Sentence examples for in free variation from inspiring English sources

To return to the example used above: [p] and [ph], though they do not contrast, are not in free variation either.

Phones that can occur and do not contrast in the same context are said to be in free variation in that context, and, as has been shown, there is a permissible range of variation for the phonetic realization of all phonemes.

Based on the claim, [D] and [L] are considered to be in free variation, and one would expect the preference for rounded environments that was found in [L] to also apply to [D].

Some claimed that they are in free variation before /i j/ and are in direct competition with each other (Chen 陳淑娟 1995; Chen 陳雅玲 2010, 2012; Khng 康韶真 2014), while others argued that they are in complementary distribution (Lin 林珠彩 1995), with being the sole realization before /i j/ and [l] being the sole realization before /u w/.

For example, many begin or end, or both, with glyph 62 (an arm ending in a circle: ) or with a ligature where glyph 62 replaces the arm or wing of a figure (see the ligature image under Kudrjavtsev et al).. Contrasting these phrases allowed Pozdniakov to determine that some glyphs occur in apparent free variation both in isolation and as components of ligatures.

But the two most important new directions for variation in the Classical-Romantic period were, first, toward what might be best called "ensemble variation," variations utilized as one movement in a multimovement chamber or orchestral work; and second, toward free variation, in which the theme is handled in a much freer manner than before.

More important than free variation in the same context, however, is systematically determined variation according to the context in which a given phoneme occurs.

The young Cuban has been in an exchange program in Turin, Italy, and his "free variation" was choreographed by Carla Perotti of Turin.

This work, 'Le Festin d'Alkan', encapsulates my aesthetic conviction that free composition, free transcription and free variation (the forms of my three movements in order of performance) are all essentially the same thing.

It starts with an aria whose descending bass line becomes the harmonic source for the variations, 30 variations total, in sets of three: a variation for crossing hands (originally to be played on a harpsichord with two keyboards); a free variation, meaning a siciliana, a fugue, a French overture or an accompanied solo; and a canon.

If a transcription is free enough it becomes both free variations and free composition".