Chapter 3 Phonology Phonology exercises Note: IPA symbols may be downloaded to create a phonetic keyboard from the Summer Institute of Linguistics web site: html, or more specifically: http://scripts.sil.org/cms/scripts/page.php?site_id=nrsi&item_id=DoulosSIL_download http://scripts.sil.org/cms/scripts/page.php?site_id=nrsi&id=UniIPAkeyboard

Once the Doulos SIL font and the IPA Unicode Keyboard are downloaded, for the most part the phonetic symbols are available by pressing = or < followed by the letter graph most closely related to the symbol.

p. 62 Exercise: IPA Transcription Describe the phonological style of the following text (see Graphological Analysis of the same text in Chapter 2 Answer Key) by transcribing the English graphs into IPA symbols.

Text ‘Wanted: Men who can handle a real road machine. Dodge Challenger Rallye. There are special men who develop an almost spiritual attachment to their cars. They want a no-nonsense road machine that grabs a rough, winding stretch of road and holds on. One that stays low and close to the road like a snake. For these men, Dodge builds Challenger Rallye. A trim, taut, tough car that hugs every inch of road it goes over. Why? Because of Challenger’s torsion bar suspension. No mushy coil springs for this car – only responsive torsion bars and leaf springs will do. They combine to give you a firm, honest ride all the time’ (Dodge, 1973)

p. 62 Exercise: Discovery Exercise From the following list of transcribed words uttered by a 2-year-old boy, come up with a description of where he is in terms of his phonological development as an English speaker. In other words, determine what vowels and what blends of consonants he avoids or misrepresents. It may be helpful to start this exercise by transcribing each word as an adult speaker would say it, and then by comparing each word with the boy’s version. Note the differences, and then, by looking at your IPA consonant and vowel charts, decide what sounds he avoids, what sounds he overgeneralizes etc. /ɪtəl/ /kul/ /hudʒ/

= little = school = huge

© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

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/noməs/ /mezɪŋ/ /bεti/ /renz/ /cəmputi/ /wɑti/ /prɪsəs/ /kænəl/ /kəngin/ /dotə/ /bænænæ/ /bædʒæmi/ /lɑik/ /lɑikin/ /gləgz/ /nænɪlæ/ /plɑbli/ /ələlənt/ /ʃorʃi/ /ʃorʃipowə/ /ɑlwɑit/ /nunu/ /tek/ /bɑu/ /ju/ /təkəl/ /lɪlolə/ /lɑiolɪn/ /lənɑni/ /pəgεti/ /dʒænpæ/ /dʒæmæ/ /səmɪn/ /nəniənz/ /mungɪk/ /kɑkəlædu/

= enormous = amazing = better‘er’ = raisins = computer = water = Christmas = candle = kangaroo = jyota = banana = pyjama = light = lightening = gloves = vanilla = probably = elephant = horse = horsepower = all night = noodle = coke = brown = zoo = buckle = viola = violin = lasagna = spaghetti = grandpa = grandma = something = onions = music = rooster

p. 64 Exercise: Stress and Feet Bold the stressed syllables and divide the Dodge Challenger Rallye text into / feet /.

p. 64 Exercise: Phonological Rank Scale a. Transcribe the following sentences into IPA. b. Divide the words into syllables.

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© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

c. Mark / bold the stressed syllables. d. Divide the syllables into feet using single slashes /. e. Determine the separate tone groups in each sentence, and enclose each with a double slash //. f. Mark whether the tone group is falling or rising or more complex. E.g. ‘He went to the library.’ a. hi wεnt tu ðə lɑibrεri b. hi wεnt tu ðə lɑi brε ri c. hi wεnt tu ðə lɑi brε ri d. hi / wεnt tu ðə / lɑi brε ri e. and f. //hi / wεnt tu ðə / lɑi brε ri// falling tone. 1. 2. 3. 4. 5.

The little child wants his mommy. Unfortunately, she forgot her homework. The rush of wind left her breathless, and the temperature chilled her bones. Are you measuring his shoulders, or shall I? Andrew, will you get me my sweater?

p. 64 Exercise: Tonic Prominence and Tone Groups Bold the tonic prominence and divide the Dodge Challenger Rallye text into // tone groups//.

© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

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Phonology answer key p. 62 Exercise: IPA Transcription Wæn tɪd: mɛn hu kæn hæn dəl ə ril rod mæ ʃin. dɔdʒ tʃæ lɛn jʊr ræ li. ðɛr ɑr spɛ ʃɪl mɛn hu di vɛ lɘp æn ɑl most spi rɪ tʃu əl æ tætʃ mɛnt tu ðɛr kɑrz. ðe wænt ə no nɔn sɛns rod mæ ʃin ðæt græbz ə rəf wɑin dɪŋ strɛtʃ əv rod ænd holdz ɔn. wən ðæt stez lo ænd klos tu ðə rod lɑik ə snek. for ðiz mɛn, dɔdʒ bɪldz tʃæ lɛn jʊr ræ li. ə trɪm, təf kɑr ðæt həgz ɛ və ri ɪntʃ əv rod ɪt goz o vər. hwɑi? bi kɑz əv tʃæ lɛn jʊrz tor ʃən bɑr səs pɛn ʃən. no mə ʃi koil sprɪŋz for ðɪs kɑr – on li rɛs pɔn sɪv tor ʃən bɑrz wɪl du. ðe kəm bɑin tu gɪv ju ə fʊrm, ɔ nɘst rɑid ɑl ðə tɑim.

p. 62 Exercise: Discovery Exercise Avoids medial and final /r/; final ‘er’ he treats as /ɪ/; also adds indiscriminate in /ɪ/ in horse and pajamas Avoids initial /l/ and /s/, but not in lasagna Avoids /ŋ/ in lightning Avoids glides /hj/ in huge, /pj/ in computer, /nj/ in lasagna Avoids fricatives /v/ for example, /gləgz/ for gloves, nænɪlæ/ for vanilla; /lɪlolə/ & /lɑiolɪn/ for viola & violin /f/ in elephant; /θ/ in something Replaces initial and medial /s/ with /ʃ/ or /g/, /z/ and /g/ with /dʒ/, Replaces /w/ for /n/ in all night Substitutes or undifferentiates stops: /d/ for affricate /dʒ/, /b/ for /p/, /k/ for /t/, /t/ for /k/, /t/ for /b/ Simplifies/changes consonant clusters /st/ for /s/, /n/ for /nd/, /pl/ for /pr/, /n/ for /dl/, /b/ for /br/ Simplifies polysyllabic words by eliminating initial vowels, for example, /noməs/ for enormous, /mezɪŋ/ for amazing Simplifies polysyllabic words to mono or bisyllabic, for example, /kənɪn/ for ‘kangaroo’, / renz/ for ‘raisins’, /plɑbli/ for probably Replaces animal with animal sound /kɑkəlædu/ for ‘rooster’ (semantic change, most complex phonologically)

p. 64 Exercise: Stress and Feet Bold the stressed syllables and divide the Dodge Challenger Rallye text into / feet /. /Wæn tɪd: / mɛn hu kæn / hæn dəl ə / ril / rod mæ / ʃin./ dɔdʒ / tʃæ lɛn jʊr / ræ li./ * ðɛr / ɑr / spɛ ʃɪl / mɛn hu di / vɛ lɘp æn / ɑl most / spi rɪ / tʃu əl æ / tætʃ mɛnt tu ðɛr / kɑrz./ ðe / wænt ə / no / nɔn sɛns / rod mæ / ʃin ðæt / græbz ə / rəf / wɑin dɪŋ / strɛtʃ əv / rod ænd /

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© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

holdz ɔn /. * / wən ðæt / stez / lo ænd / klos / tu ðə / rod / lɑik ə / snek /. * For / ðiz mɛn /, dɔdʒ/ bɪldz / tʃæ lɛn jʊr / ræ li /.* ə / trɪm /, təf / kɑr ðæt / həgz / ɛ və ri / ɪntʃ əv /rod ɪt / goz o vər. / hwɑi? / * bi / kɑz əv / tʃæ lɛn jʊrz/ tor ʃən / bɑr səs / pɛn ʃən./ no / mə ʃi / koil / sprɪŋz for / ðɪs kɑr / – on li rɛs / pɔn sɪv / tor ʃən / bɑrz wɪl / du./ ðe kəm / bɑin tu / gɪv / ju ə / fʊrm /, ɔ nɘst / rɑid ɑl ðə / tɑim./

p. 64 Exercise: Phonological Rank Scale a. Transcribe the following sentences into IPA. b. Divide the words into syllables. c. Mark the stressed syllables (ignore the medium stresses in polysyllabic words). d. Divide the syllables into feet using single slashes /. e. Determine the separate tone groups in each sentence, and enclose each with a double slash //. f. Mark whether the tone group is falling or rising or more complex? 1. The little child wants his mommy. a. ðə lɪtəl tʃɑild wɑnts hɪz məmi b. ðə lɪ təl tʃɑild wɑnts hɪz mə mi c. ðə lɪ təl tʃɑild wɑnts hɪz mə mi d. e. and f. // ^ ðə / lɪ təl / tʃɑild / wɑnts hɪz / mə mi// falling tone 2. Unfortunately, she forgot her homework. a. ənfortʃunetli ʃi forgɔt hʊr homwʊrk b. ən for tʃu net li ʃi for gɔt hʊr hom wʊrk c. ən for tʃu net li ʃi for gɔt hʊr hom wʊrk d. /^ ən / for tʃu net li / ^ / ʃi for / gɔt hʊr / hom wʊrk e. //^ ən / for tʃu net li // ^ // ʃi for / gɔt hʊr / hom wʊrk // f. both falling tones 3. The rush of wind left her breathless, and the temperature chilled her bones. a. ðə rəʃ əv wɪnd left hʊr breθles ænd ðə tempʊrətʃʊr tʃɪld hʊr bonz b. ðə rəʃ əv wɪnd left hʊr breθ les ænd ðə tem pʊ rə tʃʊr tʃɪld hʊr bonz c. ðə rəʃ əv wɪnd left hʊr breθ les ænd ðə tem pʊ rə tʃʊr tʃɪld hʊr bonz d. / ^ ðə / rəʃ əv / wɪnd / left hʊr / breθ les / ^ /^ænd ðə / tem pʊ rə tʃʊr / tʃɪld hʊr / bonz / e. // ^ ðə / rəʃ əv / wɪnd / left hʊr / breθ les // ^ //^ænd ðə / tem pʊ rə tʃʊr / tʃɪld hʊr / bonz // f. both falling tones 4. Are you measuring his shoulders, or shall I? a. ɑr ju meʒurɪŋ hɪz ʃoldʊrz or ʃæl ɑi b. ɑr ju me ʒur ɪŋ hɪz ʃol dʊrz or ʃæl ɑi c. ɑr ju me ʒur ɪŋ hɪz ʃol dʊrz or ʃæl ɑi d. / ɑr ju / me ʒur ɪŋ hɪz / ʃol dʊrz / ^ / or ʃæl / ɑi / e. // ɑr ju / me ʒur ɪŋ hɪz / ʃol dʊrz // ^ //or ʃæl / ɑi // both rising tones

© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

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5. Andrew, will you get me my sweater? a. ændru wɪl ju get mi mɑi swetər b. æn dru wɪl ju get mi mɑi swe tər c. æn dru wɪl ju get mi mɑi swe tər d. / æn dru /^ / wɪl ju / get mi mɑi / swe tər / e. // æn dru // ^ // wɪl ju / get mi mɑi / swe tər // falling tone then rising tone.

p. 64 Exercise: Tonic Prominence and Tone Groups Bold the tonic prominence and divide the Dodge Challenger Rallye text into // tone groups //. //Wæn tɪd: // mɛn hu kæn / hæn dəl ə / ril / rod mæ / ʃin. // dɔdʒ / tʃæ lɛn jʊr / ræ li. //* ðɛr / ɑr / spɛ ʃɪl / mɛn hu di / vɛ lɘp æn / ɑl most / spi rɪ / tʃu əl æ / tætʃ mɛnt tu ðɛr / kɑrz. //ðe / wænt ə / no / nɔn sɛns / rod mæ / ʃin ðæt // græbz ə / rəf / wɑin dɪŋ / strɛtʃ əv / rod ænd / holdz ɔn //. * / wən ðæt / stez / lo ænd / klos / tu ðə / rod / lɑik ə / snek //. * For / ðiz mɛn /, dɔdʒ / bɪldz / tʃæ lɛn jʊr / ræ li //.* ə / trɪm /, təf / kɑr ðæt // həgz / ɛ və ri / ɪntʃ əv /rod ɪt / goz o vər. // hwɑi? // * bi / kɑz əv / tʃæ lɛn jʊrz/ tor ʃən / bɑr səs / pɛn ʃən. // no / mə ʃi / koil / sprɪŋz for / ðɪs kɑr // – on li rɛs / pɔn sɪv / tor ʃən / bɑrz wɪl / du. // ðe kəm / bɑin tu / gɪv / ju ə / fʊrm /, ɔ nɘst / rɑid ɑl ðə / tɑim.//

Review of phonological analysis Analysis Preparation Find a few words that describe your first impressions of the phonological character of the text, write them down, and put them aside for later. Make notes about any preliminary thoughts, hypotheses concerning the phonological character of the text.

Description 1. Make a phonemic transcription of the text using the IPA symbols. Transcribe the discourse as the encoder manifests it, if spoken. If written, transcribe the discourse as if you were the encoder. 2 a. Mark the strong and weak syllables in the text (bold the strong syllables, or use an accent). b. Divide the text into phonological feet (strong beat comes first – use a single slash between feet).

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© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

3

4.

5.

6.

c. Divide the text into tone groups (use double slash), remembering that punctuation often signals tone group boundaries in prose, and line spacing often signals tone group boundaries in poetry. a. If the text is spoken, or written to be spoken (dramatic dialogue), note any evaluative colouring given to the text, e.g. irony, sarcasm, angry, etc. b. Note variations in dynamic range and tempo, e.g. softly, quickly. c. Try to describe, and map the pacing of the text; explain how phonological choices have created this pacing, and begin thinking about the effects of such phenomenon. See prosodic mapping #6. d. Note any meaningful use of silence in the text. If appropriate, particularly if the text is a poem, or resembles one, as is sometimes the case in advertising. This step may be omitted if the text has no resemblance to poetry. a. Describe any noticeable rhymes or rhythms. b. Note any rhetorical devices pertaining to phonology, e.g. alliteration (a repetition of consonants), assonance (a repetition of vowels). Information structure, coherence, mode a. Underline the tonic prominence in each tone group (strong syllable in the foot where there is greatest pitch change). b. Identify the tones as rising, falling or other. c. Under tonic prominence in each tone group write New, and write Given under earlier part of tone group (if the information unit is marked, reverse this order). d. List the phonological features of the text that add coherence to it. e. If the text is spoken list non-verbal sounds that characterize this mode. Prosody a. Attempt to construct a prosodic map of the entire text, following the guidelines of conversational analysts (cf. Couper-Kuhlen, E. and Selting, M. 1996).

Contextualization Situation – Describe the relevant field, personal and functional tenor and mode of this communicative event between interactive participants and any represented participants. Register – Identify the register of the text, whether literary or non-literary. Are the phonological features of the text a function of the register? What phonological nuances make your text unique in terms of its register? Purpose – Identify the purpose of this text. How does phonological information develop this purpose? Strategies: Does the phonological style have any relationship to the strategies chosen?

Metafunctions Describe how the phonological choices highlight particular metafunctions. i. Experiential – What phonemes, feet, tone groups add information to the experience that is developed in this text? ii. Interpersonal – Describe how the encoder’s choice of tone, dynamic range, pacing, and evaluative colouring reveal the relationship between encoder and decoder.

© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

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iii. Textual – Is the text spoken spontaneously or non-spontaneously as monologue, dialogue or multi-party talk; or written to be spoken; to be read as if spoken / heard, or just to be read. What experiential information is encoded as New in this text? as Given? coherence – What repetitions and patterns of sounding create phonological coherence in the text?

Linguistic context a. Does the placement of the text (beginning, middle or end) account for the phonological style? b. Describe the way other linguistic information relates, reinforces and challenges the phonological choices of this text, for example lexical, syntactic, semological, graphological.

Cultural context and dialect a. Who is the encoder? What is her age, ethnicity, gender, nationality? How do her phonological choices reflect her situation, culture, beliefs and values? In other words, how do they create her social identity and construct her social reality? b. Who is the intended decoder (the expected / target audience)? How might her situation and culture, and experience of the register affect her interpretation of the encoder’s phonological choices? Who is the actual decoder? How might her situation and culture, and experience of the register affect her interpretation of the encoder’s phonological choices?

Results 1. Complete the following transcription summary sheet, and total the frequencies of particular types of consonants, vowels and diphthongs. Count whatever else is countable, for example various types of tone groups, the number of rhetorical devices pertaining to sounding, the number of examples of evaluative colouring, dynamic range variations and the like. Consonants Stops

Fricatives

Affricates

Approximants

Nasals

Voiced Unvoiced Voiced Unvoiced Voiced Unvoiced Unvoiced Voiced Voiced Voiced central lateral Bilabial

b by

p pet

w wit

m mitt

Labiodental

v vet

f fit

Interdental

ð that

θ thick

z zoo

s sit, city

Alveolar

d do

t to

ʒbeige ʃshow

Palatal Alveolar Velar Glottal

r red dʒ

n no

jump g gift

k king ? oh-oh

j yes h hat

+ voiced alveolar flap /ɾ/ Ottawa

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l lit

t ʃ chin

© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

ŋ sing

Vowels High

Mid

tense

Front i deed

lax

ɪ did

tense

e date

lax

ɛ debt

ɔ torn,

æ dab

cot ɑ calm

Low

Diphthongs

ɑu

ɑi

Central

Back u duty ʊ wood

ə upon

o cold

oi

2. Note which are major features of the encoder’s phonological style, and which are minor, given the size of the text. 3. By comparing your results with the frequencies given below, decide which of these features and totals are unmarked / predictable given the register, encoder and decoder (see conclusions), and which features (omissions as well as occurrences) are marked / unpredictable, atypical of the register, and hence potentially significant. Among consonants: stops occur 30% of the time in typical unmarked discourse, fricatives 20–25% of the time, affricates 1–2% of the time, approximants 25% of the time, nasals 15–19% of the time. Among vowels about 50% appear to be front vowels typically, 20% back vowels, 17–25% central vowels, 9% diphthongs.

4. review your first impressions and initial hypotheses of your text (see Preparatory Notes), and comment on them.

Conclusions 1. Summary – Describe the encoder’s phonological style in prose, using examples and statistics when appropriate. 2. Interpretation – Discuss how this particular phonological repertoire best serves the encoder, given her cultural and situational context, communicative purpose, and register, in communicating her experiential and interpersonal message to her intended audience in this particular mode.

© Karen Malcolm Malcolm, K. (2010) Phasal Analysis. London: Continuum.

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