Date: Mon, 12 Feb 1996 20:23:12 -0600
From: Samuel Jones smjones1[AT SYMBOL GOES HERE]FACSTAFF.WISC.EDU
Subject: Re: Segmentals, Suprasegmentals, & Xylophones (Huh? Howzat?))
To: Thomas L. Clark
Your question has not been forgotten, nor is it being ignored. Your
inquiry is, to say the least, intriguing, and it piques my curiosity.
I reckon I ought to sit a spell and think on it before attempting to reach
a conclusion or two about any possibly-relevant similarities between
1) musical harmonics (the mathematical building blocks of all musical tones
except "pure" tone generator sounds), along with musical tones'
2) amplitude or volume, duration, timbre or quality, and pitch,
AND those aspects of speech involving more than just individual vowels or
consonants (i.e.,SEGMENTALS), which are called
SUPRASEGMENTALS, whose main characteristics are accent or stress, length,
even juncture**, plus tone/pitch, and intonation, or the pattern of "pitch
changes" that occurs in a sentence,such as Eliza Doolittle's line,
"How NICE of You to Let me Come."
(** JUNCTURE can mean either the mode of relationship or the manner of
between two consecutive speech sounds.)
As I re-read the above paragraph, which I am not altogether certain makes
sense, even to me, I realize that the answer to your question may be far more
complex and involved than I at first thought. Nonetheless, "Hope is but a word,
but of all words, the only sentinel of permanence!"
Research and investigating a challenge is a lot like peeling an onion - one
off layer after layer of the problem, shedding a lot of tears in the
at the end there is nothing left - but one is still shedding tears.
DR. SAMUEL M. JONES INTERNET: smjones1[AT SYMBOL GOES HERE]facstaff.wisc.edu
Prof. of Music & Latin American Studies TELNET: samjones[AT SYMBOL GOES HERE]macc.wisc.edu
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