藏语安多方言词重音对汉语普通话声调习得的影响

【作者】 段海凤；

【导师】 刘岩；

【作者基本信息】 中央民族大学 ， 语言学及应用语言学， 2012， 博士

【摘要】 汉语声调是无声调语言母语者汉语学习中的难点之一。本文主要研究藏语安多方言同仁话的母语发音人在汉语声调习得方面体现出的特征。内容主要包括三个方面：(1)安多藏族汉语学习者的声调模式；(2)藏语安多方言词重音模式；(3)中介语声调模式与藏语安多方言词重音模式的比较。本研究遵循实验语音学的研究思路,将实验数据与理论分析相结合,在实验数据的基础上概括出藏语安多方言区汉语学习者汉语声调以及母语词重音的基本模式。通过两种模式的交叉比较,拟寻找母语词重音对汉语声调习得的影响,进而提出有效的声调教学建议。本研究所采用的语料,均为孤立朗读状态的词语,词语包括单音节字、双音节词、三音节词和四音节词。其中中介语部分的语料选自藏族学生说汉语语音语料库,藏语安多方言语料来自实验室录音材料。本研究主要围绕音高、音长和音强三大声学参数,对中介语声调模式进行分析,并按照发音人语言水平的不同,分三组进行考察,得到声调习得的动态特征。同样用此方法,对藏语安多方言词重音的声学模式进行考察。最后通过两种模式的比较,寻求母语重音对中介语声调的影响规律。本文共分五章,具体结构安排如下：第一章绪论,主要介绍汉语声调作为第二语言声调的研究动态,包括藏族学生学习汉语声调声调研究情况。内容涉及声调习得顺序、偏误类型及汉语声调教学方法。第二章主要介绍本文研究所用语料的来源以及语料的处理方法。第三章主要分析了安多藏族学生汉语声调的声学特征,分别对单音节、双音节、三音节和四音节词的声调模式进行深入分析,既包括整体声调模式又包括主要偏误类型,还对单音节词的声调准确度进行定量、定性分析。第四章主要从音高、音长和音强三个方面探索了藏语安多方言词重音模式。第五章对藏语安多方言词重音模式与中介语声调模式进行比较并提出声调教学建议。安多藏族汉语学习者声调特征主要体现以下几个方面：(1)声调习得顺序为去声、阴平、上声、阳平。这种顺序不受音节数量的影响。并且四个调类的习得过程不是平行的。(2)调型的发展先于调值的发展。(3)从单音节字到多音节词,声调习得连续性表现不同。(4)声调偏误特征类型因发音人语言水平和音节数量有差异。单音节：中、高水平发音人偏误主要体现在调值方面,低水平发音人偏误主要集中在调型方面；多音节词：中、高水平发音人偏误表现为同一声调的调型分散,而低水平发音人各声调的音高走势基本一致。(5)音高、音长和音强存在一定的对应关系。双音节词声调偏误降调的表现为音长短音强重。(6)音强随着音节数量的增多而逐渐减弱,音长模式不受音节数量影响。藏语安多方言的音高虽然不区别意义,但音高突显的位置在音节中相对固定,在语流中基本不变,我们可以称其为“习惯性音高”。本文还对藏语安多方言词重音进行了探索。(1)不同音节数量的音高模式不同。单音节词音高总体说来可以分成两类：降调和平调,以降调为主,因韵尾不同而有差异。双音节词音高模式主要有两种：一种为主要模式中平调+高降调模式,音高突显在第二音节,另一种为高平调+中降调模式,音高突显在第一音节,这种音高模式主要为动词的主谓结构。三音节词音高模式由于音节组合方式的不同而不同,1+2型三音节词音高模式为高平+中平+低降,音高突显在第一音节,2+1型三音节词为中平+高降+低降模式,音高突显在第二音节。四音节词的音高模式(2+2型音节组合结构),基本呈现平调+高降调+中平调+中降调的特征,是双音节词音高模式的扩展,不受语法结构影响。(2)音高、音长、音强在特殊音高模式上存在对应关系。双音节动词的音长、音强分布模式与其音高模式一致,均在第一音节突显。1+2型三音节词,音高、音长、音强均在第一音节位置突显。通过上述两种模式的对比,本文认为母语重音模式对中介语声调模式存在一定影响,反映在中介语声调中体现出交叉模式的特征。具体表现为：1、音高、音长、音强在两种模式中的影响程度有差异。2、交叉模式是一个动态过程,随着语言水平提高,交叉模式的影响越小3、交叉模式不完全是两种语言现象的叠加,还有语言普遍性的存在。在此基础上,提出声调教学建议如下：1、在教学的基础阶段,对母语和目标语语言系统进行一些有针对性的对比分析,有利于确定教学中的难点和重点。2、汉语声调教学方法本身的改进,包括(1)加强不同声调之间对比的听辨；(2)声调特征分段教学策略；(3)单音节字和多音节词声调的发音训练；(4)加强阳平和上声两个声调的教学。更多还原

【Abstract】 The mandarin tones are difficult for CSL Learners with Non-tone Language Background. This thesis inspected the Chinese tones spoken by Rebkong Ando Tibetan. It includes three parts, the pattern of tones spoken by Ando Tibetan, the stress mode of Ando Tibetan, the comparison of the tone and stress modes. Basing on acoustic experiment studies, the research try to find the acoustics performance and tone errors made by the Ando Tibetan students when learning Mandarin, also trying to find the word stress mode of Ando Tibetan. Furthermore, the thesis contrasts the two modes and find the stress mode obviously influents on Chinese tone learning. Through the comparison, the thesis gives some useful advice to tone teaching.The words involved in this paper include monosyllable, disyllable, trisyllable and quadrisyllable which were read in isolation. The data are from two parts:one is the database of Chinese spoken by Tibetan students, another part is the sounds recorded in the phonetics laboratory. By acoustic experiment, this thesis compare the Chinese tone mode and Tibetan stress mode mainly focusing on Pitch, Duration, Intensity these three acoustic parameters. Whether the stress influent on the tone and the rular pattern is the main purpose of this paper.This paper is divided into five chapters:The first chapter is the introduction, mainly introducing the research dynamic of the Mandarin tone learning as second language. It include the sequence of tone acquisition, error types and the method of tone teaching. The second chapter introduces the resource and processing methods of the data.The third chapter analyzes the characters of Chinese tone spoken by Ando Tibetan. It studies the tone mode and error types, especially analyzes the monosyllable through a qualitative and quantitative method.The fourth chapter researches on the stress mode of Anduo Tibetan.The fifth chapter is the comparison of the tone mode and stress mode. Also it gives some advice on the method of Chinese tone teaching.To Chinese learners among Ando Tibetan, main features of tones include following aspects:(1) The sequence of tone acquisition is falling tone (T4), high and level tone (T1), falling-rising tone (T3) and rising tone (T2), which is not influenced by syllables and in which the acquisition period is not the same.(2) The development of tone mode is prior to the development of tone pitch.(3) As to monosyllable word and polysyllabic word, the continuity of tone acquisition is different.(4) The type of error is varied in accordance with speakers’language level and amount of syllable. Monosyllable word: The error of speakers with middle and high language level is reflected in tone pitch; while the error of speakers with low language level is reflected in tone pattern. Polysyllabic word:The error of speakers with middle and high language level is reflected as pattern dispersion for the same tone; which the error of speakers with low language level is reflected as the unchanged tone pitch for the same tone.(5) There is a certain correspondence among pitch, duration and intensity. To falling-tone disyllable word, the error shown as the short segment is strong.(6) The intensity decreases gradually by increase of amount of syllable, but the tone duration is not influenced by it.Though in dialect of Ando Tibetan the pitch is not distinguished, the prominence in syllable is relatively fixed and is not changed in the flow of speech. We can call this phenomenon as "habitual pitch". In this essay, the stress of dialect of Ando Tibetan is studied, and findings include:(1) The pitch pattern is varied in accordance with different amount of syllable. The pitch of monosyllable word mainly includes two kinds, that is, falling tone and level tone. And the falling tone is common, which is varied by tail vowel. The pitch of disyllable word mainly includes two kinds, that is, mid-level tone plus high-falling tone, in which the prominence is in the second syllable, and high-level tone plus mid-falling tone, in which the prominence is in the first syllable. As to the second, it mainly appears in subject-predicate structure. The pitch of tri-syllabic word is varied in accordance with composite modes. As to one plus two mode, the pitch is high-level, mid-level and low-falling, in which the prominence is in the first syllable. And as to two plus one mode, the pitch is mid-level, high-falling and low-falling, in which the prominence is in the second syllable. The pitch of quadrisyllable (two plus two composite structure) is shown as level+high-falling+mid-level+mid-falling, which is an extension of the pitch of disyllable word, and is not influenced by syntactic structure.(2) In special pitch mode, the pitch, duration and intensity are correspondent. In disyllable verb, the distribution mode of duration and intensity is the same as its pitch’s, in which the prominence is in the first syllable. And as to one plus two tri-syllabic word, the prominences of pitch, duration and intensity are all in the first syllable.Through comparison of these two modes, this essay concludes that the stress mode of mother tongue has some influences on tone mode of inter-language, which is reflected by cross mode of tone. It is embodied as:1. There are differences of pitch, duration and intensity between two modes.2. The cross mode is a dynamic process. The higher language level, the lower influence.3. The cross mode is not exactly composition of two languages, which also reflects language universals.With these findings, suggestions to tone teaching are given as followings:1. In the foundational phase, some systematic and specific comparative analysis between mother language and objective language are necessary, which will be benefit to make sure teaching key points and difficult points.2. To improve teaching method of Chinese tone, several measures should be taken, including (1) increasing exercises to distinguish different tones;(2) taking phase-teaching strategy according to tone feature;(3) designing sound-making training of both monosyllable and polysyllable; and (4) paying more emphasis on teaching rising tone and falling-rising tone.更多还原