For the sake of euphony, a vowel is frequently interpolated between two consonants; e.g.
Finally it must be remembered that musical euphony and emotional effect are inseparable from considerations of harmony and polyphony.
The language is much ruled by laws of euphony, which have been strictly formulated by native grammarians.
Vocalic harmony is the internal bringing together of vowels of the same class for the sake of greater euphony, while vocalic dissimilation is the deliberate insertion of another class of vowels, in order to prevent the disagreeable monotony arising from too prolonged a vowel harmony.
In the interest of euphony some harmonious sound is needed to bridge the great gap which almost always exists between the bass and the upper instruments, but this filling out must be of the softest and most atmospheric kind.
Reval Esthonian, which preserves more carefully the full inflectional forms and pays greater attention to the laws of euphony, is recognized as the literary language.
But he altered this patronymic, for the sake of euphony, to Petrarca, proving by this slight change his emancipation from usages which, had he dwelt at Florence, would most probably have been imposed on him.
Yet, so insensible is Schatz to the euphony of his own work, that he proposes, as an alternative for the first and second trombones, two violins an octave higher, the other parts remaining unaltered!
The conditions which approximate most closely to our present, perfect, future and imperative are marked either by aspiration of the initial or by one of the five prefix consonants according to the rules of euphony, and the whole looks like a former system thrown into confusion and disorder by phonetic decay.
In its rudiments it is akin to the HamitoSemitic group. It possesses two grammatical genders, not masculine and feminine, but the human and the non-human; the adjective agrees in assonance with its noun, and euphony plays a great part in verbal and nominal inflections.
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