Abstract

Harmonic Alignment was proposed by Prince and Smolensky (1993) as a mechanism to establish a correspondence between different harmony scales within the overall framework of Optimality Theory (“OT” henceforth). They specifically address the combination of the phonological sonority hierarchy with the hierarchy of syllable positions. In recent work, Judith Aissen has taken up this idea as a mean to formulate insights from the functionally oriented markedness theory in morphology and syntax within OT syntax (cf. Aissen 1999, 2000). Though based on earlier work in typology like Silverstein (1981) , Aissen manages a formalization of a mechanism that promises an account of much that seems quaint and bizarre about natural languages when considered from the perspective of e.g. a designer of computer languages or logical formalisms. Suppose a linguistic item can be classified according to two features, A and B. Suppose furthermore that A has two possible values, A1 and A2, while B has n possible values, B1 . . . Bn, for some n ≥ 2. Finally, the values of each both features are ranked according to their prominence. Lets say that A1 is more prominent than A2, and Bi is more prominent than Bj iff i < j. Formally, we thus have the prominence scales..