【作者】 曲海红；

【导师】 吕明臣；

【作者基本信息】 吉林大学 ， 语言学及应用语言学， 2013， 博士

【摘要】 播音的艺术语言作为“声音的艺术”，当属象征性表现，它是艺术文本的外化形式。听觉感知告诉我们播音的用声正属于带情感的用声，以声音来传达情感，自然这种语音属于情感语音。本文研究的是情感与声音的关系,理论假设是情感的表现与呼吸、节奏、语音的变化密切相关，以情带声是成立的.本文以实验语音学的研究手段通过科学的实证研究，考察播音艺术语言的语音信号和呼吸信号，来验证以情带声在用声上的科学性。本文实证研究一选取实验室语料中的散文语句和新闻语句,实证研究二选取教学实验中的散文语句,均对其进行韵律层级的划分、基频和能量及呼吸上的分析，并对教学实验和实验室语料中的散文语句进行带情感和不带情感的对比分析及带情感个体之间的比较分析。在实验教学中强调情感的夸张，在同一个语境的规定中，所有发音人用同样的调动情感的方式，强调用“吐”气的用气方式以此体会情、气、意同向的传送感和指向性的明确以及情感带来气息运动后腰腹切实的生理上的感受。研究发现在实验教学中带情感的散文语句与不带情感的散文语句在时长、停顿个数上体现如下规律：带情感的句时长是不带情感的时长近乎2倍，停顿总数显著多于不带情感的停顿总数，带情感的大停顿显著多于小停顿，韵律单元级别的不同，其停顿的时长也有所不同。实验室语料中散文语句的停顿的统计则是不带感情的小停顿多于大停顿，而带感情的大停顿就不带感情的大停顿有所增加，小停顿等于或多于大停顿的个数。个别会少于大停顿的个数。二者间的显著差别在于教学实验中情感的夸大。根据韵律单位间的疏密体现，我们对散文和新闻语句的韵律层级的划分为韵律句-韵律短语-音步。研究表明从基频看，（1）教学实验中的散文语句，带感情和不带感情的朗读频率域会发生变化。平均女发音人有情感的音域宽，基频变化范围大,无感情的音域窄,基频变化范围小,基频均值变大。男女发音人带情感后在基频范畴情况相反。个别女发音人也有带情后频率域变窄的情况；（2）实验室散文语句男女发音人各自有、无感情的基频变化不大，平均女发音人的音域要稍宽于平均男发音人的音域，有情感的音域略宽点。但对韵律短语和音步的带感情和不带感情的比较时发现，不仅时长变长，而且音域变宽，音节的音程变化大；（3）新闻语句中女发音人的基频明显高于男发音人的基频。研究表明从能量看，（1）教学实验中的带情感的散文语句，我们发现有感情的较无感情的能量域要宽一些，且男发音人的能量域要稍宽于女发音人的能量域；（2）而在实验室语料中的散文语句带感情和不带感情在能量上不如教学实验中的那么明显。无情的能量和有情的能量差别不大。男、女之间和有、无情之间能量范围差别基本一致。在对情感表达带来的重音音长变化，其在能量语图上具有共同的规律，即带感情的比不带感情的要多很多的“荡动”(声音能量波动)。这表明有情感时，声音音量在字词的主音音量基础之上有小幅度的音量荡动变化，表现出发音人声音情感变化的特征。实验室语料在基频和能量上带感情不带感情之所以差别不大，是因为学生在学过两年的专业课的学习，发音人在用声上已经稳定，会不自觉的调动气息，即使其不带感情的语音在某种程度度上也是有感情的；（3）新闻语句男女能量均值非常接近，女发音人的能量略低于男发音人的能量，但能量范围不同，男发音人能量分布范围要大于女发音人。研究表明从呼吸看，（1）在散文语句中不带感情的呼吸重置次数少于带感情的呼吸重置次数，带感情的呼吸重置幅度多数都大于不带感情的呼吸重置幅度。胸呼吸在播音情感语音中起着表情的关键作用，偷气的产生是情感的需要和语义抱团儿的需要；（2）新闻无论是胸呼吸还是腹呼吸都存在三级呼吸，就句子而言，末句的无声段位置和个数较为一致。大家偷气的位置一致。在发音的过程中腹部肌肉群较胸部肌肉群控制强，慢慢地回缩。胸腹呼吸走向一致。这也表明了发音人在播新闻时呼吸节奏的稳定性。我们认为播音语言节奏的体现就是疏密的变化，快慢的变化、强弱的变化、停连的变化、高低的变化，节奏在播音语言这儿就是合乎逻辑、合乎情感的“变化”。研究表明我们的理论假设是成立的，实证研究可以充分证明情感的运动直接引发了气息的运动，在播音发声基础教学上强调情声气的结合，对情、声、气之间的关系表述为：感情运动-气随情动-声随情变”，气息是情感和声音的中介。更多还原

【Abstract】 The artistic language of broadcast is a kind of symbolic expression and theexternalization of artistic texts. Auditory perception tells us that vocalization inbroadcasting is that of an emotional one, i.e., expressing feelings with voices.Therefore, this sort of voice falls naturally into the category of emotional voice. Basedon basic broadcasting vocalization training and the combination of emotion, voice andbreath, the relationship among emotion, voice and breath is expressed as: emotionalmovement–breath movement–voice variance. This paper is aimed to verify thescientific nature of leading voice with emotion in vocalization through researchmethod of experimental phonetics to study the voice signal and aspiration signal ofemotional rhythm in broadcasting.In this paper, the first positive study is to select the prose sentence in laboratorycorpus and news sentence, while the second study is to select teaching experiment inprose sentence which carries meter level out for it partition the analysis onfundamental frequency and energy and respiration is tested also for teaching in andlaboratory corpus prose sentence carries feelings out and does not take feelings forscore Xi and take the comparative analysis between feelings.In my dissertation, I select metrical sentences from prosaic discourses in teachingexperiments, prosaic and news discourses in laboratory corpora, to divide theirrhythmic layers and analyze their basic frequency, energy and breath, especially toconduct a comparative analysis between emotional and non-emotional voices andbetween emotional voices in Chapters IV and Chapter V.In experimental teachings, we emphasize exaggeration of emotion, ask for all thespeakers to use the same way of evoking emotions lip movement in the samecontextual environment, and show the―aspirating‖way of breathing…all these aredesigned to help speakers feel the concurrent transmission and clear directivity ofemotion, breath and meaning, as well as the vivid physiological experience of waistand abdomen following the aspiration movement caused by emotion.The research results show that in terms of duration and number of pauses,emotional and non-emotional rhythmic sentences abide by the following rules: theduration of emotional sentences is almost twice as long as that of non-emotional ones, and there are significantly more pauses in the former than in the latter. In emotionalsentences, there are notably more long pauses than short ones. The pause duration ofrhymic units vary according to their respective levels. While in laboratory corporastatistics, there are more non-emotional short pauses than long ones in prosaicsentences, and comparing to the number of non-emotional long pauses, that ofemotional ones has increased. As for short pauses, the number equals to or is greaterthan, sometimes even under that of long ones. These differences lie in the exagerationof emotion in teaching experiments.Based on the density between rhythmic units, we cascade the rhythmic levels ofprosaic and news sentences into rhythmic sentences, rhythmic phrases, and feet.Research shows that from a basic frequency perspective, firstly, the readingfrequency domains vary between emotional and non-emotional prosaic sentences inteaching experiments. In average, female speakers who read with emotion have widercompasses and larger range of basic frequency variation, while those without emotionhave narrower compasses, narrower range of basic frequency variation, and higheraverage value of basic frequency. Male speakers reading with emotion show oppositefeatures with females in basic frequency range. Very few females also have narrowerfrequency domain when reading with emotion. Secondly, for laboratory prosaicsentences, there is little variation of basic frequency between male and female speakersreading with or without emotion. In average, the compasses of females are slightlywider than that of males, and those reading with emotion are even wider. Yetcomparing emotional rhythmic phrases and feet with non-emotional ones, we find thatthe duration of the former is longer, the compass wider, and interval changes ofsyllables larger. Finally, in the news sentences, the basic frequency of a female speakeris significantly higher than that of a male.Research shows that from an energy perspective, firstly, emotional prosaicsentences have wider energy domains than non-emotional ones in teachingexperiments, and male broadcasters have slightly wider energy domains than females.Secondly, in laboratory corpora, the energy differences between emotional andnon-emotional prosaic sentences are not as obvious as in Teaching is tested.There is little difference in energy between emotional and non-emotionalsentences. The difference of energy range between male/female andemotional/non-emotional is basically the same. Accents resulting from emotionexpression have a common rule in energy sonogram: there are much more sound energy fluctuations in emotional expressions than in non-emotional ones. Thisindicates that when people speak with emotion, their voice volumes will have minorvariations of energy fluctuation, based on the main volume of characters, thusreflecting the emotional changes in the speaker’s voice. In Chapter V, there is littledifference in basic frequency and energy between emotional and non-emotionalspeaking, because after two years of specialized courses, students have learned to keeptheir broadcasting process stable and are able to unconsciously adjust their breath, sothat even non-emotional vocal sounds can become emotional to some extent. In newssentences, the average energy value of male and female speakers are very close, withthat of females a little lower. Yet their energy range is different, with male speakershaving a larger energy distribution than females.Research shows that from a breath perspective,(1) in prosaic sentences, there arefewer non-emotional breathing resets than emotional ones, and the scope of mostemotional breathing resets is greater than that of non-emotional ones. Chest breathingplays a critical role in expressing feelings in emotional rhythm broadcasting. Breathingwithout trace is essential for expressing feelings and keeping the meaning integral.(2)There are three layers of breath in news broadcasting, whether the speaker is usingchest breathing or abdominal breathing. In terms of sentences, the point and number ofsilent segments in the last sentence are rather consistent. All the speakers useuntraceable breathing at the same point. In the process of speaking, abdominal muscleshave a stronger control than chest muscles and contract back slowly. Chest breathingand abdominal breathing follow the same direction. This also indicates that the speakeris able to keep a stable breathing rhythm in broadcasting news.The rhythms in broadcast language are reflected in changes in density, speed,strength, pause and coherence, and height. Therefore, in emotional rhythmbroadcasting, rhythm can be explained as logical and emotional―changes.‖The aboveempirical research fully proves that the movement of emotion directly triggers themovement of breath. Broadcasters must actively renew their breath when practicingemotional rhythm broadcasting. Scent is feelings and medium of sound.更多还原