sonorous

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sonorous

 [sah-no´rus, son´ah-rus]
resonant; sounding.

sonorous

(sō-nō′rŭs) [L.]
Giving forth a loud and rounded sound.
References in periodicals archive ?
Metathesis in Balochi occurs mostly to maintain sonority sequence, for syllable well formedness and to follow Syllable Contact Law.
Because of the principle of sonority sequencing, we will never find onsets such as <rb, lb>, etc, and given the case two consonants which contravene this principle were placed together in a word, they would be split in two different syllables, one consonant constituting the coda of the preceding syllable and the other consonant the onset of the following one as in cor.te, es.ca.fan.dra, and sus.to.
In the same way, sonority plays an important role as another constraint on the L2 acquisition of sounds in a cluster.
CV studies call attention to the distinctive phonetic property of CV syllable that produces a maximum acoustic contrast and sonority. According to the authors of CV studies (Munroe et al 1996:62, Ember & Ember 1999:731), a high CV percentage is an optimal choice for speakers in distal communication because of its greater transmission strength.
We manipulated initial and final sonority in part to clarify their status in terms of determining name-ordering preferences.
Charm, a property of segments similar to sonority (Kaye, et al.
The first mode of integration seeks to elevate pentatonic sonority to structural and sometimes abstract levels.
The slight edge and asperity this imparts to their phrasing and articulation is well integrated into the full vocal sonority with its highly characteristic tang and reediness, married to a very direct but rarely harsh attack.
While some of the regard for this piece is due to its usefulness in programme building at an active time of the year for choirs, the motet's particular qualities of sonority have also done much to endear it to singers and listeners alike.
Although Gongora used the style to enhance the sonority and richness of his verse, in the hands of lesser poets it became mere affectation, and Gongorism later became synonymous with bad writing.
As Kelly notes, the aim of this book "is to identify and trace the evolution of sonority as a distinctive French modernist strand, seeing it as a central, enduring and consistent preoccupation in French musical traditions from Debussy's generation onwards, which was subjected to transformation in the 1920s and 1930s" (pp.
Simone Lamsma was soloist (we don't need to be told she's "glamorous", as a London broadsheet once trilled), and brought an impassioned outpouring of line and texture to the music, Orozco-Strada and the orchestra collaborating with measured sonority. This was a committed reading of a perhaps over-rated work.