By Eugeniusz Cyran
For many years, the voicing method of Polish has been on the middle of a heated theoretical debate pertaining to laryngeal phonology because it contains a variety of phenomena that represent the middle of this debate, resembling ultimate Obstruent Devoicing, Regressive Voice Assimilation, and innovative Voice Assimilation. As examine into laryngeal phonology progresses on a number of fronts, it turns into extra seen that a huge part of the phenomena in query have phonetic or implementational conditioning, therefore proscribing the position of phonology even extra. The version awarded here's one within which phonology, phonetic interpretation, and phonetics locate their respective houses. sarcastically, by means of isolating those 3 degrees of description, we want to combine the disparate threads of recent learn of sound styles into one sound approach.
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Extra resources for Between Phonology and Phonetics: Polish Voicing
We include the information which follows from the three aspects of the ‘disunity of voice’ that Harris (2009) emphasizes, that is, i) the type of segment involved, ii) the phonological and phonetic context, and iii) the type of system in which particular segments occur. It appears that while talking about the ‘disunity of voice’ we begin to observe a kind of continuum, of which we are going to take full advantage in the following chapters, in which we discuss two puz- 28 | Sound system, phonology and phonetics zling phenomena concerning the Polish voicing system, namely, pre-sonorant sandhi voicing and the so called progressive devoicing.
Westbury and Keating (1986: 163) note that, quite surprisingly, it is more ‘natural’ in terms of articulation to have a voiced stop in intervocalic contexts than a voiceless unaspirated one, as the latter requires a change in a steady articulatory state – switching off the vibration of the vocal folds. However the voiceless unaspirated realization is favoured in pre-contrast systems, that is, systems with no phonological contrast based on voice, despite the fact that it requires a greater articulatory effort.
However the voiceless unaspirated realization is favoured in pre-contrast systems, that is, systems with no phonological contrast based on voice, despite the fact that it requires a greater articulatory effort. Westbury and Keating (1986) explain this interesting paradox, by referring to what they call ‘more powerful principles’ governing phonetic interpretation in sound systems whereby a voiceless unaspirated stop is maintained in intervocalic position, even though it would be phonetically more natural, in the sense of ease of articulation, to spontaneously voice the stop in that position.