We may next consider the application of vocal factors to clear and forceful speaking. II. Clear and Forceful Expression In discussing clear and forceful expression our concern is with specific modulations of quality, pitch, force and rate which will best convey to the listeners the thought and feeling of the speaker. a. Modulations of Quality First, as to occasional variations from the normal quality of voice. There are times when the speaker wishes to arouse in his listeners a certain emotion. His own feeling is the basis of influence, but his vocal expression can do much to infuse the audience. If, for example, a person were denouncing a vicious breach of trust, or any reprehensible person or thing, it would be natural and effective if he conveyed his intense anger by a so-called guttural (throaty) quality of voice. Again, if he has in the course of his speech been lifted to an attitude of awe or reverence, this emotion is much more apt to spread through the audience if his voice is full, round and sonorous, in harmony with the dignity of the feeling. Take, for instance, such a sentiment as is expressed in Kipling's "Recessional." "God of our fathers, known of old, Lest we forget, lest we forget," etc. If the reader will try this with the normal, conversational voice, he will at once realize why a variation of tone quality is essential when such lofty sentiments are expressed. Another occasion warranting a departure from the normal quality is an intensely emphatic climax. The usual method of procedure is to use the normal tone, steadily increasing the volume to the very end of the passage. But a very effective variation of this means of expressing intensity is to change at the climax to a whisper. This is a striking device, and, like the other changes of quality noted in this section, is rarely called for. The speaker should, however, be familiar with them all when occasion does arise. b. Modulations of Pitch and Force Unlike quality variations, modulations of pitch and force are constant. This fact has already been noted in the discussion of attractive speaking; but concerning their application to clear and forceful expression, it is desirable to point out certain additional facts. The slightly intensified conversational style of address previously advocated will take care of the rising pitch-increasing force incident to the approach toward stressed words, and the corresponding lowering-decreasing after these words. It need only be stated that speakers frequently fail to make these modulations sufficiently pronounced, with the result that the audience does not get the full meaning, and is not duly impressed by the important words. Moreover, it is a common thing to hear speakers who, though they may bring out the important words in sentences, do not attempt to make significant sentences stand out from sections, nor to heighten the effect of especially noteworthy phases of the speech considered as a whole. Thus to express all parts on a dead level is a weakness because practically every address contains certain sentences and groups of sentences which the speaker considers particularly vital. The fault may be remedied in two ways: by coming out strong and with a somewhat heightened pitch at vital points; or by delivering such passages with an exactly opposite change from the normal, i. e., with a low pitch modulation and a very subdued degree of force. c. Modulations of Rate In contributing toward clearness and emphasis, variations of rate are also of importance. Recalling what has already been said about the desirability of a deliberate general style of speaking, we may proceed to point out when modulations from the normal rate are advantageous. First, whenever the discussion is necessarily complex and difficult for the listener to follow; whenever the speaker wishes to impress the audience with the idea of slow movement, profundity, or vastness; whenever it is desirable to create distinct and separate impressions, either of concrete things or abstract ideas which are grouped in compositionin all these instances a markedly slow rate makes for both clearness and forcefulness. Somewhat akin to slow rate, and employed with the aim of securing a similar but more intense effect, is the emphatic pause. This device, noticeably neglected by beginners, is among the most striking means of emphasis. Coming just before the significant word or statement, the pause intensifies the attention in anticipation of what is to follow. Following immediately after the stressed expression, the pause turns the thought of the audience back upon the important idea. The combination of pause before and after the significant statement is especially telling. On the other hand if at certain stages the speechmatter is relatively obvious or of slight significance, such as a bit of humor or a parenthesis; if rapidity of action is presented, or excitement of any kind is depicted, or indulged in purposely by the speaker; if it is desired to get a stirring cumulative effect from a compact series of images or ideas-in such cases the rate should be accelerated. D. SUMMARY The present chapter has emphasized three essentials regarding the use of the voice: correct pronunciation, distinct speaking, and pleasing, clear and forceful expression of thought and feeling. With reference to the first requisite, it was pointed out that poor pronunciation on the part of the speaker tends to lessen that respect and confidence which are so necessary to his success. In order to minimize errors, the student was advised to keep checking up his pronunciation with that of people who use the language well, and to consult the dictionary for all cases of difference noted. Further, the student was urged never to neglect settling his mind at once whenever uncertainty as to the pronunciation of a word arises. Finally, a warning was given against the faulty pronunciation caused by carelessness in enunciating the vowel sounds. |