We learned earlier that paralanguage refers to the vocalized but nonverbal parts of a message. Vocalics is the study of paralanguage, which includes the vocal qualities that go along with verbal messages, such as pitch, volume, rate, vocal quality, and verbal fillers. Peter A. Andersen, Nonverbal Communication: Forms and Functions (Mountain View, CA: Mayfield, 1999), 69–70.

Pitch helps convey meaning, regulate conversational flow, and communicate the intensity of a message. Even babies recognize a sentence with a higher pitched ending as a question. We also learn that greetings have a rising emphasis and farewells have falling emphasis. Of course, no one ever tells us these things explicitly; we learn them through observation and practice. We do not pick up on some more subtle and/or complex patterns of paralanguage involving pitch until we are older. Children, for example, have a difficult time perceiving sarcasm, which is usually conveyed through paralinguistic characteristics like pitch and tone rather than the actual words being spoken. Adults with lower than average intelligence and children have difficulty reading sarcasm in another person’s voice and instead may interpret literally what they say. Peter A. Andersen, Nonverbal Communication: Forms and Functions (Mountain View, CA: Mayfield, 1999), 26.

Paralanguage provides important context for the verbal content of speech. For example, volume helps communicate intensity. A louder voice is usually thought of as more intense, although a soft voice combined with a certain tone and facial expression can be just as intense. We typically adjust our volume based on our setting, the distance between people, and the relationship. In our age of computer-mediated communication, TYPING IN ALL CAPS is usually seen as offensive, as it is equated with yelling. A voice at a low volume or a whisper can be very appropriate when sending a covert message or flirting with a romantic partner, but it wouldn’t enhance a person’s credibility if used during a professional presentation.

Speaking rate refers to how fast or slow a person speaks and can lead others to form impressions about our emotional state, credibility, and intelligence. As with volume, variations in speaking rate can interfere with the ability of others to receive and understand verbal messages. A slow speaker could bore others and lead their attention to wander. A fast speaker may be difficult to follow, and the fast delivery can actually distract from the message. Speaking a little faster than the normal 120–150 words a minute, however, can be beneficial, as people tend to find speakers whose rate is above average more credible and intelligent. David B. Buller and Judee K. Burgoon, “The Effects of Vocalics and Nonverbal Sensitivity on Compliance,” Human Communication Research 13, no. 1 (1986): 126–44. When speaking at a faster-than-normal rate, it is important that a speaker also clearly articulate and pronounce his or her words. Boomhauer, a character on the show King of the Hill, is an example of a speaker whose fast rate of speech combines with a lack of articulation and pronunciation to create a stream of words that only he can understand. A higher rate of speech combined with a pleasant tone of voice can also be beneficial for compliance gaining and can aid in persuasion.

Our tone of voice can be controlled somewhat with pitch, volume, and emphasis, but each voice has a distinct quality known as a vocal signature. Voices vary in terms of resonance, pitch, and tone, and some voices are more pleasing than others. People typically find pleasing voices that employ vocal variety and are not monotone, are lower pitched (particularly for males), and do not exhibit particular regional accents. Many people perceive nasal voices negatively and assign negative personality characteristics to them. Peter A. Andersen, Nonverbal Communication: Forms and Functions (Mountain View, CA: Mayfield, 1999), 71. Think about people who have very distinct voices. Whether they are a public figure like President Bill Clinton, a celebrity like Snooki from the Jersey Shore, or a fictional character like Peter Griffin from Family Guy, some people’s voices stick with us and make a favorable or unfavorable impression.

Verbal fillers are sounds that fill gaps in our speech as we think about what to say next. They are considered a part of nonverbal communication because they are not like typical words that stand in for a specific meaning or meanings. Verbal fillers such as “um,” “uh,” “like,” and “ah” are common in regular conversation and are not typically disruptive. As we learned earlier, the use of verbal fillers can help a person “keep the floor” during a conversation if they need to pause for a moment to think before continuing on with verbal communication. Verbal fillers in more formal settings, like a public speech, can hurt a speaker’s credibility.

The following is a review of the various communicative functions of vocalics:

  • Repetition. Vocalic cues reinforce other verbal and nonverbal cues (e.g., saying “I’m not sure” with an uncertain tone).
  • Complementing. Vocalic cues elaborate on or modify verbal and nonverbal meaning (e.g., the pitch and volume used to say “I love sweet potatoes” would add context to the meaning of the sentence, such as the degree to which the person loves sweet potatoes or the use of sarcasm).
  • Accenting. Vocalic cues allow us to emphasize particular parts of a message, which helps determine meaning (e.g., “She is my friend,” or “She is my friend,” or “She is my friend”).
  • Substituting. Vocalic cues can take the place of other verbal or nonverbal cues (e.g., saying “uh huh” instead of “I am listening and understand what you’re saying”).
  • Regulating. Vocalic cues help regulate the flow of conversations (e.g., falling pitch and slowing rate of speaking usually indicate the end of a speaking turn).
  • Contradicting. Vocalic cues may contradict other verbal or nonverbal signals (e.g., a person could say “I’m fine” in a quick, short tone that indicates otherwise).

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