A Handbook of Pronunciation . English,Italian,French, German, Spanish, Portugese, Russian, Arabic,Hindi, Chinese-Mandarin,Japanese, Esperanto (L.Canepari).pdf
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From: L. Canepari (2005)
A Handbook of Pronunciation
– Lincom Europa
Contents
p. √¤
Foreword
A Handbook of pronunciation
English, Italian, French, German,
Spanish, Portuguese, Russian, Arabic,
Hindi, Chinese, Japanese, Esperanto
1
1. Prelude
1
A synthesis of çNaturalÇ Phonetics “ Tonetics
16
Transcriptions
21
˛
e contents of the
HPr
(“ of the
HPh
)
23
Observations on phonetic terminology
28
Guide to the figures
34
Guide to di‡erent types of transcriptions
36
Transcribing by hand
37
Generic symbols
39
˛
e o‚cial
IPA
chart
41
canIPA
“ correspondent
oƒIPA
symbols
46
2. English – American “ British (neutral “ other accents)
123
3. Italian
152
4. French (neutral “ other accents)
186
5. German (neutral “ other accents)
231
6. Spanish – Iberian “ American
257
7. Portuguese – Brazilian “ Lusitanian
282
8. Russian
314
9. Arabic
330
10. Hindi
345
11. Chinese – Mandarin
370
12. Japanese
392
13. Esperanto
413
Utilizable bibliography
424
Index
427
Language index
From: L. Canepari (2005)
A Handbook of Pronunciation
– Lincom Europa
1. Prelude
A synthesis of Phonetics “ Tonetics
1.1.1. ©th the aid of some indispensable diagrams (mostly taken from the
HPh
, but with simplifications and other modifications), we will provide the key
to adequately use the rich potentialities of Phonetics, with regard to the 12 lan-
guages dealt with in this book: English, Italian, French, German, Spanish, Portu-
guese, Russian, Arabic, Hindi, Chinese, Japanese, and Esperanto.
Above all we take into consideration
voicing
,
vowels
,
consonants
, and
intonation
(including
tones
). For in-depth analyses, the reader is referred to the companion
volume
HPh
(
A Handbook of Phonetics
).
1.1.2.
û
1.1 shows the glottis (which is the space between the vocal folds) and
the positions adopted during the phonation types we are interested in. In addition
to normal breathing, we have a complete stoppage (
¤
the stop
(ö)
, which techni-
cally can be neither voiced nor voiceless, but has more a‚nities with the latter
type, and will schematically be represented with
Ï
), besides
voicelessness
(
(f),
Á
) and
voicing
(
(v),
Ë
).
Furthermore, we also find
lenis
(or
lenited]
voicelessness and voicing (respective-
ly
(É,
v
),
Ù
,
È
), and
mixed
phonation (or
half-voicing
,
(Ñ)
, with three schematic
û
1.1. Phonation types and positions of the glottis.
å. breathing
( ) { }
∫. occlusion
(ö,
P
)
Ï
©. voicelessness
(f, s,
·
)
Á
∂. voicing
(v, z,
â
, m, a)
Ë
1
+
™. lenis voicelessness
(É,
s
, h,
)
,
A
)
2
+
+
Ÿ. lenis voicing
(
v
,
z
, H, ")
Ù
+
È
3
ƒ. mixed phonation
(Ñ, Ω, ≈,
Ø
)
{
1
(
pb
)
, 2
(
b
p
b
)
,
3
(
bp
)
}
:
1
(|'Êa, ap'Êa)
÷
2
(&aÊa'Êa)
÷
3
(aÊ'pa, 'aÊ|)
Û
Î
Í
∆. creaky voice
(Ca)
Ú
¤. falsetto
(
Ú
ma)
∏
2
a handbook of pronunciation
icons, which we will shortly see), where half of the interested phone is voiced,
while the other half is voiceless.
Generally, the çchoiceÇ –between the three of them– depends on context:
after
a pause (or silence) or a voiceless
C
, the first half is still voiceless; whereas the sec-
ond half, which is in contact with voiced phones, is voiced: (
Î
), as in German:
Bett
/'bEt/ ('ÊEt)
. Instead,
before
a pause or a voiceless
C
, the two halves are exchanged:
(
Û
), as in English:
Bed
/'bEd/ ('b™;fl)
. On the other hand, within words or phrases/
sentences,
between voiced phones
, the central part is the voiceless one, whereas the
two margins (each one for a fourth of the total duration) are voiced: (
Í
), as in Ne-
apolitan-Italian pronunciation:
dato
/'dato/ ('dA;√&∂ø)
. We have added several par-
ticulars in
û
1.1, where there are two peculiar phonation types, too:
creak
(
Ú
) and
falsetto
: (
∏
), which are useful for Chinese and Hindi respectively.
In § 4.1.7-12 of the
HPh
, we have explained how to verify and check if çvoiceÇ is
û
1.2.
Di‡erent phonation types exemplified by some languages: American “ British
English
(with mediatic British variants);
Italian
(with two regional variants: Naples “ Rome);
French
;
(Lusitanian)
Portuguese
;
German
; (Mandarin)
Chinese
;
Hindi
;
Japanese
.
ÁÙËË
ÁÁËË
ËËË
ËËÛ
ÁÙËËË
ÙËÛÁËÁ
pie
spy
buy
bib
play
headship
({Amer./Brit.} Eng.)
ËÁÁË
/
ËÏÁË
ËËÁÁ
/
ËËÏÁ
ËÏÁÁË
ËËÏÁÁ
('πkTå, 'π
∏
Tå)
('w¤ks, 'w¤
∏
s)
('Eökça)
('w¤öks)
actor
wicks
(Brit.)
actor
wicks
(mediatic Brit.)
ÁËËËË
ËËËËËËËÁË
ËËÁËËÁËËËÁË
('sud:H, -d:
È
)
('Es:th, -t
È
)
ËÁÁÁÙ
ÁËÁËËÁË
fava
un guanto
un cantante
sud
est
sapete
(Ital.)
ËËÁËÁÁËÁÁÁË
ËËÙËÁÙËÁÁÙË
ËËÈËËÈËËËÈË
ÁËÍËËÍË
ÁËÈËËÈË
(&ilkap'pOt:to)
(&il
k
√p'
p
Ot:ùo)
(&u˙
g
√n'
d
an:
d
e)
(s√'Êe;I∂e)
(sa'
b
e:
d
e)
il cappotto
il cappotto
(~å)
un cantante
(~å)
sapete
(~å)
sapete
(®µ)
(reg.)
ÁÎË
ÁÎË
ÁÎË
ÁÎË
ÁËÁÙ
ÁÎËÁÙ
('©ÅtX)
ÁËÁÁ
('A
Ó
t
u
)
ËÛÁÙ
pied
poids
puis
plat
peuple
prisme
quatre
(French)
alto
(Lus. Port.)
ÁÙËËË
ÎËËËË
ËËËÁÎËÁ
ÏËËËË
ÏËÁÎËËÁ
ÛËËÁÎËËÁ
Pein
Bein
lieblich
aber
Abbild
Bergdorf
(Germ.)
ÁÁËË
ÁÙËËÁÚÚÚ
ÁÁËËËËÁÚÚÚ
ÙËË
ÎËËÁÁÚÚ
ÁÚËÚ
(5p
·
aÉ)
(—phaÉç2
ß
øøU)
(5t
·
¤
,
2buç2tUU
¥
)
('1paÉ)
(ÒÊaÉ63q
·
aË)
(63pa3bå)
pai
paishœu
tingbudœng
bái
báicài
bàba
(Chinese)
ÁËËË
ÁÙËËË
ËËËË
ËÈËËË
∏∏∏
ÁÙÁË
('kaan)
('khaan)
('gaan)
('gHaan)
(¿
Ú
'mì
™
21)
(3
Âi
'
Â
i)
kaan
khaan
gaan
ghaan
mã
q
?
(Hindi)
chichi
(Japanese)
('pha;Ù)
('spa;Ù)
('ba;Ù)
('b¤;Ê)
('phl™;I)
('h™;fl&S¤p)
('fa:va)
(u˙'gwan:to)
(&u˙kan'tan:te)
ÁËËËÈ
(sa'pe:te)
('p
¿
e)
('p
#
Å)
('pÎi)
('púÅ)
('p§p
a
)
('püis
)
)
('phaen)
('Êaen)
('li:púIÂ)
('öa:b…)
('öap&ÊIlt)
('ÊE‰k&∂ø‰f)
1.
prelude
3
present or not, depending on vocal-fold vibrations during the productions of phones.
û
1.2 shows the various phonation types applied to the 12
HPr
languages, only.
1.1.3. As far as
vowels
are concerned, let us recall that from a phonetic point of
view it is more convenient to use the term
vocoids
, while reserving the more tradi-
tional terms for
phonemes
and
graphemes
, in addition to more general expositions,
as at the beginning of the
HPh
.
û
1.3-5 will help to çreconstructÇ the typical modalities for the production and
identification of vocoids, or vowel phones, which have
three
fundamental compo-
nents that – concisely– are: the
fronting
and
raising
of the dorsum (or central part
of the tongue), with di‡erent degrees of jaw opening, and di‡erent
lip
positions,
since lip rounding doubles the number of possible vocoids.
û
1.3. Orograms with the extreme points for vocoid articulations.
i
π
å
u
û
1.4. Vocogram with the extreme points for vocoid articulations (and corresponding labio-
grams).
i
u
π
å
û
1.5. Vocoid classification (with labiograms of high vocoids).
i
±
=
i
I
e
™
E
π
Û …
M
[*]
Y
y%
¯
u
U
o
ø
O
Ø
high
(å)
≥
©¬øß™
Û
˙
…
˙
M
¤
Ù
É
Ä
Å
¢
û
[ï]
è
Y
T
¨
lower-high (∫)
higher-mid (©)
lower-mid (∂)
higher-low (™)
low (ƒ)
È
‘
å
a
X
[Ú]
[∏]
[π]
[œ]
[ì]
°
#
§
π
+
ê
@
∏
P
≥
µ¤∂
x
[¢]
Ö
Y
˙
{%
˙
¯}
√
A
∏
å
∏
ù
≥
øπ™~
y
˙
{%
˙
¯}
˙
u
0 1 2 3 4 5 6 7
8 9
Furthermore,
û
1.6 will complete our general view, by providing all possible
vocoids, in
orograms
which contain a miniature
vocogram
, in order to help to see
4
a handbook of pronunciation
û
1.6. Vocoid orograms.
unr
ou
nded
i
Û
…
M
{{
*
}}
I
¤
¢
û
{{
ï
}}
e
Ù
È
X
{{
Ú
}}
™
É
‘
x
{{
¢
}}
E
Ä
å
√
∏
π
Å
a
A
å
rou
n
ded
Y
y
%
¯
u
è
Y
T
¨
U
{{
∏
}}
°
+
P
o
{{
π
}}
#
ê
Ö
ø
{{
œ
}}
§
@
∏
O
{{
ì
}}
π
∏
ù
Ø
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