This thesis investigates change in a number of phonological variables in New Zealand English (NZE) during a formative period of its development. The variables under analysis are the short front vowels /ɪ/, /ɛ/, /æ/, the front centring diphthongs /ɪə/ and /ɛə/, and the so-called 'broad A' vowel. The sample includes 30 NZE speakers born between the 1890s and the 1930s (the 'Intermediate period'). Acoustic analysis reveals that the short front vowel system develops into one with two front vowels and one central vowel over the intermediate period via a push chain shift. There is evidence for complex allophonisation in the speech of early intermediate speakers. I argue that duration plays an important role in resolving overlap between vowel distributions during this time. With regard to the front centring diphthongs there is approximation of the nuclei of the two vowels in F1/F2 space over the intermediate period as well as incipient merger in the speech of late intermediate speakers. Although the merger is mainly one of gradual approximation, it is argued that patterns of expansion of the vowel space available to both vowels are also found. The analysis carried out on the 'broad A' vowel reveals that whereas flat A was still present in the speech of the earlier speakers from the sample, broad A had become categorical toward the end of the intermediate period. It is shown that, by and large, the process involves discrete transfer of words across etymological categories. The final chapters discuss a number of theoretical implications. Processes such as the NZE front vowel shift suggest that a number of previously recognised concepts, such as 'tracks' and 'subsystems', may either have to be relaxed or abandoned altogether. It is argued that chain shifts of this type come about by rather simple mechanisms that have a strong resemblance to functional principles found in the evolution of organisms. A case for 'fitness' of variants of a given vowel will be made. Phonological optimisation, on the other hand, is not a driving force in this type of sound change.

This thesis investigates predictions of an exemplar account of syntax, by testing whether manipulating socially salient phonetic detail can alter the grammaticality judgements given to morpho-syntactic constructions in New Zealand English (NZE). Three experiments are were conducted as part of this thesis. The first tested the social saliency of different phonetic variables in NZE, and found phrase final /t/, which can be realised with or without a release, to be strongest. In the second experiment, phrase final /t/ was tested further, and manipulating the release significantly altered both the age and class ratings given to speakers. The way in which it did this reflected the patterns documented in production. In the third experiment, participants were asked to rate the grammaticality of the same sentences. When the results of the previous experiment were included in the statistical model, an effect of the variant came out as significant. The more participants had rated a speaker as older with the released variant in the previous experiment, the less they rated the sentence as grammatical with the released variant. That is, only the most socially salient realisations were able to alter perceived grammaticality. Overall, the results of this thesis suggest that speaker information and pho- netic detail can affect grammaticality judgements. This supports an exemplar model of syntax. Regardless of the theoretical implications of the findings however, the methodological ones are clear. If speakers and realisations of certain phonetic variables can alter grammaticality judgements, then they must be controlled for in the presentation of stimuli to participants.

This thesis investigates the rhythm and mean pitch of the English of Māori speakers. Recordings are analysed from speakers who have varying degrees of fluency and socialisation in Māori. The rhythm and mean pitch of their English language recordings are measured and analysed in order to address two questions. The first part addresses the question, ‘Has the distinctive syllable-timed rhythm of modern Māori English developed from the mora-timed rhythm of the Māori language?’ Changes in the rhythm of the English of Māori speakers are measured over time. The rhythm of these speakers is then compared with age-matched Pākehā English speakers. The results show that the distinctive syllable-timed rhythm has indeed developed from the mora-timed rhythm of the Māori language and the use of this rhythm is related to the degree of Māori identity felt by the speaker. The second part is also concerned with prosody and addresses the question, ‘Are rhythm and mean pitch influenced by topic?’ This is investigated by topic tagging the recordings and comparing the rhythm and mean pitch of each tagged section of speech. Two sets of topic tags are used; Set One has tags representing five categories (Subject, Referent, Location, Time and Attitude) and Set Two has only one tag per topic. The results suggest that mean pitch is not influenced by topic but is higher in sections of quoted speech than in regular speech. The subtle variations observed in rhythm are highly individualised and are influenced most strongly by the referent of the topic and the degree of affinity felt towards that referent.

The ability to understand speech in noise has a profound impact on everyday communication, but cannot be predicted on the basis of puretone thresholds and/or performance on tests of speech in quiet. The aim of this thesis was to develop an adaptive speech in noise test based on the Hearing in Noise Test (HINT) that would be reliable and valid for speakers of New Zealand English (NZE). The methodology used followed the standard procedures for developing the HINT in a new language. Five hundred sentences of 5-7 syllables were collected from New Zealand children’s books and recorded by a native NZE speaker. Nine normal-hearing native NZE speakers aged 18-50 listened to three sets of 50 sentences at -2, -4 and -7 dB signal-to-noise ratios (SNR) in order to establish a performance-intensity (PI) function for these sentences. Three groups of 10 participants were scored on their performance on the sentences in 65 dBA speech-weighted noise at varying SNR. After each round of testing with a new group of participants, the SNR of each sentence was adjusted in order to get closer to 70% intelligibility for all sentences. Sentences that were too easy or difficult or did not respond to adjustments were discarded. Once the remaining 240 sentences were of approximately equal intelligibility, 24 phonemically matched lists of 10 sentences were formed and tested on 12 participants using the adaptive HINT software. The overall mean threshold was calculated as -6 dB, s.d=1.1 dB. The lists were combined to form 12 lists of 20 sentences which would become the NZHINT. Time delays meant that the collection of normative data could not be completed.

Little is known about factors that influence dialect perception and the cues listeners rely on in telling apart two accents. This thesis will shed light on how accurate New Zealanders and Australians are at identifying each other's accents and what vowels they tune in to when doing the task. The differences between New Zealand and Australian English mainly hail from the differing production of the short front vowels, some of which have reached the status of being stereotyped in the two countries. With the help of speech synthesis, an experiment was designed to test the perception of vowels produced in a typically New Zealand and a typically Australian fashion. Forty New Zealanders and sixty Australians took part in the study. Participants were asked to rate words on a scale from 1 (definitely NZ) to 6 (definitely Australian). The words contained one of eight different vowels. Frequency and stereotypicality effects as well as nasality were also investigated. The results demonstrate that dialect identification is a complex process that requires taking into account many different interacting factors of speech perception, social and regional variation of vowels and issues of clear speech versus conversational speech. Although overall performing quite accurately on the task, New Zealanders and Australians seem to perceive each other's speech inherently differently. I argue that this is due to different default configurations of their vowel spaces. Furthermore, a perceptual asymmetry between New Zealanders and Australians concerning the type of vowel has been observed. Reinforcing exemplar models of speech perception, it has also been shown that frequency of a word influences a listener's accuracy in identifying an accent. Moreover, nasality seems to function as an intensifier of stereotypes.

This thesis reports on findings from a year-long sociolinguistic ethnography at an all girls’ high school in New Zealand which is referred to as Selwyn Girls’ High (SGH). The study combines the qualitative methods of ethnography with the quantitative methods of acoustic phonetic analysis and experimental design. At the school, there were a number of different groups (e.g. The PCs, The Pasifika Group, The BBs), each forming a community of practice where the different members actively constructed their unique social personae within the context of the group. There was a dichotomy between the groups based on whether they ate lunch in the common room (CR) or not (NCR) and this division reflected the individual speakers’ stance on whether they viewed themselves as “normal” or different from other girls at the school. In-depth acoustic analysis was conducted on tokens of the word like from the girls’ speech. This is a word with a number of different pragmatic functions, such as quotative like (I was LIKE “yeah okay”), discourse particle like (It was LIKE so boring), and lexical verb like (I LIKE your socks). The results provide evidence of acoustically gradient variation in the girls’ realisations of the word like that is both grammatically and socially conditioned. For example, quotative like was more likely to have a shorter /l/ to vowel duration ratio and be less diphthongal than either discourse particle like or grammatical like and there was a significant difference in /k/ realisation depending on a combination of the token’s pragmatic function and whether the speaker ate lunch in the CR or not. Additionally, three speech perception experiments were conducted in order to examine the girls’ sensitivity to the relationship between phonetic variants, lemma-based information, and social factors. The results indicate that perceivers were able to distinguish between auditory tokens of the different functions of like in a manner that was consistent with trends observed in production. Perceivers were also able to extract social information about the speaker depending on phonetic cues in the stimuli. Taken together, the results provide evidence that lemmas with a shared wordform can have different phonetic realisations, that individuals can manipulate these realisations in the construction of their social personae, and that individuals can use lemma-based phonetic trends from production to identify a word. These results have implications for how phonetic, lemma, and social information are stored in the mind and, together, they are used to inform a unified model of speech production, perception and identity construction.

An acoustic comparison of sung and spoken vowels for three New Zealand singers investigates the phonetics of pronunciation in popular music. The singers recited the lyrics to their songs and recordings of their sung vocals were also obtained, creating a dataset of paired sung and recited words. Interviews with the singers were conducted so that the pronunciation used in reciting could be compared with a more conversational style. Eight vowels were analysed in these three conditions: DRESS, TRAP, THOUGHT, LOT, START, GOOSE, GOAT and PRICE. As well as providing data for phonetic analysis, the interviews elicited information about the singers’ musical influences, and investigated the singers’ stances towards the use of New Zealand English (NZE) in singing. The results of the comparison of singing and speech reflect the singers’ various stances to some extent. Overall, however, there are strikingly few cases where pairs of sung and spoken vowels have similar pronunciations. The predominance of ‘American’ vowels in the singing of all three participants, despite stated intentions to use New Zealand forms, suggests that the American-influenced singing style is the default in this context. This finding contrasts with early research on singing pronunciation in popular music, which described the use of American pronunciation in pop music as an act of identity which involved effort and awareness (Trudgill, 1983). The results presented here support the claims of more recent studies which suggest, conversely, that it is the use of non-American accent features which requires a wilful act of identity (Beal, 2009; O'Hanlon, 2006). An important consideration in the interpretation of vowel differences between singing and speech is the role played by the act of singing itself. It has been argued that there may be a general preference for increased sonority in singing (Morrissey, 2008) which would lead to the use of more open vowel sounds. This issue is explored and some evidence is found for a sonority-related effect. However, singing inherent effects like this can only explain a portion of the variability between singing and speaking. Most of the differences between singing and speech appear to be caused by social and stylistic motivations. To investigate why American-influenced pronunciation might be the default in the singing of pop music, a perception experiment was conducted to examine the phenomenon from the perspective of the listener. Participants were played words from a continuum that ranged between bed and bad, and they responded by circling whichever word they heard on a response sheet. The perception of ambiguous tokens was found to differ significantly according to whether or not the words were expected to be spoken or sung. These results are discussed with reference to exemplar theories of speech perception, arguing that the differences between singing and speech arise due to context-specific activation of phonetically detailed memories. This perspective can also be applied to the processes which underlie the production of vowels in sung contexts. Singers draw on their memories of popular music when they sing. Their use of American pronunciation in singing is therefore the result of the fact that a majority of their memories of pop singing involve American-influenced phonetic forms.

La présente thèse propose une description multidimensionnelle (phonologique, phonéticoacoustique et sociolinguistique) des caractéristiques phonético-phonologiques de l’anglais néo-zélandais (NZE) contemporain ainsi qu’une étude théorique et empirique de l’évolution de cette variété. Notre travail de recherche s’inscrit dans le cadre du programme PAC (Phonologie de l’Anglais Contemporain : usages, variétés et structure) et se fonde sur les données authentiques et récentes du corpus PAC Nouvelle-Zélande que nous avons constitué à Dunedin, la capitale de l’Otago, au sud de l’île du Sud de la Nouvelle-Zélande. Notre analyse se concentre sur deux phénomènes qui permettent d’étudier la variation et le changement en NZE : la rhoticité et le ‘r’ de sandhi, ainsi que les changements vocaliques impliquant notamment les voyelles antérieures brèves des ensembles lexicaux KIT, DRESS et TRAP. En nous appuyant sur une étude phonético-acoustique des voyelles produites par les locuteurs du corpus PAC-NZ, nous proposons une modélisation des changements impliquant ces voyelles dans le cadre de la Phonologie de Dépendance. Nous intégrons également une réflexion théorique sur les modélisations linguistiques et sociolinguistiques qui ont été proposées dans la littérature sur le changement linguistique en général, et sur l’évolution du NZE en particulier, et montrons la nécessité d’intégrer des facteurs internes et externes pour rendre compte de l’évolution d’une variété comme le NZE contemporain. / This thesis offers a multidimensional description (phonological, phonetic-acoustic and sociolinguistic) of the phonetic and phonological characteristics of contemporary New Zealand English (NZE) as well as a theoretical and empirical study of its evolution. Our work fits into the framework of the PAC program (Phonology of Contemporary English: usage, varieties and structure) and is based on the recent and authentic data collected for the PAC New Zealand corpus recorded in Dunedin, the capital of Otago, in the south of the South island of New Zealand. Our analysis focuses on two phenomena that allow us to study variation and change in NZE: rhoticity and sandhi-r, as well as vocalic shifts, which notably involve the short front vowels in the lexical sets of KIT, DRESS and TRAP. On the basis of a phonetic-acoustic study of the vowels produced by the PAC-NZ informants, we provide an account of the shifts involving these vowels within the framework of Dependency Phonology. We also integrate a theoretical reflection on the linguistic and sociolinguistic accounts that have been presented in the literature on linguistic change generally and on the evolution of NZE specifically, and show that it is necessary to take internal as well as external factors into account when modeling the evolution of a variety such as contemporary NZE.

Cette thèse s'intéresse à l'imitation dans la parole, c'est à dire à la tendance pour un locuteur de parler de façon plus similaire à son interlocuteur. Beaucoup d'entre nous font l'expérience de ce phénomène lorsque que nous conversons avec une personne qui possède un accent différent. Certaines caractéristiques de notre propre parole peuvent changer, pour se rapprocher de celle de notre interlocuteur. L'imitation dans la parole a fait l'objet de récentes études. Notre contribution à ce type de recherches est d'étudier l'imitation au niveau allophonique, c'est à dire au niveau des réalisations phonétiques possibles d'un phonème. Nous voulons savoir si l'imitation d'un son phonétique pour un phonème donné, dans une position de mot donnée, peut influencer les autres réalisations de ce phonème, dans la même position de mot. Nous voulons également savoir si l'imitation d'un son phonétique pour un phonème donné, dans une position de mot donnée, peut influencer la réalisation d'autres allophones de ce phonème, dans une position de mot différente. / This dissertation investigates imitation in speech, which is the general tendency shown by a speaker to become more similar to another speaker in the way they speak. Many of us have experienced this while talking to someone who is speaking the same language but with a different accent. Conversing with such a person can affect some characteristics of our speech, so that we come to sound more like them. Imitation in speech has been very extensively studied, especially over recent years. To contribute to this line of research we provide an account of imitation in speech at the allophonic level, that is at the level of the possible phonetic realisations of a phoneme. We are interested in whether imitation of the sound of a given phoneme in a particular word position can influence the other possible realisations of that phoneme in the same word position. We are also interested in determining whether imitation of a speech sound in a particular word position for a given phoneme can affect the realisations of that phoneme in a different word position.

The purpose of this project was to find out what varieties of English that Swedish upper secondary school students are exposed to in the classroom and to what extent they are exposed to different varieties. This was conducted by looking at preparation exercises for the listening part of the Swedish National Tests. These exercises are created by Göteborgs Universitet and are available online for everyone and show how the real national test will be done. By listening and analyzing every speaker’s variety they were sorted into British, American, Mid-Atlantic, Australian or New Zealand varieties. A total of 91 speakers were analyzed and the results showed that Students are exposed to mostly British English with half of the speakers using a British variety. One fourth of the speakers used American English while the rest were divided into Mid-Atlantic, Australian or New Zealand varieties.