Voice as a Feedback
Process
- reflects the whole
person (physically, psychologically, etc.); sound reflects
the interiority of the body or any other source
- depends on feedback via the acoustic space through hearing: basic orientation of the self within a space
- voice and soundmaking mediate one's relationship to self, self-image, gender, and to the environment/society, as well as leading to interactions with others and larger social groups
- egocentric speech in childhood is replaced by
internalized speech (and listening) cf. Vygotsky
- depends on feedback via the acoustic space through hearing: basic orientation of the self within a space
Voice in
different spaces, indoors and outdoors
- can be disrupted by
loss of feedback at the extremes of acoustic
space:
- can be disrupted by hearing loss (e.g. the difficulty of the deaf in learning to speak, or of the hard of hearing to modulate speech)
- can be disrupted temporarily by earplugs or headphones (whose effects are opposite from each other)
- can be disrupted by a significant time delay introduced into the feedback loop
(anechoic conditions
<-----> diffuse sound field or "lo-fi" conditions)
- can be disrupted by hearing loss (e.g. the difficulty of the deaf in learning to speak, or of the hard of hearing to modulate speech)
- can be disrupted temporarily by earplugs or headphones (whose effects are opposite from each other)
- can be disrupted by a significant time delay introduced into the feedback loop
- voice and soundmaking mediate one's relationship to self, self-image, gender, and to the environment/society, as well as leading to interactions with others and larger social groups
- vocal self-image can
be disrupted by hearing a recording of one's own voice
(lacking the head
and bodily resonances associated with the normal
acoustic process)
- vocal image can be altered by physical, emotional
or psychological changesParalanguage (or prosody)
- an aspect of nonverbal communication,
including kinesics (bodily and facial movement), proxemics
(interpersonal distance), and other sensory forms of
behaviour
- analog, or musical aspects of communication, compared with the discrete, digital form of words
- describes the form of the communication, "how" rather than "what" is said
- form in relation to content (is it appropriate? how does it clarify and put the message into context? is it a form of metacommunication?)
- analog, or musical aspects of communication, compared with the discrete, digital form of words
- describes the form of the communication, "how" rather than "what" is said
- form in relation to content (is it appropriate? how does it clarify and put the message into context? is it a form of metacommunication?)
hypothesis:
when form matches
content, i.e. is appropriate to it, the message is
received as believable, genuine, sincere, authentic;
if not, one detects irony, sarcasm,
teasing, scepticism, hidden meaning, falsehood,
misleading intentions, withholding, manipulation
Interview 1
(grandmother)
Interview 2
(retired policeman)
- unlike the digital form of words, analog communication cannot be self-referential, paradoxical, or self-negating
- less vulnerable to noise or distortion than words
- the parameters: (ranging from normal to exaggerated to stylized)
pitch: patterns of inflection (average, range, contours)
loudness: patterns of stress (average, range, contours)
timbre: quality and texture (normal and altered)
rhythm: tempo (average, range, contours); patterns of stress (metre)
articulation: clear and distinct to indistinct, slurred, etc.
non-verbal elements: hesitations, emotional elements, infantile gestures (cf. Ostwald) etc.
silence: pauses, punctuation, cognitive functional uses (cf. Bruneau)
- unlike the digital form of words, analog communication cannot be self-referential, paradoxical, or self-negating
- less vulnerable to noise or distortion than words
- the parameters: (ranging from normal to exaggerated to stylized)
pitch: patterns of inflection (average, range, contours)
loudness: patterns of stress (average, range, contours)
timbre: quality and texture (normal and altered)
rhythm: tempo (average, range, contours); patterns of stress (metre)
articulation: clear and distinct to indistinct, slurred, etc.
non-verbal elements: hesitations, emotional elements, infantile gestures (cf. Ostwald) etc.
silence: pauses, punctuation, cognitive functional uses (cf. Bruneau)