CONTENTS ix Vowels in Other Languages 226 Advanced Tongue Root 228 Rhotacized Vowels 229 Nasalization 231 Summary of Vowel Quality 232 Semivowels 232 Secondary Articulatory Gestures 234 Exercises 237 Performance Exercises 238 CHAPTER 10 Syllables and Suprasegmental Features 243 Syllables 243 Stress 249 Length 251 Timing 252 Intonation and Tone 254 Stress,Tone,and Pitch Accent Languages 260 Exercises 261 Performance Exercises 263 CHAPTER 11 Linguistic Phonetics 267 Phonetics of the Community and of the Individual 267 The International Phonetic Alphabet 268 Feature Hierarchy 272 A Problem with Linguistic Explanations 277 Controlling Articulatory Movements 278 Memory for Speech 281 The Balance between Phonetic Forces 284 Performance Exercises 286 Appendix A:Additional Material for Transciption 293 Appendix B:Suggestions for Contributors to the Journal of the International Phonetic Association 295 Notes 299 Glossary 305 Further Reading 313 Index 317
CONTENTS ix Vowels in Other Languages 226 Advanced Tongue Root 228 Rhotacized Vowels 229 Nasalization 231 Summary of Vowel Quality 232 Semivowels 232 Secondary Articulatory Gestures 234 Exercises 237 Performance Exercises 238 CHAPTER 10 Syllables and Suprasegmental Features 243 Syllables 243 Stress 249 Length 251 Timing 252 Intonation and Tone 254 Stress, Tone, and Pitch Accent Languages 260 Exercises 261 Performance Exercises 263 CHAPTER 11 Linguistic Phonetics 267 Phonetics of the Community and of the Individual 267 The International Phonetic Alphabet 268 Feature Hierarchy 272 A Problem with Linguistic Explanations 277 Controlling Articulatory Movements 278 Memory for Speech 281 The Balance between Phonetic Forces 284 Performance Exercises 286 Appendix A: Additional Material for Transciption 293 Appendix B: Suggestions for Contributors to the Journal of the International Phonetic Association 295 Notes 299 Glossary 305 Further Reading 313 Index 317 31269_00_FM_ppi-xiv pp2.indd ix 11/20/09 9:23:42 PM Copyright 2010 Cengage Learning, Inc. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part
Preface The sixth edition marks a transition in A Course in Phonetics.This is the first edi- tion to appear since the death of Peter Ladefoged.When I was asked by his widow Jenny Ladefoged and publisher Michael Rosenberg to produce this new edition of the Course,I was honored but also quite daunted.Through five editions,this book has been an almost ideal tool for teaching phonetics.When you start from such a high point,there is a lot of room to go down and not much room to go up. As in previous editions of this book,there is an introduction to how speech is produced,a description of speech in acoustic terms,and instruction in practical phonetic skills.These approaches all use phonetic transcription.Whether you are a speech pathologist,an opera singer,a linguist,an actor,or any other student of speech,you need to be able to represent the sounds of speech by using the symbols of the International Phonetic Alphabet (IPA).This is the accepted way of recording observations of what people say.Ordinary spelling does not allow you to represent all the subtle variations that occur when different people talk.Learning to use the IPA symbols is an essential part of phonetics. One of the main changes in this new edition is that the sections on acoustic phonetics and speech motor control go deeper than those in the fifth edition did. The aim of the acoustic phonetics sections is to help students use widely available tools for digitally inspecting and manipulating speech.However,instructors who prefer the traditional system of teaching only articulatory phonetics to start will still find it possible to do so by simply skipping the acoustics sections.Inclusion of new material on speech motor control is meant to provide a firmer founda- tion for the understanding of speech production,and the performance exercises in each chapter provide a framework for students to practice the sounds of the world's languages. In this edition,the discussion of phonetics as a subdiscipline of linguistics has been reframed to focus on how speech style impacts linguistic description and on the types of knowledge that we encounter in studying phonetics.Although some instructors will not wish to emphasize a general theoretical framework for phonet- ics,we all (including our students)adopt a framework of some sort either implicitly or explicitly.This book has always included,in Chapter 11,an explicit discussion of how phonetics relates to general linguistics,and I've updated that discussion to include the difference between private phonetic knowledge (the more cognitive as- pects of phonetics)and public phonetic knowledge(aspects of phonetics that are shared in a speech community).In this context,we can separate phonetic observa- tions that are relevant for linguistic description from phonetic observations that may have only an indirect bearing on language. The text has also been updated and clarified in numerous other ways.For in- stance,the glottal stop is introduced earlier,Canadian raising is mentioned in X
Preface The sixth edition marks a transition in A Course in Phonetics. This is the first edition to appear since the death of Peter Ladefoged. When I was asked by his widow Jenny Ladefoged and publisher Michael Rosenberg to produce this new edition of the Course, I was honored but also quite daunted. Through five editions, this book has been an almost ideal tool for teaching phonetics. When you start from such a high point, there is a lot of room to go down and not much room to go up. As in previous editions of this book, there is an introduction to how speech is produced, a description of speech in acoustic terms, and instruction in practical phonetic skills. These approaches all use phonetic transcription. Whether you are a speech pathologist, an opera singer, a linguist, an actor, or any other student of speech, you need to be able to represent the sounds of speech by using the symbols of the International Phonetic Alphabet (IPA). This is the accepted way of recording observations of what people say. Ordinary spelling does not allow you to represent all the subtle variations that occur when different people talk. Learning to use the IPA symbols is an essential part of phonetics. One of the main changes in this new edition is that the sections on acoustic phonetics and speech motor control go deeper than those in the fifth edition did. The aim of the acoustic phonetics sections is to help students use widely available tools for digitally inspecting and manipulating speech. However, instructors who prefer the traditional system of teaching only articulatory phonetics to start will still find it possible to do so by simply skipping the acoustics sections. Inclusion of new material on speech motor control is meant to provide a firmer foundation for the understanding of speech production, and the performance exercises in each chapter provide a framework for students to practice the sounds of the world’s languages. In this edition, the discussion of phonetics as a subdiscipline of linguistics has been reframed to focus on how speech style impacts linguistic description and on the types of knowledge that we encounter in studying phonetics. Although some instructors will not wish to emphasize a general theoretical framework for phonetics, we all (including our students) adopt a framework of some sort either implicitly or explicitly. This book has always included, in Chapter 11, an explicit discussion of how phonetics relates to general linguistics, and I’ve updated that discussion to include the difference between private phonetic knowledge (the more cognitive aspects of phonetics) and public phonetic knowledge (aspects of phonetics that are shared in a speech community). In this context, we can separate phonetic observations that are relevant for linguistic description from phonetic observations that may have only an indirect bearing on language. The text has also been updated and clarified in numerous other ways. For instance, the glottal stop is introduced earlier, Canadian raising is mentioned in x 31269_00_FM_ppi-xiv pp2.indd x 11/20/09 9:23:42 PM Copyright 2010 Cengage Learning, Inc. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part
PREFACE xi connection with flapping in English,the phonological status of n in English is placed in historical context,MRI images of vocal tracts are used to illustrate some speech sounds(where the previous edition relied exclusively on x-ray tracings),and examples of real conversational speech are used to illustrate English sentences.You will find many other such small changes. Part of what makes the Course such a great book is its authoritativeness.During his lifetime,Peter Ladefoged was rightfully described as the world's greatest liv- ing phonetician,and now it can be safely said that he was one of the greatest and most important phoneticians ever.The authoritativeness of the Course derives from Peter's extensive fieldwork around the world.Almost all of the examples that you will find in this book were recorded by him personally as he worked with native speakers of the languages illustrated.His rigorously scientific approach to studying the phonetic properties of speech sounds(see his book Phonetic Data Analysis:An Introduction to Fieldwork and Instrumental Techniques)provides a foundation for the observations presented in the book and greatly enriched our understanding of phonetics around the world.All of this information is retained in this edition and, where appropriate,I have updated and expanded it. The second main ingredient that makes this such a great book is that it is student- friendly.Peter and Jenny Ladefoged worked as a team to ensure that the esoteric material of sagittal sections,gestures,and sound waves was presented in a way that is both engaging and understandable.A key student-friendly feature of the book that has been retained for this edition is the accompanying CD of recorded audio files. Icons in the margins of this book indicate corresponding material on the CD. A COURSE IN PHONETICS CD-ROM The CD that accompanies A Course in Phonetics,which was originally produced mainly by Jenny Ladefoged for the fifth edition,contains recorded examples of speech sounds and intonation patterns that are keyed to discussion in the book.It is an essential tool for studying phonetics.I have added a few new examples to the CD and converted the audio files into the more widely used WAV format. The CD has a wealth of material that is integral to a good understanding of pho- netics,and it is easy to navigate.Clicking on the title A Course in Phonetics on the title page of the CD leads to the list of contents.Clicking on the first entry,"IPA," leads to the chart of the complete International Phonetic Alphabet and to pronuncia- tions that are associated with every sound.Every chapter of this book has links to sections that provide data for that chapter(corresponding to CD icons in the margins of the book).Clicking the chapter title leads to recordings of nearly all the words in the tables and many of the examples cited in the text.Clicking the other links leads to the exercises in the book,including the performance exercises that afford prac- tice in making the sounds of language.The CD also includes an index of languages (nearly 100)so that you can look up a language and hear its sounds.The index of sounds lists sounds by name (e.g.,creaky voice,clicks in Zulu)that lead to record- ings of those sounds.Clicking "Map Index"leads to a world map with links to maps of individual regions that indicate the languages spoken there and lead to recordings of the sounds of those languages
PREFACE xi connection with flapping in English, the phonological status of [ ŋ ] in English is placed in historical context, MRI images of vocal tracts are used to illustrate some speech sounds (where the previous edition relied exclusively on x-ray tracings), and examples of real conversational speech are used to illustrate English sentences. You will find many other such small changes. Part of what makes the Course such a great book is its authoritativeness. During his lifetime, Peter Ladefoged was rightfully described as the world’s greatest living phonetician, and now it can be safely said that he was one of the greatest and most important phoneticians ever. The authoritativeness of the Course derives from Peter’s extensive fieldwork around the world. Almost all of the examples that you will find in this book were recorded by him personally as he worked with native speakers of the languages illustrated. His rigorously scientific approach to studying the phonetic properties of speech sounds (see his book Phonetic Data Analysis: An Introduction to Fieldwork and Instrumental Techniques) provides a foundation for the observations presented in the book and greatly enriched our understanding of phonetics around the world. All of this information is retained in this edition and, where appropriate, I have updated and expanded it. The second main ingredient that makes this such a great book is that it is studentfriendly. Peter and Jenny Ladefoged worked as a team to ensure that the esoteric material of sagittal sections, gestures, and sound waves was presented in a way that is both engaging and understandable. A key student-friendly feature of the book that has been retained for this edition is the accompanying CD of recorded audio files. Icons in the margins of this book indicate corresponding material on the CD. A COURSE IN PHONETICS CD-ROM The CD that accompanies A Course in Phonetics, which was originally produced mainly by Jenny Ladefoged for the fifth edition, contains recorded examples of speech sounds and intonation patterns that are keyed to discussion in the book. It is an essential tool for studying phonetics. I have added a few new examples to the CD and converted the audio files into the more widely used WAV format. The CD has a wealth of material that is integral to a good understanding of phonetics, and it is easy to navigate. Clicking on the title A Course in Phonetics on the title page of the CD leads to the list of contents. Clicking on the first entry, “IPA,” leads to the chart of the complete International Phonetic Alphabet and to pronunciations that are associated with every sound. Every chapter of this book has links to sections that provide data for that chapter (corresponding to CD icons in the margins of the book). Clicking the chapter title leads to recordings of nearly all the words in the tables and many of the examples cited in the text. Clicking the other links leads to the exercises in the book, including the performance exercises that afford practice in making the sounds of language. The CD also includes an index of languages (nearly 100) so that you can look up a language and hear its sounds. The index of sounds lists sounds by name (e.g., creaky voice, clicks in Zulu) that lead to recordings of those sounds. Clicking “Map Index” leads to a world map with links to maps of individual regions that indicate the languages spoken there and lead to recordings of the sounds of those languages. 31269_00_FM_ppi-xiv pp2.indd xi 11/20/09 9:23:42 PM Copyright 2010 Cengage Learning, Inc. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part
xii PREFACE ACKNOWLEDGMENTS Numerous people have contributed to this book.In producing previous editions of this book,Peter Ladefoged was particularly influenced and helped by Ian Maddieson,Pat Keating,Bruce Hayes,Sun-Ah Jun,and Louis Goldstein;their influence is still apparent in this edition.Discussions with my colleagues Larry Hyman,Andrew Garrett,and Sharon Inkelas have been very helpful.And useful reviews were provided by Lisa Davidson,New York University Douglas Pulleyblank,University of British Columbia Julia Roberts,University of Vermont Dwan Shipley,Western Washington University,Bellingham I am also indebted to Karen Judd,Michael Rosenberg,Joan Flaherty,Jill D'Urso, and Rosemary Winfield of Wadsworth/Cengage Learning,and to Andrew Tremblay of Pre-PressPMG for excellent book production and copy editing.Assistance from many other people is acknowledged in the"Notes"section at the back of this book
xii PREFACE ACKNOWLEDGMENTS Numerous people have contributed to this book. In producing previous editions of this book, Peter Ladefoged was particularly influenced and helped by Ian Maddieson, Pat Keating, Bruce Hayes, Sun-Ah Jun, and Louis Goldstein; their influence is still apparent in this edition. Discussions with my colleagues Larry Hyman, Andrew Garrett, and Sharon Inkelas have been very helpful. And useful reviews were provided by Lisa Davidson, New York University Douglas Pulleyblank, University of British Columbia Julia Roberts, University of Vermont Dwan Shipley, Western Washington University, Bellingham I am also indebted to Karen Judd, Michael Rosenberg, Joan Flaherty, Jill D’Urso, and Rosemary Winfield of Wadsworth/Cengage Learning, and to Andrew Tremblay of Pre-PressPMG for excellent book production and copy editing. Assistance from many other people is acknowledged in the “Notes” section at the back of this book. 31269_00_FM_ppi-xiv pp2.indd xii 11/20/09 9:23:42 PM Copyright 2010 Cengage Learning, Inc. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part
About the Authors Peter Ladefoged (1925-2006)was preeminent in the field of phonetics.He received his Ph.D.from the University of Edinburgh,Scotland,in 1958 He founded the UCLA Phonetics Laboratory and was its director from 1962 to 1991 while he was also a professor in the Department of Linguistics. His contributions to the discipline of linguistics are enormous and have furthered our knowledge of language and languages in many ways.His phonetics fieldwork (pre-computers)took him around the globe,carrying equipment to record, document,and describe little-known languages. He catalogued the sounds of thousands of lan- guages.Ladefoged also experimented with and encouraged the development of better scientific research methods and equipment.He was instrumental in revising the IPA to include more sounds and advocated for preservation of endangered languages.In his spare time,he consulted on forensics cases and even served as a dialect adviser and lent his voice to the film My Fair Lady. Peter will be remembered for his outstanding contributions to phonetics and lin- guistics,and also for his lively and impassioned teaching,and his service as mentor to a great number of doctoral students and to his junior colleagues.Many careers have been built on his influence,enthusiasm,and encouragement. Keith Johnson taught phonetics in the Department of Linguistics at Ohio State University from 1993 to 2005 and is now a professor in the Department of Linguistics at the University of California, Berkeley.He is the author of Acoustic and Audi- tory Phonetics and Quantitative Linguistics.His Ph.D.is from Ohio State University,and he held postdoctoral training fellowships at Indiana Uni- versity (with David Pisoni)and at UCLA (with Peter Ladefoged and Pat Keating). xiii
xiii About the Authors Peter Ladefoged (1925–2006) was preeminent in the field of phonetics. He received his Ph.D. from the University of Edinburgh, Scotland, in 1958. He founded the UCLA Phonetics Laboratory and was its director from 1962 to 1991 while he was also a professor in the Department of Linguistics. His contributions to the discipline of linguistics are enormous and have furthered our knowledge of language and languages in many ways. His phonetics fieldwork (pre-computers) took him around the globe, carrying equipment to record, document, and describe little-known languages. He catalogued the sounds of thousands of languages. Ladefoged also experimented with and encouraged the development of better scientific research methods and equipment. He was instrumental in revising the IPA to include more sounds and advocated for preservation of endangered languages. In his spare time, he consulted on forensics cases and even served as a dialect adviser and lent his voice to the film My Fair Lady. Peter will be remembered for his outstanding contributions to phonetics and linguistics, and also for his lively and impassioned teaching, and his service as mentor to a great number of doctoral students and to his junior colleagues. Many careers have been built on his influence, enthusiasm, and encouragement. Keith Johnson taught phonetics in the Department of Linguistics at Ohio State University from 1993 to 2005 and is now a professor in the Department of Linguistics at the University of California, Berkeley. He is the author of Acoustic and Auditory Phonetics and Quantitative Linguistics. His Ph.D. is from Ohio State University, and he held postdoctoral training fellowships at Indiana University (with David Pisoni) and at UCLA (with Peter Ladefoged and Pat Keating). 31269_00_FM_ppi-xiv pp2.indd xiii 11/20/09 9:23:42 PM Copyright 2010 Cengage Learning, Inc. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part