PS70CH12_Hall
ARI
9 November 2018
11:53
a dominant interviewer than in the presence of a typical interviewer, and less pitch variability was
observed in those higher in self-perceived dominance. These results suggest that changes in pitch
and loudness may serve as more or less nonconscious vocal signals of senders’ actual or desired
rank in a specific setting (quadrants 1 and 2).
Affective and mood states.
Vocal cues are tied to the current affective states of senders (B¨anziger
et al. 2014, Knapp et al. 2014). Perceivers and listeners have been shown to pick up on the following
cues: higher pitch and greater pitch range, more loudness, and faster speech rate for joy or elation;
lower pitch, reduced loudness, slower rate, and longer pauses for sadness; and higher pitch, voice
tremor, and various speech dysfluencies (e.g., stutter, incoherent sounds, repetition) for anxiety.
Using information concerning pitch, sound pressure level, timbre, and length of pauses between
words, Dasgupta (2017) observed that faster talking in a shrill and louder voice was associated with
an agitated emotional state.
Obviously, senders’ affective states may change quickly due to situational factors. Although
mood states tend to be longer lasting than affective states, they, too, have a dynamic quality.
Mundt et al. (2007), for example, found that changes in depressed patients’ pitch (which was
detected over the phone) indicated their positive response to therapeutic interventions.
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