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196780Re: Conaccents.

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  • Nina-Kristine Johnson
    May 11, 2013
      "Nice! And is your conlang spoken with different accents in your
      conworld (if you have one)?"--Leonardo

      Well by* World* you mean like Tolkien, fantasy-stuff...no.

      But I am making a low-budget, YouTube movie in this language (I'm a total
      amateur!). I have some scenes filmed, already and its going well.

      The *World* in this movie is present-day Earth and it plays with "What if
      English was not the dominate language?" (Ehenív takes the place of
      English--English is a minority language).

      Yes, I have a bit of a superiority complex. LOL

      Cheers!,
      N. Kristine


      On 11 May 2013 08:33, H. S. Teoh <hsteoh@...> wrote:

      > On Sat, May 11, 2013 at 09:32:36AM -0300, Leonardo Castro wrote:
      > > Do you folks have your own conaccents? Do they apply only to your own
      > > conlangs or to natlagns too?
      > >
      > > Have you alreday created any conaccent to be used by yourself in a
      > > natlang (maybe your native one)?
      > [...]
      >
      > Conaccent? Are you talking about prosody? Or dialectal differences in a
      > conlang?
      >
      > Tatari Faran definitely has its own flavor of prosody... I've yet to
      > work it all out, but so far, I've found some rather interesting
      > patterns. For example, if only one NP is present:
      >
      > tara' sa tapa bata.
      > 3SG CVY walk FIN
      > [tâ4a? sa tapá bata]
      > He is walking.
      >
      > TF is pitch-accented, so I'm transcribing with IPA pitches/tones here.
      > Note that the verb _tapa_, which has lexical stress on the 2nd syllable,
      > is assigned high pitch in this case, followed by the finalizer _bata_
      > which is always pronounced with low pitch. The first NP _tara' sa_ also
      > "receives stress", meaning that lexical stress within its constituents
      > are expressed as high pitch.
      >
      > Now if an additional NP were added to the clause:
      >
      > tara' sa tapa misanan dei bata.
      > tara' sa tapa misanan nei bata.
      > 3SG CVY walk village RCP FIN
      > [tâ4a? sā tapà misânan dej bata]
      > He is walking to the village.
      >
      > Here, the presence of the second NP before the finalizer changes the
      > intonation pattern: the second NP "receives stress", but now the verb
      > _tapa_ is pronounced with low pitch -- its lexical stress is not
      > expressed. In fact, it's almost as though it now receives "low pitch
      > stress", such that even the case particle _sa_, which is never stressed,
      > is now assigned a mid-level pitch.
      >
      > However, if an adverb is present, then the verb's lexical stress is
      > expressed again:
      >
      > tara' sa tapa tsat misanan dei bata.
      > tara' sa tapa tsat misanan nei bata.
      > 3SG CVY walk fast village RCP FIN
      > [tâ4a? sa tapá ts)at misânan dej bata]
      > He is walking quickly to the village.
      >
      > If there are two NPs following the verb, the prosody changes again:
      >
      > tara' sa tapa buta' kei misanan dei bata.
      > tara' sa tapa buta' kei misanan nei bata.
      > 3SG CVY walk hut ORG village RCP FIN
      > [tâ4a? sā tapà butá? keī misânan dej bata]
      > He is walking from the hut to the village.
      >
      > There's a feature here I don't quite know how to represent in the IPA:
      > the high pitch in the NP _misanan dei_ is pronounced higher than in the
      > NP _buta' kei_. One might say that this sentence has 3 peaks: at the
      > beginning of the sentence with the first NP, falling into a valley at
      > the verb _tapa_, then rising to a (lower) peak in _buta' kei_, then to a
      > higher peak in _misanan dei_, then falling back to a low-pitch valley in
      > the finalizer _bata_.
      >
      > Interestingly enough -- and this is what I've only recently noticed --
      > this prosodic contour means that the NP immediately before the finalizer
      > receives more stress than the NP preceding it, which makes it more
      > preferable to place an NP you want to emphasize in that position. So in
      > the example above, "to the village" is emphasized; if we were to swap
      > the two NPs following the verb, then it would be "from the hut" that
      > would be emphasized. This would be the more unusual word order, since
      > generally speaking, one would tend to emphasize the destination of an
      > action more than its origin. IOW, prosody in TF has an effect on word
      > order preference! I was quite happy to discover this emergent effect.
      >
      > This isn't all there is to TF prosody, of course. Adding adjectives into
      > the mix also changes the way NPs are stressed. Furthermore, there are a
      > small number of words that have inherently low lexical pitch (I called
      > them enclitics, but I'm not so sure that's the correct term anymore).
      > These words alter the prosody by forcing the pitch to be low even when
      > the NP they occur in "receive stress". Some words like _tse_ ("you
      > (sg)") go so far as to even force adjacent case particles to become high
      > pitch, even though they would never do so otherwise. This makes for
      > unusual reversals of the usual prosodic contours, which may have
      > consequences on NP ordering within the clause (I haven't fully explored
      > the consequences yet).
      >
      >
      > T
      >
      > --
      > The early bird gets the worm. Moral: ewww...
      >
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