The project objective is to improve clinical assessment and diagnosis of the voice disorder, vocal hyperfunction (VH). VH is a condition characterized by excessive laryngeal and paralaryngeal tension, and is assumed to be the underlying cause of the majority of voice disorders. Current clinical assessment of VH is subjective and demonstrates poor inter-rater reliability. Recent work indicates that a new acoustic measure, relative fundamental frequency (RFF) is sensitive to the maladaptive functional behaviors associated with VH and can potentially be used to objectively characterize VH. Here, we explored and enhanced the potential for RFF as a measure of VH in three ways. First, the current protocol for RFF estimation was optimized to simplify the recording procedure and reduce estimation time. Second, RFF was compared with the current state-of-the-art measures of VH – listener perception of vocal effort and the aerodynamic ratio of sound pressure level to subglottal pressure level. Third, an automated algorithm that utilized the optimized recording protocol was developed and validated against manual estimation methods and listener perception. This work enables large-scale studies on RFF to determine the specific physiological elements that contribute to the measure’s ability to capture VH and may potentially provide a non-invasive and readily implemented solution for this long-standing clinical issue.

<p> Experiments have shown that manipulations of vocal fundamental frequency, a physical correlate of voice pitch, alter perceptions of vocal attractiveness. Individual experiments, however, have found different effects of pitch manipulations on attractiveness. One possible explanation for the disparate findings may be differences in the strength of pitch manipulations used between studies. The focus of this thesis is to determine psychophysical properties of vocal attractiveness based on pitch manipulations. Within the thesis, two experiments are described that were designed to find just-noticeable differences in vocal attractiveness based on pitch manipulations. The experiments were also designed to determine if there are limits for voice pitch preferences. Relevant background concepts to the thesis are described in Chapters 2-5, and a manuscript is presented in Chapter 6 that describes the methods and results of the experiment, and gives a discussion of the findings.</p> <p> In Chapter 2, the basic anatomy underlying vocal production is explained, including the anatomical structures involved in the source-filter model of vocal production.</p> <p> In Chapter 3, relevant acoustic properties of the voice are described, including fundamental frequency, harmonics, and formant frequencies.</p> <p> In Chapter 4, the basic anatomy involved in audition is explained, including how sound is propagated through the ear.</p> <p> In Chapter 5, a brief review of previous psychophysical research on pitch discrimination and perceived vocal traits is given.</p> <p> In Chapter 6, two experiments are described. Experiment 1 was designed to determine just-noticeable differences in voice pitch discrimination. Experiment 2 was designed to determine just-noticeable differences in voice attractiveness based on manipulations of voice pitch. Experiment 2 was also designed to assess potential limits to voice pitch preferences for supernormal stimuli. Just-noticeable differences in vocal attractiveness were larger than just-noticeable differences in pitch discrimination. Just-noticeable differences in attractiveness were larger in women's voices than men's. There was no limit in men's preferences for highpitched voices, however there was a limit for women's preferences for low-pitched voices below the natural male pitch range.</p> / Thesis / Master of Science (MSc)

The focus of this thesis is to investigate the role of voice pitch (the perception of fundamental frequency and/or corresponding harmonics) and apparent vocal tract length (VTL-the perception of the vocal tract resonances i.e. formant frequencies) in perceptions of trustworthiness and other related social attributions. Past research has found that women trust men with relatively higher pitched voices as long-term romantic partners. People with relatively higher pitched voices are also judged as more cooperative than people with relatively lower pitched voices. However, women choose men with relatively lower pitched voices when asked to select which leaders are more trustworthy and make better economic decisions. In study 1, I used “The Trust Game” to determine whether women trust men with higher or lower pitched voices to evenly divide a sum of money. Women trusted men with relatively higher pitched voices more often. Thus, even though men with lower pitched voices are more often elected to office, and are CEOs of larger companies that make more money, women trust men with relatively low pitched voices less than men with relatively high pitched voices to equitably distribute money. Surprisingly, no studies have examined the relationship between VTL and trust, but one recent study examined the relationship between VTL and perceptions of cooperation. In study 2, I was the first to test the role of voice pitch and VTL on perceptions of trust and cooperation. In general, people with higher frequency voices (high pitch and a shorter VTL) were relatively more cooperative and trustworthy than people with lower frequency voices (low pitch and a longer VTL). Despite correlations between the effects of voice frequency manipulations on ratings of trustworthiness and cooperativeness, the amount to which people thought pitch and VTL affected cooperativeness and trustworthiness was different enough to determine that these two constructs overlap, but are not synonymous. Together, these studies show that despite the fact that masculine men tend to win political elections and run large and successful companies, they are viewed as uncooperative and untrustworthy. Future research should investigate if those who win political elections and run successful companies do so because they keep more than their fair share of money. / Thesis / Master of Science (MSc)

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Most social interactions require correct identification of an individual’s face and name; however, this can be a rather challenging task. The present study examined whether a mnemonic proposed by pop-culture can enhance memory for face–name associations. More specifically, we tested whether vocalizing names in an unusual voice can improve subsequent memory for an individual’s face and name. The memory literature has examples of enhanced memory for items that require bizarre mental imagery as opposed to normal mental imagery, and separate evidence of enhanced memory for items that are said aloud, as opposed to items read silently. However, it is unclear whether bizarre production of names compared to regular production of names will lead to enhanced memory for faces, names, or face–name associations. In the present study, participants studied face–name pairs while vocalizing the names in a bizarre voice or a normal voice. Memory for face–name associations was tested using cued recall tests and a recognition test. The results suggest that using a bizarre voice disrupts memory performance compared to using a normal voice. Contrary to suggestions in pop-culture, the production of a bizarre voice appears to make it harder to associate face–name pairs during learning. / Thesis / Master of Science (MSc)