Tone and accent in standard Serbo-Croatian
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Tone and accent in standard Serbo-Croatian with a synopsis of Serbo-Croatian phonology by Jadranka GvozdanovicМЃ

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Published by Verl. d. Österr. Akad. d. Wiss. in Wien .
Written in English


  • Serbo-Croatian language -- Accents and accentuation.,
  • Serbo-Croatian language -- Intonation.

Book details:

Edition Notes

StatementJadranka Gvozdanović.
SeriesSchriften der Balkankommission, Linguistische Abteilung, Philosophisch-Historische Klasse, Österreichische Akademie der Wissenschaften ; 28, Schriften der Balkankommission, Linguistische Abteilung ;, 28.
LC ClassificationsPG1244 .G93
The Physical Object
Pagination164 p. :
Number of Pages164
ID Numbers
Open LibraryOL4230738M
ISBN 10370010331X
LC Control Number80511082

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Comparative and historical linguistics offers some clues for memorising the accent position: If one compares many standard Serbo-Croatian words to e.g. cognate Russian words, the accent in the Serbo-Croatian word will be one syllable before the one in the Russian word, with the rising tone. Historically, the rising tone appeared when the place of the accent shifted to the . Most books on serbo-croatian are more inclined towards croatian because of the tourism spin on them. This book however uses both dialects equally. The book contains twelve chapters (as is usual with SLS books) covering most topics a visitor to the country would need i.e. getting food, going out, booking a room etc 5/5(1). Serbo-Croatian is a South Slavic language with four national standards. The Eastern Herzegovinian Neo-Shtokavian dialect forms the basis for Bosnian, Croatian, Montenegrin, and Serbian. Standard Serbo-Croatian has 35 phonemes including vowel length: 25 consonants and 10 vowels, and a pitch accent, whereas Montenegrin has two more consonants. Serbo-Croatian is a South Slavic language with four very similar national article deals exclusively with the Eastern Herzegovinian Neo-Shtokavian dialect, the basis for the official standard of Yugoslavia and its present-day forms of Bosnian, Croatian, Montenegrin, and Serbian.. All lexemes are spelled in accented form in both scripts (Gaj's Latin and Vuk's .

The dialects of Serbo-Croatian include the vernacular forms of Serbo-Croatian as a whole or as part of its standard varieties: Bosnian, Croatian, Montenegrin and Serbian. They are part of the dialect continuum of South Slavic languages [1] [2] that joins the Macedonian dialects to the south, Bulgarian dialects to the southeast and Slovene dialects to the northwest. Standard Croatian states that every vowel can be either short or long, and there are two types of stress: rising and falling. The main difference is that the syllable, after one stressed with the rising stress, is pronounced with a higher tone. Some features are used only on TV and in some books. My aim is to give important things first, and such fine points will be "for those who want to learn more". I will also consider various dialects: most people actually everyday speak a somewhat different (some would say — quite different) language from the Standard Croatian!File Size: 1MB. As a native Croatian speaker, i talked to a lot of foreigners about this most of them can’t really differentiate Slavic languages, only the people who are actually interested in those languages or have a ‘’better’’ ear. I may be biased, but i thin.

In general, the Shtokavian dialects that represent the foundation of the four standard varieties have four pitch accents on stressed syllables: falling tone on a short vowel, written e.g. ı̏ in dictionaries; rising tone on a short vowel, written e.g. ì ; falling tone on a long vowel, written e.g. î ; and rising tone on a long vowel, written e.g. í. In addition, the following unstressed vowel . That is, the languages permit "phonemic tone, but where only one or two syllables in a word can be phonemically marked for tone, and many words are not marked for tone at all". Modern Serbo-Croatian distinguishes rising and falling tone on syllables with long or short vowels (4 accent . Pitch-accent languages tend to fall into two categories: those with a single pitch-contour (for example, high, or high–low) on the accented syllable, such as Tokyo Japanese, Western Basque, or Persian; and those in which more than one pitch-contour can occur on the accented syllable, such as Punjabi, Swedish, or Serbo-Croatian. In this latter kind, the accented syllable . The paper examines similarities in the diachronic development of three tone accent systems (Franconian, Scandinavian, Serbo-Croatian). Some varieties of these systems optimized the tone-prominence relation (TPO). Unmarked high/falling tones replaced marked low/rising tones in accent by: 4.