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Collocations may seem natural to native writers and speakers, but are not obvious to non-native speakers. For instance, the adjective "dark" collocates with "chocolate", but not with tea. Compare : [ 1 ]
The idea that one can construct a grammatically correct sentence consisting of nothing but repetitions of "buffalo" was independently discovered several times in the 20th century. The earliest known written example, "Buffalo buffalo buffalo buffalo", appears in the original manuscript for Dmitri Borgmann 's 1965 book Language on Vacation ...
Collocations can be in a syntactic relation (such as verb–object: make and decision), lexical relation (such as antonymy), or they can be in no linguistically defined relation. Knowledge of collocations is vital for the competent use of a language: a grammatically correct sentence will stand out as awkward if collocational preferences are ...
One example is the Correlative Conditional construction, found in the proverbial expression The bigger they come, the harder they fall. [ 15 ] [ 16 ] [ 17 ] Construction grammarians point out that this is not merely a fixed phrase; the Correlative Conditional is a general pattern ( The Xer, the Yer ) with "slots" that can be filled by almost ...
Song structure is the arrangement of a song, [1] and is a part of the songwriting process. It is typically sectional, which uses repeating forms in songs.Common piece-level musical forms for vocal music include bar form, 32-bar form, verse–chorus form, ternary form, strophic form, and the 12-bar blues.
In the traditional grammar of Modern English, a phrasal verb typically constitutes a single semantic unit consisting of a verb followed by a particle (e.g., turn down, run into, or sit up), sometimes collocated with a preposition (e.g., get together with, run out of, or feed off of).
Period built of two five-bar phrases in Haydn's Feldpartita in B ♭, Hob. II:12. [1] Diagram of a period consisting of two phrases [2] [3] [4]. In music theory, a phrase (Greek: φράση) is a unit of musical meter that has a complete musical sense of its own, [5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.
In Schoenberg's view, "the sentence is a higher form of construction than the period. It not only makes a statement of an idea, but at once starts a kind of development". [3] Schoenberg's conception of the sentence has been widely adopted in music theory, and appears in many introductory music theory textbooks.