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Article published In: Language and Linguistics
Vol. 26:3 (2025) ► pp.387–430

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雙域八調

從音節音系學和聲調類型學角度看緬甸語聲調

 | Minzu University of China
ORCiD logo with link | Jiangsu Normal University
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Available under the Creative Commons Attribution (CC BY) 4.0 license.

For any use beyond this license, please contact the publisher at rights@benjamins.nl.

Article language: Chinese

Published online: 15 April 2025
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https://doi.org/10.1075/lali.00203.dua
抽象
緬甸語聲調的研究有上百年的歷史，但是對其語音學和音系學屬性仍有不同看法。本文從音節音系學和音法類型學理論出發，確認緬語聲調是雙域八調的複合型聲調系統，涉及音高、聲域和長度三項維度。八個聲調按發聲態兩分，常態發聲的陰調分佈在常域，氣聲陽調分佈在下域。然後在普適調型庫中確定緬甸語聲調的類型學地位，並簡要說明可以此推進跨語言比較和演化研究。
Abstract
Double registers and eight tones in Burmese: From the perspective of The Syllabic Phonology and tono-typology
Burmese tones have attracted much attention from worldwide scholars. But their phonetic properties and typological status are still controversial. Based on the theories of Syllabic Phonology and tono-typology, we provide phonetic descriptions of eight Burmese tones and their variations in this paper, argue for the division of modal-voiced tones and breathy-voiced tones, and thus split the previously recognized four tonal categories into eight. The four modal-voiced tones sit in Modal Register, and the four breathy-voiced tones are in Lower Register. In the final section of the paper, the nature of register and tone are discussed in detail, the eight Burmese tones are pinpointed for their typological status in the General Inventory of Tonotypes, and their possible changing directions are explored on the Tonal Evolution Clock.
Article outline
  • 1.導言
    • 1.1問題由來
    • 1.2材料搜集
  • 2.為什麼八調？
    • 2.1理論基礎：音節學、聲素系統、類型學
    • 2.2雙域八調均線圖
    • 2.3另外六點理由
  • 3.發聲態與聲域
    • 3.1常聲陰調 vs 氣聲陽調
    • 3.2去聲與氣聲
    • 3.3上聲與嘎裂聲
  • 4.長度和入聲
    • 4.1八調的時長比較
    • 4.2入聲短調的「緊喉」
  • 5.音高
    • 5.1陰陽調的高度差
    • 5.2曲線總體特徵：陰陽調平行
    • 5.3人際差異
    • 5.4去聲的音高變體
    • 5.5平聲：純低調
  • 6.討論
    • 6.1緬語聲調的類型定位
    • 6.2為跨語言比較做準備
    • 6.3再論聲域和聲調
    • 6.4緬語聲調的演化
  • 7.總結
  • Acknowledgements
  • Notes
  • References
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