During the COVID-19 pandemic people were increasingly obliged to wear facial masks and to reduce the number of people they met in person. In this study, we asked how these changes in social interactions are associated with young children's emotional development, specifically their emotion recognition via the labeling of emotions. Preschoolers labeled emotional facial expressions of adults and children in fully visible faces. In addition, we assessed children's COVID-19-related experiences and recorded children's gaze behavior during emotion labeling. We compared different (...) samples of preschoolers : The data for the no-COVID-19-experience sample were taken from studies conducted before the pandemic. The data for the with-COVID-19-experience sample were collected during the COVID-19 pandemic in Switzerland between June and November 2021. The results did not indicate differences in children's labeling behavior between the two samples except for fearful adult faces. Children with COVID-19-experience more often labeled fearful faces correctly compared to children with no COVID-19 experience. Furthermore, we found no relations between children's labeling behavior, their individual COVID-19-related experiences, and their gaze behavior. These results suggest that, even though the children had experienced differences in the amount and variability of facial input due to the pandemic, they still received enough input from visible faces to be able to recognize and label different emotions. (shrink)

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)

ABSTRACTThis study investigated the relationship of emotional intelligence and age to adolescents’ free labelling responses to proposed facial expressions and situations for disgust. Emotional intelligence continues to develop throughout adolescence and may provide needed cognitive support for linking the disgust face to the disgust script. Emotional intelligence, specifically, regulating one’s own and others emotions, and age predicted adolescents’ labelling of disgust facial expressions as disgusted. Older adolescents were more likely to label disgust faces as disgusted than were younger adolescents – (...) an effect not found for disgust situations. Labelling the disgust face as disgusted continues to increase until late adolescence. The addition of the disgust face to the disgust script occurs in late adolescence and it is related to the cognitive abilities associated with emotional intelligence. (shrink)

ABSTRACTPrevious research on the development of emotion recognition in music has focused on classical, rather than popular music. Such research does not consider the impact of lyrics on judgements...

According to perceptual accounts of mindreading, we can see, rather than cognize, other people's mental states. On one version of this approach, certain mental properties figure in the contents of our perceptual experiences. In a recent paper, Varga has appealed to empirical research to argue that intentions and emotions can indeed be seen, rather than cognized. In this paper, I argue that none of the evidence adduced to support the perceptual account of mindreading shows that we see mental properties, as (...) opposed to non‐mental properties. (shrink)

This study aims to further understand children’s capacity to identify and reason about pretend emotions by analyzing which sources of information they take into account when interpreting emotions simulated in pretend play contexts. A total of 79 children aged 3 to 8 participated in the final sample of the study. They were divided into the young group and the older group. The children were administered a facial emotion recognition task, a pretend emotions task, and a non-verbal cognitive ability test. In (...) the pretend emotions task, the children were asked whether the protagonist of silent videos, who was displaying pretend emotions, was displaying a real or a pretend emotion, and to justify their answer. The results show significant differences in the children’s capacity to identify and justify pretend emotions according to age and type of emotion. The data suggest that young children recognize pretend sadness, but have more difficulty detecting pretend anger. In addition, children seem to find facial information more useful for the detection of pretend sadness than pretend anger, and they more often interpret the emotional expression of the characters in terms of pretend play. The present research presents new data about the recognition of negative emotional expressions of sadness and anger and the type of information children take into account to justify their interpretation of pretend emotions, which consists not only in emotional expression but also contextual information. (shrink)

Evidence does not support the claim that observers universally recognize basic emotions from signals on the face. The percentage of observers who matched the face with the predicted emotion (matching score) is not universal, but varies with culture and language. Matching scores are also inflated by the commonly used methods: within-subject design; posed, exaggerated facial expressions (devoid of context); multiple examples of each type of expression; and a response format that funnels a variety of interpretations into one word specified by (...) the experimenter. Without these methodological aids, matching scores are modest and subject to various explanations. (shrink)

This comment considers some potential implications of both the appraisal approaches and the framework proposed by Mascolo in regard to a mechanism that is particularly important for development: le...

An ongoing debate in affective science concerns whether certain discrete, “basic” emotions have evolutionarily based signals that are easily, universally, and innatel...

Drawing on research reviewed in this special section, the present article discusses how various contextual factors impact on production and decoding of emotion-related facial activity. Although emotion-related variables often contribute to activation of prototypical “emotion expressions” and perceivers can often infer emotional meanings from these facial configurations, neither process is invariant or direct. Many facial movements are directed towards or away from events in the shared environment, and their effects depend on these relational orientations. Facial activity is not only a (...) medium for descriptive representation of internal affective states, but also a means of adjusting to, and operating on, external objects, and of influencing other people’s appraisals of those objects. (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...

Fundamental frequency, 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 and paralinguistic functions in speech and communication. The mappings between these functions and ƒ0 features 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 of ƒ0, but typically focus on individual functions. More importantly, despite the eventual mastery of ƒ0 in communication, it is unclear how infants learn to decompose and recognize these overlapping functions carried by ƒ0. In this paper, we review the symbioses and synergies of the lexical, intonational, and emotional functions that can be carried by ƒ0 and are being acquired throughout infancy. On the basis of our review, we put forward the Learnability Hypothesis that infants decompose and acquire multiple ƒ0 functions 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 different ƒ0 functions. 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 by ƒ0 can increase our understanding of linguistic systems, auditory processing and communication functions. (shrink)

In this review, we highlight evidence suggesting that concepts represented in language are used to create a perception of emotion from the constant ebb and flow of other people’s facial muscle movements. In this “construction hypothesis,” (cf. Gendron, Lindquist, Barsalou, & Barrett, 2012) (see also Barrett, 2006b; Barrett, Lindquist, & Gendron, 2007; Barrett, Mesquita, & Gendron, 2011), language plays a constitutive role in emotion perception because words ground the otherwise highly variable instances of an emotion category. We demonstrate that language (...) plays a constitutive role in emotion perception by discussing findings from behavior, neuropsychology, development, and neuroimaging. We close by discussing implications of a constructionist view for the science of emotion. (shrink)

ABSTRACTThere is substantial evidence to suggest that deafness is associated with delays in emotion understanding, which has been attributed to delays in language acquisition and opportunities to converse. However, studies addressing the ability to recognise facial expressions of emotion have produced equivocal findings. The two experiments presented here attempt to clarify emotion recognition in deaf children by considering two aspects: the role of motion and the role of intensity in deaf children’s emotion recognition. In Study 1, 26 deaf children were (...) compared to 26 age-matched hearing controls on a computerised facial emotion recognition task involving static and dynamic expressions of 6 emotions. Eighteen of the deaf and 18 age-matched hearing controls additionally took part in Study 2, involving the presentation of the same 6 emotions at varying intensities. Study 1 showed that deaf children’s emotion recognition was better in the dynamic rather than static condition, whereas the hearing children sh... (shrink)

This multilevel meta-analysis examines whether emotional intelligence can be enhanced through training and identifies training effects’ determinants. We identified 24 studies containing 28 samples aiming at increasing individual-level EI among healthy adults. The results revealed a significant moderate standardized mean change between pre- and post-measurement for the main effect of EI training, and a stable pre- to follow-up effect. Additionally, the type of EI model, dimensions of the four branch model, length, and type of publication turned out to be significant (...) moderators. The results suggest that EI trainings should be considered effective interventions. (shrink)

Wearing facial masks became a common practice worldwide during the COVID-19 pandemic. This study investigated (1) whether facial masks that cover adult faces affect 4- to 6-year-old children’s recognition of emotions in those faces and (2) whether the duration of children’s exposure to masks is associated with emotion recognition. We tested children from Switzerland (N = 38) and Brazil (N = 41). Brazil represented longer mask exposure due to a stricter mandate during COVID-19. Children had to choose a face displaying (...) a specific emotion (happy, angry, or sad) when the face wore either no cover, a facial mask, or sunglasses. The longer hours of mask exposure were associated with better emotion recognition. Controlling for the hours of exposure, children were less likely to recognise emotions in partially hideen faces. Moreover, Brazilian children were more accurate in recognising happy faces than Swiss children. Overall, facial masks may negatively impact children’s emotion recognition. However, prolonged exposure appears to buffer the lack of facial cues from the nose and mouth. In conclusion, restricting facial cues due to masks may impair kindergarten children’s emotion recognition in the short run. However, it may facilitate their broader reading of facial emotional cues in the long run. (shrink)

For more than a century expressions have been approached as bidimensional, static, instantaneous, self-contained, well-defined, and universal signals. These assumptions are starting to be empirically reconsidered: this special section of Emotion Review includes reviews on the physical, social, and cultural dynamics of expressions, and on the complex ways in which, throughout the lifespan, facial behavior and emotion are perceived and categorized by primates’ and humans’ brain. All these advances are certainly paving the way for new exciting approaches to facial behavior (...) more likely to strike an appropriate balance between description and explanation. (shrink)

ABSTRACTEmpathy involves a mapping between the emotions observed in others and those experienced in one’s self. However, effective social functioning also requires an ability to differentiate one’s...

ABSTRACTWe examined the utility of a gaze cueing paradigm to examine sensitivity to differences among negatively valenced expressions. Participants judged target stimuli, the lo...

The field of emotion understanding is replete with measures, yet lacks an integrated conceptual organizing structure. To identify and organize skills associated with the recognition and knowledge of emotions, and to highlight the focus of emotion understanding as localized in the self, in specific others, and in generalized others, we introduce the conceptual framework of Emotion Understanding in Recognition and Knowledge Abilities. We then categorize 56 existing methods of emotion understanding within this framework to highlight current gaps and future opportunities (...) in assessing emotion understanding across the lifespan. We hope the EUReKA model provides a systematic and integrated framework for conceptualizing and measuring emotion understanding for future research. (shrink)