4,391 research outputs found

    Communication of Emotion in Music

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    The communication of emotion in music has been shown to be dependent on musical structure and emotional prompting with lyrical messages. This study seeks a new approach to researching the communication of emotion in music by creating musical samples that are based upon the sound wave frequency parameters of emotive speaking. An electronic survey containing six different emotive musical samples was conducted to gather listener interpretations of the intended emotional quality. Further research is needed to properly distinguish the parameters of emotive frequencies in order to provide for exposure of the functionalities of this phenomenon

    Expressive Speech Synthesis for Critical Situations

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    Presence of appropriate acoustic cues of affective features in the synthesized speech can be a prerequisite for the proper evaluation of the semantic content by the message recipient. In the recent work the authors have focused on the research of expressive speech synthesis capable of generating naturally sounding synthetic speech at various levels of arousal. Automatic information and warning systems can be used to inform, warn, instruct and navigate people in dangerous, critical situations, and increase the effectiveness of crisis management and rescue operations. One of the activities in the frame of the EU SF project CRISIS was called "Extremely expressive (hyper-expressive) speech synthesis for urgent warning messages generation''. It was aimed at research and development of speech synthesizers with high naturalness and intelligibility capable of generating messages with various expressive loads. The synthesizers will be applicable to generate public alert and warning messages in case of fires, floods, state security threats, etc. Early warning in relation to the situations mentioned above can be made thanks to fire and flood spread forecasting; modeling thereof is covered by other activities of the CRISIS project. The most important part needed for the synthesizer building is the expressive speech database. An original method is proposed to create such a database. The current version of the expressive speech database is introduced and first experiments with expressive synthesizers developed with this database are presented and discussed

    Acoustics from Interior Designer Perspective

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    Should we consider the acoustics as engineering science or as architectural elements or as interior design applications? The main purpose of this chapter will focus on the differences between the three aspects of the acoustics with a special focus on the interior acoustical design. The arguments that favor the acoustic in each field are many. This chapter will clarify, strengthen, and explore the importance that has the acoustic study for the interior designing layout. From the historical eras where only material schemes were used, the acoustical treatment reached a great achievement. Nowadays, electrical, acoustical devices took place in different situations where only the materials could solve the acoustic needs. The considerations of using the electrical-acoustical devices remain under request, while their usage, only in specific conditions, a topic to highlight in this chapter

    Facial expressions alter the fundamental sound properties of speech

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    Literature from across academic disciplines has demonstrated significant links between emotional valence and language. For example, Whissell’s Dictionary of Affect in Language defines three dimensions upon which the emotionality of words is describable, and Ekman’s Theories of Emotion include the perception and internalization of facial expressions. The present study seeks to expand upon these works by exploring whether holding facial expressions alters the fundamental speech properties of spoken language. Nineteen (19) participants were seated in a soundproof chamber and were asked to speak a series of pseudowords containing target phonemes.  The participants spoke the pseudowords either holding no facial expression, smiling, or frowning, and the utterances recorded using a high-definition microphone and phonologically analysed using PRAAT analysis software. Analyses revealed a pervasive gender differences in frequency variables, where males showed lower fundamental but higher formant frequencies compared to females. Significant main effects were found within the fundamental and formant frequencies, but no effects were discerned for the intensity variable. While intricate, these results are indicative of an interaction between the activity of facial musculature when reflecting emotional valence and the sound properties of speech uttered simultaneously

    Music and language expressiveness: When emotional character does not suffice: the dimension of expressiveness in the cognitive processing of music and language

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    Book synopsis: In recent decades, the relationship between music, emotions, health and well-being has become a hot topic. Scientific research and new neuro-imaging technologies have provided extraordinary new insights into how music affects our brains and bodies, and researchers in fields ranging from psychology and music therapy to history and sociology have turned their attention to the question of how music relates to mind, body, feelings and health, generating a wealth of insights as well as new challenges. Yet this work is often divided by discipline and methodology, resulting in parallel, yet separate discourses. In this context, The Routledge Companion to Music, Mind and Well-being seeks to foster truly interdisciplinary approaches to key questions about the nature of musical experience and to demonstrate the importance of the conceptual and ideological frameworks underlying research in this field. Incorporating perspectives from musicology, history, psychology, neuroscience, music education, philosophy, sociology, linguistics and music therapy, this volume opens the way for a generative dialogue across both scientific and humanistic scholarship. The Companion is divided into two sections. The chapters in the first, historical section consider the varied ways in which music, the emotions, well-being and their interactions have been understood in the past, from Antiquity to the twentieth century, shedding light on the intellectual origins of debates that continue today. The chapters in the second, contemporary section offer a variety of current scientific perspectives on these topics and engage wider philosophical problems. The Companion ends with chapters that explore the practical application of music in healthcare, education and welfare, drawing on work on music as a social and ecological phenomenon. Contextualising contemporary scientific research on music within the history of ideas, this volume provides a unique overview of what it means to study music in relation to the mind and well-being

    Expression of gender in the human voice: investigating the “gender code”

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    We can easily and reliably identify the gender of an unfamiliar interlocutor over the telephone. This is because our voice is “sexually dimorphic”: men typically speak with a lower fundamental frequency (F0 - lower pitch) and lower vocal tract resonances (ΔF – “deeper” timbre) than women. While the biological bases of these differences are well understood, and mostly down to size differences between men and women, very little is known about the extent to which we can play with these differences to accentuate or de-emphasise our perceived gender, masculinity and femininity in a range of social roles and contexts. The general aim of this thesis is to investigate the behavioural basis of gender expression in the human voice in both children and adults. More specifically, I hypothesise that, on top of the biologically determined sexual dimorphism, humans use a “gender code” consisting of vocal gestures (global F0 and ΔF adjustments) aimed at altering the gender attributes conveyed by their voice. In order to test this hypothesis, I first explore how acoustic variation of sexually dimorphic acoustic cues (F0 and ΔF) relates to physiological differences in pre-pubertal speakers (vocal tract length) and adult speakers (body height and salivary testosterone levels), and show that voice gender variation cannot be solely explained by static, biologically determined differences in vocal apparatus and body size of speakers. Subsequently, I show that both children and adult speakers can spontaneously modify their voice gender by lowering (raising) F0 and ΔF to masculinise (feminise) their voice, a key ability for the hypothesised control of voice gender. Finally, I investigate the interplay between voice gender expression and social context in relation to cultural stereotypes. I report that listeners spontaneously integrate stereotypical information in the auditory and visual domain to make stereotypical judgments about children’s gender and that adult actors manipulate their gender expression in line with stereotypical gendered notions of homosexuality. Overall, this corpus of data supports the existence of a “gender code” in human nonverbal vocal communication. This “gender code” provides not only a methodological framework with which to empirically investigate variation in voice gender and its role in expressing gender identity, but also a unifying theoretical structure to understand the origins of such variation from both evolutionary and social perspectives

    Cross-taxa similarities in affect-induced changes of vocal behavior and voice in arboreal monkeys.

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    International audienceMeasuring the affective state of an individual across species with comparable non-invasive methods is a current challenge in animal communication research. This study aims to explore to which extent affect intensity is conveyed in the vocal behaviours of three nonhuman primate species (Campbell's monkeys, De Brazza's monkeys, red-capped mangabeys), which vary in body size, ecological niche and social system. Similarly in the three species, we experimentally induced a change in captive social groups' affect by locking all group members together in their outside enclosure. The two experimental conditions which varied in affect intensity consisted in imposing a pre-reunion 90 mn-separation by splitting up the respective group into two subgroups (High affect condition) or not (Low affect condition). We measured call rates as well as voice features at the time of reunion in both conditions. The three studied species reacted in a very similar way. Across species, call rates changed significantly between the behaviourally defined states. Furthermore, contact call duration and, to some extent, voice pitch increased. Our results suggest, for the first time in arboreal Old World monkeys, that affect intensity is conveyed reliably in vocal behaviour and specific acoustic characteristics of voice, irrespective of body size and ecological niche differences between species. Cross-taxa similarities in acoustic cues of affect intensity point to phylogenetic constraints and inheritance from a common ancestor, whereas variations in vocal behaviour and affect intensity-related acoustic cues between species may be an adaptation to specific social requirements and depend on social systems. Our findings as well as a comparison with published works on acoustic communication in other vertebrate groups support the hypothesis that affect intensity in human voice originates from precursors already found deep inside the vertebrate phylogeny

    Gender Ambiguity in Voice-Based Assistants: Gender Perception and Influences of Context

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    Recently emerging synthetic acoustically gender-ambiguous voices could contribute to dissolving the still prevailing genderism. Yet, are we indeed perceiving these voices as “unassignable”? Or are we trying to assimilate them into existing genders? To investigate the perceived ambiguity, we conducted an explorative 3 (male, female, ambiguous voice) × 3 (male, female, ambiguous topic) experiment. We found that, although participants perceived the gender-ambiguous voice as ambiguous, they used a profoundly wide range of the scale, indicating tendencies toward a gender. We uncovered a mild dissolve of gender roles. Neither the listener’s gender nor the personal gender stereotypes impacted the perception. However, the perceived topic gender indicated the perceived voice gender, and younger people tended to perceive a more male-like gender
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