情緒對中文聲調影響之研究

A Study of the Influences of Emotion on Mandarin Tones

張廖宜(I ChangLiao)

指導教授 ： 江文瑜

國立臺灣大學/文學院/語言學研究所/碩士(2005年)

https://doi.org/10.6342/NTU.2005.00095

摘要

本研究著重於中文聲調與情緒之間的交互作用。為了增加可信度，本篇報告中分析的語料皆取自受過良好聲音表演訓練者，語料則皆為單音節的中文字。我們所探討的參數包括了音高、音量及音長。
在本篇研究中我們發現中文的一聲與三聲音頻的走向會隨著說話者情緒不同而改變，二聲及四聲則是維持穩定的上揚與下降。然而，一聲與三聲的音頻方向變化並非無跡可尋。我們發現這兩個聲調的音頻走向可能與Lakoff (1987) 所描述的人類認知概念有關。根據Lakoff,人類普遍擁有「上為佳，下為劣」(up is good, down is bad)的身體經驗。巧妙的是，在我們的資料中，我們亦發現上揚的音頻通常被用來表現正面的情緒，而下降的音頻則大多被應用在負面的情緒中，與Lakoff所描述的身體經驗吻合。
此外，關於情緒對聲調的改變，我們發現Ladd (1996) 所提出的音頻整體上揚假說是不足的。在我們的語料中，除了音頻整體上揚，我們還觀察到音頻有時也會有部份上揚的情形。
Bolinger (1989) 的宇宙觀（universalist view）也有一些地方是需要做修正的。首先，宇宙觀無法被直接運用到不同型態的語言中。例如，中文的二聲與四聲不因說話者的情緒而改變音頻方向，這便有違宇宙觀的說法。再者，情緒的表現可能會有文化差異，這一點也是不可忽視的。
最後，不同的性別反應出情緒上表現的差異。男性較常使用提高音頻的方式來表現憤怒，而女性則否。除此之外，一般對於男性說話缺乏情緒表現的刻板印象可能是來自於社會限制。

關鍵字

國語聲調 ； 聲學研究 ； 聲調行為表現 ； 情緒

並列摘要

This study is focused on the interaction between emotion and Mandarin tones, which is rarely investigated in previous research. To get qualified data, well-trained voice performers were asked to utter monosyllabic Chinese words with different kinds of emotion. Parameters adopted in this research are pitch, intensity and duration.
According to our data, it is found that Tone 1 and Tone 3 change their pitch direction to reflect speaker’s emotional state while Tone 2 and Tone 4 do not. However, the pitch directions of Tone 1 and Tone 3 are not randomly modified. The pitch variation of Tone 1 and Tone 3 may relate to Lakoff’s (1987) description of general human body experience: up is good, down is bad. Based on our results, positive emotions are usually expressed with rising pitch and negative emotions are usually with falling pitch.
Moreover, our data revealed that Ladd’s (1996) overall tone raising schema is not sufficient to explain the pitch modification of tones in different emotions. According to our analysis, except for Ladd’s ‘overall’ tone raising, there should also be ‘partial’ tone raising.
Then, a few points should be clarified in Bolinger’s (1989) universalist view . First, universalist view should be modified to be applied in different languages. For example, in our research, Tone 2 and Tone 4 do not change their pitch direction to express emotion, which is not compatible with Bolinger’s assumption. In addition, Possible culture differences in the expression of emotion should also be noted.
Finally, differences in vocal performance of emotion are observed between the two genders. Males tend to express anger with rising pitch while females do not. In addition , the general impression of male’s monotonous speech may be a result of sanctions from social factors.

並列關鍵字

Mandarin tones ； acoustic studies ； tonal behavior ； emotion

參考文獻

Banse, R. and K. R. Scherer (1996). "Acoustic profiles in vocal emotion expression." Journal of Personality and Social Psychology 70(3): 614-636.

Bolinger, D. (1989). Intonation and its uses: Melody in grammar and discourse. Stanford, California, Stanford university press.

Borod, J. C., L. H. Pick, et al. (2000). "Relationships among facial, prosodic, and lexical channels of emotional perceptual processing." Cognition and Emotion 14(2): 193-211.

Cornelius, R. (1996). The science of emotion. New Jersey, Prentice-Hall.

Cowan, M. (1936). "Pitch and intensity characteristics of stage speech." Arch. Speech Suppl. to December issue.