Chapter 11.8: Assimilation

chapter 11.8: Assimilation

The principle of least effort, also called ease of articulation,
describes how speakers of a language naturally seek to expend the least effort
possible to articulate sounds without losing intelligibility. Illustrations of this
can be seen in many of the allophones that exist, such as the two types of /k/ in
the words leak and lock. Because of the front vowel in leak,
it requires less effort to keep the tongue nearer to the front of the mouth to
produce the following /k/, resulting in a fronted, or palatalized [k’]. This change
of one sound to become more like another that is near to it is called
assimilation. We have three types of assimilation to discuss for consonants:

  1. assimilation of place, where a consonant changes its place of
    articulation
  2. assimilation of manner, where a consonant changes its manner of
    articulation
  3. assimilation of voicing, where a consonant changes whether or
    not it is voiced.

Assimilation of place

The example above, where the /k/ moved toward the front of the mouth, is an example
of assimilation of place. Assimilation of place is very common in English, especially
with the three nasal phonemes. For example, the phoneme /n/ in the word pan is
a voiced alveolar nasal, but when it is joined to form the word pancake,
many people pronounce the /n/ now as a velar nasal, that is [ŋ], because it has
assimilated to the following velar sound of the [k] in cake: [pæŋkek].
The same assimilation of place with [n] becoming [ŋ] in words like incredible
or ink.

Another nasal assimilation of place occurs in words like symphony, where
the bilabial [m] is followed by a labiodental fricative [f]. This word is often
pronounced with a labiodental nasal, represented by the symbol [ɱ]: [sɪɱfəni].

Another very common type of assimilation of place is called palatalization,
which means that sounds are moved towards the palate. The example above of the [k’]
in leak is an example of a velar sound being pulled towards the palate by the
front vowel. This same processed is the origin of the palatal phoneme /tʃ/ in English, a
sound developed in early Old English from by palatalizing /k/. Many phonemes were also
palatalized in the early Modern English period when the vowel /u/ in some words
developed a palatal semivowel glide before it, causing [u] to become [ju]. When this
palatal sound [j] came after the alveolar sounds /s/, /z/, /t/, /d/, it pulled
them back to the palate, creating the following new pronunciations (in linguistics,
the symbol > means “becomes,” as if it were an arrow, pointing to the new creation):

  • [sj] > [ʃ]: sure, sugar
  • [zj] > [ʒ]: pleasure, measure
  • [tj] > [tʃ]: nature, creature
  • [dj] > [dʒ]: educate,adulate

The spelling of these words, which was set before the phonological change, reveals
how these words would have been pronounced in Shakespeare’s day: sure and
sugar were pronounced with [s], pleasure and measure were
pronounced with [z], and nature and creature were pronounced with [t].
Furthermore, the <u> was pronounced [u], not [ju]. (As an aside here, the development
of [u] to [ju] is an unconditioned change and although its development is common
throughout Modern English, it did not develop for all speakers. There are still speakers
of English who pronounce words like pleasure with a [z] and have no [j] before the [u].
In American English there is a divide between people who pronounce words
like news or tune with a straight [u] and those who pronounce them with [ju]).

If we concentrate on Present-Day English, we see the effects of palatalization ongoing,
not only within individual words like discussed above, but in word boundaries. For example,
when a word that ends in the alveolar [t], like don’t is followed by a
word that begins with [j], as in the phrase don’t you, then for many
speakers the [t] is palatalized in the same way as above to become [tʃ]. This also
happens with words than end in [s] and [d]:

  • [sj] > [ʃ] “Bless you” pronounced [blɛʃ ju] (“Blesh you”)
  • [tj] > [tʃ] “Don’t you” pronounced [dontʃ ju] (“Donchu”)
  • [dj] > [dʒ] “Did you” pronounced [dɪdʒ ju] (“Didge you”)

Assimilation of Manner

In addition to allophones changing their place of articulation through assimilation, some change
their manner of articulation. This is a much rarer type of assimilation, but it
does occur. Examples may be found in phrases like “good night,” where the final alveolar
plosive [d] of “good” becomes an alveolar nasal [n]: [ɡʊn naɪt].

Assimilation of Voice

In this type of assimilation, a voiceless sound that is near a voiced sound will
become voiced, or a voiced sound that is near a voiceless sound becomes voiceless.
This type of assimilation is incredibly common in English. For example, the precise
form of the plural ending –s will be the voiceless [s] if the word ends in a voiceless
sound, but [z] if the word ends with a voiced sound: back makes a plural with
[s] to produce [bæks], while bag makes a plural by adding [z], to produce [bægz].

The same
process occurs with the past tense ending –ed. It remains voiced in words that
end with a voiced consonant, like joined [dʒɔɪnd], but in words that
end with a voiceless sound, it assimilated to the voiceless [t], as in jumped [dʒʌmpt].

Using characteristic features to show assimilation

It is easier to understand exactly how assimilation works by considering the
characteristic features of the sounds affected:

1. The assimilation of place of [n] to [ŋ] in “pancake” can also be written as

[n] [ŋ]
[+alveolar] [+velar]
[+nasal] –> [+nasal]
[+voice] [+voice]

Of the three features of [n], the only one that changes is the one describing the
place, which moves from [+alveolar] to [+nasal].

2. The assimilation of manner in [d] to [n] in “good night” can be written as:

[d] [n]
[+alveolar] [+alveolar]
[+plosive] –> [+nasal]
[+voice] [+voice]

3. The assimilation of voicing in [s] to [z] in “bags”:

[s] [z]
[+alveolar] [+alveolar]
[+fricative] –> [+fricative]
[-voice] [+voice]

With the example of the past tense jumped, we have:

[d] [t]
[+alveolar] [+alveolar]
[+plosive] –> [+plosive]
[+voice] [-voice]

Other types of sound changes

Dissimilation

The opposite of assimilation is dissimilation, when sounds become
less alike. Although it might seem paradoxical, this is also a function of the
principle of least effort: sometimes it is difficult to say two very similar sounds
in a row. This often happens with /r/ and /l/ as can be seen in our word pilgrim
which is derived from Latin peregrinus. Because the two instances of
[r] so near each other are difficult to say (especially in a time when /r/ was
pronounced as [r] or as the alveolar flap [ɾ]), the first one changed to [l].
To express it through features:

[r] [l]
[+alveolar] [+alveolar]
[+central] –> [-central]
[-lateral] –> [+lateral]
[+approximant] –> [+approximant]
[+voice] [-voice]

Another one that you may have heard in some dialects is “chimley” for “chimney,” where the
two nasals so close together caused one to change to an approximant. More common
is the change where an alveolar stop [t] that occurs before an alveolar nasal [n],
as in the words kitten, beaten dissimulates to become a glottal stop [ʔ]:

[t] [ʔ]
[+alveolar] [+glottal]
[+plosive] –> [+plosive]
[-voice] [-voice]

Simplification

Another result of the principle of least effort is simplification.
This change does not involve a change in features but rather the loss of a segment when
consonants occur in groups of two or more. For example, the word hand, pronounced [hænd],
ends in two consonants, but when plural ends in three, [hændz]. Three consonants in
English will often be simplified to two, resulting in the pronunciation [hænz]. Two
consonants can also simplify to one (for example, many people do not pronounce the final [d]
of “hand”: [hæn]).

Metathesis

Another common consonant change does not involve a change of features or the loss of a
segment but instead the reversal of order of the phonemes. This is metathesis:
the reversal of two sounds. Common ones today usually involve the phoneme /r/.
For example, in the word iron, the spelling reveals that the word used
to be pronounced with the [ɹ] before the vowel, while now we pronounce it after
the vowel. The same is true of the word third, where the word three
shows the original order of the [ɹ] and the vowel. These two examples are accepted as standard
English pronunciations, but most of us are aware of non-standard examples as well,
such as “purty” for pretty.

Examples of metathesis with sounds other than [ɹ] are less common today, but one that occurs
frequently is “aks” for ask. This pronunciation often has negative associations in American English
which is ironic since “aks” was the more common form in the Old and Middle English periods,
used by both King Alfred and Chaucer. It can still be found in non-standard dialects throughout
England.




Chapter 11.7: Unconditioned Sound Changes

chapter 11.7: Unconditioned sound changes

One of the primary areas of change within a language is the change in its system
of sounds, and much of the nineteenth-century work in linguistics was spent in
figuring out exactly how the sounds in one language corresponded to those in another.
People had long recognized that there were similarities between languages, even
when the pronunciation differed. For example, English “hound” and German “Hund”
both mean “dog” and are so similar that there must be some type of relation between
them, but the precise nature of the connection was unclear. As the nineteenth
century progressed, linguists gathered such correspondences
between the sounds of as many related languages as they could and began to notice
more and more patterns. The greatest example of this is what we call
Grimm’s Law.
Grimm noted that there were
correspondences between the consonants in Germanic languages and those in languages
like Greek and Latin, for example the correspondence between the “t” in Latin
tres, tu and tenuis and the “th” in English three,
thou and thin, or the relationship between the “p” in pater, piscis,
and pedemand the “f” in father, fish, and foot. Grimm
suggested that this correspondence was 1) a
regular one that occurred throughout the language, rather than being entirely
random, and 2) that it had happened at a historical point in time.

As ground-breaking as these two suggestions were, it was a later generation of
scholars, the Neogrammarians, who pushed them to their full conclusion. They
suggested that sound changes like this were not only regular, but that they occurred without
exception. Thus, it wasn’t just that some instances of the phoneme /t/ in Indo-European
languages become /θ/ in Germanic languages, but every single /t/ turned into /θ/.
As they put it, Die Lautgesetze kennen keine Ausnahmen: “Sound Laws know of no exception.”
They modeled the name “Sound Law” on the observable laws that had been discovered
in other sciences like Newton’s Laws of Motion. For the Neogrammarians,
laws could be formulated describing the production and changes of sounds in human
speech in the same way that Newton and others could observe the natural world
and formulate laws that described natural phenomena. The difference between a law
like Grimm’s and one like Newton’s is that Grimm’s Law occurred at one point
in time (i.e., it was historical) and then stopped. Newton’s Law of Inertia
always works.

Sound Laws like these are known as unconditioned
changes, meaning they occur throughout the language without the necessity of
there being any special phonetic conditions the word.
For example, the change from /t/ to /θ/ that we see in a correspondence like Latin
tres and English three did not happen because of the specific
vowel in the word, or the presence of the
phoneme /r/. No special conditions
were needed for it to take place. This separated these types of changes
from the conditioned changes that only occurred under specific
conditions.

Perhaps the most famous unconditioned sound changes in English are Grimm’s Law and
the Great Vowel Shift,
but there are others occurring today. Cities like Buffalo and
Rochester in the Northern US are undergoing what is known as the Northern Cities Shift,
and while parts of California
and the southern US
are in the midst of their own unconditioned vowel changes.
The “cot-caught
merger in which the vowels in these two words start to rhyme
has affected a large part of the US.




Chapter 11.4: Consonants

chapter 11.4: consonants

The following chart gives the IPA symbols for each of the 24 consonants used in
General American English. An interactive chart with sound examples of each phoneme
tags: phonology can be found here

Bilabial Labiodental Dental Alveolar Palatal Velar Glottal
Voiceless Plosive p t k
Voiced Plosive b d g
Voiceless Fricative f θ s ʃ h
Voiced Fricative v ð z ʒ
Voiceless Affricate
Voiced Affricate
Nasal m n ŋ
Approximant ɹ l
Semivowel w j

One way to understand phonemes is to categorize them according to their
distinctive features. For consonants, the distinctive features
are categorized under several broad headings:

  • Place of Articulation: The organ of speech which is the
    primary location for the production of the phone
  • Manner of Articulation: How the air flow is obstructed,
    whether stopped entirely or restricted by one of the organs of speech
  • Voicing: Whether the vocal cords vibrate or not during
    the production of the phone

Place of Articulation

The places of articulation are given across the top of the chart above. They are

  • bilabial: phones that are made by obstructing the air
    flow with both lips
  • labiodental: phones that are made by obstructing the air
    with a combination of the lips and teeth
  • dental: phones that are made by obstructing the air with
    the tongue against the teeth
  • alveolar: phones that are made by obstructing the air with
    the tongue against the alveolar ridge
  • palatal: phones that are made by obstructing the air with
    the tongue against the hard palate
  • velar: phones that are made by obstructing the air with
    the tongue against the soft palate or velum
  • glottal: phones that are made by obstructing the air
    with the glottis

These features can be referred to with notation such as [+alveolar],
signifying an alveolar sound, or [-velar], signifying that the sound is not
velar.

Manner of Articulation

The manners of articulation are given in the left-hand column of the chart. They are

  • Plosive (also called stops): phones that
    are made by stopping the air flow completely (and then releasing it)
  • Fricative: phones that are made by restricting but not
    stopping the air flow
  • Affricate: phones that are made by stopping the air flow
    and then restricting it when released (i.e., a combination of a stop and a
    fricative)
  • Nasal: phones that are made by opening the nasal cavity
    so that the air flow by resonate inside it
  • Approximant: phones that are made when the articulators
    approach each other, but not as close as in the fricatives
  • Semivowel: a subset of approximants, phones that act as
    consonants or vowels depending on the environment they are in.

As with the places of articulation, the manner of a particular sound can also
be specified with feature notation such as [+stop]. In order to refer to a
phoneme that is made by stopping the air with both lips, we can use the features:
[+stop][+bilabial]. One more feature is the term continuant,
which can be referred to in feature notation as [+continuant] or [-continuant].
Continuants are the sounds in which the air is not stopped from going through
the oral cavity. Thus, plosives are [-continuant] because they stop the air
entirely. Nasals are also [-continuant] because in them the air resonates in
the nasal not the oral cavity. Affricates begin by being [-continuant] but
end as [+continuant]. All other consonants are [+continuant].

Voicing

The final distinctive feature of consonants is voicing, that is, whether the
vocal cords vibrate. You can test whether or not a sound is voiced by placing
your hand on the front of your throat while you speak. If you feel a vibration,
as when you say [b] or [d], then the sound is voiced, or
[+voice]. If you do not feel a vibration, as in /p/ or /t/ or /f/, then the
sound is voiceless, or [-voice].

English Consonant Phoneme Symbols

I will now discuss each of these 24 consonant symbols given above, listing them
according to their Manner of Articulation. Make sure to learn each one according
to its three features (place of articulation, manner of articulation and
voicing) and its IPA symbol.

Plosives, or Stops: /p/ /b/ ~ /t/ /d/ ~ /k/ /g/ (The first of each pair is voiceless, the second voiced).

  • Bilabial: /p/ and /b/. The first of these symbols
    represents the voiceless bilabial plosive. Bilabial plosives are made
    by stopping the air with both lips (bi-labial) and then releasing it.
    Examples: pin, spin, apt,
    stop. The second symbol, /b/, is made in the same way,
    except it is voiced by the vibration of the vocal cords. Examples:
    bin, tab, table.
  • Alveolar: /t/ and /d/. These two plosives are made by
    stopping the air flow by placing the apex (tip) of the tongue against the
    alveolar ridge and then releasing it. The first is voiceless and the second is
    voiced. Examples: top, stop, bat
    and dot, bad, ladder.
  • Velar: /k/ and /g/. These sounds are made by stopping the
    air flow by placing the dorsum (back) of the tongue against the velum and then
    releasing it. The first is voiceless, and the second is voiced. Examples:
    kick, making; gall,
    ogre, hog. (Note, the symbol /g/ never
    represents the so-called “soft” g-sound as in gel).

Fricative: /f/ /v/ ~ /θ/ /ð/ ~ /s/ /z/ ~ /ʃ/ /ʒ/ ~ /h/
(The first of each pair is voiceless, the second voiced). Fricatives are made by
creating a restriction in the oral cavity through which air must pass. The
friction of the air passing creates the specific sound.

  • Labiodental: /f/ and /v/. These sounds are made by placing
    the upper teeth against the lower lip and breathing through the restricted
    space. The first is voiceless and the second is voiced. Examples:
    fall, after, awful,
    off, and vine, over,
    leave.
  • Dental (sometimes called interdental): /θ/ /ð/ (the first
    of these symbols is the Greek letter theta; the second is an Icelandic
    letter called “eth”). These sounds are made by placing the tongue between
    the teeth and breathing through the restricted space. The first is voiceless
    and the second is voiced. Examples of /θ/: thin,
    breath, wealth. Examples of /ð/:
    then, breathe, weather.
  • Alveolar : /s/ /z/. These sounds are made by air passing
    between either the apex of the tongue and the alveolar ridge. Examples of /s/:
    sit, cell, lessen,
    ice, hiss. Examples of /z/: zoo,
    wisdom, is.
  • Post-alveolar: /ʃ/ /ʒ/ (the first of these is called an “esh”
    or a “long s”; the second is an “ezh”). These sounds are made by air passing
    rapidly between the tongue and the area just behind the alveolar ridge.
    Examples of /ʃ/: shoe, ocean, nation,
    ash. Examples of /ʒ/: measure, azure,
    decision.
  • Glottal: /h/. Examples of /h/: hello,
    high. There is no voiced counterpart to this glottal fricative
    in Modern English. It is more historically accurate to consider /h/ a velar
    sound, since it is generally a reduced sound of the velar fricative /x/ which
    English used to have, and still does in some dialects (as in Scottish
    loch), or which you will hear in foreign words like German
    Bach. There was at one time a voiced velar fricative /ɣ/, which will
    come up in discussions of Old English. To make this sound, make the sound in
    Scottish loch, and then vibrate your vocal cords.

Affricate: /tʃ/ /dʒ/ (The first is voiceless, the second voiced).
As you can tell from the symbols, these sounds are really a combination of two
others, but in English we still consider them distinct phonemes.

  • Alveo-palatal affricate /tʃ/ /dʒ/. The onset of the sound
    is made by stopping the airflow with the tongue
    against the alveolar ridge, as in /t/ and /d/, but instead of a full release,
    the airflow is released into the restricted flow of the fricatives /ʃ/ or /ʒ/.
    Examples of /tʃ/: church, chin,
    hatch, nature. Examples of /dʒ/:
    judge, jelly, edge.

Nasal: /m/ /n/ /ŋ/ (All three are voiced). Nasals are made
by stopping the air in the same way as in plosives, but rather than releasing
the air, the air is allowed to vibrate in the nasal cavity.

  • Bilabial: /m/. This sound is made by stopping the air flow
    by closing both lips and then allowing the air to resonate within the nasal
    cavity. It is voiced. Examples: man, ham,
    hammer.
  • Alveolar: /n/. This sound is made by stopping the airflow
    by placing the apex of the tongue against the alveolar ridge and then allowing
    the air to resonate within the nasal cavity. It is voiced. Examples:
    no, man, manner.
  • Velar: /ŋ/ (the symbol is called an “eng” or an “engma”).
    This sound is made by stopping the airflow with the dorsum of the tongue
    against the velum and then allowing the air to resonate within the nasal
    cavity. It is voiced. Examples: sing, singer,
    finger. (Note: although we spell this sound with two letters,
    it is a single phoneme).

Approximant: /l/ /
r/ (both voiced)
An approximant is a consonant sound in which the restriction of airflow is not enough to cause any turbulence as described in the previous sounds.

  • Lateral alveolar: /l/. The /l/ is made by placing the tip
    of the tongue against the alveolar ridge, and allowing the air to escape
    around the sides of the tongue (i.e., laterally). Examples of /l/:
    lamp, fall.
  • Central alveolar: /r/. This sound is produced by placing
    the tip or blade of the tongue near the alveolar ridge and allowing air to
    flow centrally through the gap. Some people make it by curling the tip
    of the tongue backwards, so that it is called a retroflex approximant.
    Examples of /r/: red, very,
    near. (Note: in the chart above I use the symbol /ɹ/, which
    is technically a more accurate symbol for the type of “r” we make in American
    English, but for ease of typing it will be fine to use /r/.)

Semivowel: /j/ /w/ (both voiced) These sounds are made in the same way as an approximant, allowing barely restricted air to flow through, in a manner
very similar to vowels but in environments in which a consonant is needed, i.e., they are usually followed by vowels rather than consonants..

  • Palatal: /j/ This sound is made by placing the
    tongue near the hard palate and allowing air to flow through. It is called a
    semivowel because it is produced in the same way as the vowel /i/.
    Examples of /j/: year, yellow,
    yes, you. (Do not confuse the symbol
    /j/ with the letter <j> in words like “judge”).
  • Labiovelar: /w/. This sound is made with the back of the
    tongue near the velum and with rounded lips, in the same way as the vowel
    /u/. Examples of /w/: west, wall.

These 24 phonemes represent the consonant phonemes of General American English. You must learn each symbol and the sound it represents, and be able to describe each phoneme according to its three features: voicing, place of
articulation, manner of articulation. I advise you to say these sounds out loud over and over (whispering will not do) until you understand each of them.