On (and off) ramps in intonational phonology: Rises, falls, and the Tonal Center of Gravity
On (and off) ramps in intonational phonology: Rises, falls, and the Tonal Center of Gravity
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DOI：
10.1016/j.wocn.2020.101020
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发表时间：
2021-01-20
影响因子：
1.9
通讯作者：
Shattuck-Hufnagel, Stefanie
中科院分区：
文献类型：
--
作者：
Barnes, Jonathan;Brugos, Alejna;Shattuck-Hufnagel, Stefanie
对于各种西日耳曼语言（包括英语）中“默认”高音重音的定义，存在两种相互矛盾的观点：一种观点从根本上将这些重音等同于上升到高音转折点，而另一种观点则侧重于从高音转折点的下降。这两种观点都源于自动音段格律理论中的假设，即语调类别的语音表征可以或多或少地直接从 F0 曲线中一系列看似有意的方向变化（被识别为生产“目标”）中辨别出来。两个感知实验表明，至少在美式英语中，这种观点严重地过度简化了包含高音的音高重音的定义和区分方式：相反，上升的形状和下降的形状都被认为有助于将由上升-下降形状定义的高音区域的整体与分段字符串对齐，从而有助于听众将其分类为早期、中期或晚期上升-下降（H + !H*、L + H* 或 L* + H）。这些发现与这样的观点是一致的，即整个上升-下降形状的音调重心 (TCoG)，而不是 F0 转折点本身，是扬声器与分段内容对齐以区分不同音高重音类别的观点。质疑转折点作为这些音调重音的语音目标的首要地位，反过来又严重质疑了关于语调的语音表征的性质及其与信号的关系的标准假设。CO 2021 作者。由 Elsevier Ltd 出版。这是一篇基于 CC BY 许可证 (http://creativecommons.org/licenses/by/4.0/) 的开放获取文章。
Two conflicting views have been advanced of what defines 'default' high pitch accents in various West Germanic languages, including English: One equates these accents fundamentally with a rise to a high turning point, while the other focuses on the fall from it. Both views arise from the assumption within Autosegmental-Metrical theory that the phonological representations of intonational categories can be discerned more-or-less directly from the string of intentional-seeming changes of direction in the F0 curve, identified as production 'targets'. Two perceptual experiments reveal that, at least in American English, this view critically oversimplifies how pitch accents containing High tones are defined and distinguished: instead, both the shape of the rise and the shape of the fall are seen to contribute to the alignment of the overall bulk of the high region, defined by the rise-fall shape, with the segmental string, and thus to its categorization by listeners as an early, mid or late rise-fall (H + !H*, L + H*, or L* + H). These findings are consistent with the view that the Tonal Center of Gravity (TCoG) of the rise-fall shape as a whole, rather than an F0 turning point per se, is what speakers align with segmental content to distinguish different pitch accent categories. Questioning the primacy of the turning points as the phonetic targets for these pitch accents, in turn, seriously problematizes standard assumptions about the nature of phonological representations of intonation and their relation to the signal.CO 2021 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY license (http:// creativecommons.org/licenses/by/4.0/).