A reanalysis of abstract contrasts and opacity in Bondu-so tongue root harmony

This paper explores a number of controversial consequences of previous abstract analyses of Bondu-so (Dogon) vowels and vowel harmony, particularly for the explanation of phonological opacity. Bondu-so has been characterised as displaying asymmetrically-patterning bidirectional harmony, a four-way [ATR] contrast on mid-vowel suffixes, and abstract [±ATR] contrasts on high and low vowels which display distinct phonological behaviours but which never surface, being absolutely neutralised (Hantgan & Davis 2012). I show that each of these unusual generalisations stems from the crucial mischaracterisation of underlying vowel contrasts and the direction of harmony in surface-ambiguous data. With a re-classification of the data, Bondu-so harmony patterns are characterisable as regular, derivationally transparent leftwards [RTR]-harmony with harmonically neutral non-contrastive high and low vowels – requiring no abstract contrasts, directional harmony asymmetries, or opacity of any kind. Following this non-abstract reanalysis, Bondu-so is revealed to be typologically and theoretically fully consistent with other harmony languages. This review of Bondu-so vowel patterns represents therefore an important contribution to the “abstractness controversy” – revealing important analytical and methodological issues in abstract approaches to phonological opacity.