Syllable

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syllable

A syllable is a sequence of speech sounds (formed from vowels and consonants) organized into a single unit. Syllables act as the building blocks of a spoken word, determining the pace and rhythm of how the word is pronounced.
The three structural elements of a syllable are the nucleus, the onset, and the coda.
Syllables can be structured several ways, but they always contain a nucleus, which is (usually) formed from a vowel sound. The nucleus is the core of the syllable, indicating its individual “beat” within a word; the number of syllables in a word will be determined by the number of vowel sounds forming their nuclei.
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Syllable

 

the minimal articulated unit of speech, consisting of one or several sounds that form a compact phonetic entity and that occur during one chest pulse. Proponents of various theories concerning the syllable believe that a syllable is produced by one muscular contraction, by modulation (narrowing and widening) of the pharynx, or by the degree of sonority and the order in which sounds are uttered.

A syllable is composed of a beginning (onset), a peak (nucleus), and a final part (coda). A peak is formed by simple vowels (ma-ma), by sonorants in some languages (Czech prst, “finger”), and occasionally by obstruents (psst!). A syllable’s beginning and end are formed by one or more consonants; in some languages a syllable may consist only of a peak (o-ni, “they”). Syllables are closed when they end in a consonant and open when they end in a vowel. They are uncovered when they begin with a vowel and covered when they begin with a consonant. The commonest syllable structure, found in all languages of the world, is consonant followed by vowel.

Division into syllables often does not correspond to division into morphemes. In the word ruchka (“handle”), morphemes for example, there are two syllables (ru-chka) but three morphemes (ruch-k-a). In syllabic languages, such as Chinese, morphemes are generally monosyllabic and syllable and morpheme boundaries coincide. In such languages, the beginning of a syllable is contrasted to its end, which is limited to certain permissible sounds.

V. A. VINOGRADOV

References in periodicals archive ?
32) These poems, including Wace's early version, were written in octosyllabic couplets for easy transmission and recitation.
Although Guillen primarily uses octosyllabic verse, he also shifts to five syllable lines (Mi a-bue-lo -ne-gro).
About 1330, French Cistercian monk Guillaume de Deguileville wrote Le Pelerinage de la vie humaine; in the early 15th century, someone rendered the octosyllabic allegorical dream vision into a closely literal English, The Pilgrimage of the Lyfe of the Manhode; in the early 17th century, one William Baspoole modernized and revised that translation into The Pilgrime.
In addition, refugio would interrupt the synalepha in both lines and add an additional ninth syllable, thereby destroying the octosyllabic line of the romance / relacion.
The twenty-eight octosyllabic Latin verses yield fifty-six Spanish verses in redondilla form, each four-line Latin stanza corresponding to an eight-line Spanish stanza.
La Disme de Penitanche, an octosyllabic poem of 3296 lines, has not been edited since 1874.
Byron's critique of Scott's early verse, however, extends beyond border wars to an analysis of the octosyllabic meter that Scott chose for Lay of the Last Minstrel.
The song is a seis con decima: that is, it is in the traditional inland Puerto Rican style known as the seis, which has Andalusian roots and uses instrumentation similar to that of cuartetos but adds a guiro (gourd rasp) for rhythm; it is called a seis con decima, because the vocalists recite (or often improvise) decimas, ten-line octosyllabic stanzas of Spanish origin which rhyme ABBAACCDDC.
Building on Ruiz Perez's observations, and by closely analyzing one of the poet's octosyllabic poems, I will argue that such a dichotomy between autochthonous and Italianate, and between backward- and forward-looking, misses the complexity of Cervantes' poetic endeavors.
A unique characteristic of this poem is its distinct preference for octosyllabic lines, with the predominance of four words in each line.
Pulled from the poem, each neat phrase tastes good, keeps its own octosyllabic time, perhaps by design.
Within the context of the Leyenda, Lambra is never openly called a whore, but she is identified in this manner in the Romances which are octosyllabic poems with an altemating rhyming scheme which were recited by jongleurs in the Middle Ages) and it becomes quite evident that she is much more sexual and lustful.