Detecting Foreign Accents in Song.

This paper presents three experiments exploring the perception and production of accents in song. In a perception experiment, participants listened to passages sung and spoken by native and non-native speakers of English. The participants did better at identifying native speakers when listening to the spoken passages. Accents were also judged as more native-like in song than in speech. In addition, two production experiments compared the acoustic characteristics (pitch, duration, F1 and F2) of sung and spoken vowels, produced by native and non-native speakers of English. Both native and non-native speakers changed the pitch and duration of their vowels when singing; the vowel quality was not consistently shifted. Together, the results indicate that the melody imposed by the song impacts the suprasegmental properties of pronunciation whereas the segmental properties remain largely intact. Based on these results, we conclude that a main reason why accents are more difficult to detect in song than in speech is that the rhythm and melody imposed by the song mask intonational cues to accent.

Phonetic duration, phonological quantity and prosodic structure in Inari Saami.

Inari Saami, an endangered Finno-Ugric language of Northern Finland, is reported to have a three-way surface contrast in consonant length (short, halflong and long). We studied disyllabic words (C)V1CxV2(C) using data from 5 native speakers under two conditions, with short and long preceding vowel, V1, and found support for the claim that Inari Saami has a ternary contrast in consonant length. The three-way length contrast is more robust following a short V1. The duration of V2 correlates negatively with the length of the medial consonant. However, there is one major departure from this pattern. When both V1 and the medial consonant are long, V2 is also longer. This finding supports the idea that disyllables of this class differ from the others in their prosodic structure in having two metrical feet rather than one. This interpretation tallies with independent evidence from synchronic morphophonology and the historical development of the prosodic system of Inari Saami.