The buzzer can buzz either of the two actors, but once the actor receives a new voice, give them some time to experiment with the new voice before being prompted with another one.
Remember to still use diction— speak clearly and distinctly! Possible voices: An opera singer. An angry toddler A bored teenager. A bride on her wedding day. A British king or queen A bratty girl getting ready for prom. A dashing, confident prince A ghost. Discussion: How did you experiment with your voice in portraying new voices— different pitch, tone, etc. Did you notice where your voice may be coming from? Emphasis — this is the pressure on individual words that makes them stand out.
But emphasis or stress for a particular effect is significant and can change the meaning of a sentence as well as the feeling behind it. Intonation — the rise and fall of the voice.
Intonation also helps us to say what we mean. First, the multivariate statistical analysis is quite conservative and rejects differences when they lie solely in a small number of parameters. In combination with the factor analysis this might lead to a serious loss of information. Second, the analyzed speech segments vowels were quite short. Even though Bachorowski and Owren were able to detect an influence of positive and negative emotions on single acoustic cues in comparable speech segments, other studies that found emotional differences in vowels cut from running speech dealt with vowels nevertheless twice as long as 0.
Further studies should analyze longer segments and should concentrate specifically on the prosody parameters, as the differences in the F 0 -variability for authenticity and in the speech rate for emotion differentiation demonstrated the importance of the suprasegmental level. The fact that gender and authenticity could nevertheless be differentiated in our study emphasized their strong effect on the acoustic structure. Third, the lack of emotion-related cues might be due to the quality of the stimuli.
Apparently, the emotion-related acoustic differences were too subtle to be detected in this analysis. As play-acted stimuli were no more acoustically distinct than the authentic ones, the authenticity of half of the stimuli is not an explanation for low emotionality. In contrast to other studies in which the speakers were asked to express the emotion in one sentence Scherer et al. To complicate matters further, it is rarely the case that only one emotion is encoded in spontaneous speech Greasley et al.
The fact that we were not able to detect emotionality at all deserves special attention. Due to this, we cannot exclude the possibility that the emotional expressivity is influenced by authenticity. An analysis of longer and more exaggerated stimuli is needed to shed light on the question whether the vocal expression of the different emotions is similar between the encoding conditions in every detail.
Our analysis, in any case, suggests that such an effect would probably be very subtle and that the effect of the general encoding differences is much more dominant. This study revealed that during the acting process a type of speech is used that differs from the one during spontaneous expressions. We demonstrated that play-acted expressions are not necessarily encoded in an exaggerated, stereotypical or more aroused fashion in comparison to naturally occurring expressions, as proposed before Scherer, Instead, it appears that the acting process affects the vocal expression in a more general way.
Future research should aim to uncover what the causes of these differences in encoding are and whether listeners make use of these acoustic cues to judge authenticity and emotion. The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest. Audibert, N. Bachorowski, J.
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