Tone Sandhi: Patterns across Chinese Dialects

By Matthew Y. Chen. 2000

459 citations recorded by the source corpus.

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Testing the role of phonetic knowledge in Mandarin tone sandhi* (2010, background): “This type of alternation is often referred to as tone sandhi (e.g. Chen 2000).”
Speech melody as articulatorily implemented communicative functions (2005, background): “Chen (2000) devoted an entire volume to the documentation of various sandhi phenomena in a large variety of languages and dialects.”
Understanding near mergers: the case of morphological tone in Cantonese* (2007, background): “A growing body of work on exemplar-based theories of learning suggests the possibility of formal models of phonological representation which will offer deeper explanations of basic phonological properties than current models allow.”
PHONETIC INFLUENCES ON ENGLISH AND FRENCH LISTENERS’ ASSIMILATION OF MANDARIN TONES TO NATIVE PROSODIC CATEGORIES (2014, background): “The pitch patterns of the four Mandarin tones in citation form are standardly described as follows: Tone 1 (T1) is a high-level tone, Tone 2 (T2) is a high-rising tone, Tone 3 (T3) is the so-called dipping tone (i.e., fallingrising), and Tone 4 (T4) is a high-falling tone (Chen, 2004 ; Tao, 1996 ).”
A directional asymmetry in Chinese tone sandhi systems (2007, background): “Chan (1995) in fact takes this melody as the vestige of a right-dominant sandhi system in historical Danyang.”