Consonant harmony in contemporary Turkish

Sounds are the main source of all words that make up the vocabulary of a language thanks to their ability to change meaning, that is, to be phonemes. In addition, sounds are the source not only of words but also of all affixes in a language. These sounds, which provide the formation of hundreds of affixes, especially in the derivation of different words and inflection of words, are of particular importance for suffixal languages such as Turkish. The sounds, which are the main source of the language's vocabulary and morphological structures in the field of use, have an order within themselves. What provides this order is the harmony between sounds. Sound harmony is the harmony of vowel and consonant sounds that make up words in a language while coming together. The harmony or disharmony between the sounds is determined by taking into account the places of origin or forms of origin where the sounds gain their identities. Sound harmonies appear in three different ways in Turkish. These harmonies are vowel-vowel harmony, vowel-consonant/consonant-vowel harmony, consonant-consonant harmony. Consonant-consonant harmony, which constitutes the main axis of the study, is a harmony based on the fact that the final consonant of word roots and stems and the consonants at the beginning of the suffix are compatible with each other in terms of euphony and non-euphony during the expansion of words with suffixes in Turkish. According to this rule, an inflected consonant (/b/, /c/, /d/, /g/, /ğ/, /j/, /v/, /z/) can be accompanied by an inflected consonant, and a consonant without inflection (/p/, /ç/, /t/, /k/, /h/, /ş/, /f/, /s/) can be accompanied by a consonant without inflection. This rule constitutes a general acceptance for consonant harmony both in grammars written for Turkish and in grammars written for other dialects. However, if this general acceptance is evaluated for the historical periods and contemporary dialects of Turkish, it contains some contradictory situations within itself. In consonant harmony, there is no contradiction in the juxtaposition of euthymatics and euthymatics, and in the juxtaposition of euthymatics and non euthymatics; however, it is a contradiction to consider a non euthymatised consonant (/l/, /m/, /n/, /r/, /y/) next to a non euthymatised consonant as being in harmony. Because when we look at various Turkish dialects such as Tuva, Karakalpak, Kazakh, Kyrgyz Turkish, the fact that the euthymic consonants (/l/, /m/, /n/, /r/, /y/), which do not have euthymic equivalents, tend to resemble the adjacent euthymic consonant when they come on a consonant, proves that the euthymic-euthymic, euthymic-non-euthymic harmony can be operated within itself when desired. In this study, in which the harmony of the final sounds of the word roots and stems and the initial sounds of the affixes brought on the word in the historical periods of Turkish language and contemporary Turkish dialects is tried to be determined, only the harmony of consonants with euthymicity (euthymic + euthymic), euthymicity (euthymic + euthymic without euthymic equivalent) were evaluated, and some other structures (euthymic without euthymic + euthymic equivalent) were evaluated as incompatible in this study in line with the general harmony logic of Turkish, although they were considered in harmony due to the phonetic tendencies of individual dialects. As a result of the study, it is tried to determine how and to what extent the euthymic-commutative harmony in the historical periods of Turkish language and contemporary Turkish dialects is operated within the framework of the general harmony logic of Turkish and which affixes show resistance to harmony or not.