In this study, we investigated the impact of two constraints on the linear order of constituents in German preschool children's and adults' speech production: a rhythmic (*LAPSE, militating against sequences of unstressed syllables) and a semantic one (ANIM, requiring animate referents to be named before inanimate ones). Participants were asked to produce coordinated bare noun phrases in response to picture stimuli (e.g., Delfin und Planet, 'dolphin and planet') without any predefined word order. Overall, children and adults preferably produced animate items before inanimate ones, confirming findings of Prat-Sala, Shillcock, and Sorace (2000). In the group of preschoolers, the strength of the animacy effect correlated positively with age. Furthermore, the order of the conjuncts was affected by the rhythmic constraint, such that disrhythmic sequences, i.e., stress lapses, were avoided. In both groups, the latter result was significant when the two stimulus pictures did not vary with respect to animacy. In sum, our findings suggest a stronger influence of animacy compared to rhythmic well-formedness on conjunct ordering for German speaking children and adults, in line with findings by McDonald, Bock, and Kelly (1993) who investigated English speaking adults.

Does linguistic rhythm matter to syntax, and if so, what kinds of syntactic decisions are susceptible to rhythm? By means of two recall-based sentence production experiments and two corpus studies-one on spoken and one on written language-we investigated whether linguistic rhythm affects the choice between introduced and un-introduced complement clauses in German. Apart from the presence or absence of the complementiser dass ('that'), these two sentence types differ with respect to the position of the tensed verb (verb-final/verb-second). Against our predictions, that were based on previously reported rhythmic effects on the use of the optional complementiser that in English, the experiments fail to obtain compelling evidence for rhythmic/prosodic influences on the structure of complement clauses in German. An overview of pertinent studies showing rhythmic influences on syntactic encoding suggests these effects to be generally restricted to syntactic domains smaller than a clause. We assume that, in the course of language production, initially, clause level syntactic projections are specified; their specification is in fact the prerequisite for phonological encoding to start. Consequently, prosodic effects may only touch upon the lower level categories that are to be integrated into the clausal projection, but not upon the syntactic makeup of the higher order projection itself.

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Current systems for predicting prosodic prominence and boundaries in texts focus on syntax/semantic-based automatic decoding of sentences that need to be annotated syntactically (Atterer & Klein 2002; Windmann et al. 2011). However, to date, there is no phonetically validated replicable system for manually coding prosodic boundaries and syllable prominence in longer sentences or texts. Based on work in the fields of metrical phonology (Liberman & Prince 1977), phrase formation (Hayes 1989) and existing pause coding systems (Gee and Grosjean 1983), we developed a manual for coding prosodic boundaries (with 6 degrees of juncture) and syllable prominence (8 degrees). Three independent annotators applied the coding system to the beginning pages of four German novels and to four short stories (20 058 syllables, Fleiss kappa .82). For the phonetic validation, eight professional speakers read the excerpts of the novels aloud. We annotated the speech signal automatically with MAUS (Schiel 1999). Using PRAAT (Boersma & Weenink 2019), we extracted pitch, duration, and intensity for each syllable, as well as several phonetic parameters for pauses, and compared all measures obtained to the theoretically predicted levels of syllable prominence and prosodic boundary strength. The validation with the speech signal shows that our annotation system reliably predicts syllable prominence and prosodic boundaries. Since our annotation works with plain text, there are many potential applications of the coding system, covering research on prose rhythm, synthetic speech and (psycho)linguistic research on prosody.