Monosyllabic Rhyme

7 Key excerpts on "Monosyllabic Rhyme"

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  eBook - PDF

  The Relation of Writing to Spoken Language

  • Martin Neef, Anneke Neijt, Richard Sproat, Martin Neef, Anneke Neijt, Richard Sproat(Authors)
  • 2012(Publication Date)
  • De Gruyter

    (Publisher)

  However, its applicability and the informative value of the analyses are limited for languages with a high amount of polysyllabic and polymorphem«: words and word forms. For example, in Finnish, classified as an agglutinative language, almost no monosyllabic words exist (Karlsson 1983), Spanish, Portuguese, Italian and German, mor-phologically categorized as fusional languages, also contain relatively few monomorphem«: monosyllabic words. For those languages, the computation of bidirectional rime-consistency statistics does not yield predictive results for estimations of the overall phonological consis-tency. First, we cannot generalize from samples that small; and, secondly, a small corpus is automatically biased towards consistency, as it contains a relatively high percentage of unique and, therefore consistent, rimes. 1 There are several names for this sublexical entity. The term 'rhyme' is often used in phonetics and theoretical linguistics, mainly referring to the spoken unit. Many psycholinguists seem to opt for 'rime', denoting both spoken and written units. Other authors use the term 'body', but this might lead to confusion, as the same word is used by phonologists to describe the concatenation of onset and nucleus (Iverson & Wheeler 1989). Henceforth we will use the term 'rime' in this article, referring to the vowel and following consonant(s) of a monosyllabic word, for both written and spoken entities. Beyond the Rime: Measuring the Consistency of Monosyllabic and Polysyllabic Words 51 For example, an analysis of 1149 German monosyllabic words 2 yielded the following results for the spelling-to-sound mappings: only 31 written rimes, corresponding to 153 words, are feedforward inconsistent, i.e., they have more than one pronunciation. The other 408 written rimes, that correspond to 996 words, are pronounced consistently, but of those consistent rimes, 215 are unique.

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  Available until 18 Jan |Learn more

  Listening to Poetry

  An Introduction for Readers and Writers

  • Jeremy Trabue(Author)
  • 2019(Publication Date)
  • Chemeketa Press

    (Publisher)

  Rhyme schemes are also commonly used prescriptively, too, as part of describing a received form. For example, the Shakespearian sonnet is partially defined by conforming to the rhyme scheme ABAB / CDCD / EFEF / GG.

  Final Thoughts

  Many poems tell interesting stories, but all poems are at least a little bit like a song. The musicality of language itself is the heart and soul of many poems. Hearing that music is central to understanding and appreciating them. The variety of sounds that words make can create a subtle music all by itself.

  The syllable is a basic unit of language, generally defined as the sound of a vowel and the consonants around it. In English, syllables can be accented or unaccented, and this basic feature of the language is something that poems can fashion into musical patterns. Rhyme, most broadly, is the repetition of ending sounds in words, usually at the ends of lines. Rhyme is fundamentally simple but also exists in many variations and can be created, manipulated, and mixed with other song elements in many ways.

  To finish off the chapter, here’s a list of reminders, tips, and tricks to help you as you work with musical language:

  •  In dealing with any song element, read out loud, read out loud, read out loud. Then have someone read to you and listen with the poem in front of you and a pencil in your hand. There is no substitute for feeling the poem in your mouth and hearing it in another voice. Get help from a real human being, in person, if you can. This isn’t the easiest material to learn from the silent page.

  •  Scribble all over the poems. It’s hard to keep track of all the individual pieces in your head while you try to figure out what kind of pattern they make. Making notes as you find the sounds allows the pattern to emerge naturally.

  •  When analyzing syllables, use the dictionary to locate the syllable breaks and the stress patterns in multisyllabic words.

  •  When listening for rhyme specifically, try reading, at least at first, only the last syllable of each line out loud. “Close enough” gen erally counts in rhyme. If you can reasonably imagine a word rhyming, let it rhyme.

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  eBook - ePub

  The Princeton Encyclopedia of Poetry and Poetics

  Fourth Edition

  • Stephen Cushman, Clare Cavanagh, Jahan Ramazani, Paul Rouzer, Stephen Cushman, Clare Cavanagh, Jahan Ramazani, Paul Rouzer(Authors)
  • 2012(Publication Date)
  • Princeton University Press

    (Publisher)

  cywydd couplets, one of the rhymes must be a monosyllable but the other a polysyllable. But if rhyme depends for its distinctive effects on the morphology of the particular words involved in the rhyme, it also, therefore, depends on the morphological structure of the lang. itself as the ground against which the pattern becomes visible.

  Inflectional endings are, as it were, the antithesis or reflex of rhyme, though it is not accurate to say, as did Whitehall, that langs. in which like endings result automatically from inflection will never use rhyme as a structural device in verse. Rhyme is occasionally to be found, consciously used, in the lit. of the cl. langs. The notion of like endings (Gr. homoeoteleuton , Lat. similiter desinens ) is discussed by the ancients—Aristotle (Rhetoric 3.9.9–11), Dionysius of Halicarnassus (23), and Quintilian (9.3.77)—under the rubric of “verbal resemblance” or sound correspondence between clauses (paromoeosis ). Late antique *rhyme-prose continues this trad.; the *grammatical rhyme of the Grands Rhétoriqu eurs (see RHÉTORIQUEURS, GRANDS ) takes a different slant. But the two systems—case endings and rhyme—overwrite the same space and so in the main are mutually exclusive. And when, in any lang., rhyming is relatively easy, poets will tend to complicate it by employing forms of *rich or *identical rhyme (as in Fr.) or complex stanza forms (as in Occitan and Fr.) or both, or else by eschewing rhyme completely (as in *blank verse). Poets who choose to rhyme, in fact, walk a tightrope between ease and difficulty: too easy rhyming or too difficult rhyming eventually produce the same result—the poetic disuse of rhyme. In some verse systems, the rules in a prosody survive sometimes for centuries after the ling. facts on which they were originally based have disappeared. One of the chief instances of this process is the mute e

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  Sound and Sense in Classical Arabic Poetry

  • Geert Jan van Gelder(Author)
  • 2015(Publication Date)
  • Harrassowitz Verlag

    (Publisher)

  KG, Wiesbaden 5. Monorhyme and Monotony 193 As for the alleged monotony of monorhyme, it is true that there is some-thing almost hypnotic or mesmerising in the repetition of rhymes in long po-ems, such as the 89 lines ending in -āmuhā of Labīd’s Muuni02BFallaqah , or the 337 lines ending in -ālī of a poem by Ibn al-Rūmī. 102 Much longer still is the Tāuni02BEiy-yah , mentioned above, by Ibn al-Fāriuni1E0D, with its 761 lines rhyming on -tī , and even this pales in comparison to the didactic poem by the theologian Ibn Qay-yim al-Jawziyyah (d. 751/1350), almost ironically entitled al-Kāfiyah al-shāfiyah fī l-intiuni1E63ār li-l-firqah al-nājiyah (“The Sufficient and Adequate [Poem] in Vindica-tion of the Saved Sect”), a poem in kāmil metre rhyming in -ānī , and said to have a staggering 5,828 lines. 103 It is true, too, that to those unaccustomed to Arabic verse a poem may, at first sight or hearing, appear shapeless with its every line having the same metrical structure (only relieved on a small scale by the ziuni1E25āfāt , the freedom of certain metrical slots) and the same rhyme. It may seem to resemble the repetition of identical elements so popular in the visual patterns of Arab or Islamic decorative art; or perhaps it could be deemed, rather, to contradict the concern of Arabic literary critics and visual artists for patterns, because strict monorhyme amounts to the absence of a pattern, in terms of rhyme. Poets and critics like to compare poetic texture to patterned textiles, as is evident from the many comparisons of poems with “striped Yemeni cloth” or from the numerous technical terms for stylistic fea-tures derived from embroidery and weaving. Formal patterning plays a major part within the individual line, rather than the poem as a whole, and while monorhyme is a feature of the whole poem, its effect is paradoxically far more clearly felt in the single line than in the complete product.

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  A Manual of English Phonetics and Phonology

  Twelve Lessons with an Integrated Course in Phonetic Transcription

  • Paul Skandera, Peter Burleigh(Authors)
  • 2022(Publication Date)
  • Narr Francke Attempto Verlag

    (Publisher)

  Lesson Seven: The Syllable One notion that we have used freely in previous lessons without giving any explanation is the notion of the syllable [from Latin syllaba, Greek sullabē ´ , ‘taken, brought, or put together’; Silbe]. The reason why we have been able to do so is that most people have an intuitive sense of what a syllable is, and they can probably define a syllable vaguely as the smallest rhythmic unit of spoken language, for example, or a unit that is typically larger than a single sound and smaller than a word. Even without being able to give an exact definition, most people feel they can count syllables, and say how many syllables there are in a given word or sequence of words. On the other hand, studies have shown that, when English speakers are asked to count the syllables of a concrete utterance, there is bound to be considerable disagreement among them. It becomes clear, then, that the notion of the syllable is more elusive than is widely thought. In this lesson, we shall therefore discuss the syllable in some detail. A phonetic approach to the syllable You learnt in Lesson Three that consonants and vowels can be described both from a pho- netic point of view, i.e. in terms of how they are produced, and from a phonological point of view, i.e. in terms of where they occur. The same is true of the syllable. Phonetically, a syllable can be described as having a centre, also called peak or nucleus [Silbenkern, Sil- bengipfel, Nukleus], which is produced with little or no obstruction of air, and is therefore usually formed by a vowel (either a monophthong or a diphthong). The minimal syllable, then, is typically a single, isolated vowel, as in the words are /ɑː/, err /ɜː/, and I /aɪ/. The few consonants that can occur in isolation, such as the interjections mm /m/ (used to express agreement) and sh /ʃ/ (used to ask for silence), are not regarded as minimal syllables by all linguists.

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  Australian English Pronunciation and Transcription

  • Felicity Cox, Janet Fletcher(Authors)
  • 2017(Publication Date)
  • Cambridge University Press

    (Publisher)

  English has a great many monosyllabic words. As each syllable must have a single vowel, it follows that all monosyllabic words have a single vowel. The following lists give us an idea of the range and flexibility of syllable types that are legal or acceptable in English. Onset d Rhyme Nucleus æ Coda ns Figure 3.1 The syllabic structure of the word dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Table 3.1 Examples of English syllabic structure ....................................................................................... Word Structure Onset Rhyme Nucleus Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . praise CCVC /pɹ/ /æɪz/ /æɪ/ /z/ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . witch CVC /w/ /ɪʧ/ /ɪ/ /ʧ/ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . scrunched CCCVCCC /skɹ/ /ɐnʧt/ /ɐ/ /nʧt/ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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  eBook - ePub

  English Rhythm and Blues

  Where Language and Music Come Together

  • Patrice Paul Larroque(Author)
  • 2021(Publication Date)
  • Routledge

    (Publisher)

  traditio). The language is English, the English that the slaves learned from their masters, and the first elements they perceived was the rhythm and intonation upon which they naturally relied to understand. A foreigner will not be able to interpret the words of an utterance or rather will interpret them in the same way as his or her own mother tongue if they are pronounced in one breath, with no inflection of the voice and no pause. An utterance in French may, for instance, sound like one long word to an English ear.

  The perception of the rhythm of a language first depends on the syllable which is not only the smallest rhythmic unit of a language (Attridge 1982 : 60), but also an element which can be isolated, perhaps recognized, and which constitutes a reliable regular articulatory basis. Thus, when trying to understand an utterance in a new and unfamiliar language, the learner will stick to the first speech signal of the new language that he or she can perceive, and in particular its rhythmic structure (Attridge 1982 : 70). The syllable, then, acquires great interest in the rhythm of speech. It is an important element which includes duration and cadence. If syllables have no fixed duration, there is still some regularity in the recurrence of stressed ones. It is, however, sometimes difficult to define the limits of syllables in a word or an utterance.

  1.2.1 Nature and representation of syllables

  Syllables can be defined in two different ways: phonetically and phonologically. Phonetically, a syllable normally contains a single vowel in the nucleus and one or more consonants. The syllable is usually represented (see Carr 1999 ; Roach 2000 ) by the Greek letter σ (sigma), the letter O stands for the onset of the syllable and R for the rhyme which in turn can be subdivided into the nucleus (N) and the coda (C). In the word take, for instance, the onset is the initial consonant /t/, the vowel /eɪ/ constitutes the nucleus and the final consonant /k/ the coda, as shown in (6).

  In a language, the smallest possible word contains only one syllable. There is no word smaller that a syllable. The minimal syllable amounts to a single vowel as in English words like eye (/aɪ/), or (/ɔ:/), are (/a:/), a (/ә/), exclamations like oh! (/әʊ/), ooh! (/u:/), or ow! (/aʊ/) to express pain. In general, all languages have syllables containing onsets and rhymes. That is the reason why CV-like syllables (i.e. containing a consonant and a vowel) can be found in all languages. A syllable with an “empty” onset is a syllable which does not contain an onset consonant as in arrive

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