起伏調認可與起伏調表式

Contour Tone Licensing and Contour Tone Representation

我在本文中將論證：起伏調位置上的限制，並非來自雙音拍的認可要求。這些論證包括：不以雙音拍為優先的音節位置在認可上的優勢；起伏調標記區別的額外層次，這些額外層次超過了理論所允許的最大音拍數；帶相同數目音高目標的不同起伏調之間的差異；長期存在的音拍不一致的問題。我將提出一種理論上的設計，允許調型和韻長的語音細節得以出現在音韻表式之中。這種設計一方面可以對跨語言的起伏調認可行為提供較佳的說明，一方面也不致削弱音韻理論的解釋力。

In this paper, I argue that the positional restrictions of contour tones do not result from their bimoraicity requirement for licensing. The arguments come from the licensing advantage of syllables in positions that are not moraically privileged, the extra levels of markedness distinction in contour tones that go beyond the maximum mora count allowed in the theory, the differences among contour tones with the same number of pitch targets, and the long lasting problem of moraic inconsistency. I propose a theoretical apparatus that allows more phonetic detail in both the tonal shape and rime duration to enter into phonological representations and show that it on the one hand provides a better account for the cross-linguistic behavior of contour tone licensing, but on the other hand does not endanger the predictive power of phonological theory.