What, if any, similarities and differences between song and speech are consistent across cultures? Both song and speech are found in all known human societies and are argued to share evolutionary roots and cognitive resources, yet no studies have compared similarities and differences between song and speech across languages on a global scale. We will compare sets of matched song/speech recordings produced by our 81 coauthors whose 1st/heritage languages span 23 language families. Each recording set consists of singing, recited lyrics, and spoken description, plus an optional instrumental version of the sung melody to allow us to capture a “musi-linguistic continuum” from instrumental music to naturalistic speech. Our literature review and pilot analysis using five audio recording sets (by speakers of Japanese, English, Farsi, Yoruba, and Marathi) led us to make six predictions for confirmatory analysis comparing song vs. spoken descriptions: three consistent differences and three consistent similarities. For differences, we predict that: 1) songs will have higher pitch than speech, 2) songs will be slower than speech, and 3) songs will have more stable pitch than speech. For similarities, we predict that 4) pitch interval size, 5) timbral brightness, and 6) pitch declination will be similar for song and speech. Because our opportunistic language sample (approximately half are Indo-European languages) and unusual design involving coauthors as participants (approximately 1/5 of coauthors had some awareness of our hypotheses when we recorded our singing/speaking) could affect our results, we will include robustness analyses to ensure our conclusions are robust to these biases, should they exist. Other features (e.g., rhythmic isochronicity, loudness) and comparisons involving instrumental melodies and recited lyrics will be investigated through post-hoc exploratory analyses. Our sample size of n=80 people providing sung/spoken recordings already exceeds the required number of recordings (i.e. 60) to achieve 95% power with the alpha level of 0.05 for the hypothesis testing of the selected six features. Our study will provide diverse cross-linguistic empirical evidence regarding the existence of cross-cultural regularities in song and speech, shed light on factors shaping humanity’s two universal vocal communication forms, and provide rich cross-cultural data to generate new hypotheses and inform future analyses of other factors (e.g., functional context, sex, age, musical/linguistic experience) that may shape global musical and linguistic diversity.

Subvocalization has been described as a series of attenuated movements of the vocal tract during silent reading and imagination. This two-part study investigated covert laryngeal activations among singers during the perception and imagination of music and text. In the first part, 155 singers responded to an online survey investigating their self-perceived corporal activation when listening to live or recorded singing. Respondents reported frequent corporal activation in their larynx and other body parts in response to live singing and, to a lesser extent, recordings. In the second part, an exploratory experiment was conducted to investigate physiological correlates of subvocalization in singers during the perception and imagery of melody and text stimuli, using simultaneous measurements of laryngeal activation both externally, with surface electromyography, and internally, with nasolaryngoscopy. Experimental results indicate the occurrence of subvocalization during imagination—but not during listening—of both stimuli and suggest that laryngoscopy is more sensitive to detection of subvocalization in singers. The results may point to vocal resonance or empathy in the perception of singers.

Singing is ubiquitous and highly relevant to human experience, but what governs our singing voice preferences is not understood. We take an empirical approach to determine the extent to which listeners’ liking of singing performances can be traced back to objective attributes of the voice stimuli. We show that which singing voices are liked cannot be explained based on purely acoustic features of the voice signal. Instead, perceptual features (partially) ground singing voice preferences, with a significant proportion of the variance in liking ratings explained based on perceptual features, such as (perceived) pitch accuracy, resonance, and articulation of singing performances.

Testing contexts have been shown to critically influence experimental results in psychophysical studies. One of these contexts that show important modulation of the behavioral effects of different stimulatory conditions is the separate (blocked) or mixed presentation of these stimulatory conditions. The study presents evidence that the apparent discriminabilities of two target stimuli can change according to which of these two testing contexts is used. A cross inside a ring and a vertical line inside a ring were presented as go stimuli in a go/no-go reaction time task. In one experiment, each of these stimuli was presented to a different group of volunteers and in another experiment they were presented to the same group of volunteers, randomly mixed in the blocks of trials. Similar reaction times were obtained for the two stimuli in the first experiment, and different reaction times (faster for the cross) in the second experiment. The latter result indicates that the two stimuli have different discriminabilities from the no-go stimulus; the cross having greater discriminability. This difference is however masked, presumably by the adoption of specific compensatory attentional sets, in a separate testing context.