1. Background
 

K-ToBI (Korean TOnes and Break Indices) is a prosodic transcription convention for standard (Seoul) Korean.  It is based on the design principles of the original English ToBI (see Silverman et al., 1992; Beckman & Hirschberg, 1994; Pitrelli et al. 1994), and the Japanese ToBI system (J_ToBI), devised by Jennifer Venditti (see Venditti, 1995; Campbell & Venditti, 1995).  Like the other ToBI systems, therefore, K-ToBI assumes intonational phonology with a close relationship to a hierarchical model of prosodic constituents as proposed by Pierrehumbert and her colleagues (e.g., Pierrehumbert 1980, Beckman & Pierrehumbert 1986, Pierrehumbert & Beckman 1988).  The intonational analysis and attendant prosodic model of Seoul Korean adopted for K-ToBI are based on Jun (1990, 1993, 1996, 1998; also see Lee 1989 and de Jong 1989 for earlier studies).  A first version of K-ToBI was developed at ATR Interpreting Telecommunication Systems in Japan in late 1994 by Mary Beckman and Sun-Ah Jun, as part of Korean synthesis development project.  The second version (Beckman & Jun 1996) was an updated version modified in November 1996 by the same authors in accordance with the discussion of the Japanese/Korean working group at the Prosody Transcription Workshop held just before ICPhS (International Congress on Phonetic Sciences) in Stockholm, August 1995.  The current version is a revised one from the second version by Sun-Ah Jun after Korean ToBI Workshop in Korea, August 1998.  This version was presented at the workshop “Intonation: Models and ToBI Labelling”, a satellite meeting of ICPhS in San Francisco in August 1999.  Before introducing the revised K-ToBI labelling conventions, a brief description of the intonational structure of Seoul Korean proposed in Jun (1993, 1998) is in order.

1.1 Intonational structure of Seoul Korean

The intonational structure of the standard dialect (=Seoul) of Korean has two intonationally defined prosodic units: Intonation Phrase (IP) and Accentual Phrase (AP).  An AP is smaller than an IP and larger than a phonological word, a lexical item plus a case marker or postpositions.  An IP is marked by a boundary tone (%) and final lengthening.  An AP is marked by a phrasal tone, THLH (T=H if the AP initial segment is aspirated or tense, T=L otherwise), but not by final lengthening.  The intonational structure of Seoul Korean is schematically represented in Figure 1.
 

Figure 1. Intonational Structure of Seoul Korean
IP: Intonation Phrase,    AP: Accentual Phrase
w: phonological word,    s: syllable
T= H, when the syllable initial segment is aspirated/tense, otherwise, T= L
%: Intonation phrase boundary tone

2. Structure of K-ToBI

The original ToBI system (i.e., English ToBI) has four parallel tiers (word, tone, break-index, and miscellaneous), but allows the free proliferation of site-specific extra tiers.  Sites with aligner for English, for example, have generally added a phones tier for phonetic segmentation, and J_ToBI users have agreed to add an obligatory “finality” tier where intonational phrases that sound “final” to a discourse turn taking are minimally marked as such (until they can develop a more complete discourse model of discourse finality to govern a hierarchy of labels for this tier).  In accordance with this general design principle, the current version of K-ToBI expands a tone tier into two tiers, a phonological tone tier and a phonetic tone tier, in order to describe surface tonal patterns which are not predictable from the underlying tones.  Therefore, a K-ToBI transcription for an utterance consists minimally of a recording of the speech, an associated record of the fundamental frequency contour, and the transcription-proper symbolic labels for events on the following five parallel tiers:

The expansion of the tone tier was devised to label the surface tonal pattern of an accentual phrase (= AP) separately from the underlying tones marking the AP boundary.  This was motivated by the following four reasons.  First, the ToBI labeling system assumes that tones are labeled only when they are distinctive (Beckman & Ayers 1994, http://ling.ohio-state.edu/~tobi/).  Non-distinctive pitch events that are automatically extractable from the signal should not be labeled.  This is true for English ToBI.  However, in Korean, distinctive pitch events do not come from an individual phrasal tone but as a set of tones forming an AP.  Furthermore, though the most common tone pattern of an AP is LHLH or HHLH when the AP is longer than three syllables, an AP in Seoul Korean can be realized in at least fourteen different tonal patterns, with more variation when the AP has fewer than three syllables (i.e., LH, LHH, LLH, LHLH, HH, HLH, HHLH, LL, HL, LHL, HHL, HLL, LHLL, HHLL).  Though these various patterns do not seem to differ in meaning among themselves, and though they do not seems to be predictable, it is not yet known if all these variations are indeed neither distinctive nor predictable.  By labelling surface tonal patterns, we will be able to investigate if there is any meaning difference among these patterns.
    Second, the earlier version of K-ToBI labels only two types of tones for an AP: ‘H-’ marking an AP initial H tone, when realized, and ‘LHa’ marking the end of an AP.  When there is no initial H in an AP, H- was not labelled, conforming to the surface realization.  However, in the rare event that an AP-like phrase ends in an L tone, that tone was labelled ‘L%’  instead of ‘La’ since a phrase final L tone was found at IP final position most of the time and we did not want to increase the tonal inventory of AP without enough evidence.  Then, in order to indicate that the AP-like boundary juncture does not match the tone pattern, a break index ‘2m’ was placed on a break index tier: the degree of juncture is the same as that of the usual AP boundary, i.e., ‘2’, but the tonal mark, L%, shows the boundary of an Intonation Phrase.  Sometimes this was indeed the case.  However, observation of more natural data revealed that there are AP boundaries which are sometimes realized in an L tone due to the tonal interaction of adjacent tones and stylistic variations.  At the moment, the detailed condition of an AP final L tone and its pragmatic meaning are not known.  We hope to get answers to these issues by labelling a falling AP boundary as ‘La’ on the phonetic tone tier.
    By allowing ‘La’ to mark an AP boundary, this revised version now has a different definition of the break index ‘2m’.  Before, it was used for a mismatch between tone and break index covering two cases: “2-like break but not AP-like tone” and “AP-like tone but not 2-like break”.  In the current version, a break index ‘2m’ refers only to the former: “2-like break but not AP-like tone”.  “AP-like tone but not 2-like break” will be labelled in two ways depending on the degree of perceived juncture: either 1m (1-like break with AP-like tone) or 3m (3-like break with AP-like tone).
    Third, the AP initial tone in Seoul Korean is in general either L or H depending on the initial segment of an AP: H when the segment is aspirated or tense, but L otherwise.  Regardless of this tonal difference on the first syllable of an AP, the second syllable of an AP is H when the AP has more than 3 syllables.  As a result, an AP can have H on the first syllable or on the second syllable or both.  In the earlier version of K-ToBI, we labeled ‘H-’ at the first occurrence of a high pitched syllable, either the first or second syllable or rarely on the third syllable, without considering the origin of the H tone or the alignment of the peak to syllables.  However, quantitative data show that the phonetic realization of these H tones differs depending on their origins and locations.  F0 is significantly higher for the H tone on the first syllable of an AP (i.e., HHLH) than the H tone after the AP initial L tone (i.e., LHLH).  In addition, this extra-high f0 value in the beginning of the HHLH pattern influences the following syllables, if there are any, by raising the f0 values of these syllables, compared to those in the LHLH pattern, up to the penultimate syllable of an AP (see Lee (1999) for more detail).  Assuming that the initial L in LHLH or the second H in HHLH is predictable, we did not label these tones in the earlier version.  But it turns out that  these are not always predictable, and furthermore, as mentioned earlier, the individual tone itself forming an AP does not seem to be meaningful.  That is, all the surface tonal variations deviant from the underlying tonal sequence do not seem to have different meanings.  What is meaningful in Korean intonational phonology is the phrasing, marked by the boundary tone of an AP and an IP.  For example, wh-questions and yes/no-questions are distinguished only by intonational phrasing (Jun & Oh 1996) and ambiguous sentences are disambiguated by phrasing differences (Schafer & Jun, submitted).  Therefore, in this revised version, we will label the AP and IP boundaries at a phonological tone tier, and the individual AP tones at a phonetic tone tier aligned with the corresponding surface f0 event.  Labelling surface tonal events at a phonetic tone tier will provide us data by which we can determine what the pragmatic meaning of these tones is, if there is any, and get information about the timing and magnitude of the f0 realization of these tones.  This will provide valuable information to researchers working on speech synthesis and recognition.
    Fourth, by separating a tone tier into phonological and phonetic tone tiers, we can easily accommodate tonal transcriptions of other dialects.  For example, unlike Seoul Korean, the tonal pattern of an AP in the Chonnam dialect (Southwestern dialect of Korean) is LHL or HHL (Jun 1989, 1993, 1996, 1998), with the alternation of the AP initial tone being caused by the same principles as in Seoul.  Though the tonal patterns differ between the two dialects, the accentual phrasing is the same for these dialects.  Thus, the boundaries marked in a phonological tone tier for Seoul Korean will remain the same for the Chonnam dialect, while a phonetic tone tier of these two dialects will differ conforming to the surface realization of each dialect.  I assume this will be true for other dialects of Korean which do not have a lexical pitch accent.
    In the following sections, each of the five tiers is defined, and labels and symbols proper for each tier are introduced.  In addition, example sentences illustrate in a text format how to label information on each tier, and pitch tracks of all sentences are shown in Appendix B.

3. Tiers

3.1. The word tier

The word tier in K-ToBI corresponds to the “orthographic tier” in English ToBI.  In this tier, words may be labeled using either Hangul orthography or some conventional romanization, depending on what is more convenient for the users’ labeling platform or on what is most appropriate for exporting to relevant applications.  In the current K-ToBI, words are transcribed following the Romanization convention, originally used at KAIST, Korea, and adopted by ATR, Japan.  A table showing the mapping between Korean alphabet, IPA symbol, and a Roman letter is given in Appendix A.
   What constitutes a “word” in Korean is controversial, and we anticipate that different sites may find that the intended applications pose specific needs as to how finely an utterance should be broken up into words.  For example, the intended applications at one site might require that a word label be placed for each morpheme string that has its own separate entry in some on-line dictionary.  Another site may want to label a word as often as there are spaces in a standard Hangul transcript of the text.  In this version, we consider ‘word’ as a sequence of segments divided by a space in a written Hangul text.  That is, a word will be labelled at the end of each Hangul item separated by space.
   If the labeling platform is xwaves and xlabel (or any similar labeling platform such as PitchWorks that works in terms of time flags), the word label should be placed at the end of the final segment in the word, as determined by the labeler from the waveform or spectrogram record. That is, each word should be marked at its right edge.  Filled pauses and the like should also be labeled using some site specific convention for the Hangul or romanized spelling.
 

3.2 A phonological tone tier

A phonological tone tier will be used to mark the boundary tone of an Intonation Phrase (IP) and the boundary tone of an IP-medial Accentual Phrase (AP).  Since an AP boundary tone in an IP-final position is overridden by an IP-final boundary tone, only IP final boundary tone (%) will be labeled at the end of an IP.
   To mark the end of an AP, we will use ‘LHa’ as a short term for LHLHa or HHLHa.  This implies that the most common AP final tone in Seoul Korean is a rising tone (LH).  To mark the end of an IP, we will use one of the nine different boundary tones, i.e. H%, L%, HL%, LH%, HLH%, LHL%, HLHL%, LHLH%, LHLHL%.  Instructions on where to put phonological tone labels are given below.  To simplify the description of IP boundary tones, ‘T’ is used below as a variable of the IP boundary tones.  The meaning of each boundary tone and sentence examples labelled with phonological tones are given in the next section.
 

3.3 A phonetic tone tier

A phonetic tone tier will be used to mark the surface realization of AP tones and IP tones.  As for AP tones, we will have three initial tones (i.e. L, H, and +H) and three final tones (i.e. La, Ha, and L+).  Among the initial tones, L and H are for the tone on the first syllable of an AP, and +H is for the tone on the second syllable (and sometimes the third when the AP is long and focused) of an AP.  Among the final tones, La and Ha are for the tone on the final syllable of an AP, and L+ on the penult of an AP.  Therefore, the ‘+’ sign in Korean ToBI refers to a syllable boundary and implies a grouping of tones; +H is part of the AP initial tone realized on the second syllable of an AP, and L+ is part of the AP final tone realized on the penult of an AP.  This is different from the ‘+’ in English bitonal pitch accents such as L+H* or L*+H, where the starred tone is associated with a stressed syllable with the unstarred tone being realized either before (i.e., a leading L tone in L+H*), or after the starred tone (i.e., a trailing H tone in L*+H).
   When an AP has three syllables, the tone on the second syllable can be either L (ex. LLH) or H (ex. LHH).  In this case, we will consider the medial L as a part of the final AP tone and the medial H as a part of the initial AP tone because we believe that both are derived from the underlying LHLH pattern.  That is, LLH is parsed as L-LH with the undershoot of the first H of LHLH, and LHH is parsed as LH-H with the undershoot of the second L of LHLH.  Therefore, LLH will be labelled as L, L+, and Ha, and LHH will be labelled as L, +H, and Ha, on each of the three syllables.  The realizations and locations of three AP final tones and three AP initial tones are described below.

AP final tones:
 

AP initial tones:
 

    Schematic f0 contours of fourteen types of AP realizations and corresponding phonetic tone labels are shown in Figure 2.  The first row shows AP patterns with a high boundary, Ha, and the second row shows AP patterns with a low boundary, La.  The third row shows contours of a long AP where all four underlying tones are realized with either a Ha or La boundary.  ‘T’ in the last contour is either H or L.

   For the IP boundary tones, the whole tone is placed toward the end of the IP final syllable aligned with the f0 maximum for H ending boundary tones (i.e., H%/LH%/HLH%/LHLH%) and the f0 minimum for L ending tones (i.e., L%/HL%/ LHL%/HLHL%/LHLHL%).  For complex boundary tones which include H before the last tone (e.g., HL%, HLH%, LHLH%, LHLHL%), the label ‘>’ should be placed at the f0 peak corresponding to each non-final H tone.  Here, ‘>’ can mean an ‘early peak’ as in English ToBI (i.e. some examples of HL%; see next paragraph), but most of the time it simply indicates the location of H so that it provides information about pitch range.  At the moment, it is not clear if complex boundary tones with more than 3 tones (i.e., LHLH%, HLHL%, LHLHL%) have a distinct meaning of their own other than intensifying the meaning of the less complex tones with 2 or 3 tones (e.g., HLHL% intensifies the meaning of HL%).  More K-ToBI labelled data would be needed to clarify this issue.  Until then, we will label all boundary tones on the phonetic tone tier.
   Currently, the type of an IP boundary tone is determined by the f0 shapes realized on the IP final syllable.  Though this is true most of the time, we found in news broadcasting that the H tone of HL% is sometimes realized on the penultimate syllable of an IP, possibly to keep the same rhythm across phrases.  This style is also found in a movie or drama which describes the times of  Old or Middle Korean, especially in the dialogues of high class people.  In addition, Park (2000) found examples where H of HL% is realized earlier than the penult of an IP.  This happened when an object is postposed after a verb whose boundary tone in the original sentence is HL%.  This is one of the three possible ways of ‘afterthought’ realization in Korean: 1) both the verb final syllable and the postposed object final syllable carry the HL% tone, 2) the verb and the object form one IP, and the object final syllable carries the HL% tone, and 3) the verb and the object form one IP, but the HL% tone is split so that the H tone is realized on the verb final syllable and the L tone is realized on the object final syllable.  The third possibility is when the part of a boundary tone is realized before the IP final syllable.  In this case, the label ‘>’ should be placed at the f0 peak of the verb final syllable.  So far, this type of split boundary tone is found only for HL%, and more data are needed to see if this is possible for other boundary tones.
   The following shows surface realization rules of each boundary tone, and its location relative to words and f0 contours.

IP final boundary tones:
 

    Schematic f0 contours of eight types of IP boundary tone realizations are shown in Figure 3.  The first row shows an IP boundary ending with L% and the second row shows those ending with H%.  The vertical line shown in each contour marks the beginning of the IP final syllable.  The f0 scale is not normalized.
 
 

    Finally, for a case of uncertain or underspecified tonal events, for both AP and IP, use the following labels at a phonetic tone tier.  Underspecified tone labels are used when a labeler knows there is a tone, but has not assigned a label yet.
 

    Example sentences labelled with a phonological tone and a phonetic tone are shown below.  File names are in “<< >>” and example sentences are given in Romanization of Korean alphabet (see Appendix A).  F0 tracks of each example with corresponding labels are shown in Appendix B.  “-early”, “-middle”, or “-late” indicates a region of the sound file.

Examples of tone labelling both at a phonological tone tier and a phonetic tone tier:
 
 

Ex.1.	<< 4boundary-H% >>	gIrASEjo	‘Is that so?’
	phonological tone tier	H%
	phonetic tone tier	+H L+H%
Ex.2.	<< 4boundary-LH% >>	gIrASEjo	‘Is that so?’
	phonological tone tier	LH%
	phonetic tone tier	+H    LH%
Ex.3.	<< 4boundary-HL% >>	gIrASEjo	‘Is that so?’
	phonological tone tier	HL%
	phonetic tone tier	L+H L+>HL%
Ex.4.	<< 4boundary-LHL% >>	gIrASEjo	‘Is that so?’
	phonological tone tier	LHL%
	phonetic tone tier	L+H > LHL%

Ex.5.	<< J3A2-HLH% >>	onIR	zEnyEge	nuga	mEgEyo
	phonological tone tier		LHa		HLH%
	phonetic tone tier	L	L+Ha	L+H	L+ >HLH%
		‘Today	night	who	eat?’
	->	‘Who	is eating		tonight?’

Ex.6.	<< IPboundary-HL% >>	baraMgwa	hANnimi
	phonological tone tier	LHa	HL%
	phonetic tone tier	L           Ha	H    L+ > HL%
		‘The North Wind and	the Sun-NOM ’
		‘The North Wind and	the Sun .....’

Ex.7.	<< IPboundary-LH% >>	dubENCA,
	phonological tone tier	LH%
	phonetic tone tier	L +H     LH%
		‘Second,’

Ex.8.	<< 2syllAP-LHa >>	nanIN	yEQarIR	miwEhAyo
	phonological tone tier	LHa	LHa	L%
	phonetic tone tier	L   Ha	L     L+Ha	L+H  L+ L%
		‘I-TOP	Younga-ACC	hate’
		-> ‘I hate	Younga’

Ex.9.	<< 5syllAP-LHLHa >>	yEQmaNinenIN	yEQarIR	miwEhAyo
	phonological tone tier	LHa	LHa	L%
	phonetic tone tier	L +H        L+Ha	L   L+ Ha	L +H   L%
		‘Youngman’s	family-TOP	Younga-ACC hate’
		-> ‘Youngman’s	family	hates Younga’

Ex.10.	<< 6syllAP-LHLHa >>	yEQi	EmEninIN	yEQarIR	miwEhAyo
	phonological tone tier		LHa	LHa	L%
	phonetic tone tier	L+H	L+ Ha	L  L+ Ha	L +H  L+ L%
		‘Youngi’s	mom-TOP	Younga-ACC	hate’
		‘Youngi’s	mom hates	Younga’

Ex.11.	<< 5syllAP-HHLHa >>	hyEQmininenIN	yEQarIR	miwEhAyo
	phonological tone tier	LHa	LHa	L%
	phonetic tone tier	H +H    L+ Ha	L      Ha	L +H    L%
		‘Hyungmin’s family- TOP	Younga-ACC	hate'
		-> ‘Hyungmin’s family	hates Younga’

Ex.12.	<< t1p1s2 >>-early	doQgi	bujEU	du	hjEQtA	zuQesE ...
	phonological tone tier	LHa	LHa	LHa		L%
	phonetic tone tier	L  Ha	L  L+Ha	L Ha	H +H	L+ L%
		‘motivation	providing- POSS	two	types	among ...’
		-> ‘Among	the two types	which	provide	motivation,’

Ex. 13.	<< t1p2s8-1m >>	sEQzaQhago	iNnIN	gEsi	saraiNnIN	gEsida
	phonological tone tier	LHa		LHa		L%
	phonetic tone tier	H            Ha	L	L+Ha	H+H	L+  L%
		‘to grow-prog.	rel.cl.	thing- NOM	to live-prog.	thing-be’
		-> ‘Being growing	means	that it is	alive’

Ex. 14.	<< gazEQgyosa >>	nanIN	siRryEGiNnIN	zibaNU	gazEQgyosarIR	maNnaDTa.
	phonological tone tier	LHa		LHa	LHa	L%
	phonetic tone tier	L   Ha	H              Ha	L+ Ha	L+H        L+Ha	L       L%
		‘I-TOP	powerful	family’s	tutor-ACC .	met’
		-> ‘I	met the tutor	of	a powerful family’

3.4 The break index tier

Break indices represent the degree of juncture perceived between each pair of words and between the final word and the silence at the end of the utterance.  They are to be marked after all words that have been transcribed in the word tier.  All junctures -- including those after fragments and filled pauses -- must be assigned an explicit break index value; there is no default juncture type.

Break indices:
 

Note that while the Accentual Phrase and Intonation Phrase are defined in the prosodic model by tonal markings, the break index value indicates the labeler’s subjective sense of disjuncture and not simply the juncture that typifies the apparent tones.  Thus, the break index tier markings are not made completely redundant by the tone tier markings for break index levels 2 and 3.  In cases of mismatch, the break index number should follow the perceived juncture rather than the tones, and it should be flagged with the diacritic “m”, as in:
 

In an xwaves/xlabel type system or any system which allows time-aligned labels, the break index label should be aligned with a point in time at the end of each word, as indicated in the word tier.  It should be located exactly at, or slightly to the right of, this word marker, so that break indices can be unambiguously associated with other tiers.  Transcriber uncertainty about break-index strength is to be indicated with a minus (“-”) diacritic affixed directly to the right of the higher break index -- e.g.  “1-” to indicate uncertainty between “0” and “1”; “2-” to indicate uncertainty between “1” and “2”; and so on.  Note that since the “m” diacritic suggests certainty about the break index analysis in the face of conflicting tonal evidence, the “-” diacritic should not be used together with “m”.

For a case of uncertain or underspecified break index labels, use the following labels at a break index tier.
 

Example sentences with break indices::
 

Ex.12.	<< t1p1s2 >>-early	doQgi	bujEU	du	hjEQtA	zuQesE ...
	break index tier	2	2	2-	1	3-
		‘motivation	providing- POSS	two	types	among ...’
		-> ‘Among	the two types	which	provide	motivation,’

Ex.13.	<< t1p2s8-1m >>	sEQzaQhago	iNnIN	gEsi	saraiNnIN	gEsida
	break index tier	1m	0	2	1	3
		‘to grow-prog.	rel.cl.	thing-NOM	to live-prog	thing-be'
		-> ‘Being growing	means	that it is alive’

Ex.14.	<< gazEQgyosa >>	nanIN	siRryEGiNnIN	zibaNU	gazEQgyosarIR	maNnaTTa.
	break index tier	2	1m	2	2-	3
		‘I-TOP	powerful	family’s	tutor- ACC	met’
		-> ‘I met	the tutor of a	powerful	family’

Ex.15.	<< t1p1s2 >>-late	iRbaNzEgiN	gEsIn	waNzEnhwa,
	break index tier	1	3	3
		‘general-rel	thing- TOP	completeness’
	‘(Among the two types	which provide	motivation,)	what's in common	is completeness’

Ex.16.	<< break-L8C3 >>	azumEninga	ENze	maNdIrEjo?
	break index tier	2	1	3
		‘madam-NOM	when	make-Q’
		-> ‘When is	Madam	making (it)?’

Ex.17.	<< t1p2s6 >>	zIG,	saNhonIN	saraiSImjE	aMsEgIN	zugEiNnIn	gEsida
	break index tier	3	2	3	2-	1	3
		‘That is,	coral-TOP	alive and	rock-TOP	dead-prog-rel.	thing-be’
		-> ‘That is,	coral is alive	and a rock is	dead’

Ex.18.	<< t1p2s10 >>	igEsIN	uridIR	maIMU	segyeedo	hAdaQdweNda.
	break index tier	3-	2	2	2	3
		‘This our	our	mind's	world also	to apply to'
		-> ‘This also	applies	to our	mind’

Ex.19.	<< t1p2s5 >>-early	gIrEna,	gatIN	hjENmigyEQe	sanho	zogagIR	noko	bomyEN
	break index tier	3-	2	3	1	2-	1	3
		‘but,	same	microscope-LOC	coral	piece-ACC	to put and	to see if’
		-> ‘But,	if you	see a piece of	coral	under the	same	microscope,...’

Ex.20.	<< t1p2s5 >>-late	saNhoga	sEQzaQhamyENsE	byENhwahago	iDTanIN	gEsIR	aR	Su	iDTa.
	break index tier	2	2	2	0	2	0	0	3
		‘coral-nom.	growing-while	changing	-prog.-rel	thing-ACC	to see	can'
		->‘We can	see that the coral is	changing	while	growing’

Ex.21.	<< coQgaG-HLH% >>	TaG	zikigo	iNniN	sarami	nuguNgohani	zERmIN	coQgaK	ANSoni	pakiNsINiMnida
	break index tier	3-		1	2	2	2	2p	2-	3
		‘firmly	guard	-PROG	man-NOM	who-is	young	bachelor	Anthony	Parkinson-be’
	->	"The	man	who is	guarding	firmly is the	young	bachelor,	Anthony	Parkinson’

3.5 The miscellaneous tier

The miscellaneous tier will be used for any comments or markings (e.g., silence, audible breaths, laughter, disfluencies, and so on) desired by particular transcription groups.  The only conventions K-ToBI specifies for this tier are that events that cover some clearly specifiable interval (such as breaths, silence or laughter) be labeled by the < .... > pair, aligned with both their temporal beginnings and ends.  Event labels are written only before ‘>’.

                   <          beginning of an interval (laughter)
        laughter>         end of a period of laughter

Examples showing all tiers are shown below.  PL refers to a phonological tone tier and PT refers to a phonetic tone tier.  Break index is abbreviated as ‘BI’, and miscellaneous tier as ‘misc’.
 

Ex.17. << t1p2s6 >>

	zIG,	saNhonIN	saraiSImjE	aMsEgIN	zugEiNnIn	gEsida
PL	L%	LHa	L%	LHa		L%
PT	H L%	H          Ha	H+H    L%	L        Ha	+H	L+  L%
BI	3	2	3	2-	1	3
misc					<Vdev>
	‘That is,	coral-TOP	alive and	rock-TOP	dead-prog-rel	to be’
	-> ‘That is,	coral is alive	and a rock is	dead’

Ex.21. << coQgaG-HLH% >>

	TaG	zikigo	iNniN	sarami	nuguNgohani	zERmIN	coQgaG		ANSoni	pakiNsINiMnida
PL	H%			LHa	LHa	LHa	LHa			HLH%
PT	L H%	+H		L+Ha	L      L+Ha	L      Ha	L     Ha		L+ H	L+  HLH%
BI	3-		1	2	2	2	2p		2-	3
misc		<Vdev>						<sil>
	‘firmly	guard	-PROG	man-NOM	who-is	young	bachelor		Anthony	Parkinson-be’
	->	‘The man	who is	guarding	firmly is the	young	bachelor,		Anthony	Parkinson’

Ex.22. << millennium >>-early

	yozIM	gIrEN	gyohwega	i-	icENnyENi	miRreniEmi
PL	LHa	LHa	LHa		LHa	H%
PT	L   Ha	L   Ha	L   L+Ha		L+H   L+ La	L+H L+ H%
BI	2	2	2		2	3-
misc				<disfl>
	‘These days	that	church-NOM ,	eh,	Year 2000-NOM	millennium-NOM’
	-> ‘These days,	that	kind of	church	eh, Year 2000,	millennium….’

Ex.23. << millennium >>-middle

	ize	nAnyENbutE	(ne)	sizagi	dwegu
PL	LHa	LH%		LHa	HL%
PT	H La	L+H   LH%		H Ha	L>HL%
BI	1m	3		2-	3
misc			<other spkr>
	‘now	next year-from	(yes)	beginning-NOM	become'
	->	‘Now, (it will)	start from next	year (Yes) …’

Ex.24. << millennium >>-final

	usEN	manIN	gyohwe(do)	ceiNziga	dweNda	gIreyo.	(ne)
PL	LHa	LHa	LHa			HL%	L%
PT	L Ha	L   Ha	L         La	H+H		L+ HL%	H L%
BI	2-	2-	2	1	1	3	3
misc							<other spkr>
	‘First of all	many	church (too)	change-NOM	become	they say’	(yes)
	->	‘They	say, first of all	many churches	will	change	too (Yes)’

4. Online Data Files and Future Versions

All examples (sound file, f0 track, and labels) shown in this manual can be accessed in the Sun workstation in the Phonetics Lab of the UCLA Department of Linguistics.  This directory includes more examples, some labeled and some not, for labelers to practice transcribing the K-ToBI system.  As more speech data become available, these labeling guidelines may be further refined.  To get speech files and label files mentioned in this paper, contact jun@humnet.ucla.edu.  This and earlier versions of K-ToBI manual are available on the author’s web site (http://www.linguistics.ucla.edu/people/jun/sunah.htm), and also on UCLA Phonetics Lab web site (http://www.linguistics.ucla.edu/ faciliti/uclaplab.html).

References