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)

The processing of emotional nonlinguistic information in speech is defined as emotional prosody. This auditory nonlinguistic information is essential in the decoding of social interactions and in our capacity to adapt and react adequately by taking into account contextual information. An integrated model is proposed at the functional and brain levels, encompassing 5 main systems that involve cortical and subcortical neural networks relevant for the processing of emotional prosody in its major dimensions, including perception and sound organization; related action tendencies; (...) and associated values that integrate complex social contexts and ambiguous situations. (shrink)

The Musical Emotion Discrimination Task (MEDT) is a short, non-adaptive test of the ability to discriminate emotions in music. Test-takers hear two performances of the same melody, both played by the same performer but each trying to communicate a different basic emotion, and are asked to determine which one is “happier”, for example. The goal of the current study was to construct a new version of the MEDT using a larger set of shorter, more diverse music clips and an adaptive (...) framework to expand the ability range for which the test can deliver measurements. The first study analysed responses from a large sample of participants (N = 624) to determine how musical features contributed to item difficulty, which resulted in a quantitative model of musical emotion discrimination ability rooted in Item Response Theory (IRT). This model informed the construction of the adaptive MEDT. A second study contributed preliminary evidence for the validity and reliability of the adaptive MEDT, and demonstrated that the new version of the test is suitable for a wider range of abilities. This paper therefore presents the first adaptive musical emotion discrimination test, a new resource for investigating emotion processing which is freely available for research use. (shrink)

Does context influence our appreciation of beauty? To answer this question, two experiments were conducted to determine the effect of contextual aesthetics on the recognition of moral behavior. Experiment 1 demonstrated that individuals in a high-aesthetic context had a quicker recognition time for moral behavior than those in a low-aesthetic context. In a low-aesthetic context, individuals recognize immoral behavior more quickly than in a high aesthetic context. Individuals showed greater recognition rates for moral behavior in a high aesthetic context and (...) higher recognition for immoral behaviors in a low aesthetic context for behavior with unclear information. Experiment 2 revealed that individual fixation counts were smaller under the conditions of high aesthetic context and moral behavior than under the conditions of low aesthetic context and moral behavior, indicating a correlation between low aesthetic context and immoral behavior. This study shows that high aesthetic context facilitates the recognition of moral behavior, which has implications for moral education. (shrink)

Voices are a complex and rich acoustic signal processed in an extensive cortical brain network. Specialized regions within this network support voice perception and production and may be differentially affected in pathological voice processing. For example, the experience of hallucinating voices has been linked to hyperactivity in temporal and extra-temporal voice areas, possibly extending into regions associated with vocalization. Predominant self-monitoring hypotheses ascribe a primary role of voice production regions to auditory verbal hallucinations. Alternative postulations view a generalized perceptual salience (...) bias as causal to AVH. These theories are not mutually exclusive as both ascribe the emergence and phenomenology of AVH to unbalanced top-down and bottom-up signal processing. The focus of the current study was to investigate the neurocognitive mechanisms underlying predisposition brain states for emergent hallucinations, detached from the effects of inner speech. Using the temporal voice area localizer task, we explored putative hypersalient responses to passively presented sounds in relation to hallucination proneness. Furthermore, to avoid confounds commonly found in in clinical samples, we employed the Launay-Slade Hallucination Scale for the quantification of HP levels in healthy people across an experiential continuum spanning the general population. We report increased activation in the right posterior superior temporal gyrus during the perception of voice features that positively correlates with increased HP scores. In line with prior results, we propose that this right-lateralized pSTG activation might indicate early hypersensitivity to acoustic features coding speaker identity that extends beyond own voice production to perception in healthy participants prone to experience AVH. (shrink)

Links between musicality and vocal emotion perception skills have only recently emerged as a focus of study. Here we review current evidence for or against such links. Based on a systematic literature search, we identified 33 studies that addressed either (a) vocal emotion perception in musicians and nonmusicians, (b) vocal emotion perception in individuals with congenital amusia, (c) the role of individual differences (e.g., musical interests, psychoacoustic abilities), or (d) effects of musical training interventions on both the normal hearing population (...) and cochlear implant users. Overall, the evidence supports a link between musicality and vocal emotion perception abilities. We discuss potential factors moderating the link between emotions and music, and possible directions for future research. (shrink)