If I remember correctly, kyo has been called a 'heavy' mora because it really is a bit longer than ko, whereas sokuon is a 'light' mora. Whether that's true for unmonitored speech is another question. sokuon) is given equal time, and this affects people's perception, making them think that this is the underlying structure of the language. But when reading poetry, each mora (incl. The mora is the tone-bearing unit, but I'm not sure sokuon actually counts as a mora in that regard. Hoary ( talk) 14:51, 31 March 2013 (UTC) This is complicated by literacy. If I remember right, Samuel Martin (the Japanese and Korean reference grammars man) brought out one or two very elementary introduction to speaking Japanese for the hurried tourist or GI, within them writing "hanashta" (or possibly "hanash'ta"). I think that somebody who didn't know either Japanese or phonology would analyse "hanashita" as somewhere between either (1a) or (1b) and (2). But I think that even this would be for most morae, not all. Lfdder ( talk) 14:25, 31 March 2013 (UTC) Perceived as isochronous, maybe. Destressed? Do you mean to say that the vowel /i/ is silenced? Could it be that the consonant then merges with the previous syllable: CV.CVC.CV? Either way, I don't really know the answer to that. Hoary ( talk) 13:47, 31 March 2013 (UTC) He says that they're "perceived as isochronous". Especially when it's only L2 intuition.) I thought I remembered being (wrongly?) told that the third mora in "hanashita" (for example) was destressed and thus shorter than the other three. it has the same approximate time value.ĭoes he really say that? Going around the Yamanote line: for "Takadanobaba", yes, this seems true for "Uguisudani", no it doesn't. Seemingly a contradiction, as kyo is written with two kana (キョ).Įach mora occupies one rhythmic unit, i.e. Moras are represented orthographically in katakana and hiragana–each kana being one mora–and are referred to in Japanese as 'on' or 'onji'.
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