AUDITORY CUE
The voice of
him that crieth in the wilderness. --Old Testament,
Isaiah, XL, 3
Sound signal. 1. An incoming
sign received through the ears, causing the brain to
hear. 2. An outgoing sign produced by the vibration of
physical objects (e.g., drum heads, reeds, and strings) or body parts (e.g., the
hands in clapping, and the larynx in speaking).
Usage I: Like touch
cues, auditory cues are psychologically "real" (i.e.,
tangible) to human beings. Because hearing evolved as a specialized
form of touch, sounds share some properties of tactile signals.
(N.B.: The telephone company's commercial jingle, "Reach out and
touch someone," carries more than a figurative ring of truth.)
Usage II: Auditory cues may be used a.
linguistically (in speech), as well as b. emotionally (to transmit information about attitudes, feelings, and moods; see
TONE OF
VOICE).
Courtship. In the speaking phase of courtship,
auditory cues play a tactile role as they pave the way toward touching itself
(see LOVE SIGNALS III).
Biology. Big-seeming auditory cues (e.g., deep or loud cries)
suggest--and may substitute for--physical size itself (see LOOM).
Like the bullfrog's croaking, a man's deep voice may suggest greater size,
authority, and strength.
Anatomy. Auditory cues are received, as vibrations, by specialized
hair cells in the inner ear's cochlea. There, the vibrations are
transformed (as electrical signals) in the auditory nerve, which links to
auditory modules of the midbrain (i.e., the inferior colliculi) and the
forebrain (e.g., the primary auditory cortex).
Evolution I. 1. "The visceral skeleton
(splanchnocranium) of vertebrates consists of a series of cartilages or bones
arising in the embryonic visceral (pharyngeal) arches" (Kent 1969:155).
2. "In lung-breathing tetrapods the visceral skeleton has been
modified for transmission of sound (malleus, incus, and stapes), for attachment
of the muscles of the modified tongue, and for support of the larynx (cricoid,
thyroid, and arytenoid cartilages)" (Kent 1969:162).
Evolution II.
"When the first amphibia left the Silurian seas two or three
hundred million years ago, with their heads resting on the ground, they relied
entirely on bone conduction of vibration for hearing. The vibrations in the
earth were transmitted from the bones of their lower jaws to the bone
surrounding the inner ear. In order to hear, they probably kept their lower jaws
touching the ground" (Nathan 1988:34).
Psychology. Our aversion to sudden loud noises may
be innate (Thorndike 1940).
Right brain, left brain I. Regarding auditory signals,
the right-brain hemisphere is superior to the left when dealing with music,
metaphorical and figurative speech, sequences of verbalized events, verbal
stress and intonation patterns, and human non-speech sounds. The
left-brain hemisphere is superior in processing spoken words, numbers, and
nonsense syllables. (See HUMAN BRAIN, Right brain, left
brain.)
Right brain, left brain II.
As reported by Reuters Health (July 4, 2001), "If
you want to tell someone you love them you should tell them through their left
ear, research suggests. People are more likely to remember emotional words, such
as 'love,' if they are spoken into their left ear, according to a study by
psychologists at Sam Houston State University in Huntsville, Texas." Words heard
through the right ear are more likely to be forgotten, according to Dr.
Teow-Chong Sim and his colleagues who presented the study at the European
Congress of Psychology in London. Accuracy of recall of emotional words through
the left ear measured 64.43%, and measured 58.15% through the right.
Neuro-notes I. The
amphibian brain's inferior colliculi receive auditory
cues from the lateral lemniscus and control such auditory reflexes as flinching
in response, e.g., to a karate master's yell (see STARTLE
REFLEX). Postural reflexes to loud sounds are triggered by
the inferior and superior colliculi, through brain-stem-cervical cord
interneurons to anterior horn motor neurons that are linked to spinal nerves in
charge of muscle spindles.
Neuro-notes II. As in the visual
neocortex, modules of auditory neocortex in the temporal lobe have specialized
functions, e.g., to decode information about the frequency, intensity, and
timing of sounds.
Neuro-notes III. Movement of sounds is detected
a. by dorsal premotor regions of the frontal eye fields, b.
ventral premotor regions of primate areas for multimodal spatial analysis and
motor planning, and c. right superior and inferior parietal cortex
(Griffiths et al. 2000).
Neuro-notes IV. Mirror neurons: "Audio-visual" mirror neurons in monkeys respond not only when the primates see a behavior (such as cracking a peanut), but also when they hear the cracking sound itself--without viewing the motor act of nut-cracking (Fogassi and Ferrari 2007:137-38).
See also CRY,
LAUGH.
BEEP
Auditory cue. Any of several short-lived, single tone, high-pitched electronic sounds emitted by a consumer product, such as a computer, smoke alarm or microwave oven, to attract the attention of users.
Usage. Beeps are often used as warning signs, e.g., in motor vehicles to warn of backing, and in smoke detectors to warn of failing batteries. Beeps may also signal lapsed time intervals, as in electric-oven timers. In television broadcasts, beeps may mask obscene vocalization on the air.
Meaning. In a consumer product, a beep or series of beeps is an auditory bid for attention, viz., "I am here, pay attention to me." The sudden onset and abrupt ending of a beep, like that of a bird-call's tweet, set it apart from ambient environmental sounds which have both gradual onsets and endings. Abruptness adds psychological urgency to a beeped or tweeted sign.
Word origin. English "beep" is an imitative or onomatopoeic word that sounds like the sound it labels. B-ee-p has a high-pitched vowel sound in the middle, which can be short or elongated, enclosed on both ends by plosive, bilabial-stop consonants.
Evolution. Electronic beeping messages evolved, in part, from mechanical horns used in motor vehicles to warn against collision. After World War II, many horn signals were replaced by sounds emitted via piezoelectric technology, and later by digital means.
Neuro-note. Beeps address subcortical auditory lobes of the primitive amphibian midbrain in charge of the startle reflex. Thus, we take the beep's nonverbal imperative seriously and promptly respond to its call.
See also GAVEL.
GAVEL
Auditory cue. A usually wooden, hand-held mallet used to rap upon a tabletop or striking block to attract attention. Gaveling may be followed by a vocal edict, announcement or directive. Usually wielded by a leader, judge, auctioneer or other person in charge, a gavel's sharp, striking sound cuts through ambient vocal noises that may fill a crowded room. The nonverbal message of a gaveled sound suggests finality, as it abruptly preempts vocal verbiage at an auction or in a legislative chamber or court of law.
Similar wood-clapping sounds are used in Japanese kabuki theater and sumo wrestling. In the former, hardwood or bamboo sticks are clapped together to signal the beginning of a play, and call attention to key moments in its performance. In sumo, the clacking noise of wooden hyoshigi sticks invites wrestlers to the ring and summons spectators to a momentary, altered-sensory state of consciousness.
Neuro-notes. The gavel's hardwood-striking cues are effective because they address the midbrain's auditory lobes, which are reflexively attuned to sudden changes in sound. Located just below the optic-center lobes, these pea-sized areas control our auditory startle reflex. Picked up by the cochlear nucleus, a loud noise received by the auditory lobes triggers the amygdala and circuits of the reticulospinal tract to activate the startle. Thus, attention paid to the gavel's woody call is a primal, subcortical response prompted by paleocircuits of the amphibian brain.
See also BRANCH SUBSTITUTE.
LATERAL CLICK
Auditory cue. A voiceless nonverbal clicking sound of ingressive air, released when the side of the tongue suddenly pulls away from the mouth's palate or alveolar ridge.
Usage. 1. The lateral click is used verbally as a consonant in some African languages, such as Hadza, Khoisen and Sandawe. Consonantal clicks may be voiced or nasalized. 2. Lateral clicks also may be used nonverbally to communicate with animals, as in prompting horses to move forward or accelerate. 3. Such clicks may be used for echolocation by the blind in navigation.
Auditory startle. Much like a beeping sound, the combined sudden onset and abrupt ending of a loud click calls for attention by engaging a listener's auditory startle reflex (see BEEP).
See also TSK.
TSK
Auditory cue. 1. A voiceless dental click produced when the tongue tip lifts from the alveolar ridge of the palate to produce an audible clicking sound. 2. The resulting "tsk" (American English) or "tut" (British English) may be heard in diverse societies as a nonverbal sign of emotional anger, annoyance, disapproval or sorrow. 3. In a small number of traditional societies (notably in southern Africa), dental clicks are used unemotionally as linguistic consonants, as phonemic components of words.
Usage. Nonverbally, a tsk or series of tsks may be used a. as emotional signs of annoyance, confusion (Mexico), disapproval (Britain, U.S.) or grief; b. as logical signs of negation (Arabic, Hebrew) or affirmation (some Arabic tongues); and c. as attention-soliciting cues to animals (e.g., dogs, horses), young children and babies.
See also GASP.
AUDITORY MEDIA CUES
***This Entry Under Construction***
Nonverbal sound effects. Television's legacy is replete with memorable nonlinguistic sounds, including:
Charlie Brown's adult trombone voices. When grownups spoke, all the kids heard were indecipherable trombone notes. The medium itself was the nonverbal message.
Clarabell the Clown's toy horn. Howdy Doody's mute clown communicated emotionally by frantically honking his horn.
Elmer Fudd
60 Minutes stopwatch tick-ticking. The watch's loud mechanical ticks introduced the show, and suggested the inexorably dramatic passage of time.
Law & Order's "doink doink." Like Japanese hyoshigi sticks (see above, GAVEL), the doink sounds connoted a sense of altered reality marking scene changes.
The Roadrunner's "beep beep." His signature "I am here" sound drew instant attention (see above, BEEP)..
Sylvester the Cat
Twilight Zone's guitar plinks and orchestral bursts.
Copyright 1998 - 2021 (David B. Givens/Center for
Nonverbal Studies)
Photo of statues (Caesars Palace, Las Vegas, Nevada) by Doreen K. Givens (copyright 2009)