The codas, called "Short" (producing brief codas with fewer than five clicks) and "Four-Plus" (whose codas have a base of four regular clicks, according to the paper) displayed by new whales were rarely or never heard before in the Galápagos before this.
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Babies pick up codas from their mothers and babysitters in this way.
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Therefore, the majority of the children of deaf people will be CODAs.
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Exactly how many CODAs exist is the "million dollar question," Perry says.
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The second is Redshirts: A novel with Three Codas, by John Scalzi.
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They seem to mark these cultural differences with different dialects — or distinct sets of codas.
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Each clan performs its codas somewhat differently, and is socially segregated from the others, he said.
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Soon after Pinchy dives, we hear the clicks of her codas — whale social calls; she is talking with Tweak.
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It seemed possible that the All-Star Game would be his final N.H.L. game, the strangest of career codas.
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What she called ''codas, afterthoughts, parentheticals, digressions, qualifications'' were often attempts to get at saying something the exact right way.
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These "vocal clans" are defined by the codas (or recognizable patterns of clicks) they emit to communicate with one another.
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They excel at lushly harmonized codas—jaunty one minute, forlorn the next—and neatly applied patinas of strings and brass.
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Many CODAs act as interpreters for their parents from a young age, and this can mean taking on responsibilities generally reserved for adults.
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Although some CODAs may appear to be less developed compared their hearing counterparts, it's because they haven't been surrounded by the spoken language.
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But the resources are limited, says Perry, who believes there should be more assistance programs to help professionals in educational capacities understand CODAs.
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The exhibit, sprawled throughout a wing of the town hall, contained a life's worth of these panels, colorful codas to the cantastorie tradition.
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As their cover builds towards its climax, codas of Morissette's 1998 song "Thank U" are incorporated — showing that Jagged Little Pill will be filled with surprises.
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It's often a barely-controlled chaos, the howl of a guitar sent out over thudding drums, the distortion a swirling mass sent out over swelling codas.
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People like me are called CODAs--Children of Deaf Adults--and have an active online and in real life organization that feels like a big family.
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My favorite moments are when she plays the flute, providing "Tempo" and "Heaven Help Me" with unexpected codas that exist in a weirder, more vulnerable emotional space.
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Once described ad nauseum as "ramshackle", Tell Me How You Really Feel shows off the group's joint dexterity, and flaunts an aptitude for sweaty solos and tense codas.
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Relegation would be the unhappiest of codas to what should be a heartwarming story, but perhaps even that has had its sting drawn by what Lyngby went through.
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Shows about Loki, Scarlet Witch and Vision, and Falcon and Winter Soldier are already in the works, and they won't just be codas or footnotes to their cinematic arcs.
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"I know a lot of people, like child psychologists and pediatricians, who [still] need to understand deafness as a community, and understand that CODAs are a part of it," she says.
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They wanted to hold it back until February 11th, until the actual official movie is in the movies - so you can tease audiences that there's two codas and you haven't seen one of them.
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These are necessary codas, of the sort that were lacking from this year's grander commemorations — like the one Theresa May led here in July, or the one Donald Trump declined to attend in April — or amid London's porcelain poppies.
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These animals communicate through a series of clicks called "codas" (distinguishable from the echolocation clicks they emit to hunt in the deep ocean), which differ among whales found in different parts of the ocean, and in different families or clans.
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"Grizzly Adams" spawned two codas: "Legend of the Wild," broadcast in 21977 and released theatrically in 210, and "The Capture of Grizzly Adams," broadcast as a TV movie in 1982, in which Adams is taken back to town by bounty hunters and finally clears his name.
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These, for me were the most valuable takeaway from the piece: * * * Sometime after visiting "The Chalkroom," I am struck by two questions that sit like codas on the back of the pages where my observational notes were taken: 'What is a bullshit detector and where do you get one?
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And she's possessed of some distinctive tools, all of which were on display: a pinched, sassy tone in the highest register; a fondness for unguarded duets with her bassist (at Dizzy's, it was Noah Jackson); an array of rough, pealing nonverbal sounds that add drama to codas and interludes, hinting at meanings in the music that go beyond what fits on the page.
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One research study found that children acquire medial codas before final codas, and stressed codas before unstressed codas. Since medial codas are often stressed and must undergo place assimilation, greater importance is accorded to their acquisition. Liquid and nasal codas occur word-medially and at the ends of frequently used function words, so they are often acquired first.
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The language has CV, CVV, and CVC syllables. It does not allow complex onsets or codas. The only codas allowed are nasal consonants.
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These earlier suffix forms did have single-consonant onsets. Most syllables do not have codas, but some codas do appear at word-end, such as in pʉi-n, 'I'm sleeping'.
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The third level represents the phonemes (syllabic information including onset, vowels, and codas).
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Some languages, such as Hawaiian, forbid codas, so that all syllables are open.
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The reader needs to have thorough familiarity with extended chords (e.g., C13) and altered chords (e.g., C711). Introductions and codas are often omitted, as it is expected that players will know the familiar intros and codas used on specific songs.
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The generally accepted final consonants are semivowels and , nasals , and , and stops , and . Some authors also propose codas and , based on the separate treatment of certain rhyme classes in the dictionaries. Finals with vocalic and nasal codas may have one of three tones, named level, rising and departing. Finals with stop codas are distributed in the same way as corresponding nasal finals, and are described as their entering tone counterparts.
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St. Hilary provides instruction in regular music classes, band, choir, ukulele club, and CODAs.
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These are: Pundrakas, Codas, Dravidas, Kambojas, Yavanas, Sakas, Paradas, Pahlavas, Chinas, Kiratas and Daradas.
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The front vowels /ɛ ɛ̃ i ĩ/ are never followed by a surface velar coda, because underlying velar codas are palatalized to palatal codas in this environment. In addition, /ɨ̃/ surfaces as [ɘ̃] word-finally, as in yõgnũ [ɲõɰ̃ŋ̞̊ˈn̪ɘ̃ʔ] ‘it is mine’, xõnnũ [ʨũːˈn̪ɘ̃ʔ] ‘son! (vocative)’, nũ [ˈn̪ɘ̃ʔ] ‘this; to come (irrealis).
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The most salient dialectal difference in rimes is perhaps the lack of the obstruent codas , , in most dialects of Mandarin and independently in the Wencheng dialect of Oujiang, though this has traditionally been seen as a loss of tone (see below). In Wu, Min (generally), New Xiang (Hunanese), Jin, and in the Lower Yangtze and Minjiang dialects of Mandarin, these codas conflate to glottal stop . In others, such as Gan, they are reduced to , while Yue dialects, Hakka, and Old Xiang maintain the original system. Nasal codas are also reduced in many dialects.
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Light syllables (syllables with short vowels and optionally also obstruent codas) do not have the two-way contrast of heavy syllables.
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For discussion of this coda, and of codas in general, see Rosen, Charles (1988) Sonata Forms, 2nd edition. New York: Norton.
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Yang rhymes end in a nasal consonant. They can be syllabic nasals or nuclei (pure or complex vowel) with nasal codas.
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Negro Necro Nekros is the debut album by Dälek, released in 1998. It is notable for its extended instrumental codas, industrial timbres and use of a sitar.
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In other aspects, the pronunciation of Hanja is more conservative than most northern and central Chinese dialects, for example in the retention of labial consonant codas in characters with labial consonant onsets, such as the characters ( beop) and ( beom); labial codas existed in Middle Chinese but do not survive intact in most northern and central Chinese varieties today, and even in many southern Chinese varieties that still retain labial codas, including Cantonese and Hokkien, labial codas in characters with labial onsets are replaced by their dental counterparts. Due to divergence in pronunciation since the time of borrowing, sometimes the pronunciation of a Hanja and its corresponding hanzi may differ considerably. For example, ("woman") is nǚ in Mandarin Chinese and nyeo () in Korean. However, in most modern Korean dialects (especially South Korean ones), is pronounced as yeo () when used in an initial position, due to a systematic elision of initial n when followed by y or i.
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Yanghuang of Kapu Township (卡蒲乡) has 71 consonants total, including those with secondary articulations. There are a total of 71 rhymes, 9 vowels, and 8 codas (Bo 1997).
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York University psychologist Ellen Bialystok has also campaigned for bilingualism, arguing that those who are bilingual acquire cognitive skills that may help to prevent dementia later in life. Most children born to deaf parents are hearing. Known as CODAs ("Children Of Deaf Adults"), they are often more culturally Deaf than deaf children, most of whom are born to hearing parents. Unlike many deaf children, CODAs acquire ASL as well as Deaf cultural values and behaviors from birth.
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Codas, when present, vary considerably in length, but like introductions are not part of the "argument" of the work. The coda will end, however, with a perfect authentic cadence in the original key. Codas may be quite brief tailpieces, or they may be very long and elaborate. An example of the more extended type is the coda to the first movement of Beethoven's Eroica Symphony, and an exceptionally long coda appears at the end of the finale of Beethoven's Symphony No. 8.
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The list of founders of the club appear Fernando Cohler, Jose Guggiari, Priest Maldonado, Marcelino Arias, Francisco Ortiz, Alejandro Bordón, Daniel Codas, Manuel V. Torales, John E. Spezzini, Francisco Martinez, Florencio Lopez, Romulo Decamilli, Antonio Papaluca, Patricio Echuari, Cosme Codas, Cyprian Gorostiaga, Antonio Pettirossi, Evaristo Fernandez, Marcelino Rodas, Augustine Guggiari, Eulogio Dominguez, Eustaquio R. de Aranda, Federico Codas, Vicente Ortiz, Segundo Bordón and Buenaventura Cabral. Over the years the club was formed in a social institution-building and prestige. The elegance of its large halls was and still is the place for social events, cultural and artistic largest taking place in the Guairá community. In these halls are also carried out meetings in which educators Ramon I. Cardozo and Delfín Chamorro raised the problems and needs of popular education at that time.
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A characteristic feature of Lower Yangtze Mandarin is the treatment of Middle Chinese syllable-final stops. Middle Chinese syllables with vocalic or nasal codas had a three-way tonal contrast. Syllables with stop codas (-p, -t and -k) had no phonemic tonal contrast, but were traditionally treated as comprising a fourth category, called the entering tone. In modern Mandarin varieties, the former three-way contrast has been reorganized as four tones that are generally consistent across the group, though the pitch values of the tones vary considerably.
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In 1932, Bliss revised the codas of the first two movements. He conducted the revised work himself in a recording with the London Symphony Orchestra in 1955. The last movement, "Green", was separately published as Pyonepsion.
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Examples are Swahili and Hawaiian. In others, codas are restricted to a small subset of the consonants that appear in onset position. At a phonemic level in Japanese, for example, a coda may only be a nasal (homorganic with any following consonant) or, in the middle of a word, gemination of the following consonant. (On a phonetic level, other codas occur due to elision of /i/ and /u/.) In other languages, nearly any consonant allowed as an onset is also allowed in the coda, even clusters of consonants.
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The term "ching chong" is based on how Chinese supposedly sounds to English speakers who do not speak it. The "ch" reflects the relative abundance of voiceless coronal affricates in Chinese (six in Mandarin Chinese: , , , , , , respectively in Pinyin , , , , , and ), whereas English only has one: . The "ng" reflects the greater commonness of nasals in syllable codas in many varieties of Chinese; for example, Mandarin only allows or (written in both English and in romanization of Chinese) in syllable codas. One syllable with this shape is 中 zhōng, the first syllable of 中国 Zhōngguó meaning "China".
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Finding many codas to the Dying God Cycle such as the mahogany relief Growth (1958) and the drawing Into the Sun (1954) and none but the Brave (1960) as well as the anthropomorphic mountain imagery of the mountains.
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Many songs in rock and other genres of popular music have sections identifiable as codas. A coda in these genres is sometimes referred to as an "outro", while in jazz, modern church music and barbershop arranging it is commonly called a "tag". One of the most famous codas is found in the 1968 single "Hey Jude" by The Beatles. The coda lasted nearly four minutes, making the song's full length at just over the seven- minute mark, and the single topped the U.S. Billboard chart for nine weeks, tying it for the longest run at the top of the chart.
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The consonants that may appear together in onsets or codas are restricted, as is the order in which they may appear. Onsets can only have four types of consonant clusters: a stop and approximant, as in play; a voiceless fricative and approximant, as in fly or sly; s and a voiceless stop, as in stay; and s, a voiceless stop, and an approximant, as in string. Clusters of nasal and stop are only allowed in codas. Clusters of obstruents always agree in voicing, and clusters of sibilants and of plosives with the same point of articulation are prohibited.
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Compared to his contemporaries, who still used sonata form more or less conventionally, Liszt departed from the form at times radically. Themes are shuffled into new and unexpected sequences, with their various metamorphoses showcasing kaleidoscopic contrasts. Recapitulations became foreshortened. Codas assume developmental proportions.
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Vowel length is phonemic, with many words distinguished based on the distinction between short vowel and long vowel. Tungusic words have simple word codas, and usually have simple word onsets, with consonant clusters forbidden at the end of words and rare at the beginning.
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The scene's inclusion sparked confusion among some viewers in the United Kingdom, who thought it meant an X-Men–Spider-Man crossover film was being planned, based on how Marvel Studios and Disney use codas within the Marvel Cinematic Universe to promote future films.
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Amsterdam, Vrije Universiteit; p 59. Codas j and ch in the final position of a syllable turns into an s sound. The phonology of Hajong includes some vowel harmony and the devoicing of final consonants. For separating syllables the apostrophe sign (') or hyphen (-) is used.
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Complex onsets are very common in Kʼicheʼ, partially due to the active process of penultimate syncope. Complex codas are rare, except when the first member of the complex coda is a phonemic glottal stop, written with an apostrophe. The sonorants /m, n, l, r/ may be syllabic.
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Languages without complex clusters differ on how they will resolve this problem; some will epenthesize (e.g. , or if all codas are banned) and some will delete (e.g. ). is free to generate any number of output candidates, however much they deviate from the input. This is called freedom of analysis.
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In English, for example, all onset consonants except are allowed as syllable codas. If the coda consists of a consonant cluster, the sonority decreases from left to right, as in the English word help. This is called the sonority profile. English onset and coda clusters are therefore different.
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It may be that some of the difficulties in analyzing stress may be a conflation of vowel sequences across syllables with sequences in single heavy (bimoraic CVV) syllables. Observed consonant clusters within words are those allowed as syllable codas, , plus . In rapid speech, the following additional combinations are known: .
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Explanations for why an extended coda is present vary. One reason may be to omit the repeat of the development and recapitulation sections found in earlier sonata forms of the 18th century. Indeed, Beethoven's extended codas often serve the purpose of further development of thematic material. Another role that these codas sometimes serve is to return to the minor mode in minor- key movements where the recapitulation proper concludes in the parallel major, as in the first movements of Beethoven's Symphony No. 5 or Schumann's Piano Concerto, or rarely, to restore the home key after an off-tonic recapitulation, such as in the first movements of Brahms's Clarinet Quintet and Dvořák's Symphony No. 9.
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Some deaf children acquire both a sign language and a spoken language. This is called bimodal bilingual language acquisition. Bimodal bilingualism is common in hearing children of deaf adults (CODAs). One group of deaf children who experience bimodal bilingual language acquisition are deaf children with cochlear implants who have deaf parents.
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In Klallam, strings of consonants are acceptable both at the beginning and ends of syllables. In the onset, consonant clusters are rather unstructured, so words like 'ɬq̕čšɬšáʔ' (fifty) can exist without problem. Similarly, codas can contain similar clusters of consonants, as in 'sx̣áʔəstxʷ' (to dislike something, to be no good).
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Contact phenomena have been observed in the reverse direction, from a sign language to an oral language. Hearing adults who grew up in deaf signing households as children of deaf adults (CODAs) sometimes communicate with one another in spoken and written English and knowingly use ASL loan translations and underlying grammatical forms.
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The canonical syllable structure of Iatmul is C(C)V(C), where the first consonant can be any consonant. Possible codas are only , , , , , and . Most words begin with the nasal consonants , or the plosive consonants , . Excluded from this rule are about 5% of the words in Iatmul, which begin with the vowels or .
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That is why the character system is named kana, literally "false name". Apart from the five vowels, this is always CV (consonant onset with vowel nucleus), such as ka, ki, etc., or V (vowel), such as a, i, etc., with the sole exception of the C grapheme for nasal codas usually romanised as n.
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Kunwinjku is typical of the languages of central Arnhem Land (and contrasts with most other Australian languages) in having a phonemic glottal stop, two stop series (short and long), five vowels without a length contrast, relatively complex consonant clusters in codas (though only single-consonant onsets) and no essential distinction between word and syllable phonotactics.
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Glottal stops are found as syllable codas, though these may be released in an echo vowel in some circumstances. Hunziker et al. prefer to analyze these are final consonants, because the quality of the echo vowel is predictable, and otherwise this is the only place where the vowels /e a o/ would have voiceless allophones. Hunziker et al.
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Redshirts (originally titled Redshirts: A Novel with Three Codas) is a Star Trek parody novel by science fiction writer John Scalzi. The book was published by Tor Books in June 2012. The audiobook of the novel is narrated by Wil Wheaton. The book won the 2013 Hugo Award for Best Novel and Locus Award for Best Science Fiction Novel.
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Hummingbird is a studio album by Rick Wakeman and Dave Cousins. The songs are a mixture of jointly-composed originals, reworkings of songs from Strawbs albums and Dave Cousins' solo album Two Weeks Last Summer, together with Wakeman instrumental compositions presented as codas to the Cousins songs. The album cover is painted by Wakeman's girlfriend, Italian artist Alina Bencini.
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In addition, codas are often exposed to prejudice against their family. The isolation can deprive the child of normal social skills. Many people may assume that the entire family is deaf because they are all signing. Sometimes such bystanders may make negative comments about the deaf in that family's presence, not realizing the child can hear.
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When developing new algorithms or index structures, the existing components can be easily reused, and the type safety of Java detects many programming errors at compile time. ELKI has been used in data science for example to cluster sperm whale codas, phoneme clustering, for anomaly detection in spaceflight operations, for bike sharing redistribution, and traffic prediction.
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Schönheit was commissioned by the music department of the Fundação Calouste Gulbenkian, Lisbon. Schönheit is the original trio of the subcycle comprising hours six to eleven, and as such is also the simplest. The other six trios permute its five main sections and add new material as insertions between them, creating introductions, codas, interludes, or cadenzas.
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Codas, where pieces of music generally wind to a close, were greatly enlarged to a size and scope that can affect the listener's concept of the themes.Walker, Weimar, 309. Themes shuffled into new and unexpected patterns of order and three- or four- movement structures were rolled into one in a continual process of creative experimentation.Walker, Weimar, 304, 309.
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The semivowels and alternate with the vowels and respectively. The semivowels are used in syllable codas: after a vowel and before a consonant, either within a word or between words: : ('he's coming') : ('she's coming') : ('he and she') : ('she and he'); : ('already gotten tired') : ('already gotten tired') : ('He's gotten tired.') : ('He's inside the house.') : ('She's inside the house.
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Others are idiosyncratic: (simple loss of NC), (vowel change), , , , , , , , , , , , , , . The macron is a 'killer stroke' that deletes the vowel from a syllable and so forms consonants and NC clusters () that can be used for syllable codas. Consonantal is used both as a coda and to prenasalize an initial consonant. The two irregularities with the macron are , read as , and , read as .
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There are two types of syllables in Southern Sierra Miwok: light, CV, and heavy, CV: or CVC. In each word, one of the first two syllables is always heavy, so therefore every Southern Sierra Miwok word contains at least one heavy syllable. Because of this preference towards heavy syllables, consonant clusters are usually separated to form codas of preceding syllables.
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The coda (also known as auslaut) comprises the consonant sounds of a syllable that follow the nucleus. The sequence of nucleus and coda is called a rime. Some syllables consist of only a nucleus, only an onset and a nucleus with no coda, or only a nucleus and coda with no onset. The phonotactics of many languages forbid syllable codas.
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Like many Australian languages, Yugambeh-Bundjalung is thought to have a constraint that states that all syllables must have a consonant onset. Only vowels are permitted as the syllable nucleus, and these may be long or short. Syllable codas are also permitted, with long or short vowels in the nucleus. However, long vowels are not permitted to occur in adjacent syllables.
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The theme from the latter song would later be incorporated into the codas of "Second Line" and "Third Line" on the subsequent two albums. "Circus Circumstances" is based on a composition by French composer Jacques Ibert. In 1976, Solution was coupled with Divergence as a double album, retaining the eponymous title. This pairing was issued by EMI on Compact Disc in 1988 and again in 2007.
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The Coda focus on new publications that are selective rather than expansive. The Codas also tend to focus on recent updates in the subject in which she is covering. They also tend to correct previous comments or opinions with more modern thoughts. This edition still speaks relatively little of lived experience, but includes more reflections from Muslim women and gestures toward work yet to be done.
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Most chord progressions use only three chords: I or i, IV or iv, and V or V7, though ii, III, VI, or ♭VII chords may feature in some songs. Lyrically, most songs follow the classic Spanish copla. Verses are built around four bar melodic phrases. These verses constitute the body of tunes called partes intermedias which are framed by introductions called entradas and codas called finales.
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He liked to write very romantic poems appropriate to his youth, which despite his opposition were rescued by the Paraguayan promoters of the letters. Chamorro is a classic of the letters. His poems have a soft Virgilian accent. He referred to his friend Daniel Codas an epistle with a tender elegy to which the beloved Villa Rica, inspired, it is considered a literary gem.
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He also felt that Dwight and Angela's kiss was a good progression for their story. Erik Adams of The A.V. Club awarded the episode "C–", and criticized its extended nature. He said that it was "both brimming with narrative yet straining to fill its allotted time." Adams argued that elements, like Toby's visit to the prison, seemed like tacked on codas intended to increase the length of the show.
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Galos are often referred to by non- Galo (especially the Minyong-Padam group) as Gallong – an archaic pronunciation reflecting an earlier stage of the Galo language prior to its loss of the velar nasal in codas – and also as Adi – a generic term for a loose grouping of several central and eastern Tani tribes speaking several distinct languages. In most Tani languages, Adi (Galo adìi) means simply ‘hill (people)’.
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Also there are hidden groups within the sign language community such as Children Of Deaf Adults (CODAs). Working for the sign language community means we can include all these people in our campaigns for language rights. A good quote I have used often express how I feel about this subject. Hearing people love English and its richness however it is seen by the Deaf as a tool to achieve equality.
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For instance, the digraph represents the sound at the end of some words, such as rough , though not in others (though ). At the beginning of syllables (i.e. the syllable onset), the digraph is pronounced , as in the word ghost (pronounced ). Conversely, the digraph is never pronounced in syllable onsets other than in inflected forms, and is almost never pronounced in syllable codas (the proper name Pittsburgh is an exception).
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His vocal stylings compounds rap with rock-oriented singing during the grandiose, spirit-lifting choruses. Josh Dun’s drumming provides a rhythm, playing in a relentless punk-inspired fashion. The catchy song has a silky groove built on the immense beats and brunt electro-pop that run through hooks, in addition to bouncy suspended chords. Its musical elements are punctuated by Joseph's sentiments, which come in the form of rap codas.
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Rhymes: Baima rhymes are very similar to the Kham Tibetan dialect but its vowel system is much more complex. Codas have essentially been lost and vowels show considerable differentiation, with the appearance of many back diphthongs. In general, the number of tones in Baima is also similar to Kham Tibetan. But the correspondences between Baima tones, onsets, and rhymes with written Tibetan are not as clear as those between Khan Tibetan and written Tibetan.
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Recapitulations, where themes are normally restated after they are combined and contrasted in development, are foreshortened, while codas, where pieces of music generally wind to a close, are greatly enlarged to a size and scope that can affect the listener's concept of the themes.Walker, Weimar, 309. Themes shuffle into new and unexpected patterns of order, and three- or four-movement structures roll into one in a continual process of creative experimentation.Walker, Weimar, 304.
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Consonant length is phonemic in Finnish, for example ('fireplace') (transcribed with the length sign or with a doubled letter ) and ('back'). Consonant gemination occurs with simple consonants () and between syllables in the pattern (consonant)-vowel- sonorant-stop-stop-vowel () but not generally in codas or with longer syllables. (This occurs in Sami languages and in the Finnish name , which is of Sami origin.) Sandhi often produces geminates. Both consonant and vowel gemination are phonemic, and both occur independently, e.g.
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The classification of Baima has caused controversy among linguists. Baima is provisionally classified with the Khams group, although it also has a number of Amdo characteristics. Reasons for this are presumably the drastic simplification of the syllable structure, the elimination of ancient Tibetan syllables codas and the presence of tones. While many scholars believe that Baima is a separate Tibeto-Burma subgroup in its own right, others believe that it should be identified as a Tibetan dialect.
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In many Wu dialects, vowels and final glides have monophthongized, producing a rich inventory of vowels in open syllables. Reduction of medials is common in Yue dialects. The Middle Chinese codas, consisting of glides and , nasals , and , and stops , and , are best preserved in southern dialects, particularly Yue dialects such as Cantonese. In Jin, Lower Yangtze Mandarin and Wu dialects, the stops have merged as a final glottal stop, while in most northern varieties they have disappeared.
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Professor Charles Keil classified forms and formal detail as "sectional, developmental, or variational." ;Sectional form: This form is built from a sequence of clear-cut units that may be referred to by letters but also often have generic names such as introduction and coda, exposition, development and recapitulation, verse, chorus or refrain, and bridge. Introductions and codas, when they are no more than that, are frequently excluded from formal analysis. All such units may typically be eight measures long.
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Hmong syllables have a very simple structure: onsets are obligatory (except in a few particles), nuclei may consist of a monophthong or diphthong, and coda consonants apart from nasals are prohibited. In Hmong Daw and Mong Njua, nasal codas have become nasal vowels, though they may be accompanied by a weak coda . Similarly, a weak coda may accompany the low-falling creaky tone. Dananshan has a syllabic (written ) in Chinese loans, such as lf 'two' and lx 'child'.
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The underlying syllable structure of Eastern/Central Arrernte is argued to be VC(C), with obligatory codas and no onsets. Underlying phrase-initial is realised as zero, except before a rounded consonant where, by a rounding process of general applicability, it is realised as . It is also common for phrases to carry a final corresponding to no underlying segment. Among the evidence for this analysis is that some suffixes have suppletive variants for monosyllabic and bisyllabic bases.
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Instead, many researchers refer to sonority as the resonance of speech sounds. This relates to the degree to which production of phones results in vibrations of air particles. Thus, sounds that are described as more sonorous are less subject to masking by ambient noises. Sonority hierarchies are especially important when analyzing syllable structure; rules about what segments may appear in onsets or codas together, such as SSP, are formulated in terms of the difference of their sonority values.
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William Johnson depicted the riot in his 1943–1944 painting Moon Over Harlem. Several authors and artists have depicted the event in their respective works. African-American novelist James Baldwin wrote of the riot, which occurred on the same day as his father's funeral and his nineteenth birthday, in Notes of a Native Son. "It seemed to me", Baldwin wrote, "that God himself had devised, to mark my father's end, the most sustained and brutally dissonant of codas".
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The only segment not allowed in the coda is /tʃ/. Observe that CVj and CVw and not CV.V ones are considered CVC syllables for a variety of reasons; one is that it would require positing a new syllable pattern limited to CVu and CVi with no other vowels occurring in coda position. There is also a phonetic contrast between /i, u/ as vowel nuclei and /y, w/ as codas, the former being distinctly vocalic and the latter consonantal.
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The second subject appears in pure A major, the "ultimate tonal goal of the piece". The opening codas "louder and more animatedly until the very end". It ends with a loud tremolo, a group of grace notes ascending to two octaves of A notes in the highest registers of the piano, and a quick, final arpeggio, the same arpeggio used to accompany the first use of the second subject, played downwards, hitting the lowest note on the keyboard (A0) markedly.
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Typically, after completing the final trio (or 'D' section), the march is re-started; repeats are ignored, and the piece is ended after the second strain. Codas are rare, but sometimes used; examples: "Riders for the Flag" by Sousa and "Children of the Shrine" by James Swearingen. The tradition of writing recapitulating marches ended near the start of the American march music era. John Philip Sousa abandoned this technique except with his march "On Parade"—one of his few circus marches.
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Shortly after the original band's breakup, Meeks recorded a second album titled Days of the New, and often referred to as "Green." The album was essentially a solo project by Meeks, who wrote and produced it, and played much of the instrumentation. Many of the album's songs contained intros and codas to seamlessly carry into the next song. The album was released on August 31, 1999. Meeks debuted his new band on September 4, 1999 at the ear X-tacy store in Louisville.
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Magic Tour in 2007. "The Rising" played during Springsteen's last-ever stand of Giants Stadium shows in New Jersey in 2009. Soozie Tyrell played her key violin part as stadium was lit in red, until the final codas of the song, when the lighting changed to white. "The Rising" was performed by Springsteen and the E Street Band on all promotional television appearances surrounding the album's release. It was then the "keynote song" throughout The Rising Tour of 2002-2003.
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Fricatives are truly and contrastively voiced in Northern Germany. Therefore, the fricatives undergo coda devoicing in the strict sense of the word. It is disputed whether coda devoicing is due to a constraint which specifically operates on syllable codas or whether it arises from constraints which "protect voicing in privileged positions." As against standard pronunciation rules, in western varieties including those of the Rhineland, coda fortis–lenis neutralization results in voicing rather than devoicing if the following word begins with a vowel.
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The darker song writing is also deemphasized in favor of more upbeat melodies as seen in "Flight Response" and "Take Me Back Then." Many of the album's songs contain intros and codas to seamlessly carry into the next song. While largely maintaining the acoustic feel of its predecessor (as evidenced by the folk number "Provider") Green even utilizes electronic percussion more commonly found in dance club music, particularly in the track "Enemy." This song, along with "Weapon and the Wound," became the album's radio singles.
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The actor may choose to speak any dialect of Mandarin, but the ancient Zhōngzhōu () variant is mainly used in Cantonese opera. Zhōngzhōu is located in the modern-day Henan province where it is considered the "cradle of Chinese civilization" and near the Yellow River. retains many of the initial sounds of many modern Mandarin dialects, but uses initials and codas from Middle Chinese. For example, the words and are both pronounced as /tsœːŋ˥˥/ () in Modern Cantonese, but will respectively be spoken as /tʂɑŋ˥˥/ () and /tɕiɑŋ˥˥/ () in operatic .
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Nectoux (1991), p. 43 The authors of The Record Guide (1955) wrote that Fauré learnt restraint and beauty of surface from Mozart, tonal freedom and long melodic lines from Chopin, "and from Schumann, the sudden felicities in which his development sections abound, and those codas in which whole movements are briefly but magically illuminated."Sackville-West, pp. 263–64 When Fauré was a student at the École Niedermeyer his tutor had introduced him to new concepts of harmony, no longer outlawing certain chords as "dissonant".
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Some varieties allow most of these codas, whereas others, such as Standard Chinese, are limited to only , and . The number of sounds in the different spoken dialects varies, but in general there has been a tendency to a reduction in sounds from Middle Chinese. The Mandarin dialects in particular have experienced a dramatic decrease in sounds and so have far more multisyllabic words than most other spoken varieties. The total number of syllables in some varieties is therefore only about a thousand, including tonal variation, which is only about an eighth as many as English.
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S̈, s̈ in lower case, also s with diaeresis, is a letter in the Chechen language, where it represents the voiceless postalveolar fricative. It has the same sound as the š used in Slavic languages written with the Latin alphabet, the Turkish/Romanian ş and the common digraph "sh". In the Chechen language, it was changed from the original ş to the s̈, at the same time the ç was changed into the c̈. In older Czech orthography s̈ was used in codas instead of ſſ for /ʃ/, modern orthography uses š for all instances.
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Ruund (Ruwund), also known as Northern Lunda or Uruund, is a Bantu language of the Democratic Republic of the Congo and Angola. It is highly unusual among Bantu languages for allowing consonantal codas and for its reduced vowel system, in which short /e/ and /o/ have become [i] and [a] respectively, leaving only 3 short vowels. Another interesting feature of Ruund is that, as with the related Ciluba language, the tones of Proto-Bantu have reversed, so that High has become Low and vice versa.Nash, J.A. (1994), "Underlying Low Tones in Ruwund".
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The Song dynasty rhyme tables classified Qieyun syllables as either "open" ( kāi) or "closed" ( hé), with the latter believed to indicate a medial -w- or lip rounding. This medial was unevenly distributed, being distinctive only after velar and laryngeal initials or before -ai, -an or -at. This is taken (following André-Georges Haudricourt and Sergei Yakhontov) to indicate that Old Chinese had labiovelar and labiolaryngeal initials but no labiovelar medial. The remaining occurrences of Middle Chinese -w- are believed to result from breaking of a back vowel before these codas (see Vowels below).
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Throughout his life Mark Finch was boyishly charming and often masked his private depression with public bonhomie. His gently camp affectation would occasionally dissolve into tantrum socially but such outbursts were not part of his professional life, which was characterised by lively industry, incisive wit and a passionate affability. He delighted in wordplay and inventive imagery; he never stopped writing absurd narratives, and sharp observations of his surroundings. Such commentaries were sent to friends in small packages with brief covering notes or topped and tailed with the greetings and codas of more formal letters.
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Wyatt employs the Petrarchan octave, but his most common sestet scheme is cddc ee. This marks the beginning of an English contribution to sonnet structure of three quatrains and a closing couplet.The Norton Anthology of English Literature: Sixteenth/Early Seventeenth Century, Volume B, 2012, pg. 647 Wyatt experimented in stanza forms including the rondeau, epigrams, terza rima, ottava rima songs, and satires, as well as with monorime, triplets with refrains, quatrains with different length of line and rhyme schemes, quatrains with codas, and the French forms of douzaine and treizaine.
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There were also four departing tone rhyme groups with -j codas that had no counterparts in the other tones. The rime tables were solely concerned with the pronunciation of syllables of these rime dictionaries, and do not contain dictionary-like material such as definitions. Similarly, where a group of characters are recorded as homophones in the rime dictionaries, typically only one will occur in a rime table. A rime table book presents these distinct syllables in a number of tabular charts, each devoted to one or more sets of parallel rhyme groups across the tones.
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The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e.
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Other such examples are "day/dream" and "mile/stone" which are unlikely to be interpreted as "da/ydream" or "mil/estone" due to the phonotactic probability or improbability of certain clusters. The sentence "Five women left", which could be phonetically transcribed as [faɪvwɪmɘnlɛft], is marked since neither /vw/ in /faɪvwɪmɘn/ or /nl/ in /wɪmɘnlɛft/ are allowed as syllable onsets or codas in English phonotactics. These phonotactic cues often allow speakers to easily distinguish the boundaries in words. Vowel harmony in languages like Finnish can also serve to provide phonotactic cues.
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Traditional Chinese syllable structure The traditional analysis of the Chinese syllable, derived from the fanqie method, is into an initial consonant, or "initial", (shēngmǔ ) and a final (yùnmǔ ). Modern linguists subdivide the final into an optional "medial" glide (yùntóu ), a main vowel or "nucleus" (yùnfù ) and an optional final consonant or "coda" (yùnwěi ). Most reconstructions of Middle Chinese include the glides and , as well as a combination , but many also include vocalic "glides" such as in a diphthong . Final consonants , , , , , , and are widely accepted, sometimes with additional codas such as or .
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The film begins with five friends who are organizing a weekend camping trip to a Missouri lake. Three of the friends are deaf, one is a hearing child of deaf adult (CODA) and the last is a hearing person. The film focuses on the interaction between the friends, and mirrors the interactions between 'Big-D' Deaf, hard-of-hearing, CODAs and hearing people. As the friends set off for the weekend, Jake (Jasun Hicks) has a heated discussion with his mom over video relay service (VRS) using his iPad.
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The canonical syllable structure in Bororo is (C)V: that is, a mandatory vowel nucleus (or diphthong), optionally preceded by a single onset consonant. Aside from unmodified loanwords from Portuguese (which are quite common, and becoming more so), Bororo syllables never have onset consonant clusters or codas. Stress in Bororo occurs generally (again with the exception of unmodified Portuguese loanwords) on the penultimate mora. Since diphthongs contain two morae, this means that a diphthong in either penultimate or final position will generally be stressed: [ˈbai̯ɡa] "bow", [kaˈnao̯] "pimple, scale".
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In most varieties, including the Beijing dialect on which Standard Chinese is based, the final stops have disappeared, and these syllables have been divided between the tones in different ways in different subgroups. In Lower Yangtze Mandarin, however, the stop codas have merged as a glottal stop, but these syllables remain separate from the four tonal categories shared with other Mandarin varieties. A similar development is also found in the adjacent Wu dialect group, and in the Jin group, which many linguists include within Mandarin. In Lower Yangtze varieties, the initial has merged with .
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The grouping of the pieces reflects the needs of the Ballet. Whilst the orchestration retains the period feel (for example, the ornamentation), the Ballet suggested more recent combinations of instruments: for example the opening section of the Carillon is arranged for Glockenspiel, Celesta, Harp and Harpsichord which is more suggestive of a Tchaikovsky ballet than the French Baroque. Strauss also composed codas to end several of the movements. "Strauss seems to have made a purposeful attempt to integrate the past and the 1923 present, whereby his Tanzesuite has a special relationship to canonized neoclassicism".
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Within phonology, words are structured into tone groups composed of syllables that are composed of onsets, nuclei, and codas, which control clusters of articulatory gestures. Within the lexicon, morphemes can be combined into compounds, phrases, inflected forms, and derivations. Syntactic patterns can be coded at the most elementary level in terms of item-based patterns, which are then grouped on the next level of abstraction into constructions, and eventually general syntactic patterns. Mental models are based on an interlocking system emerging from the levels of role assignment, space-time configuration, causal relations, and perspective taking.
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Although the three standards remain close, they have diverged to some extent. Most Chinese in Taiwan and Singapore came from the southeast coast of China, where the local dialects lack the retroflex initials /tʂ tʂʰ ʂ/ found in northern dialects, so that many speakers in those places do not distinguish them from the apical sibilants /ts tsʰ s/. Similarly, retroflex codas (erhua) are typically avoided in Taiwan and Singapore. There are also differences in vocabulary, with Taiwanese Mandarin absorbing loanwords from Min Chinese, Hakka Chinese, and Japanese, and Singaporean Mandarin borrowing words from English, Malay, and southern varieties of Chinese.
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In establishing a writing system for a language, corpus planners have the option of using an existing system or designing a new one. The Ainu of Japan chose to adopt the Japanese language's katakana syllabary as the writing system for the Ainu language. Katakana is designed for a language with a basic CV syllable structure, but Ainu contains many CVC syllables which cannot easily be adapted to this syllabary. Therefore Ainu uses a modified katakana system, in which syllable-final codas are consonants by a subscript version of a katakana symbol that begins with the desired consonant.
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Tor released it as an e-book in 2009. His 2012 book Redshirts: A Novel with Three Codas won the 2013 Hugo Award for Best Novel. Scalzi decided to write Redshirts after noticing that while many short satirical works dealt with the idea of "'redshirts'—the unnamed, low-ranking characters of Star Trek who always died on away missions," there was a dearth of novels exploring the concept. On May 24, 2015, Tor announced that it had agreed to a $3.4 million deal with Scalzi spanning 10 years and 13 books: 10 adult books and three young adult books.
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In other words, the following are possible syllable types in Taos: CV, CVV, CVC, CVVC, CVCC (and in loanwords also: CCV, CCVV, CCVC, CCVVC, CCVCC, CCVVCC). This can be succinctly represented in the following (where optional segments are enclosed in parentheses): : C1 (C2)V1(V2)(C3)(C4<) + Tone Additionally, every syllable has a tone associated with it. The number of possible syllables occurring in Taos is greatly limited by a number of phonotactic constraints. A further point concerns Trager's analysis of Taos coda syllables: CC clusters occurring in codas are only possible as a result of vowel elision, which is often apocope.
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Charles Burkhart suggests that the reason codas are common, even necessary, is that, in the climax of the main body of a piece, a "particularly effortful passage", often an expanded phrase, is often created by "working an idea through to its structural conclusions" and that, after all this momentum is created, a coda is required to "look back" on the main body, allow listeners to "take it all in", and "create a sense of balance."Burkhart, Charles. "The Phrase Rhythm of Chopin's A-flat Major Mazurka, Op. 59, No. 2" in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis, p.12.
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Coda engineers modified the design to improve safety and successfully completed two of the tests necessary to gain Federal Motor Vehicle Safety Standards certification in the second quarter of 2009; the full frontal impact test at and the 40% offset test at . Coda Automotive filed for Chapter 11 bankruptcy protection on 1 May 2013. The company stated that it expects to emerge from the bankruptcy process to focus on energy storage solutions as it has decided to abandon car manufacturing. The last remaining unsold Codas were later bought up by electric car company Mullen Technologies, Inc.
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"Holding on to You" is a song by American musical duo Twenty One Pilots from their second studio album Regional at Best (2011). It was re-recorded and later included as the fourth song on the track-listing of their major-label debut album, Vessel (2013). "Holding on to You" features upbeat rhythms over which Joseph delivers scattershot raps with down-to-earth sentiments and sings grandiose, euphoric choruses. The track's indie-inspired synth-pop transforms from a sensitive ballad to a hip-hop number with rapped verses and codas. Lyrically, “Holding On To You” is an ode to self-control.
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In the medieval rime dictionaries, characters were organized into rhyme groups (), with 193 groups in the Qieyun, growing to 206 in the Guangyun. The order of the rhyme groups within each tone implies a correspondence between rhyme groups across the four tones. Thus for each rhyme group with an -m, -n or -ng coda in the level tone there are typically corresponding rhyme groups with the same coda in the rising and departing tones, and a corresponding rhyme group in the entering tone with a -p, -t or -k coda respectively. In contrast, syllables with vocalic codas typically had corresponding rhyme groups only in the level, rising and departing tones.
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Melharmonic compositions employ a diverse forms, some of which are original. They also employ musical forms of Western classical such as daprice,Capriccio (music) étude and concerto for various instruments and also forms like geetam and krti (also spelt as kriti), which are used in Indian Carnatic music. They often showcase ragas novel to Western audiences and often feature inventive rhythmic cadences,cadence (music) mathematical codas and embedded sequences suggestive of melodic improvisation. Melharmonic arrangements of traditional Indian composers including Tyagaraja, Oottukkadu Venkata Kavi and Muthuswami Dikshitar have been performed by various professional symphonies & chamber orchestras, string orchestras, quartets and quintets ensembles as well as Jazz, Rock & world music groups.
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Manager Bernie Rhodes suggested that producer/engineer Glyn Johns be hired to remix the album. This editing took place in Johns' garden studio in Warnford, Hampshire (not at Wessex Studios, as is incorrectly stated by some sources). Johns, accompanied by Strummer and Jones edited Combat Rock down from a 77-minute double album down to a 46-minute single LP. This was achieved by trimming the length of individual songs, such as by removing instrumental intros and codas from songs like "Rock the Casbah" and "Overpowered by Funk". Additionally, the trio decided to omit several songs entirely, dropping the final track count to 12.
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Instead, West continues to implement sudden musical shifts within the multi-layered song structures and express meticulously composed introductions, bridges, and codas. For his third album, West produced songs that combine hip-hop beats with anthemic refrains and continues to employ his skill in layering keys, strings, and vocals to coax the melodies out of samples. Through acting as his own producer, West manages to maintain quality control over the album's music to ensure that "his productions build momentum even when they revolve around a handful of repeated samples [and] nearly every song on Graduation is memorable for both its hooks and its overall sound".Pareles, Jon.
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Cyc or strip lights. Strip lights, also known as cyclorama or cyc lights (thus named because they are effective for lighting the cyclorama, a curtain at the back of the stage), border lights, and codas (by the brand name), are long housings typically containing multiple lamps arranged along the length of the instrument and emitting light perpendicular to its length. Lamps are often covered with gels of multiple colors (often red, green, and blue, which, in theory, allow almost any color to be mixed) with each color controlled by a separate electrical dimmer circuit. Many striplights use round pieces of glass (called roundels) rather than plastic gels for color.
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Many feature a dramatic leap (up to an octave), which may or may not be mirrored in one of the voices sometime during an episode – a characteristic Pachelbel technique, although it was also employed by earlier composers, albeit less pronounced. Minor alterations to the subject between the entries are observed in some of the fugues, and simple countersubjects occur several times. An interesting technique employed in many of the pieces is an occasional resort to style brisé for a few bars, both during episodes and in codas. The double fugues exhibit a typical three-section structure: fugue on subject 1, fugue on subject 2, and the counterpoint with simultaneous use of both subjects.
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Shirley Manson and Steve Marker on-stage at San Diego's Street Scene Rehearsals for the Bleed Like Me tour took place during February and March 2005. Pre-production tasks included sourcing and programming the sounds and samples from Bleed Like Me into the band's samplers, synths and drum triggers and configuring settings for three sets of control gear and backline racks. Alt URL Slightly different arrangements of older songs were composed, particularly for the intro section of "Only Happy When it Rains", the middle 8 of "Supervixen" and the codas of both "#1 Crush" and "Shut Your Mouth". Due to having limited rehearsal time, Garbage were only able to prepare an initial setlist of around fifteen songs.
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The challenges facing the hearing children of deaf adults parallel those of many second-generation immigrant children. Just as many first-generation immigrant parents frequently struggle to communicate in the majority (spoken) language, and come to rely on the greater fluency of their bilingual children, so deaf parents may come to rely on hearing children who are effectively fluent bilinguals. This dynamic can lead codas to act as interpreters for their parents, which can be especially problematic when a child coda is asked to interpret messages that are cognitively or emotionally inappropriate for their age. For example, a school-aged child may be called on to explain a diagnosis of a serious medical condition to their deaf parent.
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The Funky Gibbon was released with multiple alternate codas at the end of the song including "Tie a Yellow Gibbon Round the Ole Oak Tree" and "And for Me Some Scarlet Gibbons, Scarlet Gibbons for My Hair" which were randomly heard on the double grooved single; as well as "He Promised to Buy Me a Bunch of Blue Gibbons to Tie Up My Bonny Brown". The Goodies performed the song live numerous times, including on Top of the Pops on 20 March 1975 and in The Goodies – Almost Live in 1976. The song was re- released in November 2010 to raise funds for the International Primate Protection League's "Save the Gibbon" appeal.
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A celebrated scholar in the fields of Phonology and Morphology, Piggott completed his graduate studies at the University of Toronto with a focus on Amerindian languages, particularly Ojibwa. His research on Ojibwa phonology has been instrumental to the analysis of nasal vowels in that language. Further research on syllabification and stress assignment has established a dichotomy between languages whose syllabification relies on the use of codas and those whose right-edge constituents are best analyzed as the onsets of empty-headed syllables. Piggott has been on the editorial board of journals such as The Linguistic Review, member of the advisory board for numerous conferences including the Manchester Phonology Meeting, and an evaluator on departmental review committees, such as for the Linguistics Department of Memorial University in Newfoundland.
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The following 2 paragraphs from the BHS indicate technical requirements of a barbershop arrangement for use in a BHS contest: “Barbershop harmony is a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: the lead sings the melody, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord. The melody is not sung by the tenor or bass, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishing effect can be created. Occasional brief passages may be sung by fewer than four voice parts.
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Following the US release of The Curse of Blondie the band performed on the A&E; Network's Live by Request program on May 7, 2004 in New York City, taking requests via e-mail and phone from fans – and personal friends like film director John Waters. This is a first Blondie release without original keyboardist Jimmy Destri who has been replaced by Kevin Topping after the work on The Curse of Blondie. This is also the band's first and only release with Topping. The album is notable for the band performing additional codas after the end of several songs, particularly after "Hanging on the Telephone", "Rip Her to Shreds", "One Way or Another", "Rapture", "Call Me" and "Union City Blue".
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Deaf children acquiring sign languages from birth also reach language milestones at similar rates to their hearing counterparts, unlike deaf children born to hearing parents acquiring speech. Members of the Deaf community define deafness as a matter of culturally determined behaviors rather than an audiological factor. Thus, those within the Deaf community tend to be, but are not limited to, deaf people, especially congenitally deaf people whose primary language is the sign language of their nation or community, as well as their hearing or deaf children (hearing children of Deaf adults are typically called CODAs: Child of Deaf adult), families, friends and other members of their social networks. This cultural model of deafness represents the natural evolution of the social networks of a minority language group.
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Sacca Sessola loosely translated as "Scoop Bag" (also called "Isola delle Rose" or "Island of Roses" by the hotel which is located in on the island, it is not a name recognized by the Venetians, or on topographical maps) is an island in the Venetian Lagoon, northern Italy. One of the biggest in the lagoon (16.03 ha) and also one of the youngest. It was artificially created in 1870 in Codas of Reziol, a branch of the Channel Rezzo, with materials from the construction of the Santa Marta commercial port, and has been used a fuel dump, hospital, farming land, UNESCO research complex. The entire island now houses the JW Marriott Venice Resort and Spa A "sacca" or "bag" is an artificial island (see also Sacca Fisola and Sacca San Biagio).
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The cooperation of George A. Romero allowed Frumkes extensive access to the creative process of the filmmaker, and the finished product is as much an overview and analysis of Romero's early career as a "making-of" documentary. In Video Watchdog magazine, critic Tim Lucas called Document of the Dead "an intelligent, arresting, and authoritative examination of Romero's working filmmaking style..." Frumkes added new codas to the film in 1989, and for the 2005 DVD release Dawn of the Dead: Ultimate Edition, which collected multiple cuts of the film and a cut of Document of the Dead. The full-length Document of the Dead was released on DVD by Synapse Films in 1998. As a screenwriter, Frumkes has written the 1996 thriller The Substitute and three sequels, and the cult black comedy Street Trash (1987).
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Spoken Mandarin Chinese The phonological structure of each syllable consists of a nucleus that has a vowel (which can be a monophthong, diphthong, or even a triphthong in certain varieties), preceded by an onset (a single consonant, or consonant+glide; zero onset is also possible), and followed (optionally) by a coda consonant; a syllable also carries a tone. There are some instances where a vowel is not used as a nucleus. An example of this is in Cantonese, where the nasal sonorant consonants and can stand alone as their own syllable. In Mandarin much more than in other spoken varieties, most syllables tend to be open syllables, meaning they have no coda (assuming that a final glide is not analyzed as a coda), but syllables that do have codas are restricted to nasals , , , the retroflex approximant , and voiceless stops , , , or .
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Tracks from Cyclos were promoted somewhat strongly by Cleopatra Records and released on multiple various artists compilations. The track "Tangerine Sky" appeared on collections Space Box: 1970 & Beyond (Space, Krautrock & Acid Trips) by Cleopatra and the album's coda "Uduism" appeared on Ambient Time Travellers by Hypnotic Records. The track "Oblivium" was released on six various artist compilations: Space Daze 2000: A Mind Journey of Electronic Ambient Space Rock in 1996 by Cleopatra, This Is Space: The Space Daze Trilogy in 1997 by Cleopatra, DJ Technical's Hypnotic Illusions in 1997 by Hypnotic/Outloud, In to the Mix in 1997 by Hypnotic, Electronica Classix in 1999 by Alpha Wave, and Classic Electronica in 2001 by Big Eye Music. The compositions "Colonies" and "Passage" had previously been used as codas on Vampire Rodents' Premonition and Lullaby Land studio albums, released in 1992 and 1993, respectively.
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The Dapper Dans barbershop quartet, at Walt Disney World's Main Street, USA WPA poster, 1936 Barbershop vocal harmony, as codified during the barbershop revival era (1930s–present), is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. One characteristic feature of barbershop harmony is the use of what is known as "snakes" and "swipes".
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Haifeng dialect, Lufeng dialect or Hailufeng dialect is a variety of Chinese mostly spoken in Shanwei, Haifeng County, and Lufeng, Guangdong. It classified as a variety of Southern Min (Min Nan) and it is also alleged by some to supposedly be a variety of Teochew dialect due to its close geographical and political tiesHaifeng Dialect Phonology, even though it is much more similar to the Hokkien language instead and Hailufeng Min Nan speakers see themselves as Hokkiens and separate from the Teochews. Since many of the pronunciations of Chinese characters, vocabulary, accent and slangs in Haifeng dialect are different from those in Teochew dialect because of different rimes in both dialects, Haifeng is considered to be independent of Teochew. Such differences include the preservation of the final codas -t and -n in the Haifengese Hokkien which are completely lost in Teochew, as well as the absence of the -oi finals.
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Critical reception to The Warning was generally favourable, with the album receiving a score of 79 out of 100 by review aggregate website Metacritic based on 27 reviews. AllMusic said that "Over and Over" had "DFA signature production" and described the chorus as sounding "hauntingly similar to something Paul McCartney would write had he been paying attention to the music of the youth in his own backyard." The production of the title track, "The Warning", was likened to outtakes by The Postal Service and it was said that it "wouldn't [sound] out of place on I Am Robot and Proud's last few records". Pitchfork described the song as one of the centrepieces on the album and that "like a lot of the band's best songs, it splits into three and four parts, veering into bridges where there should be choruses, verses where there should codas, and dirges where there should be melodies".
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Budden makes a useful observation on the musical qualities of the original version: "all the devices that we associate with the term bel canto are sparingly used"Budden, p. 254 and he suggests that, at mid-century, "this amounted to a denial of Italy's national birthright" for an audience brought up on the conventions employed by Vincenzo Bellini or Gaetano Donizetti. In his "Introduction to the 1881 Score", James Hepokoski emphasizes that Budden's assertion appeared to be true, since the 1857 original "resounded with clear echoes of [Verdi's] earlier style" and that he employed the known techniques but, at the same time, moved away from them, so that: :the basic musical conventions of the Risorgimento (separate numbers with breaks for applause, multi-movement arias and duets with repetitive codas, cadenzas and repeated cabalettas, static concertato ensembles, and so on) were indeed present, if usually modified [so that] the musical discourse was characteristically terse, angular, and muscular.James Hepokoski, in Kahn, p.
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Mellow moods are savaged by impassioned cries and discordant desires as humour seeps from vital pores." Melody Maker was less impressed, saying, "Their slick marriage... no, make it a steamy affair, between accessible splicing montage methods and sophisticated disco has the necessary balance of artifice and sweet melody, crisp danceateria [sic] moves and conceptual laziness (posing as artful dodging) that could conceivably pull the wool over people's eyes... Post-Fairlight, Yello are clever, sometimes too clever-clever, occasionally jarring as the montaging lays code upon codas." Reviewing all six reissued Yello albums in 2005, Mojo stated that Stella "saw further refinements in sound [to You Gotta Say Yes to Another Excess] and a more pronounced Euro-pop agenda, but however slick tracks like 'Oh Yeah' or 'Vicious Games' might be, it's never entirely comfortable listening". Allmusic believed that Stella was Yello's "best single LP, an excellent production throughout by Boris Blank, from the theatric instrumentals 'Stalakdrama' and 'Ciel Ouvert' to the frenetic pitched percussion on 'Let Me Cry'.
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