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(Ebook PDF) (Ebook PDF) A Course in Phonetics 7th Edition by Peter Ladefoged All Chapter
(Ebook PDF) (Ebook PDF) A Course in Phonetics 7th Edition by Peter Ladefoged All Chapter
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For Erin.
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Contents
Preface xi
Chapter 1
Articulation and Acoustics 2
Speech Production 2
Sound Waves 6
Places of Articulatory Gestures 10
The Oro-Nasal Process 15
Manners of Articulation 15
Stop 15
Fricative 17
Approximant 17
Lateral (Approximant) 17
Additional Consonantal Gestures 18
The Acoustics of Consonants 19
The Articulation of Vowel Sounds 20
The Sounds of Vowels 23
Suprasegmentals 24
Recap 26
Exercises 27
Chapter 2
Phonology and Phonetic Transcription 35
The Transcription of Consonants 37
The Transcription of Vowels 41
Consonant and Vowel Charts 45
Phonology 47
Recap 51
Exercises 52
Performance Exercises 56
vi
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CONTENTS vvv
Chapter 3
The Consonants of English 60
Stop Consonants 61
Fricatives 69
Affricates 71
Nasals 71
Approximants 72
Overlapping Gestures 73
English Consonant Allophones 76
Diacritics 80
Recap 81
Exercises 81
Performance Exercises 86
Chapter 4
English Vowels 89
Transcription and Phonetic Dictionaries 89
Vowel Quality 91
The Auditory Vowel Space 93
American and British Vowels 95
Diphthongs 97
Rhotic Vowels 99
Lexical Sets 101
Unstressed Syllables 104
Tense and Lax Vowels 105
English Vowel Allophones 107
Recap 109
Exercises 110
Performance Exercises 113
Chapter 5
English Words and Sentences 115
Words in Connected Speech 115
Stress 119
Degrees of Stress 121
Sentence Rhythm 124
Intonation 126
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vvvv CONTENTS
Chapter 6
Airstream Mechanisms and Phonation Types 144
Airstream Mechanisms 144
States of the Glottis 156
Voice Onset Time 159
Summary of Actions of the Glottis 164
Recap 165
Exercises 166
Performance Exercises 168
Chapter 7
Consonantal Gestures 173
Articulatory Targets 173
Types of Articulatory Gestures 183
Stops 183
Nasals 184
Fricatives 185
Trills, Taps, and Flaps 186
Laterals 189
Summary of Manners of Articulation 191
Recap 192
Exercises 192
Performance Exercises 194
Chapter 8
Acoustic Phonetics 197
Source/Filter Theory 197
Tube Models 200
Perturbation Theory 202
Acoustic Analysis 203
Acoustics of Consonants 208
Interpreting Spectrograms 213
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CONTENTS ii
Chapter 9
Vowels and Vowel-Like Articulations 227
Cardinal Vowels 227
Secondary Cardinal Vowels 232
Vowels in Other Accents of English 234
Vowels in Other Languages 236
Advanced Tongue Root 238
Rhotacized Vowels 239
Nasalization 241
Summary of Vowel Quality 242
Semivowels 242
Secondary Articulatory Gestures 244
Recap 246
Exercises 247
Performance Exercises 249
Chapter 10
Syllables and Suprasegmental Features 253
Syllables 253
Stress 259
Length 260
Timing 261
Intonation and Tone 264
Stress, Tone, and Pitch Accent Languages 270
Recap 271
Exercises 272
Performance Exercises 274
Chapter 11
Linguistic Phonetics 277
Phonetics of the Community and of the Individual 277
The International Phonetic Alphabet 278
Feature Hierarchy 282
A Problem with Linguistic Explanations 287
Controlling Articulatory Movements 289
Memory for Speech 291
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x CONTENTS
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Preface
This book aims to help you (the student) become a knowledgeable user of phonetics.
You may be (or become) a speech pathologist who diagnoses speech disorders and
devises treatment plans for your clients. Or you may be an engineer who develops
speech user-interface technology using automatic speech recognition or speech
synthesis. Or you may be a language teacher showing your students how words and
sentences are pronounced. Or you may be a student of English seeking to improve
your pronunciation. Or you may be a cognitive scientist conducting studies on the
neural response to spoken language. Or you may be an opera singer preparing to
sing words in a language that you don’t speak fluently. Or you may be an actor
speaking a dialect you didn’t grow up speaking. In each of these cases, you could
use some knowledge of phonetics. This book, if you study it well, will help you do
your job better.
Some of you start with phonetics out of general interest. Your program of study
requires that you take some general education courses, and phonetics is one course
that meets that requirement. This book will do that, but it will enrich your life, too.
You will be a more knowledgeable person, which is the aim of general education. In
this course, you will travel the world listening to people speak different languages.
You will hear clicks and ejectives, implosives and glides. You will delve into anatomy
and acoustics, motor control and aerodynamics, sometimes applying knowledge that
you picked up in other courses, sometimes learning completely new things. And so
we will develop a picture of a most interesting, complex, and fundamental human
characteristic. We humans speak, and through our speech we form and maintain our
relationships and communities, and we transmit our accumulated knowledge from
one generation to the next.
Another aim of the book is to prepare some of you (those who are bitten by
the phonetics bug) to be ready to contribute to phonetics research. This book is an
authoritative account of phonetics by one of the greatest phoneticians of all time
(I am speaking here not of myself but of Peter Ladefoged). It is a solid foundation
for the new phonetician, and at points the book offers suggestions for research
topics and indicates where further research is needed. If you study this book well,
you should be ready to start making valuable research contributions right away
(for example, see Appendix B) and you shouldn’t shy away from doing so.
xi
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xxx PREFACE
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PREFACE xxxx
Some of these parameters are isolated in the synthesized speech tokens in this table. For example, token number 1
(linked in the column labeled "1") is composed of a monotone voice with only a first formant resonance frequency.
When you look at the spectrogram of this utterance, there is only one formant. Token 4 combines the first three
formants, token 5 is composed of only stop release burst noises and fricatives, and finally in token 7 the voice has
normal fundamental frequency variation.
This speech was synthesized in 1971 by Peter Ladefoged on a synthesizer at UCLA. The values of the parameters were a modified version of a set
provided by John Holmes.
PHYSIOLOGICAL ACOUSTIC 1 2 3 4 5 6 7
1 Rate of vibration of the vocal folds Fundamental frequency
2 First resonance of the vocal tract Formant 1 frequency
3 Formant 1 amplitude
4 Second resonance of the vocal tract Formant 2 frequency
5 Formant 2 amplitude
6 Third resonance of the vocal tract Formant 3 frequency
7 Formant 3 amplitude
8 Fricative and stop bursts Center of noise frequency
9 Amplitude of noise
I also expanded the web materials by adding interactive versions of many of the
homework exercises in the book. The exercises provide immediate feedback so that
you know whether you got the right answer; if not, the correct answer is given. The
exercises are not meant to be tests, given to evaluate students, but are rather designed
to help you review the materials and evaluate your own level of retention and under-
standing. Some of my testers even describe these new exercises as “fun.”
The textbook has marginal icons that direct you to material on the website
EXAMPLE
X.X
that is related to the topic under discussion, such as auditory examples, so you can
immediately hear the sounds you are reading about.
The site will also document that you have completed the exercises with a certificate
that says at the bottom “save me, print me, show me to your teacher!”
A Course in Phonetics
This document certifies that you completed exercise 10A
Completion time: Sat Aug 03 2013 22:29:54 GMT-0700 (PDT)
(save me, print me, show me to your teacher!)
Collins, B., and I. Mees. (1999). The Real Professor Higgins. The Life and Career of
Daniel Jones. Berlin: Mouton de Gruyter.
Wells, J. C. (2000). My personal history. Retrieved Aug 5, 2013, from http://www.
phon.ucl.ac.uk/home/wells/philsoc-bio.htm.
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the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to
remove additional content at any time if subsequent rights restrictions require it.
xxx PREFACE
Acknowledgments
In the preface to the sixth edition of A Course in Phonetics I said, “When you start
from such a high point, there is a lot of room to go down and not much room to go
up.” I am still trying to avoid doing harm to this marvelous textbook, and I really
appreciate all the help that colleagues, students, and publishers have given me.
Natasha Warner (University of Arizona) wrote an incredibly detailed and helpful
review of the sixth edition. I especially appreciate that feedback. I also appreciate
the very helpful comments and suggestions that came from Susan Russell (Simon
Fraser University), Christina Gildersleeve-Neumann (Portland State University),
Lisa Davidson (New York University), Angela Carpenter (Wellesley College),
Richard Wright (University of Washington), Pat Keating (UCLA), Ian Maddiesson
(University of New Mexico), and Caroline Smith (University of New Mexico). Spe-
cial mention to Mary Beckman (Ohio State University) and Sun-Ah Jun (UCLA) for
help with the intonation section in Chapter 5. Also, much thanks to John Coleman
(Oxford) for providing and guiding my use of the vowel MRIs in Chapter 4, and for
the MRI movie on the website, and to Molly Babel (University of British Columbia)
for feedback on many of the online exercises. Professor Babel also contributed
audio as “American no. 2” in the online version of Figure 4.3 and as the voice of
Minnesota for the online lexical set examples. Alice Gaby (Monash University)
contributed audio clips for the website as the voice of Australia. John Sylak-Glassman
(University of California, Berkeley) saved me from making mistakes in the web
pages on languages of the Caucasus. I appreciate Shri Narayanan (University of
Southern California,) for his contribution of an MRI movie for the website. Continuing
thanks to Bruce Hayes (University of California, Los Angeles) for contributing his
voice as the voice of General American on the website. I am also grateful to Jenny
Ladefoged for her continued support and good humor as I change what she and
Peter produced.
Several students at UC Berkeley offered feedback on the website and I really
appreciate their help. Thank you, Sarah Bakst, Emily Cibelli, Greg Finley, Clara
Cohen, Will Chang, Melinda Fricke, Grace Neveu, Ruofan Cai, and Taylor Hickok
for feedback on the exercises.
The team at Cengage has been great. In particular, Joan Flaherty read every word
of the revised manuscript and guided the process of producing the book. I am so
grateful.
Keith Johnson
Berkeley, California
August 6, 2013
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About the
Authors
xv
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the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to
remove additional content at any time if subsequent rights restrictions require it.
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the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to
remove additional content at any time if subsequent rights restrictions require it.
Part I
Introductory Concepts
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1
Articulation and Acoustics
Phonetics is concerned with describing speech. There are many different rea-
sons for wanting to do this, which means that there are many kinds of phoneti-
cians. Some are interested in the different sounds that occur in languages. Some
study the cognitive processes involved in speaking and listening. Some are more
concerned with pathological speech. Others are trying to help people speak a
particular form of English. Still others are looking for ways to make computers
talk more intelligibly or to get computers to recognize speech. For all these pur-
poses, phoneticians need to find out what people are doing when they are talking
and how the sounds of speech can be described.
Speech Production
We will begin by describing how speech sounds are made. Most sounds are the
result of movements of the tongue and the lips. We can think of these move-
ments as gestures forming particular sounds. We can convey information by ges-
tures of our hands that people can see, but in making speech that people can
hear, humans have found a marvelously efficient way to impart information. The
gestures of the tongue and lips are made audible so that they can be heard and
recognized.
Making speech gestures audible involves pushing air out of the lungs while
producing a noise in the throat or mouth. These basic noises are changed by
the actions of the tongue and lips. Later, we will study how the tongue and lips
make about twenty-five different gestures to form the sounds of English. We can
see some of these gestures by looking at an x-ray movie (which you can watch
on the book’s website—http://linguistics.berkeley.edu/acip/). Figure 1.1 shows
a series of frames from an x-ray movie of the phrase on top of his deck. In this
sequence of twelve frames (one in every four frames of the movie), the tongue
has been outlined to make it clearer. The lettering to the right of the frames
shows, very roughly, the sounds being produced. The individual frames in the
figure show that the tongue and lips move rapidly from one position to another.
To appreciate how rapidly the gestures are being made, however, you should
watch the movie.
EXAMPLE Example 1.1 plays the sounds and shows the movements involved in the
1.1
phrase on top of his deck. Even in this phrase, spoken at a normal speed, the
2
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SSSSSSSSSSSSSSSSS 3
Figure 1.1 Frames from an x-ray movie of a speaker saying on top of his deck.
o ’is
1 25
n d
5 29
t e
9 34
o ck
13 37
p k
17 41
of -
21 45
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4 Chapter 1 AAAAAAAAAAAAAAAAAAAAAAAAAA
tongue is moving quickly. The actions of the tongue are among the fastest and
most precise physical movements that people can make.
Producing any sound requires energy. In nearly all speech sounds, the basic
source of power is the respiratory system pushing air out of the lungs. Try to talk
while breathing in instead of out. You will find that you can do it, but it is much
harder than talking when breathing out. When you talk, air from the lungs goes
up the windpipe (the trachea, to use the more technical term) and into the larynx,
at which point it must pass between two small muscular folds called the vocal
folds. If the vocal folds are apart (as yours probably are right now while you are
breathing in and out), the air from the lungs will have a relatively free passage
into the pharynx and the mouth. But if the vocal folds are adjusted so that there is
only a narrow passage between them, the airstream from the lungs will set them
vibrating. Sounds produced when the vocal folds are vibrating are said to be
voiced, as opposed to those in which the vocal folds are apart, which are said to
be voiceless.
EXAMPLE In order to hear the difference between a voiced and a voiceless sound,
1.2
try saying a long ‘v’ sound, which we will symbolize as [ vvvvv ]. Now
compare this with a long ‘f ’ sound [ fffff ], saying each of them alternately—
[ fffffvvvvvfffffvvvvv ]. (As indicated by the icon in the margin, an audio file
illustrating this sequence is on the website.) Both of these sounds are formed in
the same way in the mouth. The difference between them is that [ v ] is voiced
and [ f ] is voiceless. You can feel the vocal fold vibrations in [ v ] if you put your
fingertips against your larynx. You can also hear the buzzing of the vibrations in
[ v ] more easily if you stop up your ears while contrasting [ fffffvvvvv ].
EXAMPLE The difference between voiced and voiceless sounds is often important in dis-
1.3
tinguishing words. In each of the pairs of words fat, vat; thigh, thy; Sue, zoo, the
first consonant in the first word of each pair is voiceless; in the second word, it is
voiced. You can check this by saying just the consonant at the beginning of each
of these words and try to feel and hear the voicing as suggested in the example.
Try to find other pairs of words that are distinguished by one having a voiced
and the other having a voiceless consonant.
The air passages above the larynx are known as the vocal tract. Figure 1.2 shows
their location within the head (actually, within Peter Ladefoged’s head, in a photo-
graph taken many years ago). The shape of the vocal tract is a very important factor
in the production of speech, and we will often refer to a diagram of the kind that has
been superimposed on the photograph in Figure 1.2. Learn to draw the vocal tract
by tracing the diagram in this figure. Note that the air passages that make up the
vocal tract may be divided into the oral tract, within the mouth and pharynx, and
the nasal tract, within the nose. When the flap at the back of the mouth is lowered
(as it probably is for you now, if you are breathing with your mouth shut), air goes
in and out through the nose. Speech sounds such as [ m ] and [ n ] are produced with
the vocal folds vibrating and air going out through the nose. The upper limit of the
nasal tract has been marked with a dotted line since the exact boundaries of the air
passages within the nose depend on soft tissues of variable size.
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SSSSSSSSSSSSSSSSS 5
The parts of the vocal tract that can be used to form sounds, such as the tongue
and the lips, are called articulators. Before we discuss them, let’s summarize
the speech production mechanism as a whole. Figure 1.3 (on page 6) shows the four
main components—the airstream process, the phonation process, the oro-nasal
process, and the articulatory process. The airstream process includes all the ways
of pushing air out (and, as we will see later, of sucking it in) that provide the power
for speech. For the moment, we have considered just the respiratory system, the
lungs pushing out air, as the prime mover in this process. The phonation process is
the name given to the actions of the vocal folds. Only two possibilities have been
mentioned: voiced sounds in which the vocal folds are vibrating and voiceless
sounds in which they are apart. The possibility of the airstream going out through
the mouth, as in [ v ] or [ z ], or the nose, as in [ m ] and [ n ], is determined by the
oro-nasal process. The movements of the tongue and lips interacting with the roof
of the mouth and the pharynx are part of the articulatory process.
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the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to
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6 Chapter 1 AAAAAAAAAAAAAAAAAAAAAAAAAA
oro-nasal
process
articulatory
process
phonation
process
airstream
process
Sound Waves
So far, we have been describing speech sounds by stating how they are made, but
it is also possible to describe them in terms of what we can hear. The way in which
we hear a sound depends on its acoustic structure. We want to be able to describe
the acoustics of speech for many reasons (for more on acoustic phonetics,
see Keith Johnson’s book Acoustic and Auditory Phonetics). Linguists and
speech pathologists need to understand how certain sounds become confused
with one another. We can give better descriptions of some sounds (such as vowels)
by describing their acoustic structures rather than by describing the articulatory
movements involved. Knowledge of acoustic phonetics is also helpful for under-
standing how computers synthesize speech and how speech recognition works
(topics that are addressed more fully in Peter Ladefoged’s book Vowels and
Consonants). Furthermore, often the only permanent data that we can get of
a speech event is an audio recording, as it is often impossible to obtain movies
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B O O K X I V.
CHAPTER I.
P O L I T I C A L S I T U AT I O N O F J O S E P H .
P O L I T I C A L S I T U AT I O N O F F R A N C E .
P O L I T I C A L S TAT E O F E N G L A N D W I T H R E F E R E N C E TO T H E
WA R .
P O L I T I C A L S TAT E O F S PA I N .