The Diachrony of Tone Sandhi : Evidence from Southern Min Chinese

Description

Intro Acknowledgements Contents List of Figures List of Tables Abstract 1 Introduction 1.1 What Is "Tone Sandhi"? 1.2 Recent Approaches to Tone Sandhi 1.2.1 Tone Sandhi as an Embodiment of Prosodic Structure 1.2.2 Tone Sandhi as Phonologized Tonal Variation 1.3 Problems Surrounding Southern Min Tone Sandhi 1.3.1 Xiamen Tone Pattern 1.3.2 The Nature of SM Tone Sandhi 1.3.3 The Nature of SM Tone Sandhi Group 1.3.4 Problems Raised by Recent Findings 1.3.5 The Tone Sandhi Patterns of Other Southern Min Dialects 1.4 Research Goals 1.5 Outline of the Book References 2 A Position-Based Diachronic Perspective to Tone Sandhi2.1 A General Tone Model 2.2 How Do Citation Tones Change? 2.2.1 One Tone's Shift 2.2.2 Chain Shift 2.3 How Do Non-final Tones Change? 2.3.1 Typological Asymmetries Between Final and Non-final Tones 2.3.2 Phonetic Asymmetries Between Final and Non-final Tones 2.4 Summary References 3 Experiment Methodologies 3.1 Southern Min Varieties 3.2 Experiment on Tone Acoustics 3.2.1 Participants 3.2.2 Materials 3.2.3 Recordings 3.2.4 Acoustic Measurements 3.2.5 Normalization 3.2.6 Notation References 4 Tonal Changes in Chao-Shan 4.1 The Citation Tones of 6 Chao-Shan Varieties4.2 The Tone Sandhi Patterns of 6 Chao-Shan Varieties 4.2.1 Raoping (RP) 4.2.2 Batou (BT) 4.2.3 Chengcheng (CC) 4.2.4 Chaozhou (CZ) 4.2.5 Jieyang (JY) 4.2.6 Anbu (AB) 4.3 The Changes of Chao-Shan FTs 4.4 The Changes of Chao-Shan NFTs 4.4.1 The Motivation of NFT Change 4.5 Summary References 5 Tonal Changes in Zhang-Quan 5.1 A Common NFT Pattern Across Different SM Subgroups 5.1.1 A Case from Zhangzhou: Xipu (XP) 5.1.2 Two Cases from Quanzhou: Nan'an (NA) and Jinjiang (JJ) 5.1.3 A Case from Coastal Taiwanese: Hsinchu (HC) 5.1.4 Discussion5.2 The Tone Sandhi Patterns of 7 Zhangzhou Varieties 5.2.1 Zhangzhou (ZZ) 5.2.2 Taipei (TP) 5.2.3 Xiamen (XM) 5.2.4 Changtai (CT) 5.2.5 Nanjing (NJ) 5.3 The Changes of Zhangzhou NFTs 5.4 The Changes of Zhangzhou FTs/CTs 5.5 Summary References 6 Conclusions 6.1 The Diachrony of SM Tone Sandhi 6.2 The Formation of Tone Circle 6.3 Implications and Further Challenges Appendix A Monosyllabic Reading List Appendix B Disyllabic Reading List Bibliography