本論文觀察台灣年輕人說閩南語的國語口音，建立語料庫作為分析基礎，並根據優選理論中的浮動制約模型（Floating Constraint, Reynolds 1994）分析語料。 本文語料主要分為兩大組：A組及B組。除AB兩組均保留雙唇濁塞聲母 /b/之外，A組的國語口音較明顯，亦即軟顎濁塞聲母 /g/ 較常丟失、齒齦清塞音韻尾 /t/ 較常丟失、雙唇及軟顎清塞音韻尾 /p, k/ 常丟失或發為 /t/。B組的國語口音較不明顯，亦即較常保留上述輔音。 本文針對AB兩組的聲母及韻尾語料數據，各提出一組浮動制約。相較於A組，B組在聲母的浮動制約多了一個信實制約MAX-PLACE、在韻尾部分也多了另一個信實制約MAX-CONSONANT(CODA)。因此B組的信實制約有較多機會浮動至高層，也導致較多信實的輸出值。由此可見，兩組差異之關鍵在於浮動而非固定的制約，因此認為浮動制約模型適合用於處理此種語言變異現象。 / This thesis establishes a corpus of Taiwan youngsters’ Mandarin-accented pronunciation of Taiwanese voiced stop onsets /b/ and /g/ and voiceless stop codas /p, t, k/. The Floating Constraint model (Reynolds 1994) within the Optimality Theory framework is adopted to analyze the corpus data. The corpus includes two groups: Group A and Group B. Both groups retain the voiced bilabial stop onset /b/. Group A has higher percentages of omitting /g/ onset and /t/ coda, and codas /p/ and /k/ are often altered to /t/ or omitted. On the other hand, Group B tends to preserve those sounds. For each group, a set of floating constraints is proposed to account for their onset and coda data. The differences between Group A and Group B lie essentially in the number of floating faithfulness constraints. The Group B grammar allows one more floating constraint MAX-PLACE for onsets, and one more floating constraint MAX-CONSONANT(CODA) for codas. I have shown that the Mandarin accent is better accounted for in terms of the “floating” constraints, but not the “fixed” constraints.

本文以優選理論的觀點分析台灣漢語饒舌歌的節奏類型。主要論點包括三個部份：節拍對應、音節對應與韻句分析。本研究建立一個漢語饒舌歌語料庫，提出數據佐證分析，認為漢語饒舌歌的節奏類型不只一種，不同的節奏類型可透過並存音韻理論(Cophonology Theory)來解釋，另外，本文也提出浮動制約(Floating Constraints)來預測漢語饒舌歌中不同節奏型態出現的比例。在節拍對應方面，透過虛詞左向附著與其他制約的排序變化，可以篩選出音節與節拍不同的對應方式。在音節對應方面，當一韻句需要滿足簡單律時，就會產生音節跨越現象。而在韻句分析方面，透過左界對整(U,x)與其他制約的排序變化，可以預測兩韻句間之間隔1/2拍或1/4拍的例子。整體而言，本篇研究就漢語饒舌歌中豐富的節奏類型提出語料以及理論上的分析基準。 / This thesis analyzes the rhythmic structure of Chinese raps in Taiwan from the perspective of Optimality theory. Three factors are in order: the demibeats mapping, the syllable mapping and the utterance phrasing. The thesis adopts the corpus-based analysis. This thesis proposes that rhythmic variants can be accounted for through the constraint re-ranking in terms of the Cophonology Theory. The positing of floating constraints can then predict the percentages of the rhythmic variants. In demibeat mapping, the interaction between F-share-L(the left-adjunction of functors) and other constraints results in different ways of demibeat-syllable correspondence; in syllable mapping, Simplicity decides the syllable-straddling phenomenon. Finally, in utterance phrasing, the interaction between Align-L(U,x) and other constraints predicts different lengthens of the utterance breaks. To conclude, this thesis provided a corpus and theoretical basis for the rhythmic structures of Chinese raps.