Romanian phonology
From Wikipedia, the free encyclopedia
The Romanian language has a phoneme inventory of seven vowels, two or four semivowels (disputed), and twenty consonants. Other phonemes are found in interjections or recent borrowings.
Romanian includes the two unusual diphthongs /e̯a/ and /o̯a/ and the central vowel /ɨ/.
Less frequent vowels
Consonants
Stress
Romanian has a stress accent, like almost all other Romance languages (with the notable exception of French). Generally, stress falls on the last syllable of a stem (that is, the root and derivational affixes but excluding inflections).[26] Although a lexically marked stress pattern with penultimate stress exists, morphologically derived forms continue to follow the unmarked pattern.[26]
- fráte /ˈfrate/ ('brother'), copíl /koˈpil/ ('child')
- strúgure /ˈstruɡure/ ('grape'), albástru /alˈbastru/ ('blue'), călătór /kələˈtor/ ('voyager').
Stress is not normally marked in writing, except occasionally to distinguish between homographs, or in dictionaries for the headwords. When it is marked, the main vowel of the stressed syllable receives an accent (usually acute, but sometimes grave), for example véselă 'jovial (fem. sing.)' vs. vesélă 'tableware'.
In verb conjugation, noun declension, and other word formation processes, stress shifts can occur. Verbs can have homographic forms only distinguished by stress, such as in el suflă which can mean 'he blows' (el súflă) or 'he blew' (el suflắ) depending on whether the stress is on the first or the second syllable. Changing the grammatical category of a word can lead to similar word pairs, such as the verb a albí /alˈbi/ 'to whiten' compared to the adjective álbi /ˈalbʲ/ 'white, masc. pl.'. Stress in Romanian verbs can normally be predicted by comparing tenses with similar verbs in Spanish, which does indicate stress in writing.
Secondary stress occurs according to a predictable pattern, falling on every other syllable, starting with the first, as long as it does not fall adjacent to the primary stress.[27]
Prosody
Rhythm
Romanian is syllable-timed, along with most Romance languages (but not Portuguese), Telugu, Yoruba, Chinese, Indonesian/Malay and many others. That is, each syllable takes approximately the same time to pronounce. This contrasts with stress-timed languages such as English, Russian, and Arabic, in which syllables are pronounced at a lower or higher rate so as to achieve a roughly equal time interval between stressed syllables and with mora timing, exemplified by Classical Latin, Fijian, Finnish, Hawaiian, Japanese, and Old English.
The distinction between these timing categories may sometimes seem unclear, and definitions vary. In addition, the time intervals between stresses/syllables/morae are only approximately equal, with many exceptions and large deviations. However, whereas the actual time may be only approximately equal, the differences are clear.
In the case of Romanian, consonant clusters are often found both in the syllable onset and coda, which require physical time to be pronounced. The syllable timing rule is then overridden by slowing down the rhythm. Thus, it is seen that stress and syllable timing interact. The sample sentences below, each consisting of six syllables, are illustrative:
- Mama pune masa – Mom sets the table
- Mulți puști blonzi plâng prin curți – Many blond kids cry in the courtyards
The total time length taken by each of these sentences is obviously different, and attempting to pronounce one of them with the same rhythm as the other results in unnatural utterances.
To a lesser extent, syllables are also lengthened by liquid and nasal consonants, and by semivowels in diphthongs and triphthongs, as in these examples:
| Romanian | English |
|---|---|
| pic — plic | bit — envelope |
| cec — cerc | cheque — circle |
| zic — zinc | I say — zinc |
| car — chiar | I carry — even |
| sare — soare | salt — sun |
| sta — stea | to stay — star |
| fi — fii | be (inf.) — be (imperative) |
A simple way to evaluate the length of a word, and compare it to another, consists in pronouncing it repeatedly at a natural speech rate.
Intonation
Intonation is influenced by many factors: the focus of the sentence, the theme and the rheme, emotional aspects, etc. This section covers a few general traits. Most importantly, intonation is essential in questions since, unlike English and other languages, Romanian does not distinguish grammatically declarative and interrogative sentences.
In non-emphatic yes/no questions the pitch rises at the end of the sentence until the last stressed syllable. If unstressed syllables follow, they often have a falling intonation, but this is not a rule.
- — Ai stins lumina? [ai stins lu↗mi↘na] (Have you turned off the light?)
- — Da. (Yes.)
In Transylvanian speech these yes/no questions have a very different intonation pattern, usually with a pitch peak at the beginning of the question: [ai ↗stins lumi↘na]
In selection questions the tone rises at the first element of the selection, and falls at the second.
- — Vrei bere sau vin? [vrei ↗bere sau ↘vin] (Do you want beer or wine?)
- — Bere. (Beer.)
Wh-questions start with a high pitch on the first word and then the pitch falls gradually toward the end of the sentence.
- — Cine a lăsat ușa deschisă? [↗cine↘ a lăsat ușa deschisă] (Who left the door open?)
- — Mama. (Mom did.)
Repeat questions have a rising intonation.
- — A sunat Rodica adineauri. (Rodica just called.)
- — Cine a sunat? [cine a su↗nat] (Who called?)
- — Colega ta, Rodica. (Your classmate, Rodica.)
Tag questions are uttered with a rising intonation.
- — Ți-e foame, nu-i așa? [ți-e foame, nu-i a↗șa] (You're hungry, aren't you?)
Unfinished utterances have a rising intonation similar to that of yes/no questions, but the pitch rise is smaller.
- — După ce m-am întors... [după ce m-am în↗tors...] (After I came back...)
Various other intonation patterns are used to express: requests, commands, surprise, suggestion, advice, and so on.
Example text
Orthographic:
Phonetic:
Radu
[ˈradu
se
se
joacă
ˈʒo̯akə
în
ɨn
curte.
ˈkurte
El
jel
aleargă
aˈle̯arɡə
până
ˈpɨnə
la
la
gard,
ɡard
și
ʃi
apoi
aˈpoj
se-ntoarce
senˈto̯art͡ʃe
spre
spre
casă.
ˈkasə]
