L1 Influences on Bulgarian-Accented German : Prosodic Units and Prenuclear Pitch Accents

This study investigates the L1 influence on the use of accentual patterns, choice of prenuclear pitch accent types and their realization on L2 prosody. We use Mennen’s LILt model as a framework for our analysis. We recorded ten Bulgarian female speakers of German and ten female native German speakers who read Aesop’s fable The North Wind and the Sun. We found that the tendency for the Bulgarian native speakers to use more pitch accents than German native speakers is transferred to the L2 German of the Bulgarian learners. L*+H was the most frequent prenuclear pitch accent used by all groups. We also found that the Bulgarian learners stressed more function words and tolerated more stress clashes than the native German speakers. When speaking German, under the influence of the statistical regularities that relate to prosodic word patterns in their mother tongue, Bulgarian learners phrased their L2 speech into a higher number of shorter prosodic words, and therefore realized more pitch accents and aligned the high tonal target earlier than the native speakers. Concerning the variable alignment of the high target, we propose the prosodic word or the two-syllable window as the tentative candidate for an anchorage region. Our findings can be explained with respect to age of learning, as proposed by LILt’s general theoretical assumptions

Jazz musicians and South Slavic oral epic bards

Albert Lord writes in The Singer of Tales (2000:13) that for the South Slavic oral epic poet, or guslar, "the moment of composition is the performance." The guslar is concurrently performer, composer, poet, and singer. In performance, he participates creatively in shaping the tradition of which he is a part rather than acting merely as a transmitter. Similarly, though in a much more restricted sense, European art music of the late nineteenth century embraced a concept of performance--as contrasted to presentation--in which the musician provided "linear tension that went beyond what could be notated . . . and freely manipulated every part of every phrase . . . to achieve a performance that was itself inherent to the process of communication" (Ledbetter 1977:149-50).Issue title "Slavica." Note: E-companion at www.oraltradition.org at time of printing

What Happens When an Invented Language Is Set To Music?: A Linguistic Study of Dogorian

Dogora, suite populaire dogorienne de Proszeshny orientale, composed by Etienne Perruchon and adapted for cinema by director Patrice Leconte, sets 'le dogorien' (referred to here as Dogorian), an 'imaginary language' created by the composer, to music. Setting invented languages to music raises several intriguing research issues. Although music may imitate the sounds of the world (birds, thunder, train whistles and so on), it is generally non-referential and cannot represent the complex meanings conveyed by language. On the other hand, there is evidence that some features of music, such as particular melodic intervals or variation of tempo, do evoke emotional meanings across cultures, and perhaps universally (Mithen 2006: 85-101). The art of the lyricist involves wedding syllables to notes, thereby harnessing the referential machinery of language to the powerful emotions of music, an achievement that requires considerable tinkering and numerous trade-offs given the multiple constraints of the two semiotic systems. What happens when a composer creates lyrics in an invented language? Do all the structural constraints of natural language disappear? Is it even possible to create a universal invented language that is devoid of meaning? Do strings of sounds inspired by the phonemes of natural languages inevitably carry with them associations tied to the cultural and linguistic baggage of the listener or performer? To what extent do these associations vary? This paper first presents Dogora briefly and the circumstances surrounding its composition. I then describe Dogorian, including its sound system, phonotactics, 'lexis,' 'morphology' and 'syntax.' Using the results of a survey carried out among adults and children who sang Dogora (May 2008, Saint-Nazaire, France), I look next at the perception of this invented language and explore the multiple meanings that the work and the 'language' evoke. Finally, the interaction between the verbal and musical meanings of the piece is investigated

Poetic metre as a function of language: linguistic grounds for metrical variation in Estonian runosongs

The article focuses on the relationship of language and metre in case of oral poetry, more exactly, to what extent and through which processes the changes in language have induced the changes in metre in case of Estonian runosong, a branch of common Finnic poetic-musical tradition. The Estonian language has gone through a series of notable phonological changes during approximately last 500 to 700 years that have systematically shortened the word forms; the extent of these changes varies across dialects. At the same time the language of runosongs has partly resisted these changes, and partly adopted; the archaic and new word forms are in concurrent use, and vary geographically. The metre of Estonian runosongs appears to be a transitional form from quantitative runosong metre (Kalevala metre) to the accentual runosong metre (both of them syllabic metres). The current study shows that the transition depends directly on the average syllabic length of the words in runosongs (the longer the words, the more quantitative the metre, and vice versa), which in turn is induced by the shortening of words in dialectal language. The closer look at the points of tensions between the metre and language, i.e. the geographical distribution of the morphological forms that are critical for building the verses in quantitative metre and have been systematically retained in runosongs (but shortened in language) shows that in two metrically innovative areas runosongs have given up preserving the archaic word forms, while in big central area between a linguistically and metrically conservative centre in the North-East of Estonia and two innovation centres in Western and Southeastern Estonia the archaic and newer word forms are used concurrently. The slight difference between the metre of western and southeastern runosongs follows the prosodic patterns of dialectal language. The side topic of the article discusses the questions of the evolution of runosong in the light of newer theories of emergence of Finnic languages (in the first millennium BC) and poetic system of runosongs, but apparently the metrical variation of runosong is entirely explicable by the impact of much later language changes (approximately 500 to 700 years ago) and seems not to be able to answer the questions related to the emergence of the poetic tradition

A Picasso of Perspectives on Formulaic Language

Peer reviewe

Weathered Words : Formulaic Language and Verbal Art

Formulaic phraseology presents the epitome of words worn and weathered by trial and the tests of time. Scholarship on weathered words is exceptionally diverse and interdisciplinary. This volume focuses on verbal art, which makes Oral-Formulaic Theory (OFT) a major point of reference. Yet weathered words are but a part of OFT, and OFT is only a part of scholarship on weathered words. Each of the eighteen essays gathered here brings particular aspects of formulaic language into focus. No volume on such a diverse topic can be all-encompassing, but the essays highlight aspects of the phenomenon that may be eclipsed elsewhere: they diverge not only in style, but sometimes even in how they choose to define “formula.” As such, they offer overlapping frames that complement one another both in their convergences and their contrasts. While they view formulaicity from multifarious angles, they unite in a Picasso of perspectives on which the reader can reflect and draw insight.Peer reviewe

ERP evidence for Slavic and German word stress cue sensitivity in English

Word stress is demanding for non-native learners of English, partly because speakers from different backgrounds weight perceptual cues to stress like pitch, intensity, and duration differently. Slavic learners of English and particularly those with a fixed stress language background like Czech and Polish have been shown to be less sensitive to stress in their native and non-native languages. In contrast, German English learners are rarely discussed in a word stress context. A comparison of these varieties can reveal differences in the foreign language processing of speakers from two language families. We use electroencephalography (EEG) to explore group differences in word stress cue perception between Slavic and German learners of English. Slavic and German advanced English speakers were examined in passive multi-feature oddball experiments, where they were exposed to the word impact as an unstressed standard and as deviants stressed on the first or second syllable through higher pitch, intensity, or duration. The results revealed a robust Mismatch Negativity (MMN) component of the event-related potential (ERP) in both language groups in response to all conditions, demonstrating sensitivity to stress changes in a non-native language. While both groups showed higher MMN responses to stress changes to the second than the first syllable, this effect was more pronounced for German than for Slavic participants. Such group differences in non-native English word stress perception from the current and previous studies are argued to speak in favor of customizable language technologies and diversified English curricula compensating for non-native perceptual variation

Dynamic Targets in the Acquisition of L2 English Vowels

This paper presents acoustic data on the dynamic properties of the FLEECE and TRAP vowels in the speech of two groups of Polish users of English. Results reveal that the more proficient group users, made up of teachers and professors with professional-level proficiency in English, produce more dramatic patterns of formant movement, reminiscent of native productions, than first year students. It is argued that vowel inherent spectral change (VISC) is an inherent aspect of English phonology, originated in interactions between vowels and neighboring consonants, and later generalized to the vowel system as a whole. By contrast, Polish is a language with a minimal role of VISC. Consequently, successful acquisition of L2 English vowels involves not only the mastery of vowels in F1- F2 space, but also formant trajectories over time

Accentuation

The accent marks in modern editions of Ancient Greek texts primarily reflect the accentual system of an educated register of the Koine of the early 2nd c. BCE. In this system, phonological, morphological, and lexical factors conspire to associate a pitch accent with one syllable of each lexical word. The phonology of the language permits limited contrasts in accentual position (λιθοβόλος vs. λιθόβολος = lithobólos vs. lithóbolos) and type (ἰσθμοί vs. ἰσθμοῖ = isthmói ̯ vs. isthmôi)̯; in the latter case, the syllable marked with an acute accent hosts a High tone, and that marked with a circumflex hosts a High-Low falling contour tone. In any given form, the maximum number of phonologically licit accentual contrasts is three. Within the bounds set by the phonology, morphological, and lexical factors, e.g. the inherent accentual properties of particular suffixes, further determine the accentuation of a word. Comparison with related Indo-European languages, especially Vedic, shows that the Greek system developed from an earlier system that likely lacked a contrast in accent type but permitted more positional contrasts; Greek accentuation is more dependent on the rhythmic structure of the language