But there might also be as many
unaccented syllables as the poet liked.
And the unworried,
unaccented voice of her father went on tormenting her.
You need to speak
unaccented American English fluently.
Wong's real-life father was born and raised in San Francisco, and he does not speak with an accent, nor does Park's on-screen father, a tiny but radical detail -- a grey-haired Asian-American who speaks
unaccented English -- that almost imperceptibly calls out decades of Hollywood depictions.
The sound texture is richly patterned throughout: the light i sounds of "pig," "tits," "id rips," "lipid," "syntax," and "winged" chiming with the repeated preposition "in," and the
unaccented syllable of "Muslim." This is threaded against a pervasive interest in the o sound, long and short, which gathers full steam in "corticosteroidal" and "O common," and reaches a climax in "foxholes." The rhythm, beginning with those virtual back-to-back primus paeons, is tersely beaten against an underlying shift from trochaic to iambic feet, but constantly wrong-footing itself and jarring against all expectation.
Ohashi sought to have his young client questioned in court, where his
unaccented Japanese could be heard by a judge.
From an interpretive standpoint, whichever option is chosen, it is essential for the singer to adhere to a suave,
unaccented legato through the changes of vowel color, to avoid drawing undue attention to the vowel changes, especially on the repeated Gs.
Indeed, in Sala's partimenti, the dominant seventh always appears either with preparation (typically beginning a cadenza doppia) or as an
unaccented transitus (passing tone), though Sala does make use of the unprepared diminished fifth on the seventh scale degree.
For one thing, the verb gives full value to the letter U, while the adjective treats it as a 'throwaway' sound, or shwa, like so many
unaccented vowels in English.
He even speaks in fluent,
unaccented Tagalog to bring home the point.
diphthongs perhaps reduced only in
unaccented syllables (p.
Having eschewed rhyme as inappropriate to Homer, Newman "found an unpleasant void" at the end of each line, which he then filled by adding "a double-ending to the verse, i.e., one (
unaccented) syllable more than our Common Metre allows." (6) The result was a series of unrhymed verse-paragraphs, made of long lines of fifteen syllables and seven stresses, with a strong caesura in the middle, marked by the gap in the line.