Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Facial expressions of emotion in speech and singing

Facial expressions of emotion in speech and singing An experiment dealing with the recognition of emotions in speech and in singing for two subject populations (opera amateurs and non-amateurs) was conducted to assess the respective roles of a professional singer's voice and facial expressions in the perception of emotions, and to determine how the audience decodes those emotions. The results of visual, auditory, and audiovisual perception tests showed that emotions expressed during speech were identified better than those expressed during singing. While facial expressions appear to play an important role, the voice proved to be a relatively poor conveyor of emotional information. When voice and facial expression were combined, the recognition of emotions improved slightly for speech but not for singing, where the acoustic cues of emotions are partially destroyed and therefore do not provide any additional information. Introduction How do opera singers manage to reconcile the physiological or functional facial movements required for vocal emission with their facial expressions aimed at conveying the range of human emotions that they must transmit to the public? Does the audience use a specific strategy to decode the emotions expressed by lyrical artists? Do spectators ignore the functional part of a facial expression and focus solely on the expressive http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique de Gruyter

Facial expressions of emotion in speech and singing

Download PDF
20 pages

Loading next page...
 
/lp/de-gruyter/facial-expressions-of-emotion-in-speech-and-singing-8OLnbbclqk

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
de Gruyter
Copyright
Copyright © 2004 by Walter de Gruyter GmbH & Co. KG
ISSN
0037-1998
eISSN
1613-3692
DOI
10.1515/semi.2004.036
Publisher site
See Article on Publisher Site

Abstract

An experiment dealing with the recognition of emotions in speech and in singing for two subject populations (opera amateurs and non-amateurs) was conducted to assess the respective roles of a professional singer's voice and facial expressions in the perception of emotions, and to determine how the audience decodes those emotions. The results of visual, auditory, and audiovisual perception tests showed that emotions expressed during speech were identified better than those expressed during singing. While facial expressions appear to play an important role, the voice proved to be a relatively poor conveyor of emotional information. When voice and facial expression were combined, the recognition of emotions improved slightly for speech but not for singing, where the acoustic cues of emotions are partially destroyed and therefore do not provide any additional information. Introduction How do opera singers manage to reconcile the physiological or functional facial movements required for vocal emission with their facial expressions aimed at conveying the range of human emotions that they must transmit to the public? Does the audience use a specific strategy to decode the emotions expressed by lyrical artists? Do spectators ignore the functional part of a facial expression and focus solely on the expressive

Journal

Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique – de Gruyter

Published: May 26, 2004

There are no references for this article.