Purpose Former studies suggested that music perception can help produce certain accentual features in the first and second language (L2), such as intonational contours. What was missing in many of these studies was the identification of the exact relationship between specific music perception skills and the production of different accentual features in a foreign language. Our aim was to verify whether empirically tested musical hearing skills can be related to the acquisition of English vowels by learners of English as an L2 before and after a formal accent training course. Method Fifty adult Polish speakers of L2 English were tested before and after a two-semester accent training in order to observe the effect of musical hearing on the acquisition of English vowels. Their L2 English vowel formant contours produced in consonant–vowel–consonant context were compared with the target General British vowels produced by their pronunciation teachers. We juxtaposed these results with their musical hearing test scores and self-reported musical experience to observe a possible relationship between successful L2 vowel acquisition and musical aptitude. Results Preexisting rhythmic memory was reported as a significant predictor before training, while musical experience was reported as a significant factor in the production of more native-like L2 vowels after training. We also observed that not all vowels were equally acquired or affected by musical hearing or musical experience. The strongest estimate we observed was the closeness to model before training, suggesting that learners who already managed to acquire some features of a native-like accent were also more successful after training. Conclusions Our results are revealing in two aspects. First, the learners' former proficiency in L2 pronunciation is the most robust predictor in acquiring a native-like accent. Second, there is a potential relationship between rhythmic memory and L2 vowel acquisition before training, as well as years of musical experience after training, suggesting that specific musical skills and music practice can be an asset in learning a foreign language accent.

This paper presents a study of L1 and L2 vowel perception by Polish learners of English. Employing the Silent Center paradigm (e.g. Strange et al. 1983), by which listeners are presented with different portions of a vowel, a force choice identification task was carried out. Due to differences in the vowel systems of the two languages, it was hypothesized that stimulus type should have minimal effects for L1 Polish vowel perception since Polish vowels are relatively stable in quality. In L2 English, depending on proficiency level, listeners were expected to adopt a more dynamic approach to vowel identification and show higher accuracy rates on the SC tokens. That is, listeners were expected to attend more to dynamic formant cues, or vowel inherent spectral change (VISC; see e.g. Morrison and Assmann 2013) in vowel perception. Results for identification accuracy for the most part were consistent with these hypotheses. Implications of VISC for the notion of cross-language phonetic similarity, crucial to models of L2 speech acquisition, are also discussed.

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The present study seeks to determine whether superior musical hearing is correlated with successful production of second language (L2) intonation patterns. Fifty Polish speakers of English at the university level were recorded before and after an extensive two-semester accent training course in English. Participants were asked to read aloud a series of short dialogues containing different intonation patterns, complete two musical hearing tests measuring tone deafness and melody discrimination, and a survey regarding musical experience. We visually analyzed and assessed participants’ intonation by comparing their F0 contours with the model provided by their accent training teachers following ToBI (Tones and Break Indices) guidelines and compared the results with the musical hearing test scores and the survey responses. The results suggest that more accurate pitch perception can be related to more correct production of L2 intonation patterns as participants with superior musical ear produced more native-like speech contours after training, similar to those of their teachers. After dividing participants into four categories based on their musical hearing test scores and musical experience, we also observed that some students with better musical hearing test scores were able to produce more correct L2 intonation patterns. However, students with poor musical hearing test scores and no musical background also improved, suggesting that the acquisition of L2 intonation in a formal classroom setting can be successful regardless of one’s musical hearing skills.

Abstract This study focuses on the differences in pitch register and pitch span across five accents of English, and investigates their potential effects on judgements of speech. We recorded two male middle-aged speakers for each of the following accents of English: Brighton, Manchester, Perth, New Jersey and Edmonton. Then, we modified pitch register in selected spontaneous speech recordings by raising the overall pitch in the recordings by 5 Hz and 15 Hz using Praat. The entire material was then randomized and prepared for an online survey. A group of 50 respondents (30 female, 20 male) who were non-native speakers of English were asked in a blind study to evaluate both the unmodified and modified recordings on a 7-point Likert scale in terms of their perceived attractiveness, friendliness, prestige and self-confidence. Overall, it has been found that pitch span can be a telling cue when evaluating perceived friendliness for both gender groups, while pitch register can affect male listeners in evaluating attractiveness and self-confidence. Finally, it seems that there is a an upper limit for what listeners can aesthetically accept in terms of pitch register, as the recordings with highest registers were disfavored by our respondents.