![]() The following work models the contribution of sonority to phonology in a manner that attempts to be compatible with general auditory perception and cognition, as well as with linguistic theory. We interpret the results as providing strong support for our proposals: (i) the designation of periodic energy as the acoustic correlate of sonority (ii) the incorporation of continuous entities in phonological models of perception and (iii) the dual-model strategy that separately analyzes symbol-based top-down processes and signal-based bottom-up processes in speech perception. Our symbolic NAP model outperforms all the other models we test, while our continuous bottom-up NAP model is at second place, along with the best performing traditional models. We present perception experiments that test our two NAP-based models against four traditional sonority models, and we use a Bayesian data analysis approach to test and compare them. We suggest a measurable acoustic correlate for sonority in terms of periodic energy, and we provide a novel principle that can account for syllabic well-formedness, the nucleus attraction principle (NAP). We claim that sonority is primarily a perceptual phenomenon related to pitch, driving the optimization of syllables as pitch-bearing units in all language systems. Against this backdrop, we propose the incorporation of symbol-based and signal-based models to adequately account for sonority in a complementary manner. In addition, traditional sonority principles also exhibit systematic gaps in empirical coverage. Although widely accepted, sonority lacks a clear basis in speech articulation or perception, given that traditional formal principles in linguistic theory are often exclusively based on discrete units in symbolic representation and are typically not designed to be compatible with auditory perception, sensorimotor control, or general cognitive capacities. Modern Hebrew is an example of such language.Sonority is a fundamental notion in phonetics and phonology, central to many descriptions of the syllable and various useful predictions in phonotactics. Some languages allow a sonority "plateau" that is, two adjacent tautosyllabic consonants with the same sonority level. ![]() Some languages possess syllables that violate the SSP (Russian and English, for example) while other languages strictly adhere to it, even requiring larger intervals on the sonority scale: In Italian for example, a syllable-initial stop must be followed by either a liquid, a glide or a vowel, but not by a fricative (except: borrowed words like: pseudonimo, psicologia). The sonority values of segments are determined by a sonority hierarchy.Ī good example for the SSP in English is the one-syllable word "trust": The first consonant in the syllable onset is t, which is a stop, the lowest on the sonority scale next is r, a liquid which is more sonorous, then we have the vowel u /ʌ/ - the sonority peak next, in the syllable coda, is s, a fricative, and last is another stop, t. The SSP states that the center of a syllable, namely the syllable nucleus, often a vowel, constitutes a sonority peak that is preceded and/or followed by a sequence of segments-consonants-with progressively decreasing sonority values (i.e., the sonority has to fall toward both edges of the syllable). The Sonority Sequencing Principle (SSP) is a phonotactic principle that aims to outline the structure of a syllable in terms of sonority.
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