The intention to vocalise is followed by contraction of the stapedius muscles, which reduces vibrations of the stapes (stirrup) bones, and thus the transmission of sound waves through the oval windows to the inner ears.

The pitch, pace, pause and power of vocalisations qualify verbalisations.
Comparisons can be made within sentences and between sentences, when velocity and acceleration may be instructive, for example the additive or subtractive changes of cognition compared with the multiplicative or inverse multiplicative changes of emotion.
A rise in pitch conveys the interrogative mood.
A fall in pitch or power or both conveys diffidence.
A rise in power, sometimes abrupt, characterises the imperative mood.
A rise in power and a fall in pace are combined for certain words to produce enunciation, and thus emphasis.
The halting delivery of uncertainty shows an increase in pause.
A quavering voice indicates fatigue or anxiety.
Throw-away remarks are made with an increase in pace and a reduction in pause, and include an attempt to bring something of oneself to the format, an oblique tactic to relieve tension, and an unguarded disclosure of mendacity, as in “…to be perfectly honest.”
Changes in pitch are referred to as inflexion.
Do re mi fa sol la ti do are syllables applied to pitches that are audible to the human ear.
Absolute pitch is a function of memory.
Changes in pace and pause are often inversely correlated.
Timbre lacks consensus.
The faster and more pressured the cadence, then the more likely are excitement and anxiety: the precise meaning depends on the context, which is also true of rapid birdsong.
Vocalisations in general, and laughter in particular, sound hollow when the mouth remains open: this may be intentional, as in valediction, or unintentional, as in uncertainty.
Exclamations, interjections, crying, and laughter are used to express emotion.
Phonolocation is the use of laryngeal sounds to locate oneself in the world. A throat clearance or a cough signal one’s attentive presence, and any response indicates the likelihood of immediate contact with the responder.
The distribution of emphasis across subject, verb, and object indicates the speaker’s agenda: vocalisation is less accessible to dissembling and dissimulation than verbalisation.
Vocalisation that contradicts verbalisation produces sarcasm.

If it is difficult to get a word in edgeways, wait for the end of your collocutor’s expiration.

A rise in pitch is heard in teachers, lecturers and professors who are unsure of their subject: docendo discimus.

A human in parasitic mode mimics the vocalisations of the intended host.

Networking shows an increase in power, so as to reach the intended targets, who are more distant than the collocutor. Dyspopulophony is a specific form of networking, whereby the speaker targets those around in a loud and offensive manner, using the collocutor as a focus. Victim chimpanzees have been shown to modify their screams if the audience includes at least one listener who matches or surpasses the aggressor chimpanzee in rank, and thus to have triadic awareness.

Vocalisations between carers and infants require systematic acoustic and spectral analyses, with autism as an outcome variable. Pauses between the utterances of carers and infants in both directions need comparison: does the carer pause until the infant has responded, and does the infant hear those pauses, which convey that the carer is inhibiting the carer to accommodate and develop the infant? The importance of pauses for information transfer has been studied in social insects.

Vocalisation may be related to spindle cells, which have evolved convergently in humans, great apes, elephants, and whales.