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This loss of correspondence is most notable in the case of the entering tone, syllables checked in a stop consonant [p̚], [t̚], or [k̚] in Middle Chinese, which has been lost from most dialects of Mandarin and redistributed among the other tones. In modern Chinese varieties, tones that derive from the four Middle Chinese tone classes may be ...
For example, the yin ping tone is a high level tone in Beijing Mandarin Chinese but a low level tone in Tianjin Mandarin Chinese. More iconic systems use tone numbers or an equivalent set of graphic pictograms known as "Chao tone letters". These divide the pitch into five levels, with the lowest being assigned the value 1 and the highest the ...
In tonal languages, tone names are the names given to the tones these languages use. Pitch contours of the four Mandarin tones In contemporary standard Chinese (Mandarin), the tones are numbered from 1 to 4.
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.
The Zhongyuan Yinyun shows the typical Mandarin four-tone system resulting from a split of the "even" tone and loss of the entering tone, with its syllables distributed across the other tones (though their different origin is marked in the dictionary). Similarly, voiced plosives and affricates have become voiceless aspirates in the "even" tone ...
The four tones of Middle Chinese—level (平), rising (上), departing (去), and entering (入) tones—are categorized into level (平) tones and oblique (仄) tones. Tones that are not level are oblique. When tone patterns are used in poetry, the pattern in which level and oblique tones occur in one line is often the inverse of that of the ...
The voiceless stops that typify the entering tone date back to the Proto-Sino-Tibetan, the parent language of Chinese as well as the Tibeto-Burman languages.In addition, Old Chinese is commonly thought to have syllables ending in clusters /ps/, /ts/, and /ks/ [1] [2] (sometimes called the "long entering tone" while syllables ending in /p/, /t/ and /k/ are the "short entering tone").
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 ...