High voice pitch mitigates the aversiveness of antisocial cues in men's speech

You are how you speak: The roles of vocal pitch and semantic cues in shaping social perceptions

Social perceptions of speakers are influenced by their voice information, including vocal characteristics and semantic content. Our study investigated how individuals' warmth- and competence-related perceptions of speakers were affected by vocal pitch levels (i.e., high/low) and three kinds of semantic cues (i.e., prosocial, antisocial, and neutral) simultaneously. We have three key findings. First, antisocial cues negatively affected social perceptions, regardless of speakers' gender. However, prosocial cues did not have positive impacts on evaluations of speakers because ratings were similar between prosocial cues and neutral cues. Second, female vocal pitch mattered for warmth-related perceptions but not for competence-related perceptions. The role of semantic cues should be additionally considered when investigating the impact of male vocal pitch on these perceptions. For example, higher-pitched men in prosocial contexts were perceived as warmer, while low-pitched men in antisocial contexts were judged as more competent. Third, the connection between vocal pitch and two kinds of perceptions showed an opposite trend, in which high pitch was related to more warmth but less competence, while the low pitch was associated with less warmth but more competence. These findings extend the understanding of the role of vocal pitch in the formation of stereotypes of strangers in different semantic contexts.

Emotional authenticity modulates affective and social trait inferences from voices

The human voice is a primary tool for verbal and nonverbal communication. Studies on laughter emphasize a distinction between spontaneous laughter, which reflects a genuinely felt emotion, and volitional laughter, associated with more intentional communicative acts. Listeners can reliably differentiate the two. It remains unclear, however, if they can detect authenticity in other vocalizations, and whether authenticity determines the affective and social impressions that we form about others. Here, 137 participants listened to laughs and cries that could be spontaneous or volitional and rated them on authenticity, valence, arousal, trustworthiness and dominance. Bayesian mixed models indicated that listeners detect authenticity similarly well in laughter and crying. Speakers were also perceived to be more trustworthy, and in a higher arousal state, when their laughs and cries were spontaneous. Moreover, spontaneous laughs were evaluated as more positive than volitional ones, and we found that the same acoustic features predicted perceived authenticity and trustworthiness in laughter: high pitch, spectral variability and less voicing. For crying, associations between acoustic features and ratings were less reliable. These findings indicate that emotional authenticity shapes affective and social trait inferences from voices, and that the ability to detect authenticity in vocalizations is not limited to laughter. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact (Part I)'.

The Voice Gives It Away

Abstract. Two experiments examined the impact of voice pitch on gender stereotyping. Participants listened to a text read by a female (Study 1; N = 171) or male (Study 2, N = 151) speaker, whose voice pitch was manipulated to be high or low. They rated the speaker on positive and negative facets of masculinity and femininity, competence, and likability. They also indicated their own gendered self-concept. High pitch was associated with the ascription of more feminine traits and greater likability. The high-pitch female speaker was rated as less competent, and the high-pitch male speaker was perceived as less masculine. Text content and participants’ gendered self-concept did not moderate the pitch effect. The findings underline the importance of voice pitch for impression formation.

Judgements of a speaker's personality are correlated across differing content and stimulus type

It has previously been shown that first impressions of a speaker's personality, whether accurate or not, can be judged from short utterances of vowels and greetings, as well as from prolonged sentences and readings of complex paragraphs. From these studies, it is established that listeners' judgements are highly consistent with one another, suggesting that different people judge personality traits in a similar fashion, with three key personality traits being related to measures of valence (associated with trustworthiness), dominance, and attractiveness. Yet, particularly in voice perception, limited research has established the reliability of such personality judgements across stimulus types of varying lengths. Here we investigate whether first impressions of trustworthiness, dominance, and attractiveness of novel speakers are related when a judgement is made on hearing both one word and one sentence from the same speaker. Secondly, we test whether what is said, thus adjusting content, influences the stability of personality ratings. 60 Scottish voices (30 females) were recorded reading two texts: one of ambiguous content and one with socially-relevant content. One word (~500 ms) and one sentence (~3000 ms) were extracted from each recording for each speaker. 181 participants (138 females) rated either male or female voices across both content conditions (ambiguous, socially-relevant) and both stimulus types (word, sentence) for one of the three personality traits (trustworthiness, dominance, attractiveness). Pearson correlations showed personality ratings between words and sentences were strongly correlated, with no significant influence of content. In short, when establishing an impression of a novel speaker, judgments of three key personality traits are highly related whether you hear one word or one sentence, irrespective of what they are saying. This finding is consistent with initial personality judgments serving as elucidators of approach or avoidance behaviour, without modulation by time or content. All data and sounds are available on OSF (osf.io/s3cxy).