Review of Bestelmeyer et al.Humans express emotions in many different ways. Facial expressions, body postures, or vocal cues, for instance, communicate a wealth of information about others' emotional states. While the adaptive significance of these multiple cues has long been acknowledged (Darwin, 1872(Darwin, /2009), facial expressions have historically received more research attention than expressions via other channels. The interest in vocal emotions is increasing, but mostly focused on speech prosody, i.e., voice modulations in speech. Vocal communication does, however, additionally encompass diverse nonverbal vocalizations, such as laughter, sobs, or screams. Accounting for these signals is crucial for a complete understanding of vocal emotions.In a recent study published in The Journal of Neuroscience, Bestelmeyer et al. (2014) provide new knowledge on this issue by demonstrating that nonspeech vocalizations are processed in multiple steps involving distinct brain networks: bilateral auditory cortices responded to vocalizations' low-level acoustic features, and a wider network including the anterior insulae and prefrontal systems processed higher-order evaluative aspects. While current models of vocal affect perception predict such a multistep processing of vocal emotions (Schirmer and Kotz, 2006; Brück et al., 2011), empirical evidence for this has been relatively sparse and limited to speech prosody. These new findings thus form an important contribution to the field.
Multiple steps in the processing of vocal emotionsThe findings of Bestelmeyer et al. (2014) are based on a forced-choice emotion categorization task of vocalizations that were morphed on continua between anger and fear. The task was performed by 19 participants in a magnetic resonance imaging scanner, using a continuous carry-over design (Aguirre, 2007) to examine how neural responses to a given vocalization were modulated by the features of the previously presented one: attenuated responses were expected when the preceding vocalization shared a dimension of interest (acoustic features, perceptual/evaluative aspects) versus when it differed (adaptation or "carry-over" effects). The experiment included six different sequences of 65 stimuli, each including eight items consisting of seven morph steps of a continuum between anger and fear, and a silent null event (the first item was repeated nine times per sequence, and the remaining ones were repeated eight times; a given item was preceded and followed by every other items an equal number of times). The authors build upon previous behavioral evidence of auditory aftereffects for vocal expressions, which are suggestive of neural adaptation phenomena for vocal emotion categories (Bestelmeyer et al., 2010).To separate low-level acoustic from higher-order evaluative processes, an index of "physical difference" was computed based on the absolute difference in morph steps between each vocalization and the preceding one. An index of "perceptual difference" was also computed, corresponding to t...