holbuzvala wrote: ↑Tue Jan 21, 2020 6:19 am1. What other languages have comparable systems?
Naturally, the most similar system to that of Tokyo/Standard Japanese would be that of Kyoto Japanese.
Its phonology combining phonemic tone and phonemic pitch accent is pretty interesting: every content word must have a phonemic tone on the first syllable, and a phonemic accent may or may not be found on a subsequent syllable. Classic examples: /a˥me/ [a˥me˥] 'rain' (high tone, no accent), /ha˥ꜜna/ [ha˥na˨] 'flower' (high tone, accent present), /na˨deꜜɕiko/ [na˨de˥ɕ(i˨)ko˨] (low tone, accent on second syllable) '(name of a flower:
Dianthus superbus)', /i˨rogaꜜmi/ [i˨ro˨ga˥mi˨] 'colour paper' (low tone, accent on third syllable). The system is more tonal than that of Tokyo though: there is no phonemic location for the accent unless the word has four syllables or more, so in words with 1-3 syllables the accent is either present (+) or absent (-).
Afterwards, I think the closest languages would be a number of Bantu languages, which, like Tokyo Japanese, tend to select one syllable in a word to bear the accent, which then may alter the pitch of the whole word and attached clitics or adpositions. Like Japanese, words are often phonemically accentless, gaining a default phonetic pitch pattern. Unlike Japanese, some of the languages exhibit phonemic tone in the accented syllable, and it is possible for more than one accent to appear in a word by appearing in different syllables, e.g. the name of Uganda's capital in the Luganda language, Kampala /ka˥mpala:˥˩/ [kam˥mpa˥la:˥˩] (the syllable -pa- doesn't bear phonemic accent+tone, but it gains a phonetic high pitch).
(This Luganda example may make it look like it's simply tonal, but that language has a Japanese-like rising default pitch when a word is accentless: /ebitabo/ [e˨bi˥ta˥bo˥] 'books', with phonetic low-high-high-high; and when unaccented syllables are affected by a syllable nearby with accent+tone, they simply become either high or low in predictable ways: /eddwa˥˩liro/ [e˨ddwa˥˩li˥ro˥] 'hospital', with phonetic low-falling-high-high.)
At a more removed place, I'd say you could look at BCSM (Serbo-Croatian), Swedish and Attic Greek. These languages basically combine stress and tone, and don't really have accentless words (except for many function words, like any other languages with phonemic stress), but are interesting for relevant reasons. BCSM is interesting because in the dialects that have tone in short vowels, the tones are spread onto the next syllable as well (as if the short vowel can't bear them alone, just like the pitch-accent of Japanese monosyllabic words!). And Swedish
always spreads its tones (only two) throughout a word, with patterns affected by stress. It isn't really clear, but the use of the grave and acute orthographic accents in Attic Greek seems to suggest that words with alleged final stress (on the last syllable) and acute tone may have simply been accentless words in their default pitch. Attic Greek can also bear more than one accent+tone inside a single word as an effect of certain function words.
I don't know about Korean, but from the occasional short mentions in passim I've seen of it, it looks like the "pitch accent" of some dialects and Middle Korean was really just tone, spread in various patterns throughout a word (as in certain non-Bantu Niger-Congo languages like famous Yoruba). I would say those Korean varieties are simply tonal, but I might be wrong about this though (I have really read almost nothing). Lithuanian, often said to have "pitch accent", also seems irrelevant, in the sense that it doesn't have accentless words, nor tones that spread in patterns. Its two-tone distinction only appears in the very limited context of stressed heavy syllables with a long vowel or a sonorant coda, so I'd rather say it's a language with stress with a little bit of limited tone. I have no idea about Sanskrit.
holbuzvala wrote: ↑Tue Jan 21, 2020 6:19 am2. Are there particular resources you'd recommend for learning about such?
I'd say the best thing you could do is read specialized works on relevant languages. You can find some useful surveys in general books on phonology though, like
this chapter by van der Hulst from
The Blackwell Companion to Phonology (2011). Surveys are useful for their discussions and classifications of many different tonal/accentual phenomena, but specialized works are also good because surveys always simplify what languages are actually like.
As some random advice, be especially cautious of Bantu literature, because their conventions are often different. To give you one example,
this paper entitled "Xhosa: A tone or pitch-accent language?", discusses whether Xhosa has a "tonal pitch accent" or a "metrical pitch accent". In general linguistics, this would be translated as a discussion on whether Xhosa has a
phonemic pitch accent or a
phonetic (non-phonemic) pitch accent.
Similarly, someone on English Wikipedia called Kanjuzi has been adding a lot of stuff on the accent+tone systems of
Luganda and
Chichewa, but note the particular use of formatting (explained nowhere in the articles!):
bold letters are used for the location of
phonemic accent, acútes/gràves/cîrcumflexes/brĕves are used for the realizations of pitch at the
phonetic level, and
underlining is used to direct the reader's attention at something. Par for the course in Bantu literature.
Also, though this may be unnecessary to say, don't get too bogged down on what is or is not "tone" or "pitch accent" or "stress". In the end, in real languages you can find all sorts of combinations of suprasegmental phenomena. For example, the Cantonese tone #4 often has creaky phonation, Mandarin spreads its tones onto phonemically toneless syllables (/tjan˥˩tsi/ [tjɛn˥˩dz̩˩] 'electricity', /χə˧˥tsi/ [χɤ˧˥dz̩˧] 'box'), Turkish has been noticed to have some non-phonemic pitch patterns (even though it barely has some words with non-predictable, phonemic stress; in the article I linked to above Xhosa is described as possibly being like this too), words in Persian in some constructions may lose stress entirely in favour of another word later on (presumably French went through a stage like that before gaining the non-phonemic phrase-final stress it has today:
pour voir ses deux enfants [puʁvwaʁsedøzɒ̃ˈfɒ̃] vs. Spanish
para ver sus dos niños [paɾaˈβeɾ suzdoˈsixos])...
Spec Qs:
3. What are the effects of certain sounds on pitch? For instance, would velars/uvulars raise/lower pitch? What about the effect, instead of POA, of ejectivity, voicing, etc.?
I don't know about POA affecting pitch, but across time, voiced MOA very often creates lower phonemic tones (although some examples of the opposite can be found).
Pabappa wrote: ↑Tue Jan 21, 2020 7:20 amI dont think the consonants would interact with the pitch of the syllables. I dont really have anything else to add but just wanted to get rid of this idea up front .... of all the natlangs we have sound changes for, Im not aware of even one in which tone interacts with consonants.
I mentioned such a change in this post a month ago:
http://verduria.org/viewtopic.php?f=3&t ... 297#p22297
The Middle Chinese voiced consonants become voiceless aspirated before the level (平 píng) tone, but voiceless unaspirated before other tones.
I'll try get back to after reading through those Hyman papers.