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The effect may be dependent on lexical stress (for example, the unstressed first syllable of the word photographer contains a schwa / f ə ˈ t ɒ ɡ r ə f ər /, whereas the stressed first syllable of photograph does not /ˈfoʊtəˌɡræf-ɡrɑːf/), or on prosodic stress (for example, the word of is pronounced with a schwa when it is ...
The pitch accents of English used in the ToBI prosodic transcription system are: H*, L*, L*+H, L+H*, and H+!H*. [7] Most theories of prosodic meaning in English claim that pitch accent placement is tied to the focus, or the most important part, of the phrase. Some theories of prosodic marking of focus are concerned only with nuclear pitch accents.
The rhythm of the English language has four different elements: stress, time, pause, and pitch. Furthermore, "When stress is the basis of the metric pattern, we have poetry; when pitch is the pattern basis, we have rhythmic prose" (Weeks 11). Stress retraction is a popular example of phrasal prosody in everyday life. For example:
The ToBI system is intended to be used in computer-based transcription. A simplified example of a ToBI transcription is given below. In this example, two phrases "we looked at the sky" and "and saw the clouds" are combined into one larger intonational phrase; there is a rise on "sky" and a fall on "clouds":
For example, the stress mark may be doubled (or even tripled, etc.) to indicate an extra degree of stress, such as prosodic stress in English. [84] An example in French, with a single stress mark for normal prosodic stress at the end of each prosodic unit (marked as a minor prosodic break), and a double or even triple stress mark for ...
Metrical phonology offers a number of advantages over a system representing stress as a feature that applies to individual segments or syllables, without reference to the other syllables in a phrase. Creators of traditional feature systems posited the stress feature, which differed from other phonological features in several key ways.
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For example, the present habitual tense has tones on the first and penultimate syllables, the recent past has a tone after the tense-marker -na-, the subjunctive has a tone on the final syllable and the potential is toneless. The tones apply, with minor variations, to all verbs, whether the stem is long or short: