Dylan Thomas`s “In my Craft or Sullen Art” is an example of verses in English: it has seven syllables in each line (except the last one), but no coherent tension pattern. There are other approaches to syllable in phonetics. But these problems are real and only become more surprising by looking at them more closely. It is a little easier for phonologists, because phonology tells us that there are rules governing the behavior of syllables. It is difficult for a phonologist to respect the rules on how sound works in the syllable no, without a good phonetic definition of what they are at all, but not impossible. In English, z.B. the sound is prolonged if it is in a syllable that ends with a vocal stop (sounds like /b/ and /d/, where the vocal cords vibrate, unlike non-vocal stops like /p/ or /t/). The /n/ is therefore long in the sand or ready, where the /n/ and /d are part of the same syllable. If there are rules about how the syllable works, it makes sense that they exist. So, because the sounds of a sentence will be relatively more or less noisy, it could be considered a syllable every time you come across a “tip” of fullness of sound. Ladefoged, however, says it doesn`t always work. For example, how can you see the difference between hidden names and hidden targets with the same number of bits of sound, but different syllabicities? The variation of the syllable between men is not always random: people pay attention to different things in the analysis of words.
Ladefoged cites the example of the meteor and notes that there will be “two syllables for some people, but three syllables for those who think it is the same variety as the “meteoric” strain. The last part is crucial. Syllabic Verse is a poetic form with a fixed or limited number of syllables per line, while stress, quantity or sound play a very secondary role – or no role – in the structure of encoding. This is common in syllable languages, such as Japanese or modern French or Finnish, unlike stressed languages such as English, where accented verses and accented and syllabic verses are more common. I usually count them with fingers or handlers. Sometimes they lose control over the number of applause. And then there is always someone who always tries to applaud the loudest, instead of counting the words in English, we give the neighboring syllables different levels of stress and clarity so that the listener can hear the change in dynamics. The size of consonants and vowels in linguistic segment inventories was explained in chapters 1 and 2. In addition to the number of segments using languages, it is also important to consider the possibilities of combining segments to create longer structures such as words and syllables. Some languages allow a very free combination of segments, while in others the combinations are highly limited.
This chapter discusses the complexity of sequencing segments within the syllables to study an important aspect of how the combination of individual sounds is controlled by the play of languages. A syllable is a “word piece” that contains a single vocal sound. These are just some of the strategies used by linguists who work in phonetics and phonology to try to understand this mysterious unit of language. In 2008, the City University of New York organized a large-scale conference on the theme of syllable. The series of paper titles (Is there a syllable? Psycholinguistic evidence of the restoration of units in the production of language, the structure of the update of the syllable taken up in Korean, etc.) Talk about the interest and breadth of this topic.