
'better'
FR
6. / b 5 3 /
'two-cent piece'
F
l i u /wee/
'how much'
RF
15. / l o o /
' t o l i e down'
L
' o n e ' s own mother'
RF
7. /woo/ 8. / d o o /
•one'
15. / g o 3 /
'water s n a i l '
RF
9. / p o 3 /
•load'
/td6y 'chicken'
F F
\ cJano is spoken in Liberia and Guinea. The informant recorded in this lesson is See Diagbe from Gbuuyi, Liberia. The material was recorded with the cooperation of Dr. Charles White and Miss Mildred Black of the Methodist Mission, Ganta, Liberia.
1±2
Lesson 2
RE 2.19t Vietnamese. 1 D i f f e r e n t i a l t LEVEL, RISING, or FALLING 1. /c±/
«to be only'
R
8. /cia/
'nine'
R
2. / n l /
' i s n ' t that so?'
R
9. / s i n /
'please'
L
3. /th£/
'then'
F
10. /n$w/
"much, many'
F
h
U. / m i /
'wheat'
F
11. /t £w/
'lack'
R
5. / x i /
'when'
L
12. / t i w /
»be d i g e s t e d '
L
6. / & /
'go'
L
1 3 . /b$n/
'understand'
R
7. / c i /
'older s i s t e r '
R
RE 2.20t Vietnamese. D i f f e r e n t i a l ! LEVEL, RISING, or FALLING 1. / g e /
«chair«
R
U. / t h e /
'ability'
R
2. / t h e /
'manner'
R
5. / v l /
' t o return home'
F
3 . /<£§/
'place'
R
RE 2.21t Vietnamese. Differentialt LEVEL, RISING, or FALLING 1. /bs/
'small'
R
h. /xme/
«be well'
R
2. /ss^
'conveyance'
L
5. /me/
'mother'
R
3. /sS/
'fut. indicator' R
Suggested Readings Eugene A. Nida, Learning a Foreign Language, pp. 110-118. Vietnamese data and recordings in this lesson are from William A. Smalley and Nguyln-van-Van, Vietnamese for Missionaries.
h3 LESSON THREE1 Voiced and Voiceless Fricatives We said in Lesson 1 that one kind of manner of articulation had to do with the relationship between the articulator and the point of articulation. Stops, fricatives, nasals, and laterals are examples of this kind of manner. Another kind of manner we said had to do with other activity in the vocal tract simultaneously with the articulation. An example of this is the distinction which we will now discuss between voicing and voicelessness. If you make a long English [s] or a long [f], prolonging these sounds for several seconds, and cup the palms of your hands over your ears, you will not feel any buzzing or vibration in your ears. If, however, you pronounce a long [z] or a long [v] in the same manner, prolonging them for several seconds, and hold your hands over your ears in this way, you will feel such a vibration and hear a buzzing in them. This will be very clear if you pronounce first the [f] and then the [v], the [s] and then the [z]. Be sure to prolong them long enough to be able to feel and hear the difference. The sounds which do not have this vibration or buzzing are called voiceless sounds. Those which do are called voiced sounds. All speech sounds are either voiced or voiceless, no matter what the articulation. RE 3.1. Demonstration! English Fricatives Here are some examples of voiceless and voiced fricatives in English. Pronounce the examples to yourself with your hands over your ears, and then listen to them in RE 3.1, as they are pronounced on the tape. When the voiced or voiceless fricative is said with a vowel immediately preceding or following, it is harder to hear the voicing than if it is said alone. This is caused by the fact that the vowel is voiced and the duration of the consonant when spoken naturally is very short. If you cannot feel or hear the voicing in normal speech, exaggerate the words by prolonging the fricatives. Follow the transcription.
•"This lesson and succeeding ones presuppose the study of Lesson A (Appendix) on the phonemic transcription of English consonants so that students have learned the values of the symbols used for English consonants and their names.
uu
Lesson 3
Voiceless fricatives!
Voiced fricatives!
/fa/ as in fie
/va/ as in vie
/©a/ as in thigh
/da/
as in thy
/so/ as in see
/za/
as in Z
/so/ as in Asshur
/za/
as in a_zure^
In the following you may find that you have little or no voicing in the fricative. With your hands over your ears, try to determine what happens in your voicing of the words in the second column.* /of/ as in life
/av/ as in alive
/ae/ as in lath
/ad/
as in lathe
/as/ as in cro_s_s
/az/
as in cause
/as/ as in lush
/az/ as in garage
Be careful about garage. It is pronounced with / z / on the tape, and is so pronounced by some speakers of English. Others, however, use another sound. Listen carefully to the tape. The Nature of Voicing In order to understand more about voicing and voicelessness, we have to add to our Sam Mansfield. In Sammy 3.1 we see drawn and labeled the larynx areas of the speech tract, including the vocal cords. Tn"e~vocal cords are twin membranes in the throat, such that they can be pulled tight against each other or allowed to relax loosely in the throat. Control of them is completely automatic, of course, in our speech in English, and usually we are not conscious of it. When a voiceless sound is pronounced the membranes are opened and relaxed, allowing the air to come through unimpeded. On a voiced sound
/ z / does not occur initially in English. 2 This does not mean that the final sounds in the first column are necessarily the same as the final sounds in the second, even though they are voiceless, made at the same point of articulation, etc. There are other characteristics of these phonemes in English which also differentiate them in most people's speech.
U5
Voiced and Voiceless Fricatives
the membranes are drawn taut but are not completely closed off. They are dravm so taut and so close together that the air going through is impeded in a manner similar to that which a fricative creates in the mouth. The resulting effect is the buzzing that you hear in [v], [z], etc.
Vocal cords (glottis) Sammy 3.1» Larynx and Vocal Cords The vocal cords serve several functions in speech, of them will be taken up later.
Some
Here is a picture of what the vocal cords look like, roughly, from above. Remember that these are not the only positions the vocal cords can take, but they are the positions which they assume in voicelessness and voicing.
Sammy 3.2i Larynx Open for Voicelessness
Sammy 3.3t Larynx Nearly Closed for Voicing
U6
Lesson 3
In drawing Sammies to represent speech sounds we indicate voicing or voicelessness by arbitrary symbols at the larynx. Voicing is indicated by a wavy line, and voicelessness by a broken line.
Sammy 3.U» Wavy Line to Indicate Voicing
Sammy 3.5* Broken Line to Indicate Voicelessness
RE 3.2. Demonstration! English /£ z/ Because the voiced fricative / z / is not too common in English, it sometimes gives students a little more trouble in identification than the others. For that reason we are demonstrating it here in contrast with /s/. In my speech the pairs of words are very close in pronunciation. In some cases they differ only by the / s / and /z/. in other cases they differ also slightly in other phonemes. When there is only one phoneme difference between two words or any two utterances we call the difference minimal. Such a pair is a minimal pair. As you go through this demonstration on the tape, listen to the fricatives and get used to thinking of them as voiced or voiceless. Then listen to see whether the pairs of words are minimal pairs or not. On this you can check your judgment with the transcription below. They are minimal when they are phonemically identical except for the / s / and /z/. There are only two minimal pairs in this exercise. Which are they? Finally, pronounce these words to yourself, with your
U7
Voiced and Voiceless Fricatives
hands over your ears t o f e e l and h e a r the buzzing or lack of i t on the f r i c a t i v e s . Follow t h e t r a n s c r i p t i o n .
la. dilution Adi'liwsin/
vs.
l b . delusion
/di'liwzin/
2a. g l a c i e r
/'gleysir/
vs.
2b. g l a z i e r
/'gleyzir/
3 a . Aleutian / A ' l i w s i n /
vs.
3b. allusion
/tA'liwzin/
Ua. f i s h i n '
/'fisin/
vs.
Ub. v i s i o n
/'vtzin/
5a. Asshur
/'aesir/
vs.
5b. azure
/'ezir/
Sammy 3.6* [s]
Sammy 3.7* [z]
RE 3.3* D i f f e r e n t i a l * VOICED or VOICELESS This exercise i s constructed i n the same way as t h e exerc i s e s i n Lesson 1. This time your response i s t o be VOICED or VOICELESS. As i n previous e x e r c i s e s , you disregard t h e [a] vowel. Don't peekl 1. [afa]
VL
lu [aza]
VD
7. [asa]
2. [ada]
VD
5 . [afa]
VL
8. [aOa] VL
3 . [aza]
VD
6 . [ada]
VD
9. [asa]
VL
VL
U8
Lesson 3
10. [ofa] VL
15. [4a]
TO
20. [aG]
VL
1 1 . [aza] TO
16. [fa]
VL
2 1 . [as]
VL
12. [va]
TO
17. [za]
TO
22. [ad]
TO
13. [za]
TO
18. [av]
TO
2 3 . [af]
VL
lk.
VL
19. [az]
VD
2k. [az]
VD
[sa]
Production and Recognition of [p b x g]
Bilabial
Labiodental
Tip-(or Tipblade-) dental alveolar
Voiceless
G
Voiced
d
Tip-(or blade-) alveopalatal
Backvelar
z
Table 3.It Some English and Non-English Fricatives The sounds symbolized within the boxes do not occur in English. Before going on to learn to produce them, make sure you understand the English symbols. Four of them, of course, have values identical with what they represent in normal English spelling. Four others are "made up" to represent distinctions not adequately handled in English spelling, or handled with more than one symbol (like sh for / s / ) . We are not drilling the use of these new symbols here, because you get them in the phonemic writing of English. (See Lesson A in the Appendix.) The names of the new symbols are [p] "barred p", [fe] "barred b", and [g] "barred g". The four new sounds are completely parallel to the English sounds in that they are fricatives, and in that they come in pairs, voiced and voiceless. However, they have different points of articulation from any English fricatives. To emphasize the relationship of this chart to Sam Mansfield, study it in relation to Sammy 3.8 on the next page. (The articulators are left off.) Learning the Bilabial Fricativest [p h] For many students the best way of learning a new sound is first by mimicry. If you find that you can make these sounds, after practice, by mimicry of an instructor, you may avoid a great deal of trial and error. The following suggestions have been found helpful for students who do not have such ready
U9
Voiced and Voiceless Fricatives
Sammy 3.8t Some F r i c a t i v e s and Their Points of A r t i c u l a t i o n
Sammy 3.9* [p]
Sammy 3 . l 0 t
[b]
success with mimicry, however, and they provide d r i l l s f o r strengthening t h e new a r t i c u l a t o r y h a b i t s of those who do. When you l e a r n a new speech sound remember t h a t you are
Lesson 3
5o
developing a skill, forming a new set of habits, new muscle coordination and control. Here are some exercises for [p]. It is a bilabial fricative. The air escapes through a slot made between the two lips (See Sammy 3.9)• RE 3.U. Demonstration! Devices to Achieve Articulation of [p] Follow along in your book as you listen to the tape. a. Pretend there is a small piece of grass on the tip of your tongue. Spit it off by protruding your tongue between your lips and pulling it back rapidly to leave a narrow slit through which to blow. Prolong the [p]. b. Pretend to blow out a candle with a smile on your face. c. Protrude your lower lip and blow air up your nose. d. In learning to produce [p] always remember that it is to be kept distinct from [f]» If you have a temptation to make 311 [f]# practice protruding your lower lip beyond your upper lip as you make the sound at first. The normal position for the lower lip, however, is roughly in the position for [p]. It is often necessary to exaggerate a movement in order to learn to distinguish it from another with which you tend to confuse it. e. Although the articulator and point of articulation are in position for [p], the new sound [p] is a fricative, and there should be no stoppage of air, no matter how brief. In manner of articulation the resemblance is to [f]. However, for the sake of learning to make the sound, it may be helpful to force air through your lips held in position for [p], f. Say pig in the place of fig. Extend the initial consonant to pppppig. Isolate the fricative, and say [ppppppp]. Then say it between vowelst [apppppa], [apa]. Say it initially before a vowel* [pppppa], [pa]. Say it finally after a vowelt [appppp], [ap]. These fricatives equipment, as they do
are demonstrated for you on the tape. Unfortunately, do not record too well on less than high-fidelity so the distinctions do not come through as clearly a in a face-to-face situation.
Voiced and Voiceless F r i c a t i v e s
$1
RE 3»S, Demonstration! Devices t o Achieve A r t i c u l a t i o n of [fe] Once you can do [ p ] , you simply add voicing t o produce [fe]. Follow t h e t r a n s c r i p t i o n . a. Hum while you say [ p ] . duce tice with tion
This w i l l give you [fe],
b . Get t h e f e e l of t h e c o n t r a s t between [f v ] , and p r o t h e same c o n t r a s t with t h e l i p s a r t i c u l a t i n g [ p ] . Praclong sequences [fvfvfvfvfvfvfv] and then [pbpopbpbptegfepb] no vowels i n t e r v e n i n g . A r t i c u l a t o r and point of a r t i c u l a do not moveJ
c . Try f o r the same effect by p r a c t i c i n g ha-ha-ha-ha-ha, and then doing t h e same t h i n g with l i p s s e t for [ p ] . If done r i g h t , t h i s w i l l give you [pbpfepbpbpb], d. Try t h e following sequencei hhhhhhhhhhaaaaaaaaaa [sssssssssszzzzzzzzzz]
[ffffffffffwwwww] ir S~ r r IP ir lr" ir h^
J
e . Mimic the tape on t h i s sequencei [ fvf vf vf vf vfvf vfvfvf v] [szszszszszszszszszsz] hahahahahahahahahaha [pfepfepfepbpfepfeptepfeptepfe] f. Pronounce very d e l i b e r a t e l y , several timesi boy. Prolong t h e [b]» bbboy (as though you were not sure you wanted t o f i n i s h i t , or as though you were waiting f o r the word "Gol" t o f i n i s h i t . Be sure i t i s the i n i t i a l consonant you prolong, not t h e vowel. You cannot prolong i t f o r long, as your mouth w i l l f i l l up with a i r . ) Say a vowel simultaneously with the [b] held looselyi bbbboy. Say i t before other vowels* [bbbfeea], [ b a ] .
52
Lesson 3 Say i t between vowelsi [afebbba], [ a b a ] . Say i t f i n a l l y , a f t e r a vowelt [afefefe], [afe]. Say i t i n i s o l a t i o n i
[febbbfe].
Recorded Exercises 3.5a~3.6. D i f f e r e n t i a l t
[f p] [v fe]
This group of exercises i s t o help you t o d i s t i n g u i s h between [f] and [p] and between [v] and [fe]. Although i t i s r e l a t i v e l y easy t o produce t h e d i f f e r e n c e , pronouncing t h e sounds with d i f f e r e n t points of a r t i c u l a t i o n , i t i s much harder t o hear t h e d i f f e r e n c e . You are not very l i k e l y t o find c o n t r a s t s between these p a i r s i n any one language, but t h e exercises w i l l focus your a t t e n t i o n on the differences t o prepare you f o r whichever sound you meet. I n a l l t h e s e exercises your response i s t o be t h e a r t i c u l a t i o n involved* BIIABIAL or IABIO-DENTAL, You w i l l h e a r each utterance t w i c e . Don't peek! RE 3.5a. D i f f e r e n t i a l ! BIIABIAL or IABIO-DENTAL 1. [ofa]
L-D
7 . [apa]
BIL
13. [pa]
BIL
2. [afa]
L-D
8. [afa]
L-D
Hi. [pa]
BIL
3 . [apa]
BIL
9.
[afa]
L-D
15. [op]
BIL
k.
[apa]
BIL
10. [apa]
BIL
16. [of]
L-D
5. [apa]
BIL
3 1 . [pa]
BIL
17. [ap]
BIL
6. [afa]
L-D
12. [fa]
L-D
18. [of]
L-D
RE 3.6.
D i f f e r e n t i a l * BILABIAL or IABIO-DENTAL
1. [ava]
L-D
7. [ava]
L-D
1 3 . [fea]
BIL
2 . [aba]
BIL
8. [aba]
BIL
Ik. [va]
L-D
3.
[ava]
L-D
9 . [ba]
BIL
15. [fea]
BIL
h.
[aba]
BIL
1 0 . [va]
L-D
36. [fea]
BIL
5 . [aba]
BIL
1 1 . [fea]
BIL
17. [va]
L-D
6 . [aba]
BIL
12. [ba]
BIL
18. [fea]
BIL
Learning t h e Velar F r i c a t i v e s [x g] The v o i c e l e s s v e l a r f r i c a t i v e [x] occurs i n German i n
53
Voiced and Voiceless Fricatives
Sammy 3.H» [x]
Sammy 3.12» [g]
such words as ach. If you have not studied German, or did not learn to pronounce this sound then, or if you do not succeed in learning the velar fricatives by mimicry of an instructor, try the following exercises. HE 3»7. Demonstration! Devices to Achieve Production of [x] Follow in the text as you listen to the tape. a. Say what the cat says when it spits at a dogt [xxxxx], b. Do what small boys do when they shoot a "six-shooter"* [kxxx-]. Then practice eliminating the [k] from this to get [xxx]. c. Think [k], but relax the tongue to blow air through the slot. d. Start with [a], raising the back of the tongue almost to [k], and lowering it again. If done correctly, this gives [axa]. when you get this down, work on [ax] and [xa], e. "Whistle" a tune with the back of the tongue. RE 3«8. Demonstrations Devices to Achieve Production of [g] Now practice adding the voicing to [x], in just the way
Sh
Lesson 3
you did with [p], A voiced [x], of course, gives you [g]. Follow the transcription. a. Mimic the tape on this sequencei hhhhhhhhaaaaaaaa sssssssszzzzzzzzj [sssssssszzzzzzzz] [ffffffffwwww]
[xxxxxxxxgggggggg] b. Mimic the tape on this sequencet [fvfvfvfvfvfvfvfv] hahahahahahahaha
c. Think [g], but relax the tongue and blow air through the slot. d. Start with [a], raising the back of the tongue almost to [g]9 and lowering it again. If done correctly, this gives [otga]. When you get this, work on [ag] and [ga]. e. Pronounce very deliberately several timest good. Prolong the [g]i ggggood. Say a vowel simultaneously with the initial soundt ggggood. Say it before other vowelsi [ggga], [ga]. Say it between vowelsi [aggga], [aga]. Say it finally, after a vowelg [aggg], [ag]. Recorded Exercises 3.9~3»10» Differential! Velar Fricatives Unlike [p b ] , the velar fricatives are not usually confused with any English sounds. You do, however, need practice hearing them and recognizing them immediately. Don't peek!
55
Voiced and Voiceless Fricatives EE 3.°. Differential! VOICED or VOICELESS 1.
[axa]
VL
7.
2.
[aga]
VD
3.
[aga]
VD
km [aga]
VD
5.
[axa]
6 . [axa]
[aga]
VD
13. [ga]
VD
8. [ga]
VD
Ik. [ga]
VD
9. [xa]
VL
15. [ag]
VD
10.
[xa]
VL
16. [ag]
VD
VL
11.
[ga]
VD
17. [ax]
VL
VL
12.
[xa]
VL
lfi. [ag]
VD
RE 3 . 1 0 . D i f f e r e n t i a l ! VELAR or NO 1.
[asa]
NO
7. [axa]
VE
13. [za]
NO
2.
[axa]
VE
8. [bo]
NO
lit. [6a]
NO
3.
[aga]
VE
9. [za]
NO
15. [ai]
NO
k.
[afa]
NO
10.
[xa]
VE
16. [ag]
VE
5.
[aza]
NO
22.
[sa]
NO
17. [ax]
VE
6. [aga]
VE
12,
[ga]
VE
18. [of]
NO
Recorded Exercises 3.11 - 3»12. Differentials Right or Wrong? A rery common mistake in learning -velar fricatives is to pronounce [x] as [kx], and [g] as [gg], that is, to pronounce a velar stop followed by a velar fricative. These exercises are designed to help you hear the difference, so that you can make sure you are not making this mistake yourself. Your response is to be FRICATIVE if the sound pronounced is a pure fricative, and WRONG if it is not. Don't peek! RE 3.11. Diff erentialt FRICATIVE or WRONG 1.
[axa]
F
6 . [axa]
F
11.
[kxa]
WRONG
2.
[akxa]
WRONG
7.
WRONG
12.
[xa]
F
3.
[akxa]
WRONG
8. [kxa]
WRONG
13.
[kxa]
WRONG
h , [axa]
F
9. [xa]
F
llu
[xa]
F
5.
F
F
15.
[ax]
F
[axa]
10.
[akxa]
[xa]
Lesson 3
56 16.
[akx]
WRONG
17. [ax]
FR
18. [akx]
WRONG
WRONG
RE 3 . 1 2 . D i f f e r e n t i a l t FRICATIVE o r WRONG 1. [agga]
WRONG
7. [agga]
WRONG
13.
[gga]
2.
[aga]
FR
8. [ga]
FR
H u [ag]
FR
3.
[aga]
FR
9. [ga]
FR
15.
[agg]
WRONG
k.
[agga]
WRONG
10.
[gga]
WRONG
16.
[agg]
WRONG
5. [agga]
WRONG
11.
[ga]
FR
17.
[ag]
FR
6 . [aga]
FR
12.
[gga]
WRONG
18.
[agg]
WRONG
RE 3.13. Differentials FRICATIVE or WRONG In this exercise you will again distinguish between fricatives and non-fricatives, but now you will have the additional complication of [h] which often sounds like [x]. Don't peek 1. [axa]
FR
5. [aha]
WRONG
2 . [aha]
WRONG
6 . [axa]
FR
10.
[aha]
3 . [axa]
FR
7. [akxa]
WRONG
11.
[akha] WRONG
h.
WRONG
8. [axa]
FR
12.
[aha]
[akxa]
9 . [axa]
FR WRONG
WRONG
RE 3.lU. Demonstration! Tongue Twisters In order to get facility in the use of the new" fricatives, practice the following, or make up others like them. Listen to the demonstration on the tape, and follow the transcription below. a. peter piper picked a peck of pickled peppers. b. A big bad boy built bulging boats. c. xween xatherine xissed her xrotchety xousin. d. get gus's grandmother some great green gooey gumdrops. Recorded Exercises 3.l5~3.l6. Differential! Recognition and
Give the technical label for the consonant you hear, just as you did for Lesson 1.
57
Voiced and Voiceless Fricatives RE 3.15. Description of Sounds
Here you w i l l h a v e o n l y t h e new f r i c a t i v e s you h a v e l e a r n e d i n t h i s c h a p t e r . That means t h a t you h a v e t h e f o l l o w i n g c h o i c e of r e s p o n s e s ( o n e i t e m from each l i s t ) i VOICED
BILABIAL
VOICELESS
BACK-VELAR
FRICATIVE
Don't peekj 1.
[aba]
VD BILABIAL F
1 1 . [tea
VD BILABIAL F
2.
[aga]
VD BACK-VELAR F
12.
[xa
VL BACK-VELAR F
3.
[coca]
VL BACK-VELAR F
1 3 . [ga
VD BACK-VELAR F
li. [ a p a ]
VL BILABIAL F
l i i . [tea
VD BILABIAL F
5.
VL BACK-VELAR F
1 5 . [ax
VL BACK-VELAR F
6 . [aba]
VD BILABIAL F
1 5 . [ag
VD BACK-VEIAR F
7.
VL BILABIAL F
17.
[ag
VL BILABIAL F
8. [ga]
VD BACK-VELAR F
18.
[ax
VL BACK-VELAR F
9.
[xa]
VL BACK-VELAR F
1 9 . [ab
VD BILABIAL F
10.
[pa]
VL BILABIAL F
20.
VL BILABIAL F
[coca]
[ago]
RE 3 . 1 6 .
[ag
D e s c r i p t i o n of Sounds
I n t h i s d r i l l you may h a v e any E n g l i s h f r i c a t i v e a s w e l l . I f you n e e d a l i s t of p o s s i b l e r e s p o n s e s t o r e f e r t o a s you do t h i s d r i l l , t a k e one from each of t h e f o l l o w i n g l i s t s t VOICED
BILABIAL
VOICELESS
LABIO-DENTAL TIP-DENTAL T I P - ( o r BLADE-) ALVEOLAR T I P - ( o r BLADE-) ALVEOPALATAL BACK-VELAR
FRICATIVE
Lesson 3
58 1. [aso]
VL TIP-(or BLADE-) ALVEOPAIATAL F
2 . [coca]
VL BACK-VELAR P
3 . [aza]
VD TIP-(or BLADE-) ALVEOLAR F
1 1 . [pa]
VL BILABIAL F
12. [xa]
VL BACK-VELAR F
13. [za]
VD TIP-(or BLADE-) ALVEOLAR F
Ik.
VD TIP-(or BLADE-) ALVEOPAIATAL F
[za]
U. [ada]
VD TIP-DENTAL F
1 5 . [ag]
VD BACK-VELAR F
5. [aba]
VD BILABIAL F
16. [a©]
VL TIP-DENTAL F
6 . [ova]
VD LABIO-DENTAL F
17. [ap]
VL BILABIAL F
7. [aga]
VD BACK-VEIAR F
18. [of]
VL LABIO-DENTAL F
8. [«a]
VL TIP-DENTAL F
19. [ab]
VD BILABIAL F
9 . [fa] 10. [sa]
VL LABIC-DENTAL F 20. [of] VL LABIO-DENTAL F VL TIP-(or BLADE-) ALVEOLAR F Recorded Exercises 3.17~3.19. Mimicry Drillst Nonsense Folloir along as you listen to the tape and mimic it. Tou will hear each utterance twice, but you will mimic the tape in the silent space provided, rather than respond to it. The exercises increase in complexity. As you listen and watch the page before you, try to associate the sound with the symbol, as well as to mimic the syllable. RE 3 . 1 7 . Mimicry 1. [apa]
8. [aga]
15. [ba]
2. [aba]
9 . [oxa]
16. [xa]
3 . [axa]
10. [aga]
17.
h.
[aga]
1 1 . [ga]
IB. [ate]
5. [axa]
12. [ba]
19. [ag]
6 . [aba]
1 3 . [pa]
20. [ax]
7. [apa]
Ik.
2 1 . [ap]
[xa]
[ap]
Voiced and Voiceless Fricatives
59
RE 3.18. Mimicry 2 1 . [box]
1* [pap]
1 1 . [pag]
2. [bate]
12.
[xab]
22.
[pag]
3.
13. [bap]
23.
[Acs]
[gag]
[box]
2iu [daz]
It. [xax]
2k.
5 . [gag]
15. [gab]
25.
[zas]
6 . [bob]
36.
[gap]
26.
[gaz]
7. [xax.]
17. [bob]
27.
[a6]
8. [pap]
18.
[*xg]
28.
[da]
9 . [gag]
19.
[pab]
29.
[fap]
20.
[bab]
30.
[vab]
10.
[xax]
RE 3.19» Mimicry 1. [abda]
h. [vaba]
7. [pabab]
2. [axsa]
5. [fagax]
8. [zazdab]
3. [sapae]
6. [pagaz]
9. [xaSQas]
RE 3.20. Mimicry* Vietnamese This exercise gives you actual language materials, spoken by a native informant. Drill it so that you can mimic it with accuracy. If it helps you to do so, watch the transcription of the exercise and follow along as you mimic. Remember that this will be more difficult for you than the previous exercise because it contains other unfamiliar sounds, in addition to the ones you are working on. Concentrate on the fricatives as you work. 1. /xwaay/ "sweet potato'
6. /xAnm/ 'no, not'
2. /xinjiaw/ 'when?'
7. /gaa/
'railway station'
3. /xo/
«to be difficult'
8. /ge/
'chair'
km /xakp/
«to cry'
9. /gqy/
'to call'
5. /xnm/
»to be strong'
10. /gpk/
'to peel, sharpen'
60
Lesson 3
Transcription Exercises With your book closed, transcribe RE 3.18 and RE 3.19. Correct your transcription by comparing it with the printed transcription in the Manual. When you transcribe, be sure to write all the consonants and vowels which you hear. Reading Exercises Check your skill in reading the new sounds by the use of RE 3.17-3.19. Read off the syllable before the tape says it, and compare your reading with the tape. The dialogue will sound like thist Youi [cqscx] Tapei Number one, [ a p a ] , [ a p a ] . lout
[aba]
Tape/ Number two, [afea], [afea]. Suggested Reading Page numbers i n parentheses may not apply s p e c i f i c a l l y t o t h e points of t h i s l e s s o n , but have been l i s t e d i n previous l e s s o n s , and you may want t o read them while you have t h e book. H.A. Gleason, J r . , An I n t r o d u c t i o n t o Descriptive Linguist i c s , p p . 187-193 (Tk"*6T. Kenneth L. Pike, Phonemics, pp. 2U-28.
61
LESSON FOUR Finer Distinctions in Hearing Pitch Recorded Exercises lul~li.2« Discriminationt Same or Different Here are more tone drills, such as you had in Lesson 2 (RE 2.3ff). Respond with SAME or DIFFERENT according to -what you hear on the tape. The items in these exercises w i n be a little more complicated than Trhat you heard in Lesson 2. Don't peekl RE U.lt Amoy 1 . Discriminationt SAME or DIFFERENT 1. Ko Hiong Chhi 'Kaoshiung City'
Pxn Tong Koan 'Pintgtung County"
S
2. Goa khi hia 'I go there1
li l£i chia 'You come here'
D
3. eng a*m si. •at night'
tsa khx si 'in the morning'
D
h» lai-bin tse m ho» li •come in and sit (lit.)' 'don't give you'
S
5. siu oan-poan 'to collect the dishes (e.g. after meal)'
tsin ho thi11 'very good weather'
D
6. lak liap iM 'six shells*
ehhit tsiah kain 'seven monkeys'
D
7. po-le poe •a drinking glass'
ka-pi au 'coffee cup'
S
8. o* peh kong •to say any old thing'
o» peh 1&± D 'to get anything disordered*
9. t s e s i to •This i s a knife'
i t i tsia 'He i s here'
S
i bo l a i 'He didn't come'
S
10. i t s i n gau •He ( i s ) very clever'
T o r sources see fn. p. 30.
62
Lesson k
RE t u 2 t Amoy, Discrimination! SAME or DIFFEREMT 1. t s i t ptin chheh ' t h i s book 1
t s i t pun chheh •one book'
2 . ang fing tho« •cement 1
hoe s i o thng •burnt sugar'
3. hit tsiah tsSa •that snake»
h i t t s i a h thang ' t h a t worm1
k« nng tl p£a n •two cakes1
go"« % k£a n •five s o n s '
5. Bi-kok-S
tseng—th5n-5 •finger(s)'
•the Americans* 6. t s i t oa11 png • t h i s bowl of r i c e '
peh oa n png •eight bowls of r i c e '
7. lak keng ehhu* •six houses'
pat keng chh^ 'another house'
8. iitu be" k3n •has not a r r i v e d y e t '
bo l o a stm ' n o t so dark'
9. tsu-otong-chhia •automobile*
b3 t i t s i a ' ( h e ) i s not h e r e '
10. iau be l 3 i •has not come y e t 1
i be"lSi •he d o e s n ' t come'
RE U . 3 . Levels and Glides The English word Johnny can be said i n t h e four following ways, among o t h e r s . L i s t e n t o t h e t a p e , and watch t h e t r a n s cription. 1* 2 Johnpy 1
3 . 2 Johnjny1
2. 2 Johnny
it. 2 Johnny
1—
U
i
r
Notice that we have indicated three pitch levels for this example, although English has an additional fourth (highest) pitch which is more rare!ly used. We have indicated a change between level pitches by the vertical dotted line which shows
63
Finer Distinctions in Hearing Pitch
the abrupt change. The down-turn at the end of 1 and 2 indicates the normal fade-off of voice and pitch at the end of some phrases. We will ignore it for the present. Now listen to the word John as pronounced in four corresponding ways on the tape, and' watch the transcription.
3
.
3
5. 2 Jfchn
7. 2 Johif
3 6. 2 John 1 \
3 8. 2 John 1 /
Notice that this time there was a glide between pitch levels, and that some of the glides were longer than others, depending on the distance between the levels. The distinction between long and short glides applies whether the glides start at the same point or not. If one starts higher than the other, and they both rise' to the same pitch, the one which started lower is the longer. Or if one starts lower than the other and both fall to the same pitch, the one which started higher is the longer. We can illustrate that by the next items of the exercise. Notice that we include a comparison of the same rise or fall as a step in Column b. Compare this group with the preceding group. Glide
3 9a. 2 1
J/e»hn
3 9b. 2 1
Johrtny
3 10a. 2 1
John
3 10b. 2 1
Jonriny"
3 lib. 2 1
Johnny
3 12b. 2 1
Johnhy
3 11a. 2 1
3
12a. 2 1
John \ }bhn
By length of glide we do not mean to imply anything about the length (duration) of the vowel on which the glide occurs. You may have a long glide on a very short vowel, and an equally
6U
Lesson U
long one on a long vowel. These points are illustrated by analogy with music in Figures I1..I-I4..2. Do not get the impression from these illustrations that speech pitch is sung. This notation simply points out the lack of relation between length of glide and length of vowel (its duration).
-& -&
O Fig. U.li Short and Long Rising Glides with Different Durations
X
^
x: RE k.k.
£
Fig. U.2» Two Short Falls and Two Long Falls Differentials LONG or SHORT
In this exercise you will be asked principally to distinguish between long glides and short glides on the frame one. You are to respond with LONG for long rises, and SHORT for short rises. A demonstration will be given you before the exercise begins. The first five examples will be exaggerated. The second five will not be exaggerated, but will be slow. The last ones will be faster, and each utterance will be given only once. Do not watch the text of the exercise.
1« one!' LONG
7 . one*' LONG
1 3 . one/ LONG
2 . one' LONG
8 . one
SHORT
111. o n / LONG
3 . one /
9. one
SHORT
1 5 . ones' LONG
SHORT
U. ones' LONG
1 0 . one^ LONG
1 6 . one
SHORT
£. one /
SHORT
1 1 . one
SHORT
1 7 . one
SHORT
6. one
SHORT
1 2 . one
SHORT
1 8 . on*/ LONG
65
Finer Distinctions in Hearing Pitch RE H.5. Differentialt LONG or SHORT 1. W e e
SHORT
7 . ti^ree
SHORT
13. W e e
SHORT
2 . -fchree
SHORT
8. W e e
LONG
lU. W e e
SHORT
3. W e e
LONG
9. three
LONG
1 5 . £kxee
SHORT
U. W e e
SHORT
10. W e e
SHORT
16. W e e
LONG
5. W e e
LONG
11. W e e
LONG
17. W e e
LONG
6. biree
LONG
12. W e e
LONG
18. W e e
SHORT
RE U.6. Differentialt LONG RISE, SHORT RISE, LONG FALL, SHORT FALL 1. g o / LONG R
7. go SHORT R
33. "g<J LONG F
2. "go LONG F
8. "gx) SHORT F
lii. go/LONG R
3. ^
9. "go LONG F
15. ^
SHORT F
SHORT F
U. ^g<5 LONG F
10. go SHORT R
16. go SHORT R
5. go SHORT R
11. ^
SHORT F
17. g\ SHORT F
>. %
12.^
SHORT F
18. g» LONG F
RE U.7. Differentialt LONG RISE, SHORT RISE, LONG FALL, SHORT
1. high SHORT R
hign LONG R
3. high LEVEL
Lesson h
66 ill. higfi
LONG R
k. "h^gh
SHORT F
9. high LEVEL
S. high /
SHORT R
10. high SHORT R
13. high SHORT I
6. "h^gh
SHORT F
11. W h LONG F
16. W h LONG F
7. high
LEVEL
12. high LEVEL
17. Mgh SHORT ]
8. "n^h high
LONG F
13. high /
18. "high \
SHORT R
LONG F
RE U.8. D i f f e r e n t i a l s LONG RISE, SHORT RISE, LONG FALL, SHORT FALL, LEVEL Re U.8 has longer sequences. You a r e t o l i s t e n t o t h e f i n a l s y l l a b l e f o r t h e long or short g l i d e , or l e v e l p i t c h . The r e s t of t h e sentence w i l l be held approximately c o n s t a n t . 1. T h a t ' l l be f i n e
LEVEL
10. T h a t ' l l be f i n e
2. T h a t ' l l bes f iirf< de
LONG R
1 1 . T h a t ' l l be fiife
LONG R
3. T h a t ' l l be f i n e
SHORT R
12. T h a t ' l l bepKlne
SHORT F
U. T h a t ' l l be f i n e
LEVEL
1 3 . T h a t ' l l be f i n e
LEVEL
5. T h a t ' l l bepXjne
LONG F
Ik.
LONG R
6. That'll befigfe
LONG R
15. T h a t ' l l be f i n e
SHORT R
7. T h a t ' l l bejfjne
LONG F
16. T h a t ' l l be f i n e
LONG R
8. T h a t ' l l be f i n e
LEVEL
17. T h a t ' l l b e | H n e
SHORT F
9. T h a t ' l l befrjne
SHORT F
18. T h a t ' l l be iHne
LONG F
1/
T
T h a t ' l l be fyXe &*
v
LEVEL
F i n e r D i s t i n c t i o n s i n Hearing Pitch 19. T h a t ' l l beiSine
SHORT F
67
20. T h a t ' l l be f i n e
SHORT R
Recorded Exercises U.9~U.12. D i f f e r e n t i a l ! One Direction or Two The pitch glides on which you have been working up t o now have been u n i d i r e c t i o n a l . That i s , they have e i t h e r simply r i s e n , f a l l e n , or remained l e v e l . In t h e present exercise you are t o d i s t i n g u i s h between u n i d i r e c t i o n a l glides and b i d i r e c t i o n a l g l i d e s . I n RE li.9> f o r example, a l l examples w i l l e i t h e r r i s e , or r i s e and then f a l l . You a r e to respond with RISE or RISE-FALL according t o whether t h e glide has one d i r e c t i o n or two 0 Do not watch t h e t e x t of t h e e x e r c i s e . RE U.9. D i f f e r e n t i a l ! RISE or RISE-FALL L, Zdan. RISE
7. JoW
RISE-FALL
1 3 . Jo'hn
2 . JoW
8. JoW
RISE-FALL
l i ; .
RISE-FALL
3 . J<&n RISE-FALL
9.
RISE
3 5 . JioTsm RISE-FALL
U. John
RISE
10. John
RISE
36. Jidhn RISE-FALL
5. J6lm
RISE-FALL
1 1 . ^ohn
RISE
17. Jo>n
6. ijohn
RISE
12. J&m
RISE-FALL
18. JuShn RISE
RISE-FALL
RE U.10. D i f f e r e n t i a l ! FALL or FALL-RISE l . \ w h y FALL-RISE
5.Vhy
FALL
2.\hy
FALL
6.W/
FALL-RISE
I0.\whv/ FALL-RISE
3.\hy
FALL
7.Vhy
FALL
l l . V i y 7 FALL-RISE
l u V h / FALL-RISE
8.\why FALL
9 . V h V FALL-RISE
12.Viy
FALL
Lesson U
68 33 , W
FALL-RISE
li+.Vhv/FALL-RISE
l5.Vhy
FALL
l6.\why FALL
17.Vhy FALL I 8 . \ h s / FALL-RISE
RE U . l l . D i f f e r e n t i a l * RISE, FALL, RISE-FALL, or FALL-RISE l.\so
FALL
7 . 9o\ RISE-FALL
33. A
RISE-FALL
2 . \so/
FALL-RISE
8. \o/
FALL-RISE
Hi. do
RISE
3.\so
FALL
9.Vo
FALL
35. 9
k. A,
RISE-FALL
10.Nso FALL
16. \so/FALL-RISE
5. A
RISE-FALL
1 1 . JIQ RISE
17. \ o
12. Jo
18. \ o / FALL-RISE
6 . So RISE
RISE
FALL
RE U.12i D i f f e r e n t i a l ! LEVEL, RISE, FALL, RISE-FALL, or FALLRISE 1. 3a£ge
RISE
7. \ a r g e / FALL-RISE
2. W g «
RISE-FALL
8. l a ^ e
3 . large
LEVEL
9. l*£g\^ RISE-FALL
U. large
LEVEL
RISE-FALL
10. W g e
RISE
5 . Wg©/FALL-RISE
11. large
LEVEL
6. W g e
12. l \ r g e / FALL-RISE
FALL
Finer D i s t i n c t i o n s i n Hearing Pitch
69
33. lar^e
RISE-FALL
36. l a r g e
RISE
111. l a r g e
LEVEL
17. l*r*e
RISE-FALL
r e ^lar 15. V e
FALL
18. large
LEVEL
Recorded Exercises U.13~U.l6. Mimicry by Humming For t h e e x e r c i s e s which follow on the t a p e , yoli w i l l hear approximately t h e same m a t e r i a l as you have i n RE li.9~U.12, according t o t h e following t a b l e . However, t r y t o do t h e exe r c i s e s without t u r n i n g back t o t h e t r a n s c r i p t i o n . U.13 i s t h e same as U.9. U.lU i s t h e same as U.10. U.li? i s t h e same as U . l l . U.l6 i s t h e same as U.12. This time you mimic the stimulus by humming. A humming response will also be heard on the tape to help you. Compare your humming with what you hear on the tape, and, if possible, have someone else listen to you hum, and compare it with the 'tape response. Recorded Exercises U.17~U»21. Mimicry Drills In these exercises you will mimic the tape. Each utterance consists of four syllables, with a constant frame [mu so pa fu]. This means that the consonants and vowels, and the tone of the initial syllable are held the same throughout. The tone of the initial syllable gives you something to peg the tones of the other syllables to. Do these exercises without watching the book. RE U.17. Mimicry The tones used will be low level, high level, and falling, lou are to mimic the tape, the first time through by humming, and then through by articulating the consonants and vowels also.
70
Lesson h
1. [nrakopa&i]
7. [musobafu]
;Y_
—i \ 2. [mosopafoi]
8. [musotoalfu]
\
-i
1 3 . [im&ojpl&u]
_i\i \ lU. [im^otoajFu]
_iN\
i
3 . [mukoWFu]
9. [nnfccJpaTii]
1 5 . [mi^cipaFu!
k. [im&oJJaSu]
10. [muteoWfu]
16. [im^oteapTI
—iN
\
_l\\_
_J\j\
5. [mu^c^afu]
1 1 . [mujsopafxu] ojsopafoi]
6 . [muSsoJMfti]
12. [nrasopa^u]
1 8 . [musa"pafcu]
1\
i\\
J
-J\!\
1 7 . [musohafu]
\
HE U.18. Mimicry Your d i r e c t i o n s a r e t h e same, except t h a t t h i s time t h e g l i d e tone w i l l be r i s i n g i n s t e a d of f a l l i n g . 1. [mubopajfu]
7 . [masopajfu]
1 3 . [mnsdpstii]
2 . [musopaftr]
8. [musopajfti!']
lit.
3 . [mTisefpaThrf
9 . [mosobafu] imusobafu]
1 5 . [irascJpafiT) [muscipafir l£,
U. [imjsafjpafu]
10. [mnsdp&u]
1 5 . [nrujsopapa"]
5 . [mugcjpaFu]
1 1 . [mi»opajCti!]
1 7 . [musopajCu]
6 , [mus«Wfu]
12. [musopafu]
18. [masowfeyfi
Imasfeatta]
RE U.19. Mimicry The g l i d e may be e i t h e r r i s i n g or f a l l i n g . 1. [musopafu]
2 . [musopatj^
3 . [nra^WCuT
Finer Distinctions in Hearing Pitch
71
he [muis^oW'tif]
9 . [musop^u]
l i u [mu^opapu]
5 . [raupoTpafu]
10. [musopafi^l
15. [musA)8toi]
6.
11.
[mu^o^afu]
16. [mu^ojiafcu]
7 . [musdpafu]
12. [mt^opafW]
17. [musoW^]
8. [mus^pafbu]
1 3 . [muWparu]
[mtisopaffu]
_i '^J 18. [musypa?u]
RE I4..201 Vietnamese^-. Mimicryt Humming only ['lonjhOT] ' l o u d e r '
1 1 . [tiof&i.]
•enough 1
2 . [noyjmaaw] •speak f a s t '
12. [koj»t£e]
•may, can'
3 . [tiAnllA^m] 'your language'
1 3 . [kAyiy^A]
•dish'
li. [cufyn!!toy_] «-vre( e x c l u s i v e ) '
ll).. [noyj'laay]
'repeat'
5.
[ t ^ i l h a a y ] •Monday'
1 5 . [guA!«fiik]
•Sunday*
6.
[#2l|aa]
•Tuesday'
1 5 . [kAyj»Saa]
'house 1
7.
[t^ti]
•Wednesday"
17. [kAyfrbaaq]
'table'
8. [ t ^ I n a a m ] •Thursday'
18. [kAyjikwin]
'trousers'
9 . [kayllkiA]
•that'
19. [kAyi»nAy]
'this'
'understood'
20. ['ni/vkj'nAy" • t h i s w a t e r '
1.
10. [ko*h>w]
"Tor source, see fn. p. U2.
Lesson h
72 21. [ttVjjsaaiir]
'how?'
2U. [ • saaw|_d^ra]
' six piastres'
22.
[•aawj'kwin]
'clothes'
25.
[*taam|dAnm] ~
"eight piastres'
23.
['bon| dArm]
'four piastres'
26. [t c in|dA n m]
'nine piastres'
RE U.21i Kpelle (Liberia) . Mimicryt Humming only 1.
[pere ka t i ]
'That's a house'
5. [pere loolu]
2.
[kwsla jka t i j ' T h a t ' s a '<—! monkey'
6. [kwalajloolu] 'Five monkeys'
3.
[kajli;ka t i ]
'That's a hoe'
7.
h» [kojfrajka t i j
'That's a mortar'
8. tfcofrajlooluJ
[kali|loolu]
'Five houses'
'Five hoes' 'Five m o r t a r s '
Transcription Exercises Listen t o RE U.13-4.19 again, t h i s time drawing t h e contour as you hum. Use t h e following symbolizationi [/
]
[/]
SHORT RISE
[
LONG RISE
[/\]
RISE-FALL
[\/]
FALL-RISE
[\
]
SHORT FALL
[\
]
LONG FALL
] LEVEL
The c o r r e c t t r a n s c r i p t i o n i s given i n t h e t e x t .
Tiata from William E. Welmers' lessons i n Kpelle [multil i t h ] , p . 6 . The recording was read by Moses Peter of Parakwelle, Liberia.
73
Finer Distinctions in Hearing Pitch Reading Exercises
Check your s k i l l i n reading t h e p i t c h contours by t h e use of RE km 13-Iu 19. Read off t h e contour (by humming, or by a r t i c u l a t i n g ) before t h e t a p e says i t , and compare your reading •with the t a p e , j u s t as you did i n Lesson 3 .
LI /\)6U ISTKS - 1?egf
v
Boonrt B i P P V &oorvi
8
PIDPVBOOO^
&oorr\
B»ooiV\...
7U LESSON FIVE Facial Diagrams* Voiced Stops In this lesson you are going to learn to make your own facial diagrams of various sounds. One purpose in doing this is for convenience of conmunication in this course. We want to make sure that you are able to read those ire draw for you in explanation, and are able to express your understanding of speech articulations through drawing diagrams. Thus the drawing of diagrams Serves both as a means of communication and as a testing device. However, the other reason is basically much more important. In the drawing of diagrams, you are forced to pay attention to the various inter-playing movements of the speech tract. It is one thing to understand in a vague way what is going on, but it is another to be able to represent it specifically in a schematized diagram. In Sammy 5.1 you see the three basic articulations which must be drawn in on all Sammy diagrams. They are the lips, the tongue, and the velic.
Sammy 5.It Basic Articulations to be Drawn In making Sam Mansfields of stops there are two things particularly to remember. The velic must be closed to show that the air is not going out through the nose, and the artic-
Facial Diagrams* Voiced Stops
75
ulator must be shown closed against the point of articulation. To show this complete closure we draw the line of the velic and of the articulator tightly against the point of articulation, letting no white space show. Sammy S»2 will show you a correct drawing of the articulation of a [t].
Sammy 5«2t [t] correctly drawn Sammy S»3 is incorrect because the articulation is not shown as being closed in stop position. Sammy 5,h is incorrect because the velic is not closed. Study these diagrams. Be sure that you understand the principle that a stop [t] implies full closure at both these points. A diagram of a [p] or a [k] would be the same except that the point of articulation would differ in relation to the articulator. Sammies $,3 and $,h are on the next page. Fricatives are diagrammed as in Sammy 5»5« A narrow slit is le±Jt between the articulator and the point of articulation to show the fricative nature of the sound being diagrammed. Sammy 5.6 is incorrect because too little space is left, making a stop. Sammy 5.7 shows too much space. For the time being we will draw fricatives with the velic closed as we do stops. It is, however, perfectly possible to pronounce fricatives with the velic open.
76
Lesson 5
Sammy 5.31 [t] incorrectly drawn (space between articulator and point of articulation)
Sammy S.Si
Sammy 5.U» [t] incorrectly drawn (velic open)
[x] correctly drawn
77
Facial Diagramsj Voiced Stops
Sammy 5.6» [x] incorrectly drawn (no space between articulator and point of articulation)
Sammy 5.7t [x] incorrectly drawn (too much space between articulator and point of articulation)
Of course voicing and voicelessness must be drawn simultaneously with the other articulations. They are therefore indicated on all of the diagrams of the articulations which we have illustrated earlier in this lesson. The indication of the voicing or lack of it is in the larynx at the vocal cords. A wavy line shows voicing. A broken line shows voicelessness. (See Sammies 5.8 and 5.9 on the next page.) The direction and source of the air stream must also be represented. Up to the present we have not studied any other air stream than one coming out of the lungs. Therefore, for the present we will simply draw the air stream as an arrow pointing upward from the lungs to the larynx. Notice that it should not extend through the larynx. lou will later have other kinds of air stream to represent. (See Sammies 5.10 and 5.11 on the next page.) The final Sammy diagram in this lesson is a "blank Sammy." This is the kind of Sammy on which, from time to time, you will be asked to diagram specific sounds.
Lesson 5
78
Sammy £»8i [p] note voicelessness
Sammy 3>.10» [z] note voicing and placement of arrow indicating air stream
Sammy 5.9* [g] note voicing
Sammy 5.Hi Air stream incorrectly drawn through larynx
Facial Diagrams^ Voiced Stops
79
Samny 5.12t Blank Sammy In Sammy 5.12 you are introduced to Blank Sammy, in the Workbook (p. 7ff.) copies are available in Targe size (Big Blank Sammy, one to a page) or small size (Little Blank Sanmy, four to a page) to save you time. The general configurations of Sammy are drawn except for certain parts such as the articulators, the velum, and the larynx. You have to fill in the missing parts. If you do not have some Blank Saranies to use, you can trace Sammy 5.12 or draw it freehand. When you are given an exercise in -which you draw the articulation for more than one sound, using different colored pencils or different kinds of lines to do so, it is more convenient to use a Big Blank Sammy. When you are asked to draw individual specific sounds, you will find a Little Blank Sammy more convenient. Sairjny Exercises 5.1-5.3 On a Big Blank Sammy, draw [b] and [m], using two different colored pencils, pencil and ink, or different kinds of lines (like regular line and dotted line). On another Big Blank Sammy do the same for [d] and [n] and on a third do the same for [g] and [rj]» What constitutes the difference between these pairs of sounds in each diagrams Voiced Stops In Lesson 3 you learned to distinguish between voicing and voicelessness. We used fricatives as examples because voicing
80
Lesson 5>
or voicelessness is easy to hear in fricatives. However, it should be pointed out that stops can also be either voiced or voiceless. In English /p, t, k/ as in pill, till, and kill are voiceless} /b, d, and g/ as in ball, doll, and gall are often at least partly voiced in my speech (but not in everybody's). This is hard to hear for two reasons. Stops cannot be prolonged as much as fricatives can, but furthermore they cannot be pronounced except with associated vowels. The vowels with which they are pronounced are voiced. This may lead you at first to be confused about whether the stop is voiced or voiceless. For example, if I pronounce [apa] versus [aba], the first one has a voiceless stop in the middlej the second one has a voiced stop in the middle. The vowels in both cases are voiced. You simply have to learn to recognize voiceless and voiced stops by practice. Cover your ears to check on the voicing in your own production, and (if culturally permLssable) put your hand on your informant's or instructor's head to feel his voicing. In many speakers of English (and you may be one of them), both /p/ and /b/ are voiceless, and the difference is due only to other factors. You should check with an instructor if you want to know what your pronunciation of /b, d, and g/ is. We can line up English stop phonemes according to whether they are voiceless or sometimes voiced (in my speech) as in the following diagramt Voiceless stops
/p
t
k
(Sometimes) voiced stops b d g/ In phonetics work, however, when we are discussing sounds without relation to the phonemic system of any language, [b, d, g] will always represent voiced stops, giving us this diagramt Voiceless stops Voiced stops
[p
t
k
b
d
g]
RE 5.1. Demonstrations English Stops and Fricatives Listen to RE 5.1 to hear the voicing and voicelessness on stops. On the tape /b d g/ are pronounced with voicing whether they so occur in your speech or not. Notice the symbols as you go along, but do not try to memorize them now. You are concentrating on the difference between voicing and voicelessness at this point. Each sound is given medially first in a nonsense syllable, (with /a/ because stops cannot be pronounced without
81
Facial Diagrams} Voiced Stops
a vowel), and then initially, medially, and finally in English words. Follow the transcription. Voiceless Stops
Voiced Stops
/apa/ as in pea, appear, ape
/aba/ as in buy, about, ebb
/acta/
/ado/ as in die, adorn, Ed
as in tea, attack, ate
/oka/ as in key, acclaim, ache
/ago/ as in guy, ajain, egg
Students who do not voice English /b d g/ should be careful not to become confused at this point. In all of our phonetics work, where we are dealing with sounds as sounds, regardless of the language in which they occur, we will use the symbols [b d g] for voiced stops only. For your English phonemic transcription you will continue to use these symbols for the initial sounds in buy, die, and guy, regardless of whether in your actual pronunciation you voice them or not. In other words for English phonemic transcription continue to use the symbols as you have learned to do. But for phonetics work you will have to learn to make fully voiced stops for use in other languages, and you will transcribe such voiced stops with these symbols. Recorded Exercises 5.2-5.5. Demonstration/ Voicing [b d g] Listen to the following demonstration exercises on tape, and practice them yourself, following the directions, to help you get a good, full voicing on [b d g] such as you may need in some other languages than English. Remember that the voicing is a rumble which is very audible in your ears when you cover them with the palms of your hands. You can also sense it by feeling the top of another person's head as he speaks. RE 5,2. Negative Practice/ Exaggerating the Voicing on English Stops This exercise is built around English words which have /b d g/ in the middle of the words, with a following unstressed syllable. These are more likely to be voiced than in most positions in English. Listen to the tape as it says the words first naturally, then in elongated fashion, preserving the voicing. (The raised dots indicate the lengthening.) Follow the transcription. la. baby
lb. b«a*b«y
lc. b»y
2a. able
2b. a«b«l«e
2c. b»l
3a. adder
3b. a»dd*er
3 c d»r
82
Lesson 5 Ua. puddle
1+b. pu*dd*le
Uc. d*l
5a. ugly
5b. ug*ly
5c. g*ly
6a. August
6b. Aug'ust
6 c . g*ust
I n Column c prolong t h e stop as long as you can. Tour mouth w i l l f i l l up with a i r so you cannot pronounce i t very long. Be sure you are not making a n a s a l i n s t e a d of a s t o p . RE 5*3. Demonstrationt Avoiding S u b s t i t u t i o n of Nasal f o r Stop Here we w i l l t r y t o help you d i s t i n g u i s h between a long voiced stop and a long n a s a l . This i s important because some people tend t o s u b s t i t u t e a n a s a l when they are t r y i n g t o l e a r n t o voice a s t o p . For t h i s exercise pinch your nose shut w i t h your fingers and f e e l the degrees of v i b r a t i o n i n your nose as you say the u t t e r a n c e s suggested. You should get heavy v i b r a t i o n on t h e [m] but l i t t l e on t h e [ b ] . I f i t continues when you think you have switched t o t h e [b] you are fooling yourself. The same applies t o [n] v s . [d] and [n] v s . [g]« Follow t h e transcription. 1. [can* a am* a ab*a ab*a]
7» [am* ab* am* ab* am* ab*]
2 . [an*a an*a ad*a ad*a]
8. [an* ad* an* ad* an* ad*]
3 . [an*a an*a ag*a ag*a]
o . [an* ag* an* ag* an* ag*]
U. [am*a ab*a am*a ab*a]
10. [m*a b*a m*a b*a m*a b*a]
5. [an*a ad*a an*a ad*a]
1 1 . [n*a d*a n*a d*a n*a d*a]
6 0 [an*a ag*a an*a ag*a] RE 5.U. Demonstrationt Voicing of Stops by Analogy with Fricatives Here i s another approach t o the problem of f u l l voicing of s t o p s . S t a r t with long voiced f r i c a t i v e s a t t h e same point of a r t i c u l a t i o n and cut them off i n t o stops i n t h e manner i n d i c a t e d below. L i s t e n t o t h e tape and follow the t r a n s c r i p t i o n . Then t r y i t f o r yourself. 1* [ate* ate*b* ab*b» ab*]
lu [ate*a ate*b*a ab*a]
2 . [az* az*d* az*d* ad»]
5. [az*a az*d*a ad*a]
3 . [ag* ag*g* ag*g<> °E*]
6* [ag*a ag*g*a ag*a]
Facial Diagramsj Voiced Stops 7. [b*a b«b»o b»a]
83 8. [z»a z»d»a d»a]
RE 5 . 5 . Negative P r a c t i c e t Exaggerated English Voicing of Stops Work on English phrases such as the ones below, s t r i v i n g for exaggerated voicing on a l l of the s t o p s . 1. b»ig» b»ad» b»oy
3 . d»oes D»otty d»ream
2. g»ooey g»reen g»rapes RE 5 . 6 . D i f f e r e n t i a l ! VOICED OR VOICELESS I n t h i s e x e r c i s e you a r e asked t o recognize voicing or v o i c e l e s s n e s s , as you did i n Lesson 3 , but now, of c o u r s e , stops are included i n the d r i l l . Be sure t o l i s t e n for voicing or v o i c e l e s s n e s s i n the u t t e r a n c e on the t a p e . Do not r e l y on your own pronunciation of t h e corresponding English phoneme. Your pronunciation may not be what i s on t h e t a p e . Listen t o voicing on t h e t a p e . Try t o do the exercise without watching the transcription. 1. [asa]
VL
1 1 . [za]
VD
2 1 . [oel
VD
2 . [ana]
VD
12. [za]
VD
22. [za]
VD
3 . [ova]
VD
1 3 . [bo]
VD
23. [ada]
VD
U. [ a t h a ]
VL
Ik.
[pM
VL
2U. [apha]
VL
5 . [ada]
VD
15. [l£a]
VL
25. [da]
VD
6 . [a9a]
VL
16. [ajJ1]
VL
26. [ak11]
VL
7. [ama]
VD
17. [ab]
VD
27. [«3]
VD
8. [ a l a ]
VD
18. [a©]
VL
28. [asa]
VL
9 . [aga]
VD
19. [am]
VD
29. [ga]
VD
10. [aga]
VD
20. [ a t h ]
VL
3 0 . [ala]
VD
Recorded Exercises 5.7-5.10. Sounds
D i f f e r e n t i a l ! Description oi
I n t h i s s e r i e s we take you through a progression toward the l a b e l i n g of sounds, as we did i n Lesson 1. This w i l l be review of much of t h e m a t e r i a l , but the d i s t i n c t i o n between voicing and voicelessness w i l l be added.
81*
Lesson 5
RE 5.7 Use one term from each column below. Listen to the tape and give the label. Do not consult the transcription which follows unless you have to do so, VOICED
STOP
VOICELESS
FRICATIVE
LATERAL
[asa]
VL F
2 3 . [4a]
2 . [ana]
VD N
Ik.
3 . [apha]
VL S
h. [ada]
VD F
25. [an]
VD N
VL S
26. [ax]
VL F
1 5 . [bo]
VD S
27. [as]
VL F
VD S
16.
[fa]
VD F
28. [ « ]
VL F
5. [aza]
VD F
17. [go]
VD S
29. [ad]
VD F
6. [ala]
VD L
18. [so]
VL F
30.
[ag]
VD S
7. [aGa]
VL F
19. [pho]
VL S
3 1 . [9a]
VL F
8. [akha]
VL S
20. [lo]
VD L
32. [am]
VD N
9. [aga]
VD F
2 1 . [ad]
VD F .
33.
10. [ama]
VD N
22. [or]
VD F
3h. [ga]
VD F
1 1 . [no]
VD N
23. [of]
VL F
3$.
[az]
VD F
12. [va]
VD F
2k. [ot h ]
VL S
36.
[ad]
VD S
1.
[tha]
[aba]
VD S
RE 5.8 Take one t e r m from each column.
D o n ' t peeki
VOICELESS
LABIAL
STOP
VOICED
DENTAL
FRICATIVE
ALVEOLAR
NASAL
ALVEOPAIATAL
LATERAL
VELAR
85
Facial Diagramsj Voiced Stops 1* [ofa]
VL DENTAL F
1 3 . [aQa]
VL DENTAL F
2. [ava]
VD DENTAL F
ll+. [ana]
VD VELAR N
3 . [aia]
VD DENTAL F
15. [an]
VD ALVEOLAR N
h. [ a t h a ]
VL ALVEOLAR S
16. [az]
VD ALVEOPALATAL F
5. [aba]
VD LABIAL S
17. [sa]
VL ALVEOPALATAL F
6, [ga]
VD VELAR S
18. [aba]
VD IABIAL S
7. [na]
VD ALVEOLAR N
19. [as]
VL ALVEOLAR F
8. [sa]
VL ALVEOPALATAL F
20, [a©]
VL DENTAL F
9. [
VD DENTAL F
2 1 . [an]
VD VELAR N
10. [ga]
VD VELAR S
22. [ag]
VD VELAR S
11. [ala]
VD ALVEOLAR L
23. [k^a]
VL VELAR S
12. [am]
VD LABIAL N
2k.
VD ALVEOLAR L
[la]
RE 5.9 Take one term from each column.
Don't peekj
VOICELESS
BILABIAL
STOP
VOICED
LABIO-DENTAL
FRICATIVE
TIP-DENTAL
NASAL
TIP-ALVEOLAR
LATERAL
BLADE-ALVEOLAR TIP-ALVEOPALATAL BLADE-ALVEOPALATAL BACK-VELAR [ a t h a ] VL TIP-ALVEOIAR S
1 . [ofa]
VL LABIO-DENTAL F
k.
2. [ova]
VD LABIO-DENTAL F
5 . [aba]
VD BILABIAL S
3 . [ada]
VD TIP-DENTAL F
6. [ga]
VD BACK-VELAR S
86
Lesson £
7 . [na]
VD TIP-ALVEOLAR N
8. [sa]
VL T I P - ( o r BLADE-)
17. [sa]
VL T I P - ( o r BLADE-) ALVEOPALATAL F
ALVEOPALATAL F
1 8 . [ a b a ] VD BILABIAL S
9 . [4a]
VD TIP-DENTAL F
19. [as]
10. [ga]
VD BACK-VELAR S
VL T I P - ( o r BLADE-) ALVEOLAR F
1 1 . [ a l a ] VD TIP-ALVEOLAR L
2 0 . [a©]
VL TIP-DENTAL F
1 2 . [am]
2 1 . [an]
VD BACK-VELAR N VD BACK-VELAR S
VL BILABIAL N
13.
[a©a] VL TIP-DENTAL F
2 2 . [ag]
liu
[ana] VD BACK-VELAR N
2 3 . [ l ^ a ] VL BACK-VELAR S
15.
[an]
2U. [ l a ]
16. [az]
VD TIP-ALVEOLAR N
VD TIP-ALVECLAR L
VD T I P - ( o r BLADE-) ALVEOPALATAL F
RE g . 1 0 . This exercise reverses the previous procedure, giving you the technical name and asking you to pronounce the sound between vowels. The tape follows with the correct response. Don't peekj 1 . VD BILABIAL N
[ama]
1 1 . VD BACK-VELAR S
[oga]
2 . VD TIP-ALVEOLAR N
[ana]
1 2 . VD TIP-DENTAL F
[ada]
3. VD BACK-VELAR N
[ana]
1 3 . VL BACK-VELAR S
[al^a]
lu VD BILABIAL S
[aba]
H i . VD BILABIAL N
[ama]
5. VL BACK-VELAR F
[axa]
1 5 . VL LABIO-DENTAL F
[afa]
1 6 . VD TIP-ALVEOLAR N
[ana]
1 7 . VD T I P - ( o r BLADE-) ALVEOLAR F
[aza]
1 8 . VD T I P - ( o r BLADE-) ALVEOPALATAL F
[aza]
1 9 . VD BACK-VELAR N
[aria]
2 0 . VD TIP-ALVEOLAR S
[ada]
6. VL T I P - ( o r BLADE-) ALVEOPALATAL F
[asa]
7 . VD LABIO-DENTAL F
[ava]
8 . VD BACK-VELAR N
[ana]
9 . VL TIP-DENTAL F
[a9a]
1 0 . VL BILABIAL'F
[apa]
87
Facial Diagramsj Voiced Stops RE 5.11. Differential! [f v p b] (Review)
In this drill you will be asked to respond with any one of the following! VOICELESS BILABIAL, VOICED BILABIAL, VOICELESS LABIC-DENTAL, VOICED LABIC-DENTAL. This drill is difficult because the tape does not fully record the slight difference of sound between the two voiceless fricatives and the two voiced fricatives. You can also use this exercise as a mimicry exercise, with your Manual open to the transcription of the exercise, to practice the production of these fricatives. Remember that when you pronounce the bilabial fricatives you cannot let your lower lip touch your upper teeth. If you have any difficulty, review Lesson 3. Don't peekj 1. [afo]
VL LABIO-DEMTAL
1 1 . [ap]
VL BILABIAL
2. [apa]
VL BILABIAL
1 2 . [av]
VD LABIO-DENTAL
3 . [apa]
VL BILABIAL
1 3 . [aw]
VD LABIO-DENTAL
k.
VL LABIO-DENTAL
ll+. [ab]
VD BILABIAL
5. [awa]
VD LABIO-DENTAL
1 5 . [tea]
VD BILABIAL
6 . [ova]
VD LABIO-DENTAL
16. [va]
VD LABIO-DENTAL
7. [aba]
VD BILABIAL
17.
[fa]
VL LABIO-DENTAL
8. [aba]
VD BILABIAL
1 8 . [fa]
VL LABIO-DENTAL
9. [ap]
VL BILABIAL
1 9 . [pa]
VL BILABIAL
VL LABIO-DENTAL
20.
VL LABIO-DENTAL
[afa]
10. [of]
[fa]
RE 5«12. Mimicry! F r i c a t i v e s This exercise is designed to help you get facility in the use of non-English fricatives studied so far. Practice in mimicry of the tape. You may follow along by reading the utterances as you mimic if you care to do so. Each item will be given twice, with space for your mimicry after each repetition. [as va asva]
9 . [ax va axva]
2. [af va afva]
6 . [as va asva]
10. [ag- va agva]
3 . [ a i va aeLva]
7. [ap v a apva]
1 1 . [av x a avxa]
km [aG va a©va]
8. [ab va abva]
12. [af x a afxa]
1. [av va
awa]
5.
Lesson 5 13. [ad xa adxa]
19. [ax xa axxa]
25. [as ga asga]
ll;. [a9 xa a€Ka]
20. [ag xa agxa]
26. [as ga asga]
15. [as xa asxa]
21. [av ga avga]
27. [ap ga apga]
16. [as xa asxa]
22. [af ga afga]
28. [ab ga abga]
17. [ap xa apoca]
23. [a* ga adga]
29. [ax ga axga]
18. [ab xa abxa]
2U. [a6 ga aGga]
30. [ag ga agga]
RE 5.13. Transcription In the following exercise you are to write what you hear on the tape, using the phonetic symbols you have been learning. The voTfels in these utterances will be kept constant as a frame, and will be [a]. You, however, should write the vowel every time you hear it, along with the correct consonants. Check your work with the key below after you finish your transcription to your satisfaction. 1. [mada]
8. [soma]
15. [nafeaz]
2. [saza]
9, [xada]
16. [xamdaz]
3 . [bona]
10. [saga]
17. [labsag]
k» [xarja]
11. [manor) ]
18.
5. [zaga]
12.
[fadarj]
19. [feagsam]
6 . [Gava]
1 3 . [wazam]
20. [danxag]
7. [gaga]
lit. [parjag]
[eanfarj]
Reading Exercise Use RE 5.13 as a reading exercise by reading off the transcription of each utterance before the tape recording sounds the pronunciation.
89 LESSON SIX Controlled I n t o n a t i o n I n t h i s lesson we narrow our requirements i n t h e hearing, mimicry, and control of p i t c h . We do t h i s l a r g e l y by s e t t i n g a r t i f i c i a l l i m i t s on English p i t c h i n t h e exercises we u s e . As we pointed out i n Lesson 2 , English has an extremely complicated pitch system which i s used i n every u t t e r a n c e by every speaker of t h e language. We mentioned t h a t l e a r n e r s of another language must l e a r n t o use a d i f f e r e n t p i t c h system as a p a r t of t h e i r learning p r o c e s s . The English p i t c h system i s of a kind which we c a l l i n t o n a t i o n . We d i s t i n g u i s h t h i s from tone, which i s t h e kind of p'itch~system which makes Chinese, Vietnamese, Thai, and many languages of Africa so d i f f i c u l t f o r English-speaking l e a r n e r s . Both i n t o n a t i o n systems and tone systems employ p i t c h , but t h e use t o which they put them i s d i f f e r e n t . I n general, i n a tone system t h e pitches are r e l a t e d t o a s i n g l e s y l l a b l e or t o a word. In an i n t o n a t i o n system t h e pitches are r e l a t e d t o the whole phrase or sentence. Tone serves a function l i k e t h a t of consonants and vowels, helping t o keep words from sounding t h e same, and so being confused. Intonation superimposes an a d d i t i o n a l meaning on the whole phrase or sentence. RE 6 . I t Vietnamese.
Demonstration! Five Tone Contrasts
For example, here are f i v e Vietnamese words with f i v e different tones (but no difference of consonants and vowels). I f i n doubt, l i s t e n t o them on t h e tape and follow t h e t r a n s c r i p tion. Vietnamese Meaning
Spellix
Phonetic Transcription
cheek
ma
[ma"*]
ghost
ma
[ma-]
tomb
? ma
[ma*]
rice plant
ma •
[ma.]
but
ma
[ma«]
90
Lesson 6
RE 6.2t English. Demonstration! Range of a Contour English does not distinguish between words on the basis of pitch in this way, but it spreads an intonation contour out over a phrase, whether that phrase consists of one word or many. Notice how the same contours, with the same meanings, can occur on many words, or few. The tape will help you hear the contours if the transcription is not enough. When the rise or fall occurs on a syllable, the result is a glide [/ ] or [\ ]• When it is between syllables it is a step [_f~] or [""]_]• The part of the contour preceding the stress mark ['] is relatively non-significant. .
y
l a . Did you go j'yesterday?
lb. Did you go;'yesterday?
2a. Did youj'got
2b. Did youi'W
,
•
3 a. Did j'you?
3b. Didj'yW
Ua. 'You2
Ub. '"W.
5a. 'Yesterday?
5b. «Yes|terday.
6a. You j ' d i d ;
6b. ). IpuT'^d.
7a. »Hm2
7b. 'HSJ
Notice that the intonation used in Column a means question all the way through, no matter whether it is oifone word or on several, or on none (as in 7a). The intonation used in Column b is more general, however. If there is a question word in the utterance the result is a question, but if there is not, the result is an affirmative statement. RE 6.3i English. Demonstration! Contrasting Intonations Now listen to the following English examples in which a variety of intonations are used down the list. Here it is not the lexical meaning which changes, as in Vietnamese, but the added meaning which shows the attitude of the speaker, or indicates something about the grammar (like question vs. statement).
Controlled Intonation
91
1. 'JoKh
6. 'John
2. «J*hn
7. 'John
3. 'Jol
8. 'John
U. 'John
1. 'John
/
5..
«Jdfo^
10. '<J&m
RE 6.U. Mimicryt Contours in "The Hat with the Bird" On p. 93 you w i U find part of "The Hat with the Bird," a brief story about Sally Mansfield (Sara's wife). It has been transcribed with lines to indicate the intonation (pitch) contours. In this transcription, however, only a very limited number of pitch contours is used. Although normal English has an enormous repertoire of pitch contours, in this exercise only a small number of them is allowed. The contours used are demonstrated first in RE 6.U. Following that (in RE 6.5) the full page is read off at various speeds to help you learn to control your own intonation in exactly the way indicated by the transcription. In practicing these exercises you should not only seek to control your intonation pitch contours in the ways indicated, but also to keep your voice from trailing off or rising at the end of phrases in the English fashion. Your purpose is to help gain mastery and control of your own pitch on English material. la. 'Mansfield
lb. ''iansjfield
2a. 'husband
2b. 'husjband
3a. 'vetry
3b. »very
Ha. 'women's
lib,
'wcjmen's
Lesson 6
92 5a. 'Sam! Mansfield
?b. 'Sam; Mansfield
6a. i, 03am
6 b . 'S^m
7a. •fti.ce
7b. 'n^ce
8a. ' W g h t
8b. t ^ U g h t
? a . 'Hijbit
9b. i h j b i t
I t
10a. ' h a t s
10b. ' h a t s
1 c . h e r I'husband
I d . h e r 'husband
2 c . a'jgreed
2d. a'greed
3 c . about ['-women
3 d . about 'women
Uc. I {'bought
Ud. I 'bought
5 c . he ; ' u s u a l l y "
5d. he ' u s u a l l y
6c. a I'hat
6d. a ' h a t
7c. some ;«flowers
7d. some . 'flowers
8c. t h e j ' b i r d
8d. the ' b i r d
9c. 'regulaifly
9d. " r e g u l a r ] ^
10c. to;'day
lOd. t o ' d a y
93
Controlled Intonation If. the;"last hat
le. the!'last!hat 2e. it)'lookedjvery real
. itf'iWa oked very real
3e. t o | H e l l ' her
. tgj'^er 11 her
he, t h e ; ' b i r d jon i t
hfm theT'bXrd on i t
5>e. a j ' h a t ' I suppose
SC..jj'ftalt I suppose
6e. a i'liveibird
6f. j j ' i X y e bird
7e. a j'niceihat
7f. _aj~'riice hat
8e, some i'flowers ion it
8f. some i'flowjers on i t
9e. an i'animalion it
9f. an!'animal on i t
lOe. a j'cat|on i t for example
lOf. a j['* s\ att on i t for example
RE 6.5. Negative Practicet "The Hat with the Bird" listen to the tape demonstration of the reading of Sally Mansfield with the restricted contours indicated. Then practice reading it yourself until you can follow the transcription of the contours perfectly. •Sally 'Mansjfield and her; 'husband. «S ami Mans field, i
1
i
1
i — \
disagreed 'very much about !'-wotmen'si 'hats.
1
'SamiMansfiel^
"T3y Frank Fletcher. Story and intonation contours adapted from Kenneth L. Pike, The Intonation of American English, Ann Arbort U. of Mich. Press, 19U7. pp. 129-131. Used by permission of the publisher.
9k
Lesson 6
did notl ' l i k e ; t h e h a t s t h a t I'Saljlyf'T)Ought.
He -was! ' t o o
'courteous t o h i s wife t o j ' t e l l i h e r t h a t he did not l i k e them, however.
' He; 'usjually did not sayf^anything.
>.
'One I day, however, i 'Saljly bought ai ' h a t i w i t h ai 'birrfi on it.
I t w a s ; ' n o t [ a j ' l i v e ! b i r d . | b u t i t I'lookedj v e r y r e a l . I
L
Sally
I
was i'vejtyi'hapipy about t h e h a t with t h e ! ' b i r d I on i t . 1 '"Have you heard what I , ' b o u g h t to'dgy?" S a l l y asked Sain. "You bought a ; ' h a t , , I suppose, B Sam s a i d , 'aljways buying h a t s .
I t ' s aj'bad
"ffomen are
'habit."
I
i
'.liLi'd-011'"^ "think you are v e r y ^ ' n ^ c e , Sam," S a l l y answered. "And i t ' s aj 'vejry f'n^ce h a t .
.
I t has a j ' b i r d l o n i t . "
"Do you have t o | 'feed t h e b i r d 'regularity?" Sam asJced, but I I I
'Salhy didn't!'arjswer him.
"The!' l a s t j hat you bought, " Sam
continued, "had some j'flowjers on i t . it.
'Thisi h a t has a i ' b i r d j o n
JThej ' t h i r d ! ' h a t i s going t o have anj'anjimal on i t , I sup-
I pose.
'Whyjdon't you buy a j ' h a t l t h a t has a ! ' c a t j on i t ,
example?"
(Continued i n Lesson 8)
> for
Controlled Intonation
95
RE 6.6. Review of Pitch Glides (Self Test) Number your paper from 1 - 5. Listen to the tape, and mark your paper with a symbol to represent the pitch contour of each item, as followst / or R for RISING \
orF for FALLING or L for LEVEL
A \
or RF f o r RISING AND FALLING /
or FR for FALLING AND RISING
You w i l l h e a r f i v e warmup u t t e r a n c e s , each given t h r e e t i m e s . Write t h e p i t c h you hear for each u t t e r a n c e by using one of the codes above. You w i l l then h e a r t h e answers for these warmup examples on t h e t a p e , followed by a repeat demons t r a t i o n of the warmup so you can check your mistakes. Then number from 1 - 2 0 and take t h e t e s t i n t h e same manner. The answers w i l l then be given a t the end of t h e t e s t . Don't peeki Warmup 1. 'never
F
h. gow'pz,y
RF
2. HiJ
R
5 . ,sz,mAn
FR
3 . Ouch;
L
Test 1. w e l l
F
5. good
RF
2 . no
R
6 . mine
R
3 . John
R
7. some
F
U. yes
L
8. gas
L
Lesson 6 9. semp
FR
15. *wewga
F
10. zwz-r)
R
16. szym«pr,y
RF
1 1 . I "don't
F
17. 'gowtsy
L
12. H e ' l l 'run
FR
18. cA'nok
R
13. Who's 'there
R
1°. 'wahant
L
lU. I'll 'see you
L
20. slide
R
RE 6.7. Differential! LOW RISE or HIGH RISE In RE 6.7 you will distinguish between two English pitch contours. The frame will be will you come here, with the first three words on a level pitch. You are to listen to the last word and are to respond with LOW RISE or HIGH RISE. Judge the height by comparing the pitch to that of the preceding words. If it is lower, count it low, but if it is higher, call it high. The tape will correct you as usual. If you have a great deal of difficulty with this exercise, try humming the pitch. Have a friend listen to you hum to see whether or not you are really mimicking the tape. Then go back and try the oral responses again. If this does not work, try speaking in mimicry of the tape. Say what the tape says, and with the same intonation. A demonstration will be given you before you begin. If you prefer, you may draw the contours instead of responding orally. If you do so, number from one to twenty, and draw in the frame. Then as you hear the tape, draw in the pitch of the final syllable. Tour possible responses will be as follows t [
] LOW RISE
[
j
J HIGH RISE
You can tell whether or not you were correct by listening to the correct answer given on the tape, and comparing it with your drawing, or you can correct your answers by referring to the transcription of the drill. Don't peekl 1. will you come here
LR
U. will you come jhere
H R
2. will you come here
IS
5. will you come! here
HR
3. will you come;here
HR
6. will you come here
L R
Controlled I n t o n a t i o n
97
7. w i l l you come'here
ER
10. -will you come here
LR
8. w i l l you come
LR
1 1 . w i l l you comejhere
HR
LR
12. w i l l you come here
LR
ftere
9 . w i l l you come here
RE 6 . 8 . D i f f e r e n t i a l ! LOT FALL or HIGH FALL Follow t h e same procedure as f o r t h e preceding e x e r c i s a . The p i t c h on t h e l a s t word w i l l now be f a l l i n g . Don't peekj 1* w i l l you come: here
HF
7 . w i l l you come here
LF
2 . . w i l l you come here
LF
8 . w i l l you come here
LF
3 . w i l l you comejhere""
HF
9 . w i l l you come [here A
HF
km w i l l you come here
LF
10. w i l l you comelhere"
HF
LF
1 1 . w i l l you come here
LF
5. w i l l you comei here
i
1
s
6 . w i l l you comejhere
HF
s
12. w i l l you come here 1
LF S
RE 6.9. Differential! Various Contours In RE 6.9 we add an additional complication of a long rise and long fall on the frame my book. The possibilities of responses aret LONG
HIGH
FALL
SHORT
LOW
RISE
Choose one from each column. Or you may draw the contour if you prefer. In each case of a long fall, it will start high, and in each case of a long rise, it will start low. Don't peek!
Lesson 6
98 1, ray «ba6c
LONG L R
1 1 . my 'bop&
LONG L R
2. ray "book
SHORT L R
12. my 'book
SHORT L F
3 . my!'book
SHORT H R
1 3 . my| 'book^
SHORT H F
li. my. 'book'
SHORT H F
l i u royj 'book^
SHORT H F
5 . my 'book
SHORT L F
l g . myi"fb>ok
LONG H F
6. myHbgok
LONG H F
16. my i'book
SHORT H R
7. my;'book"
SHORT H F
17. j ^ ' b o o k
SHORT L F
8. myj'book^
SHORT H R
18. n%_fbook
SHORT L R
9. my 'book
SHORT L R
19. my /book
SHORT L F
10. my 'book
SHORT L R
20. _my_,«book/
LONG L R
RE 6.10. D i f f e r e n t i a l ! Various Contours RE 6.10 i s the same as the preceding, except t h a t t h i s time the words of t h e frame change. The pitch of t h e frame does not change. Don't peeki 1. ray boak
LONG L R
5. h e f c r i e s
LONG H F
2. one cat
SHORT L F
6 . t h i s fcar^
SHORT H F
3 . how lovely
SHORT L F
7. she:gulped^ SHORT H F
SHORT L R
8. the phone
i>
s
U. never mind
SHORT L F
Controlled I n t o n a t i o n
99
LONG L R
1 5 . up^ s t a i r s
SHORT L F
10, some,gum
SHORT L R
16. t o y j t r a i n N
SHORT H F
11. Christine
SHORT L R
17. bright;light SHORT H P.
12. my;ear
SHORT H R
18. he fell
9. In.hepe
SHORT L R
t
13. up! h i l l
SHORT H F
19. tired|ou^
LONG L R
Ik. M a i n f s W e t
LONG H F
20. long nose
SHORT L F
RE 6 . 1 1 . D i f f e r e n t i a l * Various Contours RE 6 . 1 1 i s l i k e RE 6 . 9 , except t h a t the frame i s h i g h e r . This gives you a d i f f e r e n t point of reference f o r deciding on t h e h e i g h t of the f i n a l p i t c h . Use the same responses as i n preceding e x e r c i s e s . Don't peek! l. - my r i'boe(k
LONG L R
w
9. myj'book
SHORT L R
t
I
'
SHORT L R
10. my!'book
SHORT L R
3 . my 'book'' SHORT H R
ll.l^'bQolc
LONG L R
It. my «book s
SHORT H F
12. ~my~!«book
SHORT L F
5 . my 'book
SHORT L F
2 3 . my 'book
SHORT H F
6. my 'bV)k
LONG H F
2iu my 'book
SHORT H F
1 5 . my 'book k
LONG H F
SHORT H R
1 6 . my 'book
SHORT H R
2. ^ri'book 1
7. my 'book
•>
N
_y
8. my 'book
N
SHORT H F
Lesson 6
100 17. my ;«book
SHORT L F
19. my ['book
SHORT L F
18. my ''book
SHORT L R
20. myi'bo/k
LONG L R
RE 6.12. D i f f e r e n t i a l ! Various Contours RE 6.12 i s l i k e RE 6.10, except t h a t t h e frame i s h i g h . Use t h e same responses as i n preceding e x e r c i s e s . Don't peekl ^"myjbo^k
LONG L R
1 1 . Chrisltine
SHORT L R
2. one!cat
SHORT L F
12. my e a r
SHORT H R
3 . how!lovely
SHORT L F
13. u p h i l l
SHORT H F
lu never[mind 1 ./
SHORT L R
111. Main S t r e e t
LONG H F
5. he c r \ e s
LONG H F
l £ . "up!stairs
SHORT L F
SHORT H F
16. t o y t r a i n
i
6 . t h i s car
N
N
SHORT H F
7. she gulped ^ SHORT H F
17. b r i g h t l i g h t
SHORT H R
8. TEelphone
SHORT L F
18."Ke]fell
SHORT L R
9. i nlihere Uier/
LONG L R
19. t i r e d ' ,
LONG L R
SHORT L R
20. long!nose
SHORT L F
•7
10. some!gum
i
s
i
RE 6.33. Transcriptiont Pitch Contours RE 6.13 is a transcription exercise. It is made on the same pattern as the preceding exercises, but no response is recorded on the tape. Draw the contours as your response. Draw the frame as well as the final syllable. Check your answers against the text of the exercise.
101
Controlled Intonation
l.liaW
Ik,
2. had| a
15. followed
go; site
s
i
3. Utftle
U5. her t o
k» lamb i t s
17. school) one 1
s
5. f l e e c e was
18. dayj which
6. white
19. was
7. snow and
20. gainst; t h e
A
i i
8. e v e W
2 1 . r u l e s 1 rfc
9. where)that
22. made tlie
i
lO.~Ma{ry-
23. children
1 1 . went!the
2U. laugh;and 1
s s
1 2 . lamb was
13. sure %6
25. the;end
102
LESSON SEVEN Voiceless Aspirated and Unaspirated Stops If you pronounce the interjection Oh-oM deliberately and carefully, you should be aware of a "break" or "catch" in the middle. This break or catch is called a glottal stop. Or, if you cough deliberately, the "catch" at the beginning is a glottal stop. Most speakers of English use the glottal stop constantly in some interjections and frequently also as an "attack" or "opening" for words beginning with a vowel phoneme. In addition, many dialects of American English have glottal stops as a substitute or replacement-'- for aft]in certain combinations with other sounds. An example of this is the "Brooklynese" bottle [«ba?}.], or kitten [k^r-'n], Americans from all parts of the United States say some variety of ['sen'nts] or [•se'ents] for sentence. The glottal stop is symbolized by ['], the top part of a question mark without the dot. Recorded Exercises 7.1~7.3t English. Demonstration* Uses of Listen to the tape demonstration of some English uses of the glottal stop. Mimic the tape. RE 7.1 1 . [«*>o*>o]
Oh-ohl
8 . [ik^'n]
kitten
2. [»m»m]
negative grunt
9 . ['s&'n]
sittin'
3 . ['MnPrn]
negative grunt
10. [«bz,'n]
bitten
U. [ " £ ? £ ]
negative grunt
1 1 . [»ba?}.]
bottle
5. ['senPnts] sentence
12. ['kree'}.]
cattle
6 . [«sasPrdey] Saturday
1 3 . ['me'l.]
metal
7. [«mt'n]
Ik. [«3*»|]
little
mitten
T!n t e c h n i c a l terms ( f o r t h o s e who understand them by now), [»] i s an allophone of / t / i n some English d i a l e c t s . Do not l e t t h e s e English examples a f f e c t your phonemic t r a n s c r i p t i o n of English. G l o t t a l stop i s not a s e p a r a t e phoneme i n most d i a l e c t s of English; although i t i s i n many languages. I t should be indicated i n phonetic t r a n s c r i p t i o n but not i n phonemic t r a n s c r i p t i o n of English.
Voiceless Aspirated and Unaspirated Stops
103
RE 7.2. Demonstration! Glottal Stop at Medial Word Boundary The first column indicates pronunciation with the glottal stop, and the second without it. Both are common pronunciations. The tape recordings read from left to right so that you can hear the same phrase with and without glottal stop. l a . [,t h vw "aeplz]
3b. [jt^mr «eeplz]
two apples
2a. [,may "z-yrz]
2b. [,moy U y r z ]
my ears
3 a . [»sowfi ,'aHrmz]
3 b . ['sowfi
sofa arms
Ua. ['p^aHpA ,*z.z]
lib. [•p^ofipA ,j.z]
papa i s
$a. [fsAm " A y s ]
5b. [tSAm 'Ays]
some i c e
6 a . ["aenA "aesks]
6b. ["aeriA »eesks]
Anna asks
7a. [ t « r t y " e g z ]
7b. [,Grz,y «egz]
t h r e e eggs
8a. [|drdz,y "asnk&ij.z]
8b. [idrdz,y «ean
d i r t y ankles
9a. [tblpw »'ayz]
9b. [ f blvw »oyz]
blue eyes
10a. [ f yelow " o t o w ]
,aHrmz]
10b. [ t yelow «otow]
yellow auto
RE 7 . 3 . Demonstration* I n i t i a l G l o t t a l Stop 1. [•'eepl.z]
apples
6.
["aeHsks]
asks
2. ["z,yrz]
ears
7.
[»*egz]
eggs
3 . [•'aHrrnz]
arms
8. [«->ayz]
eyes
U. [ , 9 z.z]
jLs
9.
$, [ " A y s ]
ice
10.
[•'3Hnkhl.z]
ankles
[«*otow]
auto
For English-speaking people glottal stop is hardest to hear in initial position. Listen again carefully to RE 7.3. You will get more drill on initial glottal stop later. Producing Glottal Stops In producing the glottal stop the vocal cords are briefly closed, and air pressure from the lungs builds up behind them. The sudden opening of the glottis releases the air. Note that in a glottal stop the air stream is cut off at the larynx, below all of the articulators. This means that for the duration
ldt
Lesson 7
Sammy 7»1* Glottal Stop in the sequence [a?a]
Sammy 7«2» Glottal Stop in the sequence [m?m]
of this stop the position of the articulators is irrelevant to the sound. The position is governed by preceding and/or following sounds. Compare Sammies 7*1 and 7*2. Most students have very little difficulty producing glottal stops, but for those who do, we provide the following exercises. RE 7.U« Mimicryi Producing Medial [»] Mimic the tape, pronouncing the words, and exaggerating or lengthening the [»] in Column b . l a . [so»»o]
l b . [so"»o]
2a. [ s a " a ]
2b. [ s a ^ ' a ]
3a. [ s i " i ]
3 b . [si«*»i]
ha.. [su"u]
lib. [su'^'u]
5a. [se' 9 e]
5b. [se»'»e]
RE 7>5» Mimicryi Producing Final [»] In order to learn to produce a glottal stop in final position, start with the sequence of RE 7.U and add a third column without a final vowel.
Voiceless Aspirated and Unaspirated Stops la.
105
[so"o]
l b . [so»'«o]
lc
2a. [ s a " a ]
2b. [set"* a]
2c. [«so?]
3 a. [si«->i]
3b. [si»'»i]
3c
Ua. [su«'u]
Ub. [ s u ' ^ u ]
Uc. [«su']
5a. [se'^e]
5b. [se* 9 «e]
5c. C'se»]
[«so»]
[•si']
RE 7.6. Mimicryt Producing Initial [»] Learn to pronounce an initial glottal stop in the same way, except that this time you leave off the first syllable of Column b to form Column c. [so"o]
l b . [so» , »o]
l c . [19.0]
2a. [so'^a]
2b. [ s o " « a ]
2c. [ " • a ]
3a. [ s i " i ]
3 b . [si«»»i]
3 c . [»*•!]
Ua. [ s u ^ u ]
Ub. [ s u " » u ]
Uc. [«'»u]
5a.
5b. [ s e ' ^ ' e ]
5c
la.
[se"e]
[•••e]
Eliminating Initial [»] As you -will see in the To'a'ba'ita (Solomon Islands) data in RE 7.12, languages occasionally require a phonemic distinction between initial [*] and lack of it before vowels. Such contrasts in medial and final position are much more common, and are easier for English-speaking people to learn. In the next exercises we will concentrate on producing clear initial vowels without a glottal stop. RE 7.7. Mimieryt initial Presence and Absence of [»] Listen to the tape and mimic The exercise reads across. Follow in your text. As you mimic items in Column a be sure you feel the [•] in your throat. As you mimic items in Column b be sure there is no [*] in your throat. la. ['©•]
lb. [o«]
2a. [»o»]
2b. [a»]
3a. [•!•]
3b. [!•]
106
Lesson 7 Ua. [»u»]
Ub. [u»]
5a. [»e«]
5b.
[••]
RE 7 . 8 . Miroicryi Producing I n i t i a l Vowel Another way t o l e a r n t o make an i n i t i a l vowel without a g l o t t a l stop i s by making a s l i g h t [h] j u s t as you begin the vowel. This opens the g l o t t i s . Listen t o , and p r a c t i c e t h e c o n t r a s t between Column a (with [*]), Column b (with [ h ] ) , and Coluran c (with i n i t i a l vowel). Say Column c l i k e Column b , except t h a t t h e r e i s no audible [ h ] . Let t h e [h] open your g l o t t i s f o r you, but do not sound i t . la.
[f»o]
l b . [«ho]
l c . [»o]
2a. [ i ' a ]
2b. [«ha]
2 c . [to]
3a.
[t'i]
3b. [»hi]
3c
Ua. [i»u]
Ub. [«hu]
Uc. [iu]
5a. [t»e]
5b. [«he]
5c
[ii]
[«e]
Another v a r i e t y of t h e same exercise i s t o b r e a t h e i n s l i g h t l y f o r Column b i n place of t h e [ h ] . Breathe i n t o open the g l o t t i s and then say the vowel. Recognizing G l o t t a l Stops I n t h e following exercises you should l i s t e n f o r any g l o t t a l stop which may be pronounced. Each of the exercises w i l l focus on a d i f f e r e n t p o s i t i o n i n t h e word. I n RE 7.9» when t h e r e i s a [ ' ] i t w i l l be medialj i n RE 7.10 i t w i l l be f i n a l j and i n RE 7.11 i t w i l l be i n i t i a l . Do not watch t h e t e x t of t h e exercises i n your books. RE 7 . 9 . D i f f e r e n t i a l ! GLOTTAL or NO 1 . [«ma'o]
GLOTTAL
7 . [«ka«ka]
2 . [«ma»]
NO
8.
9 . [»ka?aka]
GLOTTAL GLOTTAL
NO
['kakaka]
3.
[•ma»m]
NO
U.
[»ma?am]
GLOTTAL
1 0 . [«kaka?a]
5.
['ma? a ]
GLOTTAL
11.
6.
[•kanaka]
GLOTTAL
12. [•fala«t a]
[»faLa'at h a] h
NO
GLOTTAL
NO
Voiceless Aspirated and Unaspirated Stops
107
13.
NO
15. [«falatha°a]
GLOTTAL
m.
«fala*at h a]
GLOTTAL
16. [ ' p a t a k a ' a l a ]
GLOTTAL
RE 7 10. D i f f e r e n t i a l * GLOTTAL or NO
L i s t e n f o r f i n a l p o s i t i o n only.
Don't peek!
1 . t mo?]
GLOTTAL
8. ['maka'']
GLOTTAL
2. [ ma»]
NO
9. ['ma'ak]
NO
3. [ maV]
GLOTTAL
10. [ ' m a ' a ' ]
GLOTTAL
k. [ maka?]
GLOTTAL
1 1 . [«pataka»ld»]
GLOTTAL
5. [ maka]
NO
12. [ ' p a t a l a » l a k ]
NO
6. [ maka»]
NO
13. ['pataka»la]
NO
7. [ maka]
NO
li*.
['pata?alak]
NO
RE 7 1 1 . D i f f e r e n t i a l ! GLOTTAL o r NO L i s t e n for i n i t i a l p o s i t i o n only.
Don't peekJ
1. [ ' a ]
GLOTTAL
8. [ " a ? ]
GLOTTAL
2. [ a]
NO
9. [»a*a?ak]
NO
3 . [ ' o f a]
GLOTTAL
10. [ " a k a ' a k ]
GLOTTAL
h. [ ' a » f a ]
GLOTTAL
1 1 . [ia»*a'ak]
NO
5. [ afa]
NO
12. [»»akalaka»]
GLOTTAL
6. [ of a'']
NO
13. [ ' a k a l a k a ' ]
NO
7. [ kafa?]
NO
Ik. [ ' k a ' a l a k a ' ]
NO
RE 7 . 1 2 i T o ^ a ' b a ^ i t a ( S o l o m o n s ) . 1 Mimicry
Pay p a r t i c u l a r a t t e n t i o n t o t h e p a i r s of words irtiich diff e r only by [ ' ] . Mimic the t a p e . 1. ' i l i a
«do'
2.
"ilia
'dig'
T)ata from lesson plans in use at the Summer institute of Linguistics, Norman, Oklahoma, 1956.
108
Lesson 7
3. ai
'woman'
7. oe
'you (sg. )•
h. 'ai
'tree'
8. 'abu
'flood'
5. e'a'i
'it is not'
9. "abu
'holy'
6. 'o'e
'act of adultery'
Voiceless Aspirated and Unaspirated Stops •When native speakers of English pronounce the words spill, still, and skill, they normally do so with a simple voiceless stop as the second sound. When they pronounce the words pill till, and kill, they do so with a voiceless stop, but one which has an additional phonetic feature not present in spill, still, and skill. This feature is a slight puff of air immediately after the stop. This puff of air is called aspiration. A stop which has this puff of air is called an aspirated stop. One which does not have it is called an unaspirated stop. The puff of air is symbolized by a raised [n] immediately after the stop symbol. You can sense the difference in the aspiration of the / p / 1 "Tor those who have learned enough about phonemics to understand it, the following statement may be helpful. In English the distinction between aspirated and unaspirated stops is not phonemic. That is why as speakers of English we do not need to be conscious of the /p/ in spill ['spz-1] being different from the /p/ in pill ['p^tl], English speakers make the difference automatically, according to the sound environment in which the stop phonemes /p t k/ occur. The presence of a preceding /s/, for example, is one environment which automatically causes the stop to be pronounced without aspiration in English. Other languages do not have the same patterning of aspirated and unaspirated stops. In many languages they are phonemically distinctive, making all the difference between some words. See, for example, the Thai words in RE 9.l5t /pit/ 'to close,' /p^xt/ 'wrong,' etc. In your phonemic writing of English be sure not to transcribe the aspiration, [p] and [p*1] belong to the same phoneme /p/ in English (but not necessarily in other languages). Similarly [t] and [v1] belong to the same English phoneme /t/, and [k] and [k"] to the same English phoneme /k/. In your phonetics work, however, where you want to be aware of various differences of pronunciation within a phoneme, or of sound differences which constitute phonemic differences in other languages, you need to write the aspiration where it occurs.
Voiceless Aspirated and Unaspirated Stops
109
in spill and pill if you hold the back of your hand close to your mouth as you pronounce the two words in turn. Or, you can hold a light slip of paper in front of your lips. Xou can feel the puff of air (or see it if you use a slip of paper). You need to learn to produce it at will and to hear it wherever it occurs. Perhaps you can hear the difference between aspiration and lack of it in pairs like the following* (a) loose pill [Ivws p^z-l] vs. (let) Lou spill (it) [Ivw sptl] Diagrammatically, the difference between an aspirated stop and an unaspirated one may be shown as follows. The "word" being diagrammed is shown in the first line. The dashes show the occurrence of the feature (articulation or manner of articulation) shown in the left column. [a
a]
a]
[a
Air stream Voicing
—
Stop closure In the unaspirated stop the voiceless stop release coincides very closely with the onset of voicing in the vowel, in the aspirated stop the release of the stop is followed by a brief period of continued voicelessness before the voicing of the vowel begins. It is this voiceless current of air which is called aspiration. RE 7.13. Differential! ASPIRATED or UNASPIRATED Distinguishing between aspirated and unaspirated voiceless stops is not difficult when you hear the two in a controlled sequence as in the following drill. Listen for the stops alone. Do not let other consonants confuse you. Don't peek! 1. [•cjfcx]
ASPIRATED
6. [«akV|
ASPIRATED
2. [•ctpa]
UNASPIRATED
7. [•apa]
UNASPIRATED
3 . t'afca]
UNASPIRATED
8. [•alcana]
ASPIRATED
h. [«at h a]
ASPIRATED
h 9. [«at asa]
ASPIRATED
5. ['oka]
UNASPIRATED
10. [•apkala]
ASPIRATED
110
Lesson 7
11. [«aorta]
UNASPIRATED
23. [«athana]
ASPIRATED
12. [«avaka]
umSPIRATED
Ik.
ASPIRATED
RE 7.1k.
favosa]
D i f f e r e n t i a l ! ASPIRATED or UNASPIRATED
1. [«F^a]
ASPIRATED
8. [»tama]
UNASPIRATED
2. [«pa]
UNASPIRATED
9. Enfold]
ASPIRATED
3 . [»ka]
UNASPIRATED
10. [tphasa]
ASPIRATED
h.
[ik^o]
ASPIRATED
1 1 . [«kama]
UNASPIRATED
5. t'F^a]
ASPIRATED
12. [•pala]
UNASPIRATED
6. [«t a]
ASPIRATED
1 3 . ['tasama]
UNASPIRATED
7. [»ta]
UNASPIRATED
Ik. [•k^amalo] ASPIRATED
h
Aspirated and Unaspirated Voiceless Stops i n Relation t o Voiced Stops Here is a chart of the stops with which we have been working in phonetics up to the present timet Bilabial
Alveolar
Velar
Voiced
b
d
g
Voiceless unaspirated
p
t
k
Voiceless aspirated
p*1
t*1
k11
Glottal1
*
It is quite likely that as you were working on the previous exercises you noticed that the unaspirated stops sounded to you very much like voiced stops. There are at least two reasons for this. One lies in the phonetic facts, which we could diagram as follows! "The glottal stop belongs here with the others because it patterns as a regular stop consonant in many languages. It can occur aspirated (as in a cough), but that is more rare in languages, so we do not include that possibility here.
111
Voiceless Aspirated and Unaspirated Stops [a
a]
a] [a
a] [c
Air stream Voicing
—
Stop closure The vertical lines mark the different segments, or pieces into which the utterance is divided by the articulations. The aspirated stop has an extra segment, whereas the voiced stop and the voiceless unaspirated stop have the same number of segments and seem more alike. Another reason lies in a fact we referred to in Lesson 5, when voiced stops were being discussed. It is that Englishspeaking people do not voice their /b d g/ very fully, and some of them do not voice them at all. In fact, such people who do not voice them actually have phonetic voiceless unaspirated stops for /b d g/. This stop differs from their unaspirated variety of /p t k/ in the strength with which it is articulated, but this difference is very slight. Because of the tendency on the part of English-speaking people to confuse voiced stops (which in some languages are strongly voiced) and voiceless unaspirated stops (which in some languages contrast phonemically with them), this distinction needs particularly careful practice. It is the source of many pronunciation mistakes in learning a second language. RE 7.15. Differential! VOICED or VOICELESS Listen for the voicing (or lack of it) in the stops of the following exercise. Remember that you are listening for a "rumble" in the stop. Do not watch the text of the exercise. 1. [»dba]
TO
8. [•as aba]
TO
2 . [«apa]
VL
9. [•apano]
VL
3 . [»apa]
VL
10.
[•alapa]
VL
U. [«aba]
TO
21.
[«ata]
VL
5. [»apa]
VL
12.
[»ada]
TO
6. [»abala]
TO
13. [«ata]
VL
7. [' abama]
TO
lU. [•ata]
VL
Lesson 7
112 1 5 . ;«oda]
VD
23. "*aga]
VD
15. ' ' atana]
VL
2k. [•oka]
VL
17. ['akida]
VD
25. [«aka]
VL
18. '«adasa]
VD
26. [lagouna]
VD
»adama]
VD
27. [»akala]
VL
20. [•anata]
VL
28. [»asaga]
VD
2 1 . [«aka]
VL
29. [«cmaga]
VD
22. [»aga]
VD
3 0 . [•againa]
VD
19.
RE 7 . 1 6 . D i f f e r e n t i a l ! VOICED or VOICELESS 1. ['op]
VL
16. [•amanab]
VD
2. [•ad]
VD
17. [ • a l a s a t ]
VL
3 . [«ok]
VL
18. [•analog]
VD
U. t'og]
VD
19. [•asamad]
VD
5. t'ab]
VD
20. ['arasab]
VD
6. [«ta]
VL
21. [ 'basa]
VD
7. [»ko]
VL
22. [•dava]
VD
8. [»da]
VD
23. [ ' g a l a ]
VD
9. [«ba]
VD
2U. [•taraa]
VL
10. ['pa]
VL
25. [«bafa]
VD
1 1 . ['amat]
VL
26. [•kamala]
VL
12. [ ' a l a p ]
VL
27. [»tasafa]
VL
1 3 . [•asag]
VD
28. [•gamana]
VD
Hi. [»cnad]
VD
29. [«pavama]
VL
15. [«alak]
VL
30. ['kalasa]
VL
Voiceless Aspirated and Unaspirated Stops
113
Producing Voiceless Aspirated and Unaspirated Stops You use v o i c e l e s s a s p i r a t e d stops i n your English speech a l l of t h e t i m e . A l l you need t o do i s t o l e a r n t o produce them a t w i l l i n environments where they do not normally occur i n English ( l i k e a f t e r / s / ) and t o c o n t r o l t h e amount of a s p i r a t i o n , making i t more or l e s s pronounced, according t o t h e l a n guage you a r e l e a r n i n g . You a l s o use v o i c e l e s s unaspirated stops i n your English speech. You need now t o take sounds which are conditioned by t h e i r environment i n English, and produce them a t w i l l i n any sound environment. HE 7.17. Mimicryi Developing Strong Aspiration Mimic t h e t a p e , maintaining i t s rhythm and speed. Exaggerate t h e amount of a s p i r a t i o n more than you would for normal English. 1. [hohahaha]
3« [hahahaha]
[phapbaphapha]
[l^al^akbakba]
[spbaspkaspkaspba]
[sk^askhaskbaskha]
2. [hahahaha]
k.
[thathathatha]
[hajfratfid&a]
5 . [haspbastbaskba]
[sthasthasthastha] RE 7.18. Negative P r a c t i c e ! Exaggerated Aspiration P r a c t i c e t h e following English words, exaggerating a l l of t h e normal a s p i r a t i o n , and adding a s p i r a t i o n t o any v o i c e l e s s stop which does not normally have i t . 1. [«P h ey]
2EZ
11 7. [ ' s t ^ p ]
step
2. [«i£w]
two
8. [ « t h a t h ]
tot
3. [ t n o t h ]
not
9. [pTA'reyd]
parade
h. [«ot h ow]
auto
10. [«bowt h ]
boat
5. pp"owgow] pogo
11 1 1 . [•opbirsyt ]
operate
6. [«seet h ]
12. [•stbrtyt 1 1 ]
street
sat
llli
Lesson 7
1 3 . [ek^si-t^end]
extend
I S . [&n«k h liwdid]
lU. [ t s t ^ w d i n t 1 1 ]
student
16. [ t - n . t ^ i r p ^ r i t t b e y s i n ]
included
interpretation P r a c t i c e other English words i n t h e same way. RE 7.19. Demonstration* Producing Voiceless Unaspirated Stops I n t h i s and the following exercises keep t h e back of your hand i n front of your l i p s so t h a t you can f e e l t h e a s p i r a t i o n i f t h e r e i s any. 1. S t a r t by making a long v o i c e l e s s s t o p , holding t h e c l o sure a second or sot [ap»a
ap»a
ab»a
oct»a
ak»a
ak«a]
2 . Now be sure you put t h e g r e a t e s t s t r e s s on t h e second vowel. Try t o keep off every t r a c e of a s p i r a t i o n t [ap#lpa
at»'ta
ak»»ka]
3. "Think" the first syllable of the utterances above but do not say it. Just pronounce the second syllable, and keep all aspiration off* [papapapa]
[tatatata]
[kakakaka]
Now again, fasti Go thru RE 7.19 again, this time starting with the "words" [ab»a], [ad»a], and [ag»a] and whispering each part of the exercise before you say it aloud. As you whisper, your whole utterance will automatically be voiceless. Get the feel of the voiceless stops. As you change back to regular speech, continue to "whisper" the stops even though you voice the vowels. RE 7.20. Jemonstratiom Producing Voiceless Unaspirated Stops This exercise is based on the English words spill, still, and skill. The stops in these words are normally unaspirated in English because they follow /s/. This exercise is designed to help you take the / s / off the words without losing the unaspirated quality. Mimic the speed and timing of the tape. Be careful that the words do not come to sound like the English words pill, till, and kill. 1. Make a long [s]* ssssssssssss'pill
Voiceless Aspirated and Unaspirated Stops
115
ssssssssssss'till ssssssssssss'kill 2. Make a break between the [s] and the rest of the word* ssssssssssss
'pill
ssssssssssss
'till
ssssssssssss
'kill
3. Just do the last part alone. Watch out for aspirationi Think the [s] but do not pronounce iti •pill •till 'kill km Run through the sequence rapidlyi ssssssssss ss'pill ssssssssssss
'pill
'pill 'pill
'pill
'pill
Do the same for [t k ] . 5. ['pzJHl pa p i po pu] [«t&Hl t a t i t o t u ] [•laHl ka ki ko ku] In the following exercises listen carefully to the tape, repeating after it exactly what you hear, maintaining the rhythm, stress, and speed, but paying particular attention to the articulation of the consonants. Tou may use your printed text with these drills. RE 7.21. Mimicryt Buildups to Longer Sequences with Stops In this exercise each item on the tape will be given only once. Mimic in the space provided. The items grouped together with the same number build on each other and become cumulatively
116
Lesson 7
longer. The first number is written out in full to show the sequence. Those which follow are built on exactly the same pattern. Follow the transcription. 1. [»'ct?a]
3 . ['papapapa]
7.
U. [•babababa]
8. [ ' k ^ x k ^ x A d ^ a ]
5. 2.
['F^aphai^ap^a]
[•thobhathobho]
6. ['tcctatata]
['dadadada]
9. [•kakakaka] 10. [«gagagaga]
RE 7.22. Miniicryt Baildups to Longer Sequences with Stops and This time the tape will repeat each item more than once when it comes to the longer sequences. Mimic after each repetition. As in the previous exercise, the first number is written out in full so that you can see the progression. From there on, however, only the sequence to which you are building is written out. You will build toward it in the same fashion as in number one. Follow the transcription. ["aj&x]
5. [ • * cqpkapabaeapa]
["cqAcfcVl
6 . [*malafabap"a]
["aphathakha]
7.
2.
["apatotka]
8. [»'afeagasada]
3.
["abadaga]
9. [ 'pakaphabala]
h,
["at^atadazasa]
1.
['pakaxabata]
10. ['gapkadalaxa]
RE 7 . 2 3 . T r a n s c r i p t i o n Listen to the tape, and write down the utterances you hear. The vowels will all be [a], but be sure to write them in in their proper places. Watch for the new sounds or sound distinctions which you have been drilling. Check your transcription afterwards against the correct transcription below, but do not peek until you are satisfied with your transcription. 1.
['pax]
k.
[kNxs]
7. [«tava]
2. [«daf]
5 . [«mat h ]
8. [«naka]
3 . ['gap]
6 . ["zapVl
9 . [«baxa]
117
Voiceless Aspirated and Unaspirated Stops
10. [«pa'a]
12. [«fa'ap]
lh» [»panas]
11. f l a s a g ]
33. t'gozab]
15. [«thaval]
Read off the items in RE 7.23 before you hear them pronounced on the tape. Then listen to the tape to compare with what you have just said. Stop the machine between items if necessary to give yourself the time to read them off. "Baddy System" for Phonetic Study You can work to considerable advantage, and perhaps help avoid at least the grosser mistakes in practicing phonetics, by working in a -team with another student. As you practice together you can point out to each other where you do not correspond to the tape. You can also get practice in reading and transcribing by dictating to each other. Sammy Exercise 7.1 Draw articulations of [v b x S] on Little Blank Sammies. Suggested Reading Page numbers in parentheses may not apply specifically to the points of this lesson, but have been listed in previous lessons, and you may want to read them while you have the book. W. Nelson Francis, The Structure of American English, pp. 72-78 (51-70). — — •
n
JUST A BAD CASf
0P ToH60E FATI60E.
118
LESSON EIGHT Longer Sequences of Pitch RE 8.1. Reading! "The Hat with the Bird" (continued)1 The following material continues with the Sally Mansfield story, read with artificially controlled English intonation. Remember that your purpose here is to be able to say something without the intonation which you would usually attach to it, but with an intonation which is prescribed for you, and which will seem unnatural at times. Before you turn on the tape recorder for this exercise, read over the remainder of "The Hat with the Bird" which is given here, practicing the intonation contours indicated, When you think you have the reading down fairly well, turn on the recorder and check yourself against it. You read each numbered sentence aloud in the space provided on the tape, and the tape will give it correctly after you. Listen to the tape and compare it with what you said. Have a classmate listen to you and the tape to help you realize where you are off. Turn on the tape recorder before you begin to read. You should read the first sentence after the tape says "Number One." (1) 'Saljly was ;'angry. (2) She was •'sensitive when Sam talked aboutf '"hats. (3) He ;'alyrays | 'tried;to be ;'fugny. (h) "'That;i;'dea jis abj*surd," she said.
(5) "I have never
'heard !of it before." (6) "«I; haven't;'either," said Sam, (7) "but it's ar^ oj'rigijnal idea, 'anyway. about women's i~'ha^,s.
(8) I am going t o w r i t e a|'po|em
(9) I t i s going t o go l i k e j ' t h j . s j
"Continued from Lesson 6, p . 9h
Longer Sequences of Pitch
119
(10) A I'birdican s i t upon af'ftqt, (11) Bat a j 'hat'; c a n ' t have a j ' c a t j u p o n
it|
(12) To have a j ' c a t ; -would be abpsSp-d (13) But a j ' h a t jean have a j ' b i r d i u p o n i t . (lU) I j'wonjder i f i t ' s j'posjsible t h a t A | ' b i r d ;can have a ; ' c a t I upon i t ? (150 'Sajjly went| 'out; of t h e | 'room^because her | ' f e e l i n g s : > were h u r t .
(16) She rej'turned ' q u i c k l y and she was;'cryp.ng.
(17) "^Sam, 'Sam," she s a i d , " O u r i ' c a t l i s t r y i n g t o eat. t h e | » b i r d ; o n myj;'' W h a t..
(19) The I•cat I thought the i 'bird!was
_aj*li®-e and she i' .jumped i upon i t .
\
1
(20) 'TOiat I s h a l l IJ' cto, Sam? *
(21) 'Sam|tried; ' n o t j t o T'l^ugh but he could j 'hardily } prej'vent; himself. (22) "'TSherejis t h e c a t f ' r W S " he asked. (23) " I t i s j 'sitfting on my \ ' h a t i n t h e I ' c h a i r ! i n t h e ? •livjing room, 'eatjing t h e j ' b i r d ! on t h e ['hat."
(2li) ' S a l l y
Lesson 8
120 began t o j ' c r y jmore than bej"'"fbre. •terjrible, Sam.
(25) '^T J ' t h i n k ) you a r e
(26) I t h i n k t h e e a t j'realfty I'heard [what you
•said i L about_j'hats." (27) 'Sam|did notj'say)anything, (28) but he tried to t
L
appear unfrhappy about the f'"h\t, the j"'c\t, and the j"'"5ird.
(29) He knew he wouldf'l&ugh if he opened his mouth to j'say
anything.
Mimicry of Pitch Combinations. For the remainder of this lesson you will concentrate primarily on the mimicry of tone drills of various kinds. The emphasis will be on three level tones, two glide tones, and combinations of these. RE 8.2. Mimicryt Three Levels In this drill you will be helped by the fact that a part of your frame will be the words low, mid, and high, each corresponding with the pitch level of that particular syllable. For example, if the pitch sequence is low-high-low, the syllables of your drill will be the words low, high, low as well. In this exercise the first syllable will always be low to give you an additional peg point. Mimic the tape. Try to avoid a "singing" quality. Each item will be given twice.
1 . low mid! h i g h
U. low mid mid
2 . lowj h i g h h i g h
5.
low low mid 1
6 . low mid low r i
j
8. low low low
1i
i
3 . low! h i g h j mid
7. low low.high
1
1
i
9. low; high;low
121
Longer Sequences of Pitch 10. low; high; mid I
12-. low! high] low ! '
1
i
1 1 . low low low
llw low mid mid ;
i
i
1 3 . low! high high
I S . low raid.; high
_i
RE 8.3. Mimicryi Three Levels Here the words of your frame are one, two, and three. As in the last exercise, these words will correllate with the pitches you will hear. One will be low pitch, two mid, and three high. The initial syllable will always be low.
1. one two three
9. one! three itwo i
i
'
i
2. one two one
10. one one three
>
i •
3. one one two
11. one two three
i
lu one one three
5. one
12. one two one i
i one one
6. one two two
1
13 o one|three i one lli. one two two
i
?. one'three three
15. one one two -i
8. one! three|one !
!
16. one one i1 three i
RE 8.U. Mimicryi Three Levels This exercise will be the same as the preceding one, except that the tone of the last syllable (rather than the first) will be the frame tone, and it will be high.
1. three lone;three
2. two twojthree
Lesson 8
122 3. three three three
10. two one\three
U. one ;three t h r e e
1
I
I
i
1 1 . twp_twpj t h r e e
i
S>. one one[three
12. t h r e e t h r e e t h r e e
i
I
6. one two three
13. three'one(three
7. two one [three
lU. t h r e e ; t w o ' t h r e e
1 1 i
i
'
p
8. three itwojthree
15. two oneithree
9. two |three three
16. one one i three
RE 8.5. Mimicryt Three Levels Follow exactly the same procedure as the preceding exercise, except that this time the syllables of your frame are nonsense syllables [ha k^e mu]. The final syllable remains high. Note that there is no correlation here between the syllable and the tone as there was in the preceding exercises. The syllables retain the same position throughout the drill, no matter what the tone. Do not be concerned about your pronunciation of the vowels, but be careful of the aspiration on the
1. [hc^k^e'.muj 1
I
i
I
2 . [ha kh e mu] h
3 . [haj k e mu] ! i
U. [ha k h e;mu]
6. [hajhfre jmuj
11. [ha k^e mu]
7 . [Ealkhermu]
12. IKaj kfoe frail
!
I
I
I
8 . [ha k^elnm] '• 1
9 . [ha kfoeimu]
1 3 . [ha kftejmuj ! 1
l l ; . [ha kfoejmuj
123
Longer Sequences of Pitch RE 8.6. Buildupt Three Levels
There now follows a series of exercises in which you will be working with the same kinds of pitches as the preceding ones, but this time your sequences will be longer, and you will build up to those sequences by adding a syllable at a time. The tape gives three repetitions for each item. The text of the first item in this exercise is written out in full, showing each step of the buildup. The remaining items have only the final utterance transcribed for you here. In this exercise the buildups will begin with the final syllable of the long utterance and add preceding syllables one by one. The tape has the full buildup recorded for each item. This drill corresponds to RE 8.2 in that there is a correlation between the syllables high, mid, low and the pitches they contain. Mimic the tapej watch the transcription. 1. mid low;high I
i
high; mid lowIhigh i
i
mid;high;mid low|high i i
low mid'high jmid low Ihigh low low mid;high;mid low|high
| '
T"
high;low low mid;highjmid low'high
i
i
2. high ;mid low mid mid mid;high high 3 . high'lowihigh high ;mid mid low high
I
I
1
U. mid;high,low midIhigh |low mid mid '
|
[
'
'
i
^ ~
i
5. mid mid mid;high high;mid low low
12k
Lesson 8
RE 8.7. Buildupt Three Levels Follow the same buildup procedure with this exercise, which is patterned after RE 8.3. 1. one [three three i i
two one jthree t h r e e
i
I
two two one [three t h r e e
~
1
i
1
i
one two two one ithree t h r e e r~ —;i Ii t h r e e lone two two one ithree t h r e e 1 I I I i
,
,
i
two [three .one two two one fthree t h r e e I ! 1 ! :
i
I
i
2. three lone two jthree [one two two jthree 3. one one 'three jtwo jthree lone one one U. three jtwo two two iJthree three i lone one i 5» two [three lone one jthree lone two jthree RE 8.8. Buildupt Three Levels Continue in the same fashion. Be sure you get good aspiration on your stops, but do not be concerned about the pronunciation of the vowels. 1. [ha k^e mu] i
[th Iha l^e mu]
125
Longer Sequences of Pitch [so t n i j h a kfoe ma] i i [sejso t h i ! h a kfoe mu] [ l u sejso t ^ i ; ha k^e ma] [ g i ; ! ^ s e j s o t n i | h a k^e mu] 2. [t"u na i zi Ida b o j l e j h i me] ! ' ' 3 . [yoIge n i bu!k^u wa li!p&e] !
'
!
I
U. [da ye l u p o Qi nti. wujsa] \ • \ ! '
I
J
5. [go khjjnu da wojt^e f i zu] RE 8 . 9 . Buildupt Three Levels This exercise i s of the same p r i n c i p l e as the preceding one except t h a t the p a t t e r n of buildup i s reversed, building from t h e beginning of t h e f i n a l u t t e r a n c e r a t h e r than from t h e end. The consonants used t h i s time are not r e s t r i c t e d t o Engl i s h ones. I n t h i s e x e r c i s e , t h e r e f o r e , you w i l l have t o pay close a t t e n t i o n not only t o t h e t o n e , but a l s o t o t h e nonEnglish consonants. 1. [xej~sa~;po]
[xej sa; poi bo t ^ i zu Qel [xejsaipo bo t n i zu ,9ei*u]
[xejsa;po bo] [xejsa; po i bo t ^ i ] i
F
It
[ x e | s a ' p o bo t i zu]
Lesson 8
126
2. [pa 6e *i jte d u g u ^ a k^ij •
i
i
i
3 . [ke gi kfr-ujxujga ">± k^afgi] h. [si ea | t h i ; du t h o ?ta~[so du] 5. [pfrp be pi be;vilpoifalp^o] RE 8,10. MimLcryt Rising and Falling Pitch In this d r i l l the word rise w i l l be said with a rising pitch, and the word f a l l with a falling pitch. 1. ii^e f a l l rgse ri
9. rfse cse f i l l rise
rise!rise 2 . riaej i
10. r a t t - T a l l r±/i
3. W l
rise^fall
11. * a l l r i s ^ ' f a l l
h. f&n|fVu[fsai
12 . r^"fasLLJl*all
5. " t o . r i s e i r i s ^
13. ri/e~~rall rise'
6. "faTLff'all rise'
Ik. fall|">all! r a i l
7.
15.
ri^e"faU.!?all !risi"f\rL
rise] rifte
16. risB| rise f a l l [.
RE 8.11. Mimicry t Rising and Falling Pitch You w i l l now do the same kind of d r i l l on nonsense syllables.
Longer Sequences of Pitch
l. [fc rifV]
9. D^Nio^a]
2. DRefno toft
10. [toi nKrfW]
3. fo£Vh$o]
1 1 . [ w £ ^ n$)<|
lu C^e|^i|iw]
12. [ryitVg^
5. ft^u n^xtf
13. [t£"\re ph*]
6. [ b t f i ^ ' V ]
111. I^orj^afsro]
7. Dfe wf^e]
15. (v «^wi
8, [xfjwftatf
16. C^aNio V I
RE 8.12. Buildupi Rising and Falling Pitch In this exercise you will use the words rise and again, but will build up to longer sequences. 1. risel ris£ iVLl
Lesson 8
128
3 . r i ^ O a T L ["faU. [fall |fall
i±s/\ris£"ta^2.
5. r s l l f f ^ l ris^risef'j rise'" f a l l risertriser
\ v/i/i/
\y[/
HE 8„13. Boildupt Rising and Falling Pitch This time you w i l l build up to longer sequences of nonsense syllables.
i. rui're m oJYe piA^o] ^Ve
p/^oi>]
[W^e p / ^ | W | > u ] Dk
¥^i]
3. [p^^yjn^\e;>o yigpO i. [ l a f ^ i zj/>u Wjkir^u:im]
5. [ ^ i ^ o ^ ^ r f k ]
Longer Sequences of Pitch
129
RE 8. ill, Mimicryt Levels and Glides I n t h i s d r i l l you w i l l hear t h r e e l e v e l s plus r i s i n g and f a l l i n g p i t c h e s . The s y l l a b l e s w i l l c o n s i s t of the words which describe t h e p i t c h i high, mid, low, r i s e , f a l l . Each item w i l l c o n s i s t of t h r e e s y l l a b l e s . The l a s t s y l l a b l e w i l l be the cons t a n t frame. 1* high high jmid
9. h i g h ' f s l l mid \
2. ris^erf low mid
10. rise^jrisje" Imid
3 . lowTfajJlL mid
11.
Wirhigh Imid
i N U. mid r i s ^ m i d
12. mid low mid 1 1 i
i
13. high|mid mid 5 . f a l l mid mid 6. f&rLJhighjmid
lU. l o w f f ^ l , ] ^
7 . mid mid mid
1 5 . highjriseImid
8. low low mid
16. faU. jhigh|mid
RE 8.15. Mimicryt Levels and Glides Now you w i l l do t h e same t h i n g with nonsense s y l l a b l e s . I n i t i a l low tone w i l l be the constant frame. 1. [pi pajfli]
5. [£i!^e!si]
2. [p_ha | jo_ | ea]
6 . [bi ;xo z i ]
3 . [be ku stf]
7. [fu
h.
8. [vu ' a roj
[ma l A f ^ o ]
t#ojleT
230
Lesson 8
9. [wa palni nefl
13. [do p u ^ a ] \
10. [tu[phj ye]
lU. [©e me^ga]
11. [ t h o bi wu]
15.
[siHtefkL]
-J 12. [do feu ka]
M\
16. [zi!vo to]
RE 8.16. Buildupi Levels and Glides This drill is like RE 8.lU except that it builds up to longer sequences.
1. lowffall ndd
_J X T low ("fall mid ndd
low
ndd mid ri
low
mid mid r i s e " high
low["&kH mid mid ^ s e ^ hhigh i high
_J N low
P^r
mid mid ri&e' high highlrise'
2. hiXLThm. risef high i mid low \fh%L [ f o i l 3 . m i d j h i g h X a l l r i s ^ l l o w mid; high Iris,
(not recorded)
h. high|midjhigh Ball :risjej low mid jhigh
(not recorded)
5. ri&gilow mid|high ^h]ris€ £ a l l low mi mid
(not recorded)
!
I
131
Longer Sequences of Pitch RE 8.17. Buildup* Levels and Glides
This time t h e d r i l l w i l l be l i k e RE 8.15, except t h a t you w i l l b u i l d up t o longer sequences. 1. [ba l e fa] [ba l e f a j x i ] [ba l e f a j x i su] [ba l e f a j x i sujmo7]
r u
[ba l e fa ixL su jm/| Wj
1
1/1/
[ba l e fa jxi su Imo/jbo 2. [teirq/&/frjL\^a go k i za] 3 . [yi fou g o / z e ; p h e wi [g^e t W ]
(not recorded)
km [b
(not recorded)
5. IV •>
(not recorded)
RE 8.18* Gola ( L i b e r i a ) . 1 Mimicryi Tone The following d r i l l s constructed from phrases i n t h e Gola language of L i b e r i a consist p r i m a r i l y of l e v e l p i t c h e s , b u t with a downward g l i d e i n some p h r a s e - f i n a l p o s i t i o n s . Gola has t h r e e phonemic tone l e v e l s , marked as follows i n t h e phonemic t r a n s c r i p t i o n t / * / high, / - / (or unmarked) mid, and / * / low. You w i l l see t h e s e i n t h e phonemic t r a n s c r i p t i o n . As you d r i l l t h i s group of e x e r c i s e s , however, you should concentrate on t h e ^-The informant who supplied t h e data for t h i s e x e r c i s e , and whose voice i s heard on the t a p e , i s Miss Amelia M i t c h e l l , Suehn Mission, L i b e r i a . The phonemic a n a l y s i s represented i s t e n t a t i v e .
Lesson 8
132
phonetic transcription (in brackets). Listen selectively for the tone. Some of the consonants and vowels may be difficult for you, but try not to let them bother you. Mimic the tone. If the consonants and vowels get in your way, hum the tone, or whistle it. The recording is at an unnaturally slow speed of utterance, which makes it easier for you, though less realistic. Part It /* / tone sequence 1. [fali sy|~sye]
/falx syr sye/
'very good pail'
2. [kana sy| sy^]
/kana sye' syr/
'very good chief'
3. [siyz, sye sye]
/siye syr sye/
'very good Palm nut'
U. [bvla sye syej
/bula sye" sye/
'very good side'
5. [fela sye sye]
/fel£ sye" sye/
'very good man'
6. [nawa syj sye]
/nyaw£ sye" sye/
'very good bush rope'
Part 2i /-*/ tone sequence 1. [SbanSba sye sye] /gbaqgba sye- sye/ 'very good stock fish' 2. [dojmo sye sye]
/dom5 sye" sye/
'very good beads'
3. [gojlo sye sye]
/gol5 sye" sye/
'very good palm cabbage'
k» [ddno sye sye]
/dono sye" sye/
'very good net'
s
Part 3t /s'/
tone sequence
!• [gbe[tu sy^ sye]
/gbetu sye sye/
'very good play devil'
recording is incomplete in this lesson for lack of space on the tape. The full recording will be found as KE 32.13 (p. UU?).
Longer Sequences of Pitch 2 . [SbifLi sye sye] 3. [gejLz, sye^ syej
/gbili
133 sye" s y e /
/glle syr syr/
•very good cat1 'very good hawk*
km [golo sye sye]
/sSlo sye syr/
'very good hole1
£. [Sbemee sye sye]
/gbSmee syr sye/
'very good door'
6. [mojtu sye sye]
/m3tu syr sye/
'very good friend'
Part kt /—/
tone sequence
1* [tuwa sye sye]
/tuwa syrsye/
•very good leaf'
2. [koma sye sye]
/koma syr sye/
'very good seed'
3. [fall sye syej
/fall syr syr/
'very good comb'
k» [tawa sye sye]
/tawa syr sye/
'very good tobacco'
£. [toiribo sye sye]
/tombo syr syr/
'very good work'
6. [mama sy| sye]
/mama syr sye/
'very good grandmother'
Part 5» /*-/ tone sequence 1. [g8l& sye sye]
/ge'le syr sye/
'very good peanut'
2. [dad§_ sye sye]
/daMa syr syr/
'very good father'
3. [^bvma sye sye]
/gbuma syr syr/
'very good bed'
Lesson 8
X3U U. [golo sye sye]
/ g d l o sye" s y e /
' v e r y good cola nut 1
Part 6t / * V tone sequence 1. [gbcfl.i sye sye]
/gboli s y r s y e /
' v e r y good bowl'
2. [saJLi s y | syej
/salf
syfsye/
'very good f l y '
3 . [sejm^ sy^ sye]
/seme s y f s y e /
•very good f a n '
/ j f n a sye" s y e /
•very good s p i r i t '
i
l+. [ji|na sye sye]
Part 7t /~.V. tone sequence \
'
V
1. [kuma sye sye]
/kuraa sye" sye"/
'very good shirt'
2. [gbodi sye_ sye]
/gbodi sye" sye/
'very good hat'
3. [kile sye sye]
/kile sye" sye/
'very good pepper'
U. [bana sye sye]
/bana sye~ sye/
•very good banana'
5. [rlawa sye sye]
/nyawa sye" sye/
'very good onion'
Part 81 / % V tone sequence 1. [gant sye sye]
/g^ne* syf sye/
•very good monkey'
2. [ g bara sye^ sye]
/gbab.1 sye" s y e /
' v e r y good cassava'
3 . [gbama sye sye]
/gbtmS sye s y e /
' v e r y good gun'
£
t
«•
Longer Sequences of Pitch
135
U. [vana sye sye]
/vSnya1 sye s y e /
' v e r y good apron'
5. [zuwen sye sye]
/zuweny sye" s y e /
' v e r y good b u l l frog'
Part 9i tone changes (odd numbers are the same as Part 1) 1, [ f a l i sye sy^]
2 . [falifgydn]
/gun/
'one p a i l '
3 . [kana sye sye]
U. [kanafghdn]
/gun/
'one chief'
5. [siyz- sye sye]
6 . [siyz-[g>dn]
/gun/
'one Palm nut'
7, [bula sye sye]
8, fbulafg\dn]
/gun/
'one s i d e '
9. [fela i y ^ sye]
10, [felarg\dn]
/gun/
'one man'
11, [fiawa sye sye]
12. [nawa fgXdn]
/gun/
'one bush r o p e '
RE 8.19, Reading Exercise In this exercise you are to read the material of RE 8.15 before the tape gives it to you. Compare the tape utterance with your own. Transcription Exercises Use any of the following exercises as transcription exercises! RE 8,5, 8.8, 8.9, 8.11, 8.13, 8.15, 8,17, 8.18. Instead of mimicking the tape, transcribe what you hear. Then check your transcription by comparing it with the text in your book.
136
LESSON NINE Affricates Whenever any two consonant sounds occur i n immediate s e quence we c a l l t h e sequence a consonant c l u s t e r (abbreviated CC). I n t h i s as i n a l l phonetics work, we a r e , of c o u r s e , concerned with spoken consonants, not w r i t t e n ones. Notice t h e consonant c l u s t e r s i n t h e following English wordst [begz] begs, [•€GB3k] thank, [•mensin] mention. I n many languages, including English, one important kind of consonant c l u s t e r i s a sequence of a stop plus a f r i c a t i v e . Such c l u s t e r s sometimes work t o gether very t i g h t l y , and sometimes even work phonemically l i k e a s i n g l e u n i t , even though they are p h o n e t i c a l l y a sequence of two segments. This p a r t i c u l a r sequence of s t o p plus f r i c a t i v e , when i t i s i n t h e same s y l l a b l e , and pronounced t i g h t l y t o g e t h e r , we c a l l an affricate-*- / ' e e f r i k i t / . Read over t o yourself t h e following English words, paying a t t e n t i o n t o t h e t r a n s c r i p t i o n of the consonants as you do s o . Note t h e final CC which i s an a f f r i c a t e i n each case. Sense t h e s t o p sound followed by a f r i c a t i v e sound i n each of t h e s e . [t h seks]
1. kicks
[k^ks]
6. tax
2. ships
[st-ps]
7. adze [adz]
3 . bags
[bsegz]
8. Zipf
[zz,pf ]
k.
boards
[boHrdz]
9o Ritz
[r&ts]
5.
lymph
[lz,mpf]
10. drugs
[drAgz]
Now try the same procedure on the following words, paying particular attention to the final CC of Column a and the initial CC of Column b. The alternative forms given in the phonetic transcription are not alternative pronunciations, but alternative symbolization. 2 Please note that although this word is obviously related to the word fricative, and with good reason, it is not simply fricative with an af- on the front, as some students seem tempted to pronounce i T 7 These sequences are affricates, just as much as are the sequences in 1 - 10. Some of you may notice, however, that the affricates i n 1 1 - lf> (a and b) seem more nearly like a
Affricates 11a. beach
137 [bj,yts] (or [bz,yc])
l i b , cheap [tistyp] (or [ctyp])
12a, bridge [brtdz] (or [ b r z j ] )
12b, jeep
[dzj,yp] (or [ftyp])
13a. etch
[ s t s ] (or [ec])
13b. chip
[tsr,p] (or [ct-p])
lUa. edge
[edz] (or [ e ^ D
lkb. jyp
[dzz
l ^ a . church [ t s r t s ] (or [ c r c ] )
l$b.
judge [dzAdz] (or
[3AJ])
Here are segmental diagrams showing the i n t e r p l a y of d i f f e r e n t f e a t u r e s involved i n t h e s e a f f r i c a t e s . [ a
a ]
[ a
a ]
air stream voicing stop closure fricative closure You may have noticed that the stop and fricative in some of the affricates had the same point of articulation, and in others had different points of articulation. For example, [ps] has a stop with a labial point and a fricative with alveolar, whereas [ts] has both stop and fricative at the same point. Table 9.1 gives you the possibilities so far of affricates with both segments at the same point of articulation. Note that the tongue tip actually changes point of articulation to coincide with the point of [©], [s], and [s] on the stop part of the affricate in which it is involved. single unit to you than do the ones in 1 - 10. This, and other more sophisticated reasons we cannot mention here, make many linguists analyze these particular affricates in English as single units phonemically (although they are complex phonetically). See Archibald A. Hill, Introduction to English Structures, pp. 36-37. This is why we asked you to transcribe these sequences as /c J/ in your phonemic writing of English. In the examples above we included the [ts dz] transcription to emphasize the phonetic complexity of the affricates. From here on, however, we will transcribe these affricates as [c J] wherever we find them in this course, on the analogy of English, simply to avoid the confusion of double symbolization.
338
Lesson 9 Labial Dental Alveolar Alveopalatal Velar
Voiceless Unaspirated
pp
t©
ts
c (or t s )
kx
Aspirated
pp h
tfi^1
ts 1 1
&1 (or ts^ 1 )
kx11
bfe
del
da
J (or dz)
gg
Voiced
Table ° . l j Affricates with Both Segments a t Same Point Table 9»2 gives some of the p o s s i b i l i t i e s of a f f r i c a t e s with the segments a t d i f f e r e n t p o i n t s of a r t i c u l a t i o n . Remember t h a t as you l e a r n other stops and f r i c a t i v e s i n l a t e r l e s sons these w i l l add a l s o t o the number of possible a f f r i c a t e s . pf
p6
ps
ps
px
pf h
pe11
ps h
p s h px*1
bv
bel
bz
hZ
bg
tp
tf
tx
t*
tfk
tx*1
dfe
dv
dg
kp
kf
ke 1
kjJ1
kf*
ksJ
gfe
gv
gd
1
ks
kS
ks11
ks*
gz
gz
Table 9«2» Affricates with Segments at Different Points Affricates in Initial Position /c j / are the only affricates which we commonly use in initial position in English. A few borrowed words like tsetse are exceptions. The other affricates need to be practiced in that position for other languages. Do not forget to practice these drills on the "buddy system" (see p. H 7 ) as well as with the recording. RE 9»1» Demonstration! Affricates in Initial Position Listen, read, and mimic as you go through this exercise. Then use it as a model to practice all of the affricates in the charts above. We will be working on the unaspirated-aspirated
Affricates
139
differences below. 1.
tsetse
6. [ksaksa]
1 1 . [gvagva]
2. [ t s a t s a ]
7. [gzagza]
12. [pSapsa]
3 . [dzadza]
8.
[pfapfa]
13. [bzabza]
U. [psapsa]
9. [bvabva]
Hi. [ks'aks'a]
5. [bzabza]
10.
15. [gzagza]
[kfakfa]
RE 9 . 2 . D i f f e r e n t i a l ! AFFRICATE or FRICATIVE Respond t o t h e t a p e , but do not watch youj ? Manual on t h i s exercise. 1. [ t s a ]
A
7. [xa]
2. [sa]
F
3 . [sa]
F
F
13. [PP^o]
A
8. [dga] A
Hu [bva]
A
9 . [ca]
3 5 . [2a]
F
[ft]
A
A
km [txa] A
10. [kpa] A
16.
5 . [kxa] A
1 1 . [ba]
F
17. [ks^a]
A
6. [k0a] A
12. [pa]
F
18. [kf h a]
A
Aspirated, Unaspirated, and Voiced Affricates A l i t t l e experimentation w i l l show you t h a t some of the same problems which apply t o t h e r e g u l a r stops i n English apply t o a f f r i c a t e s as w e l l . English /c/ i n church, f o r example, i s a s p i r a t e d . H i o n e t i c a l l y , t h e r e f o r e , we w r i t e [c^rS* 1 ]. English /%/ i n judge i s often very l i g h t l y voiced, or not voiced a t a l l . For a p p l i c a t i o n t o some other languages, t h e r e f o r e , we need t o p r a c t i c e t h e same kinds of d r i l l s on t h e s e a f f r i c a t e s as we do on English s t o p s , learning t o make unaspirated v o i c e l e s s ones, f u l l y a s p i r a t e d ones, and f u l l y voiced ones. You can g e t t h e feeling of a s p i r a t e d , unaspirated and voiced a f f r i c a t e s by saying t h e following English sequences to yourself. Aspirated
Unaspirated
Voiced
l a . change [cr1]
l b . exchange [c]
1 c . Jane [Jl
2a. c a t ' s here [ t s ]
2b. c a t ' s e a r [ t s ]
2 c . Ed's own [dz]
IkO
Lesson 9
3a. Mac's house [ks*1]
3 b . Maxwell [ks]
3 c . exact [gz]
RE 9 . 3 . D i f f e r e n t i a l s ASPIRATED or UNA.SPIRATED Do not watch t h e t e x t . 1. [ t s ^ a ]
A
6. [ppa]
U
1 1 . [tpa]
U
2. [ t s a ]
U
7. [ p ^ a ]
A
12. [kpa]
U
3. [^a]
A
8. [ks^a]
A
1 3 . [txa]
U
U. [ca]
U
9. [te^aj
A
lh.
5. [pxa]
U
U
15. [pf h a]
A
10. [p9a]
[ps^-a] A
RE 9.U. D i f f e r e n t i a l VOICED or VOICELESS Don't peekt 1. [dza]
VD
6. [kxa]
VL
11. [txa]
VL
2. [ca]
VL
7. [pfa]
VL
12. [gva]
VD
3. [tsa]
VL
8. [bza]
VD
33. [kea]
VL
U. [bva]
VD
9. [dekx]
VD
ill. [pxa]
VL
5. [gza]
VD
10. [psa]
VL
35. [tea]
VL
Recorded Exercises 9»5~9»6. Demonstrationt Producing Strongly Aspirated Affricates These drills will parallel closely those used to demonstrate the approach to the production of aspirated stops. Mimic the tape and watch the text. Keep the back of your hand in front of your mouth to feel the aspiration, when you have learned the sequence, try it with other voiceless affricates in Tables 9.1 and 9.2. RE 9.5. Mimicry 1 . [hahahaha] [phapha^apka] [pphapjAxpphappha]
2. [hahahaha] [thathathatha] ftkac^achacba]
3 . [hahahaha] [khcd^akhakha] [k^ak^ak^ak^a]
Affricates
Ull
RE 9.6. Negative Practice Practice the following English words, exaggerating the aspiration on the voiceless alveopalatal affricate. 1. [ ' ^ r c * 1 ]
church
6. [•c h op h ]
chop
2. ['cheyn]
chain
7. ['srS* 1 ]
search
3 . ['c^z-ldrin]
children
8. ['Ire 1 1 ]
lurch
h, [«p h rcn]
perch
9. ['c^z-mmy]
chimney
5 . E'eySh]
H
10. [ , c n aym]
chime
Practice other English words i n t h e same way. Recorded Exercises 9.7~9.8. Producing Unaspirated Affricates Mimic t h e tape and watch t h e t e x t . Be careful t o keep a l l a s p i r a t i o n off t h e stops and a f f r i c a t e s . RE 9 . 7 . Mimicry [kakakaka]
7.
[tsatsatsatsa]
2. [tcctatata]
5. [patacaka]
8.
[pfapfapfapfa]
3 . [cacacac'a]
6.
9. [k9otk9akeak9a]
1.
h,
[papapapa]
[kacatapa]
RE 9.8. Negative Practice Practice the following English words, removing the aspiration on the voiceless alveopalatal affricates. 1.
[»crc]
church
6. [•cop11]
chop
2.
[«ceyn]
chain
7. [»src]
search
3.
[•cz.ldrin]
children
8. [ • l r c ]
lurch
U. ['F^rc]
perch
9 . [•ccmnz-y]
chimney
S. ['eye]
H
.0. [•coym]
chime
lU2
Lesson 9
Recorded Exercises 9»9~9.10» Demonstration! Producing Voiced Affricates RE 9«9» Negative Practice Exaggerate the voicing in the / j / of the following English words. Prolong it, and get a good rumble of voicing. Follow the transcription.
1. [ ' M l
fodge
6.
2. [»sls5]
sledge
7. [«3foyinth]
3 . ['aefrl]
agile
8.
k. ['5san]
Jam
5. ['msej]
Madge
C'pMn] [»eyft
h 9. [ « m ^ i t ]
10.
[•fclow]
pidgeon giant
Jfii midget jello
RE 9»10« Mimicry
Cup your hands over your ears to hear the voicing as you work this exercise. Keep the voicing for the full duration of each •'word". 1» [ada ada ada ada]
3. [aja aja a^fa aja]
2. [a2a aza aza aza]
U. [ada aza aja]
Practice the other affricates in the same manner if you have difficulty in developing adequate aspiration, or voicing, or in keeping the sequence unaspirated. RE 9»H» Buildup* Stops and Affricates These exercises parallel RE 7.21-7.22, with the addition of the three affricates studied above. Mimic the tape. You may watch the transcription below or not, just as you find most helpful. k, [dadadada]
1. [*a'a] ['a'a'a]
5. [chachachacha]
['a'a'a'a]
6. [cacacaca]
2. [phap^apkap^a]
7.
[Jajajctfa]
3. [tatatata]
8.
[tshatshatshatsha]
•
9. [pfapfapfapfa] 10. [bzabzabzabza]
lh3
Affricates
Velar F r i c a t i v e s and Affricates Velar a f f r i c a t e s , l i k e v e l a r f r i c a t i v e s , r e q u i r e s p e c i a l a t t e n t i o n f o r speakers of English, although t h e y seem somewhat l e s s d i f f i c u l t than f r i c a t i v e s . Continue careful p r a c t i c e of both f r i c a t i v e s and a f f r i c a t e s through t h e use of t h e following exercises, RE 9.12. Buildup! Sequence -with Velar F r i c a t i v e s and Affricates Listen t o the t a p e , and watch your t e x t . working f o r a c l e a r a r t i c u l a t i o n . 1* [xaxa]
Mimic c a r e f u l l y ,
5. [ggaggaggagga]
[xaxaxa]
6. [pxapxapxapxa]
[xaxaxaxa]
7. [txatxatxatxa]
2. [kxakxakxakxa]
8. [bgabgabgabga]
3 . [kxhakxhakxhcOocha]
9 . [pxrapx^opx^aFD^a] 10. [txhatxhatxhatxha]
U. [gagagaga]
RE 9.13i Hull ( P a p u a ) . 1 Mimicry 1. [»p£ini]
'root'
6.[»nogo]
'pig1
2. f'pedia]
'eleven'
7. [ya'kxundi]
'star'
3 . f'kxadia]
'seven'
8.[ppu'dateu]
'wind'
k, f'kembobee]
' f r o n t of t h r o a t 1
9. [pi'aqgo]
'dog'
5>. ['t^andagaba]
'painful'
RE 9.3ii. Buildupi Random Sequences 1. ['makacabap^a]
5.
['gadzap^adaxa]
2. [' pakaxabaja]
6 . [' kxat^afeavaga]
3 . ['tsa'abagasa]
7.
U. ['^akap^akfala]
8. [«dasak^abaxa]
['falabapp^aja]
Tteta from lesson plans i n use a t The Summer I n s t i t u t e of L i n g u i s t i c s , Norman, Oklahoma, 1?56.
Lesson 9 9. ['pxafceapkadccta]
10. ['k^abvcxkfabzapa]
Recorded Exercises 9.15-9.2U. Reviews Thai Drills on Stops The following are actual language drills from Thai.-*- They are simple in syllable structure and length. Some of the vowel qualities will be new to you. Do not let them bother you, as you are working selectively on the stops. However, mimic the vowel quality as best you can as you go along. Note the tone as well, and mimic it closely. The written transcription of these exercises is a phonemic transcription rather than a phonetic one. You may notice some difference in quality of some of the phonemes. This will not affect your work with the stops. The diacritic marks over the vowels are tone marks. RE 9.l5i Thai. Listening This is a listening exercise. Listen, and follow along the text of the exercise below. Pay close attention to the contrasts between voiced, voiceless unaspirated, and voiceless aspirated stops. Note the phonemic contrasts involved. Make sure you can hear the distinctions. 11.
2. / b i a t / ' t o wound'
12.
•mouth'
22. /phaak/ •forehead'
3 . /baw/ •light' (not heavy)
13. /paw/ •to blow with mouth'
23. /phaw/ •to burn' (trans.)
h. /baa/
31*. /paa/ •older s i s t e r of father or mother'
2it.
15. / p i t / •duck'
25.
16. /pay/ •to go'
26. /P h ay/ 'bamboo'
•crazy'
5. Alt/ 'fishhook' 6. /bay/ •leaves'
21.
/P^V
1. / b i t / •twist 1
'wrong'
•to close'
/pataV
/PhV 'cloth'
/p h eV
'peppery 1
^ These exercises were prepared and recorded by R'ev. and Mrs. Richard Johnston. The Thai speaker in RE 9.l5~9.l6 is Nay Daeng, a judge of Srisaket Province, originally from Bangkok. The speaker in the remainder is Nay Prasan of Surin Province.
TkS
Affricates
7. A
17. / P 3k/ 'cover' (as of book)
27. / p ^ k / ' t o turn face'
8. /bSn/ 'complain'
18. /pon/
28. /p h 6n/ ' t o be free from'
9. /bdot/ •blind'
19. /poot/ 'lungs'
•dry land 1
'to mix, adulterate*
10. /bJtt/ 20. / p a t / 'papers, cards' ' t o dust'
29. / p ^ o t / ' t o inhale* 30. /p^at/ 'to fry in small pieces*
RE 9.36* Thai. Listening Follow the same procedure for the following exercise. 1. /dam/ 'black'
11. /tarn/ 'to pound (in mortar)'
2. /duaq/ 12. /tuan/ 'particle for 'measure stamps, s t a r s ' (bulk)'
21. /t h am/ 'to do, make1
22. /t h i5an/ 'complete, entire'
23. A h oon/
3 . /doon/ ' t o pickle'
33. /toon/ 'must*
h. /dan/ 'loud'
ll*. / t a g / 21*. A h a n / •to s e t , place' 'bucket'
5. /daam/ •handle'
15. /taam/ ' t o follow'
25. / t h V 'ask*
6. /d3k/ •fertile*
16. / t 3 k / 'fall'
26. / t h d k / 'flay, skin'
7. /dom/ •to smell'
17. /torn/
27. /t h om/
8. /dak/ ' t o ensnare'
18. /tatk/ 28. / t h a k / ' t o draw -water' ' p l a i t , braid'
9. /duu/ ' t o look at*
19. / t u u / 'cupboard, closet'
'to boil'
'gold'
'fill in a hole with earth*
29. A h u u / ' t o rub*
]ii6
Lesson 9
10. /daay/ •can, to be able*
20. /tay/ •torch1
h
30. /t ay/ •to plough1
RE 9*17t Thai. Mimicry This is a mimicry exercise in which you will mimic a series of words each of which has the same Thai stop. The series will be the first column of RE 9.15 (Nos. 1-10). Turn to that exercise and follow down the column, mimicking the tape. Pay particular attention to the stops. RE 9«18-9.19t Thai. Mimicry Follow the same procedure with the second and third columns of RE 9.15. RE 9.20 This time you will be drilling across the columns in RE 9.15. Follow the same procedure of mimicking after the utterances on the tape. RE 9.21-9.2U Follow the same procedures as for RE 9.17_9.20, but this time use RE 9.16 as the text. RE 9.25. Transcription Transcribe the utterances on the tape, when you are Sure of your transcriptions compare them with the answers below. Don't peek until you are ready to check your answersI 1. ['sole*1]
6 . [»p h axa] h
11.
[•nakas]
2. [ipae]
7. [«lac a]
12. [«bat h av]
3 . [iJag]
8. [ t f a t s a ]
13.
[•bva'am]
k.
9.
['feasa]
Ik.
[«psadap h ]
10.
['daza]
15.
[•salax]
1* [•gam]
3.
[»thaf]
2. [ipac 11 ]
U. [«bza©]
['rap]
5 . [•madz] RE 9.26. Reading
5. [«sak] 6 . [«*a«ia]
Affricates
ikl
7. [«coga]
10. ['feajfa]
1 3 . ['datk^ap]
8. [«dapa]
11. [tta?na]
Ik.
['bapksag]
9. [«lasa]
12. [«kagrakx]
1$.
[«zaxkfad]
Suggested Reading Archibald A. H i l l , Introduction t o Linguistic S t r u c t u r e s , pp. 36-37. W. Nelson F r a n c i s . The S t r u c t u r e of American English, pp. 79-81 (51-70, 72-7U).
NO, MISS T A K E ! IT'S AM ASPIRATED AFFRICATE, WOT AM E X A S P E R A T E D AFRICAN! !
lb8
LESSON NINE R Review Review lessons in the Manual merely give condensed summaries of the material covered to the present. They are intended to be supplemented by extensive review of exercises in the previous lessons. Alveopalatal
Alveolar
Tipdental
Voiced
Labiodental
Aspirated
Bilabial
STOPS Voiceless Unaspirated
CO
O
fc"T 84
P
t
k
I*
th
kh
b
d
g
AFFRICATES Voiceless Unaspirated
PP
Pf
ts
V
Aspirated
pph
pfh
tsh
ch
kxh
bb
bv
dz
J
gg
J>
f
Q
s
s
X
B
V
d
z
z
g
Voiced FRICATIVES Voiceless Voiced NASALS
m
LATERAL
c
H H
kx
n 1
Check List of Review Items
1. Technical labels of consonants 2. Drawing of Sammies 3. Recognition, production, and mimicry of pitch U. Recognition, production, and mimicry of all consonants so far studied, including both English consonants and the
Review
lli9
others so far taught. See the chart on p. lli8. 5. Other affricatesi Table 9.2 (p. 138) 6. Reading and mimicry control of the various exercises in the Manual. TE 9R.1. Matching Symbols After you have reviewed the above chart try TE 9R.1 in the Workbook Supplement (pp. 31-32). It will help you learn the relationship between the symbols.
ivJOUJ TRV FOR A i-
LESS
ASPIRATION
350
LESSON TEN Syllables and Some of Their Characteristics Now we come to a new characteristic of speech which has been implicit in the work done on pitch and on the articulation of the consonants studied so far. It is the division of the speech stream into syllables, which are groupings of sounds such that each grouping carries rts own beat. The division between syllables is indicated in this lesson (and in following lessons when necessary) by [»], which is spoken of as "period" or "syllable division." The sequences of sounds separated by [.], therefore, are syllables, and each carries its own separate beat. RE 10.1. Demonstration! Syllable Beat Listen to the tape and follow along in the book. Count the beats in each utterance as you go along, and see if your count agrees with the count indicated. Tap out the count with your finger if that helps. In the second repetition of the last utterance you will hear the beat tapped out on the tape. No. of Beats (Syllables) 1. f a ]
1
2 . ['cupha]
2
3. t ' a . p h a . t h a ]
3
U. ['a.p h a.t h a.xa]
k
h
5. [*a.p a.t a.xa.ma]
5
In the above example, each of the syllables was characterized by one of the consonants you have been practicing followed by an [a]. Any other vowel would do just as well as [a]. Anyother consonant would do just as well as the consonants used. We can call this kind of syllable a CV syllable (with C representing consonant and V representing vowel). Other kinds of syllables also occur, some of which are illustrated in the following exercise. •'The phonetic distinction between vowel and consonant will be discussed in Lesson 12.
S y l l a b l e s and Some of Their C h a r a c t e r i s t i c s
13>1
RE 1 0 . 2 . Demonstration! Some Other S y l l a b l e Patterns I n t h i s e x e r c i s e each u t t e r a n c e w i l l have t h r e e s y l l a b l e s , and each of the s y l l a b l e s w i t h i n a p a r t i c u l a r utterance w i l l be s i m i l a r i n consonant-vowel sequence. L i s t e n t o t h e t a p e and beat out t h e s y l l a b l e s as you study t h e s y l l a b l e s t r u c t u r e of each s y l l a b l e t r a n s c r i b e d below. You w i l l hear two r e p e t i t i o n s of each utterance on t h e t a p e . Syllable Structure 1. [pam.tkctk.sof]
CVC
2. [gla.ksa.s'na]
GOT
3 . [feas.mrakh.sma?] 1
CCVC
lu [ a . e . i ]
V
5. [ a p . e t . i k ]
VC
RE 10.3. Demonstration! Consonants as Syllables Syllables may consist of single vowels or of certain single consonants. Listen to the tape, count the beats, and study the syllable structure of each utterance, and mimic. Syllable Structure 1. [ba.ba.ba.ba.ba.ba.ba.ba]
CV
2. [a-a.a.a.a.a.a.a]
V
3. [u.u.u.u.u.u.u.u]
V
h.
c c c
[m. m. m. m. m. m. m. m] 1
t
1
I
!
1
1
1J
5. [1.1.1.1.1.1.1.1] t t l l t t t l 6. [ s . s . s . s . s . s . s . s ]
Notice how the syllables have no break in sound between them, but there is still an audible pulse, even when the same vowel or consonant quality carries through. T"or many languages, and from some points of view in phonetic theory, aspirated consonants could be considered CC. For convenience, however, we handle them as single consonants.
252
Lesson 10
Syllables and Syllabicity In the preceding exercise you saw transcribed a short vertical line [,] under the consonants which were independent syllables. This mark is a "syllabic indicator,11 or "indicator of syllabicity." Every syllable has a syllabic, that is, one sound which carries the beat, or which is the most prominent sound of the syllable. If there is only one sound in a syllable, then that sound is, of course, the syllabic. Most commonly, vowels are syllables. For this reason we do not mark the syllabicity of vowels with an extra sign. Any unmarked vowel is assumed to be syllabic. Some kinds of consonants, on the other hand, may be syllabic or non-syllabic. In phonetic transcription we assume they are non-syllabic unless they are marked with [,]. Syllabic sounds are most commonly sounds where the articulation allows a fairly wide opening for the air stream to move out relatively unimpeded. This is true of vowels. It is also true of nasals (where the air stream comes unimpeded through the nose), laterals (where it comes unimpeded over the sides of the tongue), or even fricatives (where it is partially impeded, but where it may be less impeded than stop consonants around it. 1 The following exercises are to help you distinguish between syllabic consonants (which carry the beat and are the most prominent sound of a syllable) and non-syllabic consonants. RE 10.U. Demonstration* English Syllabic Consonants Listen to the tape and mimic. Each utterance is given twice. Follow the phonetic transcription below as well to help you focus on those consonants which are syllabic as opposed to those which are not. 1. [ ' s m u ' n ]
smitten
6.
[»bo.tl]
2. [•aem.phl]
ample
7. fkV'n]
cotton
3 . [»k h ar.*n]
carton
8. [ n ' l e s ]
unless
k. [ ' k ^ r . ' n ]
curtain
9. [m'phowz]
impose
S. [ > t h r . t l ]
turtle
10. [ m , p n a . s i . b l ]
•'•See Kenneth L. Pike, Rionetics, pp. I l 8 f f .
bottle
impossible
Syllables and Some of Their Characteristics
153
11« [m'l^rtnint] impertinent
lit. [tay kn »sz.y] I can see
12. [»nMm]
mhm
15. [«cUythr]
date her
13. [pst]
pst
16. [,hi,yn«ay]
he »n' I
RE 1 0 . 5 . D i f f e r e n t i a l s SYLLABIC or NON-SYLLABIC I n t h i s d r i l l l i s t e n t o the n a s a l consonant i n each u t terance and respond with SYLLABIC or NON-SYLLABIC, according t o what you h e a r . Do not watch t h e t e x t . 1. [pom]
N-S
6. [mom]
N-S
11. [n«tath]
S
2. [p^m]
S
7. [son]
N-S
12. [ a » t n t h ]
S
3 . [k^m]
S
8. [sn]
S
13. [aitanth]
N-S
k. [k^n]
S
9. [ask*1]
N-S
Ik.
5. [m]
S
S
15. [an«tath]
10. [nk*1]
[anttat* 1 ]
S N-S
RE 1 0 . 6 . Buildupi Syllables with S y l l a b i c Consonants Mimic t h e tape as you follow t h e t r a n s c r i p t i o n below. Each u t t e r a n c e w i l l be given t w i c e . This i s a buildup e x e r c i s e , so you w i l l begin with the l a s t t h r e e s y l l a b l e s of each item for t h e f i r s t u t t e r a n c e , and then add a s y l l a b l e f o r each succeeding one. 1. [ k l km kn kf ks ks" kx k r ] 1
1
1
1
1
1
1
t
2. [ p s t h p f t h p S t h p v t h p l t n p r t h p b t h p n t h ] 3 . ['a l a t h r va &]. r a p^n a] U. [ths1 va a 11 ' a p^r t ^ n1 sa]J * i 5. [xa l a v t S a pz ka t
i
1
t
6 . [da £n mn s r »ak zaz s t r a ga] 1
1
1
7. [sn zaz mn da s r *ak x a s t l ] 1
1
1
1
8. [da mn stz Sn 'at sr ga zaz] Boundaries Between Syllables As you learn to recognize the beats of the syllables and the syllables, you can identify the center or crest of the
lA
Lesson 10
syllable without any difficulty. The syllabic is the crest. In some cases it is equally easy to identify the syllable boundaries, and in some of the exercises above these boundaries were marked by [.] or by space. It is not always possible, however, to determine an exact syllable boundary. A consonant between two syllables may belong phonetically to both. We can diagram it this way, using the English word money. [m
A
n
v
y]
It is clear what the syllabics and non-syllabics are. However, the [n] in the middle is a boundary between two syllables, and does not belong more completely with one than with the other, unless you pronounce the word in an over-precise way. When you do you can pronounce it either wayt ['mAn.:.y] or ['ma..nz,y]. At other times, however,(and in some languages this is always true) syllable division is clearly audible. In this book we mark syllable division when it is necessary or helpful. Many times syllable division will be obvious, and we will not mark it. At other times it will make no difference to the exercise, and we will often leave it unmarked in that case as well. Then again, it may simply be impossible to mark a precise boundary, for the reasons just indicated. Stress In languages different syllables have different degrees of loudness or prominence. Just as one sound within a syllable constitutes the syllabic, and carries the greatest degree of prominence within the syllable, so some syllables in a sequence carry greater prominence than the surrounding ones. This we speak of as different degrees of stress. Stress, then, is a matter of relative prominence of one or more syllables in a sequence of syllables.•*• Actually, no Not all speech sounds themselves are, of course, equally loud| some speech sounds have what is called high phonetic power and others have low phonetic power. That is to say, the loudness actually measurable in terms of microwatts varies greatly from sound to sound in any one speaker. Sounds such as the vowels, for example, may have up to as much as 680 times the power of the weakest consonant in English (6). This innate power of the sounds of any one syllable may be modified by the general level of loudness of the speech of a given speakeri it may also be modified by the degree of stress occurring on that
155
Syllables and Some of "Their C h a r a c t e r i s t i c s
s y l l a b l e can be produced i n any language without some degree of s t r e s s . S t r e s s phenomena, t h e r e f o r e , are conveniently r e f e r r e d t o i n terms of degrees such as primary s t r e s s , secondary s t r e s s , t e r t i a r y s t r e s s , weak s t r e s s , e t c . I n t h i s course we w i l l usually work with only two l e v e l s of s t r e s s i 1) primary s t r e s s ( t h e l o u d e s t ) which w i l l be symbolized by ['J before the beginning of t h e s y l l a b l e which c a r r i e s the s t r e s s , and 2) degrees l e s s than primary, which w i l l be l e f t unmarked f o r s t r e s s . This, however, i s not very r e a l i s t i c for many languages (including English) which have more d i f f e r e n t degrees of s t r e s s than t h a t , and so i n t h i s lesson we i l l u s t r a t e secondary s t r e s s as w e l l , although we do not continue t o i n s i s t on i t s r e c o g n i t i o n i n subsequent l e s s o n s . 1 Secondary s t r e s s i s marked by [,] before the beginning of the s y l l a b l e which c a r r i e s t h e s t r e s s . RE 10.7» Demonstration! Some English S t r e s s Contrasts Here are some simple cases of s t r e s s difference i n English. Listen t o the t a p e and watch t h e t r a n s c r i p t i o n below. Listen t o t h e difference i n s t r e s s between the s y l l a b l e s of any one word, and a l s o t h e difference i n t h e placement of t h e loudest s t r e s s i n t h e two columns. Remember the symbolizatiom [ ' ] primary s t r e s s , [,] secondary s t r e s s , and [unmarked] l e s s t h a n secondary s t r e s s . la. /'ogmint/
APGment
li>. /,og«ment/
augMEMT
2a. / ' r i y f r /
REEfer
2b. / , r z , y » f r /
reFER
3a. /•tormint/
TQRment
3b. /,tor«ment/
torMENT
Ua. /'prntt/t/
PERmit
Ub. /,pr«mz,t/
perMIT
Sa. /
TRANSfer
5b. / , t r a n s « f r /
transFER
6a. /'wnpoHrt/
IMport
6b. /jZ-m'poHrt/
imPORT
s y l l a b l e . These f a c t s r e v e a l something of t h e r e l a t i v e nature of t h e f e a t u r e of loudness. See H. L. Barney and H. K. Dunn, "Speech Analysis" i n L. Kaiser, Manual of Phonetics, p . l88ff. Concern about more than two l e v e l s of s t r e s s (primary s t r e s s and " o t h e r " ) d i s t r a c t s from the heavy volume of new phonetic m a t e r i a l being introduced i n each l e s s o n .
1*6
Lesson 10
RE 10.8. Discrimination! Two Degrees of Stress Answer SAME or DIFFERENT as the utterances are contrasted in each item. Listen for difference of stress and stress placement. Sustained level pitch will be maintained throughout the following exercises. Do not watch the bookl
1. [ ' l a l a ]
[lala]
D
2. [ l a ' l a ]
[la'la]
S
3. [la'la]
['lala]
D
U. [ ' l a l a ]
['lala]
S
5. [ l a ' l a ]
[la'la]
S
6. [ l a ' l a l a ]
['lalala]
D
7. [ l a l a ' l a ]
['lalala]
D
8. [ ' l a l a ' l a ]
['lalala]
D
9. [la«la»la]
[la'la'la]
S
[la'Ixt'la]
D
L0. [ l a ' l a l a ]
RE 10.9» Negative Practicet Three Degrees of Stress Mimic the tape and follow the transcription below, in each column you have a different sequence of English words. Both can be said with different placement of our three degrees of stress, with differences of meaning. Mimic them through once noting the stress differences and reproducing them. Then follow the tape as it goes on through the items again with controlled pitch, keeping the pitch level, but preserving the stress pattern. 1* ,elevator 'operator
5» idemon'stration ,exercises
2. 'elevator ,operator
6. ,demonstration ' e x e r c i s e s
3. 'eletvator ,opefrator
7. 'demonstration , e x e r ' c i s e s
U. ieletvator 'operator
8 . 'demon,stration »exer,cises
RE 10.10. D i f f e r e n t i a l ! PRIMARY,SEC0NDARY or WFAK Do not watch' your t e x t . L i s t e n t o the t a p e , and respond i n t h e time provided. For each item you w i l l hear an u t t e r a n c e
357
Syllables and Some of Their Characteristics
of four syllables which will have varying degrees of stress. Listen selectively to the third syllable of the utterance and respond according to the degree you hear. The difference will be demonstrated first.
1. [«sazcX|Saza]
S
11. ['tagata,ga]
W
2. [,saza'saza]
P
12. [,taga«taga]
P
3 . [sa,za'saza]
P
13. [taga,ta«ga]
S
k» [saza'saza]
P
lit. ['taga,taga]
S
5. [saza,sa'za]
S
35. ['tagataga]
W
6. [, saza'saza]
P
16. [Haga'taga]
P
7. [sa'za,saza]
S
17. [ , ta,ga,taga]
S
8. [saza,sa'za]
S
18. [«ta,gata,ga]
¥
9. [sa,za'saza]
P
19. [«taga,ta'ga]
S
10. ['saza'saza]
P
20. [,taga'taga]
P
RE 10.11. Mimicryt Stress Mimic the tape, following along in your book. The text of this exercise is the same as the preceding one. Pay particular attention to distinguishing the degrees of stress. Keep your pitch constant. RE 10.12. Demonstration! Onset of Stress We mentioned earlier in this lesson that it was sometimes impossible to tell exactly where a boundary between syllables came, that sometimes a single sound belonged to both syllables. Sometimes, however, the place where stress begins marks off the beginning of a syllable. This is called the onset of the stress. Listen to the following English examples, and notice the placement of the stress marker at the onset of stress. Note the contrasts in meaning that are possible in English by shifting the onset.1 la. [A'neym]
a name
lb. [An'eym]
an aim
•"The position of the onset of stress is not necessarily the only distinction you can hear between these pairs.
158
Lesson 10
2a. ['t"z,yfmz,ytj,n] t e a meeting
2b. [*t"z.ym,i.ytz,n] team eating
3 a . ['ay,skrz,yin]
I scream
3 b . ['aysi^rz-ym]
i c e cream
Ua. [ ' n A y f t h r s y t ]
nitrate
Ub. [«nAyfc,reyt]
night r a t e
5b. ['pkley^rask]
p l a t e rack
5a. ['prley,t h rsak] play t r a c k Juncture
Sometimes the division between syllables can be heard as an audible break. This break we call juncture. When we need it for our purposes in this Manual we will symbolize it by a space between the symbols. Juncture, of course, like stress, is a relative matter. There are varying degrees of break between syllables, ranging from those where we cannot distinguish the exact syllable boundary, to a relatively long and audible break. We shall speak of juncture wherever we hear an audible break, whether long or short, RE 10.13. Demonstratiom Some Examples of Juncture Listen to the following sentences, and watch the transcription. In this transcription space will always represent the juncture for which you are listening, whether it comes between words or within a word. The sentences are taken from different languages, and the particular language is indicated in parentheses after the meaning is given. After each sentence is read twice there will be a third utterance substituting [*a] for each syllable, but maintaining the juncture, stress, intonation and timing of the sentence. Mimic this utterance. 1» /'tenah pi' tsa' 'piteia nakl kat4 'pu'etu 'mi^aari/ 'The man with the big ears is walking in the road.' (Comancher2. /'name wah sik^I ti£ 'pifeia kahni nii/ 'eight big houses' (Comanche) 3 . / " o r i i 'nimi kuh t s u ' n i i ' p u u n i / (Comanche) li. /awn'noy kAwnAytrlak/
'Look a t t h o s e b u f f a l o l '
'You ( s i r ) say i t f i r s t '
(Vietnamese)^
Comanche data from William A. Smalley, "Phonemic Rhythm i n Comanche." The language i s spoken by Indians of the American Southwest. 'Vietnamese data from William A. Smalley and Nguyen-vanVan, Vietnamese f o r M i s s i o n a r i e s , Book 1 , Part 1, pp. 13, 50.
S y l l a b l e s and Some of Their C h a r a c t e r i s t i c s 5 . / ' t o y sajoSy'laay 'Saaw'baX/
"1$9
»l s h a l l repeat a f t e r you
(madam)» (Vietnamese) 6. /mok'cuwk 'yaabaawni.Tr/ 7. / s i ' l i i go'luijduum/
'Hew much f o r t e n ? ' (Vietnamese)
'The corn r i p e n e d . ' (Khnni*)•*-
8. / b i n g e ' t a a y t lair ciiyoh 'phaan/ 'The o l d e s t said he would go and k i l l i t . ' (Khmu'>) 9 . / i y o h >gaa da,tuup ' h r e ' g 9 t n i ' / 'He went and climbed i n t o t h i s same r i c e f i e l d house." (Khmu') 10. /'mserty »3eyn »pz,ytirsin ikffintay»trAstyiwa'm&nit/ Mary Jane Peterson, c a n ' t I t r u s t you a minute? (English"! Juncture, as i l l u s t r a t e d i n t h e s e examples, i s c l o s e l y t i e d i n with s t r e s s , i n t o n a t i o n , and other f e a t u r e s , some of them d i f f i c u l t t o s o r t o u t . An e a r quick t o d e t e c t t h e s e f e a t u r e s , and a ready mimicry of them can go a long way toward n a t u r a l n e s s of speech. Rhythm Stress, the point of onset of stress, syllable structure, and the kind of juncture between syllables, together with intonation pattern and other features combine to give sentences a rhythm, and to give different languages different characteristic rhythms. Good pronunciation involves a close approximation of this rhythm, running syllables together, separating them by juncture, "slurring" them, keeping them discreet and distinct, and in every way maintaining the timing which native speakers do. RE lO.llu English. Demonstration! Stress-Timing English has a characteristic rhythm pattern -which often produces bad pronunciation when carried over into another language. It is based on a rhythm of primary stresses, between which are squeezed varying numbers of lesser stresses. This contrasts with many languages which give each syllable a more nearly even timing. Listen to the English example, and follow the transcription. On the tape you hear a beat which follows the rhythm of the primary stresses. Khmu' data from William A. Smalley, Outline of Khmu9 Structure, pp. ?6,97.
360
Lesson 10
1« The 'program
was
'boring
2 . The 'program
was not
'boring
3 . The 'program
was
very 'boring
it. The 'program we saw was
'boring
5. The 'program we saw was
very 'boring
6. The 'program we saw was not very 'boring Notice how t h e s y l l a b l e s are rushed or spaced out t o f i l l i n the space between the b e a t s . Now l i s t e n t o RE 10.13 again and note the c h a r a c t e r i s t i c rhythm of t h e d i f f e r e n t sentences from t h e d i f f e r e n t languages. Mimic t h e sentences once more, paying a t t e n t i o n t o t h e rhythm. RE 1 0 . 1 5 . Negative Practice* S y l l a b l e Timing This exercise takes t h e sentences of RE 10.lU and pronounces them now i n non-English fashion t o mimic t h e rhythm of Spanish and some other languages. I n these languages each s y l l a b l e gets much the same timing. Mimic t h e t a p e . P r a c t i c e r e c i t i n g English with s y l l a b l e timing. Beat out t h e timing with your finger as you do s o . Work on t h e buddy system, and get your buddy t o help you know when your s y l l a b l e timing breaks down. RE 10.16. Transcriptiont Juncture and Primary S t r e s s I n t h i s t r a n s c r i p t i o n exercise the sequence of s y l l a b l e s each time w i l l be [mopaseni]. Transcribe t h e sequence, leaving space for j u n c t u r e , and marking primary s t r e s s by [«] a t t h e point of onset. Take t r a n s c r i p t i o n from t h e t a p e without looking a t t h e t e x t below. Uhen you are s a t i s f i e d with your t r a n s c r i p t i o n , check i t with the t r a n s c r i p t i o n below. 1 . [mopa ' s e n i ]
6. [mopa'se ' n i ]
2 . ['mo p a s e ' n i ]
7. ['mopa ' s e n i ]
3 . ['mo ' p a »se ' n i ]
8. [mo'paseni]
U. [mo pa ' s e n i ]
9 . ['mo paseni]
5. [mo'pase ' n i ] ,
10. ['mo 'pa s e ' n i ]
Syllables and Some of Their Characteristics
161
RE 10.17. Transcriptiont Syllabic Consonants, Syllable Division, and Primary Stress Transcribe the following items. The vowel [a] will be used along with a variety of consonants which you have had, both syllabic and non-syllabic. Mark any syllabic consonants with a [i] under the consonant. Hark syllable division with [•]• Mark the onset of primary stress with [»]. When you have transcribed the tape utterances to your satisfaction, check them with the text below. 1. [»bo.d}.]
6. [•khm.phm]
2. ['kkcu'n]
7. [fa.«nm]
3. [•pka.tr]
8. ["mj^.ta]
h. [k^r.tga]
a. [ba.khn.«dl]
5. [pkr.'na]
10. [pra. "toug^]
Syllable Characteristics and This Manual In this lesson you have been introduced briefly to some of the more important characteristics of syllables and syllable sequences, all of which contribute to effective pronunciation when properly used in any language. All of these features should be carefully observed and mimicked both in the materials of this course and in actual language work. In this introductory course, however, we will not be able to pay f u U attention to all of these features in an overt way by transcribing them in every case. Primary stress [•] will always be indicated at the point of onset, and should be so indicated in any student transcription. Other stresses will be indicated only when necessary or convenient, and students will not be required to transcribe them unless specifically instructed to do so. Syllable boundary and juncture, likewise, will not always be directly indicated in the transcription in the Manual, and will not be required in student transcription except where the instructions so indicate. RE IO.I81 Hausa. Mimicryt Tone Review-*In the following exercises mimic as best you can, paying -'•Data from Rev. Charles Kraft. The informant is Hamalai Mubi.
162
Lesson 10
particular attention to the tone, but not neglecting also the rhythm, stress, timing, etc. If the consonants and vowels are too much for you, mimic on [la] or hum, maintaining the tone and rhythm. The words are written in the normal spelling used for Hausa, which does not distinguish between long and short vowels which you will hear on the tape. Tone marks have been added. /'/ represents high tone, and low tone is unmarked. High-High
High-Low
Low-High
la. s&rki
'chief'
lb. doki
l c . jaki
'donkey'
2a. gxdi.
'compound1
2b. y&ro 'boy'
2c. ubS
'father'
3a. k£ff
'fish'
3b. bawa
'slave'
3 c . kare
'dog'
Ha. kukci
'cry'
Ub. zaki
'lion'
U c rago
'ram'
5a. ruwS
'wafer"
5b. daki
'hut'
5c. bako
'guest'
6a. tsoho ' o l d '
6b. nSma
'meat'
6 c . raf£
'brook*
7a. zafl
'hot'
7b. j e j i
'bush country'
7 c gorS
'bamboo'
8a. uw£
'mother'
8b. ido
'eye'
8c. kaz£
'chicken 1
?a. ran£
"day*
9b. a i k i
'work'
9c. add!
'machete'
10a. g*w£
'elephant'
10c. f a r £
'grasshopper'
The following l i s t s continue with t h e same words, but i n d i f f e r e n t groupings. H-H and L-H
H-H, H-L, and L-H
H-H and H-L
L-H and H-L
I d . kuka
l e . ub£
If.
kff*
l g . giwS
2d. nima
2e. kare
2f.
xni
2g. rago
3d. j e j i
3 e .
3f.
ubS
3 g . bako
Ud. r£n£
Ue. kaza
Ijf. tsoho
kg,
5d. kofi
5e. n&ma
5f. jakx
5g. nama
6d. a i k i
,6e. ido
6f. giwS
6g. ido
7d. gida
7e. addS
7f. f a r £
7g.
tsoho
kifi
Syllables and Some of Their C h a r a c t e r i s t i c s
163
H-H and H-L
L-H and H-L
H-H and L-H
H-H, H-L, and L-H
8d. zSki
8 e . y£ro
8f. addl
8g. zaki
9d. sSrk£
9e. farS
9f. r a n i
9g. kare
10e. bako
10f. kazS
log. jakl
lOd. b&ra,
Suggested Reading Page numbers in parentheses may not apply specifically to the points of this lesson, but have been listed in previous lessons, and you may want to read them while you have the book. Eugene A. Nida, Learning a Foreign Language, pp. 108-110 (110-118). Kenneth L. Pike, Phonetics, pp. 107-120. Charles F. Hockett, A Course in Modern Linguistics, pp. 33~ 61 (15-32, 62-7U). Archibald A. Hill, Introduction to Linguistic Structures, pp. 13-30 (36-37).
l£k
LESSON ELEVEN Dental, Retroflexed, Grooved, and Flat Articulations Labial Dental Alveo- Alveo- AlveoVelar lar palatal palatal 1 k retro-
flex) Stops Voiceless unasp. p
t
t
%
k
th • d •
k*
As.
Voiceless asp.
p*1
th
t»»
Voiced
b
d
d
Fricatives Grooved Voiceless
s
s
S
Voiced
Z
z
z
•s/
g
V
s •
•
Flat Voiceless
p
9
X2
Voiced
b
*
g
Affricates Grooved Voiceless unasp.
ts
ts
c
^» A
Voiceless asp.
ts11
ts h
ch
Voiced
dz
dz
J
AA
Flat Voiceless unasp.
pp
Voiceless asp. pp"
ts •• ts* •• dz ••
te
kx
te11
kx
A
Voiced
bb
dd
gg
A
"Tip-palatal articulation is also used for retroflex sounds. *Velar fricatives and affricates may be made with grooved or flat articulation. There is an audible difference, but we will not deal with it in this Manual.
Dental, Retroflexed, Grooved and Flat
165
Study the above consonant chart carefully. Notice the new consonant symbols (enclosed in boxes), and study their relation to the surrounding symbols. Notice that the fricatives have been divided now into two groups, grooved fricatives and flat fricatives. Notice the symbols for new sounds at dental point of articulation, and the new retroflex column at alveopalatal (or palatal) point of articulation. These new distinctions will be taken up in this lesson. Although nineteen new sounds are represented by the symbols within the boxes, these few new distinctions account for them all, and only two new symbols [,*J "circumflex under the letter" and [ . ] "dot under the letter" need to be learned, so long as their meaning is clearly understood. Dental Stops, Fricatives, and Affricates
Sammy ll.lt Dental Stop [t] Sammy 11.2t Dental Fricative [s] Place the tip of your tongue firmly against the back of your upper teeth, and pronounce [da], [i^a], [£a]. These are dental stops, your articulation is now forward from the alveolar position most characteristic of English /t d/ into the dental position characteristic of Spanish / t / and that of many other languages. The difference can be made very easily, and can often be seen as you watch a native speaker talk, but the distinction between dental stops and alveolar stops is so slight accoustically that we will not require students to hear the difference. You must learn to make it, however. Practice by making dental stops on the following English sentences and
366
Lesson 11
others l i k e theini Take Tommy t o t h e t r a i n .
Dear Daddy, d o n ' t do t h a t .
A.
/•,
~
^
A"
A.
^
A *
*
/^
A.
A
Read whole paragraphs of English material substituting dental stops for English alveolar ones. Practice with your buddy by talking to him in this fashion. But, whereas the difference between dental and alveolar stops is so slight that we expect students to make the difference but not to hear it, the difference between dental and alveolar [s z] vs. [s z] is easy to hear, and students should learn both to hear and to produce it. RE 11.1. Negative Practice Listen to the tape, and practice the following English sentences, substituting dental [s z] for the English alveolar A A fricatives. 1. Sister Sue sits sewing socks for seasick, suffering sailors. A
A
A
A
A
A
A
A
A
*
"
A
A.
A
2. Zany zebras zip and zoom. A
^
A
A
A
^
A
RE 11.2. Differential!ALVEOLAR or DENTAL Listen to each fricative on the tape, and respond with its point of articulation. In some of the items you will hear other consonants besides fricatives. Listen to the fricatives, and respond to them only. Do not watch your text. 1. [asa]
A
8. [za]
D
15. [sikatam] A
2. [asa]
D
9. [sa]
D
36. [maska]
A
3 . [aza]
D
10. [as]
D
17. [maska]
D
A
h. [asa] A
11. [sata]
A
18. [dazka]
D
5. [sa]
D
12. [zata]
D
19. [gakasp]
A
6 . [za]
D
33. [saka?]
D
20. [dalazb]
A
7. [za]
A
3il„ [stoma]
D
2 1 . [aspaka]
A
The dental affricates present no special problem as they are again simply a combination of stop and fricative, at this point of articulation. To summarize! For every alveolar sound there is a corres-
Dental, Retroflexed, Grooved and F l a t
167
ponding dental sound. To make it you simply move the tongue forward from alveolar position to dental position. The symbol for this forward tongue position is [^]. Flat and Grooved Fricatives and Affricates We now have two different kinds of voiceless dental fricatives [s 9] and two different kinds of voiced ones [z d-]. If you pronounce them you may notice a slight difference in the point of articulation on the upper teeth. [8 d] may be lower dorm on the teeth, at the edge. The tongue may even protrude between the teeth. In addition to the difference in point of articulation on the teeth, however, there is an important difference in the shape of the tongue. If we could look in at the top of the tongue from the front we would see a groove the length of the tongue on [s z s z § i] which is not there for [6 d ] . Look at Fig. 11.1.
Tongue as a flat articulator Tongue as a grooved articulator [6 d] [s z] Fig. 11.1 It is the articulating surface of the tongue which is either flat or grooved. The placing of [pfe]in the flat category in the consonant chart at the beginning of the lesson was somewhat arbitrary. Velar fricatives may be either flat or grooved, but we will not insist on this distinction. RE 11.3. Differential! FIAT or GROOVED Listen to the fricative in each of the items on the tape, and respond with FIAT or GROOVED according to the shape of the tongue in their articulation. Do not watch the text.
1. [a9a] F
6. [aza]
G
11. [zama]
G
2. [ada] F
7. [aza]
G
12. [zama]
G
3. [a©a] F
8. [asa]
G
13. [zama]
G
k.
9. [ada]
F
Ik. [8ama]
F
[asa] G
6. [asa] G
10. [dama] F
IS. [maska] G
168
Lesson 11
16. [maQka]
G
17. [maSka] F
18. [madga] F
20. [halas]
19. [naiad]
21. [halaS] G
F
G
Retroflexed Stops, Fricatives, and Affricates
Sammy 11.3I Retroflexed Stop [d]
Sammy 11.Ut Retroflexed Fricative [f]
To achieve a retroflexed articulation simply curl your tongue tip back from alveolar or alveopalatal [§] position, until it points upward and touches against the alveopalatal region near the palate, or on the palate itself. Study Sammies 11.3 and ll.I| to see the formation. Be sure to curl your tongue tip back and up to get the articulation. The result is a cup in the surface of the tongue. It it this cupped, curled position of the tongue •which is called retroflexed. RE 11.3a. Demonstration! Making and Practicing Retroflexed Sounds Here are some ways of getting the feel of retroflexed stops, fricatives, and affricates. Read the directions for each one, and mimic the tape. In many cases you can use the same kind of exercises on other English words and phrases. a. Say car slowly, exaggerating the /r/. Many (but not all) speakers of English curl the tongue tip and sides upward as they pronounce the /r/, making a cup in their tongues. Try real, again exaggerating the /r/. Many speakers of English
Dental, Retroflexed, Grooved and Flat
16?
start the word with the tongue in this cupped position. Now say car top, making the /t/ in the same position as the curledup /r/, but closing the gap to the point of articulation, of course, to make a stop. The result should be [tr1]. Try the same with car seat to get [s]» Listen to the tape, and mimic these words with retroflexed tongue whether you normally pronounce English /r/ in this fashion or not. b. Mimic the tape in the pronunciation of the following English words i tree [tsh»z-y], extricate [*eksts»i,keyt], dream [dz»j,ym] This gives you the affricates [^s tS dz]. This pronunciation (though not so exaggerated in length) is normal for /tr dr/ with many speakers of English. c. Deliberately retroflex your alveolar and alveopalatal stops, fricatives and affricates as you read a paragraph from a book, practice with your buddy, or drill on the following sentences which are demonstrated on the tape. 1. Take Tommy . . . to.the.train, [ts^eyn] «• 2. Dear Daddy, don't do that. • • • ** • • • 3. S s• i t•• s sewing socks stiffering s a i•l o r •s , • i s• t e r Sue • # • • for seasick • • • U. Zany zebras and zoom. « • • zip • • RE l l . U . Differential* RETROFLEXED or MO Listen to the consonant i n the taped utterance, and decide whether i t i s retroflexed or not. You may have noticed that many retroflexed sounds seem to have a l i t t l e r - l i k e quality t o them which also modifies the surrounding vowels. This i s one of the principal ways i n which you can detect retroflexed art i c u l a t i o n . Do not watch the t e x t . 1. [ctfa]
R
6. [aza]
NO
1 1 . [tsa]
NO
2 . [asa]
NO
7. [ata]
NO
12. [ca]
NO
h 3 . [at a]
R
8.
R
R
h It. [ats a] •• 5. [aza]
R
9. [dta]
NO
R
10. [tsa]
R
13. [ta] • [da] • IS. [ad]
[dfa]
m.
R NO
170
Lesson 11
16. [at]
R
18. [az] NO
20. [at|] R
17. [of]
R
19. [ath]
21. [az]
R
NO
RE 11.5. Differentialt ALVEOLAR or RETROFLEXED 1. [asa]
A
6. [ za]
A
h 1 1 . [at ]
R A A
2 . [asa]
R
7 . [dza] A
• 12. [as]
3 . [atsa]
R
8. [sa]
A
13. [ats]
U. [a&i]
R
9 . [sa]
R
h lit. [at ] • 15. [az] •
f>. [ a t s a ] A
R
10. [dza] R •• RE 1 1 . 6 . D i f f e r e n t i a l t ALVEOPAIATAL or RETROFLEXED
R
1. [asa]
A
5. [&]
A
A
2. [aga]
R
6. [Jo]
A
10.
3 . [aza]
R
7 . [za] « 8. [sa]
R
h 1 1 . [atS ] R
9. [aS] •
••
A k» [ a t s a ] R 12. [aj] •• RE 1 1 . 7 . D i f f e r e n t i a l ! VEIAR or RETROFLEXED
R
A
1. [ak*a]
V
5. [xa]
V
9. [ag]
V
2 . [aga]
V
6. [sa]
R
10. [az]
R
• 1 1 . [ax]
V
12. [akx]
V
[atha] R 7. [za] R • k. [ada] 8. [dza] R R • RE H . 8 » Vietnamese, Mimicry* [ | & t ] 1
3.
Listen through the exercise, and then mimic the tape as the words are read down each column. Concentrate particularly on the retroflexed initial consonants, but do your best to get the tone and the remainder of the syllable as well. la. /|£aw/ 'six'
lb. /|aa/ 'go out'
lc. /tan/ 'white'
2a. /saan/ 'morning' 2b. /zaaw/ 'vegetable' 2c. /taay/ 'fruit' •"•Data for this and succeeding exercises from William A. Smalley and Nguyfn-van-Van, Vietnamese for Missionaries.
Dental, Retroflexed, Grooved and Flat
171
3a. /saay/ •incorrect'
3 b. / z o / *
'clear'
3 c /tin/
«egg»
Ua. /gaair/ 'follow' • 5a. /soy/ ' b o i l ' .
Ub. /zo*y/ • 5b. /Z±A/ .
'already' Uc. /tiAk/ 'precede' • ' t o wash' 5 c /tarn/ '100' .
6a. /So/
'notebook'
6c. /tanm/ «in'
7a. /S£A/
'correct'
7 c /ten/ 'on'
8a. /Sffi/
'future'
8 c /taa/1 'tea' 9c. /to/ 'return'
RE 11.9* Vietnamese. Mimicryi [s g] Continue, as in the preceding exercise. 1. /s«e/
'future'
5. /sa^m/
'finish'
2. /sae/
'conveyance'
6. /saaw/
' t o be after'
3 . /suAn/
'go down'
7. / s a k /
'high tone'
U. /stsh/
'correct'
8. / s u p /
'soup'
RE 11.101 Vietnamese. Mimicryi [t £ t11]
i. M/
'leave'
8. /-Pi/
'order, rank'
2. / t i / • 3. / t o / 1
'exclude'
9. /ttAk/
'precede'
•return'
10. /t^'ti'tiAk/ 'last Wednes-
h
*
U. /tTtPn/
'large container'
5. /tu n m/
'center'
6. / t i /
'fourth'
7. /ti/
'leave, go'
d a y !
11. / t i w /
'digested'
12. / t ^ w /
'lack, be short'
33. /yoy't h iw/ 2
'introduce
1U. /taay/
'fruit'
^Tuo dots under the [o] mark a difference of vowel quality which you will study later. 2 A single dot under a vowel in Vietnamese examples is a tone mark, following the Vietnamese system of representing tone.
Lesson 11
172 RE 11.11. Review* F r i c a t i v e s
Practice mimicry of t h e following sequences, as you read along i n your t e x t . Work e s p e c i a l l y on [x g ] . 1. [apxa]
10. [axQa]
19. [avba]
2. [afxa]
1 1 . [axba]
20. [adba]
3 . [aQxa]
12. [axva]
21. [agba]
U. [abxa]
1 3 . [axda]
22. [afepa]
5. [avxa]
111. [axga]
23. [afefa]
6. [aebca]
1 5 . [apfea]
2U. [ab©a]
7. [agxa]
16. [afba]
25. [abxa]
8. [axpa]
17. [a9ba]
26. [abva]
9. [axfa]
18. [axba]
27. [abda]
RE 11.12. S u b s t i t u t i o n The following drill uses a long frame, substituting a different sequence in it each time. The steady repetition of the frame through the whole exercise helps to give intensive practice to the articulations. On the first utterance there is a buildup to help you learn the sequence. On succeeding ones a buildup should not be necessary because only a small part of the sequence is new. !• [,t"a.ja.psa.'ma.xa.san.'za] 6. [It"a»sa.psa.'za.ta.s'an.'za] 2.
• kxa. l a
7.
1
3.
'ppa.na
8.
«gga.da
U.
•ca.Ja
9.
•psa.ya
5.
•tsa.dza
10.
tsa.za
'dza.tsa
RE 11.13. Buildups Mimic the tape and follow in your book begin with the first syllables in each case 1. [•t^a.bba.vax.ga.pa]
The buildups will
2. [•za.la.ba.da.ta]
Dental, Retroflexed, Grooved and Flat
173
3. [•da.tsa.k^a.ba.kxa]
7. [»path.bag.ma|.dax]
k» [»K a.va.pa.bza.pa.3
8. [«fag.dal.pat.ka?]
5 . [ , psax,k h ca5.ba.ca]
9. [«dap.sab.vak Q .tsad]
6 . [»*a.gal.garo.dza]
10. [»k h a.goa.kaps.5o-pf 3
RE H.lU. Transcription Listen to the tape, and transcribe the full utterances without looking at the text below. When you are satisfied with your transcriptions, check them with the text of the exercise. 11. [»daBthal]
1. [kxag]
6. [ma'tsaf]
2. [psam]
7. [tea'sag]
12. [tkanxap*1]
3 . [tadz] • •• h. [sabv]
8 . [bga'ksan] • 9. [ca"apx]
1 3 . ['sapmats] • llu flafk^ab]
«•
5. [zagz]
10. [za»tsas]
•
•
1 5 . [Tgga?pam3
RE U«l5» Reading Read off t h e following items before you hear them p r o nounced on the t a p e . Then l i s t e n t o the tape t o compare with what you have j u s t s a i d . ! • ["dama]
7 . ['pcckxam]
1 3 . ['ga'.p^ci]
2 . [<xaba]
8. [«lasag3
3iu [•pan.va]
3 . ['F^ata/l
9 . C'p h a*ad]
15. [«tsdb.la]
U. ['naka]
10. ['ggabap]
16, [«p h ax.pan]
5. [«xappa]
1 1 . ['maf.xa}
17. [«c'ces.gakh]
6. [»t h aban]
12. [ ' t a s . d a ]
18. f'dcf.laks]
nk LESSON TWELVE Vowels and Vowel Glides We come at last to the beginning of the study of vowels. For them we need a new framework of reference, for the points of articulation useful in describing consonants do not fit vowels. The characteristic which distinguishes vowels from consonants phonetically is the fact that there is no stoppage or friction in the oral cavity or throat of the kinds previously defined. The articulation of vowels is, therefore, more open than that of consonants. Different vowel qualities are produced primarily by changing the shape of the oral and pharyngeal cavities by altering the position and configuration of the tongue, lips, and velic. Sammies 12.1-12.3 show different positions for the tongue on three different vowels, and Sammy 12.3 shows also the different lip position for one of these vowels. Sammy 12.k shows these three tongue positions superimposed on each other. You can see that for the different vowels the highest part of the tongue is in different positions. For [e] the highest part of the tongue is in the front part of the mouth. For [a] it is in the central part of the mouth, and for [o] it is in the back part of the mouth. Wherever its position, front to back, the tongue may take different heights, to give high tongue position, mid tongue position and low tongue position. We also have the distinetion between rounded and unrounded lips. This can be charted, as in Table l2.1. We have entered on the chart the three vowels pictured in the Sammies, and in future lessons you will be taught to distinguish vowels for other parts of the chart. Note the relation between the position of the vowel in the chart, and the position of the highest part of the tongue in the Sammy. For the time being the velic is closed and the vowels are voiced. Front Central Back Unrounded Unrounded Rounded High
e
Mid Low
0
a
Table 12.lt Chart of Basic Vowel Articulations The names of the vowel symbols are [s] "epsilon" (from Greek) /'epsitlaHn/, [a] "script §_" or "written a_", and [o] o.
Vowels and Vowel Glides
175
Sammy 1 2 . l t [e]
Sammy 12.2* [a]
Sammy 12.3s [o]
Sammy 12»kt [s a o] superimposed
Vowel Glides Later on i n t h i s lesson ire w i l l p r a c t i c e t h e pronunciation of t h e t h r e e vowels charted above. F i r s t , however, we need t o
Lesson 12
176
introduce and drill another characteristic of vowel articulation. Just as it is possible for pitch to change or slur from one frequency to another, a characteristic which we called a pitch glide, so vowel articulations may change or slur from one position to another. Such changes we call vowel glides. Vowel glides may be off-glides or on-glides. That is, they may glide out of a certain vowel quality or into a certain quality. In other words, they may begin with a vowel and glide from there, or they may glide into a vowel. In the material which follows we will present off-glides first, and then the corresponding on-glides. RE 12.It English. Demonstration! Some Off-glides Listen to the following words as pronounced in my speech. For some of you it will be necessary to deliberately notice the differences from your own speech. After you have heard the exercise through once, mimic the tape. Those who do not normally pronounce the words in this way will need to mimic the "northern" speech. Pay particular attention to the movement of your tongue on the vowels. See if you can characterize the movement. Note also any movement of the lips. la. I
/ay/
lb. OwJ_
/aw/
lc. art
/art/
2a. buy
/boy/
2b. bough
/bear/
2c. bark
/bark/
3a. my
/may/
3b. cow
/kaw/
3c. cart /kart/
Ua. tie
/toy/
Ub. Dow
/daw/
itc tarp /tarp/
5b. loud
/lawd/
5 c lark /lark/
5a. lied /layd/
Disregarding the initial consonant (if any) in each case, in the first column the tongue begins relatively low and flat in the mouth (in [a] position), and moves upward and forward. In the second column the tongue moves upward and backward, and the lips round at the same time, in the third column the tongue curls upward (retroflexes). Each of these movements will be taken up below. The point now is that the tongue is in motion, and we call that motion a glide. The direction of the motion determines the kind of glide. [y] Off-glide, Tongue Upward and Forward The [y] off-glide begins with any vowel position and moves upward and forward, as illustrated in Sammies 12.5 and 12.6. We are not concerned with any exact point to which it moves, but the glide consists in the audible upward and forward move-
Yowels and Vowel Glides
177
ment, as in Table 12.2.
Sammy 12.5* A r t i c u l a t i o n of [ay] Showing Tongue a t Beginning and a t End of Glide Front Unrounded
Samray 12.6» A r t i c u l a t i o n of [sy] Showing Tongue a t Beginning and a t End of Glide Central Unrounded
Back Rounded
High Mid
Low
e
J
^5^
•
o
^ a
Table 12.2t Movement Which Constitutes t h e [y] Off-glide RE 12.2/ English. Demonstration! [y] Off-glides The following English words contain [y] o f f - g l i d e s as they are pronounced on t h e t a p e . They may not n e c e s s a r i l y i n your speech. If these do n o t , see i f you can find some words i n your own speech which demonstrate [y] o f f - g l i d e . There c e r t a i n l y are many. Mimic the t a p e , and f e e l t h e g l i d e . I t i s e a s i e s t t o f e e l i n Column a and Column b because i t has f a r t h e r t o t r a v e l (see Table 1 2 . 2 ) , but make sure you l e a r n t o f e e l i t i n Column c as w e l l . Watch yourself i n a mirror, and see your tongue move.
Lesson 12
178 le. heyi
/hey/
2b. coil /kcyl/
2c. may
/mey/
/may/
3b. boil
A°yV
3c. say
/sey/
/toy/
Ub. Boyd
/boyd/
Uc. same /seym/
5a. lied /layd/
5b. boys
/boyz/
5c. late /leyt/
6a. time /taym/
6b. coin /coyn/
6c. rake /reyk/
7a. fine /fayn/
7b. soil
/soyV
7c. slake /slsyk/
8a. liner /'laynir/
8b. soy
/soy/
8c. maker /»meykir/
?a. lion /»loyAn/
9b. foil
/foyV
9c. paste /peyst/
la. I_
/ay/
lb. boy
2a. buy
/bay/
3a. njy Ua. tie
/b°y/
10a. grimey/' graymz,y/ 10b. annoy /A'noy/
10c. blame /bleym/
[TIT] Off-glide, Tongue Upward and Back, Lips Rounding
Sammy 12.7# Articulation of [cor] Showing Tongue and Lips at Beginning and at End of Glide
Sammy 12.8t Articulation of [aw] Showing Tongue and Lips at Beginning and at End of Glide
The [ir] off-glide begins with any vowel position and moves upward and back, together with a lip rounding, as illustrated
Vowels and Vowel Glides
179
i n Sammies 12.7 and 1 2 . 8 . As i n t h e case of the [y] o f f - g l i d e , we are not concerned with t h e exact point t o which i t moves, but with the audible upward and back movement, t o g e t h e r with the l i p movement. See Table 1 2 . 3 . Front Unrounded
Central Unrounded
Back Rounded
High Mid Low Table 1 2 . 3 / Movement Which Constitutes t h e [w] Off-glide RE 12.3t English. Demonstration! [w] Off-glides The following English words contain [w] o f f - g l i d e s as they are pronounced on t h e t a p e . These words may not n e c e s s a r i l y contain them i n your speech. If they do not, see i f you can find some words i n your own speech which demonstrate t h e [w] off g l i d e . There c e r t a i n l y are many. These pronunciations do not a l l r e p r e s e n t t h e same d i a l e c t of English. Mimic t h e t a p e , and f e e l the g l i d e . Whereas t h e [y] o f f - g l i d e was harder t o f e e l with [e] than with the other vowels, the [w] o f f - g l i d e may be harder t o f e e l with [ o ] , again because t h e tongue does not have as f a r t o t r a v e l . You can watch your l i p s i n a mirror, however, and have no t r o u b l e detecting t h e g l i d e . Get your buddy t o watch you, a l s o . l b . house /hews/
l c . OhJ
/ow/
2a. bough /beer/
2b. note
/newt/
2c. note
/nowt/
3 a . cow
/kesr/
3 b . coat
/kswt/
3 c . coat
/kowt/
Ua. Dow
/dear/
Ub. own
/swn/
Uc. own
/own/
5a. loud
/lawd/
5b. n o t i c e / ' n e w t i s /
5c. n o t i c e / ' n o w t i s /
6a. crown /krawn/
6b. so
/sew/
6c. so
/sow/
7a. allow / A ' l a w /
7b. go
/gew/
7c. go
/gow/
8a. grouse/grows/
8b. throne/Orewn/
l a . Owl
/cor/
8c. throne/erown/
[r] Off-glide, Tongue t o Retroflexed Position The [ r ] o f f - g l i d e begins with any vowel p o s i t i o n and moves
1B0
Lesson 12
Sammy 12.9t One Typical English Retroflexed Position for [r]
Sammy 12.l0t A Second Typical English Retroflexed Position for [r]
into a retroflexed position. In Lesson Eleven you learned to make retroflexed consonants, and you learned that the distinguishing characteristic of a retroflexed sound was the cup-like surface of the tongue, created by the fact that the tongue tip turned upward to articulate. Retroflexed glide position again has a cup in the surface of the tongue, but because it is a vowel type of articulation rather than a consonant type of articulation, there is more space between the tongue and the top of the mouth. In English the [r] glide is made by different speakers with two characteristic different tongue formations, both of which have a cup in them to produce the retroflex quality. See Sammies 12.9 and 12.10. In the one case the back of the tongue is low, with the tip and sides curling up. In the other case the back of the tongue is high, with the tip curling up slightly, as illustrated in the Sammies. There is no audible difference between the two, and either is satisfactory for the [r] glide. Again, as with all previous glides, it is a movement, this time into retroflexed position, which constitutes the glide. RE 12.Ut English. Demonstrations [r] Off-glides The following English words contain [r] off-glides as they
181
Vowels and Vowel Glides
are pronounced on the tape. They may not necessarily in your speech. If they do not, see if you can find some words in your own speech which demonstrate the [r] off-glide. It is possible that you do not have any, for some dialects of English do not. Learn to produce this off-glide if you do not have it in your speech. Get the feel of the tongue movement into retroflexed position, /art/
lb, ferry /'fert-y/
lc. story /'storty/
/kart/
2b, merry /'merr,y/
2c, sort
/sort/
/mark/
3b, Sperry/' speny/ 3 c pork
/pork/
Ua, s t a r t l e / ' s t a r t a J L /
Ub, Gerry / ' j e r t - y /
Uc. f o r t
/fort/
5a, p a r t n e r / ' p a r t i a r /
5b. b e r r y /»b&rc,y/
5c.
orchard/'orcard/
[H] Off-glide, Tongue t o Central Position
Sammy 12.11* A r t i c u l a t i o n of [eH] Showing Tongue a t Beginning and a t End of Glide
Sammy 12.12i A r t i c u l a t i o n of [oH] Showing Tongue a t Beginning and a t End of Glide
The fourth and l a s t o f f - g l i d e which we w i l l t a k e up begins with any vowel p o s i t i o n and moves i n t o mid-central p o s i t i o n , as i l l u s t r a t e d i n Sammies 12.11 and 12,12. Again we are not concerned with the exact point t o which i t moves, but with the aud i b l e movement i n t o t h e mid-central a r e a . See Table 12.U. Do
182
Lesson 12
not l e t t h e choice of t h e c a p i t a l H as a symbol for t h i s g l i d e confuse you. I t has no r e l a t i o n t o [h] i n our -work. Neither does i t have any r e l a t i o n t o the s i g n of a s p i r a t i o n ["]• I t i s simply a symbol not otherwise used i n our work, and a v a i l a b l e t o represent the c e n t r a l i z i n g g l i d e . Front Unrounded
Central Unrounded
Back Rounded
High Mid
ft
Low-
* f « a
H
o
Table 12.U» Movement 'Which Constitutes t h e [H] Off-glide RE 12. 5t English. Demonstration! [H] Off-glides The following English words contain [H] o f f - g l i d e s as they a r e pronounced on the t a p e . They may not n e c e s s a r i l y i n your speech. If they do n o t , see i f you can find some words i n your own speech which demonstrate the [H] o f f - g l i d e . I t i s very common i n a l l d i a l e c t s of English. These pronunciations do not a l l represent t h e same d i a l e c t of English. Mimic t h e t a p e whether you have t h i s o f f - g l i d e on these p a r t i c u l a r words or n o t . Get t h e f e e l i n g of t h e c e n t r a l i z i n g tongue movement. l a . vea
/yeH/
l b . four
/foH/
lc. I
/cfl/
2a. t h e r e
/eleH/
2b. sword
/soHd/
2c. fine
/faHn/
3a. fair
/feH/
3 b . porch
/poHc/
3 c . mine
/maHn/
lf.a. prayer
/preH./
Ub. boa
/boH./
He. car
/kctH/
5a. mayor
/mti/
5b. pork
/poHk/
5c. f a r
/faH/
RE 1 2 . 6 . D i f f e r e n t i a l ! CAPITAL [H], RAISED [ h ] , [h] The following d r i l l i s t o h e l p you f i x t h e t h r e e symbols [H h ] so you w i l l not confuse them. You have not y e t had [h] i n f i n a l p o s i t i o n , but i t sounds j u s t l i k e [h] i n i n i t i a l ^Some l i n g u i s t s maintain t h a t [H] and [h] are a c t u a l i z a t i o n s of the same phoneme i n English. Whether one holds t o t h a t i n t e r p r e t a t i o n of English or not, these sounds are p h o n e t i c a l l y d i f f e r e n t , and have no r e l a t i o n t o each other i n our phonetics work.
Vowels and Vowel Glides
183
p o s i t i o n , and i t i s demonstrated f o r you on t h e t a p e before the exercise b e g i n s . In t h i s exercise you respond with the name of the symbol, because i t i s t h e d i f f e r e n t use of t h e symbols which you want t o l e a r n t o keep s t r a i g h t . Do not watch the t e x t . 1. [mop'1]
R
7. [loh]
h
13. [lop*1]
R
2. [mdh]
h
8. [loH]
C
1U. [tak*1]
R
3 . [mctH]
C
9. [fsH]
c
15. [taH]
C
lu [t em]
R
10. [p^rel]
R
16. [tah]
h
5. [sols*1]
R
1 1 . [rah]
h
C
6. [hoz]
h
12. [zeh]
h
17. [deH] • 18. [xoh]
h
h
RE 1 2 . 7 . Diff e r e n t i a l i [y w r H] I n t h i s d r i l l you are t o d i s t i n g u i s h t h e kind of o f f - g l i d e which you h e a r . Call out the name of the symbol used t o r e p resent i t . 1. [mey]
7
7. [fsHm]
H
11 1 3 . [hawk ]
w
2. [mew]
w
8. [psoyd]
y
lit. [hayph]
y
H
1
r
1 5 . [£eyn]
y
11
3 . [msH] k,
[mer]
5. [layk*1]
9.
[tserk* ]
r
10. [bzork ]
r
16. [Jawd]
w
7
1 1 . [tfoHk*1]
H
17. [fern]
r
12. [stoHv]
H
18. [zawl]
w
6. [sowk*1] w
Up t o the present we have d e a l t only with o f f - g l i d e s , g l i d e s which begin with a s y l l a b i c vowel, and move t o one or another of t h e four defined p o s i t i o n s i n a n o n - s y l l a b i c movement. On-glides are j u s t t h e r e v e r s e . They move t o t h e p o s i t i o n of the s y l l a b i c vowel. The p o s i t i o n from which" they come defines the g l i d e . In other words, any Sammy above which r e p r e s e n t s an o f f - g l i d e can be made t o represent an on-glide by having t h e dotted l i n e r e p r e s e n t t h e non-syllabic beginning p o i n t , and t h e s o l i d l i n e t h e s y l l a b i c vowel t o which t h e g l i d e moves. See a l s o Table 1 2 . 5 . RE 12. 8> English. Demonstration! On-glides L i s t e n t o t h e t a p e , and mimic. Notice how t h e on-glide (the g l i d e coming before t h e vowel) i n Column a i s j u s t t h e
Lesson 12
lfiU
\s;
High Mid
Back Rounded
Central Unrounded
Front Unrounded
~——~^-
-y"l —* 0
e^"~
Low
^ a Table 12.5t Movements Which Constitute the [y] and [w] On-glides
reverse i n tongue movement of t h e off-glide i n Column b . The tape w i l l read a c r o s s . Follow t h e t r a n s c r i p t i o n as you mimic. These pronunciations do not a l l r e f l e c t t h e same d i a l e c t of English. l a . y_es
/yes/
l b . sag
/sey/
2a. yacht
/yc*/
2b. tie_
/toy/
3 a . Wes
/w&s/
3b. so
/sew/
Ua. wan
/wan/
Ub. now
/now/
5a. woe
/wow/
5b. woe
/wow/
6a. wreck
/rek/
6b. care
/tar/
7a. rock
/rak/
7b. c a r
/kar/
We do not d r i l l [H] as an o n - g l i d e . RE 1 2 . 9 . Demonstration! Lack of S y l l a b i c i t y on Glides One of t h e c h a r a c t e r i s t i c s of t h e glides as t h e y have been discussed above has been t h e f a c t t h a t they a r e non-syllabic vowel movement. I n order t o help you f e e l t h e non-syllabic character of t h e glides we provide t h e following d r i l l . Mimic the tape and watch t h e t r a n s c r i p t i o n . I n order t o h e l p you v i s u a l i z e what i s happening, study t h e following diagram i n r e lation t o the f i r s t utterance.
r [a
a
y]
Voicing Syllabicity 1. [yayayoyayayayayay]
2. [yoyoyoyoyoyoyoyoy]
185
Towels and Vowel Glides 3 . [yeyeyeyeysyeyeyey]
8. [rorororororororor]
k
9 . [rarararararararar]
[WCWCOTOWOWOWOWOWOW]
$. [wawawawowccwawawaw ]
10. [ aH oHaHaHctHaHaHaH ]
6. [wewewewewewewewew]
1 1 . [eHeHeHeHeHeHeHeH]
7. [re re re re re re re rer]
12. [oHoHoHoHoHoHoHoH]
As you drilled the above did you notice that sometimes you could not tell whether the glide was off-glide or on-glide? Actually it slurred imperceptibly from one to the other. This illustrates the point made about syllables in Lesson 10, that the syllabic is easy to identify, but the point of syllable boundary may not be audible. Note also that the tongue stops just as long at the end of the glide position as it does at the vowel position. The fact that the vowel is syllabic, however, helps to distinguish the glide.-*RE 12.10t English. Demonstration! Glide Onsets with Preceding Consonant Mimic the following English words, paying particular attention to the on-glides, and to the consonant which precedes each one. Notice that the articulation of the glide begins before the release of the consonant, and that the glide articulation continues after the release of the consonant in the following manner. •Tfou have probably noticed that all of the glides except [H] have previously been identified as consonants in your English transcription (Appendix A ) . Phonetically they are vowel glides in English, as in any other language. Phonemically they pattern as consonants in English and in some (though not all) other languages. Some linguists prefer to use the term consonant and vowel for phonemic classes, and vocoid and non-vocoid for what we are calling phonetic vowel (and vowel glide) and consonant. As valuable as this terminological distinction is, we have not burdened you with it in this Manual. See Kenneth L. Pike, Phonetics, pp. 66-79. You will remember from Lesson 10 that just as some vowels operate in some languages as consonants (the glides we have been studying), so some consonants can be syllabic, and can therefore operate in some languages as vowels. If we were dealing seriously with the classification of sounds on the phonemic level it would be worthwhile to maintain Pike's distinction in terminology.
Lesson 12
186 [a
p
w
a]
[a
P
7
a]
[a
P
r
a]
——
Stop closure Glide
, This is especially easy to notice in English with the [w] onglide because the lips round for the preceding consonant. Notice how your lips round for the /k/ in quick. Column b contains words without the on-glide so that you can feel and hear the difference. The tape recording reads across. Follow the text as you mimic. l a . dwell
/dweHV
l b . dell
/dsHl/
2a. swell
/sweHl/
2b. s e l l
/ssH3/
3a. twenty
/'twsntz-y/
3 b . tent
/tent/
Ua. quotient
/'kwowsint/
Ub. cogent
/'kowjint/
5a. pure
/py»Hr/
5b. poor
/pvHr/
6a. cute
/kyiwt/
6b. coot
/kiwt/
7a. beauty
/•byiwtty/
7b. booty
/ »biwtz-y/
8a. few
/fy*V
8b. foo
/fuw/
9a. break
/breyk/
9b. bake
Aeyk/
10a. pray
/prsy/
10b. pay
/pey/
11a. shred
/srsd/
l i b . shed
/sed/
12a. fray
/frey/
12b. Fay
/fey/
RE 12.11. Negative Practice* On-glides Following Consonants Practice each of the following sentences with an inserted [y] on-glide after the alliterative consonant. Then practice them with [w] and then with [r]. These are written out in the first example to make the exercise clear. The tape demonstrates them for you. You can read whole paragraphs of English in this way as well. 1* Pyeter Pyipyer pyicked a pyeck of pyickled pyeppyers. Pweter Pwipwer pwicked a pweck of pwickled pweppwers.
Towels and vowel Glides
187
Preter Priprer pricked a preck of prickled prepprers. 2. Tiny Tim took ten tin tubs to Toronto. 3. Keen cool cats kick kittens constantly. km Many mothers made much money Monday morning. Pure vowels [a o s] The glides which you have been studying in this chapter may glide into or out of any of the many vowel qualities which you will be studying in the remainder of this course. With very few exceptions, however, we have restricted our examples and drills in this lesson to three vowels as the end point or starting point of glides. These three vowels are [a o c ] . See Table 12.1. We now go on to practice these three vowels as unglided vowels, or "pure" vowels. We want to be able to say them without the slightest audible trace of any of our four glideso The importance of gaining such control over all vowels that you can keep them pure, or glide them at will, cannot be over-emphasized. You will soon discover that you have an automatic tendency to glide certain vowels in certain ways in English. This carries over into your learning of another language in ways that sound atrocious. It is not that other languages do not glide their vowels. Every language has its own patterns of glided and unglided vowels, and you must learn to control your speech so that English patterns are not applied to the other language. It is very important that you learn the vowel qualities of this and succeeding lessons by mimicking your teacher and the tape. Do not depend on English words as models or guides for certain vowel qualities until you have checked your pronunciation of them with a competent person. The pronunciation of different speakers of English varies so much that you have to be careful here. Furthermore, what may pattern as a phoneme in English and be symbolized in a certain way, such as /e/, may have several different pronunciations in any one person's speecho In our phonetics work we are striving for phonetic norms, and as much as possible we will seek for a uniform pronunciation. The choice of this uniform pronunciation is a bit arbitrary, and it is not possible in any absolute way, but we can come close to it for practical purposes. RE 12.12. Demonstration* [a o e] Look back at Table 12.1, and read the first two paragraphs
188
Lesson 12
of this lesson again. Get a clear picture of the table in your mind, and then do the following exercise. Listen to the tape, and mimic it, following along in your text. Try to sense the position of your tongue and lips, in accordance with the chart. Be very careful not to get any glides. [•] indicates a prolonging of the vowel. For the [h] just blow out without changing the articulation. Each item will be given three times. 1. [*a« 'a 'a »a 'a]
U. [»o»h]
2. [*o» ">o ">o *>o *>o] 3. {">*• *e »e *e *e]
5. [°o»h] 6. [*e»h]
For each of these pure vowels there are characteristic traps which speakers of English are likely to be caught in when they mean to produce pure vowels. For [a] the temptation is to change the quality between the long and short pronunciations. There is also the problem of tending to substitute your own English pronunciation, which in many dialects of English is considerably different from what you hear on the tape. The trap in the [o] is the temptation to add the English [w] off-glide. Watch your lips in the mirror as you pronounce it. If there is any movement toward greater rounding you are adding the glide. The trap in the [e] is the temptation to add the English [H] off-glide. Be especially careful of this. You cannot see it in a mirror. You must learn to hear it and feel it. Now go through this exercise again, remembering the traps, and trying to avoid them. Work with your buddy so that you can listen to each other and help each other find the points at which you differ from the tape. RE 12.13. Negative Practicet [ow o] In the following exercise we are going to pronounce the same English words with [ow] in Column a, and with [o] in Column b. Neither of these pronunciations may be your natural pronunciation of the word in some cases. The purpose is to mimic the tape and learn to produce a glided or unglided [o] at will. la. [sow]
lb. [so]
SO
2a. [9ow]
2b. [»o]
oh
3a. [low]
3b. [lo]
low
189
Vowel and Vowel Glides Ua. [bow]
lib. [bo]
bow
5a. [«mowtr]
5b. [«motr]
motor
6a. [lowf]
6b.
loaf
7a. [«gowz,n]
7b. [»gOMj]
going
8a. [A»lown]
8b.
alone
[lof]
[A'lon]
RE 12.lU. Negative P r a c t i c e ! [eH e] This e x e r c i s e follows t h e same procedure and purpose as the preceding one, except t h a t the vowel and g l i d e are d i f f e r e n t . l a . [y6H]
to.
2a. [weHl]
2b. [wel]
well
3 a . [leHt]
3b.
let
ka., [meHnt]
l+bo [ment]
meant
5a. [freHnd]
5b.
[frend]
friend
6a. [beHst]
6b.
[best]
best
7a. [eHnd]
7b. [end]
end
8a.
8b.
fret
[freHt]
[ye]
yea
[let]
[fret]
RE 12.15. D i f f e r e n t i a l ! GLIDED or NO I f you hear [w y H r ] pond with NO. You get the g l i d e i n both s y l l a b l e s of gives you more opportunity not watch t h e t e x t .
respond with GLIDED. Otherwise r e s same vowel with or without t h e same each u t t e r a n c e i n Nos. 1-lU. This t o h e a r and i d e n t i f y t h e g l i d e . Do
7. [keysey] G
13. [koHsoH] G
8. [kese]
Ik. [koso]
NO
9. [kewsew] G
15. [kaH]
G
[koyscty] G
10. [kowsow] G
36. [kay]
G
5. [kaHsaH] G
11. [koysoy] G
17. [ka]
NO
6. [kasa]
1 2 . [kaHsaH]
18. [ke]
NO
1. [keHseH] G 2. [kese]
NO
3. [kowsow] G
k.
NO
NO
G
Lesson 12
ISO 19. [keH]
G
2 0 . [kow] G
2 1 . [ko]
NO
RE 12.16. Mimicryt [g e o] Follow t h e tape i n mimicking the following i t e m s , f i r s t down the columns, and then a c r o s s . Be sure t o get pure vowels. l a . [»lola]
lb.
[ilele]
l c . [•lolo]
2a. [•baba]
2b. [«bebe]
2c. f'bobo]
3 a. ['nana]
3b. [»nene]
3c
Ua. ['dada] < •
Ub. [»dede]
5a. [' zaza]
5b. [«zeze]
Uc. [•dodo] • • 5 c [•zozo]
6a. [ 'tscctsa]
6b.
6c. [ • t s o t s o ]
7a. [*sasa]
7b. [ ' s e s e ]
7 c [«soso]
8a. [«gaga]
8b.
['gege]
8c. [«gogo]
Id. [la]
le.
[le]
If.
2d. [ba]
2e. [be]
2f. [bo]
3d. [na]
3 e . [ne]
3f.
Ud. [da]
he.
[de]
Uf. [*>]
5d. [za]
5 e . [ze]
5f. [So]
6d. [ t s a ]
6e. [tse]
6f.
7d. [sa]
7e. [se]
7f. [so]
8d. [get]
8e. [ge]
8f. [go]
["tsetse]
[•nono]
[lo]
[no]
[tso]
RE 12.17. Mimicry* Glides Again Mimic t h e t a p e , and p r a c t i c e saying t h e following English words with the glided vowels shown for each item. Notice t h a t No. 6 contains some B r i t i s h pronunciation, Nos. 7, 8, 9 some Deep South pronunciation, e t c . 1. [ey]» bay, say, may
3 . [ay]t buy, p i e , l i e
2 . [oy]# b o i l , coin, choice
U. [aw]i how, cow, now
Vowels and Vowel Glides
191
$• [ow]i s o , bow, low
9. [aH]i c h o i r , l i e s , l i o n
6. [ew]t go^ no^ oh
10. [ e r ] t t h e i r , f a i r , pear
7. [eH]i l a y e r , mayor, bed
1 1 . [or]* chore, door, core
8. [oH]« boa, Noah, four
12, [ar]t choir, p a r t , barn
RE 1 2 . 1 8 . Buildupsi Pure Vowels and Glides Mimic t h e t a p e . These longer utterances w i l l be b u i l t up from t h e end. Be very careful of your pure vowels and g l i d e s . 1*
[»da.now.from.'k^ey.mo.ben.»p"er.gay.seH.'soy]
2.
['so.S£n.t n af.«map h .m6H.feH.'z6Hk h .bol.wa. , broH]
3 . [ •c h oyv.5an".g6d. »vaHl.meyn.£|ew. 'goy.do.dow. >haH] RE 12.19. Buildups* Review of S t r e s s and Timing Follow along i n your t e x t , and mimic the tape on these buildups. The consonants and vowels a r e kept simple so t h a t you can concentrate on t h e s t r e s s , j u n c t u r e , s y l l a b i c i t y , timing, e t c . 1. ['nana
na'nana
2 . [bribn'bnbn t
t
t
na
bribn
t
i
km [mba'ba I
i
t i
'mbambcan I
!
i
na
na'na]
>bn«bn
t
»srtsrt
t I
*na
»bn bn
i t
3. [»srtsrtsrt»srt i
na
»bnbribn]
t t
i i i
srt
srt
i
i
*m
'm
ba'm
I
I
I
«srt
»srtsrtsrt]
i
m m I
I
'mmmba
I
I
I
»ba]
I I I
RE 12.20. Reading To h e l p you a s s o c i a t e t h e symbols and t h e g l i d e sounds you have learned t o produce, l i s t e n t o the c o r r e c t form on tape a f t e r you have read i t . Practice aloud and with another s t u dent i f p o s s i b l e . Be prepared for c l a s s d i c t a t i o n . 1. [sow'so]
6 . [say'saH]
1 1 . [so'soH]
16. [sew'se]
2 . [soH'so]
7. [saH'say]
12. [so'soy]
17. [se'sew]
3 . [soy'so]
8. [say'saw]
1 3 . [sow'sow]
18. [seH'sey]
U. [ s a y ' s a ]
9 . [saw'sa]
lit. [ssy'sey]
19 • [seH'saH]
5 . [sa«soy]
10. [saw'Say]
15. [se'se]
20. [saw'ssH]
192
LESSON THIRTEEN Nasals Bilabial Nasals Voiced Voiceless
Dental
ra M
n (N)1
Alveolar
AlveoRetro- Velar p a l a t a l flexed
n
n
n
n
N
N
(N)
N
The nasal manner of articulation was explained in Lesson 1 (p. 16). It consists of a closure in the oral cavity, and an open velic to allow the air stream to come out through the nose. We need now to learn to produce some nasals in positions where they do not occur in English, and to learn some new nasals which do not normally occur in English. Names of new symbols in this lesson are [~] "tilde" /'tz-ldA/, [ST] "enya" /'enya/, [n] "eng" /en/ or "velar n", [n n] "dental n", "retroflexed ji", [M] "capital m", etc. [n] in Initial Position You are already familiar with [n] in final position and some medial positions in such English words as sing [sz,n], singer [«st.n»r], and finger ['f&n.gr] (see Appendix). We now introduce it in initial position, where it also occurs in many languages. RE 13.1. Negative Practicet Learning to Make Initial [n] Mimic the stress, timing, and length as demonstrated on the tape, to help you get the rhythm, and you will find yourself making initial [n] with no difficulty. Follow the transcription. 1. Start by saying singing»ing»ing»ing
['stnt-n* "tn* *tn« 'tq]
2. Change the stress placement! [sMQi/'n'z-'n't-'n'r-] 3. Then change tot [•qt-'qi.'nz.'ni.] ^The voiceless dental nasal and voiceless retroflexed nasal articulations in parentheses are perfectly possible, but we will not drill them in this course.
Nasals
193
h* [•ne'ne'n.e'ne] 5. [«no'no»rjO»]3o] 6.
['na'ga'na'na]
RE 1 3 . 2 . Mimicry* I n i t i a l [nj Follow the t r a n s c r i p t i o n as you mimic the t a p e . l a . [»na]
l b . ['nana]
l c . [«nanaq]
I d . ['nan
'nananj
2a. [«ne]
2b. ['nene]
2 c . ['nenen]
2d. ['rjeij 'nenen]
3 a . [«no]
3 b . ['130130]
3 c . ['13013013]
3 d . ['13013 '13013033]
RE 1 3 . 3 . D i f f e r e n t i a l STOP, NASAL, or BOTH Say t h e following words t o yourself, and analyze t h e media l consonants! b i g g e r [«bz,gr], s i n g e r [ ' s t n r ] , finger ['f1.13.gr]. Note t h a t they have [g] STOP, [13j NASAL, and [ngj BOTH, r e s p e c t i v e l y . I n t h e following exercise respond t o the tape with one of t h e s e l a b e l s according t o what you h e a r . Don't peek. 1 . [aga]
S
6. [0130]
N
1 1 . [aga]
S
2 . [003a]
N
7. [ene]
N
12. [ege]
S
3 . [anga]
B
8. [aga]
N
3 3 . [ango]
B
it. [anga]
B
9. [ege]
S
lit. [enge]
B
5 . [aga]
S
10. [eijge]
B
35. [0130]
N
Now go back and p r a c t i c e i n mimicry of t h e t a p e . Production of
W
Be sure your tongue t i p i s down behind your lower t e e t h . Hold i t t h e r e with t h e t i p of your f i n g e r . A r t i c u l a t e w i t h your blade where i t n a t u r a l l y touches the a l v e o p a l a t a l region. I n many, i f not most, languages where [n] occurs i t has a [y] automatically associated with i t , making an on-glide i n t o a following vowel or an o f f - g l i d e from a preceding one. I n such languages the [y] helps t o d i s t i n g u i s h [n] from [ n ] . Other languages have no such o f f - g l i d e . I n t h i s course, however, (except f o r t h e following e x e r c i s e ) [11] w i l l always be accompanied with a s l i g h t [y] glide which w i l l not be t r a n s c r i b e d , but w i l l be considered a f e a t u r e of the [ n ] . The glide movement
Lesson 13
29k
Sammy 13.1* [n] of [7] comes very close t o [n] a r t i c u l a t i o n . RE 13 ,U. Demonstration* fn] With and Without [y] Glides Listen and mimic t o hear and f e e l the presence and absence of t h e [y] g l i d e . Follow t h e t r a n s c r i p t i o n . Without Glide
Following Glide
Preceding Glide
l a , [ana]
l b , [afrya]
l c . [ayna]
2a. [ene]
2 b . [enys]
2 c . [syne]
3 a . [ono]
3 b . [onyo]
3 c . [oyno]
RE 1 3 . 5 . Mimicry! [n] Be very careful t o see t h a t your tongue t i p stays behind your lower t e e t h . If necessary, place the t i p of your f i n g e r l i g h t l y a t the edge of your lower t e e t h t o hold your tongue down. Follow the t r a n s c r i p t i o n . l a . [»na]
l b . ['nana]
l c . ['nanafi]
I d . ['nan »nanan]
2a. [•&]
2b. [»nene]
2c. [»nenen]
2d. ['neii 'nenen]
3 a . [«no]
3 b . ['nono]
3 c . ['nonon]
3d. ['non 'norion]
Nasals
1°5
Production of [n n] [ji n] do not present any new a r t i c u l a t i o n problem, but simply tfie c o n t r o l of d e n t a l and r e t r o f l e x e d a r t i c u l a t i o n s learned i n Lesson 1 1 , and t h e i r c o r r e l a t i o n with n a s a l manner of a r t i c u l a t i o n . Some speakers of English w i l l f e e l t h e a r t i c u l a t i o n of [n] i n t e n things [|t^en«©i,nz]. Some, but not as many, w i l l f e e l t h e a r t i c u l a t i o n of [n] i n door knob [•doHrna»b], You w i l l need t o l e a r n t o make both t h e s e a r t i c u l a t i o n s , and t o hear [ n ] . As with [ t d ] , however, you may l e a r n t o recognize [n] more by seeing t h e tongue a t t h e t e e t h than by i t s a c o u s t i c difference from [ n ] . RE 1 3 . 6 . Mimicry! [n n] Keep the proper a r t i c u l a t i o n on t h e following items whether you hear t h e d e n t a l a r t i c u l a t i o n or n o t . Follow the t r a n s c r i p tion. l a . [*na]
l b . ['nana]
l c . [•nanan] *•
A
A
A
J
I d . ['nan 'nanan]
2a. [»na]
2b. [•nana]
2 c . [tnanan]
2d. ['nan •nanan]
3 a . [«ne]
3 b . [•nene]
3 c ['nenen]
3d. [ , n e P 'nenen] A
ha.. [»ne] 5a. [«no]
Ub. ['nene] • • 5b. ['nono] L
A
A
J
Uc. ['nenen] • • • 5c [* nonon]
6 c . ['nonon] 6b. [»nono] • • • • • RE 1 3 . 7 . Negative Practice* [n n ny n n]
6a. ['no]
A
A
J
Ud. ['nen •nenen] • • • • • 5d. [»non •nonon] A
A
fl
J
6d. ['non 'nonon] • • . • •
I n the following sentences t h e English / n / ' s w i l l be r e placed with various kinds of n a s a l s j u s t d r i l l e d , [ny] w i l l also be p r a c t i c e d . Remember t h a t [1i] when i t has a following [y] g l i d e , sounds very much l i k e [ n y ] . The a r t i c u l a t o r and point of a r t i c u l a t i o n are d i f f e r e n t . Make the proper a r t i c u l a t i o n for each of the s u b s t i t u t e d sounds. P r a c t i c e a l l of these v a r i a t i o n s u n t i l you can say them f l u e n t l y . Follow t h e t r a n s cription. 1. Nyee, nyee, nyee said the l i t t l e fox. l a . nss nae ns3 s a i d t h e l i t t l e fox 2a. res ffe ife s a i d t h e l i t t l e fox
196
Lesson 13 l c . nyae nyse nyae said t h e l i t t l e fox I d . nee n s nae said t h e l i t t l e fox • • • l e . nae nse nas said the l i t t l e fox
2. Ned never knew Nancy's new number. 2a. ned never new nancy's new number A
A
ft
/N
/\
/N
2b. ned never new nancy's new number 2c. nyed nyever nyew nyancy's nyew nyumber 2d. ned never new nancy's new number 2e. red never new nancy's new number 3. Ten thin men man one gun. 3a. ten thin men man one gun A.
A
A
A
A
A
3b. ten thin men man one gun 3c. ten thin men man one gun 3d. ten thin men man one gun RE 23.8. Differential! ALVEOPALATAL, RETROFLEXED, VELAR Don't peek. 1. [oSo] A 2. [ono] • 3. [ono]
V
11. [ono]
V
R
6. [ene]
A
32. [ene]
R
V
7. [ene]
A
13. [ana]
A
8. [efie]
V
R
9 . [ana]
R
lU. [ene] • 15. [ana]
U. [ono] R • 5. [ene] R • Voiceless Nasals
V
10. [ana]
You can produce any voiceless nasal by articulating for a voiced one, and simply blowing. Voiceless nasals often occur adjacent to voiced nasals of the same articulation, and in our drills we will follow this practice as it makes the voiceless nasals easier to identify. You should be prepared, however, to find such voiceless nasals without contiguous voiced nasals in
Nasals
197
languages you may study. RE 1 3 . ° . Demonstrationt English Exclamations •with [M] l i s t e n , and mimic t h e t a p e on t h e following exclamations which have [M]. Get t h e f e e l i n g of the a r t i c u l a t i o n of the voiceless n a s a l . 1* hml
[Mm]
2. hm-m
[Mm?m]
3 . mhm OroMm]
RE 13.10. Negative P r a c t i c e i [N N N, Mj Mimic t h e t a p e , and follow t h e t r a n s c r i p t i o n . 1. Ned never knew Nancy's new number. l a . Nned Nnever Nnew Nnancy's Nnew Nnumber l b . Nned Nnever Niiew Nnancy's Nnew Nnumber l c . Nned Nnever f^rjew Nriancy's Nnew ^number 2 . Ten t h i n men man one gun 2a. tenN thinN menN manN onNe gunN 2b. tenN thinN menN manN onNe gunN 2 c . tenlj thinN, menlj manN, onNe gurjN, 3 . Mother, make me much more mush. 3 a. Mmother Mmake Mme Mmuch Mmore Mmush RE 1 3 . 1 1 . Mimicryi Voiceless Nasals Mimic t h e t a p e , and follow t h e t r a n s c r i p t i o n , l a . [»Mmo]
l b . [*o'Mmo]
l c . ['om'Mmo]
I d . ['onM]
2a. [«Nno]
2b. f o ' N n o ]
2c. f'on'Nno]
2d. ['onN]
3 a . [«Nno]
3 b . [*o»Nnb]
3 c . ['on'finb]
3d. [*onN]
Ua. [«Nno]
lib. f o ' N n o ]
U c forj'Nno]
lid. [*onNj
RE 13.12. Buildup and S u b s t i t u t i o n Mimic t h e t a p e .
The frame remains constant, with one
198
Lesson 13
syllable changing for each utterance. There is a buildup on the first one because the sequence is long and the combinations require practice. Work on them until you get them fluently. Follow the transcription.
1« [gonM'new sat^a'nonN]
6. [gonM'zVw satb-a'nonN]
2.
't h ca]
7.
'Ijfto
3.
'noz
8.
•dana
U.
'nenN
9.
'neso
5.
'tsan
10.
'xenN.
RE 13.13i Khmtf >\ Mimicryt Voiced Nasals Mimic t h e tape and follow t h e t r a n s c r i p t i on. la. /naa/ •she'
l b . /fiaak/ 'poor'
l c . /naa/
2a. / n a a y / •that'
2b. /naam/ 'time when'
2c. /naam/ •part of a plow'
3a. /naan/ 'Miss•
3b. /naan/ •crawl'
3c
Ua. /neew/ 'kind'
'tusk'
/naak/ •nursing"
Uc. A)eep/
'roof overhang'
RE T3»lkt Khmu*. Mimicry! Voiceless Nasals Mimic t h e tape and follow t h e t rans c r i p t i o n . 2 b . [Nna«y]
'there' 2a. [Mman] 'hold'
2b., [Nnam]
3 a. [Mmo»n] 'sad'
3 b . , [Nno«n]
Laos.
•be l a r g e '
I d . [Nna-p] •yawn1 2d. [Nrjat] •recede'
'be remaining'
Khmu' is a mountain minority language spoken in northern Data from William A. Smalley, Outline of Khmu* Structure.
Nasals
199
Ua. []tfmu»c] •ant'
He. [Hnlp] 'grab, grasp'
Hd. [Nne»k] 'hornbill'
RE 1 3 , l 5 i Khimi?. F i n a l [n] Mimic the t a p e and follow the t r a n s c r i p t i o n , 1, [ma«rT] ' a s k '
3 , [ta»n] 'weave'
S>. [pin] 'shoot*
2. [ba»n] 'be drunk'
h. [gu«n] ' s e e '
6 . [kin]
'full'
RE 1 3 , l 6 i Black Bobo 1 . Mimicry! Nasals with Tone Mimic the tape and follow the t r a n s c r i p t i o n . s y l l a b i c n a s a l s , and t h e tones on them, ~ 1* [gq]
'oven'
6. [JjJ
'grease'
2, [gn]
'yesterday'
7, ( # K
'head'
3. [ ^
'black'
8. [nl\
' s l e e p5»
U. [kg]
'skin'
9, [Nn]
'sun'
i
Note t h e
•
T 5. [SQ
'odor'
10. [Nn]
'man'
RE 1 3 . 1 7 . Review Buildupst General [da.c&'t h on.t&en'd8ow.Nna]
1* [ea.ddye'po.mctr). ' a . n o ]
h.
2 . [gwax.'a'fa.neg.'pponN]
f>. [ps n o.ke',jan.nom 'n.Nn&'']
3 . [tss.pom'pwa m'bo.Nns.doz]
6.
[pra4.syex«boc n ,2er),sem.ton, •Mme]
T3lack Bobo is spoken in Mali, West Africa, Data obtained with the help of Rev, Grant Crooks, Recording simulated from notes.
200
Lesson 13
RE 13.18. Reviewt [x g q] ^y now you should be g e t t i n g t h e v e l a r f r i c a t i v e s . Pract i c e t h e following u t t e r a n c e s r e p e a t e d l y . Mimic t h e tape and follow the t r a n s c r i p t i o n . 1 . [gerj'xona]
U. [gego
2 . ['nagogex]
5 . [nen'xag.non.xa]
3 . [xe'naneno]
6.
[xsx'xaxoq.goxo]
RE 13.19. Transcription Transcribe the utterances on t h e t a p e , when you are s a t i s f i e d with your t r a n s c r i p t i o n , check i t with t h e t r a n s c r i p t i o n below. U n t i l t h e n , d o n ' t peeki 1 . [Nnem]
6 . [Gasa»]J]og]
2. [nairM]
7. [cs"og«k h o'']
3 . [tso'nan]
6. [mon.^gsb. ' t ^ a ? ]
U. [ne'Mman]
9. [pax.'zenM.nad]
5. [s^fTen]
10. [Jok h .fean.'gen]
RE 13.20. Reading Read off each of the following items, and l i s t e n t o t h e c o r r e c t reading on the t a p e . Go through t h e exercise s e v e r a l times if necessary. 1 . ['mane]
6. [dz'o't^sn]
2. [«Nneno]
7.
3 . f'xena]
8. [mok^'Niiep]
h. [so'Mme]
9. [Mman' k^onl}]
5. [ppes«thoorj]
['I^ef.tsa]
10. [nag«tseniy]
201
LESSON FOURTEEN Some Back and Central Vowels
Front Unrounded
Central Unrounded
Back Rounded
High
u
Lower-high
V
Mid
0
Lower-mid Low
6 A
0
Lower-low Table lli.li Vowels to Date The names of the new vowel symbols on this chart (those enclosed in boxes) are [A] "caret" or "upside-down v", [v] "upsilon" (from Greek), and [o] "open o" or "backwards c_". In Lesson 12 we discussed vowel qualities in terms of three levels (high, mid, and low) as well as three regions from front to back. Three levels were enough for our purposes at that time, but now that we need to introduce more vowel qualities we have further subdivided the levels as you can see in the chart.1 Do not let this chart, and the careful drilling which you will be doing give you a false sense of absolute precision on these vowel qualities and positions we chart for them. You will be working toward enormously increased control over vowel articulation, but even so you should think of the areas of the vowel chart and the positions of the various symbols as "target areas." In actual languages there is a considerable variation in the pronunciation of a single vowel phoneme, the various pronunciations clustering in an area of the chart, giving a scatter-shot effect. In this course we will be working toward
"T?his system of labels is modified from H. A. Gleason, An Introduction to Descriptive Linguistics, p. 203. Many phoneTTcians use the terms high close, high open, mid close, mid open, low close, low open.
Lesson lit
202
Sammy l U . l t [A]
Sammy llt,2» [u]
Sammy lU.3» [v]
Sammy ih.kt
[0]
g r e a t e r c o n t r o l , so t h a t you can discriminate and produce sounds i n more of t h e areas of t h e chart than you have been able t o do a t w i l l b e f o r e . In order t o do t h i s we s e t up a kind of phonetic norm for each vowel we t e a c h . Equally impoi—
Some Back and Central Vowels
203
tant is to learn to vary away from this "norm" at will in any direction to mimic any variation you hear. Remember that these "target area" qualities are also selected from an infinite number of possibilities. Listen to the different qualities created by the "slur" in RE lii.l, Nos. h"$» If you still have any problems about the principles of vowel formation, study Sammies lii.l-lU.U in relation to the above chart. RE l U . l . Demonstrationt Vowel Q u a l i t i e s i n Table l i i . l Listen t o t h e exercise through s e v e r a l t i m e s , and mimic. Follow along i n your t e x t , and by watching Table l U . l . Be c a r e f u l t o t r y t o eliminate a l l g l i d e s . You w i l l have more work on t h a t i n a l a t e r e x e r c i s e . The " s l u r s " i n Nos. h and 5 demonstrate t h a t the vowels you a r e now d r i l l i n g are only s e l e c t e d points out of a continuum. 1. [e A a o o v u] 2.
[9VL
9
V 9o
9
0
f>. s l u r from [a] t o [u]
a *A 9&]
9
3 . [so so sv su s a
SA
ss]
h» s l u r from [u] t o [o]
6 . [ma mA mo mo ma mA]
7» [du dv do do dv du] 8. [xe XA x a xo xo xv xu]
Learning [uj and [v] Now you w i l l have s p e c i a l p r a c t i c e i n hearing and producing the high and lower-high back rounded vowels. Do not be deceived by any s i m i l a r i t y t o vowels i n your English speech. Mimic what you hear on t h e t a p e , and l e a r n t o c o n t r o l both t h e q u a l i t y and the tendency t o g l i d e . RE l U . 2 . Discrimination! SAME or DIFFERENT L i s t e n t o t h e paired words, and answer SAME or DIFFERENT. After you have completed the e x e r c i s e , l i s t e n again and mimic. Column a w i l l p a i r t h e vowels [u o ] , Column b [u v ] , and Column c [v o]» Don't peekj l a . [gom gum] D
5a. [gom gum]
D
9a. [«mogi «mogi] S
2a. [gom gom] S
6a. ['mugi «mogi] D
10a. ['mugi «mogi] D
3a. [gum gum] S
7a. ['mugi »mugi] S
Ua. [gum gom] D
8a. [»mogi «mugi] D
Lesson Ik
lb. >vf wuf ] D
lc„ [los l v s ]
D
2b. wvf wuf] D
2c. [lus los]
D
s
3 c . [lvs l v s ]
S
Ub. 'wuf wvf] D
Uc. [ I D S l o s ]
D
5b. "wuf wuf] D
5 c [los l o s ]
S
6b. wuf wuf] S
6 c . [ ' s o l a »sula] D
s s
7c. ['sola 'sola] S
9b. [wuf wuf] D
9 c . [«sula ' s v l a ] S
s
10c. [ ' s o l a ' s o l a ] S
3b. wvf wpf]
7b. [wuf wuf] 8b „ [wvf wvf]
10b. [wuf wuf]
8c. [«svla ' s o l a ] D
I n producing [u] you must be very careful not t o make a glided sound, [u] i s deceptively s i m i l a r t o t h e way many of us pronounce boot ( a c t u a l l y often pronounced more l i k e [ b i w t ] ) . [u] must be unglided, with t h e tongue high i n back and t h e l i p s c l o s e l y rounded. To produce [v] lower t h e back of t h e tongue s l i g h t l y from [u] and l e s s e n t h e rounding s l i g h t l y . Or, r a i s e t h e back of t h e tongue s l i g h t l y from [o] and i n c r e a s e the rounding s l i g h t l y . RE l U . 3 . Mimicry* [u v o] I n t h e following exercise mimic the tape and watch i n a mirror t o see t h a t you do not get a [w] g l i d e . On a l l of these sounds experiment with t h e p o s i t i o n of t h e back of your tongue t o get the same q u a l i t y you hear on the t a p e . Work with your buddy so t h a t he can t e l l you when you d o n ' t sound l i k e t h e t a p e . Watch the t r a n s c r i p t i o n . [buth]
l b . [bvt h ]
lc.
2a. [kup h ]
2b. [kut h ]
2c. [kot h ]
3 a . [sum]
3 b . [sum]
3 c . [som]
Ua. [suz]
Ub. [suz]
Uc
[soz]
5a. [xuf]
5b. [xuf]
5c
[xof]
6a. ['gudfen]
6b. ['gudfen]
6 c . ['godfen]
la.
[bot h ]
Some Back and Central Vowels
205
7a. [tgudfon]
7b. pgvdfan]
7c. [«godfan]
8a. [»gudfon]
8b. [«gvdfon]
8c. [»godfon]
9a. [«gudfun]
9b. ['gudfun]
9c.
['godfun]
10a. ['gudfun]
10b. ["gudfun]
10c.
['godfun]
RE Ib.U. Negative Practice* "This Is t h e House t h a t Jack Built" Recite t h e following v e r s e , s u b s t i t u t i n g f i r s t [ u ] , then [ u ] , then [o] i n t h e underlined words. A t r a n s c r i p t i o n i s given you a t the s i d e for t h e words t o be changed. Do t h e whole verse through with one vowel before going on t o another. The tape w i l l demonstrate how each s e t s t a r t s , but w i l l not provide mimi c r y m a t e r i a l f o r the f u l l d r i l l . Be e s p e c i a l l y careful t o avoid s l i p p i n g i n t o English sounds. Keep the d i s t i n c t q u a l i t i e s on which we are working for each of the s u b s t i t u t e d sounds. a This i s the House t h a t Jack
b
c
[hus]
[hus]
[hos]
This i s t h e Malt
[mult]
[mvlt]
[molt]
That l a y i n the House t h a t
[hus]
[hus]
[hos]
This i s t h e Rat
[rut]
[rut]
[rot]
That a t e the Malt
[mult]
[mult]
[molt]
That lay i n the House t h a t
[hus]
[hus]
[hos]
This i s t h e Cat
[l&it]
[k^t]
[k^ot]
That k i l l e d t h e Rat That a t e t h e Malt That lay i n t h e House t h a t
[rut] [mult] [hus]
[rvt] [mvlt] [hus]
[rot] [molt] [hos]
This i s t h e Dog
[dug]
[dug]
[dog]
That worried t h e Cat That k i l l e d the Rat
[k^ut] [rut]
[kVt] [rvt]
[k^ot] [rot]
built.
Jack b u i l t .
Jack b u i l t .
Jack b u i l t .
Lesson lU
206 a
b
c
That ate t h e Malt
[mult]
[mvlt ]
[molt]
That l a y i n the House t h a t Jack b u i l t .
[hus]
[hvs]
[hos]
This i s the Cow with the crumpled horn
[kV]
[IAW]
[l^aw]
That tossed the Dog
[dug]
[dug]
[dog]
That worried t h e Cat
[k*ut]
[kVt]
[k^ofc]
That k i l l e d t h e Rat
[rut]
[rpt]
[rot]
That a t e the Malt
[mult]
[mvlt ]
[molt]
That l a y i n the House t h a t Jack b u i l t .
[hus]
[hvs]
[hos]
This i s the Maiden a l l forlorn
['mudn]
t'mvdn]
[•modn]
That milked the Cow with the crumpled horn
[k^w]
[k*V|
[kV]
That tossed t h e Dog
[dug]
[dug]
[dog]
That worried t h e Cat
[k^ut]
[kV]
[kV]
That k i l l e d t h e Rat
[rut]
[rvt]
[rot]
That a t e the Malt
[mult]
[mult]
[molt]
That lay i n the House t h a t Jack b u i l t .
[hus]
[hvs]
[hos]
This i s the Man a l l t a t t e r e d and t o r n
[mun]
[mvn]
[mon]
That kissed t h e Maiden a l l forlorn
['mudn]
[•rnvdn]
[•modn]
That milked t h e Cow with t h e crumpled horn
[kkuw]
[k?W]
[kNr]
That t o s s e d the Dog
[dug]
[dyg]
[dog]
That worried the Cat
[kNit]
[At]
[k^ot]
i
t
Some Back and Central Vowels
207 a
b
c
That killed the Rat
[rut]
[rut]
[rot]
That ate the Malt
[mult]
[mult]
[molt]
That lay in the House that Jack built.
[hus]
[hus]
[hos]
This is the Priest, all shaven and shorn
[pkrust]
[p r u s t ]
[p^rost]
That married the Man all tattered and torn
[mun]
[mun]
[mon]
That kissed the Maiden all forlorn
['mudn]
['mudn]
That milked the Cow with the crumpled horn,
[kNiw]
[l^uw]
[^ow]
That tossed the Dog
[dug]
[dug]
[dog]
That worried the Cat
[l^ut]
[kJhrt]
[l^ot]
That killed the Rat
[rut]
[rut]
[rot]
That ate the Malt
[mult]
[mult]
[molt]
That lay in the House that Jack built.
[hus]
[hus]
[hos]
This is the Cock that crowed in the morn
[kV]
[kNk]
[khok]
That waked the Priest all shaven and shorn
[p"rust ]
[p h rust]
[frrost ]
That married the Man all tattered and torn
[mun]
[mun]
[mon]
That kissed the Maiden all forlorn
[«mudn]
[•mudn]
[•modn]
That milked the Cow with the crumpled horn
[k^uw]
[khuw]
[khow]
That tossed the Dog
[dug]
[dug]
[dog]
That worried the Cat
[kVt]
[khut]
[kVt]
[•modn]
t
i
208
Lesson lh s
b
c
That k i l l e d the Rat
[rut]
[rvt]
[rot]
That ate the Malt
[mult]
[mult]
[molt]
That l a y i n t h e House t h a t Jack b u i l t .
[hus]
[hus]
[hos]
This i s the Farmer who sowed the corn
[*fumr]
['fvmr] '
['fomr] '
That fed the Cock t h a t crowed i n the morn
[kNik]
[khpk ]
[k h ok]
That waked the P r i e s t a l l shaven and shorn
[p^rust]
[phrvst]
[phrost]
That married the Man, a l l t a t t e r e d and t o r n
[mun]
[mim]
[mon]
That kissed the Maiden a l l forlorn
[»mudn]
['mvdn]
['modn] '
That milked the Cow with the crumpled horn
[k^urr]
[k^vw]
[l^ow]
That tossed the Dog
[dug]
[dvg]
[dog]
That worried the Cat
[kVt]
[kVt]
[l^ot]
That k i l l e d the Rat
[rut]
[rvt ]
[rot]
That a t e t h e Malt
[mult]
[mult]
[molt]
That l a y i n the House t h a t
[hus]
[hus]
[hos]
!
Jack built. Learning [o] and [A] To produce [o] the back of the tongue is lowered from [o], and the rounding is lessened. Be careful not to get an [H] glide. Some speakers of English will tend to confuse [o] and [a]. They should work especially hard on these drills. To produce [A] the center of the tongue is raised from [a] very slightly.
209
Some Back and Central Vowels RE 1U.5. Discrimination! SAME or DIFFERENT l a . [ ' s o f a »sofA]
D
l b . [foth f a t h ]
D
2a. ['sofA »sofA]
S
2b. [ f a t h
fath]
S
3 a . ['sofA ' s o f a ]
D
3b. [fath foth]
D
Ua. ["sofa 'sofA]
D
Ub. [ f o t h f a t h ]
D
5a. ['sofa
'sofa]
S
5b. [ f o t h f o t h ]
S
6a. ['sofA ' s o f a ]
D
6b. [ f a t h f a t h ]
S
7a. ['sofane
'sofAne] D
7b. [nu'fath n u ' f o t h ] D
8a. ['sofane
'sofane] S
8b. [ n u ' f a t h n u ' f a t h ] S
9a. ['sofAne
'sofane] D
h 9b. [ n u ' f o t
nu'foth]
10b. [nu«fot h n u ' f a t h ] D
10a. [•s ofAne •s ofAne] S l c . [hos hos]
D
6 c . [hos hos]
2c. [hos hos]
S
7 c . [•hosmon 'hosmon] D
3 c . [hos hos]
D
8c. ['hosmon 'hosmon] D
Uc. [hos hos]
S
9c
5c. [hos hos]
D
RE l U . 6 . Mimicryt [o o a
s
s
['hosmon 'hosmon]
S
10c. ['hosmon 'hosmon]
S
A]
Mimic carefully, striving for the same pronunciation as that which you hear on the tape. Get your buddy to listen to you and help you compare. la. [both]
lb. [both]
lc. [bAth]
Id. [bath]
2a. [koth]
2b. [koth]
2c. [kAth]
2d. [kat h ]
3a. [som]
3b. [som]
3c. [sAm]
3d. [sam]
Ua. [soz]
Ub. [soz]
Uc. [SAZ]
Ud. [saz]
5a. [xof]
5b. [xof]
5c. [xAf]
5d. [xof]
6a. ['zoglen]
6b. ['zoglen]
6 c . ['zAglen]
6d. ['zaglen]
Lesson ih
210 7a. ['zoglon]
7b. ['zoglan]
7c.
['zAglan]
7d.
['zaglan]
8a. [«zoglon]
8b. ["zoglon]
8c.
['zAglon]
8d.
['zaglon]
9a. [«zoglim]
9b.
9c.
['zAglpn]
9d.
['zaglvn]
10c. ['zAglun]
lOd.
['zaglun]
10a. f'zoglun]
['zoglpn]
10b. [»zoglun]
RE l i i . 7 . Negative Practice* "This I s t h e House t h a t Jack Built" Refer to t h e t e x t of RE lU.U, i f you need t o . The sounds t o be s u b s t i t u t e d are i n d i c a t e d i n the columns below. The tape w i l l s t a r t you off for each one.
House
[hos]
[has]
[hAs]
Malt
[molt h ]
[malt h ]
[mAlt h ]
Rat
[roth]
[rath]
[rAt h ]
Cat
[k^ot]
[k?*at]
[k*At]
Dog
[dog]
[dag]
[dAg]
Cow
[k^ow]
[k^ow]
[^AW]
Maiden
['modn]
['modn]
[>m&dn]
Man
[mon]
[man]
[mAn]
Priest
[purest 11 ]
[phrast 11 ]
[pkrAst 11 ]
Cock
[l^ok*]
[l^ak*1]
[l^Ak*1]
Farmer
['forar]
[«famr]
[«fAmr]
t
t
RE 111.. 8 . D i f f e r e n t i a l ! ROUNDED v s . UNROUNDED Turn t o Table l U . l , p . 201, and watch i t as you go through t h i s d r i l l or p a r t of i t . TOien you no longer need i t , cover i t up and continue t h e d r i l l , or do t h e d r i l l again. Listen t o t h e vowel sound on the t a p e , and respond with ROUNDED or UNROUNDED. Do not watch the t e x t of the e x e r c i s e . A demonstrat i o n of the q u a l i t i e s on the chart down the columns from l e f t t o r i g h t w i l l precede t h e d r i l l . This i s t o "tune you up" t o
the distinctions again.
211
Some Back and Central Vowels Demonstration! [»e 9A ' a ' u ">v *o *o] [k^em k^Am l^am kNim l^vm k^om l^om] 1. [»u]
R
7,
[k^fon]
U
13. [ & g ]
U
2.
U
8.
[k^am]
U
lit. [&*]
R
9. [kNm] R
15. [zag]
U
['a]
3. po] R U. [•»]
R
10. [k^om]
R
15. [ & g ]
u
5. [»o]
R
1 1 . [khum]
R
17. [zog]
R
6. [»e]
U
12. [k^oro]
R
18. [zvg]
R
RE 1U.9. D i f f e r e n t i a l ! FRONT UNROUNDED, CENTRAL UNROUNDED, o r BACK ROUNDED
Follow the same instructions as for the preceding exercise, except for the enlarged response. 1. t ' e ]
FU
7. [ t s a f ]
CU
1 3 . [dfm]
BR
2. [»o]
BR
8. [ t s v f ]
BR
lit. [dgon]
BR
3 . [*u]
B R
9. [tsAf]
CU
15. [d|an]
CU
k. f o ]
B R
10. [tsef ]
FU
16. [djkn]
C U
5 . [*v]
BR
11. [tsof]
BR
17. [dzon]
BR
6. ['A]
C U
12. [ t s u f ]
BR
18. [dzvn]
BR
RE l i i . 1 0 . D i f f e r e n t i a l ! Tongue Height Respond with one of the following! HIGH, LOWER-HIGH, MID, LOWER-MID, LOW, LCWER-LCW. 1. [»u] H 2. ['A]
L
3 . [*o]
L
k.
Iril
[*e]
5. ['a] 6. p v ]
7. [Sun] H • 8. [Son] M
13. [pogz]
L
9. [Son] *
L
15. [pugz] H
10. [SAT]
L
1 1 . [|oa]]
L-L
12. [Svrj]
L-H
lU. [pogz] M
16. [pvgz] L-H
L-L
17. [psgz] L-M
L-«
IB. [pugz] H
Lesson lU
212 RE 1U.11. Differential! Full Labels
Select one term from each column to make up your response. HIGH
FRONT
ROUNDED
LOWER-HIGH
CENTRAL
UNROUNDED
MID
BACK
LOWER-MID LOW LOWER-LOW L. [ » a ] L - L C U
9 . [reg]
MFU
1 7 . [Mmoc*]
L BR
2 . [*u] H B R
10.
[rog]
L B R
1 8 . [Mmue h ]
HBR
3 . ['A] L C U
1 1 . [rog]
MB R
1 9 . [Mmac*1]
L~L C U
k.
12.
L C U
20.
[Mmvc11]
L-H B R
13. [rug]
H BR
2 1 . [Mmec5h] M F U
6 . f > e ] L-M F U
111. [rog]
MB R
22.
7 . [*v] L-H B R
15. [rvg]
L-H B R
23. [MmAch]
L C U
8 . [*u]
16.
L B R
2U. [Mmvc11]
L-H B R
[*o] M B R
5. [»o]
L BR
HB R
[rAg]
[rog]
[Mmoc*1]
L BR
Off-glides on the New Vowels Any of the new vowels i n t h i s lesson (and a l l other vowels) may have any of t h e four o f f - g l i d e s [w y H r ] . We w i l l not d r i l l [w] glide on [ u ] , as t h e d i s t i n c t i o n i s very c l o s e i f you have a proper [u]» RE 1U.12. D i f f e r e n t i a l GLIDED or NO The new vowel sounds occur with o f f - g l i d e s i n some words i n t h i s e x e r c i s e . Listen t o the tape and respond accordingly. Then l i s t e n again and mimic. Don't peekj 1. [sut]
NO
k. [sot]
2. [svt]
NO
5. [surt] G
8. [soyt] G
3 . [sAyt]
G
6. [sAt]
9 . [svwt] G
NO
NO
7. [sut]
NO
Some Back and Central Vowels
213
10.
[suHt]
G
17.
[sot]
NO
2U. [sJUrt]
G
11.
[sAt]
NO
18.
[surt]
G
25. [surt]
G
12.
[sArt]
G
19.
[SAt]
NO
2 6 . [SAt]
NO
13.
[swt]
G
20.
[sut]
NO
27. [sot]
NO
Ik.
[svb]
NO
21.
[start]
G
2 8 . [sowt]
G
15.
[svHt]
G
22.
[soHt]
G
29.
[soyt]
G
16.
[svyt]
G
23.
[svt]
NO
30. [sort]
a
RE l b . 1 3 . Mimicry! Vowels With and W i t h o u t G l i d e s Mimic t h e t a p e , and w a t c h t h e t r a n s c r i p t i o n .
la. [thu]
l b . [t h uy]
2a. [ t h v ]
2b. [thvy]
3a. [th0]
I d . [t^iH]
le.
2c. [t h vw]
2d. [thvH]
2e. [thvr]
3b. [th0y]
3c
[thaw]
3 d . [thoH]
3c
U&. [i*o]
Ub. [thoy]
Uc. [thow]
Ud. [thoH]
lie. [thor]
5a. [th A ]
5b. [t^Ay]
5 c [thaw]
5d. [thAH]
5e. [t^Ar]
6a. [tha]
6b. [thay]
6 c . [thaw]
6d. [thaH]
6 e . [thar]
7a. [ t h 6 ]
7b. [they]
7c
7d. [th e H]
7e. [ t h 6 r ]
[th e w]
[t^ir]
[thor]
RE l b . l i t . Negative P r a c t i c e ! "This I s t h e House t h a t Jack B u i l t ' This time s u b s t i t u t e various vowels with o f f - g l i d e s l i k e those i n d i c a t e d below. These are not a l l of t h e p o s s i b i l i t i e s . You can take others from the preceding e x e r c i s e . The tape w i l l demonstrate these b r i e f l y . a
b
c
House
[hvys]
[hows]
[hoHs]
[hurs]
Malt
[mvylth]
[mowlt h ]
[moHlt h ]
[murlth]
Rat
[rvyth]
[rowth]
[roHth]
[rurth]
[kVt h ]
[k^owt 11 ]
[kW1]
[Art 1 1 ]
[dvyg]
[dowg]
[doHg]
[durg]
Dog
d
Lesson lU
21k Cow
[k vy]
[kV]
[k oH]
[k ur]
Maiden
[•mvydn]
[•mowdn]
[»moHdn]
[•murdn]
Man
[mvyn]
[mown]
[moHn]
[mum]
Priest
[phrvyst 11 ]
[phrowst 11 ]
[phroHst 11 ]
[phrurst* 1 ]
Cock
[kkpyk*1]
[khowk11]
[khoHk11]
[k^irk 11 ]
Farmer
[ ȣ vymr]
[•fowmr]
[«foHmr]
[•furmr]
h
h
h
RE lU.15. D i f f e r e n t i a l * MID or LOT This i s a d i f f e r e n t i a l d r i l l on [oy] and [ o y ] . Disregard any other vowels or vowel glides i n t h e words. Don't peekj 1 . [boy] M
$. ['l^oyn]
L
2 . [boy]
L
6. ['l^oyn] M
10. [«foystley] M
3 . [boy]
L
7. ['l^oyn]
L
1 1 . [«foystley] M
h. [boy] M
8. ['l^oyn]
L
12. [»foystley]
9. [ ' f o y s t l e y ]
M
L
RE l i w l 6 . D i f f e r e n t i a l ! LOT or LOTER-LOT This i s a d i f f e r e n t i a l d r i l l on [AH] and [cH]» same procedure as i n t h e preceding e x e r c i s e .
Follow t h e
1. [l^AHm]
L
5. [sAH»t h u]
L
9. ['xAHfegz]
2. [Baffin]
L-L
6. [sAH't h u]
L
10. ['xaHfegz]
L-L
3 . D^AHm] L
7. [saH't h u]
L-L
1 1 . ['xaHfegz]
L-L
U. [l^aHm]
8. [sAH't^i]
L
12. ['xaHfegz]
L-L
L-L
L
RE 1I+.17. D i f f e r e n t i a l ! LOWER-HIGH and MID This i s a d i f f e r e n t i a l d r i l l on [vw] and [an]. same procedure as i n t h e preceding e x e r c i s e . L-H
Follow t h e
1. [ n w ]
L-H
$, [»bztfwk]
2 . [mm]
L-H
6 . ['bzowk] M
10. [«brvwsNna] L-H
3 . [now] M
7. [•bzowk] M
1 1 . ['browsNna] M
k. [now] M
8. ['bzowk] M
12. ['brvwsNna] L-H
9. [»brvwsNna] L-H
21S
Some Back and Central Vowels RE 111.18. Reviewt Glided Pitch and Glided Vowels
The purpose of t h i s exercise i s t o r e i n f o r c e the independence of p i t c h glides and vowel g l i d e s . The e x e r c i s e c o n s i s t s of longer sequences t o which you build up. You w i l l mimic the pitch as w e l l as the consonants and vowels. Note t h a t pure vowels may have r i s i n g or f a l l i n g p i t c h , and t h a t glided vowels may have l e v e l p i t c h . Watch the t r a n s c r i p t i o n as you mimic. 1. [sogl.s^'n&y 'yAwk 'p\nt.">ev»jvHJcu] 2 . [''uH\mArjpuyx.f\y.jkVr
'6oH pug'b\H]
3 . [Vvn'npfrf.Iro^z.tornN'sAy1, t^oH dur'ssef]
\y
\
L_J
\ _J
U. [p^owfnby* zer d^s.kvrj'gAHlzuy'v RE lU.19. Reviewt Pitch and S t r e s s I n most languages, p i t c h and s t r e s s are t o some degree r e l a t e d . S t r e s s e d s y l l a b l e s often tend t o have higher p i t c h , e t c . They are not so c l o s e l y r e l a t e d , however, but what t h e y do have independent occurrence. I n t h i s exercise you w i l l p r a c t i c e changing pitch and s t r e s s p a t t e r n s r e l a t i v e t o each other. 1. ['9a|9e Go 9u!9o;9v]
6 . [na n&/ «noinu'no,ni/1
2 . [9a;9s 9o '9u;9o• 9u]
7. fhqt »ne no!nu]no,nv]
3 . [ 9 a l ' 9 e 9o 9u'9o'9v]
8. [na ne" no! nu |»noi ntf]
' —
I : :./
km [9a!9e Go Quieol'Qv]
9. [ha 3 / noj nu !no \'nv]
5. [9o?;96 '9Q Qu;"e7; Qv]
10. ['hajty no! nu S , np]
RE I k . 2 0 . S u b s t i t u t i o n Mimic t h e tape i n the following u t t e r a n c e s .
The f i r s t one
Lesson lU
216
w i l l be b u i l t up, and t h e remainder w i l l c o n s i s t of s u b s t i t u t i o n s made i n the f i r s t one. P r a c t i c e for fluency. Work on p i t c h , s t r e s s , timing, e t c . , as w e l l as on consonants and vowels.
RE l U . 2 1 . Transcription Transcribe t h e u t t e r a n c e s you hear on the t a p e . Mien you are s a t i s f i e d with your t r a n s c r i p t i o n s , check them a g a i n s t t h e t e x t below, u n t i l t h e n , d o n ' t peekJ 1. [Mmvnk]
h.
[pso'dpy]
7. [tvH'yoHn]
2 . [tSoyf]
5 . [«&nrthonN]
8. [pSe'ksur]
3 . [gawte]
6 . [«poytsApf]
9.
['nayljnawkx]
RE l l t . 2 2 . Reading Read off the item and check your reading with t h e tape i n t h e usual manner. 1* [mAyn]
5. [bsw«te6]
9 . [sal'Nnard]
2. [duyf]
6. ['nuH.gus]
10. [»d 6 g-.p h 6 Hs]
3 . [soHnN]
7. ['voy.khoz]
1 1 . [jAx«bArc h ]
h.
8. [t h aw«ppo]
12. [voz'koHts]
[porz]
217
LESSON FIFTEEN Laterals Dental Alveolar Laterals Oral Voiced High tongue Low tongue Voiceless
r ¥
i*
L
Alveopalatal Retroflexed
U) 1
i
r
Velar
(1) (L)
(L)
U)
•
Fricative Voiced Voiceless Affricate Voiced Voiceless Unaspirated
Aspirated
(!)
i
(i)
(*>
i
(!)
:<&)
di
(di)
(t|)
t£
(tL)
(Kb)
(k£) h
t£
(k£)
(1) • (B)
(k£)
w (%>
(ft)
(k%)
h
(t£ ) •• (k£h) (k£h) (k£h) • Table l^.lt Some Lateral Articulations
(W1)
The lateral manner of articulation was explained in Lesson 1 (p. 17). It differs from other articulations in that one or both of the sides of the tongue are open to allow the airstream to pass, but some part of the tongue (usually the tip) is touching a point of articulation so that the airstream cannot come over the center of the tongue. Whereas in English there is one lateral phoneme /!/» this has several different Symbols in parentheses represent sounds which are perfectly possible and are included for the sake of the record, but which will not be drilled in this course. Brief descriptions are included in the lesson.
218
Lesson 15
pronunciations in the speech of any one individual, depending on the position in the word. Some languages have more than one kind of lateral in phonemic contrast. Others which have only one lateral phoneme have a different selection of allophones from English. The pronunciation of laterals is one of the principal characteristics of the foreign accent of Americans speaking many languages. Although the array of symbols in the above chart may look imposing, there is nothing much new by way of symbolization, if analogy with the symbols for nasals (p. 192) is kept in mind. All of the symbols in the chart are built around two basic onesj [1] (for voiced lateral) and [L] "capital 1" (for voiceless lateral). The use of the capital is analogous to the symbolization of the voiceless nasals. Around these two symbols are arranged a variety of diacritics exactly analogous to those used for the nasals, to indicate points of articulationt [„] "dental," [~] "alveopalatal," [.] "retroflexed," and the tail on the symbol (like the tail on the [n]) for "velar." The line through the symbols to indicate the fricatives is analogous to
Actually there are only two really new symbols in this chart. They are the diacritics on [1* lv ] "high tongue 1" and "low tongue 1." The articulatory significance of these will be discussed and" drilled below, but for the moment notice the symbolization. The diacritic for the "high tongue 1" points high, and that for the "low tongue 1" points low. [1A"J is sometimes called "clear 1," or "light 1," and [V] "dark 1" or "velarized 1" in other linguistic materials. RE l£.l» Demonstrationt High and Low Tongue Laterals Pronounce these English words, and notice the difference in jbongue position for the /l/t William [»WklAyAm] and callous ['Ir'ael" A S ] . Prolong the lateral in each caset [1~ • 1"• J, and alternate them. Note that the point of articulation does not necessarily change (although it may change slightly in some speakers), but for many speakers of American English the surface of the tongue behind the point of articulation is noticeably higher (nearer the palate) for the / l / in William than for the one in callous. It is because of this difference in tongue height that the one is called "high tongue 1" [1~], and the other "low tongue 1" [lv]» Now pronounce th"e English word little, and see if-you have a difference between the two /l/«s» I • 1A vtl" ], as many American speakers do. In these dialects of American English the choice between high and low tongue laterals is made for the speaker by the
21?
Laterals
Sammy l5.1» [1*]. Note the relatively high position of the tongue surface behind the point of articulation.
Sammy l5.2« [1*]. Note the relatively low position of the tongue surface behind the point of articulation.
language system. [1A] occurs before high front vowels (p. 232) and the [1"] in other positions, making them allophones of one phoneme. Many languages, such as French and Spanish, do not have this use of [l v ], and the carryover of this unconscious English habit is one of the causes of an undesirable pronunciation. Actually, a lateral at a given point of articulation may be said with a variety of different tongue contours, giving it different sounds. Listen to the tape as you follow along in the Manual, and watch for the different qualities associated with the laterals pronounced. This is done by changing the configuration of the tongue behind the point of articulation and of the lips. Nos. 7~10 are vowel qualities which you have not yet had. 1. [1] with [u] quality
6. [1] with [a] quality
2. [1] with [v] quality
7. [1] with [e] quality
3. [1] with [o] quality
8. [1] with [i] quality
h.
[1] with [o] quality
9. [1] with [e] quality
5. [1] with [A] quality
10. [1] with [a] quality
220
Lesson 15
Now listen to the two following laterals, which show the relation between these different kinds of quality and the two on which we are focusing (high tongue and low tongue). 11. [Y-] ie., [1] with [i] quality
12. [lv] ie., [1] with [A] quality
High tongue lateral, in other words, has an [i] quality, while low tongue lateral has an [A] quality. Practice pronouncing laterals with various vowel qualities. RE lg.2. Differentialt HIGH or LOW After you have studied the above paragraphs, listen to the tape and respond with HIGH when you hear a high tongue lateral and LOW when you hear a low tongue lateral. The words are adapted from French or Spanish, which use high tongue laterals. The low tongue laterals represent the way some Americans speak these languages. Don't peek I
1. [ e l l
H
6. [ r a ]
H
11. [ T o p s z ]
H
2. [cOT]
L
7. [ l v a ]
L
12. [ » 1 ¥ 0 P 6 Z ]
L
3. [ o r ]
H
8. [ l v o ]
L
13. [ l A e » t e ]
H
[mal A ]
H
9. [ l v u ]
L
A l i l . [ku«l e]
H
5. [mal v ]
L
10. [ l " u ]
H
15. [ k u ' l v e ]
L
h.
When you have practiced this exercise enough so that you can respond orally to the tape, run through it again, this time transcribing the items on a transcription form. Check your transcription against the exercise above, and tally your errors on the Transcription Tally Form in your Workbook Supplement, p. 27 ff. Repeat the exercise at intervals if you need to do so. RE 15.3. Negative Practicei [1 A l v ] Practice saying each of the following sentences first with high tongue laterals, and then with low tongue laterals. Be careful to keep the laterals the same in any one repetition of a sentence, and not mix them in English fashion. As with any negative practice drill, you can practice this at odd moments when you are not otherwise engaged in phonetics study. 1. Let me call little IAl later. 2. Will Nell feel ill all day? 3. Little Lulu loaned Lynn the lumber.
Laterals
221
RE lg.Ui French^Mimicryi [1* ] Mimic the t a p e , s t r i v i n g f o r a c l e a r [1 A ] i n each case. Follow the t r a n s c r i p t i o n i f you care t o do so. 1. [ m o r a ] molle ' s o f t (fem.)>
5 . [l"o]
2. [fol 4 ©] f o l l e ' i n s a n e (fern.)' 6. [ l ' u ]
l'eau
' t h e water'
loup
'wolf'
3 . [ k u l ' a ] coule ' f l o w s '
7. [ r e n a l l a i n e
'wool'
h. [ f u ^ § ] foule 'crowd'
8. [l'oma] l'homme ' t h e man'
RE l 5 « 5 . Demonstrationt [L] Listen t o the t a p e , and t r y the English words f o r yourself. Notice how the / l / i s v o i c e l e s s because i t coincides with the a s p i r a t i o n from the s t o p , or a t times t h e r e i s a v o i c e l e s s l a t e r a l followed by a b r i e f voiced l a t e r a l [ L I ] . This i s the t h i r d allophone of English /!/ demonstrated i n t h i s l e s s o n . L i s t e n t o the examples, and p r a c t i c e t h e words u n t i l you can sense the v o i c e l e s s [L] i n t h e examples below. Follow the t r a n s c r i p t i o n , reading a c r o s s . l a . please
[pLi> yz] or [ p K T i ' y z ]
l b . [Li» yz]
l c . [Li>y]
2a. play
[pLe-y] or [pLl* e«y]
2b. [Le«y]
2c. [Le]
3 b . [«LAndr]
3 c [LA]
3 a . plunder [«pLAndr] or [«pLl v Andr] Ua. clock
[kLak11] or [kLl'ak 11 ]
lib. [Lak11]
kc.
[La]
5a. claw
[kLoH] or [kLlyoH]
5b. [LoH]
5c
[Lo]
Fricative Laterals The l a t e r a l s demonstrated t o the present have a l l been c h a r a c t e r i s t i c allophones of t h e / l / phoneme of many speakers of American English. As such they are not "new" sounds, but nevertheless present a l e a r n i n g problem f o r a second language because the English phonemic h a b i t s must not be c a r r i e d over. We t u r n now, however, t o another p a i r of l a t e r a l s which are not so c h a r a c t e r i s t i c of American English, but which may be heard i n the speech of some i n d i v i d u a l s . Of these f r i c a t i v e l a t e r a l s , t h e v o i c e l e s s one i n p a r t i c u l a r i s very common i n languages around the world. •^Recording by Renate Wiesmann. Mimic t h e f i n a l sound of the f i r s t words as b e s t you can.
222 HE 15,6,
Lesson 15 Demonstration! [S 1]
Listen to the tape and follow along in the Manual. Mimic and imitate until you can make clear fricative laterals like those on the tape. a. Say the English word leaf, and isolate the [1 A »]. Then say it with greater force of air from the lungs. This may produce [I*]. b. Say [1 A »], but instead of a greater thrust of air, raise the sides of the tongue slightly to get [!•]. c. Whisper William, and then isolate a whispered [L*•]. Say it with greater force of air. This may produce [£•]. d. Raise the sides of the tongue from a whispered [L*»] to produce ft*]. e. If you find it easy to produce [1], but not [£], say [1] and then "whisper" it, or stop the voicing. f. If you find it easy to produce [£], but not [1], say [L] and voice it, or "buzz around it." g. One kind of lisp in English consists of producing [£] for / s / and [1] for /z/. Usually people who lisp in this way make their laterals on one side only, rather than on both sides simultaneously, as you probably did above, and as you should practice for most languages. Mimic the following English words "lisped" with lateral fricatives. 1. see
[i±> y]
U. zebra
[«li>ybrA]
2. set
[Let]
5. zeplin
['lepl&n]
3. sunny
[•BAni>y]
6. zone
[lown]
RE lg.7. Differential! VOICED or VOICELESS In this drill we will include both oral and fricative laterals, high tongue, low tongue, etc., but your response is to be only VOICED or VOICELESS, according to what you hear. When you can do well on the oral response to this drill, try transcribing what you hear. Transcribe the laterals only, or transcribe each whole utterance, with its vowels as well as consonants. To do the latter you will have to stop the machine after each longer utterance to have time to write. Check your transcription'against the exercise below. Don't peek.
223
Laterals 1. DL-]
TO
v 7. [ctl a]
TO
1 3 . [*v»mAn]
VL
2. [1]
TO
8. [sLe]
VL
Ik. f e ' d v l ]
VD
3 . [L]
VL
9. [olo]
TO
15. [*>u«koL]
VL
U. [£]
VL
10. [ol*o]
VD
16. [•o'qafi]
VL
5. [L]
VL
1 1 . [ufcuj
VL
17. ['A'gel*]
VD
6 . [B]
VL
12. [ATA]
TO
18. f o ' x A T ]
TO
RE 1 5 . 8 . D i f f e r e n t i a l ! FRICATIVE or NO I n t h i s d r i l l t h e r e w i l l be the same v a r i e t y of s t i m u l i as i n t h e l a s t , but your response i s d i f f e r e n t . Again you can t r y your hand a t t r a n s c r i p t i o n a f t e r you do t h e o r a l p r a c t i c e . Pay p a r t i c u l a r a t t e n t i o n t o t h e l a t e r a l s . Don't peek. 1. [1 A ]
NO
v 7. [ a l a ]
NO
13. [ l e ' s o n ]
F
2. [ i ]
F
8.
NO
Hu [La'duH]
F
3 . [L]
NO
9. [olo]
F
v 15. [l o'mAn]
NO
lu [£]
F
10. [01*0]
NO
16. [Lv«far]
NO
5.
NO
1 1 . [uini]
F
17. [ r o ' p h o y ] NO
F
12.
NO
18. [SA'reH]
[L]
6 . [£]
tele]
[A1*A]
F
RE 15.9. Differential! ONE segment or TWO Voiceless laterals, whether fricative or oral, often occur adjacent to voiced laterals, although they do not necessarily do so in all cases. Here is a segmental diagram of what happens.
[a
a]
[a 1
L 1 a]
[p
a]
Lateral articulation Voicing In other words, the lateral articulation holds throughout two or more segments, with and without voicing. Listen to the following exercise and respond with ONE or TWO, depending on whether or not you hear two lateral segments.
22U
Lesson 15
After you have worked t h e exercise o r a l l y , t r y t r a n s c r i p t i o n cf i t . Don't peek. 1 . [61* a] TWO
5. ['A.£u]
2. [So]
ONE
6 . [»u.£l"e] TWO
1 0 . [zur/BAw]
3 . [Le]
ONE
7. [ ' v . L T e ] TWO
1 1 . [fez'£L A i;t h ] TWO
8. [«o.lA]
12. [dog'Lav]
k.
[ L l ' o ] TWO
ONE
ONE
9 . [pcan'LT'or]
TWO ONE
ONE
RE 15.10. Mimicryt [L i, i ] Mimic t h e tape on t h e following e x e r c i s e , following along i n your Manual as you do s o . Pay j u s t as much a t t e n t i o n t o g e t t i n g c l e a r , unglided vowels as you do t o t h e a r t i c u l a t i o n of t h e consonants. Read a c r o s s . l a . i 'c&a]
l b . ['a.£L A a]
l c . [«al*.ta]
Id.
['alA.£l*a]
2a. | ' a i a ]
2b. [ ' a . l l A a ]
2c. [ « a l A . l a ]
2d.
['al^.lTa]
3a.
'aLa]
3b. [ ' a . L l A a ]
3 c [»al A .La]
3 d . [ ' a l ' . 1 1 * a]
Ha.
«u£u]
Ub. ['u.El A u]
Uc. [ ' u l A . 6 u ]
kd.
['uT-.fcl'u]
5a. "'uiu]
5b. [ • u . l l A u ]
5c
['ul'.iu]
5d.
[«ur.iru]
6 a. :«uLu]
6b. [•u.Ll A u]
6 c . [»ul A .Lu]
6d.
['ul A .Ll A u]
7a.
7b. [•o.ELAo]
7c
[»ol A .Lo]
7d.
['or.fcl'o]
8a. I'vlv]
8b. [ ' » . i r » ]
8c. ['i>l A .±v]
8d. [«vl A .41 A v]
9 a. "'ALA]
9b.
[«A1A.LA]
9d. [«Al A .Ll*A]
•o£o]
[»A.L1AA]
9c
RE l 5 » l l i Humf. Mimicryt [fcl ] Mimic the tape and follow t h e t r a n s c r i p t i o n . After you have p r a c t i c e d mimicry, t r y your hand a t t r a n s c r i p t i o n . 1. [£l A a»p]
/hlaap/
' s t o p , cease'
2 . [fcl* ok]
/hlak/
'fish trap pole'
3 . [il A Arj]
/hlan/
'building
H. [ELAa°]
/hlaV
'leaf'
/hleen/
'tether'
5.
[£1 A 6«ID]
22$
Laterals 6 . [£L*vk]
/hiok/
' c h i c k e n ' s nesting basket'
7. [Sri?bm]
/hlom/
'capsize'
8. [KL'wg]
/hlon/
'to forget'
9 . [L^.Ada«t]
/hldaat/
'scatter'
Alveopalatal L a t e r a l Some speakers of American English produce [1] f o r / l / i n William, or w i l l ya? The a r t i c u l a t o r and point of a r t i c u l a t i o n a r e t h e same as f o r / n / (see Sammy 1 3 . 1 , on p . 19U), though t h e v e l i c i s closed and t h e sides of t h e tongue are open. Remember t h a t i n any b l a d e - a l v e o p a l a t a l a r t i c u l a t i o n t h e tongue t i p i s down behind t h e lower t e e t h . There i s often a s l i g h t [y] ong l i d e t o t h e following vowel or o f f - g l i d e from the preceding vowel with t h e a l v e o p a l a t a l l a t e r a l s , as t h e r e i s with a l v e o palatal nasals. [ 1 ] , t h e n , occurs as another allophone of English / l / for some speakers. However, i n some d i a l e c t s of Spanish, Portuguese, and I t a l i a n , for example, i t occurs i n c o n t r a s t with t h e a l v e o l a r ( o r d e n t a l ) l a t e r a l , and c o n s t i t u t e s a separ a t e phoneme. RE 15.12. Demonstration/ [1] Listen t o the tape and p r a c t i c e the suggestions below f o r t h e production of [ 1 ] , a. I f you can produce a c l e a r [n] s t a r t with t h a t , and switch t o l a t e r a l a r t i c u l a t i o n without changing t h e point of articulationt [ana ana ana a l a a l a a l a ]
[aiia a l a ana a l a ana a l a ]
b . Say t h e following words, being careful t o keep your tongue t i p down behind the lower teeth* William, w i l l y a ? , b i l l i o n . Prolong t h e [1] and i s o l a t e i t . RE 1 5 . 1 3 . D i f f e r e n t i a l ALVEOLAR or ALVEOPAIATAL After you l i s t e n t o t h e tape and respond o r a l l y , t r a n s cribe the utterances. 1. [ a l a ]
AP
3. [aTa]
AL
5. [ala]
AP
2 . [al A a]
AL
it. [al A a]
AL
6. [l A a]
AL
226
Lesson 15
7. [la]
AP
10. [al]
AP
13. [su'ien]
AP
8. [1-a]
AL
11. [al"]
AL
lU. [ti'loz]
AP
9. [al]
AP
12. [fo'naT]
AL
1 5 . [wi«l*ux] AL
RE 15,2k* Mimicryt [1" l v 1] Mimic t h e t a p e and f o l l o w t h e la. [lAa]
lb.
2a. [lAe] 3a. [lAo]
3b.
Ua. [ 1 A A ]
transcription. 1c. [la]
Id.
2b. [ l v e ]
2c.
[le]
2d. [ e l ]
[lyo]
3c
[lo]
3d. [ol]
Ub. [l V A]
Uc.
[1A]
Ud. [Al]
5a. [ l A o ]
5b. [l"o]
5c
[lo]
54.
6a. [l*u]
6b.
[l V Tl]
6c.
[lu]
6 d . [Til]
7a. [l*»]
7b. [ l v v ]
7c
[1P]
7d. [vl]
[IT a ]
[al]
[ol]
8a.
[olAo]
8b. [alvo]
8c. [alo]
8d. [ a i o i ]
9a.
[elAo]
9b. [elwo]
9c
[elo]
9d. [ e l o l ]
10a.
[U!AA]
10b. [tavA]
1 0 c . [ulA]
lOd. [ulAl]
Dental Laterals
All varieties of laterals which may be articulated in alveolar position may have counterparts with dental articulation, such as has previously been presented for stops, fricatives, and nasals. The symbol used to represent dental articulation [A] is the same as well. As with the stops, the difference between alveolar and dental articulation is impossible to hear, but i t may be seen. Its importance lies in the fact that by mimicking i t closely in languages where i t occurs, the tongue has a much better chance of developing a total set of articulations which will result in good pronunciation. RE 15.15. Mimicryt [£- 1" I] Run the tape back and repeat RE 15.1U, this time substituting a dental lateral for each of the alveolar ones in that exercise. The acoustic result will not be any different, perhaps, but you should consciously place the tip of your tongue solidly behind the upper teeth.
Laterals
227
RE l5.16« I t a l i a n . 1 Mimicry* [1 1A] Mimic the tape and follow the t r a n s c r i p t i o n , reading a c r o s s . Be very conscious of your a r t i c u l a t i o n . la.
[li]
lb.
gli
[ri]
li 'there'
'him, i t ' 2a. ['pala]
paglia 'straw'
2 b . [•pal* a]
3a. [«fola]
foglia ' ''leaf'
3b.
Ua. [«iene]
gliene 'some of i t t o him'
pala 'shovel'
[•fol-a]
fola 'fairy tale'
Ub. [•l'yeve]
lieve 'light' lieto 'happy'
5a. [»lel*o]
glielo • i t t o him'
5b. [>l A yeto]
6 a . [•elino]
eglino 'they'
6b.
['el'ika]
elica ' s h i p ' s screw'
7a. [tjilo]
giglio 'lily'
7b.
['l*ilAo]
Lilo (proper name)
8a. t ' e l i ]
egli
8b. [el'imi'nare]
eliminare 'eliminate'
[«bal*ya]
balia •wet n u r s e '
'he, i t ' 9a.
[ba'galo]
10a. [ p a ' l a c o
bagaglio 'baggage' pagliaccio 'clown'
9b.
10b. [ p a l ' a ' t a l * i ]
palatali 'palatal'
Retroflexed and Velar L a t e r a l s Retroflexed and velar laterals will not be drilled simply because of insufficient time in the course. Here, however, are some brief descriptive notes on them. (See Table 15.1.) Retroflexed laterals are self-explanatory. As on all retroflexed sounds, the tongue curls up somewhat to articulate with the tip on or behind the alveolar ridge. A retroflexed lateral in alveolar position is virtually the same as an extremely low tongue lateral. When the point of articulation is
"TData from Claude Merton Wise, Applied Hionetics, and from Renate N. Wiesmann, who made the recording.
228
Lesson 1$
palatal, however, there is a distinctly retroflexed quality. A true velar lateral is articulated with the back of the tongue against the velum, leaving space for the airstream to come around the articulation. There is another articulation, however, which sounds much like it. It is really a vowel glide, however, and does not have lateral articulation. This consists of a backing and raising of the back of the tongue, together with a configuration of the tongue which sounds like a low tongue lateral. The articulation remains oral, however. This "pseudo-lateral" glide is used by some speakers of English for an / l / in final position, in such a word as ill. It may be represented as [1'], but will not be further treated in this course. It is a notable allophone in some dialects of Brazilian Portuguese, occurring with simultaneous lip rounding in words like Brazil, Affricates with Lateral Release Lateral fricatives follow stops to make affricates with lateral release. Note the varieties in the chart at the beginning of the lesson. Combinations with other stops are, of course, possible, as are aspirated affricates. Combinations of stops with other laterals also occur, but are not affricates as the laterals are not fricatives.
Sammy l5.3t Stop articulation in [t£]
Sammy l^.Ui Stop articulation in [k&]
Laterals
22°
Sammies 15.3 and 15.H i l l u s t r a t e t h e a r t i c u l a t i o n of t h e a f f r i c a t e s [t£] and [ k £ ] , which often sound very much a l i k e , depending on j u s t how the r e l e a s e of t h e stop i s made. In [t£] t h e ft] i s released simply by lowering the s i d e s of t h e tongue s l i g h t l y t o give [ £ ] , keeping the t o n g u e - t i p point of a r t i c u l a t i o n . However, i n [k£] t h e [k] i s a r t i c u l a t e d with a s i m u l t a neous t i p - a l v e o l a r l a t e r a l a r t i c u l a t i o n . The [k] i s r e l e a s e d , leaving t h e l a t e r a l f r i c a t i v e . These l a t e r a l s t h e r e f o r e end the same way, b u t begin d i f f e r e n t l y . RE 15.17. D i f f e r e n t i a l * VOICED or VOICELESS Listen f o r t h e l a t e r a l a f f r i c a t e i n each utterance and respond with VOICED or VOICELESS. After you are able t o r e s pond o r a l l y t o t h e t a p e , t r a n s c r i b e the u t t e r a n c e s . Don't peek. 1. [o'dio]
VD
5 . [«t£amas]
VL
2. [e't£e]
VL
6 . [«t£ogey]
VL
10. [
VD
3 . [u'dlo]
VD
7. ['dius.mAt]
VD
11. ["owladi]
VD
k.
VL
8. [«tioH.ni;*]
VL
12. [«Mnm.tset£]
VL
[A't£»]
9 . ['xAZedi]
VD
RE 1 5 . 1 8 . D i f f e r e n t i a l ! ASPIRATED or UNASPIRATED L i s t e n f o r the l a t e r a l a f f r i c a t e i n each utterance and respond with ASPIRATED or UNASPIRATED. After you are able t o respond o r a l l y t o t h e t a p e , t r a n s c r i b e the u t t e r a n c e s . 1 . [u'tfcu]
UNA
5 , [«t£ h omas]
A
° . [«xAze.t£ h o]
2 . [o'tfio]
UNA
6. ['t^ogey]
A
10. [ « t s h v v o . t £ e ]
A UNA
3 . [u'tfikp] A
7. [«t£ h us.mAt] A
1 1 . [ «*>owIa.t£hu] A
U. [A»t£e]
8. [«t£oH.nw*]
12. [«Mmv.tss.t£o] UNA
UNA
UNA.
RE 15.19. Mimicryt A f f r i c a t e s Mimic t h e tape and follow i n the Manual. Be careful t o get f u l l v o i c i n g , c l e a r a s p i r a t i o n , or l a c k of i t , as the case may b e . Read a c r o s s . l a . [e'dio]
l b . [e«t£o]
1c. [ e ' t i ^ o ]
2a. [o'dza]
2b. [ o ' t s a ]
2c. [ o ' t s h a ]
3 a . [u'dda.]
3 b . [u'tQA]
3 c . [u'te^A]
Lesson 1$
230 Ua. [o'ggv]
Ub. [o'kxv]
Uc. [o'kA?]
5a. [A'bbe]
5b. [A'ppe]
h 5 c [Atpp 6 ]
6a. [alfr]
6b. [a"co]
h 6 c . [a'c o]
7a. [p«d|o]
7b. [p«t|o]
h 7 c 0'ts o]
8a. [e'bvu]
8b. [e'pfu]
8c. [ e ' p A ]
9a. O'bzA]
9b. [U'PSA]
9c
10a. [o'dle]
10b. [o'tfce]
[Vp§hA]
10c. [ o ' t t h e ]
RE 15»20. Buildups Mimic the tape, repeating those parts •which give you difficulty as often as necessary. Follow along in your Manual. When you have gained oral fluency, transcribe the utterances, running the tape back as many times as necessary.
1. [l A e»t£o.su now.ru.nA>fAT .MmA£] 2. [»gutn.pLos ne&'lpx.ka.mo.
Laterals
231
Reading Use RE 15.7 and 15.8 as reading e x e r c i s e s , reading off the u t t e r a n c e s before the machine gives them, and checking yourself against the production on the t a p e .
... AMP THIS IS T H £ SYrYlBoi- FOR- THE VOICELESS FRICATIVE ALVEOPALATAL LATERAL.'
232
LESSON SIXTEEN Some Front Vowels Front Unrounded
Central Unrounded
Back Rounded
High
i
u
Lower-high
z.
V
Mid
e
0
Lower-mid
s
Low
88
Lower-low
A
0
a Table 16.It Vowels to Date
The names of the new vowel symbols on this chart are [z,] "iota" /tt-y'owtA/ (symbol and name taken from Greek), and [ee] "digraph" (meaning two symbols written as one). In transcribing these vowel symbols by hand there are a few cautions to observe, so that the symbols do not become confused with each other, or with ones to follow. [z,] may be written as [(,]. It must not have a dot in order to keep it distinct from [i], A tail on the bottom helps. [v] may be written as [u]. It must not have a tail in order to keep it distinct from [u], [a] may be written as [CL]. It should not be written as [cl] to keep it distinct from another vowel we will have later. [ee] can be written with a single stroke if you follow this patternt CN Q"> go In this lesson we do not add any categories of vowel articulation, but fill in some of the sounds in front unrounded position ,to correspond with those already drilled in back rounded position.
233
Some Front Vowels RE 16.1 Demonstration* Table 16.1
Listen to the demonstration of the vowel chart repeatedly, studying Table 16.1 as you do so. When you are familiar with it, read off the chart simultaneously with the tape. It is especially valuable to work with your "buddy" on vowel articulations as it is difficult sometimes to hear where your mimicry is off. The practicing in slurring from one vowel position to another distant one on the chart is to help you realize that vowels make up an unbroken continuum with an enormous variety of possible modification in tongue configurations. RE 16.2 Discrimination* SAME or DIFFERENT Continue tuning up your ears to these new vowel qualities by responding SAME or DIFFERENT to the following pairs. Concentrate on the differences to help you become familiar with them. Don't peek. l a . [ khrz,!^ l ^ r i k " ]
D
lb.
[pz,n pen]
D
khrik* 1 ]
D
2b.
[pt-n pvn)
S
3 a . [ ybrvls*1 k h rz.k h ]
S
3b.
[pen pen]
S
Ua. khrik 11 khrj-k*1]
D
kb.
[pen pen]
S
11 11 5 a . I khrik k^rik ]
S
5b.
[pen ptn]
D
' I c ^ k r ow]
D
6b.
[«pensi.r 'pt-nst-r ] D
7a.
"«khr&klvow » k h r 6 k l ' ow]
S
7b.
['p^nsz-l"'pensj,l v ] D
8a.
j k k r i k T o w 'k^i-ikl" ow]
s
8b.
['pz-nsz,lv «penst,l v ] D
9a.
;'k h rz.kl v cw ' k h r i k r ow]
D
9b.
['pensz/l" •pz-nsi.r' ] D
lc.
.'2ef zef]
S
Id.
[de dA]
D
2c.
;&>f zef]
D
2 d . [dA dA]
S
3 c ;2ef zef]
D
3 d . [de de]
S
Uc. [Sef & f ]
D
Ud. [de dA]
D
5c [8ef Kef]
S
5d. [de dA]
D
S
6 d . ['SAnde 'sAndA]
D
2a. | \^r^
6a.
6c.
'khriklvow
[>2ef.tsob «2ef.tsob]
23U
Lesson 16
7c
'gef.tsob 'zef.tsob]
S
7d. ['sAndA »sAndA]
S
8c.
•Sef.tsob «2ef.tsob]
D
8d. ['SAndA 'sAnde]
D
9c
'zef.tsob 'Sef.tsob]
D
9d. ['sAnde 'sAnde]
S
le.
xenM xaaiM]
D
If.
[lAeeT T a T ]
S
2e.
XenM xsenM]
D
2f. [rael A lAsO.A]
S
3e.
xasnM xaaiM]
S
3f.
Ue.
xsenM xenM]
D
Uf. [l A al A T a r ]
S
5e.
XenM xenM]
S
Sf. [ l A a T YaOr]
D
6e.
pl'XffimM pl'xenM]
D
6f.
[nuTsel- n u T e s T ]
S
7e.
pl'xenM pl'xsnM]
D
7f.
[ftu'raT
nuTaT]
S
8e.
pl'xenM pl'xenM]
S
8f. [na'l A ffiT n u T e e l ' ]
S
9e.
pl'xenM pl'xsenM] D
9f. [ n u T a s T n u « r a l A ]
D
[l A al A
TSBT~\
D
Production of [ i v e aej The new vowel sounds of t h i s l e s s o n may seem deceptively easy t o the English speaker who i d e n t i f i e s them with sounds i n h i s own speech. There a r e p i t f a l l s i n them, however. One danger i s t h a t the English speaking person w i l l put an [H] o f f - g l i d e on [v] and [ae], t h a t he w i l l put a very s l i g h t [y] o f f - g l i d e on [ i ] , and a strong [y] o f f - g l i d e on [ e ] , A second d i f f i c u l t y i s t h a t many w i l l not make t h e vowels t r u l y f r o n t , but s l i g h t l y c e n t r a l i z e d , and not make t h e [ i ] high enough. I n r e l a t i o n t o t h e normal h a b i t s of many speakers of English, i n other words, t h e [ i ] q u a l i t y which we w i l l be s t r i v i n g f o r w i l l be very high, very f r o n t , and unglided. The [L] and [e] q u a l i t i e s w i l l be front and unglided. The [se] w i l l be unglided and w i l l be higher than some speakers of English want t o make i t . If you look a t Sammy 1 5 . 1 you w i l l n o t i c e t h a t i t i s not a c t u a l l y t h e t i p of t h e tongue which i s high f o r front vowels. The t i p of t h e tongue i s generally behind t h e lower t e e t h . "Front" r e f e r s t o the blade and areas j u s t behind i t , as opposed t o t h e c e n t r a l and back p a r t s of t h e tongue.
235
Some Front Vowels
Sammy 16.1* [i]
Sammy 16.2i [s]
RE 16.3. Demonstration! Producing Unglided [ l i . e s ] Throughout the remainder of this course unglided vowels must be practiced until control is mastered. Many of the suggestions below apply to vowels introduced in Lesson lk, and should be practiced with them as well. A mirror is extremely valuable when practicing pure vowels or vowel glides. Your buddy should watch as well. It is often possible to see movements which produce glides you are not yet able to hear. a. Practice each of the vowels in the sequence ['e* 9 e •>e 'e * e ] , [*i* *i *i *i »i], etc. Maintain this rhythm, controlling the tendency to glide. [sv
b. Follow this same exercise with other frames such as sv sv sz, st-], [tz-»m tz-m tz-m tz,m tz-m], etc.
c. Practice eliminating the glide by devoicing the vowel at the end, thus in effect replacing the glide by [h]» [983«h [*e»h »z..h »i»h]. d. Then practice unglided vowels in alternation with those followed by [h]» ['e'h 'e« 'e'h *e»], etc. RE 16.k Differential! GLIDED or NO Listen for the [E] off-glide on [v ee], and the [y]
236
Lesson 16
off-glide on [i e]. 1. [hz,t h ]
Respond with GLIDED or NO. 1 8. [eym]
G
15. [ t i ]
NO
9. [em]
NO
16. [ t i » y ]
G
G
10. [em]
NO
17. [teeH]
G
[heeth]
NO
1 1 . [i»ym]
G
18. [tee]
NO
5. [het h ]
NO
12. [z-Hm]
G
19. [te]
NO
6. [hith]
NO
13. [eHm]
G
20. [tey]
G
Hi. [im]
NO
21. [ t t ]
NO
NO
2. [hz,Hth] G 3 . [hffiHth] k.
7. [hi>yt h ] G
RE 1 6 . g . D i f f e r e n t i a l ! [y w r H] Distinguish the kind of o f f - g l i d e you h e a r . Call out the name of the symbol used t o r e p r e s e n t i t . Don't peek. When you can do the exercise o r a l l y , p r a c t i c e t r a n s c r i b i n g the i t e m s . 1. [zz-y]
y
7. [l A ewn]
w
1 3 . [tsiwx]
w
2. [zz,r]
r
8. [l A ewn]
w
l i u [cz-rm]
r
3 . [zz-H]
H
9. [niHf]
H
1 5 . [xffirnM]
r
k. [zz-w]
w
10. [ijsHp]
H
16. [tSeHv] H
5. [k^er]
r
1 1 . [zeyd]
y
17. [d2eyfe]
6 . [geH]
H
12. [za?yd]
7
18. [tfeLHS] H
y
RE 1 6 . 6 . Negative P r a c t i c e ! Removing [y] Off-glides A l l of t h e following words contain a [y] o f f - g l i d e i n some d i a l e c t s of English. Column a t r a n s c r i b e s t h e pronuncia t i o n . 2 I n Column b they a r e t r a n s c r i b e d without g l i d e s , but I n t h e t r a n s c r i p t i o n of t h i s e x e r c i s e [>] r e p r e s e n t s a pronunciation which i s not a r t i c u l a t e d a t the norm indicated by t h e symbol, but s l i g h t l y back from i t . Thus, [i>J i s s l i g h t l y back from [ i ] , e t c . If t h e [ i ] i s pronounced i n t r u l y high front p o s i t i o n a [y] o f f - g l i d e i s v i r t u a l l y imposs i b l e . [i>y] i s a more c h a r a c t e r i s t i c English pronunciation. I n the t r a n s c r i p t i o n of t h i s e x e r c i s e [ v ] r e p r e s e n t s a
237
Some Front Vowels
with the nearest pure vowel on our vowel chart. Read across as you mimic the tape. la.
| «'evyb|]
lb.
[»»ebl]
able
2a. [' e v y t h ]
2b. [*eth]
3a. [l e v y t h ]
3b.
Ua. | s p e ' y d ]
Ub. [ s p e d ]
spade
5 a . [ we w y]
5 b . [we]
way
6a.
PLevy]
6b.
[leth]
eight late
[pLe]
play
h
7a.
'be*yth]
7b. [ b e t ]
bait
8a.
| mevyd]
8 b . [med]
made
9a.
way]
9 b . [wa]
why
10a.
'day]
10b. [da]
die
11a.
t^ayp11]
lib.
12a.
/'Ays]
1 2 b . ['AS]
ice
13a.
[rAyth]
13b. [rAth]
right
lUa.
[k h wAyt h ]
lUb. [ k V t h ]
quite
lSa.
[faydl]
15b. [«*adl]
idle
16a.
>ayz]
1 6 b . [*az]
eyes
[thaph]
type
RE 16.. 7 . MimLcryi [ i v e ae] Follow the transcription as you mimic. Strive for the articulation described for the new vowels. Have your buddy listen to make sure your mimicry is accurate, and watch your
pronunciation which is not articulated at the norm indicated by the symbol, but slightly down from it. Thus [e»] is slightly down from [e]. Remember that there are almost infinite numbers of vowel positions, and this provides a way of transcribing subtle differences without an infinite number of symbols. (See the previous footnote on p. 236, and note the analogy also to [lv].)
238
Lesson 16
mouth i n a mirror. P r a c t i c e down and a c r o s s . Use t h i s exerc i s e f o r t r a n s c r i p t i o n a l s o , when you have learned t o mimic well. l b . [dif]
l c . [def]
Id.
2a. [nip ]
2b. [n^p*1]
2c. [nep h ]
2d. [nsep11]
[lAis]
3 b . [lAz-S]
3c
Ua. [ t i i s ]
Ub. [tfcts]
Uc [ties]
Ud. [tiffls]
5a.
5b. fotl"]
5c. foel*]
5d. [neel*]
6 a . [Nnidz]
6b. [Nni,dz]
6 c . [Nnedz]
6d. [Nneedz]
7a. [pLip]
7b. [pl*p]
7c
8a. [kig]
8b. [kvi]
8c. [ke2]
9a. [ l i v ]
9b. [3AV]
9c
la.
[dif] 11
3a.
foil*]
10a. [gi]
10b. [«*]
[re§]
[pLep]
[lev]
10c. [ge]
3d.
[def]
[l»rf]
7d. [pLsp] 8d. [ksez] 9d.
[W]
lOd. [gee]
RE 1 6 . 8 . Neigative Practice* "Thi s i s the House t h a t Jack B u i l t " Refer t o the t e x t of RE lluH, p . 205, i f you need t o . The sounds t o be s u b s t i t u t e d a r e i n d i c a t e d i n t h e columns below. The tape w i l l s t a r t you off for each one a
b
c
d
House
[his]
[hz,s]
[hes]
[hees]
Malt
[mirt]
[mz-l*t]
[mert]
[raTt]
Rat
[lit]
[»t]
[ret]
[a*]
Cat
[At]
[At]
[At]
[Art]
Dog
[dig]
tdfcg]
[deg]
[daeg]
Cow
[Aw]
[Aw]
[Aw]
[Aw]
Maiden
[•midn]
[»mtdn]
[•medn]
[•msedn]
Man
[irdn]
[mz,n]
[men]
[men]
Priest
[phrist]
[p h rz,st] 1
[purest]
[Finest]
Some Front Vowels
239 d
a
b
c
Cock
[k^ik]
[k\k]
[l^ek]
[k^ek]
Farmer
[«firmr]
['ft-rmr]
[•fermr]
[•fsermr]
RE 1 6 . 9 . Mimicry! Vowels With and Without Off-•glides Mimic t h e tape and watch the t r a n s c r i p t i o n . When you have learned t o mimic t h e m a t e r i a l , use i t f o r t r a n s c r i p t i o n p r a c t i c e as w e l l . l a , [zi]
l c . [ziw]
I d . [ziH]
l e . [zir]
2a. [nib]
2 c . [niwb]
2d. [SiHb]
l e . [iiirb]
3 a , [zv]
3 b . [zty]
3 c , [zz-w]
3d. [zz-H]
3 e . [zt-r]
Ua. [ru,b]
Ub. [ru-yb]
Uc. [nz,wb]
Ud. [8&Hb]
Ue. [Sz-rb]
5a. [ze]
5b, [zey]
5c
5d. [zeH]
5e, [ z e r ]
6 a , [neb]
6 b . [neyb]
6 c . [newb]
6d. [iieHb]
6 e . [iierb]
7a. [ZBS]
7b. [zssy]
7c
7d. [zseH]
7e. [zeer]
8a, [neb]
8b. [neyb]
8c. [nawb]
8d, [&eHb]
8e. [naerb]
[zew]
[zeew]
Review of Vowels and Vowel Off-glides Tune up on the vowel qualities of previous lessons, as well as of this lesson by listening to RE 16,1 again. Practice some of the vowels with off-glides as well. RE 16,10. Negative Practice* "Old MacDonald Had a Farm" The tape will demonstrate how this exercise goes, and then you can continue practicing with your buddy. It is a device for getting rather intensive practice of vowel qualities and associated glides. The various vowels and combinations listed below are the "sounds" in Old MacDonald's farmyard. After the first start it will not be necessary to repeat the verse. Old MacDonald had a farm.
/'z-yay 'z-yoy *ow/ And on t h a t farm he had some sounds
2U0
Lesson 16 /'j-yay '&yay 'ow/ a. With a [mi mi] here and a [mi mi] t h e r e Here a [mi], t h e r e a [mi], everywhere a [mi mi] b. [mz. mz,] here... c. [me] d. On around the whole vowel chart with pure vowels. e. [miw] f.
[mz-w]
g. On around w i t h [w] o f f - g l i d e s , h. The same with [y] o f f - g l i d e s , j . The same with [H] o f f - g l i d e s , k. The same with [ r ] o f f - g l i d e s . Review of On-glides On-glides [y w r ] occur with a l l vowels t o d a t e , except f o r t h e combinations [yi] and [wu] when t h e vowel q u a l i t i e s are t r u l y high front and high back r e s p e c t i v e l y . RE 1 6 . 1 1 . Mimicryt [y w r ] On-glides Follow the t r a n s c r i p t i o n as you mimic t h e t a p e . Make sure you have good o n - g l i d e s , but no o f f - g l i d e s . When you have learned t o mimic f l u e n t l y , t r y t r a n s c r i b i n g the e x e r c i s e . l a . [Se]
lb.
2a. [ppee]
2b. [ppyas]
2c. [ppwas]
2d. [ppres]
3a.
3b.
3c
3d.
[ti]
Ua. [SA] 5a. [tOz-m]
[eye]
[tyi]
Ub. [3yA] •
lc.
[ewe]
[twi]
Id.
[5re]
[tri]
Uc. [SWA]
lid. [SrA]
5c.
[tewt-m]
5d. [terz-m]
6c.
[nw 6 j]
6d. fare J]
7c.
[Ifawodz]
7d. [Nhrodz]
5b. [•fceynn] 6a.
[nsj] 6b.
[nyej]
7a. [Nhodz] 8a. [goatM]
7b. [Nnyodz] 8b. [gycuiM]
8c. [gwaniM]
8d. [gramM]
Some Front Vowels
2Ul
9a. [nubfe]
9b. [nyubte]
9c. [nwubb]
9d. [nrubb]
10a. [l'on]
10b. [T yon]
10c. [Iwon]
lOd. [T ron]
11a. [zVt£]
lib. [2yvt6]
lie. [zwvt£]
lid. [2rvt£]
RE 16.12. Negative Practicet "The Walrus and the Carpenter" In the following exercise, read the stansa from "The Walrus and the Carpenter," changing the last syllable of each line to insert an on-glide if there is not one, or to replace it if there is. The three columns give the resulting pronunciation in one dialect. The tape "will start you off. As with all negative practice, this is something you can do in spare moments without the recording, once you see how it goes. "The time has come, the Walrus said
l a . [syed]
l b . [swed]
lc.
[sred]
"To talk of many things
2a. [eyz-nz]
2b. [ewujz]
2c.
[ernjz]
Of shoes—and ships— and sealing w a x —
3 a . [yaks]
3 b . [waaks]
3c.
[raks]
Of cabbages— and kings
Ua. [kkyz-nz]
kb,
Uc. [ k ^ i r n z ]
And why the sea is boiling h o t —
5a. [hyat h ]
5b. [hwabh]
5c.
And whether pigs have wings.
6 a . [yz-nz]
6b. [wt,nz]
6 c . [rc-nz]
"A l o a f of b r e a d , " t h e Walrus s a i d
7a. [syed]
7b. [swed]
7c.
[sred]
a.. [nyi>yd]
8b. [nwi>yd]
8c.
[nri>yd]
9a. [syaydz]
9b. [swaydz]
9c.
[sraydz]
"Is what we chiefly needt Pepper and v i n e g a r besides
[kWnz]
[hrath]
Are very good indeed—
10a. [dyi»yd] 10b. [dwi>yd] 10c. [dri>yd]
Now i f y o u ' r e ready, Oysters d e a r ,
11a. [dyi»r]
l i b . [dwi>r]
lie.
[dri>r]
2U2
Lesson 16
We can begin t o feed."
12a. [fyi»yd] 12b. [fwi>yd] 12c. [fri»yd]
RE 1 6 . 1 3 . D i f f e r e n t i a l * I d e n t i f i c a t i o n of Vowels I n t h i s exercise respond t o t h e tape by giving the name of the symbol with which t h e vowel sound i s t r a n s c r i b e d . That i s , when you hear [ i ] , say / a y / or w r i t e i . TOien you h e a r [ o ] , say "backwards c" or w r i t e £ . The t a p e gives the c o r r e c t o r a l response. Don't peek, but I f you are responding by w r i t ing t h e symbol, check your responses a f t e r you f i n i s h t h e exercise. 1. [*o]
0
10. [l*Ld]
IOTA
2. [•«•]
IOTA
1 1 . [l A vd]
UPSILON
3. [•A]
CARET
12. [ r e d ]
e
k. [»•] 5. [•i]
DIGRAPH
13. [xitfc]
1
i
Ik.
6. [•o]
BACKWARDS c
15. [xotB]
7. [l~ud]
u
16. [xsetfe] DIGRAPH
8. [l A od]
SCRIPT a
17. [xvti]
UPSILON
A 9. [l ed]
EPSILON
18. [ x o t i ]
0
[xAti]
CARET SCRIPT a
RE 16.lU. D i f f e r e n t i a l ! FRONT UNROUNDED, CENTRAL UNROUNDED, o r BACK ROUNDED
Respond o r a l l y to t h e t a p e . Don't peek. Use t h i s exerc i s e for t r a n s c r i p t i o n a f t e r you a r e able t o do i t o r a l l y w i t h out h e s i t a t i o n . 1. [ni]
F U
7. [iup*1]
BR
1 3 . [tlaenk]
FU
2 . [5A]
CU
8. [ltp 1 1 ]
F U
lU. [ t l i n k ]
FU
3 . [ne]
F U
9. [ W 1 ]
F U
1 5 . [tlftnk]
CU
U. [na]
CU
10. [lap 11 ]
CU
16. [tlwnk]
BR
5 . [no ]
BR
1 1 . [lip 11 ]
F U
17. [tlonk]
BR
F U
18. [ t l l n k ] !
FU
6 . [iiv]
B R '
11
12. [iep ]
2U3
Some Front Vowels RE 16.1$, Differential! Tongue Height
Respond w i t h one of t h e f o l l o w i n g t HIGH, LOWER-HIGH, MID, LOWER-MID, LOW, LOWER-LOW. 1 3 . [ksab]
7 . [ljQiv]
2. [ & ]
L-M
8 . [tyjov] M
lit. [kxub] H
3 . [fo]
L
9 . [Ifouv]
H
15. [kxob] L
U. [*p]
L-H
L-L
16. [kxAb] L
1 0 . [Ifeav]
H
L-H
1 . [SA] L
5 . [£&] L-H
1 1 . [gnev] M
17. [kxab] L-L
6 . [See] L
12. [Ijnsv]
18. [kxeb] M
L-M
RE l o . l 6 . D i f f e r e n t i a l * F u l l Labels S e l e c t one term from each column t o make up your response. Don't peekJ HIGH
FRONT
ROUNDED
LOWER-HIGH
CENTRAL
UNROUNDED
MID
BACK
LOWER-MID LOW LOWER-LOW 1. [»e] M F U
9 . [swamp]
L-L C U
17. [ k r 6 t | ]
L-M F U
2 . [*u]
HB R
1 0 . [swomp]
MBR
1 8 . [krvtS]
L-H B R
3 . ['£-]
L-H F U
XL, [swtmp]
L-H F U
19. [kri/tf]
L-H F U
h.
[°0]
LBR
1 2 . [swssmp]
L F U
2 0 . [krwfcS]
LFU
5. [ * A ]
L C U
1 3 . [swump]
HB R
2 1 . [kritS]
HFU
6. [»o]
M BR
l U . [swAmp]
L CU
22. [kret|]
MFU
7. [*i]
HF U
IB,
L-H B R
23. [krotg]
MBR
8. [»«]
LFU
1 6 . [swimp]
HF U
2U. [krAtsI
L C U
[swpmp]
2UU
Lesson 16
RE 16.17. Khnni*.1 Mimicryt [i v e P] Mimic the tape as you follow the transcription. Pay particular attention to the vowels. You may hear fine differences in the pronunciation of the vowels transcribed with the same phonemic symbols. Mimic the fine differences. Remember that such differences may be due to free fluctuation, or to complementary distribution. The double vowels symbolize phonemic length. la. /liiw/ •measure of width'
l b . /lz-tw/ 1try'
l c . /leew/ 'already*
Id.
2a. / H i t / •level o f f
2b. /lz-z-t/ •hide'
2c. A e e p / 'packet'
2d. / l v u p / 'hold back part1
3 b . /le-z-rj/ 'wander'
3c. /leerj/ 3d. flvvri/ 'coffin' ' d r y season'
Ua. /hiip/ •to ladle'
Ub. /hut/ •cause disaster'
He. /heet/ 'call to'
5a. /piik/ •dark (liquid)'
5b. /pz-t-p/ 'push through'
5c. /peet/ •seven'
5d. / p » v p / ' c a l l of deer'
6b. /p tvt/ •dress up'
6 c . /p^e&k/ •pine t r e e '
6d. / p ^ v u t / •too much1
7a. / s i i t / •rub'
7b.
7c. / s e e t / 'apart'
8a. / m i i t / 'knife'
8b. /mz,j-p/ 'crawl under'
/svz,t/ ' l e f t over'
9a. / t i i r j / • f a l l over'
flvvl/ 'slide'
8 c . /meet/ 'fish trap'
8d. /mvvt/ 'decayed'
9c
9d. / t v u n / •jump down*
/teerj/ 'do'
10b. /t h z.£.t/ 10a. / t h i i p / •preach' •born i n succession'
10c. / t ^ e e n / 'shelf'
lOd. / t h o u t / •steal, lie'
11a. / ' i i k / •more, again'
lie. /'eek/ 'yoke'
l i d . /">vvp/ 'gather i n '
lib. / ' ^ m / •kin term'
-'-Recording by Naay Muun and Naay Ngaa of Luang Prabang, Laos.
2U5
Some Front Vowels 12a. / k i i p / 'board'
12c. A e e p / 'grasp with tongs'
12d. / k v v t / '10 m i l l i o n '
RE 16.18. T r a n s c r i p t i o n For t h i s exercise use the s p e c i a l t r a n s c r i p t i o n form for RE 16.18 (pp. kl~kQ i n the Workbook Supplement). Listen t o the tape and f i l l i n the blanks i n the Supplement. If nothing goes i n a p a r t i c u l a r blank, draw a v e r t i c a l l i n e through i t l i k e t h i s s A m / n o . When you have completed the e x e r c i s e , check your answers with the t e x t below. You are given addit i o n a l columns i n the workbook to take the t r a n s c r i p t i o n four times, i f necessary. If you find t h i s easy, take a regular t r a n s c r i p t i o n form and t r a n s c r i b e the whole utterance for each item. If you find i t d i f f i c u l t , use RE 1 6 . 2 , 16.1-t, 1 6 . 5 , 16.7, 16.9, 1 6 . 1 1 , 16.13, I6.1I4, 16.15, and 16.16 i n s t e a d . Here are the answers. h
Don't peek!
1. [nA't ee]
8. [Si'goH]
15. [' tfeevwa]
2. [«tsonu]
9. [guy'dwz,]
16. [c^Ap'keS]
10. [teu"i;]
h 17. [p i;'9ix]
km [Nnu'tccn]
1 1 . [•dyojur]
18. fpeewLTak11]
5. [' ku9z-w]
11 19. [Seg'bep ]
6. [bu'swoy]
12. [ t S e H ' t o H r ] •• * 13. ['Mmonzs']
7. [Jer'JJnAt h ]
lU. [•fwaysz,]
21. [dlim's'nEewk'1]
3.
[vye'ge]
v h 20. [«zol t iHnM]
Reading Use RE 16.18 as a reading e x e r c i s e . Practice each word t o yourself f i r s t , and then l i s t e n t o the tape recording of t h a t word t o check yourself. Work with your buddy. Suggested Readings Eugene A. Nida, Learning a Foreign Language, pp. 101-105 (108-118, 132-13U). H. A. Gleason, An Introduction t o Descriptive L i n g u i s t i c s ,
PP. 201-20U, (ih-26rTFWT 187-193). Charles F. Hockett, A Course in Modern Linguistics,
pp. 77-83 (15-7U).
~"
2U6
LESSON SEVENTEEN Flaps and Trills
Bilabial Flaps Nasal Lateral Stop Flat tongue Voiced Voiceless Cupped tongue Voiced
Voiceless
Tipalveolar
Tipalveopalatal (retroflexed)
(*)
n
(?)
(D
1
(4) (?)
<J
(?)
Uvular
(D « V
r
(?) (!)
V
(f)
R
(b)
(?)
r
(p)
(?)
R
Voiceless
Trills Voiced
Tipdental
(?) (?)
r R
Table 17.lt Some Flap and Trill Articulations Study the above table to make sure that you understand the significance of the symbols. Note the use of capital R for voiceless articulation, by analogy with capitals for nasals and laterals. The diacritics here, however, are used with a different significance from the ways in which you have met them before. Be careful that it does not become a source of confusion. [v] was used earlier as a sign of alveopalatal articulation on fricatives and affricates [3 i 8 ] , etc. It is used on other consonant symbols (and most frequently on r] to represent flap articulation. [~] was used earlier as ajsign of alveopalatal articulation on nasals and laterals [n 1 ] , etc. It is used with these new symbols to represent trill articulation. [ ] was used earlier to represent retroflexed articulation [$ S 2], etc. It is used with the trills to represent uvular articulation. (Note that there is an analogy here. This represents backing in both cases.) [r] was used earlier to represent a vowel glide. It is used now (with [v] or ["])
2U7
Flaps and Trills to represent these new kinds of consonant articulation which have some acoustic similarity to the [r] glide.
There is not much point in presenting Sammies of these new sounds except for the uvular trills below, because the points of articulation and articulators are familiar. It is the manner of articulation which differs. Flaps Flap a r t i c u l a t i o n d i f f e r s only s l i g h t l y from t h e c o r r e s ponding n a s a l , l a t e r a l or stop a r t i c u l a t i o n . Points and manner of a r t i c u l a t i o n may be the same except for the a d d i t i o n a l flap characteristic. RE 1 7 . 1 Demonstration* Flap A r t i c u l a t i o n Mimic t h e t a p e and follow along i n t h e Manual. a. Listen t o the tape on the pronunciation of the following words, and n o t i c e the pronunciation of t h e medial consonant. P r a c t i c e making the same kind of a r t i c u l a t i o n y o u r s e l f , whether you consider t h i s standard pronunciation for English or not, and whether you find i t n a t u r a l t o your d i a l e c t or n o t . l a . [«mz,ni>y]
Minnie
l b . [»fAni»y]
funny
2a. [«md.i>y]
Millie
2b. [»sAli>y]
sully
3 a . t'mz-di>y]
middy
3 b . ['mAck.>y]
muddy
Ua. [ « k \ r i > y ]
kitty
Ub. ['j^Afi^y]
putty
b . Now follow t h e t a p e , pronouncing each of t h e s e words i n the same way, and a b s t r a c t i n g the medial consonant, placing i t between [ a . . . a ] . Maintain t h e f l a p a r t i c u l a t i o n . This should be a s h o r t , r a p i d f l i c k of t h e tongue a g a i n s t t h e p o i n t of a r t i c u l a t i o n . The a r t i c u l a t o r , i n s t e a d of d e l i b e r a t e l y going up and touching t h e point of a r t i c u l a t i o n , f l i c k s up a g a i n s t i t or f l i c k s i t as i t passes r a p i d l y by. Figure 1 7 . 1 diagrams t h e s e kinds of movement.
K
Tongue tip flicking up against point of articulation and away
Tongue tip flicking Tongue tip flicking point of articula- point of articulation as it passes tion as it passes from front to back from back to front Fig. 17.1
2U8
Lesson 17
c. English ing too wagging
In order t o make [J*], give a l i t t l e [ r ] q u a l i t y t o an [ d ] . I m i t a t e t h e t a p e . You may find t h a t you are workhard a t producing a f l a p . Relax, Be sure you are not your c h i n . Hold your chin steady with your hand.
l a . t'mAck'y]
l b . [»mArl>y]
l c . f'mArA]
I d . [»ATA]
2a. [«roz,(k>y]
2b. [«mz,fi>y]
2c. [«mz.rV]
2d. ['&*&]
d. For another e x e r c i s e i n producing [ f ] , i m i t a t e the rapid r e p e t i t i o n of these English words$ c i t y , p i t y , d i t t y . Also* got a l o t l ^ g a r t ' l a t ] e . Try water and b u t t e r ['warr] and [«bArr]. RE 1 7 . 2 . D i f f e r e n t i a l !
[i if]
Begin tuning up your ears t o f l a p s by d i f f e r e n t i a t i n g two kinds. Respond with d or r . The tape w i l l demonstrate. When you find t h a t you can answer o r a l l y , t r a n s c r i b e t h e exercise i n order t o be sure you l e a r n t h e use of t h e flap d i a c r i t i c . 1. [ada]
d
5. [oft]
r
9. [ a ' r e s o ]
r
2. [oak]
d
6 . [ido]
d
10. [u'dinu]
d
3 . [ere]
r
7. [ATV] r
1 1 . [e'focJi]
d
U. [uru]
r
8. [tite]
12.
d
r
[V'SOO'A]
RE 1 7 . 3 . D i f f e r e n t i a l ! [I f ] Respond o r a l l y with t or r , and then t r a n s c r i b e . you t r a n s c r i b e the f l a p d T a c r i l i c c o r r e c t l y . 1. [a?a]
r
5>. [o£i]
t
9. [a«reso]
r
2. [oto]
t
6. [ito]
t
10. [ u ' f t n u ]
r
3 . [s*c]
r
7. [Afu]
r
11. [e'foti]
t
k. [utu]
t
8. [the]
t
12. [p'cotA]
t
RE 17.U. D i f f e r e n t i a l !
Be sure
[£ I ?]
Respond o r a l l y with d, t , or r , and then t r a n s c r i b e . 1. [vft]
r
3 . [AdV]
d
5 . [are]
r
2. [oto]
t
h. [eetee]
t
6 , [udo]
d
Flaps and T r i l l s 7. [aerv]
r
8. [AIJ,]
t
2h9 9. [o'dik^x] 10. [ i ' z o f e ]
d
1 1 . [A'ruxi]
r
r
12. [t'neelu]
t
HE 1 7 . g . D i f f e r e n t i a l * [ft 1 & I fl Respond with n, 1, d, t , or r u n t i l you can do t h e exerc i s e w e l l , and then t r a n s c r i b e . [ifla]
n
7. [er-A]
r
13. [z,ȣate]
t
2. [u-Ee]
t
8. [o&]
t
Hi. [e'geelo]
1
3 . [v*o]
r
9. [e<3a]
d
1*. [e'zredu]
d
h,
[wdffi]
d
10. [ofte]
n
36. [v'fewzA]
r
5.
[sit]
r
11. [ire]
r
17. [z-'xyofu]
r
6.
[AIO]
1
12. [ulA]
1
18. [v'fbviH]
r
1.
RE 1 7 . 6 . D i f f e r e n t i a l ! FLAP or GLIDE [ r ] and [f] a r e very d i f f e r e n t i n t h e i r a r t i c u l a t i o n . Respond o r a l l y with FLAP or GLIDE, and then t r a n s c r i b e the exercise. 1. [cro]
G
5.
[iro]
F
2 . [z,ra]
F
6.
[SBTA]
G
10. [bi'seHro]
G
3 . [Are]
F
7. [afe]
F
1 1 . [gAw'yuft]
F
h.
G
8. [vrv]
G
12. [k^e'maro]
G
[seri]
RE 1 7 . 7 . MimLcryt
9. [t^ffi'porey]
G
[*]
Mimic t h e t a p e , paying p a r t i c u l a r a t t e n t i o n t o c l e a r f l a p a r t i c u l a t i o n , e s p e c i a l l y i n i n i t i a l and f i n a l p o s i t i o n . Follow along i n t h e Manual. 1. [ i f i ]
6 . [»*z.ra]
11. [mu'rirl
2. [si<e]
7 . [«rvro]
12. [no'ror']
3 . [oro]
8 . ['rArey]
13.
U. [ATA]
9 . [«fare]
lU. [nA'rse*]
g. [site]
10. [«#sfl.]
15.
[qeiXvt]
[re'ruf]
2f>0
Lesson 17
RE 1 7 . 8 . Mimicry! [ft] To produce [ft] simply t u r n off t h e v o i c i n g . P r a c t i c e by mimicry of t h e following e x e r c i s e . Follow along i n t h e Manual. 1. [aft]
5 . [ruft]
9.
[RATI]
2.
[oft]
6 . [foft]
10.
[ftefA]
3.
[ift]
7 . [raft]
1 1 . [ftofVe]
k.
[uft]
8. [fc,ft]
12.
[ftofu]
RE 1 7 . 9 . D i f f e r e n t i a l ! VOICED or VOICELESS L i s t e n t o t h e f l a p s , and respond with VOICED or VOICELESS. When you can do the e x e r c i s e o r a l l y , go back and t r a n s c r i b e the u t t e r a n c e s u n t i l you a r e sure of them. Don't peek. 1.
[so?]
VD
5 . ['Rino]
VL
9 . ['ziite]
VD
2 . [t h uft]
VL
6 . [fte'Jjna]
VL
10. [«ftepyz-]
VL
3 . [mof]
VD
7 . [fte'tsz,]
VL
1 1 . ['fyseftu]
VL
U. [ l e f ]
VD
8 . [fo'tfcv]
VD
1 2 . ['fet^A]
VD
Trills Most people have made tongue-tip trills all of their lives in play. Others can learn to do so. There is one important tip to remember, however. The trill is not created by voluntarily moving the tongue through use of your muscles. The tongue is moved by the air stream. One analogy is that of a tarpaulin on the back of a truck. As the truck moves along, the tarpaulin flaps repeatedly and rhythmically. This is not a movement made on its own part, but is made by the rushing of the air acting on the tarpaulin. Correspondingly, the muscles serve to hold the tongue in the right position and with the right degree of tension, so that when the air does rush out, the tongue flaps repeatedly, creating a rapid trill. RE 17.10. Demonstration* [ff R] Listen to the tape, mimic, and follow in your Manual. a. Most people can make a voiced alveolar trill, having done so from childhood when they played cars or airplanes, or machine guns. Just make sure your trill is with the tongue tip in the alveolar regiont [?•].
251
Flaps and Trills
b. If you have no trouble with a voiced tip-alveolar trill, try doing the same thing without voicing! [£•]• c. If the voiced trill is difficult for you, try saying the following two phrases rapidly and repeatedly* put it on and butter up. For many speakers, when this is done naturally and in a relaxed manner it will give [p^vr*ran] and [bAr'rAp], Work on these in odd moments, but frequently, over a period of several days, and you will probably find that very suddenly the tongue tip trill works. d. Some people who have difficulty with [r] find it easier to make after [p], so you could try practicing [pr»]. e. All of these same devices can be used to get the voiceless trill as well if you whisper the items as you practice them. RE 17.11. Mimicry* [r R]
Mimic and follow the t r a n s c r i p t i o n . l a . [ara]
lb.
[faro?]
l c . [aRa]
I d . [RaRaRj
2a. [ere]
2b. [ r e r e r ]
2c. [eRe]
2d. [ReReR]
3a.
3b.
[ririr]
3c. [iSi]
3d. [ R i & R ]
Ua. [uru]
Ub. [rurur]
Uc. [uRu]
Ud. [RuRuR]
5a. [oro]
5b. [rorof]
5c
[oRo]
5d. [RoRoR]
6a. [aerae]
6b. [nerssr]
6 c . [site]
6d. [ReeReeR]
[iri]
RE 1 7 . 1 2 . Demonstration! |if
|]
Mimic and follow along in your Manual. a. Many people have made uvular trills from childhood. Sometimes children who do not make tip-alveolar trills substitute uvular trills for them. If you can already do so, imitate the tape and produce a trill with your uvula vibrating against the back of your tongue* [?•]. b. If you can make a voiced uvular trill, turn off the voicing and make a voiceless onei [R»] c. If the uvular trill does not come easily, articulate your mouth for an [o], inhale deeply, and then exhale suddenly and sharply through this articulation. You may get an [r]. Try
2#
Lesson 17
Sammy 17.It Articulation of [r], Showing the Uvula Articulating on the Back of the Tongue this repeatedly at various times. Keep relaxed as you do it, playing around with various combinations until you get one that works. d. Some people who find a uvular trill difficult, make it most easily in the sequence [a'ro], forcing the air out of the lungs forcefully on the [Jo], e. Try snoring, as you hold your nostrils shut with your fingers. Get the feel of your velic and uvula vibrating in the back of your mouth. Snore in, and then, without moving your tongue, breathe out through your mouth (nostrils held shut with your fingers). Sometimes this produces [?•]. f. Some people find the sequence [gr»] most useful for producing a uvular trill. g. Some people^have a tendency to make [x g] so far back that they produce [R f ] . Try approaching the uvular trill from the velar fricative! h. Some people find it helpful to get the uvula into position in relation to the tongue by sitting in a chair and leaning their heads bac.k to look up at the ceiling, and then forcing the air out of the lungs. Others lie on a bed with their head hanging off to create this same effect.
Flaps and Trills
253
i. Whatever way works best with you, when you have begun to produce a voiced or voiceless uvular trill, then articulate it between vowels, before vowels, after them, etc.* Fara ra ar oro], etc. EE 17.13. Mimicryt [f f] When you can produce a uvular trill in isolation, work on mimicry of this exercise. Follow along in your Manual, la. [ara]
lb. [jajaj]
lc. [aRa]
Id. [RaRaR]
2a. [ere]
2b. [refer]
2c. [efe]
3a. [iri]
3b. [ririr]
3c [i|i]
3d. [RiRiR]
k&, [uru]
Ub. [rurur]
He. [ufu]
kd. [RuRuR]
5a. [ofo]
5b. [roror]
5c. [oRo]
5d. [RoftoR]
6 a . [aeja]
6 b . [raerser]
6 c . [aajtee]
6d. [RasiRfflR]
2d. [ReReR]
RE 17.1U. D i f f e r e n t i a l t FLAP or TRILL Respond o r a l l y with FLAP or TRILL. When you have done t h e e x e r c i s e o r a l l y , t r a n s c r i b e the u t t e r a n c e s and check your t r a n s c r i p t i o n a g a i n s t t h e t e x t below. Don't peek. 1.
['pine]
F
6 . [«Ra.tso]
T
1 1 . [Mme'nAfoz]
F
2 . [«sofA]
T
7. [•Rus'z,]
T
12. [kNroineru^]
T
3 . [«gerv]
T
8. [«RVt£a]
F
1 3 . [fc'xaerup]
F
k. f'furo] • 5. [»w 6 ri]
T
9 . [«Rol A i] • 10. ['ReLs]
T
lit. [nA»dzeR»t h ] • 1 5 . [ga'beoRon]
T
F
T
T
RE 17.15. D i f f e r e n t i a l t VOICED or VOICELESS 1. [»Ra.tso] VL
5. ['pifte] VD
2 . ['ruSt.]
VD
6 . ['gerv] VD
10.
3. [«Rori]
VL
7.
[«SORA]
VL
11. [Jt'xsrup]
U. ['fetEa]
VD
8 . [»fuRo]
VL
3 2 . [k^iqefui] VD
9 . [ga«bboRon] [nA'dzeRvth]
VL VL
VD
25U
Lesson 17
RE 17.15. D i f f e r e n t i a l * ALVEOLAR or UVULAR 9. [ k V i ' n e r u c ]
U
2 . [«so?A] A
5 . [«Ru3z,] U • 6 . ['Retia] A
10. Qj-'ssrup]
A
3 . [»furo]
7. [«Reiae]
11. [ga'bboRor]
A
12. [Mme«nA#oz] 8. [ « R o r i ] U • RE 17.17. Negative P r a c t i c e ! Flaps and T r i l l s
A
1. [«pira] A
U
A
U. [»w e fi] A
P r a c t i c e saying these English words and phrases with the i n d i c a t e d s u b s t i t u t i o n s of flaps and t r i l l s . Follow t h e t r a n s c r i p t i o n as you mimic t h e t a p e . a. c a r
b. rat
c . near
d. park
la. [Atr]
l b . [rsrt b ]
l c . [ni'yf]
I d . [p^irk 11 ]
2a. [k^oR]
2b. [Rarth]
2c. [ni»yR]
2d. [phaRkh]
3 a . [khar]
3b. [rat^]
3 c [ni>yf]
3 d . [phofkk]
Ua. [khoR]
Ub. [Rst h ]
Uc. [ni>y£]
Ud. [phaRk*1]
5a. [k^o?] • 6 a . [khaR]
5b. [r®t£] • 6 b . [R»t h ]
5 c [ni>yr] • 6 c . [ni>yR]
5d. [i^ark 11 ] • 6d. [p^aRlf*1]
e. prowl
f. roaring
g. Rosa r a r e l y ran
l e . [prowl ]
I f . [«roHri.n]
l g . ['fcwzA «?eH?l v i>y 'rseHn]
2 e . [pRawl ]
2f. [»RoHFL-n]
2g. ['RowzA ' R e H R r i - y «R«Hn]
3 e . [pfawl ]
3 f . [»foHfz,n]
3 g . ['fowzA «feHfl v i*y «fteHn]
Ue. [pRawl ]
Itf. [»RoHRz.n]
Ug. [«RowzA »ReHRl'i>y 'RseHn]
5e. [pfawl ]
5f. [»foH?M]]
5g. ['fowzA «rEHfl'i>y »reaHn]
6 e . [pRawl ]
6f. [•RoHfc.n]
6g.
['ROWZA
«ReHRlvi»y "ReeHn]
RE 1 7 . 1 8 I Khmu''.1 Mimicry* [ r ]
Mimic t h e t a p e , and follow t h e t r a n s c r i p t i o n . The recording i s not t h a t of a n a t i v e speaker.
Flaps and T r i l l s
255
la. /rao/ 'pour over'
lb. /boory •two'
l c . /hraag/ •tooth'
2a. /faay/ •fierce'
2b. /waaf/ •hot'
2c. /hrnaa/ [Rr'na*] ' i r r i g a t e d ricefield'
3a. /ink/ •love'
3b. /mar/ 'snake'
3 c /hrlap/ 'fold up'
[Rr'lAp] '
l*a. /rap/ •grasp'
Ub. /sar/ 'wild cat'
Uc. / h r i i n / ' t o lead'
[Rri»n]
5a. /riit/ 'custom'
5b. /wiir/ 1 stare»
5c. / h r n i i p / [R^«'ni«p] •spoon'
6a. /reen/ •abandoned ricefield'
6b. /wer/ •turn over'
6c. / h f e ' / 'swidden'
7a. /fees/ 'strong•
7b. / h e r / •intelligent'
7c. /hfoh/ [Rrvh] •to ripen'
8a. /feew/ •noose trap*
8b. /nee?/ •tiny'
8c. /hrok/ •six'
[Rrvk]
9a. /roon/ •line'
9b. Aloof/ •road'
9 c /hrloV 'word'
[S^»lo»]
10a. /ruup/ 'picture'
10b. /buar/ 1 evening'
10c. /hfuuy/ •spirit'
[Rra»i]]
[§»•]
[Rru»y]
RE 17.19* Reviewt Nasals, L a t e r a l s , Stops i n t h i s e x e r c i s e we w i l l emphasize t h r e e kinds of a r t i c u l a t i o n ! b i l a b i a l , t i p - a l v e o l a r , and b l a d e - a l v e o p a l a t a l . Mimic the tape and follow along i n your Manual. Make sure t h a t your v o i c i n g , or v o i c e l e s s n e s s , or a s p i r a t i o n i s c l e a r , as well as your a r t i c u l a t i o n . l a . [mamem]
l b . [nanen]
lc.
2a. [Mmo.MmAnW]
2b. [Nno.NnAnN]
2c. [Nno.NnAnN]
3b.
3c.
[rel-TLb]
Ub. [l v ol v 6Bl v ] 5b.
[Llva.LlvilvL]
6b.
[dlu.dlj.dl]
[nanen]
[lelul]
256
Lesson 17 7b. [ t £ o . t £ e t £ ] 8b. [t& h ae.t£ h ati I ]
9a. [bebAb]
9b. [dedAd]
10a. [pupep]
10b. [ t u t e t ]
Ha.
lib.
[phaphpph]
[thathptb]
RE 17.20. S u b s t i t u t i o n Mimic t h e tape on t h e following e x e r c i s e . The f i r s t one w i l l be b u i l t up, and t h e remainder w i l l c o n s i s t of s u b s t i t u t i o n s made i n t h e f i r s t one. P r a c t i c e f o r fluency. Work on p i t c h , timing, s t r e s s , j u n c t u r e , e t c . , as w e l l as consonants and vowels. 1. [NnBSwi'niH.po.nAr d*f.fe«l*iwt h ] i
2. [
i
i
/
^v ia.xeg ccxsn
3. [
RofJSil v I 1
U. [
SAr.pfAtfc
] ] ]
Transcription Use RE 1 7 . 2 , 1 7 . 9 , 17.13~17.17 as t r a n s c r i p t i o n e x e r c i s e s . Transcribe r e p e a t e d l y those which give you t r o u b l e . Do your t r a n s c r i p t i o n on a t r a n s c r i p t i o n form, and keep t r a c k of your e r r o r s . Watch your progress on sounds which give you d i f f i c u l t y , and d r i l l with those sounds and symbols which tend t o confuse you, going back t o t h e lesson where the sound was i n troduced, i f necessary. Reading Use 17.3ii~17.l6 as reading e x e r c i s e s , c a l l i n g off t h e u t t e r a n c e before t h e machine gives i t , and checking yourself against t h e production on t h e t a p e .
257 LESSON SEVENTEEN R Review Consonants Here is the inventory of the symbols representing sounds drilled so far. You are responsible for production of all sounds to date except the flaps and trills, which may take a little more time for some people. You are not responsible for hearing the difference between dental and alveolar stops, nasals and laterals. You should hear this difference in fricatives and affricates.
to H
a
j»
B)
o
P
p 4
>•
P Q
d- 1 H
>
<
o
a P (B P dP O dOI 4 4 4 P d- 1 4 dP o H, H H H
d"
£
v—'
VI. unasp.
P
t A
VI. asp.
P*
tf
th
Voiced
b
d
d
P
f
b
V
t •
k
t*
kh
VI. flap Vd. flap FRICATIVES Lip articulation Voiceless Voiced Tongue articulation Grooved Voiceless
s
Voiced
p-palatal articulation i s also used for retroflexed sounds.
258
Lesson 17 R
p H> P H
Flat Voiceless
o
>
CD 3" P H
H 0> O H p 4
> VH P ft
H CD O 1
>
"*?" P
C+
o P
<J CD H
P •i
1
0
X
Voiced
g
Lateral Voiceless Voiced
1
AFFRICATES1 Grooved VI. unasp.
ts
ts
c
ts 11
fih
dz
5
A *
ts 11
VI. a s p .
A A
Voiced Flat VI. unasp.
dz pj
ts •• tsh •• d2 ••
te
kx
A
VI. a s p .
pj
te11
kxh
A
Voiced
b\
del
gg
Lateral VI. unasp.
t£
VI. a s p .
t£h
Voiced
dl
NASALS Voiceless Voiced Vd. flap
M m
n
N N
N N
n
fii f
N, n
n
n
"There are,' of course, many affricates with different points of articulation for stop and fricative. Some are shown on p. 138.
259
Review tr"
t)
!»
P:
a.
$ p,j
&
p,
a £
LATERALS1 Voiceless
>
>
<
a &a £ *
<5
| S3
L
Vd. high tongue
1*
1"
Vd. low tongue
lv
lv
1
Vd. f l a p
1
TRILLS Voiceless
R
R
f
f
Voiced FIAPS (cupped tongue) 2 Voiceless Voiced
R r
Table 17R.1» Consonants to Date TE 17R.1. Matching Symbols Since the number of consonant symbols is now becoming rather large, the problem of remembering symbols themselves, aside from the problem of hearing sound differences, needs some attention and practice. After you have reviewed the above chart, paying particular attention to the diacritic marks and the distinctions they represent, try TE 17R.1 in the Workbook Supplement (pp. it?-^). Vowels Table 16.1, p. 232, charts the vowel qualities to date. Review the vowel symbols and the qualities they represent from that lesson. Review also the on-glides [w y r] and the offglides [w y r H] in Lesson 12, p. 175ff., and subsequent lateral fricatives and affricates are shown above under fricatives and affricates, respectively. ^Nasal flaps are shown under nasals, lateral flaps under laterals, and flat tongue flaps under stops.
260
Lesson 1? R
even-numbered l e s s o n s . t r a n s c r i p t i on.
Work on production, r e c o g n i t i o n , and
S y l l a b l e s and Their C h a r a c t e r i s t i c s Review Lesson 10 ( p . l ^ O f f . ) . Pitch If you have very much trouble with pitch, review Lesson 8, p. Il8ff. If you do not, review exercises like RE 17.20, p. 256, and llt.20, p. 2l£f. Transcription a* For any sounds which you have difficulty recognizing, use the differential drills in the lessons where they were introduced as transcription drills, and check your answer with the Manual. b. Transcribe drills containing longer sequences. In all your transcription, study your mistakes in comparison with the correct form, and see the reasons for your errors if you can. Keep track of your errors on the Transcription Tally Form in your Workbook Supplement. Reading Practice reading items from exercises in the Manual, and checking your production against the tape. Work with your buddy so that a second person can hear your production.
261
LESSON EIGHTEEN Lower-low Vowelsj Front' U. R.
Length Central U. R.
Back U.
R.
High
i
u
Lower-high
V
V
Mid
e
0
Lower-mid
E
Low
83
A
Lowei—low
a
a
0
LlJ
Table 18.1* Vowels t o Date
The names f o r t h e new symbols on the c h a r t a r e [a] " p r i n t e d a" or "typewriter a" or "Boston a," and [D] "upside-down a«" ~ I n c o n t r a s t , fa] "is c a l l e d " w r i t t e n a" or " s c r i p t _a," The e a s i e s t way t o w r i t e [z>] by hand i s t o s t a r t i n t h e upper left-hand c o r n e n "j*^ RE 1 8 . 1 . Demonstration* Table 18.1 L i s t e n t o t h e demonstration of t h e vowel chart r e p e a t e d l y , studying Table 1 8 . 1 as you do s o . When you a r e f a m i l i a r with i t , read off t h e chart simultaneously with t h e t a p e . Work with your buddy. RE 1 8 . 2 . Discrimination/ SAME or DIFFERENT Continue tuning up your ears t o these new vowel q u a l i t i e s by responding SAME or DIFFERENT t o t h e following p a i r s . Conc e n t r a t e on t h e differences t o help you become f a m i l i a r with them. Don't peek. l a . [raeT
raT]
D
Ua. [rar
r®r]
D
2a. [reaT
l'seT]
S
5a. [raaT
l'alA]
D
TaT]
S
6 a . [tso«l A sel A
A
3a. [l aT
tso«l A 83l A ]
S
262
Lesson 18
7a.
tsoTseT
8a.
A
tso»l gO.
lb.
tso'l'ar] A
A
D
tso«lAaT]
9a. [ t s o ' l ' a T
tso«l al ]
vae
vaG]
D
l c . [gotfc
gati]
D
2b.
vae
vaG]
D
2c. [gatfc
gotfc]
D
3b.
vaG
vae]
D
3 c. [gct£
grotfc]
S
Ub.
va8
va6]
D
Uc. [gati,
gat£]
5b.
vae
vae]
S
5 c . [grotfc
grotfc]
s s
6b.
pkr'vae
phr'vaG]
S
6 c . [^)i«grotB
tfci'grotfc]
S
7b.
phr'vae
pbr'vae]
D
7c. [ifti'gatfc
ggitgrotfc]
D
8b.
pbr'vae
jfcr'vae]
S
8c. [Iftit grotfc
IJoitgatB]
D
9b.
ph^««vae
phytvae]
D
9 c . [gqi»gabi
IJr)i»gat£]
S
10b.
pb-r'vaO
pb-r'va©] D
10c. [ijiji'gatfc
D
A
10a. [tso«l al
A
s
A
A
tso«rael ]
goi« grotfc] D
Id.
roR
roR]
S
l e . [lal A
IAT]
D
2d.
roR
roR]
D
2e.
IAT
]
S
3d.
roR
roR]
S
3 e . [ial*
lar ]
D
lid.
PDR
rroR]
S
Ue.
[1A1 A
1A1A]
S
5d. ,r»R roR]
D
5e. [ l a r
IaT]
S
6d.
ne'rtiR
fie'roR]
S
6e. [foilaT
*o»lal A ]
S
7d.
iie'roR
ne'roR]
D
7e. [fo'lAT
*O»1A1 A ]
S
8d.
ne'roR
ns'roR]
D
8e. [ i b ' l a r
*O»1A1 A ]
D
9d.
ne'roR
ne'mR]
D
9e. [fo'laT
*o«lAl A ]
D
lOd.
n^roR
ne«roR]
S
lOe. [*o«lAlA
[IAT
If.
toth
hxO}] D
3f.
2f.
W1
W1] D
Itf. [fcoth
[teAth
D
i
D
feAth]
D
263
Lower-low Vowelsj Length 5f. [feAth
bAt h ]
S
8f. [ « s u t o t h
»sub»th]
S
[«sutewth
"subAt11]
D
9f. ['SuteDth
»sufeT>th]
S
7f. [«SufeAth
«subDt h ]
D
lOf. [»sufeAth
«suBAth]
S
6f.
Production of [ee a a p o] A l l of these low and lower-low vowel q u a l i t i e s occur i n one or another of t h e d i a l e c t s of English, b u t they do not u s u a l l y occur a l l i n t h e same d i a l e c t , a t l e a s t not with phonemic d i s t i n c t i v e n e s s . Speakers of English, furthermore, d i f f e r i n t h e degree of tongue h e i g h t , f r o n t i n g , and backing, with which they pronounce t h e s e vowels, as any o t h e r s . For example, many speakers of English do not normally have [ae] or [ a ] , but a vowel somewhere betweent [aev] or [ a A ] , Others have [ee] but not [ a ] , others [a] but not [ee]. Some have both. In s i m i l a r fashion, some English speakers have [a] and [ o ] , others [o] and [ o ] , and s t i l l others have only [ a > ] , without e i t h e r [x>] or [ o ] . The learning problems i n t h i s area are t h e r e f o r e d i f f e r e n t for d i f f e r e n t English-speaking people. [a] i s famous i n t h e United S t a t e s as one of t h e i n g r e d i e n t s of t h e "Harvard a c c e n t , " speech of the Boston a r e a , and of President Kennedy, I t occurs, however, i n other areas as w e l l , notably t h e South. Some Americans i n areas where i t i s not normal have i t s p o r a d i c a l l y i n c e r t a i n words because of d i a l e c t i n f l u e n c e . Some a r e a s , l i k e Western New England have a v a r i e t y not q u i t e so f a r front as the Boston v a r i e t y . Some New York City d i a l e c t s have a v a r i e t y not q u i t e so low as the Boston v a r i e t y . We w i l l s t r i v e i n t h i s course f o r a r e a l l y lower-low front a r t i c u l a t i o n . The sound occurs as the only lower-low vowel i n many languages, including some d i a l e c t s of French and Spanish, and along with [a] i n o t h e r s , including some d i a l e c t s of French. [D] occurs commonly i n some B r i t i s h d i a l e c t s of English, including some used i n Canada. I t occurs i n t h e speech of many Americans as w e l l . RE 1 8 . 3 , Demonstration! Producing [ae a a n o] a. One of the b e s t ways t o develop a f e e l for t h e lowerlow front a r t i c u l a t i o n represented i n [a] or t h e lower-low back a r t i c u l a t i o n represented i n [t>], i s t o p r a c t i c e t a l k i n g or reading English i n a fronted a r t i c u l a t i o n s t y l e , and i n one which uses a lowered tongue-back p o s i t i o n . Listen t o the t a p e as i t demonstrates both of t h e s e . I t w i l l read t h i s paragraph f i r s t i n fronted a r t i c u l a t i o n s t y l e , and then i n backed, lowered a r t i c u l a t i o n s t y l e . P r a c t i c e reading i n t h i s same way
26U
Sammy 18.It [a]. Note that the whole tongue is low and flat, but that the highest point is in the front.
Lesson 18
Sammy 18.21 [*>]• Note that the whole tongue is low and flat, but that the highest point is in the back.
yourself. Watch your tongue closely in the mirror on the fronted style. Make sure it does not slip back, but stays firmly bunched in the front of your mouth. b. One way to achieve a clear distinction between [ae] and [a] is to go down the "front unrounded" column of the chart, opening the mouth slightly with each sound, and making sure the tongue does not slip back to [a]. Mimic the tape, and watch in the mirror. If necessary at first, protrude your lower jaw on [a] to make sure it stays front. c. The same approach can be taken for [o] and [x>]. Go down the "back rounded" column with progressively more open mouth. Notice also that the amount of rounding decreases. When you go from [o] to [v] there is no more rounding. Be careful not to jump to [a]. Mimic the tape. c. Work on the sequence [e a a v o ] . Watch your tongue in the mirror as you do so. There should be a clear movement of the hump of the tongue backwards on the sequence [a a o ] . Listen to the tape and mimic. d. Among some American ministers [n] is sometimes used as a special pronunciation restricted to formal prayer or
265
Lower-low Vowelsj Length
other occasions when t h e y need t o sound sanctimonious. [,awr •fcdr] our F a t h e r , f o r example, i s f r e q u e n t l y heard i n the prayers of some preachers who would say [ t awr •faelr] under other circumstances. I t i s sometimes used f a c e t i o u s l y by Americans who do not otherwise use i t , as i n [wB'hropnd] what happened? Some people say ['wnfl] waffle or ['x>fl] awful^ The t a p e demonstrates. Mimic t h e speech of someone i n whom you d e t e c t t h i s pronunciation. e. For [a] mimic the speech of a Bostonian whom you know i n such words as car, f a t h e r . Or mimic the speech of a southerner who says [a*J or LaHJ for I , [faHn] f i n e , [maHn] mine. RE 18.U. Negative P r a c t i c e i [ae a a p o] Mimic the t a p e , s u b s t i t u t i n g the various vowel q u a l i t i e s i n t h e English sentences. I n t h e second sentence t h e s u b s t i t u t i o n s w i l l be made only i n t h e underlined words. Follow i n your Manual. When you have learned t o do t h i s i n mimicry of t h e t a p e , use i t as an exercise t o p r a c t i c e i n your spare minutes. 1 . Park your car i n Harvard l a r d , l a . ['p^aek yi'k^es z,n'ha2vid 'yed] l b . [«phak y i ' k n a z,n«havid »yad] lc« ['phcdc yi'k^Vi tn'hccvid
!
yad]
I d . ["p^nk yi'khn z-n'hcvid »y©d] l e . ['phok y i ' k n o t n ' h o v i d »yod] 2. I t made me laugh t o see a calf go down t h e path t o take a bath. 2a. [luef]
[lAef]
[pfcae]
[bee]
2b.
[laf]
[khaf]
[phae]
[bae]
2c.
[laf]
[khof]
[p^oe]
[ba9]
2d.
[Inf]
O^xf]
[p^e]
[toe]
2e.
[lof]
[khof]
[phoe]
[boe]
RE 1 8 . 5 . Mimicry! [a a a t> o] Follow t h e t r a n s c r i p t i o n as you mimic.
Work with a buddy
266
Lesson 18
so t h a t you can check each o t h e r -when you wander from c l o s e mimicry of the t a p e . l a . [daf]
l b . [daf]
l o . [daf]
3d. [dPf]
le.
2a. [nespb]
2b. [napb]
2c. [napb]
2d. [nrrph]
2e. [nopb]
3a. [ l ' a s ]
3b. [ r a g ]
3c
[roS]
3d. [ r - n s ]
3e.
Ua. [tisBs]
Ub. [t£as]
Uc. [ t £ a s ]
Ud. [tiros]
Ue. [t£os]
5a. [nasi*]
5b. [naT ]
5 c foal* ]
5d. [nxxL*]
5e. [gol A ]
6 a . [Nnad]
6 b . [Nnad]
6 c . [Nnad]
6d. [Nnixi]
6 e . [Nnod]
7a. [pLsep]
7b. [pLap]
7c
7d. [plrop]
7 e . [pLop]
8a. [ka2]
8b. [ka2]
8c. [ka2]
8d. [kr>S]
8 e . [koS]
9a. [3ar]
9b. [ i a r ]
9c. [lor]
9d. [ l n r ]
9e. [lor]
10a. [Ream]
10b. [Ram]
1 0 c [Ram]
lOd. [Rom]
lOe. [Rom]
[pLap]
[dof]
[To&]
RE 1 8 . 6 . Mimicryt Vowels With and Without On-glides Mimic t h e tape and natch t h e t r a n s c r i p t i o n . l a . [feo]
3b. [byo]
lc
2a. [bonk11]
2b. [byogk*1]
2 c . [bwoqk11]
2d. [bronk*1]
3 a . [ro]
3 b . [fy*>]
3c
3d.
Ua. [ronk*1]
Ub. [rybnk11]
U c [rwonk11]
Ud. [rronk^]
5a. [dftx]
5b. [d2ya]
5 c . [dSvra]
5d. [dfcra]
6a. [d&xnk11]
6 b . [dgyaqk11]
6 c . [d&rank11]
6d. [d&rank11]
7a. [fca]
7b. [iiya]
7c
7d. [ t r a ]
8a. [Bank*1]
8b. [iyank 11 ]
8c. [Swank*1]
8d. [Lrank*1]
9 a . [xa]
9b. [xyse]
9 c . [xwa]
9d. [xro]
10a. [xank*1]
10b. [xyank11]
[fewo]
[fm>]
I d . [bro]
[Bra]
1 0 c [xirank11]
[fro]
lOd. [xnsenk*1]
RE 1 8 . 7 . Negative P r a c t i c e t "Old MacDonald Had a Farm" P r a c t i c e i n t h e manner of RE 16.10, p . 239.
The t a p e
Lower-low Vowelsj Length
267
will demonstrate the beginning, and you can practice at odd moments. a. With a [TO vse] here... b. With a [vwse vwse] here... c. Continue with other glides and other vowels. RE 18.8. Differential! Vowel Symbols Respond to the tape by giving the name of the symbol with which the vowel sound is transcribed, as you did in RE 16.13, p. 2U2. You may do this orally or in writing. Don't peek, but if you write your responses check them with the transcription below after you finish the exercise. When you can respond with the correct symbol in every case, transcribe the full utterance. 1. [na]
SCRIPT a
13. [NMBf^]
DIGRAPH
2. [ree]
DIGRAPH
Ik.
i
3.
EPSILON
I S . [Nnaf^.v]
SCRIPT a
U. [no]
BACKWARDS c
15. [squfl]
u
5. [no]
o
17. [Snefl]
EPSILON
6.
[nnf]
UPSIDE-DOWN a
18. [grjaq.]
PRINTED a
7.
[naf]
PRINTED a
19. [Snofl]
BACKWARDS £
8.
[&f]
IOTA
20. [Sqifl]
i
u
21. [SnoR]
DIGRAPH
22. [^nz-R]
IOTA
1 1 . [Nih>q.v]
UPSILON
23. [SnxsR]
UPSIDE-DOWN a
12. [Nnefl v ]
e
2U. [^nvR]
UPSILON
[ne]
9 . [nuf] 10.
[iasef]
[Nnif:r]
RE 1 8 . 9 . D i f f e r e n t i a l ! FRONT or CENTRAL UNROUNDED, BACK ROUNDED or UNROUNDED Respond o r a l l y t o t h e t a p e . Use the e x e r c i s e for t r a n s c r i p t i o n when you can handle i t as a d i f f e r e n t i a l d r i l l . 1 . [dda]
C U
2 . [dde]
FU
3 . [date]
FU
Lesson 18
268 U. [deho]
BU
8. [pfolA]
B R
12. [skyonth]
CU
5 . [dda]
FU
9 . [pftol A ]
BU
13.
[skyaent*1]
F U
[prVl A ]
B R
10. [prAl A ]
CU
lb.
[skymth]
BU
7 . [pfol A ]
BR
1 1 . [skyant h ]
FU
15.
[skyonth]
B R
6.
RE 18.10. D i f f e r e n t i a l ! Tongue Height Respond i r i t h HIGH, LOWER-HIGH, MID, LOWER-MID, LOW, o r LOWER-LOW. Then t r a n s c r i b e .
1. [tS h a]
L-L
8.
2 . [tfhn]
L-L
9. [srtfi]
3 . [tfhffi]
L
10. [sron]
U. [tfhe]
[srAn]
[KL'oyk 11 ]
L
15.
L-L
1 6 . lil"r>y)&]
L-L
L
17. [Srsyk* 1 ]
L
L-tt
1 1 . [sroii] M
1 8 . [21'ayk 1 1 ]
L-L
5 . [tS h a]
L-L
12. [ s r r a ]
L-H
1 9 . [CTayk* 1 ]
L-L
6. [ t | h i ]
H
1 3 . [sr&n]
L-H
2 0 . [Sl'uyk11]
H
7. [tS h u]
H
lU. [sfvfi]
L-H
2 1 . [arz-yk 1 1 ]
L-H
L
RE 1 8 . 1 1 . D i f f e r e n t i a l ! F u l l Labels Select one term from each column t o make up your response. Don't peek. HIGH
FRONT
ROUNDED
LOWER-HIGH
CENTRAL
UNROUNDED
MID
BACK
LOWER-MID LOW LOWER-LOW 1 . [ya]
L-L F U
U. [ye] L-iJ F U
7. [ya]
L-L F U
2 . [yo]
MB R
5. [yse] L F U
8. [yA]
L CU
3.
L B R
6. [yz.] L-HF u
9. [iyxxi] L-L B U
[yo]
'
269
Lower-low Vowelsf Length 10. [Zyad]
L-L C U
17. [pSard]
L-L F U
1 1 . [3yAd]
L C U
L C U
12.
[fyad]
L-L F U
13. [2yvd]
L-H B R
Ik.
[2yod]
L BR
15. [JSysed]
LFU
IS.
L-L B U
18. [p2Ard] • 19. [p2erd] • 20. [p2vrd] • 2 1 . [pford] • 22. [pgord] • 23. [pBard]
[2yod]
H F U L-H B R O R L BR L-L C U
Length of Vowel and Consonant Almost all speech sounds may vary perceptibly in length, duration of time in which the articulation is held. Some kinds of sounds like vowels, fricatives, nasals, and laterals may be held artificially until the speaker runs out of breath, in others, like voiced stops, the duration for which they can be held is short. When the stopped-off air chambers fill up with air, voicing is no longer possible, and the voiced stop can no longer be held as a voiced stop. A voiceless stop, on the other hand, may be held until the person gasps for breath. Such a stop, however, is completely noiseless. A voiceless stop cannot be heard during its closure. Unlike most other sounds, flaps cannot be articulated with perceptibly different lengths. When you hold a flap it automatically becomes something else, [r] becomes [t], [n] becomes [n], etc. It should be clear from this discussion that when we talk of long vowels or consonants, and short vowels or consonants, we are not referring to the same phenomenon as when some people say that beat contains a long vowel and bit a short vowel in English. From a phonetic point of view the difference between these two words is in vowel quality and glide, rather than in length. There may be a difference in length as well, but it is easy to confuse the glide in beat with length. In the speech of many of us, however, there is a difference of length in bat and bad, bit and bid, lock and log. The shorter vowel comes before a voiceless consonant and the longer vowel before a voiced consonant. This demonstrates what is a non-phonemic difference in length for many of us. All languages show perceptible differences of length on
270
Lesson 18
some of t h e i r sounds. I n some languages, differences i n length c r e a t e phonemic d i s t i n c t i o n s . In Khuni?, c o n t r a s t s b e tween long and s h o r t vowels of t h e same q u a l i t y can be seen i n p a i r s l i k e [lo»n] ' c o f f i n ' and [loq] ' b r a n c h , ' [de»k] ' f l u s h a t the end' and [dek] ' s m a l l , l i t t l e . ' (The [•] symb o l i z e s t h e prolonged a r t i c u l a t i o n , and i s c a l l e d a " r a i s e d dot.") Differences i n consonant length are a l s o f u n c t i o n a l p a r t s of some language systems. In English a long consonant i s sometimes heard when a word ending with a c e r t a i n consonant immed i a t e l y precedes another beginning with t h e same consonant, with d e l i b e r a t e pronunciation but no break. Examples are [•wdl»ayt n ] ' w a l l l i g h t , ' or team meeting as a g a i n s t team e a t ing or t e a meeting. Long consonants are a l s o heard i n English as a s t y l i s t i c device i n some speakers, p a r t i c u l a r l y i n public a d d r e s s . He was t h e r e a l»ong t i m e ! N«ever have I seen such a sightJ Some other languages use difference of length on consonants t o d i s t i n g u i s h words. In Finnish t h e r e i s [mit»ee] •measurement' and [mite] ' w h a t . ' Other examples of the use of long consonants i n Finnish include [ak»a] ' o l d l a d y , ' [ k r i s ' a ] ' c a t , ' [mom»a] 'mother,' [p"uk»o] ' k n i f e . ' RE 18.12. Mimicry* Sequences of Long and Short Vowels and _ Fricatives Mimic t h e tape and follow t h e t r a n s c r i p t i o n . The tape w i l l build up t o t h e long sequences. Mimic the timing, rhythm, and l e n g t h . Be very careful not t o have d i f f e r e n t vowel quali t y on t h e s h o r t vowels from what you have on t h e l o n g . Try t o keep the s t r e s s even. 1. [sa»sasa asa«sa sa»sa sa»sa sa»sasasa] 2. [sas»as» s«asas»a asas«a as<>as»asa] 3 . [sa»s»asasas«a a»sas»as*a» s»asasa»sa] RE 18.13. Demonstration* Long Stops a. To make a long v o i c e l e s s s t o p , simply keep the a r t i c u l a t i o n closed f o r the length of time you want to hold t h e s t o p . There i s no sound during the s t o p . Mimic t h e tapei [ep»e] [et»e] [ek»e] b . To make a long voiced s t o p , keep the a r t i c u l a t i o n closed as with a v o i c e l e s s s t o p , but keep t h e rumble of the
Lower-low Vowels* Length
271
voicing going. You w i l l not be able t o do t h i s long as your a i r c a v i t i e s w i l l f i l l up with a i r . Mimic the tape* [eb*e] [ed*e] [eg*e]. c . Mimic t h e following sequencesi 1. [ba*baba aba*ba ba*ba ba*ba ba*bababa] 2. [bab*aba b*abab*a abab*a ab*ab*aba] 3 . [ba*b*abab*a a*bab*ab*a* b»ababa*ba] RE 18,lU. Negative Practicet "The Hat With the Bird" Practice reading the following sentences with their artificially controlled length. When you have control over them turn on the tape recorder and read them before the tape does. Compare your reading with that on the tape. 1. [dA ,hast widi 'brd an vt] i
2. [dA ,hee*t w i d i 'br*d an z/t] t
3 . [dA* ,h£et widi 'brd a n i » t ] U, [dA ,heBft wi*di 'brd a*n vt] 5. [dA ,h«eet widi 'brd an* z,t] 6 . [d*A ,haet widi 'b*rd an vt] 7. [d*A* ,hfflt widi 'brd* a*n* vt] 8. [dA theet* widi* ' b r d an vt] RE 1 8 . 1 5 . D i f f e r e n t i a l * VOWEL or CONSONANT Listen f o r 'whether t h e consonant or the vowel i s long, and respond accordingly. Don't peek. 1. [na*]
V
5 . [g*s]
C
2. [s*e]
C
6 . [d*o]
C
10. [*v]
3 . [2i*]
V
7. [f*ffi]
C
1 1 . [no*] V
h.
C
8 . [ru*]
V
12. [l"*v] C
[ f A]
9. [«*a]
C V
272
Lesson 18
RE 18.16. D i f f e r e n t i a l ! VOWEL, CONSONANT, NEITHER, or BOTH Listen for the second s y l l a b l e of each item, and decide what i s long, i f anything. 1. [pz,»s»z,]
C
7. [2v'l*o»]
V
13. [ta«n»z-fe]
C
2. [ t h e ' x « 6 ]
C
8. [p h £e'5»i]
C
Ik.
V
3 . [dA»BA«]
V
9. [di'nu*]
V
1 5 . [ge«g»ozu]
C
h. [fa'za*]
V
10. [§o»e«e]
C
16. [ t A ' I - e . t £ o ]
C
5. [Su'mu*]
V
1 1 . [kn«l v i»]
V
17. [vse'n-vfi]
C
6. [bo'g-o]
G
12. [pi«Ro«]
V
18. [ ^ • d e ^ . t s v ]
V
[bz,'lu«Nna]
RE 18.17. D i f f e r e n t i a l ! LONG or GLIDED Listen for the f i r s t s y l l a b l e of each item, and decide whether the vowel i s long or glided. If i t i s both long and glided, answer long. 1. [sa^'say]
L
6 . [so»'soy]
L
1 1 . [se»*si.y]
2. [sasH'sawr]
G
7. [scw'so]
G
12. [siH«sz,H] G
3 . [sow'so]
G
8. [sa««say]
L
1 3 . [siw'suH] G
h. [so»'soy]
L
9 . [sey'sz,w]
G
lk.
5. [soH'soH]
G
10. [seH«sz,H]
G
15. [suy'suH] G
RE I 8 . I 8 1 F i n n i s h .
[SA.'SAW]
L
L
Mimicryt Long Vowels and Consonants
Follow the t r a n s c r i p t i o n as you mimic t h e t a p e . Each item w i l l be given once, and then t h e whole l i s t repeated. l a . [ku«l*a] •bullet'
l b . [-euTa] 2 'melted'
"Tinnish materials i n t h i s book are taken from recordings f o r t h e Special Rionetics of the Wycliffe Language Course (England), and used by permission. The speaker i s Mr. E l i a s P e n t t i of the Finnish Mission i n Angola. o The i n i t i a l consonant i s not one you have had. Mimic i t as best you can.
Lower-low- Vowelsj Length
273
2a. [ k u » r » a ] 'to hear'
2b, feul*o«] ' ( i t ) melts'
3a. [kuol'a] •drivel'
3b. [cu»ra] «a kind of b i r d '
Ua. [kuol* «a] •to d i e '
1+b, [-eu*l*a*] ' a kind of b i r d ( p a r t i t i v e ) '
5a, [muta] 'mud'
5b. [eu*l A *a] 'with t h e mouth'
6a, [mut*a] •but'
6b, [cull^'a] 'with the mouths'
7a, [muita] 'others*
7b. [-euol**a] 'on the swamp'
8a, [muit*a] '•without t h e o t h e r s '
8b, [-euol*a] 'salt' 9 b , [-euol*a»] ' ( h e , she) s a l t s '
l c , [taka*] •from behind'
5c, [ta*k*a] 'burden (nom. c a s e ) '
2c, [taka*'] 6c, [ta*k*a*] '(impera,) go surety' 'burden (partitive)' 3c, [tak*a] 7c, [taika] •fireplace (nom, case)' •witchcraft' Uc. [tak*a*] 'fireplace (partitive (case'
8c, [ t a i k a * ] •witchcraft 9c
(partitive)'
[taik*a] 'or'
RE 18.19* Finnish. Mimicry* Longer Sequences This drill contains two pairs of Finnish sentences, different by long vowels and consonants. Within each pair the sentences are repeated several times, in mixed order. Follow the transcription as you mimic the tape. Concentrate on the combination of pitch and length.
Lesson 1 8
27U la. ['tee'-ea «tuJlA e» 'l»ijka.«] A l b . ['tg'lca «tu
'Here comes dirt." 'Here i t blows too much.'
2a. [ kiil* amel'vitjl" a,''toi]seme
[ kul A ame; i vijl'a|'to^S6m6?ta^pam»6] 1 •We s h a l l k i l l each other l a t e r on.•
Transcription and Reading Use RE 1 8 . 2 , 1 8 . 5 , 18.16, 1 8 . 8 - 1 8 . 1 1 , 18.35-18.18. T?he f i r s t vowel i s one you have not had, but mimic i t as best you can.
SURE I CAM HEAR THE "DIFFERENCE" e e T W E E M ' a " A N D ' K - A N D U J H A Y S WORE I CAN SEE THE EMPERORS MEVSJ GJ-OTHES!
275 LESSON NINETEEN Alveopalatal Stops Alveopalatal Labial Alveolar Alveopalatal (retroflexed) Velar Stops TTai f*(*l (aqc;
V v l \J v7i-CO O
Unaspirated
P
t
c
Aspirated
ph
th
ch
b
d
J
Affricates Voiceless Unaspirated
PP
ts
e (
Aspirated
pph
tsh
6h (or t s h )
bfe
dz
J ( o r dg)
m
n
n
1
1
Voiced
Voiced Vd. n a s a l s Vd. l a t e r a l s
t • th • d •
k kh g
tS •• tsh •• dg
kx
n «
n
kx h gg
Table 19.lt Alveopalatal Stops in Relation to Some Other Consonants The three new consonants boxed in the chart above fill in a blank space in the consonant chart as it has been developing (see Table 17R.1, P« 257). This means that we do not have any new point or manner of articulation, but simply a new combination of these. Note the resemblance in the symbolization of these stops to that of the affricates [6fihJ] (which may also be represented [tS t§ n dg]). This difference in symbolization represents the difference between stop and affricate, as indicated on the chart| it usually represents, however, a difference of articulator as well. Whereas the English affricates are usually pronounced with tongue tip articulation for the [t], dropping the tip for the [S], the alveopalatal stops of many languages are pronounced with blade articulator, the tongue tip being kept down at the lower teeth. (See Sammy 13.1, p. l$?lj, for the articulation. The velic, of course, is closed for [c j ] , and voicing is absent for [c] and present for [j].)
276
Lesson 19
RE 1 9 . 1 . Demonstrations Alveopalatal Stops Listen and mimic as you follow i n your Manual. a. I f you make your normal [§] with b l a d e - a l v e o p a l a t a l a r t i c u l a t i o n (tongue t i p down behind your lower t e e t h ) , t r y the following sequencet [aScx aSa aSa aca aca aca aSa aca cu§a aca a£a a c a ] . The tongue movement up t o t h e a l v e o p a l a t a l r e gion should be t h e same i n both c a s e s , [S] r e s u l t i n g i n a f r i c a t i v e and [c] i n a s t o p , i f t h e tongue t i p i s kept l i g h t l y touching t h e back of t h e lower t e e t h . b . Try t h e same sequence using ffi] and [ j ] t [ana ana afia aja a j a aja ana a j a ana a j a ana a j a ] , c« Try a r t i c u l a t i n g t h e English words cheap and j e e p , church and judge with a l v e o p a l a t a l stops by keeping t h e tongue t i p behind the lower t e e t h and then making your tongue movement otherwise as n a t u r a l l y as p o s s i b l e . Try eliminating most of the a f f r i c a t i o n a s w e l l t [ c ^ i ' y p " ji'yp* 1 ] [c^rc*1 j A j ] , d. The a l v e o p a l a t a l stops are u s u a l l y a r t i c u l a t e d with a s l i g h t [y] on-glide t o t h e following vowel, as are alveopalat a l nasals and l a t e r a l s . Work f o r t h i s same degree of g l i d e on t h e s e stops with t h i s e x e r c i s e t [ana aca ana a j a ] , e t c . e . Work f o r a c l e a r d i s t i n c t i o n between a s p i r a t e d and una s p i r a t e d a l v e o p a l a t a l stopsi [aca a c ^ a ] , f. Work for a c l e a r l y voiced a l v e o p a l a t a l stopt [aja a j a ] , RE 1 9 . 2 . Discriminationt SAME or DIFFERENT Respond t o each item w i t h SAME or DIFFERENT. Don't peek. When you can do t h e exercise w e l l , t r a n s c r i b e the i t e m s . l a . [«edi
'eci]
D
6a, ['feSo
»nsco] D
2a. [ t e c i
'eci]
S
7a. ['feco
'fiasco]
3a. [«e&L
'e2i]
S
8a. ['feeco
•neec'o] D
Ua. [ t e c i
'eSi]
S
9a. ['ifeco
»nee£o] D
5a. [ ' e c i
'e6i]
D
10a. ['neeco
l b . [«ujo
'ujo]
S
3 b . [»uJo
«ujb]
S
2b. [«ujo
'ujo]
D
Ub. ['ujo
'ujo]
D
S
'fiasco]
S
Alveopalatal Stops
277 D
8b.
['SAJV
"SAju]
S
•SAJU]
D
9b.
['SAJI;
ǤAju]
S
[«SAJU
•gAju]
S
10b.
[•SAjp
'SAJU]
D
lc.
[«e6ho
'6Ch0]
D
6c.
[«fla6ht,
'flaiShj,]
S
2c.
['ecno
» & 6ho]
D
7c
[•flachj.
iflacht]
S
3c
[•ee^o
•echo]
S
8c.
[«fla6hz,
tfiaoht]
D
Uc.
['ec^o
'echo]
s
9c
[•flachz,
iflacht]
D
5c
['echo
•echo]
D
10c.
['flachj,
'flaghj,]
D
5b.
[«ujo
6b.
[tgAJiP
7b.
' ujfo]
RE 19.3. Differential* STOP or AFFRICATE Distinguish between the alveopalatal stops and alveopalatal affricates by responding STOP or AFFRICATE in this exercise. Don't peek. When you can respond orally use this as a transcription exercise as well.
1. [ece]
S
6. [jigA]
S
11. [ s a i l o r ] A
2. [ece]
A
7. [o h igA]
S
12. [sacol A ]
S
3 . [sje]
S
8. [&higA] A
13. [ s a c h o r ]
S
h. [ e c A ]
S
9. [fiigA]
A
lU. [ s a j c - r ]
S
5. [r>jv]
A
10. [Ji-gA]
A
15. [ s a g o r ]
A
RE 19.U. D i f f e r e n t i a l ! ASPIRATED or UNASPIRATED 9. [ I e n t c h i z ] A
1. [v'cffl]
U
5. C'cAngr]
U
2. [ e ' c h i ]
A
6 . ['cangr]
U
10. [iun»cAz]
U
7. [ ' A t n g r ]
A
1 1 . [Iz,n»coz]
U
h
3 . [o»c A] A U. [ o ' c h e ] A
8. ['congr]
h
U
12. [lnn»c ez] A
RE 1 9 . 5 . D i f f e r e n t i a l ! VOICED or VOICELESS 1. [jeHl v ] 2. [c h uHl v ]
TO VL
3 . [JAH1V] U. [c6eHlv]
TO VL
5 . ['NnAjokh]
TO
6 . ['Nnecj-k11]
VL
278
Lesson 19
7. [»Nnac h vk h ]
VL
9. [ro'cetL]
VL
11. [fb'citi]
VL
8. ['Nnajik 11 ]
VD
10. [rv»c h z,t£]
VL
1 2 . [ra';ja)t£]
VD
HE 1 9 . 6 . D i f f e r e n t i a l / ALVEOLAR or ALVEOPAIATAL I n t h i s exercise we w i l l c o n t r a s t [ c c 1 1 j ] with [ t y t " y d y ] . Since the a l v e o p a l a t a l stops are characterized by a s l i g h t [y] on-glide t o the following vowel, you should l i s t e n t o the difference between t h a t and a [y] on-glide from an a l veolar s t o p . Respond with ALVEOLAR or ALVEOPALATAL. Don't peek. Use t h i s e x e r c i s e f o r t r a n s c r i p t i o n as w e l l . 1. [ i ' c a ]
AP
7. [ j s ' r o S ]
AP
1 3 . [da'dyuntj]
AL
2. [a'dyae]
AL
8. [ c h o ' r a £ ]
AP
l l u [da'tyonNj
AL
3 . [u'tyz,]
AL
9. [ t ^ ' r a R ]
AL
1 5 . [da'cenNj
AP
k. [ o ' c h o ]
AP
10. [tyas'faS]
AL
16. [da'tysajlj]
AL
5. [ e ' t h y v ] AL
1 1 . [dye 'faft]
AL
1 7 . [da'frnNj
AP
6. [A'ja]
12. [cA'faft]
AP
18. [da'cvnNj
AP
AP
RE 1 9 . 7 . D i f f e r e n t i a l ! ALVEOPAIATAL or VELAR Depending somewhat on where i t i s a r t i c u l a t e d , t h e alveop a l a t a l stops a r e sometimes confused with v e l a r s t o p s . Respond with ALVEOPALATAL or VELAR. Don't peek. This exercise may be used for t r a n s c r i p t i o n as w e l l . 1. f o c i ]
AP
5 . [gya'yebm]
V
2. fekyo]
V
6 . [jo'yebm]
AP
3 . [«tje]
AP
7. [kya'yebm]
V
U. f v c h v ]
AP
8. [l^yA'yebm] V
t
9. [ r u r ' k y o l ] • 10. [ f u l / ' c a l ] • 1 1 . [fur'ckui] • 12. [rur«gyz.l] •
V AP AP V
RE 1 9 . 8 . D i f f e r e n t i a l ! Name the Symbol This time your response i s t o be the name of the symbol used, which you may c a l l out or w r i t e . Don't peek. The choice w i l l be between [c c*1 j & c*1 J t y t ^ y dy ky k^y g y ] . When you can do t h i s , t r a n s c r i b e t h e u t t e r a n c e s . 1 . [Soar]
c
3 . [gyow]
gy
5. [c h ^w]
ch
2. [Jew]
J
k.
ty
6 . [jaw]
j
[tyow]
Alveopalatal Stops
279
7. [ t y r o ]
ty
h 16. [sz.«k yi.n]
1^7
8. [CAW]
c
1 7 . [da^e'c^eeS]
5h
9.
3
18.
10. [sVdyon]
dy
19. [ d a t e ' c ^ z ]
ch
1 1 . [Sz-'gyAii]
g7
20. [dat9«jo&]
j
12. [Sz-'can]
c
2 1 . [date«dyo2]
dy
13. [Sz,»c h en]
ch
22. [da^e'kyaz]
ky
lit.
thy
23. [ d a t e ' c a z ]
c
6
2k.
[date'fcz]
J
[Sfc»Jtfi]
[St'tVn]
15. [Si.«6enj
[date'kV^]
k*y
RE 1 9 . 9 . Negative Practice* Alveopalatal Stops P r a c t i c e t h e following s e n t e n c e s , making t h e i n d i c a t e d s u b s t i t u t i o n s . Mimic t h e tape and watch t h e d i r e c t i o n s below. 1. Chuck chucked the champ a cheap chunk. l a . S u b s t i t u t e [c*1] f o r the a l v e o p a l a t a l a f f r i c a t e s . not get too much a f f r i c a t i o n . Be careful of your tongue position.
Bo
l b . S u b s t i t u t e [c] f o r t h e a l v e o p a l a t a l a f f r i c a t e s . a s l i g h t [y] o f f - g l i d e . Not t o o much a f f r i c a t i o n .
Get
l c . Substitute [ j ] . s l i g h t [y] o f f - g l i d e .
Be sure t o get good v o i c i n g , and a
2 . Joe Jones gently jockeyed t h e jeepful of junk. 2a. S u b s t i t u t e [ j ] , 2b. S u b s t i t u t e [ c ] . 2c. Substitute RE 19.10. Mimicryt [c c h j ] Follow t h e t r a n s c r i p t i o n as you mimic t h e t a p e . Note t h a t the a l v e o p a l a t a l stops i n f i n a l p o s i t i o n a r e included, and l i s t e n f o r the s l i g h t [y] o f f - g l i d e from the vowel which helps t o s i g n a l them.
280
Lesson 19
l a . [ca»]
lb.
[l"o«ca»]
lc.
2a. [c h a»]
2b.
[l-o'c^a*]
2c. [ r a«c h ]
3 a . [ja»]
3b.
[l*o»ja»]
3c.
Ua. [ce»m]
Ub. [nu'ce»m]
5 a . [c"e«m]
5b.
[nu ! c^e»m]
5c.
[fie»c h ]
6 a . [Je»m]
6b.
[nu'je'm]
6c.
[ne»j]
7a. [cu»R] • 8a. [ c V | ]
7b.
7c
[Ru»c] •
8c.
[Ru»c h ]
? a . [ju»R]
9b.
9c
[Ra.j]
[Ta»c]
[l'a-j]
Uc. [ne»c]
[za»cu»R] • 8b. [za'cAi'R] [za'ju«R]
RE 19.11* Kuy. 1 Mimicryt [c]
Mimic c a r e f u l l y . I n a d d i t i o n t o t h e [c] on which you are e s p e c i a l l y working, note t h e vowel q u a l i t i e s which are s i m i l a r t o , but u s u a l l y not i d e n t i c a l with t h o s e we have been p r a c t i c i n g . Mimic as e x a c t l y as you can. 1 . ['A'CD*]
•dog'
7. [ c i - ]
'go'
2. [cew»m]
'bird'
8. [ca»]
'to eat'
3. [ c i ^ ]
•don't'
9. [ n ' c e v » ]
•human l i c e '
h.
[cam]
' t o wait'
10. [n'cwt]
•ten'
5.
[cat]
'to pierce'
11. [ n ' c i v » n ]
•ring'
6. [caw]
t
'come'
RE l ? . 1 2 t Kuy. Mimicryi [gc*1] 1. [fi'c h at]
' t o put out f i r e '
km [in'e^'c]
'itching'
2 . [n'c h e-»n]
'lard, oil, fat'
5. [n'chn»,>]
'straw'
3. [n'^o"']
' r o t t e n smell'
i
Kuy is a minority language spoken in Eastern Thailand, with some speakers in Cambodia and Southern Laos as well. The informant recorded in these exercises is Leng of Samrongthab, Surin Province, Thailand. The recording was made by Rev. and Mrs. Richard Johnston of the Christian and Missionary Alliance.
Alveopalatal Stops
281
RE 19.13* Maninka. 1 Mimicryt
[j]
I n t h i s exercise p r a c t i c e the tone as w e l l as [ j ] , and t h e vowels. 1. [ ' j a n a ]
' t o be l o n g '
5. [ j a p ^ ]
(interjection)
2. [ ' j A ' n i ]
' t o burn'
6 . [«jk»]
'fish'
3 . [jajmtt]
' a crowd'
7 . [je^TFfr ]
'son'
U. [ j a ' j r l ]
'lion'
8. [ ' ^ r T T ' ]
'how much?'
RE 1 9 . l k . Reviewi Flaps and T r i l l s Mimic the t a p e and follow t h e t r a n s c r i p t i o n . la,
[fa]
[Raf]
l c . [ra'Rar]
2a. [ru]
2b. [Rur]
2c. [ru'Rur]
3 a . [Rz.]
3 b . [TtR]
3c
[rz,'Rz,R]
Ua. [Ro]
Ub. [Ton]
he
[Ro'roft]
5a. [fe]
5b. [Re*]
5c
[fe'Refi]
6 a . [fA]
6 b . [ftA*]
6 c . [rA'RA*]
7a. [Ri]
7b. [*ifi]
7c
8a. [Ru]
8b. [rvR]
8c. [ftv'fuS]
9a. [rse]
9b. [Reef] • • 10b. [Rer]
9 c . [fte'Reer] • • • 1 0 c [re*Rer]
10a. [fe]
lb.
[Ri'riR]
TJaninka i s spoken i n Guinea, West Africa. The informant recorded i s Mamoudou Kaba, of Kankan. The m a t e r i a l was c o l l e c t e d and recorded with t h e help of Mrs. John Emary and other missionaries of t h e C h r i s t i a n and Missionary Alliance i n Kankan, Guinea.
282
Lesson 19
11a. [8a] • 12a. [Ro]
lie.
lib. [faS] •• 12b. [roS]
•
[Ra'raR]
12c. [Jb'roR]
• •
RE 19.15* F o e . 1 Reviewi [ r f ] 1 . [«aru]
'tongue'
2 . [»oro]
'bamboo'
3. ['ifA]
'tree'
U. ['herA] 'tomorrow'
6. [«tifA]
•having spoken'
7. ['fore]
'big'
8. ['fefA]
•a hole'
9. ['afefA]
'palm-leaf bag'
10. [ i ? ' l a p o ]
'sun'
5. ['sere] 'day' RE 19.361 Erakor.2 Reviewt [? R] 1. [maR]
'to breathe'
2. ['ndfam] 'your blood' 3. ['ndfon] '(to) hear' U. f'ndRiR] ' t o f l y ' t
5. [naifok11]
•to s l e e p '
6. [mathpR] 7. [a'mufz-n]
•I want i t '
[«fAt h faR]
'coral (for lime'
9. [«ndri;RndrvR]
' t o shake'
8.
'my hand' 10. [ndreR'ndfeR] 1
' t o shine brilliantly'
RE 19.17. S u b s t i t u t i o n Mimic t h e t a p e , and follow t h e t r a n s c r i p t i o n . The b u i l d up of t h e f i r s t utterance w i l l be from t h e end of t h e u t t e r ance. P r a c t i c e t h e s e s u b s t i t u t i o n s t o gain r e a l fluency. 1 f\ \ 1 . rro«d t xis.nMm^n fxas'Ro. • l o v j l ] < i
\
\ - s
"Toe is a Papuan language. The recording is simulated from data in lesson plans used at the Summer Institute of Linguistics, Norman, Oklahoma, 1956. p
Erakor is spoken in the New Hebrides Islands. The recording is simulated from data in lesson plans used at the Summer Institute of'Linguistics, Norman, Oklahoma, 1956.
283
Alveopalatal Stops 2. rfo'ij'xis.iA^mz-n •
'Ban.ru ' l o v j a
i
3. [
We
k. [
ksay'cuK
5. [
'gufii
6. [
ze 'Mma^
7. [
jt'dlo
8. [
•vz-.t£i
RE 19.18. Transcription To transcribe t h i s exercise use the special transcription form for RE 19.18 (pp. 55~56 i n the Workbook Supplement). Listen to the tape and f i l l in the blanks in the Supplement. Follow the same directions as for RE 16.18 (p.2U!TJ. If you find t h i s easy, take a transcription form and transcribe the whole utterance for each item. If you find i t too difficult, use the following exercises as transcription exercises instead* RE 19.3-19.8. 1. ['so».dza]
8.
2. [»spin.5i»]
9. [n»ob'Mmete]
Oz,w»ree-f]
15.
[yAnNtiuH]
16. [di?p'zwTD«]
10. [»waH.syvt h ]
17.
km ['lAmr.dza]
1 1 . [«nul=e«g]
18. [«cheftAm]
5. [g»o»ts h oy]
12.
19. [1'z.g'tweer]
3.
6.
[kxo»cenIj]
[riR'dza-k 1 1 ]
7. [s-fcea!khv£]
[rapf«ko»y]
['kxwoy.xi»fi]
13. [syoi]k h , ged]
20. [brats«Jedd]
lk.
2 1 . [»je»dAw]
[»Rer.goar]Ij]
Reading Use RE 19.18 as a reading exercise, checking your reading
28U
Lesson 1?
with the tape after you have practiced i t . If this i s too d i f f i c u l t , t r y the same process with RE 19.2-19.8 f i r s t .
lT
WAS A M R * '
SA>N H » S W>* 0 '°S ™
285
LESSON TWENTY Some Central Vowelsj Vowel Clusters Front R. U.
Central U.
High
i
Lower-high
V
Mid
e
Lower-mid
6
9
Low
ee
A
Lower-low
a
a
R.
Back R.
IT.
u 4
V
o
Table 2 0 . l t Vowels t o Date ji i s c a l l e d "barred i " and _9 i s c a l l e d "shwa" /swaH/ or /s'i'w'oH/. The e a s i e s t way t o wrTte £ by hand i s t o s t a r t i n t h e upper left-hand c o r n e n Q RE 2 0 . 1 . Demonstrations Table 2 0 . 1 L i s t e n r e p e a t e d l y , and study the vowel chart as you do s o . When you are f a m i l i a r with t h e m a t e r i a l , read off t h e vowel chart with t h e t a p e . Work with your buddy. RE 2 0 . 2 . Discriminationt SAME or DIFFERENT Respond t o the p a i r s of u t t e r a n c e s with SAME or DIFFERENT. Concentrate on t h e differences t o help you become f a m i l i a r with them. Don't peek! l a . [roT
felv]
D
l b . [5Aa Jed]
D
2a. [r©r
relv]
S
2b. [JAd jAd]
S
3 a . [rol v
falv]
S
3 b . [5©d 5e>d]
s
Ua. [ f a r
f9lv]
D
Ub. [fed JAd]
D
5a. [ r e l v
falv]
D
5b. [jAd Jod]
D
S
6b. [Si'jAd Bi'Jed]
D
6a. [ c o ' f e r
cotrer]
286 7a. [ c o ' f e r
co'foT]
D
7b. [fei«59^ «i'5Ad]
D
8a. [ c o ' r o T c o ' f 9 l ]
D
8b. [Si • 594 gi'Jeet]
S
9a. [co'raX c o ' r a l " ]
S
9b. [&.'5©d &«jAd]
D
co«fal v ]
D
10b. [2i'j v Ad 2i'jfed]
D
v
10a. [ c o ' f e r l c . [xirj x i q ]
S
I d . [chefi cbeft]
S
2 c , [xin xAq]
D
2d. [ch9ft chifi]
D
3c.
[xirj XAn]
D
3d. [cbift ch±ft]
S
Uc. [xAn xAq]
S
Ud. [chsft chgft]
S
5c. [xirj x i q ]
S
5d. [nu'cb-ifi nu'c h efi]
D
6 c . [ULa'xiq i l a ' x i n ]
S
6d. [nu'chift nu'chiS]
S
7c. [ila'XAn Bla'xiin]
S
7d. [fiu'cheft nu'chift]
D
8c. [fcla'xiq KLa'xAn] D
8d. [nu'c h i& nu'cbeft]
D
9c. [fcla'xiq
S
9d. [nu'chifi nu'c h 9fi]
D
10c. [fela'xin HLa'xAn] D
lOd. [nu'chgfi nu'cheft]
S
fila'xin]
le. [dith dith]
D
If.
[pz-n p i n ]
D
dit ]
S
2f.
[pin pz,n]
D
3 e . [dit 1 1 d i t n ]
D
3f.
[pin ptn]
D
Ue. [ d i t h d i t h ]
S
Uf. [pin p&n]
D
5e. [ g e ' d i t h
getdith]
D
St. [las'pin l a ' p i n ] S
6e. [ g e ' d i t ge'dith]
s
6f. [Is'pt-n Iffi'pin] D
7e. [ g e ' d i t h ge'dit 1 1 ]
S
7f. [3ffl'pi.n ite'pin] D
8e. [ g e ' d i t h g e ' d i t h ]
D
8f. [lEe'pz-n lae'ptn] S
9e. [ g e ' d i t h g e ' d i t h ]
D
9f. [Iffi'pin iss'pin]
lOe. [ g e ' d i t h g e ' d i t h ]
D
lOf. [ 1 B ' p i n l e ' p i n ]
2e. [ d i t
h
h
s s
Some Central Vowelsj Vowel Clusters
287
Production of [a A 8 i] All of these central vowels occur in some dialects of American English, but the last three usually in restricted environments, and with a great deal of dialect and idiosyncratic difference between speakers. In addition to problems of dialect variation, and of fluctuation within dialects, we now face an additional problem in that two of the vowels which are being presented here, and the glides related to them, are often considered substandard in English. For example, [bsyd] bird, [weyd] word, and [Geyd] third are considered 'Brooklynese' and the butt of many a joke all over the country, although this glide is used by millions of people in the New York City, Long Island, Westchester, and Northern New Jersey area, and is spreading. (Outsiders who try to mimic it in fun usually produce [oy] or [oy] instead, however.) Some Southern dialects have [QH] or [a»] in but, cup, etc., and this makes it seem provincial to some people. [i] with or without glides occurs in the speech of almost all English-speaking people, but recognition is complicated by several factors. In some speakers it may not be phonemically separate from /v/ or from /v/ (depending on the speaker). That is, there is no contrast between [v] and [±], or between [v] and [i]. They may be in complementary distribution, for example, or there may be complete fluctuation between [iw] and [CTT]. In other speakers they may be in contrast in some words, but the contrasts are very rare. They are almost in complementary distribution. The speaker is therefore not very aware of their contrastive function. Then, when the sound occurs, whether it is a full phoneme or not in a particular speaker, it more commonly occurs in unstressed syllables, which get less prominence, and are slurred over in English. This gives rise to the feeling that the sound represents sloppy speech. Elocution teachers try to teach people not to use it, although the elocution teachers are using it as they correct their pupils. If you can get an objective sense of what actually occurs in your speech (and that of your classmates) it will be easier to isolate these sounds and reproduce them for other languages. RE 20.3. Demonstration! Producing [a A 8 ±] a. One of the best ways to get a sense of the articulation of central vowels is to begin with [a] and experiment with raising the center of the tongue. Be sure you start with [a] and not [a] or [TO] or anything between. You can work
288
Lesson 20
Sammy 20.1i [©]
Sammy 20.2i [4]
by s l u r r i n g up and down, or by moving i n short s t e p s . t o t h e demonstration on t h e t a p e .
Listen
b . Mimic the tape on the following English sentences. These c o n t r a s t s are n a t u r a l t o my speech. They may or may not be t o yours. Get them by mimicry i f you do not normally make them. Note how the s t r e s s p a t t e r n s a r e n e a r l y constant. 1. [Jr-st]
Give me t h e ' g i s t [of the conversation] ,now.
2. [jest]
He's s t a r t i n g t o ' j e s t ^now.
3 . [jAst]
H e ' l l be very ' j u s t
1;. [ J i s t ]
I'm sure he l e f t ' j u s t 'now.
5. [jfcst]
Give me the ' g i s t ,
6. [Jest]
Please l e t him ' j e s t ,
7. [jAst]
I t ' s g o t t a be ' j u s t ,
8. [ J 4 s t ]
I -wish you -would ' j u s t 'judge [and not do anything else]. ' "" ' ~~
t now.
,Judge. ,Judge. ,Judge.
c. Mimic the.tape on the following English words. Get the contrasts by mimicry if you do not have them in your own
Some Central Vowelsj Vowel Clusters
289
speech. More of you w i l l find t h a t you do have them i n your speech than t h i n k you do when you s t a r t . l a . ['hz-lun]
h i t him
vs.
l b . ['hz-iim]
h i t them
2a. [»bayz,t]
buy i t
vs.
2b. [ ' r a y i t ]
riot
3a. [ ' l a k r t ]
lock i t
vs.
3 b . [»lak£t]
locket
l*a. [«f&yUd]
fetid
vs.
Ijb. f o e t i d ]
petted
5a. [»rowzAz]
Rosa's
vs.
5b. ['rowziz]
roses
6a. ['ne'ymAs]
name us
vs.
6 b . ['fe v ymis]
famous
7a. ['re v ysAs]
race us
vs.
7b. [ ' r e v y s i z ]
races
d. I f you are able t o l o c a t e [ i ] and [ A ] , t r y t o h i t [e] i n between. e . Many speakers of English have [G] where I have [ A ] . Mimic t h e following. l a . [khftph]
l b . [kh 9 «ph]
cup
2a. [bAth]
2b. [be»th]
but
3a. [lvAl
3b. [lv9-kh]
luck
l±a. [fAn]
Ub. [fe»n]
fun
5a. [dAn]
5b. [d8»n]
done
RE 20.U. Negative P r a c t i c e Mimic t h e s u b s t i t u t i o n of d i f f e r e n t c e n t r a l vowels and others i n the English words. Watch the t r a n s c r i p t i o n . sister
roses
famous
la. ['sistr]
l b . ['rcwziz]
lc.
['fevymis]
2a. [«sfcstr]
2b. ['rowztz]
2c. ["fevymz-s]
3 a . [»sAstr]
3b.
[TOWZAZ]
3C
Ua. f ' s e s t r ]
kb.
['rowzsz]
Uc. [«fe*ymes]
5b. ['rowzez]
5 c . [«fe v ymes]
['fevymAs]
i
5a. [ ' s e s t r ]
Lesson 20
2?0 6a. [ ' s a s t r ]
6b.
['rowzaz]
6c.
['fe'ymas]
7a. [ « s p s t r ]
7b. ['rowzvz]
7c.
['fe v ymi7s]
8a. ['sz-str]
8b.
[•rowztz]
8c.
['fe v ymz.s]
9a. [ ' s a s t r ]
9b.
['rowzez]
9c
['fe^ymss]
10b.
['rowziz]
10c.
['fe v ymis]
10a.
[isistr]
RE 2 0 . 5 . Mimicry»
[i]
Mimic the tape and follow the t r a n s c r i p t i o n . Work with your buddy on t h i s m a t e r i a l . Use t h i s exercise f o r t r a n s c r i p t i o n as w e l l . l a . [#£•]
l b . t*t-y]
lc
[sttnr]
I d . [di«H]
2a. [mi*]
2b. [mfc»y]
2 c . [na-«'w]
2d. [mlr'H]
3a, [bi«]
3 b . [bi«y]
3c
[bi«w]
3d. [bi*H]
Ua. [«&•]
lib. [&«y]
Uc [ » • » ]
Ud.
5a. [ l A i » ]
5b. [ r i « y ]
5c [lAinr]
5d. [ l ' i - H ]
6a. [ni^k*1]
6b. [M-ykh]
6 c . [rA*w\^]
6d. [rat'Hk11]
7a. [xi«v]
7b. [xi»yv]
7c
7d. [xi«Hv]
8a. [gz£»m]
8b. [gzi«ym]
8c. [gzi'wm]
8d. [gzi»Hm]
9a. [ $ « • * ]
9b. [ • ^ • y S ]
9c
[t64«wg]
9d. [tei«HS]
10a. [tii«nlj]
10b. [t*i»ynlj]
[X4»WY]
1 0 c [t£4»wng]
[»«H]
lOd. [ti±«HnIj
RE 2 0 . 6 . Mimic:ry« [e] Mimic the t a p e and follow the t r a n s c r i p t i o n . Work with your buddy. Then use t h e exercise f o r t r a n s c r i p t i o n . l a . [d©»]
l b . [
l c . [d9«w]
I d . [do»H]
2a. [me*]
2b. [n»»y]
2c. [n©»w]
2d. [me»H]
3a. [ba»]
3 b . [booy]
3 c . [be»w]
3d. [b8«H]
Ua. [ze»]
Ub. [2e»y]
U c [2a»w]
Ud. [zs»H]
5b. [l A 9*y]
5c
5a.
[lAs.]
[lA9»w]
5d. [ r e » H ]
Some Central Vowelsj Vowel Clusters
291
6 a . [fia^k11]
6 b . [rb-yk 11 ]
6 c . [ns-wk11]
6d. [ng^Hk11]
7a. [x8»v]
7b. [xs»yv]
7 c . [xe»wv]
7d. [x9»Hv]
8a. [gze»m]
8b. [gz9«ym]
8 c . [gz8*wm]
8d. [gz8«Hm]
9a. [tee»s]
9b. [t08»ys]
9c
9d. [t©e«Hs]
IGa. [t£9»nlj]
10b. [t£e«ynNj
[tee»ws]
10c. [t£8»wnNj
lOd. [tfc9»HnNj
HE 2 0 . 7 . Negative P r a c t i c e ! "Ten L i t t l e Indians" P r a c t i c e t h e vowel c h a r t , including t h e new vowels, i n t h e framework of t h e song demonstrated on t h e t a p e . Then cont i n u e with t h e other combinations l i s t e d below. f i ] l i t t l e , [»fc] l i t t l e , [»e] l i t t l e Indiansi O e ] l i t t l e , [»«] l i t t l e , f a ] l i t t l e I n d i a n s , f a ] l i t t l e , fro] l i t t l e , f o] l i t t l e Indians, f o ] l i t t l e Indian boys. f u ] l i t t l e , f t>] l i t t l e , f o] l i t t l e I n d i a n s , f o] l i t t l e , f B ] l i t t l e , ['a] l i t t l e I n d i a n s , ['A] l i t t l e ,
f a ] l i t t l e , f i ] l i t t l e Indians,
[*4] l i t t l e Indian boys.
a. [wi] l i t t l e . . . b . [yi] l i t t l e . . . c. [ r i ] l i t t l e . . . d. [pwi] l i t t l e . . . e. The same with other consonants, and other o n - g l i d e s . f.
Off-glides.
RE 2 0 . 8 . D i f f e r e n t i a l ! Tongue Height Respond with HIGH, LOWER-HIGH, MID, LOWER-MID, LOW or LOWER-LOW. When you are able t o do t h i s w e l l , use the exercise f o r t r a n s c r i p t i o n .
292
L e s s o n 20
1. [MmA]
L
8.
[R9ft h ]
L-M
IS.
[chor ]
L-L
2 . [Mirib]
L-H
9.
[fefeftJi]
L-H
16. [ c h a T ]
L-L
3 . [Mma]
IrL
10. [RAft h ]
L
17. [ c h a * ]
L
h. Dime]
IrM
11.
[Raft h ]
L-L
IB. [ c h a T ]
L-L
5. Dime]
L
12.
[Riftf 1 ]
L-H
19. [ c h a r ]
L-M
6. fMnro]
L-L
13.
[RAfth]
L
20. [
L
7. [Mmo]
L
Ik.
[R9ft h ]
Lrtf
21. [ c h t r ]
L-H
RE 2 0 , 9 . D i f f e r e n t i a l ! FRONT or CENTRAL UNROUNDED, BACK ROUNDET or 'UNROUNDED' 1 . [myA]
cu
6 . [twos]
BU
1 1 . [frag]
FU
2 . [mya]
cu
7. [twAz]
CU
12. [ f r i g ]
C U
3 . [my*]
cu
8. [twiz]
CU
13.
[frAg]
CU
U. [myro]
BU
9. [twez]
CU
Ik.
[frag]
cu
5 . [mye]
cu
10. [twoz]
B R
15. [frsg]
G U
RE 20.10. D i f f e r e n t i a l ! F u l l Labels Select one term from each column t o make up your response. Keep the exercise covered while you do t h i s . HIGH
FRONT
ROUNDED
LOWER-HIGH
CENTRAL
UNROUNDED
MID
BACK
LOWER-MID LOW LOWER-LOW 1 . [co]
MB R
it. [ c 4 ]
L-H C U
7. [CD]
L-L B U
2. [CD]
L-L B U
5 . [C9]
L1ICD
8. [ca]
L-L F U
3.
L F U
6.
L CU
9. [ce]
L-iC F U
[cee]
[CA]
293
Some Central Vowelsf Vowel Clusters 10. [sh^eb]
MF U
19. [jAtS]
L C U
•«
1 1 . [skhofe]
L BR
12. [sk^sb]
H I CD
13. [ a l ^ i * ]
L-H C U
Hi. [ s ^ a b ]
L-L f U
25. [skhab]
L-L C 0
16. [sk^Afe]
L C U
17. [skhite]
L-H C U
18. [ s k ^ b ]
HICU
20. [ j e t s ]
M F D
2 1 . [j9t§]
H C D
22. [ j v t § ]
L-H B R
2 3 . [jz-ts]
L-H F U
2U. [ j i t S ]
L-H C U
25. [j9tS]
IrM C U
26. [ j a t | ]
L-L C U
27. [jAtS]
L C U
RE 20.11. Differential! Vowel Symbols Give the name of the symbol by which the vowel is transcribed, or write the vowel. When you can respond with the correct symbol in every case, transcribe the utterance. 1. [ba]
SCRIPT a
1 1 . [MmbAtS]
CARET
CARET
12. [Mmbocts]
SCRIPT a
3. [ba]
PRINTED a
13. [Mmbsts]
SHWA
U. [bi]
BARRED i
Ik.
BACKWARDS o
5. [ b t ]
IOTA
15. [Mmbeets]
DIGRAPH
6. [mbpS]
UPSILON
16. [Mmbatg]
SCRIPT a
7. [mbeS]
SHWA
17. [MmbitS ]
BARRED i
8.
BACKWARDS £
IB. [Mmbatg]
PRINTED a
UPSIDE-DOWN a
19.
SHWA
BARRED 1
20. [MmbAts-] CARET
t
2. [bA]
[rnboS]
t
i
[MmbotS] • i
t
i
9 . [mbr£]
[KmbetS]
—
i
10. [mbiS]
Vowel Clusters Up t o t h i s time we have worked with s i n g l e vowels, vowels separated by consonants, vowels with on-glides and o f f - g l i d e s , but never with c l u s t e r s of vowels.
2°U
Lesson 20
RE 20.12. Demonstration! Glides and Vowel Clusters L i s t e n , mimic the t a p e , and watch t h e t r a n s c r i p t i o n . Not i c e both t h e differences and s i m i l a r i t i e s between the columns. Be careful not t o get a g l i d e between the vowels of column b . la.
!nyA]
l b . [ni.A]
l c . [niH]
2a.
ikV]
2b. [k*i.A]
2c. [1&.H]
3a.
^IBTA]
3 b . [nu.A]
3 c . [nuH]
Ua. ik^TA]
Ub. [ A u A ]
Ue. [k*Sffl]
5a.
5b. [nr.A]
5 c [ni-H]
6 a. [k*rA]
6b. [k^r.A]
6 c . [k n rH]
7a. ^nyu]
7b. [ n i . u ]
7c. [niw]
8a. [i^yu]
8b. [k*i.u]
8c. [k*fcr]
9a. .nwi]
9b. [ n u . i ]
9c
10b. [ k V i ]
10c
10a.
'DTA]
[An]
[nay] [khuy]
Note t h e differences of timing and s y l l a b i c i t y between t h e middle column, and t h e other two. Remember t h a t a g l i d e i s a non-syllabic movement, and note the r e l a t i o n s h i p between t h e end points of t h e glides [y w H] and t h e vowels [ i u A] r e s p e c t i v e l y . Note a l s o t h e r e l a t i o n s h i p between [ r ] (which i s p h o n e t i c a l l y a vowel) and [r] (which i s p h o n e t i c a l l y a g l i d e ) . I n making t h e s e comparisons we are not saying t h a t every [y] glides t o or from [ i ] , every [w] t o or from [ u ] , e t c . The g l i d e r e f e r s t o the d i r e c t i o n of t h e movement, not t o the end point (see Lesson 12, p . 17Uff.). RE 20.13. Demonstration* Vowel Clusters I n vowel c l u s t e r s (such as i n column b , above), each of t h e vowels has s y l l a b i c i t y , even though one may be more s t r e s sed than the o t h e r . Mimic t h e tape and follow t h e t r a n s c r i p t i o n , noting the s y l l a b i c i t y , s t r e s s , e t c . la. [toti]
l b . [o«i]
lc
[«o.i]
2a. [«a«e]
2b. [ a ' e ]
2 c . [«a.e]
3 a . [»a»ae]
3 b . [a»ee]
3 c . ['a.®]
I d . [ay]
295
Some Central Vowels} Vowel Clusters Ua. [«a»u]
Ub. [ a ' u ]
Uc. [ ' a . u ]
5a. [«a«o]
5b. [ a ' o ]
5 c [ta.o]
6a, [»a'o]
6b. [a«o]
6c.
7a. [«a«i]
7b. [a»i]
7 c [«a,4]
7d. [ofl]
8a. [ ' e t a ]
8b. [eta]
8c. f ' e . a ]
8d. [eH]
9a. [«o'a]
9b. [ota]
9c
[«o.a]
9d. [oH]
10c.
[«u.e]
lOd. [we]
10a. [«u«e]
10b.
[ute]
Ud. [aw]
[«a.o]
V i r t u a l l y any combination of two vowels becomes possible i n a c l u s t e r , j u s t as v i r t u a l l y any combination of vowel and g l i d e i s p o s s i b l e . Clusters of t h r e e vowels a l s o occur. RE 20.lU. Demonstration! Clusters of Three Vowels L i s t e n , mimic, and watch t h e t r a n s c r i p t i o n . Avoid gett i n g glides between t h e vowels. The [*]'s i n the f i r s t column are t o help you get pure vowels. After you have p r a c t i s e d i t thoroughly, t r y your hand a t t r a n s c r i p t i o n . la, ['o'e'A]
lb,
[o.e.A]
lc.
[o'e.A]
I d . [o.e'A]
2a.
[Offi'i'o]
2b.
[ae.i.o]
2c.
[ee'i.o]
2d. [se.i'o]
3a. [ ' i ' e ' a ]
3b,
[i.e.a]
3c.
[i'e.a]
3d,
Ua, ['e'v'ffi]
Ub,
[e.v.ee]
Uc.
[e'v.ee]
Ud, [e.v'se]
5a. [•t»A'»u]
5b,
[&.A.u]
5c
[t,«A.u]
5d, [ t . A ' u ]
[4,e'a]
I n a l l of t h e s e examples of vowel c l u s t e r s we have given strong s y l l a b i c i t y t o each of t h e vowels, and t h a t i s t h e way i n which we w i l l continue t o t r e a t them i n t h i s course. For the sake of t h e record, however, i t should be pointed out t h a t whereas vowel c l u s t e r s i n some languages c o n s t i t u t e two or more s e p a r a t e s y l l a b l e s , i n other languages such c l u s t e r s may c o n s t i t u t e only one s y l l a b l e . Sometimes t h e d i s t i n c t i v e s y l l a b l e b e a t , which i s c h a r a c t e r i s t i c of the a i r pressure r e i n i t i a t i n g i n the c h e s t , i s c l e a r l y audible with each vowel sound. Sometimes i t i s not c l e a r l y audible and i t becomes very d i f f i c u l t t o i d e n t i f y the shape of t h e phonetic s y l l a b l e s i n terms of change of vowel q u a l i t y , b e a t , loudness, d u r a t i o n , etc.
296
Lesson 20
RE 20.15. Differential* GLIDE or VOWEL Listen to the tape, and decide for each utterance whether that which follows the main stressed vowel (second syllable) is an off-glide or a second vowel with its own syllabicity. X. [lo'ka»u]
V
8. [S6»t6.i]
V
15. [ba'lo.A]
V
2 . [lo'kow]
G
9. [se'tsH]
G
16. [ba'lo.z,]
V
3 . [lo'ka.i>]
V
10. [se'te.ffi]
V
17. [ba'low]
G
u.
V
1 1 . [se'tey]
G
18. [ba'loH]
G
5. [lo'kay]
G
12. [ s e ' t s . i ]
V
19. [ba'lo.e]
V
6. [lo'ka.o]
V
13. [se'tew]
G
20. [ba'loy]
G
7. [lo'kaH]
G
Ik. [ s e ' t e . 4 ] V
2 1 . [batlo.i]
V
[lo«kaoe]
RE 20.16. Differential* LONG or REARTICULATED It is perfectly possible to have a sequence of two identical vowels, each with their own syllabicity. This may have the duration of a long vowel, but differs from a long vowel in having two syllable beats. Such a sequence is called a rearticulated vowel. The quality is the same throughout, but the presence of two syllable beats, or a change in stress within the vowel creates the rearticulation. Rearticulation is simply a special case of vowel clusters. In the following exercise listen to the tape and decide whether the vowel is simply long, or whether it has two beats and so is rearticulated. Respond with LONG or REARTICUIATED. 1. [sa«mu»]
L
6. [tu'ko.o] R
11. [pa»pa»]
L
2. [sa'mu.u] R
7. [tu'ko*]
L
12. [pa'pA*]
L
3. [sa«mu.u] R
8. [tu'ko*]
L
13. [pa'pe.e] R
k» [sa»mu»]
L
9. [tu'ko*]
L
XU. [pa'po.o] R
5. [sa«mu«]
L
10. [tu'ko.o] R
15. [pa'pi»]
L
RE 20.17. Mimlcryt Vowel Clusters Use this exercise for transcription after you have learned to mimic it. The items will be built up for you on the tape.
Some Central Vowelsj Vowel Clusters
297
1. [tu.o'tu.o.a]
5. [lA.o«mv.A.o]
9. [tA.a.e»la.i]
2. [le.o'lo.o.A]
6. [sa.e»ta.A.i;]
10. [lo.v.se'mu.i]
3. [sa.a'mA.a.o]
7. [yu.o.a»tu.o]
11. [mv.A.i'ml.0]
km [mv.u'lo.tuu]
8. [so.o.A'le.e]
12. [le.u.v'sz-.ae]
RE 20.18. Reviewt Long Vowels and Consonants Mimic the tape and follow the transcription. for fluency. 1. [»bowahi«]
6 . [«XA»do]
2. [«tig«te]
7. [»g«afi]
3 . [»ke»gAy]
8.
U. [»gowp«9]
9 . [»««a»v9]
5. ['xid«aw]
10. [«9eevs«y]
['kiwfwy]
Transcription Use RE 20.U, RE 20.6, and RE 20.8-RE 20.18. Reading Use RE 20.15-RE 20.18.
Practice
2?8
LESSON TWENTY-ONE Double Stops and Nasals Alveo -
Labial Single Voiceless Unasp. Asp. Voiced Double VI. Unasp. Voiced
Alveolar
palatal
Velar
P
t
c
t
k
P*
th
oh
th
kh
5
* d
g
b
d
kp
( k t) :
Sb
(8d)
Nasals Single Voiceless
M
N
N
Voiced
m
n
a
Double, vd.
Alveopalatal
(retroflexed)
n
m
ID
Pin)
Table 21.li Double Stops and Nasals in Relation to Some Other Consonants The new sounds of this lesson differ from previous stops and nasals in that they have two simultaneous points of articulation. There is a secondary back-velar closure along with the primary bilabial closure. As may be seen in Table 21.1, the primary articulation may also be tip-alveolar (or it may be tipdental, tip-alveopalatal, or even tip-palatal), but such combinations are more rare, and will not be included in the course. If you meet them you w i U find that they work in analogous fashion to the sounds presented here. The two articulations of the double stops and nasals are essentially simultaneous rather than sequential. In some •^Sounds represented by symbols in parentheses are perfectly possible, but will not be drilled in this course.
Double Stops and Nasals
299
languages either the beginning or the end of the sound may not be simultaneous, but at least one or the other must be to produce a double stop or nasal. This is the reason for the symbolization of the sounds by showing the primary articulation [p b m] in regular position on the line, and the secondary articulation [k 8 n ] in raised position. You will often find these same sounds symbolized kp, gb, rjm in other sources.
Sammy 21.li [kp g b]
Sammy 21.2t [nm]
In many languages there is another ingredient to the articulation of [*p §b] besides the double stop closure. This is a distinctive quality created by a tongue movement during the double stop and simultaneously with its release. The double stop creates a pocket of air in the mouth between the two points of articulation (see Sammy 21.1). The distinctive quality is produced by moving the tongue forward or backward to create air pressure or vacuum in the pocket of air. This distinctive quality is noticeable in double nasals as well, but not to the same degree. In some languages the movement of the tongue forward, creating air pressure in the mouth just before the release of the consonant, results in a slight puffing of the cheeks. This is very noticeable in some dialects of Vietnamese, for example, when [*p ^m] occur at the end of a phrase.1
"uouble stops and nasals are not classified with clicks
300
Lesson 21
Sammy 21«3i [ k p]» Movement of t h e tongue forward t o c r e a t e a i r pressure i s shown by the dotted l i n e .
Sammy 21.Ut [ T ? ] . Movement of the tongue backwards t o c r e a t e vacuum i s shown by t h e dotted l i n e .
RE 2 1 . 1 . Demonstration* Double Stops and Nasals Listen and mimic as you follow i n your Manual. You w i l l have t o l i s t e n very c l o s e l y for double stops and n a s a l s . The recorder may not always produce them c l e a r l y , and t h e acoustic difference often seems s l i g h t t o speakers of English under t h e b e s t of c o n d i t i o n s . a. Some Americans make [*p] when they are i m i t a t i n g a chicken which has l a i d an eggi [,^>A |T?A ,*pA ,kpA ^ p i i k a ^ k i ] . Don«t f o o l yourself by saying t h e following and thinking i t i s the same t h i n g i [(pAk fpAk f pAk], e t c . k
pe
k
b . I f you can cackle by making ["p], i s o l a t e i t « [kpA kpa p o ] . Change t h e stopt [SbA 8ba Sbe Sbo]. c . Try the analogous n a s a l i [^mA ^ma ^me ^mo].
(Lesson 3 1 , p . 1*27 ) i n s p i t e of t h i s f e a t u r e (tongue movement c r e a t i n g an a i r stream) because the primary a i r stream i s s t i l l lung a i r . The movement of the tongue c r e a t e s a secondary a i r stream.
Double Stops and Nasals
301
d. For another approach, try the following sequences fast, and see if they do not result in double articulation! [ 'bAgA'bAgA'bAgA'bAgA'bAgA» g bAg» g bAg« g bAg ' g b A g ] [•p&kA»pAkA'pAkA«pAkA'pAkA» k pAk' k pAk• k pAk'kpAk] t ' mArjA' mAnA1 mAnA1 maqA' mAqA1 nmAn• n mAn' rm/vn * nmArj ]
e . Another way t o approach t h e double a r t i c u l a t i o n i s simp l y t o make a [k] and a [p] a t t h e same time, and t o p r a c t i c e u n t i l you can r e l e a s e them simultaneously. Try i t slowly and d e l i b e r a t e l y * [a»^pa»] [a«Sba*] [a» n ma»], f• Begin with some English sequences and follow a progression which may h e l p you achieve t h e a r t i c u l a t i o n . The tape w i l l give each s t e p t h r e e t i m e s . You may have t o p r a c t i c e many t i m e s . make p a s t e ( r e p e a t s e v e r a l times) [me v yk'pe v yst] (without a s p i r a t i o n ) [me^yk*'pe^yst] (prolong [k] without r e l e a s i n g i t ) [me v »y»* c pe v yst] (change t h e onset of s t r e s s and lengthen vowel) [tkpevyst] (leave off t h e f i r s t
syllable)
[ i k p e tkpa ikp^ «kpu] go Try t h e same kind of sequence to produce [ g b ] , big boy [btg'boy] [bi,g«'boy] [bz,» ,g boy] [» g boy] [tgbo » g ba » g bi » g bu] h . Try t h e same kind of sequence t o produce [^m], bring mine [bruj'moyn]
302
Lesson 21 [bi"z,n»'mayn] [brt,»«nmayn] ['^mayn] [«nma «%o Mud. «nmu]
i . I n order to get t h e d i s t i n c t i v e q u a l i t y of [ k p &b] i n some languages, you w i l l need t o move your tongue as shown i n Sammy 21.3 and 21.U. Listen t o t h e following and mimic. Without Tongue Movement
With Tongue Movement
l a . [a»^pa»]
l b . [a» k pa»]
2a. [fcpo.]
2b. [fcpo*]
3 a . [e«Sbe»]
3 b . [e»Sbe»]
Ua. [Sbe»]
Ub. [6be»]
RE 2 1 . 2 . Discrimination D r i l l t SAME or DIFFERENT peek.
Respond o r a l l y t o each p a i r with SAME or DIFFERENT. Don't When you can do t h e e x e r c i s e w e l l , t r a n s c r i b e the items.
la. [a,kpa
a'pa]
D
l b . [a'ba
2a. [e'pe
e'kpe]
D
2b. U'Sbz.
t-'Sbj.]
S
S
3 b . [o r g bo
o'bo]
D
D
Ub. [e'be
3 a . [u , k pu
u'kpu]
Ua. [agtkpgg agipa] k
a'Sba]
e'be]
D
S
5a. [ po
po]
D
5b. [be
She]
D
6a. [kpV
kp V ]
S
6b. [Sbu
bu]
D
7a. [Pi
^4]
D
7b. [bA SbA]
D
8a. [pA pA]
S
8b. [8bt
Bbi]
S
k 9a. [ i p
S
9b. [vSb
vb]
D
D
10b. [oSb
oSb]
S
10a. [ep
ikp] e k p]
Double Stops and Nasals lc
[ae in n» se^ms]
2 c . [eW3me 3 c . [a'ma
a'ma]
U c [e'^me 5 c Pme
e'me]
g'^n©] ^me]
303 n
S
6 c . [mo
D
7c. f°mj.
S
8c. Pma
S
9c
S
mo]
D
mz,]
D
n
ma]
S
[cflm om]
D
10c. [vm tflm]
D
RE 2 1 . 3 . Negative Practices Double Stops and Nasals P r a c t i c e t h e following sentences with t h e i n d i c a t e d subs t i t u t i o n s . Try t o get fluency with these a r t i c u l a t i o n s . 1* n make n ray ^monkey n mind Smother. 2 . ^ e t e r ^ i ^ p e r p i c k e d a ^peck of
k
p i c k l e d ^pe^ppers.
3 . The %±g %ad ^ o y Sbent L i l l y ' s Sbike. RE 21.U. Mimicrys Medial Double Stops and Nasals l a . [an' r nBe]
l b . [ag' g bee]
lc
2a.
[enfflmfc]
2b. [eg' g bz,]
2 c. [ e k , k p t ]
3 a . [un^ma]
3b. [ug,gba]
3c
ka.
[sen'^ms]
Ub. [aeg ,g b9]
Uc [ffik'kpe]
5a. [orj«me]
g 5b. [og« b 6 ]
5c [ o k ' k p e ]
6a. [vWmo]
6b. [ v ' g b o ]
6c. [ v ' ^ o ]
7a. [4» n ma]
7b. [i« g ba]
7 c [i» k pa]
8a. [A«rmo]
8b. [A'^bo]
8c. [A«kpo]
9a. [e'^mv]
g 9b. [ e ' b v ]
9c [e,kpo]
10a. [9« n mi]
10b. [9» g bi]
10c. [9« k pi]
RE 2 1 . 5 . Mimicryt I n i t i a l Double Stops and Nasals [ k pa]
l a . p3ma]
l b . [Sba]
lc
2a. Pme]
2b. [Sbe]
2c. [ k pe]
[ak ,k pee]
[uk,kpa]
Lesson 21
30U 3 a . pmu]
3b. [Sbu]
3c
[ k pu]
Ua. [ n mef]
Ub, [gbffif]
Uc.
[ k F«f]
5a. Pmot h ]
h 5b. [gbot J
k h 5 c [ pot ]
6a. [ •$m»l'wee]
6b,
6 c . [«kpt>r
7a.
f'^misz.]
7b. [•Sbist]
7c
8a. [ ,n mAya]
8b. [«6bAya]
8c. [ ,k pAya]
9a. ['"met11©] • 10a. [ , n mspi]
h 9b. [«Sb 6 t o] • 10b. ['Sbepi]
[«8b»r»]
9c
[«kpist]
[tkpeth0]
1 0 c t , k p©pi]
RE 2 1 . 6 . Miraicryi F i n a l Double Stops and Nasals la.
lb.
pcflm]
[»aSb]
2a. [»rf3m]
2b. [•e«b]
3a.
3b.
lc
[•cr^p]
2c. [•e*p]
[*uSb]
3c
I'**?!
Ua. ['a$m]
Ub. [*s£b]
Uc
l*Jp]
5a. ['oOm]
5b. [»oSb]
5 c t'o1^]
6a.
[ree^m]
6b.
7a.
[z^i^m]
7b, [K,«»i8b]
7c
8a. [yu"A n m]
8b. [yat'ASb]
8c. [ya»*A k p]
9a,
h g 9b. [ t o « ' 6 b ]
9c
[tho«'ekp]
10c.
[pi»'9kp]
[*u%]
[t^'e^m]
10a. [ p i " 9 r m ]
k 6 c . [Ts^>v p]
[r«i»»8b]
10b. [pi»'9^b]
[•t'U1^]
RE 21.7, D i f f e r e n t i a l * VOICED or VOICELESS Respond orally -with VOICED or VOICELESS as you listen to the double stop. Don't peek. Use this exercise for transcription when you can respond correctly to it. 1. [ a » , k p a ]
VL
U. [a*« k pa]
VL
7.
['Sbonu]
VD
2. [ 6 »«8be]
VD
5 . t»kpz-nu]
VL
8.
['Sbinu]
VD
3 . [v»kpp]
VL
6 . ['Sbsenu]
VD
9 . [nj-'SbedsB] VD
Double Stops and Nasals 10. [nj,»kpodee]
VL
305
1 1 . [nt'Sbicte]
12. [nt,'kpAdee]
VD
VL
RE 2 1 . 8 . D i f f e r e n t i a l s DOUBLE or SINGLE Respond DOUBLE i f you hear a double stop or n a s a l [kp Sb m] and SINGLE i f you hear an ordinary stop or n a s a l [p b m]. Don't peek. 1. [cf'Sba]
D
6 . [tkpz/ve]
D
11. [rb'berA]
S
2. [e««be]
S
7. ['roseve]
S
12. [ro«pol A A]
S
3. [v'pv]
S
8. ['"move]
D
1 3 . [rD«bil"A]
S
k.
D
9. [«bive]
S
Jh.
D
10. [ « k p w e ]
D
1 5 . [rb'Smz-l'A] D
[a^'^a]
$. [a^ros]
[:fo'kpAlAA]
D
RE 21.9. Differentialt SIMULTANEOUS or SEQUENTIAL Respond SIMULTANEOUS if you hear a double stop or nasal [kp 8b n m ] , or SEQUENTIAL if you hear a sequence of [k.p g.b n.m]. Don't peek. 1. [a»'Sba] SI
6. [thik'pt] SE
11. [Sag'beno] SE
2. [ e ' g ' b e ]
SE
7. [thi'^aiBB]
SI
12. [ g a ' ^ o r i o ]
SI
3 . [o'k'pa]
SE
8. [ t h i q ' m o ]
SE
1 3 . [2a«Sbino]
SI
h. [a»« k pa]
SI
9. [ t h i g ' b i ]
SE
lU. [2ak«pAno]
SE
5 . [e«n«mQ]
SE
10. [ t ^ ^ p v ]
SI
1 ? . [gan'mtno]
SE
1
RE 21.10i Kaka. Mimicry! [ ^ p] Follow the t r a n s c r i p t i o n as you mimic. On t h e tape you w i l l h e a r the words read f i r s t down, and t h e n a c r o s s . Work for a f l u e n t double s t o p a r t i c u l a t i o n . 1. [ k pongi«2aJ 2 'blackboard'
3 . [ k pa^ k pa]
'toothbrush'
2 . ['npog^.]2
U. [ p e t e ]
' p i e c e of manioc'
'box'
Tfeka i s spoken i n Cameroun. Recordings were obtained with the help of Dr. William D. Reyburn, Translations Consult a n t of the American Bible S o c i e t y . The mark under the vowel i n d i c a t e s n a s a l i z a t i o n .
306
Lesson 21
5. [kpasate]
"true 1
8. [pa'na]
'island'
6 . [poku]
'difficulty'
9. [«pel]te]
'half'
7. [poto«]
'break'
10. [palpo*]
'-wing'
RE 2 1 . l i t Kaka. Mimicryt [ g b] 1. [^ongo]
'valley'
3 . [ g bako*]
'branch'
2 . [ g biso3
'support'
U. [ g be>kefe|'karX3
'curl'
RE 21.12« Maninka. Mimicryi 1. [gbi>rt>Jma]
'shore'
2. [ d u * % g ^ ] r ____ 3 . [gbe»rc(eTh]
' o t h e r one'
h. igb*'$L?]
'stick'
[ g b] 5. [tpdp"i3]
'deaf'
6 . [fbp^Tv 7 ]
'leather'
7. [ g bp<<>r>]
'padlock'
' t o be i n need'
RE 21.13t Vietnamese. Mimicryi F i n a l [nm ^ 3 Whether you can hear t h e f i n a l double closure or n o t , ndmic the t a p e , making t h e double a r t i c u l a t i o n where i t i s i n dicated i n the transcription. 1 . [rfts&m]
'grandfather'
6 . [dcar^p]
'read*
2 . [xaifam]
'no'
7. [dvwQm]
'be exact'
3 . [dftw^m]
'piastre'
8. [mw^p]
'ladle'
h. [toafim]
«in»
9. [cww^p]
'group of t e n '
5 . [noarQm]
' t o be h o t '
Double Stops and Nasals
307
RE 21.lU, Review* [j c h c] Mimic t h e t a p e as you follow t h e t r a n s c r i p t i o n . Remember t o keep your tongue t i p down behind your lower t e e t h on these b l a d e - a l v e o p a l a t a l s t o p s . Remember t h a t the a r t i c u l a t i o n i s analogous t o [5 1 ] . Remember t o produce a s l i g h t [y] on-glide t o the following vowel (or o f f - g l i d e from the preceding vowel i f the stop i s i n s y l l a b l e - f i n a l p o s i t i o n ) . la.
[looiaja]
l b . [lanac a]
Ic.
[lanoca]
2a,
[lonojo]
2b. [ionoc h o]
2c. [lonoco]
3a.
[leneje]
3 b . [leiiec^e]
3c.
Ua. [lonojo]
Ub. [Ionocho]
Uc. [lonoco]
5a.
[lunuj]
5b. [iunuc h ]
5c. [lunuc]
6 a . [lAnAj]
6b. [lAnAC*1]
6 c . [1/vnAc]
7a. [isneej]
7b. [iffin=BCh]
7c. [lsneec]
8a.
[linij]
8b. [linic 1 1 ]
8c. [ l i n i c ]
9a.
[jefiei]
9b. [ c h 6 n e i ]
9 c . [cefiel]
10a.
[jvibl]
10b. [c h uni;i]
10c. [cvni?l]
[lefiece]
RE 21.15. Review Buildups Mimic the tape and follow t h e t r a n s c r i p t i o n . 1 . [ pe'baba* 'o^bunjnd. 2.
tP
minon]
['iilu.Mmm.ki'sil^Nno^inBBt 11 !©!]
3 . [cA»4£si8i a'W^feHcksH] U. [raphi?«kA!ra "»cl!tfeiolA 'jsnijen]
*~^
~
\~S
i
RE 21.16. T r a n s c r i p t i o n Use t h e s p e c i a l t r a n s c r i p t i o n form for RE 21.16 i n t h e Workbook Supplement, pp. 57~58. Listen t o the tape and f i l l
308
Lesson 21
in the blanks in the Supplement. If you find this easy, use a transcription form to transcribe the whole utterance. If you find it difficult, try transcribing any of RE 21.2, 21.U-21.9 instead. After each try, check your answers against the text below. 1. [o h A«raks.row] •
1 1 . [sA.«d&>gbz,n] ••
2. [«fiert»z,b.cW3]
12. [nu«ppabel A ]
3 . ['maf'Apiw]
13. [t
h,
[»sj,t»eef.8i«l A ]
fflw'^miy^.ne]
lU. [ «goevn.Mmiph]
5. [lee'kass'om]
15. [co'delA.t6a2]
6 . [ k psn'kvb»vn]
16. [ g ben , k pul»na]
7. [«l A tf»k 6 n.g«i]
17. [KLu«jon.khits]
8. [» g beb»anu«l A ]
18.
9 . [«bot«e»x.zoy]
19. tzi±»b9«'^mepp]
[ts*W.Jiwirenth]
20. [xpp.tShoH'g<xw]
10. [yae'Sal^ewm]
RE 21.17. Reading Practice the following words t o yourself, and read them aloud i n the space provided before t h e tape recording. Have your buddy help you by l i s t e n i n g t o how c l o s e l y you approximate t h e t a p e . If you need i t , you can use RE 21.16 f o r the same purpose. [la.'the]
1 . [»hop«8]
k.
7. [tim< V . f ]
2. [»ho«p9]
5. O o ' p t z ]
8.
3. ['vitAin]
6. [fcpotfc,]
9. [dA«che:Qtj]
[jitrAmp 1 1 ]
309
LESSON TWENTY-TWO Front Rounded Vowelsj Glide Clusters Front U. R. High
i
Lower-high
V
Mid
e
Lower-mid
s
Low
a
Lower-low
a
Central U. R.
Back R.
U.
1i
u i
V
0
o 9
ce
A
a
Table 2 2 . l t Vowels t o Date The two dots over t h e u are called umlaut /'vmlosrt/ or double d o t s , u i s t h e r e f o r e c a l l e d "u umlaut," or "doubledotted u . " ^ i s c a l l e d "crossed o," and ae i s c a l l e d "o e" or "o, dTgraph." When necessary, ""a digraph" can be used t o name [ae] t o d i s t i n g u i s h i t from "o~digraph." To w r i t e oe without l i f t i n g your pen, follow t h i s sequencet *•> Q J ^ RE 2 2 . 1 . Demonstration! Table 22.1 Listen repeatedly, and study t h e vowel chart as you do so. When you a r e f a m i l i a r with t h e m a t e r i a l read off the vowel chart with the t a p e . Get the new sounds as b e s t you can by mimicry. RE 2 2 . 2 . Discrimination! SAME or DIFFERENT Respond o r a l l y with SAME or DIFFERENT. Don't peekj Use t h i s e x e r c i s e f o r t r a n s c r i p t i o n when you can handle i t o r a l l y . RilA ] D
Ua. [ R i r
RuT ]
D
2a. [Mr feir] s
5a. [RuT
RuT ]
S
3 a . [RilA
6a. [ci'RuT
l a . [RuT
Ril A ]
S
ci«Rul A ]
S
Lesson 22
310 7a. [ci'Riil*
ci'Rir ] D
8a. [ c i ' R i r
ci'RuT]
D
9a.
ci'Riil*
ci'Riil*]
S
10a.
ci'RiiT
ci'Rir ] D
lb.
ced
cjbd]
D
lc.
goenlj
goenlj]
S
2b.
Cj6d
c/6d]
S
2c.
gaentj
g«3lj]
D
3b.
C)6d ced]
D
3c
goe n^
goe nlj]
S
Ub.
ce4
c)6d]
D
Uc.
gseqy
5b.
ced
c0d]
D
5c
goeqJJ
6b.
XA'ced
xA'citSd] D
6c.
dl»«gsa]JJ
div'goei]^] D
7b.
XA'ced
XA'ced]
S
7c.
dip'goenlj
dlp'goenty] S
8b.
xA'cjSd
xA'ciid]
S
8c.
dlu'goentj
diD'gasglJ] D
9b.
XA»c0d XA'ced] D
9c
div'gcenlj
diu'gaaqlj]
10c.
diu'gffiqlj
10b.
xA'cad
XA'ced]
S
g«i]J}]
D
goenfl]
S
dlv'gffiqg]
D S
Id.
j(6f
JOB r ]
D
le.
nip 11
ruSph]
D
2d.
jeir
jiir]
D
2e.
nripJ1 Sep11]
D
3d.
jiir
jiif]
S
3e.
SejJ1
rtfp*1]
D
Ud.
joer
D
Ue.
foph
njip11]
S
5d.
j0r
S
5e.
fwSp*1 nip 11 ]
D
6d.
k
p e ' jiir
D
6e.
gbi'hspJ 1
ebi'fijjp 11 ]
D
7d.
k
pe'joer
kpe'joer] S
7e.
Sbi'W1
Sbl'ns^1]
D
8d.
k
pe'jcer
pe'j0r]
D
8e.
Sbi'fijti^1
Sbi'S^p* 1 ]
S
9d.
kpe'jiztf
k
pe'jur]
D
9e.
Sbi'nap 11
gbi'abp 1 1 ] D
k
k
pe«jcer]
D
lOe.
gbi'nep 11
Sbi'nsp 1 1 ]
lOd.
j0r] j)6r]
pe'ji6f
k
pe«jtfr]
k
If.
kces
kiS] D
3f.
kces"
kceS]
S
2f.
Iras
kCBS] D
Uf.
keel
keg]
D
S
311
Front Rounded Vowelsj Glide Clusters
$£. [tots'
k±s"]
6f. Pma'kis 7f. Pma'koes
Sma'kces'] n
S
8f. ['Wkoes'
D
9f. [nma'k3s' ' W k c e s ' ]
ma«keS] D
lOf. [ V i l l a s '
Vx'koeS]
"ma'kces]
S D D
Production of [u i> ce ] We come now to the production of front rounded vowels, i n which the tongue p o s i t i o n i s the same as that of the unrounded c o u n t e r p a r t s , and the l i p position i s the same as that of the back rounded c o u n t e r p a r t s . Knowledge of these positions may be of help t o you i n achieving the a r t i c u l a t i o n s , as may some of the suggestions i n the following exercises, but as with a l l sounds, i t i s by mimicry that you achieve good production. It i s very easy t o f o o l yourself on t h e tongue and l i p p o s i t i o n s , and the s l i g h t e s t modification of t h e shapes of t h e c a v i t i e s through which t h e a i r passes can bring strong acoustic differences, making sounds which seem utterly different from the ones intended. Work with a buddy on the production of a l l of these sounds. For some of you the new sounds w i l l not seem too strange as you had sounds of t h i s kind i n French or German, but do not r e l y on t h e h a b i t s you made there unless you are sure that they are good ones. Sometimes some bad s u b s t i t u t i o n s go uncorrected i n American students of these languages. There are, of course, differences i n front rounded vowels from language t o language, and the French ones are not i d e n t i c a l with corresponding German ones. RE 2 2 . 3 . Demonstration! Producing [u] a. Say [ i ] but round your l i p s as you do s o . The l i p rounding should be t i g h t , and the tongue r e a l l y high f r o n t . Watch yourself i n a mirror, experimenting with d i f f e r e n t degrees of l i p rounding and tongue position u n t i l you can mimic the tape c l o s e l y i [mix mu mix mu mu]. b. In trying t o do t h i s some people get the front of the tongue positioned w e l l , but have a cup i n the mid p a r t of the tongue. This produces an [ r ] - l i k e resonance. To eliminate i t your tongue should have a n a t u r a l , rounded contour from front to back. The t a p e demonstrates with and without the [ r ] - l i k e resonance. c . P r a c t i c e saying He seems t o see me with t i g h t l y rounded l i p s throughout. d. P r a c t i c e t h e following sequence many t i m e s .
The
312
Lesson 22
o Sammy 22.1» [u]
Degree of Lip Rounding for [ii]
phrases do not mean anything, but t h e f i r s t two are pronounced i n English fashion. They help some people get the approximate Lip and tongue combination, which can then be readjusted by t r i a l and e r r o r . Eliminate the g l i d e . 1. f l e e c e t h e geese
[ ' f l i ' y s di»gi>ys]
2. fluce t h e goose
['fliws d i ' g i w s ]
3 . fluce t h e guse
['fliis 4i»gus]
e. P r a c t i c e s l u r r i n g from [ i ] t o [u] and back by beginning with [1] and rounding, then unrounding t h e l i p s , e t c . Be careful not t o move the tongue. Then p r a c t i c e s l u r r i n g from [u] t o [u] and back by moving t h e tongue forwards and backwards. RE 22.U. Demonstrateont Producing [t>] a« Say [e] and round your l i p s s l i g h t l y l e s s than you did for [ii]. Experiment as you did i n front of the mirror f o r [ii]. Learn t o produce [mo nu6 mz5 ms( m«S], Watch out for an [ r ] - l i k e resonance here a l s o . b. P r a c t i c e saying I t ' s a gay May Day play with rounded lips.
Front Rounded Vowelsj Glide Clusters
313
O Sammy 22.2i [jrf]
Degree of Lip Rounding f o r [fl]
c . P r a c t i c e t h e following sequence many times. 1. make t h e cake
[»mevyk e&'kve-ykr]
2. moke t h e coke
['mowk di'lc^owk11]
3 . rorfke t h e cgike
[«mi6k di'kNik 11 ]
d. P r a c t i c e s l u r r i n g from [e] t o [©] and back by beginning with [e] and rounding, then unrounding t h e l i p s . Then s l u r from [o] t o [0] and back by moving t h e tongue forwards and backwards. RE 22.5« Demonstration! Producing [oe] a. Say [a] and round your l i p s s l i g h t l y . t i l you can say [mcs moe race moe moe ] .
Experiment un-
b . P r a c t i c e saying Mad Mac mashed t h e can with s l i g h t l y rounded l i p s . c . P r a c t i c e the following sequence many t i m e s , 1, back t h e stack
['beak ai'steek* 1 ]
2, balk t h e s t a l k 3 , bceck t h e stceck
['boHk di'stoHk* 1 ] [»boek eB^stcek*1]
31k
Lesson 22
O Sammy 22.3» [03]
Degree of Lip Rounding f o r [oe]
d. P r a c t i c e s l u r r i n g between [«e] and [ce ] and back by changing l i p rounding. Then s l u r between [0] and [oe ] by changing tongue p o s i t i o n . RE 2 2 . 6 . D i f f e r e n t i a l ! ROUNDED or UNROUNDED Respond o r a l l y t o t h e t a p e . Don't peek. c i s e f o r t r a n s c r i p t i o n afterwards.
Use t h i s exer-
L. [bfi]
R
5. [m«bum]
R
9 . [m«bemst]
U
2 . [bi]
U
6 . [m'baan]
U
10. [m'bimst]
U
3 . [bee]
R
7. [m«b9m]
U
1 1 . [m'boemst]
R
k. [b«S]
R
8. [m'bdm]
R
12. [m'bemst]
U
RE 2 2 . 7 . D i f f e r e n t i a l ROUNDED, UNROUNDED or MIXED I n t h i s e x e r c i s e you w i l l hear t h r e e vowels i n each u t t e r a n c e . Sometimes a l l of t h e vowels w i l l be unrounded, sometimes a l l w i l l be rounded, and sometimes t h e y will be mixed. Respond accordingly. Don't peek. Use t h i s exercise f o r t r a n s c r i p t i o n afterwards. 1 . [»z,*£*A]
U
2. ['o'd'ii]
R
3. ['u'0'0]
R
Front Rounded Vowelsj Glide Clusters
315
h. [*i*a?u]
M
8. [ ' o ' o ' d ]
R
12. [Wfv]
M
5. ['o'ffl'u]
M
9. [ ' a ' A ' i ]
U
13. [ ' s ' i ' e ]
U
6. f ' E ' i ' a ]
U
10. ['U»o'w]
R
nil. [ ' c e ' u ' u ] R
7. ['o'ffl'i]
M
11. ['oe'ii'e] M
15. [ 0 ii'o'j5] R
RE 2 2 . 8 . D i f f e r e n t i a l s GLIDED or NO Front rounded vowels may be glided or they may be l e v e l , unglided vowels. In the following exercise respond GLIDED i f you hear any kind of o f f - g l i d e , and NO i f you do not. 1. [fLuHt h ]
G
5. [fLoet h ]
NO
2 . [fLut h ]
NO
6. [fLut h ]
NO
10. [fLut h ]
NO
3 . [fL«fth]
NO
7. [fLoeyt h ]
G
1 1 . [fL6rt h ]
Q
G
8. [fL0t h ]
NO
1 2 . [fL«5wt h ]
G
k.
[fLoert h ]
9. [fLoeHt h ]
G
RE 22.9. Negative P r a c t i c e i "The Walrus and the Carpenter" Follow t h e same procedure as RE 16.12, p . 2Ul, making the s u b s t i t u t i o n s of [li /6 ce ] as i n d i c a t e d i n the t h r e e right-hand columns r e s p e c t i v e l y . P r a c t i c e t h i s a t many odd moments. The tape w i l l s t a r t you off. "The time has come, the Walrus said
l a . [sud]
l b . [stfd]
l c . [saed]
"To t a l k of many t h i n g s
2a. [©unz]
2b. [Qjftnz]
2c. [eoenz]
Of shoes—and ships— and s e a l i n g wax—
3 a . [woiks]
3 b . [wtfks]
3 c . [weeks]
Of cabbages— and kings
, Ua. [k^unz]
, Ub. [k 0nz]
. Uc. [k osnz]
And why t h e sea i s b o i l i n g hot—
5a. [hlit h ]
5b. [heit h ]
5c
6a. [wiinz]
6b. [wtfnz]
6 c . [wcenz]
[hoet h ]
And whether pigs
have wings.
316
Lesson 22
"A loaf of bread," t h e Walrus said
7a. [slid]
7b. [s*sd]
7c. [seed]
"Is what we chiefly needt
8a. [nuyd]
8b. [nj6yd]
8c. [noeyd]
Pepper and vinegar besides
9a. [siiydz]
9b. [s<6ydz]
9c. [sceydz"
Are very good indeed—
10a. [duyd]
10b. [d0yd]
10c. [dceyd]
Now i f you're ready, Oysters dear,
11a. [dur]
l i b . [d0r]
lie.
We can begin t o feed."
12a. [fiiyd]
12b. [f6yd]
12c. [fee yd]
[deer]
RE 22.10. Mimicryt [ii t> ce] Mimic t h e tape and follow t h e t r a n s c r i p t i o n . can mimic w e l l , t r y t r a n s c r i b i n g the e x e r c i s e .
When you
l a . [mii]
l b . [mtf]
1c. [race ]
2a. [Qii]
2b. [OeS]
2c. [9ce ]
3 a . [p^i]
3 b . [p^b]
3c
Ua. [prii]
Ub. [p*5]
Uc. [pas ]
5a. [ k pu]
5b. [kp«5]
5c
[kpee]
6a.
6b.
6c.
[kscef]
[ksiif]
[kstif]
[p h ce]
7a. [kxiip11]
7b. [kxtfph]
7c. [kxoep11]
8a. [gguT]
8b. [gg*l» ]
8c. [ggoel*]
9a. [^miis]
9b. [^mos]
9c. pmces]
10a. [gbuft]
10b. [gbjz5&]
10c. [ g bce^]
RE 2 2 . 1 1 . D i f f e r e n t i a l ! Tongue Height Respond with HIGH, LOWER-HIGH, MID, LOWER-MID, LOW, or LOWER-LOW. When you can do t h i s w e l l , use the exercise for t r a n s c r i p t i o n . Don't peek. 1. [cii]
H
2. [coe]
L
3 . [c/5] M
Front Rounded Vowelsj Glide Clusters
317
k. [oe]
M
8 . [bogz]
M
5. [cu]
H
9 . [boegz]
L
13. [Nita]] M
6 . [beegz]
L
10. [bugz]
H
Ik,
7. [bigz]
L-H
1 1 . [Nnsn]
IrU
15. [Nniin] H
12.
[Nftan]
L
[Snug] H
RE 22.12. D i f f e r e n t i a l FRONT, CENTRAL, or 3ACK 1. [ j i ]
F
5 . [pSrfk11]
F
9. [kper]
F
2. [jii]
F
6 . [pgsk11]
C
10. [ k pof]
B
3. [Ji]
C
7. [p§Akh]
C
1 1 . [kptff]
F
U. [ju]
B
8. [pScek11]
F
1 2 . [kpuf]
F
RE 2 2 , 3 3 , D i f f e r e n t i a l * ROUNDED or UNROUNDED 9 . [Sbut h ]
R
[Sbiit 11 ]
R
R
1 1 . [Sb*5t h ]
R
U
12.
[SbAt h ]
U
1. [lu]
R
5.
2. [ I d ]
R
6. [Rfax]
u
10.
3 . [1A] U
7. [Rrfc]
U, [ l e ]
8. [Rrex]
U
[RTCBX]
R
RE 22.1U. Differential* Full Labels Select one term from each column to make up your response. Keep the exercise covered below,, HIGH
FRONT
ROUNDED
LOWER-HIGH
CENTRAL
UNROUNDED
MID
BACK
LOWER-MID
LOW LOWER-LOW 1. 2.
[gge] [ggoe ]
3 . [ggu]
MF U
U.
[ggu]
L F R
5.
HF R
6 . [ggu]
[ggv]
H B R
7.
FR
[gg/6] h
L-H B R
8. [gsmt
HF R
9. [gcemt h ]
LFR
318
Lesson 22
10. [-g9mth]
L-M C U
16. [kwifrj]
MF R
1 1 . [gerat h ]
MF U
1 7 . [kwan]
L-ii C U
12. [gz-mth]
L-H F U
1 8 . [kwvn]
L-H B R
13. [gwnt h ]
L-H B R
19. [kwt.n]
L-H F D
lit. [gfetJ 1 ]
MF R
20. [kwoen]
LFR
15. [kwiin]
HF R
2 1 . [kwjJn]
MFR
RE 2 2 . 1 5 . D i f f e r e n t i a l ! Vowel Symbols Give t h e name of t h e symbol by which t h e vowel i s t r a n s cribed, or w r i t e t h e vowel. When you can respond with t h e correct answer i n every c a s e , t r a n s c r i b e t h e u t t e r a n c e . 1. [pfi]
u UMLAUT
8. [mpets]
EPSILON
2. [pe]
SHWA
9. [mpdts]
CROSSED o
3 . [**>]
CROSSEDo
10.
fmputs]
u
U. [pee]
o DIGRAPH
H.
[tmpcets]
o DIGRAPH
5. [PA]
CARET
12.
[tmpets]
SHWA
6. [mputs] u
13.
[tmpits]
BARRED i
7. [mpits] i
lit. [tmpiits]
u UMIAUT
RE 22.16. 1Negative P r a c t i c e i "Ten L i t t l e Indians" P r a c t i c e t h e f r o n t rounded and front unrounded columns of the vowel chart as demonstrated on t h e t a p e . a. [»i] l i t t l e , [»\i] l i t t l e , [*v] l i t t l e indiansi [*e] l i t t l e , [**J] l i t t l e , ['e] l i t t l e Indiansi [*ffl] l i t t l e , ['03 ] l i t t l e , [»a] l i t t l e Indians; [*i] l i t t l e Indian boys. b . Use t h e sequence [u 0 as], t h e l i n e s above.
[ i e se], [v c a ] , [ii] i n
Front Rounded Vowels} Glide Clusters
319
Glide Clusters J u s t as i t i s p o s s i b l e t o have a sequence of vowels ( p . 293 f f . ) i t i s a l s o p o s s i b l e t o have a sequence of offg l i d e s . This simply means t h a t the non-syllabic tongue movement may go i n more than one d i r e c t i o n . This i s often done p a r t l y simultaneously, and p a r t l y i n rapid sequence. Notice t h e difference i n the / r / ' s between English wreck and c a r , as spoken by people with r e t r o f l e x e d g l i d e s . Wreck begins with an [ r ] g l i d e and simultaneous [w] g l i d e . Car ends i n an [ r ] g l i d e without t h e [w] g l i d e . Many speakers of - Engl i s h make a simple [ r ] g l i d e i n merry and a [Hr] g l i d e c l u s t e r i n Mary(/'msray/ and / ' m e H r t y / ) . RE 22.17. Negative P r a c t i c e t Off-glide Clusters Mimic the following English words i n t h e manner t r a n s cribed below and recorded on t a p e , whether you normally p r o nounce them t h i s way or n o t . Notice t h e sequence of g l i d e s , and how t h e s e d i f f e r from sequences of vowel-glide-vowel.
1. f i r e
l a . [«fayr]
l b . [»foyr]
2. tower
2a. [«t h oarr]
2b. [«t h awr]
3 . care
3a. [ • k V y r ]
3b. [ • k V y r ]
U. f i r e
Ua. ['fayH]
Ub. [•fays]
5. tower
5a. [«thawH]
b 5b. ['t aw 9 ]
6. buy you
6 a . [»boyw]
6b.
7. fooey
7a. [«fv<wy]
7b. [»fp<wi>y]
['bayv**]
RE 2 2 . 1 8 . Mimicry< Qn-glide and Off-glide Clusters Mimic and follow t h e t r a n s 1c r i p t i o n . le.
[ryak 11 ]
I d . [l^ayr]
2b. [p^oewr]
2c.
[ryoep11]
2d. [p oeyr
3 a . [rwz,s]
3b. [sz-wr]
3 c . [ryz.s]
3d. [svjr]
Ua. [rwon]
Ub. [nowr]
Uc.
[ryon]
Ud. [noyr]
5a. [ r w i t s ]
5b.
5c.
[ryits]
5d. [st4yr]
l a . [rwak11]
lb.
2a. [rwcep11]
[lc^awr]
[stiwr]
Lessoi
320 RE 22.19. Mimicry Review* Vowel Clusters Mimic and follow t h e t r a n s c r i p t i o n . [te'miu]
l b . [ sa't^ceo]
l c . [ku'pAtf]
2a. [te'maeS]
2b. [ s a ' t cee]
2e. [ku'pid]
3 a . [te'mou]
3b. ( sa't"osv]
3c
Ua. [te'mau]
Ub. [sa't^ceo]
Uc. [ku'pod]
5a. [te'mcu]
5b. i sa't-^oaa]
5c. [ku'pa/b]
6 a . [te'mou]
6b. [sa't^oea]
6 c . [ku'p/tf]
7a. [te'msii]
7b. |'sa't h cez<]
7c
8a. [te'mou]
8b. |" s a ' t h c e i ]
8c. [ku'peetf]
la.
[ku'piio]
[ku'pvitf]
RE 22.20. Mimicry Reviews Ijong and R e a r t i c u l a t e d Vowels la.
[fu»t h ]
lb. [fuuth]
2a. [fi»m]
2b, [fiim]
3 a . [vu»m]
3b.. [viium]
Ua. [vwe»n]
Ub., [vwssn]
5a. [sye»l A ]
5b.. [syeel A ]
6 a . [s)6»lA]
6b . [sfl61A]
7a. [ree«kf]
7b.. [Daekf]
8a. [lce»kf]
8b ,
9a. [ru*p]
9b., [rmip]
10a. [za»x]
10b , [gaax]
[lceoekf]
RE 22.21i German. 1 Mimicry [u & oe] l i s t e n and mimic as you follow along i n your Manual. I n a d d i t i o n t o t h e f r o n t rounded vowels d r i l l e d h e r e , German has "This d r i l l was prepared by Miss Renate Wiesmann of Zurich, Switzerland. Her voice i s recorded.
321
Front Rounded Vowels/ Glide Clusters a fourth in lower-high front rounded position, but that is not included here. la. | •gU^A?]1 • goodsJ estate'
lb.
2 a . | •mu^le*] •mill'
2 b . ['ra«S»ne>n] •hum'
2 c . ( 'moene] 'monk'
3 a . [ •fu»re>r] 'leader'
3 b . ['f/6*?6>] 'Scotch pine'
3c
[ •foermt-e] 'formed'
Ha.
Ub. [ , h o » n e > n ] •jeer'
Uc
»hoel"6>] 'hell'
5a. [ •su*re>n] •stir'
5b. [ « s > n ] •beautiful'
5c
'•gcerth6>] ' I was s c o l d ing ( s u b j . ) '
6a.
i'rii'Se*] *• r u c h e '
6 b . [«rtf»zlayn] * l i t t l e rose"
6c.
[•foeslayn] • l i t t l e horse'
7a.
"*gru»S6>n] •io g r e e t '
7b. ['g?0*se>f] 'Digger'
7c
;«k-oesthl**e] •precious'
8a.
;i'u»bA?] •over'
8 b . [*<5«1A] 'oil'
8c.
'»bu»ne>] •stage'
9b.
9c
°a.
10a.
1'hu'ne"] 'Hun'
[«nni»e>] 'trouble'
[•grf«the>]1 'Goethe'
[•b«S»me>] •Bohemian 1
1 0 b . [«hj6»e>] 'height'
l c . [ • goat^A?] •gods'*
'eastern'
10c.
]«boerze>] •exchange' [•hosk^Ar] •hump'
Trans s r i p t i o n and Reading Use RE 22.2, 22.6-22.l5, 22.17~22.21, following the directions of earlier lessons.
[£] is a very light uvular flap, rounded*.
[ A e>] sound slightly
"[•c] is an alveopalatal flat fricative.
322
LESSON TWENTY-THREE Fronted and Backed Velar Consonants Fronted Velar (or Palatal) Stops Voiceless Unaspirated
Mid Velar
k
k A
kh
Aspirated
k*
A
Voiced
Backed Velar
k • kh •
g
§
3
X
g
g
X • g •
Affricates Voiceless Unaspirated
kx
kx
Aspirated
&
g A
Fricatives Voiceless Voiced
Voiced Nasals Voiceless Voiced
h
kxh
kx •• kx h •• gg ••
??
gg
8
N
»
Q
Q
q
Table 23.lt Fronted and Backed Velars An examination of Table 23.1 will show that no new symbols; are involved. Two diacritics are used in a way which may seem different from their previous use at first glance, but which may be thought of as essentially the same. [ ] , for example, marked the "dental" series when used with the*"alveolar" consonant symbols on p. 161;. The dental series, however, is "fronted" in relation to the alveolar series, and it is in that meaning that the diacritic is used again here. [.], likewise, was used for "retroflexed" sounds on p. 161;, but these retroflexed sounds are "backed" from the corresponding alveolars or alveopalatals, and it is backing which is intended when the diacritic is used with velar consonants. It was used for
323
Fronted and Backed Velar Consonants "uvular" trill on p. 2H6, but this trill is again "backed" from other trills.
To summarize* [A] indicates fronting of tongue position. This gives dental position when it is an alveolar articulation which is fronted, and palatal position when it is a velar which is fronted. [.] indicates backing. The backing is simply a difference of position when used with the velars or the trills, but also involves retroflex quality when used with the alveolars or alveopalatals - not that backing cannot occur for them without retroflex quality, but we are using it to represent retroflex quality when it is associated with the alveolars and alve opalatals. Notice also the difference between a back-velar consonant (i.e., one made with the back of the tongue against the velum, and a backed velar consonant (i.e., a velar consonant articulated in a backed position, farther from the front of the mouth). You can easily gain a feeling for the difference between fronted (palatal) and mid velar articulations with the following English words. Say them slowly and deliberately, sensing the difference in point of articulation on the velar consonant. Prolong the velar consonant to help you feel it. As you hold the articulation of the consonant, put a pencil or pen in your mouth, and you will notice how much farther back it reaches with the second column than with the first. (See Sammies 23.1 and 23.2). Fronted velar articulation
Backed velar articulation
keel
[k^'yl"]
call.
[khoHlv]
skeet
[ski>yt]
Scotch
[skach]
gain
[ge*yn]
gone
[goHn]
sing
[s&n]
song
[soHq]
In English the degrees of fronting or backing of velar consonants are not significant, being automatically conditioned by the surrounding sounds, particularly vowels. There are languages, however, where there may be a two-way phonemic contrast, or a three-way one. That is, there may be a phonemic distinction between fronted and backed velar consonants (or mid and backed, or mid and fronted), or there may be a phonemic distinction between fronted, mid and backed. From now on in this course, whenever you hear fronting or
32k
Lesson 23
Sammy 23.lt Fronted velar (palatal) articulation, with a pencil i n Sammy's mouth to show the r e l a t i v e ly short distance i t enters.
Sammy 23.21 Mid velar articulation, with a pencil i n Sammy's mouth to show the longer distance i t enters,
backing of velars, be sure to note i t . In transcription, if you cannot distinguish fronting or backing, write the velar consonant but leave i t without a d i a c r i t i c mark. RE 23.1. Demonstration! Fronted and Backed Velars Follow the text as you mimic the tape. a. If you can whistle with the back of your tongue, t r y "London Bridge i s Falling Down." The last three syllables of the verse ( " . . . f a i r lady.") give three points of articulation approximately like those on which we are working here. As I whistle the tune, however, the relationship between a r t i c u l a t o r and point of articulation on the f i n a l syllable i s not exactly the same as that for the articulation of a backed velar consonant in Languages where I have heard i t . In the whistling the tongue bunches backward to reach the backed point of a r t i c ulation. In languages where I have heard i t , the tongue l i e s f l a t , and the part of i t directly under the backed point of articulation rises to serve as articulator. b . Use the two l i s t s of English words above, getting the
Fronted and Backed Velar Consonants
325
Sammy 23.3* Backed Velar Articulation. Note that the tongue is relatively flat and natural in the mouth, and that the articulator is the part of the tongue naturally under the point of articulation. feel of the points of articulation for the velars, and then reversing them, using the raid velar articulation in the first column, and the fronted articulation in the second. c. Use the fronted articulation of several consonants, such as [k*1 g x n] before and after each of the vowels on Table 18.1, p."26l. d. Use the mid articulation before and after each of these vowels. e. To help toward articulation in backed velar position, whisper an imitation of a donkey's hee haw repeatedly, and notice the articulation. Push the arbiculati on of the second syllable back as far as you can, and this gives you [xi« xo»], f. If you can make a good [x>], articulate [k*1 g] with it. This should come very naturally. * * g. Practice backed articulation with the vowels in Table 18.1, beginning with the lower-low back position and gradually moving to the front position, but keeping a backed point of articulation as nearly at the edge of the velum as you can.
326
Lesson 23
h . A l t e r n a t e fronted, mid, and backed a r t i c u l a t i o n s with the same vowels. RE 23.2. Discrimination* SAME or DIFFERENT Respond o r a l l y t o each p a i r . An attempt i s made t o keep the vowel q u a l i t i e s of each p a i r a l i k e on t h e t a p e , but t h i s has not always been s u c c e s s f u l . Use t h i s exercise for t r a n s c r i p t i o n a l s o . Don't peek. 1. [ok^a ok^a]
D
2 . [ugu ugu]
S
10. [kcee kce©] D
18. [nvkx11 nvkx*1] D
3 . [ixi ixi]
D
U . [gud god]
19. [nog noq]
•
9 . [gov gav]
A
S
17. [mz-x muc]
S
A
A
S
A
U. [ogo ogo]
D
12. [xos xos]
5 . [eke eke]
S
1 3 . [kxez kxez] D
2 1 . [reek 11 Peek11] D
6. [o.kxo o.kxo] D
i l l . [ggeS ggeS] S
22. [l v egg l v e g g ] S
7. [Ajrf <Jn0]
1 5 . [rjee2 n©2]
23. [rig rig]
*
S
A
8. [A.g§A A.ggA] S
A
D
S
20. [lite lux]
S
A
S
D
A
1
1 5 . [ k ^ p k* ^] D
2U. [fag fag]
S
RE 2 3 . 3 . Negative P r a c t i c e t Various Velar Consonants Mimic t h e t a p e , and p r a c t i c e t h e production of each of t h e following English phrases with the s u b s t i t u t i o n s i n d i c a t e d . 1 . Come k i t t y .
l a . [k*1]
l b . [kh]
2 . Can Kathy cough?
2a. [k]
2b.
3 . Cut capers
3 a. Ex]
3 b . [x]
C Candy cane
Ua. [Jot]
kb.
5 . Ghastly ghosts
5a. [g]
5b. [g]
6 . Gay gondolas
6a. [g]
6 b . [g]
7. Get g i f t s
7a. [gg]
7b. [gg]
8. Nasty noises
8a.
8b.
9 . Nine nuts
9a. [N]
ft]
tft] A
A
fo]
fo] A
9b. DJ]
l c . [k11] • 2c. [k] • 3 c [x] • kc. [kx] •• 5 c [g] • 6 c [g] • 7 c [gg] •• 8c. [n] • 9 c [Nj
Fronted and Backed Velar Consonants
327
RE 23.U, Differential FRONTED or BACKED Respond orally to the tape, and use the exercise for transcription. Don't peek, [okV] • 2 . [okN)]
B
6 . [l^o]
F
1 1 . [ak*1] B
F
7. [l^e] •
B
12. [tfk*1]
B
3.
tel^e]
F
8. [lfii] F
13. Uk 11 ]
B
h.
[ffi^ee] •
B
9. [l^A] B • 10. [l^o] F
1U. [ik*]
F
1$. [ek11] •
B
1.
5. [vkN] B •
RE 23.$. D i f f e r e n t i a l ! MID or BACKED
B
6. [XAS ] • 7. [xe*] • 8. [x0r]
M
9. [xoR]
1. [>vxi>]
M
2. pases] • 3 , ['exe]
B
k.
[*oxo]
B
11. [ • « ] M
B
12. [pix] M
M
13. [buc]
M
lU. [bine] B
5. [ • coca] M
10. [xcey] B • RE 2 3 . 6 . D i f f e r e n t i a l t MID or FRONTED
B
15. [dax] •
B
1. ['ago]
F
6. [ g i t s ] M
11.
2. [•&€&]
M
7. [gu5]
M
12. [Nneg]
F
3 . ['ogo]
F
8. [geS]
F
13. [NnAg]
F
Ik* [neg]
M
15. [raeg]
F
A
[MmjzSg] M
A
U. ['aga]
F
5 . ['cegce]
F
9. [gadz] M 10. [gvj]
M
RE 2 3 . 7 . D i f f e r e n t i a l t DOT, CARET, or UNMARKED I n t h i s e x e r c i s e l i s t e n to t h e tape and respond o r a l l y or w r i t e your response as [ . ] , [ , J , or no mark. I f t h i s i s too easy, t r a n s c r i b e t h e whole item. Don't peek. 1. [ « i k i ]
DOT
h.
2. [»oko]
CARET
5. [«oko] DOT
8. [gvt9] DOT
6 . [ge£]
9. [geps] UNM
3 . [»AkA] UNM
['asks] UNM
DOT
7. [gipf]
CARET
328
Lesson 23
10. [§ub2]
CARET
12. [jukx]
UW
lU. [jakx] DOT
1 1 . [ctkx]
XHM
3 3 . [c h oekx]
DOT
15. [cokx]
CARET
RE 2 3 . 8 . Miroicryt Fronted, Mid, and Backed Velars Mimic t h e tape as you follow i n your Manual. Work consciously f o r the a r t i c u l a t i o n you want i n each case. Work with your buddy.
[A]
l a . [kNi]
lb.
2a.
• 2b. [uk^i]
2c. [ u k M
3a. [kl]
3b. [ki]
3c
Ua. [ i k i ]
Ub. t i k i ]
Uc. [i-V-]
5a. [go]
5b. [go]
5 c [go]
6a. [ogo]
6b. [ogo]
6 c . [ogo]
7a. [xee]
7c
8a. [axee]
7b. [xee] • 8b. [aexag] •
9a. [ g i ]
9b. [ § i ]
9 c [gi]
[uk\]
l c . [k%]
[*L]
[?ffi]
8c. [eaxffi] A
10a. [ i g i ]
10b. t i g i ] * l i b . [kxa] •• 12b. [ a . kxa] •• 13b. [ k ^ e ] •• 3i+b. [e.kxhe] •• 35b. [ § i ° ]
1 0 c [igi]
36a. [o.ggo]
36b. [o.ggo]
36c. [o.g|o]
17a. foA]
17b. [$A]
1 7 c [HA]
18a. [AqA]
18b. [ApA]
18c. [AQA]
11a. [kxa] 12a. [a.kxa] 13a. [kx^e] h
lUa. [e.kx e] 15a. [ggo]
A
lie
[kxa]
12c. [a.kxa] 13c
[kxke] J
"* A A
l U c [e 0 kx"e "
A A
1 5 c [ggo] A A
A
A
19a. [ifta] 20a. [a.$na]
19b.
•• 20b. [a.gga]
1 9 c [&}a] 20c
[clfaa]
Fronted and Backed Velar Consonants
329
RE 2 3 . 9 . Mimicryt Mixed Sequences Mindc t h e tape and follow i n your Manual. Work with your buddy. When you have learned t o produce these sequences, p r a c t i c e s u b s t i t u t i n g other v e l a r f r i c a t i v e s for t h e s e . 1. [ka'ka] A *
6 . [kA'ka] A •
1 1 . [ko'ki] A •
2. [ k a ' k s ]
7. [kg'ks]
12. [ki'ka]
3 . [ke'ku]
8. [te»kL]
1 3 . [ka'ku]
U. [ku'kift]
9. [ k i ' k v ]
ih.
A
o
5 . [k/tkA]
A
[kti'ko] A
•
i o . [kv'ko]
•
15. [ko'kce]
RE 23.10. Reviewt Double Stops and Nasals Mimic t h e tape and follow i n your Manual. l a . [a»'ka»]
l b . [a^'pa*]
lc.
2a. [a»'ga»]
2b. [a.«ba«]
2c. [a»'Sba«]
3a. [a»'na»]
3 b . [a»'ina<>]
3 c . [a»,J3ma*]
Ua. [k«e»]
Itb. [p»e»]
Uc. [ k p»e»]
5a. [g*e«]
5b. [b»e»]
5c. [gb»e»]
6a. [rj»e«]
6b. [m»e»]
6 c . p)m«e«]
7a. [o«k]
7b. O p ]
7c.
8a. [o»g]
8b. [o«b]
8c. [o»gb]
9a. [o»n]
9b. [o«m]
9c
[a» | k pa«]
Okp]
[o«nm]
RE 23.11. Reviewt Alveopalatal Stops Listen t o t h e t a p e demonstration of a l v e o p a l a t a l stops i n "Old MacDonald Had a Farm" and continue, p r a c t i c i n g i n the same manner, s u b s t i t u t i n g the vowels of Table 2 2 . 1 , p . 309. RE 23.12t F i n n i s h . Review Buildups Long and Short Soundst. Vowel Clusters" Mimic t h e t a p e and follow along i n your Manual. Be careful t o mimic a l l f e a t u r e s . Keep working on t h e exercise u n t i l you can r e c i t e t h e f u l l sentence with p e r f e c t i n t o n a t i o n , and s o l i d
330
Lesson 23
control of the consonants and vowels and length. The sentence means "That little boy sat quietly, without moving, just now for a whole hour in the shadow of a bushy tree." Note that when new words are introduced on the tape, they are first introduced alone, or in combination with words already introduced, before the full phrase is given. As the tape moves from single words to longer phrases, notice how some of the vowel clusters tend to become glides, and how the long consonants tend to become shorter. 1. ['polka] 2. ['poika'istui] 3. ['poika'istui 'varyoe^a]1
Uo ['poika'istui 'li»k»umat»a'vafyoe»a] 5. ['poika'istui 'ayvan'li»k»umat»a 'varyoe»a] 6. ['poika'istui 'ayvan'li»k»umat»a »pu»n(9)'varyoe»a] 7. ['pieni'poika'istui 'ayvan'li»k»umat»a 'pu»n(8)'vafyo€»a] 8. ['pieni'poika'istui 'eesken 'ayvan'li»k»umat*a »pu«n(9) »vafyo€»a] 9. ['pieni'poika'istui 'aesken 'tun»in 'ayvan»li»k»umat»a »pu»n(9) 'varyoe»a] 10. ['pieni'poika'istui 'sesken 'koko'tun»in 'ayvan'li»k»umat»a «pu»n(G)*varyoea] 11. ['pieni'poika'istui 'eesken 'koko'tumin 'ayvan'li»k«umat»a •tuoc»a 'pu*n(9)'varyoc»a] 12. ['peeni'poika'istui 'asken 'koko'tun»in 'ayvan'li»k»umat*a •tuoc»a 'tu»hean'pu»n(9)'varyoe»a]
-The last consonant is not one which has been formally drilled. Mimic it as best you can.
Fronted and Backed Velar Consonants 13. [ ' t u o ^ i e n i ' p o i k a ' i s t u i ,
mat»a *tuoe»a
'ssken 'koko"tun»in
331 'ayvan'li'k'u-
tu*hean l pu»n(9)'Taryoe»a]
RE 23.13. Review S u b s t i t u t i o n s * General Mimic t h e tape t o d r i l l t h e s e sequences, and follow along i n your Manual. Work on them u n t i l you get them f l u e n t l y . There i s a buildup on the tape f o r t h e f i r s t item, but t h e f o l lowing are given without buildup except f o r t h e pronunciation of t h e p a r t being s u b s t i t u t e d . 1. ['koJfclu mAn!«ko.!fclo»pf 'kset£,ir»Acep l
9"
2. [
m
"
•
> •
U^vHl
3. [
jep«ni»'yv»i3 A
'
A
U. [
xux^g'a'aSe •—.—•
5. [
d4o!» gbe»mowrp i
<
•
RE 23.lU. Transcription Use the special transcription form for RE 23.lU in the Workbook Supplement, pp. 59-60. Listen to the tape, and fill in the blanks in the Supplement. If you find this easy, use a transcription form to transcribe the whole utterance. If you find it difficult, try transcribing any of RE 23.2, 23.U-23.10 for preliminary practice. 11 1. [dAm'denek ]
8. [Ao«chA«yog]
2. [ t V n i M - e y ]
h 9. [ts ua«dzuH2I]
3. [«z»&Mmv,ay]
10. [sya»m»uoye*l~]
U. [ n e a . t 3 0 » v « E r i ]
1 1 . [fclekr-eu'kpiH]
5. [» g begce«goe]
12. [lowkyeo»Ytruaftm]
A
A
6. [ r i r w n - ' ^ m e o ] • 7. [pr>»nuyIjQ»A*]
A 1 3 . [ »§a»-^§ol .8»ass3u]
Ik.
lbv9^amPs»E]
332
Lesson 23
15.
[peu^'A^yJuo]
18. [«Oeothokis]
16.
[kpa.'lAiH.loa]
19. [dvy»n»oepyi]
17.
[MmyeStoey'swAych]
20. [»thuxoNnV>e]
RE 23.15. Reading Practice the following words to yourself, and read them aloud in the space provided before the recording. Have your buddy help you by listening to how closely you approximate the tape. If you need it you can use RE 23.lit for the same purpose. 1.
[Sloe ifioH]
U.
[«GBB pu]
7.
[ct-do]
2. [tp^Mbco]
5.
['bflw^mo]
8.
[neei'lAn]
3.
6.
[doe"pa]
9.
[ E bay»pi]
['t\g6']
... i
SAIO'HOW'S VOOR
voioec Mov/EiwewT
TOPAV?'
333
LESSON TWENTY-FOUR Nasalized and Oral Vowels Front U. R. High
i
Lower-high
V
Central U. Re
e c
Lower-mid
e
Low
ae
Lower-low
R. u
V
t V I
1
Mid
Back U.
0
*
I
a SP
A
0
t
t
a
a
i
t
Table 2H.li Vowels to Date, Nasalized The symbol for nasalization is called a "hook." Some people remember it as representing the open velic hanging down in the back of the mouth. Notice the use of the terminology nasal (consonant) for sounds like [m M n N rj Nj, etc., (Lesson 13, p. 192) and nasalized for the phenomenon introduced here. For a nasal consonant the mouth is closed off at the point of articulation but the velic is open and the air stream goes out the nose. For a nasalized sound the mouth is not closed off. The velic is open, and the airstream goes out both nose and mouth. The mouth remains the primary channel, and articulations in the mouth modify the quality of the sound in the same ways they do purely oral sounds. The nasal cavity provides the secondary channel, and the degree of opening at the velic determines the degree of nasalization. We can speak of "heavy" or "strong" nasalization, referring to sounds made with the velic wide open, or "weak, light" nasalization, referring to sounds made with the velic relatively (but not completely) closed. This lesson has to do primarily with nasalized vowels, but it should be clear from the above discussion that any continuant (a sound iihich is not a stop) which we have had so far 1 T?his would be true of sounds in which the air stream originates in the lungs. For those where the airstream originates in the pharynx or the mouth (see Lessons 27, 29, and 31) the situation is more complicated.
33k
Lesson 2k
can be nasalized if it is not already a nasal. The velic, for example, can be opened for [ I s z X g r ] , etc. In the case of the voiceless sounds the difference you hear is slight, but with the voiced ones it is appreciable. Nasalized consonants will not be drilled in this lesson. We are only pointing out the possibility of finding them.
Sammy 2^.1* [n]. Note the tongue articulation and open velic which produce a nasal consonant.
Sanmy 2U.2» [51] heavily nasalized, with velic wide open,
Speakers of American English do not seem to find making nasalized vowels particularly difficult, although some have trouble controlling the quality of those vowels, just as they do controlling the quality of other new sounds. For us, however, there is usually a great deal of difficulty in obtaining pure, oral (nonnasalized)^- vowels in some contexts. Some of ^The use of the term oral for nonnasalized vowels is convenient, although it may be sli^itly misleading. All vowels are oral sounds. The oral cavity is the principal resonance chamber through which nasalized vowels as well as nonnasalized vowels pass. With this proviso kept in mind, there is no reason why the term oral cannot be used in the way it is used in this chapter.
Nasalized and Oral Vowels
335
Sammy 2k»3t [o,] lightly nasalized with velic slightly open.
Sanmy 2U.U» [%] nasalized because velic is open.
us are inclined to nasalize slightly a good deal of the time, and all of us have nasalized allophones of our vowels in the vicinity of our nasal consonants. This means that the timing on the opening and closing of the velic does not coincide with other articulations. Notice the following diagramsi With Slight Nasalization [a
r
n]
Without Nasalization
[a
n]
Oral closure Velic closure In the first diagram the [a] starts oral, but the velic quickly opens in anticipation of the nasal consonant, and remains open through the rest of the sequence, giving a slight nasalized quality to the latter part of the first vowel and all of the second. In the second case the velic opening coincides with the oral closure for the nasal consonant, leaving no trace of nasalization on the vowels. Because of this habit in speaking English, we need to
336
Lesson 2U
give particular attention to producing oral vowels wherever they occur in other languages. In languages where there is a phonemic contrast between nasalized and oral vowels, or in languages which have no such contrast, but where vowels are not nasalized next to nasal consonants, anything less than careful control over nasalization is unsatisfactory. RE 2^.1. Demonstration* Table 2U.1 Listen repeatedly, and study the vowel chart as you do so. When you are familiar with the material, practice with the tape. You can tell whether or not you are nasalizing by holding your thumb and forefinger at your nostrils, very lightly blocking them off. You will feel the nasalized vowels as vibration in your nostrils. Feel the difference between [m»] and [z«] to give yourself some idea of how the difference between [<j] and [a] should feel, although [m] will have more vibration then [a.]. RE 2U.2. Demonstration* Producing Nasalized Vowels a. As you practice nasalized vowels be careful not to substitute a laryngealized "rasping" quality (Lesson 28) for nasalization. Some speakers of English, since they already nasalize vowels somewhat, add the laryngeal!zation to force a contrast with what they already do. The tape demonstrates true simple nasalization and the addition of laryngealization. Avoid the latter. b. To get a clear nasalized vowel, start with [n«] and lower the tongue slowly to [a], trying not to make any other changes in articulation. Chances are that you will naturally produce a nasalized vowel in this position. Feel it with your fingers at your nostrils. If you are doing so, and if it does not sound particularly nasalized, this is probably because nasalization is so natural to you after a nasal consonant. Follow the same procedure with [n»^* n»ag» n»^»], etc., as demonstrated on the tape. If an initial [n] is still too difficult for you to do this effectively, you may get the same effect with [n]. c. Isolate above procedure q»o« *9»], etc. of0nasalization your nostrils. zation.
the nasalized vowels by beginning with the and then saying them after [*]/ [n»a« 'a* Then [*<j» * £ • ] , etc. Keep the same quality throughout. Check it with your fingers at Be careful not to strain it with laryngeali-
d. Beginning in the same way, pronounce the nasalized vowels following [b d]t [n»o>» b«o,« d»o-« n»£» b«^» £•£•], etc.
337
Nasalized and Oral Vowels Be sure you keep t h e same degree of n a s a l i z a t i o n .
e . Using t h e same i n i t i a l consonant t o tune you up, p r o duce t h e nasalized vowels between nonnasal consonantst [n*o-« ba»b da»d], e t c . Check c a r e f u l l y with your f i n g e r s a t your nostrils. RE 2U.3. Demonstration! Producing Oral Vowels a. Get a c l e a r nonnasalized vowel i n a frame l i k e [ p . . . p " ] . Follow the tape* [po^p*1 pe»p^ pu'p* 1 ], e t c . Check yourself with your f i n g e r s a t your n o s t r i l s . There should be not the s l i g h t e s t v i b r a t i o n . b . Now do the same t h i n g i n a voiced frame. Make sure the vowel remains nonnasalized* [ba»b be»b bu«b], then [ba» be* bu»], e t c . c . A l t e r n a t e [a»b] and [a*m], making sure t h e vowel i n [a«b] i s an o r a l one, and t h a t the one i n [<x»m] i s j u s t l i k e i t . Follow t h e tape and keep your f i n g e r s a t your n o s t r i l s * [a»b a*m u»b u*m se*b ee»m], e t c . d. A l t e r n a t e [ba«] and [ma«], making sure t h e vowel i n [ba»] i s nonnasalized, and t h a t the one i n [ma»] i s j u s t l i k e i t . Follow t h e t a p e , and keep your fingers a t your n o s t r i l s i [ba« ma* bo» mo» be* me»], e t c . e . FolloTr t h e same procedure f o r the frames [ b . . . b m . . . m ] , RE 2U.U. Demonstration* Table 2U.1 and Oral Counterparts Listen r e p e a t e d l y , and study t h e vowel chart as you do so. The n a s a l i z e d vowels of the chart w i l l be contrasted with t h e i r o r a l c o u n t e r p a r t s . After you have l i s t e n e d s u f f i c i e n t l y , p r a c t i c e with t h e t a p e . RE 2U.5. Discrimination* SAME or DIFFERENT Respond o r a l l y with SAME or DIFFERENT. Don't peek! Use t h i s e x e r c i s e for t r a n s c r i p t i o n a f t e r you can handle i t o r a l l y . 1. [bo« bo»]
D
5. [le» l a » ]
S
2. [mi mi]
S
6 . [»ey *ey]
D
3 . [ne r e ]
D
7. ['Y' f ' r
S
k. [zu zu.]
D
8. ['an ' a n ]
f ]
D
338
Lesson 2U
9. ['^P*1 'JP* 1 ]
10. [ ' e l ' s i ] 11
1 1 . [gjSp
S
15. [tV *V^
S
S
16. [ t i a ' k 1 1 tfc-'k 11 ]
D
17. [CVT avf]
D
gifph] D
12. [ftpg z£n]
S
1 8 . [kpoyk: kpoyk]
S
13. [Sew eew]
S
19. [J^pf 5fpf]
s
lU. [nu»2 nii»s] D
20. [ l i t s l | t s ]
D
RE 2^.6. D i f f e r e n t i a l NASALIZED or ORAL Respond o r a l l y t o t h e t a p e . Don't peek. c i s e f o r t r a n s c r i p t i o n afterwards.
Use t h i s exer-
1. [*a»]
0
8. [mu«]
0
15. [bf»m] N
2 . ['a»]
N
9 . [m?»3
N
16. [bvm]
0
3 . ['e»]
N
10. [mce»3
0
1 7 . [bvm]
0
h. ['o«3
N
1 1 . [me*3
0
1 8 . [bpm] N
5. ['*>•]
0
1 2 . [n*«]
0
15. [bijfm]
N
6. ['u«3
N
1 3 . [mtj5»3
N
20. [bu»m]
0
7. [*e«]
0
lU. [m&»]
0
2 1 . [b£»m] N
RE 2U.7. Negative Practicet Nasalized and Oral Articulation Practice reciting a nursery rhyme such as the following one in a fully nasalized style, then in oral style, making sure that there is no residual nasalization on any vowel, and finally alternating the lines, with one nasalized and the next oral. The tape demonstrates. Be careful of the vowels near nasal consonants when you are practicing nonnasalized articulation. Mary, Mary quite contrary, How does your garden growl With silver bells and cockle shells, And pretty maids all in a row.
Nasalized and Oral Vowels
339
RE 2U.8. Mimicryt Oral and Nasalized Vowels Mimic t h e t a p e as you follow along i n your Manual. Be careful t o eliminate n a s a l i z a t i o n where i t i s not c a l l e d f o r i l a . [bo]
l b . [mo]
l c . [bo]
I d . [mo]
2a. [pe]
2b. [me]
2c. [pe]
2d. [mej
3 b . [nv]
3c
[thy]
3d. [nv]
Ha. [ d i ]
Ub. [ni]
kc.
[di]
Ud. [ni]
5a. [gA]
5b. ft)
5c. [gA]
6 a . [baam]
6b. [nasm]
6c.
[fafb]
7a. [piim]
7b. [miin]
7c
[pifb]
8a. [tim]
8b. [nim]
8c. [t^.m]
9a. [d5um]
9b. [num] • 10b. ft)0m]
3a.
[thv]
It
10a. [k<5m]
A]
9c
[dzum]
5d. [QA] 6d. [meb] 7d. [mub] 8d. [n^m] 9d. [num]
10c. [krtm]
l d d . [n^m] RE 2U.9. Mimicryt Mixed Oral and Nasalized Sequences Some languages have vowel c l u s t e r s of which one vowel i s o r a l and t h e other n a s a l i z e d . P r a c t i c e t h i s e x e r c i s e t o help you l e a r n t o make t h e s e combinations. la.
[a* a.]
lb.
[aha.]
lc.
[aa]
Id.
[aa]
2a. [e'e]
2 b . [ehe]
2 c . [ee]
2 d . [ee]
3 a . [©'?]
3 b . [sh ? ]
3 c . [©?]
3 d . [ee]
Ua. [ce'ae]
Ub. [oehoe]
Uc
kd.
[oeoe]
5a. [&'£]
5 b . [thv]
5c
5d.
[p.]
6a. [ a ? ? ]
6b.
[ahe]
6 c . [ae]
6 d . [ae]
7a. [e*e]
7b.
[ehe]
7 c [ee]
7 d . [68]
8a. [e'ce]
8 b . [shoe]
8 c . [see]
8 d . [?oe]
9 a . [ce'j,]
9 b . [ceht]
9c
[oe^.]
9 d . [csz.]
10c
UoO
10a. [*-*
10b. ftha.]
[aece]
lOd. [^a]
3hO
Lesson 2it
RE 2U.10. Mimicryt Mixed Oral and Nasalized Sequences l a . [•co»sas]
lb.
2a. [»swi»sas]
2b. [•swi»sae]
2c. [ f swi-sae] 1 1
3 a. [•nu«sae]
3b. ['ftu'sae]
3 c [ •nu'sae]
Ua. [«t h A»sae]
Ub. [ « t h A . s a 6 ]
h Uc. rit A«sas] • • * i
5a. [«v(J»sae]
5b.
[»vj6»sae]
5 c '•vj£»sae]
6a. [•Mmo'z'&o]
6b.
[«Mmo«2z,o]
6c.
7a. [•piy»&-o]
7b.
[•plii'z^o]
7c. [ 'plu»2£.o]
8a.
8b. [tkhrs»Xzro]
8c.
9a.
9b. ['t&oe»2z,ol
9 c I •t&os'Sj-o]
LOa. [»kxi»z'z,o] L
J
1
l o . [ 'co»sae]
[»co»sae]
10b.
[•kxi.Xj-o]
10c
Hfa^zz-o]
|'«k h ra»2i.o] 1, iJ
"'kxi'zYo] 1.
t
RE 2U.11. D i f f e r e n t i a l t Tongue Height Respond with HIGH, LOWER-HIGH, MID, LOWER-MID, LOW, or LOWER-LOW. Don't peek. All of t h e vowels w i l l be n a s a l i z e d . 1. US]
H
6 . [ete^cx]
L
1 1 . [fcenlj]
L-M
2. [J03]
L
7. [dikx]
L-H
12. [5AnNj
L
3 . [J$]
M
8. [d6kx]
M
U. [je]
M
9 . [etoekx]
L
Ik.
5. [ju]
H
H
15. [zoqN]
10. [dikx]
1 3 . [2onN] M [fenNj
L-M L
RE 2U.12. D i f f e r e n t i a l t FRONT, CENTRAL, or BACK 1. [ k i ]
F
5 . [ki6f]
F
9 . [SbfR]
F
2. [ku]
F
6. [kaf]
C
1 0 . [Sboft]
B
3 . [ki]
C
7. [kAf]
C
1 1 . [Sbv&] B
U. [ku]
B
8. [koef]
F
12. [SbaR]
At
•
*
RE 2U.13. Differentialt ROUNDED or UNROUNDED 1. [ELu]
R
2 . [£lf6]
R
3 . [iOA] U
F
Nasalized and Oral Vowels h.
[fcle]
U
3U1
7. Pmon]
4
h
R
10. [ c u T ]
R
w
5. [^mcpn]
R
8 . [^mgn]
U
1 1 . [c h ol*] R
6. [Qrop]
u
9. [c T I T ]
R
12. [ c h | l A ]
RE 2h.lk.
0
Differential! Full Labels
Select one term from each column to make up your response. Keep the exercise covered below. HIGH
FRONT
ROUNDED
LOWER-HIGH
CENTRAL
UNROUNDED
MID
BACK
LOWEMJID LOW LOWER-LOW
1. [k?f]
MF U
10. [xents]
M F U
2. [kx
L F R
1 1 . [x^nts]
L-H F U
3.
feu]
H F R
12. [ x i n t s ]
L-H C U
k.
[kxu]
H B R
13. [?ypD]
L-L F U
5. [fef?]
L-H B R
Ik. feyfq]
L-M F U
6. [&<$]
M F R
15. [?y?q]
L BR
7. [x^nts]
W F U
16. [xyar]
L-L C U
8. [xce n t s ] L F R
17. [w>]
H F R
9. [xgnts]
18. [W3]
L-H F U
L-M C U
RE 2lt.l5. Differential! Vowel Symbols As in the exercises above, all of the following vowels will be nasalized. Give the name of the symbol by which the vowel is transcribed, or write the vowel. 1. [dy] u UMLAUT WITH HOOK
3. [d$]
CROSSED o WITH HOOK
2. [da] SHWA WITH HOOK
U. [dee ] o DIGRAPH WITH HOOK
3U2
Lesson 2k
5 . [dA]
CARET WITH HOOK
6 . [nk^uts]
u WITH HOOK
7. [ n k ^ t s ]
i WITH HOOK
8. [ n k V t s ]
EPSILON WITH HOOK
i
l
9. [nk^ots]
BACKWARDS c WITH HOOK
10. [sndi.n]
IOTA WITH HOOK
1 1 . [sndin]
BARRED i WITH HOOK
12. [sndan] PRINTED a WITH HOOK RE 2U.I63 Kaka. Mimicryt Nasalized Vowels 1. [da]
'rigid'
5 . [r|*wo]
C
,
4
'fear'
.
2 . [ka]
'pride'
6. [Lan'sa]
'win'
3 . [ko]
'spear'
7. [lu]
' t o spear'
U. [kwa]
'leave'
8. [luku'sa.]
'glory'
RE 2l|.17» Mano. Mimicry* Oral and Nasalized Vowels 1. [di»]
/d£/
'spear' 2 . [IT]
/le/
'mouth' 3 . [ye]
/ye/
•to break' U. [ka]
/ka/
•house* 5. [ t o ' ]
/ko/
•name*
8. p j 7 > ]
/ill/
'raffia' 9 . [ire.]
15. [div]
/dl/
'wait'
/wee/
'word' 10. [ze»]
/zee/
'dance r a t t l e s ' 1 1 . [ka»]
/kii/
*to pour' 12. [loT<] 'week'
/i55/
16. [me^pe]
/meepe/
'when?' 17. [ ^ a ]
/gba/
'dog' 18. [tow_] 'kill'
/t5uV
3k3
Nasalized and Oral Vowels 6. [go] /go/
13. [aoT] /zoo/
•to come from' 7. [5»] /lS/
'doctor' Hi. [^T]
•daughter'
/wuu/
19. [3|] /du/
'breath'
'to squat'
RE 2U»l8t Mano. Mimicryt Vowel Glides and Nasalization 1. ['ney] /we£/ 'urine'
U. [*u»y] /wei/ 'monkey'
2. ['uev] /wei/ 'mortar'
5. [*uey] /wex/ 'to scatter'
3. [*u^f] /wSl/ 'pestle' As you mimic t h e following m a t e r i a l s , n o t i c e t h e two d i f f e r e n t vowel g l i d e s , and t h e n a s a l i z a t i o n and lack of n a s a l i z a t i o n on each. Notice a l s o t h a t t h e n a s a l i z a t i o n extends over, or occurs s o l e l y on t h e n o n - s y l l a b i c g l i d e [ y ] . The reasons for i n t e r p r e t i n g [*u] as /w/ and [y] as / i / have t o do p a r t l y with t h e p o s s i b i l i t y of t h e occurrence of n a s a l i z a t i o n , but of course we need much more data f o r t h a t problem. RE 2k.l9t
Mano. Mimicryt Oral Vowels After [m n]
Mimic the c l e a r o r a l vowels which come a f t e r these nasal consonants. Hold your f i n g e r s a t your n o s t r i l s t o make sure t h a t your vowels a r e c l e a r . One n a s a l vowel i s included f o r c o n t r a s t (No. 8 ) . 1 . [m&»] /mee/
'large ship'
2 . [n&»]
/nee*/
'good f r i e n d of a woman'
3 . [n?*]
/n£a/
'someone e l s e ' s f a t h e r '
km [ n ^ S b e ]
/nSagbe/
' f r i e n d of a man'
£. [gbono] /gbono/
'medicine test for lying'
6 . [ny(]
' o n e ' s own mother'
/nle/
3UU
Lesson 2U
7. [ j A ] /noo/
•one's ovm mother'
8. [na»] /naa/
«to want'
Transoription and Reading Use RE 2U.5-2U.6, 2U.8-2li.19.
j
nppARTmeMT
OF A R C H A E O L O G Y
J . . . AMP SO YOU TH/NK , PROFESSOR, THAT THIS C U L T U R E HAP m A l N W PROMT-ROUMDED V 0 \ U 6 L S ?
3k$
LESSON TWENTY-FIVE Unreleased and Released Consonantsj Clusters With [*>] No new sounds are introduced in this lesson. We are rather concerned with some phonomena related to some sounds and combinations we have previously had. Unreleased Sounds You are already familiar with the difference between aspirated and unaspirated stops. Think now of an English voiceless bilabial stop at the end of a sentence, when you have nothing more to say and your mouth remains closed* He Tent by ship. In such a case the final /p/ is unaspirated, but it is more than that. It is unreleased. It is possible to say the same sentence, still with an unaspirated stop at the end, but with the lips closing only briefly for the stop. Such a stop is not unreleased, even though there is no audible release. An aspirated stop is, of course, released with aspiration. There are many languages in which syllable-final unreleased stops are an important general feature of articulation. Whereas in English our handling of this is rather casual, with considerable latitude of free fluctuation in any speaker, there are languages where the use of the unreleased stop is the norm. This presents no difficulty to the English speaking person when he thinks about it, for he has no trouble making unreleased stops. Unless he forms a solid habit of doing so, however, he is likely to substitute the English pattern of variation and fluctuation. When we need to specify an unreleased stop we may do so by a diacritic, as follows* [p~ t - k - ] . We will use this symbol in this lesson, and occasionally later when it seems appropriate but in general from now on in this course you should consider voiceless unaspirated stops in syllable-final position as unreleased whether you have the symbol or not. RE 25»1. Mimicry/ Unreleased Stops Mimic and follow the transcription. Practice what is written whether you hear the final stop distinction on the tape or not. Unreleased final stops are more difficult to distinguish than released ones. la. [tha»p~]
lb. [tha»t-]
lc. [tna«k"]
31*6
Lesson 25
2a. [zz.»p~]
2b. [zvt~]
2c.
[zvk~]
3a. [no«p~]
3 b . [no»t~]
3 c . [no»k~]
Ua. [ ^ s - p - ]
Ub. [ ^ s ' t - ]
Uc. [kpe'k-]
5a. [xu«p~]
5b. [$u»t - ]
5 c [xu»k~]
6a. [ t h i » t s a » p - ] • 7a. [£lo«gi»p-]
6b. [ t ^ ' t s a ^ f ] • 7b. [£Lo»ni»f-]
6c. [ t ^ ' t s a ^ k - ] • 7 c [61o«nir«k-]
8a. [Ro'Nnvp - ] • 9a. [bv8'lA»p~]
8b. [ R o ' N h v t - ] • 9b. [bvs«iA.»t~]
8 c . [Ro'Nnu-k - ] » 9 c [bv9«iA«k~]
10a. [ r e ' k ^ ' p - ] 10b. [ f e ' k ^ t - ] 10c. [ r e ' k V k - ] . . . Stops are not the only sounds which may be unreleased. In English nasals and laterals in final position are more consistently unreleased than are stops. In the latter there is fluctuation in the same words between unreleased stops and aspirated stops, whereas audible release of final nasals and laterals is more rare. In a language like French, however, unreleased final nasals and laterals are much less common than are released ones. Released "Final" Sounds We have already discussed aspiration as one kind of release for stops. This is, of course, a voiceless release, and in strict phonetic terms we must say that the aspiration constitutes an additional phonetic segment after the stop, even though it patterns as part of the stop phoneme in English. In other words, if a stop is released with aspiration, the aspiration really constitutes an additional sound following the stop. The same is true of voiced release after voiced stops in English. Occasionally we hear someone say a word like big with a voiced release of the /g/i [,bz.»ge]. When the /g/ is released the voicing continues to give an unstressed vowel of central quality. At other times we may hear a voiceless release pn the word big, as though it were very slightly aspirated/ [b&g11]. This aspiration is not as heavy as in a regular English voiceless aspirated stop. RE 25.2. Demonstration! Releases on English Voiced Stops Listen to the tape and watch the transcription as the points
Unreleased and Released Consonants
314-7
made above are illustrated for you. Unreleased
Voiced r e l e a s e
1. _big
l a . [bz-g]
lb-
[»t*g9]
1c. [bz,gh]
2. bad
2a. [bse»d]
2b.
[«bse»de]
2c. [«bs»d h ]
3 . cob
3a. [lAfb]
3b. [ ' A f t e ]
Voiceless r e l e a s e
3c
[lAfb 1 1 ]
S t r i c t l y speaking, then, since audible r e l e a s e c o n s t i t u t e s an a d d i t i o n a l sound segment, t h e r e i s no such thing p h o n e t i c a l l y as a f i n a l sound with audible r e l e a s e . The audible r e l e a s e c o n s t i t u t e s t h e f i n a l sound. Phonemically, of course, i t i s possible t o speak of a f i n a l phoneme which i s r e l e a s e d , as i n the pronunciations i n t h e second and t h i r d columns above, RE 25.31 French. Voiced Release French has a phenomenon which some l i n g u i s t s i n t e r p r e t phonemically a s voiced r e l e a s e of f i n a l consonants, as i s i l l u s t r a t e d i n t h e t r a n s c r i p t i o n below. Other l i n g u i s t s analyze the f i n a l sound as a phonemic segment. Regardless of t h e analys i s , i t a l l comes out t o t h e same pronunciation p h o n e t i c a l l y . Mimic t h e tape and follow t h e t r a n s c r i p t i o n .
1. [•fiyg]1
/fly/
fille
•daughter'
2. [•vir©]
Mi/
ville
• city'
3. ['Sozal
/Soz/
chose
•thing'
k.
['?6t§]
/set/
cette
'this'
5. ['gepe]
/gep/
guepe
'wasp'
6. [•logs]
A?g/
langue
•language'
7.. [•fraza]
/fraz/
phrase
•sentence'
8. [•akta]
/akt/
acte
•act'
9. [•porta]
/port/
porte
'door'
/mptan/
montagne
'mountain'
10. [mp'tang]
'[ ] i n d i c a t e s a s l i g h t rounding of t h e vowel.
3U8
Lesson 2$
Close and Open Transition Another way in which an unreleased stop may occur in English is in a word such as cupcake. We often form the articulation for the /k/ while the /p/ is still closed, so that when the lips are opened from the /p/, the result is a /k/ without any audible transition between the two. From a purely articulatory standpoint we have one long stop which begins bilabial and ends velar. Both the end of the /p/ and the beginning of the /k/ are inaudible. In this kind of a transition the /p/ is sometimes spoken of as unreleased, or as in close transition.
[k
»]
ev
stop closure bilabial velar voicelessness However, if someone were being very emphatic or overly precise, he might pronounce cupcake as ['k"Ap"k"evyk"], which has voiceless open transition (aspiration) between the consonants. We normally say bad~b"oy as ['bse»d'boy] with close transition. However, in imitating an Italian talking English we might say f'bee'da'boy] with voiced open transition. Each of these statements, of course, stands in relation to a presumed syllable-final phoneme. On purely phonetic grounds we can think of two consonants with aspiration between, or two consonants with a voiced central vowel between, respectively. RE 25.U. Differential* CLOSE or OPEN Respond according to whether the transition between the medial consonants is CLOSE or OPEN. Don't peek. 1. [ap"ta«]
C
6. [kat h «kor]
2. [epa'tae*]
0
7. [xoz9 * zj.m] 0
3. [of'si*]
C
8. [ g e e t ' s u r ]
U. [eb'dA.]
c
5. [ine'mu*]
0
0
C
c
1 1 . [kz,n'tPf] • 12. [xons'mez] • 13. [ g e r ' z o f e ]
C
h 9. [naf 'fiw]
0
m.
0
10. [Auitmey]
C
15. [k^fflga'neimM]
[nAetedeS]
0
0
Clusters With [']
3U9
RE 25.5. Negative Practice* Open Transition People learning English in Southeast Asia and many other areas tend to put an open transition in the middle of some English consonant clusters because these clusters do not occur in close transition in their own languages. The following English words are transcribed and recorded as such people might pronounce them. Mimic the tape and follow the transcription. 1. [sa'top-] stop
5. [ss'nek-]
snake
2. [ s s ' p i l * ]
spill
6 . Oe»lAffip-]
slap
3. [ss'kin]
skin
7. ['mssgk-]
mask
k* [sa'mok - ]
smoke
8. [«faesgt _ ]
fast
Clusters with [*>] One kind of consonant cluster which needs special drill by English-speaking people is the cluster which includes ['] as one of its members. Such clusters may consist of two consonants, or more rarely even three or four. ['] may occur in virtually any position in the cluster, depending on the particular consonant sequence, and on the language. RE 25.6. Demonstration! Clusters with [gj Many dialects of English do have clusters with ['], although not so commonly in the initial and final positions which will be drilled in this lesson. Mimic the following English words as recorded on the tape and transcribed below. Make a clear, strongly articulated [*]. 1. cotton
[»kha"'n]
h. bottle
[«ba?l]
2. (negative)
["rn'm]
5. Scotland
['ska'lind]
3. button
[»bA*n]
6. flap 'em [«fla3p''m]
•
• •
t
1
RE 25»7. Mimicry* Clusters of Nasals with [*>] Perhaps t h e e a s i e s t c l u s t e r s with are those where the ['] i s adjacent t o ing exercise the tape w i l l read across then down t h e l a s t column. Listen f o r mimic with a c l e a r , strong one. l a . [am ,9 ma]
l b . [a"ma]
[*] t o hear and produce n a s a l s . I n the followfrom l e f t t o r i g h t , and t h e g l o t t a l stop and lc.
['ma]
350
Lesson 25
2a. [ e n " n e ]
2b. [ e " n e ]
2c.
['ne]
3a. [on"no]
3b. [o"no]
3c
['no]
Ua. U n " n j . ]
Ub. [ t " n z , ]
U c f>qv]
5a. [om"mo]
5b. [om"o]
5c. [om']
6a. [An"nA]
6b. [An«'A]
6 c . [An']
7a. [ u n " i m ]
7b. [un«'u]
7c
8a. [sen "nee]
8b. [esn«'ss]
8c. [an']
[un']
RE 2 5 . 8 . D i f f e r e n t i a l GLOTTAL or NO I f you hear a g l o t t a l i n sequence with a n a s a l , respond GLOTTAL. If you do not, respond NO. Each item w i l l be given twice. 1. ['ma]
GL
7. [ o n ' ]
GL
13. ['nosi]
NO
2 . [me]
NO
8. [sen]
NO
lU. ["mefce]
GL
3 . [no]
NO
9. [An']
GL
1 5 . ['novt,]
NO
U. ['He]
GL
10. [an]
NO
36. [»sulan]
NO
5. [ni]
NO
1 1 . [vm']
GL
17. ['y<5&An']
GL
6. [»nu]
GL
12. [ 0 n ' ]
GL
18. ['Siilt.ni']
GL
RE 2 5 . 9 . Mimioryi Clusters of L a t e r a l s or Vowel Glides with Mimic as you follow the t r a n s c r i p t i o n , la. [ol»"ro]
lb. [o"l*o]
lc
fro]
2a. [aw"wa]
2b. [a»'wa]
2c. ['wa]
3a. [ o y " y o ]
3b. [o«'yo]
3c
['yo]
Ua. [Ay»'yA]
Ub. [Ay«'A]
Uc
[Ay]
5a. [£w«'wi]
5b. [ i w " i ]
5c. [4W]
6a. [/5L*»'1*«5]
6 b . [£LA"*5]
6 c . [«LA»]
[']
Clusters With [*]
351
RE 25.10. Differentials INITIAL or FINAL Respond according to -whether you hear the [*] in INITIAL position or FINAL position. Each item will be given twice. Don't peek. 1. [nam'']
F
6 . [*nen]
I
1 1 . [iu,n~]
F
2. [*nin]
I
7. [nam*]
F
12. [qvtf]
F
3.
I
8.
[•fitfi]
I
13. ['mam]
I
4 . [Sen?]
F
9.
[»l A ul A ]
I
lit. [»Wiw]
I
5. [rar*]
F
io.
[yuy*]
F
15. ['neen]
I
[*ycey]
RE 2 5 . 1 1 . Discriminati on» SAME or DIFFERENT Clusters in this exercise will be made up of voiced fricatives or voiced stops with [']. For each pair respond with SAME or DIFFERENT. The differences will be between single consonants and consonant clusters with [*>]. Don't peek. 1. [»zu 2 . [ 9 vce
zii] ">voe ]
D
ru lor* nor]
D
S
12. [ey
ey»]
D
on]
S
3 . [*bi
bi]
D
1 3 . [on
iw ['do
*»clo]
S
Hi. [AW»
5. [gee
gos]
S
15. [oen?
6 . [gi
»gi]
D
16. tag
7. [£a
»2a]
D
17. [um*
8. [je
je]
S
18. [vn
D
19.
S
20. ["3
9. [*de 10. [">h>
de] *iv]
fur*
AW']
oen] ©q'] urn'] tra">]
S D D S D
uiA°] S ^]
S
RE 25.12. Mimicry! Clusters of Voiced Stops with [•»] Mimic the tape as you follow the transcription. There will be a tendency for some of you to substitute similarsounding (and similarly articulated) implosives (see Lesson 27) here. Keep your fingers lightly on your larynx. It should not pull sharply downward in the clusters here. Keep even pressure
352
Lesson 25
with your lungs. Be sure you get good voicing on the stops also. [A'-'bA]
Ic.
[*bA]
2 a . [j6d"d«5]
2 b . [6»'b«5]
2c.
[*d(6]
3a. [ e j " j e ]
3b.
[e";je]
3 c . [*je]
Ua. [ i g ' ^ g i ]
Ub. [ 4 » ' g i ]
Uc. t ' g i ]
5 a . [ug'-'gii]
5 b . [ug'*tL]
5c
6 a. [ a j " j a ]
6b. [ a j " a ]
6 c . [ad*]
7a. [oed'^dce]
7b. [ced'^ce]
7c
8a. [ab«'ba]
8b. [ab«*a]
8c. [ab']
la.
RE
lb.
[Ab'^bA]
[ug*]
[ced']
;> 5 . 1 3 . M i n d c r y i C l u s t e r s of Voiced F r i c a t i v e s w i t h [i«'di]
Ic.
[*]
la .
[i4»'
lb.
2a .
[fflv"vee]
2b. [ffi,9Vffi]
2 c . [*vse]
3a .
[te^zi*]
3b.
3c
Ua .
W&v]
Ub. [z-"zz,]
Uc. [•*«-]
5a .
[eg^ge]
5b. [ e " g e ]
5c
[eg"]
6a .
[ced"dce]
6b.
[oe " d o e ]
6c.
[ced']
7a .
[iv«'vi]
7b.
[i^vi]
7c
[iv*]
8a .
[vz'^zv]
8b.,
[v"zv]
8c.
[uz']
9a .
[e2«*fe]
9b..
[9"ze]
9c
[92']
10a .
[eg''gel
10b..
[e"ge]
10c..
[eg']
f«5«'z«5]
[*€&]
[•>z6]
RE 25.1U. D i f f e r e n t i a l ! GLOTTAL o r NO Each i t e m w i l l b e g i v e n t w i c e .
Don't peek.
1.
[*zi6]
GL
U. [ z o ]
NO
7.
[ceb'']
GL
2.
[*dA]
GL
5.
fvi]
GL
8.
[id']
GL
3.
[gii]
NO
6.
[9g*]
GL
9 . [62;
NO
Clusters With [']
3$3
10. [oj]
NO
12. ["bisom]
GL
lii. [ T u S a z ' ]
GL
11. ['dAfun]
NO
13. [«zcex£.r)]
NO
15.
GL
['WWGQV]
RE 25.15. Demonstrationt Clusters of Voiceless F r i c a t i v e s or Stops -with ['] Since clusters of v o i c e l e s s consonants with ['] are harder t o hear than those of voiced consonants, try the following exerc i s e t o warm up t o them. Mimic t h e tape and follow the transcription. a. Begin with the affricate [kf] and switch t o ['f] f o l lowing t h e tape and the transcription. The purpose of t h i s exercise i s t o help you f e e l the release of a stop i n t o a f r i c ative on the [kf] and then switch t o the desired [ ' f ] , maintaining the same " f e e l " of r e l a t i o n s h i p . [kfa kfa kfa kfa ' f a ' f a ' f a ' f a kfa ' f a kfa ' f a ] b. Use the same pattern for d r i l l i n g the following pairsi [ksa ' s a ] , [kSa ' 2 a ] , [kxa ' x a ] , c. Get the f e e l of combinations with voiceless stops i n the same way. Notice that there i s an audible transition between t h e consonants even when no a i r escapes between them. The a i r released by the f i r s t stop rushes i n t o f i l l the cavity closed by the second stop. Use these pairsj [kpa 9 p a ] , [kta ' t a ] , [kca ' c a ] , RE 25.16. Mimicryt Clusters of Voiceless Fricatives with ['] [ee"6e]
lb.
[e"0e]
lc.
2a. [ 9 f t ' f 8 ]
2b.
[8»'f9]
2c. t ' f s ]
3a. [ c e s " s c e ]
3b.
[ce«'soe]
3c
Ua. [ v s » ' s » ]
Ub. [ u " S v ]
Uc. [ ' 8 v ]
5a. [ i x » ' x i ]
5b. [ i " x i ]
5c
fxi]
6a.
[*E«»Xtf]
6 b . [s»X«'jO]
6c.
[<&*]
7 a . [18 " S i ]
7b. [ i 2 " i ]
7c. [is ']
8a. [ A S " S A ]
8b.
8c. [ A S ' ]
9a. [aeffee]
9b. [aef'ae]
la.
10a.
[vQ*">Qv]
[AS " A ]
10b. [z,6»'z,]
9c
['6e]
['see]
[eef']
1 0 c . [z.e»]
35U
Lesson 25
RE 25.17. Mimicry! Clusters of Voiceless Stops with
[']
l a . [cqp»'pa]
lb. [a"pa]
lc.
['pa]
2a. [ t f f ' t r f ]
2b. [0"t«5]
2c.
['t0]
3a. [ec"ce]
3b. [ e " c e ]
3c
fee]
Ua. [ i k « ' k i ]
Ub. [ i « ' k i ]
1+c. [»k£]
RE 2 5 . 1 8 . Discrimination! SAME or DIFFERENT Each p a i r w i l l be given t w i c e .
Don't peek.
1. [*Wj
ku]
D
1 1 . ['xoe
2. ['fu
'fu]
s
12. [»Sii
3 . [9i
©i]
S
1 3 . [k±
u.
*s?]
D
'xoe ] 'Su]
S S
'k±]
D
lU. [ » 9 A
6A]
D
S
15. [ ' t i
ti]
D
So]
S
16. [uS'
us']
S
7. [X^ x<£]
S
17. [oaf
oef]
S
[s?
5. ['PA 6. [So
'PA]
8. [tii
'tii]
D
18. [ax
9. [C9
09]
S
19. b e ' »e']
s
D
20. [es
S
10. [pee
'pee]
ax']
D
es]
RE 25.19. D i f f e r e n t i a l ! GLOTTAL or NO Each item w i l l be given twice.
Don't peek.
1. ['s<5]
GL
7. f e e s ' ]
GL
1 3 . [«'pin«S]
GL
2 . [po]
NO
8. [z,S']
GL
Ik.
['kvinu]
NO
3 . [t±]
NO
9. [ux]
NO
1 5 . ['safio]
NO
h. [ ' X A ] GL
10. [ o f ' ]
GL
16. [»'tear&]
GL
5. [fe]
NO
11. [as']
GL
1 7 . ["9on±]
GL
6. ['ku]
GL
12. [og]
NO
18. [ " f e w e ]
GL
Clusters With ['] RE 25»20r Quiotepec Chinantec. ~ Clusters and Tones
355 Mimicryi Miscellaneous Nasal
Follow the t r a n s c r i p t i o n as you mimic t h e t a p e . You w i l l hear t h e l i n g u i s t giving the Spanish form before t h e Chinantec item. 1. [m»M]
7. [fin*]
'snake'
2. [dm]
'sandal'
8. ['"5KM]
'new'
3 . [h»&]
'tick'
9. [*»**]
'underbrush'
k. [nM]
' t h i c k (as a t r e e )
10. [MnM]
'blood'
5 . ftf>]
'pill'
1 1 . [Mm?]
'tomato'
6 . [»•?]
'cloth'
12. [Mmt^l]
'water'
RE 25.21* Quiotepec Chinantec. Mimicry* Miscellaneous Nasal Clusters and Tones Mimic and follow the t r a n s c r i p t i o n . Note the r e a r t i c u l a ted [m] as w e l l as t h e long ones. Note the meanings, a l s o j l a . |MmM]
'blood'
l b . [MmtM]
'water'
2a. [M^M]
'my blood'
2b. [Mm«M]
'my w a t e r '
3 a . [Mm?nM]
'your ( s g . )
3 b . [»Mm^nM] 'your ( s g . )
J
L
-—i+a. [MnM]
blood' ' h i s blood'
A
Ub. [Mm-I^Ml
water' ' h i s water"
Chinantec i s spoken i n t h e s t a t e of Oaxaca, Mexico. Data arri recording were prepared and supplied by Dr. Frank Robbins of t h e Summer I n s t i t u t e of L i n g u i s t i c s . The recording i s of the speech of Ramon Garcia.
356 5a. [Mtaj7]
Lesson 25 'our ( i n c l . ) blood*
5b. [MW] '
'our ( i n c l . ) water'
6a. D%*y>nM] ' o u r ( e x c l . ) 1 ,-T " blood'
6b. [MS^'n^nM] ' o u r ( e x c l . ) ' ,u~ water'
7a. [Mm«m»] -L_L
? b . [MjAn?] ' l±-
»your ( p i . ) blood'
'your ( p i . ) water'
RE 25.22* Quiotepec Chinantec. Mimicryt Miscellaneous Nasal Clusters and Tones l a . [>M]
' I ask f o r '
l b . (i*irPm]
' I pinch'
2a. [mi"nM] •L-L
'you ( s g . ) ask f o r '
2b. ['"Spin] *L1.
'you ( s g . ) pinch"
3a. [DM] r^
'he asks f o r '
3b. ["m'ra]
'he pinches'
Ua. [ W ] '
'we ( i n c l . ) ask f o r '
Ub. ['rn^rf'] A '
'we ( i n c l . ) pinch'
5a. [•"V^ii^Al] 'we ( e x c l . ) 1 ' J l _ ask f o r '
5b. [*jl^3»m] 'we ( e x c l . ) ' "— pinch'
6 a . [iJ*i«m0nli] 'you ( p i . ) • \!_i ask f o r '
6b. [''m»«in'»] V_!_
'you ( p i . ) pinch'
Transcription and Reading Use any of the following exercises f o r t r a n s c r i p t i o n * RE 2 5 . 1 , 25.3-25.lU, 25.16-25.19. For reading back t r y 2 5 . 1 , 2 5 . 3 , 25.U, 25.7, 25.12, 25.13.
357
LESSON TWENTY-FIVE R Review
Consonants The inventory of the symbols representing the consonant sounds so far is to be found in Table 25R.1 (p. 358). You are responsible for the production of all of these sounds except the ones in parentheses, which are included for reference only because they have not been drilled, but have been encountered in the actual language materials. You are not responsible for hearing the difference between dental and alveolar stops, nasals, and laterals. You should hear this difference in fricatives and affricates. In addition to the consonant symbolization on the chart, review the affricates which are not included (p. 138), length (p. 269), syllabic consonants (p. 151), and the material on released and unreleased consonants, close and open transition, and consonant clusters, in Lesson 25 (p. 314-5). TE
25R.1«
Matching Consonant Symbols
After you have reviewed Table 25R.1, paying particular attention to the diacritic marks and the distinctions they represent, try TE 2£>R.l in the Workbook Supplement (pp. 6l-6u). This exercise is to help you remember the symbols and their values. Vowels Tables 22.1 and 2I4..I (pp. 309 and 333 r e s p e c t i v e l y ) chart t h e vowel q u a l i t i e s t o d a t e . Review the vowel symbols and t h e q u a l i t i e s they r e p r e s e n t . Review also t h e on-glides [w y r ] and t h e o f f - g l i d e s [w y r H] i n Lesson 12 ( p . 175), length i n Lesson 18 ( p . 269), and vowel c l u s t e r s i n Lesson 20 ( p . 293). TE 25R2. Matching Vowel Symbols The increasing number of vowel symbols now needs a t t e n t i o n t o make sure t h a t you remember what the i n d i v i d u a l symbols stand f o r , and t h e i r r e l a t i o n t o each other i n the c h a r t . This exerc i s e , which works on the same p a t t e r n as TE 25R.1 i s designed t o help you t o e s t a b l i s h these r e l a t i o n s h i p s . Repeat i t as many times as necessary. The exercise w i l l be found on pp. 65"68 of the Workbook Supplement.
358
Lesson Doub H
CO
P
£ cr
CO
s 3
H-
P» H
o
ental
STOPS VI, unaspirated
to
*P
VI, aspirated
P
A
b
d
FRICATIVES VI. flat
P
Q
Vd. flat
b
d
Voiced
%
VI. flap Vd, flap
VI. grooved
s A
z
Vd. grooved VI, lateral Vd, lateral AFFRICATES1 VI. flat unaspirated
pp
te
pf
A
h
VI. flat aspirated
pp*
pf
Vd. flat
bfe
bv
VI, grooved unaspirated
1
te1 A
td ts A A
VI, grooved aspirated Vd, grooved VI, lateral unaspirated VI, lateral aspirated Vd, lateral
w
Review >
3$9 >
CD O
&>
1
W *'
H O H H
n
*-Q {O
K
e H-
W
CL *"^
'H
P p c+
CD PT
< a
JU H H
5 S^J
H M H P 1
- ,.
£
8.
£
t
c
t
k
k
k
th
ch
th
k*1
k11
k11
d
J
d
g
g
g
#
*
•
d*
(-c)
s
&
z
i
x
x
x
g
g
g
kx A A
kx
kx
kx11
kx 11
kx 11
gg »*
gg
gg •• •
S • 2 *
i> 1
ts ts*
1
dz t£
«?» dl
5
••
6h
tSh •» dz ••
5
S
R Li
ZL
r-
<+ cr
1 »1
H
360
Lesson 25R o
M
M
o
Q a1 H
H« 5> a*
fa H«
(D ct»
®
S H
J, 2
q
H
3H
NASALS Voiceless Voiced
r
m
M
N
m
n
Voiced f l a p LATERALS2 Voiceless Vd. high tongue Vd. low tongue
1" lv A
Vd. f l a p TRILLS Voiceless Voiced FLA.PS (cupped tongue)? Voiceless Voiced Table 25R.lt
T'or a f f r i c a t e s with d i f f e r e n t points of a r t i c u l a t i o n on t h e stop and f r i c a t i v e , see p . 138. 2 Lateral fricatives and affricates are shown under fricatives and affricates, respectively.
3 Nasal flaps are shown under nasals, lateral flaps under laterals, and flat tongue flaps under stops.
361
Review
5 CD
CO
o
c+ fo H
93
p.
s P
CD
!
9
9
ID
j]
13
P-
n
n
CD
p.
CD
N
P> o
CD
P5
N
W
a
o
£ 4
P.
2
£
n
L 1" lv
i R r
(r) Consonants t o Date
H O
362
Lesson 2^R
Pitch and Syllables Don't forget to review pitch in the early lessons if it gives you any difficulty, and the characteristics of syllables in Lesson 10 (p. 1^0). Transcription a. For any sounds which you have difficulty recognizing, use the differential drills in the lessons where they were introduced as transcription drills. Check your answers with the Manual. b. Transcribe drills containing longer sequences. Redo some of the "fill in" transcription exercises in the Workbook Supplement. In all of your transcription, study your mistakes in comparison with the correct form and see the reason for your errors if you can. Keep track of your errors on the Transcription Tally form in your Workbook Supplement. Reading Practice reading items from exercises in the Manual, and checking your production against the tape. Work with your buddy so that you can have some check on your production. Sammies Draw Sammies of [| i | 1] using Little Blank Sammies from the Workbook Supplement. Review the formation of any sounds of which you are not sure.
363
LESSON TWENTY-SIX Back Unrounded Vowelsj
M o d i f i c a t i o n of Vowel Q u a l i t y
Front U. R. High
i
Lower-high
v
Mid
e
Lower-mid
e
Low
ffi
Lower-low
a
Central U. R.
Back
u
u.
R.
ra
u
i
V
t>
V
o
9 08
A
a Table 26.It Vowels
With the present lesson we complete the inventory of basic vowel qualities which will be used as reference points for vowel production in this course. The symbols for the two new vowels are [in] "inverted m" and [v] "gamma." It may help to remember [ui] if you notice that [u], beside it, has the shape of an inverted n. tu. is written by hand in analogous fashion to H . v is not strictly speaking a Greek gamma, but looks enough like it so that we call it that for want of a better term. RE 26.1. Demonstration! Table 26.1 Listen repeatedly, and study the vowel chart as you do so. When you are familiar with the material, read off the vowel chart with the tape. Get the new sounds as best you can by mimicry. RE 26.2. Discrimination! SAME or DIFFERENT Respond orally with SAME or DIFFERENT. Don't peek. Use this exercise for transcription if you can handle it well orally. la. {xmm xum]
D
3 a. [xum xmm]
D
2a. [xmm xmm]
S
Ua. [xum xum]
S
Lesson 26
36U 5a. [xtum xurn] 6a. [kl v 'xum
kl v 'xmm] D
i
i
7a. [klv«xmro kl v 'xmm]
S
8a. | kl v 'xum k l v «xum] i i
S
9a. [ kl v 'xmm kl v 'xum]
D
10a. | kl v 'xmm k l " 'xmm]
S
i
i
l b . [2op
Srp]
D
l c . [sip
snip]
D
2b. O p
2op]
D
2c. [ suip
suip]
S
3b. [2yp
2op]
D
3 c [ sip
sip]
S
Ub. [2op
gop]
S
Uc | srnp s i p ]
D
5b. [fc*p
2vp]
S
5c
[sip
D
srnp]
6b. [c&'fcop
ce'fcvp]
D
6c.
kpa' srnp
7b. [ce'Svp
ce'2vp]
S
7c
8b. [ce'2op
ce'2op]
S
9b. [ce'2*p
cs'Sop] D
10b. [ce'Svp
ce'2op]
pa« s i p ]
D
'^pa'sip
^)a'sip]
S
8c. ( kpa'smp
^>a'smp]
S
k
D
9c
D
k
10c
-k pa'sip [^pa'suip
pa'smp] pa'smp]
S
I d . [l*ey
l A *y]
D
le.
'gmw gyw]
D
2d. [ r v y
T-xy]
S
2e. [gvw gyw]
S
3d. [ r v y
roy]
D
3e.
[grow gyw]
D
Ud. [ r a y
l A vy]
D
he.
[gyw gyw]
S
5d. [l A 9y
l A ay]
S
5e. [guw gmw]
S
6d. [ n e ' l ' v y
ne'lA9y]
D
6e.
'no'gyw
7d. [ n e ' l ' v y
neTyy]
S
7e.
[no'gumr 130 'gKw] D
8d. [ n e ' l ' g y
ne'l'gy]
S
8e.
[lp'gyw
no'gimr] D
9d. [ n e ' l A v y
fie'Tgy]
D
9e.
[no'g*w
130'gvw]
S
lOd. [ n e ' l ^ a y
ne'Tvy]
D
lOe. [rjo'gmw
no'guiw]
S
130«gmw] D
365
Back Unrounded Vowels RE 26.3. Demonstrationt Producing [m]
You will find it helpful to watch yourself in a mirror as you practice these steps. Work with your buddy. a. Begin with a tight high back [u] and unround your lips to get [m]. Experiment with modifying the position of the back of your tongue until you can mimic the tape closelyi [dm» dm dm dm dm]. b. Start with [i] and shift the highest part of the tongue up and back to get [mj. c. Start with [g] and lower the tongue slightly so that it no longer produces a fricative. You should get close to [m]. Practice [gm» gm gta gm gm]» « . . . . d. Most speakers of English do not have a high back sound i n t h e words of t h e sentence we are going t o use, but t h i s i s about t h e c l o s e s t t h e y come t o i t . P r a c t i c e t h e sentence with unrounded l i p s and then modify your tongue p o s i t i o n t o match the t a p e . Avoid g l i d e s . A cool pool i n t h e school. e» Say what Miss Muffet said when t h e s p i d e r s a t down beside h e n [*m»]l f. P r a c t i c e t h e following sequence several t i m e s , e x p e r i menting with t h e l a s t item t o get a pronunciation which matches t h a t of t h e t a p e . 1 . f l e e c e t h e geese
['fli>ys di'gi>ys]
2. fluce t h e goose
[ ' f l i w s eli'giws]
3 . f]fflce t h e gmse.
['fins di'gas]
g. Hold your tongue s t i l l and g l i d e your l i p s i n t o g r i n pucker-grin, etc* [u»m,unn,u*ra»u»m»], [umwuuiuurumura]. h . Hold your l i p s unrounded and glide your tongue backfront-back, e t c . [i»m»i»ra»i«ra»i»m»], [indmimimimira]. RE 26.U. Demonstrationt Producing [*] a. Begin with mid back [o] and unround your l i p s to get [v] # Experiment with modifying t h e p o s i t i o n of the back of your tongue u n t i l you can mimic t h e tape c l o s e l y t [d*» dv dv d* d v ] . b . S t a r t with [9] and s h i f t t h e highest p a r t of the tongue
366
Lesson 26
up and back t o get [v]# c . S t a r t with [g] and lower t h e tongue even more than for [in], t o get close t o * [ v ] . P r a c t i c e [g*» gv gv gv gx] and [gm* gv» gn» gv» gi« gV»]. • • • • • • d. S t a r t with [m] and lower t h e tongue s l i g h t l y t o get [ v ] . P r a c t i c e [m^uwnixnrv], e. P r a c t i c e t h e following sentence with unrounded l i p s and then modify your tongue p o s i t i o n t o match t h e t a p e . Avoid g l a d e s . Will t h e show go on t h e road? f. P r a c t i c e t h e following sequence s e v e r a l t i m e s . Experiment with t h e l a s t item to get a pronunciation which matches t h a t of t h e t a p e . 1. make t h e cake
[ l me v yk di»k*1e»ykr1]
2. moke t h e coke
['mowk di'^owk* 1 ]
3 . mifke the cvke
['mtk di'k^vk 1 1 ]
g. Hold your tongue s t i l l and glide your l i p s i n t o g r i n pucker-grin, e t c i [o»y*o*y»o«v«o»v»], [ovo*o*o*']. h . Hold your l i p s unrounded and glide your tongue backfront-back, e t c , [e**»e»Y*e*y»e'w»e»*»], [evevevevex], RE 2 6 . 5 . D i f f e r e n t i a l ! ROUNDED or UNROUNDED Respond o r a l l y t o the t a p e . Don't peek. c i s e f o r t r a n s c r i p t i o n afterwards.
Use t h i s exer-
1 . [lu]
R
5. [l*d]
U
9. [slntiz] U
2. [lo]
R
6 . [lud]
R
10. [slodz]
R
3 . [ix]
U
7. [lod]
R
11. [slrdz]
U
U. [Ira]
u
8. [hd]
U
12. [siudz]
R
RE 2 6 . 6 . D i f f e r e n t i a l t ROUNDED, UNROUNDED or MIXED In t h i s exercise you w i l l hear t h r e e vowels i n each u t t e r a n c e . Sometimes a l l of them w i l l be unrounded, sometimes a l l w i l l be rounded, and sometimes they w i l l be mixed. Respond accordingly. Don't peek. Use t h i s exercise f o r t r a n s c r i p t i o n afterwards.
367
Back Unrounded Vowels 1. [ ' u ' o ' o ]
R
5 . ["»D'o'nt] M
2. ['B»»%]
U
6 . ['K'UI'V]
U
10. ['O'o'ii] R
3 . ['v'n'm]
u
7 . ['v'uCv]
U
11. ['o'ni'ir]
U
In t ' m ' u ' o ]
M
8. ['oPu'o]
R
12. [ ' o ' o ' o ]
R
9. [se'qxf] *
NO
10. [Se'ijnrf]
GL
11. [se'guf]
NO
9. [ ' o ' u ' v ] M
RE 26.7. D i f f e r e n t i a l ! GLIDED or NO 1 . [ktnw] GL *
5. [p^a'xvz]
NO
6 . [p^atx-KHz]
GL
2. [low] GL 3 . [kmH] GL U. [ k v m ] NO
7. [p h a«x*yz] GL 8 . [p h a«x*rz] GL
12. [Se'rjYts] NO
RE 26.8. Mimicry! [m v ±] Mimic the tape and follow the transcription. can mimic well, try transcribing the exercise.
When you
l a . [sni»]
lb. [ s v ]
l c . [ si»]
2a. [sm»t]
2b. [s*»t]
2c. [ s i » t ]
3a. [svrai't]
3 b . [swv»t]
3c
Ua. [snm»t]
Ub. [ s n v t ]
Uc. " s n i ' t ]
5a. [ s k ^ V t ]
5b. [ s k V t ]
5c [ s k ^ t ]
6a. [ k V t ]
6b. [ A s t ]
6 c . [k^ist]
7a. [yo'k^mst]
7b. [ y o ' k N s t ]
7c
8a. [ z e ' p uistj
8b. [ z e ' p ^ r s t ]
8c. ; z e « p h i s t ]
9a. [ze'puiTk 11 ]
9b. [ze'pvrk* 1 ]
9c
Ize'pirk*1]
10a. [bu'pntL'k11]
10b. [bu'pvl-k 11 ]
10c.
bu'pil'k11]
'sW±«t]
"yo'k^st]
RE 26 . 9 . Negative P r a c t i c e i "This i s the House theit Jack Built" Substitute the vowels as indicated in the lists below. The verse begins on p. 205 if you need to refer to it.
368
L e s s o n 26 a
b
c
d
House
[hois]
[hvs]
[his]
[hss]
Malt
[malAt]
[m*lAt]
[mirt]
[m9l*t]
Rat
[rait]
[rvb]
[rit]
[r9t]
Cat
[A*]
[khXt]
[khit]
[kh8t]
Dog
[dug]
[d*g]
[dig]
[dag]
Cow
[k\w]
[kNw]
D&sr]
[kV]
Maiden
[mradn]
[m»dn]
[rnidn]
[iredn]
Man
[nam]
[mwi]
[rain]
[men]
Priest
[p^rrast]
[F^rxst]
[purist]
[p^rsst]
Cock
[k^nk]
[kNk]
[k^k]
[k^k]
Farmer
[fuunr]
[f*rnr]
[fimr]
[famr]
RE 26.10. D i f f e r e n t i a l ! Tongue Height Respond with HIGH, LOWER-HIGH, MID, LOWER-MID, LOW, or LOWER-LOW. When you can do t h i s w e l l , use the e x e r c i s e f o r t r a n s c r i p t i o n . Don't peek. 1. [3m»] H
6. [te*»n]
M
11.
[ripf]
L-H
2 . [ie«]
L-M
7. [boe»n]
L
12.
[rtfpf]
M
3 . [1±«]
L-H
8. [WS.q]
M
13.
[ftnpf]
H
U. [1/v]
L
9. [bi»n]
H
Hi.
[*Apf]
L
5. [I*-] M
10. [bm»r)]
H
15.
[rvpf]
M
RE 26.11. D i f f e r e n t i a l ! FRONT, CENTRAL, or BACK 1. [Mmu»] F
5. [kxi»e]
C
2 . [Mn©«]
C
6 . [kxce«e]
F
10. [s*»t£]
B
3 . [Mmv]
B
7. [kx»»e]
B
1 1 . [si>t£]
F
h. [Mmm»]
B
8. [kxa«e]
C
12. [s<5«t&]
F
'
9. [sm»t&] B
369
Back Unrounded Vowels RE 26,12, Differential! ROUNDED or UNROUNDED
!>•]
u
5.
[da*']
2. [J0-]
R
6.
3. [ # • ]
R
U. [ # • ]
U
1.
[dm*']
u u
10.
7.
[doe*']
R
8.
[diM]
R
R
11.
[ggtf'i] •• [ggi«£] •• [gge-fc]
12.
[ggD'i]
u
9.
•
•
U U
RE 26.13. Diff( s r e n t i a l * F u l l L a b e l s Give the f u l l l a b e l f o r each of the vowels you h e a r .
[V*] [V-]
MBU
1 1 . [zwa«kl v ]
L-L G U
L CU
1 2 . [zw±«kl v ]
L-H C U
3. [ k p u » ]
H F R
13. [zwi»klv]
HFU
lw
[*!*>•]
L-L B U
l U . [zwe»kl v ]
LilFD
5.
[kp8»]
L-M C U
1 5 . [sui»5]
H BU
6.
ft**]
MF R
16.
[SB»8]
L-L B U
7. [ k Piu«]
H BU
17.
[ga»8]
L-L F U
8. [zwD»kl v ]
L-L B U
18.
[soe • £ ]
L F R
9. [ z w o e « k l v ]
L F R
19.
[S9»5]
L-M C U
L BR
20.
[su«5]
HFE
1. 2.
10.
[zwo»klv]
RE 26.1)4.. D i f f e r e n t i a l ! Vowel Symbols Give the name of the symbol with which the vowel i s t r a n s cribed, or w r i t e t h e vowel. 1 . [t*V»]
GAMMA.
7. [dzoe »v]
o DIGRAPH
2. [ t ^ i * ]
u UMIAUT
8. [dzi«v]
BARRED i
3 . [t h A»]
CARET
9 . [dgffl'v]
a DIGRAPH
lu [t^v
]
INVERTED a
10. [ d z ^ v ]
SCRIPT a
5. [tht» ]
INVERTED m
1 1 . [dze«v]
EPSILON
6 . [-fch«5-]
CROSSED o
12. [dzo«v]
BACKWARDS c
370
Lesson 26
RE 26.15. Negative Practice! "Ten Little Indians" Practice back rounded, back unrounded, and central unrounded columns of the vowel chart as demonstrated on the tape. Then continue with nasalized and oral vowels. a. [*u] little, [in] little, ['»] little Indians, ['o] little, [*r] little, [*o] little Indians, [*D] little, [*A] little, [»e] little Indians, ['£] little Indian boys. b. f i ] little, [»i] little, [»i] little Indians, [9v] little, [»&] little, [*£.] little Indians, [*e] little, [»e] little, [*e] little Indians, [*e] little Indian boys. c. Continue around the whole vowel chart in this manner. d. Reverse the sequence in b as follows* [»i] little, [»i] little, [»i] little Indians, [»t] little, [»t] little, [">v] little Indians, [»e] little, [»e] little, ['e] little Indians, [*e] little Indian boys. e. Continue with the remainder of the chart. Modification of Vowel Quality We have been treating the vowels such as those represented on the vowel chart of Table 26.1 pretty much as though they were fixed norms which could be established with exactness. It must be pointed out now that any such treatment is at best a convenient fiction. Every difference in vowel sound is phonetically a different vowel, and it is virtually impossible to repeat the same vowel sound identically twice in a row so that an experienced phonetician cannot hear a difference. Furthermore, there is no absolute reason why the vowels which we have chosen for our norms should have been selected rather than others slightly differently placed in the mouth. There is nothing more basic about these than any of the thousands of
Modification of Vowel Quality
371
other distinguishable vowel qualities. However, for pedagogic convenience we have chosen the vowels represented in Table 26.1 as our approximate norms. We try to produce as close a consistency of articulation and hearing on them as we can, realizing that individual differences between speakers and within the production of any one speaker cannot be entirely eliminated. These areas are our reference points. As we meet sounds in languages, however, they rarely hit our reference norms exactly. They may have allophones some of which are slightly higher, some slightly lower, some morefront and some more back than the general norms we have tried to establish. Phonetic flexibility involves the ability to adjust articulation to reproduce any such variations. To represent such variations we will not add new symbols, but use arrow heads to show the relationship of the sounds to the norms. These diacritics may be used with any vowel symbol. For example, [e*] is slightly higher than [e], [vv] is slightly lower than [u], [a>] is slightly more back than [a], and [£<•] is slightly more forward than [£]. Note also that a combination like [07] indicates a vowel slightly higher and more forward than [0]. In addition to these indications of variation in tongue positions [^] means slightly more rounded than [&], and [u] slightly less rounded than [u], etc. We will not ask you to use such symbols as these for transcribing in this course. They are suggested as an aid in actual language analysis and study. We will, however, practice making articulatory modifications from the vowel reference points with which we are working. RE 26.16. Demonstration! Bracketing Vowels In this exercise we will work on developing flexibility in vowels varying slightly from our norms by the "bracketing technique." To do this we pronounce two vowels, the first one being one which lies in the direction in which we want to modify our vowel, and the second the vowel we want to modify. We follow this with the modified position. Follow the transcription and mimic the tape. 1. [»n[» *i» '!>•]
3. [»£• *o» *o<»]
5. [*»• 'a* *a>«]
372
Lesson 26
7. [»u> "»«!• '/6*»]
9. [*0» *o» *o-»]
8. [ ' e ' *ae» ' e A » ]
10. [ 9 e» °e« »e*»]
1 1 . [*i» *u» *^»] 12. [ * « • "*m* »»•]
RE 26.17. Reviewi Nasalized and Oral Vowels Mimic the tape on these nasalized and o r a l vowels and follow along i n t h e Manual. Be e s p e c i a l l y careful not t o make extra tenseness or l a r y n g e a l i z a t i o n s u b s t i t u t e f o r a strong difference of n a s a l i z a t i o n , and be careful t o have c l e a r o r a l vowels when r e q u i r e d . Hold your fingers a t your n o s t r i l s t o help you d e t e c t o r a l and nazalized vowels. l a . [ti»]
lb. [ti»]
1 c . [ni»]
Id.
2a. [pu»]
2b. [pu»]
2 c . [mu»]
2d. [mu»]
3 a . [ose»]
3 b . [cm»]
3 c . [rce»]
3d. [nee*]
Ua. [k*»]
Ub. [k>r»]
h e . [n«r»]
Ud. [nx»]
5a. [km*]
5b. [km«]
5c. [nip]
5d. [nm»]
6a. [ t i » n ]
6b. [ t i « k ]
6 c . [ni»k]
6d. [ni»n]
7a. [pu«n]
7b. [pu»k]
7c. [mu»k]
7d. [mu»n]
8a. [cae»n]
8b. [cs»k]
8c. [nae»k]
8d. [nse»n]
9a. [k*«n]
9b. [ k y k ]
9 c [n»»k]
9d. [ n f n ]
10a. [km»n]
10b. [kui»k]
10c. [nn^k]
lOd. [nm»n]
RE 26.18. Reviewi Vowel Clusters and Glide Clusters Mimic t h e tape and follow the t r a n s c r i p t i o n . 1. [l'ow'sewra]
8. [nmH'swAir]
2 . [l A ou«seom]
9. [nuiH'suiAir]
3 . [l'ow'sevm]
10. [fwyew'xaesy]
k» [l A rm'sevm]
H.
5. [nuH'swAyr]
12. [fwiera'xmaey]
6 . [nuA'swAyr]
13. [ehfa'lVow]
7. [nmH'swAyr]
lU. [droTVoui]
[fwisw'xuisei]
[ni»]
Modification of Vowel Quality RE 2O.19I Vietnamese.
373
Transcription* Stress and Juncture
The following sentences from Vietnamese consist of thirtynine different combinations of the same five words. Each of these variations has its own meaning. However, as you listen to the recording you will notice that juncture, stress, and intonation also change along with the word order. For this exercise use pp. 69~7U of your Workbook Supplement, and do not refer to the text below until you have done the transcription. The Supplement does not have the juncture or stress transcribed for you. fasten to the tape recording as many times as you need to, and mark the primary stresses in the Supplement whenever you hear them. Then listen for open juncture. This will not occur in every sentence. Indicate it by drawing a vertical line | where you hear it. When you are satisfied with your transcription of stress and juncture check your transcription against the transcription below. Blanks for a second try are also given you so that you can try this exercise again another time. (Juncture is represented below by space in our usual fashion, see pp. l58-l5°.)
1 . ['sa»wnol< ^•wxAQm'd*e>n]
'Why does he say that he won't come?'
2 . [Sa»wj' ba/wnoxA1]m' a*e>n]
'Why do you say that he won't come?'
3.
[Sa«wxAI3m]'ba.»wno'd*e>n]
U. [Sa»-.7XAI3m,'d"e>n 'ba^wno]
'Why haven't you told him to come?' 'Why d i d n ' t you come t o t e l l him?'
5.
['Sa'wnoxA^m'ba , wde> n]
'Why d i d n ' t he t e l l you t o come?'
6.
[ ' s a « w dVni'ba'wnoxffim]
' W e l l , d i d somebody come t o him?"
«
7.
i — /
[' §a«w ba'wiio 1 d*e>nxA^m]
tell
' W e l l , have you t o l d him t o com come?'
"The examples are t a k e n from L e - v a n - L y , Le P a r l e r V i e t namien, pp. 2 3 ^ - 2 3 5 . The r e c o r d i n g i s b y Nguyen-van-Van.
Lesson 26 n o ' d V n Sa»rcc5?3in;*Da?*n
'He came. him?'
no'de>n x/Lnm,!B$x«£3a»w]
•He i s coming, but he i s not saying anything.'
nodVn^B^*w xflSTmTSct*Ws]
'He j u s t said t h a t i t d o e s n ' t make any d i f f e r e n c e . '
no|fba*w §aJ55533mrdAe»n]
'He s a i d , "Why not come?"'
nod!e>nj«6o>w Sa*wxAnm]
'He came t o say, "Why n o t ? " '
not«ba»w «d?e>nxi$mTi§OJ«w]
•He s a i d , "If you come, i t doesn't matter."'
noj'ba^w 35fflm'cfe>n2a.»w]
'He s a i d , "Aren't you coming?"'
noxAnm'ba»w £>a.«w'd"e>n]
'He d i d n ' t say, so why come?'
nox2KrmJ>a*w'de>ns'a»w]
' D i d n ' t he say t o come?'
nox&) mtfe > n|t Scows'a»w]
' D i d n ' t he come to t e l l you?'
' ba»wnos CWXAS m' d"e >n]
' T e l l him why he d i d n ' t come.'
»ba»wno ' de> nxftSm' £a»w]
' T e l l him, "If he comes i t doesn't matter."'
'^•wf§a»wnoxA1Dm'de>n]
' T e l l why he d i d n ' t come.1
bpc^wno'dVn Sa?w"'x38m]
' T e l l him t o come. Why n o t ? '
'ba^wnoxA?3'm'6fe>nSa5w]
'You say t h a t he i s not coming?'
ba'w'xvfl'm Sa»wno'cfe'»n]
'Somebody s a i d , "No, why did he come?"'
Why h a v e n ' t you t o l d
375
Modification of Vowel Quality
a»w no'aTe>nxArm]
'What aire you saying? coining? '
I s he
25. [ X X ^ D O / W s'a»wno'd"'e>n] L °
'Nobody t o l d him why he had come.'
26. [5cA^m^e>n;'8o^wnol'a5w]
' D i d n ' t you come t o t e l l him?'
27. [XAWSO^W, '6a^wno'cte>n]
•It doesn't make any difference. Tell him to come.'
/ — 1
*
28. [XAQID!'£a»wno' cfe* nSa.w]
•Haven't you told him to come?'
29. [xAOm'dVn §a^w«no ga?w]
•They aren't coming. one tell him?'
What does
'They a r e n ' t coming. he say?'
What does
30.
[xArm'd"e>n no >'DOUBTS'a»w]
3 1 . [*c(e>n fta,wnoxAiJm'"s'a»w]
'Go and t e l l him t h a t i t d o e s n ' t make any d i f f e r e n c e . '
32. ['dVrixJfflm •^•imo's'oFw]
'Are they coming? What are we going t o t e l l him?'
33* ['d"e>nxAS)m no'tjoAfs'a'w]
•Are they coming? What does he say?'
3k.
' l o u are coming. you t e l l him?'
['cfe>n Sa'TtxA^rd'tjcinmo]
Why d i d n ' t
35. [ld*e>nBo^wno« Sa'WXAQm]
•Go and say t o him, "Why n o t ? " '
36. ['cTe>n Sa^wnoxA^n}'Sp^w]
'You are coming. said so?'
37. [ ' d V n nobp^wxA'Jm'§a«w ]
'Cornel He says i t d o e s n ' t make any d i f f e r e n c e . '
3 8 . ['cfe>n ndxTKIl'So-^wSaTw]
'They are coming, and he d o e s n ' t say anything'
39.
'You are coming. Why have you t o l d him you are n o t ? '
['dVn
s'aT^'I^TOo'fxSlm]
Why h a s n ' t he
376
Lesson 26
EE 26.20t Vietnamese. Differential* Intonation Go through the tape recording of the previous exercise again, this time listening for the pitch on the last syllable of each sentence. Draw the pitch contour of this syllable on the blank sentences of the Workbook Supplement. Pay particular attention to cases where the same syllable comes out with different pitches. This is due to intonation (question vs. statement, etc.). Listen repeatedly until you feel that you have transcribed the pitch of the last syllable correctly in each case, and then check your transcription with the text above. RE 26.21g Vietnamese. Mimicry Now mimic the Vietnamese sentences of RE 26.19. Follow the transcription in the Manual as you do so. Pay particular attention to the stress, rhythm, juncture, and pitch. Mimic until you can do it fluently and easily. Work with your buddy. Transcription and Reading Use RE 26.2, Z6.5~26.lk,
26.17~26.l8.
Suggested Reading At t h i s point i n t h e course i t would be h e l p f u l t o read through some of t h e following m a t e r i a l s , skipping any p a r t s which you have already s t u d i e d . Eugene A. Nida, Learning a Foreign Language, pp. 86-li+O. H. A. Gleason, An I n t r o d u c t i o n t o D e s c r i p t i v e L i n g u i s t i c s , pp. 158-26$ (1955 e d i t i o n ] , or pp. 239~372 (1961 e d i t i o n ) . Charles F . Hockett, A Course i n Modern L i n g u i s t i c s , pp. 62-119. Charles F . Hockett, Manual of Phonology, pp. 23~U2. I n t h i s reading you may f i n d an occasional d i f f e r e n c e i n t h e symbolization of sounds. Note p a r t i c u l a r l y t h e following equivalences i n t h e vowels.
This Manual
Nida's LAFL (and o t h e r s )
Other
u
u
y
<>
o
377
Modification of Vowel Quality This Manual
Nida's LA.FL (and others)
m
S ••
t
e
OS
1
A ^^7-
Consultant
T ^
U)E H I R 6 P HER TO TEACH P o U B L E
STOPS!
378
•LESSON TWENTY-SEVEN
Implosivesj Fortis and Lenis Articulation Double
Bilabial
Dental/ Alveolar
Alveopalatal
Velar
k
P
t
c
k
*
#
ch
k*
Sb
b
d
i
g
H
£
€
k
gD
b
i d
$
g"
FRICATIVES1 Lung air Voiceless
P
s
s
X
Voiced
b
z
i.
g
<*>
(*)
(•")
(*)
(*)
(S)
(8)
(*)
STOPS Lung air VI. unaspirated
P
VI. aspirated Voiced Ingressive pharynx air Voiceless Voiced
Ingressive pharynx air Voiceless Voiced
Table 27.1* Some Implosives In t h i s lesson we introduce an entirely new feature of articulation. This time, however, i t does not relate to the relative positions of the organs in the mouth, but t o a movement which produces an entirely different a i r stream from what we have had up to now.
Only a sampling i s given of the fricatives. Ingressive pharynx a i r fricatives w i l l not be drilled in this course. Affricates may also be articulated with ingressive pharynx a i r .
Implosivesj Fortis and Lenis Articulation
379
In Sammy 27.1 the dotted arrow shows us the air stream on all sounds which we have practiced up to the present. This air stream originates in the lungs, through movement of the muscles in the chest and abdomen, and moves outward through the mouth, nose, or both. It may be stopped momentarily, impeded, or made to pass through air cavities of different shapes, but it is always an air stream -which originates in the lungs and moves outward. It is egressive lung air. The majority of sounds in all languages are made with egressive lung air.
Sammy 27.It Showing Egressive Lung Air
Sammy 27.2i Showing Ingressive Lung Air
But although egressive lung air sounds are by far the most common, Sammies 27.3 and 27.h picture another source of air stream which occurs in languages scattered all over the world. It seems to be most common in Africa, with important occurrences in Asia, the Pacific, and in American Indian languages. To give two notable examples, it occurs frequently in such national Languages as Thai and Vietnamese, and can in no sence be considered marginal or uncommon. Tingressive lung air (talking while you breathe in) is perfectly possible, but very rare in languages. Hockett's Manual of Phonology mentions one language, Maidu, where two consonants regularly have ingressive lung air (p. 26). We do not drill it in this course.
380
Lesson 27
The air stream for ingressive pharynx air sounds does not originate in the lungs, and it does not go out through the mouth and nose, but comes in. Ingressive pharynx air is produced by closing, or nearly closing, the vocal cords, and pulling the larynx downward while some articulation such as a stop is being made in the mouth, as in Sammy 27.3. This creates a partial vacuum in the air cavities (including the pharynx). When the articulation in the mouth is released, air comes in through the mouth to fill the partial vacuum, as shown in Sammy 27.U. The movement of an ingressive pharynx air sound is very rapid, and they occur in normal stream of speech surrounded by egressive lung air sounds without the slightest hesitation or awkwardness.
Sammy 27.3* Larynx Movement to Create Partial Vacuum for [p]
Sammy 27.Ut Ingressive Air Stream After Labial Articulation is Released
If you will examine Table 27.1 you will see that we have listed a sampling of ingressive pharynx air stops and fricatives. The fricatives are more rare and will not be drilled in this course, although some of them will be used in the demonstrations to help you develop a feel for the proper larynx movement. The stops are often called implosives because of the ingressive air stream. For symbols we use the usual ones for various articulations, modified by a hook which begins at the northwest corner of the symbol when there is such a corner, and at the northeast
Implosivesj Fortis and Lenis Articulation
381
corner if there is a more convenient point of attachment there. From the standpoint of symbolization there is therefore only one new feature to learn (the hook), representing the one new feature of articulation. One more point concerning implosives needs to be made. It has to do with voicing. Voicing, you remember, is an air movement through the vocal cords, such that a characteristic rumble is created (pp. UU-U5). This involves the use of lung air. Voiced implosives, therefore, require two air streams. The primary air stream is ingressive pharynx air, created by the downward movement of the larynx. The secondary air stream is lung air allowed to leak up through the moving larynx into the pharynx. As the larynx moves down it is not quite closed, leaving enough aperture to create voicing. It moves downward, creating a partial vacuum in the pharynx. This vacuum is filled primarily by the air coming in through the mouth, but secondarily by air coming in from the lungs. Voiced and voiceless implosives are shown in Sammies 27.5 and 27.6 with their respective air streams.
Sammy 27.5i [£] Just Released. Note the single air stream.
Sammy 27.6* [g~] Just Released. Note the two air streams going into the pharynx.
Production and Recognition of Implosives In spite of the long explanation above, implosives are
382
Lesson 27
not difficult to learn to make. Most people succeed on the first try, and others find that the combination "clicks" in a few days. EE 27.1. Demonstratiom Production of Implosives Mimic the tape and follow in the Manual. a. Some people make a [g*] when they imitate a frog croaking. Try it in mimicry of the tape* [g*x g"» g"» g» £*]. b. Some people use [k] to imitate water pouring from a bottle* [k k £ £ £].
c. If you can do either of the preceding articulations, put the implosive with a variety of vowels. 1. [g"a g~a ga ga g~a]
5. [ka £a £a £a £a]
2. [g\i g*u g"u gu gu]
6. [ku ku ku £u ku]
3. [|e £e g*e £t it]
7. [£e £e £e £e £e]
U. l$fi £fi it £* it]
8. [ft* k* £* £* £*]
d. Try to produce additional implosives by analogy. 1. [g"a ba £a 6a g"a 6a]
3. [£a p\x £a fa, ka £a]
2. [g~a da £a da ga da]
k,
[£a -fia £a £a £a £a]
Do the same with other vowels as well. e. Try another approach to implosives. Do this in front of a mirror and watch the movement of your larynx up and down, or keep your fingers on it to feel the movement. Say [a*] with ingressive lung air. That is, suck it into the lungs as you say it. Close the lips and keep on trying to suck in the [a»]. This may lead you to drawing down the larynx and producing [£]. f. Many people actually produce implosives when they are trying to get strong voicing on a stop. Without releasing the bilabial articulation, try voicing and lowering the larynx at the same time. Do the same in alveolar and velar positions. Feel the movement of the larynx. g. If you can make implosives, and if double stops are
383
Implosivesj Fortis and Lenis Articulation not too difficult for you, you should have no trouble with [6b *p]. Try these sequences. 1. [ga ba Sba g"a 6a Soa]
2. [ka pa *pa lea £>a *£a]
h. In producing voiceless implosives you may find that you have a little difficulty with coordination between the release of the implosive and the onset of the vowel which follows. Because the implosive involves the closure of the vocal cords there is a danger of holding the [*>] too long, so that it is an additional segment between the implosive and the vowel. Listen to the tape as it demonstrates good transition and poor transition on the following sequences. Practice to produce the good transition. Poor Transition
Good Transition la,
[ka]
lb.
[k'a]
2 a. [ia]
2b.
[fro]
3a > [f»]
3b.
[p'o]
RE 27 . 2 . Disc riminatioiu SAME or DIFFERENT la.
[Sz,
bz, ]
D
lb.
2a.
[de
cfe ]
D
2b. i
3 a . [ g bu
g
bu]
S
3b. [ ^ o
Ua. [&bo
^>")]
D
Ub. [ km km]
S
S
Sb.
S
S
6b. [ »')6tu
D
7b. [ • ' 0 3 pm
"oepw]
S
t'D^y]
D
5a. [g% 6a.
g*m]
[i^vcfv
"vdV] 4
7a. [«»*&
J
ftfdu]
[ £e k
;t»
D
te] k T k
Po]
tv] • *»&£]
S D
D
["oefera
"oefim]
S
8b.
["nfy*
9a. [t'Kjgfcr
"x^br]
D
9b.
'•"mko
"aikra]
S
8a.
10a. ["BgtD
•''ingo]
S
10b.
;«'^ku
"j6ku]
D
11a. [»g~tfzu
•grfzii]
D
lib.
i'fttZTI
•pizn]
D
12a. [ ' b i r o
•bizn]
D
12b.
'tvzir
ȣvzr]
D
13a. ['ofl7Z*
•dvzr]
D
13b.
[•^eza
• k peza]
D
381;
Lesson 27
RE 2 7 . 3 . D i f f e r e n t i a l ! IMPLOSIVE or NO li
[*H
2 . [£a«] 3.
I
5.
[n«do»]
NO
I
6. [n'go«]
NO
[ca«] NO
7. [ntSbo.]
9. [ycenA'ko] 10.
[yoenA'to]
I
1 1 . [yoenA ,k po]
I
12.
I NO NO
i
U. [Sa»]
I
8. [m>po«]
[yosnA'bo]
I
RE 27.U. Differential! LUNG or PHARYNX In this exercise you will not be distinguishing anything different from what you were doing in the preceding exercise, but it gives you a chance to approach it from a different level of terminology. 9. [wiEi'pae]
P
1.
[dli]
L
5. [ s c e ' k p e ]
L
2.
[bu]
P
6. [soe» g bs]
P
10.
[wi2i ,g D6e]
P
3.
[fai]
P
7.
[soe'je]
L
11.
[wiSi'bse]
L
U. [pil]
L
8. [ s o e ' t e ]
P
12. [wi2i'g"ffi]
P
RE 27.5. Differential! VOICED or VOICELESS [iz.'£i]
9 . [sop A»ku]
VL
[sop A'fu]
VD
VL
1 1 . [sop h A»ju]
VD
VD
12. [SOP Aȣu]
VL
1.
[&]
VD
5.
VD
2.
[f>fi]
VL
6. [ I ^ S f e ]
VD
10.
3.
[<&>] VD
7. [lt-'cSi]
U . [ k p/6] VL
8. [!&»&]
RE 27.6. Negative Practicet Implosives Practice the following English sentences, or others like them, substituting the implosives indicated. Mimic the tape and follow the transcription. 1. 6ig Bad Boy
U. peck of pickled p'ep'pers
2. g"ooey g*reen g"rapes
5. katheryn kissed her kousin
3. cfoes dfottie d"ream
6. -£ake tommy to the train
RE 27.7. Mimicry* Implosives Mimic the tape, following the transcription as you do so.
385
Implosivesf Fortis and Lenis Articulation l a . [6u]
lb.
[ub]
lc.
[bub]
Id.
[bufiuB]
2 a . [Se]
2b.
[eb]
2c.
[befi]
2d.
[BeBeb]
3 a . [do]
3b.
[ocf]
3 c . [cGxf]
3d.
[dbdbcf]
Ua. [d"t ]
Ub.
t^ef]
lie.
[dlrf]
Ud. [d*lcfz,cP]
5a. [it]
5b.
[i|]
5 c [&£l
5d. [ & & g ]
6a.
6b.
[**]
6c.
[£«£]
6 d . [g*oe gas £]
7a. [fe]
7b.
[a*]
7c
7 d . [$&$&§]
8 a . [£i>]
8b.
[vp]
8c.
[feft [frtf]
9a. [£e]
9b.
[si]
9c
[£<>•£]
9d. [£ets€]
1 0 a . [£o]
10b.
[o£]
10c.
[£o£]
lOd. [•£o£o£]
1 1 a . [id.]
lib.
[ife]
lie.
[fiifi]
lid.
1 2 a . [k<5]
12b.
[ok]
12c.
[fiafc]
1 2 d . [kokok]
[g"ce]
8 d . [pv£pf>]
[kikilc]
EE 2 7 . 8 . D i f f e r e n t i a l ! GLOTTAL o r IMPLOSIVE
When an implosive is articulated in strong, exaggerated fashion such as we have been demonstrating here for learning purposes, it does not sound much like clusters of ['] plus voiced or voiceless stops practiced in Lesson 25 (pp. 3U9~35U). In many languages, however, implosives are not so strongly articulated as this, and the acoustic difference between them and clusters with glottal stop becomes small. This is not difficult to understand because glottal closure is involved in either case. In this exercise decide whether you hear a cluster of [*] plus stop or an implosive, and respond with GLOTTAL or IMPLOSIVE. Don't peek.
1. [ & ]
I
6. [»te]
G
1 1 . [du]
I
2.
[»gA] G
7. [£e]
I
12.
[ka]
I
3.
['pi]
G
8 . [*du]
G
12.
[rffc]
I
U. [ $ • ]
i
9 . [*k6]
G
lU.
['poe]
G
5. [<&]
I
10. ['JOB]
G
15. ['tee]
G
386
Lesson 27
RE 2 7 . 9 . Mimicryt Implosives and Clusters with [*] l a . [6a]
l b . O'Sa]
l c . [*ba]
I d . [v"> «ba]
2a. [<&]
2b. [e'd/6]
2c. [*dj«]
2d. [e"d/6]
3 a . [Ja]
3b. [o'js]
3 c . [»jo]
3d. [ o " j e ]
Ua. [g%]
Ub. [ i ' g i ]
lie. [»gi]
l«i. [ i " g 4 ]
5a. [ 6 A ]
5b. [U«6A]
5 C ['PA]
5d.
6a. [•£«]
6 b . [«S'£i;]
6c. [He]
6d. [/6*>«tv]
7a. [c*e]
7b. [i'tfe]
7 c [»oe]
7d. [i»«ce]
8a. [iav]
8b. [O«£A]
8 C . ['kA]
8d.
[u"pA]
[o"kA]
RE 27.lOt Kaka. Mimicryt Implosives 1. [fco]_
'3rd plural'
5 . [Jo]
'village'
2. [So]
'rot'
6 . [d\g
'jump'
3 . [be-] ' h o l e '
7. [joj
'ton'
U. [Jeg
8. [fba]
'palm n u t '
'eat'
RE 27.11/ Kaka. Mimicryt [fc] 1. [b"oSo]
'bedbug'
6 . [feando"]
'bind'
2. [boso v ]
' g e t wet'
7 . [6akije]
'keep 1
3 . [6okws]
'joke'
8. [benov]
'refuse'
U. [6smbe]
'manner'
9 . [fiembe]
'center'
5. [finlDUse^] '•butterfly'
10. [bqfio ]
'compress'
Implosivesj F o r t i s and Lenis A r t i c u l a t i o n
387
H . [fiendo]
'surroundings'
lU. [bute*] '
'open'
12. [b^gs> ]
'plow 1
15. [ t u s e v ]
'cover'
16. [ b i f i k i j
'perspiration'
13. [Se-!titev|ri] 'domestic animals' RE 27.12t Kaka. Mimjcryt [d" J] 1. [cTukwe]
'tear'
5. [Ja]
•village'
2 . [dakwe]
' c o r d for hanging'
6 . [doj
'jump'
7. [cfete]
'like that'
3 . [dovkwe] 'become b i g ' h. [ d i t e ]
'fire'
RE 27.13» Kaka. Mimicryi [ J dl 1. [jbn!go*r]
'brain'
7. [je*mbo"]
'sing'
2 . [jam^i]
'war'
8. [je v mbije*]
'believe'
3 . [Jan]
'garbage'
h» [$&]
'eat'
9. [ J o n g w e ^ ] 'chamelion' 10. [d*ovkwev]
'become b i g '
5. [ 3 i b i > ] ' p r o t e c t '
1 1 . [d"akwev]
'cord f o r
6 . [d*ibV]
~"^12. [jq]
hanging' 'village'
'close'
F o r t i s and Lenis A r t i c u l a t i o n A l i t t l e experimentation i n your own speech t r a c t w i l l be enough t o show you t h a t speech a r t i c u l a t i o n s may be made with
388
Lesson 27
tense, tight muscle movements (which we will call fortis), or lax, light muscle movements (which we will call lenis). lou can, for example, pronounce the English word pie in such a way as to barely touch the lips together for the initial stop. This light articulation gives you a lenis [p/1]. However, you can also say the same word beginning with a stop in which the lips are tightly and deliberately pressed together with tense muscle tone. In that case the word begins with fortis [p*1]. In English /b d g/ tend to be lenis, as opposed to /p t k/ which tend to be fortis. You will remember that in Lessons 5 and 7 (pp. 79ff• and lllff.) when voiced stops were being introduced, it was pointed out that many speakers of English do not regularly voice /b d g/, but normally have voiceless unaspirated stops for these phonemes, at least in many positions. This statement remains true but we can now add as well that these English voiceless unaspirated stops are lenis, which helps to keep them separate from /p t k/. The tenseness of articulation, therefore, is another variable in languages. Usually, relatively fortis or lenis quality is one factor along with many which go to make up the features by which one phoneme is distinguished from another. In some languages the contrast between fortis and lenis is the principal distinguishing feature of a set of phonemes. Korean, for example, has fortis consonants / p t c k s/ and lenis consonants /p t c k s/ as well as the aspirated* set /p*1 ^ c*1 k^/. The lenis set may be slightly aspirated (but not as much as'the. aspirated set) and has voiced allophones between voiced sounds. In this course we will not pay any further attention to the distinction between fortis and lenis other than what is included in this lesson. RE 27.1b. Differentials FORTIS or LENIS This exercise will give you an opportunity to hear a distinction between fortis and lenis articulation of stops. As with many other features of articulation, it is not possible to eliminate every other variable like length. The fortis articulations may tend to be longer, but we will try to keep them constant. 1. [pa] L
3. [ca] L
t
*
2. [pa] »
F
U. [ka] »
5. [ta] F *
L
6. [ta]
L
i
'C. H. Park, An Intensive Course in Korean, Book I
Implosivesj F o r t i s and Lenis A r t i c u l a t i o n
389
7. [uku]
F
1 1 . [upu]
L
15. f o e ]
F
8. [ucu]
F
12. [upu]
F
16. f o p ]
L
9. [ucu]
L
13. [ ' o t ]
L
17. [ ' o t ]
F
10. [uku]
L
lit. ['ok]
F
18. ['ok]
F
RE 27.15* Red Bobo.
Transcription* Length and Tone
Use pp. 75~80 of your Workbook Supplement for t h i s exerc i s e . Without looking a t t h e t r a n s c r i p t i o n below, l i s t e n t o the t a p e as many times a s necessary, and draw i n the pitch cont o u r wherever i t i s not i n d i c a t e d i n the Workbook. Then go through the m a t e r i a l again, i n s e r t i n g [• ' ~J whenever you hear i t . Use t h e " F i r s t Try" column on these repeated l i s t e n i n g s u n t i l you a r e s a t i s f i e d with your t r a n s c r i p t i o n . Use t h e "Second Try" column another day i f you f e e l you need i t . The sentences a r e recorded i n groups on the t a p e . vidual sentences a r e not repeated, but t h e groups a r e .
Indi-
1. /oSdjwaj'yamuhe«le/
'Doesn't he l i k e the s a l t here? '
/otyiftfa*'bagahe«le/
'Doesn't he l i k e t h e gown h e r e ? '
/oyi,'wa'yo«muhe»le/
'Doesn't he l i k e the milk h e r e ? '
jwa'ho»lehe«le/
'Doesn't he l i k e t h e sand h e r e ? '
2 . /o'dia,wa"yamuhe«le/
'Did he leave our s a l t here? 1
/odiaVai'bagahe'le/
'Did he leave our gown here?'
i
i
L
/odiaiwa'yo»muhe*le/
'Did he leave our milk here?'
/o'diajwa'ho»lehe*le/
'Did he leave our sand h e r e ? '
"TData are from t h e Ouarkoye d i a l e c t of Upper Volta. Analy s i s and recording was done by t h e Rev. James M. R i c c i t e l l i of the C h r i s t i a n and Missionary A l l i a n c e .
Lesson 27
390 3 . /6\nawa;'yaimj(he»le/
' W i l l he give our s a l t h e r e ? '
/ot,nawa;' bagafr e • l e /
' W i l l he give our gown here? '
/oxnawa'yo»muhe»le/
'Will he give our milk here?'
/b^nawa'ho«lehe»le/
'Will he give our sand here? 1
U. /b< cawa*yarouhe'le/
' I s he looking f o r our s a l t here?"
/btcaira] 1 bagaihe«le/
' I s he looking f o r our gown h e r e ? '
/chcawa'yo»muhe»le/
' I s he looking for our milk h e r e ? '
•
•
/btcawa'ho«lehe«le/ 5. / g b a ^ l a l a » /
' I s he looking for our sand here?• ' T h e y ' l l take t h e monkey.'
/^bajlala^/
' T h e y ' l l take an a n t e l o p e . 1
/SbalajLa^/
'They took a monkey.'
r
/^bajlaia^/
'They took an antelope.
/SbsKlala*/
' T h e y ' l l eat a monkey.'
/gba^laSa^/
• T h e y ' l l eat an a n t e l o p e . '
/^balala*/
'They a t e a monkey.'
/gbalala^/
'They a t e an a n t e l o p e . 1
Implosivesj Fortis and Lenis Articulation 6. /bcftilafLa*/
<£Eaia»/
'A man took a monkey.' A man took an a n t e l o p e . '
/b^la-La*/
A man a t e a monkey.'
/bX^lajia*/
A man a t e an a n t e l o p e . '
7. /oga^mialhe/
The f a t h e r i s n ' t h e r e . '
/ozatniajhe/
The c h i l d i s n ' t h e r e . 1
/o&a*>miajhe/
The man i s n ' t h e r e . '
/ona«imia|he/
The cow i s n ' t h e r e . '
.
391
t
/ona«jmia!he/ 'j—' —P
The scorpion i s n ' t h e r e . '
/ona»|miajh,e/
The cow i s n ' t h e r e . '
i
1
i
/ojtia«miahey
The snake i s n ' t h e r e . '
/o!ba»miahe/
The man i s n ' t h e r e . '
/oha«miaihe/
The snake i s n ' t h e r e . '
(not recorded)
/ona«tmis|he/
The scorpion i s n ' t h e r e . '
(not recorded)
RE 27.l6t Red Bobo. Mimicry Replay RE 27.15 s e v e r a l t i m e s , mimicking c a r e f u l l y . Work p a r t i c u l a r l y on t h e tone p a t t e r n s . Follow the t r a n s c r i p t i o n . T r a n s c r i p t i o n and Reading Use RE 27.2-27.5, 27.7-27.X3.
392
LESSON TWENTY-EIGHT Voiceless Vowels/ Laryngeal!zation Front
High
U.
R.
I
U
Lower-high Mid
Central U.
Back
R.
U.
R. U
I E
0
0
M
CE
0
Lower-mid Low Lower-low
a
Table 28.1* Some Voiceless Vowels All of the vowels p r a c t i c e d up t o t h e present time have been voiced. Voiceless vowels also occur i n many languages as diverse as French, Japanese, and Comanche, I n most cases t h e voiceless vowels are allophones of phonemes which a l s o have voiced members, but t h a t does not l e s s e n t h e n e c e s s i t y f o r recognizing them and being able t o produce them. Table 28.1 presents only a s e l e c t i o n of v o i c e l e s s vowels f o r d r i l l purposes. Any vowel q u a l i t y may be a r t i c u l a t e d w i t h out v o i c i n g . Voiceless vowels a r e i n d i c a t e d by c a p i t a l l e t t e r s on the analogy of v o i c e l e s s n a s a l s and l a t e r a l s . RE 2 8 . 1 . Demonstration* Producing Voiceless Vowels a. S t a r t with English / h / which i s s i m i l a r t o , though not i d e n t i c a l with, v o i c e l e s s vowels. Mimic the tape and get t h e f e e l of English / h / i n d i f f e r e n t p o s i t i o n s before d i f f e r e n t vowels. Prolong t h e / h / , and then i s o l a t e i t . Read a c r o s s . l a . heat
l b . h«eat
lc,
[I]
2a, h a t
2b, h«at
2c.
[M]
3 a . hot
3 b . h«ot
3 c . [ct]
Ua. hope
' hb, h»ope
Uc. [0]
5a. hoot
5b. h»oot
5c
[U]
393
Voiceless Vowelsj Laryngealization
The end product of this series is a voiceless vowel with an additional laryngeal quality (an additional constriction in the larynx) characteristic of English /h/. Note how the quality of the /h/ differs according to the quality of the following vowel. b. Much the same effect can be obtained by whispering the five words above, or other English words. This time, however, the voicelessness continues throughout the vowel. Whispered vowels are voiceless, but again there is an additional constriction in the larynx which makes them easier to hear than as though the larynx were fully open for complete voicelessness. c. Mimic the tape. This time you will deliberately turn off the voicing of vowels, but as you do so, try not to "whisper" them or give an /h/ quality to them. Maintain the oral articulation for the vowel and turn off the voicing, or turn it on as called for in the exercise. Be sure that your voiceless vowel is fully syllabic„
la.
[il]
lb. [ili]
lc. [Ii]
Id. [ n i ]
2a. [eE]
2b. [eEe]
2 c . [Ee]
2d. [EeE]
3a. [ffi/E]
3b. [a/Ete]
3 c [/Be]
3d. [/Eee/E]
Ua. [ i l ]
Ub. [414]
Uc. [14]
Ud. [141]
5 a . [ad]
5b. [aOSx]
5 c tab]
5d. [aaCL]
6a. [uU]
6 b . [uUu]
6 c . [Ua]
6d. [UuU]
7a. [oO]
7b. [oOo]
7c
[0o]
7d. [OoO]
8a. [oo]
8b. [ooo]
8 c . [0o]
8d. [Oo!)]
9a.
[ufj]
9b. [uUu]
9 c £uu]
9d. [UuU]
10a.
[/$]
10b. [4M
10c. [00]
lOd. [0«S0]
U b . [oeOEoe]
l i e . [CEoe]
l i d . [OSoeOE]
11a. [ceCE]
d. Mimic the demonstration of Table 26.1 (p. 363), followed by Table 28.1. RE 28.2. Differential* Full Labels Give the description of the articulation of each of the voiceless vowels which you hear.
Lesson 28
39U 1. [pa]
L-L C U
6. [nok0]
11FE
1 1 . [tOni]
MBR
2. [pU]
HBR
7. [nokl]
HF U
12. [tEni]
MFU
3 . [pM]
LFO
8. [nok-0]
LBR
13. [tOni]
L-L C U
U. [pi]
L-H C U
9. [nokE]
MFU
Ik.
L FU
5. [pCE]
L FR
10. [nokU]
HFR
15. [ t A i i ]
[t/Eni]
M FR
RE 2 8 . 3 . Mimicry* Voiceless Vowels Mimic the tape and follow the t r a n s c r i p t i o n . l a . [ 'lapd]
l b . ['XopQpa]
l c . ['lapdpCL]
2a. [ •notO]
2b. [•notOto]
2c. [•notOtO]
3 a . | 'zecE]
3b. [•zecEce]
3 c . f'zecEcE]
Ua. [ • r i k l ]
Ub. [ • r i k l k i ]
Uc. [ ' r i k l k i ]
5a. [ •sukU]
5 c ['sukUkU]
6a. | 'd)6s0]
5b. [•sukUku] • • 6b. [«A0S0S0]
6c. [ • d e i s ^ ]
7a. [ 'fcexCE]
7b. [•fcexGExce]
7c
8a. [ ••mieu]
8b. [ 'wiieueii]
8c. [«wu9U9U]
9a. "'mopO]
9b. [•mopOgo]
9c
10a.
•nisi]
10b. [ • n i s f s i ]
['foexOExQE]
[•mopOpO]
10c. [ ' n i s l s i ]
11a.
''nass/E] l i b . ['Bass/Ess] l i e . ['KBS/£§/£] • • • RE 28.,ht Comanche. Mimicry* Voiceless Vowels Mimic the tape and follow the t r a n s c r i p t i o n . 1. ['mo'O]
'hand'
2. ['papl]
'hair'
Data from Henry Osborn and William A. Smalley, "Formulae for Comanche Stem and Word Formation," Venda Riggs, "Alternate Phonemic Analyses of Comanche," William. A. Smalley, "Phonemic Rhythm i n Comanche," and E l l i o t t D. Canonge, "Voiceless Vowels i n Comanche." The recording i s not b y a n a t i v e speaker.
395
Voiceless Vowels| Laryngealization 'pipe'
17.
'daughter'
18. [ • t o s i « t 0 ]
5. [«tscx»tl]
'good'
19.
"'nateo'pf]
'picture'
6 . [»hi«pl]
•drink'
20.
""eplpl]
'blue'
7. [«ti»pE]
•month'
21. | ' t o ' I n i * ]
'pipes'
8. t ' h u » p l ]
'tree'
22.
"'naklni*]
• ears'
9. [»pu»kU]
'horse 1
23.
'•kuplta'']
•a l i g h t "
10. [ • p c p l ]
•drawing'
2lu i ' - ' i k l s i ' ]
1 1 . t »ko«pE]
'face'
25.
i'kWlrT'a]
• i t i s right here' 'spill'
12. [ ' p i a p i ]
'big'
26.
"'siklti'u']
' i t is here'
13. [•tiasE]
'again'
27. ( •sokOfi'u*]
'lots'
28.
15. [ ' t i b i t s l ] •very'
29.
16. [•hunupl]
30.
3. [Ho'l] h.
Ik.
['pe«tl]
[•moakU]
'creek'
]'sahopA]
'broth' 'hoof
' i t i s over there' [•sukufi'u*] ' i t i s out of sight' '.' noMfeakiki'>u'» ] 'he came t o pack' \lnoribaklki'u''] 'he packed and came on'
Voiceless Glides Many d i a l e c t s of English have two v o i c e l e s s g l i d e s , /ff/ and / Y / . I t might help you t o review TE A.2 and A.3 (pp. 1*72 and u 7 3 ) . Note t h a t the v o i c e l e s s glides d i f f e r from the v o i c e l e s s vowels i n the same way t h a t voiced g l i d e s d i f f e r from voiced vowels. They are n o n - s y l l a b i c , and c o n s t i t u t e ong l i d e s t o s y l l a b i c vowels or o f f - g l i d e s from them. RE 2 8 . 5 . Mimicry* Voiceless Glides Mimic and follow t h e t r a n s c r i p t i o n . l a . [ffa?]
l b . [»cJT]
lc. [la']
Id.
[»al]
2a. [Worn]
2b. [moW]
2c. [lom]
2d. [moY]
3 a . [Wen]
3 b . [neW]
3c
[Yen]
3d. [reY]
Ua. [wAlA]
Ub. [1*AW]
Uc.
[YA1~]
Ud.
[1 A AY]
Lesson 28
396 5a. [Woe z ]
5b. [zoeW]
5 c [Ycez]
5d. [zceY]
6a. [woe]
6b. [goW]
6c. [Yog]
6d. [goY]
7a. [Week]
7b. [ism]
7c
[Ysak]
7d. [teY]
8a. [Wif]
8b. [fiW]
8c. [Tif]
8d. [fiY]
9a. [kWen]
9b. [neWk h ]
9 c [klen]
9d. [neYk*1]
10a.
[sWaa]
1 0 b . [daWs]
1 0 c . [sYad]
lOd. [daYs]
RE 28.6. D i f f e r e n t i a l * GLIDE or FRICATIVE The a r t i c u l a t i o n of [Y] i s very s i m i l a r t o t h a t of [ x ] , and [W] t o t h a t of the i n i t i a l p a r t of [xw]. The difference l i e s only i n t h e degree of s t r i c t u r e , t h e tongue being c l o s e r t o t h e point of a r t i c u l a t i o n i n the f r i c a t i v e . I n t h i s exerc i s e respond with GLIDE or FRICATIVE according t o t h e v o i c e l e s s glide or f r i c a t i v e you h e a r . 1 . [YAt h ]
GL
5 . ["eWen]
GL
2. [xAt h ]
FR
6 . [«'exwen]
FR
10. ['noYoz] GL
3 . [xwAth]
FR
7. ["exwen]
FR
1 1 . [«noxoz]
FR
GL
8. ["exwen]
FR
12. [»noxoz]
FR
k,
[WAth]
9 . [»noYoz]
GL
Voiceless Vowels, [ h ] , and Aspiration We have already pointed out t h a t English / h / i s a v o i c e l e s s vowel plus a d d i t i o n a l c o n s t r i c t i o n i n t h e l a r y n x . A s p i r a t i o n of s t o p s i s a l s o t e c h n i c a l l y non-syllabic v o i c e l e s s vowel, usua l l y of indeterminate c e n t r a l q u a l i t y . S t r i c t l y speaking, then, a s p i r a t i o n i s a v o i c e l e s s on-glide corresponding roughly with t h e [H] o f f - g l i d e i n q u a l i t y , but corresponding with [SIT] and [Y] i n i t s v o i c e l e s s n e s s . This information does not a f f e c t our production or t r a n s c r i p t i o n of [ " ] , but simply f i l l s out our p i c t u r e somewhat. RE 28.7. Mimicry! Contrasting Voiceless Vowels and A s p i r a t i o n You can d i s t i n g u i s h r e g u l a r a s p i r a t i o n from v o i c e l e s s vowels following stops by t h e s y l l a b i c nature of the vowel, and t h e f a c t t h a t d i f f e r e n t vowel q u a l i t i e s can be d i s t i n g u i s h e d . Follow t h e t r a n s c r i p t i o n as you mimic t h e t a p e . l a . [mak h «su'']
'
l b . [makO'su*]
l c . [makE'su*]
Voiceless Vowels/ Laryngeal!zation 2a. [zet h »yArj] 3a.
2b. [zet/E'yAn]
[kpith«tvv]
3b.
[kpitl«tpv]
397 2c. [zetU'yAn] 3c
[kpita'tuv]
Ua. [ j 0 t h ' x o e l A ]
Ub. [j/StU'xcEl"]
Uc. [ j ^ t O ' x c e r ]
5a. [got^'iraw]
5b. [gotl'ndw]
5c. [gotO'miw]
RE 2 8 . 8 . Mimicry* Postvocalic [h] [h] does not occur i n s y l l a b l e - f i n a l p o s i t i o n i n English, so t h a t i s a p o s i t i o n i n which we need t o p r a c t i c e i t f o r some languages. In t h i s case we w i l l not be concerned with whether or not t h e sound i s a pure v o i c e l e s s vowel or has the additiona l c o n s t r i c t i o n i n the larynx c h a r a c t e r i s t i c of i n i t i a l / h / i n English. la.
[mah]
lb.
[•mahso]
l c
[•mahsoh]
2a. [leh]
2b. [•lehkhu]
2c. f l e h l ^ u h ]
3a.
[wo»h]
3b.
3c
Ua.
[vffih]
Ub. [•vahdA]
Uc. [•veehdAh]
5a.
[r)«i]
5 b . [•rjihru.]
5c
6a.
[tii'h]
6b. [•tli'hna]
6 c. [•tu'hnah]
[»wo»hmu]
[•ge«hbe]
7a. [ge»h]
7b.
8a. f o e h ]
8 b . [ ' ' oe h f A ]
7c
[•wo»hmuh]
['nihnz-h]
[•ge»hbah]
8c. [,9oshrAh]
RE 28.9. Miinicryi P r e a s p i r a t i o n Some languages have a s p i r a t i o n , or a short [h] which comes before stops r a t h e r than a f t e r . Mimic the tape and follow t h e t r a n s c r i p t i o n for [h] i n t h i s p o s i t i o n . In t h e t h i r d column be careful not to s u b s t i t u t e a v o i c e l e s s n a s a l , l a t e r a l , e t c . , for [ h ] . [hpo 1 hpo]
l a . [hpo]
lb.
2a. [hpii]
2b. [hpu'hpu]
2 c [hpul* 'hpuT ]
3a. [hta]
3b.
3c.
Ua. [ h t i ]
Ub. [ h t i ' h t i ]
Uc. [ h t i l A « h t i l * ]
5a. [hca]
5b. [hco'hce]
5c. [hcQn'hcan]
[hta'hta]
l c . [hpom'hpom]
[htan'htan]
398
Lesson 28
6a. [hco]
6b. [hco'hco]
6c. [heol'hcol]
7a. [hkoe ]
7b. [hkoe'hkoe]
7c. [hkoen»hkoen]
8a. [hire]
8b. [hkse'hkse]
8c. [hkaen'hka-in]
Laryngealized Vowels Several of the f e a t u r e s of a r t i c u l a t i o n which we have worked with so f a r have originated i n the l a r y n x . These i n clude g l o t t a l s t o p , the source of t h e a i r stream i n implosives, voicing, and p i t c h . We mentioned a l s o e a r l i e r i n t h i s chapter t h a t English / h / has a q u a l i t y created i n the larynx which makes i t more than a simple v o i c e l e s s vowel. A l l of t h e s e f e a t u r e s might be c a l l e d laryngeal f e a t u r e s , as they r e s u l t from movements or c o n s t r i c t i o n s or configurations i n the larynx, and some, i n f a c t , a r e occasionally r e f e r r e d t o as l a r y n g e a l i n t h e l i n g u i s t i c l i t e r a t u r e . I n t h i s course, however, we a r e going t o reserve t h e a d j e c t i v e laryngeal for a f e a t u r e of a r t i c u l a t i o n which we have not previously introduced, but which may occur t o modify any vowel q u a l i t y . 1 RE 28.10. Demonstration! Laryngealized Vowels Laryngealization does not occur as p a r t of the English phonemic system, but does occur as an o v e r - a l l voice q u a l i t y under c e r t a i n conditions and i n the speech of some people. a. Stretch as though ready for bed, and say i n a sleepy, raspy voicet I'm so sleepyi [ 'aym sow «sli>ypi>y]. Mimic the tape. b . Some c h i l d r e n use t h i s effect t o i m i t a t e a machine gun or a s t i c k being rubbed along a picket fencei [a»] c. Note t h e symbolization f o r l a r y n g e a l i z a t i o n . I t i s a g l o t t a l stop w r i t t e n over the vowel. You can t h i n k of l a r y n g e a l i z a t i o n as being a kind of g l o t t a l t r i l l , and you see t h e significance of using the g l o t t a l symbol. Here i s a s e l e c t i o n of the vowels from t h e vowel c h a r t . Listen t o the tape demons t r a t i o n and mimic i t . (See Table 28.2) RE 28.11. D i f f e r e n t i a l LARYNGEALIZED or NO 1 . [m2]
LA
2 . [mce]
LA
3 . [ma] NO
Actually, - i t can probably occur with any voiced continu' ant as w e l l , but we w i l l p r a c t i c e i t only on vowels.
Voiceless Vowelsj Laryngealization Central U. R.
Front U. R.
Back U.
R.
9
I
High
399
9
m
u
u
9
Lower-high
i •>
Mid
9
I
e
o
Lower-mid 9
Low Lower-low
9
CB
ee
9
A
o 9 13
9
a
a
Table 28.2. Some Laryngeallzed Vowels 1+. [mo]
LA
7. [ s t ? e ]
NO
10.
prl A uv]
5. [ s t f a ]
NO
8. [ s t r e ]
NO
n.
p^l* 8v] NO
6. [ s t r a ]
LA
9. [prr£.v]
LA
12.
prriiv]
l b . [«ba«ba]
lc.
•ba»ba]
2b. [»nl«nl]
2c.
'ni«ni]
NO
NO
RE 28.12. Mimicryt Laryngealization la.
bo..*]
2a.
9
3a.
roe.']
3b. [ T o e • r o e ]
3c.
Tee.l"oe]
Ua.
be*']
lib. [«be.be]
Uc.
'be»be]
5b. [Sb5«Eb2)]
5c
• gb^'Sbfi]
5a. 6a.
•!••]
6 b . ['ze»ze]
6c.
»ze«ze]
7a.
xv»<>]
7b. [»xv»xv]
7c
'xvxuj
8b.
8c.
•fi-fi]
8a.
[ifi.fi]
RE 28.13. Mimicry Reviewi Nasalization la.
sa»]
2a. 3a. Ua.
go»]
l b . [sa«]
l c . [saa]
Id.
2b. [<&•]
2c. [ebt.]
2d. [dj,&]
3b. [go*]
3 c . [goo]
3d. [goo]
lib. [ f e / ]
Uc
lid. [fee]
[fee]
[saa]
Uoo
Lesson 28
5a. [§o»]
5b. [go.]
5c
[|oo]
6a. [Ws»]
6b. [Wae»]
6 c . [Wese]
6d.
7a. [ma»]
7b. [ma»]
7c. [maa]
7d. [maa]
8a. [n\i»]
8b. [nu»]
8c. [niiu]
8d. [nuu]
9a. [nA«]
9b. [ik*]
9c
[SAA]
9d. [&AA]
10a. [np«]
10b. [nv«]
10c. [nt>v]
lOd. [nt>v]
5d. [Soo] [Wffle] I
RE 28.llj.. Mimicry Reviewg Length l a . [r£]
l b . [ri»]
Ic.
[gorif]
Id,
[gori.f]
2a. [Ru]
2b. [Ru']
2c
[goRuf]
2d
[goRu-f]
3a. [re]
3 b . [re«]
3c
[gofef]
3d,
[gofe«f]
i;a. [«.]
Ub. [ & • ]
Uc
[gorif]
Ud
[«ofi-f]
5a. [Roe] •
5b. [R»ce ] •
5c
[leRoeS] •
5d
[leR»oe§] •
6 a . [di]
6 b . [d-6]
6 c . [led^s - ]
6d.
[led»0g] 7d
7a. [jo]
7b. [ j . o ]
7c
[lej»oS]
[lejos] 8d.
8a. [«,] 8b. [ 8 » t ] 8 c [iew.8] RE 2 8 . 1 5 . Mimicry Review* Back Unrounded Vowels
[lez»zJ]
la.
['texl"©*]
l b . [»b*l v *»]
lc.
•braT'ni.]
2a.
['pogrom]
2b. ['p*»lv»rm]
2 c.
«pni»lvmm]
3a.
['grorxh]
3 b . [»fxnxh]
3c.
'Smninh]
kb.
[»Sv»msh]
Uc.
•Sro»nnih]
5b. ['dymx»h]
5c.
»dkmm>h]
6b. [«6»ht»]
6c.
'fiahtm]
7b. [«jifht*»h]
7c
i jinhtm»h]
8b. [ • ^ • t » h p h ]
8c.
•^•taihp 1 1 ]
l*a. [«2iD»nx)h] • 5a. ['d*x>nto»h] 6a.
['orhto]
7a.
['jbhte-h]
8a.
1
['gViW ]
Voiceless Vowelsj Laryngealization
HOI
RE 28.l6t Iiberian English. Mimicryi General Review There is a wide variety of dialects of English spoken in Liberia. The characteristics of some brands of Liberian English are in some cases due to speech habits which come from the sound systems of African languages in the area. In this exercise we have listed English words, classified according to my pronunciation of the vowels, but read by a Liberian of the upper lower class. Mimic his pronunciation of these words. You will notice several things about this brief sample of Liberian English. Many of the glides characteristic of American English do not occur. Vowel qualities are sometimes different. The degree of aspiration is considerably less than in American English, to the point where it is sometimes hard to hear whether or not there is any aspiration. Our transcription is doubtless quite inconsistent as a consequence of this difficulty. Another notable characteristic of this dialect is the extremely lenis articulation of some consonants. These have not been marked, but you should watch for them and mimic them. Note also that final nasals are replaced by nasalized vowels or glides. There is a slight tendency to laryngealize the vowels IUUO. b
a [sev»]
say
1.
[bo«y]
b°y
2 . [me v »]
majr
2.
[t h o»y]
toy
3. [fe^s]
face
3.
[kkp-yj
coin
U.
[lev»s]
lace
U. [c soys]
5.
[be—]
bay
1.
6 . [be v »s]
base
v 7. [de «]
day
8. [p?"«]
pain
9. 10.
[k*V« s]
case
[ce v »s]
chase
choice
"T'he recording was made i n Monrovia, L i b e r i a . The voice i s t h a t of Mr. Samncr Goe, then a houseboy i n t h e s e r v i c e of Mr. and Mrs. Loren Nussbaum.
Lesson 28
U02 c
d sin
[sp-]
! • [p a-y]
p^e
L,
2. [tha-y]
tie
2. [•fc-8]
3 . [tRa-y]
try
3.
[ht»s]
his
U. [la-y]
lie
u.
[pj.]/[ft]
pin
5. [na-ys]
nice
5.
[mL-s]
miss
6. [*a-ys]
ice
6 . [wile*1]
wick
7. [ l a - i ]
line
7. [ r t p ]
rib
8. [ma-i]
mine
8.
rich
9. [ s a - i ]
sign
9. [hx-]
10. fa«i]
fine
is
[rl8]
him
r^h. hi 10. LP i - g J
e
Pig
f
[si-]
seen
1. [pAp]
pup
2. [ b i - ]
bean
2. [dek11]
duck
3.
[ni-j
knee
3.
k.
[bi-]
bee
U. [hg-yt h ]
hut
5.
[hi-]
he
5 . [k h o<-t h ]
cut
6.
[mi-]
me
6. [tg-5]
touch
peace
7. [ko-m]
come
8. [ p i - s ]
peas
8. [wo-n]
one
h 9. [ b i - c ]
beach
9. [na-ng]
young
1.
[kV1
]
cup
6
7.
[pi-s]
free
10. [ f r i - ]
10. [net h ]
nuts
1. [ 9 i s ]
ear
h* [die]
dear
2. [ f i e ]
fear
5. [nie ]
near
3 . [bis]
beer
V o i c e l e s s Vowelsj h
Laryngealization
h03
(not recorded)
i
1( n o t r e c o r d e d )
1.
[Ph»th]
put
1.
[phs-th]
pet
2.
[lAfd]
could
2.
[ns«th]
net
3.
[bvk*1]
book
3.
[tRek* 1 ]
treck
U.
[k^k11]
cook
U. [me*]
5.
[gu«d]
good
5.
[set* 1 ]
cent
6,
[wu»d]
wood
6.
[bz-e]
bell
7.
[sj-e]
sell
8.
[bee* 1 ]
bench
9.
[re«d]
red
[ f c s ] / [ J ij s t ]
guest
10. 3
(not recorded)
men
k
(not recorded)
L.
[bsth]
bat
1.
2.
[t h aep h ]
tap
2. [boa]
3 . [had]
had
3.
[ * o e ] / [ * .o»d]
old
U.
[*6«s]/[»a»8]
as
U.
[ g r o 9 d ] / [ g r o•]
grow
5.
[»ffi»nd]
and
5 . [no»]
know
6.
[kharth]
can't
6.
[go«s]
goes
7.
[bsyk* 1 ]
bang
7.
[chvkh]
choke
back
8.
[l^ot* 1 ]
coat
nap
9.
[smok*1]
smoke
10.
[ro<«d]
road
8 . [bask11] 9. 10.
[nap 11 ]
[ t f e k ^ / t t ^ W 1 ] tack
[p u s ]
pole bowl
RE 2 8 . 1 7 . T r a n s c r i p t i o n Use your Workbook Supplement, pp. 81-82, for t h i s e x e r c i s e , and f i l l i n the b l a n k s . Don't peek u n t i l you have t r a n s cribed t h e " f i r s t t r y " t o your s a t i s f a c t i o n .
1.
[^bodSa'yAk 11 ]
1 1 . [n'Suhpego]
2.
[bse»l A 'k h oI A i]
12.
3.
[*srasipfu]
~
9
n
[bzot^'la*] 1 3 . [Oe^mi'gV]
U. [k^atnd'cfo]
3J4. [na'NnetO]
5. ['nrnr] onsets']
15. [«hop«itttp]
6.
fmjiH,r)'pvn;«th]
16. [n'tfeSde'n]
7.
[«|osOfietU]
17. [hpek^'tAv]
9
•}
8.
['fu-zirfvlfey]
k 18. [> poyRndi^ht]
9.
['sorefp^l]
19. [bv'gakU]
10.
[Upu'fte'dir)]
g 20. [doe bo«sMap"]
Transcription and Reading Use RE 28.2-28.9, 28.11-28.15.
Uo5 LESSON TWENTY-NINE G l o t t a l i z e d Consonants| Double
Bilabial
Dental/ Alveolar
Alveopalatal
Velar
STOPS Lung a i r VI. unaspirated
*P
P
t
c
k
^
th
ch
k*
§b
b
d
j
g
H
P
tf
£
gs
6
£ £
J
sf
t*
0°
k'
(f)
(g*)
VI. a s p i r a t e d Voiced I n g r e s s i v e pharynx a i r Voiceless Voiced Egressive pharynx air Voiceless
More Consonant Clusters
0
p
(b°)
Voiced
FRICATIVES1 Lung a i r Voiceless Voiced Egressive pharynx a i r Voiceless
(d°)
?
s
S"
X
fe
z
2
g
0
s
S'
x*
p
Table 2 9 . l t Some G l o t t a l i z e d Consonants I n Lesson 27 we worked with implosives, or i n g r e s s i v e pharynx a i r sounds. Now we t u r n t o egressive pharynx a i r Only a sampling of fricatives is given in this chart. Others work in exactly the same way. See Lesson 33 for a more complete representation (p.U56 ). Affricates may also be glottalized, but are not shown.
U06
Lesson 29
sounds, which we will often call glottalized. These sounds are the exact reverse of the implosives. The larynx moves upward with the vocal cords closed during the articulation of the consonant, and this creates air pressure in the pharynx. When the consonant articulation is released, the air rushes out, thus creating an egressive air stream which originates in the pharynx. Sammies 29.1 and 29.2 picture this for you.
Sammy 29.li Larynx Movement to Create Pressure for [p ]
Samny 29.2i Egressive Air Stream after Labial Articulation is Released
Egressive pharynx air sounds are called glottalized sounds because of the action of the vocal cords (glottis) in creating the pressure which makes possible the air stream. Actually the glottis is involved with implosives as much as it is here, but the term is convenient and we will use it. Our system of transcription for these sounds helps to reinforce the term, as we write glottalized consonants with a raised glottal stop [ ] after the usual consonant symbol. As you study Table 29.1 you will notice that voiced egressive pharynx air sounds are included there for the record, but that they are not to be drilled in this course. They are relatively rare. In these sounds lung air builds up pressure behind the larynx and is leaked through into the pharynx simultaneously with the upward movement of the larynx in similar manner to that of voiced implosives.
G l o t t a l i z e d Consonants
Sammy 29.3i [b ] Before Release. Note t h e a i r stream leaked i n t o t h e pharynx.
li07
Sammy 29.Hi [b ] At Time of Release
G l o t t a l i z e d consonants a r e n o t found q u i t e so frequently as implosives, but t h e y are a major p a r t of the phonemic s y s tems of many American Indian and African languages, including a language of such importance as Amharic, the n a t i o n a l language of E t h i o p i a . RE 2 9 . 1 . Demonstrations Production of G l o t t a l i z e d Consonants Like t h e implosives, g l o t t a l i z e d consonants are not too d i f f i c u l t once you get the combination. People who have diff i c u l t y with them a t f i r s t find t h a t they work a l l of a sudden when t h e proper coordination of muscle movements i s found. Here a r e some suggestions t o help you. Mimic t h e t a p e . a. Pretend you have a small piece of grass on the t i p of your tongue. Pretend t o s p i t i t off by s t i c k i n g your tongue t i p out between your l i p s and drawing i t back sharply, blowing t h e grass off. When some people do t h i s they blow t h e grass off with a puff of a i r from the larynx, g e t t i n g an i n t e r l a b i a l g l o t t a l i z e d s t o p . Change t h i s now t o [p ] by doing t h e same t h i n g without s t i c k i n g out your tongue t i p . Say [p* p ' p* p ] . Then add a vowelt [ p a p a p a p a ] .
Uo8
Lesson 2°
b . Make a good, strong [*] a f t e r a vowel and hold i t i [ a ° * ] . While you are holding i t , t r y t o make a [k] s e v e r a l times i n a row. Don't r e l e a s e t h e [**•]] This may give you [a?» k ' k ' k° k ° ] . I f you can do t h i s a s t h e tape does i t , t r y t h e sane t h i n g with [ t ] » [a?» t t t t ] . Then [a?» p p p p 9 ] and [a?* e* c* c" c ' ] . Add vowels. r e l e a s e d i [a?* k ' a ]
When you do s o , of course, t h e [ ' ] [a?» t ' a ] [a?» p 9 a ] [a'* c 9 a ] .
is
c . Try t h i s sequencet 1.
[ ' o ' o ' o ' o •'o'o ' o ^ o ]
2. ['olCo 'ok*>o ' o k ' o ' o k ' o ] 3. Try to hold on tight to the [k] while you force out the [']# ['ok^o 'ok*'© 'ok'^o *>ok*9o] or, if you do it with the right timing and force* [*ok*9o 'ok0'© 'ok*',>o »ok*'o]. U. Follow the same sequence with [t p c ] . d. Get the feeling of the upward and downward movement of the larynx by singing from falsetto to base and back up again. Put your fingers on the larynx as you do it. Try to duplicate the movement without singing, simply by exercising the muscles in your throat. Get the same effect by swallowing. the larynx up and down rhythmically.
Then try to move
Get the feeling of the up and down movement by saying [hi* ho* hi* ho* hi* ho*]. Try to reproduce it by simply moving your muscles. e. If you can "rock" the larynx, raising and in sequence, close your vocal cords in a ['], and repeatedly while you rock it. As the larynx goes this gives you [k* £ k* £ k 9 £ ] . Follow with [ f and [p* p p" $ p* §].
lowering it make a [k] up and down £ t* £ t* £]
f. "Rock" some fricatives like [f s 3 ] . g. On any glottalized sound except [k'] be careful that the back of your tongue is not up against your velum. If it is, you are getting an egressive click instead, with mouth air rather than pharynx air. Listen to the tape as it gives you the correct sound and the much higher-pitched incorrect mouth air sound'afterwards.
h09
G l o t t a l i z e d Consonants Correct
Incorrect
l a . [p 9 p 9 p 9 p 9 ]
l b . [ p - p-» p - p-»]
2a. [ t 9 t 9 t 9 t 9 ]
2b. [t-» t-» t-» t-»]
3 a . [c 9 c 9 c 9 c 9 ]
3 b . [c-» c-» c-» c-»]
h . I n producing g l o t t a l i z e d consonants you may find t h a t you have a l i t t l e d i f f i c u l t y with coordination between the r e l e a s e of t h e g l o t t a l and t h e onset of the vowel which follows. G l o t t a l i z e d consonants a r e very much l i k e voiceless implosives i n t h i s respect (see p . 3 8 3 ) . Because the g l o t t a l i z e d consonant involves t h e closure of t h e vocal cords t h e r e i s a danger of holding the [°] too long. Listen t o t h e tape as i t demonstrates good t r a n s i t i o n from a g l o t t a l i z e d consonant t o a following vowel, and poor t r a n s i t i o n . Good T r a n s i t i o n
RE 2 9 . 2 .
Poor T r a n s i t i o n
la.
[k9a]
lb.
[k9'a]
2a.
[t9a]
2b.
[t9'a]
3a.
[p9a]
3b.
[p9'a]
ha., [c a ]
Ub.
[c9'a]
5a„
[s9a]
5b.
[s^a]
6a.
[f a ]
6b.
[f 9 , >a]
D i s c r i m i n a t i o n ! SAME o r DIFFERENT
1. [o'p'o
o'p9o]
S
7. TA«p9An
A'pAT)]
D
2. [e'k9e
e'ice]
D
8. [ a ' k a n
a'k'an]
D
ae'c'se]
D
9. [«k 9 9wiR
3.
[ae'As
h.
[i't°i
5.
[u«f 9 vri
6.
[oe'tcen
RE 2 9 . 3 .
i«t9i] v'f9vn] ce T £oer)]
S
1 0 . ['(fswiS
S
11.
s
1 2 . [ • p 9 awift
['s 9 owift
'{rawift]
D
" c 9 swift]
D
, 9
s awift]
S
• £awift]
D
D i f f e r e n t i a l ! IMPLOSIVE o r GLOTTALIZED
1. [ ' V W ]
G
2 . Miami]
I
3 . [«t9,umu] G
Uio
Lesson 29
km [ 'feme ]
9. ['e'p'oro]
I
,
G
Ik.
[yono'&r]
I
A
5. [»S*imi]
G
10. [»e«k%i »]
G
15. [yono«t*ol ] G
6 . [»x umu]
G
1 1 . f'e'lcAfA]
I
16. [yono'Q'sO.*] G
7. [»e•&,&-]
I
12. [•e'frrife]
I
A 17. [yono«p*ul ] G
8. [»e»-£9re]
I
, A 13. [yono c'ul ]
G
18. [yono«tel A ]
I
RE 29.U. Negative Practieet Glottalized Consonants Practice the following English sentences and others like them, substituting the glottalized consonants indicated. Mimic the tape and follow the transcription. 1. k'ween k'atheryn k'issed her k'rotchety k'ousin. 2. t ake t ommy t o the t rain. 3 . p ' e t e r p 9 ip°er p'icked a p'eck of p'ickled p'epp'ers. km f ' e f ' i f'o f' um 5. s i s t e r s ue s i t s s ewing s ocks. RE 29.5. Mimicryi Glottalized Consonants Follow the transcription as you mimic the tape. l a . [p a]
l b . [p'ap'a]
l c . LP ap ap J
2a. [ t ° i ]
2b. [ t ' i t ' i ]
2c. [ t ' i t ' i t * ]
3a. [ c ' i ]
3 b . Lc ic *J
3c
[c i c ic ]
Ua. [k%]
lib. [ k W * ]
ko.
[k*0kW]
5a. [ts'z,]
5b. [ts t . t s V]
5c [ts z,.ts t-ts ]
6a. [ks 9]
6b. [ks e.ks' a]
6 c . [ks a.ks 9ks ]
7a. [f'oe]
7b. [f'cef'ce ]
7c
8a. [e'o]
8b.
[e'oe'o]
[f*0Bf*0Bf*]
8c.
[Q'oe'oe'] r
9a. [ s ' i ]
9b. [ s ' i s ' i ]
9c.
10a. [x'u]
10b. [x ux u]
10c
f .
O.
<>•,
[s i s i s J r *
'
* n
[x ux ux J
G l o t t a l i z e d Consonants
Ull
RE 2 9 . 6 . D i f f e r e n t i a l s I d e n t i f i c a t i o n of Symbols I n t h i s e x e r c i s e respond by w r i t i n g (or giving o r a l l y ) the name of t h e symbol by which t h e consonant i s w r i t t e n . Call the symbols f o r implosives HOOKED p , HOOKED g, e t c . For t h e g l o t t a l i z e d sounds c a l l the symbols p RAISED~GLOTTAL, g_ RAISED GLOTTAL, e t c O
1. [ v ' o e ]
HOOKED b
9o [ r i ' t o y ]
HOOKED t
2 . [v'fre]
HOOKED k
10. [ri'g'oy]
HOOKED g
3 . [i>«t*e]
t RAISED GL
11. [ r i ' c ' o y ]
£ RAISED GL
u.
f RAISED GL
12. [ f i ' p o y ]
HOOKED p
5. [v'
HOOKED d
1 3 . [ r i ' k oy]
k RAISED GL
6. b ' p ' e ]
p RAISED GL
3J+. [ r i b o y ]
HOOKED jfb
7. [ p ' x ' e ]
x RAISED GL
15. [ r i t < f 0 y ]
6 RAISED GL
t s RAISED GL
16. [ & ' J o y ]
HOOKED j
[v'f'e]
9
8. [ p « t s e ]
,g
RE 29.7. Negative P r a c t i c e ! "Ten L i t t l e Indians" The tape w i l l demonstrate. Practice i n odd moments t o develop freedom and fluency i n t h e production of implosives and g l o t t a l i z e d consonants.
a. [p'o] l i t t l e , [£o] l i t t l e , [DO] l i t t l e Indians, [ t ' o ] l i t t l e , [io] l i t t l e , [do] l i t t l e Indians, [k'o] l i t t l e , [feo] l i t t l e , [go] l i t t l e Indians, [jo] l i t t l e Indian boys. b . Follow t h e same sequence, using other vowels. RE 29.8t Z u l u . 1 Mimicry» B i l a b i a l Stops The tape reads down each column and then across t h e f i r s t t h r e e l i n e s . Mimic and follow t h e t r a n s c r i p t i o n . Each item i s read once, b u t you can r e p l a y t h e tape for more p r a c t i c e . "^fttlu m a t e r i a l s i n t h i s book are taken from recordings of t h e Special Phonetics of the Wycliffe Language Course (England), and used by permission.
k!2
Lesson 29
1. [ ' D ^ o a ]
'bitter'
[«pg»pa]
'flutter violently'
2. [«bu«l A a]
' t o peel o f f
[«pu«l"a]
' t o divine'
3 . ['Do*«l"a]
'to rot'
['po*»l A a]
' t o bore'
ko [isii.'fii»6a] "^—
'anti-snake preparation'
[ukuj'pi»pa]
' t o flap"
5. ['Se» «pa]
' c a r r y on back'
['pev«ma]
'to smoke'
6. [um'oe~*il*eA] ' t e a t of an 1 udder'
[um'pe*»lAe*]
'a surname'
7. [um'fco" «
'on-looker'
[iiro»panko'o v l A o] 'donkey'
1. [ ' p h a « p V ]
' f l y gently'
[im^Vma]
'slap'
2. [«p u»ma]
' g e t out'
[im£p_,u»nzi]
' k i n d of d e e r '
3. [lp_o^»ra]
' t o cool'
[imp urna'"!*a»nka] ' e a s t '
U. ['p i n t a ]
'repeat'
5. ['p h e»k a]
' t o cook'
[im'p''&/>»il'-a]
'really'
6 . [p"u»mu«!za] 1 —
'relieve him'
[trap u'mu^za]
'place name'
7. [ i s i ^ p \ i « k u ] >—
'skLnblanket'
[p'o^mp'a]
!
•ni]
' a t war'
i
'to blab'
RE 29.9. Mimicry! Miscellaneous 1.
[Hes'i]
2.
['kok'a]
3. p c W ]
More Consonant Clusters
Ul3
k. [ H * ^ ]
7. [ t V z i « ]
10. [p'o'te]
5. ['p'oSte']
8. [ ' t ' e ' n e ]
11. [tai'ak'e]
11
6. [nAif'i]
9. [s'ak ]
12. [ t a » " a t ' e ]
More Consonant Clusters Up to the present we have emphasized consonant clusters consisting of stop plus fricative (affricates), clusters involving [ ' ] , clusters with voiceless and voiced nasals or voiceless and voiced l a t e r a l s , e t c . In addition, there have been many different clusters included i n more random fashion in the d r i l l s from time to time, so that you have had considerable exposure t o certain kinds of consonant clusters before. In t h i s following section we are going to d r i l l some of these same kinds of combinations and then go on to a sampling of some longer consonant clusters,, RE 29.108 Kuy. Mimicry* [?nk »nkl] 1. ['n'ka*']
'coarse, rough'
£. ['n'kow]
2. ['n'ksn] 1 ' 3 . ['n'kat] k. t'n'ksh]
'tomatoes'
6. ['n'kl* a«n]'carry on pole between people 1 A 7. [•>n'kl r)«n] 'large red ants' 8. p>ii'kl' , e'l A ] 'gnaw'
' t o press' 'short'
'husked r i c e '
RE 29.lit Kuy. Mimicryt [^n?] i
1. On " a n ]
' t o be angry'
U. [*n"i»t]
i
2. On«*a»p] '
'narrow'
i
'to yawn'
3. ['n"^0] 'to lean against'
5. [ ' n ' ^ ' l " ] '
'large black ants'
RE 29.12i Kuy. Mimicryt [^nh]
1. On'hat]
' t o be quiet'
£. ['n'hc*'']
' t o cough'
2. [>r|«ha»lA] 'to be l i g h t '
6. ['n'hu*']
' t o snore'
3 . [^n'ha-m]
7. ['rj'ha'n]
'bones'
'blood'
i
U. [*>n'ha»y]
i
'far'
i
RE 29.13* Kuy. Mimicryt Miscellaneous Clusters 1. [LISTS'] ' t o make (for curries)'
2. [Ll v a«]
'leaves'
Lesson 29 3 . [Ll v a«p]
'wings'
U. ['m'Mmi.'] '
' t o steam s t i c k y rice'
5. ['m'Mmu'c]
9. [ ' n ' N h a ' ]
'ants'
t
6. ['m,Mmov»l"] 'chicken l i c e ' i
7. ['m'Mml^an]
« ['n'Nna-m]
'scar'
1 1 . ['n»Nna»p] ' f i r s t growth ' of r i c e ' 12. fn'Nnoh] 'nest' 13. [*n'Nn*»]
'fish net'
' t o wake up, become conscious' ' t o inhale, sniff'
1
t
8. ['n'Nne'n]
10
'mattress'
lU. ['n'Nfiuft]
' t o aim'
1
i
RE 2?.lUi Kuy. Mimicry* [6 mb] 1. [ S V ]
' t o launder'
6. [6A>t]
'to light fire'
2 . [6ui»n]
'can'
7. [Saf]
•prick, wound'
3 . [Sum]
'suck'
8. [mi'bit,'-']
'trouble'
1
U. [6u»l A ]
'be drunk !
9. [m''bra']I
' t o bleach'
1
5. [ b y 0 ]
10. [m1>bvA']
' t o open'
'bark of t r e e '
1
RE 29.15. Mimicryi Longer Clusters [m'spfl v a]
la.
['am.spfl v a]
l b . [«cun.spfl v ]
lc.
2a.
['on.zdvl v o]
2b. [ • o n . z d v r ]
2c. [ n ' z d v l v o ]
3a.
[ep.tfc'xRe]
3b. [ep.tfc'xR]
3c
Ua. [ o g . d | ' b r o ]
Ub. [og.dS'br]
Uc. [gdz'brb]
5a.
['agx.tx.pfe]
5b. [•asc.txpf]
5c.
['x.tx.pfas]
6a. [»Ag.4m.dzA]
6b. ['Ag.&ndz]
6c.
['g.dradzA]
1
[ptfc'xRe] 1
1
'
7a.
[vvz.lr'nv]
7b. [ v v z . l r n ]
7c.
[vz.lr'nv]
8a.
[tfx£«Snz-]
8b. [tfxfc'Nn]
8c.
[fxfc'Nnz,]
RE 29.16. Mimicry Reviewi Fronted and Backed Velar Consonants [
l a . ['k^ine]
l b . [ •k^une]
lc.
2a. ['kazj.] • 3a. [«gudo]
2b. [tkazt]
2 c . ['kazi,] •
3b.
fgudo]
•
A
J
3 c . [»gudo]
More Consonant Clusters Ua. [ • n 6 t h t ]
Ub.
[»nethi]
[«nethi]
Uc.
5b. [ r o ' l ^ u n e ] 5 c [ru'k"une] 5a. [ro •l^une] • • * 6 c . [ru'kazz.] 6a. [ fo'kazz,] 6 b . [ro'kazz-] • • 7a. [ ro'gvdo] 7b. [ro'gvdo] 7 c [ru'gudo] • A • • h h 8a. [ r o ' n e t i ] 8b. [ r o ' r j S t i ] 8c. [ r u ' n s t h i ] • • • RE 29 . 1 7 . Mimicry Reviewi R e l e a s e d and U n r e l e a s e d Consonants [•2ep%iep h jne]
lb.
[»zep.mep.me]
2 a . ['kopsrnopemo]
2b.
['kop.mop.mo]
3 a. Ime' Sephmep11]
3 b . [me'z'ep.jnep]
Ua. [mo'kopamopa]
Ub. [mo'kop.mop]
la.
5a.
[no'tephtek11]
5b.
6a.
[hu'lipatiks]
6b. [ h u ' l i p . t i k ]
7 a . [ycSsQdtfnQ'dift]
7 b . [ytfs.dein'd/i]
8a. [k^ov^nota'ii^]
8b. [IcW.not.rioJ
9a.
[no'tep.taek]
9 b . [doe ' y c e s . d o e n ]
[doe ' y o e s e d c e n o ]
10b. [ n o ' l r ' o v . n o t ]
10a. [no'k"ovsnota"
L
RE 29 . 1 8 . Mimicry Reviewi
c
c
c
Implosives
[ •bgtaiu]
lb.
[•btaaSa]
lc.
[DV'Gjjmuoa]
2 a . [ 'dAnu]
2b.
[•dAniidi]
2c.
f&'dAnu&l
3a.
3b.
[•Janije]
3c.
[Jb'jcmije]
Uc.
[^l«|benifo] [p^'fumofie]
la.
[ •Jam]
Ua. [ • g^ceni]
Ub. [ • f c e n i f o ]
5 a . [ •pumtf]
5b.
['fiimsife]
5c.
6a.
[ •ivnee]
6b.
[••funajto]
6 c . [£oe '-Euns-Eo]
7 a . [ •
7b
[ • £ona&e]
7c
[(fi'cfonacffi]
8 a . [ •icanu]
8b.
['Kaniiku]
8c
[ti'JccaatiCu]
1+16
L e s s o n 29
RE 29.19. S u b s t i t u t i o n 1 . [ t a l ' k sk
'Mmovup i n ye2p ' t o n i ]
2. [
*refewo
]
3. [
'yudlen
]
k.
»SffilA
]
«cj6^c«5
]
[
5". [
Transcription and Reading Use RE 29.2-29.3, 29.5-29.6, 29.8-29.18.
THCV SAV SHE'S 6REAT ON THt BILABIAL FLAP1.
kLi
LESSON THIRTY Retroflexed Vowels} Breathy Vowelsj Voiced Aspirated Stops Front R. U. High Lower-high Mid Lower-mid
i • • e • *
Central U. R,
U.
Back R. u •
i «
V
• 0
• 3
•
Low
ee
A
Lower-low
a
a
0
Table 30,li Retroflexed Vowels We introduced the [r] glide on pp. 179-181, and syllabic [r] was included in the drills on syllabic consonants (p. l$2ff,), The retroflexed vowels with which we are now working involve exactly the same retroflexed articulation pictured in Sammy 12,9, p. 180, In this lesson we simply expand what we have done before to produce retroflexed quality on a much wider variety of vowels. As a matter of fact, [r] glide is to [%] as [y] is to [i] or [w] to [u]. In each case the glide is a movement to the approximate position of the vowel, [r] was introduced earlier because in English it is so important and involves consonant function, as does [m n }.], etc. Strictly speaking, however, [r] is the same as [i] or [e]. Our symbolization simply adds a dot diacritic under any vowel which is said with tongue curled up. The symbolization, therefore, is like that of retroflexed consonants. You identify the nearest vowel quality and write that with the dot under it. We think of retroflexed quality as a modification superimposed on the basic vowel articulations, as was nasalization in Lesson 2k» RE 30*1. Demonstration! Table 30.1 Listen repeatedly, and study the vowel chart as you do so. Learn to read off the vowel chart with the tape. Get the new sounds as best you can by mimicry.
U18
Lesson 30
Sammy 30. It [e]
Sammy 30.2i [u]
RE 30.2. Discrimination! SAME or DIFFERENT [pa»m
pa»m]
D
6 . [k±«f
k±«f]
D
2 . [pe«m
pe«m]
D
7. [ku«f *
ku»f]
D
3.
[po»m
po»m]
S
8. [fct«f
kt«f]
S
U. [po»m
po«m]
S
9 . [te*f
kffi»f]
S
5>. [pe*m
pe»m]
S
10. [kA.«f kA«f] RE 3 0 . 3 . D i f f e r e n t i a l ! RETROFLEXED or NO
D
1.
1. [ro»] RE
5. [xe»t h ] RE
9 . [ b l o c k s ] NO
2. [ra*] RE •
6 . [xA»t h ] NO
10. [ble»nks] RE
7. [x»»t h ] NO
11. [ b l i n k s ]
RE
8. [xe»t h ] RE
12. [ b l i ' n k s ]
RE
3 . [ra«] NO U. [ & . • ]
RE
RE 3Q.U» Demonstration! Producing Retroflexed Vowels Retroflexed vowels are not difficult to produce. You have probably produced them perfectly well by mimicry already. In case you are having difficulty, or are unsure of yourself,
k!9
Retroflexed Vowels t h e following suggestions may h e l p .
a. S t a r t with a r e t r o f l e x e d [ t ] and get the f e e l i n g of t h e tongue contour of a r e t r o f l e x e d sound. Then say [ t a tap t e t i t u t o ] followed by [ a e e i u o l . b . D e l i b e r a t e l y p o i n t your tongue t i p upward, and e x p e r i ment saying a sound as close t o [a] as you can with t h e tongue i n t h i s p o s i t i o n . Follow with other vowels, t r y i n g t o get as close t o [A i o o n e E] as you can. These w i l l be r e t r o flexed vowels of these d i f f e r e n t q u a l i t i e s . c . P r a c t i c e reading and t a l k i n g with your tongue kept i n r e t r o f l e x e d p o s i t i o n . The tape demonstrates t h e reading of t h i s paragraph i n r e t r o f l e x e d negative p r a c t i c e . P r a c t i c e t a l k i n g t o your buddy with your tongue t i p curled up. RE 3 0 . 5 . Mimicryi Retroflexed Vowels Follow t h e t r a n s c r i p t i o n as you mimic t h e t a p e . la. [tete] ....
l b . [keke] . .
l c . [pepe] . .
2a. [nAnA]
2b. [rjAriA]
2c. [mAma.]
3 a . [Xa2a]
3 b . [gaga]
3c
Ua. [dffidse]
Ub. [gaegae]
U c [baebee]
5a. [ A t h i ]
5b. [ A k \ ]
5 c [p\p h £]
[baba]
RE 3 0 . 6 . D i f f e r e n t i a l s Vowel Symbols Respond with t h e name of t h e symbol or w r i t e t h e symbol which corresponds t o the q u a l i t y of each of t h e following r e t roflexed vowels. Don't peek. 1.
[yok*1]
o
7. [Wif]
2 . [yak 1 1 ]
SCRIPT a
8 . [Wef] e
3 . [yik* 1 ]
BARRED i
9 . [WAf ]
U. [yok 1 1 ]
BACKWARDS c
10. [Wof ]
o
5 . [yak 1 1 ]
PRINTED a
1 1 . [Wasf ]
a DIGRAPH
EPSILON
1 2 . [ W i f ] IOTA
11
6 . [yek ]
i
CARET
1+20
Lesson 30
RE 30.7* Negative Practice* "This is the House that Jack Built" Refer to the text of RE lU.U, p. 205, if you need to. Retroflex the vowels of each of the words which are constantly repeated through this verse. The tape demonstrates how the drill works but does not give the full exercise. The words in which the retroflexed vowels are to be substituted aret house, malt, rat, cat, dog, cow, maiden, man, priest, cock, farmer. Breathy Vowels Another modification of vowels we call breathiness. This time the difference in sound is caused in the larynx by a different positioning of the vocal cords from that either of voicing or of voicelessness. It sounds like a little bit of both, as will be demonstrated on the tape. Some languages have two vowel systems, one breathy and the other non-breathy, just as others have two systems, one nasalized and the other non-nasalized. Some other languages have breathy vowels associated with particular tones or particular consonants. We symbolize breathiness by a plus mark under the vowel
U« Front U. R. High
i
Lower-high
V 4
Mid
e +
Lower-mid Low
e •* ae 4
Lower-low
Central U. R.
••
u
Back U. R. in •
+
i
t
V +-
X
+-
u+
?
e OS +
a
A.
if
0 TO +
Table 30,2# Some Breathy Vowels RE 30o8. Demonstration! Table 30*2 Listen repeatedly, and study the vowel chart as you do so. Read off the vowel chart with the tape. Learn the breathy quality by mimicry.
Breathy Vowels
U21
RE 3 0 . 9 . Discrimination! SAME or DIFFERENT 1. [kra«m
k a»m] D
6 . [si»w
si«w]
D
2. [k^e-m
k^e-m] D
7. [sv»w
sv»w]
D
3 . [k^O'm
k^o'm]
8. [si«w
si*w]
S
9. [see^w ste*w]
S
+
S
+
h.
[kho»m
kho»m] S
5.
[k^e'in
kne»m]
S
10. [SA»W
SA»W]
D
RE 3 0 . 1 0 . D i f f e r e n t i a l ! BREATHY or NO 1. [vo»] BR
5. [xe»th]
BR
9 . [ b l o c k s ] NO
2. [TO«] BR
6 . [xA»t h ]
NO
10. [ b l e a k s ] BR
3 . [va»] NO
7. [ x v t h ]
NO
11. [blinks]
BR
12. [bl±«nks] BR
U. [vz,»]
BR
h
8. [xe«t ]
BR
RE 3 0 . 1 1 . D i f f e r e n t i a l ! RETROFLEXED or BREATHY 1. [pa*nN]
BR
5 . [gu«e h ]
BR
9 . [vye«p'] BR
2. [pa»nN]
RE
6 . [ga»c h ]
RE
10. [vyA»p'] RE
3 . [pvnN]
BR
7. [g-e'c11]
BR
11. [vyvp']
U. [pi»nN]
RE
8. [go»c h ]
BR
12. [vyse'p'] BR
RE 3 0 . 1 2 . Demonstration! Producing Breathy Vowels Breathy vowels a r e not d i f f i c u l t t o produce. some s u g g e s t i o n s .
RE
Here are
a. Breathy vowels a r e often associated with "spookiness'" i n English, as i n t h i s simulated c a l l of t h e owl! [u« u» u « ] . b . They a r e a l s o a s s o c i a t e d with s u l t r y glamor. Listen t o t h e following anecdote read with b r e a t h y voice q u a l i t y . P r a c t i c e reading and t a l k i n g yourself with breathy q u a l i t y . "A l i n g u i s t who had experience with breathy vowels through h i s knowledge of the Meo language was asked t o demons t r a t e them. He r e p l i e d , 'Marilyn Monroe.' ' I s t h a t Meo?' he was asked. ' N o , ' he r e p l i e d , ' s h e ' s f e m a l e . ' "
Lesson 30
U22 RE 3 0 . 1 3 . Mimicryt Breathy Vowels l a . [set*]
l b . [sa«sa«]
lc.
[sa»sa»sa*]
2a. [nu»]
2b. [nu»nu»]
2c. [nu-nu»nu*]
3b. [±*ee*l*&*]
3c
[l*ee«l*8B'l*a8*]
l+b. [tso»tso«]
he.
[tso»tso'tso«]
5b.
5c
[ti«ti»ti»]
+
3a. [l-a8«] Ua. [tso«] 5a. [ t i « ] 6a. [ k ' i . ]
[ti»ti»]
6 c . [k i«k i«k i » ]
6b. [k'i»k*|»]
RE 30.lU. Mimicryt Various Vowel Modifications l a . [bgx] •> 2a. [pjM-x] «> 3 a . [Mmax] Ua. [bvox] 5a. [phix] 6a.
[k^v]
l b . [box]
l c . [bex] •»
I d . [box]
2b. [ppr-x]
2c. [ppt-x]
2d. [ppuc]
3 b . [Mmax]
3 c . [Mmax]
3d. [Mmax]
J+b. [bvox]
Uc. [bvox]
ltd. [bvox]
5b. [pkix]
5c
[pfcix]
5d. [p h ix]
6b.
6c.
p^ev]
6d. [l^ev]
[Av]
7b. [gAv]
7c. [gAv]
7d. [gAv]
8b. [gov]
8c. [nov]
8d. [qov]
9b. [Ijnav]
9 c . [goav]
9d. [Ifoccv]
10b. [kxuv] 10a. [kxuv] Voiced Aspirated Stops
10c. [kxuv]
10c. [kxuv]
? a . [gAv] 8a. [nov] 9a.
[JJQOV]
Bilabial
Alveolar/ dental
Alveopalatal
Retroflexed t •
VI. unasp.
P
t
c
VI. a s p .
P*
th
ch
Vd. unasp.
b
d
i
Vd. a s p .
1ft
d*
£
•
d •
Table 30.3t Some Voiced Aspirated Stops
Velar k kh g g*
U23
Voiced Aspirated Stops
In Lesson 28 we discussed the relationship between voiceless vowels and aspiration of voiceless stops. Voiced stops occur with aspiration also, but the aspiration is breathy. In other words, the aspiration of a voiceless stop is to a voiceless vowel as the aspiration of a voiced stop is to a breathy vowel. Aspiration of voiced stops is extremely important in India, Pakistan and Ceylon. RE 30.15. Demonstration* Production of Voiced Aspirated Stops The principal problem in the production of voiced aspirated stops is keeping a very close transition between the stop and the aspiration so that the breathy aspiration does not become syllabic. Try these suggestions* a. Start with a sequence like Tab Hunter and make the following adaptations in mimicry of the tape. 1. Tab Hunter 2.
[t h ae»b'hAntr]
3.
[t^'b^Antr]
b . Try the same procedure w i t h bad h a r v e s t , and big hangar. c . Mimic t h e t a p e on t h e following sequence. vowel coming a f t e r t h e a s p i r a t i o n i s not b r e a t h y . 1.
[abaha]
2.
[abaa]
3.
[ab h a]
Be s u r e t h e
RE 30.16. Negative Practice* Voiced Aspirated Stops Mimic the tape and follow the transcription as you substitute voiced aspirated stops in these English sequences. la. baby
lb. blfaby
lc. b^ab^y
2a. dodo
2 b . dfcodo
2 c . dSod^o
3 a . gagging
3 b . g^agging
3c
U. b+ig b*ad b+oy
g£agg£ing
k2k
Lesson 30
5 . g v o o e y g v o o e y g+urodrops 6 . d h on»t djunk djonuts RE 3 0 . 1 7 . D i f f e r e n t i a l ! VOICED or VOICELESS The d i s t i n c t i o n between voiced and v o i c e l e s s a s p i r a t e d stops i s not d i f f i c u l t t o h e a r . Respond with VOICED or VOICELESS. Don't peeki 1. [p h o]
VL
5. [t h ay]
9 . [n8«t h os] VL
VL
2. [bjv] VD
6 . [d£,y] VD
10.
3 . [c h e] VL
7. [djiy]
1 1 . [ng'lf^as]
k.
8 . [bhAy] VD
[ghas] VD
VD
12.
[ne'jjess] VD VL
[ns'ghus] VD
RE 30.18. Differential* ASPIRATED or IMPLOSIVE
1. [dno] A
5. [»i'<$4] A
2. [&»]
6. [ ' i « d i ]
I
I
h 9. [rA'd afi]
10.
A
[rA'boft]
I
3 . [b*?e] A
7. [•i'gfep] A
1 1 . [rA«
I
h,
8. [ » i t j e ]
12. [rA'guft]
I
[jhoe] A
I
RE 30.19. Mimicryi Voiced Aspirated Stops
la.
a»»b£a]
l b . [a»'b£abl?a]
l c . [ >bJab h abJa]
2a.
o««djo]
2b. [o^'d&odjo]
2c. ( •djodjodjo]
3a.
e««$e]
3b.
h 3 c [ 'j ejhejhe]
Ua.
ee«'d&e]
Ub. [ee»'d&ed&e]
Uc.
5a.
oe^'g^ae]
5b. [oe •'gVosg.03 ]
5c
"'gjoegjcegjde]
6a.
'bjeru]
6b.
6c.
['bjerubje]
7a.
d^z-ru]
7b. [d&.'d'Mu]
7c
•d&,rud*k]
8a.
jhofu]
8b.
[$o«$ofu]
8c.
-jjoru^o]
9a.
djoru]
9b.
[dJo'd h ofu]
9c
[«dJofud h o]
10a.
ghi.ru]
' 10b.
[g£i.'gjir\i]
10c
[tgjirugfc.]
[e»'j£e$e]
[bjebkeru]
'd^ffidteedJae]
h25
Voiced A s p i r a t e d S t o p s RE 3 0 . 2 0 » Kuy. Mimicryt 1.
[cu»n]
'to
[TJL»]
send'
6.
[imi«r ]
'to roll'
+
2.
[cu«y]
' t o help1
3.
[kA'rlu*]
' t o push'
7.
k> [kA'tu'q] 'to transplant rice' 5. [klu*p] 'to cover a plant with a basket' RE 3 0 . 2 1 » Kuy. Mimicryt
[mu«t]
'to
enter'
8. [ n t f ^ i ' n ]
'termites'
9. tplu*']
'to fall trees)' 'yonder'
10.
[tu«h]
(for
[u u u« u«]
The Kuy l a n g u a g e h a s a whole s e r i e s of b r e a t h y vowels ( b o t h l o n g and s h o r t ) which c o n t r a s t s w i t h n o n - b r e a t h y vowels ( b o t h l o n g and s h o r t ) . I n t h i s and t h e s u c c e e d i n g e x e r c i s e s two of t h e Kuy b r e a t h y vowels a r e d r i l l e d , t o g e t h e r w i t h some c o n t r a s t with non-breathy vowels. In order t o a c c e n t u a t e t h e d i f f e r e n c e , Kuy n o n - b r e a t h y vowels a r e g e n e r a l l y more t e n s e t h a n E n g l i s h v o w e l s , w i t h a g r e a t e r c o n s t r i c t i o n of t h e muscles a t t h e opening of t h e t h r o a t ( f a u c a l p i l l a r s ) . This k i n d of vowel m o d i f i c a t i o n ( f a u c a l i z a t i o n ) i s n o t b e i n g d r i l l e d i n t h i s c o u r s e , b u t i m i t a t e i t as b e s t you c a n . 1.
[dV]
'often'
3. [l'u*]
'to mix together
2.
[kAya* 9 ]
'sorghum'
Uo t p l t f ]
'to f a l l (for trees)•
+
RE 3 0 . 2 2 i Kuy. Mimicryt
[c/]
1.
[ro»t]
' t o jump'
7. [ko«*]
'forest'
2.
[mo«n]
'crazy'
8. [ko«n]
'trunk of t r e e '
3.
[n'no«l~]
9.
tu
[n'tr'o'y]
' t o be p u f f e d up' ' t o loosen s o i l '
10. [lAo«h]
' t o escape'
5.
[no«m]
'laymen'
11. [n'ko«p]
' a k i n d of
6.
[ko»]
'cow'
[kA'po«k]
'firecracker'
frog'
RE 3 0 . 2 3 * Kuy. Mimicry! [o v o v o» o«] 1.
[klo'n]
' s o c k woven of leaves'
2.
[kA'yo«lA]
' r e d "bud" of banana'
h26 3.
Lesson 3 0 [m'po'r)]
'brace'
km [mo«q]
'crazy'
T r a n s c r i p t i o n and Reading Use RE 3 0 . 2 - 3 0 . 3 , 3 0 . 5 - 3 0 . 6 , 3 0 . 9 ~ 3 0 . 1 1 , 3 0 . 1 3 ~ 3 0 . l l i , 30.17-30.23.
U)ELL POCTOB, H£ U>AS TRVlMG TO I,
A RETRO^I-EXED ,KJ
HIS
SVLLABlC
TO|M<SUE!
PRONOUNCE
K
§
fi,fJV
GOT A KMOT
U27
LESSON THIRTY-ONE Clicks Alveopa latal
Retrofli
t«-
c*
VIo a s p i r a t e d
^
th*
th*"
c^*
t«•
Voiced
b*
d*-
d«-
d*
n«-
n*
Alveola
t*
Dental
P*
Bilabi?
Central1 VI. unaspirated
4
H
A
Nasalized
m*-
n
Lateral VI. unaspirated VI.
aspirated
K CO
d* • n* •
t&* tLh*
Voiced
dL*
Nasalized
Hi*-
Table 31.1* Some Clicks Not only do we have the vast majority of speech sounds made with air coming out of the lungs, and the smaller but important number of pharynx air sounds, where the air stream is drawn in or pushed out by the lowering or raising action of the larynx (Lessons 27 and 29), but we also have speech sounds in which the air stream is initiated in the mouth. These are called clicks. Central clicks (as opposed to lateral ones) have a release which is over the center and tip of the tongue. When these are affricated (as most central clicks except retroflexed ones are) the fricative quality is at the nearest point of articulation to that of the stop feature of the click. (Even nasalized clicks have a stop feature.) In lateral clicks, however, the fricative quality is [£] no matter what the point of articulation of the stop feature of the click.
U28
Lesson 3 1
As non-speech sounds some c l i c k s occur everywhere, b u t as f u l l - f l e d g e d consonants t h e y are r e s t r i c t e d t o South Africa. The c l i c k s a r e not a t a l l d i f f i c u l t t o do i n i s o l a t i o n as we have used them f o r a wide v a r i e t y of n o n - l i n g u i s t i c purposes a l l of our l i v e s . These a c t i v i t i e s include k i s s i n g ( v o i c e l e s s b i l a b i a l c l i c k ) , expressing mild reproval t " t s k t s k " ( v o i c e l e s s d e n t a l c l i c k ) , "giddeap" ( v o i c e l e s s l a t e r a l a f f r i c a t e d click), etc. I f you examine Sammy 3 1 . 1 you w i l l see t h a t t h e r e are two closures i n the mouth, j u s t as f o r a double s t o p . However, i n a c l i c k , which i s an i n g r e s s i v e mouth a i r sound,2 t h e back of the tongue moves backward, creating a p a r t i a l vacuum i n t h e mouth, and t h e sound i s created by the a i r going i n t o the mouth a f t e r t h e r e l e a s e (Sammy 3 1 . 2 ) . Double stops d i f f e r i n t h a t they involve lung a i r . Double stops sometimes have a c l i c k a r t i c u l a t i o n a s s o c i a t e d with them as was shown i n Sammy 21.U, p . 300, but t h i s mouth a i r a r t i c u l a t i o n i s secondary. The primary airstream comes from t h e l u n g s . Voiced and n a s a l ized c l i c k s introduced below involve lung a i r f o r the voicing and n a s a l i z a t i o n , but t h i s i s simultaneous with the c l i c k and does not a l t e r i t s mouth a i r a r t i c u l a t i o n . Our symbolization does not show i t , but a l l c l i c k s except r e t r o f l e x e d ones tend t o have a v o i c e l e s s a f f r i c a t e d r e l e a s e which you w i l l hear on t h e t a p e . If you t e s t t h i s out with a kLs3(a b i l a b i a l one) you w i l l see t h a t t h e b i l a b i a l a r t i c u l a t i o n i s opened s l i g h t l y while t h e tongue i s s t i l l p u l l i n g backward t o give what we could t r a n s c r i b e more p r e c i s e l y as [pp*-]. RE 3 1 . 1 . Demonstratiom Producing Voiceless Clicks The simple v o i c e l e s s c l i c k s should not give you any t r o u b l e once you have heard them demonstrated. a. [p«-] i s nothing more than a k i s s . the following sequencet 1. [p<- p* p«- p* p*]
Mimic the tape i n
3 . [p*a p«-a p*a p«u p*a]
2. [ap*- ap* ap«- ap*- ap«-] iou'11 get a bigger kick From a quadrilabial click With a bilabial chick. 2 Egressive mouth a i r i s a l s o p o s s i b l e , b u t w i l l not be included h e r e .
Clicks
Sammy 31,1.1 Voiceless Bilabial Click [p*-] Before Release
^29
Sammy 31.2t [p*-] After Release of Bilabial Closure
b. ft*-] or [t«-] is simply the sign of mild reproach used by speakers of English and represented by "tsk, tsk" in the comic strips. The difference between [t*- t<-], of course, is in the point of articulation, whether it is dental or alveolar. la. [t*- t«- t*- %*• t*-]
lb. [t*- t<- t«- t*- t*-]
2a. [at*- at*- at*- ai<*- at*-]
2b. [at*- at*- at*- at*- at*-]
3a. [t*-a t*-a t*-a t*-a t*-a]
3b. [t*-a t*-a t*-a t*-a t*-a]
c . [ t £ ] i s t h e "giddeap" c l i c k of the American farmer t o his horse. 1. [tB*- t l > t&* t3b* tfcfr] 2 . [oti*- ati*- at£*- at£*- ati*-] 3 . [tL*-a t£*-a t£*a t&*-a t£*-a] d. [c*-] can be easily made on the analogy of [t*-]. keep the tongue tip down behind the lower teeth. 1. [c*- c*- c«- c*- c*-] 2. [ac<- ac*- ac* ac*- ac*-]
3. [c*-a c*-a c*-a c*-a c«-a]
Just
h30
Lesson 31 e. [t*-] i s a f a m i l i a r sound often made i n p l a y .
1. [t*- t«- t*- t*- t*-]
3 . [t*-a t*-a t<-a t*-a t*-a]
2 . [at*- at*- atA at*- at*-]
Sammy 31.3« [t*-] f. With a l i t t l e p r a c t i c e , a s p i r a t i o n can be added t o any of t h e s e . 1. [ p ^ a p ^ a ph^-a p ^ a pk-a]
2. [ t ^ a t ^ a t ^ a t ^ a ij^a] 3 . [ t ^ a th*-a t ^ a t ^ a t h «-a] k» [ c ^ a c ^ a c^t-a ch*-a c ^ a ]
5. [ t ^ a t ^ a t ^ a t ^ a t ^ a ] 6. [ t t ^ a t & ^ a t & ^ a tl£*-a tl£*-a] RE 3 1 . 2 . D i f f e r e n t i a l s CENTRAL or LATERAL Release I f t h e r e l e a s e of t h e c l i c k i s l a t e r a l respond with LATERAL. Otherwise respond with CENTRAL.
U31
Clicks h
1.
[a«tt<-a]
L
5. [pw«t«-o]
C
9. [mu«t *-Ay]
C
2.
[e«t«-o]
C
6. [ t o ' t L ^ S t ]
L
1 0 . [nA«t£«-z,y]
L
3.
[otc^e]
c
?. [ c i ' t h * - e ]
C
11.
L
U.
[e't^-v]
c
8. [ k a e ' p m ]
C
1 2 . [r)9'c*-ay]
RE 3 1 . 3 .
[n^'tlNey]
C
D i f f e r e n t i a l * GLOTTALIZED or CLICK
The sound of a g l o t t a l l z e d consonant i s readily distinguishable from a c l i c k i f the two are pronounced i n exaggerated or d e l i b e r a t e fashion. I f they are produced i n a more l e n i s way, however, they sound somewhat more a l i k e , although there s t i l l i s an appreciable d i f f e r e n c e . Don't peek. 1.
[a't'a]
G
6. [pp«k'o]
G
11.
[mu'ti^Ay]
C
2.
[e't«-o]
C
7. [ f o ' t ' i ]
G
12.
[nA»k\y]
G
3.
[o'c°e]
G
8.
[©i't*-ee]
C
13. [ n j - ' p ' a y ]
G
li. [e«p*-i>]
C
9 . [sae'p*m]
C
Hi.
[n9'c«-ay]
C
5.
G
10. [ s i ' t « - i ]
C
15. [ l a t t * - o y ]
c
[i'p'i]
RE 3 1 . U . D i f f e r e n t i a l * LV.PLOSIVE or CLICK
When you make a v o i c e l e s s implosive, with the exception of [R], there i s a temptation t o s u b s t i t u t e a mouth a i r sound a c l i c k without a f f r i c a t i o n , or a t l e a s t •with l e s s than what we u s u a l l y p r a c t i c e . Implosives and clicks are both ingressive, the one with pharynx a i r and the other with mouth a i r . The implosives are lower-pitched than the c l i c k s . Respond with IMPLOSIVE or CLICK. Don't peek. 1.
[a«£a]
I
6.
[si«t«-i]
C
11.
2.
[e«t«-o]
C
7.
[S8B«p«Tl]
c
1 2 . [na'c*-aw]
3. [o'
I
8.
[fo«£i]
I
13.
[nA'ftw]
I
h. [i'fe]
I
9.
[«»1*B]
c
Hi.
[nz,' c?sw]
I
5.
c
10.
[pp'ko]
I
1 5 . [la't*-aw]
[e«p«-w]
[mu"t£<-Aw]
RE 3 1 . 5 . D i f f e r e n t i a l ! ASPIRATED o r UNASPIRATED
1. [ s ' p ^ - u ]
A
2. [i»p*i]
U
3 . [o«c«-e] U
C
c
C
k32
Lesson 3 1 [e't h <-o]
A
7. [ f o ' t h « - i ]
A
10. [ n Y ' t ^ o H ]
5. [pu't«-o]
U
8. [ s i » t * d ]
U
11. [nA'tt^tH] A
6. [9i't<-ss]
U
9. [ i a ' c ^ o H ]
A
1 2 . [r9't£*-aH]
h.
RE 3 1 . 6 . D i f f e r e n t i a l i
U
U
Point of A r t i c u l a t i o n
Respond t o t h e c l i c k s you hear with LABIAL, DENTAL, ALVEOLAR, ALVEOPAIATAL, or PALATAL ( f o r r e t r o f l e x e d c l i c k s ) . Don't peek. [pu'c^o]
PA
6.
2 . [e 'P*-o]
LA
7. [fo«tk-±] AL
1 2 . [nA • c*-z,r~
AP
AP
11.
[mu •tI, h «-Ar]
1 . [ a •t*-a]
AL
3.
[o
•M
DE
8.
[ei«th-u]
PA
13. [nz- •p«-9r]
LA
k.
[e «ti*-v]
AL
9.
[see'p^u]
IA
Ik. fae ' t ^ a r ]
AL
5.
[ i «tHr]
AL
10.
[Si't^i]
DE
15. [ l a »t«-or
PA
RE 3 1. 7 . Mimicry* V o i c e l e s s C l i c k s la.
[p*x]
lb.
[jk-a]
lc.
[p«-xa]
Id.
[p«-ka]
2 a . tap*-]
2 b . [ahp*-]
2 c . [cap*]
2d. [akp-]
3a. [t«-0]
3b. [th-0]
3c. [t+a/5]
3d.
Ua. [eS-b*-]
Ub. [rfht*-]
Uc. [0xt«-]
Ud. [ibkt*-]
5a. [t*-a]
5b. [ t ^ a ]
5 c [t*-xa]
5d. [t«-ka]
6 a . [at*-]
6b.
[aht«-]
6 c . [axt«-]
6d.
[akt*-]
7a.
[c«"ffi]
11 7 b . [c -^]
7 c [cwcee]
7d.
[c*-kse]
8 a . [sec*-]
8 b . [aehc*-]
8c.
[ffiXC*]
8d. [skc*-]
9a. [tt-i]
9b. [ t ^ i ]
9 c [t*oci]
[*•**>]
10a. [ i t * ]
10b.
[iht*]
1 0 c . [ixt«-]
9 d . [t*-ki] • lOd. [ i k t * ]
11a.
lib.
[ttVi]
lie.
[t£*xu]
lid.
[tfi*-ku]
1 2 c . [uxt£*>]
12d.
[uktt*-]
[t**1i]
1 2 a . [utfc*-]
12b. [uht£«-]
U33
Clicks Nasalized Clicks
If you will experiment a little bit and "pucker up" for a bilabial click without releasing it, you can say a simultaneous [m] with it, Sammy 31.U shows you why. The click mechanism is completely in the mouth, and does not obstruct the passage from the lungs out through the velic opening and nose which makes possible a nasal consonant, A nasalized click is one in which there is a nasal articulation preceding and simultaneous with a click, as in Sammy 31.5, or in the following segmental diagram. [a
i#-
o]
B i l a b i a l closure Velar c l o s u r e Mouth a i r Lung a i r Velic open Voicing
Sammy 31.U* Voiced Nasalized B i l a b i a l Click [m*-] Before Release
Sammy 3 1 . 5i [m«-] After Release of B i l a b i a l Closure
Lesson 3 1
2i3U
Don't let the symbolization fool you. [m*-] is a [p<-] with a simultaneous nasal quality. Or, you can think of it as [n] and [p«-] at the same time ([n] because the back of the tongue is articulated against the velum to move backwards and produce the ingressive mouth air stream). In the same manner, [n*-] is [t«-] with a simultaneous [13], etc. RE 31.8. Demonstrations Nasalized Clicks a. Make a long [n»«] and without releasing it say several clicks in a row simultaneously with it. 1. With [p*-]t [n» m4- m*- m*- n& m*-] 2. With [t*-]t [n» n*- n*- n*- n«- n*-] 3 . With [c*-]i [n« n«- n«- rfr n*- n*-] k. With [t*-]i [ri" n«- n*- n* n<- itf-] 5. With [tib 4 -]! [13 • n i * n£<- nL* n£<- n&<-] b. Isolate the nasalized clicks you have been producing and say them in sequence with vowels. 1 . [isf- m*- m*-a m«-a am*-a am*-a] 2 . [n«- n*- n«-a n*-a an«-a an«-a] 3 . [£•• n*- n«-a n*-a an*-a an*-a] U. [n«- n*- n*-a n*-a an«-a an*-a] 5 . [ni* - n L v n L ^ a n£«-a a n L ^ a anL*-a] RE 3 1 . 9 . D i f f e r e n t i a l ! VOICELESS o r NASALIZED 1. [a't«-a]
V
6. [pu'nVo]
N
1 1 . [mu'ni^AR] N
2 . [e»m*-o]
N
7 . [fo»c«-i]
V
12. [nA'c^R]
V
3.
N
8. [9±«n-ae]
N
1 3 . [&»m<-9R]
N
U. [e'n£«-v]
N
9. [see'p«-u]
V
lU. [n8
N
5. [i»t*-i]
V
10. [si»tL«-i]
V
I S . [la«t*-oS]
V
[o«n*-e]
RE 31.10. Mimicry! Nasalized Clicks l a . [z,n»m*-e]
l b . [z.«m«-e]
l c . [m*-e]
Clicks
ll35
2a. [6n«n*-8]
2b. [e'n^e]
2c. [n«-8]
3a. [gn'n*-u]
3b. [9"nHi]
3 c . [n*-ii]
Ua. [un'n*-o]
Ub. [u'n<-o]
Uc. [n«-o]
5a. [on'n*-e]
5b. [o»n«-e]
5c. [nfce]
6a. [en'nB^A]
6b. [e'n£ v A]
6 c . [n£*-A]
RE 3 1 . 1 1 . Mimicry. Voiceless and Nasalized Clicks l a . [rtf'pA-oz]
l b . [r#»m*-oz]
l c . [r0p*-om«-]
2a. [fee »t«-i>z]
2b. [roe'rit-vz]
2c. [roe t*-vn«-]
3a. [ r a ' t * i z ]
3 b . [ra»n*-iz]
3c
Ua. [ru'c*-Az]
Ub. [ru'n*-Az]
Uc. [ru'c«-An«-]
5a. [fz.'t*-oz] • 6a. [ r s ' t i f e z ]
5b. [rz.«n*oz] • 6b. [ r e ' n i ^ e z ]
5c
[ra't^in*-]
[rY't*on*-] • • 6c. [ro'tI.*-enB*-]
Voiced Clicks Voiced c l i c k s are produced i n a way analogous t o nasalized ones, except t h a t t h e v e l i c i s closed (Sammies 31.6 and 3 1 . 7 ) . Lung a i r causes voicing by moving i n t o t h e pharynx preceding and simultaneous with the c l i c k . A segmental diagram would d i f f e r from the one shown on p . U33 only by removal of the open v e l i c The symbolization follows t h e same logic as t h a t of nas a l i z e d c l i c k s , [b*-] i s a [p*-] with simultaneous v o i c i n g . Or, you can t h i n k of i t as [g] and [p«-] a t the same time, because the back of t h e tongue i s up simultaneously with the v o i c i n g . RE 31.12 Demonstration! Voiced Clicks a. S t a r t with the sequence [ga ga ga ga] and then cont i n u e , making simultaneous c l i c k s with i t . 1. With [p*-]i [ga ga ga ga b«-a b«-a b«-a b*-a] 2 . With [t«-]i [ga ga ga ga d*-a d«-a d*-a d*-a] 3 . With [c«-]t [ga ga ga ga j«-a j*-a j*-a j<-a] U. With [t«-]i [ga ga ga ga d*-a a>a a>a dt-a]
1*36
Lesson 31
Sammy 31.6* [b<-] Before Release
Sammy 31.7 » [b<-] After Release
5. With [ti«-]i [ga ga ga ga di^a d£*-a dt*"a di^a] b . Make a long vowel, and then a r t i c t i l a t e a [g] and t h e proper c l i c k simultaneously. 1. With [p-]$ [a»«b«-a a««b«-a] 2. With [t«-]t [a«'d+-a a»'d*-a] 3 . With [c«-]» [a«»j«-a a»'j>a] h. With [%*-]t [a»«d*-a a««d*-a] 5. With [tt*-]i [a«'di*-a a«»d&«"a] RE 3 1 . 1 3 . D i f f e r e n t i a l ! VOICED or VOICELESS 1.
VL
9 . [g4't*-anM]
VL
2 . [o«c*-as] VL
6 . [xoe«b*-u] VD
1 0 . [ga»dHinM]
VD
3 . [ffi'jm]
7 . [xu«d£*-o] VD
11. [gu't£*-inM]
VL
8 : [xo'ck-i]
1 2 . [gi«d*-tmM]
VD
k.
[e'd«-o] VD
VD
[u»p«-a] VL
5. [xa»t«-oe]
VD
Clicks
1437
RE 3 1 . Hi*. D i f f e r e n t i a l ! VOICED o r NASALIZED 1. [u'b*-a]
V
6. [xo«n*-i]
2. [ae«n<-u]
N
7. [xa«d«-ce] V
11. [g4'd*-anM] V • 12. [gu'dl^irrM] V
3 . [o«j*^]
V
8. [xoe'bni]
?
13. [ga«n«-iinM]
N
k. [ e ' d f ^ s ] V
9. [xv«n£«-e]
N
lU. [gi*n*-viiM]
N
10. [xce'm^v]
N
1 5 . [gv«d«-oenM] V
5. [e'n*-o]
N
N
RE 3 1 . 1 5 . D i f f e r e n t i a l ! CLICK or IMPLOSIVE 1. [e«d«-o]
C
5. [xa»cfoe]
I
9 . [gi'dlai*!]
I
2. [o'jffi]
I
6. [xoe«b*-i7]
C
10. [ga'cHirM]
C
3 . [ee«j*-u]
C
7. [xv«d£*-o]
C
1 1 . [gu'dt*imM]
h.
I
8. [xo'cfe]
I
12. [gi'd*vnM]
[u»6a]
I C
e
RE 3 1 . 1 6 . Mimicry! Voiced Clicks l a . [&g«b*-6]
l b . [t'b«-e]
l c . [b*-e]
2a. [eg«d*9]
2b. [e'o>9]
2 c . [d.«-s]
3 a . [9g'd«-u]
3b. O'dHi]
3 c . [d*u]
Ua. [ug«j*-o]
lib. [ u ' j * o ]
Uc. | > o ]
5a. [og"d«-e] •
5b. [o«d*-e] •
5c
6a. [eg'dL^A]
6b. [e»d£*A]
6 c . [d&*A]
[d*e] •
RE 3 1 . 1 7 . Mimicryi Voiced and Nasalized Clicks l a . [nVs'n^oc11]
l b . [5)6«b«-och]
l c . [n0»m*-ob*-]
2a. [noe'n^pc 11 ]
2b. [noe'd^vc 11 ]
2 c . [fice «n*-vd<-]
3 a . [na'nt-ic*1]
3 b . [na»d«-ic h ]
3c
lia. [nu'nVAc11]
Hb. [nu'j«-Ac h ]
Uc. [nu'n*-Aj<-]
5a. [rk'nt-oc* 1 ] • 6a. [n9«nt*-ec h ]
5b. [nV'd^oc*1] • 6 b . [He»difec11]
5c
[na'n*-id<-]
[nz,«n*-od<-] • • 6 c . [ns>«n£«-ed£*]
1)38
Lesson 3 1
RE 31.18, Negative Practices Clicks Make the indicated substitutions in the following English sentences. 1. p«-eter p*-ip«-er pricked a p*-eck of p«-ickled p*-epp«-ers 2. b«-ig c*-ad b«-oy
3 . m*-other intake m*-e mVuch m*-ore m*-ush U. t*-ake t^-omray t<-o t h e t*-rain 5. d«-oes d«-otty d<-ream 6. nfed n*-ever kn«-ew n«-ancy's n«-ew n«-umber 7. t*-ake t«-ommy t
•
*
•
•
•
RE 31.191 Zulu. Mimicryt Click Song Listen t o t h i s song r e p e a t e d l y and l e a r n t o sing i t . you can do i t w e l l with [ t % s u b s t i t u t e other c l i c k s . [«t«ma 't«-awa »t*-ua 't*-a] (Repeat) v • • • • A ['tVua 't*-awa ' t f i p i l i t«-i't«-o v ] (Repeat) • • • • • [t«d.'t<-o v l A iam t^-i't^o-lMam t ^ i ' t ^ o ^ i a m t<-i't^o^] •
*
•
•
•
•
•
Mien
(Repeat)
*
RE 31.20i Zulu. Mimicryt Clicks Mimic the tape as i t reads down each column. Each item i s given only once, so you may want t o repeat each column seve r a l times. Set 1
Set 2
1. [»t«-i*raa]
'extinguish'
[«t*-i«|na]
'too clean'
2. [i't*-i».t«-i]
« ear ring'
[ii't^a't^q]
'polecat'
3 . [isit*-o!'thu«lAo] 'shoe'
[uml't«-a«r a]
'neck'
U39
Clicks Set 2
Set 1 U. ['t*-ov»lAa] '
'setting the hair'
5. [ama'~t«-'u«lAo] 'they are hymns'
[i«t*-b-X*t«-o]
'to bully'
[ugu>'t*-ov«nta] ' t o under1 stand' Set It
Set 3 1. [ugu|'tB'*"i»na] '
'urge t o hurry'
[•t"«-i»ns , a] i
'sprinkle'
2. [t£<-Q!'tfc<'s»;ia]
'relate'
['t^a't^q]
'clean'
3 . [u't&a'mu]
'frog'
[«t^-o v »ma]
' t o stick up'
U. [ i ' t i r o \ t f c * " o ]
'toad'
[u't^u^ku]
'trouble'
£. fuj'thi-t&'-o]
'God' Set 6
Set 5
[tLh*-tLn<-i*'raa]
'be e x c i t e d '
2. [it^uHtL^a'ne] ' i t i s a * ' hut'
[i l t£ 1 *-i , |ba]
'cookhouse'
3 . [ugu't^uima]
[ugu'tifo^ma]
' t o join1
U. [ugu'th*Vth»-a] 'to shiver'
[«tLh<-u»tLh*-a] !
'boil something thick'
5.
[t£n*-u«tLn<-u«1ma] 'to be restless'
1. [tn*-q«th«-a]
•to t e a r apart'
'to burst'
Set 8
Set 7 1. [i,(n*-wa»ti]
'it is a book'
[i['n<-i»na]
'the hunt'
Lesson 31
liUo 2 . [ka«n*-cx»]ne*]
'little"
[ w e l l f i y ^ k i ] 'God'
3 . [ijln*wi»n*'wi] 'honeybird'
[,n*>fe^na]
'lazy'
h, [i'«n"wa»n«'wa] ' p a s t e '
[i'si*n«-e]
' s m a l l of back'
5.
[n^o^nk a]
' p i l e up'
6.
[i | n*-o v «l / l a] 'wagon' Set 9
Set 10
1. [i!"n£*l«wa]
'abandoned site'
[d*-i«na]
' t o end'
2. [ m f a ]
»if
[dt-ajba]
'to incise'
3 . ['n&^a-pari
(exclamation)
[d*wy,ra]
'to f i l l '
[d*-o^«na]
'to tease'
lu [ni*"uruj'pe«ni]
'place'
Set 12
Set 11 1. [d«-inj's 3>l*a] 'slam down'
[»di*"i»l*_a]
'sink into'
2. ['d*-i«za] ! ~
'ankle decoration'
r'd&*"a»2a1
' t o ooze out'
3 . [ , d«-i»ba]
'cover'
['dJAo^ba]
'smash'
U. ['d«-u«jia]
' t o groan'
[dfc*"uf me^ga] 'plunge i n t o 1 ground'
•
5.
['di^u'ma]
i
' t o jump'
Mil
LESSON THIRTY-TTO Pharyngealized Sounds Front U. R. High
i
Lower-high
v
Central. U. R.
0.
Back R, u
i
V
r-J
Mid
e
Lower-mid
6
Low
ffi
0
A
0
Lower-low Table 32. lj Pharyngealized Vowels Pharyngealization is a modification of articulation such that the pharyngeal cavity is constricted, usually by drawing the root of the tongue back into it as in Sammies 32.1 and 32.2o Any vowel or consonant may be pharyngealized, but the pharyngealization is not heard as easily on consonants as on vowels. In those languages where pharyngealized consonants occur some of the pharyngealized consonants are detected primarily by the fact that the surrounding vowels are colored by the pharyngealization as well. On some consonants pharyngealization is more easily heard than others, and we will emphasize them. Pharyngealized consonants are symbolized in the same way as pharyngealized vowels, by a wavy line under the usual symbol for the basic articulation. This gives us [f s 1 n ] , etc. Sammies 32.3 and 32.h give the articulations for two pharyngealized consonants. Pharyngeal!zation is extremely important in Arabic and some related languages of the Middle East and North and East Africa. It is to be found in some other languages as well. RE 32.1. Demonstration! Producing Pharyngealized Vowels a. Start with the vowel [a] and pull the root of the tongue downwards (opening up a larger cavity in the back of the mouth) and backwards (pushing into the pharyngeal cavity
hh2
Lesson 32
Sammy 32.It [ej. The pharyngealized vowel is shown by the solid line. A nonpharyngealized [e] is shown by the broken line.
Sammy 32.3i [1]
Sammy 32.2t [g]. The solid line shows the pharyngealized vowel and the broken one the corresponding nonpharyngealized vowel.
Sammy 32.Ut [£3
Pharyngealized Vowels
UU3
and making i t s m a l l e r ) . This gives you [a» a » ] . Move t h e root of t h e tongue backwards and forwards t o get [a»a»a»a«a»a»a»], b . I f you have d i f f i c u l t y doing t h i s , p r e s s t h e back of your tongue down and back with t h e handle of a spoon or w i t h a p e n c i l and say [a»] as you do i n t h e d o c t o r ' s o f f i c e . By moving t h e spoon or p e n c i l , h e l p yourself get t h e f e e l of [a» a« a* a* a* <$•]• c. With your thumb and forefinger on your throat just under the chin and above the larynx, push inward and downward on your throat gently as you say [a*]. Then push in and out to get [ a» a* a* a* a* ]. d. Stand in front of a mirror and watch the back of your tongue as you practice going from [a«] to [a*]. e. Practice talking English with the root of your tongue way down and back. Read this paragraph in this style in the same manner the tape does. f. Follow these same procedures on other vowels to give you sequences like these* 1. [o» o« o* o» o» o»] 2. [as* ae» «• »• se» as»]
3. [o» o» o* o« o* o«] h. [e« e* e* e* e« e»]
g. Listen repeatedly to the tape demonstration of the vowels in Table 32.1. Learn to read off the vowel chart with the tape. HE 32.2. Differential LARYNGEALIZED or PHARYNGEALIZED You may have noticed in the demonstrations above that the pharyngealized vowels had something of the same rasping quality as the laryngealized vowels of Lesson 28. This may have been due in part to actual laryngealization along with the pharyngealization, but not entirely. The constriction in the pharynx caused by the pulling back of the root of the tongue can create a rasping quality reminiscent of laryngealization. Regardless of the similarity, however, laryngealized and pharyngealized vowels can be distinguished because of the other differences of quality. The more open mouth cavity and the more constricted pharyngeal cavity in pharyngealization produces a sound quite different from the laryngealized vowel. Listen to the tape and decide whether the vowel is LARYNGEALIZED or PHARYNGEALIZED. Don't peekj
Lesson 32
1. [a.]
P
6 . [zo»]
L
1 1 . [nu'vu*]
L
2 . [a»]
L
7 . [zi«]
L
12. [nu've»]
P
3 . [8«]
L
8. [zg«]
P
13. [nu'vz,*]
L
[ZA«]
P
m.
Lnu'vA.]
L
10. [zo«]
P
15. [nu'va*]
P
U. [«•]
P
5. [o.]
P
9.
r
9
-,
RE 3 2 . 3 . Mimicryt Pharyngealized Vowels l a . [g»]
l b . [lva»]
lc.
[yo'^a*
2a.
2b.
[I'SB*]
2c.
[yo'tV
3 a . [o«]
3b.
[r2.]
3 c . [yo't h o«
Ua. [ A « ]
Ub. [1VA«]
Uc. [yo't h A»
5a. [o»]
5b. [l"o«]
5 c . [yo't"o*
6a. [e»]
6b. [ l v e « ]
6 c . [yo't h &«
7a. [e»]
7b. [ l v e « ]
7c. [yo«t h e»
8a. [i»]
8b. [ l v i . ]
8c. [ y o ' t h i »
[s»]
Pharyngealized Glides The Arabic languages have two sounds which are a c t u a l l y pharyngealized vowel g l i d e s , although they are used as consonants i n t h e phonemic system. This should not be s u r p r i s i n g , since English g l i d e s such as [y w r ] are used as consonants a l s o . I n Arabic t h e s e pharyngealized g l i d e s are c a l l e d ayin and ha, and are voiced and v o i c e l e s s r e s p e c t i v e l y . They are d i s t i n g u i s h e d from pharyngealized vowels by t h e f a c t t h a t t h e y are n o n - s y l l a b i c , t h a t they do not carry the s y l l a b l e b e a t . They move i n t o , or out of, roughly an [a] p o s i t i o n . The symbols which we w i l l use for t h e s e two g l i d e s are [£] f o r t h e voiced one and [h] for the v o i c e l e s s . I n t h e l a t t e r case a "pharyngealized h" makes a good d e s c r i p t i o n of the sound, so the symbol i s a p p r o p r i a t e . The symbol 9, however, i s a r b i t r a r y . I t does have t h e advantage t h a t the English word nine sounds something l i k e t h e Arabic word ayin f o r anyone who happens t o remember i t .
Hiaryngealized Vowels
kkS
RE 32.U. Demonstrationt Pharyngealized Glides a. [g] i s a movement i n t o or out of [a] p o s i t i o n . t h e demonstration i n various p o s i t i o n s *
Mimic
1. [a9a a9a 9a 9a a9 a9]
3 . [e9e e9e 9e 9e e9 e9]
2 . [o9o o9o 9o 9o o9 o9]
U. [u9u u9u 9u 9u u9 u9]
b . To produce [h] say [h] and p u l l t h e r o o t of the tongue back and down. The s t r i c t u r e i n the pharynx does not need t o be q u i t e so great as f o r [ 9 j . Use the same devices as i n RE 3 2 . 1 t o help you get t h e pharyngeal c o n s t r i c t i o n . Or, say [9] without v o i c i n g . P r a c t i c e t h e s e sequences* 1. [aha aha ha ha ah ah]
3 . [ehe ehe he he eh eh]
2* [oho oho ho ho oh oh]
h. [tihu uhu hu hu uh uh]
L
M
ft
A/
(V
A/
A»
J
*•
«M
A/
A*
/V
/V
^
J
RE 3 2 . 5 . D i f f e r e n t i a l * GLOTTAL or PHARYNGEALIZED [ £ ] , when pronounced r a p i d l y , may be confused with [*]. Respond with GLOTTAL or PHARYNGEALIZED. 1. [«za'a]
G
5. ['figal'u]
P
9. [»'unoven]
G
2 . [»zaga]
P
6. [tfi9al*u]
P
10. [«9unoven]
P
3 . [«za9a]
P
7. [ > f i ' a l A u ]
G
1 1 . [«9unoven]
P
k.
G
8. [»fi9al A u]
P
12. [»*unoven]
G
[«za?a]
RE 3 2 . 6 . D i f f e r e n t i a l *
[h] or PHARYNGEALIZED
1. ['zona]
h
5. [»fihal A u]
P
9. ['hunoven]
h
2 . [«zaha]
P
6. [»fihal A u]
P
10. [»hunoven]
P
3 . ['zaha]
h
7. [«fihal A u]
h
1 1 . ['hunoven]
P
h.
P
8. [»fihal A u]
P
12. ['hunoverj]
h
t'zaha]
RE 3 2 . 7 . Mimicry* [2] l a . [si'^vnffi]
l b . [9p«nsesi]
lc.
['n6esi9]
2a. [sA'9onz,]
2b. [9o>nz,sA]
2c. ['ntsA9]
3 a . [so«9«5n8]
3 b . [9«$'n9so]
3c.
['nsso9]
UU6
L e s s o n 32
Ua.
[se'9ani]
Ub. [ ^ a t q i s e ]
Uc. [ » n i s e 9 ]
5a.
[su«9cenu]
5b. [9oe »nusu]
5 c [»nusug]
6a.
[si'gana]
6b. [99'nasi]
6c. [«nasi9]
7a.
[sz,«2ono]
7 b . [9o'nosz-]
7 c [«qo8fcg]
8a.
[se'9senv]
8 b . [9aB»nus6]
8c. [ ' n v s e 9 ]
RE 3 2 . 8 . Mimicryi [h] [hv'naaSi]
la.
[^i'hunee]
lb.
2a.
[SA'honz,]
2 b . [ho'nz-SA] V
lc.
[•ittSih]
2 c . [«nz-SAh]
*
3a.
[so'heSna]
3 b . [htf'nas'o]
3 c PnoSoh]
Ua.
[ge'hoenu]
Ub. [hce ' n u S e ]
Uc. ["nu^eh]
5a.
[&u'hani]
5b. [ h a ' n i s ' u ]
5 c [•nis'tih]
6a.
[Si'hona]
6b.
[he1 n a s i ]
6c. ['noiih]
7a.
[s&'hono]
7 b . [ho'noSt.]
7c
8a.
[Se'hfflnv]
8 b . [hee'nvs'e]
8 c . [•nvs'eh]
RE 3 2 . 9 . Mimicryi la.
[»ta9a]
[•noSth]
[9]1 lb.
[9u»d]
lc.
[be«ra9]
f4
2a.
[»za9alA]
2b. [ 9 a . l A ]
2 c . [bA«l A z,9]
3a.
[mAl A «9ab]
3b. [ » • * ]
3 c [dA'fctf]
^
Ua.
['zum9a]
Ub. [ ' 9 a b i ]
Uc. [xA«l A a9j
5a.
[ma9»mu«l A ]
5 b . [•9i»#A]
5 c [tx,»S&9]
6a.
[ta9'kss«n]
6b. [«9a»lAi]
6 c . [l A A'ma9]
P h a r y n g e a l i z e d Consonants Pharyngealized consonants are made by lowering the back of the tongue and constricting the pharyngeal cavity, just as
•^Examples from Robert E. Maston, Lebanese Spoken Arabic. Recording is simulated from the transcripti on.
P h a r y n g e a l i z e d Vowels
Bilabial VI. stops
UU7
Dental
$ b
Vd. stops
Alveolar
Velar
t
k
d
g
VI. fricatives
f
s
X
Vd. fricatives
V
z
8
m
Nasals
Glide
n
Lateral
1
Flap
r
V
Voiceless Voiced
9 AT
Table 32.2t Some Pharyngealized Consonants and Glides. Theoretically nearly any consonant can be pharyngealized, but these are presented as a sample. are pharyngealized vowels. The regular consonant articulation is otherwise maintained as nearly as possible (Sammies 32.3 and 32.U). In the case of a continuant like a fricative or nasal, it is sometimes possible to hear the actual pharyngeal quality during the articulation of the consonant, but in any case pharyngealized consonants are more readily recognizable by the resulting pharyngealization on an adjacent vowel. The pharyngealization of the vowel may be non-phonemic, but it may provide the necessary clue to the pharyngealized consonant. RE 32.10. Producing Pharyngealized Consonants a0 Follow this sequence in mimicry of the tape* 1. [a*9*a"9*a,,9*a»l
3. [z»z»z«z»z»z«z»]
2. [m»m«m*m«m«m»m«]
U. [1#1»1*1»1»1»1#]
*V
*w
*V
^
*v
«v
TPhis is not an unusual phenomenon. In fact, the acoustic clues of most sounds overlap. Since voiceless stops, for example, are completely noiseless, we cannot distinguish them on the sounds of the stops themselves, but on the basis of the different quality they give adjacent sounds.
UU8
Lesson 32 5. [v»v»v»v»v«v»v«1
b . Place the pharyngealized consonants between pharyng e a l ! zed vowelst 1. [ama. eme umu seme imi omo] 2. [aza eze uzu eezs i z j 052] 3c [ala, ele ulu aslg i l i olo] U. [aya eve uyu asvse i y i pyo] c . Continue t o p r a c t i c e t a l k i n g with the back of your tongue down and the base pulled back i n t o the pharyngeal cavity. RE 3 2 . l i p Mimicry. Non-pharyngealized and Pharyngealized Sequences l a . [aza aza aza aza]
l b . [az za az za]
2a0 [ama ama ama ama]
2b. [am ma am ma]
3 a. [eebbe eeba; aeba ebae]
3b. [asb bse eb bae]
Ua. [ales sis; el£E aslas]
Ub. [ael l a aal lee]
5a. [ofo ofo orb ofo]
5b. [of ro or' r8]
6a. [oko oko oko oko]
6b. [ok ko ok ko]
7a. [ete ete ete ete]
7b. [et te et te]
8a. [eve eve eve eve]
8b. [ev ve ev ve]
RE 32.12. Negative Practicet "Old MacDonald Had a Farm" Get a thorough review of some of the vowel qualities and the modifications of vowel quality by singing "Old MacDonald" with the following progressions. The tape demonstrates some of them. a. Back unrounded* "With a [*ui 'in] here..."
with
[fo], b. Front rounded* [u oe] c. Central unrounded! [ A Q i]
Continue
Pharyngealized Vowels
hh9
d. Nasalizedi [ a e e e e z - i o o y u a A g i oe j6 u » y ra] '•l
T
i
l
l
i X i l i . T C l t
I
i
1
i
I
i
J
e . Voiceless/ [I E /E A 0 0 U] f. Laryngealized* [ I e ! o 1 o o u] g. Pharyngealized* [§ e i a A o o ij] h . Breathyi [se e i a A o o u] i . With o f f - g l i d e s
[ywrH°YWhh]
j . With on-glides [y w r 9 Y W h h ] k. Clusters [ea e i ©o OA iee] 1» Longi [a» as* e» e» t« i« o* o» v g* u» o» *• ra»]
u« a* A» 8« i» CE •
RE 32»13l Gola. Revlewi P i t c h , Consonants, Vowels, Nasalization The t e x t of t h i s exercise w i l l be found as RE 8.18 (pp. 131-135)• There was not time t o include i t i n t h e tape f o r t h a t l e s s o n , so i t i s being included here on t h e tape f o r t h i s lesson as a review, without repeating t h e t e x t from Lesson 8. Mimic consonants, vowels, and tone very c a r e f u l l y . RE 32.1-Ui Mano. Revlewi P i t c h , Consonants, Vowels, Nasalization Mimic the following exercise c l o s e l y . As you go over i t s e v e r a l t i m e s , study t h e difference i n tone on [yi] (the l a s t s y l l a b l e ) i n Nos. 1, k, and 5» This shows t h e effect of i n t o n a t i o n on the inherent tone of the s y l l a b l e . In phrase f i n a l p o s i t i o n t h e mid tone f a l l s f o r s t a t e m e n t s , negative imperat i v e s , and questions containing question words. I t i s l e v e l f o r affirmative commands, and r i s i n g (or s l i g h t l y higher l e v e l ) f o r questions without question words. 1. [afeeyij
a ge y i
'He saw i t t h e r e . '
i_ti
2 . [6a«igE^] L a -
baa g t y i j "
3 . [me*'pele %eS&J <<<•<•
U. [agsjyi]
mss pe l e a gs yi?
i_ii
•Don't look a t i t there]' 'When did he see i t there?'
a gt ylJ
'Look a t i t t h e r e . '
WO
Lesson 32 —
i
*
5. [agejyi]
a ,gS_yi?
'Did he see i t there?»
6 . fagejyXi
a gg y i
»He saw i t t h e r e . '
7. [agsjyl]
a ge yif
'Look a t i t t h e r e . '
8. [atgeiyi]
a ge yi'>
'Did he see i t there?"
r
I_il
RE 32.1j?i Mano. Reviewi Longer Sequences In this exercise mimic closely, watching for the differences of tone in the initial syllables, and reproducing accurately the vowel qualities and nasalization. r
r
9
1. [ tyt.fi t wa|'yi]
y i l i wa y i 'Trees are not t h e r e . '
2. [tzpfutwal'yi]
zulu wa y i "Driver ants a r e not t h e r e . '
3 . [twill»wa|'yi] —i
w >> i i wa* y i 'Animals are not t h e r e . '
km [,ko'ka .geya'fa] j—'
ko ka gg yala 'We saw a house y e s t e r d a y . •
5. [,ko»go* , geya'fa] j—'
ko goo gZ yala 'We saw a canoe yesterday.•
6 . [,ko>'di» ,geya f fa] i ;—'
ko d i i gg yala, 'We saw a cow y e s t e r d a y . '
7. [*si» ,e«yz,Hlejtebe> ,ke>Jru.] r • X
s i i e y i a le gbekeni 'That hawk i s f a r away.'
8. [ ' z i '
fe
,
yoHle; l g be> ,ke>_«nz.] I ' "\
9. [tmene e*yz.Hle|igbe> t k e > ' n t ] l_i
i
I~\
zi e y i a le gbekeni 'That road i s f a r away.' meng e y i a l e gbekeni "That t s e t s e f l y i s f a r away.'
RE 3 2 . 1 6 . Transcription Use the s p e c i a l t r a n s c r i p t i o n form f o r RE 32.16 i n t h e
USl
Pharyngealized Vowels
Workbook Supplement, pp. 101-102. Listen to the tape, and fill in the blanks in the Supplement. 11.
[p h e'm*-invk°]
12.
[ k posi»d"aga]
[ , mircepo»ja]
13.
[ki's'e'noli]
U. [y^du»c h u'gi]
lit.
[bathevaȣe]
5.
[s&'wj6noM]
15.
[p^dA'wof*]
6.
[to«'t h ip/.l*/E«]
16.
[nab»9ffiT^ssy]
7.
[sA'bvzvk 1 ^.]
17.
[hz.Tohabhi]
8. [wenshA'ye]
18.
[«fiAjh e n.ot' ? ]
9. [roxA.«wu«mI]
19.
[gggi'Snafci]
20.
['tL*-othAZ«ffiC9]
1.
[pVii>'za«*i]
2. [VA» «1* okhedu] 3.
10.
[«he»fAyaphu]
Reading Use RE 2 3 . 2 - 3 2 . 3 , 32.5~32.9, 32.ll4-32.l6.
PSi P h o n e t i c i a n ' s Theme Song As the l a s t recorded item i n t h i s , the l a s t r e g u l a r l e s son of t h i s Manual, we present a song composed by Ray Williamson, and performed by Joe Karcher, Nancy Karcher, and Hank Schaftsmaa a t the Missionary Training Conference, Meadville, P a . , J u l y , 1958. I was a simple soul with j u s t one language g r i d j I spoke the English tongue - 'twas a l l I ever did, But a t phonetics school my tongue began t o s k i d . Now I say, [u* i» u a a t V n t V r i wala wala bz,n been u # i» u a a t i.i] t HQ wala wala buj bsq] You've been makin1 sounds a t us Just l i k e you were a chicken.
Lesson 32
U52 For g l o t t a l stops we never had t o beg. Now you do very well a t t h i s , But t h e r e ' s one t h i n g we wonder We'd r e a l l y l i k e t o see you lay an egg. The For And And
only witch doctors are not i n Timbuctoo. t h e r e are s e v e r a l here who s i t r i g h t t h e r e with you. they w i l l teach you how t o gargle, t r i l l , and coo, y o u ' l l say, [u» i* u a a t z.»q t 6e»n wala wala bz,rj baa] u* i* u a a t z,n t esq wala wala bz,rj ban]
(Repeat t h e chorus nasalized and then whispered.)
•e* ?UA
v5\V
"O-^
HEAVENS MO, OLDCHAP!
NOT Y O O - POO
!
IT'S Atf ART(Ci>i-/(rDRV PHoMETKS PRILL.'
US3
LESSON THIRTY-THREE Review and Summary Previous review l e s s o n s have not involved recorded m a t e r i a l s , but i n t h i s l e s s o n we give a tape summary of much of the course, a s w e l l a s t h e usual content of review l e s s o n s . S t u dents who have completed t h e course would not want t o have a complete s e t of t h i r t y - t w o t a p e s but may f i n d t h a t by owning t h e one t a p e for t h i s l e s s o n they have something t o r e f e r t o and t o review by i n the f u t u r e . 1 Consonants In Table 33.1 you have all of the types of consonants of the course symbolized, plus an additional number in parentheses which have not been drilled, although in some cases they may be as common as some which were drilled. We cannot emphasize strongly enough that you must not assume that this table is complete in any sense of the word. The best we can say is that is is representative of most of the general types of consonantal speech sounds (as defined in terms of articulation) to be found in natural languages of the world. Almost all of these consonant types can be modified in a variety of ways, of which some are included below and some are not. It would have been possible to devise a chart with more points of articulation, and more varieties of manner. It would have been possible to fill in some of the blanks on the chart we now have. Theoretically the number of possible consonant sounds is ever so much larger than this. Our chart simply gives us some of the major types around which most of the others can be grouped as modifications. RE 33.1. Mimicryt Table 33.1 In this exercise we demonstrate all of the consonants of Table 33.1 except for those in parentheses. The tape reads across each line, using the frame [...a ...a ...a a...a a...a ] for each consonant. On the first few sounds you are given the labels as well to help you orient yourself until you get in the rhythm of the thing. The vowel is occasionally changed for variety. Follow along in Table 33.1 as you mimic the tape.
A notice of where tapes are obtainable is included elsewhere in this book.
k$i
Lesson Double
Bilabial
Labio-Dental
Dental
EGRESSIVE LUNG AIR STOPS VI. unaspirated
*P
P
^
t
Vl. aspirated
P*
A
11
(P )
Vd. unaspirated Vd. aspirated
gb
t" A
A
b
Q>)
d
b*
(bb)
dU A
(1) (D
VI. flap Vd. flap FRICATIVES VI. flat
P
f
9
Vd. flat
b
V
A
VI. grooved
s
Vd. grooved
z
VI. lateral
(£)
Vd. lateral
(|)
AFFRICATES2 VI. flat unaspirated
PP
VI. flat aspirated
PPh
pf
Vd. flat
bb
bv
VI. grooved unaspirated
te
pf h
to11 dd ts A"
Vl. grooved aspirated
tsh
Vd. grooved
45
VI. lateral unaspirated
C1ft)
VI. lateral aspirated
(tLh)
U55
Review and Summary
jh
I
k
({)
(?)
A
kh
kh
A
g
g
gh
gh
A
k • kh • g • gh •
Glottal
d
J' h
k
Uvular
d
t • th * d • dh •
Backed Velar
ch
Mid Velar
th
Palatal
Alveopalatal c
Retroflexed
Alveolar t
•>
I (9)
X
(•e)
X
X
A
(5)
(A)
g
g
A
s
S
z
2
L 1
•
(?
X
•
(g
g
(£)
•
<%>
03)
(i)
(1) •
(%)
(%)
kx
kx
kxh
kx11
kx •• k^
gg
gg
•• gg
-v A
A A
ts
s
ts h
6h
dz
5
ti t£
h
(cl)
t§ •• t2 h •• d2 •• (t&)
(ft) h
• g • x)1 • g)1 •
(cjh) (t£ ) (k|h)
m ( k % h)
h
h% a aH
(D
i* t» a" HS» H
Vd. l a t e r a l Nfl.SALS Voiceless Voiced
M 5m
m
Vd. f l a p LATERALS3 Voiceless Vd. high tongue Vd. low tongue Vd. f l a p TRILLS Voiceless
(p)
Voiced
(b)
FIAPS (cupped tongue)** Voiceless Voiced EGRESSIVE PHARYNX AIR (GLOTTALIZEDl STOPS VI. unaspirated
p
Vd. unaspirated
(b
FRICATIVES Voiceless INGRESSIVE PHARYNX AIR MLdSTVE) STOPS VI. unaspirated Vd. unaspirated
p
*£
£
So
b
U57
Review and Summary
!» H
CD O
H ft) H
> H
-a pj H p c+
P H
di
(jl)
W CD
c+ 4 O
Hj
H CD
•Tj P I-1 Cll
c+ fu H
X
CD
S H-
a
<
CD
H ru 4
& (dl)
(g%)
(g%)
N
N •
3
N
n
n
n • •
3* 3
q
a)
(*)
(D
(1)
n L
r l
1
v
(L) •
a
?r CO
O c+ d-
o
H
p.
P !->
< CD H
S
N
V
$
»
(1) •
V
(i)
1
R r
R v
(r)
r
t
C
t*
k*
k^
k'
(d")
(g')
(g")
(g')
k
cf
J
d"
k
U58
Lesson 33
DIGRESSIVE MOUTH AIR (CLICK) CENTRAL VI. unaspirated
Dental
Voiced
Labio-Dental
FRICATIVES Voiceless
Bilabial
I
(£)
if)
(§)
<*>
(•)
(<0
p*-
t«-
VI. a s p i r a t e d
p^
^
Voiced
b*
Nasalized
rtf-
n<-
LATERAL VI. unaspirated VI. a s p i r a t e d Voiced Nasalized Table 3 3 . l i Consonants Studied
•TTe have not d i s t i n g u i s h e d between f l a t and grooved f r i c a t i v e s i n v e l a r p o s i t i o n , although both a r e p o s s i b l e . We have used e i t h e r , i n d i s c r i m i n a t e l y . TTor a f f r i c a t e s with d i f f e r e n t p o i n t s of a r t i c u l a t i o n on the s t o p and f r i c a t i v e , see p . 138. -'Lateral f r i c a t i v e s and a f f r i c a t e s a r e shown under f r i c a t i v e s and a f f r i c a t e s , r e s p e c t i v e l y . Tfesal f l a p s a r e shown under n a s a l s , l a t e r a l f l a p s under l a t e r a l s , and f l a t tongue flaps under s t o p s .
Review and Summary
l^o a
• CD O
j O
l
CD O
d
| .1 P
c c
4 t
+ -
£
ffi
>
fn
H =
P.
P P p. 3 t
-
5 •»• H 0,
4
D
tfl P oo fV
er P
a^
M CD
Pi
*
(*)
(«
(*)
(ft)
(ft)
(&)
(2)
(ST)
(ST)
(£)
(rf)
(i)
cf
t«-
tJ1*-
ch*-
t11*-
d<-
j<-
d*-
n*
n**
n**
H
4
o c
+
< CD
ePl -
t«-
p )
c+
fl
*H
H
I?
•
t£h*" <&+
in This Course, And Some Others RE 33.2. Mimicryi Additional Modifications to Consonants Each of the consonants in Table 33.1 can be modified in many ways, some of which are reviewed in this exercise. Each modification is demonstrated with a small number of consonants. When possible, the same frame will be used as in the preceding drill. Mimic the tape and follow along in the Manual. The pages where these modifications are discussed are indicated in parentheses. The modifications will often carry over the vowels as well. a. Long (p. 269)i [m* 1« k« j» v ] b . S y l l a b i c ( p . 152)» [np l p zp xp rp] and [pn p i pz px p r ] . c . Riaryngealized ( p . kh6)t
[33 1 p d b]
U6o
Lesson 33 d. Unreleased (p. 3h5)t
[b- n- k- t-]
e. With voiced release (p. 3h$)t
[be na ks ts]
f. With voiced open transition (p. 3U8)t [ban tsl sek nad] Vi
\\
\\
g. With v o i c e l e s s open t r a n s i t i o n ( p . 3U8)» [ t n p d c z] h . With close t r a n s i t i o n ( p . 3U8)» [bn sk pd t l ] i . F o r t i s ( p . 387)* [p s p* t*-] n
«
it
•
j . Lenis ( p . 387)t [p s p ' t«-] k. Nasalized ( p . 333)i [1 z v g] The following modifications have not been s p e c i f i c a l l y d i s cussed i n connection with consonants i n t h i s Manual, but t h e y are a l s o p o s s i b l e . These a r e not recorded. r*>
O
'
«? D n
1. Laryngealizedt [m n 1 z b] m. Breathy* [m n 1 z v] n. Roundedi [ t m f t s ] o. Unrounded* [2 r s z] p . Fronted* [n< 1' t* x<] q. Backedt [n> 1> t* x>] r . Faucalized (muscles a t the opening t o the t h r o a t drawn t o g e t h e r t o c o n s t r i c t the opening). Vowels In Table 26.1 (p. 363) you have all of the basic vowel symbols of this course. They represent a variety of vowel pronunciations even more difficult to specify unambiguously than the consonants. The same cautions which were made concerning absolutizing the table of consonants apply here even mare strongly. RE 33*3* Mimicryt Table 26.1 The vowel sounds represented in the table are given you in a "buildup" frame* [t... t...t... t...t...t...]. Mimic the tape and follow the chart on p. 363.
Review and Summary
1+61
RB 33 .U. Mimicryt Modification of Vowels The first six modifications will be given on the tape in the form of a "bracketing drill" (see p. 371). It is the third vowel in each series which is the one indicated in the modified transcription below. a. Raised (p. 371)* [as* o" o* i A ] u v uv asv]
b . Lowered ( p . 371 )i [v
c. Fronted ( p . 371)i [A' o< i< a ' ] d. Backed ( p . 371)* [i» e> ii> 9>] e. Rounded ( p . 371)* [ i e g a] f. Unrounded ( p . 371)* [u u a »] /\
f\
A
*\
The following are placed i n the same kind of frame as f o r RE 3 3 . 3 . g. Long ( p . 269)t [e* v* o» w] h . Voiceless ( p . 392)« [/E 0 U A] i . Nasalized ( p . 333)*
[op a a L]
j . Retroflexed ( p . Ul7)* [a A o 0] • • • • k . Breathy ( p . k20)t
[«5 t v E]
1. Laryngealized ( p . 398)* [u x a a] m. Pharyngealized ( p . hhl)t
[o v a A]
Glides High Front
High Back
Voiced
w
y
Voiceless
W
T
Retroflex r
Centralizing
Laryngeal
H
Fharyngeal 9
h
h
Table 33.2i Glides Studied i n This Course RE 3 3 . 5 . Mindcry1 Table 33.2 For t h i s d r i l l the glides are placed i n t h e sarae frair.e as
U62
Lesson 33
that used for RE 33.1. [K] is not given in initial position. Mimic the tape as you follow along on the chart. Pitch
For a review of p i t c h we include one exercise from Thai, where the pitches are often g l i d e s , and one from Hausa, where the pitches are generally l e v e l . RE 33.6t Thai, t-imicryi Pitch
1. [ma«]
'come'
1 1 . [ma«]
' t o pickle'
2. [mAn]
'greasy'
12. [mAn]
'industrious'
3 . [fArj]
'to listen'
1 3 . [dAn]
'similar t o '
k* [nay]
'in'
lU. [mAy]
'new'
5. [ l i n ]
'monkey'
15. [ r i n ]
' s p e c i e s of r a t '
6. [na«m]
'name'
16. [">a»n]
'read'
7. [me*w]
'cat'
17. [ce*w]
»a condiment 1
3. [p s^n]
'expensive'
18. [ k e ' n ]
'to race'
2 1 . [nHl
'face'
3 1 . [ma*]
'horse'
22. [ffi)kn]
'engaged'
32. [nA]
'that'
23. [riAn]
'sit'
33.
[rjfa]
'haul, pull'
2U. [h^av]
'to let'
3h.
[ma«y]
'tree'
U63
Review and Summary 25. [pz-n]
'to roast'
3 5 . [t^Cnl
'throw away'
26. [ha^m]
'to forbid'
3 6 . [na>irj
'water'
27. [ k ^ w ]
'glass'
3 7 . [lA£»,w]
'already'
28. [ h ^ n ]
'dry'
3 8 . [r^»xj]
' d r y (weather)'
' t o warm by f i r e '
Ul. [ma*]
'dog'
U2. [m/ifi]
'sterile'
U6. [na^m]
'thorns'
U3. [nyvjg]
' h i d e , skin'
U7. [t h e/w]
'row, l i n e '
W+. [hpy]
'pickling jug'
U8. [pk&^n]
'bamboo p a r t i t i o n '
RE 3 3 . 7t Hausa. Mimicryi Pitch 1. [ a ^ u T i ]
' a l l o t t e d time'
Eh-8. [d^tajc^]
'wood
2. [ijdanu]
'eyes'
9. [dAnjgaJna]
'resignation'
3 . [ajla}iia]
'sign'
10. [tasoSi]
'dishes'
h. [fAryt^aJna] ' h o e '
11. [al^uha]
'slates'
5. [amfaST]
'usefulness'
12. (^FuTjfa]
'needle'
6. [w^haliha]
'trouble'
13. [asalAi]
'origin'
7. [tal^aka]
'poor person'
lk.
[awgwaajgwa] 'duck'
Lesson 33
U61 ( 15.
[al'jheyi]
•goodness"
23.
16.
[sa«ibuTu]
'soap'
2U. [dapL* i'l* i ]
'reason'
17.
[a£i»ri«]
'secret'
25.
[gaysuwa*]
'greetings'
18.
[ mu,t a • riej
' pe o p l e '
26.
[ga»fara]
'forgiveness'
'limit'
27.
[aTjkari]
'judge'
20. [bujk^rt^a]
'need'
28.
[jawabi]
'reply'
21.
'put ( i t ) downj'
29.
[dugrajts u ]
'stones'
'ignorant'
30. [T tjtatl]
•
1J
L
[UyoJ^a] i
'young man'
^
fr
i
19.
[saulrayi]
i
[ajij^e]
22. [jai'hiri]
'book'
RE 33.8. Negative Practicei Miscellaneous Practice talking with the various articulation styles listed below and demonstrated on the tape. The tape uses the following three sentences for this negative practice. 1. We spared the rod for all these years, and look what we wound up with — the beat generation. 2. All men are not homeless, but some are home less than others. 3. A woman may be taken for granted, but she never goes without saying. a. Nasalized
f. Breathy
b. Fronted
g. Rounded lips
c. Retroflexed
h. Spread lips
d. pharyngealized
i. Even syllable timing
e. Laryngealized
j. Even pitch
U6S
Review and Summary k. Rising p i t c h
m. Rising and f a l l i n g pitch
1. F a l l i n g p i t c h TE 3 3 . 1 . Matching Symbols This exercise i s t o be found i n the Workbook Supplement, pp. 103-106. I t i s t o help you remember t h e symbols and t h e i r values. T r a n s c r i p t i o n Review a. For any sounds which you have d i f f i c u l t y recognizing, use t h e d i f f e r e n t i a l d r i l l s i n t h e lessons where they were i n troduced as t r a n s c r i p t i o n d r i l l s . Check your answers with t h e Manual. b. Transcribe drills containing longer sequences. Redo some of the "fill in" transcription exercises in the Workbook Supplement. In all of your transcription, study your mistakes in comparison with the correct form and see the reason for your errors if you can. Keep track of any mistakes on the Transcription Tally form in your Workbook Supplement. Reading Review Practice reading items from exercises in the Manual, and check your production against the tape. Work with your buddy so that you will have someone to check your production. Sammies Be sure you can draw the Sammies for all articulations represented in this review lesson. Pay special attention to clicks, implosives, and glottalized consonants.
k66 PlRECToR
OF M|SSlOdARV PLACEMENT
I LEARNED "nOOLLESE SO u ) £ j . L IM LINGUISTICS S T U P I E S TH/VT I U>ANT TO TRANSFER To "/HOLLAND"/
U67 Appendix LESSON A English Consonant Phonemes1 Here are three objectives for this lessont 1. To begin to make you conscious of the consonant phonemes (sound distinctions) of English as over against the spelling a£ English, which is often very misleading. 2. To help you get used to some consonant symbols which you 'will need throughout the course, as quickly and as painlessly as possible. This will be done by using them for the transcription of English. 3. To help you begin to get the habit of transcribing what you hear in a consistent way, using one symbol for each different sound you distinguish, in other words, to transcribe both cable and Kate with the same initial symbol,, Chart of English Consonant Hionemes In Table A.l there is a chart of all of the consonant phonemes in the author's English speech. These phonemes are symbolized by letters of the English alphabet, plus modified letters since there is need for more than the regular alphabet provides us. The symbols will be used to transcribe similar sounds in other languages as well. The phoneme symbols are enclosed in slant lines / / (which are also spoken of sometimes as diagonals). The majority of the phoneme symbols have English spelling values, except where they are complicated by English spelling inconsistencies. For example /k/ is no problem to read because of associations in English spelling with key, kind, kill, etc., but in phonemic transcription the student has to be careful also to use it in ache, cat, etc. The remainder of the symbols will have to be learned outright. Exercises in this lesson will give you an opportunity to make the necessary sound-symbol associations. Names of the Symbols In spelling transcriptions aloud, or in talking of the This lesson should be prepared before Lesson 3.
1*68
Lesson A Table A.It English Consonant Phonemes
Bilabial
Labiodental
Tipdental
Alveolar
Alveopalatal
Backvelar
/ ? / £ea a£e
/ t / tea ate
A / key ache
A / buy ebb
/ d / die Ed
/m/ mit Tim
/ n / knit tin
/%/ guy egg 1
A/
sing chick pitch Jill Tudge
A/
fie if
/ e / thigh pith
/ s / sigh Tess
/ s / shy Assher
M
vie live
/ d / thy withe
A/z
/ z / Zsa Zsa azure
wise
A/nt fill /w/ wit throw
/ y / you May
/W/^when
/l/Vge A / writ Tear
A/Ahit
A / a ^ / ? / do n ° t occur a t t h e beginning of normal Engl i s h words. A / does not occur a t t h e beginning of any English s y l l a b l e , / h / , /ff/, and /j/ do not occur a t the end of any English s y l l a b l e . The dividing l i n e s on the c h a r t separate groups of consonants whose manner of a r t i c u l a t i o n (formation i n the mouth) a r e quite different.
U69
English Consonant Phonemes
symbols, it is convenient to have names for them. 'Wherever possible, the names are those which the symbols are given in regular English spelling, as kay for the symbol /k/, and em for /m/. inhere the symbol does not occur in traditional English spelling, however, new names have to be learned through use. Table A.2 lists the names of such symbols as occur in this lesson.
NameJ
Fhonemic transcription of name^
eng
/en/
velar n
/'vz,ylr ,en/
/*/
c wedge
/*sz-y ,wej/
IV
j_ wedge
/ ' j e y ,wej/
l§l
s wedge
/ ' e s ,we5/
Symbol
hi
esh
/&s/
IV lei
_z wedge
/'zt-y ,wej/
theta
/'©eytA/
Ml
b a r r e d d / baHrd t d&y/
Notes analogy of m and n /em/ and /en/ ~ ~
wedge is the term for the diacritic *•' wherever it is found
analogy of f /ef/ and s /ss/
name of the corresponding letter of the Greek alphabet i.e., d with a bar
Table A.2t Names of Some Consonant Symbols Transcription Exercises We now give you some written exercises to help you get facility in the transcription of English consonant phonemes. These transcription exercises are not recorded on tape. It is the purpose of this lesson to help you learn to transcribe your own speech, not someone else's. In this lesson the transcription exercises (TE) will be limited to transcribing the initial consonant (if there is only one) or consonants (i£ there are more than one) in English words, as you pronounce them (not as they are written). That is, you will transcribe all of the consonants in a word until you come to the first vowel. You will not transcribe the vowel, or any of the remaining
Alternative names are given in some cases. "Ignore this column for now if it is confusing to you.
U70
Lesson A
consonants in the word. Remember that we are not concerned with the written consonants or vowels, but with spoken ones. This should become clear as you try the exercises. In any phonemic (or phonetic) transcription please observe the following conventions! 1. Print with separate symbols rather than joining them together. You will accumulate a variety of symbols in time, and some of them will be confusing if you do not develop the habit of printing each one separate from the ones preceding and following it. 2. Do not use capital letters unless the capitals are themselves the symbols for the sound you want. For example, in Table A.l you find / Y / and /W/ as distinguished from /y/ and /w/ (representing a distinction in my speech and in that of many other speakers of English). You will later learn values for other capitals for use in other languages. If the symbol given you is a lower-case letter, then do not make it a capital, not even for a proper name or the beginning of a sentence. Remember that you are transcribing speech, and your speech does not "capitalize" names or anything else. 3. Be careful of the wedge (-"J on/c jf s z/. Do not get it upside down. Think of it as a pair of horns. We will have use for the upside down variety later. U. In some cases there may be a slight problem because of differences between your English and mine. Dialect differences inevitably occur in any group of English-speaking people. This means that transcriptions of my speech will differ from yours, sometimes only at a few points, and sometimes at many points, depending on the speech differences between us. These differences are not as great in the consonants as they would be in the vowels. There tend also to be more of them in combinations of consonants (consonant clusters) than there are in single initial consonants in English. These differences will come out when you compare your transcription of your own speech with your classmates' and with that of this book or of your instructor. Remember that differences do not mean that your speech is any more or less "correct". They are simply objective, observable differences such as occur in all languages, and which are inevitably part of the problem in any language learning. 5>. Be sure to use a normal pronunciation as a basis of your transcription. Say the word or phrase which you are transcribing to yourself several times, and write what you hear. Do not strive for some artificial "correct" or over-precise pronunciation, but write what you normally say. Do not say the
kn
English Consonant Phonemes
word too slowly. This may distort your pronunciation. Say it naturally and easily. Do not look up any words in a dictionary. If you never use a given word which is listed f o r your transcription, leave it blank. If you do use the word, transcribe the pronunciation you use. The transcription exercises which follow have two parts. The first consists of the directions and examples, which are incorporated in the text of the chapter. The second consists of the exercises proper with blanks to be filled out by the student. These will be found in the Workbook Supplement. Transcription Exercise A.l« Initial /s
€> d c j /
Study the following five lists of examples, with transcription of the initial consonant as it occurs in my speech. Read dovm the lists carefully to see whether or not the initial sounds are all alike in each list in your pronunciation. It is possible that at a few points your pronunciation may differ from mine. If you think you find a word which does not "fit" as you pronounce i t , mark it in some way. What symbol would you use to transcribe it?
/©/
/
w
la. she
/*/
lb. thin
M
lc. then /d/
2a. shape
/*/
2b. think
/e/ /e/
2c. this /d/
3a. Schaeffer'/*/
3b. thigh
Ua. ship
/*/
lib. thousand /©/
kc.
5a. shot
IV
5b.
5c. there /d/
thistle
/«/
3 c thy
thou /d/
75/
/V /$/
le. Jane
/J/
2d. cheap /c/
2e. jeep
/J/
3d. chest /c/
3e. jest
/j7
Ud. chosen /c/
he. Joseph /J/
5d. chin
5e. gin
Id. chain
/d/
/£/
/5/
Now transcribe the initial consonant of each of the words of TE A.l (Workbook Supplement, p. 5 ) in the same w a y that they
1*72
Lesson A
are transcribed between the diagonals above. All of the initial consonants of these words in my speech are transcribed with one of the above five symbols. However, you may find that in your speech one or more of the words needs some other symbol. In that case see if you can find what you need in Table A.l. Transcription Exercise A.2< initial /h ¥ w / At this point we have some marked dialect differences in English. Some speakers have no distinction between /W w / such and I have. In that case they have only /h w / instead of the three phonemes illustrated here. Other speakers have all three, but differ from me in the words which begin with /w/ and those which begin with /W/. Other speakers may differ occasionally between words beginning with /h/ and those beginning with /ff/. This is not a question of right and wrong, but a question of usage. Study the following columns, which are listed as the words occur in my speech. That is, inrayspeech all of the words in Column a begin with /h/, those in Column b with /W/, and those in Column c with /w/. Notice that the words rhyme across. Except for the differing initial phonemes, the words in a line across are exactly alike in my speech. Read down each list several times to see whether or not all the words in a given column begin with the same sound in your speech. Mark any which do not, and indicate the symbol for your pronunciation in the space provided (when it differs from mine). Then read across each line. Do you make a difference in the initial sounds across? Do you have a three-way difference or a two-way difference! Wherever your speech differs from mine, transcribe the difference in the initial consonant phoneme. Do not bother to make a transcription if your speech is the same as that indicated by the columns. Some of you may notice a fluctuation in your speech. On which of these words does it occur?
M la. hitch
A/ / /
lb. which
/ /
A/ lc. witch
/ /
2a. heather / /
2b. whether / /
2c. weather / /
3a. hither / /
3b. whither / /
3c. wither / /
lia. hen
Ub. when
Uc. wen
/ / '
/ /
/ /
English Consonant Fhonemes
M
U73
W
A/
5a. heel /
/
5b. wheel /
/
5c. weal /
/
6a. hack
/
6b. whack /
/
6c. WAC
/
/
/ /
7 c way
/
/
8c. wail /
/
/
7a. hey.' / /
7b. whey
8a. hail /
8b. whale / /
/
After you have followed the directions above, determining whether or not your transcription should be the same as mine and filling in the differences, then go on to transcribe the initial consonants in TE A.2 (Workbook Supplement, p. 5) as you pronounce them. They are in random order. Transcription Exercise A.3t Initial /y Y/ Pronounce you and hue. Are the initial consonants different in your speech? If so, you would transcribe them with /y/ and /Y/ respectively. If not, you have /y/. Transcribe the initial consonant of each of the words of TE A.3 as you say it. Do not let the initial written vowels confuse you. Write what you say. (Workbook Supplement, p. 5) Transcription Exercise A.Ut Some Initial Consonant Clusters Transcribe the initial consonant clusters of the words of TE A.U. In other words, transcribe all of the consonants up to the first vowel phoneme (the first pronounced vowel). Some examples are given here, from my speech. Go back to Table A.l for any symbols you need. (Workbook Supplement, p. 6) please /pi/
tray
/tr/
clean
/kl/
scratch /skr/
split
/spl/
three
/Or/
Sphinx /sf/ smash
/sm/
shrewd /ir/
Transcription Exercise A.5« Some initial Clusters with /w y/ Compare the words in Column a with those in Column b, and those in Column c with those in Column d. In my speech they differ only by the presence or absence of /y/ (in the first pair) or of /w/ (in the second pair). Note the importance of the /y/ to distinguish between booty and beauty, for example. The /y/ or the /w/, as the case may be, forms a part of the initial consonant cluster. Mark any cases where your pronunciation differs from mine. You can determine this by reading
U7U
Lesson A
down the column to see whether there are any words which you pronounce with or without the /w/ or /y/ in a contrary way to what I have indicated for my pronunciation. With /y/
Without /y/
la. beauty /by/
lb. booty
N
2 a. pure
/py/
2b. poor
/p/
3a. few
/fy/
3 b. foo
/£/
Ua.
fjord
/fy/
kb. Ford
5a.
mute
/my/
5b. moot
A/ N
With / w /
Without
lc twinge /tw/
Id. tinge
2c. quick
2d. kick
/kw/
M N N
3c. thwack /9w/
3d. Thackeray / e /
Uc. sway
/sw/
Ud. say
5c
/skw/
5d. scare
square
hi M/
After you have studied the words above to determine whether or not your speech differs from mine on any of them, transcribe the initial clusters (including the /w/ or /y/, if any) of the words in TE A.5. Expect some dialect difference between your speech and that of your classmates. (Supplement, p. 6 ) Suggested Readings The following readings are selected because they discuss English consonant phonemes from one standpoint or another. They inevitably introduce also material which we have not yet covered. This should provide excellent background for your further study. Charles F. Hockett, A Course in Modern Linguistics, 15-32. PP. H. A. Gleason, An Introduction to Descriptive Linguistics,
PP. 1U-26. One further caution may be helpful to you as you do reading about English consonant phonemes in other books, either the ones
English Consonant Phonemes
U75
suggested here or ones which you may run across. Most of the consonant symbols in any modern work in linguistics written in the United States will differ very little from the symbols used in this lesson. You will find a few such differences, however. In Table A.3 we tabulate the differences which you are most likely to meet in your reading. Blanks in the chart indicate that the symbol used is the same as ours. The last column shows you other representations by a variety of authors whose works you may find. Although this table may not give the equivalence for the author you are reading, you should easily figure out the values of his English phoneme symbols from the range of possibilities presented here. Ours
Nida
Pike
Hockett, Bloomfield
Gleason, ELI
Trager and Smith
Others
4 c
c
ts,
5
i
dz, d
s
2 i
y
w
hw,W
w
hw
hw
hw
JL
Y
hy,Y
y
hj
hy
hy
c i
Table A.3« Equivalent English Consonant Hioneme Symbols-*-
hn addition to the suggested readings listed above, the following works are specifically covered in this table. The last column represents a wide variety of works which we will not list. Eugene A. Nida, Morphology (first column) and Learning a Foreign Language (second column). Kenneth L. Pike, Phonemics Leonard Bloomfield, Language English Language Institute (ELl), English Pronunciation George L. Trager and Henry Lee Smith, Jr., An Outline of English Structure
t
U76 LESSON B English Vowel Phonemes^ In Lesson A we gave you a chart of English consonant phonemes with illustrations of English words containing them, and you were able on the basis of this information to learn to transcribe the consonants of your speech with relatively little difficulty. Since then you have learned that these phonemes were phonetically far more complex than you dreamed at the time, many of them consisting of several different allophones (different kinds of sounds comprising /l/, different kinds of sounds comprising /t/, etc.), but this does not affect the validity of the phonemic contrasts which you symbolized in Lesson A. Phonemes are often made up of more than one sound. When we come now to English vowel phonemes, however, our approach ' mot be as simple and direct because the analysis of English vowel phonemes is quite complicated. The complications arise both from the fact that the vowel system of any one speaker of English is complex, and from the fact that speakers of English vary tremendously from region to region and from social dialect to social dialect in their vowel systems. We cannot, therefore, present a ready-made system with ready-made examples and expect it to fit your speech. Rather, you will have to figure out your own vowel system. There are really three goals in this lessom 1. Working on your vowel system and comparing it with that of your classmates will help you gain in phonetic perceptiveness, and thus contribute directly to the purpose of this textbook and course. 2. An understanding of your phonemic system is a help toward understanding the learning problems which you face in another langua.ce. "This lesson may begin as early as Lesson 11, with TE B.l3, but the reaainder is intended to come after Lesson 20, when the phonetic vowel distinctions needed have been covered. Unlike the other lessons in this book, it is not intended for a single classroom period, but should be stretched out over several periods interspersed with the remaining phonetics lessons. Also unlike the phonetics lessons, the exercises of this lesson are designed to be worked out before being discussed in class, •with the exception of TE B.l. For further suggestions to the instructor see the Teacher's Guide.
English Vowel Phonemes
U77
3. Working toward a preliminary analysis of one kind of complicated phonemic problem (your vowel system) -will give you a greater understanding of the phonemic structure of language in general, and thus contribute to your sophistication in approaching language learning. Reading Several valuable and relatively readable discussions of English vowel phonemes are available, and you should read them in connection with this chapter. Perhaps if you keep returning to them as you go through this chapter, step by step, it will help you understand -what, you are doing, and help you perform the steps. There is no point in repeating this excellent material here. H. A. Gleason, Introduction to Descriptive Linguistics (either edition), pp. 21-39. Charles F. Hockett, A Course in Modern Linguistics, pp.
Archibald A. Hill, Introduction to Linguistic Structures,
pp. 62-67. As you do this reading, bear in mind that the phonemic symbols used /i e ae i 8 a u o 0/ do not necessarily have exactly the same phonetic qualities which we have assigned them in this course. Phonetic qualities in English vary from one dialect to another, and more important yet, different qualities may be united in the same phoneme. I have [i» ] and [z,] as two of my English vowel sounds. However, both of these belong to the same phoneme, the difference between them being conditioned by the sound environment. ([i> ] occurs before [y], [z-] does not, etc.) I therefore write them phonemically the same way. In this book I have written the phoneme as /v/ as in /btt/ bit and /bvyt/ beat. The books which you read will write this same phoneme /i/, giving them /bit/ bit and /biyt/ beat. The choice of symbol is arbitrary, except that I wanted to make the phonemi cs coincide more closely with the phonetic symbolization, and the other authors you will be reading wanted to use the more commonly used letter i. So far as the phonemic principles are concerned, they are exactly equivalent. It might be well to make an explanation of some other systems of analyzing or transcribing English which you may find commonly. Some, like that of Leonard Bloomfield's Language, date from an earlier stage in linguistics. One very important one, that of Kenneth L. Pike's Phonemics stems from a slightly different approach to phonemics, and ignores some of the
U78
Lesson B
contrasts of lower functional load which we include. The English teaching materials of the English Language Institute follow Pike, and Pike's system does have some advantages for teaching English, as the contrasts omitted vary tremendously among speakers of English and do not carry a high functional load. TE B.1. Sorting Words by Vowel Nuclei The first step toward an analysis of the vowel phonemes of your speech is to make a preliminary sorting -" wording to the pronunciation of the stressed vowel nuclei in jour English words. Ey "vowel nuclei" we refer for the time being to what is traditionally considered to be the spoken vowel of the syllable (not the written symbol). For example, here are some vowel nuclei in my speech. Spelling
Nucleus
bid
pronunciation symbolized by i
bead
pronunciation symbolized by ea
yes
pronunciation symbolized by e
queen
pronunciation symbolized by _ee
To do this exercise use the list of words which follows these instructions, sorting them into groups on scrap paper by use of the following procedure. a. Read any two words aloud together, one after the other. If the vowel nuclei have the same sound (the spelling is totally irrelevant) list the two words together in the same list. If the vowel nucleus of one word is different from that of the other use them to start two separate lists. Your only consideration is that of the sameness or difference in the sound of the vowel nuclei. b. Try the third word in comparison with the two previous words. If the two previous words went into the same list read the new word aloud with those two words. Preferably place it between them as you read, pronouncing the words in the order of first word, new word, second word. Putting it in the middle
Note that the pronunciation symbolized by u was covered under the /w/ consonant of Appendix A. Note also" that in my speech the vowel nucleus of bead and that of queen are the same, although they are spelled differently.
k!9
English Vowel Phonemes
makes comparison easier than in initial or final position where the intonation is likely to affect it. If the vowel nucleus sounds the same as the nucleus of the two words, list it with them. If it sounds different, put it in a different list. Or, if the original two words went into different lists try the new word with each of the original two separately. If it is the same as either one list it with that one. If it is different from both of them use it to start a new list. c. Continue with each succeeding word. Include it with any previous list if the vowel nucleus sounds the same as the nuclei already in the list. Start a new list if it is not the same as the nucleus in any list. When there is a list of two or more items with which you are comparing it say the new word in the middle of the list. Say the whole list aloud.
word does ent, case
d. As you work along you will occasionally realize that a which you had previously classified in a given list really not belong there with the others because it sounds differa difference which you had not detected before. I n that take it out and reclassify it where it belongs.
Your lists will not necessarily be the same as those prepared by anyone else because there are wide dialect differences in English vowel nuclei. We are not concerned with any notion you may have about English "correctness." List the words as you normally say them. If you find that you fluctuate in any word, pronouncing it sometimes one way and sometimes another, put it in both lists. Here are the words to use.
boy
Ben
hate
hop
lard
loud
bow
mine
heft
bite
foot
sound
boa
bound
hat
buy
boot
nut
bean
boon
hot
height
lew
ton
bin
bond
hut
bad
year
us
bone
spa
hoot
bat
yea
hit
ban
spill
hoof
bid
cow
in
bun
heat
roof
bead
bout
ink
bane
hit
hope
led
now
sift
k80
Lesson B
stop
too
pun
prow
bond
many
cod
kit
buck
bed
shreek
penny
balm
cat
nook
bait
shrink
end
ten
pin
neck
fuss
shrank
and
tin
pen
Hoyt
fuzz
shrunk
greasy
two
pan
pry
thank
any
soft
TE B.2. Checking f<3r Additional Nuclei and Examples During and after class discussion of the results of the previous exercise, you will need to take another look and see if you can find other nuclei which you have missed. a. As a result of class discussion you may have recognized that you combined two phonetically different nuclei into the same list. Revise your work to separate them. b. In the class discussion new words may have come up which give you new nuclei, or examples for lists where you do not have enough examples. Incorporate this material. Make sure you incorporate it only as you pronounce it. You may not list it with the same words another person does, because his pronunciation may be different from yours. c. Check the following words against your lists. Where necessary because you find new nuclei, start new lists. Fill out lists for which you do not have enough examples. Some of these words contain more than one syllable. You are concerned with the stressed syllable only. alcohol
pot
about
starry
lawn
cash
cot
mourning
garage
louse
our
oral
thank
tomorrow
gregarious
caught
loin
horrible
Jewry
board
out
Shaw
ferry
pill
look
warrant
Erie
wiggle
whole
light
coarse
balm
U81
English Vowel Phonemes waffle
ice
flour
Oz
end
try
Mary
portion
fine
bomb
Gary
dear
off
tugs
sorry
balk
joint
bond
door
vary
bird
bask
fairy
Pa
tune
his
coal
father
flute
stop
welter
poor
sister
pony
miracle
merry
proud
boat
bah
bard
TE B.3. Looking for More Nuclei and Examples In this exercise you should add at least fifty new words to the lists you are collecting, or to new lists you may have to start because new nuclei come to light. The words may be of more than one syllable, but you are concerned only with the stressed syllable. Continue to expand your lists on paper, finding as many different groups as you can - that is, as many different stressed vowel nuclei as you can. You may notice certain problems, and perhaps these suggestions will help yout a. For some vowel nuclei you will immediately think of many words. Ten words or so are enough for any one list, but be sure to make the words as varied as possible. A list like hit, sit, fit, bit, wit is not as useful for later stages of this work as hit, in, ink, sift, interest. b. For other vowel nuclei you may be able to think of only one example. Try to find more, but if you cannot, keep the one as a separate list. Do not discard it or combine it with another list simply because it is small. c. You will likely find your pronunciation of many words to be different in different contexts, or when spoken at different speeds. As you say your words, try to keep a uniform natural pronunciation, not an overly "precise" one. But when you find fluctuation in pronunciation anyhow, or different pronunciations in different contexts, put the ward in each of the
U82
Lesson B
appropriate columns. For example, I say Can I [ ' k % n a y ] , but I can [ j a y ' k ^ H n ] . Thus the word i l l u s t r a t e s [as] and [asfi], but I must keep t r a c k of t h e difference of context. Make a notat i o n beside each pronunciation of t h e d i f f e r e n t context i n which you found i t . d. You may find a difference in length. In my speech, for example, I have hot, stop, cot with [a] and bar, balm, spa with [a»>]. These should be kept in separate lists although you are not yet concerned with the pn^netic transcription of your lists. e. To save time and give you ideas you may use a dictionary or any other source to remind you of words, but list them as you pronounce them, not as the dictionary says they should be pronounced. Use only words which are natural to you. If the list is alphabetical, skip through it in order not to have your words all begin with the same few letters of the alphabet. TE B.[t. Preliminary Charting of Vowel Nuclei Up to now you have been collecting data and sorting it into groups of words which have the same vowel nuclei. The next step is to make up a set of vowel charts for what you have been finding. You will need one chart for unglided nuclei, one for nuclei with [y], one for nuclei with [w], and one for nuclei with [H]. If you have found some nuclei with long vowels and others with short, these should be charted separately. As the first step in making these charts, make a phonetic notation of the nucleus for each list. In my speech, for example, I would write [L] beside a list consisting of sit, in, ink, spit, sprinkle, etc. Similarly, the appropriate notation would be made beside each other list. At this point the phonetic nature of what we have labeled "vowel nuclei" becomes a little more apparent. We refer to pure vowels which are not followed by glides, and to vowels plus [w y H ] . For example, here are some illustrations of vowel nuclei in various words in my speech. Word
Vowel Nucleus
bid
[bz-d]
U]
bead
[bi> yd]
[i> y]
led
[led]
[e]
laid
[le-yd]
0*y]
W3
English Vowel Phonemes foot
[fv«t]
[»<]
boot
[biwt]
[iw]
low
[low]
[ow]
period
[«phz.ri-Hd]
[v]
yeah
[y5H]
[eH]
[ivH]
Note that the [r] off-glide does not enter into English phonemic vowel nuclei in the same way that do [w y H]. We simply tell you this to make the exercises easier. Handle English /r/ even after vowels as a full consonant, as you did in Lesson A, although you are handling other post-vocalic glides as parts of vowel nuclei. After you decide upon the phonetic notation for the nucleus of each list, then these nuclei should be entered in the blank vowel charts in the Workbook Supplement, p. 53-81;. It would be wise to use pencil, as you may make changes. Thus, for my list in the previous paragraph, I would enter [;,] in the lower-high front unrounded position of Blank Vowel Chart 1. [ow] would be entered in the mid back rounded position of Chart 3, writing in both vowel and glide. [i>y] I would enter in the high front unrounded position of Chart U. The diacritic [*] shows the fact that it is slightly backed from this position. The phonetic transcription of the nucleus of every one of your lists should be entered somewhere on one of these charts. Do not expect all of the charts to be filled out. No dialect of English has that great a variety of vowel nuclei. However, where there are gaps keep on the lookout for words you have overlooked which might have nuclei to fill them. TE B.$. Looking for Minimal Pairs Within Chart 1 At this point you begin to make a phonemic analysis of your vowel system based on the data which you have been collecting and sorting. The first step is to find minimal pairs between as many of the phonetic entries in the five charts of the previous exercise as you can. For the purposes of our work now, a minimal pair is any pair of words in your speech which differ in their vowel, and only in their vowel. The remainder of the word is the same. The words must have different meanings. For example, in my speech tin and ten are a minimal pair. The vowels [L] and [e] constitute the only difference between these words for me. The words are otherwise the same. For some speakers of English, however, these two words are not
U8U
Lesson B
minimal pairs, because they are pronounced the same way. is no difference between them for these speakers.
There
Kit and cat are minimal pairs in my speech. The distinction is in [v\ and [se]. Do not let the fact that the consonant phonemes are spelled differently fool you. From a pronunciation standpoint the only difference is in the nucleus. Two and too are not minimal pairs in my speech. They are pronounced the same way. Neither are rim and ran, for there is a consonant difference as well as a vowel difference. Ram and ran are, of course, minimal pairs, but are of no use to us here, because we want minimal pairs which differ by vowel nucleus. First of all, you want to look for minimal pairs within Chart 1 of TE B.3. For example, Blank Vowel Chart 1 (p. 83) may look like this (which is one possibility, but not the only one among English dialects)i
If this is what your chart looks like, you will now look for minimal pairs between [v e ] , [z. ae], [v A ] , [L a ] , [z, w<], [v o ] , [e ae], [e A ] , etc. It helps a great deal if you can find a minimal series like pin, pen, pan, pun, taking care of [L S ] , [t as], [v A ] , [S as], U A ] , and [as Aj all at once. When you cannot find a series like this you have to work by individual pairs like book, buck [v< A ] , nook, neck [v< e ] , e t c around the chart. This step is a very important step, for when you find minimal pairs, they prove that the sounds which make the difference between the words do not belong to the same phoneme but to different phonemes. If you can find minimal pairs separating all of your sounds in Chart 1, these sounds are all different phonemes. You do not yet know the full story about these phonemes, but you have established these particular phonetic qualities as belonging to separate phonemes in your dialect of English. Page 85 in the Workbook Supplement will help you in recording your minimal pairs for Chart 1. Enter each pair of phonetic nuclei on the left betvreen the slant lines. Slant lines are used because if you have a minimal pair for the two sounds, you have proved a phonemic difference. Then write in
English Vowel Phonemes
U85
t h e English words which are a minimal p a i r separating these vowels i n your speech. You do not have t o r e s t r i c t yourself t o words already i n your preliminary l i s t s . Any woids i n your n a t u r a l speech may be used as minimal p a i r s . TE B.6. Looking for Minimal Pairs Within Charts 2-5 Continue t h e procedure of t h e preceding exercise w i t h i n each of t h e remaining c h a r t s . Blanks for t h e recording of minimal p a i r s f o r each chart are t o be found on pp. 87-88 of t h e Workbook Supplement. On Chart h, f o r example, i n my d i a l e c t h e a t , h a t e , h e i g h t , Hoyt would provide p a i r s for phonetic nuclei Li* 7 e'vyj, L'i»y Ay], |.i>y o y ] , [e*y Ay], [e«y o y ] , [Ay o y ] . Be sure t o keep t r a c k of p a i r s of sounds for which you cannot find any minimal p a i r s . TE B.7. Looking for Minimal Pairs Between Charts 3-5 In turning t o look for minimal p a i r s between charts we keep t h e same p r i n c i p l e i n mind, t h a t we want t o find words which have only one difference between them. For example, i n my speech boy [boy] and bow [bow] are a minimal p a i r . The nucleus of boy i s i n Chart h '(Workbook Supplement, p . 8U) and t h a t of bow i s i n Chart 3 ([oyj and low J r e s p e c t i v e l y ) . The minimal difference l i e s i n the g l i d e p a r t of t h e nucleus, the difference between [w] and [ y ] . For my speech, then, t h e [w] off-gli.de and t h e [y] o f f - g l i d e belong t o separate phonemes. I f I go on t o compare Chart 5, I find t h a t I have the vrord boa [boH] i n minimal c o n t r a s t with boy and bow, giving me a t h i r d phoneme / H / . By way of i n t e r e s t we might mention t h a t t h e phonemes / y w/ i n English p a t t e r n as consonants i n English when they are on-glides (see Lesson A) and as p a r t s of English vowel nuclei when they are o f f - g l i d e s . The same phonemes, then, sometimes have a consonant function and sometimes a function as p a r t of t h e vowel nucleus phonemic a l l y although they are both vowel g l i d e s p h o n e t i c a l l y ! The reasons for such an a n a l y s i s go beyond t h e scope of t h i s book. / H / p r e s e n t s some subject of controversy among l i n g u i s t s . Some combine i t with t h e phoneme / h / on t h e b a s i s of complementary d i s t r i b u t i o n , while others do not, f e e l i n g t h a t t h e r e i s not enough phonetic s i m i l a r i t y . / r / p a t t e r n s as a consonant whether i t i s an on-glide or an o f f - g l i d e , which i s why we did not bring i t i n t o our discussion of n u c l e i .
U86
Lesson B
Study your Charts 3-£ and look for minimal pairs between •them, in the manner just illustrated. Record this information on p. 89 of the Vforkbook Supplement. TE B.3. Looking for Minimal Pairs Between All the Charts Continue the process which you began in the previous exercise by adding the charts which do not have off-glides as part of the nucleus. Make your comparisons for minimal pairs between Charts 1 and 2, and then between these charts and Charts 3_f>, comparing Chart 1 with Chart 3, Chart 1 with Chart It, etc. Remember that for there to be a minimal pair there must be only one difference in sound. For example, nut and night are a minimal pair in my speech, [nAt] and [nAyt] respectively. They are the same except for the presence and absence of [y]. However, for me bit [bi-t] and beat [bi>yt] are not a minimal pair. They differ in" vowel qualify" as well as in glide. Record your minimal pairs in the Workbook Supplement, p. 89, as you did before. ~~~ — Theoretically you should search for a pair to represent eveiy possible pair of nuclei between all of the charts, but this becomes a pretty large task. Instead look for pairs where the vowels are the same or very similar, and compare these. TE B»9» Looking for Complementary Distribution In our search for minimal pairs we have been finding evidence for separating sounds into different phonemes, or separating nuclei. Bit and bet in my dialect separate [v e] into separate phonemes. The minimal pairs prove that they contrast phonemically. Bit and beat separate the two nuclei [v i'y], but the second nucleus is not a single sound, but a vowel plus a glide. Is there any relationship between the vowels of the two? Certainly they are very close phonetically, but what is their phonemic relationship? Are [t] and [i>] different phonemes in my dialect? And what about [i*] as in [ivH]? (See my "front unrounded" column reproduced in the preceding exercise.) TShen I look at my charts, however, or the parts of them reproduced above, I notice immediately that I never get [±>] except with a following [y], never get [iv] except with a following [H], and never get [t] with either glide. These three vowels are very similar. Their slight differences are associated with the presence or absence of particular glides. I notice that there is a similar relationship between [e e»y] except that it is simpler in that there is not a third variety before [H]» These shades of difference in vowel are in com-
English Vowel Fhonemes
U87
plementary distribution-1- according to the presence or absence of the glide. These similar vowels in complementary distribution belong to the same phoneme. In the examples above [v ±> i v ] all belong to one phoneme /v/ (or / i / if you prefer), and they take these different phonetic forms when found in these different complementary environments. It is not evident from my charts, but in my dialect [e e*] are also in complementary distribution. I cannot find any minimal pairs to separate them, so I look at the words in which they occur. I find that the long vowel occurs before voiced consonants, and the short vowel occurs in other environments. This shows up in pairs like bet, bedj fuss, fuzz; etc. The vowel in the first word is short and that in the second is long. This would not mean anything if I found minimal pairs to separate them, but it is impossible to find minimal pairs to separate sounds which are in complementary distribution. The fact that they are in complementary distribution means that they have no sound environment which is identical, and in minimal pairs the sound environment must be identical. In the Workbook Supplement (p. 91) there is a form to help you work out the complementation of similar sounds. Take up first the charts, and the complementation which they show, and then turn to other similar vowels for which you have not been able to find minimal pairs. In working out the complementary distribution deal with the sounds which would go together to make up one phoneme, and work out the rules for them. Then turn to those which would make up another phoneme, etc. Enter the sounds in complementary distribution in the appropriate place, and for each one give the environment (the distribution) which is peculiar to it. It from an mentary ask for
h
is quite likely that you will need occasional help experienced person when you are working with compledistribution. If you do not get enough help in class, it from your instructor on the side.
ounds are distributed through words. The sounds [v i> i v ] complement each other in their distribution in relation to glides. They together have a distribution with and without glides, but no one of them has the same distribution as any other.
U88
Lesson B
TE B.3Q. Analyzing Free Fluctuation TOien you were collecting your lists you found some words in which your pronunciation fluctuated, and you listed the words in more than one list. Now you want to study the phonemic significance of that fluctuation. Pick out the words which fluctuated, and on the basis of what you have so far discovered about your phonemes, try to determine for each word whether your fluctuation was between two phonemes or not. Was the fluctuation between two sounds proved to be separate phonemes because you have minimal pairs for them? Or was the fluctuation between sounds which are not in contrast, for which you cannot find minimal pairs? If the sounds are separate phonemes, you recognize that on some words you fluctuate between these phonemes (though not on all words). You can record this information concerning these words on p. 93 of the Workbook Supplement. If the sounds are not separate phonemes, your fluctuation is within the allophones (sounds which comprise a phoneme). There is place for you to record this on p. 9k of the Workbook Supplement. Sometimes the fluctuation will be between an unglided vowel and a glided one, particularly one glided with [H]. For the purposes of this exercise, handle the presence and absence of [H] as phonemic. That is, consider the fluctuation between [ae eeH], if you have it, to be a phonemic one. TE B Jl. Making a Tentative ihonemic Vowel Chart Charts 1-5 which you made before in the Workbook Supplement were phonetic charts. You have now been working with them to see which of these sounds are separate phonemes, and which belong to the same phoneme as allophones either because of complementary distribution or because of free fluctuation. For this purpose you do not include the glides in the chart, but the vowels alone. You choose one symbol for each phoneme, no matter how many allophones it has. This you can do in the Workbook Supplement, p. 9$. Under the chart, list the allophones which go with each phoneme. All of the vowel qualities in your previous charts should be included among these allophones. You may find a problem in that you still have vowel sounds for which you do not ha.ve minimal pairs, and for which you
English Vowel Phonemes
U89
cannot find complementary distribution or free fluctuation. For the purposes of this exercise consider them separate phonemes.1 TE B.12. Phonemic Transcription Your analysis of your English phonemes is not technically complete, but this is as far as we are going to take it. With this much knowledge of your vowel phonemes, plus what you know about your consonant phonemes, you should be able to make an approximate phonemic transcription of your consonants and vowels. Try this out with the words in the Workbook Supplement, p. 96. Write the full word phonemically. Remember that this means you will not write aspiration because aspirated and unaspirated stops belong to the same phoneme. If in doubt, review Lesson A. TE B.13.. Phonemic Transcription Transcribe phonemically the sentences on pp. 99, 100 of the Workbook Supplement in the space provided.
There are other phonemic techniques to help in the analysis of such residual problems, but they are beyond the scope of this course, which is one in phonetics, and where the present phonemics exercise is introduced because of the strong phonetic reinforcement which it provides.
h90
Lesson C
LESSON C Descriptive Summary of Speech Articulation In the preceding chapters our approach to understanding articulatory phonetics has been guided by pedagogical considerations rather than descriptive ones. We introduced new information piecemeal, and in the order which we had found by experience was the easiest to teach to North American students. Considerations of what students are able to hear and produce in the most efficient order were paramount. With the myriad detail and variety in speech sounds, however, some students may not have seen the over-all picture. For that reason we append this brief chapter to give a systematic though brief summary of human speech articulation. There will be little new information here. Nor w i n there be as much detail as can be found in some of the lessons which constitute the main part of this book, and to 7#iich cross-reference will be made. This will be strictly a descriptive overview, a reorganization of the facts of articulation into a more "logical" pattern of presentation. The Air Stream A movement of air out of, or into the human head is a fundamental requisite of normal human speech sounds. The movement of this air stream sets up vibrations which are those sounds. The air stream is modified (its sound frequencies are modified) by variations in the shape of the parts of the head and throat through which it travels. In the most general terms this is a full description of what articulatory phonetics is all about. The rest is a matter of filling in the detail (and learning the skills) of specific features of articulation. The most important organs for originating airstreams used in speech are the lungs. All languages use lung air (pp. 378379) for a substantial number of speech sounds. None of the other airstream mechanisms to be described below are as universal. The most important direction of movement for the lung air stream is egressive (going out of the body), moving from the lungs through the throat and then the mouth or nose or both. Ingressive lung air, with the lungs pulling the air in rather than pushing it out, is fully possible but very rare as a part of normal speech. Children at play, or anyone else who wants to try it, can say short sentences in English with continuous ingressive lung air. They simply draw in the air as they talk rather than expelling it. The egressive lung air stream of normal speech does not
Descriptive Summary of Articulation
1*91
come out with the same even flow which is characteristic of quiet breathing. Rather it comes out in pulses of varying lengths. This pulsation is caused by movement of the muscle system in the chest and abdomen. These pulses of air are integrated with articulations in the throat and mouth to produce syllables (pp. 150-15U), differences of degree of stress (pp. 1;>U-1!?8) and loudness, breath groups, and other modifications in the stream of speech. These modifications stemming from the chest pulsations usually cover a sequence of sounds rather than isolated individual sounds. A second initiator of speech air streams is the pharynx, or the cavity in the throat above the larynx and below the faucal pillars (muscles at the entrance to the throat from the mouth), uvula, etc. By closing (or nearly closing) the vocal cords and pushing the larynx upward air is expelled from the pharyngeal cavity, making an egressive air stream (pp. UoS>_l4ll). By pulling the larynx downward an ingressive pharynx air stream (pp. 378-387) is produced. Pharynx air streams are never the only basis of speech sounds in any language, nor are they to be found in every language, but they are very commonly found in African, Asian, and American Indian languages, and are occasionally heard as alternate forms in English. A third place where speech air streams begin is in the mouth. The mouth air stream (pp. k27~hkO) is created by forming a cup with the tongue against the roof of the mouth in various positions. By releasing one point of the cup and by pushing the air out with the tongue an egressive mouth air stream can be formed. More commonly, however, the tongue lowers to create a partial vacuum in the cup just as the one point is released, and an ingressive air stream results. "Clicks" which mouth-air sounds are called, form a functioning part of speech only in Africa (especially southern Africa), but are widely used elsewhere in play, verbal gesture, exclamation, and communication with animals. The various air streams occur in combination in some speech sounds. Pharynx and lung air are both involved in voiced pharynx air sounds (p. 38l), for voicing requires lung air. Mouth and lung air are used together in voiced and nasalized clicks (pp. U33~U37) and in some varieties of double stops (pp. 299 - 300). O^ier combinations are theoretically possible but probably do not enter into the speech sounds of actual languages. Effect of the Larynx on Lung Air Various positions of the vocal cords in the larynx modify an air strain originating in the lungs in different ways. They naturally do not have this same effect on other airstreams be-
192
Lesson C
cause these do not pass through the larynx. One extremely important pair of modifications created in the larynx is the contrast between voicing and voicelessness (pp. U3~U8 and many others). Voicing is created by a narrowed passage between the vocal cords such that the air stream passing through develops a buzz as it causes these membranes to vibrate. With a wider, more relaxed position the vocal cords do not impede the air stream as much, nor do they set up the vibration of voicing. A second extremely important modification created by the larynx is that of pitch (pp. 26-U2, and others). All voiced speech has the possibility of a variation in pitch frequency, and all languages use this possibility, though in varying ways. Tone systems and intonation systems are in large part based on this kind of modification, although pitch is probably never the only ingredient in them. The vocal cords may close momentarily to stop the air stream and produce a glottal stop (pp. 102-108). In another configuration they modify the air stream to provide the basis for the various forms of [h] (pp. 392, 396-398). Two other modifications, laryngealization (pp. 398-399) and breathiness (pp. U20-U26), do not have the same universality as the preceding, but they are nevertheless extremely important modifications of the air stream caused by changes of configuration within the larynx. Falsetto and whisper are also modifications made there. The Cavities and their Modifications The three principal cavities (pp. 1-2) through which air streams may pass are the pharyngeal cavity, the oral cavity, and the nasal cavity. All lung air must pass through the pharyngeal cavity, but then may pass through the oral cavity (without the nasal) to produce oral sounds, through the nasal cavity (without the oral) to produce nasal sounds, or through both (the oral being predominant, but the nasal cavity also open) to produce nasalized sounds. When the oral cavity is closed off the closure may be at different points in the mouth, as described in the next section. If the closure is velar (to produce [n]) the oral cavity figures very little in the formation of the nasal sound, but if the closure is farther front in the mouth (to produce [n] or [m], for example) there is an oral cavity behind the tongue which provides a resonance chamber off of the direct line of the air stream going out the nose (pp. 10-17).
Descriptive Summary of Articulation
U93
If the oral cavity is open the nasal cavity may or may not be closed off. There is only one position at which this closure can take place. It is articulated only by the velic. However, various degrees of closure are possible ranging from a wide-open access to the nasal cavity to a very slight aperture. The degree of opening affects the degree of nasalization (pp. 333~ 3U0). Modifications in the pharyngeal cavity consist of various degrees of enlargement and constriction of the cavity by movement of the tongue root forward or back. Extreme constriction produces pharyngealization (pp. hhl-Uh9)Extreme openness produces a deep, hollow sound. At the mouth of the pharyngeal cavity lie the faucal pillars. These may be narrowed to produce a tense, strained, or "bright" modification of speech. Modifications in the oral cavity (the articulations of speech) will be discussed in the next section. Other air streams than the lung air stream use fewer cavities because any air stream uses only cavities between its origin and its point of egress or ingress. Mouth air uses only the oral cavity (p. U29). Pharynx air theoretically can use both oral and nasal cavities but in actual practice is almost always restricted to oral (pp. 380-381). The simultaneous nasalization or voicing which occurs with clicks (mouth air sounds) is produced by lung air, and not by mouth air (pp. h33~ 1*36). Articulators and Points of Articulation (pp. 3-11) The mouth contains the greatest potential for variety in the modification of the air stream primarily because of the great flexibility and agility of the tongue. The root of the tongue may move back to or near the pharyngeal wall, as was mentioned under modifications in the pharyngeal cavity (p. UU2). The back of the tongue may articulate at or near the uvula, the lower rim of the velum, or any upper surface of the mouth as far forward as the palate (pp. 322-329). It normally articulates as far forward as the front edge of the velum. The tongue mid is capable of articulating from the uvula to the upper lip, but for languages it is found typically articulating in the area of the palate which lies above it (p. 32U). For people with a bit of agility the tongue blade and tip likewise are capable of articulating from the uvula to the upper lip. In actual languages the blade normally articulates against the palate, alveopalatal region (pp. 193-19U, 275~28l), or the
h9h
Lesson C
alveolar ridge (pp. 20-22). The tip articulates anywhere from the palate to the teeth (pp. 16U-171). Tip-palatal and some tip-alveopalatal articulations are retroflexed. The lower lip is capable of articulating from the alveopalatal region to the upper lip. It is actually found articulating against the upper teeth and upper lip (pp. 1+8—^2). Various degrees of distance from articulator to point of articulation are possible, giving the manners of articulation which will be discussed in the next section. Different configurations of the tongue as articulator are also possible, as will be seen under the section on manners of articulation and under the one on vowels. Manners of Articulation Various relative positions of articulator and point of articulation, various uses of the cavities, and various configurations of the tongue produce modifications of the air stream which are called manners of articulation. Fig. C.l portrays the classification of these manners of articulation which we will follow in the discussion. Many of these manners of articulation may be produced with any or most of the combinations of articulator and point of articulation listed above. Non-continuant sounds are ones in which the air stream is interrupted by the articulation, or in which the "sound" itself consists of such an interruption. Stops are the most widespread form of non-continuant (pp. 12-13, 79-83, 108-116). A stop consists of a closure between articulator and point of articulation such that the airstream is fully cut off. It requires a simultaneous closure of the velic so that air does not escape through the nose. A stop may be voiced, which requires that an air stream move through the larynx to create a vibration there, but it may not pass through the point of articulation in the mouth during the brief duration of the stop. Stops occur single or double (pp. 298-305). That is, in addition to the velic closure there may be a single stop articulation or two. If there are two, one of these is a back-velar articulation. The other is commonly bilabial, but may be articulated with the tongue tip against the teeth, alveolar ridge, or alveopalatal region. Flaps are very brief stops
in which the articulator flips
Nasal and lateral flaps are continuants (p. 2U6).
U95
Descriptive Summary of Articulation
rFlaps •Noncontinuant
-Single
r
Stops —I LDouble -Trills
S o u n d s rNasals
i
Single •Double Lateral
•-Fricatives •
Continuant
Grooved
^
Flat
LOrals r-Glides rCentral— Lvowels -Resonants — •Lateral Fig. C.l: Manners of Articulation against the point of articulation (pp. 2U6-250). Trills consist of a very rapid series of flaps (pp. 250-255). It would be possible to classify a trill as a continuant ecause the sound continues through a series of several such rapidly articulated flaps. If so classified, however, it would be a continuant which stops repeatedly! Both flaps and trills are typically articulated with the tongue tip in the alveolar or alveopalatal region, or with the uvula against the back of the tongue. Continuants are sounds which are not interrupted during the
Schematic classification modified from Kenneth L. Pike, Phonetics, p. lU2 and classroom presentations at the Summer Institute of Linguistics.
h96
Lesson C
course of their articulation. The articulator never fully touches the point of articulation. Continuants divide conveniently into orals and nasals according to whether the air stream goes out the nose or mouth. If the velic is open and some articulator in the mouth closes off the air stream the sound is nasal. Otherwise it is oral. It is oral if the articulations in the mouth permit egress or ingress whether the velic is open or not. Nasals (pp. 16-17, 192-199) are not modified within the nasal cavity in actual languages (although a nasal fricative and nasal trill articulated with the velic are fully possible) but they are modified by articulations in the mouth. These modifications provide different sizes and shapes of oral cavity which constitute resonance chambers off from the main column of air. The same articulations, single and double, which are possible for stops as described above are possible for nasals (pp. 298306). Oral continuants, or continuants in which the articulations in the mouth permit movement of the airstream, may in turn be classified into resonants and fricatives. In the latter case the articulation provides only a small aperture for the air to escape (pp. 13-17, U3 - 6o). In the former the space is larger. The small aperture of the fricative creates a turbulance in the air stream which produces a hissing or buzzing effect. It is analogous to air going through the crack around a door. Fricatives, in turn may be central or lateral. Central fricatives are ones in which the air stream goes out from back to front (or vice versa) over the center of the tongue. In lateral fricatives the center of the tongue touches the point of articulation and air movement through this articulation is impossible. However, one or both sides of the tongue leave an opening permitting the air stream to move (pp. 217, 221-225). Central fricatives maybe flat or grooved (pp. 167-168). Flat fricatives have a flat or convex configuration of the top surface of the tongue when seen from the front. Grooved fricatives have a concave configuration. Resonant orals, or oral sounds with a large aperture between articulator and point of articulation may likewise be central or lateral. That is, the airstream may go out over the center of the tongue or over the side, as described for fricatives. Laterals vary according to the configuration of the tongue behind the point of articulation, or according to the point itself (pp. 217-229). Each of the manners of articulation mentioned above is
Descriptive Summary of Articulation
U97
classified as a consonant articulation. Central resonant orals are vowel and vowel glide articulations. Because of their complexity they will be handled separately in the following section. Vowels and Vowel Glides Central resonant oral continuants are vowels and vowel glides. The distinguishing feature of glides lies in their audible movement (pp. 175~l87). Most typically this change in position is a movement toward or away from the upper front of the mouth, the upper back of the mouth (with a simultaneous lip rounding), the center of the mouth, or retroflexed tongue position. Glides may be on-glides in which case the movement is array from the general area indicated into the position of the vowel which follows. Or they may be off-glides, in which they move from the position of the vowel in the direction of the glide. Vowels are less easily classified and described than consonants because of their complexity. Differences of vowel sound are created by subtle differences of configuration on the surface of the tongue without any points of articulation against which reference may be made. All sounds are fomed by the shape of the cavities through v/hich the air stream passes, but with vowels there is nothing as readily definable as the articulators and points of articulation of the consonants (pp. 17U-175, 201202). Vowels are classified according to the degree of lip rounding (rounded or unrounded), the general part of the tongue which is highest in the formation of the vowel (front, central, back), and the relative height of that part of the tongue (high, lowerhigh, mid, lower-mid, low, lower-low). Further modifications include the degree of bunching, cupping, curling (retroflex, pp. 1+17-U20), etc. of the tongue. Vowels are most commonly voiced. In many languages they sometimes occur voiceless, however (pp. 392-396). All vowel articulations may be combined with such features as nasalization (pp. 333 - 3Uo), breathiness (pp. U20U26), laryngeal!zation (pp. 398-399). Other Features There are many other ways in which the air stream can be modified, a few of which will be mentioned now. Rounded or spread lips, with various degrees between may be characteristic of consonants as well as of vowels and glides. Sounds may be articulated with varying degrees of length (pp. 269-27U). They can be held for extremely brief periods, or longer ones. Articulation can be smooth and unbroken, or there
U?8
Lesson C [d
w
r] i
Lung a i r Voicing Air goes thru phar. Air goes thru mouth Air goes thru nose Tip a r t i c . Lower l i p Upper l i p point Alveolar Stop Nasal Fricative Lateral Glide Front Center Back High Low Lower-low Retroflex Hounding Fig. C.2» Segmentation Diagram
Descriptive Summary of Articulation
U99
maybe a juncture (pp. 158-159), a slight hesitation or pause between sounds. Sounds may be forcibly articulated (fortis) because of extra lung pressure and/or extra tenseness of the articulator, or the articulation may be lenis (pp. 387 - 389). Sounds are often grouped together into syllables by chest pulses and other factors of articulation. Each syllable has one sound which is syllabic, and the others are non-syllabic. The syllabic is most typically a vowel, but may often be a consonant (pp. 35o-l53). Nasal and lateral consonants (except lateral fricatives) most readily lend themselves to syllabic articulation. Some syllables are stressed more heavily than others, the stress being created by a more forceful pump of the airstream associated with additional length, change in pitch and vowel quality (pp. l£lrU>8). Combining the Features of Articulation} Segmentation The miracle of speech articulation is that the enormous complexity which we have been describing is coordinated and intertwined into a code system with enormous rapidity, and that people who know the code (the language) can decipher the meaning of the stream of sounds which come at such a great rate. Some of the interplay of the various elements of articulation can be seen in the vastly oversimplified schematic diagram in Fig. C.2. Articulations do not start and stop with the abrupt precision pictured here, and there are many more factors than are listed, but the diagram serves to show some of the complexity involved in the simple expression drowsy slumber. Note that although the various aspects of speech production are intertwined, and turned off and on at various rates and positions, each sound shows various features in different combinations, and it is this which gives us the distinction between sounds as well as the impression of segmentation, the impression that one discreet sound succeeds another. Suggested Reading Kenneth L. Pike, Phonetics, pp. 83-156. H. A. Gleason, An Introduction to Descriptive Linguistics, pp. 239-256. ~ ™"~~ Charles F. Hockett, A Course in Modem Linguistics, pp. 62-83. Charles F. Hockett, A Manual of Phonology, pp.
23~h2.
5oo BIBLIOGRAPHY Blooh, Bernard, and George L. Trager, Outline of Linguistic Analysis. L. S. A. Waver ly Press, Inc., Baltimore, kd., 19^2. Bloomfield, Leonard, Language. Henry Holt and Co., NewYork, 1933. Canonge, Elliott D., "Voiceless Vowels in Comanche," International Journal of American Linguistics, Vol. 23, No. 2 (April, 1957), PP. 63-67. English Pronunciation. English Language Institute, University of Michigan, Ann Arbor, Mich. Francis, W. Nelson, The Structure of American English. The Ronald Press Co., New York, 1958. Gleason, H. A., An Introduction to Descriptive Linguistics. Henry Holt and Co., New York, 1951', revised 1961. Heffner, R. M. S., General Phonetics. University of Wisconsin Press, Madison, Wise., 1952. Hill, Archibald A., Introduction to Linguistic Structures. Harcourt, Brace and Co., New York, 1950. ~ Hockett, Charles F., A Course in Modern Linguistics. Macmillan, New York, 1958. Hockett, Charles F., Manual of Phonology. Waver 3y Press, Baltimore, Md., 1955 (Memoir 11 of the International Journal of American Linguistics). Kaiser, L. (ed.), Manual of Phonetics. North Holland Publishing Co., Amsterdam, 1957. L^-van-Ly, Le Parler Vietnamien. 19U8.
Huong Ann Press, Paris,
Maston, Robert E., Lebanese Spoken Arabic (reproduced by ditto process). Beirut, 1955. Nida, Eugene A., Learning a Foreign Language. Press, New York, 1957.
Friendship
Bibliography
501
Osborn, Henry, and William A. Smalley, "Formulae for Comanche Stem and Word Formation," I n t e r n a t i o n a l Journal of American L i n g u i s t i c s , Vol. l £ , No. 2 ( A p r i l , 1^9), pp. 9J-92. Park, C. H., An Intensive Course i n Korean, Book I . Yonsei University P r e s s , Seoul, Korea, 1961. Pike, Kenneth L . , The Intonation of American English. University of Michigan P u b l i c a t i o n s , L i n g u i s t i c s , Vol. 1. University of Michigan Press, Ann Arbor, Mich., 19^7. Pike, Kenneth L . , Tone Languages. P r e s s , Ann Arbor, Mich., 19UB.
University of Michigan
Pike, Kenneth L . , Phonemics| A Technique for Reducing Languages t o Writing. University of Michigan Publications, L i n g u i s t i c s , Vol. I I I . University of Michigan Press, Ann Arbor, Mich. 19U7. Pike, Kenneth L . , Phonetics. Ann Arbor, Michigan, 19U3.
University of Michigan Press,
Riggs, Venda, "Alternate Phonemic Analyses of Comanche," I n t e r n a t i o n a l Journal of American L i n g u i s t i c s , Vol. 15, No. h (October, "192+9), pp. 229-231. Smalley, William A., Outline of Khmu'' S t r u c t u r e . Oriental Society, New Haven, Conn., 1961.
American
Smalley, William A., "Phonemic Rhythm i n Comanche," I n t e r n a t i o n a l Journal of American L i n g u i s t i c s , Vol. 19, No. hf October, 19^3. pp. 29?-301. Smalley, William A., and Nguyen-Van-Van, Vietnamese for Missionariesj A Course i n t h e Spoken and Written Language of Central Vietnam^ T r i a l E d i t i o n . Imprimerie Evangelique, D a l a t , Vietnam, 19 5U. Trager, George, and Henry Lee Smith, An Outline of English S t r u c t u r e . American Council of Learned S o c i e t i e s , Washington, D. C , 1956. Westerman, D., and Ida C. Ward, P r a c t i c a l Phonetics f o r Students of African Languages. Oxford University Press, London, 1933. Wise, Claude Merton, Applied Phonetics. I n c . , Englewood C l i f f s , N . J . , 1957
Prentice-Hall,
502
INDEX Phonetic symbols not a part of the usual English alphabet are combined with it in the index below. The order in which they appear follows. Other symbols, not shown in this listing are included in the index as subheadings under the basic symbol they most resemble, with [o] under [o], [b] under [b], etc.
a a B f f i b b c i S d d e e e f g ^ b g h i i i j J k ^ l l m i i n n n $m o p o re p p q r r f s S t u u v v A w x y z z ' 9 e r . [a] lower-low f r o n t unrounded o r a l vowel 26lff. [a«] long 269ff. [a] nasalized 333ff. [a] laryngealized 3°8f. [a] retroflexed Ul7ff. [f] breathy U20ff. [a] pharyngealized Hblff. [a A ] r a i s e d 370ff. [a v ] lowered 370ff. [a<] fronted 370ff. [a>] backed 370ff. [§] with very s l i g h t rounding 37Off. [A] voiceless 3°2ff. Affricates 136ff, lb 8, 229f, 277, U!&ffj a s p i r a t e d and una s p i r a t e d 13°ff} d e n t a l l66f; f l a t end grooved 167} l a t e r a l 25°ii} l a t e r a l l y released 228fj retroflexed 1685 v e l a r 1^3} voiced 139f• Air streamt Sammy 78, 379ff, Uo6f, U29f, U33, li36; 77ff, 378ff, Uo5ff, U27ff, U90ff. Alveolar 3ff, 20, 85ff, lli8, l66f, 170, 278. Alveopalatal 3ff, 20ff, 75f, 85ff, 1U8, 161+, 170, 193ff, 196, 218, 225f, 275ff. Amoy 3Off, 6lf. A r t i c u l a t i o n 3ff, l*90ff} manners of l l f f , U90ff} points of 3ff, U93ff. A r t i c u l a t o r s 9ff, U93ff. Aspiration 108ff, 113ff, 2293 277, 396f. [a] lower-low c e n t r a l unrounded o r a l voweli Sammy 175} 17Uf,
I87ff, 263ff, 335. [a-] long 269ff. [gt] nasalized* Sammy 33Uf} 333ff. [&] l a r y n g e a l ized 398f. [a] retroflexed Ul7ff. [a] breathy U20ff. [a] pharyngealized UUlff. [a.*] raised 370ff. [a»] lowered 370ff. [a<] fronted 370ff. [a>] backed 370ff. [g] with s l i g h t rounding 370ff. [00 v o i c e l e s s 392ff. [x>] lower-low back unrounded o r a l vowel: Sammy 26U; 26lff. [v] long 269ff. [T?] n a s a l ized 333ff. [&] laryngealized 398f. [x>] retroflexed Ul7ff. [ig] breathy U20ff. [v] pharyngealized UUlff. [ B A ] r a i s e d 370ff. [» v ] lowered 370ff. [x><] fronted 370ff. [»>] backed 370ff. [S] with s l i g h t rounding 37Off. [V] v o i c e l e s s 392ff. [ffl] low front unrounded o r a l voweli Samrny 235} 232, 23Hff, 263ff. [«•] long 269ff. [f] nasalized 333ff. [m] l a r y n gealized 398f. [ae] r e t r o f l e x e d Ul7ff. [f] breathy U20ff. [g] pharyngealized Uhlff. [m*] r a i s e d 370ff. [a>v] lowered 370ff. [se<] fronted 370ff. [ee>] backed 37Off. [§] s l i g h t l y rounded 370ff. [/E] v o i c e l e s s 392ff.
5o3 [b] voiced b i l a b i a l stop with egressive lung a i r 79ff, 8U. [b*1] with v o i c e l e s s r e l e a s e 3hl. [b+] with voiced a s p i r a t i o n U22, hSk. [b«] long 269ff. [b] pharyngealized Ui|6ff. [b] laryngealized U60. [be] with voiced r e l e a s e 3U6f. [bb bv] a f f r i c a t e d 138ff, II48, U5H. [b ] with egressive pharynx a i r Ho5, U07, U56. [6] with i n g r e s s i v e pharynx a i r 378, 386, U56. [b«-] with i n g r e s s ive mouth a i r t Sammy U36j U27ffj U58. Back, see Mouth, Tongue, Vowels. Back-velar a r t i c u l a t i o n 20ff, U8, 57f, 85ff, UU8. Backed v e l a r a r t i c u l a t i o n s Sammy 32U. "Backwards c " 201. see [ o ] , "Barred d" H69. see [ d ] . "Barred I " 285. see [ £ ] . Beat, se"e s y l l a b l e . B i l a b i a l 19f, 22f, U8ff, 52, 57f, 85ff, 110, 1I48, 192. Black Bobo 199Blade, see Tongue Blade-alveolar a r t i c u l a t i o n 20ff. "Boston a" 261. see [ a ] . Boundaries, see S y l l a b l e s . "Bracketing technique" 371. B r a z i l i a n 228. Breathy vowels U2Qff. [b] voiced f l a t b i l a b i a l f r i c a t i v e with egressive lung a ir» Sammy k9; U8ff, 5lf, 56, H18, U5H. [bb] a f f r i c a t e 138ff, XI4.8, U5U. [c] v o i c e l e s s a l v e o p a l a t a l s t o p with egressive lung a i r 275ff, 307, U55. [
U59. [c *•] a s p i r a t e d with i n gressive mouth a i r U27, U59' [c] f o r t i s 388f. [c] l e n i s 388f. "C wedge" I4.69. see [ c ] . "*Capital h» l82ff. see [H]. "Capital ]m" 192. see [M]. "Caret" 201. see [ A ] . Cavities 17k, U92. C e n t r a l , see Mouth, Vowels. "Clear 1" 218. see [ 1 A ] . Clicks E27ff, U58f, U91$ song (Zulu) ii38. C l u s t e r s , consonant 136, 3U9ff. Ul3fj vowel 293ff, 285, 320, 372, Finnish 329ffj glide 309, 319f, 372. Comanche 158, 39Uf. Complementary d i s t r i b u t i o n U86ff. Consonant c l u s t e r s , see c l u s t e r s . Consonants U9l|ff, a l l odd-numbered l e s s o n s | c h a r t s lii8, 257ff, 357ff, U53ffj English phonemes lj67ff} length 269, 272fj modifications U59f j n a s a l ized 333ff1 pharyngealized UU6fj preceding on-glides l86fj r e leased and unreleased 3U5f, Ul5j s y l l a b i c l52ff, continuant
ItfUff. Contours; see P i t c h . "Crossed £" 309. see also [0] [£] v o i c e l e s s groved unaspirated a l v e o p a l a t a l a f f r i c a t e with egressive lung a i r 138ff, li+8, h$S. [6 ] a s p i r a t e d 138ff, U+8, U55. [d] voiced a l v e o l a r stop with egressive lung a i r 79ff, ~lW, 1*55. [d] d e n t a l 161», hSh. [d] r e t r o f l e x e 1 Sammy l68j 16U, 169, k5$. [d h ] with v o i c e l e s s r e l e a s e 3U7. [d§] with voiced a s p i r a t i o n 1+22, U55. [3] flapped 2U6f, 2U8f, h$5. [ d ' ] long 269ff. [d] pharyngealized lU*6ff. [da] with voiced r e l e a s e 3h6£. [d]
$6k with ingressive pharynx a i r 378, 387, 1+57. [*•] with i n gressive mouth a i r 1+27, k%9> [dd dz] a f f r i c a t e s 138ff, li|.85 16U, k$k. [&X dz] a f f r i c a t e s 16k, 169, k$$. 'l<&] a f f r i c a t e , l a t e r a l 217, kSl. [dz] see [jf]. [d£*3 a f f r i c a t e with i n gressive mouth a i r 1+27, 1+59. "Dark 1" 218/ see [ l v ] . Dental gff, l6Uff, 218, 226f. "Dental n" 192/ see [ n j . Diacritic's [~] a l v e o p a l a t a l 218. [ J backing 161+, 322f. [ + ] breathines§ 1+20. [A] d e n t a l 218. [ ] egressive pharynx a i r Uo5ff• [\] f a l l i n g p i t c h 90. [ v ] f l a p 2U7£f. [„] f o r t i s 387/ [J fronting 16U, 322f. [*] higher than normal 218, 3 7 1 . [*•] i n g r e s s i v e mouth a i r U27ff. f ] laryngealized 398f. [•] length 269. [J l e n i s 387. [ v ] lower than normal 3 7 1 . [>] backed 3 7 1 . [<] fronted 3 7 1 . U ] more rounded 3 7 1 . U,] pharyngealized )|)|1. / / phonemic t r a n s c r i p t i o n 12,1*67. t ] phonetic t r a n s c r i p t i o n 12. [ ] retroflexed 218. [/] r i s i n g p i t c h 90. [J"L] s t e p up and step down i n p i t c h 90. [~] t r i l l 2li6ff. [-] unreleased 3kS» Diagrams, f a c i a l If, 7l+ff, 79j see under various phonetic symbols} segmental 111, 137, 181+f, 223, 33$, 3U8, U98. "Double-dotted u" 309i see [ u ] . Double n a s a l s , "see Nasals. Double s t o p s , see Stops. [d] voiced, f l a t , dental f r i c a t i v e with egressive lung a i r : Sammy lit, k$% l+3ff, U8, 5k, U18, 1+51+. [e] mid front unrounded o r a l
Index vowel 232ff. [e«] long 269ff. [e] nasalized 333ff. [&] laryngealized 398f. [e] r e t roflexed.- Sammy 1+18} l+l7ff. [g] breathy U20ff. [e] pharyngealized Ulilff. [e A ] r a i s e d 370ff. [e»] lowered 370ff. [e< e>] fronted and backed 37Off. [g] with s l i g h t rounding 370ff. [E] v o i c e l e s s 392ff. Egressive lung a i r t Sammy 379j 379, U90f, U5Uf. Egressive mouth a i r U91. Egressive pharynx a i r t Sammy U06f/ Uo5f, U91f, k$6. "Eng" U69. see [ r j . English, a f f r i c a t e s 136ff/ American 102, 2l8f, 225, 33kf Brooklynese 102/ consonant c l u s t e r s 1+70, U73ff/ consonant phonemes k6jffj contour range 90ff/ controlled i n t o n a t i o n l l 8 f f } dentals I6£fj "eng" [13] 192/ f o r t i s 388j f r i c a t i v e s l+3f, U6f, U8j [H] 182, U82ff5 junct u r e 159| l a t e r a l s 17, 217ff, 222ff} l e n i s 388/ o f f - g l i d e s 176fj on-glides 183, 185n/ 89ff, l l 8 f f j [ r ] l80f/ stops 12f, 102, 108fj s t r e s s l%t, 1$9?% s y l l a b l e boundary l$kj s y l l a b i c l52fj voicing 8lff, l l l j vowel phonemes U76ff} [w] 179, U82ff. "Enya" 192. see [ n ] . Erakor 282. "Esh" I469. see [S]. [9] lower-mid c e n t r a l unrounded o r a l vowelt Sammy 2885 28£ff, 368} open t r a n s i t i o n , voiced r e l e a s e 3U6ff. [9*] long 269ff. [e] nasalized 333ff. [8] laryngealized 398f. [9] retroflexed ltf.7ff. [?] breathy U20ff. [g] pharyngealized UUlff. [9" 9* 9< 9 ' ] r a i s e d , lowered, fronted, brcked 370ff. [g] s l i g h t l y rounded 370ff,
5o5 consonant r e l e a s e 3U7.
l e a s e 3U6f. [gl with i n g r e s s ive pharynx a i r t Sammy 3 8 l j [e] lower-mid f r o n t unrounded 378, k5l. o r a l voweli Sammy 175j 17U, "Gamma" 363. see [ T ] . I87f, 190, 201. [e«] long German 320f. 269ff. [e] nasalized 333ff. Glides, see Pitch, Vowels. [I] laryngealized 398f. [f] G l o t t a l s t o p , see S t o p s : [ ' ] . Ul7ff. [|] breathy lt20ff. G l o t t a l i z e d consonants h56ff. [e] pharyngealizeds Sammy Utf-2; G l o t t i s , see Vocal Cords. ijUlff. [e» e" s< e' e] r a i s e d , Gola 131ff, hh9. lowered, fronted, backed, and with s l i g h t rounding 370ff. [%>] voiced double stop with e~ gressive lung airt Sammy 299 j [f] v o i c e l e s s f l a t l a b i o 298ff, 306, U5h. [86] with ind e n t a l f r i c a t i v e with e g r e s s gressive pharynx air 378, h56. ive lung a i r : Sammy lU, 1*9$ U3ff, U8, 87, 1U8, k5h. [f-] [g] voiced flat velar fricative long 269ff. [f] rounded U60. with egressive lung airt Sammy [f ] pharyngealizedt Sammy hh2; 531 U8, 52ff, %, IkQ, 200, U5S. hh6ft. [f ] with egressive [g §] fronted, backed, 322ff, pharynx a i r U56. U55. [§•] long 269ft. [§] F a u c a l i z a t i o n , Faucal p i l l a r s nasalized 333f. [g] pharynU25, k93. gealized hk6tt. [gg] affricate F a l l , F a l l i n g , see Pitch, 138ff, U48, U55. Glides. Finnish 272ff, 329ff. [h] voiceless glottal fricative Flaps 2U6ff. 2U9, 253f, 2 # , 281, U56, k9hf. 182f, 396f, hhS, U92. [H] voiced centralizing glide* Foe 282. Sammy l8l| l8lf. F o r t i s 388. [h] voiceless pharyngeal glide Free f l u c t u a t i o n U88ff. French 27, 221, 219, 3U6f. khhtt. F r i c a t i v e s ! Sammy U9j 13ff, [h] aspiration 108ff, iho, l82f, U3ff, U8ff, &ftt 55tf, I5t, 229, 277, 396f, U22ff. 80f, 87f, l l 6 f , 11*3, 1U8, 366, [ ] voiced aspiration (breathy) 172, U5Uff,- f l a t 167, k5k, U22ff, h5Ut. U96j grooved 167, h5hf, U965 "Hat with the Bird" 93f, l l 8 f f , l a t e r a l 217, 223ff, U96. 271. Front, see Mouth, Vowels. Hausa33ff, l 6 l f , lj63f. Fronted v e l a r a r t i c u l a t i o n ? "House t h a t Jack B u i l t " 205, Sammy 32U. 23 8f. "Hook," "Hooked" 333, U l l . [g] voiced v e l a r stop with eHull lh3 gressive lung a i r t Sammy 78% High, see P i t c h , Tongue. 79ff, 3ii8, U55, [g] fronted "High tongue 1" 218. see [ 1 * ] . 322ff, h$5. [g] backed 322, U55. [g*] witft voiced a s p i [ i ] high f r o n t unrounded o r a l ration C22, U55. [g'1 long vowelt Sammy 235; 232ff. [i«] 269ff. [g] pharyngealized long 269ff. [i] nasalized l\h6f£. [go] with voiced r e 333ff. [I] laryngealized 398f.
5o6
Index
[j] voiced grooved a l v e o p a l a t a l [ i ] retroflexed Ul7ff. [i] a f f r i c a t e with egressive lung breathy U20ff. [i] pharyngealized UHlff. [i A i v i* i* a i r 138ff, 1^8, U55, U68. i ] r a i s e d , lowered, fronted, backed, s l i g h t l y rounded 37Off. [k] voiceless v e l a r stop with [ I ] voiceless 392ff. egressive lung a i r 75, lll+f, U55. [k] fronted 322ff, U£5. Implosives 378ff, 386, Ul6f, [k] backed 322, h$S. [k11] U2U, k3l, U56ff. a s p i r a t e d 109f, 113f, lli8, k$$. I n g r e s s i v e , a i r streamt Saiftny [k«] long 269ff. [kj pharyn380,- l;90fj lung a i r 379, U90f j gealized UU6ff. [k] f o r t i s mouth a i r U2?ff, l£8f, Ltflf j 388f. [k] l e n i s 3ol8f. [ k - ] pharynx a i r 379ff, U56ff, unreleesed 3U£f. [kx] a f f r i U91f. c a t e 138ff, 1U8, 322ff, hSS. I n t o n a t i o n , see P i t c h . [-k ] with egressive pharynx a i r "Inverted m" 363. see [ui]. U03>, U57. [&] with i n g r e s s i v e I t a l i a n 223, 227. pharynx a i n Sammy 3 8 l j 373, U57. [ i ] lower-high c e n t r a l unrounded o r a l vowelt Sammy Kaka 30gf, 3U2, 386f. 288fj 285, 287ff, 290, 3&1£. Khmu? 159, 198f, 22Uf, 2kkf, 25Uf. [*•] long 269ff. [i] n a s a l Korean 388. ized 333ff. [*] laryngealized Kpelle 72. 398f. [ i ] retroflexed Ul7ff• Kuy 280, U25f, Ul3ff. [i] breathy U20ff. [£] phaA ryngealized UUlff. [i i * i ' [ p] v o i c e l e s s unaspirated double I ' i ] r a i s e d , lowered, fronted, stop with egressive lung air» backed, with s l i g h t rounding Sammy 299fJ 298ff, 30$f, hSh. 370ff. [f] v o i c e l e s s 392ff. [ ]?] with i n g r e s s i v e pharynx a i r 378, U56. [z,] lower-high front unrounded o r a l vowel 232ff. [v] long [1] voiced a l v e o l a r l a t e r a l with 269ff. [^] nasalized 333ff. egressive lung a i r 17f, lU8. [1 A ] high tonguet Sammy 219/ [v] pharyngealized 398f. [$-] 217ff, 226, 230, U57. [1 Y ] low retroflexed Ul7ff. [?(.] tonguej Sammy 219} 217ff, 226, breathy U20ff. [&] pharyn230, U57. [\] d e n t a l 217, 226f, gealized liiilff. [z,A t v t ' v> h%. [1] a l v e o p a l a t a l : Sammy t] r a i s e d , lowered, fronted, backed, s l i g h t l y rounded 370ff. 19Uj 22gff, U57. [1] f l a p 2U6f, 2li9, hSl. [\] s y l l a b i c l £ l f f . [1] nasalized 333f. [1*] long [ j ] voiced a l v e o p a l a t a l stop 269ff. [1] pharyngealizedt with egressive lung a i r 27i>f, Sammy hk2} UU6ff. [ l - ] unre279ff, 307, U55. UV w i « i leased 3h6. [1] breathy U60. voiced a s p i r a t i o n U22, U55. 1 [1*1*] fronted^ backed U60/ [j ] with i n g r e s s i v e pharynx l a t e r a l g l i d e 228. [1] pharyna i r 378ff, 387, U57. I > ] gealized U60. [L] voiceless with i n g r e s s i v e mouth a i r 217, 221, U57. U27, U59. Labial $ff, l8f. "J wedge" U69. see [ J ] . Labio-dental a r t i c u l a t i o n 19ff, Juncture l£8ff. ' 22f, 57f, 85ff, U48, U5Uff.
507 Laryngealized vowels, see Vowels. Mid. see Pitch, Tongue. Larynx k$, 77f, 380ff, 398ff, Minimal p a i r lj.6, U83ff. hc$ff, h91ff. Modifications, see Consonants, L a t e r a l s 17f, 3J+8, 217f, 220ff, D i a c r i t i c s , Vowels 231, 2$$f, U56f, U 9 # j alveoMouth 17U, 201. p a l a t a l 225f j d e n t a l 226f j Mouth a i r . see Clicks. English 217ff, 222j French 219j f r i c a t i v e 221f, Itfo/ high and [in] high back unrounded o r a l low tongue 2l8ffj Humf 22ltf j vowel 363ff, 367f. [m«] long o r a l 217, 222j retroflexed 2§9ff. [m] nasalized 333ff. 227f; Spanish 219* v e l a r 227f. [in] laryngealized 398f. [w] retroflexed Ul7ff. M breathy Length 269ff, 297, 329ff, UoOj U20ff. [ra] pharyngealized of p i t c h glides 62ff. UUlff • [utA ray ur* ui> w] r a i s e d , Lenis 388. lowered, fronted, backed, with Level, see Pitch s l i g h t rounding 37Off. [Ill] Liberian English UOl. voiceless 392ff: "Light 1" 218. see [1*] Lips 3fT, 7U, 17U, 201, 311, [n] voiced a l v e o l a r n a s a l with h9hf rounding 210f. egressive lung a i r ; Sammy 16, Long, see Length, Vowels. 33k; l6f, 1U8, 192, U57. [n] Low. see Pitch, Tongue, Vowels. d e n t a l 192, 1 9 # f , U56. [n] Lower-high, Lower-mid, Lowerretroflexed 192, 193", k$l'. Low, see Tongue, Vowels. [tf] flapped 2l46f, 2U9, U57. "Low tongue 1" 218. see [ l v ] . [n] s y l l a b i c l^Lff. [n-] long Lung a i r U90ffj with voiced i n r 2^9ff. [n-] unreleased 3U6. plosives 3 8 l . see Ingressive [n] pharyngealized hl|6ff. [n] lung a i r , Egressive lung a i r . laryngealized I46O. [n] breathy Lungs 77, U90. U60. [n< n>] fronted,^backed U60. [n*-] with i n g r e s s i v e mouth [1] voiced l a t e r a l a l v e o l a r a i r stop U27, U59- [nfc*] with f r i c a t i v e , with egressive lung i n g r e s s i v e mouth a i r a f f r i c a t e a i r 217, 221f, k$$. [£] v o i c e U27, U59. [N] v o i c e l e s s 197,U57. l e s s 217, 222. Nasal c a v i t y , see C a v i t i e s . [m] voiced b i l a b i a l n a s a l with Nasals l6ff, 1U8, 192ff, 255ff, egressive lung air* Sammy l 6 j 333, U56f, U95fj double 298ff, l£ff, 1U8, 192, h$6. [m] s y l 303f, 329, U96j v o i c e l e s s 196ff; l a b i c I 5 l f f . [m«] long 269ff. Khmu"' 198; Black Bobo 199. [mj pharyngealized UU6ff. Nasalization, nasalized 333, [in-] unreleased 3U6. [m] 399f, kk9fbreathy U60. [m] rounded U60. Non-continuant l+9Uff. [m] laryngealized U60. with Non-vocoid l85n. i n g r e s s i v e mouth a i r stop* Nuclei, English vowel U78ff. Sammy U33# U27, U58. [M] v o i c e l e s s 192, 196f, h$6. [n] voiced a l v e o p a l s t a l n a s a l with egressive lung air» Sammy Maidu 379n. 19Uj 192ff, 199. [n~] unreManinka 281, 306. leased 3U6. [ng] with voiced Mano Ul, 3U2f, bh9f. r e l e a s e 3U6f. [n<-] with i n Mansfield, Sam. see "Hat with a gressive mouth a i r stop U27, B i r d , " Diagrams, f a c i a l .
508
Index
Sammy 202j 201, 208ff, 262ff. [o«] long 269ff. [£] n a s a l ized 333f. [0] phaiyngealized [13] voiced velar nasal with e398f. [o] r e t r o f l e x e d Ul7ff. gressive lung air* Sammy l6j [0] breathy U20ff. [ij] phaiynl6f, lU8, 192f, 200, U57. [3] gealized UUlff. [oA o* o< o> palatal 322ff, U55. [rj] backed o] r a i s e d , lowered, fronted, 322, U57. [N] voiceless 192, backed, with s l i g h t l y l e s s U57. rounding 370ff. [Q] voiceless 392ff. U59.
[N] voiceless 192, 196f,
U57.
[^m] voiced double nasal with egressive lung air* Sammy 299j 298ff, 306, U56.
[oe] low front rounded o r a l vowel* Sammy 3lU| 309ff. [oe-] long 269ff. [eg] nasalized [oe ] laryngealized [o] mid back rounded oral vowels 333ff. 398f. [oe] r e t r o f l e x e d Ul7ff. Sammy 175; 17U, l87f, 190. [0^] breathy U20ff. [oe] pha[o-] long 269ff. [oj nasaliyngealized UUlff. [ce*03('oe< ized 333ff. [o] laryngealized oe> 03 ] r a i s e d , lowered, fronted, 398f. [o] retroflexed Ul7ff• backed, with s l i g h t l y l e s s [9] breathy U20ffj Kuy U25. rounding 370ff. [CE] v o i c e l e s s [oj phaiyngealized* Sammy 392ff. UU2; UUlff. [o* o* 0< o> o] raised, lowered, fronted, backed, with slightly less [p] voiceless unaspirated b i rounding 370ff. [0] voiceless l a b i a l stop with egressive lung 392ff. air* Sammy 2, 78} 6, 12, 75, 80f, 83. 108ff, 113ff, 1U8, "0 digraph" 309- see [oe]. "Old Macdonald Had a Farm" 239f• 306, U5U. [p ] a s p i r a t e d 108ff, 110, 113f, 1U8, U5U. [p«] long On-glides. see Vowels. [p~] unreleased 3U5f. Off-glides, see English, Vowels. 269ff. [p] f o r t i s 388f. [%] l e n i s Onset, see Stress. 388f. [p] phaiyngealized UU6ff. "Open o" 201. see [0]. [pp] a f f r i c a t e I38ff, lU8, U5U. Oral cavity, see Cavities, [pf] a f f r i c a t e l38ff, lU8, U5U. Vowels. [p ] with egressive pharynx Orals U95f•
a i r s Sammy Uo6j Uo5, U56. [£] with i n g r e s s i v e pharynx airs Sammy 380} 378, U56. [p«-] [0] mid front rounded oral with i n g r e s s i v e mouth air* vowels Sammy 313* 309, 311ff, Sammy U29j U27, U58. 320f. [6-] long 269,ff. [(*] nasa l i z e d 333ff. [16 ] l a r y n P a l a t e , p a l a t a l , see A r t i c u l a gealized 398f. [$] r e t r o t i o n , points of. flexed Ul7ff. [<6] breathy "Period." see Syllable d i v i s i o n . U20ff. [&] phaiyngealized Pharyngeal c a v i t y , see C a v i t i e s . UUlff. [>A 16" & <>•> £] raised, Pharyngeal, phaiyngealized UUlff. lowered, fronted, backed, with see C a v i t i e s , Consonants, s l i g h t l y l e s s rounding 370ff. Glides, Vowels. [0] voiceless 392ff. Phonemes, English consonant U67ff; English vowel U76ff. [o] low back rounded o r a l vowels Phonemic 12nj t r n s c r i p t i o n
Ouarkoye 389n.
509 [r] voiced alveolar flap with eU69ff, U89. gressive lung air 2U6ff, 282f, Phonetic 12n. Phonetician's theme song U5lf. U57. [r] pharyngealized UH6ff. Pitch 26ff, 6lff, 89ff, l l 8 f f , [ft] voiceless 2U6, U57. 135, 215, hh9f, U62ff, li92j contours 97ff} g l i d e s 35ff, 62ff, 90, 95ff, 126ff, 2l5f j [s] voiceless alveolar fricative hearing olff,• i n t o n a t i o n 26ff, with egressive lung airs Sammy 37ff, 62ff, 66, 68ff, 89ff, Ik, H9} I3ff, U3ff, W , 1U8, l l 8 f f , 129ffj symbols 90, 95$ k$5. [s] dental* Sammy 165} tone 89, 13Iff, l62f. 16U, U5U. [s] syllabic l5lff. [s-] long 26^ff* Finnish 270. Portuguese 225. [g] nasalized 333f. [s s] P r e a s p i r a t i o n 397f. fortis, lenis 388f. [a] phaPrimary, see S t r e s s , ryngealized UU6ff. [s ] with "Printed a" 261. see [ a ] . egressive pharynx air Uo5, U57Sammy, see Diagrams, facial. [p] v o i c e l e s s f l a t b i l a b i a l f r i c a t i v e with egressive lung Secondary, see Stress. air* Sammy U9j U8ff, 52, 56, Segmentation U98f. 87, 3JU8, U5U. [pp] a f f r i c a t e Short glides, see Length. 138ff, 1U8, U5U. [f] with "Shwa" 285. see [©]. egressive pharynx a i r Uo5, U56. Slant l i n e s 1|67. Sounds, d e s c r i p t i o n of I f f , U90ff. Quiotepec Chinantec 355f. Spanish 225, 165, 219. Stops 12f, 7Uf, 79ff, 1U8, 186, [r] voiced retroflexed g l i d e 255f, 275ff, 303ff, U5Uf, U56f, with egressive lung a i r : Sammy h9hi a s p i r a t e d 108, 113ff, U22ff} 180; 179ff, I83ff. [ r ] Toiced Zulu Ullft double 298ff, 305, retroflexed central syllabic 329, U9U; egressive lung a i r U5Uf} egressive pharynx a i r i5iff. li56f* i n g r e s s i v e pharynx a i r Rearticulation 296f, 320. U56f* English voiced, r e l e a s e s Red Bobo 389ff. Released, see Transition, open. on 3u6f1 g l o t t a l 102f, UkS, h92; g l o t t a l i z e d U06, l±56f} implosive Resonants U95ff. fe6f t. long 270f j retroflexed Retroflexed l68ff, 192, 218, 168} unaspirated l l 3 f f ; unreUl7ff. leased 3U5f* voiced a s p i r a t e d Rhythm 159U22ff. Rise, rising, see Pitch. S t r e s s l5Uff, 191, 215, U99} Root, see Tongue. s t r e s s - t i m i n g l59f. Rounded, rounding, see Lips. Summary review U53ff, l±90ff. [r] voiced alveolar trill with "S wedge1' U69. see [M]. egressive lung air 250f, 282f, S y l l a b i c i t y , s y l l a b i c 152, 1*99} U57. [?•] long 269ff. [?] s y l l a b i c consonants l 6 l j glides nasalized 333f. [R] voiceless I8ltf. "Syllabic i n d i c a t o r 152. 25Of, 282, U57. [r] uvular: Syllables l50ff, 1*99Sammy 252* 2U6, 25lff. [R] Symbols, symbolization U53ff, voiceless uvular 2U6, 25lff, 363ff} English consonant phoU57.
5io
index
Transcription e x e r c i s e s , English phonemic l*67ff, U89j matching symbols ll*9, 259, 357, U65} p i t c h 72, 100, 135j review 260, 362, 1*65. A t r a n s c r i p t i o n [§] voiceless grooved alveopala-• exercise i s found a t the end of tal fricative with egressive almost every l e s s o n . lung air; Sammy lk, 1*9; U3ff, T r a n s i t i o n , close and open 3l*8f. 1*8, I38ff, JLU8, 1*55. [3] ret- T r i l l s 2l*6ff, 250ff, 28If, U56f, roflexed 161*, 16°, U55.' [s°] 1*95* Khmu* 25Uf. with egressive pharynx air "Typewriter a" 26l. see [ a ] . nemes l*67ff j phonemic, phonetic 12n3 used by different linguists 377, U75>j see Diacritics .
1*05, 1*57. [t] voiceless alveolar stop with egressive lung airt Sammy 75fj lliif, 1U8, U55. [$] dental l6Uf, U5U. [t] retroflexed 161*, 169, 1*55! [th] aspirated 109f, 113f, 1*55. [t] flap 2U6, 2l*8f, 1*55. [t-] long 269ff. [t-] unreleased 3U5f. [t t] fortis, lenis 388f. [t] pharyngealized l*l*6ff. [£] rounded 1*6 0. [t€ ts ts t£] affricates 138ff, 1U8/16U, 217, 228, 1*51*. [ts*] see [&]. [t°] with egressive pharynx air 1*05, 1*57. [t<-] with ingressive mouth air 1*27, 1*59. [%*• t* ti<- t h * t h * thtti*-] with ingressive mouth air 1*27, 1*59. [$] with ingressive pharynx air 378, 1*57.
[u] high back rounded o r a l vowelj Sammy 202,- 201, 2Q3ff. [u-] long 269ffj Kuy 1*25. [u] n a s a l ized 333ff. [u] laryngealized 398f. [u] retroflexed l*17ff • [u] breaihy 1*2Off» Kuy 1*25- [u] pharyngealized l*l*lff. [u* u v u< u> u] r a i s e d , lowered, fronted, backed, with s l i g h t l y l e s s rounding 370ff. [u] v o i c e l e s s 392ff. Unaspirated ll*8, 139f, 229, 277. Unreleased. see T r a n s i t i o n , close Unrounded 3ll*fj see Lips. "Upside-down a" 26l. see [*>], "Upside-down m" 363. see [ui]. "Upside-down v" 201. see [ A ] , "Upsilon" 201. see [v]. "U umlaut" 309. see [ u ] . Uvula Uf, 25lff.
Teeth, see Articulation, points [u] high front rounded o r a l voof. wel: Sammy 312; 309, 311f, 3l5f, 320f. [u-] long 269ff. [$ "Ten Little Indians" 29, 318. nasalized 333ff. [u] laryngeaTertiary, see Stress. l i z e d 398f. [u] r e t r o f l e x e d Thai 89, ll*l*ff, 379, U62f. l*17ff. [£) breathy 1*2Off. [u] "Theta" 1*69. see [e]. [ii" li" u< "Tilde" 192. see Diacritics [~] pharyngealized 1*1* Iff. ii> ij] r a i s e d , lowered, fronted, Tip. see Tongue. Tip-alveolar 2Off, 1*8, 57, 8gff , backed, with s l i g h t l y l e s s
ll*8. Tip-dental 2Off, 1*8, 57, 85ff, 01*8. To'a«ba*ita 105, 107f.
Tone, see P i t c h . Tongue 9ff, 7U, 167, 17U, 193, 201, 211, 210, 268, 276ff, 291f, 3l6f, 1+93.
rounding 370ff. 392ff.
[i}] v o i c e l e s s
[v] lower-high back rounded o r a l vowelt Sammy 202j 201, 2Q3ff, 232. [ v ] long 269ff. [t^] nasalized 333ff• [u] l a r y n gealized 398f. [v] retroflexed
511 Ul7ff. [5] breathy U2Qff. [g] pharyngealized UUlff. [v~ v v< v> v] r a i s e d , lowered, fronted, backed, with s l i g h t l y l e s s rounding 370ff.
g l i d e s , lack of s y l l a b i c i t y l8Uj g l i d e onsets I85ffj Khmu'' 2UUfj l a b e l i n g 210ff, 267ff, 291ff, 3l5ff, 3U0ff. 368f; l a r y n g e a l ized 3°8ff, UU3fj length 269ff, 296, 320} modifications 37Of, [v] voiced f l a t l a b i o - d e n t a l U22, U6lfj nasalized 336f, 372, f r i c a t i v e with egressive lung 399f} nuclei U78ff; o f f - g l i d e s a i r t Sammy lU, U9; U3ff, 87, 176ff, 183, 213f, 236, 239f} 1U8, U5U. [ v ] long 269ff. off-glides and on-gHdes 176ff, [y] pharyngealized UU6ff. 236ff, 266f| o r a l 33Uff, 3U3f, Velar a r t i c u l a t i o n s 1 Sammy 32Ufj 372} pharyngealized UUlffj pure 5ff, 20ff, U8, 52ff. 85ff, I87f, 190, 213, 235, 239, 266, lU3ff, 218, 322ff, U69, U93. 315/ r e a r t i c u l a t e d 296f, 320 5 "Velar n" 192. see [ r j . retroflexed Ul7ff} short 27O5 "Velarized 1" 218. see [V], summary U6lff; symbols 363, 376j Velic 9ff, 7U, 17U, U96. tongue height 211; v o i c e l e s s Velum, see Velar. 392ff. see D i a c r i t i c s . Vietnamese U2, 59, 7If, 89, l58f, 17Of. [A] low c e n t r a l unrounded o r a l Vocal cords U5, U91f • vowelt Sammy 202,- 201, 208ff, Vocoid I85n. 262f. [A«] long 269ff. [A] Voiced, Voicingi Sammy U5ff, nasalized 333ff. [A] l a r y n g e a l 77fj 77, 79f, 8 1 , 83f, l l l i " , ized 398f. [A] r e t r o f l e x e d 137, 277f, 30Uf, U92j a f f r i 2 , 1 7 f f . m breathy U20ff. [A] cates 139ff } 229J c l i c k s U35ff} pharyngealized UUlff. [A* AV"A< f l a p s 250, 253; f r i c a t i v e s A» A] r a i s e d , lowered, fronted, U3ff, SS% implosives 381} backed, with s l i g h t rounding stops 79ff, H l f . 370ff. Voiceless, Voicelessnessi Sammy U5ff, 77f} U5ff, 77, 79f, 83ff,[w] voiced glide t o high back l l l f , 277f, 30Uf, U92} a f f r i p o s i t i o m Sammy 178; 17&ff, c a t e s , l a t e r a l 229} c l i c k s l83ff, 239i"f. [W] v o i c e l e s s U28ff| f l a p s 250/ f r i c a t i v e s 395f. U3ff, 55, 221} nasals 196ff} "Walrus and the Carpenter" 3l5f. pharyngealized glides UUU; Weak, see S t r e s s , stops l l l f f } vowels 392ff. "Written a" 261. see [a] Vowels 17Uff, l85n, 191, 203ff, 209, 26lff, 266f, 271f, 285f, M v o i c e l e s s f l a t v e l a r f r i c a 291, 296, 337f, hh9f, U97} t i v e with egressive lung a i n back 201ff} back unrounded Sammy 53} U8, 52f, 55f, 76f, 363ff, UOO/ breathy U20ff, lU8, 200, U55. [xj p a l a t a l U25fj c e n t r a l 201, 208ff, 322ff, U55. [x] backed 322, U55. 285} c h a r t 363} c l u s t e r s 285, [x»] long 296ff. [x] nasalized 29Uff} English 205, U76ff,333f. [x] pharyngealized UU6ff. equivalences 376f} f r o n t 232ff, [x< x>] fronted, backed, U60. 237ff} front rounded 309ff} [x 9 ] with egressive pharynx a i r glided 17Uff, l88ff, 212ff, Uo5, U57. 235f, 272, 29Uff, 315, 319, U97} g l i d e s , voiceless 395f} m voiced g l i d e t o high front
$12
Index
[*] v o i c e l e s s g l o t t a l stop with p o s i t i o n ! Sammy 177} 176ff, l83ff, 193f, U6l. [Y] voiceles egressive lung a i r t Sammy IOU/ 102ff, 105ff, 3U9ff, 386, 1)06, 1)55, U92. [z] voiced a l v e o l a r f r i c a t i v e with egressive lung a i r j Sammy [£] voiced pharyngeal glide with U), 1)9, 78, U3ff, U8, ll)8, 1)55. egressive lung a i r l)l)l)ff. [z] dental 161), U5U. [z] r e t [6] v o i c e l e s s f l a t d e n t a l f r i c a roflexed* Sammy 168} l68ff. t i v e with egressive lung a i r i [z] s y l l a b i c l 5 l f f . [z«] long Sammy ll), h9)r>k3ff, 1)8, 5U, 269ff. [z^ nasalized: Sammy lU8, 1)5U. [© ] with egressive 335j 333f. [z] pharyngealized pharynx a i r 1)56. \Mf£. [z] breathy 1)60. [z] laryngealized U6o. [v] mid back unrounded o r a l vo"Z wedge" 1)69. see [ z ] , wel 363, 36 5ff. [r«] long Zulu Ullf, U38ff j song 1)38. 269ff. [r] nasalized 333ff. [v] laryngealized 398f. ["»] [2] voiced grooved a l v e o p a l a t a l retroflexed l)17ff. [r] f r i c a t i v e with egressive lung breathy 1)2Off. [T£] pharynair* Sammy ll), 1)9} U3ff, 1)8, gealized l)l)lff. [*~y Y« r> 138ff, 1)55. [5] r e t r o f l e x e d J ] r a i s e d , lowered, f r o n t 161), 169, H55." ed, backed, with s l i g h t rounding 370ff.
