音节

In this paper, syllable-based prosody modelings of pitch contour and syllable duration for isolated Mandarin words are proposed.

在本文中，我们对中文单词提出了以音节为基本单位的基频轨迹及音节长度的韵律模型。

Accordingly,this article claims that the diminutive morpheme is a feature which only triggers retroflexion of the suffixed word and does not occupy any slot in the syllabic structure .

遵循传统的看法，儿化词素只是一个单元音引起前行音节卷舌化的特征，它不在音节结构中占有任何位置。

Of verse having lines based on number of syllables rather than on rhythmical arrangement of stresses or quantities.

音节节律的一行诗中以音节的数目而不以重音或音量形成韵文的。

Additional problems include repetition of sounds, syllables, words and phrases, false starts and revisions, sequencing errors, word retrieval problems, run-on sentences and the excessively fast and irregular production of syllables.

其他症状还包括：语音、音节、词语和短语的重复，错误的词语开头和修正，语言先后顺序的错误，辞汇获得困难，前后文的不连贯和极端快速和不规则地发出一些音节。

Word stress,sentence stress are initiated elements to English rhythm,which play an important role in language communication.

汉语以音节计时，汉语的音节数目是话语节奏的基础，一字一音的特点是汉语话语节奏的一种直观形式，这一节奏特征与英语形成鲜明的对比。

In order to avoid constructing state space model many times, we propose sentential input method based on the phoneme further. It integrates the syllable segmentation into sentence transformation and inserts a phoneme rather than a segmented syllable each time. It can get optimal result by one construction of status space model composed with all the candidate words produced by all the possible syllable combination.At last we design a test program to constrast this input method and Microsoft Pinyin input method to improve our sentential function.

为避免多次构造状态空间模型，进一步提出基于音素的整句实现方法，将音节切分融入整句转换之中，仍然使用状态空间模型，只不过每次插入的是一个音素，而不是切分好的音节，对插入的音素节点，往前搜索，直接将该音素与前面已经输入的音素能组合形成的所有拼音串对应的候选字词插入状态空间，参与整句转换，通过构造一次状态空间模型得到全局最优解。

In accordance with chaotic essence of speech signals , syllable segmentation in continuous speech is researched by fractal theory . an approach of syllable segmentation using variance fractal dimension is proposed , its performance is analyzed in detail . the method can discriminate between voiced and unvoiced , between surd and sonant , but it can hardly discriminate between sonant

本文根据语音信号的混沌本质，利用分形理论研究了汉语连续语音中的音节分割问题，提出了基于方差分形维数的音节分割方法，并详细分析了该方法的性能，它能很好地解决了无声与有声、浊音与清音间的分割问题，但很难解决浊音间的分割问题，当浊音相连且过渡段较短时，该方法无法实现它们之间的分割。

Core syllable : in accordance with the sonority theory, a syllable is associated with a single peak in sonority.

核心音节：根据响度理论，一个音节在响度上只与一个单一的突出峰相联系。

Although our experiment dealt with the more suavity imperative sentence, the duration of these sentences is still confidently shorter that of statement sentence and question sentence When comparing the nucleus of all three types of sentences, in each type of sentence, the length of the nucleus is always the longest of the five syllables, making up about 30% of the total length for each sentence When comparing the auxiliary word at the end of the sentences, question auxiliary word"了"has a longer length than"吧/了"in imperative sentence, and"了"in statement sentence From this, we can draw a conclusion in Chinese, the duration of the syllable that appears at the end of sentence, is very much related to the type of sentence it is

从句子全长的对比看，祈使句的全长要比陈述句和疑问句短。虽然我们的实验语句属于口气比较委婉的祈使句，而这种祈使句的时长还是比陈述和疑问句大大缩短。三种句型的调核比较看，祈使句、陈述句和疑问句的调核音长在每个句型的5个音节中最长，占句子全长的大约百分之三十左右。从句末助词对比看，疑问句末助词"了"的音长跟祈使句"吧/了"和陈述句"了"的音长相比明显加长了。由此可见，在汉语中句末音节的时长与句型有密切相关，祈使句句末的语气助词的音长是属于短的。

Consisting of or using a syllabary or syllabic characters.

由音节或音符构成、或使用音节或音符。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。