Le personnage vocal - Philip Tagg

Century of the Self. BBC Television/RDF (2003). Adam Curtis [narr]. The Century of the
Self, Episode 1: Happiness Machines; 2: The Engineering of Consent; 3: There is a
Policeman Inside All Our Head - He Must Be Destroyed; 4: Eight People Sipping Wine in
Kettering. [DVD title]
from the Department of Otolaryngology, Head and Neck Surgery, University of Cincinnati Medical
Center, Cincinnati, OH 45267-0528, USA. khoslasm@uc.edu
from the Center for Laryngeal Surgery and Voice Rehabilitation, Massachusetts General Hospital,
Harvard Medical School/Harvard-MIT Division of Health Sciences and Technology, One Bowdoin
Square, 11th Floor, Boston, MA 02114, USA. dmehta@mit.edu
Breathiness as a Feminine Voice Characteristic: A Perceptual Approach
*John Van Borsel, *Joke Janssens, and *,†,‡Marc De Bodt, *zGent and yAntwerp, Belgium
Journal of Voice, Vol. 23, No. 3, pp. 291-294
Références
they agree on personality traits inferred from the voice (e.g., AIIport & Cantril, 1934; Addington, 1968;
Scherer,1972; for reviews see Kramer, 1964; Scherer, 1979, 1986);
they agree on emotions inferred from the voice (e.g., Scherer, 1974a; Scherer & Oshinsky, 1977);
they also agree on the acoustic characteristics associated with various voices (Scherer, 1974b).
Researchers examined correlations between observers' impressions and various parameters of the voice (e.g.,
Aronovitch, 1976),
or they examined observers' impressions as a function of systematic variations in the voice (e.g., Addington,
1968).
This latter technique was particularly popular in studies of speakers' credibility, with credibility operationalized
as ratings of competence and dominance on one hand and likability and benevolence on the other hand.
139
The results tend to show that faster speech rate (e.g., Smith, Brown, Strong, & Rencher, 1975), relative lack
of non-fluencies such as pauses and repetitions (e.g., Miller & Hewgill, 1964; Sereno & Hawkins, 1967), and
dynamic delivery (e.g., Pearce & Conklin, 1971) produced higher ratings on competence and dominance;
effects on likability and benevolence were weaker and less consistent.”
Zuckerman and Miyake found that not only do observers come to consensus on subjective
measures of vocal attractiveness but that these subjective ratings were
better predictors of vocal attractiveness than the objective measures, such as fundamental
frequency, amplitude, and duration of total speech content (Zuckerman & Miyake, 1993).
Overall, the study found that an attractive voice is perceived as louder, more resonant and
articulate, lower in pitch but higher in pitch range, less monotonous and contains an intermediate
level of total pauses in comparison with other voices (Zuckerman & Miyake, 1993).