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State University of Novi Pazar
Vuka Karadžića 9, Novi Pazar, Serbia
On behalf of Publisher: Miladin Kostić, PhD, professor (Chancellor)

© 2021 Jelena Grubor (Jelena Grubor Hinić)

ISBN 978–86–81506–04–2

in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying,
recording, or otherwise, without the prior written permission of the Author.

Reviewed by
Maja Marković
Lidija Orčić

Proofread by
Denise Rennison

Audio read by
Steve Lever

Illustrations & cover design by

Dubravka Bojović

Printed and bound in Serbia by InterPrint, Kragujevac

A catalogue record for this publication is available from COBISS:

Co-operative Online Bibliographic System & Services

https://sr.cobiss.net/en/cobiss.htm
Information on this title:

COBISS Cataloguing in Publication data

National Library of Serbia, Belgrade
811.111’34(075.8)(076)
811.111’366(075.8)(v076)
Grubor Jelena (Vlada), 1977 – English Phonetics and Phonology: A Practice Book / Jelena Grubor. – 1st ed. –
Novi Pazar: State University of Novi Pazar, 2021 (Kragujevac: Interprint) – 128 pp.: illustrations;
24 cm + Audio
Circulation 100 – Bibliography: pp. 126–128.
ISBN 978–86–81506–04–2
Includes bibliographical references and index.
a) The English Language – Phonetics b) The English Language – Morphology
COBISS.SR-ID 34025737

By Decision 2307/20 as of 21 Sep 2020 brought by the Senate of the State University of Novi Pazar, this
book has been accepted as a university handbook for English Linguistics Studies.

State University of Novi Pazar

 Jelena Grubor

Contents
Preface [ˈprɛfɪs] ...................................................................................................... v
Acknowledgements [əkˈnɒlɪʤmənts]................................................................... viii
List of symbols [lɪst əv ˈsɪmbəlz] ........................................................................... ix
Phonetic alphabet table for English: Consonants and vowels [fəʊˈnɛtɪk ˈælfəbɛt
ˈteɪbl̩ fər ˈɪŋglɪʃ ˈkɒnsənənts ənd ˈvaʊəlz] .............................................................. xi

PART I: Input and written exercises

1 Introduction to the sound system of English: Articulators [ˌɪntrəˈdʌkʃn̩ tə ðə saʊnd

ˈsɪstəm əv ˈɪŋglɪʃ ɑ:ˈtɪkjʊleɪtəz] ............................................................................... 1 
2 The production and description of speech sounds [ðə prəˈdʌkʃn̩ ənd dɪsˈkrɪpʃn̩ əv
spi:ʧ saʊndz] ........................................................................................................... 3
2.1 Phonetic features [fəʊˈnɛtɪk ˈfi:ʧəz] .................................................................. 3
2.2 Distinctive features [dɪsˈtɪŋktɪv ˈfi:ʧəz] ............................................................. 4
2.2.1 The intensity of articulation [ði ɪnˈtɛnsɪti əv ɑ:ˌtɪkjʊˈleɪʃn̩] ............................ 4
2.2.2 The place of articulation [ðə pleɪs əv ɑ:ˌtɪkjʊˈleɪʃn̩] ....................................... 5
2.2.3 The manner of articulation [ðə ˈmænər əv ɑ:ˌtɪkjʊˈleɪʃn̩] ................................ 7
2.2.4 The Consonant table [ðə ˈkɒnsənənt ˈteɪbl̩ ] ................................................... 8
3 English sound system: Vowels [ˈɪŋglɪʃ saʊnd ˈsɪstəm ˈvaʊəlz] ............................... 9
4 English sound system: Consonants [ˈɪŋglɪʃ saʊnd ˈsɪstəm ˈkɒnsənənts] ................ 11
5 Allophones and allophonic variations [ˈæləfəʊnz ənd ˌæləˈfɒnɪk ˌveərɪˈeɪʃn̩z] .... 11
5.1 Voicing and devoicing [ ̮ ] [ ̥ ] [ˈvɔɪsɪŋ ənd di:ˈvɔɪsɪŋ] ..................................... 11
5.2 Fronting and retraction [ˈfrʌntɪŋ ənd rɪˈtrækʃn̩] .............................................. 12
5.3 Aspiration [h] [ˌæspɪˈreɪʃn̩] .............................................................................. 12
5.4 Coarticulation [ˌkəʊɑ:tɪkjəˈleɪʃn̩] .................................................................... 13
5.4.1 Labialisation [w] [ˌleɪbiəlaɪˈzeɪʃn̩] ................................................................. 13
5.4.2 Palatalisation [j] [ˌpælətəlaɪˈzeɪʃn̩] ................................................................ 13
5.4.3 Velarisation [ɫ] [ˌvi:ləraɪˈzeɪʃn̩] ..................................................................... 14
5.5 Nasalisation [ ̃] [ˌneɪzl̩ aɪˈzeɪʃn̩] ....................................................................... 14
5.6 Glottalisation (the glottal stop) [ʔ] [ˌɡlɒtəlaɪˈzeɪʃn̩ ðə ˈɡlɒtl̩ stɒp] .................... 14
5.7 Retroflexion [ɻ] [ˌrɛtrəʊˈflɛkʃn̩] ........................................................................ 14
6 The syllable [ðə ˈsɪləbl̩ ] ......................................................................................... 16
6.1 The structure of the English syllable [ðə ˈstrʌkʧər əv ði ˈɪŋglɪʃ ˈsɪləbl̩ ] .......... 16
6.2 Strong and weak syllables [strɒŋ ənd wi:k ˈsɪləbl̩ z] ........................................ 17
7 The stress [ðə strɛs] ............................................................................................... 18
7.1 Stress placement in simple words [strɛs ˈpleɪsmənt ɪn ˈsɪmpl̩ wɜ:dz] .............. 19
7.2 Stress placement in complex words [strɛs ˈpleɪsmənt ɪn ˈkɒmplɛks wɜ:dz] .... 20
7.2.1 Prefixes [ˈpri:fɪksɪz] ..................................................................................... 20
7.2.2 Suffixes [ˈsʌfɪksɪz] ....................................................................................... 20
7.3 Stress placement in compound words [strɛs ˈpleɪsmənt ɪn ˈkɒmpaʊnd
wɜ:dz] ................................................................................................................... 22

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 English Phonetics and Phonology

8 The connected speech [ðə kəˈnɛktɪd spi:ʧ] ............................................................ 23

8.1 Rhythm [ˈrɪðm̩] ............................................................................................... 23
8.2 Assimilation [əˌsɪmɪˈleɪʃn̩] ............................................................................... 25
8.2.1 Assimilation of place [əˌsɪmɪˈleɪʃn̩ əv pleɪs] ................................................. 25
8.2.2 Assimilation of manner [əˌsɪmɪˈleɪʃn̩ əv ˈmænə] ........................................... 26
8.2.3 Assimilation of voice [əˌsɪmɪˈleɪʃn̩ əv vɔɪs] .................................................. 26
8.3 Elision [ɪˈlɪʒn̩] ................................................................................................. 26
8.4 Liaison (‘linking r and intrusive r’) [liˈeɪzn̩ ˈlɪŋkɪŋ r ənd ɪnˈtru:sɪv r] .............. 27
8.5 Juncture [ˈʤʌŋkʧə] ......................................................................................... 28
9 Intonation [ˌɪntəˈneɪʃn̩] .......................................................................................... 30
9.1 The tone unit and its structure [ðə təʊn ˈju:nɪt ənd ɪts ˈstrʌkʧə] ...................... 30
9.2 Functions of intonation [ˈfʌŋkʃənz əv ˌɪntəˈneɪʃn̩] ........................................... 31
9.3 Tone pitch-movements (tails and heads) [təʊn pɪʧ ˈmu:vmənts  teɪlz ənd
hɛdz] ..................................................................................................................... 32

PART II: Transcription

1 Transcribing the English sounds: Vowels [trænsˈkraɪbɪŋ ði ˈɪŋglɪʃ saʊndz

ˈvaʊəlz] ................................................................................................................. 37
1.1 Short vowels [ʃɔ:t ˈvaʊəlz] .............................................................................. 37
1.2 Long vowels [lɒŋ ˈvaʊəlz] .............................................................................. 40
1.2.1 Monophthongs [ˈmɒnəfθɒŋz] ...................................................................... 40
1.2.2 Diphthongs [ˈdɪfθɒŋz] .................................................................................. 44
1.2.2.1 Closing diphthongs [ˈkləʊzɪŋ ˈdɪfθɒŋz] ..................................................... 44
1.2.2.2 Centring diphthongs [ˈsɛntr̩ɪŋ ˈdɪfθɒŋz] .................................................... 46
1.2.3 Triphthongs [ˈtrɪfθɒŋz] ................................................................................ 46
1.2.4 Vowels: Sum-up [ˈvaʊəlz ˈsʌmʌp] ............................................................... 47
1.2.5 Weak vowels [wi:k ˈvaʊəlz] ......................................................................... 47
1.2.5.1 Unstressed ‘i’ and ‘u’ [ʌnˈstrɛst i ænd u] ................................................... 48
1.2.5.2 The schwa [ðə ʃwɑ:] ................................................................................. 49
1.2.6 Syllabic consonants ([l̩ ], [n̩], [r̩]) [sɪˈlæbɪk ˈkɒnsənənts l̩ n̩ r̩ ] ...................... 50
1.2.6.1 Syllabic [l̩ ] [sɪˈlæbɪk l̩ ] .............................................................................. 50
1.2.6.2 Syllabic [n̩] [sɪˈlæbɪk n̩] ............................................................................. 51
1.2.6.3 Syllabic [r̩] [sɪˈlæbɪk r̩] .............................................................................. 51
2 Allophonic variation [ˌæləˈfɒnɪk ˌveəriˈeɪʃn̩] ......................................................... 52
2.1 Devoicing [di:ˈvɔɪsɪŋ] .................................................................................... 52
2.2 Fronting and retraction [ ̪ ] [ ̟ ] [ ̠ ] [ˈfrʌntɪŋ ənd rɪˈtrækʃn̩] ............................. 52
2.3 Aspiration [h] [ˌæspɪˈreɪʃn̩] .............................................................................. 52
2.4 Labialisation [w] [ˌleɪbiəlaɪˈzeɪʃn̩] ................................................................... 53
2.5 Palatalisation [j] [ˌpælətəlaɪˈzeɪʃn̩] .................................................................. 53
2.6 Velarisation [ɫ] [ˌvi:ləraɪˈzeɪʃn̩] ....................................................................... 53
2.7 Nasalisation [ ̃] [ˌneɪzl̩ aɪˈzeɪʃn̩] ....................................................................... 54

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 Jelena Grubor

3 The stress [ðə strɛs] ............................................................................................... 55

3.1 Simple words [ˈsɪmpl̩ wɜ:dz] .......................................................................... 55
3.2 Complex words [ˈkɒmplɛks wɜ:dz] ................................................................ 55
3.3 Compound words [ˈkɒmpaʊnd wɜ:dz] ........................................................... 56
4 Connected speech [kəˈnɛktɪd spi:ʧ] ....................................................................... 57
4.1 Assimilation [əˌsɪmɪˈleɪʃn̩] .............................................................................. 57
4.1.1 Assimilation of place [əˌsɪmɪˈleɪʃn̩ əv pleɪs] ................................................. 57
4.1.2 Assimilation of manner [əˌsɪmɪˈleɪʃn̩ əv ˈmænə] ........................................... 59
4.1.3 Assimilation of voicing [əˌsɪmɪˈleɪʃn̩ əv ˈvɔɪsɪŋ] .......................................... 59
4.2 Elision [ɪˈlɪʒn̩] ................................................................................................. 59
4.3 Liaison [liˈeɪzn̩] .............................................................................................. 61
4.4 Juncture [ˈʤʌŋkʧə] ........................................................................................ 62
5 Intonation [ˌɪntəˈneɪʃn̩] .......................................................................................... 63
5.1 Functions of intonation [ˈfʌŋkʃənz əv ˌɪntəˈneɪʃn̩] ........................................... 63
5.2 Tone pitch-movements (tails and heads) [təʊn pɪʧ ˈmu:vmənts  teɪlz ənd
hɛdz] ..................................................................................................................... 63

PART III: Morphophonology

1 Morphophonology: Voicing [ˌmɔ:fəʊfəˈnɒlədʒi ˈvɔɪsɪŋ] ....................................... 69

1.1 Morphophoneme {S} [ˌmɔ:fəʊˈfəʊni:m ɛs] .................................................... 69
1.2 Morphophoneme {D} [ˌmɔ:fəʊˈfəʊni:m di:] ................................................... 69
2 The letter sequence <ng>: /ŋ/ or /ŋg/ [ðə ˈlɛtə ˈsi:kwəns ŋ ɔ: ŋg] ......................... 71
3 Word-class pairs (Conversion) [ˈwɜ:dˌklɑ:s peəz kənˈvɜ:ʒn̩] ................................. 72
4 Silent letters [ˈsaɪlənt ˈlɛtəz] .................................................................................. 73
4.1 Silent consonants [ˈsaɪlənt ˈkɒnsənənts] ........................................................ 73
4.2 Silent vowels [ˈsaɪlənt ˈvaʊəlz]....................................................................... 77

PART IV: Text transcription

1 Text transcription: Introduction [tækst trænˈskrɪpʃn̩ ˌɪntrəˈdʌkʃn̩] ......................... 81

2 Transcription to orthography [trænˈskrɪpʃn̩ tu ɔ:ˈθɒgrəfi] ...................................... 81
2.1 Phonemic transcription [fəʊˈni:mɪk trænˈskrɪpʃn̩] ........................................... 81
2.2 Broad transcription [brɔ:d trænˈskrɪpʃn̩] ......................................................... 84
3 Orthography to transcription [ɔ:ˈθɒgrəfi tə trænˈskrɪpʃn̩] ...................................... 88
3.1 Phonemic transcription [fəʊˈni:mɪk trænˈskrɪpʃn̩] ........................................... 88
3.2 Broad transcription [brɔ:d trænˈskrɪpʃn̩] ......................................................... 90

PART V: Audio exercises

1 Vowels [ˈvaʊəlz] ................................................................................................... 99

2 Consonants; Allophones [ˈkɒnsənənts ˈæləfəʊnz] ............................................... 100

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 English Phonetics and Phonology

3 The stress [ðə strɛs] ............................................................................................. 102

4 The connected speech [ðə kəˈnɛktɪd spi:ʧ] .......................................................... 103
5 Intonation [ˌɪntəˈneɪʃn̩] ........................................................................................ 104

PART VI: Additional practice

1 Worksheet A: Identify short vowels and the schwa [ˈwɜ:kˌʃi:t eɪ aɪˈdɛntɪfaɪ ʃɔ:t
ˈvaʊəlz ənd ðə ʃwɑ:] ........................................................................................... 109
2 Worksheet B: Identify long vowels [ˈwɜ:kˌʃi:t bi: aɪˈdɛntɪfaɪ lɒŋ ˈvaʊəlz] ......... 110
3 Worksheet C: Identify diphthongs and triphthongs [ˈwɜ:kˌʃi:t si: aɪˈdɛntɪfaɪ ˈdɪfθɒŋz
ənd ˈtrɪfθɒŋz] ...................................................................................................... 111
4 Worksheet D: Solve the anagrams or jumbled-up sounds [ˈwɜ:kˌʃi:t di: sɒlv ði
ˈænəˌgræmz ɔ: ˈʤʌmbl̩ dʌp saʊnds] ................................................................... 112
5 Worksheet E: Do the crosswords with silent letters [ˈwɜ:kˌʃi:t i: du: ðə ˈkrɒsˌwɜ:dz
wɪð ˈsaɪlənt ˈlɛtəz] .............................................................................................. 113
6 Worksheet F: Wordsearch [ˈwɜ:kˌʃi:t ɛf ˈwɜ:dˌsɜ:ʧ] ........................................... 114
7 Worksheet G: English-sound-system tree [ˈwɜ:kˌʃi:t ʤi: ˈɪŋglɪʃ saʊnd ˈsɪstɪm
tri:] ...................................................................................................................... 115
8 Worksheet H: Jumbled sayings [ˈwɜ:kˌʃi:t eɪʧ ˈʤʌmbl̩ d ˈseɪɪŋz] ........................ 116
9 Worksheet I: Feel the stress [ˈwɜ:kˌʃi:t aɪ: fi:l ðə strɛs] ....................................... 117
10 Worksheet J: Phoneme bingo [ˈwɜ:kˌʃi:t ʤeɪ fəʊˈni:m ˈbɪŋgəʊ] ........................ 118
11 Worksheet K: Board game [ˈwɜ:kˌʃi:t keɪ ˈbɔ:d ˌgeɪm] ....................................... 119

Glossary [ˈglɒsr̩ i] ............................................................................................... 120

References [ˈrɛfr̩ənsɪz] ........................................................................................ 126

iv
 English Phonetics and
Phonology: A Practice
Book

Jelena Grubor

State University of Novi Pazar

 [ˈɪŋglɪʃ fəʊˈnɛtɪks ən
fəʊˈnɒləʤi ə ˈpræktɪs bʊk]

FIRST EDITION
Jelena Grubor,
Ass. Prof. of English Linguistics,
State University of Novi Pazar
 Jelena Grubor

Preface
This Practice Book is aimed at university students of English Language and
Literature Studies, Year 1, attending seminars of an introductory one-term course
English phonetics. The main goal is to aid students in acquiring the subject matter
content of the course by focusing their attention on the key phonetic and phonological
features necessary for successful L2 acquisition, on the one hand, and guiding them
through this process gradually, on the other. Although the Practice Book follows to a
great extent the teaching units of the book A Manual of English Phonetics and Phonology
(Scandera & Burleigh, 2011), accompanied and supplemented with English Phonetics
and Phonology (Roach, 2012), and serves as supplementary material to them, it can
easily be used in other introductory phonetics and phonology courses regardless of the
required textbook, either in its entirety or in parts.
As regards its structure, the book consists of six sections. The sections are first
preceded by the List of symbols that should be used as a reference to every task dealing
with transcription, including the symbols representing English phonemes (consonants
and vowels), diacritics used for the representation of allophones, symbols used to mark
the stress, intonation, and then the Consonant table and Vowel chart (monophthongs and
diphthongs). On the other hand, the sections are followed by the Glossary containing
the key terms used in phonetics and phonology, with their transcription and Serbian
equivalents. All the key terms covered in the chapters within the sections have been
marked in bold and included in the Glossary. Note that they are in boldface only when
they are defined, whereas in other instances they stay in regular typeface. Part I provides
brief theoretical input on the key points concerning the study of English phonetics and
phonology, with brief written exercises. Since the main purpose of this Practice Book
is to further work on the teaching units covered in lectures and thus is practice-oriented,
the theoretical input is brief and concise, and includes only a summary of the topic in
question, rather than an in-depth analysis. Part II, which follows the teaching units
covered in Part I, involves the transcription (primarily on the word level, but also across
word boundaries), and thus can be used independently of Part I, although it is useful to
address it for reference. This section includes both phonetic and phonological properties
of words and utterances, and hence includes different patterns of intonation and their
functional use and implications. Part III deals with some aspects of morphophonology,
a discipline in which phonology and morphology intersect, whereby the choice of an
allomorph over another is determined by the surrounding sounds. When the choice
is rule-governed, it is the case of allomorphs in complementary distribution (such as
the pronunciation of the inflectional suffix <s> and <ed>). Another instance where
morphological properties determine the pronunciation is the pronunciation of the letter
sequence <ng>. Finally, over the course of history, certain sounds have become ‘empty’
(not pronounced) in certain environments, and these sounds normally create problems
to English language students, which is why we have also included silent letters. Part
IV includes texts transcribed or to be transcribed by using phonemic transcription, on
the one hand, and broad transcription, on the other. Although phonemic transcription

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English Phonetics and Phonology

of any kind of discourse does not represent speech as it naturally occurs, we believe
that students ought to be acquainted with phonemes being pronounced independently
first, since they use ELT dictionaries in which they have phonemic transcription only.
Furthermore, students must be aware of the difference between the use of strong and
weak forms in rapid speech, which is the problem that all foreign language students
encounter. In addition, in this section students are encouraged to use the schwa because
many rather seem to use syllabic consonants instead, as a result of their preference
for American English. The schwa being the ‘queen of the sounds’, thus deserves due
recognition. Drawing on Scandera & Burleigh (2011), broad transcription is mainly
conceived of as of an intermediate type (e.g. including unstressed ‘i’ and ‘u’, linking
r, weak forms etc), and it does not refer to narrow, phonetic transcription. However,
the texts towards the end of the section include some more complex instances of
uninterrupted speech (such as the assimilation of place and voice, and elision). The
texts transcribed or to be transcribed phonemically have been taken unabridged from
the children’s book Fifty Stories for 7 Year Olds by Marie Greenwood (ed): The Little
Mermaid (Hans Andersen), Sinbad and the Island-That-Never-Was (Arabian Nights),
Jack One-Step (Terry Jones), Snow White and the Seven Dwarfs (Grimm Brothers).
The texts transcribed or to be transcribed via broad transcription, on the other hand,
have been taken from a bestseller, entitled Night Train to Lisbon by Paskal Mercier,
and abridged in terms of changing Portuguese and Swiss proper names into English
(e.g. Gregorius was changed into Greg, Amadeo into Adam etc). Part V includes audio
exercises that focus on English sounds (vowels, consonants and their allophones), with
a particular emphasis on problem cases that have been shown to create difficulties to
students (e.g. distinguishing between /ɛ/ and /æ/, /v/ and /w/ etc), the stress, different
aspects of connected speech, and finally intonation (different types of tones and pitch
movements). Part VI is devised primarily as a means of additional practice of the
covered units through different games. It includes further work on different categories
of vowels, silent letters, the <ng> sequence, the division of English consonants and
vowels, the stress, and finally a course recap via a board game.
Throughout the Practice Book, we have used the British variety of English, which we
term the SESP (Southern English Standard Pronunciation). We have adopted this term
despite the fact that many linguists rightfully question the existence of a ‘standard’. The
reason is that currently we find this ‘umbrella term’ the most convenient of all because
it represents the accent that is considered as a ‘norm’ in southern parts of England. We
have decided against using the term RP (Received Pronunciation), as the attribute itself
suggests that this accent is ‘proper’ and ‘acceptable’, thus implying that others might
be ‘improper’. In truth, we have not addressed phonetic properties of other accents and/
or varieties, since we maintain that British English seems to be creating difficulties to
students during their studies, who appear to predominantly choose to use GA (General
American). On the other hand, English language students must be acquainted with
both of these most commonly used varieties of English (if we neglect the idea of the
existence of World Englishes, whose introduction might cause further complications

vi
 Jelena Grubor

and ambiguity). In doing so, we by no means imply that this accent/variety is or should
be a norm or that other accents/varieties are subordinate to it.
Finally, we draw the reader’s attention to the fact that at times we use different
pronunciation variants exemplifying allophones in free variation (e.g. ‘system’ /ˈsɪstɪm/
or /ˈsɪstəm/). The same is true for the suggested answers, which might be in line with
the author’s pronunciation preferences (e.g. the interchangeable and/or variable use
of the schwa or short ‘i’ in certain suffixes, such as <less> and <est>), which does not
mean that other variants are incorrect. Note, nonetheless, that at certain points students
must use a specific pronunciation variant in order to practise the target sound and/or
feature. When students are required to use the target (specific) sound being practised
at the moment, we will be using the symbol marked as ÿ (e.g. ‘direct’ pronounced
with a diphthong rather than a short ‘i’ due to example words in which the second
syllable carries the primary stress, despite the fact that the first syllable is also strong).
If, however, the speaker’s choice does not interfere with the item being practised, we
will be using + (e.g. ‘Celt’ being pronounced with /s/ or /k/, when /ɛ/ is being practised).
What is more, although secondary stress is not always obligatory by ‘British tradition’
when the secondary stress is implicitly understood, the tasks encourage students to use
both types of major stress in compounds to raise their awareness of the existence of
different levels of prominence (primary and secondary stress). Although we have used
the Cambridge Pronouncing Dictionary as the main source of pronunciation variants
as well the stress, we have accompanied it with the online MacMillan Dictionary in
which both stresses are present in compound words, even when the secondary stress is
not required in the ‘British tradition’.
There are the key and audio material to the Practice Book, which the reader can
acquire by contacting the Author via email [email protected].

2020 in Kragujevac, Serbia

Author

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 English Phonetics and Phonology

Acknowledgments
I am deeply indebted to all the people who have inspired me and supported me
in writing this book. I am also very grateful to the State University of Novi Pazar
Publishing Office, without whom the publication of this book would have not been
possible.
First of all, I owe a profound debt of gratitude to Peter Roach, an eminent professor
of phonetics at the University of Reading, UK, whose work prompted me to attempt
to personally contribute to the teaching of phonetics and phonology at tertiary level,
together with my phonetics teaching assistant at the University of Belgrade, Faculty
of Philology, Department of English Language and Literature, Ana Stefanovski, who
developed my love for phonetics and the British accent back in my university days.
Special thanks to my reviewers, Maja Marković, PhD, professor of phonetics and
phonology at the University of Novi Sad, Faculty of Philosophy, Department of English
Studies, and Lidija Orčić, PhD, assistant professor of English linguistics at the State
University of Novi Pazar, Department of Philology Sciences, English Language and
Literature Study Programme, whose timely feedback, and insightful and encouraging
comments improved the quality of this book; to my proofreader, my dearest Denise
Rennison, a retired English teacher, an amazing chef and my dear friend, for her timely
feedback and support; to the brilliant Steve Lever, senior English language teaching
consultant, freelance voice artist, translator and editor, whose exquisite voice and
exceptional acting skills made the audio material authentic, educational and appealing;
to my beautiful designer, Dubravka Bojović, who was extremely helpful, patient and
cooperative in creating all the illustrations as well as designing the book cover.
I would also like to thank my dear colleagues at the State University of Novi Pazar,
especially Violeta Janjatović, PhD, assistant professor of Anglo-American literature,
and Admir Gorčević, PhD, assistant professor of English linguistics, for their constant
support, advice and encouragement. I am also grateful to all my students, who have
always inspired me, fired my enthusiasm for teaching, and driven me to work as hard
and as creatively as possible.
Above all, I am greatly indebted to my family for their patience, love, and support.

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