Facial Expressions and Emotional Singing: A Study of Perception and Production with Motion Capture and Electromyography

Livingstone, Steven R.; Thompson, William Forde; Russo, Frank A.

doi:10.1525/mp.2009.26.5.475

Cited by 57 publications

(61 citation statements)

References 75 publications

(71 reference statements)

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“…' (p. 238) In the study presented here, it was hypothesized that if participants rated higher degrees of empathy, differences between recognition and felt ratings would decrease. Studies on emotional contagion sometimes access expressive facial muscle activation in listeners observing a performer (Livingstone, Thompson, & Russo, 2009). However, during music listening without visual display of performers' movements, measurement of internal mimicking of movements remains difficult.…”

Section: Empathy Emotional Contagion and Music Listeningmentioning

confidence: 99%

Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening

Egermann

McAdams

2012

Music Perception

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PREVIOUS STUDIES HAVE SHOWN THAT THERE ISa difference between recognized and induced emotion in music listening. In this study, empathy is tested as a possible moderator between recognition and induction that is, on its own, moderated via music preference evaluations and other individual and situational features. Preference was also tested to determine whether it had an effect on measures of emotion independently from emotional expression. A web-based experiment gathered from 3,164 music listeners emotion, empathy, and preference ratings in a between-subjects design embedded in a music-personality test. Stimuli were a sample of 23 musical excerpts (each 30 seconds long, five randomly assigned to each participant) from various musical styles chosen to represent different emotions and preferences. Listeners in the recognition rating condition rated measures of valence and arousal significantly differently than listeners in the felt rating condition. Empathy ratings were shown to modulate this relationship: when empathy was present, the difference between the two rating types was reduced. Furthermore, we confirmed preference as one major predictor of empathy ratings. Emotional contagion was tested and confirmed as an additional direct effect of emotional expression on induced emotions. This study is among the first to explicitly test empathy and emotional contagion during music listening, helping to explain the oftenreported emotional response to music in everyday life.

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Section: Empathy Emotional Contagion and Music Listeningmentioning

confidence: 99%

Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening

Egermann

McAdams

2012

Music Perception

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“…Most recently, facial expressions in emotional singing may also use this code. Livingstone, Thompson, and Russo (2009) reported that singers' emotional intentions could be identified from specific facial features. Speech and music share many of the same features when expressing similar emotions (Juslin and Laukka 2003).…”

mentioning

confidence: 99%

Changing Musical Emotion: A Computational Rule System for Modifying Score and Performance

Livingstone

Muhlberger

Brown³

et al. 2010

Computer Music Journal

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Composers and performers communicate emotional intentions through the control of basic musical features such as pitch, loudness, and articulation. The extent to which emotion can be controlled by software through the systematic manipulation of these features has not been fully examined. To address this, we present CMERS, a Computational Music Emotion Rule System for the real-time control of musical emotion that modifies features at both the score level and the performance level. In Experiment 1, 20 participants continuously rated the perceived emotion of works each modified to express happy, sad, angry, tender, and normal. Intended emotion was identified correctly at 78%, with valence and arousal significantly shifted regardless of the works' original emotions. Existing systems developed for expressive performance, such as Director Musices (DM), focus on modifying features of performance. To study emotion more broadly, CMERS modifies features of both score and performance. In Experiment 2, 18 participants rated music works modified by CMERS and DM to express five emotions. CMERS's intended emotion was correctly identified at 71%, DM at 49%. CMERS achieved significant shifts in valence and arousal, DM in arousal only. These results suggest that features of the score are important for controlling valence. The effects of musical training on emotional identification accuracy are also discussed.

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“…Although musicians may be more focused on communicating the emotion in the production phase, production constraints associated with singing might limit the capacity of singers to express emotion through movements of the mouth. The findings of Livingstone et al (2009) suggest that the pre- and post-production epochs contain important movement information that singers use to communicate emotion through facial expressions made before and after singing. Perceivers appear to mimic the emotional expressions of singers (see also Chan et al, 2013) but it is unclear whether perceivers can use this information to accurately decode the intended emotion based solely on the motion information conveyed in point-light displays.…”

Section: Methodsmentioning

confidence: 99%

Singing emotionally: a study of pre-production, production, and post-production facial expressions

et al. 2014

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Singing involves vocal production accompanied by a dynamic and meaningful use of facial expressions, which may serve as ancillary gestures that complement, disambiguate, or reinforce the acoustic signal. In this investigation, we examined the use of facial movements to communicate emotion, focusing on movements arising in three epochs: before vocalization (pre-production), during vocalization (production), and immediately after vocalization (post-production). The stimuli were recordings of seven vocalists' facial movements as they sang short (14 syllable) melodic phrases with the intention of communicating happiness, sadness, irritation, or no emotion. Facial movements were presented as point-light displays to 16 observers who judged the emotion conveyed. Experiment 1 revealed that the accuracy of emotional judgment varied with singer, emotion, and epoch. Accuracy was highest in the production epoch, however, happiness was well communicated in the pre-production epoch. In Experiment 2, observers judged point-light displays of exaggerated movements. The ratings suggested that the extent of facial and head movements was largely perceived as a gauge of emotional arousal. In Experiment 3, observers rated point-light displays of scrambled movements. Configural information was removed in these stimuli but velocity and acceleration were retained. Exaggerated scrambled movements were likely to be associated with happiness or irritation whereas unexaggerated scrambled movements were more likely to be identified as “neutral.” An analysis of singers' facial movements revealed systematic changes as a function of the emotional intentions of singers. The findings confirm the central role of facial expressions in vocal emotional communication, and highlight individual differences between singers in the amount and intelligibility of facial movements made before, during, and after vocalization.

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Facial Expressions and Emotional Singing: A Study of Perception and Production with Motion Capture and Electromyography

Cited by 57 publications

References 75 publications

Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening

Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening

Changing Musical Emotion: A Computational Rule System for Modifying Score and Performance

Singing emotionally: a study of pre-production, production, and post-production facial expressions

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