Stylistic studies look at the literary text as a homogeneous and coherent unit that we cannot isolate its parts from each other. In this study, Surah Yunus has been studied in terms of its phonetics aspect, which is one of the most important issues in stylistic studies. This study aims at revealing the relationship between sound and meaning in this Surah and the extent of the cohesion and harmony between these sounds and their implications. This study was based on the statistical method in the distribution and analysis of the voices in the Surah. In this research, it was discovered that, in the Quran, the voices have been amazingly used. So, you can guess the meaning by the type of voices which is used in the verses. And it was found that this Surah has unity in terms of rhythm, and tends to present loud sounds. It was also repeated with a large number of clear voices such as soft and accent voices. This is common in the Arabic speech. In fact, the Surah has followed in this field of Arabic language structure. This rhythm in the Surah presents almost smooth and flexible rhythm, which is rarely seen its tones goes up or down except when necessary. The voices came in harmony with the content and purpose of the verses, so that their voices cannot be replaced by others, and the verse remains as it is a sign of significance and beauty.

In the field of phonetics of French as a foreign language, studies have been conducted in recent decades, among which French phonetics can be considered as the first book for Iranian students in undergraduate and postgraduate of French as a foreign language. In this paper, using a methodological analysis, based on the position and the role of phonetic ability in the communicative-actional approaches and the methods of phonetics in the teaching of foreign languages, we tried to evaluate the French phonetics with respect to the goals and needs of French language teaching. The results showed that the book’ s educational approach is a combination of articulatory and descriptive phonetics which only focuses on phonetic foreign language teaching (Parisian French pronunciation), regardless of the diversity of Iranian students’ first language. Considering the scientific developments in the field of foreign language teaching, linguistics, and in particular phonetics (such as verbo-tonal method and acoustic phonetics based on the use of technology), this textbook, even in the eighth edition, has failed to keep pace with the current trends in the field and could not fulfill the needs of French language teaching and learning in the context of Iran.

The aim of this article is to criticize the bilingual Persian-English phonetics and Phonology Dictionary written by Golnaz Modarresi Ghavami which has been published by Nashre Elmi in 2015. This work almost satisfies the needs of its users in acquaintance with Western theories in phonetics and Phonology; however, it does not thoroughly follows the main principles of Lexicography in macro-structure and micro-structure. The method of data collection is traditional and the author has not used Corpus-based methods. In some cases such as the lack of pronunciation and phonetic symbols, general information of entries, explanatory information, in-text citations, giving examples, writing and editing principles, this work requires revision and improvement. Moreover, it is necessary that the author consider new and up-to-date resources as well. If the author tried to include Islamic terminology of phonetics and Phonology in next editions, this dictionary will become a much more comprehensive resource in these two fields.

This article addresses the phonetic interpretations of glottal consonants across various phonological positions through an experimental approach. The first section of the article reviews theories suggested concerning the phonemic status of the glottal stop in Persian over the past few decates. The second section provides experiments conducted by the author to evaluate the accuracy of existing theories and suggestions in relation with the phonological behaviour of glottal consonants in different phonetic contexts.

The present paper introduces forensic phonetics and some of its common applications. Forensic phonetics is the use of phonetics for legal purposes, and the extension of phonetic research to investigations relevant to legal situations. Some common applications of forensic phonetics are: speaker identification; dialect, accent and language identification; and transcription.

Quran has a unique style in terms of rhyme of expressions and an excellent method regarding the words combination. Arabs were not familiar with such style and rhyme before the descent of the Quran despite the fact that they were proficient rhetoric and oration. This style was strange for them. We can analyze the Quranic miracles from different perspectives. One the miracles is its literature and expression and includes different dimensions of structural and exterior aspects of the words. Undoubtedly the Quranic rhyme and music are because of some of the linguistic variables such as rhyme.This study has analyzed rhyme in Nabaa sursh and its phonetic levels were analyzed statisticly. It was found that the change in themes of the verses, resulted in the change of the letters on rhyme. And the change of style of addressing the phonemic aspect changed the patent to stiff.

AbstractThis research aims to improve speech synthesis in Persian and investigate the pitch contour fall between two H* peaks carried out in the framework of the Autosegmental Metrical (AM) theory of intonational phonology. In this paper, we tested two main hypotheses. Firstly, the F0 falls through phonetic interpolation and, secondly, it involves tone spreading. The present paper argues that the first hypothesis is proven to be correct. The data for the present research includes 45 enclitic phrases that were produced using voiced consonants between the two peaks. It means that in the course of producing each phrase, it was taken into consideration that all of the consonants placed between the two peaks would be deliberately and certainly voiced. This is mainly because if the consonants were not voiced, the data analysis results would be affected in Praat. It has to be noted that the distance between the two H* was increased by adding zero to two unstressed syllables. Totally, we recorded 1350 utterances from 30 native Persian speakers. We employed Praat software so as to analyse the utterances. Besides, we utilized SPSS for further analysis. The results of acoustic and statistical analyses showed that the distance between the first peak and the following F0 valley is increased with the addition of the unstressed syllables, demonstrating the alignment of this valley with the beginning of the stressed syllable. Results of statistical analyses revealed that the distance between the H and the following L target is increased significantly with the addition of the unstressed syllables. Furthermore, the normalized pitch contour was computed for all data. This indicates that the fall of the pitch contour between the two H peaks is realized through phonetic interpolation.Keywords: Speech Synthesis, Phonetic Interpolation, Tone Spreading, Autosegmental Metrical theory (AM), Pitch Accent IntroductionText-to-speech technology can be used in many different ways such as allowing blind or visually impaired people to read texts. It also assists people with speech impairments to establish verbal communication and/or receive information from a text through listening. Speech intonation and the prosodic structure play a pivotal role in the process of synthetic speech production. The aim of this research is to investigate the pattern of the F0 declination between the H* and L+H* tonal targets in the Persian language. Being systematic, this declination is possible to predict F0 in the same tonal environments and use these predictions in the process of synthetic speech production of Persian phrases.The current research is carried out employing Autosegmental Metrical (AM) theory of intonational phonology. According to Autosegmental Metrical theory, H and L tones are regarded as abstract phonological elements. The occurrence of a L* pitch accent in a word stands for the fact that its stressed syllable is produced with a low tone and the occurrence of a H* pitch accent means that a stressed syllable with a high tone is produced. In bitonal pitch accents, the starred tone is aligned with the stressed syllable and the un-starred tone appears immediately before or after the starred one (Sadeghi, 2018). The difference between the monotonal H* accent and the bitonal L*+H accent can be shown in terms of the placement of the F0 peak and valley. In the H* accent, the F0 peak is placed on the stressed syllable. In the L*+H accent, the F0 valley is placed on the stressed syllable and the F0 peak occurs slightly after it. The pitch accent in Persian is defined as a bitonal L+H* pitch accent (Mahjani, 2003; Sadat-Tehrani, 2009). This is the consecutive combination of low and high tones. It is to note that both are aligned with the stressed syllable.This research seeks to determine the type of the F0 declination, which can happen gradually or sharply. The gradual fall of F0 is due to phonetic interpolation. This is while the sudden and sharp decline in F0 is because of tone spreading. Given these considerations, two main hypotheses of this research run as follows: Firstly, the first H peak is interpolated to the L target. Secondly, the first H falls until the beginning of the second word in the phrase since the L in the second pitch accent spreads itself to the begnning of the second word. Materials and MethodsThe data for this research comes from phrases that are featured with two pitch accents (H* L+H*). Thus, 45 enclitic phrases were produced based on this pattern, using voiced consonants between the two peaks, and the distance between the two H* was increased by adding zero to two unstressed syllables. In order to collect these utterances, thirty native Persian speakers, including 15 male and 15 female speakers, took part in our project. Below are examples of each group of data:(a) [ʔɑ.be rud] ɟelɑlud bud    1st word   2nd word  (b) tʃand mɑh piʃ dar [maziɢe.je mɑ.li] budand                                       1st word        2nd word      (c) ʔaz [mahal.le.je ɢa.di.mi] rafte budand                    1st word        2nd word       We employed Praat and ProsodyPro software for analysing so as to calculate the distances between the tonal targets. Using SPSS, we carried out other tests with the obtained data in the previous step. These tests included ANOVA and post-hoc tests and the correlation between each group of data.According to the data analysis, the L tone is commonly placed before the beginning of the stressed syllable. That is to say, the more the distance between the H tone in the first word and the stressed syllable, the more the L tone’s distance becomes. This finding supports the first hypothesis pointing to the phonetic interpolation between the two tonal targets. In order to inspect the overall changes in the pitch contour, the normalized pitch contour was also computed for all the research data. Discussion of Results and ConclusionsThe results of analysing data confirm the validity of the phonetic interpolation hypothesis, according to which the L tone, being placed on the stressed syllable of the word, is where the F0 downtrend from the first H tone ends. To put it differently, the H tone in the first word and the L tone in the second word are interpolated to each other through a steady fall. Therefore, the F0 slope is distinct from the two tones. This distinction depends on the distance between the first H and the L tone. All the conducted tests in this research indicate that the L tone is aligned with the beginning of the stressed syllable, confirming that the F0 fall is realized through phonetic interpolation. As a result of the F0 fall between the first peak and the valley, the pitch contour’s slope depends on the placement of the stressed syllable or the L tone.The findings of this research can be used for synthetic speech production in Persian and in the prosodic pattern determination step of the text-to-speech systems. Predicting the precise changes in the F0 in the produced prosodic structure will result in a more natural production of the synthetic speech which will, in turn, enhance the functionality of the text-to-speech systems.

Introduction: Word selection and combinatorial structure derive from Formalist theory, where poetic form constitutes a system of associations. In Formalism, poetic art prioritizes structure and form, with the artist's role being to create forms and interpretive possibilities based on lexical approaches that engage the audience's perception. This article examines the use of obscure words/phrases or lexemes with secondary meanings in selected ghazals from the Divan-e Shams. The significance of this topic and lack of prior research heighten its necessity. Repetition, sonic aesthetics—especially of complex words—based on Formalist theory form this study's foundation. We address how suprasegmental phonemes and obscure lexemes create meaning through logical connections in discourse structure, explaining the rhythmic elements of semantic association. Research questions: What role do Rumi's self-invented phonemes, morphemes, and phrases play in energizing his ghazals? What literary-logical justification exists for such constructions? Research Method This study analyzes obscure lexemes in Divan-e Shams ghazals ending with " ی".   Emphasis falls on musicality and lexical repetition, as sonic prominence elevates language from ordinary state to captivating rhythms, arousing emotions. Ecstatic states and overwhelming emotions cause—amidst absence of rational/empirical awareness—the unconscious mind's contents to surge into consciousness, creating emotional and semantic clusters. Thus, through Formalist analysis of these ghazals, we investigate how musicality of obscure words/phrases generates meaning. Discussion To discuss and examine the subject, the article is organized into four sections: morphemes with the titles of sound components (sound, sound noun, conjugated or suffixed uses, subjects or omissions), words with titles (simple words, dual and triple words, repetition for specific meanings), phrases and sentences with a subset of rhyme and row (heterogeneous and non-consonant rows, innovative sound rows) and complete repetition, etanin and afa'il and avarad and azkar khanqahih, and literary evidence from the aforementioned ghazals has been provided. Conclusion Obscure phrases often surpass explicit lexemes in semantic association. Sound units like "vogh vogh", "ʿaf ʿaf", "qū qū", and meaningless syllables (e. g., "qīqī") beyond rhyme/refrain are used liberally by Rumi. Deviations include: Atānīn/afāʿīl metrical patterns, Phrasal repetitions, Extended unconventional refrains, Invented phrases (e. g., "daqqā daqqqā daq daqqqā. . . ")These stem from spiritual ecstasy (ghalyān-e rūḥī) and inner fervor.

It seems that ‘, Iranians and History of phonetics’,written by Seyyed Mehdi Samaei is the only book whose primary purpose is to give a short history of Iranian scientists’,phonetic studies and to introduce their achievements. Phonetic studies from the sixth BC to the fifteenth century AD in Greek, Rome, India, and Islamic states are the topics covered in this book. In this article, an attempt has been made to introduce and review the mentioned work in detail. After introducing the chapters and sections of this book, the formal aspects have been discussed,issues such as the author's style, references, bibliographic information, and phonetic transcription. In the detailed content analysis and criticism of this work, each chapter has been discussed separately according to its subject and purpose. it is concluded that this work should be considered just as some references to the history of linguistics sources and a collection and summary of some old sources in the field of phonetic studies in Islamic states, which critically need to be described and elaborated in current linguistic terms.

Teaching/learning French nasal vowels are one of the problems encountered by Iranian teachers and students in institutes and universities. The problems arise due to the fact that there are no approximate phonetic analogues for those vowels in Persian. In the present study, the acoustic phonetics is used. It is a method based on acoustic analysis using speech analysis and phonetics software. In recent years, voice analysis software’s have made it possible to identify phonetic errors with precision. The research objective is to identify French nasal vowels errors by Iranian students and analyze inter-phoneme-phonetic data. The population under study consists 8 students of the French language at University of Isfahan during the first semester 2015-16. Student’s oral productions have been analyzed by using analysis software with regard to structural physical parameters of F1, F2 and F3.As the results of the present study demonstrate, students in the production of French nasal vowels (CVn) are in trouble due to the absence of such vowels in the native language. The process of “unpacking nasal vowels” and “nasalizing the oral vowels” are evident due to the impact of native language. Therefore, the frequency of phonetic errors, French nasal vowels, has a meaningful relationship with the French nasal vowels characteristics and phonetic structure of the students’ native language.