
	Where results make sense

Topic: Consonant harmony

	Vowel harmony - Wikipedia, the free encyclopedia
		In vowel harmony, the place of articulation of the (main) vowel in the root requires that the other vowels (in inflectional and derivational affixes) be adjusted to match it.
		Non-initially, the neutral vowels are transparent to and unaffected by vowel harmony.
		Kazakh 's system of vowel harmony is primarily a front/back system, but there is also a system of rounding harmony that is not represented by the orthography, which strongly resembles the system in Kyrgyz.
	en.wikipedia.org /wiki/Vowel_harmony (1195 words)

	Consonant harmony - Wikipedia, the free encyclopedia
		A language is said to possess consonant harmony when it has a phonological rule requiring some types of consonants in a word to belong to the same class.
		This kind of harmony may be thought of as a special, regular kind of assimilation.
		Various Austronesian languages exhibit consonant harmony among the liquid consonants, with [r] assimilating at a distance to [l] or vice versa.
	en.wikipedia.org /wiki/Consonant_harmony (278 words)

	Stanford Linguistics Colloquium (Site not responding. Last check: 2007-11-05)
		Restrictions on consonant harmony are usually accounted for in terms of transparency of intervening vowels to the consonant feature being spread: If the vowel is specified for the feature, spreading is blocked; if it is not specified, spreading is possible.
		Shaw 1991 argues that consonant harmony in labial and dorsal features is impossible because vowels are generally specified for these features.
		Ponapean labialization harmony and identity between glottalized consonants in K'ekchi and Hausa.
	www-linguistics.stanford.edu /colloq/1996/1996jan19.html (407 words)

	Vowel harmony - free-definition (Site not responding. Last check: 2007-11-05)
		The most common types of vowel harmony rules are rules requiring all vowels to be either rounded or unrounded, or requiring all vowels to be either front or back vowels, but not both.
		In vowel harmony, the position of the vowel of the root requires that the vowel of the affix be adjusted to match it.
		Most commonly, consonant harmony requires all the sibilants of the word to belong either to the anterior class (s-like sounds) or the nonanterior class (sh-like sounds).
	www.free-definition.com /Vowel-harmony.html (518 words)

	Music and theory: harmony, dissonance, and tonality
		Harmony is the relation of notes to notes and chords to chords as they are played simultaneously.
		Whether or not a harmony is pleasing is a matter of personal taste, as there are consonant and dissonant harmonies, both of which are pleasing to the ears of some and not others.
		Harmony, dissonance, and tonality are key elements in that school of thought.
	ks.essortment.com /musicandtheory_rkxl.htm (619 words)

	Music Theory--Harmony
		Harmony stands in contrast to melody (pitches sounding one after another); with melody and rhythm (the stresses and durations of sound), it is one of the three primary elements of music.
		Some intervals are consonant (that is, the two notes blend with each other), whereas others are dissonant (that is, the two notes clash, often creating an expectation that they will resolve to a consonance).
		In functional harmony, in order for a pitch to be a tonic, it must be the focal point of a group of pitches that fall into either of two patterns: the major scale or the minor scale ( see Scale).
	www.geocities.com /musicman110_2000/harmony.html (2629 words)

	Stephen Jay: Harmonic Rhythm (Site not responding. Last check: 2007-11-05)
		Harmony can be converted into rhythm and vice versa, and the special features that make each of them work as music, are translated analogously between their respective domains.
		The consonance of a harmony or a rhythmic pattern is also related to the duration of what is perceived by the listener to be one complete cycle.
		Relative consonance is inversely proportional to the value of the lowest common denominator of the two frequencies in a given interval.
	www.stephenjay.com /hr.html (2210 words)

	Lesson 3 (Site not responding. Last check: 2007-11-05)
		Harmony refers to simultanous sounds called chords; these combinations of notes enrich music with a sense of depth.
		Click on each term relating to harmony; for each, read the definition and the brief description of the excerpt.
		Harmony is the vertical aspect of music; it adds depth to music, as does perspective in painting.
	www.wwnorton.com /college/music/enj9_lessons/Part_1/lesson3.htm (340 words)

	CONSONANT - Definition
		That where much is given there shall be much required is a thing consonant with natural equity.
		Note : Consonants are divided into various classes, as mutes, spirants, sibilants, nasals, semivowels, etc.
		All the consonants excepting the mutes may be indefinitely, prolonged in utterance without the help of a vowel, and even the mutes may be produced with an aspirate instead of a vocal explosion.
	www.hyperdictionary.com /dictionary/consonant (314 words)

	MUSIC CATEGORY (Site not responding. Last check: 2007-11-05)
		Consonance is the degree to which an ensemble produces a good-quality, locked, ringing unit sound.
		The level of consonance achieved in a performance derives from two factors: the inherent consonant potential of chords chosen by the arranger; and the good vocal quality, precise synchronization, matching word sounds, appropriate balance, and accurate tuning of the chord sequence as performed by the ensemble.
		The consonance level is partially dependent on both the number and prominence of strong voicings (root position and second inversion) of consonant chords.
	www.themusicalfirm.org /c&j/MusicCD.htm (5873 words)

	Tom Pankhurst's TonalityGUIDE (pilot project) (Site not responding. Last check: 2007-11-05)
		Consonances are sometimes described as being inherently more pleasant to the ear and dissonances as less pleasant.
		At its simplest, the importance of consonance and dissonance to the sense of 'being in a key' can be seen the harmonisation of a melody.
		In this way, a triad imposes a hierarchy on melody by highlighting which notes are part of the harmony (consonant) and which are not (dissonant).
	www.tonalityguide.com /introtriadic.php (449 words)

	chord -- Encyclopædia Britannica
		In traditional Western harmony, chords are formed by superimpositions of intervals of a third.
		The approach to harmony that emerged about 1650 (the bass-note approach) was soon formalized in one of the most important musical treatises of the common practice period, Traité de l'harmonie (1722), by the French composer Jean-Philippe Rameau.
		In the earliest harmonic writing, the parallel organum of the 9th century, the accepted intervals were the perfect consonances, or those of the simplest harmonic ratios: the fourth, the fifth, and the octave.
	www.britannica.com /eb/article?tocId=9082348 (766 words)

	Dane Rudhyar - The Magic of Tone and the Art of Music - Chapter 11 - Rudhyar Archival Project
		Harmony is misunderstood if it is given the same meaning as unity.
		To produce a consonant harmony one has to retrace the nature of the materials being used to their common source.
		In music, the perfect chord of the C-major tonality, C, E, G, is a consonant harmony, because the compound notes are harmonics of a lower fundamental C. If this fundamental C has a frequency of 100, the three notes of the perfect chord will have frequencies of 400, 500 and 600.
	www.khaldea.com /rudhyar/mt/mt_c11.shtml (2041 words)

	ishida >> writings: Bengali script notes [Draft]
		Consonant clusters are not always represented as conjuncts.
		Where the vowel harmony effect applies, if the vowel in the following syllable is one of i u this is pronounced i ; if the vowel in the following syllable is one of É” o e a this is pronounced Ã¦.
		Where the vowel harmony effect applies, if the vowel in the following syllable is one of i u this is pronounced u ; if the vowel in the following syllable is one of É” o e a this is pronounced É”.
	people.w3.org /rishida/scripts/bengali/bengali-script (3205 words)

	[No title] (Site not responding. Last check: 2007-11-05)
		In the Lab on Harmony in LBST 301, we discovered that certain intervals sound harmonious, or consonant, while others are disharmonious, or dissonant, and still others are matters of judgment.
		The major and minor scales partly reflect the notion of harmony in so far as they include the most consonant (3rd, 4th, 5th, 6th, octave) and omit the most dissonant (minor 2nd and diminished 5th) intervals in relation to the root note of the scale.
		The Pythagorean Ratios In the lab on harmony in LBST 301, we discovered that the ratios of the lengths of a guitar string producing harmonizing notes within a single octave were simple fractions.
	www.mala.bc.ca /~black/lbsthome/musmod.asc (10494 words)

	MTO 3.1: The Bridges that Never Were
		For example, after explaining that the perfect fourth "realizes its original potential as a consonance" when formed in the upper parts (CP1), he mentions as an afterthought that a similar allowance must be made for the augmented fourth as well, even though the interval was never "originally" a consonance (CP2).
		It is therefore conceptually possible to disregard the dissonance altogether, as though the consonance occupied the entire measure in the manner of a first-species exercise.
		Schenker was genuinely torn between his commitment to the Consonance Principle, on the one hand, and his awareness, on the other, that the seventh chord of free composition embodied an essential dissonance, a dissonance which, in good faith, simply cannot be explained in the terms of contracted passing motion.
	www.societymusictheory.org /mto/issues/mto.97.3.1/mto.97.3.1.agmon.html (6087 words)

	Tungusic Research Group: About the Languages: Section 3
		In general the rules of harmony of harmony are: 1) All the vowels in a word must have the same ATR value; that is, all the vowels must be lax or all must be tense.
		In 1a, both the vowels are lax (as predicted by the first rule of harmony) and there are no unround vowels to the right of a round vowel (as predicted by the second rule).
		The second consonant is syllabified in the onset of the second syllable.
	www.dartmouth.edu /~trg/languages/section3.html (2153 words)

	Dissonant Harmony - A New Principle of Musical and Social Organization \| Rudhyar Archival Project \| Musical Works and ...
		Intervals are considered as being either consonant or dissonant; consonance and dissonance being as it were two poles.
		Absolute consonance is the negation of the interval, thus the unison: two tones having become one.
		Dissonances are synthetized into harmonic resonances which are relatively consonant on the spiritual plane, i.e., in the subjective consciousness of the hearer.
	www.khaldea.com /rudhyar/dissonantharmony.html (5389 words)

	[No title]
		Davies and Barclay (1977) reported consistent findings that the octave, perfect fifth, and perfect fourth were perceived as the most consonant intervals and that seconds and sevenths were the most dissonant intervals.
		Harmony: The review of the literature indicated that there was a clear preference for intervals perceived as consonant.
		In studies using either tone intervals or chord progressions, the relationship between preference and harmony was represented by a U-shape, indicating that the most and least consonant intervals were preferred to the moderately consonant intervals.
	www.rider.edu /~vrme/articles3/teo (4620 words)

	[No title] (Site not responding. Last check: 2007-11-05)
		Besides the vowel harmony rules, there are other basic rules that affect the way suffixes are used.
		Vowel harmony rules cause the vowels of suffixes to be modified when they are added to some words.
		Consonant harmony is mainly for making speech more fluent, it does not have a major effect on understandability.
	www.turkishclass.com /consonantHarmony.htm (397 words)

	Finnish language phonetics (Site not responding. Last check: 2007-11-05)
		The grammar of Finnish and the way(s) in which Finnish is spoken are dealt with in separate articles.
		The consonant preceding the inflection of a word (either noun or verb) is subject to consonant gradation.
		Broadly, a consonant will adopt a 'strong' form if the following syllable is 'open' - containing a double vowel or not ending in a consonant - and a 'weak' form otherwise.
	www.brainyencyclopedia.com /encyclopedia/f/fi/finnish_language_phonetics.html (518 words)

	ROSE --- Long-distance VC Agreement (abstract) (Site not responding. Last check: 2007-11-05)
		Featural assimilation between vowels and consonants is typically local, but may also occur at a distance, with no apparent effect on intervening sounds.
		Like other cases of long distance interaction such as vowel harmony or consonant harmony, long distance vowel-consonant (VC) interaction is problematic for theories of feature spreading and locality.
		This is unlike iterative VC harmony such as nasal or emphasis harmony, in which sequential strings of vowels and consonants are affected in a given domain, and blocking effects are attested.
	ling.ucsc.edu /events/past_colloquia/abstracts/rose.html (266 words)

	Menu Definition
		Furthermore, enhanced by the choice of harmonies, voicings, and voice relationships characteristic to barbershop, the ensemble sound can achieve a sound that feels greater than the sum of the parts: a “lock” or “ring,” or the feeling of “expanded sound.” The ring of a barbershop chord will always be the hallmark of the style.
		Any listener to a barbershop performance expects to be thrilled by the sound of a ringing climax, or awed by the purity and beauty of a soft and elegant expression of a song.
		Since barbershop harmony is a style of vocal music characterized by consonant four-part chords for every melody note, to which the harmony parts are enharmonically adjusted in pitch in order to produce an optimum consonant sound, in-tune singing is a concern of every judge.
	www.harmonyarea1.org /Resources/judgcrit.html (1635 words)

	lc (Site not responding. Last check: 2007-11-05)
		Consonance is a basic concept in music and is similar to harmony, in other words, tones that sound well together.
		In the observation of the existence and universality of the 7 tone diatonic and 12 tone chromatic scale, and in the exploration of the relationship between the two scales, I intuited that I might be on to some of the "whyness" for the universal pattern of growth I had uncovered.
		The rational for these scales lie in the fact they were built up from the most consonant ratios of frequencies, and this lies in the nature of what is perceived as harmonious by the ear.
	www.lifecycles.com /insights.html (4482 words)

	Neon Glow (Site not responding. Last check: 2007-11-05)
		One "definition" has been, "The opportunity to never sing a wrong note." Although this is true to some extent, a note that is not part of a consonant chord is not a good note.
		You have observed that each harmony part moves around a lot in most published barbershop arrangements.
		Find a note that fits the implied harmony of the measure, and don't move until your ear tells you that the basic chord has changed.
	www.harmonize.com /GambleAires/OTHER.HTM (455 words)

	Conference Report (Site not responding. Last check: 2007-11-05)
		Two possible analyses are available: first, CI has lexically distinctive tense consonants, consonant harmony, and a process whereby a vowel following a tense consonant is nasalised; second, CI has lexically distinctive nasal vowels, nasal vowel harmony and a consonant-tensing process.
		The set of lax consonants which resist tensing cannot be expected to change under the influence of a nasal vowel because they already have the harmonic property (in GP terms, an L element).
		This unified account of both properties of the initial site in Greek is based on the theoretical status of the beginning of the word: the empty CV unit is not a universal and, as proposed by Scheer (2000), not present in the lexicon and its appearance parametrically varies from language to language.
	www.glotinternational.com /conferences.asp (11445 words)

	Lesson 3 (Site not responding. Last check: 2007-11-05)
		Harmony refers to the relationship of musical intervals.
		Chords are the building blocks of harmony; most common is the triad.
		Click on each term relating to harmony ; for each, read the definition and the brief description of the excerpt.
	www.wwnorton.com /college/nrl_test/music/enj8/lessons/lesson3.htm (346 words)

	[No title]
		THE CONSONANCE PRINCIPLE [2.1] Contrapuntal theory, for Schenker, may be reduced to one fundamental premise, reiterated time and again (in one version or another) throughout the two volumes of Counterpoint: "In the beginning is consonance! The consonance is primary, the dissonance secondary!"{6} I shall refer henceforth to this principle as the "Consonance Principle" (CP).
		By one method, to which I shall refer henceforth as CP1, the consonances are either perfect (perfect octave and fifth), or imperfect (major or minor third and sixth); all other intervals (augmented fourth, diminished fifth, major or minor second or seventh)--except the perfect fourth--are always dissonant.
		It is consonance alone that carries within itself the fundamental laws of suspensions!"{38} Indeed, I believe that the conflict between the authentic seventh and the Consonance Principle is one that Schenker was never able to resolve.
	www.societymusictheory.org /mto/issues/mto.97.3.1/mto.97.3.1.agmon.art (5202 words)

	SIL Bibliography: Vowel harmony
		Vowel harmonies of the Congo Basin: An Optimality Theory analysis of variation in the Bantu zone C. Morgan, David J. Vowel harmony, syllable structure and the causative extension in a Bantu language - Lobala: a government phonology account.
		Snider, Keith L. "Vowel harmony and the consonant
		"Vowel harmony and consonant sequences in Mazahua (Otomi)."
	www.ethnologue.com /show_subject.asp?code=VHA (162 words)

Try your search on: Qwika (all wikis)