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Michaela Penny DO DIFFERENT VOICE QUALITIES HAVE THE ABILITY TO EVOKE AN EMOTIONAL RESPONSE WITHIN THE LISTENER? Michaela Penny This is a digitised version of a dissertation submitted to the University of Bedfordshire. It is available to view only. This item is subject to copyright. DO DIFFERENT VOICE QUALITIES HAVE THE ABILITY TO EVOKE AN EMOTIONAL RESPONSE WITHIN THE LISTENER? By MICHAELA PENNY A thesis submitted to the University of Bedfordshire, in fulfillment of the requirements for the Master’s degree of Research. July 2015 Michaela Penny, Masters of research DECLARATION I declare that this thesis is my own unaided work. It is being submitted for the degree of Masters of Research at the University of Bedfordshire. It has not been submitted before for any degree or examination in any other University. Name of candidate: Michaela Penny Signature: Date: 6th July 2015 Michaela Penny, Masters of research Contents 1. Introduction ....................................................................................................... 1 2. Plan of Thesis .................................................................................................... 5 2.1 The work of Jo Estill ................................................................................... 5 2.2 Processing emotional responses ................................................................. 7 2.3 Factors that influence our emotional responses ..................................... 12 2.4 The difficulties with perception ............................................................... 17 3. Methodology design .......................................................................................... 1 3.1 Implementing the methodology ............................................................... 17 4. Analysis of the study ....................................................................................... 30 4.1 Research Findings ..................................................................................... 33 5. Evaluation ......................................................................................................... 1 5.1 Conclusion .................................................................................................... 5 5.2 Further research ....................................................................................... 10 6. Appendices ...................................................................................................... 12 6.1 Appendix A : Physiology and anatomy of the voice ............................... 13 6.2 Appendix B : Instructions for the participants ...................................... 16 6.3 Appendix C: Squiggle booklets ................................................................ 17 6.4 Appendix D: Description of voice qualities table ................................... 18 6.5 Appendix E: Colour key chart ................................................................. 22 7. Appendices reference list ................................................................................ 29 8. Thesis reference list......................................................................................... 30 Michaela Penny, Masters of research Table of figures and tables Figure 1- The structures that make up the larynx....................................... 5 Figure 2- Example of participant booklet .................................................. 23 Table 1- Descriptions of voice qualities……………………………………..40 Table 2- Colour key chart……………………………………………………..60 Table 3- Table of opportunites………………………………………………..61 Michaela Penny, Masters of research Abstract The purpose of this research is to establish whether different voice qualities evoke an emotional response within the listener. To assist the research, a study was conducted under controlled conditions using eight participants. They were asked to take part in a modified version of Donald Winnicott’s squiggle game. This involved allowing the hand to draw freely whilst listening to an original composition for solo voice. The voice qualities demonstrated in the composition were those defined by researcher, voice scientist and teacher, Jo Estill. Participants were informed that a squiggle in an upward direction would indicate an increase in intensity of emotional response. The results revealed that the voice qualities featured in the composition evoked some form of emotional response within the listener. However, an inability to control all variables meant that it was not possible to decipher whether these responses were elicited as a result of voice quality alone. Michaela Penny, Masters of research 1. Introduction The focus of this thesis is to answer the question: do different voice qualities have the ability to evoke an emotional response within the listener? The inspiration for this research derives from my experiences as a performer, teacher and listener. I am sure that I speak on behalf of most artists when I state that as a performer, the objective is to move or affect the audience in some way. Although I have seemingly achieved this successfully from time to time, I have never been sure how or why. Initially I assumed that it was the construction of the melody and the message of the lyrical content that made this possible. However, as an audience member who has been emotionally affected by listening to a song, often I am unable to pinpoint what I am feeling and why I am feeling it. Drawing on a specific example, when I first heard Taylor Swift’s I knew you were trouble (Swift, 2012), I was not particularly moved by the song or the vocal performance, nor did I pay much attention to the lyrical content. In contrast, when I listened to Jessie J’s cover of this track (Radio One Live Lounge, 2013), I experienced an intensely emotional response to the performance and immediately connected to the message of the song. Although there were adaptations made to the melody in Jessie J’s version, the words and the story were exactly the same. This suggests that it was the way in which the voice was used in the cover that had an impact on me emotionally. Jessie J executed a fantastically expressive vocal performance that demonstrated the wide range of possibilities the human 1 voice has to offer. This led me to consider what she was doing with her voice and why it elicited such a strong reaction within me. In order to explore these questions further, I needed a way of defining these different sounds. This led me to the work of singer, researcher, voice scientist and teacher, Jo Estill. Detailed information on the work of Jo Estill can be found in Estill Voice Training Level One: Figures for Voice Control (Klimek et al., 2005a). Estill began singing at a young age and despite enjoying a successful career as a singer, she often questioned “How am I doing this” (Klimek, et al., 2005a, p.1). Her lack of technical understanding of what she was doing from performance to performance resulted in anxiety over the unpredictability of the outcome1. In an attempt to answer her queries surrounding voice production, Estill decided to study a Master’s Degree in Music Education. Through the study of vocal anatomy and physiology, respiration and acoustics, she began to unearth some answers to her persisting question. Years of extensive research into the production of different voice qualities followed, involving x-ray observations, acoustic analysis and perceptual studies. This resulted in the development of the Estill Voice Training Model. Here, the different structures that make up the larynx and vocal tract are identified along with exercises to gain independent control over them. This was all possible due to observations made by Estill regarding the conditions of these different structures during 1 P.Penny, 2015 2 the production of different voice qualities. This is to say that the Estill Model, which transformed the world of voice training, began with the study of voice quality. Jo Estill states, “Many who deal with the voice are very much concerned with the ‘quality of voice’. Quality refers to a perceptual attribute of voice and concerns the psychological domain. It is a listener’s perception that the singer, actor, or salesman wishes to influence or affect. It would seem logical, therefore, to begin any study of voice quality by exploring the perceptual domain” (Colton and Estill, 1981, p.323). Colton and Estill’s insights support my hypothesis that voice quality has the ability to evoke a response within the listener and highlights the necessity to explore the role of perception. It became apparent to me that what I was experiencing when listening to Jessie J’s cover was an emotional response to different voice qualities. With information on the production of these different voice qualities outlined in the Estill Model, I could then set about connecting them to the psychological realm. Following this introduction is the plan of the thesis which also contains a literature review of the following: Jo Estill and her Model; existing research surrounding the connection between musical stimuli and emotion; factors that influence the processing of emotion and descriptions of previous perceptive based studies that highlight different methodologies and potential issues and variables that commonly arise. 3 Leading on from the plan of thesis is an outline of the design and implementation of the study constructed to address the research question. This includes a breakdown of the different voice qualities (as defined by Jo Estill) that were featured in the vocal composition
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