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Examples of sustained boundary tones after a (L+)H* pitch accent at the protasis for the sentence If it will be near the train station or the bus station (dialogue).
Source publication
The aim of this paper is to present a phonological description of the boundary tones in final and non-final declarative sentences in Spanish, drawn from a read news corpus and a dialogue corpus. The final clauses tend to finish with L*L% and sometimes L+H*L%. Four different pitch configurations can be found for non-final patterns: a rise (L*H%), a...
Contexts in source publication
Context 1
... use of L+H*L% seems to prompt a more involved nuance. For the IPs in the protasis, four different pitch configurations were found: a rise (L*H%), as illustrated in Figure 1, a fall-to-mid (H*!H%), as in Figure 2, a fall-rise (H*LH%), as in Figure 3, and a sustained tone, as in Figure 4. The sustained pitch is transcribed as =% (see section 5 for more details on this notation). ...
Context 2
... more thorough analysis of the sustained pitch in our data shows that this tone may have different realizations depending on the pitch of the previous accent. If the last pitch accent is H*, sustained pitch remains high, as in Figure 4. If it is !H*, sustained pitch maintains the final mid pitch target, as in Figure 5. Finally, if the last pitch accent is L*, sustained pitch is now manifested as low pitch level, as in Figure 6. ...
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Citations
... The arguments supporting the distinction come from perception and tonal inventory. On the one hand, speakers easily discriminate two levels of prosodic separation, normally associated with the finality or non-finality meaning of the sentence (Estebas-Vilaplana et al., 2015); on the other hand, the intermediate phrase is tonally marked with an accent, but the inventory of boundary tones that can appear in this position is more restricted than that which marks the end of an intonation phrase (Aguilar et al., 2021). ...
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... The prosodic annotation of the final configuration of the pitch contours followed the Sp_ToBI system conventions, firstly proposed by Beckman, Díaz-Campos, McGory, and Morgan (2002) and further revised in Estebas- Vilaplana and Prieto Vives (2008), Hualde and Prieto (2015), and Estebas- Vilaplana, Gutiérrez, Vizcaíno, and Cabrera (2015). Sp_ToBI describes intonation by means of two tones: (H)igh and (L)ow. ...
... More recent revisions of the system (Estebas- Vilaplana & Prieto Vives, 2008) also included bitonal boundary tones to describe final complex pitch movements (LH%, HL%, HH%). The last versions of the Sp_ToBI system substitute the M% notation for a final mid pitch by !H% (Hualde & Prieto, 2015) and use =% to indicate a sustained pitch (Estebas- Vilaplana et al., 2015). ...
... The intonation units in the protasis can have different endings, such as an anticadencia or rise ((L)+H* H%), a semicadencia or fall-to-mid tone ((L)+H* !H%), and a tono suspensivo or sustained tone (* =%). More recent studies of Spanish intonation (Estebas- Vilaplana et al., 2015) have shown that a fall-rise pattern ((L)+H* LH%) is also common in the protasis part. Table 4 includes the number of occurrences of the final tonal configurations produced by the six Spanish speakers in L1 Spanish. ...
This paper examines the differences in the division of intonation phrases and in the tonal structure of the nuclear configuration (i.e., the last pitch accent and the following boundary tone) in imitated and in authentic English-accented Spanish. The same Spanish text was read by four native speakers of American English, who produced the text with a real English foreign accent in Spanish, and six native speakers of Spanish, who read the text twice: in L1 Spanish and in fake English-accented Spanish. An auditory analysis of the data was carried out along with an inspection of the f0 traces aligned with the spectrographic representation and the segmental string. The results showed that the Spanish speakers produce more intonation breaks when they imitate an English accent in Spanish than when they speak L1 Spanish. Furthermore, they adopt the typical tonal structure of Spanish final accents in their fake English-accented productions. The number of prosodic breaks in real and in imitated English-accented Spanish is similar. The nuclear configurations, on the other hand, present more variability and differ in the frequency of occurrence of some patterns. The high occurrence of the fall-rise pattern (L+H* LH%) and the presence of the high-fall contour (L+H* L%) in the English productions may help discriminate an authentic English-accented Spanish from a fake one.
... To examine the phrasal and tonal structure of the read speech of professional broadcasters, a subset of the Glissando corpus was annotated following the Sp_ToBI guidelines (Estebas- Vilaplana & Prieto, 2010;Hualde & Prieto, 2015). The following sections will give details about the corpus, the speakers, the recording conditions, and the labelling process. ...
... Given the phonological approach of the ToBI system, each language has developed its own proposal, Sp_ToBI in the case of Spanish (Beckman, Díaz-Campos, McGory, & Morgan, 2002;Hualde & Prieto, 2015;Prieto & Roseano, 2010). For the annotation of the Glissando corpus, representative of the Castilian Spanish variety, we followed the Sp_ToBI proposal in Estebas- Vilaplana and Prieto (2010), although some changes proposed in Hualde and Prieto (2015) consistent with the analysis of other Romance languages in Frota and Prieto (2015) were included: following these changes, the mid level (M) was tagged as '!H' instead of 'M', and the early rising accent was represented by 'L+<H*' (instead of 'L+>H*'). Furthermore, the label '=' proposed in Estebas- Vilaplana, Gutiérrez, Vizcaíno, and Cabrera (2015) was used to represent the tonal preservation in those cases of sustained pitch. ...
... For the annotation of the Glissando corpus, representative of the Castilian Spanish variety, we followed the Sp_ToBI proposal in Estebas- Vilaplana and Prieto (2010), although some changes proposed in Hualde and Prieto (2015) consistent with the analysis of other Romance languages in Frota and Prieto (2015) were included: following these changes, the mid level (M) was tagged as '!H' instead of 'M', and the early rising accent was represented by 'L+<H*' (instead of 'L+>H*'). Furthermore, the label '=' proposed in Estebas- Vilaplana, Gutiérrez, Vizcaíno, and Cabrera (2015) was used to represent the tonal preservation in those cases of sustained pitch. ...
The present study examines the patterns in stress, phrasing and intonation found in a Spanish corpus of news read by broadcasters to describe the prosodic strategies that can be considered as genre-distinguishing features. Results indicate that, firstly, the main stress modifications concern the upgrading of unstressed syllables to accented ones, the stress shift to mark word-initial boundaries and the maintenance of adjacent stresses. Secondly, the special features related to phrasing are unexpected pauses, which enhance the prosodic units that offer new information, and the prosodic marking of initial edges of groups with the aim of capturing the listener’s attention. Finally, the most relevant tonal events that identify the typical chanting of broadcasters are a recurrent use of rises whose f0 peak coincides with the stressed syllable, a variety of non-falling pitch movements signalling intermediate phrasing, and the use of rising-falling pitch movements to signal ends. All the described prosodic and tonal strategies contribute to obtaining an emphatic style in news reading and are representative of a prosodically marked genre.
... The typical contour of the continuation rise in Spanish has been described, in earlier studies, as a high-stressed syllable followed by a high-boundary tone (H* H%) (Sosa, 1999, p. 125). Subsequent studies showed that the continuation rise could also be implemented as a rise in the stressed syllable and a final mid tone (L+H* !H%) (Estebas-Vilaplana, 2009;Estebas-Vilaplana, E., Gutiérrez et al., 2015). Nevertheless, the Spanish continuation rise is usually identified simply using a high boundary tone (H-), given that the phonetic implementation of the pitch accent can change according to the position of lexical stress (Toledo, 2007). ...
Insubordination studies often refer to some prosodic features of insubordinated constructions but, to date, no systematic research has been carried out on the effects of insubordination on prosody. This paper analyzes the prosody of both independent and semi-dependent clauses, with subordination marks, using a corpus of 1,230 utterances. The data show that while subordinate and elliptical clauses that can recover the elided clause show prosodic markings of continuation (rising boundary tones), insubordinated clauses do not. In a word, the level of dependence of a grammatical construction with subordination marks is reflected in its prosody. Highlights • Elliptical clauses in Spanish show continuation rises as a mark of syntactic dependence • Insubordinated clauses do not show prosodic continuation marks
