Hi, ursAxZA. Yes, you're describing an "elision," which is where speakers drop or blur sounds together to make speech more fluid, like the way some people say, "Sup?" when they mean, "What's up?" or replace the T with a glottal stop in the word "mountain," as they do in Utah.

I wholeheartedly agree that it is fine to write things like "Sup?" when appropriate, such as dialogue in a novel. You see this all the time in Japanese TV, books, magazines, manga, etc. However, I disagree that elisions should dictate how we spell words in regular written communication, especially when discussing a tool meant to help non-native Japanese speakers learn the language. And as the parent poster pointed out, when singing, you would sing "se n se i" rather than "se n se e." The same is true of haiku and other instances where the morae (linguistic beats similar to syllables in English) are clearly enunciated.

As I said, sensei is technically four morae and different than "sensē," and, in my opinion, should remain that way in Romaji, it being a writing system and one method for inputting Japanese text.

Thanks for the respectful conversation. I appreciate the points you brought up.

That's right. That ē thing was a pretty stupid gaffe I made.

Some modern adaptations of his transcription do, however. E.g. Modern Japanese Grammar: A Practical Guide uses the transcription “sensee” (they consistently don’t use macrons in this book: e.g. they use oo for ō, etc.).

Hepburn didn’t write “sensē” himself because it 1880s it was still pronounced “ei”, not “ē”. If it were pronounced like it’s pronounced nowadays, you can bet he’d spell it with ē.

I think most learners probably only pick up maybe 50 words before switching from romaji to kana anyway, so in the grand scheme of things the romanization's correspondence to the kana orthography isn't that important.

Your comment is astonishing.

If you know the word 方, that it is /ho:/, and you know that it has a う in it when written out, how can you not know that う stands for making the o long? The only vowel is the long o.

Japanese kindergarten kids can recognize hiragana words with "おう", correctly identifying it as /o:/. By the time they learn the 方 kanji they would have seen it written in hiragana upmpteen times, like AよりBのほうがいい and whatnot.

塔 can be pronounced as tou, too, or somewhere between the two. It depends on the speaker, speaking style, and possibly dialect. Either way, Japanese speakers rely more on context and pitch accent than actual pronunciation, so it communicates fine.

Oh, I thought the added u and the bar were just two different ways to indicated that the o is stretched (the u looking like a workaround to avoid special characters).

The difference in kana was not recently selected in order to represent a feature of the contemporary language. It is historic!!!

I've never heard of the /o:/ of おう and おお being different. I've never seen a small child, or foreign speaker, being corrected in this matter; i.e that they are using the wrong /o:/ for the word and should make it sound like this instead.

This is literally not a thing that exists outside of some foreigners' imaginations. You will sooner hear a difference from $1000 speaker cables before you hear this, and it will only be if you are the one who paid.

You may be letting by pitch accent deceive you. In words that contain /o:/ it's possible for that to be a pitch boundary so that pitch rises during the /o:/ and that can contrast against another /o:/ word where that doesn't happen.

The 頬 word in Japanese is "kinda funny" in that it has a ほお variant and a ほほ variant. It has always stood out in my mind as peculiar. I'd swear I've heard an in-between "ほ・お" that sound somewhat reminiscent of "uh oh", with a bit of a volume dip or little stop that makes it sound like two /o/ vowels. It could be that the speaker intends ほほ, but the second /h/ sound is not articulated clearly. It may even be that the ほほ spelling was invented to try to represent this situation (which is a wild guess, based on zero research). In any case, the situation with that cheeky little word doesn't establish anything general about おお/こお/そお/とお...

I've been fooled by my imagination. For instance, many years ago I thought I would swear that I heard the object marker を sound like "WO" in some songs; i.e. exactly how it typed in romaji-based input methods, because it belongs to the わ group. Like "kimi-o" sounding like "kimi-wo". Today I'm convinced it is just a kind of 空耳 (soramimi). Or the artifact of /i/ followed by /o/ without interruption, becoming a dipthong that passes through /u/: it may be real, but unintentional. It's one of those things that if you convince yourself is real, you will tend to interpret what you are hearing in favor of that.

E.g. in Moriama Naotarō's "Kisetsu no mado de" (季節の窓で), right in the first verse. https://www.youtube.com/watch?v=8FjvNqg3034

That's actually a good example because there are so many covers of that, you can see whether you hear the "whoopy wo" from differnt speakers.

There is a similar situation in the pronunication o 千円. There is a ghost "ye" that appears to the foreign ear. To the point that we have developed the exonym "yen" for the Japanese currency!!! The reality is more like that the /n/ is nasalized, similarly to what happens when it is followed by /g/. https://www.youtube.com/watch?v=5ONt6a1o-hg

OK, finally, let's crack open the a 1998 edition of the the NHK日本語撥音辞典. On pages 832-833, we have all the /ho:/ words, with their pronunications including pitch accents:

ホー with falling accent after ホ: 方、砲、鵬、朴

And, our cheeky word 頬 gets a separate entry here due to its pronunications ホー and ほほ。Both have a falling pitch after the leading ほ, like 方. No difference is noted.

ホー with pitch rising at the "o": 法、報

So of course if you compare someone saying 法律 vs 頬, there will be a difference. But a lot of longer ほお words have the same rising pitch like 法. 法律 (ほうりつ） vs 放り出す （ほおりだす）is the same.

Fairly intuitively, 頬張る（ほおばる）has rising pitch at the お、in spite of 頬 by itself exhibiting falling pitch.