Im Gegensatz zu diesen tradierten Ansätzen wird in dieser Arbeit ein neuer Ansatz vertreten, nach dem dreidimensionale (mit segmentaler, silbischer und metrischer Ebene) phonologische Repräsentationen ab ovo in der Sprachverarbeitung aktiv sind und sich gemäß der klassischen Kompetenz-Performanz-Unterscheidung in frühen Wortproduktionen auch linguistisch analysieren lassen. Ausgehend von diesem strukturalistischen Paradigma wurden Protowörter, die im Übergang von der Lallphase zur Zielwortproduktion realisiert werden und bei einer relativ stabilen Bedeutungszuweisung keine overte Ähnlichkeit zu Zielwörtern zeigen, entweder als artikulatorische Muster analysiert oder unter der Perspektive der Generativen Grammatik als nicht-phonologische Wortformen gänzlich ignoriert. Eine erste Phase, in der vorsprachliche Lalllaute produziert werden und keine phonologischen Kontraste gegeben sind, und eine zweite Phase, die eigentliche Sprachstufe, in der eben diese sprachsystematischen Kontrastbildungen sukzessive ausgebaut werden. Nach Jakobson (1941) lassen sich in der frühen phonologischen Entwicklung zwei diskrete Phasen unterscheiden. This preference, as will be argued, has its origin in sonority asymmetry, |I| being less sonorous than |U|. Special attention will be given to nasal vowel diphthongization in non-standard European Portuguese, which reveals a preference for the front offglide over the back offglide, appearing even in some contexts where would be expected. As will be shown, this asymmetry is the source of several phenomena in Portuguese phonology, both synchronic and diachronic. |I| and |U| do in fact have distinct behaviors (Carvalho & Klein 1996 Nevins 2012 Veloso 2013 Pimenta 2019 Pöchtrager 2015), and while typologically, rounding can be absent from a language inventory, “no language has been found that lacks both a front vowel and palatal glide” (Hyman 2008: 100 n. As it has been previously noted, though, this formulation misses a recurrent crosslinguistic asymmetry. In Element-Theory and similar approaches to the internal structure of segments, it is often assumed that the aperture element |A| is more sonorous and different in kind from the coloring elements |I| and |U| (Hulst 2015 Pöchtrager 2006 Schane 1984), while the latter are usually considered to be equally sonorous and display symmetrical behavior. It is shown how the major sonority categories, and thereby the phonotactic constraints based on these categories, naturally result from how the two CVCV sequences are synchronized if the one on the C-plane is longer than the one on. I argue instead for a representational alternative assuming that (i) consonants and vowels are universally segregated, and (ii) involve two parallel CVCV sequences – one on the C-plane, the other on the V-plane – (iii) which may differ in length. The basic reason for this is that the second approach is both arbitrary and circular, as it entails a variable ranking of alleged well-formedness principles, if we want to explain, for example, why TR clusters are either tautosyllabic or heterosyllabic depending on the language. This paper aims to show that sonority-based generalizations on consonant phonotactics should directly follow from representations, not from stipulations on representations such as the commonly accepted licensing or government statements. Yet there does remain one relatively neglected resource deserving of serious attention, namely, the critical evaluation of compositional techniques as inferred f. Having rightly acknowledged such achievements, one must nevertheless concede that even the most positivistic avenues of research often yield results that are decidedly inconclusive.! This state of affairs only reminds us that our understanding of music as a living art in this period must inevitably be founded upon the shifting sands of presumption and educated guessing. Such enterprises have furthered our appreciation of the cultural contexts in which music was composed and experienced, and have led to some gratifying advances in our knowledge of manuscript compilation, performance practice, theoretical texts and their traditions, institutional history, and biography. During recent years, scholarship in the field of late medieval music has been heavily weighted toward archival research, paleography, and contemporary theory.
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