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.
The phonology of Italian is subject to considerable variability both at the segmental and at the prosodic level. Changes affect different features of the phonological system such as the composition of the inventory of phonemes and allophones, the phonotactic patterning of phonemes, and their lexical distribution. On the prosodic level, the variability takes the form of a composite collection of intonational patterns. In fact, the classification of intonational contours in geographical varieties appears fuzzier and less precise than the traditional division into geographical areas based on segmental features.
The reasons for the high variability must be traced back, on the one hand, to the rapid and recent standardization and, on the other hand, to the prolonged contact with Romance dialects of Italy. Variation in Italian phonology can be traced back to two main dimensions: A geographic dimension, accounting for a large proportion of the total variability, and a social dimension that regulates variety-internal variation.
The overall picture can be understood as a combination of vertical and horizontal sociolinguistic forces. Horizontal dynamics is responsible for the creation of a pluricentric standard, that is, a multiplicity of models of pronunciation that could be considered as geographical versions of the standard. Vertical dynamics brings about the formation of new norms at a local level and, most important, it generates a continuum of dialects ranging from the (regional) standard to the most local variety. Moving along this vertical continuum from the standard down to the local variety, there is an increasing of variability that represents a source for the emergence of social and stylistic values.
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.
The study of second language phonetics is concerned with three broad and overlapping research areas: the characteristics of second language speech production and perception, the consequences of perceiving and producing nonnative speech sounds with a foreign accent, and the causes and factors that shape second language phonetics. Second language learners and bilinguals typically produce and perceive the sounds of a nonnative language in ways that are different from native speakers. These deviations from native norms can be attributed largely, but not exclusively, to the phonetic system of the native language. Non-nativelike speech perception and production may have both social consequences (e.g., stereotyping) and linguistic–communicative consequences (e.g., reduced intelligibility). Research on second language phonetics over the past ca. 30 years has resulted in a fairly good understanding of causes of nonnative speech production and perception, and these insights have to a large extent been driven by tests of the predictions of models of second language speech learning and of cross-language speech perception. It is generally accepted that the characteristics of second language speech are predominantly due to how second language learners map the sounds of the nonnative to the native language. This mapping cannot be entirely predicted from theoretical or acoustic comparisons of the sound systems of the languages involved, but has to be determined empirically through tests of perceptual assimilation. The most influential learner factors which shape how a second language is perceived and produced are the age of learning and the amount and quality of exposure to the second language. A very important and far-reaching finding from research on second language phonetics is that age effects are not due to neurological maturation which could result in the attrition of phonetic learning ability, but to the way phonetic categories develop as a function of experience with surrounding sound systems.
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Linguistics. Please check back later for the full article.
From a typological perspective, the phoneme inventories of Romance languages are of medium size: For instance, most consonant systems contain between 20 and 23 phonemes. An innovation with respect to Latin is the appearance of palatal and palato-alveolar consonants such as /ɲ ʎ/ (Italian, Spanish, Portuguese), /ʃ ʒ/ (French, Portuguese), and /tʃ dʒ/ (Italian, Romanian); a few varieties (e.g., Romansh and a number of Italian dialects) also show the palatal stops /c ɟ/. Besides palatalization, a number of lenition processes (both sonorization and spirantization) have characterized the diachronic development of plosives in Western Romance languages (cf. the French word chèvre “goat” < lat. CĀPRA(M)). Diachronically, both sonorization and spirantization occurred in postvocalic position, where the latter can still be observed as an allophonic rule in present-day Spanish and Sardinian. Sonorization, on the other hand, occurs synchronically after nasals in many southern Italian dialects.
The most fundamental change in the diachrony of the Romance vowel systems derives from the demise of contrastive Latin vowel quantity. However, some Raeto-Romance and northern Italo-Romance varieties have developed new quantity contrasts. Moreover, standard Italian displays allophonic vowel lengthening in open stressed syllables (e.g., /ˈka.ne/ “dog” → [ˈkaːne]. The stressed vowel systems of most Romance varieties contain either five phonemes (Spanish, Sardinian, Sicilian) or seven phonemes (Portuguese, Catalan, Italian, Romanian). Larger vowel inventories are typical of “northern Romance” and appear in dialects of Northern Italy as well as in Raeto- and Gallo-Romance languages. The most complex vowel system is found in standard French with its 16 vowel qualities, comprising the 3 rounded front vowels /y ø œ/ and the 4 nasal vowel phonemes /ɑ̃ ɔ̃ ɛ̃ œ̃/.
Romance languages differ in their treatment of unstressed vowels. Whereas Spanish displays the same five vowels /i e a o u/ in both stressed and unstressed syllables (except for unstressed /u/ in word-final position), many southern Italian dialects have a considerably smaller inventory of unstressed vowels as opposed to their stressed vowels.
The phonotactics of most Romance languages is strongly determined by their typological character as “syllable languages.” Indeed, the phonological word only plays a minor role as very few phonological rules or phonotactic constraints refer, for example, to the word-initial position (such as Italian consonant doubling or the distribution of rhotics in Ibero-Romance), or to the word-final position (such as obstruent devoicing in Raeto-Romance). Instead, a wide range of assimilation and lenition processes apply across word boundaries in French, Italian, and Spanish.
In line with their fundamental typological nature, Romance languages tend to allow syllable structures of only moderate complexity. Inventories of syllable types are smaller than, for example, those of Germanic languages, and the segmental makeup of syllable constituents mostly follows universal preferences of sonority sequencing. Moreover, many Romance languages display a strong preference for open syllables as reflected in the token frequency of syllable types. Nevertheless, antagonistic forces aiming at profiling the prominence of stressed syllables are visible in several Romance languages as well. Within the Ibero- Romance domain, more complex syllable structures and vowel reduction processes are found in the periphery, that is, in Catalan and Portuguese. Similarly, northern Italian and Raeto-Romance dialects have experienced apocope and/or syncope of unstressed vowels, yielding marked syllable structures in terms of both constituent complexity and sonority sequencing.
Diane Brentari, Jordan Fenlon, and Kearsy Cormier
Sign language phonology is the abstract grammatical component where primitive structural units are combined to create an infinite number of meaningful utterances. Although the notion of phonology is traditionally based on sound systems, phonology also includes the equivalent component of the grammar in sign languages, because it is tied to the grammatical organization, and not to particular content. This definition of phonology helps us see that the term covers all phenomena organized by constituents such as the syllable, the phonological word, and the higher-level prosodic units, as well as the structural primitives such as features, timing units, and autosegmental tiers, and it does not matter if the content is vocal or manual. Therefore, the units of sign language phonology and their phonotactics provide opportunities to observe the interaction between phonology and other components of the grammar in a different communication channel, or modality. This comparison allows us to better understand how the modality of a language influences its phonological system.
Kodi Weatherholtz and T. Florian Jaeger
The seeming ease with which we usually understand each other belies the complexity of the processes that underlie speech perception. One of the biggest computational challenges is that different talkers realize the same speech categories (e.g., /p/) in physically different ways. We review the mixture of processes that enable robust speech understanding across talkers despite this lack of invariance. These processes range from automatic pre-speech adjustments of the distribution of energy over acoustic frequencies (normalization) to implicit statistical learning of talker-specific properties (adaptation, perceptual recalibration) to the generalization of these patterns across groups of talkers (e.g., gender differences).
Patrice Speeter Beddor
In their conversational interactions with speakers, listeners aim to understand what a speaker is saying, that is, they aim to arrive at the linguistic message, which is interwoven with social and other information, being conveyed by the input speech signal. Across the more than 60 years of speech perception research, a foundational issue has been to account for listeners’ ability to achieve stable linguistic percepts corresponding to the speaker’s intended message despite highly variable acoustic signals. Research has especially focused on acoustic variants attributable to the phonetic context in which a given phonological form occurs and on variants attributable to the particular speaker who produced the signal. These context- and speaker-dependent variants reveal the complex—albeit informationally rich—patterns that bombard listeners in their everyday interactions.
How do listeners deal with these variable acoustic patterns? Empirical studies that address this question provide clear evidence that perception is a malleable, dynamic, and active process. Findings show that listeners perceptually factor out, or compensate for, the variation due to context yet also use that same variation in deciding what a speaker has said. Similarly, listeners adjust, or normalize, for the variation introduced by speakers who differ in their anatomical and socio-indexical characteristics, yet listeners also use that socially structured variation to facilitate their linguistic judgments. Investigations of the time course of perception show that these perceptual accommodations occur rapidly, as the acoustic signal unfolds in real time. Thus, listeners closely attend to the phonetic details made available by different contexts and different speakers. The structured, lawful nature of this variation informs perception.
Speech perception changes over time not only in listeners’ moment-by-moment processing, but also across the life span of individuals as they acquire their native language(s), non-native languages, and new dialects and as they encounter other novel speech experiences. These listener-specific experiences contribute to individual differences in perceptual processing. However, even listeners from linguistically homogenous backgrounds differ in their attention to the various acoustic properties that simultaneously convey linguistically and socially meaningful information. The nature and source of listener-specific perceptual strategies serve as an important window on perceptual processing and on how that processing might contribute to sound change.
Theories of speech perception aim to explain how listeners interpret the input acoustic signal as linguistic forms. A theoretical account should specify the principles that underlie accurate, stable, flexible, and dynamic perception as achieved by different listeners in different contexts. Current theories differ in their conception of the nature of the information that listeners recover from the acoustic signal, with one fundamental distinction being whether the recovered information is gestural or auditory. Current approaches also differ in their conception of the nature of phonological representations in relation to speech perception, although there is increasing consensus that these representations are more detailed than the abstract, invariant representations of traditional formal phonology. Ongoing work in this area investigates how both abstract information and detailed acoustic information are stored and retrieved, and how best to integrate these types of information in a single theoretical model.
Sónia Frota and Marina Vigário
The syntax–phonology interface refers to the way syntax and phonology are interconnected. Although syntax and phonology constitute different language domains, it seems undisputed that they relate to each other in nontrivial ways. There are different theories about the syntax–phonology interface. They differ in how far each domain is seen as relevant to generalizations in the other domain, and in the types of information from each domain that are available to the other.
Some theories see the interface as unlimited in the direction and types of syntax–phonology connections, with syntax impacting on phonology and phonology impacting on syntax. Other theories constrain mutual interaction to a set of specific syntactic phenomena (i.e., discourse-related) that may be influenced by a limited set of phonological phenomena (namely, heaviness and rhythm). In most theories, there is an asymmetrical relationship: specific types of syntactic information are available to phonology, whereas syntax is phonology-free.
The role that syntax plays in phonology, as well as the types of syntactic information that are relevant to phonology, is also a matter of debate. At one extreme, Direct Reference Theories claim that phonological phenomena, such as external sandhi processes, refer directly to syntactic information. However, approaches arguing for a direct influence of syntax differ on the types of syntactic information needed to account for phonological phenomena, from syntactic heads and structural configurations (like c-command and government) to feature checking relationships and phase units. The precise syntactic information that is relevant to phonology may depend on (the particular version of) the theory of syntax assumed to account for syntax–phonology mapping. At the other extreme, Prosodic Hierarchy Theories propose that syntactic and phonological representations are fundamentally distinct and that the output of the syntax–phonology interface is prosodic structure. Under this view, phonological phenomena refer to the phonological domains defined in prosodic structure. The structure of phonological domains is built from the interaction of a limited set of syntactic information with phonological principles related to constituent size, weight, and eurhythmic effects, among others. The kind of syntactic information used in the computation of prosodic structure distinguishes between different Prosodic Hierarchy Theories: the relation-based approach makes reference to notions like head-complement, modifier-head relations, and syntactic branching, while the end-based approach focuses on edges of syntactic heads and maximal projections. Common to both approaches is the distinction between lexical and functional categories, with the latter being invisible to the syntax–phonology mapping. Besides accounting for external sandhi phenomena, prosodic structure interacts with other phonological representations, such as metrical structure and intonational structure.
As shown by the theoretical diversity, the study of the syntax–phonology interface raises many fundamental questions. A systematic comparison among proposals with reference to empirical evidence is lacking. In addition, findings from language acquisition and development and language processing constitute novel sources of evidence that need to be taken into account. The syntax–phonology interface thus remains a challenging research field in the years to come.
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.
This article introduces two phenomena that are studied within the domain of templatic morphology—clippings and word-and-pattern morphology, where the latter is usually associated with Semitic morphology. In both cases, the words are of invariant shape, sharing a prosodic structure defined in terms of number of syllables. This prosodic template, being the core of the word structure, is often accompanied with one or more of the following properties: syllable structure, vocalic pattern, and an affix. The data in this article, drawn from different languages, display the various ways in which these structural properties are combined to determine the surface structure of the word. The invariant shape of Japanese clippings (e.g., suto ← sutoraiki ‘strike’) consists of a prosodic template alone, while that of English hypocoristics (e.g., Trudy ← Gertrude) consists of a prosodic template plus the suffix -i. The Arabic verb classes, such as class-I (e.g., sakan ‘to live’) and class-II (e.g., misek ‘to hold’), display a prosodic template plus a vocalic pattern, and the Hebrew verb class-III (e.g., hivdil ‘to distinguish’) displays a prosodic template, a vocalic pattern and a prefix. Given these structural properties, the relation between a base and its derived form is expressed in terms of stem modification, which involves truncation (for the prosodic template) and melodic overwriting (for the vocalic pattern). The discussion in this article suggests that templatic morphology is not limited to a particular lexicon type – core or periphery, but it displays different degrees of restrictiveness.
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.
Language is a system that maps meanings to forms, but the mapping is not always one-to-one. Variation means that one meaning corresponds to multiple forms, for example faster ~ more fast. The choice is not uniquely determined by the rules of the language, but is made by the individual at the time of performance (speaking, writing). Such choices abound in human language. They are usually not just a matter of free will, but involve preferences that depend on the context, including the phonological context. Phonological variation is a situation where the choice among expressions is phonologically conditioned, sometimes statistically, sometimes categorically. In this overview, we take a look at three studies of variable vowel harmony in three languages (Finnish, Hungarian, and Tommo So) formulated in three frameworks (Partial Order Optimality Theory, Stochastic Optimality Theory, and Maximum Entropy Grammar). For example, both Finnish and Hungarian have Backness Harmony: vowels must be all [+back] or all [−back] within a single word, with the exception of neutral vowels that are compatible with either. Surprisingly, some stems allow both [+back] and [−back] suffixes in free variation, for example, analyysi-na ~ analyysi-nä ‘analysis-
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.
Eystein Dahl and Antonio Fábregas
Zero or null morphology refers to morphological units that are devoid of phonological content. Whether such entities should be postulated is one of the most controversial issues in morphological theory, with disagreements in how the concept should be delimited, what would count as an instance of zero morphology inside a particular theory, and whether such objects should be allowed even as mere analytical instruments.
With respect to the first problem, given that zero morphology is a hypothesis that comes from certain analyses, delimiting what counts as a zero morpheme is not a trivial matter. The concept must be carefully differentiated from others that intuitively also involve situations where there is no overt morphological marking: cumulative morphology, phonological deletion, etc.
About the second issue, what counts as null can also depend on the specific theories where the proposal is made. In the strict sense, zero morphology involves a complete morphosyntactic representation that is associated to zero phonological content, but there are other notions of zero morphology that differ from the one discussed here, such as absolute absence of morphological expression, in addition to specific theory-internal interpretations of what counts as null. Thus, it is also important to consider the different ways in which something can be morphologically silent.
Finally, with respect to the third side of the debate, arguments are made for and against zero morphology, notably from the perspectives of falsifiability, acquisition, and psycholinguistics. Of particular impact is the question of which properties a theory should have in order to block the possibility that zero morphology exists, and conversely the properties that theories that accept zero morphology associate to null morphemes.
An important ingredient in this debate has to do with two empirical domains: zero derivation and paradigmatic uniformity. Ultimately, the plausibility that zero morphemes exist or not depends on the success at accounting for these two empirical patterns in a better way than theories that ban zero morphology.