This study explored a dimensional approach to vocal expression of emotion. Actors vocally portrayed emotions (anger, disgust, fear, happiness, sadness) with weak and strong emotion intensity. Listeners (30 university students and 6 speech experts) rated each portrayal on four emotion dimensions (activation, valence, potency, emotion intensity). The portrayals were also acoustically analysed with respect to 20 vocal cues (e.g., speech rate, voice intensity, fundamental frequency, spectral energy distribution). The results showed that: (a) there were distinct patterns of ratings (...) of activation, valence, and potency for the different emotions; (b) all four emotion dimensions were correlated with several vocal cues; (c) listeners' ratings could be successfully predicted from the vocal cues for all dimensions except valence; and (d) the intensity dimension was positively correlated with the activation dimension in the listeners' ratings. (shrink)

Most research on cross-cultural emotion recognition has focused on facial expressions. To integrate the body of evidence on vocal expression, we present a meta-analysis of 37 cross-cultural studies...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:For More than One Voice: Toward a Philosophy of Vocal ExpressionSarah K. Burgess and Stuart J. MurrayFor More than One Voice: Toward a Philosophy of Vocal Expression. Adriana Cavarero. Trans. Paul A. Kottman. Stanford: Stanford University Press, 2005. Pp. 262. $65.00, hardcover; $24.95, paperback.Adriana Cavarero's most recent book, For More than One Voice, offers the reader a critique of Western metaphysics that challenges the hegemony of (...) speech's relation to thought within politics. Revisiting Aristotle's Politics, Cavarero examines the famous definition of man as "zoon logon echon"—usually translated as "rational animal." She is critical of the tradition that renders logos here as "reason" or "rationality," modeled on the abstract and disembodied Platonic idea. Reading the Politics alongside the Poetics, she brings politics into a distinctly rhetorical sphere, and therefore figures logos as "phone semantike." In this light, man is a "speaking animal," an animal who speaks with a voice (phone) that is meaningful (semantike—an adjectival form that qualifies the voice itself). Cavarero's argument is that voice and meaning—phonic and semantic—must be sharply distinguished. The history of Western philosophy, she contends, has effaced this vital difference and focused instead on speech as a unitary phenomenon in which the vocalic and the semantic are always already joined as meaningful signification. In this way, the singularity of the vocalic itself has been elided in favor of speech that strongly privileges meaning. She therefore wishes to deliver us from language, as it were, through a recuperation of the force of the vocalic, the acoustic, the resonant and sonorous auditory quality of phone.Absent in the history of Western philosophy, this sonorous aspect of the vocalic stands as a corrective to our logocentric metaphysical tradition that singularly values the visual over the acoustic, semantic content over vocal utterances, and an abstract, anonymous "what" over a particular, embodied "who." Cavarero claims that the vocalic is an "anti-metaphysical" force that exceeds and challenges signification. In other words, the vocalic immediately communicates the uniqueness of the speaker without recourse to the signifying content of his or her speech. The voice is essentially relational—a relation that is described as "the condition of every communication.... the communicability of the communicable, or the significance of signification" (29). Indeed, for Cavarero the voice is that which "precedes, generates, and exceeds verbal communication" [End Page 166] (29–30). In this way, remarkably, Cavarero refigures the voice as a presymbolic origin that is both temporally and ontologically prior to signification, as that which is a condition of possibility for signification, and as that which is never exhausted by any signifying speech act as such.The voice is the expression of one unique, embodied individual to another. This expression, a "reciprocal invocation" founded in the sonorous, rhythmic, and resonant materiality of the voice, constitutes a "duet," a musical exchange of voices in and through which individuals mutually invoke one another. Cavarero resists inscribing such a relation within the symbolic realm; yet for her this relation is a "wordless language" that takes place in the paradigmatic scene between mother and infant. Here, in this originary scene, there is not yet the movement of language or speech as such, but the rhythm and cadence of demand and response—the voices of mother and infant that invoke one another. Drawing on Hélène Cixous's and Julia Kristeva's well-known work on the maternal chora, Cavarero demonstrates that the cadence of the "la-la melody" exchanged between mother and infant "configure[s] a reciprocal dependence" (170) that takes a structural form in the movement between demand and response.For Cavarero, the "scene of infancy" enjoys a primacy: it is both ontologically and chronologically prior to the institution of language and law. The maternal chora is figured as that which invisibly underwrites what will be understood as the law of the father—a law that is said to mark the inauguration of language. But if the law of the father is rational and semantic, the maternal should not be conceived as simply irrational and pure sound. For Cavarero, the maternal vocalic demonstrates its own reason through its rhythmic and musical resonance... (shrink)

I consider the five contributions in this special section as evidence that the research area dealing with the vocal expression of emotion is advancing rapidly, both in terms of the number of pertinent empirical studies and with respect to an ever increasing sophistication of methodology. I provide some suggestions on promising areas for future interdisciplinary research, including work on emotion expression in singing and the potential of vocal symptoms of emotional disorder. As to the popular discussion of the (...) respective role of universality versus language/culture differences, I suggest to move on from exclusively studying the accuracy of recognition in judgment studies to a more differentiated approach adding production aspects, taking into account the multiple vocal and acoustic features that interact to communicate emotion. (shrink)

The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter “what” she says. We take this fact for granted—for example, every time someone asks, over the telephone, “Who is speaking?” and receives as a reply the familiar utterance, “It’s me.” Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness. She shows how this history—along with (...) the fields it comprehends, such as linguistics, musicology, political theory, and studies in orality—might be grasped as the “devocalization of Logos,” as the invariable privileging of semantike over phone, mind over body. Female figures—from the Sirens to the Muses, from Echo to opera singers—provide a crucial counterhistory, one in which the embodied voice triumphs over the immaterial semantic. Reconstructing this counterhistory, Cavarero proposes a “politics of the voice” wherein the ancient bond between Logos and politics is reconfigured, and wherein what matters is not the communicative content of a given discourse, but rather who is speaking. (shrink)

The work defines the sigh as a type of breath expressing or communicating specific physical or mental internal states. To investigate the meanings of the sigh, the paper presents analyses of written and oral corpora, finding out that it may express different emotions like boredom or frustration, but also positive meanings like self-encouragement; then it focuses on the use of sighs in political debates. Finally a perception study shows participants’ agreement on the meanings of sighs in terms of valence and (...) arousal. These results lay the bases for future studies to set a clearer distinction between sighs and other vocalisations as well as other effects on its meaning caused by the combination with other body signals like rolling eyes or shaking head. (shrink)

The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter "what" she says. We take this fact for granted—for example, every time someone asks, over the telephone, "Who is speaking?" and receives as a reply the familiar utterance, "It's me." Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness. She shows how this history—along with (...) the fields it comprehends, such as linguistics, musicology, political theory, and studies in orality—might be grasped as the "devocalization of Logos," as the invariable privileging of _semantike_ over _phone_, mind over body. Female figures—from the Sirens to the Muses, from Echo to opera singers—provide a crucial counterhistory, one in which the embodied voice triumphs over the immaterial semantic. Reconstructing this counterhistory, Cavarero proposes a "politics of the voice" wherein the ancient bond between Logos and politics is reconfigured, and wherein what matters is not the communicative content of a given discourse, but rather _who_ is speaking. (shrink)

There exists substantial cultural variation in how emotions are expressed, but there is also considerable evidence for universal properties in facial and vocal affective expressions. This is the first empirical effort examining the perception of vocal emotional expressions across cultures with little common exposure to sources of emotion stimuli, such as mass media. Shuar hunter-horticulturalists from Amazonian Ecuador were able to reliably identify happy, angry, fearful and sad vocalizations produced by American native English speakers by matching (...) emotional spoken utterances to emotional expressions portrayed in pictured faces. The Shuar performed similarly to English speakers who heard the same utterances in a content-filtered condition. These data support the hypothesis that vocal emotional expressions of basic affective categories manifest themselves in similar ways across quite disparate cultures. (shrink)

One of the main issues raised over the years has been how religion feels about music. The relationship between religion and music as a promoting and not a corrupting art is one of the problems that warrants further research in this area. According to this article, phonic music can be a source for various services and be supported by religion in particular circumstances. The article discusses the musical elements of several religious texts, how religion affects the creative process, the human (...) voice, and religious music. In popular music, voices and vocal expression are extremely important. Voices are instantly connected to the body and different emotional states. However, learned cultural patterns of expression can also conventionalize and alter vocal expression; this is true for both music and daily speech. We know from day to day experience that singing might give us energy and, surprisingly, an actual exercise. Anecdotal suggestions that singing is good for your health and happiness are backed up by a growing body of research. It has been demonstrated that singing causes a variety of physiological changes. Persistent singing practice uses the cardiorespiratory system, strengthening the respiratory muscles and improving breathing efficiency. The up rule of oxytocin, immunoglobulin A, and endorphins, which work on immunological capacity and raise impressions of joy, is only one of the progressions in synapses and chemicals that singing can achieve. In this essay, we examine the role that religious singing plays in promoting the vocal arts. (shrink)

ABSTRACTLonely individuals show increased social monitoring and heightened recognition of negative facial expressions. The current study investigated whether this pattern extends to other nonverbal...

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals (...) help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art, namely that if one is going to do so they must ensure the pain has been ‘beautified’. In developing this second point I argue that emotional hardcore is well-suited (though not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

Sound moves us. Nowhere is this more apparent than in our responses to genuine emotional vocalizations, be they heartfelt distress cries or raucous laughter. Here, we present perceptual ratings and a description of a freely available, large database of natural affective vocal sounds from human infants, adults and domestic animals, the Oxford Vocal (OxVoc) Sounds database. This database consists of 173 non-verbal sounds expressing a range of happy, sad, and neutral emotional states. Ratings are presented for the sounds (...) on a range of dimensions from a number of independent participant samples. Perceptions related to valence, including distress, vocalizer mood, and listener mood are presented in Study 1. Perceptions of the arousal of the sound, listener motivation to respond and valence (positive, negative) are presented in Study 2. Perceptions of the emotional content of the stimuli in both Study 1 and 2 were consistent with the predefined categories (e.g., laugh stimuli perceived as positive). While the adult vocalizations received more extreme valence ratings, rated motivation to respond to the sounds was highest for the infant sounds. The major advantages of this database are the inclusion of vocalizations from naturalistic situations, which represent genuine expressions of emotion, and the inclusion of vocalizations from animals and infants, providing comparison stimuli for use in cross-species and developmental studies. The associated website provides a detailed description of the physical properties of each sound stimulus along with cross-category descriptions. (shrink)

Despite the variety of theories suggesting how human language might have evolved, very few consider the potential role of emotions in such scenarios. The few existing theories jointly highlight that gaining control over the production of emotional communication was crucial for establishing and maintaining larger social groups. This in turn resulted in the development of more complex social emotions and the corresponding sophisticated socio-cognitive skills to understand others’ communicative behavior, providing the grounds for language to emerge. Importantly, these theories propose (...) that the ability of controlling emotional communication is a uniquely human trait, an assumption that we will challenge. By taking a comparative approach, we discuss recent findings from behavioral and neurobiological studies from our closest relatives, the non-human primates, on the extent of control over their gestural, facial and vocal signals. This demonstrates that research foci differ drastically across these modalities, which further enhances the traditional dichotomy between emotional, involuntary facial and vocal expressions in contrast to intentionally, voluntarily produced gestures. Based on this brief overview, we point to gaps of knowledge in primate communication research and suggest how investigating emotional expressions in our closest relatives might enrich the road map towards the evolution of human language. (shrink)

Culture, defined as shared behavior or information within a community acquired through some form of social learning from conspecifics, is now suggested to act as a second inheritance system. Cultural processes are important in a wide variety of vertebrate species. Birdsong provides a classic example of cultural processes: cultural transmission, where changes in a shared song are learned from surrounding conspecifics, and cultural evolution, where the patterns of songs change through time. This form of cultural transmission of information has features (...) that are different in speed and form from genetic transmission. More recently, culture, vocal traditions and an extreme form of song evolution has been documented in cetaceans. Humpback whale song ‘revolutions’, where the single population-wide shared song type is rapidly replaced by a new, novel song type introduced from a neighbouring population, represents an extraordinary example of ocean basin-wide cultural transmission rivalled in its geographic extent only by humans. In this review, we examine the cultural evolutions and revolutions present in some birdsong and whale song, respectively. By taking a comparative approach to these cultural processes, we review the existing evidence to understand the similarities and differences for their patterns of expression and the underlying drivers, including anthropogenic influences, which may shape them. Finally, we encourage future studies to explore the role of innovation vs. production errors in song evolution, the fitness information present in song, and how human-induced changes in population sizes, trajectories and migratory connections facilitating cultural transmission may be driving song revolutions. (shrink)

The conflicting findings from the few studies conducted with regard to gender differences in the recognition of vocal expressions of emotion have left the exact nature of these differences unclear. Several investigators have argued that a comprehensive understanding of gender differences in vocal emotion recognition can only be achieved by replicating these studies while accounting for influential factors such as stimulus type, gender-balanced samples, number of encoders, decoders and emotional categories. This study aimed to account for these (...) factors by investigating whether emotion recognition from vocal expressions differs as a function of both listeners’ and speakers’ gender. A total of N = 290 participants were randomly and equally allocated to two groups. One group listened to words and pseudo-words, while the other group listened to sentences and affect bursts. Participants were asked to categorize the stimuli with respect to the expressed emotions in a fixed-choice response format. Overall, females were more accurate than males when decoding vocal emotions, however, when testing for specific emotions these differences were small in magnitude. Speakers’ gender had a significant impact on how listeners’ judged emotions from the voice. The group listening to words and pseudo-words had higher identification rates for emotions spoken by male than by female actors, whereas in the group listening to sentences and affect bursts the identification rates were higher when emotions were uttered by female than male actors. The mixed pattern for emotion-specific effects, however, indicates that, in the vocal channel, the reliability of emotion judgments is not systematically influenced by speakers’ gender and the related stereotypes of emotional expressivity. Together, these results extend previous findings by showing effects of listeners’ and speakers’ gender on the recognition of vocal emotions. They stress the importance of distinguishing these factors to explain recognition ability in the processing of emotional prosody. (shrink)

This paper will examine Choir Boy, a trans coming-of-age novel by Charlie Anders, to disrupt historically rooted medical narratives of gender transition. Through a disability studies lens, this paper locates vocal performance as a means of speaking back to gatekeeping practices held in place by medical authorities since the inception of transsexuality as a classificatory category. Offering imaginative alternatives to “wrong body” diagnostics, this analysis places cultural texts in conversation with disability theory to reframe the trans self as a (...) singing body that cannot be reduced to normalizing biomedical practices. Choir Boy frames vocal performance as a mode of gender expression and as a survival strategy against violence. The trans counter-narratives offered by Anders resist the medicalization of trans bodies and the classification of some bodies as not “trans enough” to qualify for transition. Choir Boy locates vocal performance and not binary gender identification as impetus for transition, thereby advocating for trans self-determination over medical access. (shrink)

This paper proposes that human expression of pain in the presence or absence of caregivers, and the detection of pain by observers, arises from evolved propensities. The function of pain is to demand attention and prioritise escape, recovery, and healing; where others can help achieve these goals, effective communication of pain is required. Evidence is reviewed of a distinct and specific facial expression of pain from infancy to old age, consistent across stimuli, and recognizable as pain by observers. Voluntary control (...) over amplitude is incomplete, and observers can better detect pain that the individual attempts to suppress rather than amplify or simulate. In many clinical and experimental settings, the facial expression of pain is incorporated with verbal and nonverbal vocal activity, posture, and movement in an overall category of pain behaviour. This is assumed by clinicians to be under operant control of social contingencies such as sympathy, caregiving, and practical help; thus, strong facial expression is presumed to constitute an attempt to manipulate these contingencies by amplification of the normal expression. Operant formulations support skepticism about the presence or extent of pain, judgments of malingering, and sometimes the withholding of caregiving and help. To the extent that pain expression is influenced by environmental contingencies, however, could equally plausibly constitute the release of suppression according to evolved contingent propensities that guide behaviour. Pain has been largely neglected in the evolutionary literature and the literature on expression of emotion, but an evolutionary account can generate improved assessment of pain and reactions to it. (shrink)

ABSTRACTOlder adults have greater difficulty than younger adults perceiving vocal emotions. To better characterise this effect, we explored its relation to age differences in sensory, cognitive and emotional functioning. Additionally, we examined the role of speaker age and listener sex. Participants aged 19–34 years and 60–85 years categorised neutral sentences spoken by ten younger and ten older speakers with a happy, neutral, sad, or angry voice. Acoustic analyses indicated that expressions from younger and older speakers denoted the intended (...) emotion with similar accuracy. As expected, younger participants outperformed older participants and this effect was statistically mediated by an age-related decline in both optimism and working-memory. Additionally, age differences in emotion perception were larger for younger as compared to older speakers and a better perception of younger as compared to older speakers was greater in younger as compared to older participants. Last, a female perception... (shrink)

Facial expression is a mode of close‐proximity non‐vocal communication used by primates and is produced by mimetic/facial musculature. Arguably, primates make the most‐intricate facial displays and have some of the most‐complex facial musculature of all mammals. Most of the earlier ideas of primate mimetic musculature, involving its function in facial displays and its evolution, were essentially linear “scala natural” models of increasing complexity. More‐recent work has challenged these ideas, suggesting that ecological factors and social systems have played a much (...) larger role in explaining the diversity of structures than previously believed. The present review synthesizes the evidence from gross muscular, microanatomical, behavioral and neurobiological studies in order to provide a preliminary analysis of the factors responsible for the evolution of primate facial musculature with comparisons to general mammals. In addition, the unique structure, function and evolution of human mimetic musculature are discussed, along with the potential influential roles of human speech and eye gaze. BioEssays 30:212–225, 2008. © 2008 Wiley Periodicals, Inc. (shrink)

Mehr et al. propose a theory of the evolution music that can potentially account for most animal vocalizations as precursors to human music. Therein lies its appeal but also its Achilles' heel, for the wider the range of animal vocalizations treated as premusical expressions, the wider the gap to human music. Here, I offer a few critical observations and constructive suggestions that I hope will help the authors strengthen their case.

Decoding the function and meaning of a foreign culture's sounds and gestures is a notoriously difficult problem. It is even more challenging when we think about the sounds and gestures of nonhuman animals. This essay provides a review of what is currently known about the informational content and function of primate vocalizations, emphasizing the problems underlying the construction of a primate “dictionary.” In contrast to the Oxford English Dictionary, this dictionary provides entries to emotional expressions as well as potentially (...) referential expressions. It therefore represents a guide to what animals do with their vocalizations, as well as how they are represented by signalers and perceivers. I begin by a discussion of the unit problem, of how an acoustic space is carved up into functionally significant components leading to a species‐specific repertoire or lexicon of sorts. This section shows how little we know about the units of organization within animal vocal repertoires, and how such lack of information constrains our ability to tackle the problem of syntactic structure. In Section III, I review research on the production and perception of vocal signals that appear to be functionally referential. This work shows that several nonhuman primates produce vocalizations that share some of the key properties of reference, but certainly not all; the components that are missing raises questions about their role as precursors to human words. In Section IV, I explore the social uses of vocalizations, assessing whether the signal contains sufficient information for listeners to judge a caller's credibility; ultimately, caller credibility determines how receivers select an appropriate response. Results show that individuals can use calls to assess whether someone is reliable or unreliable, and that such attributes are associated with individuals and particular contexts. I conclude by synthesizing the issues presented and then raise some directions for future conceptual and methodological progress. (shrink)

ABSTRACTPosed stimuli dominate the study of nonverbal communication of emotion, but concerns have been raised that the use of posed stimuli may inflate recognition accuracy relative to spontaneous expressions. Here, we compare recognition of emotions from spontaneous expressions with that of matched posed stimuli. Participants made forced-choice judgments about the expressed emotion and whether the expression was spontaneous, and rated expressions on intensity and prototypicality. Listeners were able to accurately infer emotions from both posed and spontaneous (...) class='Hi'>expressions, from auditory, visual, and audiovisual cues. Furthermore, perceived intensity and prototypicality were found to play a role in the accurate recognition of emotion, particularly from spontaneous expressions. Our findings demonstrate that perceivers can reliably recognise emotions from spontaneous expressions, and that depending on the comparison set, recognition levels can even be equivalent to that o... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

ABSTRACT The research purpose is to investigate the influence of Confucianism, Taoism and Buddhism on Chinese folklore vocals and their elements in modern music. The research methodology is based on descriptive, comparative, interpretative and statistical analysis (Spearman’s rank correlation coefficient). The analysis of the folk vocals of each thematic group among 110 folk songs of the Shi Jing supports the argument that Confucianism, Taoism and Buddhism had the greatest influence on the vocals. During the analysis, it was determined that folk (...) songs about love (0.942) and songs themed around nature (0.917) exhibit the most pronounced influence on their potential utilisation in the performance of popular compositions. The findings indicated that 75% of the folk vocal compositions with nature-related themes demonstrated discernible influences from Buddhism. The research findings have enabled the identification of exemplary renditions of the folkloric composition ‘Czo-yui’ from the ‘Book of Changes’, adeptly adapted to contemporary motifs, which were achieved at a notably high level within respondent groups #1 (7.2), #4 (7.4) and #5 (7.1). These commendable outcomes are attributed to the preservation of harmonious tonality, precise intonation and artistic expression during the performance process. (shrink)

This paper proposes that human expression of pain in the presence or absence of caregivers, and the detection of pain by observers, arises from evolved propensities. The function of pain is to demand attention and prioritise escape, recovery, and healing; where others can help achieve these goals, effective communication of pain is required. Evidence is reviewed of a distinct and specific facial expression of pain from infancy to old age, consistent across stimuli, and recognizable as pain by observers. Voluntary control (...) over amplitude is incomplete, and observers can better detect pain that the individual attempts to suppress rather than amplify or simulate. In many clinical and experimental settings, the facial expression of pain is incorporated with verbal and nonverbal vocal activity, posture, and movement in an overall category of pain behaviour. This is assumed by clinicians to be under operant control of social contingencies such as sympathy, caregiving, and practical help; thus, strong facial expression is presumed to constitute an attempt to manipulate these contingencies by amplification of the normal expression. Operant formulations support skepticism about the presence or extent of pain, judgments of malingering, and sometimes the withholding of caregiving and help. To the extent that pain expression is influenced by environmental contingencies, however, “amplification” could equally plausibly constitute the release of suppression according to evolved contingent propensities that guide behaviour. Pain has been largely neglected in the evolutionary literature and the literature on expression of emotion, but an evolutionary account can generate improved assessment of pain and reactions to it. Key Words: adaptation; evolutionary psychology; facial expression; pain. (shrink)

Neurocognitive models (e.g., Schirmer & Kotz, 2006) have helped to characterize how listeners incrementally derive meaning from vocal expressions of emotion in spoken language, what neural mechanisms are involved at different processing stages, and their relative time course. But how can these insights be applied to communicative situations in which prosody serves a predominantly interpersonal function? This comment examines recent data highlighting the dynamic interplay of prosody and language, when vocal attributes serve the sociopragmatic goals of the (...) speaker or reveal interpersonal information that listeners use to construct a mental representation of what is being communicated. Our comment serves as a beacon to researchers interested in how the neurocognitive system “makes sense” of socioemotive aspects of prosody. (shrink)

Mimicry of appearance or of facial, vocal, or gestural expressions emerges frequently among members of different species. When such mimicry directly relates to affective aspects of an interaction, researchers talk about “emotional mimicry”. Emotional mimicry has been amply documented but its functionality is still debated. Why and when do people mimic the expressions of others, who benefits, the mimicker or the mimicked, and how do they benefit? Which processes underlie emotional mimicry? Is it completely automatic and unconscious (...) or can it be deliberate and conscious? The current Theory Section addresses these questions from different theoretical perspectives. The invited article by Hess and Fischer focused on the role of mimicry in social regulation and social bonding. The invited comment by Krets and Akyüz highlights information gathering and prediction in social interaction. The invited comment by Bernhold and Giles emphasizes vocal communication and its role in interpersonal accommodation. In this editorial, I propose the different theoretical perspectives may be integrated by assuming a multilevel appraisal and response generation mechanism. I also suggest that emotional mimicry research may be broadened by including social learning, vocal imitation, interspecies comparisons, and affective computing approaches. (shrink)

The specific aims of this research study were to examine the differential effect of three different music interventions, namely the interactive music playing therapy, interaction music singing therapy, and receptive music therapy studying the varying latency periods in the response time it took 3-year-old children diagnosed with autism spectrum disorder to elicit the target word vocally; and assess the index of happiness of children with ASD after the implementation of the three music interventions, which can, in turn, be used to (...) influence their overall quality of life through this specific intervention. This study used a combined single-subject research design consisting of delayed multiple baseline across the participants and a multielement design to compare the effects of each music intervention technique targeting the child’s verbal response during playback of a practiced song. Findings demonstrated “singing” to be associated with the lowest latency compared to the other two interventions across participants. Additionally, happiness levels varied from neutral to happy, signifying an overall positive experience during participation in the music applied behavior analysis intervention. (shrink)

In western cultures, when it comes to places of worship and liturgies, music, acoustics and architecture go hand in hand. In the present study, we aimed to investigate whether the emotions evoked by music are enhanced by the acoustics of the space where the music was composed to be played on. We explored whether the emotional responses of western naïve listeners to two vocal pieces from the Renaissance, one liturgical and one secular, convolved with the impulse responses of four (...) Christian temples from the United Kingdom, were modulated by the appropriate piece/space matching. In an alternative forced choice task where participants had to indicate their preference for the original recording of the piece (not convolved with any temple-like acoustics) vs. the convolved one, no significant differences were found. However, in the tasks where participants rated their emotional in response to each piece and acoustic condition, the factorial ANCOVA analyses performed on the results revealed significant effects. We observed that, across pieces and spaces, participants found the temple-like acoustics as more transcendent, compared to the acoustics of the original version of the pieces. In addition, they rated the secular piece as more tender and the liturgical piece as more expressive in its original versions, compared to the convolved ones. We conclude that the acoustic signature of the four Christian temples causes an exaltation of certain emotions on listeners, although this effect is not associated to one or another musical piece. (shrink)

Social interactions in daily life necessitate the integration of social signals from different sensory modalities. In the aging literature, it is well established that the recognition of emotion in facial expressions declines with advancing age, and this also occurs with vocal expressions. By contrast, crossmodal integration processing in healthy aging individuals is less documented. Here, we investigated the age-related effects on emotion recognition when faces and voices were presented alone or simultaneously, allowing for crossmodal integration. In this (...) study, 31 young adults (M = 25.8 years) and 31 older adults (M = 67.2 years) were instructed to identify several basic emotions (happiness, sadness, anger, fear, disgust) and a neutral expression, which were displayed as visual (facial expressions), auditory (nonverbal affective vocalizations) or crossmodal (simultaneous, congruent facial and vocal affective expressions) stimuli. The results showed that older adults performed slower and worse than younger adults at recognizing negative emotions from isolated faces and voices. In the crossmodal condition, although slower, older adults were as accurate as younger except for anger. Importantly, additional analyses using the ‘race model’ demonstrate that older adults benefited to the same extent as younger adults from the combination of facial and vocal emotional stimuli. These results help explain some conflicting results in the literature and may clarify emotional abilities related to daily life that are partially spared among older adults. (shrink)

In their first weeks of life preterm infants are deprived of developmentally appropriate stimuli, including their mother’s voice. The current study explores the immediate association of two preterm infant behaviours (open eyes or smiling) with the quality of a mother’s infant-directed speech and singing. Participants are 20 mothers who are asked to speak and sing to their medically stable infants placed in incubators. Eighty-four vocal samples are extracted when they occur in the presence of an infant’s behavioural display and (...) compared with random selections during periods of absence of target behavioural display. The results show that infant-directed maternal voice presents more marked emotional qualities when infants display a behavioural change than when infants are passive and expressionless. Specifically, higher values of mean pitch and maximum sound pressure level, as well as greater variability of these parameters are associated with a behavioural display. (shrink)

We examine the embodiment of one foundational aspect of human cognition, language, through its bodily association with the gestures that accompany its expression in speech. Gesture is a universal feature of human communication. Gestures are produced by all speakers in every culture . They are tightly timed with speech . Gestures convey important communicative information to the listener, but even blind speakers gesture while talking to blind listeners , so the mutual co-occurrence of speech and gesture reflects a deep association (...) between the two modes that transcends the intentions of the speaker to communicate. Indeed, we believe that this linkage of the vocal expression of language and the arm movements produced with it are a manifestation of the embodiment of thought: that human mental activities arise through bodily interactions with the world and remain linked with them throughout the lifespan. In particular, we propose that speech and gesture have their developmental origins in early hand-mouth linkages, such that as oral activities become gradually used for meaningful speech, these linkages are maintained and strengthened. Both hand and mouth are tightly coupled in the mutual cognitive activity of language. In short, it is the initial sensorimotor linkages of these systems that form the bases for their later cognitive interdependence. (shrink)

Although laughter plays an essential part in emotional vocal communication, little is known about the acoustical correlates that encode different emotional dimensions. In this study we examined the acoustical structure of laughter sounds differing along four emotional dimensions: arousal, dominance, sender's valence, and receiver-directed valence. Correlation of 43 acoustic parameters with individual emotional dimensions revealed that each emotional dimension was associated with a number of vocal cues. Common patterns of cues were found with emotional expression in speech, supporting (...) the hypothesis of a common underlying mechanism for the vocal expression of emotions. (shrink)

Drawing on clues from Aristotle, Plato, Hobbes, Locke, Jacobson, Condillac, and Diderot, Appelbaum investigates the vocalized, acoustical aspect of audible expression. He analyzes the tendency to equate voice with speaking, and speaking with writing, the result being that vocalizing is equivalent to thinking aloud. Appelbaum affirms the body’s role in vocalizing expression by proposing a new and radical interpretation of the truth of voice: that it is true if it provides a disclosure of our human contradictions. Sound, or the acoustical (...) properties of a person’s voice, is able to bring about the revolutionary new set of conditions which reveal the truth of one’s condition. The author provides a unique account of the subjugation of voice by thought, indicating means for reversing the authority of the sound and for freeing up the voice. He concludes with the argument that poetic voice reconciles the search for semantic meaning with the raw, acoustical effect that the free voice causes. (shrink)

Vocal theories of the origin of language rarely make a case for the precursor functions that underlay the evolution of speech. The vocal expression of emotion is unquestionably the best candidate for such a precursor, although most evolutionary models of both language and speech ignore emotion and prosody altogether. I present here a model for a joint prosodic precursor of language and music in which ritualized group-level vocalizations served as the ancestral state. This precursor combined not only affective (...) and intonational aspects of prosody, but also holistic and combinatorial mechanisms of phrase generation. From this common stage, there was a bifurcation to form language and music as separate, though homologous, specializations. This separation of language and music was accompanied by their (re)unification in songs with words. (shrink)