What sounds beautiful is good: The vocal attractiveness stereotype

Two studies examined the effects of attractiveness of voice and physical appearance on impressions of personality. Subject-senders were videotaped as they read a standard-content text (Study 1) or randomly selected texts (Study 2). Judges rated the senders' vocal attractiveness from the auditory portion of the tape and their physical attractiveness from the visual portion of the tape. Other judges rated the senders' personality on the basis of their voice, face, or face plus voice. Senders with more attractive voices were rated more favorably in both the voice and face plus voice conditions; senders with more attractive faces were rated more favorably in both the face and face plus voice conditions. The effects of both vocal and physical attractiveness were more pronounced in the single channels (voice condition and face condition, respectively) than in the multiple channel (face plus voice condition). Possible antecedents and consequences of the vocal attractiveness stereotype are discussed. p]Her voice was ever soft, gentle, and low, an excellent thing in woman.Shakespeare (King Lear, Act V, Sc. 3)This research was supported in part by National Institute Mental Health Grant RO1 MH40498-01A2. The authors would like to thank Thomas J. Hernandez, James R. Laguzza, Andrea Lurier, and Mary Elizabeth Sementilli for running the videotaping sessions in Study 1, and Craig B. Partyka, Kimberly A. Radoane, and Kelly B. Sanborn for running the videotaping sessions in Study 2. Grateful acknowledgment is extended to Kate Johnson and Michael Zygmuntowicz for running rating sessions in Study 2, to BiancaMaria Penati for running rating sessions and coding data in Study 2, and to Bradley C. Olson for his assistance with data analysis.     

When Physical and Vocal Attractiveness Differ: Effects on Favorability of Interpersonal Impressions

Previous research has shown that targets whose physical and vocal attractiveness do not match (one channel being high and the other being low in attractiveness) elicit more negative impressions. The present study replicated this result and showed that the mediator and, hence, the reason for this effect is not simply a perception that the face and voice are discrepant but rather some disappointment with the less attractive channel. The finding that perceivers are overly disappointed with the less attractive channel is consistent with a large literature indicating that effects of negative events such as unattractive face or voice are stronger than effects of positive events.     

The attractive voice: What makes it so?

Previous research has shown that more attractive voices are associated with more favorable personality impressions. The present study examined which acoustic characteristics make a voice attractive. Segments of recorded voices were rated on various dimensions of voice quality, attractiveness, and personality impressions. Objective measures of voice quality were obtained from spectrogram analysis. Overall, the subjective ratings of voice quality predicted vocal attractiveness better than the objective measures. When vocal attractiveness was regressed onto both subjective and objective measures, the final regression equation included 8 subjective measures, which together accounted for 74% of the variance of the attractiveness scores. It also was found that the measures of voice quality accounted for variance in favorableness of personality impressions above and beyond the contribution of vocal attractiveness. Thus, attractiveness captures an important dimension of the voice but does not cover all aspects of voice quality.This research was supported by National Institute of Mental Health Grant MH40498.     

Vocal and Physiological Changes in Response to the Physical Attractiveness of Conversational Partners

We examined how individuals may change their voices when speaking to attractive versus unattractive individuals, and if it were possible for others to perceive these vocal changes. In addition, we examined if any concurrent physiological effects occurred when speaking with individuals who varied in physical attractiveness. We found that both sexes used a lower-pitched voice and showed a higher level of physiological arousal when speaking to the more attractive, opposite-sex target. Furthermore, independent raters evaluated the voice samples directed toward the attractive target (versus the unattractive target) as sounding more pleasant when the two voice samples from the same person presented had a reasonably perceptually noticeable difference in pitch. These findings may have implications for the role voice plays in mate selection and attraction.     

Nonverbal behavior and gender as determinants of physical attractiveness

We investigated the combined and interacting effects of positivity, dominance, sex, and three nonverbal channels on the perception of physical attractiveness. We found that positive affects were rated as more attractive than negative affects regardless of the channel (face and voice, as well as body). We also found that physical attractiveness in females appeared to be a function of the face and body combined, whereas for males it appeared more to be a function of the face alone.Preparation of this paper was supported in part by the National Science Foundation and by the Spencer Foundation. The content of this report is solely the responsibility of the authors. The paper is based on the first author's senior honors thesis, written under the supervision of the third author, and submitted to the Department of Psychology at Harvard University. The authors wish to thank Louis Elson, Cecil Quillen, David McCreery, Bill Duryea, Suzanne Kemple, Steve Love, Frank Bernieri, Monica Harris, Poppy McLeod, David Buss, Paul Andreassen and Roger Brown for their contributions to the research and to the preparation of this paper.     

The Perception and Parameters of Intentional Voice Manipulation

Evidence suggests that people can manipulate their vocal intonations to convey a host of emotional, trait, and situational images. We asked 40 participants (20 men and 20 women) to intentionally manipulate the sound of their voices in order to portray four traits: attractiveness, confidence, dominance, and intelligence to compare these samples to their normal speech. We then asked independent raters of the same- and opposite-sex to assess the degree to which each voice sample projected the given trait. Women’s manipulated voices were judged as sounding more attractive than their normal voices, but this was not the case for men. In contrast, men’s manipulated voices were rated by women as sounding more confident than their normal speech, but this did not hold true for women’s voices. Further, women were able to manipulate their voices to sound just as dominant as the men’s manipulated voices, and both sexes were able to modify their voices to sound more intelligent than their normal voice. We also assessed all voice samples objectively using spectrogram analyses and several vocal patterns emerged for each trait; among them we found that when trying to sound sexy/attractive, both sexes slowed their speech and women lowered their pitch and had greater vocal hoarseness. Both sexes raised their pitch and spoke louder to sound dominant and women had less vocal hoarseness. These findings are discussed using an evolutionary perspective and implicate voice modification as an important, deliberate aspect of communication, especially in the realm of mate selection and competition.     

Young Infants Match Facial and Vocal Emotional Expressions of Other Infants

Research has demonstrated that infants recognize emotional expressions of adults in the first half year of life. We extended this research to a new domain, infant perception of the expressions of other infants. In an intermodal matching procedure, 3.5‐ and 5‐month‐old infants heard a series of infant vocal expressions (positive and negative affect) along with side‐by‐side dynamic videos in which one infant conveyed positive facial affect and another infant conveyed negative facial affect. Results demonstrated that 5‐month‐olds matched the vocal expressions with the affectively congruent facial expressions, whereas 3.5‐month‐olds showed no evidence of matching. These findings indicate that by 5 months of age, infants detect, discriminate, and match the facial and vocal affective displays of other infants. Further, because the facial and vocal expressions were portrayed by different infants and shared no face–voice synchrony, temporal, or intensity patterning, matching was likely based on detection of a more general affective valence common to the face and voice.     

Vocal types and stereotypes: Joint effects of vocal attractiveness and vocal maturity on person perception

Subjects rated the power, competence, warmth, and honesty of stimulus persons whose voices systematically and independently varied along the dimensions of vocal attractiveness and vocal maturity. The results revealed that the effects of vocal attractiveness on person perception can be attenuated or augmented by variations in vocal maturity; and that the effects of vocal maturity on impressions can be similarly modified by level of attractiveness. Implications of the data for the understanding of vocal stereotypes are discussed.     

The Stability of Facial Attractiveness: Is It What You’ve Got or What You Do with It?

Physical attractiveness is suggested to be an indicator of biological quality and therefore should be stable. However, transient factors such as gaze direction and facial expression affect facial attractiveness, suggesting it is not. We compared the relative importance of variation between faces with variation within faces due to facial expressions. 128 participants viewed photographs of 14 men and 16 women displaying the six basic facial expressions (anger, disgust, fear, happiness, sadness, surprise) and a neutral expression. Each rater saw each model only once with a randomly chosen expression. The effect of expressions on attractiveness was similar in male and female faces, although several expressions were not significantly different from each other. Identity was 2.2 times as important as emotion in attractiveness for both male and female pictures, suggesting that attractiveness is stable. Since the hard tissues of the face are unchangeable, people may still be able to perceive facial structure whatever expression the face is displaying, and still make attractiveness judgements based on structural cues.     

Spokespersons’ Nonverbal Behavior in Times of Crisis: The Relative Importance of Visual and Vocal Cues

When a chief executive officer or spokesperson responds to an organizational crisis, he or she communicates not only with verbal cues but also visual and vocal cues. While most research in the area of crisis communication has focused on verbal cues (e.g., apologies, denial), this paper explores the relative importance of visual and vocal cues by spokespersons of organizations in crisis. Two experimental studies have more specifically examined the impact of a spokesperson’s visual cues of deception (i.e., gaze aversion, posture shifts, adaptors), because sending a credible response is crucial in times of crisis. Each study focused on the interplay of these visual cues with two specific vocal cues that have also been linked to perceptions of deception (speech disturbances in study 1; voice pitch in study 2). Both studies show that visual cues of deception negatively affect both consumers’ attitudes towards the organization (study 1) and their purchase intentions (study 2) after a crisis. In addition, the findings indicate that in crisis communication, the impact of visual cues dominates the outcomes of vocal cues. In both studies, vocal cues only affected consumers’ perceptions when the spokesperson displayed visual cues of deception. More specifically, the findings show that crisis communication messages with speech disturbances (study 1) or a raised voice pitch (study 2) can negatively affect organizational post-crisis perceptions.     

The Role of Perceived Voice and Speech Characteristics in Vocal Emotion Communication

Aiming at a more comprehensive assessment of nonverbal vocal emotion communication, this article presents the development and validation of a new rating instrument for the assessment of perceived voice and speech features. In two studies, using two different sets of emotion portrayals by German and French actors, ratings of perceived voice and speech characteristics (loudness, pitch, intonation, sharpness, articulation, roughness, instability, and speech rate) were obtained from non-expert (untrained) listeners. In addition, standard acoustic parameters were extracted from the voice samples. Overall, highly similar patterns of results were found in both studies. Rater agreement (reliability) reached highly satisfactory levels for most features. Multiple discriminant analysis results reveal that both perceived vocal features and acoustic parameters allow a high degree of differentiation of the actor-portrayed emotions. Positive emotions can be classified with a higher hit rate on the basis of perceived vocal features, confirming suggestions in the literature that it is difficult to find acoustic valence indicators. The results show that the suggested scales (Geneva Voice Perception Scales) can be reliably measured and make a substantial contribution to a more comprehensive assessment of the process of emotion inferences from vocal expression.     

The Effects of Average Fundamental Frequency and Variance of Fundamental Frequency on Male Vocal Attractiveness to Women

This paper employs a cue synthesis experimental method to examine the effects of pitch and intonation on male vocal attractiveness to women. Voices were acoustically manipulated to yield nine combinations of three levels of average fundamental frequency and three levels of variance of fundamental frequency. Strong main effects were obtained for the average fundamental frequency manipulation, with high voices rated as significantly less attractive to women than either medium or low voices, which do not differ in attractiveness. The main effects of manipulations of variance of fundamental frequency on vocal attractiveness and benevolence did not reach significance, but there was a significant interaction on the benevolence factor, with high or low average fundamental frequency manipulations being rated particularly low for voices with low variance of fundamental frequency.     

The Provider’s Voice: Patient Satisfaction and the Content-filtered Speech of Nurses and Physicians in Primary Medical Care

Two studies examined vocal affect in medical providers’ and patients’ content-filtered (CF) speech. A digital methodology for content-filtering and a set of reliable global affect rating scales for CF voice were developed. In Study 1, ratings of affect in physicians’ CF voice correlated with patients’ satisfaction, perceptions of choice/control, medication adherence, mental and physical health, and physicians’ satisfaction. In Study 2, ratings of affect in the CF voices of physicians and nurses correlated with their patients’ satisfaction, and the CF voices of nurses and patients reflected their satisfaction. Voice tone ratings of providers and patients were intercorrelated, suggesting reciprocity in their vocal affective communication.     

The Effects of the Tomatis Method on the Artistic Voice

In the theory of the French Ear, Nose and Throat (ENT) doctor Alfred Tomatis, the voice emits the frequencies the ear can perceive. The auditory stimulation, through the treatment elaborated by Tomatis, can determine the stabilization or the improvement of some vocal parameters, as well as the effect on the formants of voice. A group of N = 19 subjects, singers and actors, were assessed by complete clinical ENT evaluations including fibrolaryngoscopy, otoscopy, and clinical audiometry. The voice analysis was carried out with the Multi-Dimensional Voice Program (MDVP) and with the Praat software. The results demonstrate that after the treatment entails an increase in the mean of energy density on the third formant of voice (F3). An improvement in the ability to maintain a constant intensity of the vocal emission resulted from MDVP analysis with a reduction on the standard deviation of the voice amplitude. The improvement in the auditory perception, particularly for 3 kHz, determines a better intelligibility and articulation of the words. The better auditory perception in the zone of 3 kHz reduces the phenomenon of nasalization and gives expressive power to the artistic voice. The decrease of Peak-Amplitude Variation (vAm) lead to a stable voice emission with a better control.     

Four‐Month‐Olds' Discrimination of Voice Changes in Multimodal Displays as a Function of Discrimination Protocol

Past studies have found equivocal support for the ability of young infants to discriminate infant‐directed (ID) speech information in the presence of auditory‐only versus auditory + visual displays (faces + voices). Generally, younger infants appear to have more difficulty discriminating a change in the vocal properties of ID speech when they are accompanied by faces. Forty 4‐month‐old infants were tested using either an infant‐controlled habituation procedure (Experiment 1) or a fixed‐trial habituation procedure (Experiment 2). The prediction was that the infant‐controlled habituation procedure would be a more sensitive measure of infant attention to complex displays. The results indicated that 4‐month‐old infants discriminated voice changes in dynamic face + voice displays depending on the order in which they were viewed during the infant‐controlled habituation procedure. In contrast, no evidence of discrimination was found in the fixed‐trial procedure. The findings suggest that the selection of experimental methodology plays a significant role in the empirical observations of infant perceptual abilities.     

Self-Perceptions of Sexual Attractiveness: Satisfaction With Physical Appearance is Not of Primary Importance Across Gender and Sexual Orientation

Research on self-perceived sexual attractiveness has predominantly focused on the importance of physical appearance, overlooking nonphysical traits that may contribute to these self-perceptions. The present study examined and compared the importance of a variety of traits for self-perceived sexual attractiveness. Self-identified heterosexual, gay, and bisexual men (N = 1,801) and heterosexual, lesbian, and bisexual women (N = 1,092) completed an online questionnaire examining self-perceived sexual attractiveness, body esteem, sexual esteem, adherence to gender norms, and sexual experience. Body esteem and sexual esteem were significant predictors of self-perceived sexual attractiveness, regardless of gender and sexual orientation. Adhering to a masculine gender norm was a significant predictor among all groups (to varying extents) but heterosexual women. Adhering to a feminine gender norm was a significant predictor among heterosexual men and bisexual women. Finally, sexual experience was a significant predictor for all men and bisexual women. Furthermore, while body esteem was a predictor across all groups, for most individuals it did not appear to be of primary importance, with either sexual esteem or masculinity proving to be of greater importance. These findings suggest the need to consider traits related to both physical and nonphysical factors for improving an individual's self-perceived sexual attractiveness.     

In a Nervous Voice: Acoustic Analysis and Perception of Anxiety in Social Phobics’ Speech

This study investigated the effects of anxiety on nonverbal aspects of speech using data collected in the framework of a large study of social phobia treatment. The speech of social phobics (N = 71) was recorded during an anxiogenic public speaking task both before and after treatment. The speech samples were analyzed with respect to various acoustic parameters related to pitch, loudness, voice quality, and temporal aspects of speech. The samples were further content-masked by low-pass filtering (which obscures the linguistic content of the speech but preserves nonverbal affective cues) and subjected to listening tests. Results showed that a decrease in experienced state anxiety after treatment was accompanied by corresponding decreases in (a) several acoustic parameters (i.e., mean and maximum voice pitch, high-frequency components in the energy spectrum, and proportion of silent pauses), and (b) listeners’ perceived level of nervousness. Both speakers’ self-ratings of state anxiety and listeners’ ratings of perceived nervousness were further correlated with similar acoustic parameters. The results complement earlier studies on vocal affect expression which have been conducted on posed, rather than authentic, emotional speech.     

Recognition of Nonverbal Communication of Affect Following Traumatic Brain Injury

Recognition of facial expressions and vocal prosody was examined using the Diagnostic Assessment of Nonverbal Accuracy 2 (DANVA-2) and the Carolina Older Adult Test of Nonverbal Communication (COAT-NC) for 24 individuals with traumatic brain injury (TBI) and 24 matched controls. Results demonstrated that participants without TBI scored significantly higher than participants with TBI when presented with adult photo and voice stimuli. No significant group difference was noted with child photo and voice stimuli. Both groups scored significantly higher on photo subtests than on voice subtests for child and younger adult stimuli. For older adult stimuli, both groups scored significantly higher on the voice subtest than on the photo subtest. For the subjects with TBI, a significant relationship was found between scores on the voice subtests and a functional measure of cognition and communication.