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We review literature linking patterns of vocal accommodation in the paraverbal range of the voice to small group structures of status and dominance. We provide a thorough overview of the current state of vocal accommodation research, tracing the development of the model from its early focus on patterns of mutual vocal adaptation, to the current focus on structural factors producing patterns of unequal accommodation between group members. We also highlight gaps in existing knowledge and opportunities to contribute to the development of vocal accommodation as an unobtrusive, nonconscious measure of small group hierarchies.

We trace the empirical development of vocal accommodation as a measure of status and power, and discuss connections between vocal accommodation and two prominent theoretical frameworks: communication accommodation theory (CAT) and expectation states theory. We also provide readers with a guide for collecting and analyzing vocal data and for calculating two related measures of vocal accommodation.

Across multiple studies, vocal accommodation significantly predicts observers’ perceptions regarding interactants engaged in debates and interviews. Studies have specifically linked vocal accommodation to perceptions of relative power or dominance, but have not shown a relationship between accommodation and perceptions of prestige.

Vocal accommodation measures have clear applications for measuring and modeling group dynamics. More work is needed to understand how accommodation functions in clearly-defined status situations, how the magnitude of status differences affects the degree of accommodation inequality, and how vocal accommodation is related to other correlates of social status, including openness to influence and contributions to group tasks.

The purpose of this paper is to understand the classification of musical medium, which is a critical part of music classification. It considers how musical medium is currently classified, provides a theoretical understanding of what is currently problematic, and proposes a model which rethinks the classification of medium and resolves these issues.

The analysis is drawn from existing classification schemes, additionally using musicological and knowledge organization literature where relevant. The paper culminates in the design of a model of musical medium.

The analysis elicits sub-facets, orders and categorizations of medium: there is a strict categorization between vocal and instrumental music, a categorization based on broad size, and important sub-facets for multiples, accompaniment and arrangement. Problematically, there is a mismatch between the definitiveness of library and information science vocal/instrumental categorization and the blurred nature of real musical works; arrangements and accompaniments are limited by other categorizations; multiple voices and groups are not accommodated. So, a model with a radical new structure is proposed which resolves these classification issues.

The results could be used to further understanding of music classification generally, for Western art music and other types of music.

The resulting model could be used to improve and design new classification schemes and to improve understanding of music retrieval.

Deep theoretical analysis of music classification is rare, so this paper’s approach is original. Furthermore, the paper’s value lies in studying a vital area of music classification which is not currently understood, and providing explanations and solutions. The proposed model is novel in structure and concept, and its original structure could be adapted for other knotty subjects.

This study examines whether there are unintended consequences that emerge from status interventions in task groups in relation to cohesion and solidarity. Past theorists have argued that inconsistent status structures produce weaker levels of cohesion and solidarity in comparison to consistent status structures.

Data come from an online experiment involving mixed-sex dyads interacting in one of three conditions. Participants individually completed an ambiguous problem-solving task and then worked together over Zoom audio to form a group decision. In the three conditions, participants were either given no performance feedback before the problem-solving task or were informed the male or the female participant performed better on a pretest related to the task. The conversations were recorded and analyzed using measures related to paraverbal synchronization and accommodation.

In terms of self-reported cohesion, there appeared to be a difference, albeit a weak one, in only the inconsistent-status condition, with female participants reporting higher levels of cohesion in comparison to males. However, in terms of solidarity, there was no significant difference between the conditions.

Although inconsistent status structures were associated with weaker perceptions of cohesion, it did not appear to impact solidarity like theorists have suggested. Status structures do not appear to impact group solidarity.

The nature of group membership in conjunction with status consistency/inconsistency may produce the significant differences in solidarity that theorists have suggested.

To date, there has been little empirical examination of how status consistency affects cohesion and solidarity. Relatedly, the current study advances the research on vocal accommodation by analyzing status and solidarity simultaneously.

This research aims to exhibit the impacts of vocal music vs instrumental music on ad-recall from the perspectives of attention and elaboration.

A 2 music-product congruence (congruence vs incongruence) × 2 music lyrics (lyrics vs no lyrics) between-subject measures design is used. 180 management students participated in the study. A 2 × 2 between-subjects ANOVA is used to test the hypotheses.

Results showed that the instrumental rendition of an ad-song prompted higher ad-recall over the vocal variant. The instrumental rendition provoked the subjects to create the verses or lyrics in their minds, prompting superior recall. Further, it was found that a music-product congruent ad resulted into higher ad-recall than an incongruent ad. Moreover, for a congruent ad condition, the instrumental version of ad-song resulted into higher ad-recall than the vocal version of ad-song. On the other hand, for an incongruent ad condition, the instrumental version as well as the vocal version of ad-song resulted into same level of ad-recall.

The study offers important implications for marketers and advertisers in terms of effective ad-designing and execution considering lyrics and music-product congruence as important factors in the context of radio advertising.

Since very little research has been done focusing on the combined effect of music lyrics and music-product congruence relationship on ad-recall from attention and elaboration perspectives, this paper scores as a pioneering study of its kind in India.

We argue that voice – the sound that people produce when they speak – is an important resource for entrepreneurs, especially when they are pitching to potential investors. We integrate evidence from entrepreneurship, social psychology and linguistics to show that the voice can be regarded both as a tool for entrepreneurs to utilize and as a vital source of information allowing listeners to make judgements about the speaker and their message. To better understand how the voice may be used and interpreted in investment pitches, we develop a model of the relationship between the entrepreneurial voice and investor judgments. Voice depends on entrepreneurs’ characteristics including gender and communication goals but can be utilized to express emotions (purposefully or not) and signal qualities such as competence and trustworthiness. How potential investors interpret these displays depends on cultural expectations and stereotypes. Our review illustrates that female entrepreneurs may find it more difficult to persuade investors due to their naturally higher voice pitch and bias against speech patterns prevalent among young women. We highlight directions for future research exploring the voice as a unique cultural resource for entrepreneurs.

In this chapter, I assert that the material, gesturing, dancing voices of people labelled as disabled, and that the aesthetic languages developed by these people and their voicings on both the sonic and haptic planes, constructively challenge us to consider the inclusion and integration of these voices into educational environments and cultural discourse in new ways. They motivate us to question not only who, indeed, gets heard in social space but also what kinds of utterances, and by extension, what kinds of bodily configurations and touch qualities, wider society considers to ‘matter’, and beyond this, to celebrate as being ‘beautiful’. To do so, I draw from an experience developing vocal artwork with adults with mild to moderate learning disability in Cork, Ireland. Given that most of us project large and often deeply prejudicial identities and suppositions onto the voices we hear (Bonenfant, 2018c), the chapter shows how the incredibly interesting utterances produced by groups involved in developing the resulting Loop Love project throw up delightful new educational territories for adventurous artists to explore while also deeply challenging our assumptions about how ‘teaching’ should work.

This chapter focuses on whether perceived emotional intensity and help need is possible to discriminate in expressions of fear and neutrality in brief authentic emergency calls. Extraction of acoustic parameters of fear and neutrality was done prior to letting participants listen to a low-pass-filtered stimuli set. Participants discriminated fear and neutrality in both the intensity and help need condition. In turn, judged intensity and judged help need correlated strongly, with partial correlations indicating that participants use acoustically measured intensity (mean dB) as information to infer the intensity/help need relationship. We also discuss the implications of emotional expression in the call centre domain.

The aim of the article is to develop a framework for assessment for contemporary commercial music (CCM) in a music department that is still organised in a traditional way. Assessment of CCM in tertiary institutions and external graded music exams were described and analysed, followed by the presentation of an assessment framework.

This research design is a content analysis. Data was collected through purposive sampling of primary sources of CCM syllabi. These syllabi are used descriptively and analytically for comparison.

The major findings from the content analysis are presented as an assessment framework for CCM. The assessment framework has implications for teaching and learning vocal CCM at both undergraduate and postgraduate in higher education.

The study focused on the development of assessment criteria for CCM, in a music department where no degree specialisation for CCM exists, and CCM is manifested in the principal instrument only. The framework for assessment may be useful to practitioners and academics who are attempting to introduce CCM in classically oriented music departments and where external constraints prohibit the introduction of a degree specialising in CCM.

This article presents an authentic assessment framework for CCM, that considers its style and performance practices.

People with learning disabilities often require support to fully understand information produced in an accessible format. What happens during the delivery of accessible information (AI) is largely unknown. The purpose of this paper is to examine the implementation stage of the AI process.

Two community-based learning disability nurses and two people with learning disabilities took part in a non-participant observational study of the naturally occurring conversations that took place during the delivery of health-related AI. Conversation analysis was used to explore both vocal and non-vocal behaviours.

Three clusters of episodes were identified: providing the AI, topic development, and consent. The use of AI appeared to provide a script for the delivery of the information; however, practical considerations of topic development and tailoring resources to the individual were evident. For sensitive conversations the use of shared experience and challenges in judging comprehension were apparent. Contradictory goals in the decision-making process were highlighted, presenting potential ethical dilemmas.

The delivery of AI allowed for personalisation and appeared to support understanding; however, this was partly reliant on mutual empathy between the nurse and their client.