CC BY
10
УДК 81'34
Н. Б. Цибуля
кандидат филологических наук; доцент кафедры фонетики английского языка факультета английского языка Московского государственного лингвистического университета; е-таН: cybnb@mail.ru
РАЗВИТИЕ И СОВЕРШЕНСТВОВАНИЕ КАЧЕСТВА ГОЛОСА И НЕВЕРБАЛЬНОЙ СОСТАВЛЯЮЩЕЙ КОММУНИКАЦИИ
В настоящей статье ставится цель: 1) проанализировать современные теории и тренинги, направленные на развитие техники речи; 2) представить собственные упражнения для совершенствования качества голоса у студентов, специализирующихся в области лингвистики. В настоящее время обучение студентов модально-эмоциональной экспрессии основано на хорошо разработанной системе мелодических модуляций, изменений громкости, темпа и длительности пауз. Тембр голоса, однако, остается, как правило, за пределами систематической тренировки. Настоящая работа ставит задачу развития у обучающихся умения варьировать диапазон тембральной окраски голоса, соотносящейся с определенным невербальным поведением и ритмом дыхания, что представляет собой новизну исследования. Его результаты имеют прежде всего практическое значение для обучения студентов общению. Значение и комплексный характер коммуникативных единиц, включающий интонацию, в том числе тембр голоса, невербальный компонент и специфику дыхания, представляют собой интерес для дальнейших разработок в области полимодальной лингвистики и теории коммуникации. Статья вносит определенный вклад в решение одной из актуальных проблем методики преподавания иностранных языков и культур - развитие и совершенствование коммуникативных компетенций студентов.
Ключевые слова: качество голоса; тембр; невербальное поведение; дыхание; базовые эмоции; модально-эмоциональная экспрессия; коммуникация; коммуникативные компетенции.
N. B. Tsibulya
PhD, Associate-Professor of the Department of English Phonetics, Faculty of the English Language, Moscow State Linguistic University; e-mail: cybnb@mail.ru
DEVELOPING AND MASTERING VOICE QUALITY AND NONVERBAL COMPONENT OF COMMUNICATION
The present paper has a two-fold aim: 1) to analyse some recent theories and systems of exercises aimed at developing speech techniques; 2) to offer own exercises to enhance vocal strength and master voice quality by students who specialize in linguistics. They are usually taught the expression of basic emotions, various feelings, and modal attitudes concentrating on well-elaborated fluctuations of the pitch, changes in loudness, tempo, and length of pauses. Voice timbre is usually outside the scope of
phonetic training. The present research aims to teach students to enhance and master their timbre range which correlates with certain nonverbal and breathing patterns. this constitutes the novelty of the research. the results of the present study, in the first place, have practical value and may be used at the lessons of phonetics. However, the meaning and undivided character of communicative units embracing intonation, with the emphasis on the timbre; nonverbal behaviour; and breathing may be of theoretical value for further elaboration in the field of communication theory and multimodal linguistics. Mastering proper interaction skills by students of linguistics is one of the topical issues in the teaching process. the present work gives certain insights into the problem.
Key words: voice quality; timbre; nonverbal behaviour; breathing; basic emotions; modal-emotional expressivity; communication; communicative competence.
Introduction
Developing clear articulation and using appropriate intonation enhances effective communication. Quite recent works devoted to English pronunciation are aimed at mastering speech vocal competence [Веренинова 2012; Цибуля 2013; Васильев, Катанская, Лукина 2017; Лукина 2018; Цибуля 2017; Цибуля 2018].
Some linguists justly emphasize the fact that using the Internet depersonalizes communication between people [Joseph 2014]. Everyday involvement in the web activities and giving a lot of time and attention to online writing (distorting grammar and lexis) make communicators rather detached. Web interaction between youngsters is often characterized by negative emotions.
Due to the wide use of the Internet, oral socializing is lessened to a large extent. People's vocal and nonverbal habits are not properly developed. A lot of reduction, elision, monotonous intonation, repetitive rhythmical patterns, and unjustified display of a high or low pitch, are only some features of pronunciation that can be traced in the speech today.
As far as gestures are concerned, their abundant and incongruent use is often a sign of the speaker's inability to formulate an idea verbally. Besides, one can notice considerable tension in the organs of articulation and in the body in general.
Moreover, enunciation of many individuals is hindered by undeveloped breathing habits. In addition to that, as some researchers point out, many people suffer from the fear of public speaking, so to make public appearances and deliver presentations become quite a challenge to them [Jacobi 2006; Hoogterp 2014; Joseph 2014].
However, developing voice abilities and mastering nonverbal habits it is possible to improve communication with colleagues, friends, family members or people one sees for the first time at a social gathering. As is known, the first impression is created within three or four seconds. "You never get a second chance to make a good first impression" [Joseph 2014, p. XV]. As A. Joseph puts it, people derive their first impressions more from a person's vocal and nonverbal manner than from his appearance.
The objective of the present article is twofold:
1) to analyse some recent theories and systems of exercises aimed at developing speech techniques;
2) to offer own exercises to enhance vocal strength and master voice quality by students who specialize in linguistics.
They are usually taught the expression of basic emotions, various feelings, and modal attitudes concentrating on well-elaborated fluctuations of the pitch, changes in loudness, tempo, and length of pauses. The timbre of the voice, or the voice quality, is usually outside the scope of phonetic training. The present research has an aim to teach students to develop and master their timbre range alongside with proper breathing and adequate nonverbal manner typical of different modal-emotional messages. This constitutes the novelty of the research.
The results of the present study, in the first place, may be applied in the teaching process, thus having practical value. However, the meaning and undivided character of communicative units embracing intonation with the emphasis on the timbre, nonverbal behaviour, and breathing may be of theoretical value for further elaboration in the field of communication theory and multimodal linguistics.
Mastering proper interaction skills by students of linguistics is one of the topical issues in the teaching process. The present work gives certain insights into the problem.
Analysis of Recent Theories and Systems of Exercises A. S. Joseph's System
One of the most widely used methods of training the voice was elaborated by the American researcher A. S. Joseph. He calls his system "The Vocal Awareness Method" [Joseph 2014, p. XVI]. Being a voice coach to actors, singers, TV presenters, politicians, sportsmen, teachers,
and people from every walk of life, he is of the opinion that voice and gestures identify the person and tell a lot about him.
The basic assumptions of his method include emotional involvement with interlocutors, connection with their feelings and thoughts. He also emphasizes the importance of heightened attention to the subtleties of one's own psychological and physical state.
In order to raise voice quality at a technical level, Joseph's system of exercises is aimed, on the one hand, at increasing the strength of the vocal apparatus, especially the larynx and the vocal cords. On the other hand, he focuses on relaxation exercises to reduce muscular tension of the organs of speech, such as the tongue, and the lower jaw. His objective is also to release tension in the whole body, especially in the neck and shoulders, and to improve gestural coordination. Much attention is paid to breathing exercises.
A very important thesis put forward by the author is that "listeners neither experience words, vocal tone, and body language separately nor do speakers experience their acts of communication in this divided manner" [Joseph 2014, p. 8]. In a telephone conversation communicants, for example, do not see each other's body movements. However, a hunched or tensed posture affects the tone of voice. The researcher thinks, with good reason, that such stances hinder free breathing and decrease energy. We can add that they also tell upon articulation of sounds, melody, loudness, voice range and other intonation components.
Stuttering, mumbling, lisping, mispronouncing words, speaking very rapidly, running out of breath and as a result breathing in the middle of the phrase, trailing off at the end of an utterance (dropping the end of the sentence), talking through clenched teeth, speaking in a harsh nasal or gravely tone, and other kinds of disorders can be observed in the speech of many people. One can also mention the use of such interjections as "um" or "er", and word combinations "you know", "you see", "like", and others.
Now, let us consider some of the exercises elaborated by A. Joseph.
He recommends experimenting with different postures and positions of the body trying to concentrate on breathing. One should choose the stance, erect and relaxed, in which the muscles of the chest, neck, and shoulders are not tense and provide free breathing.
Then, keeping the appropriate posture, one is advised to do the jaw release exercise: opening the mouth wide enough and putting fingertips on the jawbones joints, trying to find the most comfortable position and
Н. Б. Цибуля
relaxing the lower jaw as much as possible. Breathing deeply one should make the jaw loose and hang without any tension.
Breathing exercises should be accompanied by creating certain emotionally positive images in one's mind. The chest and the abdomen area expand in this case. Then, the breath should be coordinated with a strong nasal humming sound or a "hah" sound in accordance with different rhythms. Experimenting with pitches one should find the most suitable and adjustable to his range.
A. Joseph's exercises develop motor activities, and while doing them it is important, he insists, to simultaneously focus on the force of inhaling and exhaling, on the degree of muscular tension, on the pitch and quality of the sound, on the feelings experienced during the exercise, etc. He compares his system with driving lessons when a person learning to drive should pay attention to many things, which later becomes his automatic habit.
There are a lot more exercises worked out by A. Joseph, for example, breathing and pronouncing sounds while holding a pencil between the teeth or pulling out the tongue, or while maintaining different body positions, for example assuming a posture of bending over at the waist, and others.
The author suggests a 7-minute daily training. He advises to use a mirror, a recorder and / or a video camera to analyse the process and the results of the exercises later, and also to keep a diary to record one's remarks and impressions [Joseph 2014].
B. McAfee's System
One of the most original classifications of voice types belongs to Barbara McAfee, a singer and a voice teacher. She assumes that there exist five types of voice, correlating them with natural phenomena, such as "The Earth Voice", "The Fire Voice", "The Metal Voice", "The Water Voice", and "The Air Voice" [McAfee 2011].
What McAfee calls the type of voice is actually the timbre, or voice quality, because each type reveals certain modal-emotional meanings. As is known, the timbre is a special colouring of the voice which shows the speaker's emotions and modality [Васильев, Катанская, Лукина 2017].
Each type prevails in the person's voice, others constituting the rest of the timbre range. Often people do not use different elements of their timbre properly and sound fake, for example, "substituting bravado for confidence or cloying sweetness for sincerity" [McAfee 2011, p. 55].
McAfee's system of exercises is aimed at developing all components of the voice quality, each conveying specific modal and emotional meanings and thus being more suitable for certain communicative situations as compared to other timbre constituents.
Now, let us look at the five types more closely.
"The Earth Voice" is the deepest and the lowest of the five voice qualities. It has got a glottal colouring causing vibration in the torso. There is no reverberation in the lower part of the body, in feet, and legs.
The earth timbre manifests dominance, confidence and power. To practice and develop it, one is recommended to relax the body, release muscular tension of the face, lower jaw, neck, and belly and produce a long yawning sound stretching the body as if waking up in the morning. Pronouncing some other deep vowel sounds like "oh", "uuh" etc. one should try to relax the vocal cords. That makes the earth sound work better.
Since it demonstrates authority, assertiveness, and firmness, it is most suitable for a certain set of circumstances. Parents use it when talking to children who have done something bad, or people professionally trained in self-defense in a situation of confrontation with an opponent.
Parents, instructors, teachers, doctors, supervisors can, with the help of this timbre, impact positively those who are in a state of crisis or panic. They should speak calmly and slowly revealing confidence and self-reliance.
"The Fire Voice" is compared to the fire element. The sound is concentrated in the solar plexus. Rapid inhaling and exhaling in a short period of time charge the whole body with oxygen and energy which, in its turn, stimulates the force of the voice.
The fire sound reveals a person's passion, power, enthusiasm and zeal, and it is often employed by orators.
Some sportsmen, like weight-lifters, rugby-players, or javelin-throwers, use it for self-encouragement and concentration of energy in their movements, and also to distract the attention of other competitors, especially in martial arts, simultaneously swaying rhythmically their own bodies.
Eloquent facial expressions, a fiery look, energetic gestures accompany this type of voice timbre.
To develop and master the fire sound one is recommended to practice maximum loudness and pitch capacities trying to find places and spaces not to interfere with other people (a sea coast, a far off park corner, or one's own car, etc.). Phrases should be sung, or cried out and accompanied
by accentuating gestures, open palms, vivid facial expressions, and an erect posture. The look should demonstrate interest and be directed at the imaginary audience establishing contact with it.
"The Water Type", correlating with the water element, is characterized by a warm, calming, kind, caring tone of voice compared with a sound of a babbling brook. At the same time, the water timbre manifests encouragement and evokes confidence in the listener. Its sincerity is emphasized by the use of some gestures - putting one's hand to the heart, or in an effort to hold back tears one embraces his throat with the hand.
The key point in revealing and mastering the water voice is muscle relaxation of the speech apparatus, especially the oral cavity and the lower jaw, where usually most tenseness is observed. It is recommended to pronounce a deep yawning sound making it higher in pitch as compared to the earth sound exercise. It is also advised to sing a lullaby or express sympathy to a close friend in a difficult situation using one's timber only, without saying a word.
The water timbre correlates with smooth, calm gestures as well as with the facial expressions that reveal kindness and encouragement. The speaker's body slightly leans towards the interlocutor.
This type of voice is used by parents who hearten up their child making the first steps, also by couples in exchanging apologies after a quarrel. Actors employ this timbre playing women's parts, for example Dustin Hoffman in the film "Tootsie". The water sound is instinctively used by people to express compassion and sympathy. In conflict situations it helps to reduce tenseness.
However, as a dominant element, the water sound, due to its mild and soft character, is not effective in public speeches and presentations.
"The Metal Voice" is characterized by the vibration in the area of the nose, forehead and eyes. The sound is focused in sinus cavities which serve as a powerful resonator of the work of the vocal cords. In contrast to "The Fire Voice" the strong metal sound is formed against a weak breath.
McAfee compares this timbre to a sudden piercing mewing sound of a cat in the middle of the night. It is typical of some fairy-tale characters, like the witch or sorceress. Its acute character cuts through quietness and all background sounds. So, it can be used in a crowd to draw its attention. The sharpness of the metal timbre is helpful in dangerous situations requiring an emergency reaction: to warn somebody of an approaching car or to stop the child from seizing a hot object, etc.
An intense facial expression, wide open eyes, and raised eye-brows enhance the warning of the danger.
To develop the metal timbre it is necessary to focus on the production of a high piercing nasalized sound. The throat, the larynx should not be very tense. It is recommended to concentrate attention on the nasal cavity, the area around the eyes, and the forehead. It is also useful to imitate the sounds of a mewing cat and a whining child.
After practicing the exercises which develop the metal timbre, people with a dull and monotonous voice and indistinct articulation start speaking more clearly. Alongside with that, their nonverbal behaviour - gestures, body movements and facial expressions become more harmonized.
"The Air Voice " is light, soft, intimate, and warm; it is perceived as a hushed excitement and is achieved by a weak sound released in a strong stream of air. One should feel and hear the air going through the mouth cavity. The sound resonates and floats in the area above the head. It is often associated with a slight wind movement, inspiration, imagination, angelic voices, spirit, and mystery.
One can hear this timbre when happy parents talk to their newborn, who in response starts crowing, kicking, and smiling. Or, when reading a fairy-tale to little children, the story-teller bends over to them and says in a hushed voice, "Once upon a time..." This kind of voice quality stimulates interest in them.
The air sound is employed when talking to small children and pets, and also when the speaker tries to inspire his friends or colleagues to take decisions. The intimate character of this timbre may be used to tell somebody a secret.
The softness and warmth of this voice releases muscular tension. Deep breathing charges the body with oxygen and energy, the face lightens up.
To develop the air timbre one is recommended to start whispering sounds focusing on the force of the air stream through the mouth cavity. Then, pronouncing "hey" as if trying to draw the attention of somebody at a distance, one is advised to gradually increase and decrease loudness.
Training the air sound, one should be aware of his nonverbal behaviour: a lively facial expression, slightly lifted eyebrows and a smile on the face [McAfee 2011].
O. I. Druzhbinsky's System
The book "Speech Techniques for Self Training" («Техника речи для самостоятельного обучения») by O. I. Druzhbinsky is a
fundamental work aimed at training the articulatory apparatus, breathing, voice, diction and enunciation [^y^Ghhckhh 2013]. The author, a TV and radio presenter, an instructor in speech techniques and rhetoric, on the base of his invaluable professional experience has elaborated a comprehensive system of exercises covering all aspects of articulation, developing the breathing process, training pronunciation of Russian vowels and consonants, accentual patterns, and other aspects of speech activities.
The author suggests starting with articulatory gymnastics to strengthen the muscles of the jaw, the lips, and the tongue. It should be done every day before practicing other exercises. One should relax his face, the muscles of the neck, and then other parts of the body: hands, fingers and arms, the belly, feet, toes and legs. There are also different postures and positions of the body in which various exercises are performed.
The largest section of his book is devoted to mastering diction and pronunciation of sounds, their clusters, words, and phrases. There are some silent breathing exercises, but, for the most part, the author focuses on the articulation of vowels, consonants and their combinations in the process of breathing. He draws the attention of the readers to the way one should pronounce sounds while inhaling and exhaling air in accordance with different rhythmical patterns.
Many exercises are devoted to enhancement of the voice and training timbre which is regulated by controlled breathing. To develop vocal capacities he suggests alternating speech and singing. Students should learn to produce a stable sound not only in the middle of the voice register, but also on different pitch levels without mumbling or trailing off on the borderline between words and at the end of the utterance. Much attention is paid to mastering pitch and volume modulations: from low to high (and vice versa) and from whisper to moderate and extreme loudness (and vice versa).
O. I. Druzhbinsky's system is also aimed at teaching correct phrasal intoning, pausation, rhythm, and tempo. At the end of his course he suggests training oratorical techniques and improvisation skills. Articulation and enunciation are taught according to Russian orthoepic rules which exclude dialectal and individual peculiarities of diction and pronunciation. Typical phonetic and phonological mistakes are analysed, as well as ways of eliminating them.
Exercises for Training Voice Quality and Nonverbal Component of Communication
We have chosen for training voice quality, nonverbal behaviour and breathing in the expression of most frequent basic emotions such as joy, surprise, sadness, and compassion, an empathetic feeling often revealed by people sympathizing with those who are in trouble. We have also included in the upskilling demonstration of a reserved and serious attitude, frequently employed in different communicative situations.
To master timbre, facial expressions, gestures, posture, body movements, and manner of breathing we offer the following exercises.
1. Pronounce the words below trying to get across joy, enthusiasm and admiration. Observe your facial expression in the mirror: eyes wide open, eyebrows raised, a sincere smile. The posture is upright, hand gestures may emphasize the message. Practice deep and strong breathing while saying the following words: lovely, wonderful, magnificent, dazzling, gorgeous, brilliant, beautiful, luxurious.
2. Use the words in sentences of your own. Pronounce them trying to reveal enthusiasm, admiration, and joy. Watch your breathing and facial expression.
3. Find examples of manifestation of these emotions in fiction. Pay attention to the way the author describes the characters' voice and nonverbal behaviour.
4. Read the words below to express sadness or trouble which are usually manifested by a melancholy or anxious look, puckered forehead, and a pout mouth. The head and the shoulders are slightly lowered. Breathing is shallow and weak. Pronounce the words starting from whisper gradually increasing loudness to normal volume: sad, unhappy, dejected, sorry, pitiful, upsetting, heartbreaking, despair, misery.
5. Think of situations in which you can use the words. Observe your timbre, breathing and nonverbal behaviour.
6. Find pictures of people in the Internet that demonstrate these emotions. Pay attention to their facial expression and posture.
7. The words below may reveal compassion for those who are struck with misfortune. The inflections of the voice, hand gestures and general behaviour manifest this feeling. The look expresses concern, the centre of the forehead is tense, the corners of the mouth are a bit downward, or sometimes one can encourage the person in a desperate situation with
a faint smile. Observe weak inhaling and exhaling while pronouncing the words in a soft voice: sorry, pity, regret, gentle, kind, warm, loving, friendly, caring, sympathetic, soft.
8. Think of sentences and situations that show compassion and empathy with the person in trouble.
9. Find examples in fiction where the author writes about a sympathetic attitude towards people in distress. Pay attention to the way he describes voice, intonation, facial expressions, and gestures.
10. Trying to reveal a reserved and serious attitude one should be aware of one's rather low voice, slightly lowered eyelids, pursed lips, and eyebrows drawn together a bit. Breathing is somewhat moderate, neither too strong, nor weak. Read the following words observing your voice quality, nonverbal behaviour, and breathing: earnest, stern, grim, firm, resolute, resolved, determined, formal, serious, cool.
11. Think of short dialogues that reveal people's reserved manner of behaviour. Act them out with a partner focusing on the timbre, facial expression, gestures, posture, and breathing.
12. Surprise as one of basic emotions may be pleasant or unpleasant. In the expression of the latter the forehead is puckered, the eyebrows are raised, the eyes are wide open, and the mouth is slightly open. In manifestation of pleasant surprise the upper part of the face is almost the same with the exception of the eyes which are slightly squinted due to the smile (because of the strong connection between the eye disc muscles and the mouth muscles).
Depending on the degree of surprise the force of exhalation may vary from very strong to rather weak.
Pleasant surprise is characterized by the voice quality close to that of joy, whereas displeasure is revealed by the note of trouble.
13. Pronounce the words and word combinations below, trying to express: 1) pleasant surprise, 2) unpleasant surprise. In each case observe your facial expression in the mirror, notice the difference. Regulate your voice quality accordingly, modulating the pitch from low to high and the volume from soft to loud. Also keep in check the force of exhaling while reading the following examples:
No! Is it? Can't I? You don't say that! Oh, really? You're kidding.
That's a surprise! It's unbelievable! It's shocking! Incredible! A pay rise?
A promotion? Got married?
14. Think of situations in which you can use the above phrases or examples of your own. Watch your nonverbal behaviour, timbre and breathing.
15. Find pictures in the Internet that demonstrate surprise. Describe facial expressions: the forehead, the position of the eyebrows, the shape of the eyes and the mouth.
16. While reading English fiction try to notice the devices authors use to describe the characters' emotions and feelings, their voice, and nonverbal behaviour.
17. While watching British feature films and documentaries, try to analyse the way the English demonstrate emotions and modality by modulating the voice quality and employing certain gestures, body movements, and facial expressions.
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