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These are for all my other posts, like introductions

The articulation of /ɹ/ in New Zealand English

Matthias Heyne, Xuan Wang, myself (Donald Derrick), Kieran Dorreen, and Kevin Watson have recently had an article documenting the articulation of  /ɹ/ in New Zealand English.

This work is therefore in part a follow-up to some of my co-authored research into biomechanical modelling of English  /ɹ/ variants, indicating that vocalic context influences variation through muscle stress, strain, and displacement.  It is, by these three measures, “easier” to move from an /i/ to a tip-down /ɹ/ , but from /a/ to a tip-up /ɹ/.

In this study, for speakers who vary at all (some only do tip-up or tip-down), they are most likely to produce tip-up /ɹ/ in these conditions:

back vowel > low central vowel > high front vowel

initial /ɹ/ > intervocalic /ɹ/ > following a coronal (“dr”) > following a velar (“cr”)

The results show that allophonic variation of NZE /ɹ/ is similar to that in American English, indicating that the variation is caused by similar constraints.  The results support theories of locally optimized modular speech motor control, and a mechanical model of rhotic variation.

The abstract is repeated below, with links to articles contained within:

This paper investigates the articulation of approximant /ɹ/ in New Zealand English (NZE), and tests whether the patterns documented for rhotic varieties of English hold in a non- rhotic dialect. Midsagittal ultrasound data for 62 speakers producing 13 tokens of /ɹ/ in various phonetic environments were categorized according to the taxonomy by Delattre & Freeman (1968), and semi-automatically traced and quantified using the AAA software (Articulate Instruments Ltd. 2012) and a Modified Curvature Index (MCI; Dawson, Tiede & Whalen 2016). Twenty-five NZE speakers produced tip-down /ɹ/ exclusively, 12 tip-up /ɹ/ exclusively, and 25 produced both, partially depending on context. Those speakers who produced both variants used the most tip-down /ɹ/ in front vowel contexts, the most tip- up /ɹ/ in back vowel contexts, and varying rates in low central vowel contexts. The NZE speakers produced tip-up /ɹ/ most often in word-initial position, followed by intervocalic, then coronal, and least often in velar contexts. The results indicate that the allophonic variation patterns of /ɹ/ in NZE are similar to those of American English (Mielke, Baker & Archangeli 2010, 2016). We show that MCI values can be used to facilitate /ɹ/ gesture classification; linear mixed-effects models fit on the MCI values of manually categorized tongue contours show significant differences between all but two of Delattre & Freeman’s (1968) tongue types. Overall, the results support theories of modular speech motor control with articulation strategies evolving from local rather than global optimization processes, and a mechanical model of rhotic variation (see Stavness et al. 2012).


My name is Donald Derrick, and this web-site is dedicated to presenting my research on speech production and perception.

On the production side, I examine vocal tract motion (both shape and muscle position), air flow, oral and nasal acoustics, and visual face motion. I then use this production information to study audio, visual, and tactile speech perception. The purpose is to identify constraints on low level production, and low level percepts that can enhance or interfere with speech perception.

This research has helped identify constraints such as gravity, muscle elasticity, and end-state-comfort on speech production and brought in true multi-modal speech perception research by adding (aero)-tactile speech into audio-visual speech study. I have used this research to expand our understanding of the nature of speech perception, and have been working on commercialization of the use of air flow in enhancement of speech perception, as well as recording oral, nasal, and air flow outputs in speech without the use of masks or other stigmatizing measurement systems.

I am, as of 2017, working on a sonority scale for visual and tactile speech, as well as a both behavioral and brain research on audio-visual-tactile speech in coordination with the University of Canterbury’s Speech lab.

The end-goal is to form a true multi-sensory understanding of speech production and perception that does not ignore or minimize any of our senses.