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1.2. Phonological and phonetic dimensions of rp / bbc English

Now we will outline segmental parameters of RP/BBC English.

As for its PHONEME INVENTORY, this accent has 20 vowels and 24 consonants. The system of vowels embrace 12 pure vowels or monophthongs: i:, , e, , , :, , :, , u:, :, , and 8 diphthongs: e, a, , , a, , , .

According to the PHONOTACTIC SPECIFICATION of /r/ occurrence, RP is a non-rhotic or r-less accent, i.e. /r/ does not occur after a vowel or at the end of the words.

PHONEME LEXICAL DISTRIBUTION. The recent and current changes in RP embrace the decline of weak [], glottalling, l-vocalization, intrusive /r/ and yod-coalescence.

Decline of weak []. The vowel [] is becoming less frequent in weak syllables. Traditional RP [] is yielding ground:

  1. on the one hand to [i], in final and pre-vocalic positions: happy [hpi], coffee [kfi], and prevocalically in various [vris];

  2. on the other hand, in preconsonantal positions, to []. This trend is found particularly in the endings -less, -ness, -ily, -ity and adjectival -ate, and to some extent also in -ed, -es, -et, -ace: quality [kwlt], deliberate [delbrt], angrily [grl].

Glottalling is the switch from an alveolar to a glottal articulation of /t/, whereby [t] is pronounced as [] in a range of syllable-final environments. This is by now very firmly established in casual RP before obstruents (football [fb:l], it’s quite good [s kwa gd]) and is increasingly heard before other consonants (atmosphere [msf]).

L vocalization is the development whereby the dark allophone of /l/ loses its alveolar lateral nature and becomes a vowel of the [o] or [U] type. L vocalization is accordingly restricted to the preconsonantal and word-final environments. Examples are: milk [mok], middle [mdo].

Intrusive R is very prevalent in RP. It involves the insertion of an r-sound at the end of a word ending in a non-high vowel (usually one of , , :, :] where the next word begins with a vowel, as in put a comma [r] in, the idea[r] of it, I saw[r] it happen.

There is a strong tendency towards coalescence of yod with a preceding alveolar plosive, so that:

t+j= t, d+j=d (the process of affricatization);

s+j=, z+j= (the process of assibilation).

The words actual, mutual, education, educate, gradual, during, virtue, statue, issue, hosier, etc have common alternative forms with affricates or sibilants, the latter gaining ground as the dominant form.

Word stress Outline

  1. The nature of English word stress.

  2. Types of English word stress.

  3. Word stress tendencies.

  4. Word stress functions.

  5. Word stress patterns.

1. The nature of English word stress

Word stress (WS) can be defined as the singling out of one or more syllables in a word, which is accompanied by the change of the force of utterance, pitch of the voice, qualitative and quantitative characteristics of the sound which is usually a vowel [Леонтьева 1988:179].

The analysis of WS can be carried out according to the following parameters:

  1. the nature of English word-stress;

  2. its degree and syllabic location;

  3. its functions;

  4. basic stress patterns of the English words.

Stress can be studied from the point of view of production and of perception [Roach 1995:85]. While producing stressed syllables, speakers use more muscular energy than they do for unstressed syllables. From the perceptual point of view, stressed syllables are recognized as stressed because they are more prominent than unstressed syllables. Phoneticians claim that at least four different factors are important in making a syllable prominent: loudness, length of the syllables, pitch, quality.

English lexical stress is traditionally defined as dynamic implying the greater force (muscular energy) with which the syllable is pronounced. However, recent investigations of lexical stress in English show the existence of a hierarchy of acoustic cues to the stressed status of a syllable in English: the perceptually most influential cue is (higher) pitch, the second most important cue in the hierarchy is (longer) duration, the third is (greater) intensity and the last is segmental (sound) quality [Laver 1995:513].