A Grammar of Miya (University of California Publications in by Russell G. Schuh

By Russell G. Schuh

A Grammar of Miya describes a language of the Chadic relatives spoken in Northern Nigeria. this is often the 1st documentation of Miya apart from note lists. The grammar describes all elements of the language. Of specific typological curiosity are the tone process, a "terraced point" process within which tone operates over multi-syllabic domain names, and be aware order, that is VXS in lots of contexts.

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1 whi h ld h ' . 9 -, C wou ot erwlse be predicted by the associatl'on patt . b .. ern gIven a ove. 8Verbs of the "H H" an d "H L" classes comprise two furth 1 I . H-X tone patterns (4'§§12 3 2 3) H H b I e r arge c asses of words descnbed as having • . - . ver c ass gerunds (4'§2 2 1) h . a H-H nouns e g b'tak" ' t ' , • d' . ave a tone pattern resemblmg that f ymg' rJVJ akJ 'becommg . hin ' , but for these gerunds the first H is associated with any b unI num er ab moras up to and . ' association between "H H" d .

E. all the way to L. It is worth noting that underlying Hand L are fully neutralized in utterance initial position. I made and recorded a list of lexically Hand L words, randomly ordered, and had Vaziya repeat the list. There were no pitch differences between H and L. 3The only difference between the system here and Christaller's is that lack of a mark in utterance initial position indicated L for hirn-Twi has nothing corresponding to Miya's Toneless domain. Christaller used consecutive acute accents, as here, to mark (downstepped) H.

This segmental form would yield the predicted tone pattern because the first and second moras would now be u~a. 1), there would be no way to account for [u] in the first syllable without w being present. This word must therefore be considered tonally or segmentally anomalous. , 3. Tonal Phonology (§2) A Grammar of Miya 46 47 1 I 'I One might suggest that multi-tone patterns on nouns of only three moras are in a precarious situation because of the perceptual considerations underlying tone association patterns outlined above.

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