Voice, as a secondary sexual characteristic, is known to affect the perceived attractiveness of human individuals. But the underlying mechanism of vocal attractiveness has remained unclear. Here, we presented human listeners with acoustically altered natural sentences and fully synthetic sentences with systematically manipulated pitch, formants and voice quality based on a principle of body size projection reported for animal calls and emotional human vocal expressions. The results show that male listeners preferred a female voice that signals a small body size, with relatively high pitch, wide formant dispersion and breathy voice, while female listeners preferred a male voice that signals a large body size with low pitch and narrow formant dispersion. Interestingly, however, male vocal attractiveness was also enhanced by breathiness, which presumably softened the aggressiveness associated with a large body size. These results, together with the additional finding that the same vocal dimensions also affect emotion judgment, indicate that humans still employ a vocal interaction strategy used in animal calls despite the development of complex language.

This paper presents an overview of the Parallel Encoding and Target Approximation (PENTA) model of speech prosody in response to an extensive critique by Arvaniti and Ladd (2009). PENTA is a framework for conceptually and computationally linking communicative meanings to fine-grained prosodic details, based on an articulatory-functional view of speech. Target Approximation simulates the articulatory realisation of underlying pitch targets -the prosodic primitives in the framework. Parallel Encoding provides an operational scheme that enables simultaneous encoding of multiple communicative functions. We also outline how PENTA can be computationally tested with a set of software tools. With the help of one of the tools, we offer a PENTA-based hypothetical account of the Greek intonational patterns reported by Arvaniti and Ladd (2009), showing how it is possible to predict the prosodic shapes of an utterance based on the lexical and post-lexical meanings it conveys.

This article explores the acquisition of Japanese vowel and consonant quantity contrasts by Cantonese learners. Our goal is to examine whether transfer from first language (L1) is possible when L1 experience is phonemic but restricted to a small set of sounds (short vs. long vowels) and when the experience is non-phonemic, derived only at morpheme boundaries (short vs. long consonants). We recruited 20 Cantonese learners (beginner and advanced learners) and 5 native speakers of Japanese, who produced target stimuli varying in consonant and vowel quantity framed in a carrier sentence. The resultant data were converted into several durational ratios for analyses. Results showed that both the beginners and advanced learners were able to distinguish between short vs. long vowels and consonants in Japanese, but only the native speakers enhanced the contrasts in slower speech. It was also found that in most cases the learners were able to lengthen the vowel before a geminate (i.e. long consonant), a secondary cue to Japanese consonant quantity known to be rare across languages. These results are discussed in terms of current theories of second language acquisition.

Japanese has been observed to have 2 versions of the H tone, the higher of which is associated with an accented mora. However, the distinction of these 2 versions only surfaces in context but not in isolation, leading to a long-standing debate over whether there is 1 H tone or 2. This article reports evidence that the higher version may result from a pre-low raising mechanism rather than being inherently higher. The evidence is based on an analysis of F0 of words that varied in length, accent condition and syllable structure, produced by native speakers of Japanese at 2 speech rates. The data indicate a clear separation between effects that are due to mora-level preplanning and those that are mechanical. These results are discussed in terms of mechanisms of laryngeal control during tone production, and highlight the importance of articulation as a link between phonology and surface acoustics.