150 Malcah Yaeger-Dror, Tania Granadillo, Shoji Takano, and Lauren Hall-Lew
languages studied to date, nor in the American Spanish dialects discussed
by Navarro Tomás or those in the present corpus. However, even in Iberian
Spanish, both narrow focus and cases where the focal word does not have
subsequent unstressed syllables, H*, or at least L+H*, is much more likely
to occur. In addition, there is some controversy over whether the pitch peak
is on the accented syllable only or whether F0 continues to rise til the end of
the word. “The peak is on the stressed syllable when it is last, but after the
stressed syllable when it is not ¿ nal.” (Face 2002)
While no previous prosodic studies of the use of NEG have been attempted
for any Spanish-speaking corpus, since “no” is only one syllable long the type
of rise on the target syllable should not vary with focus.^ The default assump-
tion is that H* will be more likely to occur on a NEG than L* (although either
prominence option would still be relevant for this study).
Table 5.3 Prosodic Variation: The Dependent Variable
ENG/S RECODE JAPAN^13 SIGNIFICANCE CORRELATETOBI COMMENT
N - N Neutral - no amp. or F0 prominence
A - A Amplitude L* Louder, but no F0 prominence
- D Duration L Duration increase
H + — High H most common prominence
R+—RisingH+H; L+H;
H*; %H
- D Duration L Duration increase
variations on H*
^ + P Rise+fall H*+L; H*-L% occurs frequently
F + - Falling H*+L; H*-L%
L - — Low L* Bolinger’s “pick”: rare
v - — Fall-rise L*+H occurs more rarely
Only {NALv} are considered nonapplications in English and Spanish, but only
N was considered a nonapplication for Japanese. Non-occurring options are
designated “—” in the appropriate cell. All tokens were recoded as + or -.
3.3 Coding for morphology of negation
As the previous discussion shows, it is likely that prominence is morphosyn-
tactically constrained in each of the languages under analysis.
English: Table 5.4e demonstrates that there are various ways to express
negation in English, and the most common is referred to by Tottie (1991) as