Nominal and Verbal Tone in Nata

2017 ◽  
Author(s):  
Andrei Anghelescu ◽  
Joash J. Gambarage ◽  
Zoe Wai-Man Lam ◽  
Douglas Pulleyblank
Keyword(s):  
Edge Effects ◽  
Correct Identification ◽  
High Tone ◽  
Bantu Language ◽  
Common Domain ◽  
Surface Patterns ◽  
Considerable Complexity ◽  
Mara Region

This chapter examines core tonal properties of Nata, a Lacustrine Bantu language (Guthrie E-45) spoken in the Mara region of Tanzania. In most instances, both in nouns and verbs, a Nata word exhibits a single high tone, which is restricted to a small number of locations. Though Nata’s tone system might appear simple, close examination of nouns and verbs uncovers considerable complexity in the system. Nouns exhibit lexically encoded distinctions; verb roots exhibit no lexical distinctions, but inflected verbs differ tonally depending on tense/aspect/mood. The sparse distribution of high tones follows from simple edge effects whereby tones are located relative to well-motivated morphosyntactic boundaries. The analysis, framed in a lexical allomorphy approach, crucially depends on correct identification of the macrostem, with a novel aspect being the extension of the macrostem to nouns. This extension is adopted on the grounds that nouns and verbs share similar surface patterns, captured by reference to a common domain.

Issues in the acquisition of the Sesotho tonal system

1993 ◽  
Vol 20 (2) ◽  
pp. 275-301 ◽  
Author(s):  
Katherine Demuth
Keyword(s):  
High Tone ◽  
Tone Sandhi ◽  
Longitudinal Case Study ◽  
Bantu Language ◽  
Tone Pattern ◽  
Early Default ◽  
Theoretical Issues ◽  
Over Time ◽  
Tonal System

ABSTRACTThis paper examines the acquisition of the grammatical tone system of Sesotho, a southern Bantu language where tone sandhi is rich, and where surface and underlying representations are often quite distinct. Results of the longitudinal case study show that rule-assigned tone on subject markers is generally marked appropriately by age two. In contrast, underlying tonal representations on verb roots are learned gradually over time, showing an early Default High tone pattern. The study also finds that, while some tone sandhi rules are in the process of being acquired between 2;6 and 3;0, problems in the mapping between tonal representations and segments persist. The paper raises methodological and theoretical issues not only for the acquisition of tonal systems, but for the acquisition of phonology in general.

scholarly journals Babanki verb tone

2015 ◽  
Vol 44 (1) ◽  
pp. 2-26
Author(s):  
Pius W. Akumbu
Keyword(s):  
High Tone ◽  
Proper Understanding ◽  
Bantu Languages ◽  
Bantu Language ◽  
Grassfields Bantu ◽  
Phonological Rule ◽  
Tonal Patterns ◽  
Low Tone ◽  
Tonal System

In Babanki, a Grassfields Bantu language of northwestern Cameroon, several tonal patterns can be found on a single verb root depending on the construction in which the verb is used. An underlying high tone may surface normally as high, but unexpectedly as low, or high-falling; while underlying low tones surface as high, high-falling, or normally as low. For this reason the low tone verb can have a L(L), HL, or even H(H) surface melody while the high tone verbs can be L(H), HL, or H(H). Accounting for these melodies in order to reconstruct the underlying forms is necessary for a proper understanding of the Babanki verb tone in particular and the tonal system of Centre Ring Grassfields Bantu languages in general. This paper demonstrates that five tone rules (Downstep, Tone Docking, High Tone Spread, Low Tone Spread, and Upstep) and one phonological rule (Schwa Insertion) are required to account for the complex tonal system of Babanki verbs.

Nata Deverbal Nominalizations

2017 ◽  
Author(s):  
Rose-Marie Déchaine ◽  
Dayanqi Si ◽  
Joash J. Gambarage
Keyword(s):  
Internal Argument ◽  
Bantu Language ◽  
Mara Region ◽  
Do So

In Nata, an endangered Eastern Bantu language (E45) spoken in the Mara region of Tanzania, deverbal nominalizations present certain properties. Morphologically, they consist of four morphemes, ordered left to right: (i) a phonologically predictable pre-prefix; (ii) an N-Class prefix; (iii) a verb stem; (iv) a harmonic final vowel (FV) suffix. Semantically, Nata nominalizations fall into three classes: entity-denoting, state-denoting, and event-denoting. Syntactically, (i) entity Ns have a singular/plural distinction, but event Ns are number-neutral; (ii) entity Ns cannot be modified by an adverb, but event Ns can be; (iii) entity Ns optionally introduce an internal argument, while event Ns do so obligatorily. It is proposed that Nata nominalization construal arises compositionally via features introduced by the final vowel (ACTOR, THEME, EVENT), and features introduced by the N-class prefix (HUMAN, NON-HUMAN). Nata confirms the relevance of proto-roles and event arguments and shows that the event/entity partition is derived compositionally.

scholarly journals Lexical extraprosodicity in Chilungu

1995 ◽  
Vol 24 (2) ◽  
pp. 86-99
Author(s):  
Lee S. Bickmore ◽  
Michael T. Doyle
Keyword(s):  
Lexical Stress ◽  
Bantu Languages ◽  
Bantu Language ◽  
Bearing Unit ◽  
Tonal Patterns ◽  
Surface Patterns ◽  
Lexical Accent

Nouns in Chilungu, a Bantu language spoken in Zambia, exhibit more tonal distinctions synchronically than exist in many modern Bantu languages. There exists a five-way distinction in nouns with CVCV sterns and a four-way distinction in nouns with monosyllabic stems. We show that any synchronic analysis which assumes a two-way tonal distinction for each Tone Bearing Unit (e.g., H vs. L, or H vs. ¢) cannot predict the attested number of surface tonal patterns. We avoid this dilemma by proposing that the final mora of certain noun roots is extraprosodic. This assumption not only correctly predicts the attested surface patterns, but results in rules which are well-motivated both theoretically and typologically (in Bantu). We argue that lexical conditioning of extraprosodicity is a natural outgrowth of prosodic theory, parallel to the use of lexical stress and lexical accent.

Applications of Photoelectron Microscopy

1976 ◽  
Vol 34 ◽  
pp. 506-507
Author(s):  
William J. Baxter
Keyword(s):  
Electron Microscopy ◽  
Thermal Decomposition ◽  
Chemical Composition ◽  
Ultraviolet Radiation ◽  
Thin Layer ◽  
Edge Effects ◽  
Electron Optics ◽  
Surface Layers ◽  
Crystalline Orientation ◽  
Fluorescent Screen

In this form of electron microscopy, photoelectrons emitted from a metal by ultraviolet radiation are accelerated and imaged onto a fluorescent screen by conventional electron optics. image contrast is determined by spatial variations in the intensity of the photoemission. The dominant source of contrast is due to changes in the photoelectric work function, between surfaces of different crystalline orientation, or different chemical composition. Topographical variations produce a relatively weak contrast due to shadowing and edge effects.Since the photoelectrons originate from the surface layers (e.g. ∼5-10 nm for metals), photoelectron microscopy is surface sensitive. Thus to see the microstructure of a metal the thin layer (∼3 nm) of surface oxide must be removed, either by ion bombardment or by thermal decomposition in the vacuum of the microscope.

Babbitt’s Beguiling Surfaces, Improvised Inside; Part III: Opportunities

2019 ◽  
Vol 5 (3) ◽  
Author(s):  
Joshua Banks Mailman
Keyword(s):  
Music Composition ◽  
Jazz Improvisation ◽  
The Third ◽  
Partial Orderings ◽  
Compositional Structures ◽  
Surface Patterns ◽  
Inside Part ◽  
Musical Activities

Babbitt’s relatively early composition Semi-Simple Variations (1956) presents intriguing surface patterns that are not determined by its pre-compositional plan, but rather result from subsequent “improvised” decisions that are strategic. This video (the third of a three-part video essay) considers Babbitt’s own conversational pronouncements (in radio interviews) together with some particulars of his life-long musical activities, that together suggest uncanny affiliations to jazz improvisation. As a result of Babbitt’s creative reconceptualizing of planning and spontaneity in music, his pre-compositional structures (partial orderings) fit in an unexpected way into (or reformulate) the ecosystem relating music composition to the physical means of its performance.

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