Even violins can cry: specifically vocal emotional behaviours also drive the perception of emotions in non-vocal music. Bedoya, D., Arias, P., Rachman, L., Liuni, M., Canonne, C., Goupil, L., & Aucouturier, J. Philosophical Transactions of the Royal Society B: Biological Sciences, 376(1840):20200396, November, 2021. Publisher: Royal Society![Even violins can cry: specifically vocal emotional behaviours also drive the perception of emotions in non-vocal music [link]](https://bibbase.org/img/filetypes/link.svg "link")
Paper doi abstract bibtex A wealth of theoretical and empirical arguments have suggested that music triggers emotional responses by resembling the inflections of expressive vocalizations, but have done so using low-level acoustic parameters (pitch, loudness, speed) that, in fact, may not be processed by the listener in reference to human voice. Here, we take the opportunity of the recent availability of computational models that allow the simulation of three specifically vocal emotional behaviours: smiling, vocal tremor and vocal roughness. When applied to musical material, we find that these three acoustic manipulations trigger emotional perceptions that are remarkably similar to those observed on speech and scream sounds, and identical across musician and non-musician listeners. Strikingly, this not only applied to singing voice with and without musical background, but also to purely instrumental material. This article is part of the theme issue ‘Voice modulation: from origin and mechanism to social impact (Part I)’.
@article{bedoya_even_2021,
title = {Even violins can cry: specifically vocal emotional behaviours also drive the perception of emotions in non-vocal music},
volume = {376},
copyright = {All rights reserved},
shorttitle = {Even violins can cry},
url = {https://royalsocietypublishing.org/doi/full/10.1098/rstb.2020.0396},
doi = {10.1098/rstb.2020.0396},
abstract = {A wealth of theoretical and empirical arguments have suggested that music triggers emotional responses by resembling the inflections of expressive vocalizations, but have done so using low-level acoustic parameters (pitch, loudness, speed) that, in fact, may not be processed by the listener in reference to human voice. Here, we take the opportunity of the recent availability of computational models that allow the simulation of three specifically vocal emotional behaviours: smiling, vocal tremor and vocal roughness. When applied to musical material, we find that these three acoustic manipulations trigger emotional perceptions that are remarkably similar to those observed on speech and scream sounds, and identical across musician and non-musician listeners. Strikingly, this not only applied to singing voice with and without musical background, but also to purely instrumental material.
This article is part of the theme issue ‘Voice modulation: from origin and mechanism to social impact (Part I)’.},
number = {1840},
urldate = {2023-02-11},
journal = {Philosophical Transactions of the Royal Society B: Biological Sciences},
author = {Bedoya, Daniel and Arias, Pablo and Rachman, Laura and Liuni, Marco and Canonne, Clément and Goupil, Louise and Aucouturier, Jean-Julien},
month = nov,
year = {2021},
note = {Publisher: Royal Society},
pages = {20200396},
}
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