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This study was designed to determine if there is a difference between English Language Learner (ELL) production of/s/in words such as prince and prints, as it appeared that ELLs were pronouncing "prince" for the former, but "print" for the latter. Study subjects completed a dictation task using a paragraph with many words ending in/s/. The results were that final/s/in words such as prince was produced in 94.1% of the required contexts, while/s/in words like prints was produced in 64.9% of the required contexts. The structural difference between pairs such as prince and prints is that prince has no internal morphological structure, while prints consists of print + s. The different production rates for final/s/suggest that ELLs are processing the words differently, and are apparently unconsciously aware of the morphological difference between pairs such prince and prints. Contrary to expectations, this morphological awareness leads to incorrect responses. The discussion shows that issues such as salience, sonority, and L1 transfer cannot account for the data obtained in the study. In the paper suggestions are presented for raising morphological awareness to a more conscious level, thereby potentially aiding acquisition. [ABSTRACT FROM AUTHOR]

The article serves as an introduction to “Literatura ma głos” (The Voice of Literature), a special issue of Teksty Drugie. [ABSTRACT FROM AUTHOR]

The two rhotic consonants of Ibero-Romance languages are characterised by their very specific distribution and by the prosodic weight of one of them. Data has hitherto suggested a geminate-to-single contrast for the pair of rhotics. It will be shown here that this view must be rejected in favour of another which sees these putative geminates as complex syllabic onsets. But this hypothesis only holds if it can be shown that sonorants and only sonorants are likely to have weight in onset position in these languages. The Alignment theory of sonority makes this possible since sonority and weight appear as particular cases of the behaviour of the nucleus in that framework.

Scholars commonly interpret Vicente Aleixandre's Shadow of Paradise as being about the losses of paradise and love's innocence. They view Aleixandre's treatment of kisses in relation to erotic love. In contrast, this article demonstrates that this book of poetry is about the traditional four elements, earth, air, fire, and water, with special emphasis given to water. Earth, air, and fire are viewed from the perspective of water as Aleixandre dwells on the boundary between water and earth and the border between water and air. With this hermeneutic, a kiss is a metaphor for the elemental meeting of water and earth. Kissing occurs not only between people, but between humans and non-humans, and among nonhumans. This interpretation frames Aleixandre's thinking about the paradise of things. Things become manifest as they emerge from the elemental background. The elements are that out of which and from which things come to appearance to form paradise. The poet recaptures the elemental by recognizing it as a pre-condition for the appearance of things. [ABSTRACT FROM AUTHOR]

This study examines the perceptual mechanisms involved in the processing of words without vowels, a lexical form that is common in Tashlhiyt but highly dispreferred cross-linguistically. In Experiment 1, native Tashlhiyt and non-native (English-speaking) listeners completed a paired discrimination task where the middle segment of the different-pair was either a vowel (e.g., fan vs. fin), consonant (e.g., ʁbr vs. ʁdr), or vowelless vs. voweled contrast (e.g., tlf vs. tuf). Experiment 2 was a word-likeness ratings task of tri-segmental nonwords constructed to vary in the sonority of the middle segment. We find that vowelless words containing different types of sonority profiles were generally highly discriminable by both native and non-native listeners. This can be explained by the phonetic and acoustic properties of vowelless words: Since Tashlhiyt exhibits low consonant-to-consonant coarticulation, the presence of robust consonantal cues in the speech signal means that the internal phonological structure of vowelless words is recoverable by listeners. At the same time, word-likeness ratings of nonwords indicated that listeners relied on their native-language experience to judge the wellformedness of new words: Tashlhiyt listeners were most likely to accept obstruent-centered vowelless words; meanwhile, English listeners’ preferences increased with higher sonority values of the word center. Across both experiments, speech style variation provided further evidence as to how the phonetic implementation of vowelless words makes them perceptually stable. Thus, our findings provide an overview of the low-level acoustic-phonetic and higher-level phonological processing mechanisms involved in the perception of vowelless words. Our results can inform understandings of the relationship between language-specific phonetic variation and phonotactic patterns, as well as how auditory processing mechanisms shape phonological typology.

AbstractSonority and its various aspects, in addition to affecting the structure of a syllable can trigger somephonological and morphophonological processes.The foundation of these sonority-based processes is that the sonority scale of all the phonemes should be determined in a hierarchical order.To achieve this primary goal, a sonority hierarchical model of Persian phonemes was proposed according to the theoretical foundations previously clarified about sonority,.Then, all the 23 Persian consonants were used in the onset and coda position of the CVC syllable. The 6 vowels of this language were also used in this syllable.In the next step, all the data were put in carrier sentences, then read and recorded three times by 10 monolingual native Persian speakers.Since according to Parker (2008), there is a direct relationship between intensity and sonority, so the intensity of all phonemes was measured in Praat software (version 6.1.42). Following that, through Pearson's correlation coefficient, the relationship between the intensity and sonority scale proposed in the hypothesis was calculated. In doing so, the calculations were done for individual phonemes and phonemic classes and the results were 0.90 and 0.91 respectively and the hypothesis of the research was statistically attested. Finally the hierarchical sonority model of Persian phonemes was presented.Moreover, the comparison of this model with the model suggested by Parker (2008) showed that it is completely consistent with it, and it can be claimed that Parker's model (2008) is also confirmed in Persian.Keywords: Sonority, Intensity, Persian Sonority Hierarchy, Parker's Sonority Hierarchy (2008) IntroductionSonority, as an interface between the phonetics and phonology of a language, can affect the syllable structure and its production. Moreover, sonority and its various aspects such as Sonority Sequencing Principle, Syllable Contact Law, Minimum Sonority Distance and Sonority Dispersion Principle can trigger some phonological and morphophonological processes of a language. Some linguists (Clements, 1990; Ohala, 1995; Parker, 2003; Zolfaghari & Kambuziya, 2005; Rahili, 2016; Mahmoodi, 2017; Wulfert, 2017; Salimi & Kambuziya, 2019) believe that some processes such as assimilation, dissimilation, metathesis, deletion and insertion also happen under the influence of sonority. The foundation of these sonority-based processes is that the sonority scale of all the phonemes in a language should be determined in a hierarchical order.From articulatory point of view, sonority indicates the greater openness of the vocal tract and from acoustic point of view, it is related to the greater intensity of the sound signals (Parker, 2002: 41-49). Ladefoged and Johnson (2010: 245) believe that the sonority of a sound is its loudness relative to that of other sounds with the same length, stress, and pitch. They (ibid) state that the sonority of a sound can be estimated from measurements of the acoustic intensity of a group of sounds that have been spoken on comparable pitches and with comparable degrees of length and stress. Parker ( 2008) also focusing on the direct relationship between intensity and sonority proposes a hierarchical model of sonority as in table 1 and claims that it can be a universal model. Table 1- Parker's hierarchical model of sonority (2008)Phonemic ClassesSonority indexLow vowels17Mid-peripherial vowels(not ə)16High- peripherial vowels(not ɨ)15Mid- interior vowel (ə)14High- interior vowel (ɨ)13Glides12Rhotic approximant (ɹ )11Flaps10Laterals9Thrills8Nasals7Voiced fricatives6Voiced affricates5Voiced stops4Voiceless fricatives3Voiceless affricates2Voiceless stops1 The present study was acoustically conducted to firstly determine the sonority scale of Persian phonemes based on intensity and secondly to compare the obtained scale with that of Parker's (2008). Materials and MethodsTo determine the sonority hierarchy of Persian phonemes based on intensity, in the first step, according to the theoretical foundations previously clarified by scholars (Clements, 1990; Parker, 2002) about sonority, a sonority hierarchical model of Persian phonemes was proposed as a hypothesis. Then, all the 23 Persian consonants were used once in the onset position and once in the coda position of the CVC syllable. The 6 vowels of this language were also used in this syllable. To maintain the consistent articulatory conditions for all the consonants in this syllable structure (CVC), they were used adjacent to the same vowel /ɑ/, i.e. when they appeared in onset position, the nucleus and coda were (–ɑm) and when they were employed in coda position, the onset and nucleus were (bɑ–). All the vowels were also alternatively used between /s/ and /r/ in s–r frame. The data gathered in this way were either monosyllabic Persian words or Persian syllables. In the next step, all the data were put in carrier sentences, then read and recorded three times by 10 monolingual native Persian speakers ranging from 30 to 40 years old from both genders. Following that, using Praat software (version 6.1.42), the audio files were acoustically analyzed, and all the target phonemes (tokens) were measured in terms of intensity variable. In doing so, according to Parker (2002: 107), peak intensity was measured for vowels since this was the point when they were most distinct from consonants. Conversely, for consonants minimum intensity was measured because the most consonant -like point of consonants was when their intensity marked the minimum. Following that, Mean Values for individual phonemes, Grand weighted Means for phonemic classes and Standard Deviations for both groups were calculated. Discussion of Results and ConclusionsAfter extracting the Mean Values and Grand weighted Means, the relationship between intensity measurements and sonority indices proposed in the hypothesis was calculated through Pearson's Correlation Coefficient for two approaches (individual phonemes and phonemic classes) for both genders (male and female) and for both positions (onset and coda). Because of this, 8 Correlation Coefficients were obtained as in table 2: Table 2- Final correlation between intensity and sonority Coda consonants plus vowelsOnset consonants plus vowels Meanwomenmenwomenmen 0.900.900.950.840.92Individual phonemes0.910.880.940.870.93Phonemic classes As it is seen in table 2, the Correlation Coefficients for individual phonemes and phonemic classes were 0.90 and 0.91 respectively. These measurements show that intensity has a positive, direct and meaningful relationship with sonority. Accordingly, the hypothesis of the research was statistically attested and the hierarchical sonority model of Persian phonemes was presented as in table 3: Table 3- Sonority hierarchy of Persian phonemesSonority indexPhonemesPhonemic Classes13/ ɑ , a/Open vowels12/ e , o/Mid-open vowels11/i , u/Closed vowels10/j/­ Approximant9/l/Lateral8/r/Thrill7/m , n/Nasals6/v , z , ʒ/Voiced fricatives5/dʒ/Voiced affricate4/b , d , ɟ , G/Voiced stops3/f , s , ʃ , h , χ/Voiceless fricatives2/tʃ/Voiceless affricate1/p , t , c , ʔ/Voiceless stops Moreover, the comparison of this model with the model suggested by Parker (2008) showed that it is completely consistent with it, and it can be claimed that Parker's model (2008) is also confirmed in Persian.

Purpose. This article is devoted to the consideration of the linguistic essence of internal rhyme, as well as the analysis of rhyme terms depending on their number and location within one or different verse segments and their functioning in the poetic texts of German Romantics. Scientific originality of the research lies in the common interest of modern linguistics in the study of the means of sound organization and expression of poetic speech, as well as the lack of study on this subject. Method or methodology of the work. The basis of the research is formed by the continuous sampling method in the selection of practical material as well as the method of descriptive linguo-stylistic analysis. Results. In the course of the study, it was found that the main variety of intra-rhyme consonances are two-membered rhyme pairs of one-verse – mixed continuous and discontinuous) and different-verse (symmetrical). Internal rhyme is a characteristic feature of poetic texts. It serves to increase the rhyme coefficient, expands the sonority of the verse and is a means of sound influence, giving the verse emotionality and musicality. Practical implications. The results of the research can be used in the classes “Stylistics of the German language”, “Stylistic analysis of a literary text”, in seminars on the study of sound features of the language of German poetry.

The Sonority Sequencing Principle (SSP) is a fundamental governing principle of syllable structure; however, its details remain contested. This study aims to clarify the empirical status of the SSP in a cross-linguistic study of 496 languages. We adopt a phonetically-grounded definition of sonority – acoustic intensity – and examine how many languages contain SSP-violating clusters word-initially and word-finally. We consider the treatment of complex segments both as sonority units and as clusters. We find a significant proportion of languages violate the SSP: almost one half of the language sample. We examine which clusters cause the violations, and find a wide range: not only the notorious case of clusters with sibilants, but also with nasals, approximants and other obstruents. Violations in onsets and codas are not symmetrical, especially when complex segments are treated as units. We discuss where existing theoretical accounts of the SSP require further development to account for our crosslinguistic results. [ABSTRACT FROM AUTHOR]

Given relevant experimental evidence and language universals, this paper investigates the adaptation patterns of English stops in Taiwan Mandarin and argues in favor of the substantial existence of the perceptual phase in loanword adaptation, counter to Paradis & Tremblay’s (2009) phonological view on a similar issue. The statistically based results from a corpus of established loanwords support the view that interpretation of foreign stops is largely conditioned by a handful of perceptual factors, i.e., syllable position, aspiration and voicing, sonority, and the masking effect of [s]. These effects serve as part of the perceptual cues and function with the structural constraints at the level of perception, which generates an underlying representation that awaits evaluation at the level of production. [ABSTRACT FROM AUTHOR]

Sonority and its various aspects, in addition to affecting the structure of a syllable can trigger some phonological and morphophonological processes. The foundation of these sonority-based processes is that the sonority scale of all the phonemes should be determined in a hierarchical order. To achieve this primary goal, a sonority hierarchical model of Persian phonemes was proposed according to the theoretical foundations previously clarified about sonority,. Then, all the 23 Persian consonants were used in the onset and coda position of the CVC syllable. The 6 vowels of this language were also used in this syllable. In the next step, all the data were put in carrier sentences, then read and recorded three times by 10 monolingual native Persian speakers. Since according to Parker (2008), there is a direct relationship between intensity and sonority, so the intensity of all phonemes was measured in Praat software (version 6.1.42). Following that, through Pearson's correlation coefficient, the relationship between the intensity and sonority scale proposed in the hypothesis was calculated. In doing so, the calculations were done for individual phonemes and phonemic classes and the results were 0.90 and 0.91 respectively and the hypothesis of the research was statistically attested. Finally the hierarchical sonority model of Persian phonemes was presented. Moreover, the comparison of this model with the model suggested by Parker (2008) showed that it is completely consistent with it, and it can be claimed that Parker's model (2008) is also confirmed in Persian. [ABSTRACT FROM AUTHOR]

The musical score can be a site for dynamic exchange between performance and analysis, a place for conversation about material and meaning. As is typical in conversation, conundrums or disagreements generate new ideas and new forms; problems become possibilities. Such is the case in navigating the scores of Lucia Dlugoszewski, who sought radical ways to produce and notate sound forms from around 1950 until her death in 2000. This article is not intended to serve as a survey of Dlugoszewski's work but to document an exploration of the role that dialogue plays when performing and analysing musical repertoires. Its two authors will perform an excerpt of an ongoing dialogue about the challenges of navigating Dlugoszewski's innovative scores. A circularity emerges as every potential solution is performed, evaluated, and questioned anew; through this cycle, analysis and performance become a unified, continual process. A thesis emerges from the dialogue: Dlugoszewski's scores are a documentation of logic that is not present as much as one that is, a kind of notation in reverse, an ideal realised through performance at the edge of practical execution. [ABSTRACT FROM AUTHOR]

The main purpose of this paper is to explore the phonotactic structure of the Turkish phonological system on the basis of an extensive Turkish linguistic corpus. In a descriptive study, the distribution of Turkish consonants in onset and coda positions as well as consonantal sequences across syllable boundary (in c.c) and coda clusters (in cvcc syllable were examined. Results showed that stops and affricates in syllable onset position are most frequent, which is in line with the hierarchy of sonority scale assumed by the constraint *ONSET/X (Selkirk, 1984). Furthermore, the study of sound sequences in various syllable structures revealed that sonorants are more frequent than stops in coda position (in cvc), and also closer to syllable head than stops in coda clusters (in cvcc). This finding contradicts the predictions assumed by the constraint *CODA/X. Further results indicated that the distribution of Turkish consonants in coda clusters (in cvcc) are in conformity with the Sonority Sequencing Principle with the least marked phonotactic structure. However, the distribution of consonants across syllable boundary (in c.c) involves various consonantal sequences including those which belong to the same or similar natural class of consonants.

Naba, also known as Bilala, is a Nilo-Saharan (Sara-Bagirmi) language of Chad with about 410,000 speakers from three ethnic groups. This paper gives a basic description of the Naba phonological system, using segmental phonology and lexical phonology approaches. Topics covered include the phonemic inventory, syllable structure and phonotactic restrictions, the tone system and its interaction with other phonological processes, and the main lexical and post-lexical processes. A special focus is given to the important role of sonority hierarchy in Naba phonological structure and processes. This hierarchy groups affricates and non-sibilant fricatives with stops in a single obstruent category, while nasals, liquids, and approximants comprise the sonorant category. The distinction is key for syllable structure, phonotactic restrictions, tone sandhi, and a number of both lexical and post-lexical processes. It is proposed that the two sibilant fricatives /s/ and /z/ exist as a separate sonority level in between obstruent and sonorant, and evidence is given as to why they cannot be classed with either group.

This paper explores the asymmetry in the disordered (atypical) Greek L1 phonological productions of a child with Developmental Language Disorder (DLD) compared to the productions of two non-disordered (typical) children. The study focuses on the simplification patterns of reversed sonority consonantal clusters, namely [S/FRICATIVE+STOP] and [S+FRICATIVE]. The data show that, while the non-disordered children simplify reversed sonority clusters in the same way by deleting the more sonorous consonant, the child with DLD applies two different simplification patterns, resulting from constraints that disallow featural Markedness. We propose that the asymmetry attested in the reduction is due to the employment of two distinct grammars by the two groups of children. The typically developing children employ the cross-linguistically widely attested sonoritydriven reduction. Meanwhile, the grammar of the child with DLD is not motivated by sonority, but rather by a general avoidance for Markedness, retaining the unmarked [- continuant] Manner of Articulation in [S/FRICATIVE+STOP] clusters, while favoring the consonant with unmarked Place of Articulation in [S+FRICATIVE] clusters, where the Manner of Articulation of both segments is marked, i.e. [+continuant]. [ABSTRACT FROM AUTHOR]

The birth of tone, or tonogenesis, has been an area of research for over a century, yet we are still unable to predict how and when a language will acquire tone. This article compiles a typology by researching tonogenesis from 40 different languages across a range of families. Each tonogenetic event within these languages is coded for syntagmatic position, manner and laryngeal setting of the tonogenetic trigger. I further make a distinction between 'strict' tonogenesis, when a language acquires tone for the first time, as something distinct from 'broad' tonogenesis, in which a tonal language develops additional tones. The results of this typology then reveal several novel findings, including the prevalence of onset-conditioned tonogenesis and the importance of sonority in strict tonogenesis. In summary, I show that the Vietnamese model is not applicable in most cases and that tonogenesis is a highly varied phenomenon, warranting further detailed study and a more refined model. [ABSTRACT FROM AUTHOR]

Sonority is a fundamental notion in phonetics and phonology, central to many descriptions of the syllable and various useful predictions in phonotactics. Although widely accepted, sonority lacks a clear basis in speech articulation or perception, given that traditional formal principles in linguistic theory are often exclusively based on discrete units in symbolic representation and are typically not designed to be compatible with auditory perception, sensorimotor control, or general cognitive capacities. In addition, traditional sonority principles also exhibit systematic gaps in empirical coverage. Against this backdrop, we propose the incorporation of symbol‐based and signal‐based models to adequately account for sonority in a complementary manner. We claim that sonority is primarily a perceptual phenomenon related to pitch, driving the optimization of syllables as pitch‐bearing units in all language systems. We suggest a measurable acoustic correlate for sonority in terms of periodic energy, and we provide a novel principle that can account for syllabic well‐formedness, the nucleus attraction principle (NAP). We present perception experiments that test our two NAP‐based models against four traditional sonority models, and we use a Bayesian data analysis approach to test and compare them. Our symbolic NAP model outperforms all the other models we test, while our continuous bottom‐up NAP model is at second place, along with the best performing traditional models. We interpret the results as providing strong support for our proposals: (i) the designation of periodic energy as the acoustic correlate of sonority; (ii) the incorporation of continuous entities in phonological models of perception; and (iii) the dual‐model strategy that separately analyzes symbol‐based top‐down processes and signal‐based bottom‐up processes in speech perception. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main purpose of this paper is to explore the phonotactic structure of the Turkish phonological system on the basis of an extensive Turkish linguistic corpus. In a descriptive study, the distribution of Turkish consonants in onset and coda positions as well as consonantal sequences across syllable boundary (in c.c) and coda clusters (in cvcc syllable were examined. Results showed that stops and affricates in syllable onset position are most frequent, which is in line with the hierarchy of sonority scale assumed by the constraint *ONSET/X (Selkirk, 1984). Furthermore, the study of sound sequences in various syllable structures revealed that sonorants are more frequent than stops in coda position (in cvc), and also closer to syllable head than stops in coda clusters (in cvcc). This finding contradicts the predictions assumed by the constraint *CODA/X. Further results indicated that the distribution of Turkish consonants in coda clusters (in cvcc) are in conformity with the Sonority Sequencing Principle with the least marked phonotactic structure. However, the distribution of consonants across syllable boundary (in c.c) involves various consonantal sequences including those which belong to the same or similar natural class of consonants. [ABSTRACT FROM AUTHOR]

Copyright of Vilnius University Open Series is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Across languages, certain syllables are systematically preferred to others (e.g., plaf > ptaf). Here, we examine whether these preferences arise from motor simulation. In the simulation account, ill-formed syllables (e.g., ptaf) are disliked because their motor plans are harder to simulate. Four experiments compared sensitivity to the syllable structure of labial- vs. corona-initial speech stimuli (e.g., plaf > pnaf > ptaf vs. traf > tmaf > tpaf); meanwhile, participants (English vs. Russian speakers) lightly bit on their lips or tongues. Results suggested that the perception of these stimuli was selectively modulated by motor stimulation (e.g., stimulating the tongue differentially affected sensitivity to labial vs. coronal stimuli). Remarkably, stimulation did not affect sensitivity to syllable structure. This dissociation suggests that some (e.g., phonetic) aspects of speech perception are reliant on motor simulation, hence, embodied; others (e.g., phonology), however, are possibly abstract. These conclusions speak to the role of embodiment in the language system, and the separation between phonology and phonetics, specifically. [ABSTRACT FROM AUTHOR]

"Sgt. Pepper's Lonely Heart Club" (1967) not only represented a milestone within the history of Popular music, but it was also important in the definition of a new aesthetics, the aesthetics of sonority. According to Molina (2014), the album helped define this aesthetics through new approaches to compositing, proposing creative processes during recording sessions, concerning mainly with different configurations to sound layers. Molina called this kind of composition, "Música de montagem" (assemblage music). In this article, I present tools that may contribute to analysis process, as well to composition processes, keeping the sonority as the object. These tools represent a synthesis of the resources presented in Molina (2014) and Guigue (2011). At the end of this article, we discuss the possible application of this tools in different musical contexts, pointing out the impact of this aesthetics in popular music. [ABSTRACT FROM AUTHOR]

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Levinas' unpublished lectures at the Collège philosophique, there is an analysis of the western conception of language because of a luminal paradigm of logical-conceptual relationship with being: a silent world that reveals itself in light. Phenomenology would not have been able to move away from traditional metaphysics, which encloses and dominates the being that is given in the light through reason, reducing it to the uniformity. Levinas finds in the sonority of sound a key to philosophical interpretation with the potential to design an alternative form of relationship with existence where otherness is expressed itself. Therefore, it is proposed the paradigm of sonority, as a refulgence, of the alternative being to that of light.

Abstract In this article, the current Persian phonological contrast system is addressed under the framework of functionalism. The Degree of Phonological Contrast (DC), as a quantitative index, is determined for consonants in terms of sonority, manner, and place of articulation, and tongue height, place, and length for vowels. The findings of this study demonstrate that DC can be explained for consonants and vowels in similar and dissimilar phonological classes. Keywords: minimal pairs, degree of contrast, functional load, sonority, phonological class Introduction The main question in this article concerns the extent to which Persian phonology employs the contrast of a pair of phonemes in the word formation. This question is already reported for consonants and vowels. The hypothesis of the research implies that decreasing the similarity of the opposition members in phonological features increases the prevalence of minimal pairs and vice versa. For this purpose, the phonological contrast and functional load of the functionalism are quantified according to the formula of the DC. Then, the DC mean is determined for consonants in terms of initial, middle, and final positions within words, and the number of syllables for vowels using non-linear mathematical functions. Findings confirmed that the dissimilarity of vowels in length, along with the similarity of consonants in non-sonority and coronality, are among the pervasive factors in Persian word formation. Materials and Methods Research data include 41718 minimal pairs extracted from the generative lexicon(Eslami et al., 1383) with a volume of 52858 entries using a computer program. In this program, each entry’s phonological form is compared with phonological forms of approximately the same length (with one unit of length error). If the difference is one, the two words are considered a minimal pair. Minimal pairs that differed in consonants were classified according to their beginning, middle, and end. Moreover, those that differed in vowels were classified according to the number of syllables. Diagrams of exponential and logistic functions were employed to study the relationship between the DC in consonants and the position of consonants at the beginning, middle, and end of words on the one hand, along with the relationship between the DC of vowels and the number of syllables on the other. To evaluate the research hypothesis, a comparison between the values ​​of DCs, as well as their descending order, was performed. Discussion and Conclusion Examining the minimal pairs in the Persian lexicon shows that the DC of Persian consonants increases as we move from the beginning to the end of the word. Moreover, as the number of syllables increases, the DC of vowels decreases, and the inflection point of DC mean variations rest on three-syllable words. Conversely, as the number of syllables increases, the DC of consonants decreases, while there is no inflection point of DC mean variations on three-syllable words. Overall, DC for dissimilar classes is greater than that of similar classes. Specifically, the DC of vowels (in terms of tongue height and length) for dissimilar classes is more than that of similar classes, while it is the opposite for the place of articulation. However, the DC of consonants varies according to sonority, manner, and place of articulation for both similar and dissimilar classes. Therefore, the members of minimal pairs tend to be non-sonorant and coronal.

Der Artikel präsentiert Assimilationsphänomene zwischen Konsonanten, die vor allem an der Grenze verschiedener rhythmischer Strukturen im modernen Ukrainischen zu finden sind. Es werden wissen-schaftliche Arbeiten und Handbücher sowie orthoepische Wörterbücher kritisch analysiert, die dieses Phänomen in ausgewählten Lexemen thematisieren. Einige von den Phänomenen werden aus multilate-raler Perspektive dargestellt. The article presents assimilation cases between consonant sounds, found especially on the boundary of different rhythmic structures in the modern Ukrainian language. The author has monitored scientific works and manuals for higher educational institutions, orthoepic dictionaries focusing on the research-ers’ attention to the phenomenon of sonority assimilation. Some of the phenomena are presented from a multilateral perspective.

This article brings into dialogue the work of Jean-Luc Nancy and Berlin School filmmaker Valeska Grisebach to consider the relationship between film sound, gender and settler colonialism in Western ( Valeska Grisebach, 2017). I draw connections between Nancy's Listening and Eugenie Brinkema's concept of radical quiet to examine how the film's sonic composition attends to the sonority of silence and voice. I argue that Western combines sonic strategies of radical quiet and part-subtitled multilingual dialogue to undermine the sovereign silence associated with the genre's white heroic masculinity and challenge linguistic nonreciprocity in settler colonial landscapes. The article contends that these strategies work together to destabilise mastery within the narrative's discursive economy and within the spectatorial experience, shifting the spectator towards a mode of Nancean listening that invites defamiliarising encounters with foreignness that depart from existing theories of embodied spectatorship. Western brings to the fore the political stakes of silence, linguistic difference, and Nancean listening as model of communication, as they intersect with the film's feminist and anti-colonialist project of revisionist critique.

The urban phonosphere is highly complex as it is a mixture of various sound phenomena and the entire sonic environment. It consists of biophony, geophony, and especially anthropophony, and the combination of these--being considered as a sphere of sound phenomena that can be interpreted as different types of sonorities. In any phonosphere, including the urban one, it is possible to differentiate between various levels of specificity of sonic phenomena--from the general ones acting as a sonic ambience to the most specific. In the article, the origin, types, and meaning of these sonorities are discussed and they are classified according to their origin, and various other properties. The concept of sonor is central to understanding the structure of the urban phonosphere and is discussed in detail. The musicological and cultural anthropological approaches to the study of urban sound phenomena in their totality as a phonosphere enable a holistic approach to its consideration in the cities around the world. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The sound spectrum of water configures representative marks of various environments, which define a sound heritage with scientific, cultural, emotional, sensorial and educational value. From this perspective, river environments comprise a wide spectrum of sonic resonances. This study, contextualized within the field of geo-sonority research, considers the recording and analysis of water through several samples from the upper basin of the Miño River. The objectives are to advocate for the role of sonority as part of the intangible heritage, to explore its character in the fluvial environment of inland Galicia, and to contribute to the preservation of the sonic marks of water as sounds inherent to the identity of an area. The methodology applied consists of phases of field recording, the creation of databases and of phonic analysis. Water in its sound form, from the drop rhythmically repeating to the roar of a waterfall, fills an audible sound spectrum that characterizes soundscapes. By registering, documenting, and analyzing the sounds of the water, we advance in the knowledge of the diversity of the sound environments in the river basin of the Miño River.

Radio Alice was a free radio station that broadcast from 1976–1977 in Bologna, Italy, and was an integral part of the left-wing, countercultural Movement of 1977. This article contextualises the emergence of Radio Alice in relation to the Movement of 1977; the avant-garde political magazine A/Traverso, which had been published since 1975 by the collective that founded Radio Alice; and the international history of community radio. I then show how Radio Alice's approach to broadcasting drew from these three contexts in seeking to unseat the logic of capitalism and replace it with a celebration of desire. The station's practice emphasised polyvocality through the extensive use of telephone phone-ins and challenged language itself through surreal speech and non-linguistic vocalisation. I explore how this vocal practice expressed the station's countercultural politics and, drawing on the work of Adriana Cavarero and Doreen Massey, I argue that it was a practice with spatial consequences. These spatial consequences became both explicit and tangible during the 1977 Bologna riots when the station was shut down live on air. Ultimately, and most broadly, I contend that as a central component of human interrelation the voice is always already implicated in the social construction of space. [ABSTRACT FROM AUTHOR]

Discussions of the exilic body in Hollywood cinema have tended to focus on the personal trajectories of émigré actors in the context of the broader history of the industry in which they achieved star status. Significant work has been done in particular on the fate of European women stars in Hollywood but what has been rarely addressed, however, is the way in which Hollywood films imagine the exilic experience via the narratives built around specific stars. This article focuses on Arnold Schwarzenegger as one of the dominant stars of the 1980s–1990s, whose foreignness, accent and body are used in a remarkably consistent set of aesthetic, generic and narrative practices. The article uses Jean-Luc Nancy's concept of sonority to argue that the sonorous presence of the foreign other in the “host” space produces a new space; it produces the space of the host anew as one in which the foreign other is present despite the discursive denial of the possibility of that presence whilst at the same time producing a new self as distinct from the self before displacement. The article's aim is to highlight the ways in which Hollywood films produce and reproduce foreignness as an impossibility, a presence that cannot be. The use of the foreign star, I argue, is to perform the permeability of the boundary between outside and inside, while also policing it.

Through auditory analysis and advanced methods of sound analysis was possible to understand and explain the selected effects of the contemporary percussive flute technics in the modification of the diaphragm support, throat and embouchure, articulation, and the respective sound and musical results. The research has been conducted systematically with the aim to deepen the theoretical knowledge and practical skills of the students, learn the types of percussive effects and their symbols, and add them to their daily studies. For this purpose, different compositions and excerpts of compositions employing various types of contemporary percussive effects have been selected and applied to resolve effectively various problems in sound production in the interpretation of contemporary music, as well as music of other historical eras. [ABSTRACT FROM AUTHOR]

This paper proposes a weighted constraint grammar analysis that best models English syllabification as reported in Eddington et al. (2013). After we examine the factors governing the syllabification of medial consonants in two-syllable words, a set of constraints are formulated to address these factors. Based on these constraints, an initial grammar is constructed, to which we submit distribution information about medial syllabifications obtained from Eddington et al.’s (2013) syllabification survey data. We then perform learning simulations using Exponential Noisy Harmonic Grammar, a weighted constraint grammar designed especially to deal with constraints with negative weight (Pater 2009). As a result of the learning, an output grammar is produced in which each constraint is assigned a numerical weight. From the output grammar, we generate predicted syllabifications, which are then compared with observed syllabifications to evaluate the success of the analysis. We measure the predictive performance of the proposed analysis in terms of Root Mean Square Error and R², both of which provide a positive assessment. [ABSTRACT FROM AUTHOR]

Many studies focused on the letter and sound co-occurrences to account for the well-documented syllable-based effects in French in visual (pseudo)word processing. Although these language-specific statistical properties are crucial, recent data suggest that studies that go all-in on phonological and orthographic regularities may be misguided in interpreting how—and why—readers locate syllable boundaries and segment clusters. Indeed, syllable-based effects could depend on more abstract, universal phonological constraints that rule and govern how letter and sound occur and co-occur, and readers could be sensitive to sonority—a universal phonological element—for processing (pseudo)words. Here, we investigate whether French adult skilled readers rely on universal phonological sonority-related markedness continuum across the syllable boundaries for segmentation (e.g., from marked, illegal intervocalic clusters /zl/ to unmarked, legal intervocalic clusters /lz/). To address this question, we ran two tasks with 128 French adult skilled readers using two versions of the illusory conjunction paradigm (Task 1 without white noise; Task 2 with white noise). Our results show that syllable location and segmentation in reading is early and automatically modulated by phonological sonority-related markedness in the absence or quasi-absence of statistical information and does not require acoustic-phonetic information. We discuss our results toward the overlooked role of phonological universals and the over-trusted role of statistical information during reading processes.

The aim of this paper is to provide a comparison of onset clusters in English and Serbian within the theoretical framework that employs the concept of sonority. According to the Sonority Sequencing Principle (Kiparsky, 1979; Selkirk, 1984; Clements, 1990), consonant sequences can be divided into core clusters, sonority reversals and sonority plateaus. In order to divide onset clusters into these three groups, we used the principles referring to possible consonant clusters provided in Roach (2009) and the classification of consonant clusters in Petrović & Gudurić (2010). The classification shows that the majority of sequences in English and Serbian represent core clusters. All three types of clusters are more numerous in Serbian. Dispersion of demisyllables in the two languages was calculated with the aim of determining their complexity. Complexity ranking indicates that more complex structures tend to occur less frequently in both languages. On the other hand, the simpler demisyllables can be found in a larger number of words.

We have two aims in this paper. Our first aim is to show that syllables exist in TİD prosody (Türk İşaret Dili – Turkish Sign Language). A specific domain in prosody is substantiated only if there are phonological phenomena that refer to that domain as part of their definition. Therefore, for our first aim, we present evidence from phonological phenomena which need to refer to the notion syllable in their definition. As for these phenomena, we present Fingerspelling of one-handed suffixes which are restricted to a single syllable size in their lexicalized form. We also present some compounds which are reduced to a single syllable size while the lexemes before compounding form separate syllables. Next, as a case of phonological fusion, Coalescence will be shown to be limited to a single syllable size. These three phonological phenomena are domain processes which, to be defined, need the entire domain of syllable. We also show two phonological phenomena that need to refer to the edges of a syllable. These are Metathesis and Backwards Signing in both of which the order of the initial and final edges of the syllable are reversed. To support the existence of a prosodic domain, it is important to show that the specific prosodic domain is independent - it is not isomorphic to a morphological or a syntactic domain (Nespor and Vogel, 2007). Therefore, our second goal is to show that syllables are independent of two other units in grammar - Morpheme and Sign - by illustrating differences between them. We finish this paper by summary and indicating potential topics of study.

The concept of phonosphere is presented and considered. The study of a soundscape or any conceptual sonic space is based on an understanding of its structure and specificity. We consider the definition and implementation of the concept in relation to music, soundscape studies, and as a universal tool for analysis of any physical or conceptual sonic space or sphere. The discussion connects the concept of the phonosphere with some of the terms adopted in soundscape ecology, thus creating a new perspective for considering it. [ABSTRACT FROM AUTHOR]

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This article analyzes the distribution of three- and four-voice vertical sonorities in a repertoire of French ars antiqua and ars nova motets. Rather than selecting the subjectively important sonorities within a piece--an effort that would rely on the analyst's judgment of the overarching contrapuntal goals--this study uses computational musicological methods to analyze and categorize the distribution of sonorities across individual motets and groups of motets that occur at regular time intervals across the course of the compositions. This study offers some preliminary observations and conclusions about sonority usage in the late medieval French motet repertoire. [ABSTRACT FROM AUTHOR]