Notes 229
(^9) W indicates an open selector in Brazil’s notation.
(^10) Perceptive readers will have noted that Brazil’s description of the language
highlights the dependency relations between the deictic, adjectival and nominal
elements, and the prepositional, deictic and nominal elements which form
N and A elements respectively. Conversely the coding does not highlight any
dependency relation between verbal and non-fi nite verbal elements. For similar
views see Fawcett (2008: 49–50) who argues that because the main verb enters
into a ‘direct relationship with many aspects of the meanings and forms of the
clause’ that it is better to consider the main verb to be a separate clausal element:
i.e. one that does not form a verbal group with other verbal elements.
(^11) The symbol + represents reduplication.
(^12) The Ø symbol represents the zero realisation of the predicted N elements the car
and the street in examples (36) and (37) respectively. Brazil (1995: 133) placed
the extension found in (36) within brackets and on (p. 134) he bracketed the
suspension in (37). However, as he did not employ the bracketing convention for
extensions and suspensions in the fi nal and presumably defi nitive transcription
printed on (pp. 215–18) I have not used the bracketing conventions. In the inter-
est of consistency I have coded the elements pretty quiet as AE rather than Brazil’s
original coding of E.
(^13) Brazil states that an asking increment is formed out of an initiating increment
and a responding increment. He states that the initiating increment obliges
a co-operating hearer to produce a response which achieves a target state
(pp. 190–1).
(^14) The ad hoc notation P/R indicates that one or more of the tone units in both
examples (58) and (59) has proclaiming tone.
(^15) Note in the original Brazil et al. (1980) transcription there are seven intervening
tone units between paratone 1 and 2. The intervening tone units in Discourse
Intonation notation are.... ↓ // o ↑FOLD your ARMS // o ↑LOOK at the
WINdow // o ↑LOOK at the FLOOR // o LOOK at the DOOR // p LOOK at
↓ME // p ↓GOOD // p ↑..... There are two pitch sequences in the excluded
extract, according to Brazil et al. (1980), marked by the low-terminations on me
and good. According to the criteria employed by Tench (1996) the excluded
extract is a paratone which is bounded by the initial high pitch on fold and by
the combination of low pitch on good and the immediately following high
pitch onset.
(^16) Note that the description a tonic syllable pitched signifi cantly lower than the
previous syllable is similar but not identical to low-termination. The syllable which
immediately precedes the tonic syllable may or may not be the previous onset.
(^17) The IPO tradition refers to the approach to describing intonation developed
over the past 40 years at the Institute for Perception Research in Eindhoven
in the Netherlands. The IPO approach was originally motivated by the desire to
create a model of Dutch for use in speech synthesis but has evolved into a more
general theory of intonational structure though one grounded in a detailed
account of the phonetic realisation of the phonological elements which are
perceivable by hearers and, thus, of relevance to them (Ladd 1996: 14).
(^18) She used the Lancaster IBM spoken English corpus; a collection of prepared and
semi-prepared speech. The example referred to here is a read aloud scripted