Consonants are a major class of sounds occurring in all human languages. Typologically, consonant inventories are richer than vowel inventories. Consonants have been classified according to four basic features. Airstream mechanism is one of these features and describes the direction of airflow in or out of the oral cavity. The outgoing airflow is further separated according to its origin, that is, air coming from the lungs (pulmonic) or the oral cavity (non-pulmonic). Consonants are also grouped according to their phonological voicing contrast, which can be manifested phonetically by the presence or absence of vocal fold oscillations during the oral closure/constriction phase and by the duration from an oral closure release to the onset of voicing. Place of articulation is the third feature and refers to the location at which a consonantal constriction or closure is produced in the vocal tract. Finally, manner of articulation reflects different timing and coordinated actions of the articulators closely tied to aerodynamic properties.
Phonetics of Consonants
Susanne Fuchs and Peter Birkholz
Phonetics of Emotion
The phonetics of emotion is about the acoustic-phonetic properties of the emotional facets of human vocalization. Conventionally, these properties are studied as correlates of a person’s internal states arising from reactions to the environment, where the internal states are defined by influential psychological theories of emotion. A more recent perspective, however, views emotion as an evolved mechanism for motivating actions to proactively interact with other individuals, including, in particular, the production of emotional expressions. From this perspective, the acoustic properties of emotional vocalization are devised to actively influence the listeners in ways that may benefit the vocalizer. Interestingly, the meanings of these acoustic properties could be interpreted with knowledge of speech acoustics accumulated over the years. A key encoding mechanism is body size projection, whereby vocal properties associated with emotions like anger make the vocalizer sound large to dominate the listener, while properties associated with emotions like joy make the vocalizer sound small to appease the listener. Body size projection is encoded through three acoustic dimensions—pitch, voice quality, and formant dispersion. Furthermore, body size projection is likely accompanied by additional iconic encoding mechanisms also aimed at influencing the listener in specific ways. The acoustic properties associated with these mechanisms are not yet fully clear. Further exploration of the body size projection principle and identification of additional mechanisms may drive much of the research activity in the coming decades.
The Phonetics of Prosody
Prosody is an umbrella term used to cover a variety of interconnected and interacting phenomena, namely stress, rhythm, phrasing, and intonation. The phonetic expression of prosody relies on a number of parameters, including duration, amplitude, and fundamental frequency (F0). The same parameters are also used to encode lexical contrasts (such as tone), as well as paralinguistic phenomena (such as anger, boredom, and excitement). Further, the exact function and organization of the phonetic parameters used for prosody differ across languages. These considerations make it imperative to distinguish the linguistic phenomena that make up prosody from their phonetic exponents, and similarly to distinguish between the linguistic and paralinguistic uses of the latter. A comprehensive understanding of prosody relies on the idea that speech is prosodically organized into phrasal constituents, the edges of which are phonetically marked in a number of ways, for example, by articulatory strengthening in the beginning and lengthening at the end. Phrases are also internally organized either by stress, that is around syllables that are more salient relative to others (as in English and Spanish), or by the repetition of a relatively stable tonal pattern over short phrases (as in Korean, Japanese, and French). Both types of organization give rise to rhythm, the perception of speech as consisting of groups of a similar and repetitive pattern. Tonal specification over phrases is also used for intonation purposes, that is, to mark phrasal boundaries, and express information structure and pragmatic meaning. Taken together, the components of prosody help with the organization and planning of speech, while prosodic cues are used by listeners during both language acquisition and speech processing. Importantly, prosody does not operate independently of segments; rather, it profoundly affects segment realization, making the incorporation of an understanding of prosody into experimental design essential for most phonetic research.
Phonetics of Sign Language
Sign phonetics is the study of how sign languages are produced and perceived, by native as well as by non-native signers. Most research on sign phonetics has focused on American Sign Language (ASL), but there are many different sign languages around the world, and several of these, including British Sign Language, Taiwan Sign Language, and Sign Language of the Netherlands, have been studied at the level of phonetics. Sign phonetics research can focus on individual lexical signs or on the movements of the nonmanual articulators that accompany those signs. The production and perception of a sign language can be influenced by phrase structure, linguistic register, the signer’s linguistic background, the visual perception mechanism, the anatomy and physiology of the hands and arms, and many other factors. What sets sign phonetics apart from the phonetics of spoken languages is that the two language modalities use different mechanisms of production and perception, which could in turn result in structural differences between modalities. Most studies of sign phonetics have been based on careful analyses of video data. Some studies have collected kinematic limb movement data during signing and carried out quantitative analyses of sign production related to, for example, signing rate, phonetic environment, or phrase position. Similarly, studies of sign perception have recorded participants’ ability to identify and discriminate signs, depending, for example, on slight variations in the signs’ forms or differences in the participants’ language background. Most sign phonetics research is quantitative and lab-based.
Phonetics of Singing in Western Classical Style
The function of the voice organ is basically the same in classical singing as in speech. However, loud orchestral accompaniment has necessitated the use of the voice in an economical way. As a consequence, the vowel sounds tend to deviate considerably from those in speech. Male voices cluster formant three, four, and five, so that a marked peak is produced in spectrum envelope near 3,000 Hz. This helps them to get heard through a loud orchestral accompaniment. They seem to achieve this effect by widening the lower pharynx, which makes the vowels more centralized than in speech. Singers often sing at fundamental frequencies higher than the normal first formant frequency of the vowel in the lyrics. In such cases they raise the first formant frequency so that it gets somewhat higher than the fundamental frequency. This is achieved by reducing the degree of vocal tract constriction or by widening the lip and jaw openings, constricting the vocal tract in the pharyngeal end and widening it in the mouth. These deviations from speech cause difficulties in vowel identification, particularly at high fundamental frequencies. Actually, vowel identification is almost impossible above 700 Hz (pitch F5). Another great difference between vocal sound produced in speech and the classical singing tradition concerns female voices, which need to reduce the timbral differences between voice registers. Females normally speak in modal or chest register, and the transition to falsetto tends to happen somewhere above 350 Hz. The great timbral differences between these registers are avoided by establishing control over the register function, that is, over the vocal fold vibration characteristics, so that seamless transitions are achieved. In many other respects, there are more or less close similarities between speech and singing. Thus, marking phrase structure, emphasizing important events, and emotional coloring are common principles, which may make vocal artists deviate considerably from the score’s nominal description of fundamental frequency and syllable duration.
Phonetics of Vowels
Christine Ericsdotter Nordgren
Speech sounds are commonly divided into two main categories in human languages: vowels, such as ‘e’, ‘a’, ‘o’, and consonants, such as ‘k’, ‘n’, ‘s’. This division is made on the basis of both phonetic and phonological principles, which is useful from a general linguistic point of view but problematic for detailed description and analysis. The main differences between vowels and consonants are that (1) vowels are sounds produced with an open airway between the larynx and the lips, at least along the midline, whereas consonants are produced with a stricture or closure somewhere along it; and (2) that vowels tend to be syllabic in languages, meaning that they embody a sonorous peak in a syllable, whereas only some kinds of consonants tend to be syllabic. There are two main physical components needed to produce a vowel: a sound source, typically a tone produced by vocal fold vibration at the larynx, and a resonator, typically the upper airways. When the tone resonates in the upper airways, it gets a specific quality of sound, perceived and interpreted as a vowel quality, for example, ‘e’ or ‘a’. Which vowel quality is produced is determined by the shape of the inner space of the throat and mouth, the vocal tract shape, created by the speaker’s configuration of the articulators, which include the lips, tongue, jaw, hard and soft palate, pharynx, and larynx. Which vowel is perceived is determined by the auditory and visual input as well as by the listener’s expectations and language experience. Diachronic and synchronic studies on vowel typology show main trends in the vowel inventories in the worlds’ languages, which can be associated with human phonetic aptitude.
Phonetic Transcription and the International Phonetic Alphabet
Claire Brierley and Barry Heselwood
Phonetic transcription represents the phonetic properties of an actual or potential utterance in a written form. Firstly, it is necessary to have an understanding of what the phonetic properties of speech are. It is the role of phonetic theory to provide that understanding by constructing a set of categories that can account for the phonetic structure of speech at both the segmental and suprasegmental levels; how far it does so is a measure of its adequacy as a theory. Secondly, a set of symbols is needed that stand for these categories. Also required is a set of conventions that tell the reader what the symbols stand for. A phonetic transcription, then, can be said to represent a piece of speech in terms of the categories denoted by the symbols. Machine-readable phonetic and prosodic notation systems can be implemented in electronic speech corpora, where multiple linguistic information tiers, such as text and phonetic transcriptions, are mapped to the speech signal. Such corpora are essential resources for automated speech recognition and speech synthesis.
Phonological and Morphological Aspects of Reduplication
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.
A phonological inventory is a repertoire of contrastive articulatory or manual gestures shared by a community of users. Whether spoken or signed, all human languages have a phonological inventory. In spoken languages, the phonological inventory is comprised of a set of segments (consonants and vowels) and suprasegmentals (stress and intonation) that are linguistically contrastive, either lexically or grammatically, in a particular language or one of its dialects. Sign languages also have phonological inventories, which include a set of linguistically contrastive signs made from movement, hand shape, and location. The study of phonological inventories is interesting because they tell us about the distribution, frequency, and diversity of gestures that individuals acquire and produce in the world’s 7,000 or so languages. Their study has also raised important empirical questions about the comparability of linguistic concepts across different languages and modalities, in the use of statistics and sampling in quantitative approaches to comparative linguistics, and in the study of language ontogeny and phylogeny over the course of language evolution. As such, some recent research highlights include the following: quantitative approaches suggest causal relationships between phonological inventory composition and gene-culture and language-environment coevolution; the study of de novo sign languages provides important insights into the emergence of phonology; and comparative animal communication studies suggest evolutionary speech precursors in phonological repertoires of nonhuman primates, and potentially in extinct hominids including Neanderthal.
Phonological Templates in Development
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.
Phonological Variation and Change in Canadian and U.S. French
The varieties of Canadian French are the result of both conservatism and innovation. The conservatism is manifested in the retention of archaic structures, which derive on the one hand from the dialects of northern and western France, the areas of origin of the Quebecker and Acadian settlers, and on the other hand from the common vernacular of the Ile-de-France area, the français populaire. Innovation has occurred independently of France because of the political rupture between France and New France in 1763, which also severed emotional ties: France had to cede territories to Great Britain due to its defeat in the Seven Years’ War and chose to separate from its North American colony while holding onto more profitable colonies, such as Guadeloupe. All normative influence on the development of Canadian French stopped. Since the French-speaking territories in North America have never been united administratively, and English has been the dominant language for the majority of citizens in Canada, no common institution providing prescriptive guidelines as to language use (such as the Académie Française in France) has been established. The varieties of Quebec and Acadian French spoken in Canada—and subsequently in the United States—developed freely. This resulted in an almost indescribable amount of linguistic variants in all fields. Whereas the phonological systems of Canadian and standard French (i.e., the hexagonal norm), in other words the inventory of sounds, barely differ, there is considerable variation in phonetics (i.e., pronunciation). The traditional areas of settlement for speakers of predominantly northern French dialects (Quebec) and predominantly western French dialects (Acadia and Maritime Provinces) have stayed administratively separate, resulting in considerable variation among the varieties of Canadian French.
Phonological Variation and Change in European French
We discuss here the considerable amount of phonological variation and change in European French in the varieties spoken in France, Belgium, and Switzerland, the major francophone countries of Europe. The data discussed here derive from the perceptual and especially behavioral studies that have sought to extend the Labovian paradigm beyond Anglo-American variable linguistic phenomena to bear upon Romance. Regarding France, what emerges is a surprisingly high degree of uniformity in pronunciation, at least over the non-southern part of the country, and most Southern French varieties are also showing convergence to the Parisian norm. Pockets of resistance to this tendency are nevertheless observable. The Belgian and Swiss situations have in common the looming presence of a supralocal and indeed supranational norm playing a role often attested in other discussions of standard or legitimized languages, that of the variety representing what commonly corresponds to the nonlocal. Indeed, it may be that Belgium and Switzerland typify the local–standard relation most often reported, while the French situation, because of its relatively leveled character, is less easily described as one of standardization.
Phonological Variation and Change in European Spanish
José Antonio Samper Padilla
Spanish is a language characterized on the phonetic level by a rich variation in consonantism, especially in the syllable-final position (both word-inner and word-final), whereas vocalism shows a more fixed character and a less relevant variation. Thus, it is not strange that the majority of variationist studies have focused on consonantism. Investigations addressing prosodic variation are fewer and more recent and will not be broached here because of space limitations. In the field of consonant variation, studies focusing on the weakening effect on certain elements of the coda stand out. The most relevant among these phenomena is the one which affects /s/, and this is so for various reasons: (a) because has been considered to be one of the isoglosses that divide the two great norms of current Spanish (Castilian and Atlantic); (b) because of its geographical extent; and (c) because it has led to theoretical approaches about the possible impact on number (singular/plural) and grammatical person (second/third-person singular) differentiation that implies the frequent presence of word-final -s. Additionally, variation which affects the liquid consonants (/l/ and /r/), leading to processes of both weakening and change in these two types of consonants, has been studied quite extensively (at least in Andalusia and the Canary Islands). The weakening process affecting the final nasal consonant, with velarization as a first step and potential elision as a second one, has been less frequently studied in Spain (much less than in the case of Caribbean Spanish, for example). In the field of syllabic tension, there is another phenomenon that has often been studied due to its geographic extent: the weakening of intervocalic /d/, which yields very different data depending on dialectal variety (evidence of the greater or lesser degree of progress in that weakening process). Sociolinguistic analyses also focus on the increasing expansion of yeísmo, a phenomenon usually conditioned by age as an explanatory factor in this advanced stage of the process. In Andalusian Spanish, the alternation between different pronunciations of the phonemes /s/ and /θ/ (mainly distinction, seseo and ceceo), the defricativization of /tʃ/ and the alternation between the realizations of /x/ as [x] and [h] have also been analyzed. In the case of vowels, as has been said before, it should be pointed out that cases of sociolinguistic variation in Spanish are not as numerous or as relevant; therefore, they have been less appealing to researchers. Among the main phenomena, we shall discuss the vocalic metaphony registered in Cantabria and Asturias.
Phonological Variation and Change in Italian
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.
Phonological Variation and Change in Latin American Spanish
Pedro Martín-Butragueño and Érika Mendoza
“Latin American Spanish” (LAS) represents a substantial portion of the Spanish-speaking world. The geographical distances, the contrasts between rural and extremely urbanized areas, the existence of strong social inequalities and migratory streams, and the presence of a high number of indigenous American languages—all create the conditions for a complex linguistic reality, clearly diversified, while also unitary. Many variable linguistic phenomena correlate with the age of LAS expansion and the continuing massive urbanization that began in the 1960s. American Spanish-speaking communities have different segmental processes, such as consonantal weakening in intervocalic contexts, deletion in syllabic coda, vowel devoicing, among others. On the prosodic level, there is dialectal variation in intonational patterns and differences in rhythmic properties. Both segmental and prosodic variation is conditioned by linguistic, geographical, and social factors.
Phonological Variation and Change in Romanian
Romanian stands out from its sister Romance languages through the conditions of its historical evolution. It has developed in isolation from the other Romance languages, and in cultural and linguistic contact with various non-Romance populations. The history of writing in Romanian, and the earliest preserved texts, dating from the 16th century, also reflect this rather unique heritage. The main dialectal division is marked geographically by the Danube river. The variety developed north of the Danube forms the Daco-Romanian group, while the variety developed south of the Danube includes Aromanian and Megleno-Romanian. The most characteristic changes affecting consonants in the development of Romanian include several patterns of palatalization (with or without affrication, depending on the segments’ place and manner of articulation), the emergence of labial-coronal clusters as part of a more general preference for labials, and rhotacism, a major feature of nonstandard varieties. Major vocalic changes include patterns of diphthongization, vowel raising before nasals and in the context of trills, which led to the development of two phonemic central vowels, /ɨ/ and /ʌ/. Many of these patterns show variation among different varieties. In all varieties of Romanian, vowel alternations are involved in morpho-phonological alternations. The stress pattern of modern Romanian follows the stress pattern of Balkan Romance. The standard and nonstandard varieties differ with respect to their intonation patterns, particularly in the case of yes/no questions.
Phonological Variation and Change in Brazilian Portuguese
Brazilian Portuguese is the native language of more than 200 million people living in Brazil. Spoken in South America since around the year 1500, Brazilian Portuguese has peculiar phonological traits, many of them variable. The extensive language contact that has taken place in Brazil caused Brazilian Portuguese to break up into regional dialects. Various phonological processes affect Brazilian Portuguese at the segmental and suprasegmental levels. Some of the processes target consonants, such as the regressive palatalization of /t, d/, the fricatization of /r/ in syllabic onset; some processes target vowels, such as the raising and lowering of unstressed /e, o/ vowels; others target the intonation of utterances, such as the rising of the nuclear stress of yes–no questions. The results of several empirical studies on varieties of Brazilian Portuguese show that not all of the processes correspond to change in progress in Brazilian Portuguese; some of them are stable variables. They also show that not every variable is present in all dialects and that some variables are socially salient and stigmatized. Compared to present European Portuguese, the phonology of Brazilian Portuguese seems to be conservative in some aspects, such as in the raising of vowels in unstressed, word-final syllables; innovative in others, such as in the vocalization of /l/ in syllabic coda.
The Phonology of Compounds
A number of recent developments in phonological theory, beginning with The Sound Pattern of English, are particularly relevant to the phonology of compounds. They address both the phonological phenomena that apply to compound words and the phonological structures that are required as the domains of these phenomena: segmental and nonsegmental phenomena that operate within each member of a compound separately, as well as at the juncture between the members of compounds and throughout compounds as a whole. In all cases, what is crucial for the operation of the phonological phenomena of compounds is phonological structure, in terms of constituents of the Prosodic Hierarchy, as opposed to morphosyntactic structure. Specifically, only two phonological constituents are required, the Phonological Word, which provides the domain for phenomena that apply to the individual members of compounds and at their junctures, and a larger constituent that groups the members of compounds together. The nature of the latter is somewhat controversial, the main issue being whether or not there is a constituent in the Prosodic Hierarchy between the Phonological Word and the Phonological Phrase. When present, this constituent, the Composite Group (revised from the original Clitic Group), includes the members of compounds, as well as “stray” elements such as clitics and “Level 2” affixes. In its absence, compounds, and often the same “stray” elements, are analyzed as a type of Recursive Phonological Word, although crucially, the combinations of such element do not exhibit the same properties as the basic Phonological Word.
Pitch Accent in Korean
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.
Psycholinguistic Approaches to Morphology: Production
Benjamin V. Tucker
Speech production is an important aspect of linguistic competence. An attempt to understand linguistic morphology without speech production would be incomplete. A central research question develops from this perspective: what is the role of morphology in speech production. Speech production researchers collect many different types of data and much of that data has informed how linguists and psycholinguists characterize the role of linguistic morphology in speech production. Models of speech production play an important role in the investigation of linguistic morphology. These models provide a framework, which allows researchers to explore the role of morphology in speech production. However, models of speech production generally focus on different aspects of the production process. These models are split between phonetic models (which attempt to understand how the brain creates motor commands for uttering and articulating speech) and psycholinguistic models (which attempt to understand the cognitive processes and representation of the production process). Models that merge these two model types, phonetic and psycholinguistic models, have the potential to allow researchers the possibility to make specific predictions about the effects of morphology on speech production. Many studies have explored models of speech production, but the investigation of the role of morphology and how morphological properties may be represented in merged speech production models is limited.