우리말 방언 성조 체계 설정 방법 - 대립과 중화에 바탕을 두고 -

On the Method of Setting up the Tonemic System in Korean Tone Dialects - Based on the Contrast and Neutralisaton

It is generally known to us that most of Gangweon and North Gyeongsang dialect have two grade ‘low and high’ two tone system or two grade ‘low and high’ three tone system through several phonologists' studies. Some of them denies traditional doctrine that South Gyeongsang dialect has grade three tone system. I advocate in this study, however, according to the results of Gim Chagyun's up-to-date researches, that most of other southern Korean dialects as well as South Gyeongsang dialect have three grade system and some others have four or five. For the analysis of tones and setting up the unified tonemic systems of south Korean tone dialects I brought in the side-dots theory initiated by King Sejong, succeeded by the 16th century Korean linguist Choi Sejin and revived by Gim Chagyun. According to the theory Korean dialects have binary system: Tones are divided into unmarked ‘plain, pyeongseong’ tone and marked ‘cheukseng’tone(s). When a dialect has two marked tones, they are divided into the simple level departing ‘geoseong’ tone and the long or long-rising ‘sangseong’ tone. The three tones are symbolized as □, ·□, and :□ respectively. Every Korean tone exerts weak or strong neutralizing force upon the tone along behind it. Pyeongseong □ neutralizes geoseong ·□ and sangseong :□ as one dot ·□. Chueukseong - comprising geoseong and sangseong - neutralize all kind of tones as one dot ·□. Some tone dialect can another tone named as negative goseong ·▣ or negative sangseong ·▣ which exerts also strong neutralizing force upon the tone along behind it. These negative tones have the same property in their neutralizing force, but pitch forms initiated by them are of remarkable differences from those of positive ones. Because of neutralizing forces of Korean tones mentioned above, the kind of tonemic patters are extremely restricted. For example, five syllable tonological words of Sacheon dialect has the seven pattern: □·□·□·□·□ (□·□⁴), □□·□·□·□ (□²·□³), □□□·□·□ (□³·□²), □□□□·□ (□⁴·□), □□□□□ (□^5), ·□·□·□·□·□ (·□^5), :□·□·□·□·□ (:□5). Side-dot patterns can be deciphered into tonological patterns one to one. As □ is high tone, ·□ is mid tone, and :□ is low tone in Sacheon dialect for example, we can change □·□⁴, □²·□³, □³·□², □⁴·□, □^5, ·□^5, and :□^5 into HM⁴, H²M³, H³M², H⁴M, H^5, M^5, and L^5 respectively. Tonological representations are realized into surface pitch forms through a few tonological rules. I suggest in all Korean tone dialects that we can pyeongseong (□) and geoseong (·□) transcribe as /H/ and /M/ respectively with reference to their pitch properties, but sangseong (:□) as /L/, /M /, or /R/ according to pitch property according to each dialect.