Reduplication is a word-formation process in which all or part of a word is repeated to convey some form of meaning. A wide range of patterns are found in terms of both the form and meaning expressed by reduplication, making it one of the most studied phenomenon in phonology and morphology. Because the form always varies, depending on the base to which it is attached, it raises many issues such as the nature of the repetition mechanism, how to represent reduplicative morphemes, and whether or not a unified approach can be proposed to account for the full range of patterns.
Marilyn May Vihman
Child phonological templates are idiosyncratic word production patterns. They can be understood as deriving, through generalization of patterning, from the very first words of the child, which are typically close in form to their adult targets. Templates can generally be identified only some time after a child’s first 20–50 words have been produced but before the child has achieved an expressive lexicon of 200 words. The templates appear to serve as a kind of ‘holding strategy’, a way for children to produce more complex adult word forms while remaining within the limits imposed by the articulatory, planning, and memory limitations of the early word period. Templates have been identified in the early words of children acquiring a number of languages, although not all children give clear evidence of using them. Within a given language we see a range of different templatic patterns, but these are nevertheless broadly shaped by the prosodic characteristics of the adult language as well as by the idiosyncratic production preferences of a given child; it is thus possible to begin to outline a typology of child templates. However, the evidence base for most languages remains small, ranging from individual diary studies to rare longitudinal studies of as many as 30 children. Thus templates undeniably play a role in phonological development, but their extent of use or generality remains unclear, their timing for the children who show them is unpredictable, and their period of sway is typically brief—a matter of a few weeks or months at most. Finally, the formal status and relationship of child phonological templates to adult grammars has so far received relatively little attention, but the closest parallels may lie in active novel word formation and in the lexicalization of commonly occurring expressions, both of which draw, like child templates, on the mnemonic effects of repetition.
Chiyuki Ito and Michael J. Kenstowicz
Typologically, pitch-accent languages stand between stress languages like Spanish and tone languages like Shona, and share properties of both. In a stress language, typically just one syllable per word is accented and bears the major stress (cf. Spanish sábana ‘sheet,’ sabána ‘plain,’ panamá ‘Panama’). In a tone language, the number of distinctions grows geometrically with the size of the word. So in Shona, which contrasts high versus low tone, trisyllabic words have eight possible pitch patterns. In a canonical pitch-accent language such as Japanese, just one syllable (or mora) per word is singled out as distinctive, as in Spanish. Each syllable in the word is assigned a high or low tone (as in Shona); however, this assignment is predictable based on the location of the accented syllable.
The Korean dialects spoken in the southeast Kyengsang and northeast Hamkyeng regions retain the pitch-accent distinctions that developed by the period of Middle Korean (15th–16th centuries). For example, in Hamkyeng a three-syllable word can have one of four possible pitch patterns, which are assigned by rules that refer to the accented syllable. The accented syllable has a high tone, and following syllables have low tones. Then the high tone of the accented syllable spreads up to the initial syllable, which is low. Thus, /MUcike/ ‘rainbow’ is realized as high-low-low, /aCImi/ ‘aunt’ is realized as low-high-low, and /menaRI/ ‘parsley’ is realized as low-high-high. An atonic word such as /cintallɛ/ ‘azalea’ has the same low-high-high pitch pattern as ‘parsley’ when realized alone. But the two types are distinguished when combined with a particle such as /MAN/ ‘only’ that bears an underlying accent: /menaRI+MAN/ ‘only parsely’ is realized as low-high-high-low while /cintallɛ+MAN/ ‘only azelea’ is realized as low-high-high-high. This difference can be explained by saying that the underlying accent on the particle is deleted if the stem bears an accent. The result is that only one syllable per word may bear an accent (similar to Spanish). On the other hand, since the accent is realized with pitch distinctions, tonal assimilation rules are prevalent in pitch-accent languages.
This article begins with a description of the Middle Korean pitch-accent system and its evolution into the modern dialects, with a focus on Kyengsang. Alternative synchronic analyses of the accentual alternations that arise when a stem is combined with inflectional particles are then considered. The discussion proceeds to the phonetic realization of the contrasting accents, their realizations in compounds and phrases, and the adaptation of loanwords. The final sections treat the lexical restructuring and variable distribution of the pitch accents and their emergence from predictable word-final accent in an earlier stage of Proto-Korean.
Timothy J. Vance
The term rendaku, sometimes translated as sequential voicing, denotes a morphophonemic phenomenon in Japanese. In a prototypical case, an alternating morpheme appears with an initial voiceless obstruent as a word on its own or as the initial element (E1) in a compound but with an initial voiced obstruent as the second element (E2) in a two-element compound. For example, the simplex word /take/ ‘bamboo’ and the compound /take+yabu/ ‘bamboo grove’ (cf. /yabu/ ‘grove’) begin with voiceless /t/, but this morpheme meaning ‘bamboo’ begins with voiced /d/ in /sao+dake/ ‘bamboo (made into a) pole’ (cf. /sao/ ‘pole’). Rendaku was already firmly established in 8th-century Old Japanese (OJ), the earliest variety for which extensive written records exist, and subsequent sound changes have made the alternations phonetically heterogeneous. Many OJ compounds with eligible E2s did not undergo rendaku, and the phenomenon remains pervasively irregular in modern Japanese. There are, however, many factors that promote or inhibit rendaku, and some of these appear to influence native-speaker behavior on experimental tasks. The best known phonological factor is Lyman’s Law, according to which rendaku does not apply to E2s that contain a non-initial voiced obstruent. Many theoretical phonologists endorse the idea that Lyman’s Law is a sub-case of the Obligatory Contour Principle, which rules out identical or similar units if they would be adjacent in some domain. Other well-known factors involve vocabulary stratum (e.g., the resistance to rendaku of recently borrowed E2s) or the morphological/semantic relationship between E2 and E1 (e.g., the resistance to rendaku of coordinate compounds). Some morphemes are idiosyncratically immune to rendaku. Other morphemes alternate but undergo rendaku in some compounds while failing to undergo it in others, even though no known factor is relevant. In addition, many individual compounds vary between a form with rendaku and a form without, and this variability is often not reflected in dictionary entries. Despite its irregularity, rendaku is productive in the sense that it often applies to newly created compounds. Many compounds, of course, are stored (with or without rendaku) in a speaker’s lexicon, but fact that native speakers can apply rendaku not just to existing E2s in novel compounds but even to made-up E2s shows that rendaku as an active process is somehow incorporated into the grammar.
Erich R. Round
The non–Pama-Nyugan, Tangkic languages were spoken until recently in the southern Gulf of Carpentaria, Australia. The most extensively documented are Lardil, Kayardild, and Yukulta. Their phonology is notable for its opaque, word-final deletion rules and extensive word-internal sandhi processes. The morphology contains complex relationships between sets of forms and sets of functions, due in part to major historical refunctionalizations, which have converted case markers into markers of tense and complementization and verbal suffixes into case markers. Syntactic constituency is often marked by inflectional concord, resulting frequently in affix stacking. Yukulta in particular possesses a rich set of inflection-marking possibilities for core arguments, including detransitivized configurations and an inverse system. These relate in interesting ways historically to argument marking in Lardil and Kayardild. Subordinate clauses are marked for tense across most constituents other than the subject, and such tense marking is also found in main clauses in Lardil and Kayardild, which have lost the agreement and tense-marking second-position clitic of Yukulta. Under specific conditions of co-reference between matrix and subordinate arguments, and under certain discourse conditions, clauses may be marked, on all or almost all words, by complementization markers, in addition to inflection for case and tense.
Paul de Lacy
Phonology has both a taxonomic/descriptive and cognitive meaning. In the taxonomic/descriptive context, it refers to speech sound systems. As a cognitive term, it refers to a part of the brain’s ability to produce and perceive speech sounds. This article focuses on research in the cognitive domain.
The brain does not simply record speech sounds and “play them back.” It abstracts over speech sounds, and transforms the abstractions in nontrivial ways. Phonological cognition is about what those abstractions are, and how they are transformed in perception and production.
There are many theories about phonological cognition. Some theories see it as the result of domain-general mechanisms, such as analogy over a Lexicon. Other theories locate it in an encapsulated module that is genetically specified, and has innate propositional content. In production, this module takes as its input phonological material from a Lexicon, and refers to syntactic and morphological structure in producing an output, which involves nontrivial transformation. In some theories, the output is instructions for articulator movement, which result in speech sounds; in other theories, the output goes to the Phonetic module. In perception, a continuous acoustic signal is mapped onto a phonetic representation, which is then mapped onto underlying forms via the Phonological module, which are then matched to lexical entries.
Exactly which empirical phenomena phonological cognition is responsible for depends on the theory. At one extreme, it accounts for all human speech sound patterns and realization. At the other extreme, it is little more than a way of abstracting over speech sounds. In the most popular Generative conception, it explains some sound patterns, with other modules (e.g., the Lexicon and Phonetic module) accounting for others. There are many types of patterns, with names such as “assimilation,” “deletion,” and “neutralization”—a great deal of phonological research focuses on determining which patterns there are, which aspects are universal and which are language-particular, and whether/how phonological cognition is responsible for them.
Phonological computation connects with other cognitive structures. In the Generative T-model, the phonological module’s input includes morphs of Lexical items along with at least some morphological and syntactic structure; the output is sent to either a Phonetic module, or directly to the neuro-motor interface, resulting in articulator movement. However, other theories propose that these modules’ computation proceeds in parallel, and that there is bidirectional communication between them.
The study of phonological cognition is a young science, so many fundamental questions remain to be answered. There are currently many different theories, and theoretical diversity over the past few decades has increased rather than consolidated. In addition, new research methods have been developed and older ones have been refined, providing novel sources of evidence. Consequently, phonological research is both lively and challenging, and is likely to remain that way for some time to come.
When the phonological form of a morpheme—a unit of meaning that cannot be decomposed further into smaller units of meaning—involves a particular melodic pattern as part of its sound shape, this morpheme is specified for tone. In view of this definition, phrase- and utterance-level melodies—also known as intonation—are not to be interpreted as instances of tone. That is, whereas the question “Tomorrow?” may be uttered with a rising melody, this melody is not tone, because it is not a part of the lexical specification of the morpheme tomorrow. A language that presents morphemes that are specified with specific melodies is called a tone language. It is not the case that in a tone language every morpheme, content word, or syllable would be specified for tone. Tonal specification can be highly restricted within the lexicon. Examples of such sparsely specified tone languages include Swedish, Japanese, and Ekagi (a language spoken in the Indonesian part of New Guinea); in these languages, only some syllables in some words are specified for tone. There are also tone languages where each and every syllable of each and every word has a specification. Vietnamese and Shilluk (a language spoken in South Sudan) illustrate this configuration. Tone languages also vary greatly in terms of the inventory of phonological tone forms. The smallest possible inventory contrasts one specification with the absence of specification. But there are also tone languages with eight or more distinctive tone categories. The physical (acoustic) realization of the tone categories is primarily fundamental frequency (F0), which is perceived as pitch. However, often other phonetic correlates are also involved, in particular voice quality. Tone plays a prominent role in the study of phonology because of its structural complexity. That is, in many languages, the way a tone surfaces is conditioned by factors such as the segmental composition of the morpheme, the tonal specifications of surrounding constituents, morphosyntax, and intonation. On top of this, tone is diachronically unstable. This means that, when a language has tone, we can expect to find considerable variation between dialects, and more of it than in relation to other parts of the sound system.
Harry van der Hulst
The subject of this article is vowel harmony. In its prototypical form, this phenomenon involves agreement between all vowels in a word for some phonological property (such as palatality, labiality, height or tongue root position). This agreement is then evidenced by agreement patterns within morphemes and by alternations in vowels when morphemes are combined into complex words, thus creating allomorphic alternations. Agreement involves one or more harmonic features for which vowels form harmonic pairs, such that each vowel has a harmonic counterpart in the other set. I will focus on vowels that fail to alternate, that are thus neutral (either inherently or in a specific context), and that will be either opaque or transparent to the process. We will compare approaches that use underspecification of binary features and approaches that use unary features. For vowel harmony, vowels are either triggers or targets, and for each, specific conditions may apply. Vowel harmony can be bidirectional or unidirectional and can display either a root control pattern or a dominant/recessive pattern.