TY - JOUR
T1 - Emotional communication in speech and music
T2 - The role of melodic and rhythmic contrasts
AU - Quinto, Lena
AU - Thompson, William Forde
AU - Keating, Felicity Louise
N1 - Copyright the Author/s. This Document is protected by copyright and was first published by Frontiers. All rights reserved. It is reproduced with permission.
PY - 2013
Y1 - 2013
N2 - Many acoustic features convey emotion similarly in speech and music. Researchers have established that acoustic features such as pitch height, tempo, and intensity carry important emotional information in both domains. In this investigation, we examined the emotional significance of melodic and rhythmic contrasts between successive syllables or tones in speech and music, referred to as Melodic Interval Variability (MIV) and the normalized PairwiseVariability Index (nPVI). The spoken stimuliwere 96 tokens expressing the emotions of irritation, fear, happiness, sadness, tenderness, or no emotion. The music stimuli were 96 phrases, played with or without performance expression and composed with the intention of communicating the same emotions. Results showed that nPVI, but not MIV, operates similarly in music and speech. Spoken stimuli, but not musical stimuli, were characterized by changes in MIV as a function of intended emotion. The results suggest that these measures may signal emotional intentions differently in speech and music.
AB - Many acoustic features convey emotion similarly in speech and music. Researchers have established that acoustic features such as pitch height, tempo, and intensity carry important emotional information in both domains. In this investigation, we examined the emotional significance of melodic and rhythmic contrasts between successive syllables or tones in speech and music, referred to as Melodic Interval Variability (MIV) and the normalized PairwiseVariability Index (nPVI). The spoken stimuliwere 96 tokens expressing the emotions of irritation, fear, happiness, sadness, tenderness, or no emotion. The music stimuli were 96 phrases, played with or without performance expression and composed with the intention of communicating the same emotions. Results showed that nPVI, but not MIV, operates similarly in music and speech. Spoken stimuli, but not musical stimuli, were characterized by changes in MIV as a function of intended emotion. The results suggest that these measures may signal emotional intentions differently in speech and music.
UR - http://www.scopus.com/inward/record.url?scp=84892368628&partnerID=8YFLogxK
U2 - 10.3389/fpsyg.2013.00184
DO - 10.3389/fpsyg.2013.00184
M3 - Article
C2 - 23630507
AN - SCOPUS:84892368628
SN - 1664-1078
VL - 4
SP - 1
EP - 8
JO - Frontiers in Psychology
JF - Frontiers in Psychology
M1 - 184
ER -