KALMOMI ONLINE GRAMMAR

Transcription

1 appleidaya KALMOMI aya 1 biyu 2 ukuæ 3 hu u 4 bìya 5 shidaæ 6 bakwaæi 7 takwaæs 8 ta aæ 9 go\maæ 10 (go\maæ) sha] aya 11 (go\maæ) sha] biyu 12 (go\maæ) sha] ukuæ 13 (go\maæ) sha] hu u 14 (go\maæ) sha] bìya 15 (go\maæ) sha] shidaæ 16 (go\maæ) sha] bakwaæi 17 (go\maæ) sha] takwaæs 18 (go\maæ) sha] ta aæ 19 aæshì in 20 taæla tin 30 aæ baæ&in 40 haæmsin 50 sìttin 60 saæbaæ&in 70 taæma nin 80 caæsaæ&in 90 aærê 100 aik (m) dabba (f) daægaæ du\tse (m), duwa tsu\ ganê gaya ido (m), ida nu\ ke nan kwa\na\ (m), kwa naækê afa (f), afa fu\ arya\ (f) irga mafa\rê (m) ma\ko (m) maænaæ murhu (m) sai te\buæ (m) ya\tsa (m), ya\tsu\ yi ONLINE GRAMMAR work animal from stone see tell eye it is day, 24-hour period foot lie count beginning point week indeed cooking tripod, fireplace just, only table finger do Nouns with modifiers Numbers Noun gender and plural Plurals be sentences Identification A quantity as a predicate GRAMMAR TOPICS Numbers and modification of nouns with numbers Identificational sentences using ke nan rather than ne/ce Some noun plurals Singing games CULTURAL THEME 1

2 1. Wa ar appleidaya Use the pictures below as cues to try to repeat the words of the video counting song for the numbers Try to sing the lines, imitating the rhythm and pitch of Hafsat. 2

3 2. appleidaya II Here are more pictures illustrating the numbers Make up sentences on the model of ^^Biyu idanun dabba,&& to comment on the picture. bu zu\zu (m) dung beetle ra\na\ (f) daytime period cik (m) stomach; pregnancy ra umê (m) camel du\tse (m) hill salla (f), sallo\lê daily prayer(s) gizoæ-gizoæ (m) spider to\zo\ (m) hump (on back) a\guwa\ (f) crab wata (m), waætaænnê month ka la cê (m) a meal zaækara (m) rooster 3

4 3. appleidaya III The diagrams below are like the one in 1. Wa ar appleidaya for 9. Use a phrase on the model of the line for 9 in the song to describe each of the diagrams

5 4. appleidaya IV The diagrams below are like the one in 1. Wa ar appleidaya for 8. Use a phrase on the model of the line for 8 in the song to describe each of the diagrams appleidaya V The left hand column gives a Hausa idiom, proverb, or riddle that contains a number. The right hand column gives the idiomatic English meanings of the idioms and proverbs or, in the case of the riddles, the answer. Match the items of the two columns. 1. UÆbanmuæ aya. 2. Duk aya ne. 3. Na\ fasaæ aya na\ ga biyu. 4. Tana da ju\na\ biyu. 5. Ido na\ biyu. 6. Maægana biyu gaære\ shì. 7. Na\ shìga ukuæ. 8. Ma\ta\na\ guæda\ ukuæ> aya raguwa\ ce, aya tana daæ za\fin na\ma, aya kuæwa ya\wo gaære\ taæ. 9. Maæi afa hu u yakaæn fa\ ì baælle\ maæi biyu. 10. Mun yi ido hu u daæ shê. 11. Îan gulbê daæ baæga ruwa\ bìya. 12. Wataæn bakwaæi ma a\ra ra\nê in ba\buæ ruwa\, daæ aæla\ma. 13. Muætu]m ta aæ yakeæ, baæi cikaæ go\maæ ba. 14. Hannunsaæ go\maæ. 15. Ku]nnenkaæ nawaæ@ a. a peanut b. ashes (to ka\), fire (wuta\), and smoke (haya\ ê) c. Do you want to hear some news? d. He and I saw each other. e. He is empty-handed. f. He is two-faced. g. I m awake. h. I m in a dilemma. i. It s the same thing. j. Nobody s perfect. k. palm of the hand and fingers l. Patience will be rewarded. m. She is pregnant. n. To err is human. o. We have the same father. 5

6 6. Nawaæ Each picture below includes one or several objects of the same kind. State how many there are and make some comment about them, such as where they are or who has them. Here are some words you may not know: da\ro (m), da]runa ^basin& kêfê (m), kêfa ye\ ^fish& ta\ya (f), ta\yo\yê ^tire& waæina\ (f) ^fried millet cake&

7 appleidaya VI Each of the boxes names something that involves a number between 11 and 100. Make up a sentence or sentences that include the appropriate number. Waætaænnin she kara (ko\ na Musulunc ko\ na Tu a wa\) Kwa naækin waætaænnin Musulunc?> Wataæn Cìka -cikì Wataæn Za\fê Wataæn Ta\kutaæha\ Tagwan Farko\ Tagwan appleaærshe\ Gaæmbon Wata Wataæn Azuæmin Tso faæffê Wataæn Sallaæ Tso faæffê Wataæn Azuæmin Gaærê Dukaæ Wataæn appleaærama Salla Wataæn Ba\wa Wataæn Baæbba Salla 7

8 Kwa naækin waætaænnin Tu a wa\> Jaænai uæ Faæb ai uæ Ma] ìs AÆf êluæ Ma\yu Yu\nì Yu\lì AÆgusta Saætumba OÆkto\ba Nuæwamba Dìsamba appleasa shen Afìrkaæ> Jiho\hin Ami kaæ> Minto\cin awa aya> Be\na yen ^^Gidan Chrysler&&> Sautukaæn piano : Su\na yen Alla h> She kaæru\ aæ a n >

9 8. Lissafi Below are some arithmetic problems. Use the examples as models for addition or subtraction. 2 ± Biyu aæ ta\ra da ukuæ, bìya ke nan. Biya aæ e\be ukuæ, biyu ke nan. 1a. 4 ± 1b. 2a. 6 ± 2b. 3a. 20 ± 3b. 4a. 50 ± 4b. 5a. 80 ± 5b. 9. Jam i Here are the plurals of some nouns that appear in video These are irregular plurals in that only a few nouns have plurals of these types, and new words coming into Hausa from Arabic, English, or other languages would not use one of these plurals. Try to identify the singular nouns that go with these plurals and what one does to the singular to make a plural. For some of the plural types, there are a couple of singulars with plurals of the same type. Try to form their plurals. Singular Plural Singular Plural Singular Plural ku\ru ^pony& gurb ^place& ga a ^joint& duwa tsu\ ma kwannê kwa nakê mura hu\ waætaænnê ra naæku\ afa fu\ ida nu\ ka ka\ ^grandparent^ go\na\ ^farm& fuære\ ^flower& za\na\ ^grass mat& 9

10 CULTURAL NOTES Hausa Singing Games and the Structure of Hausa Songs The video introduces the numbers with a series of songs. Songs pervade Hausa life in games, work, special occasions and festivals, praise of important individuals, instruction in religious practice and social behavior, satire, and even radio commercials. Hausa has an ancient tradition of musical structure and song composition, and this tradition continues to be more popular among the Hausas than the Afro-Pop fusion of western popular music and African music that has become prevalent in many parts of Africa. The number songs in this video segment provide several examples of how Hausa songs are constructed. We can single out the following features: 16. Rhythm: Both musical performance and speech have rhythmic patterns. In Hausa music, these almost always match in a structured way. In particular, long (or heavy) syllables are sung longer than short (or light) syllables. A long syllable contains a long vowel or diphthong, or it ends in a consonant. A short syllable ends in a short vowel. Words with only long syllables Words with only short syllables ma\ko ^week& ukuæ ^three& faifai ^woven tray& hu u ^four& dabba ^animal& ta aæ ^nine& te\buæ ^table& Tune: Hausa is a tone language, i.e. the pitch of the voice on each syllable is an important part of the pronunciation and in fact, there are words which differ only in tone, e.g. ko fê coffee vs. ko\f cup. The way the tones of words match the tune of a Hausa song is complex it is not the case that the tune of a song simply goes high on a high tone syllable and low on a low tone syllable. There is, however, a fairly strong correlation between language tones and the tune of a song in that the up and down pattern of the singing will rarely contradict the up and down pattern of word tones, i.e. if the word tones go High-Low, the sung tune will not go Low-High and vice versa. The tune of a Hausa song is a sort of melodic contour over a line, with details of where the melody goes up or down roughly following the tones of the words. Technical remarks for those interested in music: The meters of Hausa music come from a fairly restricted repertoire. Meters involving triple meters are the most common. In western musical terminology, these are 6/8 or 12/8. Hemiola is frequent in triple meters, i.e. shifting between two groups of three eighth beats or three groups of two eighth beats. Double meters are also common in Hausa music, almost always 4/4, though in analyzing the music in terms of tune/text match, it may make more sense to call this 8/8. Melodically, all Hausa music is based on a pentatonic scale. Use of chromatic tones is rare, but sliding toward a note, particularly downward, is common, sometimes giving a sense of the presence of chromatic tones. The three songs are presented in musical transcription on the next page. We cannot go into a detailed analysis here, but note that short syllables almost always have the value of an eighth note (see below) and long syllables are usually longer than an eighth note. The up and down pattern very closely follows the up and down pattern of the word tones. e = eighth note, taken here as the basic unit for establishing the musical meter q = quarter note, has metrical value of two eighth notes q. = dotted quarter note, has metrical value of three eighth notes e. = dotted eighth note, has metrical value of one and a half eighth notes 10

11 Wa ya gaya mikì sha] In this song, the singer has five groups of three seeds, beads, or small stones in front of her. As she sings each line of the song, she moves the seeds in each successive group. In the first line, instead of counting the expected, Îaya, biyu, ukuæ, [ One, two, three, ] she says, Îaya, biyu, sha] bìya [ One, two, fifteen ]. Then she ends each line with sha] bìya. Reaching the last line, she shows that the seeds actually do total up to