音节的

As a vowel is usually the nucleus of a syllable and it may be preceded and/or followed by a consonant or consonants, the sequence of phonemes vary mostly with onsets and codas.

作为一个元音通常是核心部分的音节，可以先和/或随后辅音或辅音，音素序列的差异主要是onsets和

Exegetes who find metre in the Psalms are of four schools, according as they explain Hebrew metre by quantity, by the number of syllables, by accent, or by both quantity and accent.

谁找到Exegetes米的诗篇有4所学校，根据他们解释希伯来米的数量，由音节数，由口音，或数量和口音。

Traditional Japanese haikus are supposed to be composed of just 17 syllables, arranged in three lines and including a "kigo": some word suggesting a season of the year.

传统的日本俳句仅有17个音节，三个句子和一个&kigo&，一些词使人想起一年里的某个季节。

Traditional Japanese haikus are supposed to be composed of just 17 syllables, arranged in three lines and including a "kigo": some word suggesting a season of the year.

传统的日本俳句应该是只有17个音节组成，排列成行，包含了一个& kigo &：一些代表了本年种季节的词。

Traditional Japanese haikus are supposed to be composed of just 17 syllable s, arranged in three lines and including a " kigo ": some word suggesting a season of the year.

传统的日本俳句应该由17个音节组成，排列成三行包括一个& kigo &：一些词语暗示一年中的一个季节。

Traditional Japanese haikus are supposed to be composed of just 17 syllables, arranged in three lines and including a "kigo": some word suggesting a season of the year.

传统的日本俳句应该只是由17个音节组成，然后排成3行，包括一个季语。季语是暗示一年中季节的词语。

Traditional Japanese haikus are supposed to be composed of just 17 syllables, arranged in three lines and including a "kigo": some word suggesting a season of the year.

传统的日本俳句应该仅由17个音节组成，排列成三排并包括一个&kigo&：代表一年中某个季节的词语。

Traditional Japanese haikus are supposed to be composed of just 17 syllables, arranged in three lines and including a "kigo": some word suggesting a season of the year.

传统的日本俳句应只有17个音节组成，排列成三行并且包括一个&kigo&：某种暗示季节的词语。

It also shows that Chinese preserves its language-particular property,i.e.only non-labial nasals are allowed in coda position,by top-ranking the faithfulness constraint IDENT-IO.

同时，笔者认为忠实性制约条件IDENT—IO亦居制约条件等级的首位，因此，汉语音节保留了汉语所独有的特点，即韵尾只允许非唇音鼻音。

Instead of closed voicings, what we're using here is a principle called 'drop two,' which means basically, take the second voice and drop it down one octave.

代替相邻音节，我们在这里用的是最基本的降两音，也就是把第二个音降一个八度。

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。