Multidimensional Phonology
Goldsmith’s
Autosegmental Phonology has two
layers: at the first level it merely accepts the SEP invitation to consider
matters of tone which were completely avoided by Chomsky and Halle, but at the second it offers a potentially radical
revision in the systematic phonetic one ,which are
conceived in SPE as single-stranded concatenation of segments each of which
consists of a cluster of simultaneous features. Goldsmith at least envisages
the possibility of several parallel concatenations with variable linkages
(“association lines”) between segments in one and segments another.
Again no
fundamental axioms of SPE are altered. The proposal suggests various testable
speculations about language acquisition by children and eases the formalization
of various changes, particularly assimilations, some of them also improvable by
theories such as R.Cheng’s(1977),which make the
sequence single but the units in it syllables, each syllable being a bundle of
simultaneous features which may be arranged in various ways on the surface.
Many of the same goals may be attained either by multiplying the strings
vertically or broadening the beads horizontally.
In recent years a great deal of work has gone into the description of
prosodic processes in language, and two advances that have come out of this
work are the frameworks of autosegmental phonology
and metrical phonology. These two frameworks provide ways of escaping the
assumption, which used to be quite ordinary in phonological theory, that speech
and phonological representation could both be represented linguistically as nonlinear
sequences of discrete symbols. This development seems particularly fortunate,
since the approaches in question appear to express some of the prosodic
properties of speech much more adequately and elegantly than previous ones.
However, for a given prosodic phenomenon in language, it is not always easy to
determine which sort of analysis-metrical or autosegmental-will
be the most appropriate. Halle
(1980) is the first attempt to deal with this problem, though almost totally in
the area of vowel harmony. The present paper will attempt to deal with this
question in a somewhat more general way.
Autosegmental phonology A term used in recent
PHONOLOGICAL theory to refer to an approach which contrasts with strictly
SEGMENTAL theories of phonology. The segmental approach is seen as a set of
REPRESENTATIONS which consist of a LINEAR arrangement of segments (of unordered
sets of FEATURES) and BOUNDARIES that are dependent on MORPHOLOGICAL and
SYNTACTIC criteria. By contrast, the autosegmental
approach sees phonology as comprising several TIERS, each tier consisting of a
linear arrangement of segments; these are linked to each other by association
lines which indicate how they are to be COARTICULATED. Originally devised to
handle TONAL phenomena, the approach has now been extended to deal with other
features whose scope is more than one segment, especially VOWEL and CONSONANT
HARMONY.
At the bottom layer (L1), or row, each TERMINAL NODE of the TREE is
aligned with a grid placeholder (marked by x); this layer is the grid’s
‘terminal seet’. A second layer is used to reflect
the relative strength of teen and men, as opposed to third; and a third layer
is used to reflect the relative strength of men as opposed to teen. Grid
elements at the same layer are said to be ‘adjacent’ Adjacent elements are
‘alternating’ if, at the next lower layer, the elements corresponding to them
(if any) are not adjacent (as in the antique settee example); they are
‘clashing’ if their counterparts one layer down are adjacent (as in the
thirteen man example). The relationship between trees and grids proved
controversial; some phonologists argued that the
formalisms are equivalent, and that only grids need be represented (an
‘autonomous’ grid, ‘grid-only’ phonology); some argued that only trees need be
represented (‘tree-only’ phonology); and some argued that both are required
because they have different functions (trees representing STRESS, grids
representing RHYTHM). Grid construction is carried out using a set of
PARAMETERS (e.g. QUANTITY SENSITIVITY).
The rhythmical basis of the grid is provided by the rule of perfect
grid: a foot layer mark is added on top of alternating syllable-layer marks.
Bracketed grid theory is a metrical grid with CONSTITUENCY markers added,
introduced to formalize a constituent structure view of rhythm. Various
notations have been proposed.
Metrical phonology A theory of PHONOLOGY in
which phonological STRINGS are REPRESENTED in a HIERARCHICAL manner, using such
notions as SEGMENT, SYLLABLE, FOOT and WORD (of also PROSODIC phonology).
Originally introduced as a hierarchical theory of STRESS, the approach now
covers the whole domain of syllable structure and phonological boundaries.
Stress patterns are considered to reflect, at least in part, relations of
PROMINENCE between SYNTACTIC and MORPHOLOGICAL CONSTITUENTS. The UNDERLYING
metrical STRUCTURE of words
and PHRASES may be represented in the form of a
metrical TREE, whose NODES reflect the relative metrical strength between
SISTER , constituents, as in the following examples (W = weak, S = strong):