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not attested, nor is it attested in <strong>the</strong> o<strong>the</strong>r tokens examined. Thus, Mono labial-velar stops<br />

cannot be considered implosive based on this acoustic property.<br />

The popping sound occasionally heard in Mono labial-velar stops, <strong>the</strong>n, is likely<br />

attributable to velaric suction. Mono labial-velars appear to pattern like <strong>the</strong> majority <strong>of</strong><br />

labial-velars in Ladefoged’s study, that is, <strong>the</strong>y have both pulmonic egressive <strong>and</strong> velaric<br />

ingressive airstreams, but no glottalic ingressive airstream.<br />

The second issue concerning labial-velar stops is whe<strong>the</strong>r <strong>the</strong> two articulations are<br />

produced simultaneously, or whe<strong>the</strong>r <strong>the</strong>y are staggered. My auditory impressions <strong>of</strong> <strong>the</strong><br />

sound in Mono indicate that <strong>the</strong> velar closure begins prior to <strong>the</strong> labial closure, <strong>and</strong> that<br />

<strong>the</strong> velar release occurs prior to <strong>the</strong> labial release. Maddieson (1993, cited in Ladefoged<br />

& Maddieson 1996) provides evidence for this from electromagnetic articulography for<br />

Ewe. Connell (1994) points out that several researchers have provided acoustic evidence<br />

for this staggering by showing that <strong>the</strong> formant transitions at <strong>the</strong> release <strong>of</strong> <strong>the</strong> labial-<br />

velars correspond to those at <strong>the</strong> release <strong>of</strong> labial stops. Specifically, <strong>the</strong> values <strong>of</strong> F1, F2,<br />

<strong>and</strong> F3 all rise on release. Figures 8.23, 8.24, <strong>and</strong> 8.25 show spectrograms <strong>of</strong> <strong>the</strong> words<br />

=(C>=( =(C>=( ‘dugout canoe’, =>=( =>=( ‘fa<strong>the</strong>r’, <strong>and</strong> >=C=( >=C=( ‘cheek’, respectively. Note that <strong>the</strong> formant<br />

transitions at <strong>the</strong> release <strong>of</strong> <strong>the</strong> labial-velar <strong>and</strong> labial stops all rise, whereas F2 <strong>of</strong> <strong>the</strong><br />

velar stop has a noticeable drop in value after release. One significant difference between<br />

<strong>the</strong> labial-velar <strong>and</strong> labial stops is that <strong>the</strong> F2 transition <strong>of</strong> <strong>the</strong> labial-velar stop (Figure<br />

8.23) shows a rise from a value <strong>of</strong> 1000 Hz to 1400 Hz in about 23 ms, whereas <strong>the</strong> F2<br />

transition for <strong>the</strong> labial stop (Figure 8.24) appears to have an abrupt transition.<br />

Connell (1994) claims that <strong>the</strong> labial-velar F2 transition is steeper <strong>and</strong> more<br />

prominent than <strong>the</strong> labial F2 transition. While I could not verify this claim, we can see<br />

from comparing Figures 8.23 <strong>and</strong> 8.24 that <strong>the</strong> F2 transition plays a prominent role in<br />

distinguishing <strong>the</strong> two sounds.<br />

143

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