Emotion and Adaptation

The measurement of meaning

Automated analysis of human affective behavior has attracted increasing attention from researchers in psychology, computer science, linguistics, neuroscience, and related disciplines. However, the existing methods typically handle only deliberately displayed and exaggerated expressions of prototypical emotions despite the fact that deliberate behaviour differs in visual appearance, audio profile, and timing from spontaneously occurring behaviour. To address this problem, efforts to develop algorithms that can process naturally occurring human affective behaviour have recently emerged. Moreover, an increasing number of efforts are reported toward multimodal fusion for human affect analysis including audiovisual fusion, linguistic and paralinguistic fusion, and multi-cue visual fusion based on facial expressions, head movements, and body gestures. This paper introduces and surveys these recent advances. We first discuss human emotion perception from a psychological perspective. Next we examine available approaches to solving the problem of machine understanding of human affective behavior, and discuss important issues like the collection and availability of training and test data. We finally outline some of the scientific and engineering challenges to advancing human affect sensing technology.

A Survey of Affect Recognition Methods: Audio, Visual, and Spontaneous Expressions

(1998). Human cognitive abilities: A survey of factor analytic studies. Gifted and Talented International: Vol. 13, No. 2, pp. 97-98.

Human cognitive abilities: A survey of factor analytic studies

Researchers have wondered how the brain creates emotions since the early days of psychological science. With a surge of studies in affective neuroscience in recent decades, scientists are poised to answer this question. In this target article, we present a meta-analytic summary of the neuroimaging literature on human emotion. We compare the locationist approach (i.e., the hypothesis that discrete emotion categories consistently and specifically correspond to distinct brain regions) with the psychological constructionist approach (i.e., the hypothesis that discrete emotion categories are constructed of more general brain networks not specific to those categories) to better understand the brain basis of emotion. We review both locationist and psychological constructionist hypotheses of brain-emotion correspondence and report meta-analytic findings bearing on these hypotheses. Overall, we found little evidence that discrete emotion categories can be consistently and specifically localized to distinct brain regions. Instead, we found evidence that is consistent with a psychological constructionist approach to the mind: A set of interacting brain regions commonly involved in basic psychological operations of both an emotional and non-emotional nature are active during emotion experience and perception across a range of discrete emotion categories.

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The brain basis of emotion: A meta-analytic review

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

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.

/pdf/emotional-responses-to-music-the-need-to-consider-underlying-592kszluvl.pdf

Emotional responses to music: The need to consider underlying mechanisms

In this article, we provide an up-to-date overview of theory and research concerning expression, perception, and induction of emotion in music. We also provide a critique of this research, noting t ...

Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening

PART I: OVERTURE PART II: MULTIDISCIPLINARY PERSPECTIVES PART III: MEASUREMENT PART IV: MUSIC MAKING PART V: MUSIC LISTENING PART VI: DEVELOPMENT, PERSONALITY AND SOCIAL FACTORS PART VII: APPLICATIONS PART VIII: ENCORE

Handbook of Music and Emotion: Theory, Research, Applications

Nine professional musicians were instructed to perform short melodies using various instruments - the violin, electric guitar, flute, and singing voice - so as to communicate specific emotional characters to listeners. The performances were first validated by having listeners rating the emotional expression and then analysed with regard to their physical characteristics, e.g. tempo, dynamics, timing, and spectrum. The main findings were that (a) the performer's expressive intention had a marked effect on all analysed variables; (b) the performers showed many similarities as well as individual differences in emotion encoding; (c) listeners were generally successful in decoding the intended expression; and (d) some emotional characters seemed easier to communicate than others. The reported results imply that we are unlikely to find performance rules independent of instrument, musical style, performer, or listener.

Patrik N. Juslin

Papers

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

Emotional responses to music: The need to consider underlying mechanisms

Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening

Handbook of Music and Emotion: Theory, Research, Applications

Emotional Expression in Music Performance: Between the Performer's Intention and the Listener's Experience: