English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

Bolinger, Ohala, Morton and others have established that vocal pitch height is perceived to be associated with social signals of dominance and submissiveness: higher vocal pitch is associated with submissiveness, whereas lower vocal pitch is associated with social dominance. An experiment was carried out to test this relationship in the perception of non-vocal melodies. Results show a parallel situation in music: higher-pitched melodies sound more submissive (less threatening) than lower-pitched melodies. RESEARCH by Bolinger, Ohala, Morton and others has established that vocal pitch height (F0) is perceived to be associated with social cues for dominance and submissiveness. In a wide sample of cultures, Bolinger (1964) noted that high or rising vocal pitch is associated with politeness, deference, submissiveness and lack of confidence. Bolinger also showed that conversely, low or falling vocal pitch is associated with authority, threat, aggression, and confidence. Ohala (1984) and Morton (1994) have assembled additional support for this association in ethological studies of non-human animals. Paradoxically, an earlier study by Scherer et al. (1973) seemed to suggest that high vocal pitch is associated with aggression; however, Ohala (1994) has noted that the materials studied by Scherer et al. exhibit marked descending pitch contours. That is, beginning from a high pitch may allow a more exaggerated pitch descent, corresponding to a presumed confident or aggressive assertion. This association has been demonstrated in both ecological and controlled experimental situations. Morton (1994) reviewed vocalizations for 54 species as observed by ethologists. Morton noted that three features appear to be important in aggressive/passive signaling. First, low-pitched sounds are generally associated with aggressive signaling, whereas high-pitched sounds are generally associated with friendly, appeasing, or fearful signals. Second, falling pitch contours are generally associated with aggression, while rising pitches are associated with friendly, appeasing, or fearful signals. Finally, Morton drew attention to the (periodic) tone versus (aperiodic) noise distinction. In general, hostile signals are described as raspy, growling, buzzing, or snarling. Such sounds are often characterized as "harsh." By contrast, friendly or appeasing signals are typically described as whimpers, whines, squeaks, squeals, screeches, or chirps. In general, those tones which evoke the clearest pitch sensations are associated with friendly and appeasing signals, whereas unpitched noises or less clearly pitched tones are associated with aggression. To Morton's three factors we may add a fourth - loudness. Loudness seems to be interpretable in two ways. First, loudness may be associated with the urgency of the signal. That is, a loud vocalization may indicate a strong desire to communicate or to communicate clearly. In addition, increased loudness is also likely correlated with hostility or aggression; the acoustic power might suggest the physical power of the individual or signal the individual's willingness to engage in physical confrontation.

Influence of Pitch Height on the Perception of Submissiveness and Threat in Musical Passages