Tonal Geometry Tonal Hierarchy

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1.5.3.2 Tonal Geometry

In this section, I discuss the concept that features have a specifically defined relationship with the skeletal structure of an utterance. Just having two features does not give the complete picture. The relationship between features is often part of the definition and crucial to the understanding of the application of tonal features. Recall the discussion of the features proposed by Hyman 1993 which were defined partially based on their position in the tonal feature tree as was shown above in 11. In this section, I discuss some of the geometries proposed for tone and give arguments in support of adopting Snider’s model. Since we have already addressed Hyman’s 1993 geometry, I will not revisit it. Yip’s original proposal 1980 involved features directly linked to the skeletal tier 12. In this model, register and tone are completely independent. 12 Yip’s 1980 geometry diagramming a rise in the upper register ˦˥ or ˧˥ H σ l h A rising tone from l to h in the upper register H is represented in 12. The problems with this representation are: first, as there is no relationship between the two features, it is difficult to spread a tone to another syllable as a unit, and second, it is impossible to distinguish between ˦˥ and ˧˥, thus limiting the number of contours that are possible. Yip 1989 revises this geometry to incorporate a relationship between the features as shown in 13. 13 Yip’s 1989 geometry diagramming a rise in the upper register ˦˥ or ˧˥ σ H Register l h Tone In 13, the same rising tone from l to h in the upper register H is demonstrated; however, this time the register serves as the Tonal Node to which the tonal primitives are subordinate. The structure allows 21 spreading from the tonal node to the TBU, thereby spreading the entire tone easily. The tones are allowed to spread independently; however, if the register spreads, the tones must accompany it. The representation allows for the changing of register only through a deletion and insertion process. In other words, a neighboring register cannot alter the register in question through a spreading process, for example without also altering the tonal features. This geometry works well for the types of contours that Yip proposes for Asian tones where contours are confined to one or the other register. It cannot accommodate a rise or fall between the registers, however, as is necessary for languages like Soyaltepec Mazatec. And again, it does not allow for a distinction between ˦˥ and ˧˥. An alternative with more flexibility is offered by Bao 1990 as represented in 14. 14 Bao’s 1990 geometry diagramming a rise in the upper register ˦˥ or ˧˥ σ H Contour l h In 14 the same rising tone on a high register is demonstrated. In this geometry, the register, H or L, and the Contour feature are sisters under the Tonal Node. The tonal features of l and h are subordinate to the contour feature. The contour and register, as well as the tone primitives, can spread independently. It is more natural to replace the register in this representation than in a geometry such as 13 because a new association can be formed and the existing register delinked without disturbing the remainder of the geometry. Bao, however, still defines register in the same way as Yip, thereby confining the contours to only one register, and once again fails to distinguish between ˦˥ and ˧˥. Only one rise or fall is allowed per register. Snider’s 1999 geometry appears similar to Bao 1990; however, there is no contour node. Instead, Snider proposes a tonal tier and a register tier that exist in separate planes, as in 15. 22 15 Snider’s 1999 geometry diagramming a high tone ˥ Tonal Root Node Tier Tonal Tier Register Tier Tone-Bearing Unit Tier o H h µ In 15, a high tone on the high register is represented. Because the tone and register features exist in separate planes, they function completely independently of each other. Either feature can spread to a neighboring TBU without affecting the other. Also, the entire tone can spread from the Tonal Root Node TRN which serves as a point of coalescence for the features. In terms of representing contours, this geometry allows three types of contour tones to exist: contours that are true sequences of separate tones called composite contours by Snider 16, 19 unitary contours in which there is a change in register while the tone remains constant 17a and, finally, unitary contours in which there is a change in tonal melody while the register remains constant 17b. Note that the contour which changes in tonal melody is the only type of unitary contour capable of being represented by Yip and Bao above. 16 Composite Contour Snider 1999: 56 diagramming a fall from High to Low ˥˩ h l Register Tier H L Tonal Tier TRN TBU The structure in 16 represents a falling tone from a High to a Low tone. The H and L have come together each with its own TRN and are joined by association lines to one TBU. The separate planes of the tone and 19 All of the geometries presented here, other than Yip 1980, allow two separate TRNs to associate to a TBU, thereby allowing sequential contours. 23 register are represented by lines which slant differently. Also, the register features are always represented by lower case letters with longer association lines while the tone features are represented by capital letters with shorter association lines. 20 17 Unitary Contours Snider 1999: 56 a. Change in register Fall from High to Mid-High ˥˦ b. Change in tone melody Fall from High to Mid ̩˥˧ h l h H H L TBU TBU In 17a, the unitary contour has a change in register from high to low while a high tonal melody is maintained. This represents a High to Mid-high falling tone. In this case there are two features on the register tier which are linearly ordered with respect to each other and therefore must be articulated in sequence. In 17b, the unitary contour has a change in tonal melody from high to low while the high register is held constant which represents a High to Mid falling tone. In this case, the two tone features are in the same plane and are linearly ordered. 21 Having a geometry which allows both composite contours and two types of unitary contours allows for a great deal of flexibility. First, any two tones can come together and, second, eight of the twelve contours which are possible given four levels of tone can be represented as either composite two TRNs or unitary one TRN. The only exceptions are the contours between the extreme tones H and L, rising or falling which was represented in 16 and the rise or fall between the middle two tones. These two sets of tones do not have either register or tone features in common, so therefore must maintain separate TRNs and are therefore by nature composite contour tones. I have described the evolution of tonal geometries starting from Yip’s single level 1980 proposal to her incorporation of hierarchy in the 1989 geometry, the innovation of a sister node by Bao 1990, and a totally different approach offered by Hyman. Finally, I described the approach taken by Snider 1999 which is very similar in many ways to the previous suggestions; however, it incorporates sister planes instead of 20 The length of the association lines is relevant only as a visual aid in interpreting the diagrams. 21 Features which occur on the same plane must be articulated in sequential order from left to right. 24 sister nodes, allowing for greater autonomy between the features and a greater level of flexibility than the other models. It is this model that I will argue best describes the tone system of Soyaltepec Mazatec because it both discretely defines four levels of tone and allows a register feature to spread independently from the tonal features. No significantly different models for tonal geometry have been widely distributed in the past ten years.

1.5.3.3 Summary