From 1810 to 1830, Viennese piano construction evolved in an attempt to combine the special sonority of Viennese instruments with new advances in technology. One important factor was the possibility of varying the sound between full and reduced or dampened action. A particularly striking change of sound could be produced by the soft or una corda pedal, which shifted the hammer rail so that the hammers struck only one rather than the standard three strings of a triple-strung piano. Although detailed knowledge of which composers wrote which works for which instrument is lacking, hypotheses can be advanced regarding the influence of the action of certain instruments on compositional style. A comparison of works by two composers from different generations – one earlier (Beethoven) and another later (Mendelssohn, who had a predilection for Viennese instruments in his youth) – sheds light on several peculiarities of Schubert’s piano music. Beethoven’s late works and Schubert’s works of the 1820s both exploit this potential in order to coordinate sonority and structure. However, the two composers differ in one key respect: Beethoven tended to use the sonic contrasts he exploited (and meticulously notated) to articulate the work’s architecture, whereas Schubert used them to refine atmosphere and mood.

This chapter presents an understanding of compositional practice based fundamentally on sound and space, and looks at a range of case studies that explore the harmonic, timbral, and material consequences of this approach. The chapter concludes by arguing that the variety of approaches discussed succeed because the concern with sound permeates every stage of compositional thinking and does not just manifest in specific compositional techniques.

In this chapter, we move from discussing English segmentals – individual consonant and vowel sounds – to suprasegmentals, the units of sound above the level of the segment. This includes stress, pitch, and tone, and extends above individual vowel and consonants to syllables, words, phrases, and sentences. At the core of our discussion of suprasegmentals is the syllable, which can be defined as a unit of organization for sound sequences. Every word is made up of minimally one syllable; in some languages, including English, words often contain multiple syllables.

We begin the chapter by examining what we mean by 'syllable', and the components of a syllable, including the onset, nucleus, and coda. We then examine syllable inventories cross-linguistically, with a special focus on the languages that influence varieties of English. An overview of English syllable structure is then provided, with a focus on how syllable structure varies across varieties. In the final section of the chapter, you will be guided through exercises designed to check your understanding of the content of the chapter and to analyse your own English syllable inventory.

We describe the syllable structure phenomena in modern Germanic languages, mostly in their standardized form – Afrikaans, Danish, Dutch, English, Faroese, Frisian, German, Icelandic, Norwegian, Swedish. The chapter concentrates on consonant cluster phonotactics at various positions in the word and compares the possibilities that languages have in these positions. It turns out that Germanic languages are extremely similar and all seem to use the same basic template with some minor variation.

There are numerous differences between signed and spoken languages due to the different communication modalities they use, but which ones actually matter for phonology? In this chapter, a range of differences will be laid out: environmental ones, those that depend on the signal, and those related to phonetic and phonological forms. Through the course of this discussion we will see that, despite the major differences between the visual-gestural and auditory-vocal systems used in the two types of languages, many of the same abstract mechanisms are employed by signed and spoken languages.