Culture and gender of voice pitch: a sociophonetic by Ikuko Patricia Yuasa

By Ikuko Patricia Yuasa

The most important activity of this booklet is a sociophonetic exploration of voice pitch features of audio system around the cultures of Japan and the US. This quantity makes a cogent argument for the socio-cultural position of voice pitch within the expression of emotion and politeness and the way tradition and gender can intersect with one another. The publication tenders acoustic phonetic proof (as good as discourse analyses) in construing how an individual's voice pitch modulation used in conversational speech is mirrored during this intersection because it demonstrates a number of methodological techniques the most important for sociophonetic study. Observations of people's voice pitch generally made impressionistically not just give a contribution to this prosodic feature's perceptual stereotypes, but additionally tell us approximately our attitudes in the direction of convinced voice pitch features. This quantity comprises an intensive evaluate of those impressionistic comments and acoustic phonetic investigations of voice pitch initiated within the early twentieth century within the international locations, the latter of which contributed to either confirming and reconsidering the previous. the amount additional alludes to how attitudinal variations among those cultures have been came across to floor within the acoustically measured voice pitch modulation styles acquired for this quantity, stressing that voice pitch is able to revealing a variety of socio-cultural facets of human behaviors.

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Extra resources for Culture and gender of voice pitch: a sociophonetic comparison of the Japanese and Americans

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Impressionistic Observations of Voice and Voice Pitch 33 The United States Darwin back in 1871 commented that the males among the lower animals almost always produce loud voices at the breeding season. He subsequently came to the conclusion that vocal organs of the human males may have inherited this trait following many generations of using loud voices frequently during excitement of love, jealousy, and rage. However, Ellis, in 1929, mentioned that Darwin’s conclusion involving the inheritance of acquired traits is not universally supported (Ellis, 1929: 103).

He states that a violin and viola have different ranges of sounds which best suit each instrument. While it is possible to play viola tones by tuning violin strings, it would sound mediocre due to less tension on the strings. This is how a voice sounds when someone tries to speak in an unnaturally low voice. Kasuya apparently does not think that a women’s low voice is as desirable as many people believe. One of the newscasters whose voice was used in Kasuya’s studies knows how hard it is to consciously control her voice.

Many young women possess excellent voices. Their voice sounds like crystals rolling on the icy surface. I cannot find the equally delicate description for men’s voice as theirs differs in quality. At any rate, I think that young Japanese women’s voice in general is beautiful (Mashimo, 1969: 37). The beauty of women’s voice that I praise is not limited to young women. I think that the beauty continues as they add years. Young maidens’ clear and innocent voice as well as elderly ladies’ soft voice are appropriately beautiful for their ages and even exhibit their personalities.

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