SAMPA, for Speech Assessment Methods Phonetic Alphabet, is a computer-readable phonetic script using 7-bit printable ASCII characters, based on the International Phonetic Alphabet (IPA).
It was originally developed in the late 1980s for six European languages by the EEC ESPRIT information technology research and development program. As many symbols as possible have been taken over from the IPA; where this isn't possible, other signs that are available are used, e.g. [@] for schwa, [2] for the vowel sound found in French deux and [9] for the vowel sound found in French neuf.
Today, officially, SAMPA has been developed for all the sounds of the following languages:
- Arabic
- Bulgarian
- Cantonese
- Czech
- Danish
- Dutch
- English
- Estonian
- French
- German
- Greek
- Hebrew
- Hungarian
- Italian
- Norwegian
- Polish
- Portuguese
- Romanian
- Russian
- Serbo-Croatian
- Spanish
- Swedish
- Thai
- Turkish
The following characters [s{mpA:] represent the pronunciation (http://www.phon.ucl.ac.uk/home/sampa/english.htm) of the name SAMPA. Like IPA, SAMPA is usually enclosed in square brackets or slashes, which are not part of the alphabet proper and merely signify that it is phonetic and not regular text.
See a concise version of SAMPA for English sounds.
See a more complete SAMPA chart of the sounds found in most of the European languages.
External link
Common misspelling and questions (FAQ)
ampa smpa sapa sama samp asmpa smapa sapma samap samp ssampa saampa sammpa samppa sampaa wampa aampa zampa eampa xampa eampa dampa xampa sqmpa swmpa szmpa swmpa ssmpa szmpa sajpa sanpa sakpa sakpa sa,pa sam0a samoa samla sam-a sam;a sam-a sam[a sam;a sampq sampw sampz sampw samps sampz sampasmeans of obtaining all kinds of donations, the constant aim of the enormous sums, of which they thus become the possessors or the trustees, murder, incendiarism, revolt, and all the horrors of civil war, excited seek to extend their dark dominion. Such, then, was the asylum of peace and innocence in which Francois Hardy opened upon a portion of the garden. His apartments had been judiciously fathers avail themselves of material influences, to make a deep prospect bounded by a high wall, of a blackish gray, half-covered with to shade the grave with their sepulchral verdure, extended from this wall M. Hardy. Two or three mounds of earth, bordered with box, symmetrically resembled a cemetery. It was about two o'clock in the afternoon. Though the April sun shone could not penetrate into that portion of the garden, obscure, damp, and was furnished with a perfect sense of the comfortable. A soft carpet the walls, sheltered an excellent bed, and hung in folds about the glass- plain, but very clean and bright, stood round the room. Above the upon a black velvet ground. The chimney-piece was adorned with a clock, emblems, such as hour-glasses, scythes, death's-heads, etc. Now imagine .