韻

韻 (canonical)
in (romanization)
ゐん (hiragana historical)

(phonetics) a rhyme group in Chinese rhyme dictionaries, consisting of kanji sharing the same or similar finals


平板型

平板型 (canonical)
heiban-gata (romanization)

[he̞ːbã̠ŋɡa̠ta̠]

Compound of 平板 (heiban, “flat; monotone”) + 型 (gata, “type”)

compound

(phonetics) monotone type: the most common pitch accent pattern in “standard” Japanese or 標(ひょう)準(じゅん)語(ご) (hyōjungo), as used in the mass media, where no syllable is accented: the first syllable has a low pitch and all subsequent syllables have a higher, gradually lowering pitch


平板式

平板式 (canonical)
heiban-shiki (romanization)

[he̞ːbã̠ɰ̃ɕikʲi]

Compound of 平板 (heiban, “flat; monotone”) + 式 (shiki, “style”)

The pitch accent pattern in Japanese where no syllable is accented: the first syllable has low pitch and all subsequent syllables have higher, gradually lowering pitch.


摩擦音

摩擦音 (canonical)
masatsuon (romanization)

摩擦音は、唇と唇、齒及び口蓋と舌との如く、副管の局部を甚しく狹窄して、息と聲とが、其の狹窄部に摩擦されるに由て生ずる音で、息と聲とが、持ち來られる間はつゞけられる續音である。無聲音では、フの父音サ行ハ行等の父音、有聲音では、ワ行ヤ行ザ行等が之に屬する。

1902, Hirano, Hidekichi, “第一節 父音の分類 [Section 1: Types of Consonants]”, in 國語聲音學 [The Phonetics of the National Language], 國光社, page 78:

Fricatives are sounds generated by air and phonation friction caused by a tight constriction at places of articulation in the vocal tract, such as bilabial, dental and palatal. Such airflow and phonation is continuously sustained. There are voiceless fricatives, such as the consonant /ɸ/, and the consonants of the sa-row, fa-row, etc.; there are also voiced fricatives, such as those of the wa-row, ya-row, za-row, etc.

Masatuon fa, kutibiru to kutibiru, fa oyobi kougai to sita to no gotoku, fukukan no kyokubu wo itasiku kefusaku site, iki to kowe to ga, sono kefusakubu ni masatu sareru ni yotte syauzuru on de, iki to kowe to ga, motikorareru ma fa tudukerareru zokuon de aru. Museion de fa, fu no fuon sagyau fagyau tou no fuon, iuseion de fa, wagyau yagyau zagyau tou ga kore ni zokusuru.


破擦音

破擦音 (canonical)
hasatsuon (romanization)

Blend of 破裂音 (“plosive”) + 摩擦音 (“fricative”)


破裂音

破裂音 (canonical)
haretsuon (romanization)

[ha̠ɾe̞t͡sɨõ̞ɴ]


唇音

From 唇(しん) (shin, “lips”) + 音(おん) (on, “sound”).


鼻音

(phonology) a mora that contains a nasal sound, such as に (ni), み (mi), ん (n) or the historically nasalized vowel う (u)


舌音

From 舌 (した (ゼツ), tongue) + 音 (おと (オン), sound)

舌端歯茎音

舌端歯茎音 ぜったんしけいおん

舌先歯茎音

舌先歯茎音 ぜっせんしけいおん

舌端裏後部歯茎音

舌端裏後部歯茎音 ぜったんりこうぶしけいおん


軟口蓋音

軟口蓋音 (canonical)
nankōgaion (romanization)

[nã̠ŋko̞ːɡa̠iõ̞ɴ]

Compound of 軟(なん)口(こう)蓋(がい) (nankōgai, “soft palate”) + 音(おん) (on, “sound”).


無声

Compound of 無 (mu, “not, non-, without”) + 声 (sei, “voice”).

com

無声音

voiceless sound, voiceless pronunciation


妨げ音

妨げ音 (canonical)
samatageon (romanization)


共鳴音

[kʲo̞ːme̞ːõ̞ɴ]

From 共鳴(きょうめい) (kyōmei, “resonance”) + 音(おん) (on, “sound”).


五十音

ja-noun

五(ご)十(じゅう)音(おん) • (gojūon) ^(←ごじふおん (gozifuon)?)

五十音 (canonical)
gojūon (romanization)
gozifuon (romanization)
ごじふおん (hiragana historical)

From 五十 (gojū, “fifty”) + 音 (on, “sound”).

(phonology, orthography, grammar) all Japanese morae that can be spelled with 45 single modern kana and 2 historical kana (ゐ/ヰ and ゑ/ヱ) customarily without diacritical marks (゛ and ゜), excluding っ and ん, arranged in a 5x10 table (五十音図 (gojūonzu, literally “table of the fifty sounds”)), used for phonological and grammatical analysis


国際音声記号

ja-pos

こくさい おんせい きごう

こくさい おんせい きがう

国(こく)際(さい)音(おん)声(せい)記(き)号(ごう) • (Kokusai Onsei Kigō) ^(←こくさいおんせいきがう (Kokusai Onsei Kigau)?)

国際音声記号 (canonical)
Kokusai Onsei Kigō (romanization)
Kokusai Onsei Kigau (romanization)
こくさいおんせいきがう (hiragana historical)

[ko̞kɯ̟sa̠i õ̞ɰ̃se̞ː kʲiɡo̞ː]

International Phonetic Alphabet
International Phonetic Alphabet

(phonetics) International Phonetic Alphabet


音声記号

音声記号 (canonical)
onseikigō (romanization)

[õ̞ɰ̃se̞ːkʲiɡo̞ː]

From 音(おん)声(せい) (onsei, “speech”) + 記(き)号(ごう) (kigō, “symbol”).

ja-compound

発音記号

発音記号 はつおんきごう


発音記号

ja-noun

発(はつ)音(おん)記(き)号(ごう) • (hatsuonkigō) ^(←はつおんきがう (fatuonkigau)?)

発音記号 (canonical)
hatsuonkigō (romanization)
fatuonkigau (romanization)
はつおんきがう (hiragana historical)

[ha̠t͡sɨõ̞ŋʲkʲiɡo̞ː]

From 発(はつ)音(おん) (hatsuon, “pronunciation”) + 記(き)号(ごう) (kigō, “symbol”).

ja-compound

音声記号

音声記号 おんせいきごう


調音音声学

ja-noun

ちょうおん おんせいがく

調(ちょう)音(おん)音(おん)声(せい)学(がく) • (chōon onseigaku) ^(←てうおんおんせいがく (teuon onseigaku)?)

調音音声学 (canonical)
chōon onseigaku (romanization)
teuon onseigaku (romanization)
てうおんおんせいがく (hiragana historical)

[t͡ɕo̞ːo̞ɰ̃ õ̞ɰ̃se̞ːɡa̠kɯ̟]


音響音声学

おんきょう おんせいがく

おんきゃう おんせいがく

音(おん)響(きょう)音(おん)声(せい)学(がく) • (onkyō onseigaku) ^(←おんきゃうおんせいがく (onkyau onseigaku)?)

音響音声学 (canonical)
onkyō onseigaku (romanization)
onkyau onseigaku (romanization)
おんきゃうおんせいがく (hiragana historical)

[õ̞ŋʲkʲo̞ː õ̞ɰ̃se̞ːɡa̠kɯ̟]


調音部位

調音部位 (canonical)
chōon bui (romanization)

place of articulation
place of articulation

調音位置

調音位置 ちょうおんいち


調音位置

調音位置 (canonical)
chōon ichi (romanization)

From 調音(ちょうおん) (chōon, “articulation”) + 位置(いち) (ichi, “position”).

調音部位

調音部位 ちょうおんぶい


有声音

Compound of 有声 (yūsei, “voiced”) + 音 (on, “sound”).


有声

Compound of 有 (yū, “to have, possess, own”) + 声 (sei, “voice”).

com

(phonetics) sonant, vocal, phonic; the quality of being voiced

有声子音

有声子音 ゆうせいしいん


有声子音

有声子音 (canonical)
yūsei shiin (romanization)

From 有声(ゆうせい) (yūsei, “voiced”) + 子音(しいん) (shiin, “consonant”).


無声子音

無声子音 (canonical)
musei shiin (romanization)

有声子音

有声子音 ゆうせいしいん

From 無声(むせい) (musei, “voiceless”) + 子音(しいん) (shiin, “consonant”).


子音

ja-noun

子(し)音(いん) or 子(し)音(おん) • (shiin or shion)

子音 (canonical)
子音 (canonical)
shiin (romanization)
shion (romanization)

→ Chinese: 子音 (zǐyīn)

→ Korean: 자음 (ja'eum)

子 (“child”) + 音 (“sound”). From the notion of a mothering vowel mating with a fathering consonant and giving birth to an onsetted mora, according to Meiji-era linguists, as in father /k/ + mother あ (/a/) = child か (/ka/).

Meronyms: 父音 (fuon), 母音 (boon)

子音とは、五十音の中より、五個の母音を除きたる、他の四十五音をいふ。こは、父母兩音の配合して成れるものなれば、その音聲單純ならず。故に、（か……ア）、（き……イ）の如く、聲を長く延くときは、その韻必ず母音に歸するなり。今、こゝに父音と母音と配合して、子音を生ずる順序を示さむ。

1893 March, 宗司 大宮, “第二章 母音 父音 子音 [Chapter 2: Mother Sounds, Father Sounds and Child Sounds]”, in 日本辭林 [A Japanese Dictionary], Tokyo: Hakubunkan, page 6:

Excluding the five mother sounds from the fifty sounds, the forty-five remaining sounds are called ‘child sounds’. Since they result from combining father and mother sounds, their quality is not simple. Thus, if the voicing is prolonged, as in (ka……a) or (ki……i), the rhymes always turn back into mother sounds. Now, I shall demonstrate the order in which father sounds and mother sounds combine and bear child sounds.

Shion to wa, gojūon no naka yori, goko no boon o nozoki taru, hoka no shijūgoon o iu. Kowa, fubo ryōon no haigō shite nareru mono nare ba, sono onsei tanjun narazu. Yue ni, (ka……a), (ki……i) no gotoku, koe o nagaku hiku toki wa, sono in kanarazu boon ni kisuru nari. Ima, koko ni fuon to boon to haigō shite, shion o shōzuru junjo o shimesamu.

五十音中、母音外の四十五音を、子音といふ。子音は、母音と、他の一種幽微なる音との、配合して生じたるものにして、その音純ならず。故に、之を長く引きて呼べば、皆、母音にかへらむ。卽ち、カ—ア、キ—イの如し。

1897 March, “〇子音 [〇Child Sounds]”, in 日本文典 [A Japanese Grammar], 中等學科敎授法硏究會:

Among the fifty sounds, the forty-five ones other than the mother sounds are called child sounds. Child sounds are born by mother sounds combined with a sort of subtle sound, and their quality is not pure. That is, if you prolong them, they should turn back into mother sounds, as in, for example ka—a or ki—i.

Gojūonchū, boongai no shijūgoon o, SHION to iu. Shion wa, boon to, hoka no isshu yūbi naru on to no, haigō shite shōji taru mono ni shite, sono on jun narazu. Yue ni, kore o nagaku hikite yobe ba, mina, boon ni kaeramu. Sunawachi, ka—a, ki—i no gotoshi.

故に、此の四十五音を、子音と稱し、其のクスツヌフムユル𛄢の如き九音を、父音と稱す。此の父音は、極めて隱微なるものにて、明に聲に發する能はざれど、やゝ、これ等に似たる故に、此の九個の音の文字にて、これを示せるなり。

1897 November, Shioi, Ukō, “第二 子音 [Number 2: Child Sounds]”, in 中學日本文典 [A Middle-School Japanese Grammar], 六盟館, page 3:

Thus, the forty-five sounds are called ‘child sounds’, and the nine sounds such as ku, su, tsu, nu, fu, mu, yu, ru and wu are called ‘father sounds’. The father sounds are highly obscure, and even though they can be clearly uttered, they can only be approximated by these nine phonetic characters that sound close to them.

Yue ni, kono shijūgoon o, shion to shōshi, sono ku su tsu nu fu mu yu ru wu no gotoki kuon o, fuon to shōsu. Kono fuon wa, kiwamete inbi naru mono ni te, saya ni koe ni hassuru nō wa zaredo, yaya, korera ni ni taru ni, kono kuko no on no moji ni te, kore o shimeseru nari.

子音は、父音と母音と相合して、生するなり、左の如し

1905 June, 黃山 片岡, “子音 [Child Sounds]”, in 黃山著作集, Saitama: Suharaya, page 14:

‘Child sounds’ are born by combining father sounds and mother sounds, as shown on the left page

Shion wa, fuon to boon to aiai site, shōzuru nari, hidari no gotoshi

子(し)音(おん)と云(い)ふものはカ行(ぎやう)のキクケコ、サ行(ぎやう)のシスセソのやうなものであります。子(し)音(おん)が父(ふ)音(おん)と母(ぼ)音(おん)との爲(た)めに生(う)まれると云(い)ふ事(こと)は既(すで)に說(と)いて置(お)いた通(とほ)りでありますが、左(さ)の表(へう)に依(よ)つて明(あきら)かになるであらうと思(おも)ひます。但(ただ)し表(へう)は母(ぼ)音(おん)のアだけは省(はぶ)きます。

1912, 淸 榊原, “⑷ 子音 [⑷ Child Sounds]”, in 自習速記術 [Self-Taught Stenography], 以文館, pages 15–16:

‘Child sounds’ are letters such as ki, ku, ke and ko of the ka-row or shi, su, se and so of the sa-row. Child sounds are said to be born by father sounds and mother sounds, which I have already explained, so I assume the demonstration on the left chart should be easily understood. Note that the mother sound a is left out of the chart.

Shion to iu mono fa kagyō no ki ku ke ko, sagyō no shi su se so no yō na mono de arimasu. Shion ga fuon to boon to no tame ni umareru to iu koto wa sude ni toite oita tōri de arimasu ga, sa no hō ni yotte akiraka ni naru de arau to omoimasu. Tadashi hō wa boon no a dake wa habukimasu.

(obsolete, phonology) any of the morae with an onset consonant listed on the 五十音図 (gojūonzu, literally “chart of the fifty sounds”), such as か (ka) or し (shi), but not あ (a) or い (i), and not が (ga), じ (ji) or ぱ (pa)

Coordinate term: 母音 (boin)


母音

→ Chinese: 母音 (mǔyīn)

→ Korean: 모음 (mo'eum)

→ Vietnamese: mẫu âm

母 (“mother”) + 音 (“sound”). From the notion of a mothering vowel mating with a fathering consonant and giving birth to an onsetted mora, according to Meiji-era linguists, as in father /k/ + mother あ (/a/) = child か (/ka/). Compare 字母 (jibo, “letter”, literally “character mother”), 声母 (seibo, “onset”, literally “sound mother”) and 韻母 (inbo, “rhyme”, literally “rime mother”), all of which compare the process of generating words, syllables, etc. from a basic set of segments to motherhood.

Holonym: 子音 (shion)

Coordinate term: 父音 (fuon)

五十音の中、阿行の五音を母音といふ。こは、單純なる音にして、いかに延長して發音するも、（あ……ア）、（い……イ）の如く、その音聲の變ずることなきものなり。

1893 March, 宗司 大宮, “第二章 母音 父音 子音 [Chapter 2: Mother Sounds, Father Sounds and Child Sounds]”, in 日本辭林 [A Japanese Dictionary], Tokyo: Hakubunkan, pages 5–6:

Among the fifty sounds, the five sounds of the a-row are called ‘mother sounds’. They are simple sounds, and however long they are pronounced, as in (a……a) or (i……i), their quality does not change.

Gojūon no naka, agyō no goon o boon to iu. Kowa, tanjun naru on ni shite, ika ni enchō shite hatsuon suru mo, (a……a), (i……i) no gotoku, sono onsei no henzuru koto naki mono nari.

五十音を分ちて、母音と、子音との二となす。母音は、單純なる喉音にして、その數五あり、アイウエオ是なり。

1897 March, “〇母音 [〇Mother Sounds]”, in 日本文典 [A Japanese Grammar], 中等學科敎授法硏究會:

Dividing the fifty sounds into two groups, there are mother sounds and child sounds. Mother sounds are simple guttural sounds, and there are five of them, namely a, i, u, e and o.

Gojūon o wakachite, BOON to, SHION to no ni to nasu. Boon wa, tanjun naru kōon ni shite, sono kazu go ari, a i u e o kore nari.

この五音は、最も單一なる淸める音にて、これを母音と稱す。

1897 November, Shioi, Ukō, “第一 母音 [Number 1: Mother Sounds]”, in 中學日本文典 [A Middle-School Japanese Grammar], 六盟館, pages 2–3:

These five sounds are the simplest clear sounds, and they are called ‘mother sounds’.

Kono goon wa, motto mo tan'itsu kiyomeru on ni te, kore o boon to shōsu.

母音は、吾國語音では、唯一なる喉音である。聲門帶で規律ある顫動を受けたる音が、副管部に共鳴せられて、吾人の耳に聞ゆるものを母音と云ふ。母音は、種々の音色を得るために、口腔內に共鳴されるが、決して或る局部に於て、吾等の聽き得られ、感じ得られる樣の摩擦を生ずるが如きことは無い。若し、有つたならば、其は母音では無くて父音である。此の區別法は、極めて重大おる要件である。後のヤ行ワ行が、頗る母音に近い音であるけれども、父音たることを免れないのは是が爲である。

1902, Hirano, Hidekichi, “第十二章 母 音 [Chapter 12: Vowels]”, in 國語聲音學 [The Phonetics of the National Language], 國光社, pages 53–54:

Vowels are the only guttural sounds among the sounds of our language. What are known as vowels are sounds that undergo systematic vibrations at the vocal folds, resonate in the vocal tract, and wind up being heard by our ears. A vowel resonates in the oral cavity in order to achieve its diverse tonal quality, but there must be no such thing as friction that can be heard or felt by us at certain places of articulation. Otherwise, it will not be a vowel, but a consonant. This distinction is of utmost importance. Later when we discuss the ya-row and wa-row, which sound very similar to vowels, this point must be noticed in order to explain the fact that they still contain consonants.

Boon wa, waga kuni goon de wa, yuiitsu naru kōon de aru. Seimontai de kiritsu aru sendō o uke taru on ga, fukukanbu ni kyōmei serarete, gojin no mimi ni kikoyuru mono o boon to iu. Boon wa, shuju no onshoku o eru tame ni, kōkōnai ni kyōmei sareru ga, kesshite aru kyokubu ni oite, warera no kikierare, kanjierareru yō no masatsu o shōzuru ga gotoki koto wa nai. Moshi, atta nara ba, sore wa boon de wa nakute fuon de aru. Kono kubetsuhō wa, kiwamete jūdai oru yōken de aru. Ato no yagyō wagyō ga, sukoburu boon ni chikai on de aru kere do mo, fuon taru koto o manukarenai no wa kore ga tame de aru.

ア、イ、ウ、エ、オの五文字を、母音と云ふ、

1905 June, 黃山 片岡, “母音 [Mother Sounds]”, in 黃山著作集, Saitama: Suharaya, page 14:

The five letters a, i, u, e and o are called ‘mother sounds’

母(ぼ)音(おん)と云(い)ふものはアイウエオの五字(じ)、半(はん)母(ぼ)音(おん)と云(い)ふものはワヰウヱヲの五字(じ)を云(い)ふのであります。

1912, 淸 榊原, “⑵ 母音と半母音 [⑵ Mother Sounds and Semi-Mother Sounds]”, in 自習速記術 [Self-Taught Stenography], 以文館, pages 11–12:

‘Mother sounds’ are the five letters a, i, u, e and o. ‘Semi-mother sounds’ are the five letters wa, wi, u, we and wo.

Boon to iu mono wa a i u e o no goji, hanboon to iu mono wa wa wi u we wo no goji o iu no de arimasu.

(obsolete, phonology) one of the five morae of the あ行 (agyō, “a-row”), that consists solely of a vowel

Coordinate term: 子音 (shiin)


両唇音

両(りょう)唇(しん)音(おん) • (ryōshin'on) ^(←りやうしんおん (ryausin'on)?)

両唇音 (canonical)
ryōshin'on (romanization)
ryausin'on (romanization)
りやうしんおん (hiragana historical)

[ɾʲo̞ːɕĩɰ̃õ̞ɴ]

両 (ryō, “both”) + 唇音 (shin'on, “labial”)


促音

Coordinate term: 撥音

(Japanese phonology and phonetics) a moraic obstruent (the first half of a Japanese geminate obstruent, such as the first [k] in [kk], usually phonologically noted as /Q/, bearing one mora as the coda of a syllable)


濁音

Literary Chinese 濁音 (zhuóyīn, literally “muddy sound”)

der

(traditional Chinese phonology) a voiced onset obstruent

五十音の外に、また、一種の熟音あり。これを濁音、及び、半濁音といふ。濁音とは、本音を濁りて呼ぶものにて、子音の中、加、佐、多、波、の四行の諸音をいふ。この音を示すには別に、その文字なく、本音の假字の肩に、二個の小點を加ふ。卽ち、左の如し。

1893 March, 宗司 大宮, “第三章 濁音 半濁音及その文字 [Chapter 3: Muddy Sounds, Semi-Muddy Sounds and How to Write Them]”, in 日本辭林 [A Japanese Dictionary], Tokyo: Hakubunkan, page 10:

Outside the fifty sounds, there is yet another class of complex sounds. These are called ‘muddy sounds’ and ‘semi-muddy sounds’. Muddy sounds are the base child sounds of the four rows ka, sa, ta and ha, being muddied up when they are pronounced. There are no letters to specifically note these sounds, so two small dots are added on the shoulders of the kana for the base sounds, as shown on the left.

Gojūon no soto ni, mata, isshu no jukuon ari. Kore o dakuon, oyobi, handakuon to iu. Dakuon to wa, hon’on o nigorite yobu mono nite, shion no naka, ka, sa, ta, ha, no shigyō no shoon o iu. Kono on o shimesu ni wa betsu ni, sono moji naku, hon’on no kana no kata ni, niko no shōten o kuwau. Sunawachi, hidari no gotoshi.

舊來の音韻では濁音といふものがあって、
が ぎ ぐ げ ご
ざ じ ず ぜ ぞ
だ ぢ づ で ど
ば び ぶ べ ぼ
の四行二十音を之に充てゝ居る。

1902, Hirano, Hidekichi, “第十九章 淸音濁音半濁音 [Chapter 19: Clear Sounds, Muddy Sounds and Semi-Muddy Sounds]”, in 國語聲音學 [The Phonetics of the National Language], 國光社, page 151:

In traditional phonology, ‘muddy sounds’ are the twenty sounds arranged in four rows as follows:
ga gi gu ge go
za ji zu ze zo
da ji zu de do
ba bi bu be bo

Kyūrai no on’in de wa dakuon to iu mono ga atte,
ga gi gu ge go
za ji zu ze zo
da ji zu de do
ba bi bu be bo
no shigyō nijūon o kore ni atete iru.

濁音は假字の右肩に二箇の點（゛）を附して濁音符とおす、次ぎの例を見るべし、

1905 June, 黃山 片岡, “濁音の符 [Noting Muddy Sounds]”, in 黃山著作集, Saitama: Suharaya, page 22:

A ‘muddy sound’ is noted by attaching two dots (゛) to the right shoulder of a kana, as seen in the following examples,

Dakuon wa kana no migikata ni niko no ten (゛) o fushite dakuonpu to osu, tsugi no rei o miru beshi,

(traditional Japanese phonology) a mora with a voiced onset obstruent


半濁音

半濁音 (canonical)
handakuon (romanization)

[hã̠nda̠kɯ̟õ̞ɴ]

半濁音とは、本音を半濁りて呼ぶものにて、子音の中、波行の五音のみに限れり。この音を示すには、本音の假字の肩に、圈點一個を加ふ。卽ち、左の如し。

1893 March, 宗司 大宮, “第三章 濁音 半濁音及その文字 [Chapter 3: Muddy Sounds, Semi-Muddy Sounds and How to Write Them]”, in 日本辭林 [A Japanese Dictionary], Tokyo: Hakubunkan, page 11:

Semi-muddy sounds are the five base child sounds of, specifically, the ha-row, being partially muddied up when they are pronounced. To note these sounds, a circle is added on the shoulders of the kana for the base sounds, as shown on the left.

Handakuon to wa, hon’on o hannigorite yobu mono nite, shion no naka, hagyō no goon nomi ni kagireri. Kono on o shimesu ni wa, hon’on no kana no kata ni, kenten ikko o kuwau. Sunawachi, hidari no gotoshi.

濁音がある故に、之に對して淸音をも作らねばならず、半濁音（次淸音）と云ふものもあることになる。
ぱ ぴ ぷ ぺ ぽ
の一行五音の半濁音（一名次淸音）として、アカサタナハマヤラワ十行五十音が淸音と云はれて居る。

1902, Hirano, Hidekichi, “第十九章 淸音濁音半濁音 [Chapter 19: Clear Sounds, Muddy Sounds and Semi-Muddy Sounds]”, in 國語聲音學 [The Phonetics of the National Language], 國光社, page 152:

Since there are muddy sounds, it follows that there must also be the opposite, ‘clear sounds’, and additionally what are known as ‘semi-muddy sounds’ (‘quasi-clear sounds’). These five sounds, arranged in one row, are known as ‘semi-muddy sounds’ (i.e. ‘quasi-clear sounds’):
pa pi pu pe po
Then, the fifty sounds arranged in ten rows, a, ka, sa, ta, na, ha, ma, ya, ra and wa, are called ‘clear sounds’.

Dakuon ga aru yue ni, kore ni taishite seion o mo tsukarane ba narazu, handakuon (jiseion) to iu mono mo aru koto ni naru.
pa pi pu pe po
no ichigyō goon no handakuon (ichimei jiseion) to shite, a ka sa ta na ha ma ya ra wa jūgyō gojūon ga seion to iwarete iru.

半濁音は、假字の右肩に一箇の圈點（゜）を附して、半濁音の符となす、次ぎの例を見る可し、

1905 June, 黃山 片岡, “半濁音の符 [Noting Semi-Muddy Sounds]”, in 黃山著作集, Saitama: Suharaya, page 26:

A ‘semi-muddy sound’ is noted by attaching a circle (゜) to the right shoulder of a kana, as seen in the following examples,

handakuon wa, kana no migikata ni ikko no kenten (゜) o fushite, handakuon no fu to nasu, tsugi no rei o miru beshi,

(traditional Japanese phonology) a mora of the ぱ行 (pagyō, “pa-row”), with the onset obstruent /p/


撥音

[ha̠t͡sɨõ̞ɴ]

From 撥(はつ) (hatsu, “pick”) + 音(おん) (on, “sound”).

ja-compound

Coordinate term: 促音

(Japanese phonology and phonetics) a moraic nasal (usually phonologically noted as /N/, variously realized as [m], [n], [ŋ], [ɴ] or a nasalized vowel, bearing one mora as the coda of a syllable)


拗音

拗音 (canonical)
yōon (romanization)
euon (romanization)
えうおん (hiragana historical)

→ Chinese: 拗音 (ǎoyīn)

(Japanese orthography and phonology) in 和語 (wago, “native words”) and 漢語 (kango, “Classical Chinese words”), a mora that is spelt with:

one of the full-sized kana, き (ki), ぎ (gi), し (shi), じ (ji), ち (chi), ぢ (ji), に (ni), ひ (hi), び (bi), ぴ (pi), み (mi) and り (ri), followed by one the small kana, ゃ, ゅ and ょ, to represent the palatalization of the mora

one of the full-sized kana, く (ku) and ぐ (gu), followed by the small kana ゎ, to represent the historical labialization of the mora


声母

Chinese 声母 (shēngmǔ, literally “sound mother”)

bor

Coordinate term: 韻母

(traditional Chinese phonology) the onset of a Chinese syllable


韻母

韻母 (canonical)
inbo (romanization)
winbo (romanization)
ゐんぼ (hiragana historical)

Chinese 韻母 /韵母 (yùnmǔ, literally “rime mother”)

Meronyms: 韻尾, 介音, 主母音

Coordinate term: 声母

(traditional Chinese phonology) the rhyme of a Chinese syllable


韻尾

韻尾 (canonical)
inbi (romanization)
winbi (romanization)
ゐんび (hiragana historical)


清音

Literary Chinese 清音 (qīngyīn, literally “clear sound”)

der

(traditional Chinese phonology) a voiceless and unaspirated onset obstruent, including the glottal stop

五十音中、加・佐・多・波の四行に、濁れる音あり。淸音文字の肩に、゛點を附して、その標とせり。

1897 March, “〇濁音 [〇Muddy Sounds]”, in 日本文典 [A Japanese Grammar], 中等學科敎授法硏究會:

Among the fifty sounds, those of the ka, sa, ta and ha-rows can be muddied up. They are written by attaching the dots ゛ on the shoulders of the letters for the clear sounds.

Gojūonchū, ka sa ta ha no shigyō ni, nigoreru on ari. Seion moji no kata ni, ゛ ten o fushite, sono shirushi to seri.

五十音中、波行に、半濁の音あり。淸音文字の肩に゜點を附して、その標とせり。

1897 March, “〇半濁音 [〇Semi-Muddy Sounds]”, in 日本文典 [A Japanese Grammar], 中等學科敎授法硏究會:

Among the fifty sounds, those of the ha-row can be partially muddied up. They are written by attaching the dot ゜ on the shoulders of the letters for the clear sounds.

Gojūonchū, hagyō ni, handaku no on ari. Seion moji no kata ni, ゜ ten o fushite, sono shirushi to seri.

(traditional Japanese phonology) any mora listed on the 五十音図 (gojūonzu, literally “chart of the fifty sounds”), without a voiced onset obstruent or /p/


清濁

(phonetics) voiced and unvoiced consonants


平上去入

ja-noun

平(ひょう)上(じょう)去(きょ)入(にゅう) • (hyōjōkyonyū) ^(←ひやうじやうきよにふ (fyauzyaukyonifu)?)

平上去入 (canonical)
hyōjōkyonyū (romanization)
fyauzyaukyonifu (romanization)
ひやうじやうきよにふ (hiragana historical)

[ço̞ːʑo̞ːkʲo̞ɲ̟ɨː]

From Middle Chinese 平上去入 (píngshǎngqùrù).

(Chinese phonetics) the four tones of Middle Chinese:

the four tones of Middle Chinese:
平声 (hyōshō, “level tone”)

the four tones of Middle Chinese:
上声 (jōshō, “rising tone”)

the four tones of Middle Chinese:
去声 (kyoshō, “departing tone”)

the four tones of Middle Chinese:
入声 (nisshō, “checked tone”)


入声

入(にっ)声(しょう) or 入(にっ)声(せい) • (nisshō or nissei)

入声 (canonical)
入声 (canonical)
nisshō (romanization)
nissei (romanization)

Middle Chinese 入聲.
/nipusjau/ → /nipsjau/ → /nisshoː/

(Chinese phonetics) the entering tone (one of the 仄声 (sokusei, “oblique tones”) among the 四声 (shisei, “four tones”) of Middle Chinese)


激音

(phonetics) an aspirated sound in the Korean language


平音

(phonetics) an unaspirated sound in the Korean language


濃音

(phonetics) a tense or fortis sound in the Korean language


有声音化

ja-verb-suru

有(ゆう)声(せい)音(おん)化(か)する • (yūseionka suru) suru (stem 有(ゆう)声(せい)音(おん)化(か)し (yūseionka shi), past 有(ゆう)声(せい)音(おん)化(か)した (yūseionka shita))

有声音化する (canonical)
yūseionka suru (romanization)
有声音化し (stem)
有声音化した (past)
有声音化し
ゆうせいおんかし
yūseionka shi
有声音化する
ゆうせいおんかする
yūseionka suru
有声音化すれ
ゆうせいおんかすれ
yūseionka sure
有声音化せよ (imperative literary)
有声音化しろ (colloquial imperative)
ゆうせいおんかせよ (imperative literary)
ゆうせいおんかしろ (colloquial imperative)
yūseionka seyo (imperative literary)
yūseionka shiro (colloquial imperative)
有声音化される (passive)
ゆうせいおんかされる (passive)
yūseionka sareru (passive)
有声音化させる (causative)
有声音化さす (causative)
ゆうせいおんかさせる (causative)
ゆうせいおんかさす (causative)
yūseionka saseru (causative)
yūseionka sasu (causative)
有声音化できる (potential)
ゆうせいおんかできる (potential)
yūseionka dekiru (potential)
有声音化しよう (volitional)
ゆうせいおんかしよう (volitional)
yūseionka shiyō (volitional)
有声音化しない (negative)
ゆうせいおんかしない (negative)
yūseionka shinai (negative)
有声音化せず (continuative negative)
ゆうせいおんかせず (continuative negative)
yūseionka sezu (continuative negative)
有声音化します (formal)
ゆうせいおんかします (formal)
yūseionka shimasu (formal)
有声音化した (perfective)
ゆうせいおんかした (perfective)
yūseionka shita (perfective)
有声音化して (conjunctive)
ゆうせいおんかして (conjunctive)
yūseionka shite (conjunctive)
有声音化すれば (conditional hypothetical)
ゆうせいおんかすれば (conditional hypothetical)
yūseionka sureba (conditional hypothetical)

[jɯ̟ːse̞ːõ̞ŋka̠]


口蓋音化

口蓋音化 (canonical)
kōgai onka (romanization)

[ko̞ːɡa̠i õ̞ŋka̠]

(phonetics) palatalization (the process by which a sound becomes palatal)


閉塞音

閉塞音 (canonical)
heisokuon (romanization)

[he̞ːso̞kɯ̟õ̞ɴ]

Compound of 閉塞(へいそく) (heisoku, “blockade”) + 音(おん) (on, “sound”).


閉鎖音

[he̞ːsa̠õ̞ɴ]

Compound of 閉鎖 (heisa, “closing”) + 音 (on, “sound”).


三内

(phonetics) in Sanskrit phonology, a general term for the three places of articulation that consonants are grouped into: dorsal (/k/, /ɡ/, /ŋ/), coronal (/t/, /d/, /n/), and labial (/p/, /b/, /m/)


三内音

[sã̠nːa̠iõ̞ɴ]

Compound of 三内(さんない) (sannai) + 音(おん) (on, “sound”).

(phonetics) in Sanskrit phonology, a consonant produced using one of the three places of articulation: dorsal (/k/, /ɡ/, /ŋ/), coronal (/t/, /d/, /n/), or labial (/p/, /b/, /m/)


喉内

(phonetics) in Sanskrit phonology, consonants made with the throat; the dorsal (/k/, /ɡ/, /ŋ/) consonants


舌内

(phonetics) in Sanskrit phonology, consonants made with the tongue; the coronal (/t/, /d/, /n/) consonants


唇内

(phonetics) in Sanskrit phonology, consonants made with the lips; the labial (/p/, /b/, /m/) consonants


舌内音

舌内音 (canonical)
zetsunaion (romanization)

Compound of 舌内(ぜつない) (zetsunai) + 音(おん) (on, “sound”).

(phonetics) in Sanskrit phonology, a consonant made with the tongue; a coronal (/t, d, n/) consonant


喉内音

Compound of 喉内(こうない) (kōnai) + 音(おん) (on, “sound”).

(phonetics) in Sanskrit phonology, a consonant made with the throat; a dorsal (/k, g, ŋ/) consonant


唇内音

唇内音 (canonical)
shinnaion (romanization)

[ɕĩnːa̠iõ̞ɴ]

Compound of 唇内(しんない) (shinnai, “labial”) + 音(おん) (on, “sound”).

(phonetics) in Sanskrit phonology, a consonant made with the lips; a labial (/p, b, m/) consonant


音節

[õ̞ɰ̃se̞t͡sɨ]

音 (“sound”) + 節 (“segment”) Not related to English onset despite similarity.

音節文字

(loosely, phonology, poetry) Synonym of モーラ (mōra, “a mora”)


詰まる

ja-verb

詰(つ)まる • (tsumaru) intransitive godan (stem 詰(つ)まり (tsumari), past 詰(つ)まった (tsumatta))

詰まる (canonical)
tsumaru (romanization)
詰まり (stem)
詰まった (past)
詰まら
つまら
tsumara
詰まり
つまり
tsumari
詰まる
つまる
tsumaru
詰まれ
つまれ
tsumare
詰まられる (passive)
つまられる (passive)
tsumarareru (passive)
詰まらせる (causative)
詰まらす (causative)
つまらせる (causative)
つまらす (causative)
tsumaraseru (causative)
tsumarasu (causative)
詰まれる (potential)
つまれる (potential)
tsumareru (potential)
詰まろう (volitional)
つまろう (volitional)
tsumarō (volitional)
詰まらない (negative)
つまらない (negative)
tsumaranai (negative)
詰まらず (continuative negative)
つまらず (continuative negative)
tsumarazu (continuative negative)
詰まります (formal)
つまります (formal)
tsumarimasu (formal)
詰まった (perfective)
つまった (perfective)
tsumatta (perfective)
詰まって (conjunctive)
つまって (conjunctive)
tsumatte (conjunctive)
詰まれば (conditional hypothetical)
つまれば (conditional hypothetical)
tsumareba (conditional hypothetical)
詰まら (irrealis stem)
つまら (irrealis stem)
tumara (irrealis)
詰まり (continuative stem)
つまり (continuative stem)
tumari (continuative)
詰まる (stem terminative)
つまる (stem terminative)
tumaru (terminative)
詰まる (attributive stem)
つまる (attributive stem)
tumaru (attributive)
詰まれ (realis stem)
つまれ (realis stem)
tumare (realis)
詰まれ (imperative stem)
つまれ (imperative stem)
tumare (imperative)
詰まらず (negative)
つまらず (negative)
tumarazu (negative)
詰まれど (contrastive)
つまれど (contrastive)
tumaredo (contrastive)
詰まれば (causative)
つまれば (causative)
tumareba (causative)
詰まらば (conditional)
つまらば (conditional)
tumaraba (conditional)
詰まりき (past)
つまりき (past)
tumariki (past)
詰まりけり (past)
つまりけり (past)
tumarikeri (past)
詰まりつ (perfect)
つまりつ (perfect)
tumaritu (perfect)
詰まりぬ (perfect)
つまりぬ (perfect)
tumarinu (perfect)
詰まれり (continuative perfect)
詰まりたり (continuative perfect)
つまれり (continuative perfect)
つまりたり (continuative perfect)
tumareri (continuative perfect)
tumaritari (continuative perfect)
詰まらむ (volitional)
つまらむ (volitional)
tumaramu (volitional)

[t͡sɨma̠ɾɯ̟]

(phonetics, phonology) pronounce with a geminate consonant


濁る

濁(にご)る • (nigoru) intransitive godan (stem 濁(にご)り (nigori), past 濁(にご)った (nigotta))

濁る (canonical)
nigoru (romanization)
濁り (stem)
濁った (past)
濁ら
にごら
nigora
濁り
にごり
nigori
濁る
にごる
nigoru
濁れ
にごれ
nigore
濁られる (passive)
にごられる (passive)
nigorareru (passive)
濁らせる (causative)
濁らす (causative)
にごらせる (causative)
にごらす (causative)
nigoraseru (causative)
nigorasu (causative)
濁れる (potential)
にごれる (potential)
nigoreru (potential)
濁ろう (volitional)
にごろう (volitional)
nigorō (volitional)
濁らない (negative)
にごらない (negative)
nigoranai (negative)
濁らず (continuative negative)
にごらず (continuative negative)
nigorazu (continuative negative)
濁ります (formal)
にごります (formal)
nigorimasu (formal)
濁った (perfective)
にごった (perfective)
nigotta (perfective)
濁って (conjunctive)
にごって (conjunctive)
nigotte (conjunctive)
濁れば (conditional hypothetical)
にごれば (conditional hypothetical)
nigoreba (conditional hypothetical)

2007, 新時代日漢辭典 /新时代日汉辞典 (Xīn Shídài Rì-hàn Cídiǎn), 1st edition, 大新書局 /大新书局 (Dàxīn Shūjú), →ISBN:

濁点のついた仮名は濁って読む


後舌母音

後舌母音 (canonical)
atojita boin (romanization)

後舌(あとじた) (atojita, “tongue positioned relatively back”) + 母音(ぼいん) (boin, “vowel”).


後舌母音

後舌母音 (canonical)
kōzetsu boin (romanization)

後舌(こうぜつ) (kōzetsu, “tongue positioned relatively back”) + 母音(ぼいん) (boin, “vowel”).


流音

流音 (canonical)
ryūon (romanization)
riuon (romanization)
りうおん (hiragana historical)


去声

ja-noun

去(きょ)声(しょう) or 去(きょ)声(せい) • (kyoshō or kyosei)

去声 (canonical)
去声 (canonical)
kyoshō (romanization)
kyosei (romanization)

(Chinese phonetics) the departing tone (one of the 仄声 (sokusei, “oblique tones”) among the 四声 (shisei, “four tones”) of Middle Chinese)


上声

上(じょう)声(しょう) or 上(じょう)声(せい) • (jōshō or jōsei) ^(←じやうしやう (zyausyau) or じやうせい (zyausei)?)

上声 (canonical)
上声 (canonical)
jōshō (romanization)
jōsei (romanization)
zyausyau (romanization)
zyausei (romanization)
じやうしやう (hiragana historical)
じやうせい (hiragana historical)

(Chinese phonetics) the rising tone (one of the 仄声 (sokusei, “oblique tones”) among the 四声 (shisei, “four tones”) of Middle Chinese)


非口腔音化

非口腔音化 (canonical)
hikōkōonka (romanization)

[çiko̞ːko̞ːõ̞ŋka̠]


顫動音

[sẽ̞ndo̞ːõ̞ɴ]

顫動音は、實は摩擦音の一種である。空氣が口腔の一狹窄門を通過する際に、局部に著しい顫動を生ずるによつて發する音である。ラ行音が之に屬する。卽ちラ行音は、聲帶の顫動に成りたる聲が、懸壅垂を刺戟して、之を振動し、一の顫音を生ずるのである。此顫音が、更に舌頭と口蓋との狹窄門に摩擦せられて、ラ行音は成り立つものである。

1902, Hirano, Hidekichi, “第一節 父音の分類 [Section 1: Types of Consonants]”, in 國語聲音學 [The Phonetics of the National Language], 國光社, pages 78–79:

Trills are actually a type of fricatives. They are caused by significant vibrations at places of articulation where air passes through a constriction in the oral cavity. The sounds of the ra-row are trills. Specifically for the ra-row, phonation starts with vibrations at the vocal folds, then stimulates the uvula and shakes it, making a vibrating sound. This sound further undergoes friction at the constriction formed by the blade of the tongue and the palate, resulting in a sound of the ra-row.

Sendōon wa, jitsu wa masatsuon no isshu de aru. Kūki ga kōkō no ichikyōsakumon o tsūka suru sai ni, kyokubu ni ichijirushii sendō o shōzuru ni yotte hassuru on de aru. Ragyōon ga kore ni zokusuru. Sunawachi ragyōon wa, seitai no sendō ni nari taru koe ga, ken'yōsui o shigeki shite, kore o shindō shi, ichi no sen'on o shōzuru no de aru. Kono sen'on ga, sara ni zettō to kōgai to no kyōsakumon ni masatsu serarete, ragyōon wa naritatsu mono de aru.

(phonetics) Synonym of 震え音 (furueon, “trill”)


震え音

震(ふる)え音(おん) • (furueon) ^(←ふるへおん (furufeon)?)

震え音 (canonical)
furueon (romanization)
furufeon (romanization)
ふるへおん (hiragana historical)

[ɸɯ̟ɾɯ̟e̞õ̞ɴ]

suf

<i class="Jpan mention" lang="ja">震える</i> (“to vibrate”)


四声

ja-noun

四(し)声(せい) or 四(し)声(しょう) • (shisei or shishō)

四声 (canonical)
四声 (canonical)
shisei (romanization)
shishō (romanization)

(Chinese phonetics, of Middle Chinese) the four tones


音便

(Japanese phonology and phonetics) euphony (sound change)

Japanese grammar#Euphonic changes (音便, onbin)


歯擦音

歯擦音 (canonical)
shisatsuon (romanization)

[ɕisa̠t͡sɨõ̞ɴ]

歯 (shi, “tooth”) + 擦音 (satsuon, “fricative”)


接近音

接近音 (canonical)
sekkin'on (romanization)


側面音

側面音 (canonical)
sokumen'on (romanization)

[so̞kɯ̟mẽ̞ɰ̃õ̞ɴ]


入破音

ja-noun

入(にゅう)破(は)音(おん) • (nyūhaon) ^(←にふはおん (nifufaon)?)

入破音 (canonical)
nyūhaon (romanization)
nifufaon (romanization)
にふはおん (hiragana historical)

[ɲ̟ɨːha̠õ̞ɴ]


吸着音

吸(きゅう)着(ちゃく)音(おん) • (kyūchakuon) ^(←きふちやくおん (kifutyakuon)?)

吸着音 (canonical)
kyūchakuon (romanization)
kifutyakuon (romanization)
きふちやくおん (hiragana historical)

[kʲɨːt͡ɕa̠kɯ̟õ̞ɴ]


放出音

放(ほう)出(しゅつ)音(おん) • (hōshutsuon) ^(←はうしゆつおん (fausyutuon)?)

放出音 (canonical)
hōshutsuon (romanization)
fausyutuon (romanization)
はうしゆつおん (hiragana historical)

[ho̞ːɕɨt͡sɨõ̞ɴ]


前舌母音

前(まえ)舌(じた)母(ぼ)音(いん) • (maejita boin) ^(←まへじたぼいん (mafezitaboin)?)

前舌母音 (canonical)
maejita boin (romanization)
mafezitaboin (romanization)
まへじたぼいん (hiragana historical)


前舌母音

前舌母音 (canonical)
zenzetsu boin (romanization)


唇歯音

唇歯音 (canonical)
shinshion (romanization)


舌唇音

舌(ぜっ)唇(しん)音(おん) • (zesshin'on) ^(←ぜつしんおん (zetusin'on)?)

舌唇音 (canonical)
zesshin'on (romanization)
zetusin'on (romanization)
ぜつしんおん (hiragana historical)


舌頂音

舌(ぜっ)頂(ちょう)音(おん) • (zetchōon) ^(←ぜつちやうおん (zetutyauon)?)

舌頂音 (canonical)
zetchōon (romanization)
zetutyauon (romanization)
ぜつちやうおん (hiragana historical)


歯茎音

[ha̠ɡɯ̟kʲiõ̞ɴ]

From 歯(は)茎(ぐき) (haguki, “gingiva; gums”) + 音(おん) (on, “sound”).


歯茎音

From 歯(し)茎(けい) (shikei, “gingiva; gums”) + 音(おん) (on, “sound”).


反り舌音

反り舌音 (canonical)
sorijitaon (romanization)

[so̞ɾʲiʑita̠õ̞ɴ]


硬口蓋音

ja-noun

硬(こう)口(こう)蓋(がい)音(おん) • (kōkōgaion) ^(←かうこうがいおん (kaukougaion)?)

硬口蓋音 (canonical)
kōkōgaion (romanization)
kaukougaion (romanization)
かうこうがいおん (hiragana historical)

[ko̞ːko̞ːɡa̠iõ̞ɴ]

Compound of 硬(こう)口(こう)蓋(がい) (kōkōgai, “hard palate”) + 音(おん) (on, “sound”).


舌背音

ja-noun

舌(ぜっ)背(ぱい)音(おん) • (zeppaion) ^(←ぜつぱいおん (zetupaion)?)

舌背音 (canonical)
zeppaion (romanization)
zetupaion (romanization)
ぜつぱいおん (hiragana historical)


口蓋垂音

口蓋垂音 (canonical)
kōgaisuion (romanization)

[ko̞ːɡa̠isɨiõ̞ɴ]

From 口(こう)蓋(がい)垂(すい) (kōgaisui, “palatine uvula”) + 音(おん) (on, “sound”).


咽頭音

From 咽頭(いんとう) (intō, “pharynx”) + 音(おん) (on, “sound”).


声門音

声門音 (canonical)
seimon'on (romanization)

[se̞ːmõ̞ɰ̃õ̞ɴ]

声門破裂音

声門破裂音 せいもんはれつおん


声門破裂音

ja-noun

声(せい)門(もん)破(は)裂(れつ)音(おん) • (seimon haretsuon)

声門破裂音 (canonical)
seimon haretsuon (romanization)


中舌母音

中舌母音 (canonical)
nakajita boin (romanization)


中舌母音

中(ちゅう)舌(ぜつ)母(ぼ)音(いん) • (chūzetsu boin) ^(←ちゆうぜつぼいん (tyuuzetuboin)?)

中舌母音 (canonical)
chūzetsu boin (romanization)
tyuuzetuboin (romanization)
ちゆうぜつぼいん (hiragana historical)

[t͡ɕɨːze̞t͡sɨbo̞ĩɴ]


音位転換

音(おん)位(い)転(てん)換(かん) • (on'itenkan) ^(←おんゐてんくわん (on'witenkwan)?)

音位転換 (canonical)
on'itenkan (romanization)
on'witenkwan (romanization)
おんゐてんくわん (hiragana historical)

[õ̞ɰ̃itẽ̞ŋkã̠ɴ]

(phonetics, prosody) metathesis (the transposition of letters, syllables or sounds within a word)


反切

[hã̠ɰ̃se̞t͡sɨ]

(Chinese phonetics) fanqie (in traditional Chinese lexicography, a method of indicating the pronunciation of a character by using two other characters, each giving part of the pronunciation)


平声

平(ひょう)声(しょう) or 平(へい)声(せい) • (hyōshō or heisei)

平声 (canonical)
平声 (canonical)
hyōshō (romanization)
heisei (romanization)

(Chinese phonetics) the level tone (contrasting with the 仄声 (sokusei, “oblique tones”) among the 四声 (shisei, “four tones”) of Middle Chinese)


異化

異化 (canonical)
ika (romanization)
ikwa (romanization)
いくわ (hiragana historical)


長音

長(ちょう)音(おん) • (chōon) ^(←ちやうおん (tyauon)?)

長音 (canonical)
chōon (romanization)
tyauon (romanization)
ちやうおん (hiragana historical)


単音

(phonetics) a phone (speech segment that possesses distinct physical or perceptual properties)


喉音

Literary Chinese 喉音 (hóuyīn, literally “throaty sound”)

der

(traditional Chinese phonology) a guttural onset consonant, any of the group of consonants represented by the Middle Chinese pronunciation the following (母 (literally “mother”) means "base sound"; the character before it is the one that bears the onset consonant): 影母 (/ʔ/), 曉母 (/x/), 匣母 (/ɦ/) and 喻母 (/j/)

(phonetics) Synonym of 声門音 (seimon'on, “glottal sound”)


仄声

ja-noun

仄(そく)声(せい) or 仄(そく)声(しょう) • (sokusei or sokushō)

仄声 (canonical)
仄声 (canonical)
sokusei (romanization)
sokushō (romanization)

(Chinese phonetics) an oblique tone (the 上声 (jōshō, “rising tone”), the 去声 (kyoshō, “departing tone”) or the 入声 (nisshō, “entering tone”), contrasting with the 平声 (hyōshō, “level tone”) among the 四声 (shisei, “four tones”) of Middle Chinese)


舌尖音

舌尖音 (canonical)
zessen'on (romanization)

[d͡ze̞sːẽ̞ɰ̃õ̞ɴ]


母音調和

母(ぼ)音(いん)調(ちょう)和(わ) • (boin chōwa) ^(←ぼいんてうわ (bointeuwa)?)

母音調和 (canonical)
boin chōwa (romanization)
bointeuwa (romanization)
ぼいんてうわ (hiragana historical)

[bo̞iɲ̟ t͡ɕo̞ːβ̞a̠]

From 母音(ぼいん) (boin, “vowel”) + 調和(ちょうわ) (chōwa, “harmonization; harmony”).


高低アクセント

ja-noun

高(こう)低(てい)アクセント • (kōtei akusento) ^(←かうていアクセント (kautei akusento)?)

高低アクセント (canonical)
kōtei akusento (romanization)
kautei akusento (romanization)
かうていアクセント (hiragana historical)

From 高低 (kōtei, “high and low”) + アクセント (akusento, “accent”).

af

Coordinate term: 強弱アクセント

(phonology) accent that relies on the highs and lows of pitch, such as pitch accent in Japanese or tonal accent in Chinese


強弱アクセント

ja-noun

きょうじゃく アクセント

きやうじやく アクセント

強(きょう)弱(じゃく)アクセント • (kyōjaku akusento) ^(←きやうじやくアクセント (kyauzyaku akusento)?)

強弱アクセント (canonical)
kyōjaku akusento (romanization)
kyauzyaku akusento (romanization)
きやうじやくアクセント (hiragana historical)

[kʲo̞ːʑa̠kɯ̟ a̠kɯ̟̊sẽ̞nto̞]

From 強弱 (kyōjaku, “strong and weak”) + アクセント (akusento, “accent”).

af

Coordinate term: 高低アクセント


アクセント核

アクセント核 (canonical)
akusento-kaku (romanization)

From アクセント (akusento, “accent”) + 核(かく) (kaku, “core; kernel; nucleus”).

ja-compound

(Japanese phonology) an accent kernel/nucleus/locus (the so-called "accented" mora of an utterance, which singly occurs for each utterance and which immediately precedes a drop in pitch from high to low)

ja:アクセント#日本語のアクセント


半母音

Daijisen#Online_search_engines
Nihon Kokugo Daijiten
Semivowel
ja:半母音
Ōsaka

Compound of 半(はん) (han-, “semi-”) + 母音(ぼいん) (boin, “vowel”).
First cited to a text from 1912 with the now-obsolete reading of hanboon. The reading appears to have shifted from hanboon to hanboin by 1922.

1912, 淸 榊原, “5-(2) 母音と半母音 [5-2: Vowels and Semi-vowels]”, in 自習速記術 [Self-Taught Stenography], 以文館, pages 11–12:

‘Vowels’ are the five letters a, i, u, e and o. ‘Semivowels’ are the five letters wa, wi, u, we and wo.

母音と云ふものはアイウエオの五字、半母音と云ふものはワヰウヱヲの五字を云ふのであります。

Boin to ifu mono wa aiueo no goji, hanboin to ifu mono wa waiueo no goji o ifu no de arimasu.

(obsolete, phonology) a mora with a semivowel onglide, such as や (ya) or わ (wa)


五十音図

ja-noun

五(ご)十(じゅう)音(おん)図(ず) • (gojūonzu) ^(←ごじふおんづ (gozifuondu)?)

五十音図 (canonical)
gojūonzu (romanization)
gozifuondu (romanization)
ごじふおんづ (hiragana historical)

[ɡo̞ʑɨːõ̞nd͡zɨ]

五十音 (literally “fifty sounds”) + 図 (“diagram”)

suf

(phonology, orthography, grammar) the 5x10 table used for arranging all the 47 kana used for the 五十音 (literally “fifty sounds”), whose 列 (“columns”) are arranged by the vowels (/a/, /i/, /ɯ/, /e/, /o/) and 行 (“rows”) are arranged by the consonants (Ø, /k/, /s/, /t/, /n/, /h/, /m/, /j/, /ɾ/, /w/; voiced obstruents and /p/ are customarily not included because they were rarely distinguished in writing); columns are ranked by 段 (“grade”), with the vowel /a/ being the highest grade and the vowel /o/ being the lowest; the missing cells of the や行 (“ya-row”) and わ行 (“wa-row”) are filled with い/イ (i), え/エ (e) and う/ウ (u) taken from the あ行 (“a-row”), in order to represent classical grammatical inflection with modern text (or alternatively, artificially filled with rare kana such as 𛀆/𛄠 (yi), 𛀁/𛄡 (ye) and 𛄟 (𛄟)/𛄢 (wu))


あ行

あ行 (canonical)
agyō (romanization)
agyau (romanization)
あぎゃう (hiragana historical)

ア行上一段/下一段/下二段活用

(phonology, orthography, grammar) the first row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana あ/ア (a), い/イ (i), う/ウ (u), え/エ (e) and お/オ (o)


あ段

(phonology, orthography, grammar) the first and highest-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the ten kana あ/ア (a), か/カ (ka), さ/サ (sa), た/タ (ta), な/ナ (na), は/ハ (ha), ま/マ (ma), や/ヤ (ya), ら/ラ (ra) and わ/ワ (wa)


は行

は行 (canonical)
hagyō (romanization)
fagyau (romanization)
はぎゃう (hiragana historical)

ハ行下一段/上二段/下二段/四段活用

(phonology, orthography, grammar) the sixth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana は/ハ (ha), ひ/ヒ (hi), ふ/フ (fu), へ/ヘ (he) and ほ/ホ (ho)


ば行

ば行 (canonical)
bagyō (romanization)
bagyau (romanization)
ばぎゃう (hiragana historical)

バ行上一段/下一段/上二段/四段/五段活用

(phonology, orthography, grammar) a row derived from the は行 (“ha-row”) of the 五十音図 (literally “table of the fifty sounds”) (but not included in the table) by adding the diacritical mark ゛, consisting of the five kana ば/バ (ba), び/ビ (bi), ぶ/ブ (bu), べ/ベ (be) and ぼ/ボ (bo)


ぱ行

ぱ行 (canonical)
pagyō (romanization)
pagyau (romanization)
ぱぎゃう (hiragana historical)

(phonology, orthography) a row derived from the は行 (“ha-row”) of the 五十音図 (literally “table of the fifty sounds”) (but not included in the table) by adding the diacritical mark ゜, consisting of the five kana ぱ/パ (pa), ぴ/ピ (pi), ぷ/プ (pu), ぺ/ペ (pe) and ぽ/ポ (po)


や行

や行 (canonical)
yagyō (romanization)
yagyau (romanization)
やぎゃう (hiragana historical)

ヤ行上一段/上二段/下二段活用

(phonology, orthography, grammar) the eighth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana や/ヤ (ya), い/イ (i) (alternatively, 𛀆/𛄠 (yi)), ゆ/ユ (yu), え/エ (e) (alternatively, 𛀁/𛄡 (ye)) and よ/ヨ (yo), two of which are taken from the あ行 (“a-row”) to represent classical grammatical inflection in modern text


わ行

わ行 (canonical)
wagyō (romanization)
wagyau (romanization)
わぎゃう (hiragana historical)

ワ行上一段 / 下二段 / 五段活用

wagyō kamīchidan / shimonidan / godan katsuyō

wa-row upper-bigrade / lower-bigrade / quintigrade inflection

(phonology, orthography, grammar) the tenth and last row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana わ/ワ (wa), ゐ/ヰ (wi), う/ウ (u) (alternatively, 𛄟 (𛄟)/𛄢 (wu)), ゑ/ヱ (we) and を/ヲ (wo), one of which is taken from the あ行 (“a-row”) to represent classical grammatical inflection in modern text


促音便

促音便 (canonical)
sokuonbin (romanization)

[so̞kɯ̟õ̞mbʲĩɴ]

Blend of 促音 (sokuon, “moraic obstruent”) + 音便 (onbin, “euphony”)

blend

(phonology, grammar) a form of euphony whereby certain historical morae became sokuon before a stop, especially before /t/


イ音便

(phonology, grammar) a form of euphony whereby certain historical morae became い (i)


ウ音便

(phonology, grammar) a form of euphony whereby certain historical morae became う (u)


撥音便

撥音便 (canonical)
hatsuonbin (romanization)

[ha̠t͡sɨõ̞mbʲĩɴ]

Blend of 撥音 (hatsuon, “moraic nasal”) + 音便 (onbin, “euphony”)

(phonology, grammar) a form of euphony whereby certain historical morae became a moraic nasal


長子音

Coordinate term: 長母音

(phonology) a long consonant; a geminate consonant


長母音

ja-noun

長(ちょう)母(ぼ)音(いん) • (chōboin) ^(←ちゃうぼいん (tyauboin)?)

長母音 (canonical)
chōboin (romanization)
tyauboin (romanization)
ちゃうぼいん (hiragana historical)
長母音 (canonical)
nagaboin (romanization)

[t͡ɕo̞ːbo̞ĩɴ]

Coordinate term: 長子音


短母音

短母音 (canonical)
tanboin (romanization)
短母音 (canonical)
mijikaboin (romanization)


一型アクセント

一型アクセント (canonical)
ikkei akusento (romanization)

一型 (“1 type”) + アクセント (“accent”), literally “uniform accent”

af

(phonology) the lack of any phonemic pitch accent in certain dialects of Japanese (all words have the same accent)

(phonology) the lack of any phonemic pitch accent among words with the same mora count in certain dialects of Japanese (words with the same mora count have the same accent)


曖昧アクセント

曖昧アクセント (canonical)
aimai akusento (romanization)

(phonology) in certain Japanese dialects, pitch accent that is highly inconsistent and unpredictable


直音

[t͡ɕo̞kɯ̟õ̞ɴ]

(Japanese orthography and phonology) a mora that consists of either (1) one vowel or (2) one consonant and one vowel, and is spelt with only one full-sized kana, such as あ (a), き (ki) or ぶ (bu)


モーラ

ja-noun

モーラ • (mōra)

Learned borrowing from Latin mora, via English mora.

Meronyms: 子音 (shiin, “consonant”), 母音 (boin, “vowel”)


特殊拍

特殊拍 (canonical)
tokushuhaku (romanization)

[to̞kɯ̟ɕɨha̠kɯ̟]

アクセント核 アクセント核#Japanese

(Japanese phonology) a mora that is variously dubbed in English "special mora" (literal translation), "non-syllabic mora" (by Kubozono Haruo), "non-head mora", or "deficient mora" (by Laurence Labrune), and that is unique in that it cannot form a 音節 (onsetsu, “syllable”) on its own, that it never occurs at the beginning of a word, and that is incapable of acting as an アクセント核 (akusento-kaku, “accent kernel”); morae like these include the 促音 (sokuon, “moraic obstruent”), the 撥音 (hatsuon, “moraic nasal”), the second half of a 長音 (chōon, “long vowel”), and the second half of a 二重母音 (nijū boin, “diphthong”)


父音

父音 (canonical)
父音 (canonical)
fuin (romanization)
fuon (romanization)

父 (“father”) + 音 (“sound”). From the notion of a mothering vowel mating with a fathering consonant and giving birth to an onsetted mora, according to Meiji-era linguists, as in father /k/ + mother あ (/a/) = child か (/ka/).

Holonym: 子音 (shion)

Coordinate term: 母音 (boon)

父音とは、母音と配合して、子音をつくる一種の音なり。その音隱微にして、 いまだ、判然と口外にあらはれたるものにあらず。されば、また、これを標すべき文字のあることなし。今、假に、片假字を以て示すときは、五十音の宇列の、ク、ス、ツ、ヌ、フ、ム、ユ、ル、ウ、九個の子音より、母音を引き去りたる跡にのこれるもの、卽ちこれなり。

1893 March, 宗司 大宮, “第二章 母音 父音 子音 [Chapter 2: Mother Sounds, Father Sounds and Child Sounds]”, in 日本辭林 [A Japanese Dictionary], Tokyo: Hakubunkan, page 6:

‘Father sounds’ are a class of sounds that combines with mother sounds to make child sounds. They are obscure: there is no obvious way to enunciate them. As such, there are no letters for representing them either. Now, if we tentatively note them with katakana, using this column of the fifty sounds, ku, su, tsu, nu, fu, mu, yu, ru and u, they shall be just whatever is left after we take the mother sounds out of these nine child sounds.

Fuon to wa, boon to haigō shite, shion o tsukuru isshu no on nari. Sono on inbi ni shite, imada, hanzen to kōgai ni araware taru mono ni arazu. Sare ba, mata, kore o shirusu beki moji no aru koto nashi. Ima, kari ni, katakana o motte shimesu toki wa, gojūon no jiretsu no, ku, su, tsu, nu, fu, mu, yu, ru, u, kuko no shion yori, boon o hikisari taru ato ni nokoreru mono, sunawachi kore nari.

母音と配合して、子音を生ずる、幽微なる音を、父音といふ。父音をあらはすべき、文字は無けれど、假に、クスツヌフムユル𛄢の九字と以て、之にあつ。父母兩音の配合して、子音を生ずる狀、左の如し。

1897 March, “〇父音 [Father Sounds]”, in 日本文典 [A Japanese Grammar], 中等學科敎授法硏究會:

Father sounds are subtle sounds that combine with mother sounds to bear child sounds. There are no letters for representing father sounds, so the nine letters ku, su, tsu, nu, fu, mu, yu, ru and u are tentatively used here. The ways father and mother sounds combine and bear child sounds are illustrated on the left.

Boon to haigō shite, shion o shōzuru, iubi naru on o, FUON to iu. Fuon o arawasu beki, moji wa nakere do, kari ni, ku su tsu nu fu mu yu ru u no kuji to motte, kore ni atsu. Fubo ryōon no haigō shite, shion o shōzuru jō, hidari no gotoshi.

故に、此の四十五音を、子音と稱し、其のクスツヌフムユル𛄢の如き九音を、父音と稱す。此の父音は、極めて隱微なるものにて、明に聲に發する能はざれど、やゝ、これ等に似たる故に、此の九個の音の文字にて、これを示せるなり。

1897 November, Shioi, Ukō, “第二 子音 [Number 2: Child Sounds]”, in 中學日本文典 [A Middle-School Japanese Grammar], 六盟館, page 3:

Thus, the forty-five sounds are called ‘child sounds’, and the nine sounds such as ku, su, tsu, nu, fu, mu, yu, ru and u are called ‘father sounds’. The father sounds are highly obscure, and even though they can be clearly uttered, they can only be approximated by these nine phonetic letters that sound close to them.

Yue ni, kono shijūgoon o, shion to shōshi, sono ku su tsu nu fu mu yu ru u no gotoki kuon o, fuon to shōsu. Kono fuon wa, kiwamete inbi naru mono ni te, saya ni koe ni hassuru nō wa zaredo, yaya, korera ni ni taru ni, kono kuko no on no moji ni te, kore o shimeseru nari.

父音は、モルガニー竇以上、卽ち副管中の或る局部に於ける、音の摩擦、密閉等によりて生ずるものである。前に母音の特質として擧げたるものを知らば、母音ならざるものゝ特質も推量せられるであらうが、とにかく、父音と母音との根本的區別に於て、下の如く說くことが出來る。母音に於ては、口腔は單に有聲の音を共鳴するので、有聲の音と云ふが母音の本質であるが、父音は口腔內に於ける音の通路を狹窄して、摩擦音を生じたり、密閉して之を破裂して、一種の破裂音を生じたりするので、口鼻腔內の調節が其の要素で、聲門の開閉はどうでもよいので、時には開いて息の音たり、時には閉ぢて聲の音たることが出來る。

1902, Hirano, Hidekichi, “第十四章 父音 [Chapter 14: Consonants]”, in 國語聲音學 [The Phonetics of the National Language], 國光社, page 75:

Consonants are sounds generated due to friction, closure, etc., at specific places of articulation above the sinus of Morgagni in the vocal tract. The characteristics of vowels have been discussed earlier, so it should not be too difficult to infer the characteristics of non-vowels. As such, the fundamental distinction between consonants and vowels can be explained as follows. For vowels, the voiced sound merely resonates in the oral cavity, and that voiced sound is characteristic of vowels. Whereas for consonants, the path of the sound through the oral cavity may be constricted in the case of fricatives, or closed and followed by a burst in the case of plosives; there may also be modulation in the oral and nasal cavities, the opening and closing of the glottis may not be relevant, or an opening may result in airflow, or a closure may result in phonation.

Fuon wa, Moruganī-tō ijō, sunawachi fukukanchū no aru kyokubu ni okeru, on no masatsu, mippei tō ni yorite shōzuru mono de aru. Mae ni boon no tokushitsu to shite age taru mono o shira ba, boon narazaru mono no tokushitsu mo suiryō serareru de arō ga, to ni kaku, fuon to boon to no konponteki kubetsu ni oite, shita no gotoku toku koto ga dekiru. Boon ni oite wa, kōkō wa tan ni yūsei no on o kyōmei suru no de, yūsei no on to iu ga boon no honshitsu de aru ga, fuon wa kōkōnai ni okeru on no tsūro o kyōsaku shite, masatsuon o shōji tari, mippei shite kore o haretsu shite, isshu no haretsuon o shōji tari suru no de, kōbikōnai no chōsetsu ga sono yōso de, seimon no kaihei wa dō de mo yoi no de, toki ni wa aite iki no on tari, toki ni wa tojite koe no on taru koto ga dekiru.

ク、ス、ツ、ヌ、フ、ム、ユ、ル、ウの九文字を、父音と云ふ、

1905 June, 黃山 片岡, “父音 [Father Sounds]”, in 黃山著作集, Saitama: Suharaya, page 14:

The nine letters ku, su, tsu, nu, fu, mu, yu, ru and u are called ‘father sounds’

Ku, su, tsu, nu, fu, mu, yu, ru, u no kumoji o, fuon to iu,

父(ふ)音(おん)と云(い)ふものはカサタナハマヤラの八字(じ)を云(い)ふのでありまして、大(おほ)きな環(くわん)から左(さ)に示(しめ)す圖(づ)式(しき)のやうに取(と)るのであります。

1912, 淸 榊原, “⑶ 父音 [(3) Father Sounds]”, in 自習速記術 [Self-Taught Stenography], 以文館, page 13:

‘Father sounds’ are the eight letters ka, sa, ta, na, ha, ma, ya and ra, and they are written as shown in the diagram on the left page, around the big circle.

Fuon to iu mono wa ka sa ta na ha ma ya ra no hachiji o iu no de arimashite, ōki na kan kara sa ni shimesu zushiki no yō ni toru no de arimasu.

(obsolete, phonetics, phonology) Synonym of 子音 (shiin, “a consonant”)


熟音

[d͡ʑɨkɯ̟õ̞ɴ]

1893 March, 宗司 大宮, “第三章 濁音 半濁音及その文字 [Chapter 3: Muddy Sounds, Semi-Muddy Sounds and How to Write Them]”, in 日本辭林 [A Japanese Dictionary], Tokyo: Hakubunkan, page 10:

Outside the fifty sounds, there is yet another class of complex sounds. These are called ‘muddy sounds’ and ‘semi-muddy sounds’. Muddy sounds are the base child sounds of the four rows ka, sa, ta and ha, being muddied up when they are pronounced. There are no letters to specifically note these sounds, so two small dots are added on the shoulders of the kana for the base sounds, as shown on the left.

Gojūon no soto ni, mata, isshu no jukuon ari. Kore o dakuon, oyobi, handakuon to iu. Dakuon to wa, hon'on o nigorite yobu mono nite, shion no naka, ka, sa, ta, ha, no shigyō no shoon o iu. Kono on o shimesu ni wa betsu ni, sono moji naku, hon'on no kana no kata ni, niko no shōten o kuwau. Sunawachi, hidari no gotoshi.

(Japanese phonology) a mora with an onset consonant, such as か (ka) or が (ga)


か行

か行 (canonical)
kagyō (romanization)
kagyau (romanization)
かぎゃう (hiragana historical)

カ行上一段/上二段/下一段/下二段/四段/五段/変格活用

(phonology, orthography, grammar) the second row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana か/カ (ka), き/キ (ki), く/ク (ku), け/ケ (ke) and こ/コ (ko)


さ行

さ行 (canonical)
sagyō (romanization)
sagyau (romanization)
さぎゃう (hiragana historical)

サ行下一段/下二段/四段/五段/変格活用

(phonology, orthography, grammar) the third row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana さ/サ (sa), し/シ (shi), す/ス (su), せ/セ (se) and そ/ソ (so)


た行

た行 (canonical)
tagyō (romanization)
tagyau (romanization)
たぎゃう (hiragana historical)

タ行上一段/上二段/下一段/下二段/四段/五段活用

(phonology, orthography, grammar) the fourth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana た/タ (ta), ち/チ (chi), つ/ツ (tsu), て/テ (te) and と/ト (to)


な行

な行 (canonical)
nagyō (romanization)
nagyau (romanization)
なぎゃう (hiragana historical)

ナ行上一段/下一段/下二段/四段/五段/変格活用

(phonology, orthography, grammar) the fifth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana な/ナ (na), に/ニ (ni), ぬ/ヌ (nu), ね/ネ (ne) and の/ノ (no)


ま行

ま行 (canonical)
magyō (romanization)
magyau (romanization)
まぎゃう (hiragana historical)

マ行上一段/上二段/下一段/下二段/四段/五段活用

(phonology, orthography, grammar) the sixth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana ま/マ (ma), み/ミ (mi), む/ム (mu), め/メ (me) and も/モ (mo)


ら行

ら行 (canonical)
ragyō (romanization)
ragyau (romanization)
らぎゃう (hiragana historical)

ラ行上一段/上二段/下一段/下二段/四段/五段/変格活用

(phonology, orthography, grammar) the ninth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana ら/ラ (ra), り/リ (ri), る/ル (ru), れ/レ (re) and ろ/ロ (ro)


い段

(phonology, orthography, grammar) the second and second-highest-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the nine kana い/イ (i), き/キ (ki), し/シ (shi), ち/チ (chi), に/ニ (ni), ひ/ヒ (hi), み/ミ (mi), り/リ (ri) and ゐ/ヰ (wi), and sometimes additionally 𛀆/𛄠 (yi)


う段

(phonology, orthography, grammar) the third and middle-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the nine kana う/ウ (u), く/ク (ku), す/ス (su), つ/ツ (tsu), ぬ/ヌ (nu), ふ/フ (fu), む/ム (mu), ゆ/ユ (yu) and る/ル (ru), and sometimes additionally 𛄟 (𛄟)/𛄢 (wu)


え段

(phonology, orthography, grammar) the fourth and second-lowest-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the nine kana え/エ (e), け/ケ (ke), せ/セ (se), て/テ (te), ね/ネ (ne), へ/ヘ (he), め/メ (me), れ/レ (re) and ゑ/ヱ (we), and sometimes additionally 𛀁/𛄡 (ye)


お段

(phonology, orthography, grammar) the fifth and lowest-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the ten kana お/オ (o), こ/コ (ko), そ/ソ (so), と/ト (to), の/ノ (no), ほ/ホ (ho), も/モ (mo), よ/ヨ (yo), ろ/ロ (ro) and を/ヲ (wo)


促声

(Japanese phonology and phonetics) Synonym of 促音 (sokuon).


自立拍

自立拍 (canonical)
jiritsuhaku (romanization)

自立 (jiritsu, “autonomous”) + 拍 (haku, “mora”)

af

(Japanese phonology) any mora that is capable of carrying an accent and that is said to be able to form a 音節 (onsetsu, “syllable”) by itself


遅下がり

遅下がり (canonical)
ososagari (romanization)

特にアクセントのある「高」に続く「低」の拍でピッチが一部または全体に高く留まって，ピッチ下降時点が遅れる現象はアクセントの「遅下がり」（杉藤 1980，Hasegawa and Hata 1995）として知られている．

2018, 佐藤大和, “自発発話データから見たアクセントの遅下がり現象”, in 第 32 回日本音声学会全国大会予稿集, pages 66-71:

アクセント核 アクセント核#Japanese

(Japanese phonology) the phenomenon where the drop in pitch is delayed, causing subsequent morae to be (partially) as high as or even higher in pitch than the accent kernel (アクセント核)


下がり目

下がり目 (canonical)
sagarime (romanization)

「男の子」という単語について言うと、「トコ」から「ノコ」に移るところで音が下がる（それをこの辞典では「オトコ＼ノコ」のように書き表す）。このように「下がり目」が「コ」と「ノ」の間にあることこそが、この語の「固有のアクセント」であると言える。

2016, NHK日本語発音アクセント辞典, Tokyo: NHK出版, →ISBN, II アクセントの示し方について, page [8]:

period of time when something (especially market prices) starts to drop

(Japanese phonology) a phonemic pitch drop (often denoted as ＼)


アクセント句

アクセント句 (canonical)
akusento-ku (romanization)

[a̠kɯ̟̊sẽ̞nto̞ kɯ̟]

一つ以上の形態素が連なって作られるアクセント的まとまりのことをアクセント句と呼ぶ．アクセント句の境界は，必ず形態素の境界でもある．アクセント句と文節は，しばしば一致する．東京方言においては，アクセント句内に，たかだか一つ，音の高さが下降する箇所がある．

2013, 鈴木雅之, 黒岩龍, 印南圭祐, 小林俊平, 清水信哉, 峯松信明, 広瀬啓吉, “条件付き確率場を用いた日本語東京方言のアクセント結合自動推定”, in 電子情報通信学会論文誌 D, volume 96, number 3, The Institute of Electronics, Information and Communication Engineers, →ISSN, pages 644-654:

「アクセント句」は音韻上の区切りであるが、統語上の文節における区切りとはずれがあることが知られている。

2016, 大山理惠, オオヤマリエ, 日本語学習者におけるアクセント句の習得: 音声指導を重視した授業実践の効果, Doshisha University:

アクセント核(かく) アクセント核#Japanese

(Japanese phonology) accent phrase; a unit in Japanese phonology distinguished by it containing at most one accent kernel (アクセント核(かく) (akusento-kaku))


リンキング

[ɾʲĩŋʲkʲĩŋɡɯ̟]

(phonetics) linking; connected speech (esp. in the context of English phonology; see linking r)


リンキング

ja-verb-suru

リンキングする • (rinkingu suru) intransitive suru (stem リンキングし (rinkingu shi), past リンキングした (rinkingu shita))

リンキングする (canonical)
rinkingu suru (romanization)
リンキングし (stem)
リンキングした (past)
リンキングし
rinkingu shi
リンキングする
rinkingu suru
リンキングすれ
rinkingu sure
リンキングせよ (imperative literary)
リンキングしろ (colloquial imperative)
rinkingu seyo (imperative literary)
rinkingu shiro (colloquial imperative)
リンキングされる (passive)
rinkingu sareru (passive)
リンキングさせる (causative)
リンキングさす (causative)
rinkingu saseru (causative)
rinkingu sasu (causative)
リンキングできる (potential)
rinkingu dekiru (potential)
リンキングしよう (volitional)
rinkingu shiyō (volitional)
リンキングしない (negative)
rinkingu shinai (negative)
リンキングせず (continuative negative)
rinkingu sezu (continuative negative)
リンキングします (formal)
rinkingu shimasu (formal)
リンキングした (perfective)
rinkingu shita (perfective)
リンキングして (conjunctive)
rinkingu shite (conjunctive)
リンキングすれば (conditional hypothetical)
rinkingu sureba (conditional hypothetical)

[ɾʲĩŋʲkʲĩŋɡɯ̟]

(phonology) to get linked (esp. in the context of English phonology; see linking r)


そり舌音

そり舌音 (canonical)
sorijitaon (romanization)

[so̞ɾʲiʑita̠õ̞ɴ]