テンボ語の声調の通時的特性 (historical characteristics of Tembo tone) 梶 茂樹(Shigeki Kaji) -ci} mu{ci 3,4; *-ntu} 'person'> -ndzu{ mu{ndzu{ 1,2; *-ke{de{ 'frog' > -ke}re} ci{kere 7,8; *-di&{mu} 'spirit' > -si}mu{ mu{simu{ 1,2; *-bu$}ma{ 7 'fruit' > -fu{ma} ci{fu{ma 7,8; *-bi}di} 'body' > -bi{lyi{ mu{bi{lyi{ 3,4; *-di${m- 'to be extinguished' > -si}m- ku{sima{; *-di}d- 'to cry' > -li{r- ku{li{ra{. Four rules, viz. Final High Lowering, High Tone Spreading, High Tone Anticipation and High Contour Leveling are postulated to explain this historical phenomenon (the rules are to apply in the order given). Whereas the analysis requires a global reference to etymological tones, the problem of globability is managed by considering pre-Tembo low tones as toneless (φ), a solution parallel to the synchronic one proposed by Hyman and Valinande (1985) in their analysis of Nande tones. The derivations from Proto-Bantu to Tembo for nominals of mono- and disyllabic stems are summarized as follows (in the Proto-Bantu forms, the first H represents the augment, and the following L the nominal prefix): a. *H-L-H > HφH > HRL > HHL; b. *H-L-L > Hφφ > HHφ > HHH; c. *H-L-HH > HφHH > HφHL > HRLL > HHLL; d. *H-L-HL > HφHφ > HφHH > RLH > HHLH; e. *H-L-LH > HφφH > HφRL > HHHL; f. *H-L-LL > Hφφφ > HHφφ > HHHφ > HHHH.