The Unheard Female Voice

Watson, Stephanie

doi:10.1044/leader.ftr1.24022019.44

Cited by 7 publications

(4 citation statements)

References 7 publications

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“…These findings actually reflect existing stereotypes about the voice gender perception: female voices are characterized as high-pitched (one octave higher than male voices) and breathy (Latinus & Taylor, 2011;Klatt & Klatt, 1990); male voices are perceived as deep because they have thicker vocal cords (Watson, 2019). However, the fundamental frequency falls in women and rises in men after the middle age (Zaske et al, 2013).…”

Section: ґендерні особливості перцепції голосу та її вербалізації в англомовній детективній прозіsupporting

confidence: 68%

Gender peculiarities of voice perception and its verbalization in the English detective prose

Demchuk¹

2021

Humanities science current issues

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The study is devoted to the gender differences in voice perception and their reflection in the English detective prose. The purpose of the research is to analyze voice gender markers and the means of their verbalization in female and male detective discourse. Basing on our previous research and preliminary obtained results, the leading prosodic characteristics and their combinations were singled out in the female (J. Mc Gown, D. Crombie) and male (B. Black, L. Child) authors. The quantitative analysis of the word usage frequency allows highlighting the salient differences in female and male voice perception: loudness and voice quality are the most significant in the process of voice perception in males; the combinations of the prosodic characteristics and loudness -in females. Playing a leading role for both genders, loudness is proved to be perceived differently as female and male authors demonstrate an opposite-gender bias.The comparative analysis of the female and male vocabulary was carried out. It shows how females and males discriminate the same prosodic characteristic: a verbalized precise voice quality goes first in the reflection of voice quality perception in the male detective discourse, a shaking voice quality -in the female writers; the voice pitch range is more clearly perceived by males, and the tone movement direction -by females; the female authors predominantly verbalize the combination of loudness and voice quality; the combination of melody and loudness is salient for the male writers.Along with gender differences in female and male voice perception, the general features were identified: it is easier to perceive and therefore to nominate two of the prosodic characteristics than three or four, irrespectively of the gender; tempo plays an insignificant role in voice perception for males and females. Male voices are perceived as slow and female voices -as quick by both groups of authors. Overall, female and male authors verbalize voice gender markers that reflect vocal gender stereotypes generally accepted in the English-speaking community.

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Section: ґендерні особливості перцепції голосу та її вербалізації в англомовній детективній прозіsupporting

confidence: 68%

Gender peculiarities of voice perception and its verbalization in the English detective prose

Demchuk¹

2021

Humanities science current issues

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“…To be specific, in the real words context, the five disyllabic T3 + T3 sequences are all the existing Chinese words and produced a similar variation in the first T3 syllable to a low or mid-rising tone. This corresponds to the rule of T3 sandhi in Mandarin that the variation in T3 is usually determined by its following syllable's tone [32].…”

Section: Discussionmentioning

confidence: 92%

Exploring the Variation of Third Tone Sandhi in Native Chinese Mandarin: An Acoustic Analysis

Tang

2024

CHR

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Tone is one of the most prominent, distinctive, and significant properties of the Chinese language. In the realm of tone sandhi, one of the most interesting phenomena is the Tone 3 sandhi (T3). T3 sandhi is one of the rules in the phonological change, a low T3 syllable inevitably changes to a rising tone (T2) when it is followed by another T3 syllable. This study aims to investigate the underlying mechanism of the third tone (T3) sandhi in Mandarin Chinese, comparing the acoustic features in both real words and pseudowords. The current study employed a qualitative descriptive method and PRAAT6310 acoustic analysis software. The findings of the study demonstrated that T3 sandhi in real words of the Chinese language resembles pseudowords and is likely computed naturally in a phonological cognition process. This research provides an important reference value for research in the fields of tonal variation in Chinese language and language acquisition.

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“…Women are less likely to hold positions of power; for example, in Government (UNICEF, 2018 ), the police (Silvestri et al, 2013 ) and other senior management positions (Johns, 2013 ), and so have less of a voice in decision making across sectors (UNICEF, 2018 ). Men may also find it physically easier to be heard as they tend to have louder and deeper voices than women (Watson, 2019 ).…”

Section: Discussionmentioning

confidence: 99%

“My life isn't my life, it's the systems”: A qualitative exploration of women's experiences of day‐to‐day restrictive practices as inpatients

Tully

Bucci

Berry

2022

Psychiatric Ment Health Nurs

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Accessible summary What is known on the subject? Sometimes someone needs to be in hospital because they are struggling with their mental health and need some extra support but being in hospital can also be a difficult experience. There are a lot of restrictions in place in hospital, like locked doors, rules to follow and not much choice about what happens to you. Other research has found that these restrictions can feel difficult and stressful for people and so more research is needed about this. We wanted to know what being in hospital felt like for women in particular. What the paper adds to existing knowledge? We interviewed women who were in hospital because of their mental health about what it was like for them in hospital. The women told us that they felt powerless while they were in hospital. They sometimes felt like they were being punished and this could affect their mood and could lead to them hurting themselves. They also said that they were not always listened to by staff, and they found it difficult being away from their family and friends while they were in hospital. The women also told us that being in hospital could sometimes help them to feel safe. What are the implications for practice? Women should be looked after in hospital in a way that helps them to feel in control of what happens to them. They should be supported to be able to go outside the hospital on leave, to keep in touch with their family and friends, and they should be listened to by staff. A project called “safewards” has suggested some ways for helping to make hospital wards safer. They have suggested that everyone should be clear about what the rules are when they go into hospital and ways that staff could communicate more clearly with the people they are working with. Our research supports using these techniques. Abstract IntroductionInpatient care often involves restrictive interventions such as seclusion and restraint and restrictive practices that limit the person's freedom, rights and daily activities. Restrictive practice has not been the explicit focus in previous research; however, it often appears as an important theme, with participants identifying it can have a detrimental effect on their well‐being. More research specifically on this topic in an inpatient setting is, therefore, needed. Women might be particularly vulnerable to adverse effects of restrictive practices compared to men as women generally occupy less powerful positions in society and more often experience abuse. AimsThe study aimed to explore women's experiences of routine restrictive practices in mental health inpatient settings. MethodsTwenty‐two women who were currently inpatients on mental health wards were interviewed about their experiences of restrictive practices in hospital. Interviews were analysed using thematic analysis. ResultsAn overarching theme emerged of powerlessness. Four key sub‐themes were also identified: restrictions perceived as punitive, having no voice, impact of restrictions on relationships and restrictions providin...

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The Unheard Female Voice

Abstract: Women are more likely to be talked over and unheeded. But SLPs can help them speak up and be heard.

Cited by 7 publications

References 7 publications

Gender peculiarities of voice perception and its verbalization in the English detective prose

Gender peculiarities of voice perception and its verbalization in the English detective prose

Exploring the Variation of Third Tone Sandhi in Native Chinese Mandarin: An Acoustic Analysis

“My life isn't my life, it's the systems”: A qualitative exploration of women's experiences of day‐to‐day restrictive practices as inpatients

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