S — Somniferous to Sooshong (Part 2 of 6)

2. A male descendant, however distant; hence, in the plural, descendants in general.

I am the son of the wise, the son of ancient kings.

I am the Lord, I change not; therefore ye sons of Jacob are not consumed.

3. Any young male person spoken of as a child; an adopted male child; a pupil, ward, or any other young male dependent.

The child grew, and she brought him unto Pharaoh's daughter, and he became her son.

Be plain, good son, and homely in thy drift.

4. A native or inhabitant of some specified place; as, sons of Albion; sons of New England.

5. The produce of anything.

Earth's tall sons, the cedar, oak, and pine.

6. (Commonly with the def. article) Jesus Christ, the Savior; — called the Son of God, and the Son of man.

We . . . do testify that the Father sent the Son to be the Savior of the world.

Who gave His Son sure all has given.

The expressions son of pride, sons of light, son of Belial, are Hebraisms, which denote persons possessing the qualitites of pride, of light, or of Belial, as children inherit the qualities of their ancestors.

Sons of the prophets. See School of the prophets, under Prophet.

Sonance
(So"nance) n.

1. A sound; a tune; as, to sound the tucket sonance. [Obs.] Shak.

2. The quality or state of being sonant.

Sonant
(So"nant) a. [L. sonans, - antis, p. pr. of sonare to sound. See Sound a noise.]

1. Of or pertaining to sound; sounding.

2. (Phonetics) Uttered, as an element of speech, with tone or proper vocal sound, as distinguished from mere breath sound; intonated; voiced; vocal; tonic; the opposite of nonvocal, or surd; — said of the vowels, semivowels, liquids, and nasals, and particularly of the consonants b, d, g hard, v, etc., as compared with their cognates p, t, k, f, etc., which are called nonvocal, surd, or aspirate. — n. A sonant letter.

Sonata
(So*na"ta) n. [It., fr. It. & L. sonare to sound. See Sound a noise.] (Mus.) An extended composition for one or two instruments, consisting usually of three or four movements; as, Beethoven's sonatas for the piano, for the violin and piano, etc.

The same general structure prevails in symphonies, instrumental trios, quartets, etc., and even in classical concertos. The sonata form, distinctively, characterizes the quick opening movement, which may have a short, slow introduction; the second, or slow, movement is either in the song or variation form; third comes the playful minuet or the more modern scherzo; then the quick finale in the rondo form. But both form and order are sometimes exceptional.