Study On Sound Of Broadcast Language

The artistic language of broadcast is a kind of symbolic expression and theexternalization of artistic texts. Auditory perception tells us that vocalization inbroadcasting is that of an emotional one, i.e., expressing feelings with voices.Therefore, this sort of voice falls naturally into the category of emotional voice. Basedon basic broadcasting vocalization training and the combination of emotion, voice andbreath, the relationship among emotion, voice and breath is expressed as: emotionalmovement–breath movement–voice variance. This paper is aimed to verify thescientific nature of leading voice with emotion in vocalization through researchmethod of experimental phonetics to study the voice signal and aspiration signal ofemotional rhythm in broadcasting.In this paper, the first positive study is to select the prose sentence in laboratorycorpus and news sentence, while the second study is to select teaching experiment inprose sentence which carries meter level out for it partition the analysis onfundamental frequency and energy and respiration is tested also for teaching in andlaboratory corpus prose sentence carries feelings out and does not take feelings forscore Xi and take the comparative analysis between feelings.In my dissertation, I select metrical sentences from prosaic discourses in teachingexperiments, prosaic and news discourses in laboratory corpora, to divide theirrhythmic layers and analyze their basic frequency, energy and breath, especially toconduct a comparative analysis between emotional and non-emotional voices andbetween emotional voices in Chapters IV and Chapter V.In experimental teachings, we emphasize exaggeration of emotion, ask for all thespeakers to use the same way of evoking emotions lip movement in the samecontextual environment, and show the―aspirating‖way of breathing…all these aredesigned to help speakers feel the concurrent transmission and clear directivity ofemotion, breath and meaning, as well as the vivid physiological experience of waistand abdomen following the aspiration movement caused by emotion.The research results show that in terms of duration and number of pauses,emotional and non-emotional rhythmic sentences abide by the following rules: theduration of emotional sentences is almost twice as long as that of non-emotional ones, and there are significantly more pauses in the former than in the latter. In emotionalsentences, there are notably more long pauses than short ones. The pause duration ofrhymic units vary according to their respective levels. While in laboratory corporastatistics, there are more non-emotional short pauses than long ones in prosaicsentences, and comparing to the number of non-emotional long pauses, that ofemotional ones has increased. As for short pauses, the number equals to or is greaterthan, sometimes even under that of long ones. These differences lie in the exagerationof emotion in teaching experiments.Based on the density between rhythmic units, we cascade the rhythmic levels ofprosaic and news sentences into rhythmic sentences, rhythmic phrases, and feet.Research shows that from a basic frequency perspective, firstly, the readingfrequency domains vary between emotional and non-emotional prosaic sentences inteaching experiments. In average, female speakers who read with emotion have widercompasses and larger range of basic frequency variation, while those without emotionhave narrower compasses, narrower range of basic frequency variation, and higheraverage value of basic frequency. Male speakers reading with emotion show oppositefeatures with females in basic frequency range. Very few females also have narrowerfrequency domain when reading with emotion. Secondly, for laboratory prosaicsentences, there is little variation of basic frequency between male and female speakersreading with or without emotion. In average, the compasses of females are slightlywider than that of males, and those reading with emotion are even wider. Yetcomparing emotional rhythmic phrases and feet with non-emotional ones, we find thatthe duration of the former is longer, the compass wider, and interval changes ofsyllables larger. Finally, in the news sentences, the basic frequency of a female speakeris significantly higher than that of a male.Research shows that from an energy perspective, firstly, emotional prosaicsentences have wider energy domains than non-emotional ones in teachingexperiments, and male broadcasters have slightly wider energy domains than females.Secondly, in laboratory corpora, the energy differences between emotional andnon-emotional prosaic sentences are not as obvious as in Teaching is tested.There is little difference in energy between emotional and non-emotionalsentences. The difference of energy range between male/female andemotional/non-emotional is basically the same. Accents resulting from emotionexpression have a common rule in energy sonogram: there are much more sound energy fluctuations in emotional expressions than in non-emotional ones. Thisindicates that when people speak with emotion, their voice volumes will have minorvariations of energy fluctuation, based on the main volume of characters, thusreflecting the emotional changes in the speaker’s voice. In Chapter V, there is littledifference in basic frequency and energy between emotional and non-emotionalspeaking, because after two years of specialized courses, students have learned to keeptheir broadcasting process stable and are able to unconsciously adjust their breath, sothat even non-emotional vocal sounds can become emotional to some extent. In newssentences, the average energy value of male and female speakers are very close, withthat of females a little lower. Yet their energy range is different, with male speakershaving a larger energy distribution than females.Research shows that from a breath perspective,(1) in prosaic sentences, there arefewer non-emotional breathing resets than emotional ones, and the scope of mostemotional breathing resets is greater than that of non-emotional ones. Chest breathingplays a critical role in expressing feelings in emotional rhythm broadcasting. Breathingwithout trace is essential for expressing feelings and keeping the meaning integral.(2)There are three layers of breath in news broadcasting, whether the speaker is usingchest breathing or abdominal breathing. In terms of sentences, the point and number ofsilent segments in the last sentence are rather consistent. All the speakers useuntraceable breathing at the same point. In the process of speaking, abdominal muscleshave a stronger control than chest muscles and contract back slowly. Chest breathingand abdominal breathing follow the same direction. This also indicates that the speakeris able to keep a stable breathing rhythm in broadcasting news.The rhythms in broadcast language are reflected in changes in density, speed,strength, pause and coherence, and height. Therefore, in emotional rhythmbroadcasting, rhythm can be explained as logical and emotional―changes.‖The aboveempirical research fully proves that the movement of emotion directly triggers themovement of breath. Broadcasters must actively renew their breath when practicingemotional rhythm broadcasting. Scent is feelings and medium of sound.