Volume 69, Issue 4

Performers use various laryngeal settings to create voices for characters and personas they portray. Although some research demonstrates the sociophonetic associations of laryngeal voice quality, few studies have documented or examined the role of harsh voice quality, particularly with vibration of the epilaryngeal structures (growling). This article qualitatively examines phonetic properties of vocal performances in a corpus of popular American media and evaluates the association of voice qualities in these performances with representations of social identity and stereotype. In several cases, contrasting laryngeal states create sociophonetic contrast, and harsh voice quality is paired with the portrayal of racial stereotypes of black people. These cases indicate exaggerated emotional states and are associated with yelling/shouting modes of expression. Overall, however, the functioning of harsh voice quality as it occurs in the data is broader and may involve aggressive posturing, comedic inversion of aggressiveness, vocal pathology, and vocal homage.

Some dialogues are perceived as running more smoothly than others. To some extent that impression could be related to how well speakers adapt their prosody to each other. Adaptation in prosody can be signaled by the use of pitch accents that indicate how utterances are structurally related to those of the interlocutor (prosodic function) or by copying the interlocutor's prosodic features (prosodic form). The same acoustic features, such as pitch, are involved in both ways of adaptation. Further, function and form may require a different prosody for successful adaptation in certain discourse contexts. In this study we investigate to what extent interlocutors are perceived as good adapters, depending on whether the prosody of both speakers is functionally coherent or similar in form. This is done in two perception tests using prosodically manipulated dialogues. Results show that coherent functional prosody can be a cue for speaker adaptation and that this cue is more powerful than similarity in prosodic form.

Speakers and listeners have been shown to use phonetic cues to help them in tracking the ongoing structure of conversational interaction, but fragmentation between qualitative and quantitative research means that the forms and functions of these cues have been given varying characterizations. The current study explores prosodic variation in contrastive structures in conversational data, using a combined methodology adopting aspects from both qualitative (conversation analysis) and quantitative (experimental phonetics/phonology) approaches. Statistical and conversation-analytical methods used together reveal relationships between prosodic variation and interactional function, such as variations in pitch range across adjacent turns being linked to the presence of ‘stepwise' topic changes.