voice quality, rhythm and valorized femininities
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Voice quality, rhythm and valorized femininities. Patrick Callier Georgetown University Sociolinguistics Symposium 18, 9/2/2010. Voice quality—review. Voice quality as index of speaker emotional or physical state e.g. creak = resignation (Laver 1980) - PowerPoint PPT PresentationTRANSCRIPT
Voice quality, rhythm and valorized femininities
Patrick CallierGeorgetown University
Sociolinguistics Symposium 18, 9/2/2010
Voice quality—review
• Voice quality as index of speaker emotional or physical state– e.g. creak = resignation (Laver 1980)
• Mass mediated representations of voice quality quite diverse – Teshigawara 2003
• reveals anime heroes’ and villains’ true nature
– Starr 2006• “Sweet” voice quality indexes speaker’s
authentic femininity
Rhythm—review
• PVI (pairwise variability index): quantitative measure of local fluctuations in duration– Low PVIs usu. = “syllable-timing” (depends what
interval you are using)– High PVIs usu. = “stress-timing”
• Singaporean English, Spanish both more “syllable-timed” than many of worlds’ languages.– Cantonese, Mandarin, also heavily syllable-timed
(Mok 2008).
Rhythm, cont’d.
• If what we are measuring is just durational variability (is it?), a measure of sample-wide duration variance should also be informative.
• Enter ΔC, the standard deviation of a consonantal interval– Friends: ΔV, ΔS
• Normalize for speech rate: VarcoΔC/V/S– Lower = less variability
Sociolinguistics of rhythm
• AAE’s transition from syllable-timed to stress-timed (Thomas and Carter 2006)
• “Maria’s” adoption of syllable-timing as peer group changes (Carter 2006)
• Final lengthening alongside other stylistic markers in unique –er of Australian immigrant English variety (Kiesling 2005)
Data
• Nüren hua ‘Women flowers’, 2008 mainland Chinese TV serial drama
• Larger study: rhythm and voice quality in 6 characters (3 men, 3 women)
http://www.hsgd.net.cn/userfiles/323232.jpg
Lin Xuelianhttp://pic4.sdnews.com.cn/NewsImg/2008/3/5/U2389P28T3D1936726F326DT20080305115506.jpg
Ouyang Xiu
Methods
• Voice quality– Identify potential stretches of creak
auditorily– In case of ambiguous percept, use Praat
to confirm spectral evidence– Measure presence and duration
Methods, cont’d.
• Rhythm– Use (normalized) syllabic PVI (nSPVI)
and VarcoΔS (Mok 2008)– Use segmental spellings of Chinese
orthography as syllabification guide
Results
• Divergence in voice quality• Similarity in rhythm
Voice qualityP
erce
nt c
reak
(s
ecs/
sec)
Rhythm
Discussion
• Lin is creaky– Also: a widow, trying to seduce the main
character’s love interest, a wheeler-and-dealer (cf. Zhang’s [2008] “smooth operator”)
• Ouyang is modal (perhaps breathy?)– Married, politically active, a
schoolteacher, an accomplished fighter
Discussion, cont’d.
• Voice quality may still be indexical of “authentic” femininity or lack thereof– rubrics of valorization are culturally
constrained– Modal voice (in contrast to Lin’s creak)
valorizes a very martial, revolutionary type of woman
Discussion, cont’d.
• And rhythm?– Both relatively stress-timed compared to
men– Analysis of rhythm’s social meaning may
be enhanced by comparison with other speakers
Conclusion
• How to assess the social meaning of rhythm?– Rhythmic measures like PVI are highly
variable within individuals– No clear stylistic effect at utterance level
(pace Drager, Eckert and Moon 2008)• How do you hear a “rhythm switch”?
– Is it all “similarity-to-variety X” type meaning?
Conclusion
• And voice quality?– When isn’t it a rheme of “essence”?
• As a strategy to expand effective pitch range (Podesva 2007, Mendoza-Denton n.d.)?
• What constrains these meanings?
Thanks
• Rob Podesva & his Language and Identity class for early feedback
• Anastasia Nylund for valuable conversation and idea-swapping
• Daanish and Hammad Ahmed for software help
• Cala Zubair for hardware help
Contact:
Patrick CallierGeorgetown University Department of [email protected]