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Phonaesthetics (also spelled phonesthetics in North America) is the study of beauty and pleasantness associated with the sounds of certain words or parts of words. The term was first used, perhaps by J. R. R. Tolkien in this sense, during the mid-twentieth century, deriving from the Greek: ?ph?n?, "voice-sound" plus Greek: aisth?tik?, "aesthetic". Speech sounds have many aesthetic qualities, some of which are subjectively regarded as euphonious (pleasing) or cacophonous (displeasing).
More broadly, phonaesthetics refers to the study of "phonaesthesia": sound symbolism. For instance, the British linguist David Crystal, who has compiled research on popular perceptions of beautiful-sounding English words, regards phonaesthetics as the "study of aesthetic properties of sounds, especially the sound symbolism attributable to individual sounds". An example is that English speakers tend to make an association of unpleasantness with the sound sl- in such words as sleazy, slime, slug, and slush, or an association of formless repetition with -tter in such words as chatter, glitter, flutter, and shatter. 
Phonaesthetics remains a budding and often subjective field of study, with no formally established definition; today, it mostly exists as a marginal branch of psychology, phonetics, or poetics.
Euphony and cacophony
Euphony is the effect of sounds being perceived as pleasant, rhythmical, lyrical, or harmonious. Cacophony is the effect of sounds being perceived as harsh, unpleasant, chaotic, and often discordant; these sounds are perhaps meaningless and jumbled together. In poetry, for example, euphony may be used deliberately to convey comfort, peace, or serenity, while cacophony may be used to convey discomfort, pain, or disorder. This is often furthered by the combined effect of the meaning beyond just the sounds themselves.
The California Federation of Chaparral Poets, Inc. uses Emily Dickinson's "A Bird Came Down the Walk" as an example of euphonious poetry, one passage being "...Oars divide the Ocean, / Too silver for a seam" and John Updike's "Player Piano" as an example of cacophonous poetry, one passage being "My stick fingers click with a snicker / And, chuckling, they knuckle the keys".
David Crystal's 1995 paper "Phonaesthetically Speaking" explores lists, created by reader polls and individual writers, of English words that are commonly regarded as sounding beautiful, to search for any patterns within the words' phonetics. Frequently recurring example words in these lists include gossamer, melody, and tranquil. Crystal's findings, assuming a BritishReceived Pronunciation accent, is that words perceived as pretty tend to have a majority of a wide array of criteria; here are some major ones:
Three or more syllables (e.g., goss·a·mer and mel·o·dy)
Stress on the first syllable (e.g., góssamer and mélody)
is the most common consonant phoneme, followed by , then a huge drop-off before others consonants (e.g., luminous contains the first four)
Short vowels (e.g., the schwa, followed in order by the vowels in bid, bed, and bad) are favored over long vowels and diphthongs (e.g., as in bide, bode, bowed)
A perfect example word, according to these findings, is tremulous. Crystal also suggests the invented words ramelon and drematol , which he notes are similar to the types of names often employed in the marketing of pharmaceutical drugs.
The origin of cellar door being considered as an inherently beautiful or musical word is mysterious. However, in 2014, Nunberg speculated that the phenomenon might have arisen from Philip Wingate and Henry W. Petrie's 1894 hit song "I Don't Want to Play in Your Yard", which contains the lyric "You'll be sorry when you see me sliding down our cellar door". Following the song's success, "slide down my cellar door" became a popular catchphrase up until the 1930s or 1940s to mean engaging in a type of friendship or camaraderie reminiscent of childhood innocence.[b] A 1914 essay about Edgar Allan Poe's choice of the word "Nevermore" in his 1845 poem "The Raven" as being based on euphony may have spawned an unverified legend, propagated by syndicated columnists like Frank Colby in 1949 and L. M. Boyd in 1979, that cellar door was Poe's favorite phrase.
Tolkien, Lewis, and others have suggested that cellar door's auditory beauty becomes more apparent the more the word is dissociated from its literal meaning, for example, by using alternative spellings such as Selador or Selladore, which take on the quality of an enchanting name (and both of which suggest a specifically Britishpronunciation of the word: ).[c][d]
^Howells attributes to a "courtly Spaniard" the quote, "Your language too has soft and beautiful words, but they are not always appreciated. What could be more musical than your word cellar-door?"
^Nunberg identifies "Playmates" as an earlier song from which "I Don't Want to Play in Your Yard" was derived; in fact the derivation is the reverse.
^In a 1966 interview, Tolkien said: "Supposing you say some quite ordinary words to me--'cellar door', say. From that, I might think of a name 'Selador', and from that a character, a situation begins to grow".
^Most English-speaking people ... will admit that cellar door is 'beautiful', especially if dissociated from its sense (and from its spelling). More beautiful than, say, sky, and far more beautiful than beautiful. Well then, in Welsh for me cellar doors [i.e. such beautiful words] are extraordinarily frequent, and moving to the higher dimension, the words in which there is pleasure in the contemplation of the association of form and sense are abundant.
Smith, Ross (2007). Inside Language: Linguistic and Aesthetic Theory in Tolkien. Walking Tree Publishers. ISBN978-3-905703-06-1.
^Jacques Barzun, An Essay on French Verse for Readers of English Poetry (New Directions, 1991). ISBN0-8112-1157-6: "I discovered its illusory character when many years ago a Japanese friend with whom I often discussed literature told me that to him and some of his English-speaking friends the most beautiful word in our language was 'cellardoor'. It was not beautiful to me and I wondered where its evocative power lay for the Japanese. Was it because they find l and r difficult to pronounce, and the word thus acquires remoteness and enchantment? I asked, and learned also that Tatsuo Sakuma, my friend, had never seen an American cellar door, either inside a house or outside -- the usual two flaps on a sloping ledge. No doubt that lack of visual familiarity added to the word's appeal. He also enjoyed going to restaurants and hearing the waiter ask if he would like salad or roast vegetables, because again the phrase 'salad or' could be heard. I concluded that its charmlessness to speakers of English lay simply in its meaning. It has the l and r sounds and d and long o dear to the analysts of verse music, but it is prosaic. Compare it with 'celandine', where the image of the flower at once makes the sound lovely."