stress accent वाक्य
उदाहरण वाक्य
मोबाइल
- In the last stage of Proto-Germanic, the accent was replaced by a stress accent on the first syllable of the word, but prior to that it left its traces in the operation of Verner's law.
- In some contexts, the term " stress " or " stress accent " is used to mean specifically dynamic accent ( or as an antonym to " pitch accent " in its various meanings ).
- Greek accent marks and breath marks, other than the " rough breathing " ( first in the list of consonants above ), are entirely disregarded; the Greek pitch accent is superseded by a Latin stress accent, which is described below.
- The sounds represented by [ a ] and [ ? ] are allophonic . [ ? ] appears mainly in syllables BEFORE the stress accent and optionally in open unstressed syllables otherwise . [ a ] appears in stressed syllables and in unstressed closed syllables.
- The most significant changes during the Koine Greek period concerned vowels : these were the loss of vowel length distinction, the substitution of the Ancient Greek system of pitch accent with a stress accent system, and the monophthongization of diphthongs ( except and ).
- In 1982, the monotonic orthography was officially adopted, abandoning the rough and smooth breathings ( since the sound had long since disappeared ) and reducing the three types of accent mark to one ( since the tone accent had been replaced by a stress accent ).
- Robinson's alphabet is not only phonetic but to some extent featural, as voicing is not represented on the letters themselves, but by means of diacritics, in a mode that takes some account of assimilative voicing and devoicing of consonant clusters; English stress accent is also indicated by diacritics.
- It is thought that the political verse replaced, in popularity and also in use, the famous dactylic hexameter of the ancient Greeks ( also known as " heroic hexameter " ) in later Greek poetry, from the time of the early modern Greek, following the loss of ancient stress accent.
- The loss of unstressed vowels, particularly those after the stress, ultimately produced the situation in Modern French where the accent is uniformly found on the last syllable of a word . ( Ironically, in Modern French the stress accent is quite weak, with little difference between the pronunciation of stressed and unstressed vowels .)
- The dialects that have a Tokyo-type accent, like the standard Tokyo dialect described above, are distributed over Hokkaido, northern Tottori, typically have a more-or-less low tone in unaccented words; accented syllables have a high tone, with low tone on either side, rather like English stress accent.
- The ancient distinction between long and short vowels was lost in popular speech at the beginning of the Koine period . " By the mid-second century [ BCE ] however, the majority system had undergone important changes, most notably monophthongization, the loss of distinctive length, and the shift to a primary stress accent ."
- Perhaps the most salient characteristic of French vowel history is the development of a strong stress accent usually ascribed to the influence of the Germanic languages that led to the disappearance of most unstressed vowels and to pervasive differences in the pronunciation of stressed vowels in originally lengthened, after which most of the long vowels turned into diphthongs.
- One reason for the rap scene to remain so small and a little bit less popular compared to hip hop is because of the fact that the Japanese language does " not contain stress accents and sentences must end with one of a few simple verb endings . " Ito Seiko, Chikado Haruo, Tinnie Punx and Takagi Kan were rappers that emerged from Japan at this time, and they proved to be rather successful.
- Hence, " high school " as a term meaning " a secondary school for students approximately 14 18 years old " the vowel in " high " may be raised, whereas " high school " with the literal meaning of " a school that is high ( e . g . in elevation ) " is unaffected . ( The two terms are also distinguished by the position of the stress accent, as shown ).
- A later development of the chanson was the style of " musique mesur�e ", as exemplified in the work of Claude Le Jeune : in this type of chanson, based on developments by the group of poets known as the Pl�iade under Jean-Antoine de Ba�f, the musical rhythm exactly matched the stress accents of the verse, in an attempt to capture some of the rhetorical effect of music in Ancient Greece ( a coincident, and apparently unrelated movement in Italy at the same time was known as the Florentine Camerata ).
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