224 Sentences With "sibilant" | Random Sentence Generator

They are sharp and sibilant with virtually zero bass reproduction.

I choose my words soberly when I describe them as sibilant hot trash.

It was lurking just below my eye line and I could hear it: the sibilant hiss of skin on skin.

Mr. Gordon is playing with sibilant alliteration today in his six theme entries, at 17A, 22A, 28A, 40A, 47A and 57A.

Prasad's team trained algorithms to detect the characteristically sibilant sounds of whispered speech to enable the whispering upgrade coming later this year.

What you hear here — the inky throb of the bass, the rattling kick drum, the sibilant tape — is not what that audience heard.

Others have freaky frequency anomalies, either making vocals sound alien and sibilant or, more commonly, bloating out the bass for an artificially dramatic effect.

Vocals are hollowed out and yet sibilant at the same time, and the soundstage seems to be crushed somewhere at the top of my head.

Ms. Victor had been whispering, hissing and tisking in a spill of sibilant percussion while Ms. Melford improvised freely across the keyboard, moving in all directions.

But Martin Puryear doesn't belong in that room, and frankly gets in the way of the sibilant, but moving conversation about surface and color and light.

Developer Pippin Barr's Sibilant Snakelikes, playable here, takes the concept of the demake to the extreme, reducing seven classic games to the barebones mechanics of Snake.

Mouth shape and sibilant sound issues: native French speakers were particularly attuned to this: the shape of the mouth and lips is spot on in parts, but less convincing in others.

Unsettling and uncanny, like any good gothic fable, "Phantom Thread"—nominated for six Academy Awards, including best picture, director and costume design—is embellished with touches of humour amid dark, sibilant drama.

Language lives not in the mind, but rather in the larynx, the soft pallet, the mouth, and the tongue, and its progeny are the soft serpentine sibilant, the moist plosive, the chest gutturals' heart-burn.

It was not uncommon, when he passed whole groups of us in the corridor, for us to mutter a sibilant chorus of "ZakaZuluZakaZuluZakaZakaZakaZakaZulu," which died down the moment he whipped around to find us wearing innocent faces.

Pusha's verbal pride is a formal passion that rejects both excess and half measures as he enunciates every syllable in his impassive, sibilant flow, and no objective observer would deny how skilled is at narrativizing the cocaine hustle.

Few vocalists have as distinctive a sound as Parlato, whose sibilant, sighing soprano and querying, half-spoken inflection — influenced by Brazilian bossa nova, folk and romantic crooners past — have made her one of the most immediately recognizable figures in jazz.

You can even pop in a pair of headphones, and listen to the sibilant murmur of lava raining down on itself, the drone of crickets in the background, punctuated by an occasional hoo-tweet of a nearby bird or a rooster's crow.

On "Coming Out of the Universe," a driving beat — the work of Makaya McCraven on drums, without a doubt — keeps things taut as Mr. Hill dishes out sibilant gentility on the trumpet, holding and savoring his notes, fanning down the humidity of the beat.

Rumbling thundery growls and a sibilant repeat of the opening text ("right, left, right, left, hands move ceaselessly, touching chin, forehead, chest") accompany a wild, body-lashing solo by Takeru Coste, his face and arms covered in long hair (like Cousin Itt from the Addams Family).

" To get technical about it, the first example makes a pleasing music out of the consonants in "kimchi pancake" and "pork-belly hash," with the note that scholars call a sibilant fricative (I think) coming back to close off the shebang with the first sound in "shout.

The saxophonist and composer Anthony Braxton headlined, playing a solo performance that was full of a mysterious, sibilant lyricism; his playing was more beautiful and generous than usual, but it still focused your attention on the way an instrument must assign a set of linguistic parameters — and what it means to brush against them.

Features of the voiceless dental non-sibilant fricative: It does not have the grooved tongue and directed airflow, or the high frequencies, of a sibilant.

Features of the voiced dental non-sibilant fricative: It does not have the grooved tongue and directed airflow, or the high frequencies, of a sibilant.

Sibilants are louder than their non-sibilant counterparts, and most of their acoustic energy occurs at higher frequencies than non-sibilant fricatives—usually around 8,000Hz.

The sibilant termination of the biblical name suggests a Hurrian origin.

Features of the voiced palatal affricate: It is not a sibilant.

Many languages, such as English, have two sibilant types, one hissing and one hushing. A wide variety of languages across the world have this pattern. Perhaps most common is the pattern, as in English, with alveolar and palato- alveolar sibilants. Modern northern peninsular Spanish has a single apico- alveolar sibilant fricative , as well as a single palato-alveolar sibilant affricate .

A voiceless laminal dental or dentialveolar sibilant contrasts with a voiceless apical alveolar or post- alveolar sibilant in Basque and several languages of California, including Luiseño of the Uto-Aztecan family and Kemeyaay of the Yuman family.

The sibilant aorist is formed with various suffixes containing s to the stem.

The sibilant sounds phonically show the lustful serpent entering the mind of Adam.

Zhe (Ж ж; italics: Ж ж) is a letter of the Cyrillic script. It commonly represents the voiced palato-alveolar sibilant (listen), or the somewhat similar voiced retroflex sibilant (listen), like the pronunciation of in "treasure". Zhe is romanized as or .

61 Zhani commonly represents voiced palato-alveolar sibilant consonant , like the pronunciation of in "vision".

101 Shini commonly represents the voiceless palato-alveolar sibilant , like the pronunciation of in "shoe".

The voiced alveolo-palatal sibilant fricative is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ("z", plus the curl also found in its voiceless counterpart ), and the equivalent X-SAMPA symbol is `z\`. It is the sibilant equivalent of the voiced palatal fricative. The voiced alveolo- palatal sibilant fricative does not occur in any major dialect of English.

There is no general agreement about what actual feature distinguishes these sounds. Spanish phoneticians normally describe the difference as (for the northern Iberian sound) vs. (for the more common sound), but Ladefoged and Maddieson claim that English can be pronounced apical, which is evidently not the same as the apical sibilant of Iberian Spanish and Basque. Also, Adams asserts that many dialects of Modern Greek have a laminal sibilant with a sound quality similar to the "apico-alveolar" sibilant of northern Iberia.

Not including differences in manner of articulation or secondary articulation, some languages have as many as four different types of sibilants. For example, Northern Qiang and Southern Qiang have a four-way distinction among sibilant affricates , with one for each of the four tongue shapes. Toda also has a four-way sibilant distinction, with one alveolar, one palato-alveolar, and two retroflex (apical postalveolar and subapical palatal). The now-extinct Ubykh language was particularly complex, with a total of 27 sibilant consonants.

However, it does not have the grooved tongue and directed airflow, or the high frequencies, of a sibilant.

Manihiki has a rather standard Cook islands Māori inventory, but is notable for not having any sibilant fricatives.

The voiced alveolar sibilant is common across European languages, but is relatively uncommon cross-linguistically compared to the voiceless variant. Only about 28% of the world's languages contain a voiced dental or alveolar sibilant. Moreover, 85% of the languages with some form of are languages of Europe, Africa, or Western Asia.

The voiced alveolar tapped fricative reported from some languages is actually a very brief voiced alveolar non-sibilant fricative.

In most of Argentina and Uruguay, the merged sound is pronounced as a sibilant ; this is referred to as zheísmo. In Buenos Aires, the sound has recently been devoiced to (sheísmo) among younger speakers. Rioplatense does not, however, use the sibilant sound for word-initial (spelt hi- + vowel). Therefore hierro is distinct from yerro .

The term "voiceless alveolar sibilant" is potentially ambiguous in that it can refer to at least two different sounds. Various languages of northern Iberia (e.g. Astur-Leonese, Catalan, Basque, Galician, Portuguese and Spanish) have a so-called "voiceless apico-alveolar sibilant" that lacks the strong hissing of the described in this article but has a duller, more "grave" sound quality somewhat reminiscent of a voiceless retroflex sibilant. Basque, Mirandese and some Portuguese dialects in northeast Portugal (as well as medieval Spanish and Portuguese in general) have both types of sounds in the same language.

As wildcards, for {consonant} and for {vowel} are ubiquitous. Other common capital-letter symbols are for {tone/accent} (tonicity), for {nasal}, for {plosive}, for {fricative}, for {sibilant}, is particularly ambiguous. It has been used for 'stop', 'fricative', 'sibilant', 'sonorant' and 'semivowel'. The illustrations given here use, as much as possible, letters that are capital versions of members of the sets they stand for: IPA [n] is a nasal, [p] a plosive, [f] a fricative, [s] a sibilant, [l] a liquid, [r] both a rhotic and a resonant, and [ʞ] a click.

City limit sign of Żurrieq in Malta In Maltese, ż represents the voiced alveolar sibilant, pronounced like "z" in English "maze".

The voiceless palato-alveolar sibilant affricate or voiceless domed postalveolar sibilant affricate is a type of consonantal sound used in some spoken languages. The sound is transcribed in the International Phonetic Alphabet with , or (formerly the ligature ). The alternative commonly used in American tradition is . It is familiar to English speakers as the "ch" sound in "chip".

The southern dialect varies between and , but it is not clear whether the letter represents a trill or a non-sibilant fricative.

The phone is actually a laminal voiceless alveolar non-sibilant fricative . The corresponding voiced phone is similar, but is apical rather than laminal .

In unified international braille, the braille pattern dots-1356 is used to represent a voiced alveolar sibilant, i.e. /z/, or otherwise as needed..

It occurs in languages such as Mandarin Chinese, Polish, Serbo-Croatian, Albanian and Russian, and is the sibilant equivalent of voiceless palatal affricate.

In addition, sibilants are absent from Australian Aboriginal languages, in which fricatives are rare; even the few indigenous Australian languages that have fricatives do not have sibilants. The voiceless alveolar retracted sibilant (commonly termed the voiceless apico-alveolar sibilant) is a fricative that is articulated with the tongue in a hollow shape, usually with the tip of the tongue (apex) against the alveolar ridge. It is a sibilant sound and is found most notably in a number of languages in a linguistic area covering northern and central Iberia. It is most well known from its occurrence in the Spanish of this area.

Sibilants are distinguished from other fricatives by the shape of the tongue and how the airflow is directed over the teeth. Fricatives at coronal places of articulation may be sibilant or non- sibilant, sibilants being the more common. Flaps (also called taps) are similar to very brief stops. However, their articulation and behavior are distinct enough to be considered a separate manner, rather than just length.

In linguistics, assibilation is a sound change resulting in a sibilant consonant. It is a form of spirantization and is commonly the final phase of palatalization.

The western sirystes or Chocó sirystes (Sirystes albogriseus) is a species of bird in the family Tyrannidae. It was formerly considered conspecific with the sibilant sirystes.

The aorist system stem actually has three different formations: the simple aorist, the sibilant aorist, and the reduplicating aorist, which is semantically related to the causative verb.

The voiced palatal fricative is a type of consonantal sound used in some spoken languages. The symbol in the International Phonetic Alphabet (IPA) that represents this sound is (crossed-tail j), and the equivalent X-SAMPA symbol is `j\`. It is the non-sibilant equivalent of the voiced alveolo-palatal sibilant. In broad transcription, the symbol for the palatal approximant, , may be used for the sake of simplicity.

And even in his posthuman form, he is shown to have tantrums whenever people mock his sibilant lisp or damage the small crown he has chained to his head.

The song of the African blue flycatcher is a series of slow, rather random and tuneless sibilant notes strung together in no particular order. Call is a quiet "tsip".

Navajo has coronal sibilant consonant harmony. Alveolar sibilants in prefixes assimilate to post-alveolar sibilants in stems, and post-alveolar prefixal sibilants assimilate to alveolar stem sibilants. For example, the si- stative perfective is realized as si- or shi- depending upon whether the stem contains a post-alveolar sibilant. For example, while sido ('it is hot' perfective) has the first form, shibeezh ('it is boiled' perfective), the stem-final triggers the change to .

In Romance languages, it occurs as the normal voiceless alveolar sibilant in Astur- Leonese, Castilian Spanish, Catalan, Galician, northern European Portuguese, and some Occitan dialects. It also occurs in Basque and Mirandese, where it is opposed to a different voiceless alveolar sibilant, the more common ; the same distinction occurs in a few dialects of northeastern Portuguese. Outside this area, it also occurs in a few dialects of Latin American Spanish (e.g. Antioqueño, in Colombia).

The English sibilants are . On the other hand, and are stridents, but not sibilants, because they are lower in pitch. "Stridency" refers to the perceptual intensity of the sound of a sibilant consonant, or obstacle fricatives or affricates, which refers to the critical role of the teeth in producing the sound as an obstacle to the airstream. Non-sibilant fricatives and affricates produce their characteristic sound directly with the tongue or lips etc.

The nature of sibilants as so-called 'obstacle fricatives' is complicated – there is a continuum of possibilities relating to the angle at which the jet of air may strike an obstacle. The grooving often considered necessary for classification as a sibilant has been observed in ultrasound studies of the tongue for the supposedly non-sibilant voiceless alveolar fricative of English.Stone, M. & Lundberg, A. (1996). Three-dimensional tongue surface shapes of English consonants and vowels.

Some Ionian cities used a special letter , alphabetically ordered behind , for a sibilant sound in positions where other dialects had either or (e.g. 'four', cf. normal spelling Ionic vs. Attic ).

The voiceless dental non-sibilant affricate is a type of consonantal sound, used in some spoken languages. The symbols in the International Phonetic Alphabet that represent this sound are , , and .

In the area around the Río de la Plata (Argentina, Uruguay), this phoneme is pronounced as a palatoalveolar sibilant fricative, either as voiced or, especially by young speakers, as voiceless .

During the 16th century, the three voiced sibilant phonemes—dental , apico-alveolar , and palato-alveolar (as in Old Spanish fazer, casa, and ojo, respectively) lost their voicing and merged with their voiceless counterparts: , , and (as in caçar, passar, and baxar respectively). The character ⟨ç⟩, called ⟨c⟩ cedilla, originated in Old Spanish but has been replaced by ⟨z⟩ in the modern language. Additionally, the affricate lost its stop component, to become a laminodental fricative, . As a result, the sound system then contained two sibilant fricative phonemes whose contrast depended entirely on a subtle distinction between their places of articulation: apicoalveolar, in the case of the , and laminodental, in the case of the new fricative sibilant , which was derived from the affricate .

When forming a sibilant, one still is forcing air through a narrow channel, but in addition, the tongue is curled lengthwise to direct the air over the edge of the teeth. English , , , and are examples of sibilants. The usage of two other terms is less standardized: "Spirant" is an older term for fricatives used by some American and European phoneticians and phonologists. "Strident" could mean just "sibilant", but some authors include also labiodental and uvular fricatives in the class.

The voiceless alveolo-palatal sibilant fricative is a type of consonantal sound, used in some oral languages. The symbol in the International Phonetic Alphabet that represents this sound is ("c", plus the curl also found in its voiced counterpart ). It is the sibilant equivalent of the voiceless palatal fricative, and as such it can be transcribed in IPA with . In British Received Pronunciation, after syllable-initial (as in Tuesday) is realized as a devoiced palatal fricative.

The voiced palato-alveolar sibilant affricate, voiced post-alveolar affricate or voiced domed postalveolar sibilant affricate, is a type of consonantal sound, used in some spoken languages. The sound is transcribed in the International Phonetic Alphabet with (formerly the ligature ), or in some broad transcriptions , and the equivalent X-SAMPA representation is `dZ`. Alternatives commonly used in linguistic works, particularly in older or American literature, are , , , and . It is familiar to English speakers as the pronunciation of in jump.

Features of the voiceless palatal affricate: It is not a sibilant. The otherwise identical post-palatal variant is articulated slightly behind the hard palate, making it sound slightly closer to the velar .

Sirystes sibilator Joseph Smit, 1888 The sibilant sirystes (Sirystes sibilator) is a species of bird in the family Tyrannidae. It was formerly considered conspecific with the western sirystes, the white-rumped sirystes, and Todd's sirystes.

It represented a voiced alveolo- palatal sibilant [ʑ]. It is also used in the former Latin alphabet for the Dungan language to represent the voiceless retroflex affricate (tʂ) or the voiceless alveolo-palatal affricate (tɕ).

There is no agreed pronunciation. It can be pronounced "F-S-C-K", "F-S-check", "fizz-check", "F-sack", "fisk", "fishcake", "fizik", "F-sick", "F-sock", "F-sek", "feshk" the sibilant "fsk", "fix", "farsk" or "fusk".

The voiced dental non-sibilant affricate is a type of consonantal sound, used in some spoken languages. The symbols in the International Phonetic Alphabet that represent this sound are , , and . The sound is a frequent allophone of .

In phonology, affricates tend to behave similarly to stops, taking part in phonological patterns that fricatives do not. Kehrein analyzes phonetic affricates as phonological stops.Kehrein (2002) Phonological Representation and Phonetic Phasing A sibilant or lateral (and presumably trilled) stop can be realized phonetically only as an affricate and so might be analyzed phonemically as a sibilant or lateral stop. In that analysis, affricates other than sibilants and laterals are a phonetic mechanism for distinguishing stops at similar places of articulation (like more than one labial, coronal, or dorsal place).

They have a screeching call which is similar to that of the Barn Owl, but it is less strident. A high-pitched sibilant tremolo lasting one to two seconds is thought to be the song of the male.

The equivalent X-SAMPA symbols are `n_-'` or `n_-_j` and `J_0_+`, respectively. A non-IPA letter (devoiced , which is an ordinary "n", plus the curl found in the symbols for alveolo-palatal sibilant fricatives ) can also be used.

The equivalent X-SAMPA symbols are `K_-_j` or `K_-'` and `L_0_+_r`, respectively. A non-IPA letter (devoiced and raised can be used, which is an ordinary "l", plus the curl found in the symbols for alveolo-palatal sibilant fricatives ).

University of Pennsylvania Working Papers in Linguistics 4.3.53-70. People are also more likely to identify those with higher frequency ranges as gay.Rogers, Henry, Ron Smyth, and Greg Jacobs. 2000. Vowel and Sibilant Duration in Gay- and Straight-sounding Male Speech.

One of the most distinctive features of the Spanish variants is the pronunciation of when it is not aspirated to or elided. In northern and central Spain, and in the Paisa Region of Colombia, as well as in some other, isolated dialects (e.g. some inland areas of Peru and Bolivia), the sibilant realization of is an apico-alveolar retracted fricative , a sound transitional between laminodental and palatal . However, in most of Andalusia, in a few other areas in southern Spain, and in most of Latin America it is instead pronounced as a lamino-alveolar or dental sibilant.

In spite of some modifications in the 19th century, the Bengali spelling system continues to be based on the one used for Sanskrit, and thus does not take into account some sound mergers that have occurred in the spoken language. For example, there are three letters (, , and ) for the voiceless postalveolar fricative , although the letter retains the voiceless alveolar sibilant sound when used in certain consonant conjuncts as in "fall", "beat", etc. The letter also retains the voiceless retroflex sibilant sound when used in certain consonant conjuncts as in "suffering", "clan", etc. Similarly, there are two letters ( and ) for the voiced postalveolar affricate .

A non-IPA letter (devoiced , which is an ordinary "l", plus the curl found in the symbols for alveolo-palatal sibilant fricatives ) can also be used. It is found as a phoneme distinct from the voiced in the Xumi language spoken in China.

Only one language, Toda, appears to have more than one voiceless retroflex sibilant, and it distinguishes subapical palatal from apical postalveolar retroflex sibilants; that is, both the tongue articulation and the place of contact on the roof of the mouth are different.

There is also a non-IPA letter ("l", plus the curl found in the symbols for alveolo-palatal sibilant fricatives ), used especially in Sinological circles. The palatal lateral approximant contrasts phonemically with its voiceless counterpart in the Xumi language spoken in China.

Cabanis's tanagers utter several sibilant vocalizations, hard trill and twitters. The azure-rumped tanager is omnivorous, feeding on fruit and arthropods. In Guatemala, abundance was positively correlated with the density of Ficus aurea trees. Figs of that tree are a main food source.

In the anglicized pronunciation, the letters 'sh' are read as a single phoneme, the sibilant , resulting in . In an English translation from 1831 mistakenly the spelling 'Lippershey', with an 's' is used. The German pronunciation is , whereas the Dutch pronunciation is closer to .

Za (જ઼) is the character ja (જ) with a single dot underneath. It corresponds to the Devanagari character Za (ज़). It is also used in Gujarati transcriptions of Avestan (𐬰), Urdu (ژ), English, and other languages to denote the voiced alveolar sibilant .

Each place of articulation produces a different set of consonant sounds, which are further distinguished by manner of articulation, or the kind of friction, whether full closure, in which case the consonant is called occlusive or stop, or different degrees of aperture creating fricatives and approximants. Consonants can also be either voiced or unvoiced, depending on whether the vocal cords are set in vibration by airflow during the production of the sound. Voicing is what separates English in bus (unvoiced sibilant) from in buzz (voiced sibilant). Some speech sounds, both vowels and consonants, involve release of air flow through the nasal cavity, and these are called nasals or nasalized sounds.

In ancient Greek, it occurred in both long and short versions, but Modern Greek does not have a length distinction. As an initial letter in Classical Greek, it always carried the rough breathing (equivalent to h) as reflected in the many Greek-derived English words, such as those that begin with hyper- and hypo-. This rough breathing was derived from an older pronunciation that used a sibilant instead; this sibilant was not lost in Latin, giving rise to such cognates as super- (for hyper-) and sub- (for hypo-). Upsilon participated as the second element in falling diphthongs, which have subsequently developed in various ways.

Its name is "zsé" and represents , a voiced postalveolar fricative, similar to J in Jacques and s in vision. A few examples are rózsa "rose" and zsír "fat". is used in the Shona language to write the whistled sibilant . This was written ɀ from 1931 to 1955.

In describing the characters of the album, Collin Anderson of Tiny Mix Tapes wrote that the drums are only a "sibilant, shapeshifting, suppurating thing, continuous even as they threatened to dislodge all spatial continuity.""2011: Favorite 50 Albums of 2011". Tiny Mix Tapes. December 15, 2011.

To disambiguate, the bridge (, etc.) may be used for a dental consonant, or the under-bar (, etc.) may be used for the postalveolars. differs from dental in that the former is a sibilant and the latter is not. differs from postalveolar in being unpalatalized. The bare letters , etc.

The voiced retroflex sibilant affricate is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is , sometimes simplified to or . It occurs in such languages as Polish (the laminal affricate dż) and Northwest Caucasian languages (apical).

The letter esh can be inserted using unofficial "English (International)" layout: uppercase Ʃ can be inserted with while lowercase ʃ is . The International Phonetic Alphabet (IPA) uses to represent a voiceless palato-alveolar sibilant. Related obsolete IPA characters include , , and . is used in the Teuthonista phonetic transcription system.

The voiced alveolar non-sibilant fricative is a consonantal sound. As the International Phonetic Alphabet does not have separate symbols for the alveolar consonants (the same symbol is used for all coronal places of articulation that are not palatalized), it can represent the sound as in a number of ways including or (retracted or alveolarized , respectively), (constricted ), or (lowered ). Few languages also have the voiced alveolar tapped fricative, which is simply a very brief apical alveolar non-sibilant fricative, with the tongue making the gesture for a tapped stop but not making full contact. It can be indicated in the IPA with the lowering diacritic to show that full occlusion does not occur.

The voiceless alveolar non-sibilant fricative (also known as a "slit" fricative) is a consonantal sound. As the International Phonetic Alphabet does not have separate symbols for the alveolar consonants (the same symbol is used for all coronal places of articulation that are not palatalized), this sound is usually transcribed , occasionally (retracted or alveolarized , respectively), (constricted voiceless ), or (lowered ). Few languages also have the voiceless alveolar tapped fricative, which is simply a very brief apical alveolar non-sibilant fricative, with the tongue making the gesture for a tapped stop but not making full contact. This can be indicated in the IPA with the lowering diacritic to show full occlusion did not occur.

Human vocal tract In linguistics, specifically articulatory phonetics, tongue shape describes the shape that the tongue assumes when it makes a sound. Because the sibilant sounds have such a high perceptual prominence, tongue shape is particularly important; small changes in tongue shape are easily audible and can be used to produce different speech sounds, even within a given language. For non-sibilant sounds, the relevant variations in tongue shape can be adequately described by the concept of secondary articulation, in particular palatalization (raising of the middle of the tongue), velarization (raising of the back of the tongue) and pharyngealization (retracting of the root of the tongue). Usually, only one secondary articulation can occur for a given sound.

Dyslalia means difficulties in talking due to structural defects in speech organs, such as sigmatism (defective pronunciation of sibilant sounds, for example "S" pronounced as "TH") and rhotacism, in which the letter "R" pronounced as "I or Y". It does not include speech impairment due to neurological or other factors.

In Xhosa, it may be used to write , , or , though it is sometimes limited to , with and distinguished as and . is used in Dutch and Norwegian to write the sound . is used in the Shona language to write the whistled sibilant affricate . is used in Juǀʼhoan for the uvularized affricate .

Crimson-collared tanager in Costa Rica Vocalizations are high-pitched and sibilant. There are several calls; one rendered as ssii-p is given both when perched and in flight. The song is jerky and consists of two-to-four-note phrases separated by pauses, tueee-teew, chu- chee-wee-chu, teweee.

Komi Sje (Ԍ ԍ; italics: Ԍ ԍ) is a letter of the Molodtsov alphabet, a version of the Cyrillic alphabet that was used to write the Komi language in the 1920s. It represented the voiceless alveolo-palatal sibilant . Some of its forms are similar to the Latin letter G (G g G g).

Chan Chich Lodge area - Belize Like other members of the genus Thraupis, it is a species of open humid and mesic woodland. It often forms flocks of 50 or more members. It feeds on fruit, insects, and nectar. The call is high and sibilant, and may be given in flight or while perched.

Mendoza is a Basque surname, also occurring as a place name. The name Mendoza means "cold mountain", derived from the Basque words mendi (mountain) and (h)otz (cold) + definite article '-a' (Mendoza being mendi+(h)otza). The original Basque form with an affricate sibilant (/ts/, Basque spelling /tz/) evolved in Spanish to the current form.

The voiceless postalveolar non-sibilant fricative is a consonantal sound. As the International Phonetic Alphabet does not have separate symbols for the post-alveolar consonants (the same symbol is used for all coronal places of articulation that aren't palatalized), this sound is usually transcribed (retracted constricted voiceless ). The equivalent X-SAMPA symbol is `r\_-_0_r`.

The voiced postalveolar non-sibilant fricative is a consonantal sound. As the International Phonetic Alphabet does not have separate symbols for the post-alveolar consonants (the same symbol is used for all coronal places of articulation that aren't palatalized), this sound is usually transcribed (retracted constricted ). The equivalent X-SAMPA symbol is `r\_-_r`.

South and East Slavic and Baltic languages have Sofija (Софија), Sofiya (София) and Sofya (Софья). West Slavic (Polish and Czech-Slovak) introduced a voiced sibilant, Zofia, Žofia, Žofie. French has the (disyllabic) hypocoristic Sophie, which was also introduced in German, Dutch/Flemish, English and Scandinavian in the spelling Sofie. A Dutch hypocoristic is Sofieke.

The sibilant s sound reinforces the image. The connotations of the words suggest something surreptitious and undercover. From the tone, one can infer that the author is suspicious or fearful of the subject. A detached tone, or an opposite tone than the reader would expect, are sometimes purposely employed to elicit more of a response.

Often there is an unvoiced band or sibilance channel. This is for frequencies that are outside the analysis bands for typical speech but are still important in speech. Examples are words that start with the letters s, f, ch or any other sibilant sound. These can be mixed with the carrier output to increase clarity.

Zhwe (Ꚅ ꚅ; italics: Ꚅ ꚅ) is a letter of the Cyrillic script. The shape of the letter originated as a ligature of the Cyrillic letters Ze (З з З з) and Zhe (Ж ж Ж ж). Zhwe was used in the Abkhaz language where it represented the voiced palato-alveolar sibilant . This was replaced by the digraph Жә.

Shwe (Ꚗ ꚗ; italics: Ꚗ ꚗ) is a letter of the Cyrillic script. It resembles the letter Sha (Ш ш Ш ш) with a long tail attached to its bottom. Shwe is used in an old orthography of the Abkhaz language, where it represents the voiceless palato-alveolar sibilant . It is a Cyrillic letter corresponding to Шә.

Tse (Ц ц; italics: Ц ц), also known as Ce, is a letter of the Cyrillic script. It commonly represents the voiceless alveolar affricate , like the pronunciation of zz in "pizza". In the standard Iron dialect of Ossetic, it represents the voiceless alveolar sibilant fricative /s/. In other dialects, including Digoron, it has the same value as in Russian.

The aorist system stem actually has three different formations: the simple aorist, the reduplicating aorist (semantically related to the causative verb), and the sibilant aorist. The simple aorist is taken directly from the root stem (e.g. भू- (bhū-): अभूत् (a-bhū-t) "he was"). The reduplicating aorist involves reduplication as well as vowel reduction of the stem.

However, that is potentially problematic in that not all alveolar retracted sibilants are apical (see below), and not all apical alveolar sibilants are retracted. The ad hoc non-IPA symbols and are often used in the linguistic literature even when IPA symbols are used for other sounds, but is a common transcription of the retroflex sibilant .

The articulation of whistled sibilants may differ between languages. In Shona, the lips are compressed throughout, and the sibilant may be followed by normal labialization upon release. (That is, there is a contrast among s, sw, ȿ, ȿw.) In Tsonga, the whistling effect is weak; the lips are narrowed but also the tongue is retroflex. Tswa may be similar.

When two words belonging to the same phrase are pronounced together, or two morphemes are joined in a word, the last sound in the first may be affected by the first sound of the next (sandhi), either coalescing with it, or becoming shorter (a semivowel), or being deleted. This affects especially the sibilant consonants , , , , and the unstressed final vowels , , .

') (Lysistrata 142 and 1263), for ('sacrificial victim') (Histories book 5, chapter 77)., , , These spellings indicate that was pronounced as a dental fricative or a sibilant , the same change that occurred later in Koine. Greek spelling, however, does not have a letter for a labial or velar fricative, so it is impossible to tell whether also changed to .

For example, Polish sz is a postalveolar sibilant. While this is often transcribed as , it is not domed (partially palatalized) the way a prototypical is. A more precise transcription is therefore . Similarly, the velar consonants in Kwakiutl are actually postvelar; that is, pronounced farther back than a prototypical velar, between velar and uvular , and is thus transcribed .

It is pronounced as either a voiceless dental fricative or the voiced counterpart of it . However, in modern Icelandic, it is pronounced as a laminal voiceless alveolar non-sibilant fricative ,, cited in similar to th as in the English word thick, or a (usually apical) voiced alveolar non- sibilant fricative , similar to th as in the English word the. Modern Icelandic usage generally excludes the latter, which is instead represented with the letter eth ; however, may occur as an allophone of , and written , when it appears in an unstressed pronoun or adverb after a voiced sound. In typography, the lowercase thorn character is unusual in that it has both an ascender and a descender (other examples are lowercase Cyrillic ф and in some fonts, the Latin letter f).

A superscript is defined as lateral release. Consonants may also be pronounced with simultaneous lateral and central airflow. This is well-known from speech pathology with a lateral lisp. However, it also occurs in nondisordered speech in some southern Arabic dialects and possibly some Modern South Arabian languages, which have pharyngealized nonsibilant and (simultaneous and ) and possibly a sibilant (simultaneous ).

The equivalent X-SAMPA symbols are `d_-'` or `d_-_j` and `J\_+`, respectively. There is also a dedicated symbol , which is not a part of the IPA. Therefore, narrow transcriptions of the voiced alveolo-palatal sibilant affricate include , , and . This affricate used to have a dedicated symbol , which was one of the six dedicated symbols for affricates in the International Phonetic Alphabet.

The equivalent X-SAMPA symbols are `t_-'` or `t_-_j` and `c_+`, respectively. There is also a dedicated symbol , which is not a part of the IPA. Therefore, narrow transcriptions of the voiceless alveolo-palatal sibilant affricate include , and . This affricate used to have a dedicated symbol , which was one of the six dedicated symbols for affricates in the International Phonetic Alphabet.

Aspirated consonants do not occur before breathy vowels, and glottalized consonants only occur before modally voiced vowels. Nasal consonants only occur before nasal vowels. Voiced plosives are prenasalized in intervocalic position. Consonant clusters include NC, where N is a nasal and C is a voiceless plosive or affricate, and SC, where S is a sibilant and C is a tenuis plosive or affricate.

In medieval times, it occurred in a wider area, including the Romance languages spoken in most or all of France and Iberia (Old Spanish, Galician-Portuguese, Catalan, French, etc.), as well as in the Old and Middle High German of central and southern Germany, and most likely Northern Germany as well. In all of these languages, the retracted "apico-alveolar" sibilant was opposed to a non-retracted sibilant much like modern English , and in many of them, both voiceless and voiced versions of both sounds occurred. A solid evidence is different spellings used for two different sibilants: in general, the retracted "apico-alveolar" variants were written or , while the non- retracted variants were written , or . In the Romance languages, the retracted sibilants derived from Latin , or , while the non-retracted sibilants derived from earlier affricates and , which in turn derived from palatalized or .

He is physically described in Think Fast, Mr. Moto: > Mr. Moto was a small man, delicate, almost fragile. … He was dressed > formally in a morning coat and striped trousers. His black hair was > carefully brushed in the Prussian style. He was smiling, showing a row of > shiny gold-filled teeth, and as he smiled he drew in his breath with a > polite, soft sibilant sound.

The voiced retroflex sibilant fricative is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is , and the equivalent X-SAMPA symbol is `z``. Like all the retroflex consonants, the IPA symbol is formed by adding a rightward-pointing hook extending from the bottom of a z (the letter used for the corresponding alveolar consonant).

The voiceless alveolar tap or flap is rare as a phoneme. The symbol in the International Phonetic Alphabet that represents this sound is , a combination of the letter for the voiced alveolar tap/flap and a diacritic indicating voicelessness. The equivalent X-SAMPA symbol is `4_0`. The voiceless alveolar tapped fricative reported from some languages is actually a very brief voiceless alveolar non-sibilant fricative.

The film Anything Else (2003) was the first to be released with only cyan tracks. To facilitate this changeover, intermediate prints known as "high magenta" prints were distributed. These prints used a silver plus dye soundtrack that were printed into the magenta dye layer. The advantage gained was an optical soundtrack, with low levels of sibilant (cross-modulation) distortion, on both types of sound heads.

The voiceless palatal affricate is a type of consonantal sound, used in some spoken languages. The symbols in the International Phonetic Alphabet that represent this sound are and , and the equivalent X-SAMPA symbol is `c_C`. The tie bar may be omitted, yielding in the IPA and `cC` in X-SAMPA. This sound is the non-sibilant equivalent of the voiceless alveolo-palatal affricate.

The voiced palatal affricate is a type of consonantal sound, used in some spoken languages. The symbols in the International Phonetic Alphabet that represent this sound are and , and the equivalent X-SAMPA symbol is `J\_j\`. The tie bar may be omitted, yielding in the IPA and `J\j\` in X-SAMPA. This sound is the non-sibilant equivalent of the voiced alveolo-palatal affricate.

Mostly words from Sanskrit have consonants that are not very common in inventory of the spoken language, occurring in borrowed words where they are prescriptively pronounced as described in Sanskrit grammars. The retroflex nasal occurs in the speech of some speakers, in words such as ('arrow'). It is flapped in spelling pronunciations of some loanwords in Sanskrit. A posterior sibilant occurs in such words as ('king').

For example, Chipewyan has laminal dental vs. apical alveolar ; other languages may contrast velar with palatal and uvular . Affricates may also be a strategy to increase the phonetic contrast between aspirated or ejective and tenuis consonants. According to Kehrein, no language contrasts a non-sibilant, non-lateral affricate with a stop at the same place of articulation and with the same phonation and airstream mechanism, such as and or and .

The voiceless palatal fricative is a type of consonantal sound used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is , and the equivalent X-SAMPA symbol is `C`. It is the non-sibilant equivalent of the voiceless alveolo-palatal fricative. The symbol ç is the letter c with a cedilla, as used to spell French and Portuguese words such as façade and ação.

The voiceless retroflex sibilant fricative is a type of consonantal sound used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is . Like all the retroflex consonants, the IPA letter is formed by adding a rightward-pointing hook to the bottom of the ess (the letter used for the corresponding alveolar consonant). A distinction can be made between laminal, apical, and sub-apical articulations.

Gopher has a very plain personality; he is rarely seen outside of his burrow so not much is known about him socially. He is generally a hard-worker, especially in his mine shafts (tunnels) and spends most of his time tediously working on them. Despite his low social life, Gopher is not a silent character; while talking to the other animals, he has a habit of whistling out his sibilant consonants.

What's sometimes incorrectly described as a gay "lisp" is one manner of speech stereotypically associated with gay speakers of North American English, and perhaps other dialects or languages. It involves a marked pronunciation of sibilant consonants (particularly and ). Speech scientist Benjamin Munson and his colleagues have argued that this is not a mis-articulated (and therefore, not technically a lisp) as much as a hyper-articulated .Mack & Munson, 2011, p. 200.

Additionally Akkadian is the only Semitic language to use the prepositions ina and ana (locative case, English in/on/with, and dative-locative case, for/to, respectively). Other Semitic languages like Arabic and Aramaic have the prepositions bi/bə and li/lə (locative and dative, respectively). The origin of the Akkadian spatial prepositions is unknown. In contrast to most other Semitic languages, Akkadian has only one non-sibilant fricative: ḫ .

Polish is one example, with both palatalized and non-palatalized laminal denti-alveolars, laminal postalveolar (or "flat retroflex"), and alveolo-palatal (). Russian has the same surface contrasts, but the alveolo-palatals are arguably not phonemic. They occur only geminate, and the retroflex consonants never occur geminate, which suggests that both are allophones of the same phoneme. Somewhat more common are languages with three sibilant types, including one hissing and two hushing.

Zha (ॹ) is the character ज with three dots underneath. It is used in Devanagari transcriptions of the Avestan letter zhe (𐬲) to denote the voiced patalal fricative . An example of its usage is in Kavasji Edulji Kanga's Avesta, yazna 41.3 to write ईॹीम्. Zha (ॹ) should not be confused with za (ज़), which is used to denote the voiced alveolar sibilant from Urdu, English, and other languages.

Recorded variations include a ' given by males at the nest and a trilled '. Sometimes the male strings calls together and sings them in a strident tone, to create a sort of short song, transcribed as ' or '. The song is interspersed with sibilant ' notes similar to those of the white wagtail. A thin ' vocalisation not unlike that of an Indian robin has been reported, but the context of this call is unrecorded.

The Neo-Mandaic verb may appear in two aspects (perfective and imperfective), three moods (indicative, subjunctive, and imperative), and three voices (active, middle, and passive). As in other Semitic languages, the majority of verbs are built upon a triconsonantal root, each of which may yield one or more of six verbal stems: the G-stem or basic stem, the D-stem or transitivizing-denominative verbal stem, the C-stem or causative verbal stem, and the tG-, tD-, and tC-stems, to which a derivational morpheme, t-, was prefixed before the first root consonant. This morpheme has disappeared from all roots save for those possessing a sibilant as their initial radical, such as eṣṭəwɔ ~ eṣṭəwi (meṣṭəwi) ‘to be baptized’ in the G-stem or eštallam ~ eštallam (meštallam) in the C-stem, in which the stop and the sibilant are metathesized. A seventh stem, the Q-stem, is reserved exclusively for those verbs possessing four root consonants.

The collared bush robin is often seen in pairs and also singly. It catches insects by striking from perches, and it also forages for invertebrates on the ground and in low plants. Its calls include tuc notes with pi notes in between, a low grruit, and a combination of piping and grating notes. It sings from a perch, giving a series of phrases each consisting of two or three high-pitched, sibilant notes.

Alliteration is usually distinguished from other types of consonance in poetic analysis, and has different uses and effects. Another special case of consonance is sibilance, the use of several sibilant sounds such as /s/ and /sh/. An example is the verse from Edgar Allan Poe's "The Raven": "And the silken sad uncertain rustling of each purple curtain." (This example also contains assonance around the "ur" sound.) Another example of consonance is the word "sibilance" itself.

There is a non-IPA letter (, plus the curl found in the symbols for alveolo- palatal sibilant fricatives ), used especially in Sinological circles. The alveolo-palatal nasal is commonly described as palatal; it is often unclear whether a language has a true palatal or not. Many languages claimed to have a palatal nasal, such as Portuguese, actually have an alveolo-palatal nasal. This is likely true of several of the languages listed here.

Two years later he sought to live the life of a hermit, and moved out to the island of Croyland, now called Crowland, on St Bartholomew's Day, 699. His early biographer Felix asserts that Guthlac could understand the strimulentes loquelas ("sibilant speech") of British-speaking demons who haunted him there, only because Guthlac had spent some time in exile among Celtic Britons.H. R. Loyn, Anglo-Saxon England and the Norman conquest, 2nd ed., 1991:11.

Proto-Oto-Manguean allowed only open syllables of the structure CV (or ). Syllable initial consonant clusters are very limited, usually only sibilant-CV, CyV, CwV, nasal-CV, ChV, or are allowed. Many modern Oto-Manguean languages keep these restrictions in syllable structure but others, most notably the Oto-Pamean languages, now allow both final clusters and long syllable initial clusters. This example with three initial and three final consonants is from Northern Pame: "their houses".

Interdental realisations of otherwise dental or alveolar consonants may occur as idiosyncrasies or as coarticulatory effects of a neighbouring interdental sound. The most commonly occurring interdental consonants are the non-sibilant fricatives (sibilants may be dental, but do not appear as interdentals). Apparently, interdentals do not contrast with dental consonants within any language. Voiced and voiceless interdental fricatives appear in American English as the initial sounds of words like 'then' and 'thin'.

Chilcotin has vowel flattening and consonant harmony. Consonant harmony (sibilant harmony) is rather common in the Athabaskan language family. Vowel flattening is unique to Chilcotin but is similar to phonological processes in other unrelated Interior Salishan languages spoken in the same area, such as Shuswap, St'át'imcets, and Thompson River Salish (and thus was probably borrowed into Chilcotin). That type of harmony is an areal feature common in this region of North America.

The symbol stands for a voiceless sibilant like the s of English sick, while represents a voiceless interdental fricative like the th of English think. In some cases where the phonemic merger would render words homophonic in Latin America, one member of the pair is frequently replaced by a synonym or derived form—e.g. caza replaced by , or ('to boil'), homophonic with ('to sew'), replaced by . For more on seseo, see González-Bueno.

In Basque, it represents the sound . Castilian Spanish uses the letter to represent (as English in thing), though in other dialects (Latin American, Andalusian) this sound has merged with . Before voiced consonants, the sound is voiced to or , sometimes debbucalized to (as in the surname Guzmán , or ). This is the only context in which can represent a voiced sibilant in Spanish, though also represents (or , depending on the dialect) in this environment.

Coastal Kadazan has adopted many loanwords, particularly from other northern Borneo indigenous languages and also Malay. Kadazan extensively employs the voiced alveolar sibilant fricative /z/ in their native lexicons, a feature found in only a few Austronesian languages. The Tsou and Paiwan languages also have these particular elements, spoken by the Taiwanese aborigines. Another language is Malagasy spoken in the island of Madagascar thousands of miles away off the coast of Africa.

In Russian the same word, formerly often used with negative connotations but not generally offensive, is obsolete. In both languages it was replaced by the neutral (polyak). Another common Russian ethnic slur for Poles is (pshek), an onomatopoeia derived from Polish phonology: prepositions and are quite common, with corresponding to the sound of "sh", and the sibilant-sounding speech (e.g., ("excuse me") transcribed as "psheprasham") has been a target of mockery in Russian culture.

25px Ža (झ़) is the character jha (झ) combined with a nuqta. It is used to transcribe the voiced patalal fricative from Urdu (ژ) and English. Ža (झ़) should not be confused with za (ज़), which is used to denote the voiced alveolar sibilant from Urdu, English, and other languages. Ža (झ़) should also not be confused zha (ॹ), which is used in Devanagari transcriptions of the Avestan letter zhe (𐬲) to denote the voiced post-alveolar fricative .

Almost all verbs have a third person singular present indicative form with the suffix -[e]s. In terms of spelling, it is formed in most cases by adding -s to the verb's base form: run → runs. However if the base form ends in one of the sibilant sounds (, , , , , ) and its spelling does not end in a silent e, then -es is added: buzz → buzzes; catch → catches. Verbs ending in a consonant plus o also typically add -es: veto → vetoes.

Glottalized consonants are written with apostrophe (e.g. tz' for ) and palatal sibilant is written with x. This orthography has been adopted as official by the Otomi Language Academy centered in Ixmiquilpan, Hidalgo and is used on road signs in the Mezquital region and in publications in the Mezquital variety, such as the large 2004 SIL dictionary published by . A slightly modified version is used by Enrique Palancar in his grammar of the San Ildefonso Tultepec variety.

Some authors have instead suggested that the difference lies in tongue shape. Adams describes the northern Iberian sibilant as "retracted". Ladefoged and Maddieson appear to characterize the more common hissing variant as ', and some phoneticians (such as J. Catford) have characterized it as sulcal (which is more or less a synonym of "grooved"), but in both cases, there is some doubt about whether all and only the "hissing" sounds actually have a "grooved" or "sulcal" tongue shape.

Languages with fricatives but no sibilants, however, do occur, such as Ukue in Nigeria, which has only the fricatives . Also, almost all Eastern Polynesian languages have no sibilants but do have the fricatives and/or : Māori, Hawaiian, Tahitian, Rapa Nui, most Cook Islands Māori dialects, Marquesan, and Tuamotuan. Tamil only has the sibilant and fricative in loanwords, and they are frequently replaced by native sounds. The sibilants exist as allophones of and the fricative as an allophone of .

Billboard praised the album featuring "Stewart's cool vocals and exceptionally well-arranged songs that are progressive without being pretentious", whereas Robert Christgau thought Stewart's move from historical themes to the tone of "spy-novels" was an improvement. Peter Reilly, writing for Stereo Review, found Stewart's "hissing sibilant 's's" unintentionally hilarious, especially when combined with the "gloweringly melodramatic" "On the Border". Reilly nonetheless praised the songwriting, "warm, easy atmosphere", and Stewart's guitar skills.Year of the Cat (Al Stewart).

Old English used S alone for both the unvoiced and the voiced sibilant. The Latin sound imported through French was new and was not written with Z but with G or I. The successive changes can be well seen in the double forms from the same original, jealous and zealous. Both of these come from a late Latin ', derived from the imported Greek '. The earlier form is jealous; its initial sound is the , which developed to Modern French .

Shin (also spelled Šin (') or Sheen) is the twenty-first letter of the Semitic abjads, including Phoenician Shin 12px, Hebrew Shin , Aramaic Shin 10 px, Syriac Shin ܫ, and Arabic Shin (in abjadi order, 13th in modern order). Its sound value is a voiceless sibilant, or . The Phoenician letter gave rise to the Greek Sigma () (which in turn gave Latin and Cyrillic С), and the letter Sha in the Glagolitic and Cyrillic scripts (, ). The South Arabian and Ethiopian letter Śawt is also cognate.

The other three Persian loans, , are still considered to fall under the domain of Urdu, and are also used by many Hindi speakers; however, some Hindi speakers assimilate these sounds to respectively. The sibilant is found in loanwords from all sources (Arabic, English, Portuguese, Persian, Sanskrit) and is well-established. The failure to maintain by some Hindi speakers (often non-urban speakers who confuse them with ) is considered nonstandard. Yet these same speakers, having a Sanskritic education, may hyperformally uphold and .

The Pastuso dialect is spoken in the southwest ll of the country. One feature is apicoalveolar , between and , as in northern and central Spain. However, unlike Paisa, speakers typically conserve the "ll"/"y" distinction (the dialect has no yeísmo), and in some areas, the r is pronounced as a voiced apical sibilant. Contrary to the usual tendency in Spanish to weaken or relax the sounds , , and between vowels, Pastuso-speakers tend to tense those sounds with more emphasis than in other dialects.

For 10 July 1675, Hooke notes that Lodwick had discussed the universal character with him and on 28 that he (Hooke) himself had written in the character. The group maintained correspondence until at least 1682.Joseph L. Subbiondo, John Wilkins and 17th-Century British Linguistics, John Benjamins Publishing (1992), 352f. Lodwick's alphabet consists of a system of representing consonants systematically; symbols indicating place of articulation (labial, dental, palatal, velar, sibilant) are modified by indication of the manner of articulation (voiced, voiceless, aspirated, nasal).

The Arabic of Cairo (often called "Egyptian Arabic" or more correctly "Cairene Arabic") is a typical sedentary variety and a de facto standard variety among certain segments of the Arabic-speaking population, due to the dominance of Egyptian media. Watson adds emphatic labials and and emphatic to Cairene Arabic with marginal phonemic status. Cairene has also merged the interdental consonants with the dental plosives (e.g. → , 'three') except in loanwords from Classical Arabic where they are nativized as sibilant fricatives (e.g.

When /w/ occurs in syllable-initial position, many speakers use [ʋ] before vowels other than [o] as in , and [u] as in 五 wu, e.g. . When /ŋ/ occurs before a glide or vowel it is often eliminated along with any following glides so 中央 zhōngyāng is pronounced zhuāng and 公安局 gōng'ānjú as guāngjú. Sibilant initials differ a lot between Standard Chinese and the Beijing dialect. The initials /ts tsʰ s/ are pronounced as [tθ tθʰ θ] in Beijing.

Chinese finals may be analysed as an optional medial glide, a main vowel and an optional coda. Conservative vowel systems, such as those of Gan dialects, have high vowels , and , which also function as medials, mid vowels and , and a low -like vowel. In other dialects, including Mandarin dialects, has merged with , leaving a single mid vowel with a wide range of allophones. Many dialects, particularly in northern and central China, have apical or retroflex vowels, which are syllabic fricatives derived from high vowels following sibilant initials.

In this article, the orthography of Lastra (various, including 1996, 2006) is employed which marks syllabic tone. The low tone is unmarked (a), the high level tone is marked with the acute accent (á), and the rising tone with the caron (ǎ). Nasal vowels are marked with a rightward curving hook (ogonek) at the bottom of the vowel letter: į, ę, ą, ų. The letter c denotes , y denotes , the palatal sibilant is written with the letter š, and the palatal nasal is written ñ.

The voiceless alveolar sibilant affricate is a type of consonantal sound, used in some spoken languages. The sound is transcribed in the International Phonetic Alphabet with or (formerly with or ). The voiceless alveolar affricate occurs in many Indo-European languages, such as German, Kashmiri, Marathi, Pashto, Russian and most other Slavic languages such as Polish and Serbo-Croatian; also, among many others, in Georgian, in Japanese, in Mandarin Chinese, and in Cantonese. Some international auxiliary languages, such as Esperanto, Ido and Interlingua also include this sound.

Bulatova enumerated 14 dialects and 50 sub-dialects within Russia, spread over a wide geographical area ranging from the Yenisei River to Sakhalin. These may be divided into three major groups primarily on the basis of phonology: #Northern (spirant) ##Ilimpeya: Ilimpeya, Agata and Bol'shoi, Porog, Tura, Tutonchany, Dudinka/Khantai ##Yerbogachen: Yerbogachen, Nakanno #Southern (sibilant) ##Hushing ###Sym: Tokma or Upper Nepa, Upper Lena or Kachug, Angara ###Northern Baikal: Northern Baikal, Upper Lena ##Hissing ###Stony Tunguska: Vanavara, Kuyumba, Poligus, Surinda, Taimura or Chirinda, Uchami, Chemdal'sk ###Nepa: Nepa, Kirensk ###Vitim-Nercha/Baunt-Talocha: Baunt, Talocha, Tungukochan, Nercha #Eastern (sibilant-spirant) ##Vitim-Olyokma dialect: Barguzin, Vitim/Kalar, Olyokma, Tungir, Tokko ##Upper Aldan: Aldan, Upper Amur, Amga, Dzheltulak, Timpton, Tommot, Khingan, Chul'man, Chul'man-Gilyui ##Uchur-Zeya: Uchur, Zeya ##Selemdzha-Bureya-Urmi: Selemdzha, Bureya, Urmi ##Ayan-Mai: Ayan, Aim, Mai, Nel'kan, Totti ##Tugur-Chumikan: Tugur, Chumikan ##Sakhalin (no subdialects) Evenks in China also speak several dialects. According to Ethnologue, the Hihue or Hoy dialect is considered the standard; Haila’er, Aoluguya (Olguya), Chenba’erhu (Old Bargu), and Morigele (Mergel) dialects also exist. Ethnologue reports these dialects differ significantly from those in Russia.

Ceceo is a phenomenon found in a few dialects of southern Spain in which and are not distinguished and there is only one coronal fricative phoneme realized as , a sibilant sounding somewhat like , but not identical. Ceceo is found primarily in some varieties of Andalusian Spanish, although Hualde reports that there is some evidence of it in parts of Central America. A publication of the University of Oviedo also notes that ceceo can be found in Argentina and Chile. Other linguists have noticed the use of ceceo in parts of Puerto Rico, Honduras, and Venezuela.

219, A 2016 biography, Charmed Life: The Phenomenal World of Philip Sassoon by Damian Collins provides a great deal of additional information about Sassoon. A summary by The Guardian includes this comment: > Sassoon enjoyed witty gossip, but was never spiteful. He spoke with a > clipped sibilant lisp, and liked to relax in a blue silk smoking jacket with > slippers of zebra hide. He had fickle, moody fascinations with young men > with whom he soon grew bored, but was loyally appreciative of female friends > and kept an inner court of elderly, cultivated, ironical bachelors.

The letter is sometimes used to represent the dental approximant, a similar sound, which no language is known to contrast with a dental non-sibilant fricative, but the approximant is more clearly written with the lowering diacritic: . Very rarely used variant transcriptions of the dental approximant include (retracted ), (advanced ) and (dentalized ). It has been proposed that either a turned ⟨⟩Kenneth S. Olson, Jeff Mielke, Josephine Sanicas-Daguman, Carol Jean Pebley & Hugh J. Paterson III, 'The phonetic status of the (inter)dental approximant', Journal of the International Phonetic Association, Vol. 40, No. 2 (August 2010), p.

As for Europe, there seems to be a great arc where the sound (and/or its unvoiced variant) is present. Most of Mainland Europe lacks the sound. However, some "periphery" languages as Gascon, Welsh, English, Icelandic, Elfdalian, Kven, Northern Sami, Inari Sami, Skolt Sami, Ume Sami, Mari, Greek, Albanian, Sardinian, some dialects of Basque and most speakers of Spanish have the sound in their consonant inventories, as phonemes or allophones. Within Turkic languages, Bashkir and Turkmen have both voiced and voiceless dental non-sibilant fricatives among their consonants.

Bartholomae's law (named after the German Indo-Europeanist Christian Bartholomae) is an early Indo-European (PIE) sound law affecting the Indo- Iranian family. It states that in a cluster of two or more obstruents (stops or the sibilant ), any one of which is a voiced aspirated stop anywhere in the sequence, the whole cluster becomes voiced and aspirated. Thus to the PIE root "learn, become aware of" the participle "enlightened" loses the aspiration of the first stop (Grassmann's law) and with the application of Bartholomae's law and regular vowel changes gives Sanskrit buddha "enlightened".

The change may have originated in the Northeast, where pronunciations such as Jesus have long been heard. Also immigration from Northeastern Brazil and Spanish immigration causes debuccalization of the coda sibilant: mesmo . Many Brazilians assume that is specific to Rio, but in the Northeast, debuccalization has long been a strong and advanced phonological process that may also affect onset sibilants and as well as other consonants, primarily . There are some grammatical characteristics of this sociolect as well, an important one is the mixing of second person pronouns você and tu, even in the same speech.

During the day, Deinacrida connectens remains under rocks and in crevices of scree slopes. They may nestle with other conspecifics during this time. During the night, D. connectens comes out of cover to feed on vegetation. When disturbed, D connectens will either remain motionless or attempt to run away and if they need to defend themselves, they will raise their legs in a threatening posture and produce soft sounds. These sounds have been described as “soft and sibilant, rather like that produced by brushing together the heels of one's palms”.

For more information, see In Czech, the alveolar trill was raised before to become the raised alveolar trill , spelled as in . This is a form of palatalization, and it also occurred in Polish, where it became a simple sibilant fricative (spelled or ) around the 16th century. The pronunciation is considered to be non-standard, and is used only by some older speakers. In Scottish Gaelic raising, compared with modern Irish for example _cos, focal_ are raised to Scottish Gaelic _cas, facal_ meaning respectively ‘word’, and ‘foot’ or ‘leg’.

Kashmiri, as also the other Dardic languages, shows important divergences from the Indo-Aryan mainstream. One is the partial maintenance of the three sibilant consonants s ṣ ś of the Old Indo-Aryan period. For another example, the prefixing form of the number 'two', which is found in Sanskrit as dvi-, has developed into ba-/bi- in most other Indo-Aryan languages, but du- in Kashmiri (preserving the original dental stop d). Seventy-two is dusatath in Kashmiri, bahattar in Hindi-Urdu and Punjabi, and dvisaptati in Sanskrit.

The voiceless alveolo-palatal sibilant affricate is a type of consonantal sound, used in some spoken languages. The symbols in the International Phonetic Alphabet that represent this sound are , , and , and the equivalent X-SAMPA symbols are `t_s\` and `c_s\`, though transcribing the stop component with (`c` in X-SAMPA) is rare. The tie bar may be omitted, yielding or in the IPA and `ts\` or `cs\` in X-SAMPA. Neither nor are a completely narrow transcription of the stop component, which can be narrowly transcribed as (retracted and palatalized ) or (advanced ).

Authors including Chomsky and Halle group and as sibilants. However, they do not have the grooved articulation and high frequencies of other sibilants, and most phoneticians continue to group them together with bilabial , and (inter)dental , as non-sibilant anterior fricatives. For a grouping of sibilants and , the term strident is more common. Some researchers judge to be non-strident in English, based on measurements of its comparative amplitude, but to be strident in other languages (for example, in the African language Ewe, where it contrasts with non-strident ).

Za (ज़) is the character ज with a single dot underneath. It is used in Devanagari transcriptions of Urdu, English, and other languages to denote the voiced alveolar sibilant . Za (ज़) should not be confused with ža (झ़), which is the character jha (झ) combined with a nuqta, and is used to transcribe the voiced post-alveolar fricative from Urdu (ژ) and English. Za (ज़) should also not be confused zha (ॹ), which is used in Devanagari transcriptions of the Avestan letter zhe (𐬲) to denote the voiced post-alveolar fricative .

He worked hard on his pronunciation by repeating phrases designed to cure his problem with the sibilant "s". He was ultimately successful and was eventually able to say: "My impediment is no hindrance". In time, he turned the impediment into an asset and could use it to great effect, as when he called Hitler a "Nar-zee" (rhymes with "khazi"; emphasis on the "z"), rather than a Nazi ("ts"). His first speech as Prime Minister, delivered to the Commons on 13 May was the "blood, toil, tears and sweat" speech.

The voiced dental fricative is a consonant sound used in some spoken languages. It is familiar to English-speakers as the th sound in father. Its symbol in the International Phonetic Alphabet is eth, or and was taken from the Old English and Icelandic letter eth, which could stand for either a voiced or unvoiced (inter)dental non-sibilant fricative. Such fricatives are often called "interdental" because they are often produced with the tongue between the upper and lower teeth (as in Received Pronunciation), and not just against the back of the upper teeth, as they are with other dental consonants.

201–211 or reversed ⟨⟩ be used as a dedicated symbol for the dental approximant, but despite occasional usage, this has not gained general acceptance. The fricative and its unvoiced counterpart are rare phonemes. Almost all languages of Europe and Asia, such as German, French, Persian, Japanese, and Mandarin, lack the sound. Native speakers of languages without the sound often have difficulty enunciating or distinguishing it, and they replace it with a voiced alveolar sibilant , a voiced dental stop or voiced alveolar stop , or a voiced labiodental fricative ; known respectively as th-alveolarization, th-stopping, and th-fronting.

The equivalent X-SAMPA symbols are `J\_+` and `d_-'` or `d_-_j`, respectively. There is also a non-IPA letter ("d" with the curl found in the symbols for alveolo-palatal sibilant fricatives ), used especially in Sinological circles. is a less common sound worldwide than the voiced postalveolar affricate because it is difficult to get the tongue to touch just the hard palate without also touching the back part of the alveolar ridge. It is also common for the symbol to be used to represent a palatalized voiced velar plosive or palato- alveolar/alveolo-palatal affricates, as in Indic languages.

The voiced alveolo-palatal sibilant affricate is a type of consonantal sound, used in some spoken languages. The symbols in the International Phonetic Alphabet that represent this sound are , , and , and the equivalent X-SAMPA symbols are `d_z\` and `J\_z\`, though transcribing the stop component with (`J\` in X-SAMPA) is rare. The tie bar may be omitted, yielding or in the IPA and `dz\` or `J\z\` in X-SAMPA. Neither nor are a completely narrow transcription of the stop component, which can be narrowly transcribed as (retracted and palatalized ), or (both symbols denote an advanced ).

"There's a yellow one and a red one – Kirsty is a redhead and I'm blonde," Ayers has explained. But she adds that there is another, hidden significance in the band’s sibilant name: "Phonetically I love the combination of sisterhood and skin in the name". When Siskin failed to secure a recording contract for their songs, they had to distribute their material themselves and started their own label Siskin Music. According to the Daily Mirror, they caused a "minor stir" by recording Joe Jackson's 1979 hit "It's Different for Girls", putting feminine voices in a context that was previously limited to Jackson’s masculine voice.

Gopher is a fictional gray anthropomorphic bucktoothed gopher with a habit of whistling out his sibilant consonants. He is based on the beaver in Lady and the Tramp. He often accidentally falls into one of the many holes he makes in the forest ground by forgetting to watch where he is going. Gopher first appears in Winnie the Pooh and the Honey Tree and regularly breaks the fourth wall by pointing out that he is "not in the book", although this simply means that he is 'not in the Phone Book', and the purpose of his statement being to get better business.

Graeco-Iberian lead plaque from la Serreta (Alcoi), showing the Iberian form of sampi. Coin of king Kanishka, with the inscription ÞΑΟΝΑΝΟÞΑΟ ΚΑΝΗÞΚΙ ΚΟÞΑΝΟ ("King of Kings, Kanishka the Kushan"), using Bactrian "þ" for š. In the Greco–Iberian alphabet, used during the 4th century BC in eastern Spain to write the Iberian language (a language unrelated to Greek), sampi was adopted along with the rest of the Ionian Greek alphabet, as an alphabetic character to write a second sibilant sound distinct from sigma. It had the shape Ͳ, with three vertical lines of equal length.

All Balto-Slavic languages that use the Latin alphabet, as well as Albanian, Hungarian, Pashto, several Sami languages, Esperanto, Ido, Interlingua, and Americanist phonetic notation (and those aboriginal languages of North America whose practical orthography derives from it) use to represent , the voiceless alveolar or voiceless dental sibilant affricate. In Hanyu Pinyin, the standard romanization of Mandarin Chinese, the letter represents an aspirated version of this sound, . Among non-European languages that have adopted the Latin alphabet, represents a variety of sounds. Yup'ik, Indonesian, Malay, and a number of African languages such as Hausa, Fula, and Manding share the soft Italian value of .

Features could be characterized in different ways: Jakobson and colleagues defined them in acoustic terms, Chomsky and Halle used a predominantly articulatory basis, though retaining some acoustic features, while Ladefoged's system is a purely articulatory system apart from the use of the acoustic term 'sibilant'. In the description of some languages, the term chroneme has been used to indicate contrastive length or duration of phonemes. In languages in which tones are phonemic, the tone phonemes may be called tonemes. Though not all scholars working on such languages use these terms, they are by no means obsolete.

The juvenile resembles the adult female, but young males are more chestnut from an early age, with a trace of a black bib on the chin. In 1898, ornithologist Boyd Alexander reported that adults begin moulting in early February, and some birds were still in moult by late May. The Iago sparrow's vocalisations include calls, varying between the sexes, elaborations of these called 'songs', and an alarm call. Calls are chirps, somewhat similar to those of other sparrows, the usual version made by males described as a "twangy" cheesp or chew-weep, and that of females described as a "more sibilant" chisk.

Siebs proposed this law in the Zeitschrift für vergleichende Sprachforschung auf dem Gebiete der indogermanischen Sprachen, as Anlautstudien (Berlin, 1904, 37: 277–324). Oswald Szemerényi has rejected this rule, explaining that it is untenable and cites the contradiction present in Avestan zdī from PIE "be!" as counterproof (Szemerényi 1999: 144). However, the PIE form is more accurately reconstructed as from (so not an s-mobile) and thus Siebs's law appears to demand that the sibilant and aspirated stop are both adjacent and tautosyllabic, something which is known to only occur in word-initial position in Proto-Indo-European anyway.

Before some consonant clusters, particularly clusters beginning with a sibilant (in the case of z) or with f/w (in the case of w), the prepositions z and w take the form ze and we (e.g. we Wrocławiu "in Wrocław"). These forms are also used before the first-person singular pronouns in mn-; several other prepositions also have longer forms before these pronouns (przeze mnie, pode mną etc.), and these phrases are pronounced as single words, with the stress on the penultimate syllable (the -e). When z is used as a prefix, it is spelt s- if it is part of a voiceless consonant cluster.

There is also a non-IPA letter ("t", plus the curl found in the symbols for alveolo-palatal sibilant fricatives ), used especially in sinological circles. It is common for the phonetic symbol to be used to represent voiceless postalveolar affricate or other similar affricates, for example in the Indic languages. This may be considered appropriate when the place of articulation needs to be specified and the distinction between plosive and affricate is not contrastive. There is also the voiceless post-palatal plosiveInstead of "post-palatal", it can be called "retracted palatal", "backed palatal", "palato-velar", "pre-velar", "advanced velar", "fronted velar" or "front-velar".

The Nahuatl word Mēxihco () was transliterated as "México" using Medieval Spanish orthography, in which the x represented the voiceless postalveolar fricative (, the equivalent of English sh in "shop"), making "México" pronounced as . At the time, Spanish j represented the voiced postalveolar fricative (, like the English s in "vision", or French j today). However, by the end of the fifteenth century j had evolved into a voiceless palato-alveolar sibilant as well, and thus both x and j represented the same sound (). During the sixteenth century this sound evolved into a voiceless velar fricative (, like the ch in Scottish "loch"), and México began to be pronounced .

Daily Mirror critic Gavin Martin commented that the song has Rihanna "stealing not just Beyoncé's bootylicious crown but also her husband Jay-Z for a frisky exchange against sibilant drum cracks." Sputnikmusic's Steve M. felt that it could be a major hit on radio partly because of Jay-Z's guest rap. Reem Buhazza of The National similarly felt that "Talk That Talk", along with "You da One" and "Roc Me Out", is part of "the winning combination of made-for-radio pop sensibility". David Griffiths from 4Music found the song to be compelling and viewed it as another successful collaboration between Rihanna and Jay-Z.

Palatalized postalveolar non-sibilants are usually considered to be alveolo-palatal. Some non-sibilant sounds in some languages are said to be palato-alveolar rather than alveolo-palatal, but in practice, it is unclear if there is any consistent acoustic distinction between the two types of sounds. In phonological descriptions, alveolo-palatal postalveolar non-sibilants are usually not distinguished as such but are considered to be variants of either palatal non-sibilants (such as or of palatalized alveolar non-sibilants (such as ). Even the two types are often not distinguished among nasals and laterals, as almost all languages have only one palatalized/palatal nasal or lateral in their phonemic inventories.

Gopher is a fictional grey anthropomorphic gopher character who first appeared in the 1966 Disney animated film Winnie the Pooh and the Honey Tree. He has a habit of whistling out his sibilant consonants, one of various traits he has in common with the beaver in Lady and the Tramp, by whom he may have been inspired. While he never made appearances in any episodes of Welcome to Pooh Corner, Gopher was fleshed out a bit further in the television series The New Adventures of Winnie the Pooh. He is portrayed as generally hard-working, especially in his tunnels (which he inevitably falls into at least once).

Much of what is known about how the ancient Mayans created and played music comes from the iconography that is preserved in the ceremonial pieces of mural art, or codices. One example is found in the ancient Maya archaeological site of Bonampak, Mexico, where there are walls showing artwork of a group of Mayan warriors playing long trumpets, as portrayed in the Mayan theatrical play Rabinal Achí. Many kinds of instruments were used, but they essentially broke down into two categories, being wind instruments (aerophones) and percussion instruments (idiophones). The wind instrument family consisted of cane and bone flutes, different types of whistles, ocarinas of various designs, and other sibilant vessels.

In an article that appeared on July 1, 1923, Valentino Declares He Isn't a Sheik, she interviewed celebrity actor Rudolph Valentino, referring to him as "Sheik" from his film role. Less thrilled by his looks than his "chief charm", his "low, husky voice with a soft, sibilant accent", she described his face as "swarthy": > His face was swarthy, so brown that his white teeth flashed in startling > contrast to his skin; his eyes—tired, bored, but courteous. Mitchell was quite thrilled when Valentino took her in his arms and carried her inside from the rooftop of the Georgian Terrace Hotel. Many of her stories were vividly descriptive.

The English possessive of French nouns ending in a silent s, x, or z is addressed by various style guides. Certainly a sibilant is pronounced in examples like Descartes's and Dumas's; the question addressed here is whether s needs to be added. Similar examples with x or z: 's main ingredient is truffle; His 's loss went unnoticed; "Verreaux('s) eagle, a large, predominantly black eagle, Aquila verreauxi,..." (OED, entry for "Verreaux", with silent x; see Verreaux's eagle); in each of these some writers might omit the added s. The same principles and residual uncertainties apply with "naturalised" English words, like Illinois and Arkansas.

A telltale indication of an excessive VDO is a patient straining to close his or her lips around the wax rims during VDO determination. Conversely, a deficient VDO will appear as though the patient's mouth has collapsed, and the chin appears too close to the nose; in essence, the patient would be over-closing his or her mouth because there would not be enough wax on the wax rims to maintain the proper vertical dimension of occlusion. In terms of phonetics, certain sounds are made by configuring the mouth in specific ways. The two sounds most commonly used to establish a patient's VDO are sibilant and fricative sounds.

Sampi (modern: ϡ; ancient shapes: Ͳ, Ͳ) is an archaic letter of the Greek alphabet. It was used as an addition to the classical 24-letter alphabet in some eastern Ionic dialects of ancient Greek in the 6th and 5th centuries BC, to denote some type of a sibilant sound, probably or , and was abandoned when the sound disappeared from Greek. It later remained in use as a numeral symbol for 900 in the alphabetic ("Milesian") system of Greek numerals. Its modern shape, which resembles a π inclining to the right with a longish curved cross- stroke, developed during its use as a numeric symbol in minuscule handwriting of the Byzantine era.

Nativity scene, 4th-century Roman Christian sarcophagus Austin Simmons (2010) parses the frame inscription into the following segments: :herh os-sitæþ on hærm-bergæ :agl drigiþ swæ hiri er tae-gi-sgraf :sær-den sorgæ and sefa-tornæ This he translates, "The idol sits far off on the dire hill, suffers abasement in sorrow and heart-rage as the den of pain had ordained for it." Linguistically, the segment os- represents the verbal prefix oþ- assimilated to the following sibilant, while in the b-verse of the second line er "before" is an independent word before a three-member verbal compound, tae-gi-sgraf. The first member tae- is a rare form of the particle- prefix to-.Simmons (2010).

Networking in Purgatory is the third album by Australian folk-rock band Ned Collette + Wirewalker, released in 2014. Writing in The Quietus, reviewer Kate Hennessy praised the album as "very good, even exceptional". She described Collette's voice as "sibilant, astringent and at times vaguely waspish ... a voice that alchemises its flaws into powerful strengths, sitting neither above nor below the mix but slicing through it in both directions, reminiscent of the Brians (Eno and Ferry) and the Davids (Byrne and Bowie)". She noted of its lyrics that Collette's "bitterness runs cold and constant even beneath songs that, sonically, express a kind of genial largesse, a contradiction that is this record's most brilliant aspect".

Martin Baugh was the costume designer for The Ice Warriors and was responsible for the decision to make the Ice Warriors reptilian humanoids. As a costume designer, Baugh preferred to work with new materials, with Piers D Britton and Graham Sleight noting that, in designing the look of the monsters, Baugh crafted the armour from fibreglass. Sleight further comments that the sculpting of this armour is reflective of crocodile skin, suggesting their reptilian nature. Actors like Bernard Bresslaw (who portrayed the Ice Warrior Varga in their first appearance) used a sibilant whisper to demonstrate both the reptilian qualities of the monsters as well as to suggest that the Martian atmosphere is composed differently from that of Earth.

In addition to the usual voiceless fricatives of other American Spanish dialects (, , ), Mexican Spanish also has the palatal sibilant , mostly in words from indigenous languages—especially place names. The , represented orthographically as , is commonly found in words of Nahuatl or Mayan origin, such as Xola (a station in the Mexico City Metro). The spelling can additionally represent the phoneme (also mostly in place names), as in México itself (); or , as in the place name Xochimilco—as well as the sequence (in words of Greco-Latin origin, such as anexar ), which is common to all varieties of Spanish. In many Nahuatl words in which originally represented , the pronunciation has changed to (or )—e.g.

All three subspecies can be distinguished from the similar Nepal house martin by the latter species' black chin, black undertail coverts and much squarer tail. The Asian house martin is more similar to the common house martin, but is darker underneath and has a less deeply forked tail. Confusion is most likely between adult male Asian house martins, which have paler underparts, and the eastern race of common house martin, D. urbicum lagopodum which has a less forked tail than the western subspecies, although it still shows a more pronounced fork than Asian. This species’ song is a rippling metallic trill, and is a sibilant twitter, and call is a dry metallic cheep, often with two or three syllables.

Distinction () refers to the differentiated pronunciation of the two Spanish phonemes written and or (only before or , the so-called "soft" ): # represents a voiceless alveolar sibilant (either laminal as in English, or apical); # and soft represent a voiceless dental fricative (the in think). This pronunciation is the standard on which Spanish orthography was based, and it is universal in Central and Northern parts of Spain, except for some bilingual speakers of Catalan and Basque, according to . Thus, in Spanish the choice between the spellings , , , , and , , , , is determined by the pronunciation in most of Spain, unlike English, where it is often done according to etymology or orthographic conventions (although in English, soft c is always and never like s is, as with 'rise' vs. 'rice').

The phoneme written Л л is pronounced as a voiced alveolar lateral fricative mostly by the Circassians of Kabardino and Cherkessia, but many Kabardians pronounce it as an alveolar lateral approximant in diaspora.Phonetic Structures of Turkish Kabardian (page 3 and 4) The series of labialized alveolar sibilant affricates and fricatives that exist in Adyghe became labiodental consonants in Kabardian, for example the Kabardian words мафӏэ "fire", зэвы "narrow", фыз "wife" and вакъэ "shoe" are pronounced as машӏо , зэжъу , шъуз and цуакъэ in Adyghe. Kabardian has a labialized voiceless velar fricative which correspond to Adyghe , for example the Adyghe word "тфы" ( "five" is тху () in Kabardian. In the Beslenei dialect, there exists an alveolar lateral ejective affricate which corresponds to in literary Kabardian.

The statue of Moses was the source of a satirical joke involving the nearby statue of Pasquino, wherein the Roman statue was said to have tried to talk to the biblical statue, only to be replied with a whistle. When the Pasquino statue asked why he could not talk some mention was made to the sibilant posture of the statue's lips. In this piazza, now thronged with young tourists out on stroll, the whistling and horns may have other sexual connotations, resulting in the joke, that sometimes also includes a sexual reference to the horns on Moses' head as well as his forked beard. Without correlation, the biblical horns of light in traditional Catholic iconography is derived from the Vulgate translation of the Bible.

Although the democratic restoration ended this policy, allowing surnames to be officially changed into their Basque phonology, there still are many people who hold Spanish-written Basque surnames, even in the same family: a father born before 1978 would be surnamed "Echepare" and his children, "Etxepare". This policy even changed the usual pronunciation of some Basque surnames. For instance, in Basque, the letter "z" maintained a sibilant "s"-like sound, while Spanish changed it; thus, a surname such as "Zabala" should be properly read similar to "sabala" (), although in Spanish, because the "z" denotes a "th" sound (), it would be read as "Tha-bala" (). However, since the letter "z" exists in Spanish, the registries did not force the Zabalas to transliterate their surname.

A more conspicuous feature of Ormandy's disc was that its soloists' and chorus's contributions were sung in German translations of William Shakespeare's verse rather than, as was customary, in the playwright's own, English words. This was historically correct: Mendelssohn had composed his music for a staging of A Midsummer Night's Dream in Berlin, and had set his music to a text translated into German by Schlegel and Tieck. Moreover, performing his score in English necessitated altering his notes, repeatedly changing a pair of quavers into a quaver followed by two semi-quavers. However, Greenfield felt that he "would certainly prefer English every time, if only because the sibilant German consonants make the fairies sound as though they are taken with little sneezes".

However, not all linguists agree on this; the French orientalist André Roman supposes that the letter was actually a voiced emphatic alveolo-palatal sibilant , similar to the Polish ź. This is an extremely unusual sound, and led the early Arabic grammarians to describe Arabic as the lughat aḍ-ḍād "the language of the ḍād", since the sound was thought to be unique to Arabic. The emphatic lateral nature of this sound is possibly inherited from Proto-Semitic, and is compared to a phoneme in South Semitic languages such as Mehri (where it is usually an ejective lateral fricative). The corresponding letter in the South Arabian alphabet is ḍ , and in Ge'ez alphabet ' ፀ), although in Ge'ez it merged early on with .

Sibiliant sounds are made by allowing the maxillary incisors to nearly touch the mandibular incisors, while fricative sounds are made by allowing the maxillary incisors to touch the slightly inverted lower lip at the wet-dry line. By having the patient count upwards from fifty and then upwards from sixty, the dentist can watch and listen to the patient attempting to make first fricative and then sibilant sounds and adjust the wax rims accordingly. A common trick is to ask the patient to say the name "Emma," as the position of the mandible immediately after completing the word is a rough estimate of the patient's proper VDO. The position after saying "Emma" is referred to as the vertical dimension at rest, or VDR.

Empirically, and not by any formula, the bass end of the audio spectrum below 100 Hz could be boosted somewhat to override system hum and turntable rumble noises. Likewise at the treble end beginning at 1,000 Hz, if audio frequencies were boosted by 16 dB at 10,000 Hz the delicate sibilant sounds of speech and high overtones of musical instruments could be heard despite the high background noise of shellac discs. When the record was played back using a complementary inverse curve (de-emphasis), signal-to-noise ratio was improved and the programming sounded more lifelike. In a related area, around 1940 treble pre-emphasis similar to that used in the NBC Orthacoustic recording curve was first employed by Edwin Howard Armstrong in his system of frequency modulation (FM) radio broadcasting.

The most frequent character with cedilla is "ç" ("c" with cedilla, as in façade). It was first used for the sound of the voiceless alveolar affricate in old Spanish and stems from the Visigothic form of the letter "z" (ꝣ), whose upper loop was lengthened and reinterpreted as a "c", whereas its lower loop became the diminished appendage, the cedilla. It represents the "soft" sound , the voiceless alveolar sibilant, where a "c" would normally represent the "hard" sound (before "a", "o", "u", or at the end of a word) in English and in certain Romance languages such as Catalan, Galician, French (where ç appears in the name of the language itself, '), Ligurian, Occitan, and Portuguese. In Occitan, Friulian and Catalan ç can also be found at the beginning of a word (', ') or at the end (').

As an alphabetic letter denoting a sibilant sound, sampi (shaped Ͳ) was mostly used between the middle of the 6th and the middle of the 5th centuries BC, although some attestations have been dated as early as the 7th century BC. It has been attested in the cities of Miletus, Ephesos, Halikarnassos, Erythrae, Teos (all situated in the region of Ionia in Asia Minor), in the island of Samos, in the Ionian colony of Massilia, and in Kyzikos (situated farther north in Asia Minor, in the region of Mysia). In addition, in the city of Pontic Mesembria, on the Black Sea coast of Thrace, it was used on coins, which were marked with the abbreviation of the city's name, spelled "". Sampi occurs in positions where other dialects, including written Ionic, normally have double sigma (), i.e. a long sound.

The earliest sketch for the Second Hour of Klang is headed with the title Galaxien (Galaxies), and has a later alternative suggestion of Kreuz-Klang-Rätsel (Cross-Klang-Puzzle) (Stockhausen 2007a, 5). When Stockhausen received a commission from Don Luigi Garbini of the Milan Cathedral for the work, to be premiered for Pentecost 2006, he provisionally titled the work Pentecost, and chose as text the Pentecost hymn "Veni Creator Spiritus", to be sung in Latin by the two harpists as they play. Following the 24 verses of the Latin hymn, the work is composed, like the First Hour, in 24 moments, and the title was changed to Freude, because this was the fundamental feeling Stockhausen had about the composition (Stockhausen 2007a, 3). The text setting is sometimes syllabic, sibilant, employs speech-song, and in places evokes plainchant and early polyphony.

For a long time, it was known as a trait of the Andalusian dialect, and it seems to have reached Madrid and other cities of central and northern Spain only in the last 100 years or so. Since more than half of the early settlers of Spanish America came from Andalusia, most Spanish-speaking regions of the Americas have yeísmo, but there are pockets in which the sounds are still distinguished. Native-speakers of neighboring languages, such as Galician, Astur-Leonese, Basque, Aragonese, Occitan and Catalan, usually do not feature yeísmo in their Spanish since those languages retain the phoneme. A related trait that has also been documented sporadically for several hundred years is rehilamiento (literally "whizzing"), the pronunciation of as a sibilant fricative or even an affricate , which is common among non-native Spanish speakers as well.

This same phoneme is rendered as by many authors, including Canfield and Lipski, using the convention of the Revista de Filología Española. That phoneme, in most variants of Mexican Spanish, is pronounced as either a palatal fricative or an approximant in most cases, although after a pause it is instead realized as an affricate . Also present in most of the interior of Mexico is the preservation (absence of debuccalization) of syllable-final ; this, combined with frequent unstressed vowel reduction, gives the sibilant a special prominence. This situation contrasts with that in the coastal areas, on both the Pacific and the Gulf Coastal sides, where the weakening or debuccalization of syllable-final is a sociolinguistic marker, reflecting the tension between the Mexico City norm and the historical tendency towards consonantal weakening characteristic of coastal areas in Spanish America.

Taruskin (1993: pp. xxviii, xxx) The addition of the "g" and the accompanying shift in stress to the second syllable (i.e., Mu-SÓRK- skiy), sometimes described as a Polish variant, was supported by Filaret Mussorgsky's descendants until his line ended in the 20th century. Their example was followed by many influential Russians, such as Fyodor Shalyapin, Nikolay Golovanov, and Tikhon Khrennikov, who, perhaps dismayed that the great composer's name was "reminiscent of garbage", supported the erroneous second- syllable stress that has also become entrenched in the West.Taruskin (1993: pp. xxvii–xxxi) The Western convention of doubling the first "s", which is not observed in scholarly literature (e.g., The Grove Dictionary of Music and Musicians), likely arose because in many Western European languages a single intervocalic /s/ often becomes voiced to /z/ (as in "music"), unlike in Slavic languages where the intervocalic /s/ is always unvoiced. Doubling the consonant thus reinforces its voiceless sibilant /s/ sound.

These are thought to aid in anti- reflective camouflage, anti-wetting and self-cleaning. The male call can be heard at any time of day and consists of an unusual hissing-type sound, starting as a series of one-second sibilant bursts about a second apart repeated more rapidly until they become a constant hiss lasting 7–10 s. Described as "rp, rp, rp, rp, rrrrrp", the sound is produced when single muscular contractions click the tymbal inward, buckling 7–9 of the tymbal ribs, each of which produces a pulse. This occurs alternately on the two tymbals and is rapidly repeated at a frequency of about 143 Hz (in groups of four except when the cicada is in distress – when they are ungrouped and at a lower frequency), giving a pulse repetition frequency of around 1050 per second, with a relatively broad sound frequency range of 7.5–10.5 kHz, that has a dominant frequency (at which the peak energy is observed) of 9.5–9.6 kHz.