Harsh Voice Quality and Its Association with Blackness in Popular American Media

Moisik, Scott R.

doi:10.1159/000351059

Cited by 27 publications

(18 citation statements)

References 46 publications

(43 reference statements)

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“…Harsh voice quality is also used in a wide variety of mediated sources in the United States to introduce a stereotypical African American voice or induce a contrast between two racially different voices being animated by a single speaker (Moisik, 2013), such as when African American comedian Steve Harvey animates the voice of a Black employee being fired from his job (p. 206). In these circumstances, harsh voice is sometimes also indexical of aggression, which hints at the affordances of voice quality for circulating harmful stereotypes of different racial and ethnic groups, as discussed above.…”

Section: Voice Quality As An Index Of Group Membershipmentioning

confidence: 99%

Voice Quality and Identity

Podesva¹,

Callier²

2015

Ann Rev Appl Linguist

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Variation in voice quality has long been recognized to have functions beyond the grammatically distinctive or phonetically useful roles it plays in many languages, indexing information about the speaker, participating in the construction of stance in interaction, or serving to identify the speaker as a unique individual. Though the links between voice quality and identity have been studied in phonetics, sociolinguistics, linguistic anthropology, forensic linguistics, and speech technology, considerable work remains to be done to problematize the ways in which the voice is taken as covering privileged, immediate meanings about the speaker's body and to break apart the ideologies that construct it as an inalienable, unitary, and invariant facet of a speaker's identity. We point out promising directions in recent research on the voice and bring up ideas for where this important area of research should be taken.

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Section: Voice Quality As An Index Of Group Membershipmentioning

confidence: 99%

Voice Quality and Identity

Podesva¹,

Callier²

2015

Ann Rev Appl Linguist

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“…Voice source changes occur with an epilaryngeal constriction. Constricting the ventricular folds leads to a tense, pressed, or laryngealized voice quality with an overall lowered or flatter spectral tilt, due to the increased energy above the first harmonic (Halle & Stevens, 1969;Hanson et al, 2001;Klatt & Klatt, 1990;Laver, 1980Laver, , 1994Moisik, 2013b;Stevens, 1977Stevens, , 1998Sundberg & Askenfelt, 1981). When an epilaryngeal constriction is caused by an aryepiglottic fold constriction an 'enhanced' voice quality, especially in singing, can be seen Story, 2016;Titze, 2008;Titze & Story, 1997).…”

Section: Acoustic Consequencesmentioning

confidence: 99%

“…An epilaryngeal constriction causes the tongue root and body to be pulled back and down in a one combined gesture and causes the vowels to be produced with the 'retracted' quality (Esling, 2005;Moisik, 2013a;Sylak-Glassman, 2014a, b). A secondary consequence of an epilaryngeal constriction causes a change in the voice source with an increase in harmonic amplitude especially in high frequencies (Halle & Stevens, 1969;Laver, 1980;Moisik, 2013b;Stevens, 1977Stevens, , 1998Story, 2016). This increase is generally associated with a tense/creaky/harsh voice quality (Edmondson & Esling, 2006;Kuang & Keating, 2012, 2014Moisik, 2013b).…”

Section: Introductionmentioning

confidence: 99%

“…A secondary consequence of an epilaryngeal constriction causes a change in the voice source with an increase in harmonic amplitude especially in high frequencies (Halle & Stevens, 1969;Laver, 1980;Moisik, 2013b;Stevens, 1977Stevens, , 1998Story, 2016). This increase is generally associated with a tense/creaky/harsh voice quality (Edmondson & Esling, 2006;Kuang & Keating, 2012, 2014Moisik, 2013b). Our aim in this study is to provide a complete analysis of the acoustics of Arabic pharyngealized plosives in order to evaluate the presence of acoustic evidence for epilaryngeal constriction.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Revisiting acoustic correlates of pharyngealization in Jordanian and Moroccan Arabic: Implications for formal representations

Al-Tamimi

2017

Laboratory Phonology: Journal of the Association for Laboratory Phonology

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This exploratory study of Jordanian and Moroccan Arabic (JA and MA) aims to evaluate whether pharyngealization is associated with an epilaryngeal constriction which causes 'retraction' and tense voice quality in surrounding vowels, following the Laryngeal Articulator Model (LAM) (Esling, 2005). Twenty male speakers (10 per dialect) produced vowels preceded by /d or dˤ/. Thirteen acoustic correlates obtained at the onset and midpoint were used to assess this type of constriction. A predictive modeling approach was used; starting with Bayesian Generalized Linear Mixed Effects modeling followed by Conditional Random Forest for classification. Vowels in the pharyngealized context were more open (higher F1, Z1-Z0), more back (lower F2, higher Z3-Z2), more compact (lower Z2-Z1), and showed spectral divergence (higher Z3-Z2). Voice quality results showed these vowels to be produced with a tense voice. High classification rates of 93.5% for JA and 91.1% for MA were obtained and variable importance score showed formant-based measures outperform voice quality ones. This suggests pharyngealization has 'retraction,' with a back and down gesture, as a primary correlate followed by [+constricted glottis]. The implications of these results provide strong support for LAM, the feature [+cet], and the use of the epilarynx to describe pharyngealization.

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“…Muito já foi descoberto, mas ainda existe muito a se pesquisar; entretanto, ainda é comum encontrar entre o público leigo, ou mesmo entre profissionais que trabalham com voz, afirmações de que se tratam de formas prejudiciais de cantar. Porém, já foi sugerido que não há nenhum indício de que sejam nocivos ao cantor que os pratica se forem feitos de forma controlada e consciente 2,6,7 .…”

Section: Introductionunclassified

Cantar “rasgando a voz” pode ser uma prática saudável?

Fiuza

Silva

2018

Distúrb Comun

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Cantar com a voz distorcida ou rasgada como é mais conhecido popularmente é comum em diversas formas de canto e não apenas no rock. As chamadas distorções vocais intencionais estão presentes na música há muitos anos e nas mais diversas culturas humanas. Mesmo assim esses tipos de produção ainda esbarram em preconceitos no sentido de se considerar, sem comprovação científica, que são prejudiciais à saúde vocal. O objetivo desta comunicação foi refletir sobre as distorções vocais intencionais no canto em um diálogo entre a Música e os campos que estudam a voz cantada como a Fonoaudiologia e a Laringologia. Na perspectiva de expandir o conhecimento sobre essas formas de emissão e relacionar as pesquisas que investigaram o assunto.

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Harsh Voice Quality and Its Association with Blackness in Popular American Media

Cited by 27 publications

References 46 publications

Voice Quality and Identity

Voice Quality and Identity

Revisiting acoustic correlates of pharyngealization in Jordanian and Moroccan Arabic: Implications for formal representations

Cantar “rasgando a voz” pode ser uma prática saudável?

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