Analyzing Emotion Expression in Singing via Flow Glottograms, Long-Term-Average Spectra, and Expert Listener Evaluation

Abstract

Background. Acoustic aspects of emotional expressivity in speech have been analyzed extensively during recent decades. Emotional coloring is an important if not the most important property of sung performance, and therefore strictly controlled. Hence, emotional expressivity in singing may promote a deeper insight into vocal signaling of emotions. Furthermore, physiological voice source parameters can be assumed to facilitate the understanding of acoustical characteristics. Method. Three highly experienced professional male singers sang scales on the vowel /ae/ or /a/ in 10 emotional colors (Neutral, Sadness, Tender, Calm, Joy, Contempt, Fear, Pride, Love, Arousal, and Anger). Sixteen voice experts classified the scales in a forced-choice listening test, and the result was compared with long-term-average spectrum (LTAS) parameters and with voice source parameters, derived from flow glottograms (FLOGG) that were obtained from inverse filtering the audio signal. Results. On the basis of component analysis, the emotions could be grouped into four "families", Anger-Contempt, Joy-Love-Pride, Calm-Tender-Neutral and Sad-Fear. Recognition of the intended emotion families by listeners reached accuracy levels far beyond chance level. For the LTAS and FLOGG parameters, vocal loudness had a paramount influence on all. Also after partialing out this factor, some significant correlations were found between FLOGG and LTAS parameters. These parameters could be sorted into groups that were associated with the emotion families. Conclusions. (i) Both LTAS and FLOGG parameters varied significantly with the enactment intentions of the singers. (ii) Some aspects of the voice source are reflected in LTAS parameters. (iii) LTAS parameters affect listener judgment of the enacted emotions and the accuracy of the intended emotional coloring.

Relationship of Cepstral Peak Prominence-Smoothed and Long-Term Average Spectrum with Auditory–Perceptual Analysis

“…We observed that when there are increased alpha ratio values (less negative values), the deviation degree of breathiness decreases. A possible explanation is when the vocal tract (filter) is inertive and the flow declination rate is faster than the glottis area declination rate, the voice is brighter and more projected, leading to a less steep spectral slope (i.e., more energy in harmonics above 1 kHz) [33,48,49]. It is important to highlight that the glottis must be normotensive and close properly.…”

CPPS and Voice-Source Parameters: Objective Analysis of the Singing Voice

“…28−30 While f o and intensity typically increase together in speech, singers are trained to independently control these parameters − some vocal works require a high f o and low sound intensity, and others the opposite, all for the sake of character portrayal and emotional expression. 31,32 Physiologically, these mechanisms are manifest in control of and interaction between subglottal pressure (P sub ), glottal adduction, and vocal-tract shaping (breath, voice source, and articulator coordination).…”

Comment: Advances in Studying the Vocal Expression of Emotion: Current Contributions and Further Options

“…In particular, FLOGG parameters significantly differentiate the fear/sadness family from the other three families, whereas the LTAS parameters significantly differentiate the anger/contempt families from the others. Both FLOGG and LTAS parameters are very consistent in that the fundamental affective dimension involved in both cases is the high versus low control/power/coping potential (Sundberg et al, 2020).…”