Vocal bursts are non-linguistic affectively-laden sounds with a crucial function in human communication, yet their affective structure is still debated. Studies showed that ratings of valence and arousal follow a V-shaped relationship in several kinds of stimuli: high arousal ratings are more likely to go on a par with very negative or very positive valence. Across two studies, we asked participants to listen to 1,008 vocal bursts and judge both how they felt when listening to the (...) sound (i.e. core affect condition), and how the speaker felt when producing it (i.e. perception of affective quality condition). We show that a V-shaped fit outperforms a linear model in explaining the valence-arousal relationship across conditions and studies, even after equating the number of exemplars across emotion categories. Also, although subjective experience can be significantly predicted using affective quality ratings, core affect scores are significantly lower in arousal, less extreme in valence, more variable between individuals, and less reproducible between studies. Nonetheless, stimuli rated with opposite valence between conditions range from 11% (study 1) to 17% (study 2). Lastly, we demonstrate that ambiguity in valence (i.e. high between-participants variability) explains violations of the V-shape and relates to higher arousal. (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...

The conflicting findings from the few studies conducted with regard to gender differences in the recognition of vocal expressions of emotion have left the exact nature of these differences unclear. Several investigators have argued that a comprehensive understanding of gender differences in vocal emotion recognition can only be achieved by replicating these studies while accounting for influential factors such as stimulus type, gender-balanced samples, number of encoders, decoders and emotional categories. This study aimed to account for these factors (...) by investigating whether emotion recognition from vocal expressions differs as a function of both listeners’ and speakers’ gender. A total of N = 290 participants were randomly and equally allocated to two groups. One group listened to words and pseudo-words, while the other group listened to sentences and affect bursts. Participants were asked to categorize the stimuli with respect to the expressed emotions in a fixed-choice response format. Overall, females were more accurate than males when decoding vocal emotions, however, when testing for specific emotions these differences were small in magnitude. Speakers’ gender had a significant impact on how listeners’ judged emotions from the voice. The group listening to words and pseudo-words had higher identification rates for emotions spoken by male than by female actors, whereas in the group listening to sentences and affect bursts the identification rates were higher when emotions were uttered by female than male actors. The mixed pattern for emotion-specific effects, however, indicates that, in the vocal channel, the reliability of emotion judgments is not systematically influenced by speakers’ gender and the related stereotypes of emotional expressivity. Together, these results extend previous findings by showing effects of listeners’ and speakers’ gender on the recognition of vocal emotions. They stress the importance of distinguishing these factors to explain recognition ability in the processing of emotional prosody. (shrink)

The Human Papillomavirus vaccine burst onto the market and the legislative scene nearly simultaneously. Marketed as an amazing medical breakthrough, the vaccine GARDASIL prevents infection with four strains of Human Papillomavirus in nave populations; these four strains are responsible for 70% of cervical cancers and 90% of genital warts. Although most agreed that the vaccine was a wonderful medical advancement with the potential to save women's lives, there was strong disagreement about and a vocal public response to legislative attempts (...) to require girls to receive HPV vaccines for school attendance.The strong public response to HPV vaccine mandates partially stemmed from the sense that this vaccine is different from previously mandated vaccines because it attempts to prevent disease whose sole route of transmission is through sexual contact. Most other diseases covered by mandated vaccines are spread through the air, with little an individual can do in altering their behavior to prevent infection. (shrink)

The classification of unvoiced stops in consonant–vowel syllables, segmented from continuous speech, is investigated by features related to speech production. As burst and vocalic transitions contribute to identification of stops in the CV context, features are computed from both regions. Although formants are the truly discriminating articulatory features, their estimation from the speech signal is a challenge especially in unvoiced regions like the release burst of stops. This may be compensated partially by sub-band energy-based features. In this work, formant features (...) from the vocalic region are combined with features from the burst region comprising sub-band energies, as well as features from a formant tracking method developed for unvoiced regions. The overall combination of features at the classifier level obtains an accuracy of 84.4%, which is significantly better than that obtained with solely sub-band features on unvoiced stops in CV syllables of TIMIT. (shrink)

Recent studies of naturalistic face‐to‐face communication have demonstrated coordination patterns such as the temporal matching of verbal and non‐verbal behavior, which provides evidence for the proposal that verbal and non‐verbal communicative control derives from one system. In this study, we argue that the observed relationship between verbal and non‐verbal behaviors depends on the level of analysis. In a reanalysis of a corpus of naturalistic multimodal communication (Louwerse, Dale, Bard, & Jeuniaux, ), we focus on measuring the temporal patterns of specific (...) communicative behaviors in terms of their burstiness. We examined burstiness estimates across different roles of the speaker and different communicative modalities. We observed more burstiness for verbal versus non‐verbal channels, and for more versus less informative language subchannels. Using this new method for analyzing temporal patterns in communicative behaviors, we show that there is a complex relationship between verbal and non‐verbal channels. We propose a “temporal heterogeneity” hypothesis to explain how the language system adapts to the demands of dialog. (shrink)

Modeling of evolution and development of language has principally utilized mature units of spoken language, phonemes and words, as both targets and inputs. This approach cannot address the earliest phases of development because young infants are unable to produce such language features. We argue that units of early vocal development—protophones and their primitive illocutionary/perlocutionary forces—should be targeted in evolutionary modeling because they suggest likely units of hominin vocalization/communication shortly after the split from the chimpanzee/bonobo lineage, and because early development (...) of spontaneous vocal capability is a logically necessary step toward vocal language, a root capability without which other crucial steps toward vocal language capability are impossible. Modeling of language evolution/development must account for dynamic change in early communicative units of form/function across time. We argue for interactive contributions of sender/infants and receiver/caregivers in a feedback loop involving both development and evolution and propose to begin computational modeling at the hominin break from the primate communicative background. (shrink)

There exists substantial cultural variation in how emotions are expressed, but there is also considerable evidence for universal properties in facial and vocal affective expressions. This is the first empirical effort examining the perception of vocal emotional expressions across cultures with little common exposure to sources of emotion stimuli, such as mass media. Shuar hunter-horticulturalists from Amazonian Ecuador were able to reliably identify happy, angry, fearful and sad vocalizations produced by American native English speakers by matching emotional spoken (...) utterances to emotional expressions portrayed in pictured faces. The Shuar performed similarly to English speakers who heard the same utterances in a content-filtered condition. These data support the hypothesis that vocal emotional expressions of basic affective categories manifest themselves in similar ways across quite disparate cultures. (shrink)

Walter of Bibbesworth’s late thirteenth-century versified treatise on French vocabulary relevant to the management of estates in Britain has the first extensive list of animal vocalizations in a European vernacular. Many of the Anglo-Norman French names for animals and their sounds are glossed in Middle English, inviting both diachronic and synchronic views of the capacity of these languages for onomatopoetic formation and reflection on the interest of these social and linguistic communities in zoosemiotics.

Walter of Bibbesworth’s late thirteenth-century versified treatise on French vocabulary relevant to the management of estates in Britain has the first extensive list of animal vocalizations in a European vernacular. Many of the Anglo-Norman French names for animals and their sounds are glossed in Middle English, inviting both diachronic and synchronic views of the capacity of these languages for onomatopoetic formation and reflection on the interest of these social and linguistic communities in zoosemiotics.

The complex bursting oscillation and bifurcation mechanisms in coupling systems of different scales have been a hot spot domestically and overseas. In this paper, we analyze the bursting oscillation of a generalized Duffing–Van der Pol system with periodic excitation. Regarding this periodic excitation as a slow-varying parameter, the system can possess two time scales and the equilibrium curves and bifurcation analysis of the fast subsystem with slow-varying parameters are given. Through numerical simulations, we obtain four kinds of typical bursting oscillations, (...) namely, symmetric fold/fold bursting, symmetric fold/supHopf bursting, symmetric subHopf/fold cycle bursting, and symmetric subHopf/subHopf bursting. It is found that these four kinds of bursting oscillations are symmetric. Combining the transformed phase portrait with bifurcation analysis, we can observe bursting oscillations obviously and further reveal bifurcation mechanisms of these four kinds of bursting oscillations. (shrink)

Complex vocal learning, the capacity to imitate new sounds, underpins the evolution of animal vocal cultures and song dialects and is a key prerequisite for human speech and song. Due to its relevance for the understanding of cultural evolution and the biology and evolution of language and music, the trait has gained much scholarly attention. However, while we have seen tremendous progress with respect to our understanding of its morphological, neurological and genetic aspects, its peculiar phylogenetic distribution has (...) remained elusive. Intriguingly, animals as distinct as hummingbirds and humpback whales share well-developed vocal learning capacity in common with humans, while this ability is quite limited in nonhuman primates. Yet, solving this ‘vocal learning conundrum’ may shed light on the constraints ancestral humans overcame to unleash their vocal capacities. To this end I consider major constraints and functions that have been proposed. I highlight an especially promising ecological constraint, namely the spatial dimensionality of the environment. Based on an informal comparative review, I suggest that complex vocal learning is associated with three-dimensional habitats such as air and water. I argue that this is consistent with recent theoretical advances—i.e., the coercion-avoidance and dimensionality hypotheses—and with the long-standing hypothesis that mate choice is a major driver of the evolution and origin of complex vocal learning. However, I stress that multiple functions may apply and that quantitative phylogenetic comparative methods should be employed to finally resolve the issue. (shrink)

In his 1993 article George Bealer offers three separate arguments that are directed against the internal coherence of empiricism, specifically Quine’s version of empiricism. In doing so, Bealer identifies three fundamental principles of Quine’s empiricism. First, the principle of empiricism states that.

Low mean fundamental frequency (F 0) in men’s voices has been found to positively influence perceptions of dominance by men and attractiveness by women using standardized speech. Using natural speech obtained during an ecologically valid social interaction, we examined relationships between multiple vocal parameters and dominance and attractiveness judgments. Male voices from an unscripted dating game were judged by men for physical and social dominance and by women in fertile and non-fertile menstrual cycle phases for desirability in short-term and (...) long-term relationships. Five vocal parameters were analyzed: mean F 0 (an acoustic correlate of vocal fold size), F 0 variation, intensity (loudness), utterance duration, and formant dispersion (D f , an acoustic correlate of vocal tract length). Parallel but separate ratings of speech transcripts served as controls for content. Multiple regression analyses were used to examine the independent contributions of each of the predictors. Physical dominance was predicted by low F 0 variation and physically dominant word content. Social dominance was predicted only by socially dominant word content. Ratings of attractiveness by women were predicted by low mean F 0, low D f , high intensity, and attractive word content across cycle phase and mating context. Low D f was perceived as attractive by fertile-phase women only. We hypothesize that competitors and potential mates may attend more strongly to different components of men’s voices because of the different types of information these vocal parameters provide. (shrink)

Asif A. Ghazanfar,1,3,* Hjalmar K. Turesson,1,3 statistical pattern recognition [16, 17] and psychophys- Joost X. Maier,1 Ralph van Dinther,2 ics [13, 18–23] have suggested that formants are signif- Roy D. Patterson,2 and Nikos K. Logothetis1 icant contributors to these indexical cues. It is likely, 1Max Planck Institute for Biological Cybernetics then, that detecting formants could have provided 72076 Tuebingen ancestral primates with indexical cues necessary for Germany navigating the complex social interactions that are the 2Centre for the Neural Basis of (...) Hearing essence of primate societies. One important indexical Department of Physiology cue is body size. Formant cues related to body size University of Cambridge could be used by monkeys to determine the sex (in sex- CB2 3EG Cambridge ually dimorphic species), degree of potential threat (e.g., United Kingdom whether a competitor is larger or smaller), and/or age of an individual, as such cues do for human listeners [13, 18, 20, 21]. Summary Formants are the result of acoustic filtering by the supralaryngeal vocal tract—the nasal and oral cavities Vocal-tract resonances (or formants) are acoustic sigabove the vocal folds. During vocal production, pulses natures in the voice and are related to the shape and of air generated by the rapid movement of the vocal length of the vocal tract. Formants play an important folds produce an acoustic signal. The frequency of these role in human communication, helping us not only to pulses—the glottal-pulse rate—determines the fundadistinguish several different speech sounds [1], but mental frequency of the signal, which in turn is perceived also to extract important information related to the as pitch. As the signal passes through the supralaryngphysical characteristics of the speaker, so-called ineal vocal tract, it excites resonances, resulting in the dexical cues. How did formants come to play such an enhancement of particular frequency bands; these are important role in human vocal communication? One the formants.. (shrink)

Lipkind et al. compare the development of vocal units and sound sequences in sound production in human infants and songbirds. Early in development, infant as well as songbird vocalizations vary along continuous acoustic parameters, with discrete vocal categories and structured vocalizations only emerging later on. This emergence process shows remarkable similarities between infants and zebra finches. Contrary to earlier views, Lipkind et al. suggest that the early development of songbird song (subsong) is more comparable to the phonation stage (...) in infants than to babbling. (shrink)

The urgency of the research is determined by the intensive development of new technologies as prospects for further development of society. Art accumulates intellectual, spiritual, material, and value heritage of previous epochs and determines the perspective features of the future. Vocal art is thereby one of the manifestations of individual ideological rethinking. Variety as a socio-cultural phenomenon combines different styles of music, genres, types, and aspects of professional music and vocal performance, which is important for the research in (...) the context of social rethinking of future social development. Objective of the article is to determine specifics of pop vocal art, its long-term development as an aspect of integration into society of the future. The article reflects the essential characteristics of the concept of pop vocal art and worldview perception of art as an aspect of the future society. In the process of research a method of abstraction, descriptive method, methods of analysis and synthesis were used in the theoretical substantiation and characterization of pop music as a vocal art. The method of generalization and systematization was used to determine the results of the research. The results became the basis for asserting the importance of pop vocal art in the further development of society. (shrink)

Feminist theory has produced a robust literature on embodiment that explores phenomena such as maternity, mobility, ability, and aging. However, the field has produced surprisingly few analyses of the bodily phenomenon of voice; references to voice in the context of critical theory are almost entirely metaphorical in nature, a relegation that obscures the philosophical relevance of voice as embodied phenomenon. Using insights garnered from the fields of sound studies and musicology, I argue that contemporary feminist theory should address the social, (...) political, and ethical meanings of the bodily, material phenomenon of vocality. Specifically, I argue that vocality is better understood as intervocality, that it is an existentially significant aspect of identity, and that it is implicated in systematic inequality and social relations in meaningful ways. I critique Adriana Cavarero’s approach to vocal justice, demonstrating that it does not sufficiently take up the challenges of intervocality. The article concludes with some preliminary remarks regarding a conceptualization of vocal justice. (shrink)

Crying and laughter are innate, preverbal, species-typical vocalizations that have similarities and differences which are mutually illuminating.

The use of Quality-Adjusted Life Years (QALYs) in healthcare allocation has been criticized as discriminatory against people with disabilities. This article considers a response to this criticism from Nick Beckstead and Toby Ord. They say that even if QALYs are discriminatory, attempting to avoid discrimination – when coupled with other central principles that an allocation system should favour – sometimes leads to irrationality in the form of cyclic preferences. I suggest that while Beckstead and Ord have identified a problem, it (...) is a misdiagnosis to lay it at the feet of an anti-discrimination principle. The problem in fact comes from a basic tension between respecting reasonable patient preferences and other ways of ranking treatment options. As such, adopting a QALY system does not solve the problem they identify. (shrink)

There is debate within the literature as to whether emotion dysregulation (ED) in Attention-Deficit Hyperactivity Disorder (ADHD) reflects deviant attentional mechanisms or atypical perceptual emotion processing. Previous reviews have reliably examined the nature of facial, but not vocal, emotion recognition accuracy in ADHD. The present meta-analysis quantified vocal emotion recognition (VER) accuracy scores in ADHD and controls using robust variance estimation, gathered from 21 published and unpublished papers. Additional moderator analyses were carried out to determine whether the nature (...) of VER accuracy in ADHD varied depending on emotion type. Findings revealed a medium effect size for the presence of VER deficits in ADHD, and moderator analyses showed VER accuracy in ADHD did not differ due to emotion type. These results support the theories which implicate the role of attentional mechanisms in driving VER deficits in ADHD. However, there is insufficient data within the behavioural VER literature to support the presence of emotion processing atypicalities in ADHD. Future neuro-imaging research could explore the interaction between attention and emotion processing in ADHD, taking into consideration ADHD subtypes and comorbidities. (shrink)

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals (...) help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art, namely that if one is going to do so they must ensure the pain has been ‘beautified’. In developing this second point I argue that emotional hardcore is well-suited (though not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

Sound moves us. Nowhere is this more apparent than in our responses to genuine emotional vocalizations, be they heartfelt distress cries or raucous laughter. Here, we present perceptual ratings and a description of a freely available, large database of natural affective vocal sounds from human infants, adults and domestic animals, the Oxford Vocal (OxVoc) Sounds database. This database consists of 173 non-verbal sounds expressing a range of happy, sad, and neutral emotional states. Ratings are presented for the sounds (...) on a range of dimensions from a number of independent participant samples. Perceptions related to valence, including distress, vocalizer mood, and listener mood are presented in Study 1. Perceptions of the arousal of the sound, listener motivation to respond and valence (positive, negative) are presented in Study 2. Perceptions of the emotional content of the stimuli in both Study 1 and 2 were consistent with the predefined categories (e.g., laugh stimuli perceived as positive). While the adult vocalizations received more extreme valence ratings, rated motivation to respond to the sounds was highest for the infant sounds. The major advantages of this database are the inclusion of vocalizations from naturalistic situations, which represent genuine expressions of emotion, and the inclusion of vocalizations from animals and infants, providing comparison stimuli for use in cross-species and developmental studies. The associated website provides a detailed description of the physical properties of each sound stimulus along with cross-category descriptions. (shrink)

This paper examines Kant’s metaphor of reason as an island in the Critique of Pure Reasonin order to suggest an unresolved tension at the heart of his critical project, which is addressed in a different way in his Religion within the Bounds of Bare Reason. That tension is between the transcendental circumscription of pure reason and reason’s on persistent pretensions to transcendence. Kant’s model of transcendence is contrasted with two phenomenological models that attempt to articulate the desiderative nature of reason. (...) Yet, precisely on this question of motivation differences between Husserl and Heidegger become clear and instructive. The paper concludes, in view of these differences, with a proposal for conceiving of transcendence in non-topological categories, but instead as the activity of questioning. Keywords: Transcendence, Heidegger, Husserl, Kant, Phenomenology. (shrink)

Vocal affect is a subcomponent of emotion programs that coordinate a variety of physiological and psychological systems. Emotional vocalizations comprise a suite of vocal behaviors shaped by evolution to solve adaptive social communication problems. The acoustic forms of vocal emotions are often explicable with reference to the communicative functions they serve. An adaptationist approach to vocal emotions requires that we distinguish between evolved signals and byproduct cues, and understand vocal affect as a collection of multiple (...) strategic communicative systems subject to the evolutionary dynamics described by signaling theory. We should expect variability across disparate societies in vocal emotion according to culturally evolved pragmatic rules, and universals in vocal production and perception to the extent that form–function relationships are present. (shrink)

An important form of innovation involves use of the voice in a new way, usually to solve some environmental problem. Vocal innovation occurs in humans and other animals, including chimpanzees. The framework outlined in the target article, appropriately modified, may permit new perspectives on the use of others as tools, especially by infants, and the evolution of speech and language.

In this study of the functionally referential alarm calls in the meerkats, we tested the hypothesis that the ability to refer to a specific location was an important factor in the evolution of discrete vocalizations. We investigated what information receivers gained about the location of the predator from alarm calls with high stimulus specificity compared to alarm calls with low stimulus specificity. Furthermore, we studied whether visual cues about the localization of the predator may be available from the posture of (...) the caller. We described the general behaviour of the caller, the caller’s posture, and in particular its gaze direction. We then observed receivers responding to the different call types, to determine whether the acoustic structure of the calls was enough for them to respond in the appropriate way, or whether they used additional visual cues from the caller. We tested this with specific manipulation experiments, using three set ups of playback experiments: no caller visible; model guard with specific gaze direction; and live sentinel. Natural observations and experiments confirmed that in high urgency situations the meerkats have enough information from the acoustic structure of the call to respond appropriately. When hearing low urgency calls that are less stimuli specific, meerkats used visual cues as an additional source of information in a few cases. This may indicate that functionally referential calls evolved to denote the location of the predator, rather than the predator type or its velocity of approach. However, when discussing this result in comparison to other functionally referential calls, such as the food associated calls and recruitment calls, this localization hypothesis does not appear to apply to the functionally referential calls in general. (shrink)

In his 1993 article George Bealer offers three separate arguments that are directed against the internal coherence of empiricism, specifically against Quine’s version of empiricism. One of these arguments is the starting points argument (SPA) and it is supposed to show that Quinean empiricism is incoherent. We argue here that this argument is deeply flawed, and we demonstrate how a Quinean may successfully defend his views against Bealer’s SPA. Our defense of Quinean empiricism against the SPA depends on showing (1) (...) that Bealer is, in an important sense, a foundationalist, and (2) that Quine is, in an important sense, a coherentist. Having established these two contentions we show that Bealer’s SPA begs the question against Quinean empiricists. (shrink)

Lehar proposes an interesting theory of visual perception based on an explicit three-dimensional representation of the world existing in the observer's head. However, if we apply Occam's razor to this proposal, it is possible to contemplate far simpler representations of the world. Such representations have the advantage that they agree with findings in modern neuroscience.

This study explores the use of deictic gestures, vocalizations and words compared to content-loaded, or representational gestures and words in children’s early one- and two-element utterances. We analyze the spontaneous production of four children, observed longitudinally from 10–12 to 24–25 months of age, focusing on the components of children’s utterances, the information encoded, and the temporal relationship between gestures and vocalizations or words that were produced in combination. Results indicate that while the gestural and vocal modalities are meaningfully and (...) temporally integrated form the earliest stages, deictic and representational elements are unevenly distributed in the gestural vs. the vocal modality, and in one vs. two-element utterances. The findings suggest that while gestural deixis plays a primary role in allowing children to define and articulate their vocal productions, representational skills appear to be markedly more constrained in the gestural as compared to the vocal modality. (shrink)