An experimental study of the pitch characteristics of the voice during the expression of emotion∗

Fairbanks, Grant; Pronovost, Wilbert

doi:10.1080/03637753909374863

Cited by 182 publications

(83 citation statements)

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“…At the time that we selected our parameters, parameter 6 (tremulousness) did not figure in the protocol used by Laver et al We included it in our inventory because of indications in the literature (Fairbanks & Pronovost, 1939) that this feature might be characteristic of some emotions in the stimulus material. It was later added by Laver et al to their scheme also, in the form of "tremor".…”

Section: Parametersmentioning

confidence: 99%

Characteristics and Recognizability of Vocal Expressions of Emotion

Bezooijen¹

1984

129

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Section: Parametersmentioning

confidence: 99%

Characteristics and Recognizability of Vocal Expressions of Emotion

Bezooijen¹

1984

129

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“…Only very few studies have attempted to measure objectively the acoustic cues used in vocal emotion expression (Fairbanks & Hoaglin, 1941;Van Bezooijen, 1984;WaUbott & Scherer, 1986b;Williams & Stevens, 1969, 1972. Unfortunately, such studies are beset by a number of methodological shortcomings which render the evaluation of the results rather difficult and often prevent the accumulation of findings.…”

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confidence: 99%

Vocal cues in emotion encoding and decoding

et al. 1991

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Decoding I This research examines the correspondence between theoretical predictions on vocal expression patterns in naturally occurring emotions (as based on the component process theory of emotion; Scherer, 1986) Research on the vocal expression of emotion lags significantly behind the study of facial affect expression. The reasons for this relative neglect are manifold (see Scherer, 1982Scherer, , 1986, for a detailed discussion of this problem). One of the most important factors is the difficulty of obtaining 1This research was supported by a grant from the Deutsche Forschungsgemeinschaft (Sehe 156/8-5). The authors acknowledge collaboration of Westdeutscher Rundfunk, Cologne, in producing professional versions of actor emotion portrayals, and thank

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“…A portion of the research described in this paper was presented at the 97th meeting of the Acoustical Society of America, in Cambridge, Massachusetts, in June 1979. Apple, 1977), sorrow and anger (Williams & Stevens, 1972), and contempt, fear, grief, and indifference (Fairbanks & Hoaglin, 1941;Fairbanks & Pronovost, 1939). Among the acoustic parameters studied, pitch and pitch range show the greatest emotion-dependent fluctuations and seem to be useful in listener's identification of the emotion: pitch and pitch range increase in anger, fear, and contempt, and decrease relative to normal in less active emotions like sorrow, grief, and indifference.…”

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confidence: 99%