![]() It is the key component of the syllable contact law (Murray & Vennemann 1983, Vennemann 1988), which requires a decline in sonority from the right edge of the first syllable to the left edge of the second. The sonority scale has been utilized in the analysis of segment sequences that straddle syllable boundaries as well. Sonority has been employed most frequently in the analysis of restrictions on segment sequences within the syllable, being incorporated into two principles: the sonority sequencing principle (Steriade 1982, Selkirk 1984, Clements 1990), which requires that sonority decline from the nucleus of the syllable toward both of its edges, and the sonority dispersion principle (Clements 1990), which requires the decline in sonority from the nucleus through the onset to be relatively steep and the decline from the nucleus through the coda to be relatively shallow. Sonority scale: vowels > glides > liquids > nasals > fricatives > stops Vowels are the most sonorous segments, and stops are the least sonorous, with glides, liquids, nasals, and fricatives falling in between.ฤก. Sonority is typically taken to be a scalar feature ordering the various types of segments with respect to loudness or intensity. While a few of the articles use sonority simply as a background to explore other issues, most examine issues that have been central to the discussion of sonority, or to the types of phenomena that sonority has been used to address, over the last several years. The sonority controversy is a collection of twelve articles, each touching on sonority in some way.
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