PMID- 29478708
OWN - NLM
STAT- MEDLINE
DCOM- 20200120
LR  - 20200120
IS  - 1873-4588 (Electronic)
IS  - 0892-1997 (Linking)
VI  - 33
IP  - 4
DP  - 2019 Jul
TI  - Emotion Recognition From Singing Voices Using Contemporary Commercial Music and 
      Classical Styles.
PG  - 501-509
LID - S0892-1997(17)30405-8 [pii]
LID - 10.1016/j.jvoice.2018.01.012 [doi]
AB  - OBJECTIVES: This study examines the recognition of emotion in contemporary 
      commercial music (CCM) and classical styles of singing. This information may be 
      useful in improving the training of interpretation in singing. STUDY DESIGN: This 
      is an experimental comparative study. METHODS: Thirteen singers (11 female, 2 
      male) with a minimum of 3 years' professional-level singing studies (in CCM or 
      classical technique or both) participated. They sang at three pitches (females: 
      a, e1, a1, males: one octave lower) expressing anger, sadness, joy, tenderness, 
      and a neutral state. Twenty-nine listeners listened to 312 short (0.63- to 
      4.8-second) voice samples, 135 of which were sung using a classical singing 
      technique and 165 of which were sung in a CCM style. The listeners were asked 
      which emotion they heard. Activity and valence were derived from the chosen 
      emotions. RESULTS: The percentage of correct recognitions out of all the answers 
      in the listening test (N = 9048) was 30.2%. The recognition percentage for the 
      CCM-style singing technique was higher (34.5%) than for the classical-style 
      technique (24.5%). Valence and activation were better perceived than the emotions 
      themselves, and activity was better recognized than valence. A higher pitch was 
      more likely to be perceived as joy or anger, and a lower pitch as sorrow. Both 
      valence and activation were better recognized in the female CCM samples than in 
      the other samples. CONCLUSIONS: There are statistically significant differences 
      in the recognition of emotions between classical and CCM styles of singing. 
      Furthermore, in the singing voice, pitch affects the perception of emotions, and 
      valence and activity are more easily recognized than emotions.
CI  - Copyright (c) 2018 The Voice Foundation. Published by Elsevier Inc. All rights 
      reserved.
FAU - Hakanpaa, Tua
AU  - Hakanpaa T
AD  - Speech and Voice Research Laboratory, Faculty of Education, University of 
      Tampere, Tampere, Finland. Electronic address: Hakanpaa.tua.s@student.uta.fi.
FAU - Waaramaa, Teija
AU  - Waaramaa T
AD  - Speech and Voice Research Laboratory, Faculty of Education, University of 
      Tampere, Tampere, Finland; Faculty of Communication Sciences, University of 
      Tampere, Tampere, Finland.
FAU - Laukkanen, Anne-Maria
AU  - Laukkanen AM
AD  - Speech and Voice Research Laboratory, Faculty of Education, University of 
      Tampere, Tampere, Finland.
LA  - eng
PT  - Comparative Study
PT  - Journal Article
DEP - 20180222
PL  - United States
TA  - J Voice
JT  - Journal of voice : official journal of the Voice Foundation
JID - 8712262
SB  - IM
MH  - Adult
MH  - *Auditory Perception
MH  - Cues
MH  - *Emotions
MH  - Female
MH  - Humans
MH  - Male
MH  - Pitch Perception
MH  - *Recognition, Psychology
MH  - *Singing
MH  - *Voice Quality
MH  - Young Adult
OTO - NOTNLM
OT  - Emotion expression
OT  - Perception
OT  - Singing style
OT  - Song genre
OT  - Voice quality
EDAT- 2018/02/27 06:00
MHDA- 2020/01/21 06:00
CRDT- 2018/02/27 06:00
PHST- 2017/08/29 00:00 [received]
PHST- 2018/01/16 00:00 [accepted]
PHST- 2018/02/27 06:00 [pubmed]
PHST- 2020/01/21 06:00 [medline]
PHST- 2018/02/27 06:00 [entrez]
AID - S0892-1997(17)30405-8 [pii]
AID - 10.1016/j.jvoice.2018.01.012 [doi]
PST - ppublish
SO  - J Voice. 2019 Jul;33(4):501-509. doi: 10.1016/j.jvoice.2018.01.012. Epub 2018 Feb 
      22.