六堆地区四县腔客语声调比较研究

【外文题名】A Comparative Study on SiXian Hakka Tonal Pitches in LuiDui Regions

【作者】 何志男

【关键词】 阳平变调 客语 声调 六堆 四县腔

【外文关键词】 Hakka tone LiuDui or Six Piles SiXian Hakka yang ping sandhi

【导师姓名】江俊龙

【学位名称】硕士

【学位年度】2011

【学位授予单位】暂无

【所属分类】暂无

【录入时间】2011-01-01

【全文挂接】 读秀挂接

【摘要】的關係長久以來，在客家語音相關文獻中，美濃地區的陰平，因著調值的差異與其它講四縣腔的地區分別開來。本文透過各個面向，各種層次的觀點，盡力闡明陰平所具體呈現的兩種調值之關聯性。結論是：調尾揚升的〔324〕，是調尾平直的〔322〕，為了能與陽平順暢連結而改變調尾型態的「非調位性變體」。也因為〔324〕調尾揚升的特徵，較具有標性，被某些地區的一部分人當做陰平「單字」或「後字」的調值，致文獻多記〔324〕（〔24〕）為陰平之代表調值。經本文闡明彼此的關係，〔322〕為陰平「基本調」而〔324〕為其「變體」的態勢昭然若楬矣。二、發現陽平變調的真實狀況六堆四縣腔陽平變調的情況，之前僅少數論者提及，有可能因其歸納之規則太過籠統或其他主觀因素，一般論者多迴避提及。筆者卻受其導引，抱著一探究竟的心情，特別用心的觀察了陽平於連讀時的調值變化，果真發現了陽平豐富的連讀變調規則。陽平變調的發現，加上前項所示，陰平兩種調值〔322〕、〔324〕之間的關係釐清後，可以說解決了絕大部分之前研究者，對於陰、陽平的種種疑點與困惑。比方說：因錯認「陰平後接陰平、去聲、陽入變調為陽平」而衍生出來的許多陰、陽平混淆的問題，如陰平調值趨向陽平？平聲分陰陽的部分回頭？升調的平調化……等等。本文的研究結果，正提示了尋求答案的明確線索。三、各調類調值：（一）單字：（1）陰平：A.〔322〕：主要盛行於美濃、高樹、長治。B.〔324〕：主要盛行於內埔、麟洛、竹田。C.〔322〕與〔324〕混讀：萬巒、新埤。D.〔32〕：此調值較為短促且有下降的感覺，為佳冬所特有。其餘調類之單字調值為六堆全區所共通共有，分別是：（2）陽平〔31〕（3）上聲〔42〕（4）去聲〔55〕（5）陰入〔43〕（6）陽入〔55〕（二）連讀：（1）陰平A.〔324〕∕___〔31〕陰平後接陽平時，穩定的讀調尾揚升的〔324〕，六堆全區無一例外。同時這裡也是陰平調值全然讀做〔324〕的唯一時機。B.〔322〕∕___｛〔322〕或〔324〕或〔32〕；〔55〕；〔55〕｝陰平後接陰平、去聲或陽入時，穩定的讀調尾平直的〔322〕，六堆全區也無一例外。C.｛〔322〕；〔324〕；〔32〕｝∕ T ___（T＝任何調類）陰平位於後字時，可能出現〔322〕；〔324〕；〔32〕三種調值，運用的時機和比例，隨地區或個人而異。以盛行率而論，大致狀況為：I. 〔322〕美濃、高樹、長治。II. 〔324〕麟洛、內埔、竹田。III. 〔322〕與〔324〕混讀：萬巒、新埤。IV. 〔32〕 佳冬。D. ｛〔322〕；〔323〕｝∕___｛〔42〕；〔43〕｝陰平後接上聲或陰入時，可能出現〔322〕、〔323〕兩種調值。此處的陰平調值是自由而不穩定的。同時其連讀的聲調變化條件及表現型式與「陰平後接陽平」也是有區別的。一般來說，除美濃、佳冬為〔322〕外，其他地區讀〔323〕。（2）陽平A.〔31〕＞〔322〕∕___｛〔322〕或〔324〕或〔32〕｝陽平後接陰平時變調為陰平〔322〕，也是所有變調中唯一的「調位性變調」。B.〔31〕＞〔32〕∕___〔42；43〕陽平後接上聲及陰入時，調值提高約1度，調型基本上還是維持下降的徵性，只是自身音程縮小，致下降幅度較不顯著。C.〔31〕＞〔31↑〕∕___〔55；55〕陽平後接去聲及陽入時，變調情況與上條規則類似，只是調值僅提高半度多，與單字調的音高及調型差異較不明顯。...

【外文摘要】Among the LiuDui ( or literally, Six-Piles) regions in southern Taiwan, where SiXian Hakka is the mother tongue, Meinong has long been recognized as unique in that the yin-ping tone pitch in Meinong region is different from that in the rest of the LiuDui regions. This study was set out to clarify the relationship between the two yin-ping tone pitches, namely even-pitched[322] and upward-pitched [324]. It is concluded that the upward pitch of a yin-ping , [324], is simply the tonal modification of the even-pitch in [322], made as to facilitate smooth transition to a following yang-ping . Some earlier literatures mistake the upward-pitched [324] tone as the fundamental tone-pitch of a yin-ping , simply because an upward-pitch is more prominent than an even-pitch in terms of markedness. By elucidating the tonal pitch relationship, this study established that the even-pitched [322] should be the fundamental yin-ping tone pitch, while the upward-pitched [324] be its variation or sandhi.This study also discovered a myriad of rules governing pitch alternation of yang-ping in continuous intonation or continuous reading (yang-ping sandhi). This, together with the clarification of relationship between yin-ping tonal pitches, could well provide solutions to many questions regarding yin-ping and yang-ping that have long been puzzling and confusing for earlier researchers. For example, by mistaking as a rule that a yin-ping , when followed by another yin-ping , qu-sheng (downward tone) or yang-ru , is to be altered to be a yang-ping , earlier researchers have raised quite a few confusing questions/viewpoints, such as is yin-ping tone pitch in Hakka gradually merging into yang-ping ? , are the yin-ping and yang-ping tone pitches converging to a simple ping as in ancient times? , and are rising or upward tones in Hakka trending to be flat/even ones? . The author believes conclusions of this study could well provide clear clues to these questions....