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When the earphone positions are reversed, the higher tones continue to appear to be coming from the right and the lower tones from the left. Other people experience different illusions, such as the higher tones on the left and the lower tones on the right, or a pattern in which the sounds appear to be localized in different and changing ways.
In producing an ejective, the stylohyoid muscle and digastric muscle contract, causing the hyoid bone and the connected glottis to rise, and the forward articulation (at the velum in the case of [kʼ]) is held, raising air pressure greatly in the mouth so when the oral articulators separate, there is a dramatic burst of air. [1]
Another special case of consonance is sibilance, the use of several sibilant sounds such as /s/ and /ʃ/. An example is the verse from Edgar Allan Poe's "The Raven": "And the silken sad uncertain rustling of each purple curtain." (This example also contains assonance around the "ur" sound.) Another example of consonance is the word "sibilance ...
For example, a student learns that the initial sound in pig is the same as that in pen and pat, so they conclude that they must write that sound with the same letter "p". [5] Sometimes, analytic phonics is referred to as Implicit phonics because the understanding of the sound-letters connection is implied and not necessarily taught directly.
Examples include secondary articulation; onsets, releases, aspiration and other transitions; shades of sound; light epenthetic sounds and incompletely articulated sounds. Morphophonemically, superscripts may be used for assimilation, e.g. aʷ for the effect of labialization on a vowel /a/ , which may be realized as phonemic /o/ . [ 98 ]
The terms checked vowel and free vowel originated in English phonetics and phonology; they are seldom used for the description of other languages, even though a distinction between vowels that usually have to be followed by a consonant and other vowels is common in most Germanic languages.
Composers have long been using the spatial components of music to alter the overall sound experienced by the listener. [14] One of the more common methods of sound synthesis is the use of combination tones. Combination tones are illusions that are not physically present as sound waves, but rather, they are created by one's own neuromechanics. [15]
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