Phonaesthetics
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| - | '''Phonaesthetics''' is the claim or study of inherent pleasantness or beauty ('''euphony''') or unpleasantness ('''[[cacophony]]''') of the [[phonetics|sound]] of certain words and sentences. [[Poetry]] is considered euphonic, as is well-crafted [[literary]] [[prose]]. Important phonaesthetic devices of poetry are [[rhyme]], [[assonance]] and [[alliteration]]. Closely related to euphony and cacophony is the concept of [[consonance and dissonance]]. | + | '''Phonaesthetics''' is the claim or study of inherent [[pleasantness]] or beauty ('''euphony''') or [[unpleasantness]] ('''[[cacophony]]''') of the [[phonetics|sound]] of certain words and sentences. [[Poetry]] is considered euphonic, as is well-crafted [[literary]] [[prose]]. Important phonaesthetic devices of poetry are [[rhyme]], [[assonance]] and [[alliteration]]. Closely related to euphony and cacophony is the concept of [[consonance and dissonance]]. |
| The phrase ''[[cellar door]]'' has some notoriety as the reputedly most euphonic sound combination of the English language (specifically, when spoken with a [[British accent]]). | The phrase ''[[cellar door]]'' has some notoriety as the reputedly most euphonic sound combination of the English language (specifically, when spoken with a [[British accent]]). | ||
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| == See also == | == See also == | ||
| - | *[[sandhi]] ("euphonic" rules in Sanskrit grammar) | + | *[[Affection (linguistics)]] |
| - | *[[vowel harmony]] | + | *[[Assimilation (linguistics)]] |
| - | *[[assimilation (linguistics)]] | + | *[[Dissimilation]] |
| - | *[[dissimilation]] | + | *[[Elision]] |
| - | *[[elision]] | + | *[[Epenthesis]] |
| - | *[[epenthesis]] | + | |
| - | *[[affection (linguistics)]] | + | |
| - | *[[i-mutation]] | + | |
| - | *''[[English and Welsh]]'' | + | |
| - | *[[inherently funny word]] | + | |
| - | *[[phonosemantics]] | + | |
| - | *[[onomatopoeia]] | + | |
| - | *[[Japanese sound symbolism]] | + | |
| *[[glossolalia]] | *[[glossolalia]] | ||
| - | *[[symphony]] | ||
| *[[harmony]] | *[[harmony]] | ||
| + | *[[I-mutation]] | ||
| + | *[[Inherently funny word]] | ||
| + | *[[Japanese sound symbolism]] | ||
| + | *[[Onomatopoeia]] | ||
| + | *[[Phonosemantics]] | ||
| + | *[[Sandhi]] ("euphonic" rules in Sanskrit grammar) | ||
| + | *[[Symphony]] | ||
| *[[Vilayanur S. Ramachandran]] | *[[Vilayanur S. Ramachandran]] | ||
| + | *[[Vogon poetry]] | ||
| + | *[[Vowel harmony]] | ||
| + | |||
| {{GFDL}} | {{GFDL}} | ||
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Phonaesthetics is the claim or study of inherent pleasantness or beauty (euphony) or unpleasantness (cacophony) of the sound of certain words and sentences. Poetry is considered euphonic, as is well-crafted literary prose. Important phonaesthetic devices of poetry are rhyme, assonance and alliteration. Closely related to euphony and cacophony is the concept of consonance and dissonance.
The phrase cellar door has some notoriety as the reputedly most euphonic sound combination of the English language (specifically, when spoken with a British accent).
From this meaning should be distinguished the closely related but different concept of phonaesthesia, which does not refer directly to aesthetic attributes of sound, but to phonetic elements that are inherently associated with a semantic meaning. The term was introduced by J. R. Firth in 1930 "The phonæsthetic habits [...] and are of general importance in speech." Firth defined a phonaestheme as "a phoneme or cluster of phonemes shared by a group of words which also have in common some element of meaning or function, though the words may be etymologically unrelated."
Examples
See also
- Affection (linguistics)
- Assimilation (linguistics)
- Dissimilation
- Elision
- Epenthesis
- glossolalia
- harmony
- I-mutation
- Inherently funny word
- Japanese sound symbolism
- Onomatopoeia
- Phonosemantics
- Sandhi ("euphonic" rules in Sanskrit grammar)
- Symphony
- Vilayanur S. Ramachandran
- Vogon poetry
- Vowel harmony
