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      Bringing indexical orders to non-arbitrary meaning: The case of pitch and politeness in English and Korean

      1 , 2 , 3 , 4
      Laboratory Phonology
      Open Library of the Humanities

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          Abstract

          In this study, we investigated whether the relationship between pitch and politeness is mediated through iconic relationships between pitch and other talker attributes, and whether these relationships can differ across languages. US and South Korean listeners completed a speaker perception task in which they heard utterances and rated the speaker on a number of attributes, including politeness. The pitch of each utterance was unmanipulated, raised, or lowered. The results confirm previous work suggesting that in Korean, lower pitch is associated with politeness, which contrasts with both the English results we find, and claims of a universal association between higher pitch and politeness (i.e., Ohala’s Frequency Code). At the same time, the impact of pitch on attributes like perceived height, strength, and emotion are similar across listener groups: speakers in higher pitched guises are heard as shorter, weaker, and more emotional. Like others, we argue that pitch can be associated non-arbitrarily with a range of meanings, but additionally appeal to orders of indexicality (Silverstein, 2003) to account for the similarities between the groups, as well as the differences. Our results are of significance for researchers looking at non-arbitrary meaning of acoustic cues as well as the acoustics of politeness, especially in interaction with polite registers in Korean.

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            Communication of emotions in vocal expression and music performance: different channels, same code?

            Many authors have speculated about a close relationship between vocal expression of emotions and musical expression of emotions. but evidence bearing on this relationship has unfortunately been lacking. This review of 104 studies of vocal expression and 41 studies of music performance reveals similarities between the 2 channels concerning (a) the accuracy with which discrete emotions were communicated to listeners and (b) the emotion-specific patterns of acoustic cues used to communicate each emotion. The patterns are generally consistent with K. R. Scherer's (1986) theoretical predictions. The results can explain why music is perceived as expressive of emotion, and they are consistent with an evolutionary perspective on vocal expression of emotions. Discussion focuses on theoretical accounts and directions for future research.
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              Politeness

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                Author and article information

                Contributors
                (View ORCID Profile)
                (View ORCID Profile)
                Journal
                Laboratory Phonology
                Open Library of the Humanities
                1868-6354
                January 8 2023
                February 1 2023
                : 14
                : 1
                Affiliations
                [1 ]Korea University
                [2 ]Virginia Tech
                [3 ]Korean Language and Literature, Korea University
                [4 ]Independent researcher
                Article
                10.16995/labphon.9112
                7a374d51-c8a8-4a92-adf4-0ea23a449136
                © 2023

                https://creativecommons.org/licenses/by/4.0

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