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The grammarian Dionysius Thrax used the Ancient Greek word ὑγρός (hygrós, transl. moist) to describe the sonorant consonants (/l, r, m, n/) of classical Greek. [1] [2] It is assumed that the term referred to their changing or inconsistent (or "fluid") effect on meter in classical Greek verse when they occur as the second member of a consonant cluster (see below).
This voicing of /f/ is a relic of Old English, at a time when the unvoiced consonants between voiced vowels were 'colored' by an allophonic voicing rule /f/ → [v]. As the language became more analytic and less inflectional, final vowels or syllables stopped being pronounced.
All of them had syllabic allophones, transcribed *r̥, *l̥, *m̥, *n̥, *i, *u, which generally were used between consonants, word-initially before a consonant, or word-finally after a consonant. Even though *i and *u were certainly phonetic vowels, they behave phonologically as syllabic sonorants.
The syllable onset has no relationship to syllable weight; both heavy and light syllables can have no onset or an onset of one, two, or three consonants. In Latin a syllable that is heavy because it ends in a long vowel or diphthong is traditionally called syllaba nātūrā longa (lit. transl. syllable long by nature), and a syllable that is ...
In the syllable coda, the sequences /ɛr, ɑr, aːr, ɔr, oːr/ may be realized as [ɛ̝j, ɑj, aːj, ö̞j, öːj], which may be close to or the same as the vowels or sequences /eː, ɑj, aːj, ɔj, oːj/, resulting in a variable merger.
The Kannada script is rich in conjunct consonant clusters, with most consonants having a standard subjoined form and few true ligature clusters. A table of consonant conjuncts follows although the forms of individual conjuncts may differ according to the font. Of special note is the sequence concerning the letter ರ (ra). Unlike other letters ...
Tone is differentiated only on the stressed and on the last syllables, where it is the opposite of the tone that stressed syllable has (except in some prepositions). If last syllable is stressed, then they merge and form rising (acute) or falling (circumflex) tone; e.g., pot [ˈpǒːt] / [ˈpôːt] 'path'. Other vowels have neutral (mid) tone.
It was therefore a form of consonant–vowel harmony in which the property 'palatal' or 'non-palatal' applied to an entire syllable at once rather than to each sound individually. The result was that back vowels were fronted after j or a palatal consonant, and consonants were palatalised before j or a front vowel. Diphthongs were harmonized as ...
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