Summary

The majority of morphemes are assigned a tone in Chinese languages. Tone fulfills the equivalent function as consonant and vowel phonemes. In Chinese, tonology interacts with morphology in two ways. First, in concatenative morphology, wherein morphemes or words are combined to form new words, tones in adjacent positions may affect each other and tone sandhi occurs. Tone sandhi rules display a high degree of sensitivity to morpho-syntax in many Chinese languages. Different types of tone sandhi take place in different construction types in one single language. A common tendency observed is that tone sandhi rules generally fall into two types, depending on the structural relation held between two subcomponents of a disyllabic structure (either a word or a phrase). One type demonstrates the lexical syndrome in that it applies merely in words of cohesion, including suffixed words, disyllabic compounds of the coordinate or modifier-head structure. In contrast, the other type applies in less cohesive constructions, such as words and phrases of the verb-object or subject-predicate structure. The sensitivity of tone sandhi to morpho-syntax across Chinese is of theoretical significance for understanding the overall organization of the grammar in general and the interaction between phonology and morpho-syntax in particular.

On the other hand, the special property of tone being superimposed on syllables enables it to act as a floating entity to convey grammatical or semantic meanings. In order to be phonologically licensed, the floating morphemic tone usually anchors on the stem. A rich body of morphemic tones are reported across Chinese languages, and their theoretical significance awaits further exploration.