Le personnage vocal - Philip Tagg

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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 <strong>vocal</strong> attractiveness but that these subjective ratings were better predictors of <strong>vocal</strong> 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).
140 Voices that are higher in attractiveness are associated with more favorable impressions of overall personality, including higher false consensus (i.e. a belief by the observer that the stimulus’ behavior is similar to his own), desire for affiliation, assumed similarity, perceived similarity, and an increased selection of target as having comparable status to the participant (Zuckerman & Miyake, 1993). It has been shown that in general, male voices with low frequency and densely clustered harmonics are considered by women to be more attractive (Collins, 2000). from The Voice: A Truer Window to the Soul? The Effects of Face/Voice Incongruency on Impression Formation
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Université de Montréal Start on p
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2 1.2 Réalité empirique 42 1.2.1
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4 Axiome no 1 Personnage vocal (les
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6 les accessoires (exemple : sourdi
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8 1 Méthodologie et littérature L
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10 original comme étant son rôle
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12 déterminé inconsciemment. Il f
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14 Finalement, c’est Michael Hall
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16 “This is the context in which
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18 narcissistic art. Torch song lyr
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20 ‘réverbération’ section 3.
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22 « Darwin (1998/1872) observed t
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24 exaltée (voir section 2.3.5). I
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26 emparées de lui. La performance
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28 Slavoj Zizek Voici quelques comm
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30 « “Song,” in this respect,
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32 corps est si intimement investi
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34 « Tous nos matériaux tendent
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36 Timbre : que la nuance musicale
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38 Il est même possible dans certa
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40 valides dans le cas où elles s
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42 est enrichissante. Surtout avec
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44 dans la nature et communique. Ho
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46 2 Formation du personnage vocal
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48 l’individu et son environnemen
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50 Le personnage est toujours une f
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52 Figure 2.12 - le moi, la persona
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54 2.1.3 Personnalité et volonté
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56 ignorer, le reste ne lui parvien
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58 typologies. Le concept même de
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60 une question circulaire de type
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62 l’homme en affirmant que « [l
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64 sexes. Pour accéder à la mascu
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66 2.1.5 Communion et identité L
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68 être jamais - en jeu isolément
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70 - possibilité de réécouter la
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72 à distance, qui était l’ombr
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74 2.2 Vocalité Nous débuterons c
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76 est l’aspect conscient de l’
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78 Toutefois, dans cette section no
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80 Il faudra ajouter à ceci le fai
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82 l’oreille ou par le corps dire
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84 Il est difficile de définir ce
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86 nous appellerons le code fréque
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Page 97 and 98: 96 Les types d’émotions du table
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Page 101 and 102: 100 En considérant les paroles, no
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Page 111 and 112: 110 2.2.5 La voix de l’expérienc
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Page 117 and 118: 116 « Les événements qui semblen
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Page 121 and 122: 120 « Performance art is a form of
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Page 125 and 126: 124 donner une impression sans la d
Page 127 and 128: 126 « Philip Auslander propose de
Page 129 and 130: 128 le cas de l’identification pr
Page 131 and 132: 130 du vocal, nous avons affaire à
Page 133 and 134: 132 6 Bibliographie Abitbol, Jean (
Page 135 and 136: 134 Frith, Simon (1996) - Performin
Page 137 and 138: 136 Leppert, Richard - Sound Judgme
Page 139: 138 (2000[1979]) - Kojak - 50 secon
Page 143: 142 2.2.4 La voix de la raison (art
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