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EN
The article presents assimilation cases between consonant sounds, found especially on the boundary of different rhythmic structures in the modern Ukrainian language. The author has monitored scientific works and manuals for higher educational institutions, orthoepic dictionaries focusing on the research¬ers’ attention to the phenomenon of sonority assimilation. Some of the phenomena are presented from a multilateral perspective.
PL
The article deals with the issues of Ukrainian syllables and syllabifi cation in terms of phonetics and phonology. The study is based on the analysis of various scientifi c views on the above problems. As a result a phonological interpretation of syllables and syllabification in Ukrainian is proposed. The main conclusion is that a syllable exists as a phonetic syllable and a phonological syllable, and each one has its own rules of formation and, consequently, syllabifi cation in words.
EN
This article presents an argument for the idea that consonants of high sonority are preferred over low-sonority consonants between vowels (Uffmann 2007). The argument is based on a detailed description and analysis of the phonological patterns which ensure that a syllable starts with a consonant in Washo. Washo inserts [j], which is of high sonority, between any two vowels. Word-initially however a glottal stop is inserted. It is argued that the Washo insertion patterns show influence of the sonority requirements, and these patterns are not subject to an analysis in terms of autosegmental spreading. Thus although feature spreading is a useful tool for capturing similarity requirements on neighboring segments, it is not sufficient to account for cases like Washo epenthesis.
PL
Henryk M. Gôrecki’s oeuvre is characteristic in its almost constant oscillation between meditation on the world, the universe, nature, and implication in history, tradition, culture; between the delight in the beauty of nature and the delight in culture. ‘We were no longer the centre of the universe, we became nothing.’This idea of the composer was fundamental for his creation of his II Symphony. Its two-movement form was a consequence of his own understanding of the Copernican revolution. Its Latin text was derived from the Book of Psalms; due to the circumstances of its commission, it also includes a fragment from Copernicus tractate. The distribution of tension in the first movement is non-trivial. Judging by the composer’s “cosmic” fascinations, the beginning is a “Big Bang”. The central climax of this movement appears in its finale, when the huge chorus sings and cries the words of the Psalms. In Movement Two we are ushered into a different, a lyrical world of contemplation. The soloists are singing in traditional and simplest possible way. The chorus, harmonized modally is singing the words of Nicolaus Copernicus about the “heaven” - “beauty” relation. Chorale-like, they place us in a transcendental dimension. The work is crowned with long-standing yet pulsating sonorities of the orchestral mass in pentatonic interval structure, resolved into an A flat major triad: in the tradition of Baroque rhetoric, depicts emotions of stillness, of the calm of the night; in late Romanticism - the emotion of mild and solemn. Perhaps these sonorities of the orchestral mass in the finale - that is exactly the sound of the Universe as Górecki has been expressed?
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