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

By Ikuko Patricia Yuasa

The most important activity of this ebook is a sociophonetic exploration of voice pitch features of audio system around the cultures of Japan and the United States. 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 ebook tenders acoustic phonetic facts (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 numerous methodological suggestions the most important for sociophonetic examine. Observations of people's voice pitch in most cases 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 sure voice pitch features. This quantity comprises an in depth overview of those impressionistic feedback and acoustic phonetic investigations of voice pitch initiated within the early twentieth century within the countries, the latter of which contributed to either confirming and reconsidering the previous. the amount additional alludes to how attitudinal transformations among those cultures have been chanced on to floor within the acoustically measured voice pitch modulation styles received for this quantity, stressing that voice pitch is able to revealing a number 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

Sample text

One week later, the subjects were asked to read typewritten texts of their original speeches in the same experimental condition. Snidercor utilized the phonophotographic technique (described in Cowan) for his study. Median pitch levels were 120 Hz for improvised speech reading and 129 Hz for passage reading. As for mean pitch levels, it was 120 Hz for impromptu speech reading and 132 Hz for passage reading. Snidecore also found that higher pitch levels and increased pitch variations were observed in passage reading than impromptu speech reading when a scripted originally impromptu speech was read.

Terango then compared his results with those derived from studies conducted on male voice pitch prior to his. The findings revealed that the median pitch of American males considered to possess ‘effeminate’ voices (127 Hz) was not in fact higher than the median or mean pitch of American males reported in two other comparable previous studies (133 Hz in Phihour’s study in 1948 and 132 Hz in McIntosh’s 1939 investigation, cited in Terango) of male speaking voice pitch. Moreover, in my observation, the median pitch of males who had been judged as possessing ‘masculine’ voices was considerably lower than the mean pitch Acoustic Analyses of Voice Pitch 43 of Polish males later reported by Majewski, Hollien, and Zalewski.

It appears that Mashimo’s commentaries are based on the content reported in an issue of Kotoba no Kenkyu (Language Research Room) by NHK (Japan National Broadcasting Association). However, he did not provide full information of this reference. It is normal that men’s voice pitch is low and women’s high. The high pitch is the most striking characteristic of women’s voice (Mashimo, 1969: 29–30). Women’s voice is high-pitched. If men attempt to vocalize with the same pitch level as women’s, their 32 Culture and Gender of Voice Pitch vocal cords need to be unnaturally stretched.

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