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The four tones of Chinese poetry and dialectology (simplified Chinese: 四声; traditional Chinese: 四聲; pinyin: sìshēng) are four traditional tone classes [1] of Chinese words. They play an important role in Chinese poetry and in comparative studies of tonal development in the modern varieties of Chinese , both in traditional Chinese and ...
Thai has five phonemic tones: mid, low, falling, high and rising, sometimes referred to in older reference works as rectus, gravis, circumflexus, altus and demissus, respectively. [2] The table shows an example of both the phonemic tones and their phonetic realization, in the IPA. Thai language tone chart
Standard Mandarin Pinyin Table The complete listing of all Pinyin syllables used in Standard Chinese, along with native speaker pronunciation for each syllable. Pinyin table Pinyin table, syllables are pronounced in all four tones. Pinyin Chart for Web Pinyin Chart for Web, every available tones in the Chinese language included.
Chart showing the relative changes in pitch for the four tones of Mandarin Chinese. On a scale of 1 to 5 with 5 being the highest pitch, the first tone remains constant at 5, the second tone rises from 3 to 5, the third tone falls from 2 to 1 and then rises to 4, and the fourth tone falls from 5 to 1. Source: Self-published work by Wereon ...
In the Chinese tradition, numbers, diacritics, and names are assigned to the historical four tones (level, rising, departing, and entering) of Chinese. These are consistent across all Chinese dialects, reflecting the development of tone diachronically.
The tone contours of Mandarin Chinese. In the convention for Chinese, 1 is low and 5 is high. The corresponding tone letters are ˥, ˧˥, ˨˩˦, ˥˩.. A series of iconic tone letters based on a musical staff was devised by Yuen Ren Chao in the 1920s [2] by adding a reference stave to the existing convention of the International Phonetic Alphabet.
English: Map of the variation in the number of tone categories in local Chinese dialects in the core Chinese-speaking area, reflecting fieldwork conducted between December 2002 and December 2006. It is customary to treat syllables with stop codas as separate tone categories.
Yuen Ren Chao considered the changed tone 2 to be identical to tone 1, and Cao Wen treated it as tone 1 (before tones 1 or 4) or tone 4 (before tones 2 or 3). [ 21 ] [ 22 ] Both views are generalizations; the exact pitch contour of the changed tone 2 varies between mid-level ˧ in isolated words or at a slower speaking rate, and slightly ...
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