Voice Type Research Articles

Why do politicians cite others in political debates?

Abstract Politicians often quote opponents in political debates so as to highlight contradictions between the opponents’ prior statements and their current political actions, thus construing their political character negatively. From a dialogic perspective, reported speech, alternatively termed “extra-vocalisation”, can be defined as a tool used by speakers to deny alternative points of view and justify their own positions, while simultaneously positioning the audience in agreement with the speaker’s own views. Drawing on this notion of extra-vocalisation, the current study analyses a Japanese political debate to show how politicians use different types of voice to validate their own political ideologies and devalue opposing views. In doing so, the study also identifies the relevant linguistic resources of Japanese in order to show how dialogic positioning via extra-vocalisation is manifested in Japanese, and highlight the fact each language provides its own resources to convey such meanings.

Characterizing positive and negative ‘voicers’ in elite sport teams: The role of the Five Factor Model and narcissism in players’ frequency and passing on of voice

ObjectiveThis study examined the role of the Five Factor Model and grandiose narcissism in players’ positive (i.e., constructive voice, supportive voice) and negative voice (i.e., defensive voice, destructive voice) in elite sport teams. MethodPlayers from six field hockey and seven korfball teams from the two highest national levels were assessed for four weeks. Using social network analyses, players’ personality was related to their self-reported voice frequency, their voice frequency as perceived by all teammates (other-ratings), and the extent to which they pass on voice. ResultsExtraversion was positively related to players’ frequency of positive and negative voice. Other traits such as conscientiousness and emotional stability were only related to, respectively, positive or negative types of voice. Not all personalities (e.g., extraversion) were consistent in how they assess their own voice versus how others perceive this. Interestingly, traits such as extraversion, emotional stability and the agentic facet of narcissism were found to predict the passing on of voice. ConclusionThis study explored the importance of personality for (a) players’ frequency of a differentiated set of positive and negative voice and (b) the extent to which they function as ‘gates’ that more covertly pass on voice. Further, the results provide perspective on how specific personalities view their voice behavior versus how their teammates perceive their voice behavior. In this way, this study is a first step in identifying players who have the potential to endanger or strengthen a team in a clear or subtle, yet influential way.

Тембр-амплуа як інструмент вираження оперного «голосообразу» (на прикладі драматичного тенора)

Research objective is to provide an analysis of the category of timbre-role in opera, to substantiate timbre-role as a tool for the stage expression of a certain “voice” in the genre of opera. The methodology: psychological and musicological analysis of features of genre communication, immanent creative process and technological vocal specificity of dramatic tenor is the methodological basis and instrument of research; a comparative analysis of the specifics of the creative process of the birth of a stage image in an opera performer and a dramatic actor has been applied for the realization of the tasks of the research. The scientific novelty – for the first time the importance of timbre-role of a certain type of voice as a communicative, psychological and technological instrument in the realization of artistic tasks of the general thesaurus of opera performance is substantiated. Conclusions. Singer’s voice timbre is a way of individualizing and personalizing a vocalstage image, that is, a semantic image is born through an appropriate type of voice. Therefore, the typology of the role of opera in opera is based on the principles of expressiveness and naturalness of voices, which is an indirect embodiment in the vocal art of the principles of the K.S. Stanislavsky realistic theater – the veracity of the stage image in the opera is determined first of all by the correspondence of the performer timbre-role and intonational semantics of the material. Timbre-role – a type of voice that is able to fully express the semantic character of the opera character in the vocal reflection. The timbre-role determines the vocal expression of the character of the hero; the way of his artistic thinking; features of communication with the viewer; is an embodiment of the technological features of a particular type of voice. The timbre-role of the “dramatic tenor” is a type of voice capable of fully expressing the intonational semantics of the semantic image of the hero, who is the center of the dramatic conflict of opera.

ОПРЕДЕЛЕНИЕ ТЕМБРА ПЕВЧЕСКОГО ГОЛОСА: КЛАССИФИКАЦИЯ ГОЛОСОВ ПО СИСТЕМЕ FACH

Timbre of a singing voice is a multifaceted and difficult concept considered by researchers in aspects of acoustics, physiology, specifics of opera singing and expressiveness of an opera image. Vocal methodical literature contains certain criteria for definition of type of voice. However, due to the variety of voices, timbres and physical capacities of singers, the individual approach to each voice is necessary. In addition, the voice definition problem can be complicated by defects of sound formation, which only can avoid few beginner vocalists. The main classification of voices was formed gradually, it developed by the XVII century, in process of development of opera art by vocal researchers a new subtypes in each type of a voice were allocated. In the article are shown some of the existing approaches to classification of the types of singing voices which choice was determined by a personal interest and availability of sources to the author. The separate section of the article is devoted to the classification of opera voices by the Fach system used in Europe, which is somewhat similar to classifications of masters of the Italian school and the Soviet researchers, but it is more differentiated, connects subtypes of a voice not only with characteristics of timbre, but also diverse skills of actors and texture of singers, and also contains examples of the opera parties not extended on the Russian opera scene – which represented the interest to the author.

Features of development of the voice device of the child, the concept of the choir and its composition

This article highlights the age-old types of children's voices in choral communities. If the singing classes at the school are well organized and the singing education of students from the first grade is going well, then by the age of 9–10, the voices of the children begin to sound especially good. This period is called the "flowering" of the voice. In boys, the voice acquires a special sonority, “silvery”; individual voices can already be observed in the voices of the girls. The voice apparatus of young children is very fragile. Its mechanism is still simple in structure; sound originating in the larynx is formed during the marginal vibration of the vocal cords. They do not close completely, between them at the moment of sound formation there remains a small gap in their entire length-this is natural, natural. And for the performance of choral miniatures a cappella, they are specially addressed to choirs of medium and small composition, due to the chamber nature of their sound, a more modest number of participants is preferable8

Immediate effects of semi-occluded vocal tract exercises in low and high voices: a self-perception study.

To investigate the self-perception by individuals on the immediate effects of three semi-occluded vocal tract exercises (SOVTE), that is, phonation into a latex tube, finger kazoo and phonation into a high-resistance straw, and to compare the self-perception results between the high and low voice groups. The study participants consisted of 26 choristers (seven sopranos, seven altos, six tenors, and six basses) subdivided into high and low voices with ages ranging from 18 to 58 years. Voice samples of each subject were recorded before and after performing the exercises randomly for three subsequent weeks. A self-assessment questionnaire was applied. All exercises had a statistically significant improvement, according to the participants' self-perception. Latex tube phonation was the preferred technique for 11 (84.62%) participants in the low voice group; while the high-resistance straw was reported as the less beneficial exercise by 10 (79.92%) participants in the same group. On the other hand, the high-resistance straw (9; 69.2%) was the preferred exercise for the high voice group; while finger kazoo (6; 46.15%) and latex tube (5; 38.4%) were the least beneficial exercises. The study showed that the effects of these exercises are different and should be suited for each type of voice, such as the latex tube, which was the most preferred by low voice participants and also rated as less beneficial by high voice participants, and the high-resistance straw, which was the most preferred by the high voice participants and also rated as less beneficial by low voice participants.

Multi-Task WaveRNN With an Integrated Architecture for Cross-Lingual Voice Conversion

Spoken languages are similar phonetically because humans have a common vocal production system. However, each language has a unique phonetic repertoire and phonotactic rule. In cross-lingual voice conversion, source speaker and target speaker speak different languages. The challenge is how to project the speaker identity of the source speaker to that of the target across two different phonetic systems. A typical voice conversion system employs a generator-vocoder pipeline, where the generator is responsible for conversion, and the vocoder is for waveform reconstruction. We propose a novel Multi-Task WaveRNN with an integrated architecture for cross-lingual voice conversion. The WaveRNN is trained on two sets of monolingual data via a two-task learning. The integrated architecture takes linguistic features as input and outputs speech waveform directly. Voice conversion experiments are conducted between English and Mandarin, which confirm the effectiveness of the proposed method in terms of speech quality and speaker similarity.

Can subordinate voice prevail with abusive supervision?

Purpose Drawing from conservation of resources (COR) theory, this study aims to explain why certain voice types prevail while other voice types are inhibited in the presence of abusive supervision. Design/methodology/approach This paper surveys extant literature on abusive supervision, employee voice and COR theory and provides propositions linking abusive supervision and types of voice behaviours. Findings The paper develops a conceptual model linking abusive supervision and three types of subordinate voice behaviours – prosocial, defensive and acquiescent voices. It identifies psychological distress as a mediator and locus of control as a moderator to this relationship. Originality/value This paper deepens our present understanding of abusive supervision and voice relationship by explaining why only certain voice types prevail with abusive supervision while others do not. While extant literature concluded abusive supervision only as an inhibitor of voice behaviours, the present study identifies how abusive supervision could both inhibit and motivate different voice behaviours. Further, it links abusive supervision to multiple voice types, diverting from extant literature linking abusive supervision to only constructive voice. Lastly, this study contributes to resource acquisition strategies within COR theory.

La variabilidad como construcción de significado en el coro

En este estudio nos propusimos indagar acerca de las claves multimodales en las descripciones de primera persona de los coreutas -esto es, las percepciones e impresiones de los coreutas, sus actitudes, valores y concepciones acerca de su práctica en el coro- mediante la realización de un estudio cualitativo de entrevistas. Las respuestas mostraron que la idea de sistema de coro como una unidad predomina en las concepciones que tienen los coreutas cuando hablan acerca del logro de metas de uniformidad en la práctica del conjunto coral. También mostraron que los cantantes construyen su experiencia interactiva a partir de un cúmulo de claves multimodales de las que dan cuenta en sus relatos, cuando describen sus percepciones dentro de la propia cuerda, con otras cuerdas, con el director, y cuando expresan su sensibilidad con respecto a las claves sonoro-kinéticas vinculadas a los niveles de afinación y las percepciones temporales y espaciales.

The Members Engagement of Health-Oriented Brand Communities in Iranian Social Networks: Developing Suitable Content Strategy

Introduction: Creating engagement with generated content has become a major challenge for health-oriented brand communities. Therefore, the present study seeks to fully understand the brand - consumer and consumerconsumer engagement with the content generated by the Instagram social network health clinics. Method The present study was conducted in two steps. In the first step, data was collected by interviewing nine native experts and a review of previous studies. And designed research model with the axial, open, and selective coding. In the second step, with the Nethnography method, 1572 posts of Instagram 8 health clinics were coded for 1 year period and analyzed by SPSS using multiple variance analysis and correlation tests. In general, the present study was conducted as a multiple case study method. Results: 95% confidence level there is a meaningful relationship between content type, hashtag, content agility (except saved post and discovery percentage), content day (except discovery percentage and reach), content context (except profile visit and percentage discovery) and tone of voice (except like, impression, discovery percentage and new follower) with brand-consumer engagement and also between the content type, content day, content context, content agility (except mention), tone of voice (except comment) and hashtag (except mention) with consumer-consumer engagement. Conclusion: In order to creating engagement, we must raise brand-consumer and consumer-consumer engagement, this requires the production of appropriate content.

Understanding managerial response to employee voice: a social persuasion perspective

PurposeResearch about the benefit of voice to organizations generally assumes that leaders acknowledge or act upon employees’ ideas when they are voiced, but is it always the case? Drawing on social persuasion theory, the purpose of this paper is to explore what factors shape the effectiveness of employee voice by integrating message, receiver and source characteristics of employee voice into one theoretical model. Specifically, this paper investigates the influence of different types of voice on leader receptivity, and further examines whether the effectiveness of employee voice might be contingent on authentic leadership and employee expertise.Design/methodology/approachData were collected from 353 matched employee–supervisor pairs in a two-phase field study. Hierarchical regression analyses were conducted to examine the relationships among the study variables.FindingsResults indicate that leaders respond more receptively to promotive voice than prohibitive voice. Furthermore, leader receptivity is contingent on authentic leadership and employee expertise. The relationship between promotive voice and leader receptivity is more pronounced when employee expertise or authentic leadership is high rather than low; the relationship between prohibitive voice and leader receptivity is significant only when authentic leadership or employee expertise is high.Originality/valueThis research offers a more holistic explanation for understanding the effectiveness of voice behavior. Specifically, these findings emphasize the important role of voice content in determining managerial response, and underscore the value of receiver and source characteristics in shaping the relationship between voice and leader receptivity.

Professional Opera Singers’ Voice Disorders In Relation To Voice Type

Objective: To determine whether there is a relationship between the voice type and the prevalence of voice disorders, and to investigate the frequency of laryngological controls and voice rehabilitation amongst professional opera singers. Study design: Cohort study, composed of a survey, videolaryngoscopy and videostroboscopy. Setting: Referral center (Clarós Otorhinolaryngology Clinic) Subject and methods: Highly professional opera singers performing in the Gran Teatro del Liceo in Barcelona, were divided into 7 study groups based on their voice types. Study was composed of a survey about singing and voice care habits, followed by videolaryngoscopy and videostroboscopy determining the prevalence of voice disorders. Results: We examined 70 opera singers (30 females, 40 males; aged 19-70), divided into 7 equally numerous study groups based on their voice types. The prevalence of voice disorders was the highest amongst sopranos, i.e. 50% (50%,95%,CI:12-88,SD=.53), in comparison to 20% (20%,95%,CI:10-50,SD=.42) amongst countertenors, tenors and baritones, 10% (10%,95%,CI:13-33,SD=.32) amongst contraltos and mezzo-sopranos, and 0% amongst basses. Statistical significance was confirmed for difference between the group of the highest female and highest male voice (soprano and countertenor), and the group of the lowest female and lowest male voice, i.e. contralto and bass (Z=2.32,P=.02). Frequency of attending laryngological appointments and voice rehabilitation was generally very low, although was highest amongst sopranos. Conclusion: Results supported our hypothesis that the higher voices are at a heightened risk of having voice disorders. It can start the process of evaluating actual risk of vocal fold pathologies that opera singers are exposed to during their careers.

Acoustic analysis on the voice of choir singers using Spectroid

This study was conducted based on interdisciplinary approach, physics, and vocal music science, it could be used as an alternative activity to support student learning about a sound wave. The aim of this study was to analyze the voices of the school choir singers using Android App namely Spectroid… The result showed that 16 of 18 singers had been in the right position based on their type of voice. There are two singers had not been in the right position because they positioned in a bass group which their voice could not reach the minimum limit of Bass frequency. The Soprano group which had the frequency range 148.6 Hz-1045.6 Hz, 6 of 8 singers could be in mezzosoprano and 4 of them could be in Alto. The Tenor group (96.4 Hz-697.0 Hz), 1 of 2 singers could be in Baritone but both of them could not be in Bass. The Bass group (81.4 Hz – 493.8 Hz), 2 of 4 singers are true Bass but all of them could be in Baritone and 1 of them could be in tenor. All of 4 singers in Alto group (171.2 Hz-702.0 Hz), only positioned in Alto.

The Impact of Virtual Human Voice on Learner Trust

The current study investigates if a virtual human’s voice can impact the user’s trust in interacting with the virtual human in a learning setting. It was hypothesized that trust is a malleable factor impacted by the quality of the virtual human’s voice. A randomized alternative treatments design with a pretest placed participants in either a low-quality Text-to-Speech (TTS) engine female voice (Microsoft speech engine), a high-quality TTS engine female voice (Neospeech voice engine), or a human voice (native female English speaker) condition. All three treatments were paired with the same female virtual human. Assessments for the study included a self-report pretest on knowledge of meteorology, which occurred before viewing the instructional video, and a measure of system trust. The current study found that voice type impacts a user’s trust ratings, with the human voice resulting in higher ratings compared to the two synthetic voices.

ВОКАЛЬНА ПІДГОТОВКА МАЙБУТНІХ ВЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА В НАВЧАЛЬНОМУ ПРОЦЕСІ ЗАКЛАДІВ ВИЩОЇ ОСВІТИ УКРАЇНИ

The article analyses the principal aspects pertaining to the formation and development of vocal and performance capacities in students of musical and pedagogical faculties (institutes, departments) within higher education institutions of Ukraine.One necessary prerequisite to ascertain creative assignments of a future teacher of musical arts is for the teacher to be skilled and trained in principal techniques of vocal mastery. Unless this prerequisite is secured, the teacher shall not be able to implement his or her creative ideas in his or her professional activities.In the process of training of a student mastering vocal singing, his or her voice box (vocal apparatus) as well as voice range undergo a process of development; the vocal singing student masters certain technical skills and abilities pertaining to singing, miscellaneous means of vocal and musical expression, stylistic peculiarities of works that are being performed. In order to expand the general outlook, it is necessary to be familiarised with certain fundamental knowledge from the realm of theory of singing. Vocal development and training are streamlined according to an individual plan elaborated by the teacher. The teacher must consider individual peculiarities of a student, his type of voice, timbre, voice range, acoustic intensity, and his ability to utilise various types of cantatory inhale.One important problem in the course of training of a future teacher, preparing him or her to vocal and pedagogical creative activity is to form psychological qualities pertaining to the personality of the teacher. If the said qualities are properly shaped and developed, this will enable the future teacher to successfully solve creative challenges which he or she is expected to face in the process of training and education.A voice placement teacher must always communicate with the student, and must always be aware of how his or her studies, creative work, and academic researches are going – in order to be able to develop potential capacities of each student and shape a skilled and qualified teacher of music who is, at the same time, a true patriot of Ukraine.

Singing Voice Quality: The Effects of Maxillary Dental Arch and Singing Style

In classical singing techniques, it is common to manipulate the vocal tract to channel airflow to increase voice quality and volume. Technique varies according to the style of the music, the voice type, and range of a given singer. Although these practices are intentional, fixed physiological aspects of a singer's vocal instrument also play an extremely impactful role in determining voice quality. In the present study, the relationship between the dimensions of the maxillary dental arch and voice quality were examined in professional singers. The dimensions of the palate were measured from the maxillary dental casts of 14 female singers. Audio recordings were made for the same participants while singing a sustained /a/ singing vowel, a glissando, the song "Are You Sleeping", and a selected song from their personal repertoire. The dimensions of the palate were measured from maxillary dental casts. From the recordings, two parameters were calculated: (1) the Singing Power Ratio (SPR) and (2) A2 A1 ratio. Higher SPR values indicate a stronger ring in the voice, typical of operatic singing style, while higher A2 A1 ratio values are associated with the belting singing style. Singers with larger frontal palate depth, smaller posterior palate depth, larger frontal palate width, and smaller posterior palate width seem to be more suitable for an operatic singing style. Singers who had larger overall depth and width of the palate measurements produced an increased second harmonic, typical of the belting style. When considering a singer's ability to produce vocalizations successfully, physiological structure is an increasingly important factor. The present study discovered that palate depth and width are associated with statistically significant differences in SPR and A2/A1 parameters. These parameters correlate with two styles of singing, operatic, and belting respectively.

Impressions of Personality from Intentional Voice Quality in Arabic-Speaking and Native Finnish-Speaking Listeners

The present study aimed to investigate whether there are differences between Arabic-speaking and Finnish-speaking listeners in the impressions of a speaker's personality as evoked by various intentional voice qualities. This is an experimental study. Samples (N = 55) were gathered from native Finnish-speaking males (N = 4) and females (N = 5), who read a text passage of 43 words using eight different voice qualities: (1) habitual speaking voice, speaking with (2) a forward or (3) backward placement of the tongue, or a (4) breathy, (5) tense, (6) creaky, (7) nasalized, or (8) denasalized voice. Native Arabic-speaking participants (34 males, 12 females; N = 46) were asked to evaluate the speech samples on a seven-point polarized scale by choosing 1-5 from a total of 18 contrasting pairs of personality traits. The listening tests were presented via Windows Media Player and a Genelec Biamp loudspeaker. Traits that had evaluations of 30% or more were selected for the final analysis. The results were compared to the results of native Finnish-speaking listeners (12 males, 38 females; N = 50). Statistical analyses were carried out using IBM SPSS Statistics 25. On the whole, both listener groups perceived the speakers' voice qualities similarly, although the Finnish-speaking listeners linked many voice qualities, especially nasal and denasal voices, with unpleasant and other negative personality traits. Moreover, somewhat opposing evaluations were given by the two language groups for voices with forward and backward placements of the tongue, and breathy and tense voices. In many cases, the evaluations by the Arabic-speaking listeners were more scattered. The speakers' sex also seemed to affect perceptions of personality. There seem to be similar stereotypical tendencies to relate certain voice qualities with certain personality traits, which is explainable by how the voice types are produced and used to express emotions. Some opposing trends found between the two language groups may be related to language and cultural differences. A further study with larger listener groups and including also samples from Arabic language speakers is needed to confirm the results of the present study.

Health Informatics Study of Smart Human-Computer Interaction Devices for Elderly Patients

Purpose: To analyze the elderly patients' demand in the field of language emotional attributes which is different from the particularity of the general population, and then used it to design the Smart Voice Assistant for elderly patients. Methods: The types of character are called the experts, assistants, family members and pets according to two evaluation scales which are 'friendly–unfriendly' and 'dominant–submissive.' Professional Mandarin Chinese broadcasters were invited to record their voice of a neutral sentence respectively. With differences in pitch, volume, tone color and sound quality, varied types of characters were simulated and eight pieces of voice record were generated. Twenty old people were selected to participate in the measurement test to grade these eight pieces of voice based on their acceptability of these voices. Results: Experiment shows that the male test group's preference value to the male voice is 4.4250, a little higher than their preference value to the female voice which is 3.9000. But the Independent Samples T Test shows that the significance of F Test is 0.345 > 0.05, while that of corresponding T test is 0.051, a little higher than 0.05. Hence it can be assumed that the male test group has almost no difference in the preference for voice gender. And the average of the female test group's preference value is 3.9500 for the male voice and 4.9750 for the female voice. Therefore, the female test group prefer female voice. In Independent Samples T Test, the significance of F Test is 0.909 > 0.05, while that of T Test is 0.000 < 0.05. Hence the female test group's voice gender preference has statistically significance difference. In terms of the individualization of voice type with different voice characters, the average grades from male test group to expert, assistant, family and pet type is 4.75, 4.85, 3.9, 3.15, while male test group is 3.65, 4.40, 5.40, 4.41. Conclusion: Based on the experimental results and verification, voice interaction among the elderly patients in the home environment, family-female type is the best choice.

Categorization in the Perception of Breathy Voice Quality and Its Relation to Voice Production in Healthy Speakers.

Purpose Previous studies of speech articulation have shown that individuals who can perceive smaller differences between similar-sounding phonemes showed larger contrasts in their productions of those phonemes. Here, a similar relationship was examined between the perception and production of breathy voice quality. Method Twenty females with healthy voices were recruited to participate in both a voice production and a perception experiment. Each participant produced repetitions of a sustained vowel, and acoustic correlates of breathiness were calculated. Identification and discrimination tasks were performed with a series of synthetic stimuli along a breathiness continuum. Categorical boundary location and boundary width were obtained from the identification task as a measurement of perception of breathiness. Spearman's correlation analysis was performed to estimate associations between values of boundary location and width and the acoustic correlates of breathiness from the participants' voices. Results Significant correlations between boundary width (r = -.53 to -.6) and some acoustic correlates were found, but no significant relationships were observed between boundary location and the acoustic correlates. Conclusions Speakers with small boundary widths, which suggest higher perceptual precision in differentiating breathiness, had typical voices that were less breathy, as estimated with acoustic measures, compared to speakers with large boundary widths. Our findings may support a link between perception and production of breathy voice quality. Supplemental Material https://doi.org/10.23641/asha.9808478.

Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”

Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”