Relevant bibliographies by topics / Consonant Harmony

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Consonant Harmony'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Consonant Harmony"

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Bessell, Nicola J. "Local and non-local consonant–vowel interaction in Interior Salish." Phonology 15, no. 1 (1998): 1–40. http://dx.doi.org/10.1017/s0952675798003510.

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Local consonant–vowel (C–V) interaction is attested in many languages, both as a phonetic and as a phonological process. There can be a clear developmental relationship between the two, with phonologisation of phonetic interaction occurring quite commonly (Hyman 1976, Ohala 1981). Thus, a common (historical) context for nasal vowels is an adjacent nasal consonant. When consonants trigger non-local effects (i.e. when the domain of the consonantal feature extends beyond adjacent segments), typically both vowels and consonants are targeted. For example, in consonant-induced nasal or emphasis harm
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Pater, Joe, and Adam Werle. "Direction of Assimilation in Child Consonant Harmony." Canadian Journal of Linguistics/Revue canadienne de linguistique 48, no. 3-4 (2003): 385–408. http://dx.doi.org/10.1017/s0008413100000712.

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AbstractIn child language, consonants often assimilate in primary place of articulation across intervening vowels. In adult language, primary place assimilation occurs only between adjacent consonants. In both cases, the first consonant usually assimilates to the second. The standard analysis of directionality of local assimilation in Optimality Theory uses positional faithfulness to protect the second consonant. In this article, it is argued that directionality in child language assimilation is due not to positional faithfulness, but to a markedness constraint that specifies that a consonant
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Arsenault, Paul. "Retroflex consonant harmony: An areal feature in South Asia." Journal of South Asian Languages and Linguistics 2, no. 1 (2015): 1–28. http://dx.doi.org/10.1515/jsall-2015-0001.

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AbstractRetroflexion is a well-known areal feature of South Asia. Most South Asian languages, regardless of their genetic affiliation, contrast retroflex consonants with their non-retroflex dental counterparts. However, South Asian languages differ in the phonotactic restrictions that they place on retroflex consonants. This paper presents evidence that a large number of South Asian languages have developed a co-occurrence restriction on coronal obstruents that can be described as retroflex consonant harmony. In these languages, roots containing two non-adjacent coronal stops are primarily lim
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Fejes, László. "Erzya stem-internal vowel-consonant harmony: A new approach." Acta Linguistica Academica 68, no. 1-2 (2021): 158–74. http://dx.doi.org/10.1556/2062.2021.00466.

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AbstractAlthough Erzya harmony is discussed as a kind of vowel harmony traditionally, suffix alternations show that there is a close interaction between consonants and vowels, therefore we should speak about a consonant-vowel harmony. This paper demonstrates that the palatalizedness of the consonants and the frontness of the vowels are also strongly connected inside stems: first syllable front vowels are quite rare after word-initial non-palatalized dentals but are dominant after palatalized ones; first syllable back vowels are dominantly followed by non-palatalized dentals, while the latter a
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Walker, Rachel, Dani Byrd, and Fidèle Mpiranya. "An articulatory view of Kinyarwanda coronal harmony." Phonology 25, no. 3 (2008): 499–535. http://dx.doi.org/10.1017/s0952675708001619.

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Coronal harmony in Kinyarwanda causes alveolar fricatives to become postalveolar preceding a postalveolar fricative within a stem. Alveolar and postalveolar stops, affricates and palatals block coronal harmony, but the flap and non-coronal consonants are reported to be transparent. Kinematic data on consonant production in Kinyarwanda were collected using electromagnetic articulography. The mean angle for the line defined by receivers placed on the tongue tip and blade was calculated over the consonant intervals. Mean angle reliably distinguished alveolar and postalveolar fricatives, with alve
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Maddieson, Ian. "Is consonant harmony assimilatory?" Journal of the Acoustical Society of America 133, no. 5 (2013): 3566. http://dx.doi.org/10.1121/1.4806513.

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Andersen, Torben. "Jumjum phonology." Studies in African Linguistics 33, no. 2 (2004): 133–62. http://dx.doi.org/10.32473/sal.v33i2.107333.

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This article describes the basic aspects of the phonology of Jumjum, a littleknown Western Nilotic language. The treatment includes syllable structure and word shapes, vowels and vowel harmony, consonants and consonant assimilation, and tones and tonal processes.
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Hansson, Gunnar Ólafur. "On the evolution of consonant harmony: the case of secondary articulation agreement." Phonology 24, no. 1 (2007): 77–120. http://dx.doi.org/10.1017/s0952675707001121.

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Consonant harmony involves long-distance featural assimilation, or agreement, of consonants across intervening segments. Current correspondence-based analyses of such sound patterns assume that they originate in the cognitive exigencies of articulatory planning, either synchronically, through the functional grounding of the constraints responsible, or diachronically, whereby processing factors incrementally shape the lexicon over time. This paper challenges the validity of this assumption as an all-purpose functional explanation for the full range of long-distance consonant agreement patterns
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Piggott, G. L. "Implications of Consonant Nasalization for a Theory of Harmony." Canadian Journal of Linguistics/Revue canadienne de linguistique 41, no. 2 (1996): 141–74. http://dx.doi.org/10.1017/s0008413100016303.

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AbstractNasalization in several Bantu languages skips vowels and, in some cases, also skips consonants. This process does not appear to apply in a local fashion. A solution to the locality problem has not been found so far in the conventional approaches to harmony. This article offers a novel analysis which maintains the general principle that elements related by rules or constraints are adjacent. It departs from the conventional description of harmony as a purely segmental relation and derives the effects of long distance consonant nasalization from the reconfiguration of harmony as a relatio
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Bradley, Travis G., and Jacob J. Adams. "Sonority distance and similarity avoidance effects in Moroccan Judeo-Spanish." Linguistics 56, no. 6 (2018): 1463–511. http://dx.doi.org/10.1515/ling-2018-0028.

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Abstract This article investigates consonant gemination in late Nineteenth- and early Twentieth-century haketía, a now moribund, regional dialect of Judeo-Spanish spoken in northern Morocco since the late fifteenth century. Some, but not all, consonant clusters arising across a word boundary undergo regressive total assimilation, e.g. [n.n] siudad ninguna ‘no city’ but [z.n] laz niñas ‘the girls’. We present novel descriptive generalizations to show that regressive gemination is sensitive to the degree of sonority distance between the coda and the onset. Evidence of parasitic harmony comes fro
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Dissertations / Theses on the topic "Consonant Harmony"

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Lui, Kit-ling Cecilia. "Consonant harmony and underspecification in early Cantonese phonological development." Click to view the E-thesis via HKUTO, 1999. http://sunzi.lib.hku.hk/hkuto/record/B36210006.

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Thesis (B.Sc)--University of Hong Kong, 1999.<br>"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 14, 1999." Also available in print.
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Ballard, Jack Du Wayne MacDonald George. "Part one, the castle part two, hyperextended chord tones : chromatic consonance in a tertian context /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1228157561.

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Thesis (Ph. D.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Ralph Lorenz. Keywords: jazz, music, theory, George Macdonald, ballet, harmony, tertian, harmonics analysis, dissonance, consonance, orchestra. Includes bibliographical references (p. 130-140).
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Ballard, Jack Du Wayne Jr. "Part One: The Castle. Part Two: Hyperextended Chord Tones: Chromatic Consonance in a Tertian Context." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1228157561.

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Arsenault, Paul Edmond. "Retroflex Consonant Harmony in South Asia." Thesis, 2012. http://hdl.handle.net/1807/33911.

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This dissertation explores the nature and extent of retroflex consonant harmony in South Asia. Using statistics calculated over lexical databases from a broad sample of languages, the study demonstrates that retroflex consonant harmony is an areal trait affecting most languages in the northern half of the South Asian subcontinent, including languages from at least three of the four major families in the region: Dravidian, Indo-Aryan and Munda (but not Tibeto-Burman). Dravidian and Indo-Aryan languages in the southern half of the subcontinent do not exhibit retroflex consonant harmony. In Sout
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Mackenzie, Sara. "Contrast and Similarity in Consonant Harmony Processes." Thesis, 2009. http://hdl.handle.net/1807/17474.

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This thesis deals with the nature and definition of phonological similarity and shows that, when similarity plays a role in the motivation of phonological processes, it is evaluated over abstract, phonological features and not purely phonetic properties. Empirical evidence for this position is drawn from the domain of consonant harmony. Typological studies of consonant harmony (Hansson 2001, Rose and Walker 2004) have argued that segments which interact in consonant harmony processes must be highly similar to one another. This thesis provides analyses of a range of consonant harmony processe
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Melnychuk, Teresa D. "Diminutive consonant harmony in several dialects of Cree." 2003. http://hdl.handle.net/1993/7816.

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In Cree, the palatalization of coronal obstruents imparts a diminutive meaning through a process referred to as sound symbolism. It has been described as an optional process (Pentland, 1974), thus accounting for the observation that not all of the coronal obstruents are subject to the sound symbolism. An acoustic examination of /s/ and /s/ attempted to discover whether there was a true phonological shift from /s/ to occurring in diminutives. A statistical procedure was used in the characterization of the fricative segments which determined that the diminutive fricative was unlike the control
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Gormley, Andrea Lucienne. "The production of consonant harmony in child speech." Thesis, 2003. http://hdl.handle.net/2429/14090.

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Consonant harmony, an assimilatory process affecting non-adjacent consonants, is found in both child and adult speech. While adult consonant harmony appears to be a phonological process, child consonant harmony has distinct properties that make a purely phonological explanation difficult. Child consonant harmony is found in the speech of some learners acquiring a language that does not have consonant harmony. Data from child consonant harmony is also distinct. In adult systems, sibilant harmony dominates (Hansson 2001), while in child systems velar and labial harmonies are most common (Stoel-G
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Stefanelli, Alex Matthew. "Consonant gemination in West Greenlandic." Thèse, 2019. http://hdl.handle.net/1866/23739.

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Ce mémoire analyse, à l’aide du Sérialisme Harmonique, un processus de gémination consonantique s’opérant à travers des frontières de morphème en groenlandais de l’ouest. Une partie intégrante de cette analyse se base sur les restrictions sur les formes de surface des consonnes géminées et le comportement général des consonnes chez les frontières de morphème. Le processus de gémination discuté implique l’assimilation consonantique régressive quand un affixe qui commence par une consonne se rattache à un stem qui se termine par une consonne. Un processus d’effacement consonantique en fin de ste
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Books on the topic "Consonant Harmony"

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Consonant harmony: Long-distance interaction in phonology. University of California Press, 2010.

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Audacious euphony: Chromaticism and the consonant triad's second nature. Oxford University Press, 2011.

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Shahin, Kimary N. Postvelar harmony. John Benjamins Pub., 2002.

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Shahin, Kimary N. Postvelar harmony. Benjamins, 2003.

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Tymoczko, Dmitri. A geometry of consonance: Harmony and counterpoint in the extended common practice. Oxford University Press, 2010.

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Tenney, James. A history of 'consonance' and 'dissonance'. facsimile of self-published manuscript, 1988.

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A history of consonance and dissonance. Excelsior, 1988.

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Lehman, Frank. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0001.

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Hollywood Harmony revolves around three primary arguments: (1) tonal practices of the nineteenth century continue to flourish and evolve in film music; (2) chromaticism using consonant triads is a key ingredient of the “Hollywood Sound”; and (3) this chromatic style is associated with representations and evocations of wonderment in cinema. The book’s Introduction broaches these three claims with a brief initial analysis of studio logo music, before offering a survey of the scholarly landscape of film music theory, including treatments of chromaticism and so-called pantriadic music, especially
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Tenney, James. Introduction to “Contributions toward a Quantitative Theory of Harmony”. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0010.

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James Tenney presents the introduction to his 1979 essay “Contributions toward a Quantitative Theory of Harmony.” In this introduction, Tenney discusses the history of consonance/dissonance, paying attention to the semantic problem, relations between pitches, qualities of simultaneous aggregates, and contextual as well as operational and functional senses of consonance/dissonance. He also explores the structure of harmonic series aggregates, focusing on harmonic intersection and disjunction, harmonic density, and harmonic distance and pitch mapping. Finally, he considers problems of tonality b
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Abondolo, Daniel. Uralic Languages. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935345.013.6.

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All but three of the thirty-nine Uralic languages are endangered, most of them seriously so; of the family’s ten main branches, only two have members considered safe (Finnish and Estonian of the Fennic branch, plus Hungarian). This chapter surveys a selection of phonological, morphological, and syntactic features of the Uralic languages; the emphasis is on presenting aspects that are usually ignored, oversimplified, or misrepresented. Among the topics broached are vowel harmony; consonant gradation, which in the Uralic context is of four distinct kinds, three of them quite old; less-than-agglu
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Book chapters on the topic "Consonant Harmony"

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Goad, Heather. "Consonant harmony in child language." In Focus on Phonological Acquisition. John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/lald.16.06goa.

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Lin, Yu-Leng. "An Introduction to Vowel-Consonant Nasal Harmony." In Frontiers in Chinese Linguistics. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3534-1_2.

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Sethares, William A. "Consonance and Dissonance of Harmonic Sounds." In Tuning, Timbre, Spectrum, Scale. Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-4177-8_4.

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"Child Consonant Harmony: Identification and Properties." In The Acquisition of Hebrew Phonology and Morphology. BRILL, 2015. http://dx.doi.org/10.1163/9789004280151_004.

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SHAW, PATRICIA A. "CONSONANT HARMONY SYSTEMS: THE SPECIAL STATUS OF CORONAL HARMONY." In The Special Status of Coronals: Internal and External Evidence. Elsevier, 1991. http://dx.doi.org/10.1016/b978-0-12-544966-3.50013-0.

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Vihman, Marilyn May. "Phonological templates in development." In Phonological Templates in Development. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198793564.003.0005.

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This chapter presents cross-linguistic data from two children each from the language groups represented in Chapter 4. The child’s consonantal resources are evaluated, with examples of the child’s word forms. This is followed by an account of the child’s prosodic structures and their relative frequency of use. Active template use is evaluated, based in part on the extent to which the child adapts words to fit those structures. A correlation is found between the children’s production of consonant matches and the extent of variegation in their word forms. Finally, an overview is provided of template use in the 18 children whose patterns have been considered in detail. Consonant harmony is found to be the pattern most frequently deployed, but a VCV pattern is used by five of the children (French, Finnish, Italian, Welsh). The pattern is traced to accentual aspects of the ambient language.
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van Schaaik, Gerjan. "Morphological variation *." In The Oxford Turkish Grammar. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851509.003.0005.

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The principles of twofold vowel harmony and fourfold vowel harmony form, together with a number of consonant assimilations, the core of what at first sight looks like an enormous variation in suffixes. Since this apparent proliferation is largely predictable, it can neatly be reduced by adopting archetypical notations: –(y)E can be rewritten as four variants of the dative suffix: –ye, –ya, –e, and –a, and similarly, using –TE for the locative is more economical than spelling out –te, –ta, –de, and –da all the time. Another important issue is the question of how to deal with variable word stems. Only five noun classes exhibit stem variation: a dictionary form and an alternative stem; the latter being employed when a vowel follows via suffixation. The underlying mechanism is the process of re-syllabification, as set forth in the final section.
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Gee, Emma. "Interplanetary Harmonies." In Mapping the Afterlife. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670481.003.0008.

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This chapter studies the first of three of Plato’s afterlife myths treated in this book, namely the Spindle of Necessity from the Myth of Er in the Republic. The Spindle is a representation of the planetary orbits, along with the sound they are said to produce, which we know as the harmony of the spheres. The author argues against the traditional interpretation of this harmony as an octave scale, arguing instead for the Spindle as an anticipation of the harmonic series. In this she has called upon evidence for ancient recognition of tones as composite, and for the use of harmonics in ancient performance practice. This is important because, as she argues, Plato is striving toward an abstract, mathematical framework for consonance, which, further, carries ethical connotations. Combining as it does astronomy and music, the Spindle represents the role of sound and vision in shaping our understanding of the cosmos of which the soul is a part. Musical concord acts as a blueprint for the souls’ right ethical conduct during incarnation, which ought to follow natural laws, among which is the law of harmony. In the Myth of Er, the human soul is privileged to a vision of concord, in order to understand what to strive for.
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Goldsmith, Mike. "3. Sounds in harmony." In Sound: A Very Short Introduction. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198708445.003.0003.

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The words ‘tone’ and ‘note’ reflect the subjective/objective nature of sound: a tone is a sound wave with a particular frequency, a note is its subjective impact, with a particular pitch. ‘Sounds in harmony’ looks at what makes a note. In addition to pitch, a note also has duration, loudness, and timbre. Unlike pitch, duration, and loudness, timbre is a dynamic quality that can change over time and it is the only thing unique to a particular instrument or person. Why do we like what we do? Auditory pleasantness—consonance—and harmony are explained along with octaves, the pentatonic scale, major and minor scales, melodies, tempo, and metre.
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Svantesson, Jan-Olof. "Khalkha Mongolian." In The Oxford Guide to the Transeurasian Languages. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198804628.003.0022.

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This chapter gives an introduction to the basic structures of Khalkha Mongolian, most of which are similar to those of Mongolian proper in general. Segmental phonology (vowels and consonants) and word structure are analyzed. Major changes from earlier stages of the language are described briefly, as is the writing system, based on the Cyrillic alphabet. Vowel harmony, based on pharyngeality (ATR) and rounding, has several interesting properties, including the opacity of high rounded vowels to rounding harmony. There is a rich derivational and inflectional morphology based on suffixes. Basic syntactic structures, including word order and case marking of arguments in simple and complex clauses, are described, as are the functions of different verb forms (finite verbs, converbs, and participles). The description emphasizes the central place of Mongolian proper in the typology of the Transeurasian languages.
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Conference papers on the topic "Consonant Harmony"

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Maddieson, Ian. "Is consonant harmony assimilatory?" In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799794.

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Zellou, Georgia. "Consonant harmony in Moroccan Arabic: Similarity and incomplete neutralization." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4798470.

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