Psychoacoustic cues to emotion in speech prosody and music

There is strong evidence of shared acoustic profiles common to the expression of emotions in music and speech, yet relatively limited understanding of the specific psychoacoustic features involved. This study combined a controlled experiment and computational modelling to investigate the perceptual...

Full description

Saved in:
Bibliographic Details
Published in:Cognition and emotion Vol. 27; no. 4; pp. 658 - 684
Main Authors: Coutinho, Eduardo, Dibben, Nicola
Format: Journal Article
Language:English
Published: Hove Taylor & Francis Group 01.06.2013
Psychology Press
Subjects:
Acoustic Stimulation
Acoustics
Adolescent
Adult
Affectivity. Emotion
Arousal and valence
Auditory Perception
Biological and medical sciences
Computer Modeling and Simulation
Cues
Cues/Cueing
Emotion
Emotional expressivity
Emotions
Female
Fundamental and applied biological sciences. Psychology
Humans
Male
Middle Aged
Models, Psychological
Music
Music - psychology
Neural networks
Neural Networks (Computer)
Perception
Personality. Affectivity
Prosody
Psychoacoustics
Psychology. Psychoanalysis. Psychiatry
Psychology. Psychophysiology
Research Subjects
Speech
Speech prosody
Human
Psychoacoustics
Affect affectivity
Cognition
Emotion emotionality
Neural network
Experimental study
Connectionism
Prosody
Valence
Language
Arousal and valence
Neural networks
Music
Arousal
Speech
Speech prosody
Simulation model
Emotion
ISSN:0269-9931, 1464-0600, 1464-0600
Online Access:Get full text
Tags: Add Tag
No Tags, Be the first to tag this record!
Description
Summary:There is strong evidence of shared acoustic profiles common to the expression of emotions in music and speech, yet relatively limited understanding of the specific psychoacoustic features involved. This study combined a controlled experiment and computational modelling to investigate the perceptual codes associated with the expression of emotion in the acoustic domain. The empirical stage of the study provided continuous human ratings of emotions perceived in excerpts of film music and natural speech samples. The computational stage created a computer model that retrieves the relevant information from the acoustic stimuli and makes predictions about the emotional expressiveness of speech and music close to the responses of human subjects. We show that a significant part of the listeners' second-by-second reported emotions to music and speech prosody can be predicted from a set of seven psychoacoustic features: loudness, tempo/speech rate, melody/prosody contour, spectral centroid, spectral flux, sharpness, and roughness. The implications of these results are discussed in the context of cross-modal similarities in the communication of emotion in the acoustic domain.
Bibliography:ObjectType-Article-1
SourceType-Scholarly Journals-1
ObjectType-Feature-2
content type line 23
ObjectType-Article-2
ObjectType-Feature-1
ISSN:0269-9931
1464-0600
1464-0600
DOI:10.1080/02699931.2012.732559