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Six tone contours are possible for syllables with offglides /j, w/, closed syllables with nasal codas /m, n, ŋ/, and open syllables—i.e., those without consonant codas /p, t, k/. If the syllable is closed with one of the oral stops /p, t, k/ , only two contours are possible: the sắc and the nặng tones.
Many languages have nasal vowels to different degrees, but only a minority of world languages around the world have nasal vowels as contrasting phonemes. That is the case, among others, of French, Portuguese, Hindustani, Nepali, Breton, Gheg Albanian, Hmong, Hokkien, Yoruba, and Cherokee.
For instance, the limit of the just perfect fourth (4:3) is 3, but the just minor tone (10:9) has a limit of 5, because 10 can be factored into 2 × 5 (and 9 into 3 × 3). There exists another type of limit, the odd limit , a concept used by Harry Partch (bigger of odd numbers obtained after dividing numerator and denominator by highest ...
Tone is the use of pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or to inflect words. [1] All oral languages use pitch to express emotional and other para-linguistic information and to convey emphasis, contrast and other such features in what is called intonation, but not all languages use tones to distinguish words or their inflections, analogously ...
A sharp-and-a-half, three-quarter-tone sharp, or sesquisharp raises a note by three quarter tones. Although very uncommon, a triple sharp ( or ♯ ) can sometimes be found. It raises a note by three semitones or a whole tone and semitone .
A classic example of a nasal carrying a tone: To form a locative from a noun, one of the possible procedures involves simply suffixing a low tone [ŋ̩] to the noun. To form the locative meaning "on the grass" one suffixes -ng to the word [ʒʷɑŋ̩] jwang ‡ [_ ¯ ], giving jwanng ‡ [_ ¯ _ ] [ʒʷɑŋ̩ŋ̩], with the two last syllabic nasals having contrasting tones.
The convention q for nasal 疑, which drops in many dialects, is repeated in the finals, where it represents *[ŋ] with a departing tone. Although to some extent systematic—the retroflex series are digraphs ending in r , for example—this is overridden in many cases by the principle of using short transcriptions for common sounds.
In music, an augmented major seventh chord or major seventh sharp five chord is a seventh chord composed of a root, major third, augmented fifth, and major seventh (1, 3, ♯ 5, 7). It can be viewed as an augmented triad with an additional major seventh. When using popular-music symbols, it is denoted by e.g. + Δ 7.