Unit5 Notes

Dimensions of Oral Communication & Voice Dynamics
Code and Content; Stimulus & Response; Encoding process; Decoding process; Pronunciation Etiquette;
Syllables; Vowel sounds; Consonant sounds; Tone: Rising tone; Falling Tone; Flow in Speaking; Speaking with
a purpose; Speech & personality; Professional Personality Attributes: Empathy; Considerateness; Leadership;
Competence.
1.0 Code and content in communication:
A code is defined as a system of signals or symbols for communication. The system of

symbols can be a letter, a digit, a color, a special character etc. or a combination of all these
or few of these. A passcode (more popularly referred as password) for operating your e
mail, ATM, locker etc. is the basic example. A computer program is also a code (sometimes
referred as coding). For instance, when we were young, we sent our buddies secret notes
using codes. Software developers make their income by writing code, and we are all aware
that some type of code is used in every computer application and website we use. In
classical theories of communication, where communicators are described as encoding and
decoding signals, the term "code" also plays a significant role. Clearly, the term "code" is
helpful to us, adaptable, and applicable to the communication field. In order to better
understand message processing, we describe communicative codes as systems that connect
structurally related stimuli and message states in a way that ensures that comparable meme
states are consistently and systematically evoked by structurally related stimuli across a
range of media. This definition clearly highlights the characteristics that allow anything to
function as a code, or what we refer to as the basics of codification. The first is that
structurally related stimuli reliably and repeatedly elicit comparable meme states in various
contexts. To put it another way, a code has syntax, meaning that it employs some level of
organisation. When something is substantially codified, the same inputs consistently elicit
the same meme state in a predictable, systematic manner. Regardless of the media system
being used, the structural similarity of stimuli (which elicit the meme state) is the second
necessary of codification. When something is extensively coded, it may be instantiated in
a variety of ways across many media systems while still maintaining its essential structural
characteristics. Different iterations of stimulus should be identified as the "same" and will
consistently trigger the same message states for a particular code as far as these essential
characteristics are preserved.
Let us consider the stimuli in four possible ways as shown under:
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I A Smiley face (emoticon) II Paper clips joined to make the smiley face.
III Fruits used to make the smiley face IV Smiley face made on a black board
Figure 1 Stimulus and Response

Take the "smiley face" as an illustration (which one could consider part of a kinesic code).
No matter how it appears—as dots on a monitor, graphite or ink on paper, bits of fruit, a
grouping of paperclips, or exhaust plumes against a clear sky—a smiling face may elicit
the same memetic response. All of those representations range in size and scale from less
than an inch to few feet(say), and they all use different media systems. They all share a
common structural element, though, which is a closed circle with two dots aligned
horizontally in its upper half and a wide, U-shaped curve in its lower half. Additionally,
this configuration has structural similarities to a happy human face. The happy face may be
portrayed in a variety of ways across various media platforms. However, the fundamental
makeup of the stimulus is constant throughout all of these. The fact that diverse stimuli
may elicit the same meme response (happy smile, good affect) shows that individuals
identify this to a sufficient degree. The two main types of codes used in human
communication are verbal and nonverbal, according to traditional divisions made by
communication researchers. We accept this categorization system as if it were "real," or a
mirror of our communication world, since it has become so reified and calcified. We feel
that by categorising communicative codes as either verbal or nonverbal, we run the danger
of restricting how we perceive and consider communication. The first is that the divide
between verbal and nonverbal communication indirectly encourages the idea that
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communication is based on "language and other, weaker forms of communicating." We run

the danger of missing communication codes, in particular, if they don't fit into this tidy,
two category framework. However, as we've discussed above, the contemporary system of
musical notation is unquestionably a communication medium. The essential need for our
message processing technique is that we examine actions and determine whether there is a
mechanism that consistently triggers the same meme states using structurally relevant
stimuli. If so, it is known as a communicative code. Humans use a variety of
communication codes, such as:
a. Language code - Language may be further divided into written (visual) and spoken
(auditory) forms since both exhibit enough systematic differences that it is useful
to investigate and comprehend the reasons for such distinctions.
b. Modern Musical Notation System - This is the style of writing music that includes
information on the key, time signature, length and sequence of the notes, among
other things.
c. Mathematical notation system - It is written using a variety of symbols, including
numbers and letters. Example QED which means ‘quod erat demonstrandum’ or
‘which you were trying to prove’.
d. Aesthetic Codes - Different forms of art, such as painting, sculpting, acting,
dancing, producing films, creating music, and performing music, may be thought
of as communication codes because they use behaviour and objects in rule-governed
ways to repeatedly elicit specific meme states in others.
e. Kinesic Code - This is the process through which we utilise our physical bodies to
trigger certain memetic states in other people. A physical body is not always
necessary for this code to function. Paper and ink are the media method used when
we view a comic strip. The features and body positions of the characters in comic
strips, however, reveal the kinesic code.
f. Proxemic code - is a term used to describe the way memes are activated in people
by proximity to them. The proxemic code, like the kinesic code, may be seen in a
range of media systems, including cartoons, videos, and photography. It is also not
just used between real people.
g. Vocalic code - is the collective term for all the characteristics of our voices that
follow the spoken words or content. Pitch, pace, pitch change, accent, loudness,
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articulation, etc. are examples of this. It, too, may be seen in a range of other media
platforms. In fact, we contend that the "punctuation" used in print might be
interpreted as visual cues to vocalic coding. Indicators of punctuation include
commas, semicolons, periods, ellipses, question marks, and exclamation points all
indicate our external expression. For example if you e mail someone in “ALL
CAPS” means you are shouting.
h. Haptic code - All of the ways we trigger meme states by touching another person
are included in the haptic code. If you give a gentle touch (stimuli) to your pet dog
you will have a response say waging its tail. The moment you give it a harsh touch
the response can be growling. A vulgar touch to a decent lady can get you some
abuses or a slap as a response.
i. Chronemic Code - This describes the use of time to trigger memetic states. We
employ time to trigger meme states in a variety of ways, including coming early or
late, interrupting someone unannounced, and multitasking while someone is
speaking to us.
j. Physical Appearance -There are several ways in which we physically show
ourselves to others. When it comes to things about our appearance, some are less
immediately under our control (such height, skin tone, and hair colour) and some
are more directly within our control (e.g., weight, size, shape).
The major topic matter or material in a magazine, newspaper, television programme,
website, power point presentation, etc. is referred to as the content. For instance, a computer
class may cover "Programming with C," a math lecture might cover "Fibonacci sequence,"
a physics class might cover "Reflection of Light," etc. There is always content wherever a
topic or subject-matter is found. The word "stimulus" is pluralized as "stimuli." To
stimulate is to enliven or electrify an action. is a force that causes a reaction, as in "Success
in the test was the stimulus she needed to study harder and keep her place in the class." The
things that prompt us to behave or react are known as stimuli.
Response - A response is an action, a reply, or feedback. People frequently witness a direct,
one-to-one stimulus-response action or reaction. The stimulus that sets off an individual's
reaction or response is a quick change in the environment.
Encoding - Since the dawn of civilization, communications have been encoded and
decoded as a means of communication. The encoder conceptualises and sends the message;
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he or she is the message's source or sender. An encoder communicates with others through
a channel or medium. This channel can be represented in countless ways, including email,
conversation, video conference, etc. Encoders should be aware of how the audience or
receiver will interpret the message. Encoder must make an effort to get over obstacles in
the way of communication.
Feedback is the result of the recipient or audience "decoding" the message after it has been
sent and understood or interpreted. It involves the process of communication
comprehension and decoding.
2.0 Pronunciation:
The twenty-six letters of the English alphabet correspond to the forty-four different English
sounds. For instance, the letters "c" in "car," "k" in "kite," "cc" in "occasion," and "ch" in
"chemist" all stand for the same sound, "k." Similarly, the letter "ch" stands in for other
sounds in words like "chemical," "machine," "attach," etc. Additionally, some letters don't
even stand for sounds. For instance, the letters "e" in "mine," "t" in "listen," "p" in
"psychology," and "h" in "hour" all denote silence rather than sound. Additionally, some
letters stand for sounds that the pictorial sign does not even hint at. For instance, "gh" stands
for the /f/ sound in "plenty," "x" for the /gz/ sound in "examine," and "y" for the /i/ sound
in "city." The absence of a system for categorising English sounds does not follow from
this, though. In reality, these sounds have been given a very thorough and scientific
definition. Each sound is represented with a symbol that is part of an internationally
recognised system. The International Phonetic Alphabet uses these symbols (IPA). To offer
a consistent, precise, and distinctive manner of describing sounds of any spoken language,
linguists developed the IPA system of phonetic notation. Additionally, several dictionaries
and textbooks use it to denote pronunciation. The basic classification of the sounds are as
under:
a. Nasal and Oral: The speech organs force air from the lungs out of the mouth or
nose to create sounds. Oral or nasal noises make up all sounds. Unlike the latter,
when the air is exhaled by the nose instead of the mouth, either completely or
partially discharged by the nose.
b. Voiced and Unvoiced: Voiced sounds are created by the vocal cords vibrating.
Vowels, diphthongs (combinations of two vowel sounds or vowel letters), and
consonants like /b/, /d/, and /m/ are a few examples of vocalized sounds. On the
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contrary while producing unvoiced sounds like /p/, /t/, /k/, /s/, etc., the vocal cords
do not vibrate and the air travels through the open glottis. Placing your palm on
your Adam's apple can cause a vibration that you can feel.
c. Consonants and Vowels: Based on how and where they are produced, sounds are
also divided into vowels and consonants. All of the vowels in English are voiced
and oral. Only three of the consonants—/m/, /n/, and / (as in "sing"). The air that
leaves the lungs in a somewhat continuous stream during the generation of vowel
sounds is unconstrained. There is no obstruction of the airway or rubbing of any
speech organs. English has twenty different vowel sounds. Further divisions into
pure vowels and diphthongs are made for these twenty vowels. A pure vowel just
distinguished by its consistent nature. A pure vowel cannot alter in quality while
being produced. On the other hand, the formation of a diphthong involves the
gliding of one sound place to another, which improves the quality of the sound. For
instance, the vowel /i:/ in "foot" is a pure vowel, but the vowel /aI/ in "battle" is a
diphthong. When a consonant is spoken, the air route is either entirely or partially
blocked, causing the air to move through the vocal folds with audible friction. In
English, there are twenty-four unique consonants.
Table 1 List of Vowel sounds. (Source: Raman. M & Sharma. S, Technical Communication
Principles & Practice, 3 Edition(2015), p 75, Oxford University Press, New Delhi)
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Table 2 List of Consonant sounds. (Source: Raman. M & Sharma. S, Technical Communication
Principles & Practice, 3 Edition(2015), pp. 75-76, Oxford University Press, New Delhi)
2.1 Phonetic Transcription: Twenty vowel sounds and twenty-four consonant sounds
are found in English, as was previously mentioned, and they may both be
represented by IPA symbols. Additionally, we now understand that there isn't any
one-to-one communication.
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among several letters and the sounds they stand for. For instance, the consonant /k/ is used
to represent the letters c and h in the word "chemical." Similar to this, the sound /q/ stands
in for the letters th in the word "thief," and / stands for the letter s in the word "sugar." Since
such sounds can make it difficult to pronounce words correctly, learning the right
pronunciation requires consulting a dictionary. The majority of dictionaries provide a
word's phonetic transcription, which is a representation of the word's phonemes or sounds.
Table 3 Phonetic Transcription (Source: Raman. M & Sharma. S, Technical Communication

Principles & Practice, 3 Edition(2015), p 78, Oxford University Press, New Delhi)
Most of the language dictionaries are well equipped with this. One can take the feel of this
if good at phonology. Online dictionaries do have the same feature. In addition to this the
pronunciation can be listened clicking / tapping the audio icon. One can improve upon the
pronunciation by regular practice.
2.2 Rules for pronunciation:

There is no defined pattern for how different sounds are produced. It requires a lot
of practise to learn. The past (tense) markers -d or -ed and the inflectional
(inflectional ending is a word part that is added to the end of a base word that
changes the number or tense of a base word.) ends -s or -es, however, adhere to a
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regular pattern. The following guidelines should be followed when pronouncing

them:
a. There are three ways to pronounce the inflectional endings -s or -es:
i. /iz/ after the consonants /s/, /z/, /∫/, /ʒʒ/, /t∫/, and /dʒ/
Examples: classes, raises, brushes, mirages, catches, edges
ii. /s/ after the consonants /p/, /t/, /k/, /f/, and /q/
Examples: maps, boats, locks, roofs, oaths
iii. /z/ after all other consonants and all vowels
Examples: bombs, cubs, pads, leaves, buys, feathers, clues, keys,
cures, ties, etc.
b. There are three ways to pronounce the past tense markers -d or -ed:
i. /id/ after the consonants /t/ and /d/
Examples: quoted, bounded
ii. /t/ after the consonants /p/, /k/, /tʃ/, /f/, /q/, /s/, and /ʃ/
Examples: hopped, poked, matched, coughed, earthed, blessed,
blushed
iii. /d/ after all other consonants and all vowels
Examples: clubbed, hugged, paved, erased, edged, called, named,
cried, favoured, cured, etc.
c. Several word ends are occasionally mispronounced. The following list
includes these endings' proper pronunciations:
i. -age → /idʒ/ and not /eɪdʒ/
Examples: adage, cabbage, savage
ii. -ate → in adjectives → /ət/ and not /eɪt/
Examples: intimate, penultimate, delicate
iii. -ate → in verbs → /eit/
Examples: cultivate, punctuate, differentiate
iv. -ance/-ence, -ant/-ent → vowel /ə/ and not /e/ or /æ/
Examples: disturbance, preference, arrogant, agreement
v. -cian → /ʃn/ and not /ʃian/
Examples: magician, politician, technician
vi. -est/-et → vowel /i/ and not /e/
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Examples: finest, boldest, socket, pocket

vii. -cial, -sial, and -tial → /ʃl/ and not /ʃiəl/
Examples: social, controversial, preferential
d. ‘ng’ is pronounced in the following ways:
i. In final position ‘ng’ is always pronounced as /ŋ/ and never /ŋg/
Examples: bang, ring, lung, speaking, reading, writing
ii. In medial position ‘ng’ is pronounced in two different ways:
 /ŋ/ only in the words formed from verbs
Examples: singer, bringer, ringer
Also, /ŋ/ only when the plural marker -s is suffixed to
nouns ending in /ŋ/
Examples: flings, things, songs
 /ŋg/ in all other cases
Examples: linger, finger, hunger
2.3 Word Stress: English pronunciation is heavily influenced by accent and emphasis.
Speaking English clearly requires developing good word accents and sentence
accents. The discussion that follows will help one comprehend the ideas behind
syllables, word stress and sentences emphasis, which are essential for speaking
English fluently and with the appropriate accent. When we talk, the air leaves our
lungs in little puffs rather than a continuous stream, each of which creates a word.
When producing such puffs, stronger muscles are needed when the syllable is
stressed or accented. An accent is, thus, the prominence or comparatively higher
stress placed on a certain syllable within a word. One single syllable in a word with
multiple syllables often has more stress than others. Primary accent and secondary
accent are the two forms of accent. In words like in aIbroad, examiInation, etc., the
major accent is indicated by a vertical bar above and in front of the accented
syllable, while the secondary accent is indicated by a vertical bar below and in front
of the accented syllable IcalcuIlate, eIxamiInation etc.
It is challenging to provide an exhaustive set of guidelines for word accentuation.
The guidelines listed below might help you get the right accent, though.
a. The previous syllable is emphasised when a word's ending is -ion or -logy.
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Examples include ex-hi-Ibi-tion, ter-mi-Ina-tion, an-thro-Ipo-logy, bi-Io-

logy, etc.
b. When an adjective ends in -ic, the second syllable from the end is often
where the primary accent falls.
Examples include a-Ito-mic and sym-Ibo-lic.
c. If a verb ends with -fy, -ate, -ize, -ise, or -yse, the main accent is on the
third syllable from the end.
Examples: ex-Iem-pli-fy, Ii-mi-tate, Ifac-to-rize, e-Ico-no-mize, Ia-na-
lyse, etc.
d. If an adjective ends with -ical, the main accent is normally on the third
syllable from the end.
Examples: psy-cho-Ilo-gi-cal, Igra-phi-cal, etc.
e. If a word consisting of three or more syllables ends with -ity, the main
accent is on the third syllable from the end. If it has only two syllables, the
main accent is on the first syllable.
Examples: Ien-mi-ty, ac-Iti-vi-ty, Ici-ty, Ipi-ty, etc.
f. If an adverb ends with -ically, the main accent normally falls on the fourth
syllable from the end.
Examples: geo-Igra-phi-ca-lly, Ilo-gi-ca-lly, etc.
g. If a word ends with -ee, -eer, or -ette, the main accent normally falls on the
last syllable.
Examples: em-plo-Iyee, auc-tion-Ieer, ci-ga-Irette, etc.
2.4 Weak forms: When a word is phonetically different from its strong/full form and
has no stress, it is written in its weak form. Unstressed syllables are considered
weak forms. A word could have a few weak forms or none at all. About 45 words
in the English language have two or more pronunciations, each with a strong form
and a weak form. These words are referred to as weak form words. It becomes
challenging for a learner of RP (Received Pronunciation) to understand without
knowing such terms properly because practically all native speakers of RP
pronounce their words using weak versions. RP is the widely used accent in Great
Britain also referred as British English, Oxford English, King’s English, Queen’s
English, BBC English. The words are:
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A, Am, An, And, Are, As, At, Be, Been, But, Can, Could, Do, Does, For, From,
Had, Has, Have, He, Her, Him, His, Just, Me, Must, Of, Shall, She, Should, Some,
Than, That, The, Them, There, To, Us, Was, We, Were, Who, Would, You.
These terms are also referred to as function words since they lack the dictionary
definition that we often associate with nouns, adjectives, verbs, and adverbs. This
category includes words like auxiliary verbs, conjunctions, pronouns, prepositions,
articles, etc. which, while occasionally said in their strong forms, are more usually
spoken in their weak versions. Only the strong form is appropriate in some
situations, while the weak form is typically utilised in others.
2.5 Sentence stress: Look at the sentence that follows.
This acid is very harmful.
Try not to emphasise any words when you say this. You might not be able to
transmit the intended meaning for the audience. However, the type of acid is
important when you emphasise "this." The significance of the harm's nature
becomes more important when you emphasise the term "extremely." Each word in
an English phrase is not given equal prominence; instead, certain words stand out
more than others owing to stress or a stronger breath force. One or two words in a
phrase are given greater emphasis than the rest, much as in a single multisyllabic
word, one syllable is stressed more than the others.
We can have four ways at least laying down the stress on a syllable / word.
a. This acid is very harmful.
b. This acid is very harmful.
c. This acid is very harmful.
d. This acid is very harmful.
In all the cases given above the intended meaning differs depending on the word /
syllable stressed.
3.0 Intonation:
A language's patterns of pitch fluctuation or the tones it employs in its utterances are
referred to as its intonation. In everyday conversation, our voice's pitch fluctuates
constantly—going up, down, and occasionally maintaining steady. The voice's various
pitches combine to create Tones or patterns of pitch change make up the concept of
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intonation. Stress and intonation go hand in hand because stressed syllables create
significant changes in pitch. The final stressed syllable of an utterance is often where these
modifications occur, and as a result, it is referred to as the nucleus. The primary purposes
of intonation are as follows:
a. Recognizing several speech kinds, including statements, instructions, requests, and
inquiries.
b. Differentiating the speaker's emotional state, such as their level of interest, worry,
or excitement friendliness and civility.
c. Calling attention to the parts of a statement that one believes are essential A tone is
a section of speech that uses a single intonation pattern.
English speech segments can be divided into two distinct intonation patterns:
a. Falling tone (tone I): Speaking in a falling tone causes the pitch to drop from high
to low. The following sorts of phrases frequently include the dropping tone, which
is indicated by [']:
i. Complete & definite statements
I am well aware of my limi`tations. You must 'know 'how to `do it.

I 'go for a 'walk `daily. I 'cannot a'fford to `do it.
They might have already `left.
ii. Question word questions that are considered to be neither polite nor
impolite
When are you `coming? Where do you come `from?

How long will it take you to go Why does he want to join the
`there? ‘company?
Who is knocking at the `door?
iii. Commands
Open the `door. 'Look 'up the `atlas.

Give me that `pencil. 'Turn to page `forty two.
‘Tell him to be`have.
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iv. Choice questions
Will you agree or `disagree? Would you like to go today or `tomorrow?

Is he reading or `sleeping? Has he been accepted or `rejected?
Do you want tea or `coffee?
v. Exclamations
`Fantastic! How `beautiful!

What fine `weather! `Bravo!
By `Jove!
vi. Questions having negative tag
You agree to this, `don’t you? We have faced it several times,

`haven’t we?
He can help you, `can’t he? She has worked hard, `hasn’t she?
They should come forward,

`shouldn’t they?
b. Rising tone (tone II): The pitch climbs from low to high in utterances with a rising
tonality. The sentences listed below tend to have the rising tone, indicated by [I]:
i. Yes / No Type questions
Do you I agree? Was he ill I yesterday?

Shall we go I now? Did they explain the I reasons?
Have they I finished?
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ii. Statements intended to be questions
You will I do that? You do not want to lend me I your copy?

They are not I coming? She does not have I money?
We cannot hear I you?
iii. Polite request / command
Get me that pen I please. Call him I in.

Do not mention it to I him. Listen to me for a I minute.
Buy me a ticket, I please.
iv. Questions with a positive tag
She is not corrupt, I is she? He can complete the project, I can he?
It was enough for you, I was it? They are coming today, I are they?
We should let them go, I should
we?
3.1 Falling Rising tone: For our English utterances, in addition to employing the rising
tone and the falling tone previously stated, we may also utilise the rising-falling
tone and the falling-rising tone. The pitch dips from high to low in utterances with
a falling-rising tone before rising back to high. Instead, the pitch climbs from low
to high before falling back to low in utterances with a rising-falling tone. The details
are as follows. The falling-rising tone, denoted by the symbol ( ), can be used to
∨
convey particular meanings that cannot be communicated in words, such as regret,

joy, innuendo, indirect insult, etc. It can also be used to indicate unfinished
sentences that fit into one of the following tone groups:
a. Do you watch movies? ∨Sometimes. (Not frequently)
b. I `met her at the ∨club. (I expected her somewhere else)
c. Is he at home? ∨Now? (Doubtful)
d. He ∨can? (I am almost sure he cannot)
e. I am glad to see you doing ∨well. (Encouraging, sympathetic)
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f. Mind your ∨language. (Strong but sympathetic warning)

3.2 Rising falling tone: The rising-falling tone is typically employed to amplify the
significance that the subsequent falling tone expresses. The increasing initial tone
can also convey friendliness, warmth, rage, or sarcasm.
4.0 Effective speaking: Being able to present a lecture or presentation in front of an audience
is a necessary skill for everyone who wants to advance in their academic or professional
careers. It must be impactful, supported by data and instances, and be capable of persuasion.
Despite the fact that we may have amazing ideas, it's crucial to communicate them to others
in order for them to be understood. Similar to this, we may need to meet individuals in our
personal or professional lives and convince them to do something. Speaking may be
required in a variety of settings, including with coworkers at the office, college classmates
and professors, or neighbours. The efficacy with which we do things affects how others
view us. You undoubtedly recall instances in which you convinced your parents to accept
a proposal, inspired your siblings or friends, or mentioned something to your teacher. On
the other side, there may have been times when you were unsuccessful in influencing or
convincing people. As a result, you may now recognise that the secret to excellent oral
communication is to be certain, precise, and fluid. Let's talk about ways to make our
speeches and presentations more fluent, clear, and confident.
a. Confidence: Most people experience anxiety or nervousness before doing crucial
tasks in front of others. For instance, sportsmen have anxiety before a major game,
politicians experience anxiety when speaking to a large crowd during an election
campaign, and performers experience anxiety when they are in front of the camera.
We have already discussed a lot on how to tackle the stage fright, face the camera
in our earlier units notes.
b. Clarity & Fluency: Contrary to readers, listeners are unable to use a dictionary or
reread the words in order to understand their meaning. A speaker must convey their
meaning in a way that is immediately evident and virtually impossible to
misunderstand. several speakers. Despite having total control over their speech,
people find it incredibly challenging to talk correctly. Even if someone spends hours
practising for their speeches or presentations and confidently delivers them, if their
speech lacks clarity, the majority of what they say may not be understood by the
audience. A speaker may not be clear in their speech if they speak too
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quickly(babble/chatter) or slowly(recede); does not pronounce words clearly; or

pronounces words improperly or inconsistently with conventional pronunciation;
uses too many difficult words (jargon) and places the incorrect emphasis on some
words.
5.0 Vocal cues: Vocal cues are a crucial component of effective speaking because they enable
us to give our voice urgency. Our voice is what makes us unique; it's the element of us that
gives words a personal touch. Because words remain stagnant on a paper when they are
written, writing lacks that immediacy. Voice gives our work more vitality. Understanding
the distinctive subtleties of voice, such as quality, volume, pace, pitch, articulation,
pronunciation, and pauses, is therefore helpful.
a. Quality: One thing that sets one voice apart from another is quality. Each of us has a
distinctive voice, and the quality of that voice relies on how it resonates. Although voice
cannot be altered, it may be cultivated for best effect. It might be deep and resonant,
husky and hoarse, thin and nasal, rich and resonant, delicate and appealing, or harsh
and annoying. Few people possess a deep, resonant quality naturally; everyone may
work to develop theirs. For instance, Abraham Lincoln and Winston Churchill modified
the sound of their voices to become the best speakers.
b. Volume: Volume refers to how loud or quiet a voice is. However, it is not necessary
for our voice to be loud all the time. The intensity should be loud if the space where we
are speaking is spacious and open, and the volume should be modest if the space is
constrained and tiny. If we speak at a volume that is too loud, we risk coming off as
rude and insensitive, but if we speak at a volume that is too quiet, we risk giving off a
timid vibe that has no place in the business world. Additionally, it could suggest that
we lack confidence in our ability to communicate and are ill-prepared. Therefore, we
need adjust the level of our voice to ensure that it is heard and clear. Reading aloud is
one strategy for enhancing our voice and delivery. By providing each character in
children's literature its own voice, readers may encourage vocal variation. Improve your
diction by reciting tongue twisters like "She sells sea shells on the seashore." Other
tongue twisters to improve the diction & bring clarity are:
Competence.
Peter Piper picked a peck of pickled Betty Botter bought some butter
peppers But she said the butter’s bitter
A peck of pickled peppers Peter Piper If I put it in my batter, it will make my
picked batter bitter
If Peter Piper picked a peck of pickled But a bit of better butter will make my
peppers batter better
Where’s the peck of pickled peppers Peter So ‘twas better Betty Botter bought a bit of
Piper picked? better butter
How much wood would a woodchuck A skunk sat on a stump and thunk the
chuck if a woodchuck could chuck wood? stump stunk, but the stump thunk the skunk
He would chuck, he would, as much as he stunk
could, and chuck as much wood
As a woodchuck would if a woodchuck
could chuck wood
Table 4: Popular tongue twisters

c. Pace/Rate: The rate at which one speaks is measured in words per minute. It can range
from 80 to 250 words per minute depending on the individual. The average word count
per minute ranges from 120 to 150. We should speed up to stay inside this sensible
range. Even if the speech's subject matter is really intriguing, a person is more likely to
be viewed as a dull speaker if they talk excessively slowly and monotonously. Similar
to this, a quick speaker might make people uncomfortable since they don't have enough
time to understand what they're hearing or change from one thinking to another.
Therefore, it is essential to change up your speaking cadence. To add emphasis, employ
the appropriate pauses. A message that is well-paced and diverse conveys energy,
certainty, and audience awareness.
Competence.
d. Pitch: Pitch is the term used to describe how many times our voice vibrates per second.
Different emotions are expressed through the voice's peaks and valleys. Such a word is
"thank you." There is a difference, when said indiscriminately and when sincerely. Our
speech has inflections that give it warmth, sparkle, life, and enthusiasm. Low pitch
might be a sign of grief, astonishment, tedium, guilt, etc. Our pitch instinctively rises
when we are happy, triumphant, thrilled, or even furious. A tone that is both clear and
impactful has a pitch that is well-balanced. It aids us in avoiding monotony. When
someone speaks a word or a syllable, their voice's tonality rises and falls in pitch. By
acquiring and utilising the patterns we will be able to communicate our intent very
clearly if we use the right intonation pattern. Our body's oxygen supply also affects
pitch; if it runs out, we won't be able to change it.
e. Articulation: Sloppy, slurred, chopped, truncated, or omitted sounds between words
or sentences should be avoided by speakers. The flow of comprehension is disrupted if
all sounds are not articulated correctly. The message is interrupted, which prevents the
listener from understanding it. The outcome is comparable to the unfavourable
impression that readers have of textual mistakes. Speaking slowly, making slurred
noises, or missing words will make the speaker appear less credible. Develop the
capacity to talk clearly in yourself; utter the words clearly and without producing any
uncertainty. The audience will better understand ‘I do not know’ and ‘I want to go’ than
‘I dunno’ and ‘I wanna go’.
f. Pronunciation: We must shout out sounds in a manner that is usually recognised while
pronouncing words. To pronounce words correctly, stick to British Received
Pronunciation. Also known as the Queen's Received Pronunciation. The accent of
Standard English in England is known as (or King's), Oxford, or BBC English. One
must be cautious to enunciate each sound and the word stress in accordance with the
established rules. Do not fool yourself into thinking you can pronounce every word
correctly. Always use a decent dictionary and strive to pronounce words correctly
wherever there is ambiguity. Here are a few terms that are frequently mispronounced
along with how to pronounce them properly:
Competence.
SNo. Word Common Error Correct Pronunciation

1 Arctic a:tik a:ktik
2 Gesture gestʃə(r) dʒestʃə(r)
3 3 tier qrɪ:taɪə(r) qrɪ:tɪə(r)
4 Gigantic dʒaɪdʒæntɪk dʒaɪgæntɪk
Table 5: Pronunciation (Source: Raman. M & Sharma. S, Technical Communication Principles

& Practice, 3 Edition(2015), p 94, Oxford University Press, New Delhi)
g. Voice modulation: Modulation is the control, modification, or adjusting of the tone,
pitch, and loudness of the sound or speaking voice, whereas intonation relates to tonal
fluctuations. Variation in voice gives our voice flexibility and vigour, allowing us to
communicate feelings like impatience, cautious planning, despair, distrust, etc. in the
best way possible. Should we not pay close attention to how our voice is modulated, it
will become flat and we'll seem sluggish and out of control when we talk. In addition,
word stress and sentence stress are significant factors in voice modulation. For instance,
highlighting one or two words in a we may use modulation to successfully emphasise
certain words in a statement (for example, one might emphasise "this" and "fifty
vehicles" in the line "This firm produces fifty automobiles every day"). As a result, a
new speaker should emphasise terms more clearly during the presentation by
underlining them. This makes it easier to avoid seeming boring and repetitive.
h. Pauses: A pause is a moment of stillness surrounded by speech. A gap between
sentences allows the listener to process the message and process it appropriately.
Additionally, it facilitates the speaker's transition from another. As a break is a natural
procedure, it enhances the discourse. However, it ought to come naturally. Being overly
self-conscious might make the process appear manufactured. Silent pauses should be
used in place of vocalised pauses or vocal segregates such as uh, ah, hm, ahem, a, and
aah. Vocalized pauses weaken the message's conviction and make the speech appear
evasive and dishonest. Additionally, overusing words and phrases like "I mean," "well,"
"like," "ok," "got it," "really," etc. might tarnish the positive image we have worked so
hard to establish. Useful pausing at predetermined intervals demonstrates certainty,
confidence, and self-control. Using pauses at the conclusion of certain thinking units to
allow the listener to properly comprehend the message.
Competence.
6.0 Professional personality attributes:
You may utilise your professional talents to demonstrate to your employer and coworkers
that you are capable of doing your job duties successfully. Even while you require
technical abilities for your particular job, professional traits are more often like soft
talents. They are the qualities about you that make it easier for you to achieve your
objectives and collaborate well with others.
Willingness to learn Conflict handling
Positive attitude Readiness to help
Stay calm under stress Honesty & integrity
Goal oriented Self-motivated
Kind demeanor Responsible
Collaborative Confident
Given above are certain attributes one should inculcate in their personality so as to get
noticed in a corporate domain. These attributes can also get checked during interview.
Further expansion of these attributes are left on the students.
7.0 Empathy & considerateness:
Empathy is defined as the intellectual identification of thoughts, feelings or mental state of

other people. It's important to first understand what empathy is and what it includes.
Empathy is the capacity to understand the needs of others, to put it simply. An knowledge
of other people's emotions is a requirement for empathy. This involves considering the
emotional effect of a person's employment in the context of leadership rather than only
focusing on quantifiable performance metrics. The quality of empathy is what sets
outstanding leaders apart, and it calls on you to react in a way that is attentive of the needs
of others. To put it another way, good leaders are not just conscious of others' needs, but
also attentive of them. Showing genuine concerns, encouraging collaborations, working to
strengthening the diversified teams, showing compassion on others’ loss are some of the
external expressions one exhibit to be categorized as empathetic.
Being considerate or caring is the being consciously thoughtful and observant. You may
criticize others but with working suggestions. Be realistic in the approach and do not set
the targets which a normal individual is not capable to handle. Finally being unbiased is
Competence.
the greatest sign of exhibiting the considerateness. Being really thoughtful requires
subtlety, kindness, and the ability to imagine oneself in another person's position. We
occasionally have a tendency to become preoccupied with our own needs and desires and
lose sight of the fact that there are others nearby who could be harmed or offended by our
behaviour. Being considerate can enable us to be aware of others around us while also
standing up for our demands.
8.0 Leadership:
“Management is doing things right; leadership is doing the right things,” believed renowned
management coach and author Peter F. Drucker.
Oxford dictionary defines leadership as an act of leading a group of few peoples or
organization.It's interesting to note that leaders pursue innovation rather than doing so out
of necessity. Success is determined by examining the accomplishments and knowledge
gained by the team. In contrast, management focuses on assigning duties and encouraging
adherence to the rules in order to minimise risk and provide predictable results. Planning,
organising, leading, and regulating are the four crucial tasks that a manager is in charge of
doing. Managers do not question the current quo, unlike leaders. Instead, they work to keep
it. If the team met expectations, it is how they judge success. In an organisation, leaders
aren't usually those with greater positions. They are individuals, though, who are renowned
for their morals and work ethics. A leader is enthusiastic about their job and shares that
excitement with their team members, helping them to accomplish their objectives.
An authoritarian leader is one who has total authority over his team. They never
compromise their principles or standards for anybody. Additionally, their team is not
involved in any of the corporate decisions. The group is also required to take the leader's
cues while making decisions. Due to its resistance to change, this antiquated kind of
leadership doesn't attract many followers. And with their ground-breaking choices,
contemporary leaders are redefining leadership and altering the concept of what it is.
The phrase "laissez-faire" is derived from the French verb "permettre à faire." "The practise
of not interfering in other people's business, particularly with regard to personal freedom
of action or conduct."
Competence.
Team members are allowed to carry out their duties as they see fit under this kind of
leadership. They are allowed the flexibility to use their insight and intellect when carrying
out company tasks.
In democratic leadership, team members and leaders work together to achieve
organisational objectives. Additionally, they support one another in reaching their own
goals by encouraging one another. The workplace benefits from this kind of leadership.
In bureaucratic leadership, executives carefully abide by the standards and procedures of
the company. They ensure that the rest of their squad follows suit. Leaders in the
bureaucracy are frequently organised and self-driven. Creative, innovative, patience,
intelligence, open mindedness, flexibility, objectivity, empathy, intuitive, communication
skills, visionary, fighting spirit, inspiring, honesty are few to list attributes a person has to
be a leader.
9.0 Competence: Competence is the collection of observable traits and abilities that support
and enhance a job's effectiveness or performance. The term "competency" is often used to
refer to a broader definition of what is required of people in societies and organisations. A
person is considered "competent" in a field if they are capable of doing the necessary duties
at the desired degree of skill. A person's competence may be demonstrated in action in a
circumstance and context that are likely to change the next time they must act. Competent
individuals may respond to a problem in an emergency by using strategies they have found
to work in the past. To be competent, a person must be able to comprehend the situation in
its context, have a repertory of potential actions, and, if necessary, have received training
in those potential actions. Compared to corporate skills and capabilities, individual
performance competencies are more particular. Therefore, it's critical that they be defined
in a quantifiable behavioural context to confirm their applicability and level of knowledge.
Unique organisational capabilities and/or technological know-how, sometimes known as
core competencies, set a firm apart from its rivals. The strategic strength of a corporation
is its core expertise. Functional competencies are occupation-specific skills that support
demonstrated high performance and quality outcomes for a particular profession. They
frequently have a technical or operational bent. The exact qualities and skills that best
represent a person's management potential are identified by management competencies.
In contrast to leadership traits, management traits may be learnt and developed with the
right tools and training. For management to be successful, competencies in this area need
Competence.
to show the appropriate behaviors. Organizational competencies are the purpose, vision,
values, culture, and core competences of an organisation that determine the tone and/or
environment in which its work is carried out (e.g. customer-driven, risk taking and cutting
edge). The patient's therapy includes how we care for them. Technical competencies: When
making hiring selections, employers should carefully consider both technical and
performance capabilities depending on the role.
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Dimensions of Oral Communication & Voice Dynamics

1.0 Code and content in communication:

A code is defined as a system of signals or symbols for communication. The system of

Figure 1 Stimulus and Response

communication is based on "language and other, weaker forms of communicating." We run

Table 3 Phonetic Transcription (Source: Raman. M & Sharma. S, Technical Communication

2.2 Rules for pronunciation:

regular pattern. The following guidelines should be followed when pronouncing

Examples: finest, boldest, socket, pocket

Examples include ex-hi-Ibi-tion, ter-mi-Ina-tion, an-thro-Ipo-logy, bi-Io-

I am well aware of my limi`tations. You must 'know 'how to `do it.

When are you `coming? Where do you come `from?

Open the `door. 'Look 'up the `atlas.

iv. Choice questions

Will you agree or `disagree? Would you like to go today or `tomorrow?

`Fantastic! How `beautiful!

vi. Questions having negative tag

You agree to this, `don’t you? We have faced it several times,

They should come forward,

Do you I agree? Was he ill I yesterday?

ii. Statements intended to be questions

You will I do that? You do not want to lend me I your copy?

iii. Polite request / command

Get me that pen I please. Call him I in.

iv. Questions with a positive tag

convey particular meanings that cannot be communicated in words, such as regret,

f. Mind your ∨language. (Strong but sympathetic warning)

quickly(babble/chatter) or slowly(recede); does not pronounce words clearly; or

Table 4: Popular tongue twisters

SNo. Word Common Error Correct Pronunciation

Table 5: Pronunciation (Source: Raman. M & Sharma. S, Technical Communication Principles

6.0 Professional personality attributes:

Empathy is defined as the intellectual identification of thoughts, feelings or mental state of

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