Kogan Vita V, Reiterer Susanne M
School of European Culture and Languages, University of Kent, Kent, United Kingdom.
Department of Linguistics, University of Vienna, Vienna, Austria.
Front Hum Neurosci. 2021 Feb 23;15:578594. doi: 10.3389/fnhum.2021.578594. eCollection 2021.
This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the "music" found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language - the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited research has been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say "it is music in my ears"? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful - ugly and funny - boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a "musical" sense.
本文关注对欧洲外语的语音美学偏好。我们研究了语言审美愉悦的语音声学维度,以描述欧洲语言中的“音乐性”。当人们谈论旋律优美的语言——语言中类似音乐的效果(又称语音寒战)时,罗曼语族的法语、意大利语和西班牙语名列前茅。在旋律优美程度的另一端是德语和阿拉伯语,它们通常被认为听起来刺耳且缺乏吸引力。尽管公众对此感兴趣,但关于语音美学这一主题的研究却很有限,语音美学是语音学的一个子领域,关注语音的美学特性(克里斯托,2008)。我们的目标是通过识别驱动语言声音美感听觉感知的声学特征来填补现有的研究空白。语言中究竟是什么如此类似音乐,以至于人们会说“这是我耳边的音乐”?我们让45名中欧参与者收听16种以听觉形式呈现的欧洲语言,并根据22个二元特征(如优美——丑陋、有趣——无聊)对每种语言进行评分,同时表明他们对语言的熟悉程度、第二语言背景、对说话者声音的喜好、人口统计学特征以及音乐素养水平。研究结果表明,所有因素在复杂的相互作用中解释了一定比例的方差:对外语的熟悉程度和专业知识、说话者的声音特征、语音复杂性、音乐声学特性,以及最后听众的音乐专业知识。最重要的发现是语速与所谓的语言旋律(音高变化)之间的权衡:语言速度越快,在音高(语音旋律)方面就越平坦/越无调性,这使其在声学上极具吸引力(听起来优美且性感),但在“音乐”意义上却不那么旋律优美。