Vocal expression of affect

By Patrik Juslin, Klaus R. Scherer. 2005

357 citations recorded by the source corpus.

Subfields: Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/ff1de6a2a60064241e940244bb80ebb75eccf99f

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In Experimental and Cognitive Psychology

Citations in the corpus

The Body Action and Posture Coding System (BAP): Development and Reliability (2012, methodology): “…1015 Lausanne, Switzerland e-mail: Nele.Dael@unil.ch J Nonverbal Behav (2012) 36:97–121 DOI 10.1007/s10919-012-0130-0 (Ekman and Friesen 1976, 1978; Ekman et al. 1971; Izard 1979, 1983), and refined techniques for speech analysis (Juslin and Scherer 2005; Scherer 1979, 1982; Scherer et al. 1991).”
What makes music emotionally significant? Exploring the underlying mechanisms (2014, background): “Moreover, vibrato contributes to a contagion reaction through its relationship to vocal expression of emotion (e.g., Juslin & Scherer, 2005).”
The Role of Perceived Voice and Speech Characteristics in Vocal Emotion Communication (2014, background): “…of distal acoustic cues such as amplitude, fundamental frequency (pitch), or spectral energy distribution have become more readily available (see Juslin and Scherer 2005), there is now a body of studies demonstrating that individual emotions can be characterized by configurations of acoustic…”
Social Psychological Face Perception: Why Appearance Matters. (2008, unknown): “…age, emotion, or familiarity, may also be specified in facial movement as well as in voices, bodies, or gesture (Ambadar, Schooler, & Cohen, 2005; Berry, 1990b; Burnham, 1993; de Gelder & Hadjikhani, 2006; Helfrich, 1979; Juslin & Scherer, 2005; Morrison, Gralewski, & Penton-Voak, 2006).”
Emotional reactions to music in a nationally representative sample of Swedish adults (2011, background): “Such synchronization is regarded as an important characteristic of emotions by many researchers (Juslin & Scherer, 2005).”
Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres (2011, methodology): “…capable of contributing to emotions in music has been provided by the brunswikian lens model (Juslin, 2000), according to which, communication may be accurate using multiple cues although the relative contribution of the cues will depend on the context (for an overview, see Juslin & Scherer, 2005).”
The ability to influence others via emotion displays (2011, background): “…of emotion are accompanied by public displays (Cacioppo, Petty, Losch, & Kim, 1986; Wagner, MacDonald, & Manstead, 1986), and that different emotions involve distinct muscle movements in the face (Darwin, 1872/1965; Ekman, 2003) and distinct acoustic features in the voice (Juslin & Scherer, 2005).”
Measures of emotion: A review (2009, unknown): “Scientific studies have examined this intuition most commonly by decomposing the acoustic waveform of speech and then assessing whether such acoustic properties are associated with the emotional state of the speaker (Juslin & Scherer, 2005).”
Human computing and machine understanding of human behavior: a survey (2006, background): “In contrast to the linguistic part of a spoken message (what has been said) [20], the nonlinguistic part of it (how it has been said) carries important information about the speaker’s affective state [29] and attitude [48].”
Vocal Expression of Emotions in Mammals: Mechanisms of Production and Evidence (2012, background): “Therefore, vocal correlates of emotions in animals could serve as an interesting, simplified model of human affective prosody and provide evidence of a phylogenetic continuity of emotion vocalizations (Scherer, 2003; Juslin & Scherer, 2005).”
The Sound of Trust: Voice as a Measurement of Trust During Interactions with Embodied Conversational Agents (2013, background): “A. C. Elkins, D. C. Derrick 2.4 Vocalics Vocalics refer to qualities of speech distinct from the verbal or linguistic content (Juslin and Scherer 2005).”
Affect Detection: An Interdisciplinary Review of Models, Methods, and Their Applications (2010, background): “The decoding of paralinguistic messages has not yet been fully understood, but listeners seem to be able to decode the basic emotions (particularly from prototypical and acted productions) using prosody [81] and nonlinguistic vocalizations (e.”
The Power of Voice: Managerial Affective States and Future Firm Performance (2012, background): “Juslin and Scherer (2005) review fifty years of research establishing that acoustic”
Single chords convey distinct emotional qualities to both naïve and expert listeners (2016, background): “…be culturally learned (e.g., Cazden, 1980; Lundin, 1947), others have posited that they are directly linked to psychoacoustic properties (e.g., Helmholtz, 1895/1980; Terhardt, 1974) whilst intermediate positions have also been proposed (Cook & Fujisawa, 2006; Crowder, 1984; Juslin & Scherer, 2005).”