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In the Japanese language, aizuchi (Japanese: 相槌 or あいづち, IPA:) are interjections during a conversation that indicate the listener is paying attention or understands the speaker (backchanneling). In linguistic terms, these are a form of phatic expression. Aizuchi are considered reassuring to the speaker, indicating that the listener ...
Japanese wordplay relies on the nuances of the Japanese language and Japanese script for humorous effect, functioning somewhat like a cross between a pun and a spoonerism. Double entendres have a rich history in Japanese entertainment (such as in kakekotoba ) [ 1 ] due to the language's large number of homographs (different meanings for a given ...
The EP sparked renewed interest in Japanese house music, especially Yokota and Terada's works. [26] In 2015, Dutch label Rush Hour reached out to Terada if he wanted to release a compilation album of his work, to which he agreed. [27] They released a compilation album called Sounds from the Far East, which was compiled by German-born Korean DJ ...
Japanese vowels are sometimes phonetically voiceless. There is no phonemic contrast between voiced and voiceless versions of a vowel, but the use of voiceless vowels is often described as an obligatory feature of standard Tokyo Japanese, in that it sounds unnatural to use a voiced vowel in positions where devoicing is usual. [199]
Rendaku (連濁, Japanese pronunciation:, lit. ' sequential voicing ') is a phenomenon affecting the pronunciation of compound words in Japanese.When rendaku occurs, a voiceless consonant (such as /t k s h/) is replaced with a voiced consonant (such as /d ɡ z b/) at the start of the second (or later) part of the compound.
View a machine-translated version of the Japanese article. Machine translation, like DeepL or Google Translate , is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
The 100 Soundscapes of Japan (日本の音風景100選) are a number of noises selected by the Ministry of the Environment as particularly representative of the country. They were chosen in 1996, as part of government efforts to combat noise pollution and to protect and promote protection of the environment.
The reviewers felt the lyrics were particularly Sheena-like, praising the "bewitchingly sung funk beat", Ukigumo's chorus work, and how the song ended perfectly in three minutes. [24] Yoshiki Aoyuki of Listenmusic praised the song as being stimulating and radical, describing it as a "sensuous and stoic upper funk tune", and noting how will it ...