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Checked tone | |||||||||||||||||||||
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Traditional Chinese | 入聲 | ||||||||||||||||||||
Simplified Chinese | 入声 | ||||||||||||||||||||
Literal meaning | the tone of character 入 'entering' tone | ||||||||||||||||||||
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Alternative Chinese name | |||||||||||||||||||||
Traditional Chinese | 促聲 | ||||||||||||||||||||
Simplified Chinese | 促声 | ||||||||||||||||||||
Literal meaning | the hurried tone | ||||||||||||||||||||
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A checked tone,commonly known by the Chinese calque entering tone,is one of the four syllable types in the phonology of Middle Chinese. Although usually translated as "tone",a checked tone is not a tone in the phonetic sense but rather a type of syllable that ends in a stop consonant or a glottal stop. Separating the checked tone allows -p,-t,and -k to be treated as allophones of -m,-n,and -ng,respectively,since they are in complementary distribution. Stops appear only in the checked tone,and nasals appear only in the other tones. Because of the origin of tone in Chinese,the number of tones found in such syllables is smaller than the number of tones in other syllables. Chinese phonetics have traditionally counted them separately.
Final voiceless stops and therefore the checked "tones" have disappeared from most Mandarin dialects,spoken in northern and southwestern China,but have been preserved in southeastern Chinese branches like Yue,Min,and Hakka.
Tones are an indispensable part of Chinese literature,as characters in poetry and prose were chosen according to tones and rhymes for their euphony. This use of language helps reconstructing Old Chinese and Middle Chinese pronunciations since Chinese writing system is logographic,rather than phonetic.
From a phonetic perspective,the prototypical entering tone is simply a syllable ending with a voiceless stop that has no audible release:[p̚],[t̚],[k̚],and/or a glottal stop [ʔ̚] depending on the language variety. Middle Chinese has only the first three.
It is customarily called a tone regardless of whether a tonal distinction is possible in such syllables. In languages such as Early Middle Chinese and most varieties of Wu,such syllables do not have contrastive tones (i.e. the tone or pitch of the syllable is entirely predictable) and are therefore phonologically toneless. In languages such as Cantonese or Hakka,a small number of tonal distinctions exist (typically 2),which historically developed as a substitute for the lost Middle Chinese initial voicing.
Some Chinese varieties have innovated new final consonants from such historical syllables. A few dialects of Gan have [l] (from historical [t̚]). In some dialects of Cantonese and Gan,the final stop is voiced.
The voiceless stops that typify the entering tone date back to the Proto-Sino-Tibetan,the parent language of Chinese as well as the Tibeto-Burman languages. In addition,Old Chinese is commonly thought to have syllables ending in clusters /ps/,/ts/,and /ks/ [1] [2] (sometimes called the "long entering tone" while syllables ending in /p/,/t/ and /k/ are the "short entering tone"). Such clusters were later reduced to /s/,which,in turn,became /h/ and ultimately "departing tone" in Middle Chinese.
The first Chinese philologists began to describe the phonology of Chinese during the Early Middle Chinese period (specifically,during the Northern and Southern Dynasties,between 400 and 600 AD),under the influence of Buddhism and the Sanskrit language that arrived along with it. There were several unsuccessful attempts to classify the tones of Chinese before the establishment of the traditional four-tone description between 483 and 493. It is based on the Vedic theory of three intonations (聲明論). The middle intonation,udātta,maps to the "level tone" (平聲);the upwards intonation,svarita,to the "rising tone" (上聲);the downward intonation,anudātta,to the "departing tone" (去聲). The distinctive sound of syllables ending with a stop did not fit the three intonations and was categorised as the "entering tone" (入聲),thus forming the four-tone system. [3] The use of this system flourished in the Sui and Tang dynasties (7th–10th centuries),during which the Qieyun (Chinese :切韻) rime dictionary was written.
Note that modern linguistic descriptions of Middle Chinese often refer to the level,rising and departing tones as tones 1,2 and 3,respectively.
By the time of the Mongol invasion (the Yuan dynasty,1279–1368),the former final stops had been reduced to a glottal stop /ʔ/ in Old Mandarin. The Zhongyuan Yinyun (中原音韻),a rime book of 1324,already shows signs of glottal stop disappearing and the modern Mandarin tone system emerging in its place. [4] The precise time at which the loss occurred is unknown though it was likely gone by the time of the Qing Dynasty,in the 17th century.
Chinese character | Fanqie spelling and Middle Chinese reconstruction [5] | Modern varieties of Chinese having entering tone | Sino-Xenic pronunciations | Standard Mandarin (no entering tone) | Gloss | ||||||
---|---|---|---|---|---|---|---|---|---|---|---|
Hakka | Hokkien | Jianghuai Mandarin | Wu | Cantonese | Classical Japanese | Korean | Vietnamese | ||||
合 | 侯閤切[ɣɒp] | [hap˥] | [hɐʔ˥] | ho⁵[xoʔ˥] [6] | [ɦɐʔ˩˨] | [hɐp˨] | ガフ gapu,カフ kapu | 합 hap | hợp / hạp | hé [xɤ̌] | 'union','close' |
十 | 是執切[ʑĭĕp] | [sip˥] | [sip˥],[tsap˥] | shr⁵[ʂʅʔ˥] [6] | [zʷœʔ˩˨] | [sɐp˨] | ジフ zipu,シフ sipu | 십 sip | thập | shí [ʂɨ̌] | 'ten' |
佛 | 符弗切[bʰĭuət] | [fut˥] | [hut˥],[put˥] | fu⁵[fuʔ˥] [6] | [vɐʔ˩˨] | [fɐt˨] | ブツ butu,フツ putu | 불 bul | phật | fó [fuɔ̌] | 'Buddha' |
八 | 博拔切[pæt] | [pat˩] | [pat˩],[peʔ˩] | ba⁵[paʔ˥] [6] | [pɐʔ˥] | [paːt˧] | ハチ pati,ハツ patu | 팔 pal | bát | bā [pá] | 'eight' |
易 | 羊益切[jĭɛk] | [ji˥˧],[jit˥] | [ek˥],[iaʔ˥] | i⁵[iʔ˥] [6] | [ji˦],[jeʔ˩˨] | [jɪk˨] | ヤク yaku,エキ eki | 역 yeok | dịch | yì [î] | 'change','exchange' |
客 | 苦格切[kʰɐk] | [hak˩],[kʰak˩] | [kʰek],[kʰeʔ˩] | kä⁵[kʰɛʔ˥] [6] | [kʰɐʔ˥] | [haːk˧] | キャク kyaku,カク kaku | 객 gaek | khách | kè [kʰɤ̂] | 'guest' |
怒髮衝冠,憑欄處,瀟瀟雨歇}[xĭɐt];
抬望眼,仰天長嘯,壯懷激烈[lĭɛt]。
三十功名塵與土,八千里路雲和月[ŋĭwɐt];
莫等閒,白了少年頭,空悲切[ʦʰiet]。靖康恥,猶未雪[sĭuɛt];
臣子恨,何時滅[mĭɛt]。
駕長車,踏破賀蘭山缺[kʰĭuɛt];
壯志飢餐胡虜肉,笑談渴飲匈奴血[xiwet]。待從頭,收拾舊山河,朝天闕[kʰĭwɐt]!
— Yue Fei, 滿江紅 (Full River of Red)
The entering tone is extant in Jianghuai Mandarin and Minjiang Sichuanese. Other dialects have lost the entering tone, and syllables that had the tone have been distributed into the four modern tonal categories, depending on their initial consonants.
The Beijing dialect that forms the basis of Standard Mandarin redistributed syllables beginning with originally unvoiced consonants across the four tones in a completely random pattern. For example, the three characters 积脊迹, all pronounced /tsjek/ in Middle Chinese (William Baxter's reconstruction), are now pronounced jī jǐ jì, with tones 1, 3 and 4 respectively. The two characters 割/葛, both pronounced /kat/, are now pronounced gē and gé/gě respectively, with the character 葛 splitting on semantic grounds (tone 3 when it is used as a component of a name, mostly tone 2 otherwise).
Similarly, the three characters 胳阁各 (MC /kak/) are now pronounced gē gé gè. The four characters 鸽蛤颌合 (MC /kop/) are now pronounced gē gé gé gě.
In those cases, the two sets of characters are significant in that each member of the same set has the same phonetic component, suggesting that the phonetic component of a character has little to do with the tone class that the character is assigned to.
In other situations, however, the opposite appears to be the case. For example, the group 幅福蝠辐/腹复 of six homophones, all /pjuwk/ in Middle Chinese and divided into a group of four with one phonetic and a group of two with a different phonetic, splits so that the first group of four is all pronounced fú and the second group of two is pronounced fù. Situations like this may result from the fact that only one of the characters in each group normally occurs in speech with an identifiable tone, and as a result, a "literary pronunciation" of the other characters was constructed based on the phonetic element of that character.
The chart below summarizes the distribution in the different dialects.
Mandarin dialect | Voiceless | nasal or /l/ | Voiced obstruent |
---|---|---|---|
Peninsular / Jiao-Liao | 3 | 4 | 2 |
Northeastern | 1, 2, 3, 4 (mostly 3, irregular) | 4 | 2 |
Beijing | 1, 2, 3, 4 (no obvious pattern) | 4 | 2 |
North-Central / Ji-Lu | 1 | 4 | 2 |
Central Plains | 1 | 2 | |
Northwestern / Lan-Yin | 4 | 2 | |
Southwestern | 2 (mainly), 1, 4 or preserved (Minjiang dialect) | ||
Yangtze/Jianghuai | entering tone preserved |
There are several conditions that can be used to determine if a character historically had a checked tone in Middle Chinese based on its current reading in Modern Standard Mandarin. However, there are many characters, such as 切, 塔, 六, 刻 and 骨 which do not satisfy any of these conditions at all.
Initial | Final | Tone | Exceptions |
---|---|---|---|
Tenuis obstruent: ㄅ、ㄉ、ㄍ、ㄐ、ㄓ、ㄗ (b, d, g, j, zh, z) | Non-nasal final | Second tone | 鼻, 值 |
Alveolar consonant: ㄉ、ㄊ、ㄋ、ㄌ、ㄗ、ㄘ、ㄙ (d, t, n, l, z, c, s) or ㄖ (r) | ㄜ (e) | (any) | 呢、眲、若(般~)、惹 |
Velar consonant: ㄍ、ㄎ、ㄏ (g、k、h) Retroflex consonant:ㄓ、ㄔ、ㄕ、ㄖ (zh, ch, sh, r) | ㄨㄛ (uo) | (any) | 咼(渦、堝、過、鍋、禍) 果(猓、粿、裹、蜾、輠、餜、夥) 火、和(~麵)、貨 |
Bilabial consonant: ㄅ、ㄆ、ㄇ (b, p, m) Alveolar non-sibilant consonant: ㄉ、ㄊ、ㄋ、ㄌ (d, t, n, l) | ㄧㄝ (ie) | (any) | 爹、咩 |
Non-labial tenuis obstruent: ㄉ、ㄍ、ㄗ (d, g,z) Non-labial fricative: ㄏ、ㄙ (h, s) | ㄟ (ei) | (any) | 這、誰 |
ㄈ (f) | ㄚ、ㄛ (a,o) | (any) | |
Alveolar sibilant:ㄗ、ㄘ、ㄙ (z, c, s) | ㄚ (a) | (any) | 仨、灑 |
(any) | ㄩㄝ (üe) | (any) | 嗟's variant reading of juē, 靴, 瘸 |
Most varieties of Wu Chinese preserve the entering tone. However, no contemporary Wu varieties preserve the /p/, /t/ or /k/ distinction, but instead merges them all into a glottal stop /ʔ/. For example, in Shanghainese, the three lexemes 濕/湿; 'wet', 失; 'lose', 塞; 'block', historically ending in /p/, /t/ and /k/, all end in a glottal stop, and are pronounced seq/səʔ⁵⁵/.
In some modern Wu varieties such as Wenzhounese, even the glottal stop has disappeared, and the entering tone is preserved as separate tone, with a falling-rising contour, making it unequivocally a phonemic tone in modern linguistics. [7]
The pitch of the entering tones are divided into two registers, depending on the initials:
Many terms with grammatical functions also undergo sporadic evolution and gain a checked tone. This process can be considered a form of lenition, and is sometimes considered a form of glottalization. [8] [9]
Term | Gloss | Wu | Non-Wu | ||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Shanghai | Suzhou | Ningbo | Jinhua | Chongming | Changzhou | Wuxi | Jiaxing | Tiantai | Hangzhou | Beijing | Guangzhou | Nanchang | Xining | ||||
阿 | diminuitive | aq⁷ /aʔ꜆/ | aeq⁷ /aʔ꜆/ | aq⁷ /ɐʔ꜆/ | eq⁷ /əʔ꜆/ | aeq⁷ /æʔ꜆/ | aq⁷ /aʔ꜆/ | aq⁷ /aʔ꜆/ | aq⁷ /ɑʔ꜆/ | aq⁷ /aʔ꜆/ | aq⁷ /ɑʔ꜆/ | a /a/ | aa³ /a꜄/ | /꜀ŋa/ | /꜀a/ | ||
個 | possessive | gheq⁸ /ɦəʔ꜇/ | keq⁷ /kəʔ꜆/ | goq⁸ /ɡoʔ꜇/ | keq⁷ /kəʔ꜆/ | geq⁸ /ɡəʔ꜇/ | geq⁸ /ɡəʔ꜇/ | keq⁷ /kəʔ꜆/ | keq⁷ /kəʔ꜆/ | koq⁷ /koʔ꜆/ | koq⁷ /koʔ꜆/ | gè /kɤ꜄/ | ko³ /kɔ꜄/ | /ko꜄/ | /kɔ꜄/ |
Romanization used is Wugniu. This phenomenon can also be seen in many pronouns, such as Shanghainese aq-la (阿拉, "we") and Yuyaonese ⁸geq-laq₈ (搿辣, "they").
In general, Cantonese preserves the Middle Chinese finals intact, including the differentiation between -p, -t and -k final consonants. Standard Cantonese does not use any glottal stops as final consonants.
There are a few isolated cases where the final consonant has changed as a result of final dissimilation, but they remain in the checked tone. [10]
Chinese character | Middle Chinese (Baxter) | Standard Cantonese (Jyutping) | Hakka (PFS) | Sino-Korean | Sino-Vietnamese |
---|---|---|---|---|---|
法 | pjop | faat3 | fap | 법 (beop) | pháp |
乏 | bjop | fat6 | fa̍t | 핍 (pip) | phạp |
Like most other Chinese variants, Cantonese has changed initial voiced stops, affricates and fricatives of Middle Chinese to their voiceless counterparts. To compensate for losing that difference, Cantonese has split each Middle Chinese tones into two, one for Middle Chinese voiced initial consonants (light) and one for Middle Chinese voiceless initial consonants (dark). In addition, Cantonese has split the dark-entering tone into two, with a higher tone for short vowels and a lower tone for long vowels. As a result, Cantonese now has three entering tones: [11]
Some variants of Yue Chinese, notably including that of Bobai County (Chinese :博白; pinyin :Bóbái) in Guangxi and Yangjiang (simplified Chinese :阳江; traditional Chinese :陽江; pinyin :Yángjiāng; Cantonese Yale :Yèuhnggōng) in Guangdong, [12] have four entering tones: the lower light tone is also differentiated according to vowel length, short vowels for upper light and long vowels for lower light. Thus in such varieties:
Chinese character | Middle Chinese (Baxter) | Standard Cantonese (Jyutping) | Vowel length in standard Cantonese | Bobai dialect (IPA) [13] | Sino-Vietnamese |
---|---|---|---|---|---|
北 | pok | bak1 | short | /paʔ55/ | bắc |
百 | paek | baak3 | long | /pak33/ | bách |
薄 | bak | bok6 | short | /pɔk22/ | bạc |
白 | baek | baak6 | long | /pak22/ | bạch |
竹 | tsyowk | zuk1 | short (the final -uk /ʊk̚/ does not distinguish long from short) | /tʃuk55/ | trúc |
捉 | tsraewk | zuk3, zuk1 | /tʃɔk33/ | tróc | |
鐲 | dzyowk, draewk | zuk6 | /tʃɔk22/ | trạc | |
濁 | draewk | zuk6 | /tʃɔk11/ | trọc |
Hakka preserves all Middle Chinese entering tones and is split into two registers. Meixian Hakka dialect often taken as the paradigm gives the following:
Middle Chinese entering tone syllables ending in [k] whose vowel clusters have become front high vowels like [i] and [ɛ] shifts to syllables with [t] finals in some of the modern Hakka, [14] as seen in the following table.
Character | Guangyun fanqie | Middle Chinese reconstruction [5] | Hakka Chinese | Gloss |
---|---|---|---|---|
職 | 之翼切 | tɕĭək | tsit˩ | vocation, profession |
力 | 林直切 | lĭək | lit˥ | strength, power |
食 | 乗力切 | dʑʰĭək | sit˥ | eat, consume |
色 | 所力切 | ʃĭək | sɛt˩ | colour, hue |
德 | 多則切 | tək | tɛt˩ | virtue |
刻 | 苦得切 | kʰək | kʰɛt˩ | carve, engrave, a moment |
北 | 博墨切 | pək | pɛt˩ | north |
國 | 古或切 | kuək | kʷɛt˩ | country, state |
Southern Min (Minnan, including Taiwanese) has two entering tones:
A word may switch from one tone to the other by tone sandhi. Words with entering tones end with a glottal stop ([-ʔ]), [-p], [-t] or [-k] (all unaspirated). There are many words that have different finals in their literary and colloquial forms.
Eastern Min , as exemplified by Fuzhounese, also has two entering tones:
Within its complex tone sandhi laws, Fuzhounese has a split in sandhi behavior between two separate upper/dark entering 陰入 tones. This is believed to be a reflex of an earlier stage in its development, where final /k/ was distinguished from final /ʔ/. [15]
In the related Fuqing dialect, a proportion of entering tone lexemes have lost their glottal stop and have merged into the phonetically equivalent tones: [16]
Historical Entering Tone | Dark entering (陰入) | Light entering (陽入) | |||||
---|---|---|---|---|---|---|---|
Entering Tone Character | 隔 | 索 | 曲 | 石 | 糴 | 畫 | 挃 |
Fuzhou dialect [17] (colloquial reading) | gáh kɑʔ˨˦ | só̤h sɔʔ˨˦ | kuóh kʰuɔʔ˨˦ | siŏh suoʔ˥ | diăh/diĕh tieʔ˥ | uăh uaʔ˥ | dĭk tiʔ˥ |
Historical Other Tone | Dark departing (陰去) | Dark level (陰平) | |||||
Other Tone Character | 教 | 燥 | 課 | 輸 | 爹 | 蛙 | 蜘 |
Fuzhou dialect [17] (colloquial reading) | gá kɑ˨˩˧ | só̤ sɔ˨˩˧ | kuó kʰuɔ˨˩˧ | suŏ suo˥ | diă/diĕ tie˥ | uă ua˥ | dĭ/tĭ ti˥ |
Fuqing dialect (colloquial reading) | kɑ˨˩ | θɔ˨˩ | kʰuɔ˨˩ | θyo˥˧ | tia˥˧ | ua˥˧ | ti˥˧ |
This merger can also affect sandhi environments, but there is the option to use the sandhi pattern of the former checked tone while still eliminating the final glottal stop. [16] : 40
Additionally in Fuqingnese, sandhi environments where the light entering 陽入 tone is non-final cause the glottal stop to weaken and in some tones lost, and where the tone changes to a low sandhi tone /˨˩/, the glottal stop is completely lost. [16] : 39-40 The dark entering 陰入 tone on the other hand retains its glottal stop in sandhi environments. [16] : 39
Many Chinese words were borrowed into Japanese, Korean and Vietnamese during the Middle Chinese period so they preserve the entering tone to varying degrees.
Because Japanese does not allow a syllable to end with a consonant except ん n, the endings -k, -p, -t were rendered as separate syllables -ku or -ki, -pu, and -ti (Modern -chi) or -tu (Modern -tsu) respectively. Later phonological changes further altered some of the endings:
Recovering the original ending is possible by examining the historical kana used in spelling a word, which has also aided scholars in reconstructing historical Chinese pronunciation.
Korean keeps the -k and -p endings while the -t ending is represented as -l (tapped -r-, [ ɾ ], if intervocalic) as Sino-Korean derives from a northern variety of Late Middle Chinese where final -t had weakened to [ r ]. [18]
Vietnamese preserves all endings /p/, /t/ and /k/ (spelt -c). Additionally, after the vowels ê or i, the ending -c changes to -ch, giving rise to -ich and -êch, and ach (pronounced /ajk/) also occurs for some words ending with -k.
Only the sắc and nặng tones are allowed on checked tones. In Sino-Vietnamese vocabulary, those tones were split from the Middle Chinese "entering" tone in a similar fashion to Cantonese. Whether the syllable tone should be sắc or nặng depends on the original Middle Chinese syllable's initial consonant voicing.
Chinese character | Middle Chinese reconstruction [5] | Vietnamese |
---|---|---|
百 | [pɐk] (voiceless initial) | bách |
白 | [bʰɐk] (voiced initial) | bạch |
室 | [ɕĭĕt] (voiceless initial) | thất |
實 | [dʑʰĭĕt] (voiced initial) | thật |
一 | [ʔĭĕt] (voiceless initial) | nhất |
日 | [nʑĭĕt] (voiced initial) | nhật |
密 | [mĭĕt] (voiced initial) | mật |
佛 | [bʰĭuət] (voiced initial) | phật |
屈 | [kĭuət] (voiceless initial) | khuất or quật |
Tone is the use of pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or to inflect words. All oral languages use pitch to express emotional and other para-linguistic information and to convey emphasis, contrast and other such features in what is called intonation, but not all languages use tones to distinguish words or their inflections, analogously to consonants and vowels. Languages that have this feature are called tonal languages; the distinctive tone patterns of such a language are sometimes called tonemes, by analogy with phoneme. Tonal languages are common in East and Southeast Asia, Africa, the Americas and the Pacific.
Sandhi is any of a wide variety of sound changes that occur at morpheme or word boundaries. Examples include fusion of sounds across word boundaries and the alteration of one sound depending on nearby sounds or the grammatical function of the adjacent words. Sandhi belongs to morphophonology.
Tone sandhi is a phonological change that occurs in tonal languages. It involves changes to the tones assigned to individual words or morphemes, based on the pronunciation of adjacent words or morphemes. This change typically simplifies a bidirectional tone into a one-directional tone. Tone sandhi is a type of sandhi, which refers to fusional changes, and is derived from the Sanskrit word for "joining."
Middle Chinese or the Qieyun system (QYS) is the historical variety of Chinese recorded in the Qieyun, a rime dictionary first published in 601 and followed by several revised and expanded editions. The Swedish linguist Bernhard Karlgren believed that the dictionary recorded a speech standard of the capital Chang'an of the Sui and Tang dynasties. However, based on the preface of the Qieyun, most scholars now believe that it records a compromise between northern and southern reading and poetic traditions from the late Northern and Southern dynasties period. This composite system contains important information for the reconstruction of the preceding system of Old Chinese phonology.
The Linguistic Society of Hong Kong Cantonese Romanization Scheme, also known as Jyutping, is a romanisation system for Cantonese developed in 1993 by the Linguistic Society of Hong Kong (LSHK).
Historical Chinese phonology deals with reconstructing the sounds of Chinese from the past. As Chinese is written with logographic characters, not alphabetic or syllabary, the methods employed in Historical Chinese phonology differ considerably from those employed in, for example, Indo-European linguistics; reconstruction is more difficult because, unlike Indo-European languages, no phonetic spellings were used.
Jin is a group of Chinese linguistic varieties spoken by roughly 48 million people in northern China, including most of Shanxi province, much of central Inner Mongolia, and adjoining areas in Hebei, Henan, and Shaanxi provinces. The status of Jin is disputed among linguists; some prefer to include it within Mandarin, but others set it apart as a closely related but separate sister group.
Teochew, also known as Teo-Swa, is a Southern Min language spoken by the Teochew people in the Chaoshan region of eastern Guangdong and by their diaspora around the world. It is sometimes referred to as Chiuchow, its Cantonese rendering, due to English romanization by colonial officials and explorers. It is closely related to Hokkien, as it shares some cognates and phonology with Hokkien.
General Chinese is a diaphonemic orthography invented by Yuen Ren Chao to represent the pronunciations of all major varieties of Chinese simultaneously. It is "the most complete genuine Chinese diasystem yet published". It can also be used for the Korean, Japanese, and Vietnamese pronunciations of Chinese characters, and challenges the claim that Chinese characters are required for interdialectal communication in written Chinese.
The Fuzhou language, also Foochow, Hokchew, Hok-chiu, or Fuzhounese, is the prestige variety of the Eastern Min branch of Min Chinese spoken mainly in the Mindong region of Eastern Fujian Province. As it is mutually unintelligible to neighbouring varieties in the province, under a technical linguistic definition Fuzhou is a language and not a dialect. Thus, while Fuzhou may be commonly referred to as a 'dialect' by laypersons, this is colloquial usage and not recognised in academic linguistics. Like many other varieties of Chinese, the Fuzhou dialect is dominated by monosyllabic morphemes that carry lexical tones, and has a mainly analytic syntax. While the Eastern Min branch it belongs to is relatively closer to other branches of Min such as Southern Min or Pu-Xian Min than to other Sinitic branches such as Mandarin, Wu Chinese or Hakka, they are still not mutually intelligible.
Wong Shik Ling published a scheme of phonetic symbols for Cantonese based on the International Phonetic Alphabet (IPA) in the book A Chinese Syllabary Pronounced According to the Dialect of Canton. The scheme has been widely used in Chinese dictionaries published in Hong Kong. The scheme, known as S. L. Wong system (黃錫凌式), is a broad phonemic transcription system based on IPA and its analysis of Cantonese phonemes is grounded in the theories of Y. R. Chao.
The phonology of Burmese is fairly typical of a Southeast Asian language, involving phonemic tone or register, a contrast between major and minor syllables, and strict limitations on consonant clusters.
Standard Cantonese pronunciation originates from Guangzhou, also known as Canton, the capital of Guangdong Province. Hong Kong Cantonese is closely related to the Guangzhou dialect, with only minor differences. Yue dialects spoken in other parts of Guangdong and Guangxi provinces, such as Taishanese, exhibit more significant divergences.
The four tones of Chinese poetry and dialectology are four traditional tone classes of Chinese words. They play an important role in Chinese poetry and in comparative studies of tonal development in the modern varieties of Chinese, both in traditional Chinese and in Western linguistics. They correspond to the phonology of Middle Chinese, and are named even or level, rising, departing or going, and entering or checked. They are reconstructed as mid, mid rising, high falling, and mid with a final stop consonant respectively. Due to historic splits and mergers, none of the modern varieties of Chinese have the exact four tones of Middle Chinese, but they are noted in rhyming dictionaries.
The Fuqing dialect, or Hokchia, is an Eastern Min dialect. It is spoken in the county-level city of Fuqing, China, situated within the prefecture-level city of Fuzhou. It is not completely mutually intelligible with the Fuzhou dialect, although the level of understanding is high enough to be considered so.
The Meixian dialect, also known as Moiyan dialect, as well as Meizhou dialect (梅州話), or Jiaying dialect and Gayin dialect, Kayin dialect is the prestige dialect of Hakka Chinese. It is named after Meixian District, Meizhou, Guangdong. Sixian dialect is very similar to Meixian dialect.
Western Pwo, or Delta Pwo, is a Karen language of Burma with 210,000 estimated speakers. It is not intelligible with other varieties of Pwo. There is little dialectal variation.
Shaxian dialect is a dialect of Central Min Chinese spoken in Sha County, Sanming in Western Fujian Province of China.
Hokkien is a Southern Min language spoken in southern Fujian and Taiwan. It has one of the most diverse phoneme inventories among Sinitic languages.
Northern Wu, or Taihu Wu, is the largest subbranch of Wu Chinese, and is spoken in Shanghai, southern Jiangsu, and northern Zhejiang. These languages are noted for their extremely high number of vowels, even compared to some Germanic languages, and highly complex tone sandhi. This article will use Wugniu and IPA for transcription.
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