A directional asymmetry in Chinese tone sandhi systems

  title={A directional asymmetry in Chinese tone sandhi systems},
  author={Jie Zhang},
  journal={Journal of East Asian Linguistics},
  • Jie Zhang
  • Published 23 August 2007
  • Linguistics
  • Journal of East Asian Linguistics
Chinese tone sandhi systems are often classified as left-dominant or right-dominant depending on the position of the syllable retaining the citation tone. An asymmetry exists between the two types of systems: left-dominant sandhi often involves rightward extension of the initial tone to the entire sandhi domain; right-dominant sandhi, however, often involves default insertion and paradigmatic neutralization of nonfinal tones. I argue that the extension of a tone to a larger domain may serve two… 

The representation of variable tone sandhi patterns in Shanghai Wu

Disyllabic verb-noun (V-N) items in Shanghai Wu have variable surface tone patterns: They can undergo either a rightward extension tone sandhi, which extends the lexical tone of the first syllable

Neutralization of T 3 and T 5 Sandhi in Suzhou Chinese *

This paper examines the two sandhi patterns of disyllabic compound whose initial tone is either a high falling tone (T3) or a dipping tone (T5) in Suzhou in the framework of Optimality Theory. The

Structure-dependent tone sandhi in real and nonce disyllables in Shanghai Wu

The Diachrony of Tone Sandhi

  • Qing Lin
  • Linguistics
    Frontiers in Chinese Linguistics
  • 2019
This dissertation provides a diachronic account of the final-prominent tone sandhi of Southern Min Chinese (SM) based on an in-depth investigation of the disyllabic finalprominent tone sandhi of 16

Metrical Structure and Tone Sandhi: Evidence from Ei Tonal Reduction

This study examines the interaction of metrical structure and tone sandhi in Ei (an endangered language spoken in Rongshui, Guangxi Province, China), focusing on tonal reduction conditioned by a

The phonological status of Low tones in Shanghai tone sandhi

In Shanghai tone sandhi, with the exception of T5 (yangru) sandhi, a pitch-fall occurs at the second or third syllable of a phonological word (or a sandhi domain). Previous analyses argue that

Complexities of tonal realisation in a right-dominant Chinese Wu dialect - disyllabic tone sandhi in a speaker form Wencheng

An acoustically-based description is given of the isolation tones and right-dominant tone sandhi in disyllabic words of a male speaker of the Chinese Oūjiāng 甌江 Wu吳 dialect of Wencheng 文成. His seven

Sandhi Sans Derivation: Third Tone Patterns in Mandarin Chinese

Traditionally represented as “T3-->T2/__T3”, a categorical tone change from a low–dipping tone (T3) to a high–rising tone (T2), the well-studied phenomenon of Mandarin third tone sandhi has been

Common Tone Sandhi Processes across Sino-Tibetan Languages

The present study aims to uncover similar patterns in tone sandhi processes that recur across prosodically diverse languages of the Sino-Tibetan family. On the one hand, the Sinitic branch of the

Priming the Representation of Left-Dominant Sandhi Words: A Shanghai Dialect Case Study

The paper aims to examine how the acoustic input (the surface form) and the abstract linguistic representation (the underlying representation) interact during spoken word recognition by investigating



Dual Prominence of Tone Mapping: A Case of Tone Movement

A theory of dual prominence in tone mapping is proposed, drawn from tone movement observed in the lexical tone sandhi of the Chinese Zhenhai dialect, where two prominent positions, prosodic edge and metrical head, are singled out in phonology.

Wuxi tone sandhi from last to first syllable dominance

Abstract Wuxi is a Northern Wu dialect of Chinese spoken in Wuxi district, the administrative center of which is Wuxi City, located about thirty miles northwest of Suzhou, and another fifty miles


In traditional autosegmental analyses of tone, the gravitation of contour tones to prosodic-final syllable and syllables in shorter words is conceived as the result of the one-to-one, left-to-right

Metrical Structure and Tone: Evidence from Mandarin and Shanghai

A well-known problem in Chinese phonology is that in some dialects most regular syllables keep their underlying tones, but in others the initial syllable determines the tonal pattern of a

Tone Sandhi: Patterns across Chinese Dialects

This work presents a meta-analysis of tone sandhi across Chinese dialects through a constraint-based analysis of tonal representation and tonal processes.

Wug-Testing the "Tone Circle"in Taiwanese

Tone sandhi refers to tonal alternations conditioned by adjacent tones or the prosodic and/or morphosyntactic position in which the tone occurs (Chen 2000, among others). For example, in Mandarin

The interaction of tone and stress in Optimality Theory

This paper examines the relationship between tone and prosodic positions. I show that prosodic heads prefer higher tone over lower tone, while non-heads exhibit the opposite preference. These

Contour Tone Licensing and Contour Tone Representation

This paper proposes a theoretical apparatus that allows more phonetic detail in both the tonal shape and rime duration to enter into phonological representations and shows that it provides a better account for the cross-linguistic behavior of contour tone licensing, but on the other hand does not endanger the predictive power of phonological theory.

Rime length, stress, and association domains

Every regular Chinese syllable has a syllable tone (the tone we get when the syllable is read in isolation). In some Chinese languages, the tonal pattern of a multisyllabic expression is basically a


Taiwanese can be described as a monosyllabic language. Generally speaking, each monosyllabic morpheme can be regarded as having two forms: an isolated form and a combined form. That is, each morpheme