An experimental analysis of the five level tones of the Gaoba Dong language
高坝侗语声调的实验分析
Shi Feng 石锋; Shi Lin; Liao Rongrong 廖荣容

Abstract 摘要
Languages with five constrastive level tones are rarely found in the world. Maddison once listed several such languages: African languages such as Dan, Kporo, Ashuku and Ngamambo; Asian languages such as Black Miao, Tahua Yao and some Puyi dialects; and American languages such as Trigue, Ticuna and Usila Chiantec (Maddison, 1978). Examples are also recorded in the literature of Chinese linguistics. For example, Chang Kun (1947) described the Yong-Cong Miao languages as having five level tones in addition to a rising tone and two falling tones, and Li Fangkui described the Tai Gong Miao language with five level tones in addition to a falling tone and two rising tones (see Kwan 1967). It is generally considered that five level tones are the maximum number that a language can possibly have. For this reason, the “tone letters” of Y.R. Chao (1930) have only five pitch levels. In order to distinguish five level tones, W. S-Y. Wang (1967) proposed the feature Mid in the system of distinctive features of tones. Maddison (1978) even considered the maximum number of five pitch levels as the first of the universal features of tone languages in the world. He said “A language may contrast up to five levels of tone, but no more.” Their viewpoint seems true indeed, for, even now, we have not found any language that has more than five level tones. The analysis of tonemic systems with five level tones is of great significance in the study of tone. What we frequently encounter in our studies are tone systems of languages or dialects which have one, two or three level tones. There is a considerable physiological and psychological space between neighboring level tones, whose acoustic behavior displays a considerable degree of freedom. Falling or rising tones are often distinguished from each other only in terms of pitch contour with few limitations on their actual pitch levels. Therefore, it will enrich our knowledge of tone to study the articulation of five level tones within a single system, to observe their acoustic behavior and features of recognition, and to perceive their relationships in monosyllables and their variations occurring in polysyllabic words. This is helpful both for the theory of tones and for the study of the Gaoba Dong language itself.

对于同一声调格局中的五个平调进行分析，这在声调研究中是很有意思的。我们迄今尚未发现一种语言具有五个以上的平调。具有五个平调的语言并不多见。本文提供了高坝侗语五个平调的实验记录和分析结果。这五个平调的平均声调曲线开头部分都指向调域的中段，呈现一种有趣的放射状对称图型，反映出声带发音时的生理调节过程。这种有规律出现的声调弯头可能为我们辨识不同的声调提供信息。相邻平调之间的音程在听觉上是“等距离”的。假设fo为调域下限频率，fn代表从低到高的各调的频率 (n = 1, 2, 3, 4)，则等式 fn+1 - fo = 2(fn - fo) 基本上可以表明以赫兹为单位的数量关系。这种方法的意义有待于更多的资料积累和证明。实验表明，在连读中，调域下限比较稳定。调域上限变化较大。因此，五个平调在连读中都是只有上升的变化，只是最高调除升高之外，还有降低的变化。

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