華語聲調特徵在二語教學中之描述及其應用

本研究透過彙整相關文獻，並融合教學實作經驗，針對聲調教學提出一套簡約而實用之「華語各聲調特徵對照暨教學建議項目表」，並據以針對不同母語背景之華語學習者的常見偏誤提出具體的聲調教學及正音建議。本文以重音「音域較寬、較長、較強」之概念，重新描述華語各聲調的內在結構及其在不同語境中之變化，因而將同樣為升調之陽平及全上分別描述為「高升、後重」以及「低升、前重」。並建議將陰平和上聲分別描述為「高平調」與「極低平調」，且將平調描述為「中重」結構，以提醒學習者在發平聲時應小心地控制音量淡入、淡出，才能避免調頭、調尾之音量突出，而被判斷為非平調。而去聲若位於句首、停頓之後或負載重音，其起調調值略高於相鄰陰平之調值及相鄰陽平尾音之調值；若位於重音位置或句尾，其尾音也須說到音域的最低點，因此可將去聲描述為「非句尾則首重，重音節及陳述句尾則首尾皆重」。輕聲在非重音詞詞尾及重音詞尾，可分別視為「前音節調型的延伸」以及「前音節極值音高的對照」；後者是說，若輕聲的前音節是帶極高調值的陰平、陽平和去聲，則該輕聲調值為低，而在帶極低音值的上聲之後則調值為高，藉此與前音節共同拓展調閾來呈現重音。且輕聲若位於停頓之前需承擔邊緣調。本文並將華語雙音節聲調組合分成「敘述句首」（原型）、「敘述句尾」（音高下傾）及「疑問句尾」（音高升階）三型，以樂譜一一條列，呈現不同聲調組合在不同語境中之基本變化。在教學實踐方面，作者與網路華語教學公司ChinesePod 合作，將上述內容以實作教學工作坊之形式，錄製了一系列華語發音教學影片「SayItRight Series」。本文記錄並說明SayItRight Series系列教學影片之設計特色、內容規劃以及工作坊中實際教學、正音和討論的過程。

關鍵字

華語聲調特徵；聲調特徵描述；聲調教學；華語聲調正音

並列摘要

Through interaction with relevant literature, coupled with actual teaching experience, this dissertation will present a simple and practical chart comparing the unique characteristics of each of the Chinese tones. It will also provide suggestions for teaching them and correcting common pronunciation errors specific to Chinese-language learners from different language backgrounds. This study will provide a fresh description of the structure and contextual variation of each Chinese tone in terms of stress (broader, longer, or stronger sounds). As such, the two rising tones (second and full third tones) are described respectively as： rising high with final stress, and rising low with initial stress. This study advocates describing first tone as, “high level tone,” and third tone as “very low level tone,” and both of these tones as “center-stress” in structure. This is to remind learners that these tones must be eased into and out of to avoid accenting the attack or release, and thus appearing to be something other than a level tone. If a fourth tone occurs at the beginning of a sentence, after a pause, or on a stressed syllable, its starting pitch will be slightly higher than an adjacent first tone, or the high end of an adjacent second tone. If it occurs on a stressed syllable or at the end of a sentence, it’s ending pitch needs to reach the lowest level. As such, the fourth tone can be described as having initial stress in non sentence-final position, and having both initial and final stress on stressed syllables or at the end of a declarative sentence. A neutral tone can be described as a blended extension of the previous tone, or a counterpoint to the extreme pitch of the previous tone, depending on whether the neutral tone occurs at the end of a stressed or unstressed word, respectively. That is to say, if the previous tone is a high first, second t, or fourth tone, the following neutral tone will be low, but following the low tone, the third, then the following neutral tone would be high, in this way to stress the word by broadening the pitching range. This study classifies two-syllable tone pairs in Mandarin in the following categories： 1) Declarative sentence-initial (original), 2) Declarative sentence-final (lowered pitch range), 3) Interrogative sentence-final (raised pitch range). A musical notation will be used to illustrate the basic changes of tone pairs in different contexts. Beyond the three types listed above, this study will also also use Mandarin’s third tone as an example to illustrate the subtle tonal changes that occur in the following contexts： Mid-sentence emphasis, Declarative sentence-final, Exclamatory sentence-final and Imperative sentence-final. For the practical teaching aspect, the author has partnered with ChinesePod, presenting the material in videos led by two teaching hosts that are a part of the Say It Right series. In order to direct future research, this report will describe the format, content and teaching process, as well as how to help learners correct their pronunciation by the describing tools suggested in this dissertation.