85-525: James Alan Matisoff ( simplified Chinese : 马蒂索夫 ; traditional Chinese : 馬蒂索夫 ; pinyin : Mǎdìsuǒfū or simplified Chinese : 马提索夫 ; traditional Chinese : 馬提索夫 ; pinyin : Mǎtísuǒfū ; born July 14, 1937) is an American linguist. He is a professor emeritus of linguistics at the University of California, Berkeley . He is a noted authority on Tibeto-Burman languages and other languages of mainland Southeast Asia . Matisoff
170-443: A component—either a character or a sub-component called a radical —usually involves either a reduction in its total number of strokes , or an apparent streamlining of which strokes are chosen in what places—for example, the ⼓ ' WRAP ' radical used in the traditional character 沒 is simplified to ⼏ ' TABLE ' to form the simplified character 没 . By systematically simplifying radicals, large swaths of
255-434: A conversion table. While exercising such derivation, the following rules should be observed: Sample Derivations : The Series One List of Variant Characters reduces the number of total standard characters. First, amongst each set of variant characters sharing identical pronunciation and meaning, one character (usually the simplest in form) is elevated to the standard character set, and the rest are made obsolete. Then amongst
340-550: A different existing tone. This is called tone sandhi. In Mandarin Chinese, for example, a dipping tone between two other tones is reduced to a simple low tone, which otherwise does not occur in Mandarin Chinese, whereas if two dipping tones occur in a row, the first becomes a rising tone, indistinguishable from other rising tones in the language. For example, the words 很 [xɤn˨˩˦] ('very') and 好 [xaʊ˨˩˦] ('good') produce
425-407: A few revised forms, and was implemented for official use by China's State Council on 5 June 2013. In Chinese, simplified characters are referred to by their official name 简化字 ; jiǎnhuàzì , or colloquially as 简体字 ; jiǎntǐzì . The latter term refers broadly to all character variants featuring simplifications of character form or structure, a practice which has always been present as
510-550: A huge number of tones as well. The most complex tonal systems are actually found in Africa and the Americas, not east Asia. Tones are realized as pitch only in a relative sense. "High tone" and "low tone" are only meaningful relative to the speaker's vocal range and in comparing one syllable to the next, rather than as a contrast of absolute pitch such as one finds in music. As a result, when one combines tone with sentence prosody ,
595-683: A language of mainland Southeast Asia for his dissertation. Matisoff's doctoral dissertation was a grammar of the Lahu language , a Tibeto-Burman language belonging to the Loloish branch of the family. He spent a year in northern Thailand doing field work on Lahu during his graduate studies with support from a Fulbright-Hays Fellowship . He completed his PhD in Linguistics in 1967, and made several field studies thereafter through an American Council of Learned Societies fellowship. His Grammar of Lahu
680-659: A language with five registers. However, the most that are actually used in a language is a tenth of that number. Several Kam–Sui languages of southern China have nine contrastive tones, including contour tones. For example, the Kam language has 9 tones: 3 more-or-less fixed tones (high, mid and low); 4 unidirectional tones (high and low rising, high and low falling); and 2 bidirectional tones (dipping and peaking). This assumes that checked syllables are not counted as having additional tones, as they traditionally are in China. For example, in
765-433: A mid-register tone – the default tone in most register-tone languages. However, after a falling tone it takes on a low pitch; the contour tone remains on the first syllable, but the pitch of the second syllable matches where the contour leaves off. And after a low-dipping tone, the contour spreads to the second syllable: the contour remains the same ( ˨˩˦ ) whether the word has one syllable or two. In other words,
850-437: A monosyllabic word (3), but there is no such difference in a word-tone language. For example, Shanghainese has two contrastive (phonemic) tones no matter how many syllables are in a word. Many languages described as having pitch accent are word-tone languages. Tone sandhi is an intermediate situation, as tones are carried by individual syllables, but affect each other so that they are not independent of each other. For example,
935-797: A multisyllabic word, each syllable often carries its own tone. Unlike in Bantu systems, tone plays little role in the grammar of modern standard Chinese, though the tones descend from features in Old Chinese that had morphological significance (such as changing a verb to a noun or vice versa). Most tonal languages have a combination of register and contour tones. Tone is typical of languages including Kra–Dai , Vietic , Sino-Tibetan , Afroasiatic , Khoisan , Niger-Congo and Nilo-Saharan languages. Most tonal languages combine both register and contour tones, such as Cantonese , which produces three varieties of contour tone at three different pitch levels, and
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#17327831228011020-610: A newly coined phono-semantic compound : Removing radicals Only retaining single radicals Replacing with ancient forms or variants : Adopting ancient vulgar variants : Readopting abandoned phonetic-loan characters : Copying and modifying another traditional character : Based on 132 characters and 14 components listed in Chart 2 of the Complete List , the 1,753 derived characters found in Chart 3 can be created by systematically simplifying components using Chart 2 as
1105-493: A number of Mandarin Chinese suffixes and grammatical particles have what is called (when describing Mandarin Chinese) a "neutral" tone, which has no independent existence. If a syllable with a neutral tone is added to a syllable with a full tone, the pitch contour of the resulting word is entirely determined by that other syllable: After high level and high rising tones, the neutral syllable has an independent pitch that looks like
1190-518: A part of the Chinese writing system. The official name tends to refer to the specific, systematic set published by the Chinese government, which includes not only simplifications of individual characters, but also a substantial reduction in the total number of characters through the merger of formerly distinct forms. According to Chinese palaeographer Qiu Xigui , the broadest trend in the evolution of Chinese characters over their history has been simplification, both in graphical shape ( 字形 ; zìxíng ),
1275-527: A single tone may be carried by the entire word rather than a different tone on each syllable. Often, grammatical information, such as past versus present, "I" versus "you", or positive versus negative, is conveyed solely by tone. In the most widely spoken tonal language, Mandarin Chinese , tones are distinguished by their distinctive shape, known as contour , with each tone having a different internal pattern of rising and falling pitch. Many words, especially monosyllabic ones, are differentiated solely by tone. In
1360-670: A tone is used to mark aspect . The first work that mentioned this was published in 1986. Example paradigms: Tones are used to differentiate cases as well, as in Maasai language (a Nilo-Saharan language spoken in Kenya and Tanzania ): Certain varieties of Chinese are known to express meaning by means of tone change although further investigations are required. Examples from two Yue dialects spoken in Guangdong Province are shown below. In Taishan , tone change indicates
1445-519: A word or morpheme that is more prominent than the others. Most languages use pitch as intonation to convey prosody and pragmatics , but this does not make them tonal languages. In tonal languages, each syllable has an inherent pitch contour, and thus minimal pairs (or larger minimal sets) exist between syllables with the same segmental features (consonants and vowels) but different tones. Vietnamese and Chinese have heavily studied tone systems, as well as amongst their various dialects. Below
1530-684: Is a default tone, usually low in a two-tone system or mid in a three-tone system, that is more common and less salient than other tones. There are also languages that combine relative-pitch and contour tones, such as many Kru languages and other Niger-Congo languages of West Africa. Falling tones tend to fall further than rising tones rise; high–low tones are common, whereas low–high tones are quite rare. A language with contour tones will also generally have as many or more falling tones than rising tones. However, exceptions are not unheard of; Mpi , for example, has three level and three rising tones, but no falling tones. Another difference between tonal languages
1615-714: Is a morphologically conditioned alternation and is used as an inflectional or a derivational strategy. Lien indicated that causative verbs in modern Southern Min are expressed with tonal alternation, and that tonal alternation may come from earlier affixes. Examples: 長 tng 'long' vs. tng 'grow'; 斷 tng 'break' vs. tng 'cause to break'. Also, 毒 in Taiwanese Southern Min has two pronunciations: to̍k (entering tone) means 'poison' or 'poisonous', while thāu (departing tone) means 'to kill with poison'. The same usage can be found in Min, Yue, and Hakka. In East Asia, tone
1700-592: Is a table of the six Vietnamese tones and their corresponding tone accent or diacritics: Mandarin Chinese , which has five tones , transcribed by letters with diacritics over vowels: These tones combine with a syllable such as ma to produce different words. A minimal set based on ma are, in pinyin transcription: These may be combined into a tongue-twister : See also one-syllable article . A well-known tongue-twister in Standard Thai is: A Vietnamese tongue twister: A Cantonese tongue twister: Tone
1785-440: Is actually more complex than eliminated ones. An example is the character 搾 which is eliminated in favor of the variant form 榨 . The 扌 'HAND' with three strokes on the left of the eliminated 搾 is now seen as more complex, appearing as the ⽊ 'TREE' radical 木 , with four strokes, in the chosen variant 榨 . Not all characters standardised in the simplified set consist of fewer strokes. For instance,
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#17327831228011870-697: Is called intonation , but not all languages use tones to distinguish words or their inflections, analogously to consonants and vowels. Languages that have this feature are called tonal languages; the distinctive tone patterns of such a language are sometimes called tonemes, by analogy with phoneme . Tonal languages are common in East and Southeast Asia, Africa, the Americas and the Pacific. Tonal languages are different from pitch-accent languages in that tonal languages can have each syllable with an independent tone whilst pitch-accent languages may have one syllable in
1955-737: Is debate over the definition of pitch accent and whether a coherent definition is even possible. Both lexical or grammatical tone and prosodic intonation are cued by changes in pitch, as well as sometimes by changes in phonation. Lexical tone coexists with intonation, with the lexical changes of pitch like waves superimposed on larger swells. For example, Luksaneeyanawin (1993) describes three intonational patterns in Thai: falling (with semantics of "finality, closedness, and definiteness"), rising ("non-finality, openness and non-definiteness") and "convoluted" (contrariness, conflict and emphasis). The phonetic realization of these intonational patterns superimposed on
2040-454: Is derived. Merging homophonous characters: Adapting cursive shapes ( 草書楷化 ): Replacing a component with a simple arbitrary symbol (such as 又 and 乂 ): Omitting entire components : Omitting components, then applying further alterations : Structural changes that preserve the basic shape Replacing the phonetic component of phono-semantic compounds : Replacing an uncommon phonetic component : Replacing entirely with
2125-866: Is highly conserved among members. However, when considered in addition to "simple" tone systems that include only two tones, tone, as a whole, appears to be more labile, appearing several times within Indo-European languages, several times in American languages, and several times in Papuan families. That may indicate that rather than a trait unique to some language families, tone is a latent feature of most language families that may more easily arise and disappear as languages change over time. A 2015 study by Caleb Everett argued that tonal languages are more common in hot and humid climates, which make them easier to pronounce, even when considering familial relationships. If
2210-476: Is marked and which is the default. In Navajo , for example, syllables have a low tone by default, whereas marked syllables have high tone. In the related language Sekani , however, the default is high tone, and marked syllables have low tone. There are parallels with stress: English stressed syllables have a higher pitch than unstressed syllables. In many Bantu languages , tones are distinguished by their pitch level relative to each other. In multisyllable words,
2295-496: Is most frequently manifested on vowels, but in most tonal languages where voiced syllabic consonants occur they will bear tone as well. This is especially common with syllabic nasals, for example in many Bantu and Kru languages , but also occurs in Serbo-Croatian . It is also possible for lexically contrastive pitch (or tone) to span entire words or morphemes instead of manifesting on the syllable nucleus (vowels), which
2380-608: Is notable both for its depth of detail and the theoretical eclecticism which informed his description of the language. He later published an extensive dictionary of Lahu (1988) and a corresponding English-Lahu lexicon (2006). After four years teaching at Columbia University (1966–1969), Matisoff accepted a professorship at Berkeley . At Berkeley, his research has encompassed a wide range of topics, from historical and comparative linguistics to tonal phenomena, variational semantics, language contact , Yiddish , and Tibeto-Burman morphosyntax. Before his retirement, he taught classes on
2465-813: Is now discouraged. A State Language Commission official cited "oversimplification" as the reason for restoring some characters. The language authority declared an open comment period until 31 August 2009, for feedback from the public. In 2013, the List of Commonly Used Standard Chinese Characters was published as a revision of the 1988 lists; it included a total of 8105 characters. It included 45 newly recognized standard characters that were previously considered variant forms, as well as official approval of 226 characters that had been simplified by analogy and had seen wide use but were not explicitly given in previous lists or documents. Singapore underwent three successive rounds of character simplification , eventually arriving at
2550-623: Is referred to as the " big seal script ". The traditional narrative, as also attested in the Shuowen Jiezi dictionary ( c. 100 AD ), is that the Qin small seal script that would later be imposed across China was originally derived from the Zhou big seal script with few modifications. However, the body of epigraphic evidence comparing the character forms used by scribes gives no indication of any real consolidation in character forms prior to
2635-499: Is the case in Punjabi . Tones can interact in complex ways through a process known as tone sandhi . In a number of East Asian languages, tonal differences are closely intertwined with phonation differences. In Vietnamese , for example, the ngã and sắc tones are both high-rising but the former is distinguished by having glottalization in the middle. Similarly, the nặng and huyền tones are both low-falling, but
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2720-724: Is typically lexical. That is, tone is used to distinguish words which would otherwise be homonyms . This is characteristic of heavily tonal languages such as Chinese, Vietnamese, Thai, and Hmong . However, in many African languages, especially in the Niger–Congo family, tone can be both lexical and grammatical. In the Kru languages , a combination of these patterns is found: nouns tend to have complex tone systems but are not much affected by grammatical inflections, whereas verbs tend to have simple tone systems, which are inflected to indicate tense and mood , person , and polarity , so that tone may be
2805-547: Is used instead of 叠 in regions using traditional characters. The Chinese government stated that it wished to keep Chinese orthography stable. The Chart of Generally Utilized Characters of Modern Chinese was published in 1988 and included 7000 simplified and unsimplified characters. Of these, half were also included in the revised List of Commonly Used Characters in Modern Chinese , which specified 2500 common characters and 1000 less common characters. In 2009,
2890-475: Is whether the tones apply independently to each syllable or to the word as a whole. In Cantonese , Thai , and Kru languages , each syllable may have a tone, whereas in Shanghainese , Swedish , Norwegian and many Bantu languages , the contour of each tone operates at the word level. That is, a trisyllabic word in a three-tone syllable-tone language has many more tonal possibilities (3 × 3 × 3 = 27) than
2975-479: The nặng tone is shorter and pronounced with creaky voice at the end, while the huyền tone is longer and often has breathy voice . In some languages, such as Burmese , pitch and phonation are so closely intertwined that the two are combined in a single phonological system, where neither can be considered without the other. The distinctions of such systems are termed registers . The tone register here should not be confused with register tone described in
3060-515: The Sino-Tibetan Etymological Dictionary and Thesaurus (STEDT) project, an historical linguistics project aimed at producing an etymological dictionary of Sino-Tibetan organized by semantic field. The project maintains a large, publicly accessible lexical database of nearly one million records with data on Sino-Tibetan languages from over 500 sources. This database is used to identify and mark cognates for
3145-547: The University of California, Berkeley , where Mary Haas , co-founder of the department, was then chair. Haas had been a student of Edward Sapir while at University of Chicago and Yale University , and through her own extensive research in descriptive and documentary linguistics had become a specialist in Native American languages and an authority on Thai . Haas was instrumental in Matisoff's decision to research
3230-493: The "Dot" stroke : The traditional components ⺥ and 爫 become ⺈ : The traditional component 奐 becomes 奂 : Tonogenesis#Origin Tone is the use of pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or to inflect words. All oral languages use pitch to express emotional and other para-linguistic information and to convey emphasis, contrast and other such features in what
3315-459: The "external appearances of individual graphs", and in graphical form ( 字体 ; 字體 ; zìtǐ ), "overall changes in the distinguishing features of graphic[al] shape and calligraphic style, [...] in most cases refer[ring] to rather obvious and rather substantial changes". The initiatives following the founding of the Qin dynasty (221–206 BC) to universalize the use of their small seal script across
3400-482: The 1986 General List of Simplified Chinese Characters , hereafter the General List . All characters simplified this way are enumerated in Chart 1 and Chart 2 in the 1986 Complete List . Characters in both charts are structurally simplified based on similar set of principles. They are separated into two charts to clearly mark those in Chart 2 as 'usable as simplified character components', based on which Chart 3
3485-520: The 1986 mainland China revisions. Unlike in mainland China, Singapore parents have the option of registering their children's names in traditional characters. Malaysia also promulgated a set of simplified characters in 1981, though completely identical to the mainland Chinese set. They are used in Chinese-language schools. All characters simplified this way are enumerated in Charts 1 and 2 of
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3570-470: The Chinese government published a major revision to the list which included a total of 8300 characters. No new simplifications were introduced. In addition, slight modifications to the orthography of 44 characters to fit traditional calligraphic rules were initially proposed, but were not implemented due to negative public response. Also, the practice of unrestricted simplification of rare and archaic characters by analogy using simplified radicals or components
3655-480: The Linguistics of Southeast Asia, Tibeto-Burman Linguistics, Historical Semantics, Morphology, and Field Methods. In Field Methods, graduate students learn the methods of language description through eliciting data from a native speaker. The languages studied in Matisoff’s field methods classes in different years include: Lai Chin , Sherpa , and Uighur , among numerous others. He edited the journal Linguistics of
3740-565: The Omotic (Afroasiatic) language Bench , which employs five level tones and one or two rising tones across levels. Most varieties of Chinese use contour tones, where the distinguishing feature of the tones are their shifts in pitch (that is, the pitch is a contour ), such as rising, falling, dipping, or level. Most Bantu languages (except northwestern Bantu) on the other hand, have simpler tone systems usually with high, low and one or two contour tone (usually in long vowels). In such systems there
3825-622: The Tibeto-Burman Area for many years (subsequently edited by his student Randy LaPolla , then by LaPolla's student Alec Coupe). Matisoff participated in establishing the International Conference on Sino-Tibetan Languages and Linguistics (abbreviated ICSTLL), an annual conference held since 1968. Matisoff has coined a number of terms used in linguistics, including tonogenesis , rhinoglottophilia , Sinosphere and Indosphere , Cheshirisation , which refers to
3910-433: The absolute pitch of a high tone at the end of a prosodic unit may be lower than that of a low tone at the beginning of the unit, because of the universal tendency (in both tonal and non-tonal languages) for pitch to decrease with time in a process called downdrift . Tones may affect each other just as consonants and vowels do. In many register-tone languages, low tones may cause a downstep in following high or mid tones;
3995-428: The character set are altered. Some simplifications were based on popular cursive forms that embody graphic or phonetic simplifications of the traditional forms. In addition, variant characters with identical pronunciation and meaning were reduced to a single standardized character, usually the simplest among all variants in form. Finally, many characters were left untouched by simplification and are thus identical between
4080-407: The chosen variants, those that appear in the "Complete List of Simplified Characters" are also simplified in character structure accordingly. Some examples follow: Sample reduction of equivalent variants : Ancient variants with simple structure are preferred : Simpler vulgar forms are also chosen : The chosen variant was already simplified in Chart 1 : In some instances, the chosen variant
4165-402: The conclusions of Everett's work are sound, this is perhaps the first known case of influence of the environment on the structure of the languages spoken in it. The proposed relationship between climate and tone is controversial, and logical and statistical issues have been raised by various scholars. Tone has long been viewed as a phonological system. It was not until recent years that tone
4250-473: The country's writing system as a serious impediment to its modernization. In 1916, a multi-part English-language article entitled "The Problem of the Chinese Language" co-authored by the Chinese linguist Yuen Ren Chao (1892–1982) and poet Hu Shih (1891–1962) has been identified as a turning point in the history of the Chinese script—as it was one of the first clear calls for China to move away from
4335-517: The differentiation of tones. Investigations from the 2010s using perceptual experiments seem to suggest phonation counts as a perceptual cue. Many languages use tone in a more limited way. In Japanese , fewer than half of the words have a drop in pitch ; words contrast according to which syllable this drop follows. Such minimal systems are sometimes called pitch accent since they are reminiscent of stress accent languages, which typically allow one principal stressed syllable per word. However, there
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#17327831228014420-477: The distribution; for groups like Khoi-San in Southern Africa and Papuan languages, whole families of languages possess tonality but simply have relatively few members, and for some North American tone languages, multiple independent origins are suspected. If generally considering only complex-tone vs. no-tone, it might be concluded that tone is almost always an ancient feature within a language family that
4505-476: The early 20th century. In 1909, the educator and linguist Lufei Kui formally proposed the use of simplified characters in education for the first time. Over the following years—marked by the 1911 Xinhai Revolution that toppled the Qing dynasty , followed by growing social and political discontent that further erupted into the 1919 May Fourth Movement —many anti-imperialist intellectuals throughout China began to see
4590-422: The effect is such that even while the low tones remain at the lower end of the speaker's vocal range (which is itself descending due to downdrift), the high tones drop incrementally like steps in a stairway or terraced rice fields, until finally the tones merge and the system has to be reset. This effect is called tone terracing . Sometimes a tone may remain as the sole realization of a grammatical particle after
4675-634: The first official list of simplified forms was published, consisting of 324 characters collated by Peking University professor Qian Xuantong . However, fierce opposition within the KMT resulted in the list being rescinded in 1936. Work throughout the 1950s resulted in the 1956 promulgation of the Chinese Character Simplification Scheme , a draft of 515 simplified characters and 54 simplified components, whose simplifications would be present in most compound characters. Over
4760-463: The first round—but was massively unpopular and never saw consistent use. The second round of simplifications was ultimately retracted officially in 1986, well after they had largely ceased to be used due to their unpopularity and the confusion they caused. In August 2009, China began collecting public comments for a revised list of simplified characters; the resulting List of Commonly Used Standard Chinese Characters lists 8,105 characters, including
4845-440: The five lexical tones of Thai (in citation form) are as follows: With convoluted intonation, it appears that high and falling tone conflate, while the low tone with convoluted intonation has the same contour as rising tone with rising intonation. Languages with simple tone systems or pitch accent may have one or two syllables specified for tone, with the rest of the word taking a default tone. Such languages differ in which tone
4930-475: The following decade, the Script Reform Committee deliberated on characters in the 1956 scheme, collecting public input regarding the recognizability of variants, and often approving forms in small batches. Parallel to simplification, there were also initiatives aimed at eliminating the use of characters entirely and replacing them with pinyin as an official Chinese alphabet, but this possibility
5015-459: The founding of the Qin. The Han dynasty (202 BC – 220 AD) that inherited the Qin administration coincided with the perfection of clerical script through the process of libian . Eastward spread of Western learning Though most closely associated with the People's Republic, the idea of a mass simplification of character forms first gained traction in China during
5100-466: The increased usage of 朙 was followed by proliferation of a third variant: 眀 , with 目 'eye' on the left—likely derived as a contraction of 朙 . Ultimately, 明 became the character's standard form. The Book of Han (111 AD) describes an earlier attempt made by King Xuan of Zhou ( d. 782 BC ) to unify character forms across the states of ancient China , with his chief chronicler having "[written] fifteen chapters describing" what
5185-465: The left, with the 月 'Moon' component on the right. Li Si ( d. 208 BC ), the Chancellor of Qin, attempted to universalize the Qin small seal script across China following the wars that had politically unified the country for the first time. Li prescribed the 朙 form of the word for 'bright', but some scribes ignored this and continued to write the character as 明 . However,
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#17327831228015270-402: The most prominent Chinese authors of the 20th century, stated that "if Chinese characters are not destroyed, then China will die" ( 漢字不滅，中國必亡 ). During the 1930s and 1940s, discussions regarding simplification took place within the ruling Kuomintang (KMT) party. Many members of the Chinese intelligentsia maintained that simplification would increase literacy rates throughout the country. In 1935,
5355-412: The next section. Gordon and Ladefoged established a continuum of phonation, where several types can be identified. Kuang identified two types of phonation: pitch-dependent and pitch-independent . Contrast of tones has long been thought of as differences in pitch height. However, several studies pointed out that tone is actually multidimensional. Contour, duration, and phonation may all contribute to
5440-418: The only distinguishing feature between "you went" and "I won't go". In Yoruba , much of the lexical and grammatical information is carried by tone. In languages of West Africa such as Yoruba, people may even communicate with so-called " talking drums ", which are modulated to imitate the tones of the language, or by whistling the tones of speech. Note that tonal languages are not distributed evenly across
5525-407: The original consonant and vowel disappear, so it can only be heard by its effect on other tones. It may cause downstep, or it may combine with other tones to form contours. These are called floating tones . In many contour-tone languages, one tone may affect the shape of an adjacent tone. The affected tone may become something new, a tone that only occurs in such situations, or it may be changed into
5610-587: The other being traditional characters . Their mass standardization during the 20th century was part of an initiative by the People's Republic of China (PRC) to promote literacy, and their use in ordinary circumstances on the mainland has been encouraged by the Chinese government since the 1950s. They are the official forms used in mainland China and Singapore , while traditional characters are officially used in Hong Kong , Macau , and Taiwan . Simplification of
5695-462: The phrase 很好 [xɤn˧˥ xaʊ˨˩˦] ('very good'). The two transcriptions may be conflated with reversed tone letters as [xɤn˨˩˦꜔꜒xaʊ˨˩˦] . Tone sandhi in Sinitic languages can be classified with a left-dominant or right-dominant system. In a language of the right-dominant system, the right-most syllable of a word retains its citation tone (i.e., the tone in its isolation form). All the other syllables of
5780-430: The public and quickly fell out of official use. It was ultimately formally rescinded in 1986. The second-round simplifications were unpopular in large part because most of the forms were completely new, in contrast to the familiar variants comprising the majority of the first round. With the rescission of the second round, work toward further character simplification largely came to an end. In 1986, authorities retracted
5865-680: The purposes of better understanding the historical development of the Sino-Tibetan language family and the subgroupings of the languages therein, and to reconstruct the theoretical proto-language of the language family, Proto-Sino-Tibetan. Matisoff has authored two monographs so far presenting results from the STEDT project: The Tibeto-Burman Reproductive System: Toward an Etymological Thesaurus (2008) and The Handbook of Proto-Tibeto-Burman (2003, 800 p.). Although Matisoff retired from Berkeley in 2002, he continues to publish extensively and
5950-465: The recently conquered parts of the empire is generally seen as being the first real attempt at script reform in Chinese history. Before the 20th century, variation in character shape on the part of scribes, which would continue with the later invention of woodblock printing , was ubiquitous. For example, prior to the Qin dynasty (221–206 BC) the character meaning 'bright' was written as either 明 or 朙 —with either 日 'Sun' or 囧 'window' on
6035-617: The same range as non-tonal languages. Instead, the majority of tone languages belong to the Niger-Congo, Sino-Tibetan and Vietic groups, which are then composed by a large majority of tone languages and dominate a single region. Only in limited locations (South Africa, New Guinea, Mexico, Brazil and a few others) do tone languages occur as individual members or small clusters within a non-tone dominated area. In some locations, like Central America, it may represent no more than an incidental effect of which languages were included when one examines
6120-481: The same set of simplified characters as mainland China. The first round was promulgated by the Ministry of Education in 1969, consisting of 498 simplified characters derived from 502 traditional characters. A second round of 2287 simplified characters was promulgated in 1974. The second set contained 49 differences from the mainland China system; these were removed in the final round in 1976. In 1993, Singapore adopted
6205-467: The second round completely, though they had been largely fallen out of use within a year of their initial introduction. That year, the authorities also promulgated a final version of the General List of Simplified Chinese Characters . It was identical to the 1964 list save for 6 changes—including the restoration of 3 characters that had been simplified in the first round: 叠 , 覆 , 像 ; the form 疊
6290-520: The term includes both inflectional and derivational morphology. Tian described a grammatical tone, the induced creaky tone , in Burmese . Languages may distinguish up to five levels of pitch, though the Chori language of Nigeria is described as distinguishing six surface tone registers. Since tone contours may involve up to two shifts in pitch, there are theoretically 5 × 5 × 5 = 125 distinct tones for
6375-406: The tone is now the property of the word, not the syllable. Shanghainese has taken this pattern to its extreme, as the pitches of all syllables are determined by the tone before them, so that only the tone of the initial syllable of a word is distinctive. Lexical tones are used to distinguish lexical meanings. Grammatical tones, on the other hand, change the grammatical categories . To some authors,
6460-659: The trace remains of an otherwise disappeared sound in a word, and sesquisyllabic to describe the iambic stress pattern of words in languages spoken in Southeast Asia, such as the Mon–Khmer languages. In a 1990 paper criticizing Joseph Greenberg 's tendency to lump when classifying languages , Matisoff humorously coined the term columbicubiculomania (from columbi + cubiculo + mania ), which he defined as "a compulsion to stick things into pigeonholes , to leave nothing unclassified ." In 1987, Matisoff began
6545-497: The traditional and simplified Chinese orthographies. The Chinese government has never officially announced the completion of the simplification process after the bulk of characters were introduced by the 1960s. In the wake of the Cultural Revolution , a second round of simplified characters was promulgated in 1977—largely composed of entirely new variants intended to artificially lower the stroke count, in contrast to
6630-833: The traditional character 強 , with 11 strokes is standardised as 强 , with 12 strokes, which is a variant character. Such characters do not constitute simplified characters. The new standardized character forms shown in the Characters for Publishing and revised through the Common Modern Characters list tend to adopt vulgar variant character forms. Since the new forms take vulgar variants, many characters now appear slightly simpler compared to old forms, and as such are often mistaken as structurally simplified characters. Some examples follow: The traditional component 釆 becomes 米 : The traditional component 囚 becomes 日 : The traditional "Break" stroke becomes
6715-914: The traditional reckoning, the Kam language has 15 tones, but 6 occur only in syllables closed with the voiceless stop consonants /p/ , /t/ or /k/ and the other 9 occur only in syllables not ending in one of these sounds. Preliminary work on the Wobe language (part of the Wee continuum) of Liberia and Côte d'Ivoire, the Ticuna language of the Amazon and the Chatino languages of southern Mexico suggests that some dialects may distinguish as many as fourteen tones or more. The Guere language , Dan language and Mano language of Liberia and Ivory Coast have around 10 tones, give or take. The Oto-Manguean languages of Mexico have
6800-522: The use of characters entirely. Instead, Chao proposed that the language be written with an alphabet, which he saw as more logical and efficient. The alphabetization and simplification campaigns would exist alongside one another among the Republican intelligentsia for the next several decades. Recent commentators have echoed some contemporary claims that Chinese characters were blamed for the economic problems in China during that time. Lu Xun , one of
6885-475: The word must take their sandhi form. Taiwanese Southern Min is known for its complex sandhi system. Example: 鹹kiam 'salty'; 酸sng 'sour'; 甜tinn 'sweet'; 鹹酸甜kiam 7 sng 7 tinn 'candied fruit'. In this example, only the last syllable remains unchanged. Subscripted numbers represent the changed tone. Tone change must be distinguished from tone sandhi . Tone sandhi is a compulsory change that occurs when certain tones are juxtaposed. Tone change, however,
6970-474: Was Principal Investigator for the STEDT project until its end in 2015. In 2015, the final print and software releases for STEDT were disseminated to the public, concluding the decades-long Sino-Tibetan Etymological Dictionary and Thesaurus (STEDT). Simplified Chinese characters Simplified Chinese characters are one of two standardized character sets widely used to write the Chinese language , with
7055-464: Was abandoned, confirmed by a speech given by Zhou Enlai in 1958. In 1965, the PRC published the List of Commonly Used Characters for Printing [ zh ] (hereafter Characters for Printing ), which included standard printed forms for 6196 characters, including all of the forms from the 1956 scheme. A second round of simplified characters was promulgated in 1977, but was poorly received by
7140-834: Was born July 14, 1937, in Boston , Massachusetts , to a working-class family of Eastern European Jewish origins. His father, a fish seller, was an immigrant from a town near Minsk , Byelorussian SSR (now Belarus ). He attended Harvard from 1954 to 1959, where he met his wife, Susan Matisoff, later a scholar of Japanese literature , when the two shared a Japanese class. He received two degrees from Harvard: an AB in Romance Languages and Literatures (1958) and an AM in French Literature (1959). He then studied Japanese at International Christian University from 1960 to 1961. He did his doctoral studies in linguistics at
7225-537: Was found to play a role in inflectional morphology . Palancar and Léonard (2016) provided an example with Tlatepuzco Chinantec (an Oto-Manguean language spoken in Southern Mexico ), where tones are able to distinguish mood , person , and number : In Iau language (the most tonally complex Lakes Plain language , predominantly monosyllabic), nouns have an inherent tone (e.g. be˧ 'fire' but be˦˧ 'flower'), but verbs don't have any inherent tone. For verbs,
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