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This paper argues for a multimodal ‘phonology’, a ‘phonology’ which returns to the original meaning of the word ‘phone’ as referring to ‘voice’ as well as ‘sound’ in general, and which can be applied to speech, music, as well as other sounds. Three areas are discussed. The first is rhythm. Systemic functional linguistics has reduced the role of rhythm to the ‘foot’, but others see rhythm as also playing a significant role at higher ranks and as the fundamental organising principle of all time-based multimodal texts. The second is voice quality or, more generally, sound quality, as a key resource for expressing identity as well as fleeting states and emotions. Based as it is on qualities common to all sounds, this too applies to all sound-based semiotic modes. The third is the meaning-making potential of pitch contours, which, the paper argues, primarily contribute to the communication of emotion – again in speech, music, as well as other sounds.

Three sound bites: avenues for research in the study of speech, music, and other sounds