日語音高重音
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日語音高重音是日語的特徵之一。在多數的日語方言中被用來區分單字，即使同一個字的重音位置在不同的方言中亦有不可。例如，在標準東京日語中，「現在」的發音為[i↓ma]，其重音在第一音節，但在關西腔中，其發音為[i.ma↓]。
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[编辑] 日語音高重音描述
[编辑] 單音高
在標準日語裡，音高重音在口語的各別單字上有著下列的作用：
- 當重音在第一次音節時，其音高一開始昇高，在第二次音節中突然下降，然後再慢慢地降下來。其音高的下降一般出現在第二次音節的子音時，若存在子音的話，使得真正的音高下降幾乎不會被聽到。但若第二次音節為一單獨的母音時，音節會在此母音間中止昇高且下降。以日語為母語的人亦會將第一次音節聽成重音。
- 當重音在第一個及最後一個之外的次音節時，其高音會由次音節至次音節地昇高，直到重音次音節時達到最高點，然後突然在下一次音節時下降。講日語的人會將最高音高的次音節聽成重音。
- 當單字沒有重音時，音高會由次音節至次音節地昇高，直到單字的結尾。約百分之八十的日語單字屬於這一類的，而日語稱這類的音為「平板」。
在詩裡，おもしろい的重音在第四個次音節ろ，其在五個拍子內的發音為，在おもしろ中的音高漸漸地上昇，然後在い上突然地下降。而在詩之外，ろい兩個次音節的發音則和英文中的「boy」相似。
[编辑] 雙音高
The foregoing describes the actual pitch. In most guides, however, accent is presented with a two-pitch-level model. In this representation, each mora is either high (H) or low (L) in pitch.
- If the accent is on the first mora, then the first syllable is high-pitched and the others are low: H-L, H-L-L, H-L-L-L, H-L-L-L-L, etc.
- If the accent is on a mora other than the first, then the first mora is low, the following moras up to and including the accented one are high, and the rest are low: L-H, L-H-L, L-H-H-L, L-H-H-H-L, etc.
- If the word doesn't have an accent, the first mora is low and the others are high: L-H, L-H-H, L-H-H-H, L-H-H-H-H, etc. This high pitch spreads to unaccented grammatical particles that attach to the end of the word, whereas these would have a low pitch when attached to an accented word.
[编辑] Downstep
Many linguists analyse Japanese pitch accent somewhat differently. In this view, a word either has a downstep or it does not. If it does, the pitch drops between the accented mora and the subsequent one; if it does not have a downstep, the pitch remains more or less constant throughout the length of the word. (That is, the pitch is "flat" as Japanese speakers describe it.) The initial rise in the pitch of the word, and the gradual rise and fall of pitch across a word, are not due to lexical accent, but rather to prosody which is added to the word by its context: If the first word in a phrase does not have an accent on the first mora, then it starts with a low pitch, which then rises to high over subsequent moras. This phrasal prosody is applied to individual words only when they are spoken in isolation. Within a phrase, each downstep triggers another drop in pitch, and this accounts for a gradual drop in pitch throughout the phrase which is called terracing. The next phrase thus starts off near the low end of the speaker's pitch range and needs to reset to high before the next downstep can occur.
[编辑] Correct pitch accent
Normative pitch accent, essentially the pitch accent of the Tokyo dialect, is considered essential in jobs such as broadcasting. The current standards for pitch accent are presented in special accent dictionaries for native speakers such as the Shin Meikai Nihongo Akusento Jiten (新明解日本語アクセント辞典). Newsreaders and other speech professionals are required to follow these standards.
Foreign learners of Japanese are sometimes taught to use accents. Incorrect pitch accent is a strong characteristic of a "foreign accent" in Japanese. However, incorrect pitch accent only rarely leads to comprehension difficulties.
[编辑] Examples of words which differ only in pitch
These examples are in standard Tokyo Japanese. The pitch accent is indicated with the 國際音標 for downstep, [↓].
| Romanization | Accent on first mora | Accent on second mora | Accentless | ||||||
|---|---|---|---|---|---|---|---|---|---|
| hashi | [ha↓ɕi] | 箸 | chopsticks | [haɕi↓] | 橋 | bridge | [haɕi] | 端 | edge |
| ima | [i↓ma] | 今 | now | [ima↓] | 居間 | living room | |||
| kaki | [ka↓ki] | 牡蠣 | oyster | [kaki↓] | 垣 | fence | [kaki] | 柿 | persimmon |
| sake | [sa↓ke] | 鮭 | salmon | [sake] | 酒 | alcohol, sake | |||
| nihon | [ni↓hoɴ] | 二本 | two sticks of | [niho↓ɴ] | 日本 | Japan | |||
In isolation, the words hashi [haɕi↓] "bridge" and hashi [haɕi] "edge" are pronounced identically, starting low and rising to a high pitch. However, the difference becomes clear in context. With the simple addition of the particle ni "at", for example, [haɕi↓ni] "at the bridge" acquires a marked drop in pitch, while [haɕini] "at the edge" does not.
[编辑] 外部連結
[编辑] 參考文獻
- Akamatsu, Tsutomu. (1997). Japanese phonetics: Theory and practice. München: LINCOM EUROPA.
- Bloch, Bernard. (1950). Studies in colloquial Japanese IV: Phonemics. Language, 26, 86-125.
- Haraguchi, Shosuke. (1977). The tone pattern of Japanese: An autosegmental theory of tonology. Tokyo: Kaitakusha.
- Haraguchi, Shosuke. (1999). Accent. In N. Tsujimura (Ed.), The handbook of Japanese linguistics (Chap. 1, p. 1-30). Malden, MA: Blackwell Publishers. ISBN 0-631-20504-7.
- Kindaiichi, Haruhiko. (1995) Shin Meikai Akusento Jiten（新明解アクセント辞典）, Sanseido, ISBN 4-385-13457-X.
- Kubozono, Haruo. (1999). Mora and syllable. In N. Tsujimura (Ed.), The handbook of Japanese linguistics (Chap. 2, pp. 31-61). Malden, MA: Blackwell Publishers.
- Martin, Samuel E. (1975). A reference grammar of Japanese. New Haven: Yale University Press.
- McCawley, James D. (1968). The phonological component of a grammar of Japanese. The Hague: Mouton.
- Shibatani, Masayoshi. (1990). The languages of Japan. Cambridge: Cambridge University Press.
- Vance, Timothy. (1987). An introduction to Japanese phonology. Albany: State University of New York Press.
