0 a piece of music at the end of a longer piece of music, usually separate from the basic structure:
The coda is often more technically difficult than the rest of the piece.
In a coda to the main exhibition are various works that were once attributed to Rembrandt.
As will be argued below, stress facilitates the occurrence of voiced codas.
The former states that legal syllable onsets and codas are restricted to those phonotactically possible at word-initial or word-final positions.
However, such implications normally involve onsets versus codas, grouping all parameters involved in a segments' production as a monolithic whole.
In sum, target voiceless obstruents in codas never overgeneralized to become voiced, and target voiced obstruents in onsets never overgeneralized to become voiceless.
Conversely, target voiceless obstruents were produced incorrectly as voiced in onsets, but were produced correctly in codas.
The correct generalization is that palatalization is preserved in onsets but lost in codas.
Such constraints allow word- and phrase-final positions to impose specific conditions which differ from those regarding word-internal codas.
We investigate children's acquisition of simple versus complex nuclei, children's acquisition of codas and the relationship between the two in early phonological development.
