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āļāļēāļĢāļĻāļķāļāļĐāļēāļ§āļĢāļĢāļāļĒāļļāļāļāđāļ āļēāļĐāļēāļĒāļāļāđāļāļīāļāļāļĨāļŠāļąāļāļĻāļēāļŠāļāļĢāđ: āļāļēāļĢāđāļāļĢāļĩāļĒāļāđāļāļĩāļĒāļāđāļāļāļĢāļīāļāļāļāļģāļāļđāļāđāļāļĩāđāļĒāļ§āļāļąāļāļāļģāļāļđāļāļāđāļāđāļāļ·āđāļāļāđāļĨāļ°āļĢāļ°āļŦāļ§āđāļēāļāļŠāļāļāļĢāļļāđāļāļāļēāļĒāļļ
āļāļīāļĻāļĢāļēāļāļĢ āļŠāļĢāđāļāļĒāļāļēāļāļ°, Disaraporn Soiyana (2009)
The objectives of this research are to compare tonal realizations in Yong in citation form and connected speech and between 2 age-groups as well as to prove whether there is tone sandhi in Yong as proposed by Ruengdet Pankhuenkhat (1978). Six female....The results of the analysis show that there are 6 tones in the Lamphun Yong tone system. Pitch range in citation form is wider than in connected speech. The range in mid utterance speech is narrower than at utterance ending. The realizations of the level tones