Sunday, 1 April 2012

Patricia Hughes - no. 3

You might want to listen to Patricia Hughes's voice again here before you continue reading this blog entry, which is a continuation of a previous one. In that blog entry I wrote in section 2.1 about some background knowledge helpful in appreciating some of her descriptions, and I promised to write about some of Patricia Hughes's pron features. These musings were reserved for section 2.2. Here they are now.

2.2 Phonetic section

1. [ɛ~æ] for the TRAP vowel:

and (0:8, 0:16.5), passage (1:55.5) [ˈphɛ̞sɪʤ], absolute (2:12) [ˈɛ̞psluːt], actually (2:32.6)
2. monophthongisation (or a very weak and short 2nd vowel):
MOUTH -> [aː] in now (0:38.5)

SQUARE -> [ɛːə] in stairs (1:03.5)
FACE -> [eɪ] in place (1:06.5), bravely (1:39.8)
3. weak-forms, contractions and deletions:
which is still /wtʃstɪl/ called (0:12.5)
in the /ɪnə/ next morninɡ (0:17.8)
particular /pˈtɪkʊlə/ morning (0:24), particular corridor (1:47.1)
what am I ɡoinɡ to /wətəməɡənə/ do (0:43.5)
to put any /əni/ make-up on (0:48.5)
put any /pʊtni/ clothes on (0:49)
absolute [ˈɛ̞psluːt] horror (2:12)
but I [b̩taɪ] feel (2:35.7)
actually [ˈɛ̞ktʃlɪ] (2:32.6)
There are more examples, but the ones here shall suffice.


  1. put any /pʊtni/ - I always found this case of reduction (of which I'm guilty often enough, too) interesting because the ostressed vowel is reduced to zero.

    1. I wouldn't call it guilt, just relaxed speaking.

  2. Her speech is a nice example of the variety speakers have, with some DRESS vowels traditional and others very open, some TRAP vowels [a] and some still as a diphthong, and the NURSE with the back of the tongue drawn back.