As I read “The Production of Speech” by Gussenhoven, I enjoyed
saying the example English words which matched to the specific physical
phenomena described using “organs of speech.” It seemed intuitive to me that
the mouth is the most important part of the vocal tract, but I had no idea how
the crown interacts with so many different parts of the mouth to produce
essential sounds. For example, how the crown can make such different sounds between
contacting the alveolar ridge and contacting the ridge’s edge. I never would
have noticed that between certain sounds there is a different (but slight) movement
from the tongue. Another aspect of the
Gussenhoven reading I appreciated was the explanations of breathy and creaky
voice. Also, when Gussenhoven mentions that breathy voice is “sometimes
jocularly used to create the effect of a sexy voice” I immediately thought of
the voice in the movie Her. The voice is breathy and a tad raspy, and I wonder
why this signals “sexy” to a listener. Perhaps a voice with slight
imperfections makes it more musical or inviting to listen to.
From the
Kenstowicz reading I began to understand how native speakers of a language are
unaware of all the sounds associated with a letter. For example, as mentioned
in the reading I had no idea that “take” and “stake” have different sounds.
Gussenhoven touches upon this in his reading too, particularly when he mentions
how “cat” has a brief h-like sound. Gussehoven says that a briefer transcription
is “sufficiently informative if the reader knows the language concerned.” It’s
interesting to think about how when I was a kid I had a lot of trouble with
pronunciation (but I was a great speller!) and I personally believe it’s
because my Spanish speaking parents taught me English (their second language).
I acquired a lot of what I heard in my household, and not from the order of
letters in a word.
I love the connection you drew with the movie Her, I too have often wondered what it is about Scarlett Johansson's voice makes it such a standard for "sexy" voice. I think that perhaps that unique, raspy nature you bring up does add a bit of interest or unexpectedness. Especially as the lower pitch of such breath-y voice seems to contradict the social standards of defining femininity via from the vocal standpoint. I wonder if to a certain extent, individuals like ScarJo intentionally emphasize such traits to convey this, or if it occurs naturally and that is what makes it seen as appealing?
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