Perception of the Emotional Content of Speech by Canadian and Mexican Children, Adolescents, and Adults

McCluskey, Ken W.; Albas, Daniel

doi:10.1080/00207598108247409

Cited by 29 publications

(16 citation statements)

References 14 publications

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“…In a cross-sectional study, Brosgole and Weisman (1995) found that the ability to decode emotions from vocal expression and music improved during childhood and remained asymptotic through age 43. Then, it began to decline from middle age onward (see also McCluskey & Albas, 1981). It is hard to determine whether emotion decoding occurs in children younger than 2 years old, as they are unable to talk about their experiences.…”

Section: Table 4 Summary Of Results From Meta-analysis Of Decoding Acmentioning

confidence: 99%

Communication of emotions in vocal expression and music performance: Different channels, same code?

Juslin¹,

Laukka²

2003

Psychological Bulletin

1,369

108

1,350

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Many authors have speculated about a close relationship between vocal expression of emotions and musical expression of emotions. but evidence bearing on this relationship has unfortunately been lacking. This review of 104 studies of vocal expression and 41 studies of music performance reveals similarities between the 2 channels concerning (a) the accuracy with which discrete emotions were communicated to listeners and (b) the emotion-specific patterns of acoustic cues used to communicate each emotion. The patterns are generally consistent with K. R. Scherer's (1986) theoretical predictions. The results can explain why music is perceived as expressive of emotion, and they are consistent with an evolutionary perspective on vocal expression of emotions. Discussion focuses on theoretical accounts and directions for future research.

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Section: Table 4 Summary Of Results From Meta-analysis Of Decoding Acmentioning

confidence: 99%

Communication of emotions in vocal expression and music performance: Different channels, same code?

Juslin¹,

Laukka²

2003

Psychological Bulletin

1,369

108

1,350

View full text Add to dashboard Cite

show abstract

“…Hall, 1978Hall, , 1984. Emotion recognition also tends to grow more accurate with age (Izard, 1971;Nowicki & Duke, 2001;, with a leveling off beyond about 25 years of age (McCluskey & Albas, 1981). For 6 participants who did not report their age, analyses substituted the mean age of 19.6 years on the basis of the remaining 63 participants.…”

Section: Methodsmentioning

confidence: 99%

Predicting workplace outcomes from the ability to eavesdrop on feelings.

Elfenbein¹,

Ambady

2002

Journal of Applied Psychology

153

131

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Emotion recognition, the most reliably validated component within the construct of emotional intelligence, is a complicated skill. Although emotion recognition skill is generally valued in the workplace, "eavesdropping," or relatively better recognition ability with emotions expressed through the less controllable "leaky" nonverbal channels, can have detrimental social and workplace consequences. In light of theory regarding positive emotion in organizations, as well as research on the consequences of perceiving negative information, the authors hypothesized and found an interaction between nonverbal channel and emotional valence in predicting workplace ratings from colleagues and supervisors. Ratings were higher for eavesdropping ability with positive emotion and lower for eavesdropping ability with negative emotion. The authors discuss implications for the complexity of interventions associated with emotional intelligence in workplace settings.

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“…While some studies report an ingroup advantage (Albas et al, 1976;Sauter et al, 2010), others fail to do so (McCluskey & Albas, 1981;McCluskey et al, 1975). In the current work, we aimed to further test the in-group advantage hypothesis using a quasi-balanced design by comparing the ability of Chinese and British individuals to recognise emotional prosodic displays used by Chinese (Chinese speaking) and British (English speaking) speakers while addressing several methodological shortcomings of previous work in the following ways.…”

Section: All Against Allmentioning

confidence: 97%

Cross-cultural emotional prosody recognition: Evidence from Chinese and British listeners

Paulmann

Üskül

2013

Cognition and Emotion

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This cross-cultural study of emotional tone of voice recognition tests the in-group advantage hypothesis (Elfenbein & Ambady, 2002) employing a quasi-balanced design. Individuals of Chinese and British background were asked to recognise pseudosentences produced by Chinese and British native speakers, displaying one of seven emotions (anger, disgust, fear, happy, neutral tone of voice, sad, and surprise). Findings reveal that emotional displays were recognised at rates higher than predicted by chance; however, members of each cultural group were more accurate in recognising the displays communicated by a member of their own cultural group than a member of the other cultural group. Moreover, the evaluation of error matrices indicates that both culture groups relied on similar mechanism when recognising emotional displays from the voice. Overall, the study reveals evidence for both universal and culture-specific principles in vocal emotion recognition.

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Perception of the Emotional Content of Speech by Canadian and Mexican Children, Adolescents, and Adults

Cited by 29 publications

References 14 publications

Communication of emotions in vocal expression and music performance: Different channels, same code?

Communication of emotions in vocal expression and music performance: Different channels, same code?

Predicting workplace outcomes from the ability to eavesdrop on feelings.

Cross-cultural emotional prosody recognition: Evidence from Chinese and British listeners

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