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.
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.
ReplyDeleteI wouldn't call it guilt, just relaxed speaking.
DeleteHer 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.
ReplyDelete