tipa: a system for processing phonetic symbols in lcrysmann/tipaman.pdftipa: a system for processing...
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TIPA: a System for Processing Phonetic Symbols
in LATEX
FUKUI Rei ∗
Department of Asian and Pacific LinguisticsFaculty of Letters
University of Tokyo
June 10, 1998
1 Introduction
TIPA1 is a system for processing IPA (International Phonetic Alphabet) symbolsin LATEX. It is based on TSIPA2 but both METAFONT source codes and LATEXmacros have been thoroughly rewritten so that it can be considered as a newsystem.
Among many features of TIPA, the following are the new features as com-pared with TSIPA or any other existing systems for processing IPA symbols.
• A new 256 character encoding for phonetic symbols (‘T3’), which includesall the symbols and diacritics found in the recent versions of IPA and somenon-IPA symbols.
• Complete support of LATEX 2ε.
• Roman, slanted, bold, bold extended and sans serif font styles.
• Easy input method in the IPA environment.
• Extended macros for accents and diacritics.3
• A flexible system of macros for ‘tone letters’.∗[email protected] stands for TEX IPA or Tokyo IPA. The primary ftp site in which the latest version
of TIPA is placed is ftp://tooyoo.L.u-tokyo.ac.jp/pub/TeX/tipa, and also it is mirroredonto the directory fonts/tipa of the CTAN archives.
2TSIPA was made in 1992 by Kobayashi Hajime, Fukui Rei and Shirakawa Shun. It isavailable from a CTAN archive.
One problem with TSIPA was that symbols already included in OT1, T1 or Math fonts areexcluded, because of the limitation of its 128 character encoding. As a result, a string ofphonetic representation had to be often composed of symbols from different fonts, disablingthe possibility of automatic inter-word kerning. And also too many symbols had to be realizedas macros.
3These macros are now defined in a separate file called ‘exaccent.sty’ in order for theauthors of other packages to be able to make use of them. The idea of separating thesemacros from other ones was suggested by Frank Mittelbach.
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• An optional package (vowel.sty) for drawing vowel diagrams.4
• A slightly modified set of fonts that go well when used with Times Romanand Helvetica fonts.
2 TIPA Encoding
2.1 Selection of symbols
The selection of TIPA phonetic symbols5 was made based on the following works.
• Phonetic Symbol Guide [9] (henceforth abbreviated as PSG).
• The official IPA charts of ’49, ’79, ’89 and ’93 versions.
• Recent articles published in the JIPA6, such as “Report on the 1989 KielConvention” [6], “Further report on the 1989 Kiel Convention” [7], “Com-puter Codes for Phonetic Symbols” [3], “Council actions on revisions ofthe IPA” [8], etc.
• An unpublished paper by J. C. Wells: “Computer-coding the IPA: a pro-posed extension of SAMPA” [10].
• Popular textbooks on phonetics.
More specifically, TIPA contains all the symbols, including diacritics, definedin the ’79, ’89 and ’93 versions of IPA. And in the case of the ’49 version of IPA,which is described in the Principles [5], there are too many obsolete symbolsand only those symbols that had had some popularity at least for some time orfor some group of people are included.
Besides IPA symbols, TIPA also contains symbols that are useful for thefollowing areas of phonetics and linguistics.
• Symbols used in the American phonetics (e.g. ¯, £, ±, «, etc.).
• Symbols used in the historical study of Indo-European languages (e.g. þ,ß, ÿ, Þ, º, », and accents such as �a, �e, etc.).
• Symbols used in the phonetic description of languages in East Asia (e.g.¥, §, ¢, , µ, etc.).
• Diacritics used in ‘extIPA Symbols for Disordered Speech’ [4] and ‘VoQS(Voice Quality Symbols)’ [1] (e.g.
�n�, f"", ��m, etc).
It should be also noted that TIPA includes all the necessary elements of ‘toneletters’, enabling all the theoretically possible combinations of the tone lettersystem. In the recent publication of the International Phonetic Association toneletters are admitted as an official way of representing tones but the treatment oftone letters is quite insufficient in that only a limited number of combination isallowed. This is apparently due to the fact that there has been no ‘portable’ wayof combining symbols that can be used across various computer environments.
4This package (vowel.sty) can be used independently from the TIPA package. Documen-tation is also made separately in ‘vowel.tex’ so that no further mention will be made here.
5In the case of TSIPA, the selection of symbols was based on “Computer coding of theIPA: Supplementary Report” [2].
6Journal of the International Phonetic Association.
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’0 ’1 ’2 ’3 ’4 ’5 ’6 ’7’00x
Accents and diacritics’04x’05x Punctuation marks’06x Basic IPA symbols I (vowels)’07x Diacritics, etc.’10x
Basic IPA symbols II
’13x Diacritics, etc.’14x Punct.
Basic IPA symbols III(lowercase letters)
’17x Diacritics’20x
Tone letters and other suprasegmentals’23x’24x
Old IPA, non-IPA symbols’27x’30x
Extended IPA symbols’33x Germanic’34x
Basic IPA symbols IV’37x Germanic
Table 1: Layout of the T3 encoding
Therefore TEX’s productive system of macro is an ideal tool for handling asystem like tone letters.
In the process of writing METAFONT source codes for TIPA phonetic symbolsthere have been many problems besides the one with the selection of symbols.One of such problems was that sometimes the exact shape of a symbol wasunclear. For example, the shapes of the symbols such as  (Stretched C), J(Curly-tail J) differ according to sources. This is partly due to the fact thatthe IPA has been continuously revised for the past few decades, and partly dueto the fact that different ways of computerizing phonetic symbols on differentsystems have resulted in the diversity of the shapes of phonetic symbols.
Although there is no definite answer to such a problem yet, it seems to methat it is a privilege of those working with METAFONT to have a systematic wayof controlling the shapes of phonetic symbols.
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2.2 Encoding
The 256 character encoding of TIPA is now officially called the ‘T3’ encoding.7
In deciding this new encoding, care is taken to harmonize with existing otherencodings, especially with the T1 encoding. Also the easiness of inputting pho-netic symbols is taken into consideration in such a way that frequently usedsymbols can be input with small number of keystrokes.
Table 1 shows the layout of the T3 encoding.The basic structure of the encoding found in the first half of the table (char-
acter codes ’000-’177) is based on normal text encodings (ASCII, OT1 and T1)in that sectioning of this area into several groups such as the section for accentsand diacritics, the section for punctuation marks, the section for numerals, thesections for uppercase and lowercase letters is basically the same with theseencodings.
Note also that the T3 encoding contains not only phonetic symbols but alsousual punctuation marks that are used with phonetic symbols, and in suchcases the same codes are assigned as the normal text encodings. However itis a matter of trade-off to decide which punctuation marks are to be included.For example ‘:’ and ‘;’ might have been preserved in T3 but in this case ‘:’ hasbeen traditionally used as a substitute for the length mark ‘:’ so that I decidedto exclude ‘:’ in favor of the easiness of inputting the length mark by a singlekeystroke.
The encoding of the section for accents and diacritics is closely related to T1in that the accents commonly included in T1 and T3 have the same encoding.
The sections for numerals and uppercase letters are filled with phoneticsymbols that are used frequently in many languages, because numerals anduppercase letters are usually not used as phonetic symbols. And the assignmentsmade here are used as the ‘shortcut characters’, which will be explained in thesection entitled “Ordinary phonetic symbols” (page 8).
As for the section for uppercase letters in the usual text encoding, a series ofdiscussion among the members of the ling-tex mailing list revealed that thereseem to be a certain amount of consensus on what symbols are to be assigned toeach code. For example they were almost unanimous for the assignments suchas A for A, B for B, D for D, S for S, T for T, etc. For more details, see table 2.
The encoding of the section for numerals was more difficult than the abovecase. One of the possibilities was to assign symbols based on the resemblance ofshapes. One can easily think of assignments such as 3 for 3 á for 6, etc. But theresemblance of shape alone does not serve as a criteria for all the assignments.So I decided to assign basic vowel symbols to this section.8 Fortunately theresemblance of shape is to some extent maintained as is shown in table 2.
The encoding of the section for lowercase letters poses no problem sincethey are all used as phonetic symbols. Only one symbol, namely ‘g’, needs someattention because its shape should be ‘g’, rather than ‘g’, as a phonetic symbol.9
The second half of the table (character codes ’200-’377) is divided into foursections. The first section is devoted to the elements of tone letters and othersuprasegmental symbols.
7In a discussion with the LATEX 2ε team it was suggested that the 128 character encodingused in WSUIPA would be refered to as the OT3 encoding.
8This idea was influenced by the above mentioned article by J. C. Wells [10].9But the alternative shape ‘¤’ is preserved in other section and can be used as \textg.
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ASCII : ; "TIPA : ; "ASCII 0 1 2 3 4 5 6 7 8 9TIPA 0 1 2 3 4 5 6 7 8 9ASCII @ A B C D E F G H ITIPA @ A B C D E F G H IASCII J K L M N O P Q R STIPA J K L M N O P Q R SASCII T U V W X Y Z |TIPA T U V W X Y Z |
Table 2: TIPA shortcut characters
Among the remaining three sections the last section ’340-’377 containsmore basic symbols than the other two sections. This is a result of assigning thesame character codes as latin-1 (ISO8859-1) and T1 encodings to the symbolsthat are commonly included in TIPA, latin-1 and T1 encoded fonts.10 These arethe cases of æ, ø, œ, c and þ. And within each section symbols are arranegedlargely in alphabetical order.
For a table of the T3 encoding, see Appendix C (page 41).
3 Installation
First, copy all the package and font description files (tipa.sty, tone.sty,vowel.sty, *.fd, *.def) to a directory which TEX programs can find. Inan ordinary Unix environment, it is recommended to create a directory such as/usr/local/lib/texmf/tex/tipa and copy all these files into this directory.
mkdir /usr/local/lib/texmf/tex/tipacp tipa.sty tone.sty vowel.sty /usr/local/lib/texmf/tex/tipacp *.fd *.def /usr/local/lib/texmf/tex/tipa
Next, copy all the TFM files to a directory which TEX and device driverprograms can find.
mkdir /usr/local/lib/texmf/fonts/public/tipamkdir /usr/local/lib/texmf/fonts/public/tipa/tfmcp *.tfm /usr/local/lib/texmf/fonts/public/tipa/tfm
It is also recommended to copy all the METAFONT source files into an ap-propriate directory.
mkdir /usr/local/lib/texmf/fonts/public/tipa/srccp *.mf /usr/local/lib/texmf/fonts/public/tipa/src
The final step of installation is that of PK font files. This procedure maydiffer according to the user’s computer environment.
10This is based on a suggestion by Jorg Knappen.
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Magnification font name(mag=1) tipa8, tipa9, tipa10, tipa12,
tipasl8, tipasl9, tipasl10, tipasl12,tipabx8, tipabx9, tipabx10, tipabx12,tipass8, tipass9, tipass10, tipass12
mag=5/8 tipa8, tipasl8, tipabx8, tipass8mag=6/8 tipa8, tipasl8, tipabx8, tipass8mag=7/8 tipa8, tipasl8, tipabx8, tipass8mag=magstep.5 tipa10, tipasl10, tipabx10, tipass10mag=magstep1 tipa12, tipasl12, tipabx12, tipass12mag=magstep2 tipa12, tipasl12, tipabx12, tipass12mag=magstep3 tipa12, tipasl12, tipabx12, tipass12mag=magstep4 tipa12, tipasl12, tipabx12, tipass12
Table 3: Full set of TIPA fonts
For users unfamiliar with running METAFONT programs, it is possible toget pre-compiled PK font files from ftp sites. In this case, just copy them to anappropriate directory.
mkdir /usr/local/lib/texmf/fonts/public/tipa/pkmkdir /usr/local/lib/texmf/fonts/public/tipa/pk/your_mode_namecp *pk /usr/local/lib/texmf/fonts/public/tipa/pk/your_mode_name
If you make PK fonts by yourself, generate fonts shown in table 3 by theMETAFONT program.
The bold font tipab10 and fonts of xipa family are not included in thistable. Make PK files for these fonts by yourself if you need them.
In the Unix environment, all these fonts can be automatically generated byrunning the shell script makepk1.sh. And a set of xipa family fonts can begenerated by running the shell script makepk2.sh.
Also, if you are using MakeTeXPK, it is not necessary to generate all thesesize variations at once.
4 TIPA fonts
This version of TIPA includes two families of IPA fonts, tipa and xipa. Theformer family of fonts is for normal use with LATEX, and the latter family isintended to be used with ‘times.sty’(PSNFSS). They all have the same T3encoding as explained in the previous section.
• tipa
Roman: tipa8, tipa9, tipa10, tipa12, tipa17
Slanted: tipasl8, tipasl9, tipasl10, tipasl12
Bold extended: tipabx8, tipabx9, tipabx10, tipabx12
Sans serif: tipass8, tipass9, tipass10, tipass12, tipass17
Bold: tipab10
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• xipa
Roman: xipa10
Slanted: xipasl10
Bold: xipab10
Sans serif: xipass10
All these fonts are made by METAFONT, based on the Computer Modernfont series. In the case of the xipa series, parameters are adjusted so as to lookfine when used with Times Roman (in the cases of xipa10, xipasl10, xipab10)and Helvetica (in the case of xipass10).
5 Usage
5.1 Declaration of TIPA package
In order to use TIPA, first declare TIPA package at the preamble of a document.
\documentclass{article}\usepackage{tipa}
5.2 Encoding options
The above declaration uses OT1 as the default text encoding. If you want to useTIPA symbols with T1, specify the option ‘T1’.
\documentclass{article}\usepackage[T1]{tipa}
If you want to use a more complex form of encoding, declare the use offontenc package by yourself and specify the option ‘noenc’. In this case theoption ‘T3’, which represents the TIPA encoding, must be included as an optionto the fontenc package. For example, if you want to use TIPA and the UniversityWashington Cyrillic (OT2) with the T1 text encoding, the following commandwill do this.
\documentclass{article}\usepackage[T3,OT2,T1]{fontenc}\usepackage[noenc]{tipa}
By default, TIPA includes the fontenc package internally but the optionnoenc suppresses this.
5.3 Using TIPA with PSNFSS
In order to use TIPA with times.sty, declare the use of times.sty beforedeclaring tipa packages.
\documentclass{article}\usepackage{times}\usepackage{tipa}
Font description files T3ptm.fd and T3phv.fd are automatically loaded bythe above declaration.
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5.4 Other options
TIPA can be extended by the options tone, extra.If you want to use the optional package for ‘tone letters’, add ‘tone’ option
to the \usepackage command that declares tipa package.
\usepackage[tone]{tipa}
And if you want to use diacritics for extIPA and VoQS, specify ‘extra’option.
\usepackage[extra]{tipa}
Finally there is one more option called ‘safe’, which is used to suppressdefinitions of some possibly ‘dangerous’ commands of TIPA.
\usepackage[safe]{tipa}
More specifically, the following commands are suppressed by declaring thesafe option. Explanation on the function of each command will be given later.
• \s (equivalent to \textsyllabic)
• \* (already defined in plain TEX)
• \|, \:, \;, \! (already defined in LATEX)
6 Input Commands for Phonetic Symbols
6.1 Ordinary phonetic symbols
TIPA phonetic symbols can be input by the following two ways.
(1) Input macro names in the normal text environment.
(2) Input macro names or shortcut characters within the follwoing groups orenvironment.
• \textipa{...}11
• {\tipaencoding ...}
• \begin{IPA} ... \end{IPA}
(These groups and environment will be henceforth refered to as the IPAenvironment.)
A shortcut character refers to a single character that is assigned to a specificphonetic symbol and that can be directly input by an ordinary keyboard. InTIPA fonts, the character codes for numerals and uppercase letters in the normalASCII encoding are assigned to such shortcut characters, because numerals anduppercase letters are usually not used as phonetic symbols. And additionalshortcut characters for symbols such as æ, œ, ø may also be used if you areusing a T1 encoded font and an appropriate input system for it.
The following pair of examples show the same phonetic transcription of aEnglish word that are input by the above mentioned two input methods.
11I personally prefer a slightly shorter name like \ipa rather than \textipa but this com-mand was named after the general convention of LATEX 2ε. The same can be said to all thesymbol names beginning with \text.
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Symbol name Macro name SymbolTurned A \textturna 5Glottal Stop \textglotstop PRight-tail D \textrtaild ãSmall Capital G \textscg åHooktop B \texthtb áCurly-tail C \textctc CCrossed H \textcrh èOld L-Yogh Ligature \textOlyoghlig ¬Beta \textbeta B
Table 4: Naming of TIPA symbols
Input 1 : [\textsecstress\textepsilon kspl\textschwa\textprimstress ne\textsci\textesh\textschwa n]
Output 1 : [�Ekspl@"neIS@n]
Input 2 : \textipa{[""Ekspl@"neIS@n]}
Output 2 : [�Ekspl@"neIS@n]It is apparent that inputting in the IPA environment is far easier than in
the normal text environment. Moreover, although the outputs of the aboveexamples look almost the same, they are not identical, exactly speaking. This isbecause in the IPA environment automatic kerning between symbols is enabled,as is illustrated by the following pair of examples.
Input 1 : v\textturnv v w\textsca w y\textturny y [\textesh]
Output 1 : v2v wÀw yLy [S]Input 2 : \textipa{v2v w\textsca w yLy [S]}
Output 2 : v2v wÀw yLy [S]Table 2 shows most of the shortcut characters together with the correspond-
ing characters in the ASCII encoding.
6.2 Naming of phonetic symbols
Every TIPA phonetic symbol has a unique symbol name, such as Turned A,Hooktop B, Schwa.12Also each symbol has a corresponding control sequencename, such as \textturna, \texthtb, \textschwa. The name used as a controlsequence is usually an abbreviated form of the corresponding symbol name witha prefix \text. The conventions used in the abbreviation are as follows.
• Suffixes and endings such as ‘-ive’, ‘-al’, ‘-ed’ are omitted.
• ‘right’, ‘left’ are abbreviated to r, l respectively.
• For ‘small capital’ symbols, prefix sc is added.12The naming was made based on the literature listed in the section entitled “Selection of
Symbols” (page 2). And users of TSIPA should be careful because TIPA’s naming is slightlymodified from that of TSIPA.
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• A symbol with a hooktop is abbreviated as ht...
• A symbol with a curly-tail is abbreviated as ct...
• A ‘crossed’ symbol is abbreviated as cr...
• A ligature is abbreviated as ...lig.
• For an old version of a symbol, prefix O is added.
Note that the prefix O (old) should be given in uppercase letter.Table 4 shows some examples of correspondence between symbol names and
control sequence names.
6.3 Ligatures
Just like the symbols such as “, ”, –, —, fi, ff are realized as ligatures byinputting ‘‘, ’’, --, ---, fi, ff in TEX, two of the TIPA symbols, namelySecondary Stress and Double Pipe, and double quotation marks13 can be inputas ligatures in the IPA environment.
Input : \textipa{" "" | || ‘‘ ’’}
Output : " � | { ` ''6.4 Special macros \*, \;, \: and \!
TIPA defines \*, \;, \: and \! as special macros in order to easily inputphonetic symbols that do not have a shortcut character explained above. Beforeexplaining how to use these macros, it is necessary to note that these macrosare primarily intended to be used by linguists who usually do not care aboutthings in math mode. And they can be ‘dangerous’ in that they override existingLATEX commands used in the math mode. So if you want to preserve the originalmeaning of these commands, daclare the option ‘safe’ at the preamble.
The macro \* is used in three different ways. First, when this macro isfollowed by one of the letters f, k, r, t or w, it results in a turned symbol.14
Input : \textipa{\*f \*k \*r \*t \*w}
Output : Í © ô Ø ûSecondly, when this macro is followed by one of the letters j, n, h, l or z, it
results in a frequently used symbol that has otherwise no easy way to input.
Input : \textipa{\*j \*n \*h \*l \*z}
Output : é ñ è ì ÐThirdly, when this macro is followed by letters other than the above cases,
they are turned into the symbols of the default text font. This is useful in theIPA environment to select symbols temporarily from the normal text font.
Input : \textipa{\*A dOg, \*B k\ae{}t, ma\super{\*{214}}}
13Although TIPA fonts do not include the symbols “ and ”, a negative value of kerning isautomatically inserted between ‘ and ‘, ’ and ’, so that the same results can be obtained as inthe case of the normal text font.
14This idea was pointed out by Jorg Knappen.
10
Output : A dOg, B kæt, ma214
The remaining macros \;, \: and \! are used to make small capital symbols,retroflex symbols, and implosives or clicks, respectively.
Input : \textipa{\;B \;E \;A \;H \;L \;R}
Output : à £ À Ë Ï öInput : \textipa{\:d \:l \:n \:r \:s \:z}
Output : ã í ï ó ù üInput : \textipa{\!b \!d \!g \!j \!G \!o}
Output : á â ä ê É ò6.5 Punctuation marks
The following punctuation marks and text symbols that are normally includedin the text encoding are also included in the T3 encoding so that they can bedirectly input in the IPA environment.
Input : \textipa{! ’ ( ) * + , - .\ / = ?[ ] ‘}
Output : ! ' ( ) * + , - . / = ? [ ] `All the other punctuation marks and text symbols that are not included in
T3 need to be input with a prefix \* explained in the last section when theyappear in the IPA environment.
Input : \textipa{\*; \*: \*@ \*\# \*\$ \*\& \*\% \*\{ \*\}}
Output : ; : @ # $ & % { }
6.6 Accents and diacritics
Table 5 shows how to input accents and diacritics in TIPA with some examples.Here again, there are two kinds of input methods; one for the normal textenvironment, and the other for the IPA environment.
In the IPA environment, most of the accents and diacritics can be input moreeasily than in the normal text environment, especially in the cases of subscriptsymbols that are normally placed over a symbol and in the cases of combinedaccents, as shown in the table.
As can be seen by the above examples, most of the accents that are normallyplaced over a symbol can be placed under a symbol by adding an * to thecorresponding accent command in the IPA environment.
The advantage of IPA environment is further exemplified by the all-purposeaccent \|, which is used as a macro prefix to provide shortcut inputs for thediacritics that otherwise have to be input by lengthy macro names. Table 6shows examples of such accents. Note that the macro \| is also ‘dangerous’ inthat it has been already defined as a math symbol of LATEX. So if you wantto preserve the original meaning of this macro, declare ‘safe’ option at thepreamble.
Finally, examples of words with complex accents that are input in the IPAenvironment are shown below.
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Input in the normal Input in the IPA Outputtext environment environment\’a \’a �a\"a \"a �a\ a \~a �a\r{a} \r{a} �a\textsyllabic{m} \s{m} m"\textsubumlaut{a} \"*a a�\textsubtilde{a} \~*a a�\textsubring{a} \r*a a�\textdotacute{e} \.’e �e\textgravedot{e} \‘.e �e\textacutemacron{a} \’=a �a\textcircumdot{a} \^.a �a\texttildedot{a} \~.a �a\textbrevemacron{a} \u=a �a
Table 5: Examples of inputting accents
Input in the normal Input in the IPA Outputtext environment environment\textsubbridge{t} \|[t t�\textinvsubbridge{t} \|]t t�\textsublhalfring{a} \|(a a�\textsubrhalfring{a} \|)a a�\textroundcap{k} \|c{k} �k\textsubplus{o} \|+o o�\textraising{e} \|’e e�\textlowering{e} \|‘e e�\textadvancing{o} \|<o o�\textretracting{a} \|>a a�\textovercross{e} \|x{e} �e\textsubw{k} \|w{k} k�\textseagull{t} \|m{t} t�
Table 6: Examples of the accent prefix \|
12
Input : \textipa{*\|c{k}\r*mt\’om *bhr\’=at\=er}
Output : *�km�t�om *bhr�aterFor a full list of accents and diacritics, see Appendix A
6.7 Superscript symbols
In the normal text environment, superscript symbols can be input by a macrocalled \textsuperscript, which has been newly introduced in the recent ver-sion of LATEX 2ε. This macro takes one argument which can be either a symbolor a string of symbols, and can be nested.
Since the name of this macro is too long, TIPA provides an abbreviated formof this macro called \super.
Input 1 : t\textsuperscript h k\textsuperscript wa\textsuperscript{bc}a\textsuperscript{b\textsuperscript{c}}
Output 1 : th kw abc abc
Input 2 : \textipa{t\super{h} k\super{w}a\super{bc} a\super{b\super{c}}}
Output 2 : th kw abc abcThese macros automatically select the correct size of superscript font no
matter what size of the text font is used.
6.8 Tone letters
TIPA provides a flexible system of macros for ‘tone letters’. A tone letter isrepresented by a macro called ‘\tone’, which takes one argument consisting ofa string of numbers ranging from 1 to 5. These numbers denote pitch levels,1 being the lowest and 5 the highest. Within this range, any combination isallowed and there is no limit in the length of combination.
As an example of the usage of tone letter macro, the four tones of Chineseare show below.
Input : \tone{55}ma ‘‘mother’’, \tone{35}ma ‘‘hemp’’,\tone{214}ma ‘‘horse’’, \tone{51}ma ‘‘scold’’
Output :�|ma “mother”, �|ma “hemp”, ��|ma “horse”, �|ma “scold”
7 How easy to input phonetic symbols?
Let us briefly estimate here how much easy (or difficult) to input phoneticsymbols with TIPA in terms of the number of keystrokes.
The following table shows statistics for all the phonetic symbols that ap-pear in the ’93 version of IPA chart (diacritics and symbols for suprasegmentalsexcluded). It is assumed here that each symbol is input within the IPA envi-ronment and the safe option is not specified.
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Roman \textipa{f@"nEtIks} f@"nEtIksSlanted \textipa{\slshape f@"nEtIks} f@"nEtIksor \textipa{\textsl{f@"nEtIks} f@"nEtIksor \textsl{\textipa{f@"nEtIks} f@"nEtIksBold extended \textipa{\bfseries f@"nEtIks} f@"nEtIksor \textipa{\textbf{f@"nEtIks} f@"nEtIksor \textbf{\textipa{f@"nEtIks} f@"nEtIksSans serif \textipa{\sffamily f@"nEtIks} f@"nEtIksor \textipa{\textsf{f@"nEtIks} f@"nEtIksor \textsf{\textipa{f@"nEtIks} f@"nEtIks
Table 7: Examples of font switching
keystrokes number examples1 65 a, b, @, A, B, etc.2 2 ø, {3 30 æ, ú, à, á, etc.5 1 ç
more than 5 7 Å, Ü, }, î, etc.As is shown in the table, about 92% of the symbols can be input within
three keystrokes.
8 Changing font styles
This version of TIPA includes five styles of fonts, i.e. roman, slanted, bold, boldextended and sans serif. These styles can be switched in much the same way asin the normal text fonts (see table 7).
The bold fonts are usually not used within the standard LATEX class packagesso that if you want to use them, it is necessary to use low-level font selectioncommands of LATEX 2ε.
Input : {\fontseries{b}\selectfont abcdefg \textipa{ABCDEFG}}
Output : abcdefg ABCDEFGNote also that slanting of TIPA symbols should correctly work even in the
cases of combined accents and in the cases of symbols made up by macros.
Input : \textsl{\textipa{\’{\"{\u*{e}}}}}
Output : ��e�Input : \textsl{\textdoublebaresh}
Output : S (This symbol is composed by a macro.)
9 Internal commands
Some of the internal commands of TIPA are defined without the letter @ in orderto allow a user to extend the capability of TIPA.
14
9.1 \ipabar
Some TIPA symbols such as \textbarb b, \textcrtwo 2 are defined by usingan internal macro command \ipabar. This command is useful when you wantto make barred or crossed symbols not defined in TIPA.
This command requires the following five parameters to control the positionof the bar.
• #1 the symbol to be barred
• #2 the height of the bar (in dimen)
• #3 bar width
• #4 left kern added to the bar
• #5 right kern added to the bar
Parameters #3, #4, #5 are to be given in a scaling factor to the width of thesymbol, which is equal to 1 if the bar has the same width with the symbol inquestion. For example, the following command states a barred b (b) of whichthe bar position in the y-coordinate is .5ex and the width of the bar is slightlylarger than that of the letter b.
% Barred B\newcommand\textbarb{%
\ipabar{{\tipaencoding b}}{.5ex}{1.1}{}{}}
Note that the parameters #4 and #5 can be left blank if the value is equalto 0.
And the next example declares a barred c (c) of which the bar width is alittle more than half as large as the letter c and it has the same size of kerningat the right.
% Barred C\newcommand\textbarc{%
\ipabar{{\tipaencoding c}}{.5ex}{.55}{}{.55}}
More complex examples with the \ipabar command are found in T3enc.def.
9.2 \tipaloweraccent, \tipaupperaccent
These two commands are used in the definitions of TIPA accents and diacritics.They are special forms of the commands \loweraccent and \upperaccent thatare defined in exaccent.sty. The difference between the commands with theprefix tipa and the ones without it is that the former commands select accentsfrom a T3 encoded font while the latter ones do so from the current text font.
These commands take two parameters, the code of the accent (in decimal,octal or hexadecimal number) and the symbol to be accented, as shown below.
Input : \tipaupperaccent{0}{a}
Output : �a
15
Optionally, these commands can take a extra parameter to adjust the ver-tical position of the accent. Such an adjustment is sometimes necessary in thedefinition of a nested accent. The next example shows TIPA’s definition of the‘Circumflex Dot Accent’ (e.g. �a).
% Circumflex Dot Accent\newcommand\textcircumdot[1]{\tipaupperaccent[-.2ex]{2}%
{\tipaupperaccent[-.1ex]{10}{#1}}}
This definition states that a dot accent is placed over a symbol therebyreducing the vertical distance between the symbol and the dot by .1ex anda circumflex accent is placed over the dot and the distance between the twoaccents is reduced by .2ex.
If you want to make a combined accent not included in TIPA, you can do sofairly easily by using these two commands together with the optional parameter.For more examples of these commands, see tipa.sty and extraipa.sty.
9.3 \tipaLoweraccent, \tipaUpperaccent
These two commands differ from the two commands explaind above in that thefirst parameter should be a symbol (or any other things, typically an \hbox),rather than the code of the accent. They are special cases of the commands\Loweraccent and \Upperaccent and the difference between the two pairs ofcommands is the same as before.
The next example makes a schwa an accent.
Input : \tipaUpperaccent[.2ex]%{\lower.8ex\hbox{\textipa{\super@}}}{a}
Output : @a
10 Acknowledgments
First of all, many thanks are due to the co-authors of TSIPA, Kobayashi Hajimeand Shirakawa Shun. Kobayashi Hajime was the main font designer of TSIPA.Shirakawa Shun worked very hard in deciding encoding, checking the shapes ofsymbols and writing the Japanese version of document. TIPA was impossiblewithout TSIPA.
I would like to thank also Jorg Knappen whose insightful comments helpedgreatly in many ways the development of TIPA. I was also helped and encour-aged by Christina Thiele, Martin Haase, Kirk Sullivan and many other membersof the ling-tex mailing list.
At the last stage of the development of TIPA Frank Mittelbach gave meprecious comments on how to incorporate various TIPA commands into theNFSS. I would like to thank also Barbara Beeton who kindly read over thepreliminary draft of this document and gave me useful comments.
References
[1] Martin J. Ball, John Esling, and Craig Dickson. VoQS: Voice QualitySymbols. 1994, 1994. 2
16
[2] John Esling. Computer coding of the IPA: Supplementary report. Journalof the International Phonetic Association, 20(1):22–26, 1990. 2
[3] John H. Esling and Harry Gaylord. Computer codes for phonetic symbols.Journal of the International Phonetic Association, 23(2):83–97, 1993. 2
[4] ICPLA. extIPA Symbols for Disorderd Speech. 1994, 1994. 2
[5] IPA. The Principles of the International Phonetic Association, 1949. 2
[6] IPA. Report on the 1989 Kiel Convention. Journal of the InternationalPhonetic Association, 19(2):67–80, 1989. 2
[7] IPA. Further report on the 1989 Kiel Convention. Journal of the Interna-tional Phonetic Association, 20(2):22–24, 1990. 2
[8] IPA. Council actions on revisions of the IPA. Journal of the InternationalPhonetic Association, 23(1):32–34, 1993. 2
[9] Geoffrey K. Pullum and William A. Ladusaw. Phonetic Symbol Guide. TheUniversity of Chicago Press, 1986. 2, 18
[10] John C. Wells. Computer-coding the IPA: a proposed extension of SAMPA.Revised draft 1995 04 28, 1995. 2, 4
17
Appendix
A Annotated List of TIPA Symbols
For each symbol, a large scale image of the symbol is displayed with a frame.Within the frame, horizontal lines that indicate asc_height, x_height, base-line, and desc_depth are also shown. At the left of a frame, two numbers aregiven. The one at the top of the symbol indicates serial number, and the otherat the bottom is the octal code of the symbol in TIPA fonts.
Next, the following informations are shown at the right of each symbol inthis order: (1) the name of the symbol, (2) explanation on its usage with someexamples, (3) input method in typewriter style, (4) the shapes of the symbol infour TIPA styles in normal size (i.e. roman, slanted, bold extended, sans serif),and finally (5) sources or references.
Sometimes the input method is displayed in the form of Input1: xxx, Input2:yyy . In such cases Input1 indicates the one used in the normal text environmentand Input2 the one used in the IPA environment.
The following abbreviations are used in the examples of usage and explana-tions in the footnote.
extIPA = extIPA Symbols for Disordered SpeechVoQS = Voice Quality SymbolsPSG = Phonetic Symbol Guide [9]JIPA = Journal of the International Phonetic AssociationIE Indo-EuropeanOHG Old High GermanOCS Old Church Slavic
A.1 Vowels and Consonants1
’141
aLower-case A, IPA usage: open front unrounded vowelInput: aStyles: a a a a, Sources: IPA ’49–’93
2
’065
5Turned A, IPA usage: open-mid–open central unrounded vowelInput1: \textturna, Input2: 5Styles: 5 5 5 5, Sources: IPA ’49–’93
3
’101
AScript A, IPA usage: open back unrounded vowelInput1: \textscripta, Input2: AStyles: A A A A, Sources: IPA ’49–’93
4
’066
6Turned Script A, IPA usage: open back rounded vowelInput1: \textturnscripta, Input2: 6Styles: 6 6 6 6, Sources: IPA ’49–’93
5
’346
æAsh, IPA usage: open-mid–open front unrounded vowelInput: \aeStyles: æ æ æ æ, Sources: IPA ’49–’93
6
’300
ÀSmall Capital A15, Usage: open central unrounded vowelInput1: \textsca, Input2: \;AStyles: À À À À, Sources:
15This symbol is fairly common among Chinese phoneticians.
18
7
’062
2Turned V16, IPA usage: open-mid back unrounded vowelInput1: \textturnv, Input2: 2Styles: 2 2 2 2, Sources: IPA ’49–’93
8
’142
bLower-case B, IPA usage: voiced bilabial plosiveInput: bStyles: b b b b, Sources: IPA ’49–’93
9
’272
ºSoft Sign, Usage: as in OCS ognº ‘fire’.Input: \textsoftsignStyles: º º º º, Sources:
10
’273
»Hard Sign, Usage: as in OCS grad» ‘town’.Input: \texthardsignStyles: » » » », Sources:
11
’341
áHooktop B, IPA usage: voiced bilabial implosiveInput1: \texthtb, Input2: \!bStyles: á á á á, Sources: IPA ’49–’93
12
’340
àSmall Capital B, IPA usage: voiced bilabial trillInput1: \textscb, Input2: \;BStyles: à à à à, Sources: IPA ’89, ’93
13
’240
Crossed BInput: \textcrbStyles: , Sources:
14
Macro
bBarred BInput: \textbarbStyles: b b b b, Sources:
15
’102
BBeta, IPA usage: voiced bilabial fricativeInput1: \textbeta, Input2: BStyles: B B B B, Sources: IPA ’49–’93
16
’143
cLower-case C, IPA usage: voiceless palatal plosiveInput: cStyles: c c c c, Sources: IPA ’49–’93
17
Macro
cBarred CInput: \textbarcStyles: c c c c, Sources:
18
’301
ÁHooktop C, IPA usage: voiceless palatal implosiveInput: \texthtcStyles: Á Á Á Á, Sources: IPA ’89
19
Macro
�cC Wedge, Usage: equivalent to IPA ÙInput: \v{c}Styles: �c �c �c �c, Sources:
20
’347
çC Cedilla, IPA usage: voiceless palatal fricativeInput: \c{c}Styles: ç ç ç ç, Sources: IPA ’49–’93
21
’103
CCurly-tail C, IPA usage: voiceless alveolo-palatal fricativeInput1: \textctc, Input2: CStyles: C C C C, Sources: IPA ’49–’93
16In PSG this symbol is called ‘Inverted V’ but it is apparently a mistake.
19
22
’302
ÂStretched C17, IPA usage: postalveolar clickInput: \textstretchcStyles: Â Â Â Â, Sources: IPA ’49, ’79
23
’144
dLower-case D, IPA usage: voiced dental/alveolar plosiveInput: dStyles: d d d d, Sources: IPA ’49–’93
24
’241
¡Crossed DInput: \textcrdStyles: ¡ ¡ ¡ ¡, Sources:
25
Macro
dBarred DInput: \textbardStyles: d d d d, Sources:
26
’342
âHooktop D, IPA usage: voiced dental/alveolar implosiveInput1: \texthtd, Input2: \!dStyles: â â â â, Sources: IPA ’49–’93
27
’343
ãRight-tail D, IPA usage: voiced retroflex plosiveInput1: \textrtaild, Input2: \:dStyles: ã ã ã ã, Sources: IPA ’49–’93
28
’242
¢Curly-tail D, Usage: voiced alveolo-palatal plosiveInput: \textctdStyles: ¢ ¢ ¢ ¢, Sources:
29
Macro
dzD-Z LigatureInput: \textdzligStyles: dz dz dz dz, Sources:
30
Macro
dýD-Curly-tail Z LigatureInput: \textdctzligStyles: dý dý dý dý, Sources:
31
’303
ÃD-Yogh Ligature, IPA usage: voiced alveolar lateral fricativeInput: \textdyoghligStyles: Ã Ã Ã Ã, Sources: IPA ’49–’93
32
Macro
¢ýCurly-tail D-Curly-tail Z LigatureInput: \textctdctzligStyles: ¢ý ¢ý ¢ý ¢ý, Sources:
33
’104
DEth, IPA usage: voiced dental fricativeInput1: \dh, Input2: DStyles: D D D D, Sources: IPA ’49–’93
34
’145
eLower-case E, IPA usage: colse-mid front unrounded vowelInput: eStyles: e e e e, Sources: IPA ’49–’93
35
’100
@Schwa, IPA usage: mid central unrounded vowelInput1: \textschwa, Input2: @Styles: @ @ @ @, Sources: IPA ’49–’93
17The shape of this symbol differs according to the sources. In PSG and recent articles inJIPA, it is ‘stretched’ toward both the ascender and descender regions and the whole shapelooks like a thick staple. In the old days, however, it was streched only toward the ascenderand the whole shape looked more like a stretched c.
20
36
’304
ÄRight-hook Schwa, IPA usage: r-colored @Input: \textrhookschwaStyles: Ä Ä Ä Ä, Sources: IPA ’49, ’79
37
’071
9Reversed E, IPA usage: close-mid central unrounded vowelInput1: \textreve, Input2: 9Styles: 9 9 9 9, Sources: IPA ’49–’93
38
’243
£Small Capital EInput1: \textsce, Input2: \;EStyles: £ £ £ £, Sources:
39
’105
EEpsilon, IPA usage: open-mid front unrounded vowelInput1: \textepsilon, Input2: EStyles: E E E E, Sources: IPA ’49–’93
40
’305
ÅClosed Epsilon, IPA usage: open-mid central rounded vowelInput: \textcloseepsilonStyles: Å Å Å Å, Sources: IPA ’93
41
’063
3Reversed Epsilon, IPA usage: open-mid central unrounded vowelInput1: \textrevepsilon, Input2: 3Styles: 3 3 3 3, Sources: IPA ’49–’93
42
’307
ÇRight-hook Reversed Epsilon, IPA usage: r colored 3Input: \textrhookrevepsilonStyles: Ç Ç Ç Ç, Sources:
43
’306
ÆClosed Reversed EpsilonInput: \textcloserevepsilonStyles: Æ Æ Æ Æ, Sources:
44
’146
fLower-case F, IPA usage: voiceless labiodental fricativeInput: fStyles: f f f f, Sources: IPA ’49–’93
45
’147
gLower-case G, IPA usage: voiced velar plosiveInput1: \textg, Input2: gStyles: g g g g, Sources: IPA ’49–’93
46
Macro
gBarred GInput: \textbargStyles: g g g g, Sources:
47
Macro
gCrossed GInput: \textcrgStyles: g g g g, Sources:
48
’344
äHooktop G, IPA usage: voiced velar implosiveInput1: \texthtg, Input2: \!gStyles: ä ä ä ä, Sources: IPA ’49–’93
49
’244
¤Text GInput1: g, Input2: \textgStyles: ¤ ¤ ¤ ¤, Sources:
50
’345
åSmall Capital G, IPA usage: voiced uvular plosiveInput1: \textscg, Input2: \;GStyles: å å å å, Sources: IPA ’49–’93
51
’311
ÉHooktop Small Capital G, IPA usage: voiced uvular implosiveInput1: \texthtscg, Input2: \!GStyles: É É É É, Sources: IPA ’89, ’93
21
52
’107
GGamma, IPA usage: voiced velar fricativeInput1: \textgamma, Input2: GStyles: G G G G, Sources: IPA ’49–’93
53
’310
ÈBaby Gamma, IPA usage: close-mid back unrounded vowelInput: \textbabygammaStyles: È È È È, Sources: IPA ’49, ’79
54
’067
7Ram’s Horns, IPA usage: close-mid back unrounded vowelInput1: \textramshorns, Input2: 7Styles: 7 7 7 7, Sources: IPA ’89, ’93
55
’150
hLower-case H, IPA usage: voiceless glottal fricativeInput: hStyles: h h h h, Sources: IPA ’49–’93
56
’377
ÿH-V Ligature, Usage: as in Gothic ÿas ‘what’.Input: \texthvligStyles: ÿ ÿ ÿ ÿ, Sources:
57
’350
èCrossed H, IPA usage: voiceless pharyngeal fricativeInput: \textcrhStyles: è è è è, Sources: IPA ’49–’93
58
’110
HHooktop H, IPA usage: voiced glottal fricativeInput1: \texthth, Input2: HStyles: H H H H, Sources: IPA ’49–’93
59
’312
ÊHooktop Heng, IPA usage: simultaneous S and xInput: \texththengStyles: Ê Ê Ê Ê, Sources: IPA ’49–’93
60
’064
4Turned H, IPA usage: voiced labial-palatal approximantInput1: \textturnh, Input2: 4Styles: 4 4 4 4, Sources: IPA ’49–’93
61
’313
ËSmall Capital H, IPA usage: voiceless epiglottal fricativeInput1: \textsch, Input2: \;HStyles: Ë Ë Ë Ë, Sources: IPA ’89, ’93
62
’151
iLower-case I, IPA usage: close front unrounded vowelInput: iStyles: i i i i, Sources: IPA ’49–’93
63
’031
�Undotted IInput: \iStyles: � � � �, Sources:
64
’061
1Barred I, IPA usage: close central unrounded vowelInput1: \textbari, Input2: 1Styles: 1 1 1 1, Sources: IPA ’49–’93
65
’314
ÌIotaInput: \textiotaStyles: Ì Ì Ì Ì, Sources: IPA ’49, ’79
66
’245
¥Left-hooktop I18
Input: \textlhtiStyles: ¥ ¥ ¥ ¥, Sources:
18The four symbols ¥, ¦, § and § are mainly used among Chinese linguists. These symbols arebased on “det svenska landsmalsalfabetet” and introduced to China by Bernhard Karlgren.The original shapes of these symbols were in italic as was always the case with “det svenskalandsmalsalfabetet”. It seems that the Chinese linguists who wanted to continue to use thesesymbols in IPA changed their shapes upright.
22
67
’246
¦Left-hooktop Long IInput: \textlhtlongiStyles: ¦ ¦ ¦ ¦, Sources:
68
’247
§Viby I19
Input: \textvibyiStyles: § § § §, Sources:
69
Macro
§ Raised Viby IInput: \textraisevibyiStyles: § § § §, Sources:
70
’111
ISmall Capital I, IPA usage: close–close-mid front unrounded vowelInput1: \textsci, Input2: IStyles: I I I I, Sources: IPA ’89, ’93
71
’152
jLower-case J, IPA usage: voiced palatal approximantInput: jStyles: j j j j, Sources: IPA ’49–’93
72
’032
�Undotted JInput: \jStyles: � � � �, Sources:
73
’112
JCurly-tail J20, IPA usage: voiced palatal fricativeInput1: \textctj, Input2: JStyles: J J J J, Sources: IPA ’89, ’93
74
’250
¨Small Capital JInput1: \textscj, Input2: \;JStyles: ¨ ¨ ¨ ¨, Sources:
75
Macro
��J Wedge, Usage: equivalent to IPA ÃInput: \v{\j}Styles: �� �� �� ��, Sources:
76
’351
éBarred Dotless J, IPA usage: voiced palatal plosiveInput: \textbardotlessjStyles: é é é é, Sources: IPA ’89, ’93
77
’315
ÍOld Barred Dotless J, IPA usage: voiced palatal plosiveInput: \textObardotlessjStyles: Í Í Í Í, Sources: IPA ’49, ’79
78
’352
êHooktop Barred Dotless J21, IPA usage: voiced palatal implosiveInput1: \texthtbardotlessj, Input2: \!jStyles: ê ê ê ê, Sources: IPA ’89, ’93
79
’153
kLower-case K, IPA usage: voiceless velar plosiveInput: kStyles: k k k k, Sources: IPA ’49–’93
80
’316
ÎHooktop K, IPA usage: voiceless velar inplosiveInput: \texthtkStyles: Î Î Î Î, Sources: IPA ’89
19I call this symbol ‘Viby I’, based on the following description by Bernhard Karlgren:“Une voyelle tres analogue a § se rencontre dans certains dial. suedois; on l’appelle ‘i deViby’.”(Etudes sur la phonologie chinoise, 1915–26, p. 295)
20In the official IPA charts of ’89 and ’93, this symbol has a dish serif on top of the stem,rather than the normal sloped serif found in the letter j. I found no reason why it should havea dish serif here, so I changed it to a normal sloped serif.
21In PSG the shape of this symbol slightly differs. Here I followed the shape found in IPA’89, ’93.
23
81
’251
©Turned KInput1: \textturnk, Input2: \*kStyles: © © © ©, Sources:
82
’154
lLower-case L, IPA usage: alveolar lateral approximantInput: lStyles: l l l l, Sources: IPA ’49–’93
83
’353
ëL with TildeInput1: \textltilde, Input2: \|~lStyles: ë ë ë ë, Sources: IPA ’49–’93
84
’252
ªBarred LInput: \textbarlStyles: ª ª ª ª, Sources:
85
’354
ìBelted L, IPA usage: voiceless alveolar lateral fricativeInput: \textbeltlStyles: ì ì ì ì, Sources: IPA ’49–’93
86
’355
íRight-tail L, IPA usage: retroflex lateral approximantInput1: \textrtaill, Input2: \:lStyles: í í í í, Sources: IPA ’49–’93
87
’320
ÐL-Yogh Ligature, IPA usage: voiced alveolar lateral fricativeInput: \textlyoghligStyles: Ð Ð Ð Ð, Sources: IPA ’89, ’93
88
’254
¬Old L-Yogh Ligature, IPA usage: voiced alveolar lateral fricativeInput: \textOlyoghligStyles: ¬ ¬ ¬ ¬, Sources: IPA ’49, ’79
89
’317
ÏSmall Capital L, IPA usage: velar lateral approximantInput1: \textscl, Input2: \;LStyles: Ï Ï Ï Ï, Sources: IPA ’89, ’93
90
’253
«LambdaInput: \textlambdaStyles: « « « «, Sources:
91
Macro
«Crossed LambdaInput: \textcrlambdaStyles: « « « «, Sources:
92
’155
mLower-case M, IPA usage: bilabial nasalInput: mStyles: m m m m, Sources: IPA ’49–’93
93
’115
MLeft-tail M (at right), IPA usage: labiodental nasalInput1: \textltailm, Input2: MStyles: M M M M, Sources: IPA ’49–’93
94
’127
WTurned M, IPA usage: close back unrounded vowelInput1: \textturnm, Input2: WStyles: W W W W, Sources: IPA ’49–’93
95
’356
îTurned M, Right Leg, IPA usage: velar approximantInput: \textturnmrlegStyles: î î î î, Sources: IPA ’79, ’89, ’93
96
’156
nLower-case N, IPA usage: dental/alveolar nasalInput: nStyles: n n n n, Sources: IPA ’49–’93
24
97
’256
®N, Right LegInput: \textnrlegStyles: ® ® ® ®, Sources: IPA ’49
98
Macro
�nN with TildeInput: \~nStyles: �n �n �n �n, Sources:
99
’361
ñLeft-tail N (at left), IPA usage: palatal nasalInput: \textltailnStyles: ñ ñ ñ ñ, Sources: IPA ’49–’93
100
’116
NEng, IPA usage: velar nasalInput1: \ng, Input2: NStyles: N N N N, Sources: IPA ’49–’93
101
’357
ïRight-tail N, IPA usage: retroflex nasalInput1: \textrtailn, Input2: \:nStyles: ï ï ï ï, Sources: IPA ’49–’93
102
’255
Curly-tail N, Usage: alveolo-palatal nasalInput: \textctnStyles: , Sources:
103
’360
ðSmall Capital N, IPA usage: uvular nasalInput1: \textscn, Input2: \;NStyles: ð ð ð ð, Sources: IPA ’49–’93
104
’157
oLower-case O, IPA usage: close-mid back rounded vowelInput: oStyles: o o o o, Sources: IPA ’49–’93
105
’362
òBull’s Eye, IPA usage: bilabial clickInput1: \textbullseye, Input2: \!oStyles: ò ò ò ò, Sources: IPA ’79, ’89, ’93
106
’070
8Barred O, IPA usage: close-mid central rounded vowelInput1: \textbaro, Input2: 8Styles: 8 8 8 8, Sources: IPA ’49–’93
107
’370
øSlashed O, IPA usage: close-mid front rounded vowelInput: \oStyles: ø ø ø ø, Sources: IPA ’49–’93
108
’367
÷O-E Ligature, IPA usage: open-mid front rounded vowelInput: \oeStyles: ÷ ÷ ÷ ÷, Sources: IPA ’49–’93
109
’327
×Small Capital O-E Ligature, IPA usage: open front rounded vowelInput1: \textscoelig, Input2: \OEStyles: × × × ×, Sources: IPA ’79, ’89, ’93
110
’117
OOpen O, IPA usage: open-mid back rounded vowelInput1: \textopeno, Input2: OStyles: O O O O, Sources: IPA ’49–’93
111
’257
¯Turned C(Open O)-E LigatureInput: \textturnceligStyles: ¯ ¯ ¯ ¯, Sources:
112
’260
°OmegaInput: \textomegaStyles: ° ° ° °, Sources:
25
113
’261
±Small Capital OmegaInput: \textscomegaStyles: ± ± ± ±, Sources:
114
’321
ÑClosed OmegaInput: \textcloseomegaStyles: Ñ Ñ Ñ Ñ, Sources: IPA ’49, ’79
115
’160
pLower-case P, IPA usage: voiceless bilabial plosiveInput: pStyles: p p p p, Sources: IPA ’49–’93
116
’337
ßWynnInput: \textwynnStyles: ß ß ß ß, Sources:
117
’376
þThornInput1: \textthorn, Input2: \thStyles: þ þ þ þ, Sources:
118
’322
ÒHooktop P, IPA usage: voiceless bilabial implosiveInput: \texthtpStyles: Ò Ò Ò Ò, Sources: IPA ’89
119
’106
FPhi, IPA usage: voiceless bilabial fricativeInput1: \textphi, Input2: FStyles: F F F F, Sources: IPA ’49–’93
120
’161
qLower-case Q, IPA usage: voiceless uvular plosiveInput: qStyles: q q q q, Sources: IPA ’49–’93
121
’323
ÓHooktop Q, IPA usage: voiceless uvular implosiveInput: \texthtqStyles: Ó Ó Ó Ó, Sources: IPA ’89
122
’262
²Small Capital Q22, Usage: voiceless pharyngeal plosiveInput1: \textscq, Input2: \;QStyles: ² ² ² ², Sources:
123
’162
rLower-case R, IPA usage: alveolar trillInput: rStyles: r r r r, Sources: IPA ’49–’93
124
’122
RFish-hook R, IPA usage: alveolar tap or flapInput1: \textfishhookr, Input2: RStyles: R R R R, Sources: IPA ’49–’93
125
’324
ÔLong-leg R, IPA usage: alveolar fricative trillInput: \textlonglegrStyles: Ô Ô Ô Ô, Sources: IPA ’49, ’79
126
’363
óRight-tail R, IPA usage: retroflex tap or flapInput1: \textrtailr, Input2: \:rStyles: ó ó ó ó, Sources: IPA ’49–’93
22Suggested by Prof S. Tsuchida for Austronesian languages in Taiwan. In PSG ‘FemaleSign’ and ‘Uncrossed Female Sign’(pp. 110–111) are noted for pharyngeal stops, as proposedby Trager (1964). Also I’m not sure about the difference between an epiglottal plosive and apharyngeal stop.
26
127
’364
ôTurned R, IPA usage: alveolar approximantInput1: \textturnr, Input2: \*rStyles: ô ô ô ô, Sources: IPA ’49–’93
128
’365
õTurned R, Right Tail, IPA usage: retroflex approximantInput1: \textturnrrtail, Input2: \:RStyles: õ õ õ õ, Sources: IPA ’49–’93
129
’325
ÕTurned Long-leg R, IPA usage: alveolar lateral flapInput: \textturnlonglegrStyles: Õ Õ Õ Õ, Sources: IPA ’49–’93
130
’366
öSmall Capital R, IPA usage: uvular trillInput1: \textscr, Input2: \;RStyles: ö ö ö ö, Sources: IPA ’49–’93
131
’113
KInverted Small Capital R, IPA usage: voiced uvular fricativeInput1: \textinvscr, Input2: KStyles: K K K K, Sources: IPA ’49–’93
132
’163
sLower-case S, IPA usage: voiceless alveolar fricativeInput: sStyles: s s s s, Sources: IPA ’49–’93
133
Macro
�sS Wedge, Usage: equivalent to IPA SInput: \v{s}Styles: �s �s �s �s, Sources:
134
’371
ùRight-tail S (at left), IPA usage: voiceless retroflex fricativeInput1: \textrtails, Input2: \:sStyles: ù ù ù ù, Sources: IPA ’49–’93
135
’123
SEsh, IPA usage: voiceless postalveolar fricativeInput1: \textesh, Input2: SStyles: S S S S, Sources: IPA ’49–’93
136
Macro
SDoube-barred EshInput: \textdoublebareshStyles: S S S S, Sources:
137
’263
³Curly-tail Esh, IPA usage: palatalized SInput: \textcteshStyles: ³ ³ ³ ³, Sources: IPA ’49, ’79
138
’164
tLower-case T, IPA usage: voiceless dental/alveolar plosiveInput: tStyles: t t t t, Sources: IPA ’49–’93
139
’326
ÖHooktop T, IPA usage: voiceless dental/alveolar implosiveInput: \texthttStyles: Ö Ö Ö Ö, Sources: IPA ’89
140
’264
´Left-hook T, IPA usage: palatalized tInput: \textlhooktStyles: ´ ´ ´ ´, Sources:
141
’372
úRight-tail T, IPA usage: voiceless retroflex plosiveInput1: \textrtailt, Input2: \:tStyles: ú ú ú ú, Sources: IPA ’49–’93
142
Macro
tCT-Curly-tail C LigatureInput: \texttctcligStyles: tC tC tC tC, Sources:
27
143
’266
¶T-S LigatureInput: \texttsligStyles: ¶ ¶ ¶ ¶, Sources:
144
’331
ÙT-Esh LigatureInput: \textteshligStyles: Ù Ù Ù Ù, Sources: IPA ’49–’93
145
’330
ØTurned T, IPA usage: dental clickInput1: \textturnt, Input2: \*tStyles: Ø Ø Ø Ø, Sources: IPA ’49, ’79
146
’265
µCurly-tail T, Usage: voiceless alveolo-palatal plosiveInput: \textcttStyles: µ µ µ µ, Sources:
147
Macro
µCCurly-tail T-Curly-tail C LigatureInput: \textcttctcligStyles: µC µC µC µC, Sources:
148
’124
TTheta, IPA usage: voiceless dental fricativeInput1: \texttheta, Input2: TStyles: T T T T, Sources: IPA ’49–’93
149
’165
uLower-case U, IPA usage: close back rounded vowelInput: uStyles: u u u u, Sources: IPA ’49–’93
150
’060
0Barred U, IPA usage: close central rounded vowelInput1: \textbaru, Input2: 0Styles: 0 0 0 0, Sources: IPA ’49–’93
151
’125
UUpsilon, IPA usage: close–close-mid back rounded vowelInput1: \textupsilon, Input2: UStyles: U U U U, Sources: IPA ’89, ’93
152
’366
ÚSmall Capital U, Usage: equivalent to IPA UInput1: \textscu, Input2: \;UStyles: Ú Ú Ú Ú, Sources: IPA ’49–’93
153
’166
vLower-case V, IPA usage: voiced labiodental fricativeInput: vStyles: v v v v, Sources: IPA ’49–’93
154
’126
VScript V, IPA usage: labiodental approximantInput1: \textscriptv, Input2: VStyles: V V V V, Sources: IPA ’49–’93
155
’167
wLower-case W, IPA usage: voiced labio-velar approximantInput: wStyles: w w w w, Sources: IPA ’49–’93
156
’373
ûTurned W, IPA usage: voiceless labio-velar approximantInput1: \textturnw, Input2: \*wStyles: û û û û, Sources: IPA ’49–’93
157
’170
xLower-case X, IPA usage: voiceless velar fricativeInput: xStyles: x x x x, Sources: IPA ’49–’93
158
’130
XChi, IPA usage: voiceless uvular fricativeInput1: \textchi, Input2: XStyles: X X X X, Sources: IPA ’49–’93
28
159
’171
yLower-case Y, IPA usage: close front rounded vowelInput: yStyles: y y y y, Sources: IPA ’49–’93
160
’114
LTurned Y, IPA usage: palatal lateral approximantInput1: \textturny, Input2: LStyles: L L L L, Sources: IPA ’49–’93
161
’131
YSmall Capital Y, IPA usage: close–close-mid front rounded vowelInput1: \textscy, Input2: YStyles: Y Y Y Y, Sources: IPA ’49–’93
162
’267
·Viby Y23
Input: \textvibyyStyles: · · · ·, Sources:
163
’172
zLower-case Z, IPA usage: voiced alveolar fricativeInput: zStyles: z z z z, Sources: IPA ’49–’93
164
’336
ÞComma-tail Z, Usage: as in OHG eÞÞan ‘to eat’.Input: \textcommatailzStyles: Þ Þ Þ Þ, Sources:
165
Macro
�zZ Wedge, Usage: equivalent to IPA ZInput: \v{z}Styles: �z �z �z �z, Sources:
166
’375
ýCurly-tail Z, IPA usage: voiced alveolo-palatal fricativeInput: \textctzStyles: ý ý ý ý, Sources: IPA ’49–’93
167
’271
¹Reversed YoghInput: \textrevyoghStyles: ¹ ¹ ¹ ¹, Sources:
168
’374
üRight-tail Z, IPA usage: voiced retroflex fricativeInput1: \textrtailz, Input2: \:zStyles: ü ü ü ü, Sources: IPA ’49–’93
169
’132
ZYogh, IPA usage: voiced postalveolar fricativeInput1: \textyogh, Input2: ZStyles: Z Z Z Z, Sources: IPA ’49–’93
170
’270
¸Curly-tail Yogh, IPA usage: palatalized ZInput: \textctyoghStyles: ¸ ¸ ¸ ¸, Sources: IPA ’49, ’79
171
Macro
2Crossed 2Input: \textcrtwoStyles: 2 2 2 2, Sources: IPA ’49
172
’120
PGlottal StopInput1: \textglotstop, Input2: PStyles: P P P P, Sources: IPA ’49–’93
173
’274
¼Superscript Glottal StopInput: \textraiseglotstopStyles: ¼ ¼ ¼ ¼, Sources:
23See explanations in footnote 19.
29
174
’334
ÜBarred Glottal Stop, IPA usage: epiglottal plosiveInput: \textbarglotstopStyles: Ü Ü Ü Ü, Sources: IPA ’89, ’93
175
’333
ÛInverted Glottal Stop, IPA usage: alveolar lateral clickInput: \textinvglotstopStyles: Û Û Û Û, Sources: IPA ’49, ’79
176
Macro
ÛCrossed Inverted Glottal StopInput: \textcrinvglotstopStyles: Û Û Û Û, Sources: IPA ’49
177
’121
QReversed Glottal Stop, IPA usage: voiced pharyngeal fricativeInput1: \textrevglotstop, Input2: QStyles: Q Q Q Q, Sources: IPA ’49–’93
178
’335
ÝBarred Reversed Glottal Stop, IPA usage: voiced epiglottal fricativeInput: \textbarrevglotstopStyles: Ý Ý Ý Ý, Sources: IPA ’89, ’93
179
’174
|Pipe, IPA usage: dental clickInput1: \textpipe, Input2: |Styles: | | | |, Sources: IPA ’89, ’93
180
’175
}Double-barred Pipe, IPA usage: palatoalveolar clickInput: \textdoublebarpipeStyles: } } } }, Sources: IPA ’89, ’93
181
Macro
=/Double-barred Slash, Usage: a variant of }Input: \textdoublebarslashStyles: =/ =/ =/ =/ , Sources:
182
’177
{Double Pipe, IPA usage: alveolar lateral clickInput1: \textdoublepipe, Input2: ||Styles: { { { {, Sources: IPA ’89, ’93
183
’041
!Exclamation Point, IPA usage: (post)alveolar clickInput: !Styles: ! ! ! !, Sources: IPA ’89, ’93
A.2 Suprasegmentals184
’042
"Vertical Stroke (Superior), IPA usage: primary stressInput1: \textprimstress, Input2: "Styles: " " " ", Sources: IPA ’49–’93
185
’177
�Vertical Stroke (Inferior), IPA usage: secondary stressInput1: \textsecstress, Input2: ""Styles: � � � �, Sources: IPA ’49–’93
186
’072
:Length Mark, IPA usage: longInput1: \textlengthmark, Input2: :Styles: : : : :, Sources: IPA ’49–’93
187
’073
;Half-length Mark, IPA usage: half-longInput1: \texthalflength, Input2: ;Styles: ; ; ; ;, Sources: IPA ’49–’93
188
’222
�Vertical Line, IPA usage: minor (foot) groupInput: \textvertlineStyles: � � � �, Sources: IPA ’89, ’93
30
189
’223
�Double Vertical Line, IPA usage: major (intonation) groupInput: \textdoublevertlineStyles: � � � �, Sources: IPA ’89, ’93
190
’074<Bottom Tie Bar, IPA usage: linking (absence of a break)Input1: \textbottomtiebar, Input2: \t*{}Styles: <<<<, Sources: IPA ’89, ’93
191
’224
�Downward Diagonal Arrow, IPA usage: global fallInput: \textglobfallStyles: � � � �, Sources: IPA ’89, ’93
192
’225
�Upward Diagonal Arrow, IPA usage: global riseInput: \textglobriseStyles: � � � �, Sources: IPA ’89, ’93
193
’226
�Down Arrow24, IPA usage: downstepInput: \textdownstepStyles: � � � �, Sources: IPA ’89, ’93
194
’227
�Up Arrow, IPA usage: upstepInput: \textupstepStyles: � � � �, Sources: IPA ’89, ’93
A.3 Accents and Diacritics195
’000
�eGrave Accent, IPA usage: low toneInput: \‘eStyles: �e �e �e �e, Sources: IPA ’49–’93
196
’001
�eAcute Accent, IPA usage: high toneInput: \’eStyles: �e �e �e �e, Sources: IPA ’49–’93
197
’002
�eCircumflex Accent, IPA usage: falling toneInput: \^eStyles: �e �e �e �e, Sources: IPA ’49–’93
198
’003
�eTilde, IPA usage: nasalizedInput: \~eStyles: �e �e �e �e, Sources: IPA ’49–’93
199
’004
�eUmlaut, IPA usage: centralizedInput: \"eStyles: �e �e �e �e, Sources: IPA ’49–’93
200
’005
�eDouble Acute Accent, IPA usage: extra high toneInput: \H{e}Styles: �e �e �e �e, Sources: IPA ’89, ’93
201
’006
�eRingInput: \r{e}Styles: �e �e �e �e, Sources:
202
’007
�eWedge, IPA usage: rising toneInput: \v{e}Styles: �e �e �e �e, Sources: IPA ’49–’93
24The shapes of \textdownstep and \textupstep differ according to sources. Here I followedthe shapes found in the recent IPA charts.
31
203
’010
�eBreve, IPA usage: extra shortInput: \u{e}Styles: �e �e �e �e, Sources: IPA ’49–’93
204
’011
eMacronInput: \=eStyles: e e e e, Sources:
205
’012
eDotInput: \.eStyles: e e e e, Sources:
206
’013
e�CedilleInput: \c{e}Styles: e� e� e� e�, Sources:
207
’014
e�Polish Hook (Ogonek Accent)Input1: \textpolhook{e}, Input2: \k{e}Styles: e� e� e� e�, Sources:
208
’015
eDouble Grave Accent, IPA usage: extra low toneInput1: \textdoublegrave{e}, Input2: \H*eStyles: e e e e, Sources: IPA ’89, ’93
209
’016
e�
Subscript Grave Accent, IPA usage: low falling toneInput1: \textsubgrave{e}, Input2: \‘*eStyles: e� e� e� e�, Sources: IPA ’49, ’79
210
’017
e�
Subscript Acute Accent, IPA usage: low rising toneInput1: \textsubacute{e}, Input2: \’*eStyles: e� e� e� e�, Sources: IPA ’49, ’79
211
Macro
e�
Subscript Circumflex AccentInput1: \textsubcircum{e}, Input2: \^*eStyles: e� e� e� e�, Sources:
212
’020
�gRound CapInput1: \textroundcap{g}, Input2: \|c{g}Styles: �g �g �g �g, Sources:
213
Macro
�aAcute Accent with MacronInput1: \textacutemacron{a}, Input2: \’=aStyles: �a �a �a �a, Sources:
214
’234
�aVertical Bar AccentInput: \textvbaraccent{a}Styles: �a �a �a �a, Sources:
215
’235
�aDouble Vertical Bar AccentInput: \textdoublevbaraccent{a}Styles: �a �a �a �a, Sources:
216
’236
�eGrave Dot AccentInput1: \textgravedot{e}, Input2: \‘.eStyles: �e �e �e �e, Sources:
217
’237
�eDot Acute AccentInput1: \textdotacute{e}, Input2: \’.eStyles: �e �e �e �e, Sources:
32
218
Macro
�aCircumflex Dot AccentInput1: \textcircumdot{a}, Input2: \^.aStyles: �a �a �a �a, Sources:
219
Macro
�aTilde Dot AccentInput1: \texttildedot{a}, Input2: \~.aStyles: �a �a �a �a, Sources:
220
Macro
�aBreve Macron AccentInput1: \textbrevemacron{a}, Input2: \u=aStyles: �a �a �a �a, Sources:
221
Macro
�aRing Macron AccentInput1: \textringmacron{a}, Input2: \r=aStyles: �a �a �a �a, Sources:
222
Macro
��sAcute Wedge AccentInput1: \textacutewedge{s}, Input2: \v’sStyles: ��s ��s ��s ��s, Sources:
223
Macro
�aDot Breve AccentInput: \textdotbreve{a}Styles: �a �a �a �a, Sources:
224
’021
t�Subscript Bridge, IPA usage: dentalInput1: \textsubbridge{t}, Input2: \|[tStyles: t� t� t� t�, Sources: IPA ’49–’93
225
’022
d�Inverted Subscript Bridge, IPA usage: apicalInput1: \textinvsubbridge{d}, Input2: \|]tStyles: d� d� d� d�, Sources: IPA ’89, ’93
226
’023
n�Subscript Square, IPA usage: laminalInput: \textsubsquare{n}Styles: n� n� n� n�, Sources: IPA ’89, ’93
227
’024
o�Subscript Right Half-ring25, IPA usage: more roundedInput1: \textsubrhalfring{o}, Input2: \|)oStyles: o� o� o� o� , Sources: IPA ’49–’93
228
’025
o�Subscript Left Half-ring, IPA usage: less roundedInput1: \textsublhalfring{o}, Input2: \|(oStyles: o� o� o� o� , Sources: IPA ’49–’93
229
’026
k�Subscript W, IPA usage: labializedInput1: \textsubw{k}, Input2: \|w{k}Styles: k� k� k� k�, Sources: IPA ’79
230
’026
�g
Over W, Usage: labializedInput: \textoverw{g}Styles:
�g �g �g �g, Sources:231
’027
t�Seagull, IPA usage: linguolabialInput1: \textseagull{t}, Input2: \|m{t}Styles: t� t� t� t�, Sources: IPA ’89, ’93
25Diacritics \textsubrhalfring and \textsublhalfring can be placed after a symbol byinputting, for example, [e\textsubrhalfring{}] [e�].
33
232
’030
�eOver-cross, IPA usage: mid-centralizedInput1: \textovercross{\e}, Input2: \|x{e}Styles: �e �e �e �e, Sources: IPA ’49–’93
233
’033
O�Subscript Plus26, IPA usage: advancedInput1: \textsubplus{\textopeno}, Input2: \|+OStyles: O� O� O� O�, Sources: IPA ’49–’93
234
’034
E�Raising Sign, IPA usage: raisedInput1: \textraising{\textepsilon}, Input2: \|’EStyles: E� E� E� E�, Sources: IPA ’49–’93
235
’035
e�Lowering Sign, IPA usage: loweredInput1: \textlowering{e}, Input2: \|‘eStyles: e� e� e� e�, Sources: IPA ’49–’93
236
’036
u�Advancing Sign, IPA usage: advanced tongue rootInput1: \textadvancing{u}, Input2: \|<uStyles: u� u� u� u�, Sources: IPA ’49–’93
237
’037
@�Retracting Sign, IPA usage: retracted tongue rootInput1: \textretracting{\textschwa}, Input2: \|>@Styles: @� @� @� @�, Sources: IPA ’49–’93
238
’003
e�
Subscript Tilde, IPA usage: creaky voicedInput1: \textsubtilde{e}, Input2: \~*eStyles: e� e� e� e�, Sources: IPA ’89, ’93
239
’004
e�
Subscript Umlaut, IPA usage: breathy voicedInput1: \textsubumlaut{e}, Input2: \"*eStyles: e� e� e� e�, Sources: IPA ’79, ’89, ’93
240
’006
u�
Subscript Ring, IPA usage: voicelessInput1: \textsubring{u}, Input2: \r*uStyles: u� u� u� u�, Sources: IPA ’49–’93
241
’007
e�
Subscript Wedge, IPA usage: voicedInput1: \textsubwedge{e}, Input2: \v*eStyles: e� e� e� e�, Sources: IPA ’49–’93
242
’011
e
Subscript Bar, IPA usage: retractedInput1: \textsubbar{e}, Input2: \=*eStyles: e e e e, Sources: IPA ’49–’93
243
’012
e
Subscript Dot, Usage: retroflexInput1: \textsubdot{e}, Input2: \.*eStyles: e e e e , Sources:
244
’020
e�
Subscript Arch, IPA usage: non-syllabicInput: \textsubarch{e}Styles: e� e� e� e�, Sources:
245
’042
m"
Syllabicity Mark, IPA usage: syllabicInput1: \textsyllabic{m}, Input2: \s{m}Styles: m" m" m" m" , Sources: IPA ’49–’93
26The diacritics such as \textsubplus, \textraising, \textlowering \textadvancing and\textretracting can be placed after a symbol by inputting [e\textsubplus{}] [e�], for ex-ample.
34
246
’046
t&Superimposed Tilde, IPA usage: velarized or pharyngealizedInput1: \textsuperimposetilde{t}, Input2: \|~{t}Styles: t& t& t& t&, Sources: IPA ’49–’93
247
’136
t^Corner, IPA usage: no audible releaseInput: t\textcornerStyles: t^ t^ t^ t^, Sources: IPA ’89, ’93
248
’137
t_Open Corner, Usage: release/burstInput: t\textopencornerStyles: t_ t_ t_ t_, Sources:
249
’176
@~Rhoticity, IPA usage: rhoticityInput: \textschwa\rhoticityStyles: @~ @~ @~ @~, Sources: IPA ’89, ’93
250
’040
b Celtic Palatalization Mark, Usage: as in Irish b an ‘woman’.Input: b\textceltpalStyles: b b b b , Sources:
251
’275
k½Left PointerInput: k\textlptrStyles: k½ k½ k½ k½, Sources:
252
’276
k¾Right PointerInput: k\textrptrStyles: k¾ k¾ k¾ k¾, Sources:
253
’277
p¿Rectangle27, Usage: equivalent to IPA ^ (Corner)Input: p\textrectangleStyles: p¿ p¿ p¿ p¿, Sources:
254
’076
>gb
Top Tie Bar, IPA usage: affricates and double articulationsInput1: \texttoptiebar{gb}, Input2: \t{gb}Styles:
>gb >gb >gb >gb, Sources:
255
’047
'Apostrophe, IPA usage: ejectiveInput: ’Styles: ' ' ' ', Sources: IPA ’49–’93
256
’134
\Reversed Apostrophe, IPA usage: aspiratedInput: \textrevapostropheStyles: \ \ \ \, Sources: IPA ’49, ’79
257
’056
.Period, IPA usage: syllable break as in [ôi.ækt]Input: .Styles: . . . ., Sources: IPA ’89, ’93
258
’043
#HooktopInput: \texthooktopStyles: # # # #, Sources:
259
’044
$Right HookInput: \textrthookStyles: $ $ $ $, Sources:
27This symbol is used among Japanese linguists as a diacritical symbol indicating no audiblerelease (IPA ^), because the symbol ^ is used to indicate pitch accent in Japanese.
35
260
’045
%Palatalization HookInput: \textpalhookStyles: % % % %, Sources:
261
Macro
phSuperscript H, IPA usage: aspiratedInput1: p\textsuperscript{h}, Input2: p\super hStyles: ph ph ph ph, Sources: IPA ’49–’93
262
Macro
kwSuperscript W, IPA usage: labializedInput1: k\textsuperscript{w}, Input2: k\super wStyles: kw kw kw kw, Sources: IPA ’49–’93
263
Macro
tjSuperscript J, IPA usage: palatalizedInput1: t\textsuperscript{j}, Input2: t\super jStyles: tj tj tj tj, Sources: IPA ’49–’93
264
Macro
tGSuperscript Gamma, IPA usage: velarizedInput1: t\textsuperscript{\textgamma}, Input2: t\super GStyles: tG tG tG tG, Sources: IPA ’89, ’93
265
Macro
dQSuperscript Reversed Glottal Stop, IPA usage: pharyngealizedInput1: d\textsuperscript{\textrevglotstop}, Input2: d\super QStyles: dQ dQ dQ dQ, Sources: IPA ’89, ’93
266
Macro
dnSuperscript N, IPA usage: nasal releaseInput1: d\textsuperscript{n}, Input2: d\super nStyles: dn dn dn dn, Sources: IPA ’89, ’93
267
Macro
dlSuperscript L, IPA usage: lateral releaseInput1: d\textsuperscript{l}, Input2: d\super lStyles: dl dl dl dl, Sources: IPA ’89, ’93
A.4 Tone letters
The tones illustrated here are only a representative sample of what is possible.For more details see the section entitled “Tone Letters” (page 13).
268
Macro
�|
Extra High ToneInput: \tone{55}Styles:
�| �| �| �|, Sources: IPA ’89, ’93269
Macro
�|
High ToneInput: \tone{44}Styles: �| �| �| �|, Sources: IPA ’89, ’93
270
Macro
�|Mid ToneInput: \tone{33}Styles: �| �| �| �|, Sources: IPA ’89, ’93
271
Macro
�|Low ToneInput: \tone{22}Styles: �| �| �| �|, Sources: IPA ’89, ’93
272
Macro
�|Extra Low ToneInput: \tone{11}Styles: �| �| �| �|, Sources: IPA ’89, ’93
36
273
Macro
�|Falling ToneInput: \tone{51}Styles: �| �| �| �|, Sources: IPA ’89, ’93
274
Macro
�|Rising ToneInput: \tone{15}Styles: �| �| �| �|, Sources: IPA ’89, ’93
275
Macro
�|
High Rising ToneInput: \tone{45}Styles: �| �| �| �|, Sources: IPA ’89, ’93
276
Macro
�|Low Rising ToneInput: \tone{12}Styles: �| �| �| �|, Sources: IPA ’89, ’93
277
Macro
��|
High Rising Falling ToneInput: \tone{454}Styles: ��| ��| ��| ��|, Sources: IPA ’89, ’93
A.5 Diacritics for extIPA, VoQS
In order to use diacritics listed in this section, it is necessary to specify theoption ‘extra’ at the preamble (See the section entitled “Other options” onpage 8). Note also that some of the diacritics are defined by using symbols fromfonts other than TIPA so that they may not look quite satisfactory and/or maynot be slanted (e.g. \whistle{s} s
↑).
278
Macro
s↔Left Right Arrow, Usage: labial spreadingInput: \spreadlips{s}Styles: s↔ s↔ s↔ s↔, Sources: extIPA ’94
279
Macro
�v
Overbridge, Usage: dentolabialInput: \overbridge{v}Styles:
�v �v �v �v, Sources: extIPA ’94280
Macro
�n�
Bibridge, Usage: interdental/bidentalInput: \bibridge{n}Styles:
�n� �n� �n� �n�, Sources: extIPA ’94281
Macro
t
Subscript Double Bar, Usage: alveolarInput: \subdoublebar{t}Styles: t t t t, Sources: extIPA ’94
282
Macro
f""
Subscript Double Vertical Line, Usage: strong articulationInput: \subdoublevert{f}Styles: f"" f"" f"" f"", Sources: extIPA ’94
283
Macro
v^
Subscript Corner, Usage: weak articulationInput: \subcorner{v}Styles: v v v v, Sources: extIPA ’94
284
Macro
s↑
Up Arrow, Usage: whistled ArticulationInput: \whistle{s}Styles: s
↑s↑
s↑
s↑, Sources: extIPA ’94
37
285
Macro
Ts→Right Arrow, Usage: sliding articulationInput: \sliding{\ipa{Ts}}Styles: Ts→ Ts→ Ts→ Ts→ , Sources: extIPA ’94
286
Macro
��mCrossed tilde, Usage: denasalInput: \crtilde{m}Styles: ��m ��m ��m ��m, Sources: extIPA ’94
287
Macro
..�aDotted Tilde, Usage: nasal escapeInput: \dottedtilde{a}Styles: ..�a ..�a ..�a ..�a, Sources: extIPA ’94
288
Macro
��sDouble Tilde, Usage: velopharyngeal frictionInput: \doubletilde{s}Styles: ��s ��s ��s ��s, Sources: extIPA ’94
289
Macro
n� ��
Parenthesis + Ring, Usage: partial voicelessInput: \partvoiceless{n}Styles: n� �� n� �� n� �� n� ��, Sources: extIPA ’94
290
Macro
n��
Parenthesis + Ring, Usage: initial partial voicelessInput: \inipartvoiceless{n}Styles: n�� n�� n�� n��, Sources: extIPA ’94
291
Macro
n��
Parenthesis + Ring, Usage: final partial voicelessInput: \finpartvoiceless{n}Styles: n�� n�� n�� n��, Sources: extIPA ’94
292
Macro
s� ��
Parenthesis + Subwedge, Usage: partial voicingInput: \partvoice{s}Styles: s� �� s� �� s� �� s� ��, Sources: extIPA ’94
293
Macro
s��
Parenthesis + Subwedge, Usage: initial partial voicingInput: \inipartvoice{s}Styles: s�� s�� s�� s��, Sources: extIPA ’94
294
Macro
s��
Parenthesis + Subwedge, Usage: final partial voicingInput: \finpartvoice{s}Styles: s�� s�� s�� s��, Sources: extIPA ’94
295
’275
J½
Subscript Left Pointer, Usage: right offset jaw voiceInput: \sublptr{J}Styles: J½ J½ J½ J½, Sources: VoQS ’94
296
’276
J¾
Subscript Right Pointer, Usage: left offset jaw voiceInput: \subrptr{J}Styles: J¾ J¾ J¾ J¾, Sources: VoQS ’94
38
B Symbols not included in TIPA
There are about 40 symbols that appear in PSG but are not included or de-fined in TIPA (ordinary capital letters, Greek letters and punctuation marksexcluded). Most of such symbols are the ones that have been proposed bysomeone but never or rarely been followed by other people.
Some of such symbols can be realized by writing appropriate macros, whilesome others cannot be realized without resorting to the Metafont.
This section discusses these problems by classifying such symbols into threecategories, as shown below.
(1) Symbols that can be realized by TEX’s macro level and/or by using sym-bols from other fonts.
(2) Symbols that can be imitated by TEX’s macro level and/or by using sym-bols from other fonts (but may not look quite satisfactory).
(3) Symbols that cannot be realized at all, without creating a new font.
The following table shows symbols that belong to the first category. Foreach symbol, an example of input method and its output is also given. Notethat barred or crossed symbols can be easily made by TIPA’s \ipabar macro.
Script Lowe-case F {\itshape f} fBarred Small Capital I \ipabar{\textsci}{.5ex}{1.1}{}{} IBarred J \ipabar{j}{.5ex}{1.1}{}{} jCrossed K \ipabar{k}{1.2ex}{.6}{}{.4} kBarred Open O \ipabar{\textopeno}{.5ex}{.6}{.4}{} OBarred Small Capital Omega \ipabar{\textscomega}{.5ex}{1.1}{}{} ±Barred P \ipabar{p}{.5ex}{1.1}{}{} pHalf-barred U \ipabar{u}{.5ex}{.5}{}{.5} uBarred Small Capital U \ipabar{\textscu}{.5ex}{1.1}{}{} ÚNull Sign $\emptyset$ ∅Double Slash /\kern-.25em/ //Triple Slash /\kern-.25em/\kern-.25em/ ///Pointer (Upward) k\super{\tiny$\wedge$} k∧
Pointer (Downward) k\super{\tiny$\vee$} k∨
Superscript Arrow k\super{\super{$\leftarrow$}} k←
Symbols that belong to the second category are shown below. Note thatslashed symbols can be in fact easily made by a macro. For example, a slashdb i.e. b/ can be made by \ipaclap{b}{/}. The reason why slashed symbols arenot included in TIPA is as follows: first, a simple overlapping of a symbol anda slash does not always result in a good shape, and secondly, it doesn’t seemsignificant to devise fine-tuned macros for symbols which were created essentialyfor typewriters.
Right-hook A a$Slashed B b/Slashed C c/Slashed D d/
39
Small Capital Delta ∆
Right-hook E e$Right-hook Epsilon E$Small Capital F f
Female SignUncrossed Female SignRight-hook Open OSlashed U u/Slashed W w/
And finally, symbols that cannot be realized at all are as follows.
• Reversed Turned Script A
• A-O Ligature
• Inverted Small Capital A
• Small Capital A-O Ligature
• D with Upper-left Hook
• Hooktop H with Rightward Tail
• Heng
• Hooktop J
• Front-bar N
• Inverted Lower-case Omega
• Reversed Esh with Top Loop
• T with Upper Left Hook
• Turned Small Capital U
• Bent-tail Yogh
• Turned 2
• Turned 3
40
C Layout of TIPA fonts
C.1 tipa10
0 1 2 3 4 5 6 7
00x � � � � � � � �˝0x
01x � � � � �02x � � � � � � � �
˝1x03x � � � � � � � �04x ! " # $ % & '
˝2x05x ( ) * + , - . /06x 0 1 2 3 4 5 6 7
˝3x07x 8 9 : ; < = > ?10x @ A B C D E F G
˝4x11x H I J K L M N O12x P Q R S T U V W
˝5x13x X Y Z [ \ ] ^ _14x ` a b c d e f g
˝6x15x h i j k l m n o16x p q r s t u v w
˝7x17x x y z { | } ~ �20x � � � � � � � �
˝8x21x � � � � � � � �22x � � � � � � � �
˝9x23x � � � � � � � �24x ¡ ¢ £ ¤ ¥ ¦ §
˝Ax25x ¨ © ª « ¬ ® ¯26x ° ± ² ³ ´ µ ¶ ·
˝Bx27x ¸ ¹ º » ¼ ½ ¾ ¿30x À Á Â Ã Ä Å Æ Ç
˝Cx31x È É Ê Ë Ì Í Î Ï32x Ð Ñ Ò Ó Ô Õ Ö ×
˝Dx33x Ø Ù Ú Û Ü Ý Þ ß34x à á â ã ä å æ ç
˝Ex35x è é ê ë ì í î ï36x ð ñ ò ó ô õ ö ÷
˝Fx37x ø ù ú û ü ý þ ÿ
˝8 ˝9 ˝A ˝B ˝C ˝D ˝E ˝F
41
C.2 tipasl10
0 1 2 3 4 5 6 7
00x � � � � � � � �˝0x
01x � � � � �02x � � � � � � � �
˝1x03x � � � � � � � �04x ! " # $ % & '
˝2x05x ( ) * + , - . /06x 0 1 2 3 4 5 6 7
˝3x07x 8 9 : ; < = > ?10x @ A B C D E F G
˝4x11x H I J K L M N O12x P Q R S T U V W
˝5x13x X Y Z [ \ ] ^ _14x ` a b c d e f g
˝6x15x h i j k l m n o16x p q r s t u v w
˝7x17x x y z { | } ~ �20x � � � � � � � �
˝8x21x � � � � � � � �22x � � � � � � � �
˝9x23x � � � � � � � �24x ¡ ¢ £ ¤ ¥ ¦ §
˝Ax25x ¨ © ª « ¬ ® ¯26x ° ± ² ³ ´ µ ¶ ·
˝Bx27x ¸ ¹ º » ¼ ½ ¾ ¿30x À Á Â Ã Ä Å Æ Ç
˝Cx31x È É Ê Ë Ì Í Î Ï32x Ð Ñ Ò Ó Ô Õ Ö ×
˝Dx33x Ø Ù Ú Û Ü Ý Þ ß34x à á â ã ä å æ ç
˝Ex35x è é ê ë ì í î ï36x ð ñ ò ó ô õ ö ÷
˝Fx37x ø ù ú û ü ý þ ÿ
˝8 ˝9 ˝A ˝B ˝C ˝D ˝E ˝F
42
C.3 tipabx10
0 1 2 3 4 5 6 7
00x � � � � � � � �˝0x
01x � � � � �02x � � � � � � � �
˝1x03x � � � � � � � �04x ! " # $ % & '
˝2x05x ( ) * + , - . /06x 0 1 2 3 4 5 6 7
˝3x07x 8 9 : ; < = > ?10x @ A B C D E F G
˝4x11x H I J K L M N O12x P Q R S T U V W
˝5x13x X Y Z [ \ ] ^ _14x ` a b c d e f g
˝6x15x h i j k l m n o16x p q r s t u v w
˝7x17x x y z { | } ~ �20x � � � � � � � �
˝8x21x � � � � � � � �22x � � � � � � � �
˝9x23x � � � � � � � �24x ¡ ¢ £ ¤ ¥ ¦ §
˝Ax25x ¨ © ª « ¬ ® ¯26x ° ± ² ³ ´ µ ¶ ·
˝Bx27x ¸ ¹ º » ¼ ½ ¾ ¿30x À Á Â Ã Ä Å Æ Ç
˝Cx31x È É Ê Ë Ì Í Î Ï32x Ð Ñ Ò Ó Ô Õ Ö ×
˝Dx33x Ø Ù Ú Û Ü Ý Þ ß34x à á â ã ä å æ ç
˝Ex35x è é ê ë ì í î ï36x ð ñ ò ó ô õ ö ÷
˝Fx37x ø ù ú û ü ý þ ÿ
˝8 ˝9 ˝A ˝B ˝C ˝D ˝E ˝F
43
C.4 tipass10
0 1 2 3 4 5 6 7
00x � � � � � � � �˝0x
01x � � � � �02x � � � � � � � �
˝1x03x � � � � � � � �04x ! " # $ % & '
˝2x05x ( ) * + , - . /06x 0 1 2 3 4 5 6 7
˝3x07x 8 9 : ; < = > ?10x @ A B C D E F G
˝4x11x H I J K L M N O12x P Q R S T U V W
˝5x13x X Y Z [ \ ] ^ _14x ` a b c d e f g
˝6x15x h i j k l m n o16x p q r s t u v w
˝7x17x x y z { | } ~ �20x � � � � � � � �
˝8x21x � � � � � � � �22x � � � � � � � �
˝9x23x � � � � � � � �24x ¡ ¢ £ ¤ ¥ ¦ §
˝Ax25x ¨ © ª « ¬ ® ¯26x ° ± ² ³ ´ µ ¶ ·
˝Bx27x ¸ ¹ º » ¼ ½ ¾ ¿30x À Á Â Ã Ä Å Æ Ç
˝Cx31x È É Ê Ë Ì Í Î Ï32x Ð Ñ Ò Ó Ô Õ Ö ×
˝Dx33x Ø Ù Ú Û Ü Ý Þ ß34x à á â ã ä å æ ç
˝Ex35x è é ê ë ì í î ï36x ð ñ ò ó ô õ ö ÷
˝Fx37x ø ù ú û ü ý þ ÿ
˝8 ˝9 ˝A ˝B ˝C ˝D ˝E ˝F
44