Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach (...) proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur. -/- . (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)

The concept of emotion can be organized within a hypothetical space comprising a limited number of dimensions representing essential properties of emotion. The present study examined cultural influences on such conceptual structure by comparing the performance of emotion word classification between Japanese and Korean individuals. Two types of emotional words were used; central concepts, highly typical examples of emotion, and less typical peripheral concepts. Participants classified 30 words into groups based on conceptual similarity. MDS analyses revealed a three-dimensional structure with (...) valence, social engagement, and arousal dimensions for both cultures, with the valence dimension being the most salient one. The Japanese prioritized the social engagement over the arousal while the Koreans showed sensitivities to the arousal dimension. Although the conceptual structure was similar for the two countries, the weight of importance among the three dimensions seems to be different, reflecting each culture’s values and communication styles. (shrink)

ABSTRACTJudgments of emotional stimuli’s valence and arousal can differ based on the perceiver’s age. With most of the existing literature on age-related changes in such ratings based on perception...

Research on the relation between sound and meaning in language has reported substantial evidence for implicit associations between articulatory–acoustic characteristics of phonemes and emotions. In the present study, we specifically tested the relation between the acoustic properties of a text and its emotional tone as perceived by readers. To this end, we asked participants to assess the emotional tone of single stanzas extracted from a large variety of poems. The selected stanzas had either an extremely high, a neutral, or an (...) extremely low average formant dispersion. To assess the average formant dispersion per stanza, all words were phonetically transcribed and the distance between the first and second formant per vowel was calculated. Building on a long tradition of research on associations between sound frequency on the one hand and non‐acoustic concepts such as size, strength, or happiness on the other hand, we hypothesized that stanzas with an extremely high average formant dispersion would be rated lower on items referring to Potency (dominance) and higher on items referring to Activity (arousal) and Evaluation (emotional valence). The results confirmed our hypotheses for the dimensions of Potency and Evaluation, but not for the dimension of Activity. We conclude that, at least in poetic language, extreme values of acoustic features of vowels are a significant predictor for the emotional tone of a text. (shrink)

Fundamental frequency (ƒ0), perceived as pitch, is the first and arguably most salient auditory component humans are exposed to since the beginning of life. It carries multiple linguistic (e.g., word meaning) and paralinguistic (e.g., speakers’ emotion) functions in speech and communication. The mappings between these functions andƒ0features vary within a language and differ cross-linguistically. For instance, a rising pitch can be perceived as a question in English but a lexical tone in Mandarin. Such variations mean that infants must learn the (...) specific mappings based on their respective linguistic and social environments. To date, canonical theoretical frameworks and most empirical studies do not view or consider the multi-functionality ofƒ0, but typically focus on individual functions. More importantly, despite the eventual mastery ofƒ0in communication, it is unclear how infants learn to decompose and recognize these overlapping functions carried byƒ0. In this paper, we review the symbioses and synergies of the lexical, intonational, and emotional functions that can be carried byƒ0and are being acquired throughout infancy. On the basis of our review, we put forward the Learnability Hypothesis that infants decompose and acquire multipleƒ0functions through native/environmental experiences. Under this hypothesis, we propose representative cases such as the synergy scenario, where infants use visual cues to disambiguate and decompose the differentƒ0functions. Further, viable ways to test the scenarios derived from this hypothesis are suggested across auditory and visual modalities. Discovering how infants learn to master the diverse functions carried byƒ0can increase our understanding of linguistic systems, auditory processing and communication functions. (shrink)

Emotion can be communicated through multiple distinct modalities. However, an often-ignored channel of communication is posture. Recent research indicates that bodily posture plays an important role in the perception of emotion. However, research examining postural communication of emotion is limited by the variety of validated emotion poses and unknown cohesion of categorical and dimensional ratings. The present study addressed these limitations. Specifically, we examined individuals’ (1) categorization of emotion postures depicting 5 discrete emotions (joy, sadness, fear, anger, and disgust), (2) (...) categorization of different poses depicting the same discrete emotion, and (3) ratings of valence and arousal for each emotion pose. Findings revealed that participants successfully categorized each posture as the target emotion, including disgust. Moreover, participants accurately identified multiple distinct poses within each emotion category. In addition to the categorical responses, dimensional ratings of valence and arousal revealed interesting overlap and distinctions between and within emotion categories. These findings provide the first evidence of an identifiable posture for disgust and instantiate the principle of equifinality of emotional communication through the inclusion of distinct poses within emotion categories. Additionally, the dimensional ratings corroborated the categorical data and provide further granularity for future researchers to consider in examining how distinct emotion poses are perceived. (shrink)