This week's selection comes from Isobel Clouter, Curator of World & Traditional Music.

Here is an intimate recording made by one of our long time field recordists John Brearley. Travelling with his own violin to encourage a two-way flow of ideas, as suggested by anthropologist Alan Barnard, John Brearley sought out players of musical instruments and people who could perform healing dances and songs throughout Botswana, with positive results. John amassed a large and varied collection of music and interviews which illustrate the relationships he formed with the musicians that he recorded. The sound of the dongo (lamellophone) is but one part of a beautiful recording of the musician G/ashe G/ishe and his family chatting by the fireside.

Dongo (lamellophone) and fireside chatting (BL reference C65/60)

Dongo (lamellophone) of G/ashe G/ishe

John Brearley continues to record in Botswana. His collection is an ongoing work that began with his first trip to Botswana in July 1982 to investigate and record traditional music, and to observe to what extent the influence of radio and recorded music had interrupted the use of traditional instruments. In particular he wanted to hear the music of the Basarwa. (The countries in southern Africa use different names to refer to Bushmen populations. In Botswana the term employed most often is Basarwa). Over 1000 recordings from John Brearley's collection can be explored on British Library Sounds.

Follow @BL_WorldTrad and @soundarchive for all the latest news.

PhD placement student Andrew Booth writes:

At the Evolving English exhibition at the British Library (2010-11), we asked visitors to submit recordings of their voices in specially designed telephone booths. Around 15,000 speakers took part, and the outcome is the Evolving English VoiceBank and WordBank – a collection of accents and dialect words from over the UK, and all around the world. Using the recordings can help linguists or language learners and language teachers in a variety of ways.

Connected speech is an umbrella term, which is used to describe the different processes of change words experience when spoken in natural and uninterrupted speech. It is easier to read a sentence with the words spaced evenly, thanitiswhentherearenospacesinbetween. In speech we do not have the luxury of set boundaries, and when natural speech occurs, some sounds are lost or changed to enable speed and fluency. The rhythmic organisation of English can cause letters to be inserted, changed or deleted. Here are some examples –

• ‘ten minutes’ said quickly in the middle of a sentence may become /teminits/
• ‘in bed’ in the middle of the sentence ‘sat up in bed’ could become /imbed/
• ‘to a’ may become /towa/ in the sentence ‘came to a school’
• ‘raw egg’ may become /ro:r eg/ when said quickly
• ‘must have’ isn’t usually /must hav/, but pronounced /mustuv/

Teaching connected speech to learners of English can be an immensely complicated procedure if you are determined to spell out the rules and terminology that unveil the secrets to connected speech. Within connected speech we have the terminology of progressive assimilation which covers the first two examples above and linking or intrusive /r/ or /w/ explains the second two and weak forms which can explain the final one. Any or all of the terms are enough to put an English language learner (or anybody) off learning languages forever. However, by showing the features of connected speech the fluency and understanding of English can be improved rapidly.

As a rule, when teaching English, I will stay as far away from the terms above as possible. They only deter learners and do not help when pupils are already learning in a language that isn’t their mother tongue. However, I will not skirt the subject and have found a few rules that may help my teaching. Examples of a few of these are below:

Rule 1 – When a word ends in a consonant and the next begins with a vowel, the consonant may move to the other word or straddle between the two words: fast asleep sounds like fas•tasleep or back upstairs sounds like back ͜   upstairs

Rule 2 – If the consonant at the end of one word is the same as the start of another, the end consonant is not finished and merges with the beginning of the following word- thought ͜   to himself, less ͜   strict

Rule 3 – If a word ends in a single /n/ and the next begins with a /b/, /m/ or /p/ – the /n/ disappears and becomes a /m/ (see examples above)

Rule 4 – With non-stressed words of only one syllable that are not central to the context, compare the sentences – yes, we can! to we can do it! – the word can is much stronger in the first than the second

The examples above may seem to be imperceptible to a native speaker of English, they may even seem impossible when you try and say them in isolation. However, after listening to Mr Tickle time after time, I found that we really are chained to the conventions of connected speech, even though we do not know them.

Listen to the first minute and a half of the following excerpts from Mr Tickle read by native English speakers; see if you notice any of the rules in these sentences: (The first voice is someone from the South East of England, the second is from Manchester and the third is a Spanish speaker)

C1442X1339X1655X3044 extract 1

He was having a dream.  It must have been a very funny dream because it made him laugh out loud, and that woke him up.

C1442X1339X1655X3044 extract 2

He sat up in bed, stretched his extraordinary long arms, and yawned an enormous yawn.

C1442X1339X1655X3044 extract 3

Today looks very much like a tickling day,” he thought to himself.

Note that the Manchester speaker is also using connecting speech for /g/ in words ending ng. This could be another blog post in itself!

If we compare the same passage to a speaker whose first language generally does not use these connected speech features, you may be able to hear a difference. The Spanish speaker in the extracts above puts the same emphasis and length on each syllable:

In English we love to assimilate and compress words together or even delete letters from their original place when we speak naturally. There are many more examples of connected speech in the excerpt above that I have not included. Awareness of some of these features can help a learner not only to sound like a native speaker but also help them to understand these weird and interesting variations of our speech.

This week's selection comes from Cheryl Tipp, Curator of Wildlife and Environmental Sounds.

Echolocation is a handy tool used by several groups of animals to understand the world around them. The major players are bats and cetaceans, who use the echoes of specialist calls to locate prey and navigate in conditions where visibility is poor, however a few other animals also possess their own biosonar systems.

Oilbirds (Steatornis caripensis) are one of only a handful of birds with the ability to echolocate. These nocturnal birds roost in caves across the tropical forests of northwestern South America and spend a considerable amount of their time in the dark. In conditions where eyesight is irrelevant, individuals use sequences of clicks to build up a 3D image of their surroundings. The rapid fire and variable nature of these sequences is captured in the following recording made in the Colombian Andes by wildlife sound recordist Ian Todd. Calls from nearby birds can also be heard, especially in the first half of the recording.

Echolocating oilbirds recorded by Ian Todd in the Colombian Andes on 9 Feb 2009 (BL ref 110359)

An Oilbird in the Asa Wright Nature Centre caves, Trinidad (courtesy of Alastair Rae)

As Ian explained in his accompanying notes, obtaining this recording was by no means a walk in the park.

"To gain access to the mouth of the cave we had to wade across the fast-flowing upland Rio Alicante, and then clamber up a series of huge boulders. The colony of Oilbirds was localised just within the cave entrance."

Hats off to you, sir.

Follow @CherylTipp and @soundarchive for all the latest news.

PhD placements students Andrew Booth and Sarah Rowan write:

Episode 1
The first episode of Linguistics at the Library introduces the British Library’s Evolving English Collection, which is a sound archive capturing the diversity of English accents and dialects. Podcast hosts Andrew Booth and Rowan Campbell are working with this archive as part of a PhD placement, and every few weeks will be bringing you a fresh discussion about linguistics and how to identify different accents.

This week’s ‘What’s the feature?’ used a clip from:

BBC Voices Recording in Newcastle. BBC, UK, rec. 2005 [digital audio file]. British Library, C1190/32/01. Available: sounds.bl.uk/Accents-and-dialec…1190X0023XX-0101V0

Interesting links: 
The glottal stop in Glasgow: www.theguardian.com/commentisfree/2…ogenised-london 
The Bristol ‘l’: blogs.bl.uk/sound-and-vision/20…n-idea-dialect.html 
An in-depth look at the Newcastle accent: www.bl.uk/learning/langlit/sou…ase-studies/geordie/

Follow Rowan and Andrew on Twitter on @VoicesofEnglish

Linguistics at the Library Episode 1

Andrew Booth and Rowan Campbell

This week's selection comes from Jonathan Summers, Curator of Classical Music Recordings.

The last Classical Recording of the Week was of George Szell conducting Haydn. Here he is again fifteen years earlier in 1938 during his time as conductor of the Scottish Orchestra (1936-1939) just before he left for the United States. He conducts the London Philharmonic Orchestra for soloist Benno Moiseiwitsch in Beethoven's immortal Piano Concerto No. 5, the Emperor Concerto. The music of a genius performed by one of the greatest pianists of the twentieth century. Conductor and soloist are in total accord in the magisterial first movement; Szell shapes the poetic slow movement to perfection (beginning at 20'32") while both have fun in the rollicking third movement (beginning at 28'42").

Concerto for Piano and Orchestra no. 5 op. 73 E flat (Emperor)

Follow @BL_Classical and @soundarchive for all the latest news.