On one of the accents in particular, my the rest of my colleagues are
covering other aspects. Some of them are covering Welsh English. Others are
covering Scottish English. I'm going to do the part of Southern Irish
English. And as you know, Ireland as an island has a political divide and
it also has a linguistic divide. Is the linguistic divide connected to the
political divide? We could say it's related, but it's not exactly
connected. There are people that have a Southern Irish English accent or we
would say a Gaelic Irish accent in what is North England, for example
Donegal. And we have the opposite example of Northern Irish English in
parts of Southern Irish English. Additionally to that, there is a third
type of Irish English that is becoming stronger and more distinct. It's
called the Ulster English, but we're not going to deal... Remember that for
this unit, your field of knowledge has to do with the Irish spoken in the
southern parts of the island. We're not going to deal with Northern Irish
English even though I'm going to give a few details when I cover the
introduction. So you understand how historically that... ...of Irish
English has been structured over the years. And I hope that this conference
is meaningful for you in terms of helping you choose your third accent, you
know that you have to choose four accents and one of these four accents are
one of the accents from the British Isles that isn't RP. So you have to
choose between Scottish English, Welsh English and Southern Irish English.
I hope that this conference serves as a way of either jumping aboard and
saying Southern Irish English is going to be my choice or to run away from
it and say I'm not going to choose Southern Irish English and I'm going to
opt for Scottish English or Welsh English. It can push you in either
direction or in either direction depending on how you prefer to say it.
First of all, let's come to some basic distinctions between Gaelic and this
word. Oops. It has two ways of being pronounced. It can either be
pronounced with a K sound or it can be pronounced with a S sound. So it can
be Celtic or Celtic. This is more of a fashion than something that's used
in Gaelic. And over the years, the Celt and Celtic or Celtic, everything
that has to do with, let's say, the cultural heritage of the languages and
the people is normally pronounced with a K sound because that's how it was
pronounced originally in the Celtic language. Sometimes, for example, the
team from Scotland called the Celtic or the Boston Celtics, those are going
to be pronounced with an S. So this word is elusive in terms of we hear all
the time a combination of K sound and S sound. And I just wanted to get
that out of the way. What is Gaelic? Gaelic is a language. What is Celtic
or Celtic? A group of people with a culture that used Celtic or Celtic
languages. We should be able to use both, but I don't want to step on
anyone's toes or produce any... Maybe I have an Irish man or an Irish lady
in the room and they feel offended if I opt for Celtic instead of Celtic.
So I'm going to try to keep it within the current trends of fashion, which
is to say... Gaelic is just one of the languages that belongs to a family
of languages called the Celtic languages. These languages have derived into
different dialects or different varieties. One of these varieties is what
is today Scottish English. The other one is Gaelic, which is the underlying
language that is spoken in Ireland by a few. And for example, Welsh or Manx
are other examples. The original Welsh... I'm not referring to Welsh
English or to Scottish English. I'm referring to the older language that
was pre-established in the area before English invasions occurred. As
Sylvia Barredo's notes very aptly explains at the beginning, the social
background of the island has two very distinct moments that influence...
Hello from Galicia. Also a Celtic area. Everyone that's tuning in from
Galicia has maybe a stronger connection to Southern Irish English than the
rest of the world. I mean, I personally had to choose one of these four
accents I mean, three accents to take an examination. I would always go for
the Southern Irish English but because I have a lot of friends that are
Southern Irish and because it shares some patterns with my English, I'm
American, so some of the traits that Southern Irish English has are easier
for me to understand and to imitate and to replicate. And you know that in
this course, one of the big challenges that you're going to have is the
amount of information that you have to process. The amount of... The
variety of options that you have in terms of the inventory of vowels and
the inventory of consonants that you have to dominate and that's going to
make your choice based more on your experience and what you bring to the
table before starting the course and what you have. A student the other day
told me that the key to this course in his opinion was dominating RP
English very much and I agree 100% with him and I would say, once you have
RP English in the pocket, the way of choosing the rest of the accents has
to do with your personal experience. If your personal experience means that
you've run into several people from Scotland during your lifetime, you have
friends or family or even significant others that are from a certain place
like Wales or Scotland or Ireland, go for that accent undoubtedly. If on
the other hand you have no preference for none of the accents, well you're
probably going to have to take a decision based on similarity to RP
English. If you're extremely good at RP English, probably Welsh English is
going to make more sense for you because it's the least different of the
three varieties of English in the British Isles. If on the other hand you
have a very strong command of Spanish phonetics, I would recommend you to
opt for Scottish English because it's one where the vowels are more similar
to Spanish vowels so it's going to be easier to play this guessing game
that you sometimes have to play with transcriptions between different types
when you don't know the inventory very well. In the case of Southern Irish
English, I think it would be very apt in general for everybody that's been
exposed to the world of Irish English and I think that besides British
people, people from England and Irish people is probably the most common
accent that we listen to other than British English at least here in Spain.
I have to say that I probably know and have befriended more Irish people
than American people in Spain and I guess that's a case in terms of the
amount of teachers that you've had from different parts of the British
Isles or English-speaking countries in your own personal experience. Base
your choice on your experience and base your choice partially on your
knowledge. That would be my recommendation no matter how much you like my
presentation, if Welsh English makes more sense for you or Scottish English
makes more sense, go for that for sure. Going back to what we were talking
before, in terms of important moments, there are two very significant
milestones that we're going to have to take into consideration. The first
milestone is the 12th century. In the 12th century there is an English
invasion or there is an arrival, I would dare to say invasion, of
Anglo-Norman troops and therefore English language to Ireland as an island.
At that time, English did not have a significant amount of prestige and was
therefore subdued to the underlying Gaelic. Gaelic was dominant over this
initial English that appeared. Something that has always been a significant
division in terms of cultural experience between Ireland and Ireland as an
independent nation or as a territory that is distinct from the rest of the
United Kingdom and the rest of the United Kingdom is that there has always
been a religious difference and religion has been very important for a very
long time. So while there have been protestants and Anglican churchgoers in
the rest of the British Isles, the core of the Irish, nowadays the Irish
Republic ever since they gained independence at the end of the Second World
War has been based in a great deal on religious belonging, on whether they
belong to the Church of England if they were Anglican or whether they were
Catholic. In the case of Ireland, Ireland has been strongly Catholic
because of the problem with dominating for the British Empire the Irish
Island, several waves of settlers were sent to repopulate the northern part
let's say the northeastern part of the island in the 18th century. In that
period mainly Scottish people with their own version of a Gaelic language
with an overlaying English arrived to the island and since there was
already a religious divide between those people that arrived and the people
that lived in the territory, there's always been this division from that
moment on between the northern part of Ireland that now belongs to the
United Kingdom and the rest of the island that was under the rule for a
great deal of time but sought independence after the war. That divide of a
different type of English and a different type of a Celtic language
arriving to Northern Ireland is the reason why Northern Irish English is so
different to Southern Irish English so even though we're not going to dig
deeper into this Scottish Irish spoken as an import in Northern Ireland
it's very important for you to understand that this difference has to do
with political disputes with differentiation between the origin of the
people on one side and the people on the other side and what we're going to
talk about today the type of analysis that we're going to do today is an
analysis based on generalities because there are several types of Irish
English and when we're going to base it on whether the intonation of
Southern Irish English and the way that Southern Irish English is spoken is
very different to RP English we're going to see the features of Southern
Irish English we're going to go through that inventory of vowels and
consonants and we're going to go through those elements of intonational
patterns and phonotactical elements I think that you're going to find this
class interesting because Southern Irish English does have some traits that
make it original regarding other varieties of English in terms of the
history of English in Ireland we said before that it arrived over the 12th
century at the beginning it had a religious I'm sorry little prestige there
was a religious divide in the areas where it was established and the
English speakers mainly were Protestants in a community in a Catholic
Ireland and the Ulster Scots that established in the North were what
created the linguistic divide or this was the seed of the linguistic divide
that we have come to know nowadays which makes the Northern Irish English
significantly different to Southern Irish English English became the
dominating language after the 18th century and nowadays if we think of who
are the speakers of the Native Irish we will mostly find a few speakers of
Native Irish and mostly concentrated in the Southwest of the country the
Act of Union that served to maintain Ireland as part of the United Kingdom
from the beginning of the 19th century to the mid 20th century increased
the rule of English as a dominating language for the next for the following
century and a half if we talk about the features about Southern Irish
English and I think that in the index I have this set the other way around.
The first question that we have to ask ourselves is whether the intonation
in Southern Irish English is significantly different to the one that we
have in RP and we will come to a very similar conclusion to the one we
already came and I don't know if with your tutors if I'm not your tutor if
you've had the opportunity to talk about Scottish English this will sound
familiar. The intonational patterns of Southern Irish English have some of
the same traits as Scottish English has. It has a lilted up and down
musicality even though the vowels are different there is a certain
musicality that makes it different to other varieties of English. The
distinct quality of the R the retroflex R that we're going to talk about
before is something that makes English sorry Scottish English different to
other Englishes and even though the biggest similarity that we can find is
American English general American English because they share the trait of
roticity. They're both rotic varieties of English well as Scottish English
as well. Let's remind people I don't know exactly how much roticity my God
I'm already wasted for today I really have to survive this class and the
roticity of this of English Southern Irish English is distinct to the other
varieties that are erotic such as general American or Scottish English. To
remind you what roticity is roticity is roticity you I'm trying. Okay, yes.
Okay. Good. Yes. The parent is back. You can you can write that. And the
teacher sent an email saying that the system collapsed. Yes. I'm afraid
that we're finding the limits of UNED's capacity to record. Yeah. It's
probably a generalized problem. I can see that the timer is still
recording, so I'm more or less optimistic that this is still being recorded
in the background on UNED's servers. So we're going to have to take a leap
of faith in that sense. Let me take back to the rauticity. Rauticity is a
feature that some varieties of English did not evolve from pronouncing R's
in all the positions to not pronouncing the R's in all the positions.
Remember, even though you might have the feeling that a rautic variety is
more modern than an erotic variety, that the modern version of English, the
sophisticated version of English is something more similar to an RP
English, which has been more experimental and which has suffered a bigger
amount of change. Therefore, the non-rautic varieties are normally
varieties that remain in a more primitive state. So my American, for
example, Scottish English, Southern Irish English are varieties of English
that did not take that leap of faith, let's call it, and did not go from
being rautic to being non-rautic. The rauticity is a feature that occurs in
two situations. They occur in word final positions. These pre-consonant
positions and these word final positions increase the amount, the inventory
of vowels and the inventory I'm trying, I'm trying. Bear with me because I
have the feeling that this must be an hour where there are many speakers
recording and we're all using the same resources concurrently. I'm back,
yes. Sorry about that. I guess it's so many people coming in and out of the
session has to do with the same things that it just happens to a lot of
people. Let's hope it doesn't happen again, although I'm not very confident
because it's already happened the three times. I talked about the three
diphthongs that disappeared, the ones that end in a schwa, the ia, the ua
and the ea because of the rauticity of the variety. The other vowel that
we're going to lose in Southern Irish English is the vowel that we use when
we have a pre-consonant r such as in bird. It's a vowel that reminds us to
a longer schwa, something like uh. This vowel is also going to disappear.
Do we have to log out and log in again? No, can you hear me? If you can
hear me, you don't have to do anything. Hey Sanna, can you hear me? I hope
you can. Okay, okay. I'm just crossing my fingers to see if this whatever
happened the three first times just doesn't happen again for the next half
an hour, maybe 40 minutes. I don't need more. I just need enough time to
explain. You cannot hear. Hey Sanna, but I have no idea. I mean I think the
rest of you can and my microphone seems to be producing sound so I can in
this moment. Okay. Hey Sanna, check your maybe connect some headphones to
the computer see if it starts working better. Anyway this is going to be
recorded so if there is any type of situation where you just can't hear,
you can go back and watch the accidented recording of this class. We said
lilted up and down musicality, the special R that is slightly different to
the general American R. If we have to talk about the R that we have in
Southern Irish English, we have to clearly make reference to what the Irish
called the smiling R because while other R's you drop your jaw to pronounce
them, in Southern Irish English you open your mouth. So it would be like an
R that is, let me look for a word with an R, you would say erotic. So the R
would be like less movement but what happens with the R is that the tongue
is normally increased in size and shortened in length. What you do is you
raise it and you contract it. This happens in general American English but
not so much. So when I say run, the quality of my vowels determine the
quality of my R. You're probably used to if RP English is a variety that
you dominate the most, you're probably used to this difference with the
velarization of the L that happens when you pronounce the L in a word
initial position like in light or when you pronounce it in a pre-consonant
word final position like in milk or in mill where you pronounce a different
type of L and you move your tongue in a different way. Well, the quality of
the R is different to the one that we have definitely in RP English. Even
the R's that are pronounced in Southern Irish English, there's not going to
be a jaw opening. There's going to be like a smiling effect. That's why
it's called a smiling R and this is a retroflex R. Normally it's drawn as
an upside down R with the part that is above the R slightly longer. Sorry,
it's not that my pulse is shaking. It's just that it's writing in that
slanted mode. So we have that type of R, not exactly the same quality as
General American but very similar. Remember the tongue pulls back and it's
thickened and raised if you have to think about ways of practicing that R.
I think it shouldn't be very difficult for Spanish people to produce that
type of R. We've talked about the diphthongs disappearing or shifting or
centralizing. The diphthongs that end in a schwa are going to disappear.
The vowel that has the quality, the longer version of the schwa is going to
disappear and there's going to be a vocalic simplification. So the first
thing that I want to do is play the file from Prudgil and Hannah's book
that has to do with the quality of the R's pronounced by a Southern Irish
person. This is a file that you have available in the audio section and I
want to ask you if you have the Prudgil and Hannah's book to go to page 106
of the most recent version. I think it's 104 maybe? 100 and 105 in the
previous version. So if you have the fifth edition it's 105, sixth edition
106. Let me play that for you and we can comment on that in a moment. Yes.
Southern Irish English. Horse, bout, path, cam, bard, paw, talk, port,
sofa, wanted, horses. As the language changes it may well change in
different ways in different places. No one who speaks a particular language
can remain in close contact with all the other speakers of that language.
Social and geographical barriers to communication as well as sheer distance
mean that a change that starts amongst speakers in one particular locality
would probably spread only to other areas with which these speakers are in
close contact. This is what has happened over the centuries in the case of
the languages we now call English and German. 2,000 years ago the Germanic
peoples living in what is now for the most part Germany could understand
one another perfectly well. However when many of them migrated to England
they did not remain in close contact with those who stayed behind. Okay so
I'm not going to play the whole file of course. I just wanted you to come
to some conclusions when you listen to the vowel inventory. The first one
is that besides the presence of the R you've probably noticed that there's
a very strong presence of an aspiration effect after a T and sometimes
there's a T gloateling. I don't know if you remember that effect it's when
you use a glotal phoneme instead of the T. Instead of saying put you would
say puh or what happens is either that or there's an aspiration right after
which has a similar effect so it creates a strange and unexpected sound at
the end of words that end with a T. There is an extreme simplification of
the vowel system and some of the quality of some of the vowels changes very
significantly. I think it's very clear that the change in the E sound like
in bed, the E is raised regarding the RPE and there is a merge between the
A and the UH that is very significant. It has to do with what we're talking
about. A decrease in the inventory means that many of the sounds are merged
or many of the sounds are transformed into other types of sounds. Cidela
Reyno in her notes says about the vowel system of Southern Irish English
that besides what I've said before about the diphthongs and the vocalic
phoneme UH that I'm not going to repeat there is mostly a simplification in
terms of a retroflex R coming after a long syllable whenever there was a
diphthong in a previous situation. So we would say heard, per, er, we would
say girl, mer that we can see there on page 17 of Silvio Barrero's notes.
Nurse, as you can see there's a simplification of all the diphthongation
and mostly there's going to be a monophthong and an R presence. Some of the
centralized diphthongs are ones that have the schwa they're just lengthened
into a monophthong. The ia is turned into an ear where the monophthong is
lengthened. We have the same with for example we have near, square, poor
and we have a very distinct sound. The quality of the UH is the one that's
going to create the quality of the R what I was saying before this
retroflexion. The last point that you see there is what I was saying before
this variety of English is not modernized in terms of linguistic variation.
It's not a modernized version of English. Southern Irish English, Scottish
English and General American English are fairly conservative and they show
less variation being RP one of the varieties that shows the biggest amount
of variation and innovation contrary to what you might believe from the
point of view of difference. We're going to see the difference in the air
basically that is opener and lower than in RP English instead of saying red
like we would say in RP English. As you can see there's a higher tempo in
Southern Irish English something that we already saw in Welsh English and
RP English have like a lower tempo, a lower speed. Southern Irish English,
Scottish English, General American English the roticity and the
simplification of the phonemes make the language go faster and pays less
attention or grants less attention to the lengthening of the vowels so that
doesn't happen as much as it happens in RP English um or instead of
something like red we're going to have something like red the opener and
lower quality. The ah is a more advanced sound. We have path, calm, bard.
You can see that they're pronounced with the tip of the tongue. You're
pushing the sound to the beginning and that creates a completely different
sound that when we say in RP English path, calm, bard and you see the tempo
it's very different path, calm, bard okay so it creates a different type of
sound. What we said about the diphthongation in terms of the phonemes that
end in schwa may also happen in other diphthongations there's a tendency to
monophthong a sounds so instead of um uh what we would say bay we would say
be um be per per instead of pear pear um that we would have in in RP
English um um we we have other uh other cases well no these are the the
last ones that come in in Professor Barredo's notes are the ones that we
already mentioned of the longer versions of of the of ones that end in in
in schwa um um you have to take into consideration uh that when when the
words end in our final position there's going to be a reinforcement of the
quality of the vowels but also a shortening of the quality so you would say
fire an hour and choir it's it's the it that's what makes the quality of
these vowels which makes it lilted and and musical it's the same thing that
happens in Scottish English. It's not as extreme I would say as Scottish
English um the students I talked about there with Scottish English of the
day were quite surprised with with how different it was to um to RP English
but I think it's it's like halfway um between a Irish English and sorry
between the Scottish English and RP English in terms of of how extreme it
is in the in in um cutting down um or creating an economy of language with
um with the um with uh with the vowels. Moving forward I have the feeling
that this is going that I'm going to have a problem with the connection.
I'm just rushing my explanation um I haven't heard from any of you in a
while if you have any questions please feel free to ask them um in in terms
of the of what I said before about the vowel system I think that I've
covered most of these um yes okay good the only one that's instead of
saying the how do we reflect it in transcriptions well um it definitely I
would I would take as as as a guiding line um the table that you have in
Cidre Barreros until you feel comfortable with the with with um um
inventory um you basically have to take into consideration the different uh
air that you have in in in Scottish sorry Scottish Southern Irish English
um well it's it's also present in in Scottish English as a phoneme um this
as as a substitute of of this monothong especially when it's in um in in
most of the of the um of the ones where it's not substituting a diphthong
when it's not substituting a diphthong we're going to have when it's a um a
monothong in RP English we're going to have this counterpart in in Southern
Irish English I would play by uh um a simulation of using the table on page
18 and 19 as a guiding line until you get used to the uh to the to the
variety I would not base my uh my studying material on Trujillo and Hannah
in terms of of studying the the the symbols because most of some of those
symbols are are changed in in Cidre Barreros notes and this system is the
one that's going to be used to evaluate your PEC and to evaluate your exam
so I would I would basically um focus on on the notes that that Sylvia has
provided in terms of what you have to remember that we're always practicing
as as a contrast against RP English so we're comparing the Southern Irish
English against RP English and you're going to have like a very clear path
of wherever you you say this you have to substitute it for another thing
you don't have to worry so much about how it's going to sound you just have
to make sense where it's going to be different and for example on page 18
the third vowel you have the the opener and um lower e regarding the the RP
um the only thing that you have to take into consideration is no not the
symbols in the book the symbols in Cidre Barreros notes they already
include uh most of uh of the of they already include Trujillo and Hannah's
uh notes yes the ones in ALF the photocopies of for example for this one
I'm using the second part of unit two theory uh to explain it I used to do
it with with screenshots from Trujillo and Hannah but I I learned the
difficult way that there were too many differences in in the inventory um
and and since all of these things are normally in dispute because there
isn't a general consensus um I have come to the conclusion that uh
Professor Barreiro's notes are are probably the most complete anyway the
the book in this subject in particular is yes I know that's why uh give
your focus your attention on on the ones in the notes in in ALF um not the
ones in the book use a book the book as as a secondary reference because
most of the information 99% of the information that you need is in the
notes it's not in the book the book is is um a clarifying um a source of
information I don't think there's going to be anything significant in terms
of of information that's in the book that is going to be exam material that
isn't in the notes I I haven't seen that uh quite honestly and I just think
it's a um the book is being considered more and more um extended
bibliography because Celia has worked very hard on completing her notes
year after year and and they're they're in a very I mean they're they're
very good notes uh they they they can uh guide you through uh through the
um through the course taking into consideration that I understand that it's
a very demanding course in terms of of the of of the expectations that you
have to cover in only four months regarding the consonants one of the
biggest consonant differences is is a constant difference that is is is a
present in Scottish English in the majority of American accents and in
Irish in in Southern Irish English funnily enough I speak American English
because I'm American but I'm from the west coast and I've lived in Spain
for a very long time so my English has lost some of its its um uh initial
traits and one of the initial traits that it's lost is that I don't do this
anymore what you see in the second part um is something that that happens
in general American so this knowledge is going to be useful and it happens
in some variety it happens sometimes in Scottish English there is a
difference between words that are written with a W and words that are
written with a WH words that are written with a W are pronounced as always
WA and words that are pronounced with a double that are written with a WH
are pronounced with an HW pattern instead of what I know that I'm saying it
very exaggerated it sounds that surreal that someone would say what but
instead of saying this pair would be something like which and which it's a
very quick H which which versus which I think you um if the quality of my
audio is as good as it normally is you should be able to distinguish that
traits there is also some very important uh uh contrast that that is
there's also very significant let me see if I can um between uh the words
that end in the voiceless version of a TH and the voiced uh version of TH
quick reminder for those of you that are a bit rusty with RP uh this sound
is the one that we normally use for a function words and um it it is a
voiced version of a TH spelled words such as this the those them that this
these those I don't know if I said any of those and this voiceless uh TH is
the um the the version that I have for a word initial uh sorry yeah for
word initial sounds with a TH that are lexical words such as thought think
thick um Thatcher etc what happens in in southern Irish English and and
this in isolation it sounds very bizarre but when you hear it in connected
speech it sounds uh much easier to process is that the TH the TH voiceless
TH uh turns into a T and the and the voiced TH the the turns into a D so uh
an Irish person counting from one to five would say one two three four five
and with with that quality of vowels one two three four five as you can see
there's there's a different quality to the vowels of the one I use um they
would say this and that this and that okay so there would be a different
quality to the D a different quality to the T okay if you remember before I
think there was a there was a word with this uh I don't I'm going to check
no there's not in this case um but it was explained let me see if yeah here
um tin so so through will sound like true yes exactly and and um in in
Trujillo and Hannah's book there is an example of this a that creates a
homophone between tin and fin instead of saying tin and fin um the southern
Irish English would say tin and tin and it would be an aspirated T okay it
it happens in initial yes it does yes um in isolation I mean no it happens
in isolation and it happens in connected speech um yes yes if you say three
yes it was a uh I mean I think that the first time I realized is when I
asked my my my my Irish friend how old his son was and he said three I said
what do you mean three well what's what are you saying about a tree and he
said no he's three and and I had to think about it very closely to say oh
he said three I say why don't you pronounce three I never pronounce the th
I said the I only pronounce the th when I'm teaching English and and my
students are a very lower level and they're not going to understand me if I
don't mock a British accent okay so um we've we've uh if if any of you are
are teachers you know what I mean when when I say that you have to mock
sometimes an accent um in in terms of of of importance these are probably
the the three most important elements besides the one I already talked
about the voiceless plosives in final position that we talked about um the
inventory has many words ending in t there's a there's a very very very
marked aspiration at the end of these words when when she says pot she says
pot with a very very strong lip put put there's um when they say boot boat
the the h has even more importance than the than the plosive uh that that
is is mentioned in these in these environments so it's going to be a very
um a very sharp contrast um other elements that we've talked about is that
there's going to be a glottal reinforcement and in word and syllable final
positions and sometimes the previous effect of the uh of do we mark the
aspiration in the transcriptions depending on what they say normally we
don't mark aspiration in in transcriptions but in southern Irish English I
would say you probably do have to that's a very good question um in you
know that when when we do a broad transcription in in in RP we don't mark
aspiration or devoicing um but I don't want you to go away with that doubt
so I'm going to have a look at an exam uh from because I'm not very sure
it's a very good question let me check I've got an exam over here I'm going
to read you the instructions that are normally uh along with the in the
transcription section I when you're when you're describing a consonant of
course you're going to have to do it uh but um in yeah I don't think so
either unless it's asked but I want to say I want to see if I just want to
check to see I can see that the aspiration is not marking RP neither in GA
southern Irish no it's not marked no no no you would have to take into
consideration the the glottalization and which which normally goes along
with the aspiration they're they're in the same environment uh the plosive
final um uh and uh you you also have to um um consider this um uh this
contrast it is a a what and what a contrast and this and the a contrast
it's very important but that's where that's where you're going to really uh
express your um your knowledge of the of the of the topic if you if you um
uh use the the glottalization in this glottalization is is not a absolutely
extended so it's it's optional to use the glottal stop uh in in um a word
final position when there's a when there's a plosive but you can indicate
that as as a footnote that you could also indicate a second option of using
um as as a as a optional transcription instead of a top um r has a strongly
dark resonance which is not indicated in the in the transcription as well
and l is very interesting because differentiating it from um rp english
it's going to be clear in all the situations so even that is going to have
a very strong influence on the on the vowels around it because to pronounce
an l in the same clear um a way that we do for example in spanish when we
say litro or we say alcohol and and it's an we're opening the o a lot
that's going to have an effect when we say instead of saying the rp version
of loyal where you're the l is is the second l is a darker l um we're going
to say something like loyal so that's going to raise the a and front it
very much so we can be close to that situation and pronounce a clear l in
all the environments so all of these things that happen with the with the
simplification of the consonant inventory have a direct uh resonance on the
on the vowels around them um i think that's that's very interesting to
notice um one more thing before we adjourn am i doing well on time yeah i'm
not doing that bad um other elements that we have to take into
consideration before i i read some things from a professor about those
notes is that in general there's going to be fewer phonemes and in in rp um
what i said before about uh the the fronted uh are the quality of the
rhoticity this is smiling are and uh there's there's going to be um a yod
coalescence which is uh which is different to what happens in other
varieties of english um the yacht is is this uh this phoneme over here a
this this yard has has a tendency of of influencing uh varieties in in some
varieties um you've probably already studied that for example uh depending
on the age group um some speakers will say new and some speakers will say
new if they're younger normally there's a tendency towards the second
version and this is going to happen in younger age groups what we what we
talked about about the age variety how varieties change there because of
age differences in this case it's not going to be a yard that is
disappearing the yard dropping that this is what this effect is called it's
a it's a yacht appearing in in um in in in situations where they they
weren't present so um a word like you would become jew or a word like tune
would become tune um there there would be a a change there would be a
transformation of the d and the yod for a for a job and the ta and the yod
for a cha sound so do would be pronounced jew and tune would be pronounced
chew sorry tune there's a there's an end and missing in that in that second
word um other other aspects that i i want you to walk away with before we
we finish uh today um we already talked about and the uh well the the
phonetic aspects of the four phonetic aspects of southern irish english is
that a plosives are released and aspirated in final position we talked
about that the lip a and there's a glottal reinforcement that is is a
sometimes either one or the other um a there is a um the clusterization of
the ta and the da in the r a that changes the the quality of the of the
vowel behind it a a trap trap uh you have that example on on page 20. um
what i said before about the dark resonance of the of the r especially when
it's in in a pre-vocalic uh and and a word final positions there is a
different value to the to the r so we would say red but we would say sorry
sorry sorry that r would be thicker it would be um what i said before we're
pushing back the the tongue i don't know if you if you if you can imitate
that that sound the the clear pronunciation of the l that i said before and
um the the way that that the t is pronounced the the what what it's called
the t slit um how the tip of the tongue uh it does not hit the alveolar
ridge it's a it's it's it's certainly technical in terms of production but
it's it's not so difficult to try to imitate um and and it produces a sound
that is a characteristic in in in southern irish pity as you can say
there's a it's like it's tapping on on the alveolar ridge and examples time
button uh you you have those examples with hit and with tree that you said
before we said before there was that um a situation with the with with um
with a uh saw sound turning into a ta sound um i think that we've covered
the rest of the topics i just covered them in a different moment the of the
presentation and i don't know if you have any questions the l is clear
there's no syllabic e l you mean syllabic like uh uh uh like in what do you
mean syllabic here l ah okay you mean that dark ls are not present in in in
um southern irish english um l is clear in all the positions what i said
before the example of loyal loyal you have to change the quality of the a
um in order to to pronounce yes i understand what you mean with syllabic
now um you you don't uh you don't have a um you don't have that that type
of of a complementary distribution that you have in in rp english uh dark l
is a characteristic of scottish uh right i'm i am not 100 sure i would say
it is but i i would not want to say it is or it is not without checking it
but i have it here so i'll tell you very quickly uh yes yes and and the
opposite in the complementary distribution in in scottish english happens
exactly the opposite way um all of the all of the ls are clear in southern
irish english and all the ls are dark in in scottish english which changes
significantly the quality of the vowels around them any more questions that
you might have i have the feeling that i'm leaving something out uh yes of
course well um i'm crossing my fingers at all the time that i was kicked
out the system was still uh recording uh but anyway i have i have a very
similar recording to this from last year so in the worst case scenario i'll
post last year's um video um and in best case scenario well i'll post the
today's uh please uh my apologies for all the interruptions that we've had
um let me let me include something that is absolutely clear but maybe you
haven't thought about it since it's erotic and this is going to this is
something that you can take away for every erotic uh variety the r
insertion and the linking are effects that are characteristic of of uh um
uh rp english do not occur in any of these erotic varieties okay so i think
that's that's one of the important differences that you have to take away
thank you very much you've been a very nice and patient audience and and
thank you very much for your questions because they were very meaningful as
well have a good evening um it's it's not going no the intrusive r is not
going to be present because it's erotic um there it's not going to be uh
it's not going to happen okay so thank you very much have a good evening
goodbye