ORCID Profile
0000-0002-2939-6358
Current Organisations
Queen's University
,
Toronto Metropolitan University
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Publisher: Frontiers Media SA
Date: 07-06-2016
Publisher: Frontiers Media SA
Date: 07-03-2014
Publisher: Informa UK Limited
Date: 12-2008
Publisher: University of California Press
Date: 12-2012
Abstract: We examined facial responses to audio-visual presentations of emotional singing. Although many studies have now found evidence for facial responses to emotional stimuli, most have involved static facial expressions and none have involved singing. Singing represents a dynamic ecologically valid emotional stimulus with unique demands on orofacial motion that are independent of emotion, related to pitch and linguistic production. Observers’ facial muscles were recorded with electromyography while they saw and heard recordings of a vocalist’s performance sung with different emotional intentions (happy, neutral, and sad). Audio-visual presentations successfully elicited facial mimicry in observers that were congruent with the performer’s intended emotions. Happy singing performances elicited increased activity in the zygomaticus major muscle region of observers, while sad performances evoked increased activity in the corrugator supercilii muscle region. These spontaneous facial muscle responses occurred within the first three seconds following onset of video presentation indicating that emotional nuances of singing performances can elicit dynamic facial responses from observers.
Publisher: University of California Press
Date: 09-2015
Abstract: Four experiments assessed the influence of emergent-level structure on melodic processing difficulty. Emergent-level structure was manipulated across experiments and defined with reference to the Implication-Realization model of melodic expectancy (Narmour, 1990, 1992, 2000). Two measures of melodic processing difficulty were used to assess the influence of emergent-level structure: serial-reconstruction and cohesion ratings. In the serial-reconstruction experiment (Experiment 1), reconstruction was more efficient for melodies with simple emergent-level structure. In the cohesion experiments (Experiments 2-4), ratings were higher for melodies with simple emergent-level structure, and the advantage was generally greater in the presence of simple surface-level structure. Results indicate that emergent-level structure as defined by the model can influence melodic processing difficulty.
Publisher: Springer Science and Business Media LLC
Date: 06-2010
DOI: 10.3758/PBR.17.3.317
Publisher: SAGE Publications
Date: 02-2011
DOI: 10.1080/17470218.2010.495408
Abstract: The ideomotor principle predicts that perception will modulate action where overlap exists between perceptual and motor representations of action. This effect is demonstrated with auditory stimuli. Previous perceptual evidence suggests that pitch contour and pitch distance in tone sequences may elicit tonal motion effects consistent with listeners’ implicit awareness of the lawful dynamics of locomotive bodies. To examine modulating effects of perception on action, participants in a continuation tapping task produced a steady tempo. Auditory tones were triggered by each tap. Pitch contour randomly and persistently varied within trials. Pitch distance between successive tones varied between trials. Although participants were instructed to ignore them, tones systematically affected finger dynamics and timing. Where pitch contour implied positive acceleration, the following tap and the intertap interval (ITI) that it completed were faster. Where pitch contour implied negative acceleration, the following tap and the ITI that it completed were slower. Tempo was faster with greater pitch distance. Musical training did not predict the magnitude of these effects. There were no generalized effects on timing variability. Pitch contour findings demonstrate how tonal motion may elicit the spontaneous production of accents found in expressive music performance.
Publisher: University of California Press
Date: 06-2009
Abstract: FACIAL EXPRESSIONS ARE USED IN MUSIC PERFORMANCE to communicate structural and emotional intentions. Exposure to emotional facial expressions also may lead to subtle facial movements that mirror those expressions. Seven participants were recorded with motion capture as they watched and imitated phrases of emotional singing. Four different participants were recorded using facial electromyography (EMG) while performing the same task. Participants saw and heard recordings of musical phrases sung with happy, sad, and neutral emotional connotations. They then imitated the target stimulus, paying close attention to the emotion expressed. Facial expressions were monitored during four epochs: (a) during the target (b) prior to their imitation (c) during their imitation and (d) after their imitation. Expressive activity was observed in all epochs, implicating a role of facial expressions in the perception, planning, production, and post-production of emotional singing.
Publisher: University of California Press
Date: 09-2019
Abstract: Note-to-note changes in brightness are able to influence the perception of interval size. Changes that are congruent with pitch tend to expand interval size, whereas changes that are incongruent tend to contract. In the case of singing, brightness of notes can vary as a function of vowel content. In the present study, we investigated whether note-to-note changes in brightness arising from vowel content influence perception of relative pitch. In Experiment 1, three-note sequences were synthesized so that they varied with regard to the brightness of vowels from note to note. As expected, brightness influenced judgments of interval size. Changes in brightness that were congruent with changes in pitch led to an expansion of perceived interval size. A follow-up experiment confirmed that the results of Experiment 1 were not due to pitch distortions. In Experiment 2, the final note of three-note sequences was removed, and participants were asked to make speeded judgments of the pitch contour. An analysis of response times revealed that brightness of vowels influenced contour judgments. Changes in brightness that were congruent with changes in pitch led to faster response times than did incongruent changes. These findings show that the brightness of vowels yields an extra-pitch influence on the perception of relative pitch in song.
Publisher: Springer Science and Business Media LLC
Date: 08-2010
Publisher: Public Library of Science (PLoS)
Date: 16-05-2018
Publisher: SAGE Publications
Date: 05-2007
DOI: 10.1068/P5435
Abstract: Striking changes in sensitivity to tonality across the pitch range are reported. Participants were presented a key-defining context (do-mi-do-sol) followed by one of the 12 chromatic tones of the octave, and rated the goodness of fit of the probe tone to the context. The set of ratings, called the probe-tone profile, was compared to an established standardised profile for the Western tonal hierarchy. The presentation of context and probe tones at low and high pitch registers resulted in significantly reduced sensitivity to tonality. Sensitivity was especially poor for presentations in the lowest octaves where inharmonicity levels were substantially above the threshold for detection. We propose that sensitivity to tonality may be influenced by pitch salience (or a co-varying factor such as exposure to pitch distributional information) as well as suprathreshold inharmonicity.
Publisher: SAGE Publications
Date: 09-2007
Publisher: ASA
Date: 2013
DOI: 10.1121/1.4799460
Start Date: 2009
End Date: 2016
Funder: Social Sciences and Humanities Research Council of Canada
View Funded ActivityStart Date: 2008
End Date: 2009
Funder: Social Sciences and Humanities Research Council of Canada
View Funded Activity