sonority

Some passages are selectively descriptive and at times mundane (e.g., about opus 57: "The first theme is presented and extended in E major, e minor, c minor, and At major, and with a diminished seventh sonority that leads through transition material to D[sharp] major" [p.

In case of (10a and b) it is mandatory to provide the stop /p,k/ coda position to retain SSP (Sonority Sequencing Principle).

You cannot produce a beautiful sonority or combination of sonorities without first hearing the imagined sound in the inner ear.

HUDDERSFIELD Choral's huge size and heavily malted sonority dictated that this had to be a Mass in B minor on the grand scale.

In addition to the piano's evolution into an instrument whose sonority could take advantage of four-hand possibilities, we should also remember the limited social opportunities of the 19th century.

The latest in this series, by John Fought et al (2004), refines this approach by calculating a mean sonority score (MSS) instead of CV Score (proportion of CV syllables) for an utterance.

Monologue Man has become a pivotal piece in the set-list and the presence of Ben Davis on cello adds considerable texture to her pieces, imposing a dark sonority, or sometimes, an electronically-enhanced brightness that almost sounds like another horn.

The given names in our corpus were analyzed in terms of initial sonority. This analysis revealed a slight tendency for male names to begin with more obstruent initial segments than female names, but the differences were not significant.

Most of them have been somewhat grand in scale and sonority; however, the works on this recording are more intimate in sound and expression.

John Arsenault (Tamino) exhibited a clear tone and displayed equal sonority in both low and high registers, as well as an air of princely command.

The instrument delivers the unearthly tinkling sonority you hear accompanying the ballerina in her variation in the grand pas de deux in Act II, the number popularly known as the "Dance of the Sugar Plum Fairy." Tchaikovsky first heard the celesta during a visit to Paris in the 1880s.

The aim of this paper is to show that approaches to SCF in English that are dependent on particular syllabification theories and assume a direct mapping between underlying /eC/ sequences and surface syllabic consonants ([C]) cannot fully account for the distribution of syllabic consonants unless sonority constraints are allowed to play a role at a level beyond that of underlying syllabification.