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From only a single spoken word, listeners can form a wealth of first impressions of a person's character traits and personality based on their voice. However, due to the substantial within‐person variability in voices, these trait judgements are likely to be highly stimulus‐dependent for unfamiliar voices: The same person may sound very trustworthy in one recording but less trustworthy in another. How trait judgements differ when listeners are familiar with a voice is unclear: Are listeners who are familiar with the voices as susceptible to the effects of within‐person variability? Does the semantic knowledge listeners have about a familiar person influence their judgements? In the current study, we tested the effect of familiarity on listeners' trait judgements from variable voices across 3 experiments. Using a between‐subjects design, we contrasted trait judgements by listeners who were familiar with a set of voices – either through laboratory‐based training or through watching a TV show – with listeners who were unfamiliar with the voices. We predicted that familiarity with the voices would reduce variability in trait judgements for variable voice recordings from the same identity (cf. Mileva, Kramer & Burton, Perception, 48, 471 and 2019, for faces). However, across the 3 studies and two types of measures to assess variability, we found no compelling evidence to suggest that trait impressions were systematically affected by familiarity. [ABSTRACT FROM AUTHOR]

We investigated the effects of two types of task instructions on performance on a voice sorting task by listeners who were either familiar or unfamiliar with the voices. Listeners were asked to sort 15 naturally varying stimuli from two voice identities into perceived identities. Half of the listeners sorted the recordings freely into as many identities as they perceived; the other half were forced to sort stimuli into two identities only. As reported in previous studies, unfamiliar listeners formed more clusters than familiar listeners. Listeners therefore perceived different naturally varying stimuli from the same identity as coming from different identities, while being highly accurate at telling apart the stimuli from different voices. We further show that a change in task instructions – forcing listeners to sort stimuli into two identities only – helped unfamiliar listeners to overcome this selective failure at 'telling people together'. This improvement, however, came at the cost of an increase in errors in telling people apart. For familiar listeners, similar non‐significant trends were apparent. Therefore, even when informed about correct number of identities, listeners may fail to accurately perceive identity further highlighting that voice identity perception in the context of natural within‐person variability is a challenging task. We discuss our results in terms of similarities and differences to findings in the face perception literature and their importance in applied settings, such as forensic voice identification. [ABSTRACT FROM AUTHOR]

We present an investigation of the perception of authenticity in audiovisual laughter, in which we contrast spontaneous and volitional samples and examine the contributions of unimodal affective information to multimodal percepts. In a pilot study, we demonstrate that listeners perceive spontaneous laughs as more authentic than volitional ones, both in unimodal (audio-only, visual-only) and multimodal contexts (audiovisual). In the main experiment, we show that the discriminability of volitional and spontaneous laughter is enhanced for multimodal laughter. Analyses of relationships between affective ratings and the perception of authenticity show that, while both unimodal percepts significantly predict evaluations of audiovisual laughter, it is auditory affective cues that have the greater influence on multimodal percepts. We discuss differences and potential mismatches in emotion signalling through voices and faces, in the context of spontaneous and volitional behaviour, and highlight issues that should be addressed in future studies of dynamic multimodal emotion processing. [ABSTRACT FROM AUTHOR]

Our voices sound different depending on the context (laughing vs. talking to a child vs. giving a speech), making within‐person variability an inherent feature of human voices. When perceiving speaker identities, listeners therefore need to not only 'tell people apart' (perceiving exemplars from two different speakers as separate identities) but also 'tell people together' (perceiving different exemplars from the same speaker as a single identity). In the current study, we investigated how such natural within‐person variability affects voice identity perception. Using voices from a popular TV show, listeners, who were either familiar or unfamiliar with this show, sorted naturally varying voice clips from two speakers into clusters to represent perceived identities. Across three independent participant samples, unfamiliar listeners perceived more identities than familiar listeners and frequently mistook exemplars from the same speaker to be different identities. These findings point towards a selective failure in 'telling people together'. Our study highlights within‐person variability as a key feature of voices that has striking effects on (unfamiliar) voice identity perception. Our findings not only open up a new line of enquiry in the field of voice perception but also call for a re‐evaluation of theoretical models to account for natural variability during identity perception. [ABSTRACT FROM AUTHOR]

It is well established that categorising the emotional content of facial expressions may differ depending on contextual information. Whether this malleability is observed in the auditory domain and in genuine emotion expressions is poorly explored. We examined the perception of authentic laughter and crying in the context of happy, neutral and sad facial expressions. Participants rated the vocalisations on separate unipolar scales of happiness and sadness and on arousal. Although they were instructed to focus exclusively on the vocalisations, consistent context effects were found: For both laughter and crying, emotion judgements were shifted towards the information expressed by the face. These modulations were independent of response latencies and were larger for more emotionally ambiguous vocalisations. No effects of context were found for arousal ratings. These findings suggest that the automatic encoding of contextual information during emotion perception generalises across modalities, to purely non-verbal vocalisations, and is not confined to acted expressions. [ABSTRACT FROM PUBLISHER]

The article offers information on a study about vocal emotions and communication, highlighting several significant signals which are considered crucial for a complete understanding of vocal emotions including nonverbal vocalizations which include laughter, sobs, and screams. Information concerning various steps in the processing of vocal emotions is presented. Details about bilateral auditory cortices as well as neuroimaging data are mentioned.

Misalignment between second language (L2) self-perception and actual ability is often observed among L2 learners. In order to further understand this phenomenon, the current study investigated how the roles of individual differences (IDs; especially experiential and cognitive IDs) influence the learners' self-assessment accuracy. To this end, L2 speech samples elicited from 97 Japanese learners of English were analyzed via self-evaluation and expert evaluations. Subsequently, learners' IDs profiles, including working memory, phonological memory, implicit learning and auditory processing, were linked to (a) the gap between self- and expert evaluation scores and (b) the type of inaccurate self-evaluation (i.e., overconfident vs. underconfident evaluations). The study illustrates the complex relationships between L2 learners' linguistic knowledge, cognitive abilities, experiential profiles and self-perception. [ABSTRACT FROM AUTHOR]

This article investigates the use of the voice by five Black opera and musical theatre performers. The performers discuss the approaches that they take in the representation of music that requires integrated vocality, which amalgamates elements from Western classical vocalism and stylistic genres of traditionally Black forms like gospel, jazz, and blues. Data were collected through audio/visual analysis, interviews, and video stimulated recall. The emergent theme explored is as follows: A singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. A Black singer consciously uses musical strategies when presenting and re-presenting music based in culturally affirming aesthetics. The artist becomes skilled at executing Black vocal aesthetics to encourage other artists and to perpetuate Black culture. [ABSTRACT FROM AUTHOR]

Despite growing managerial interest in frontline employee behavior, and in display authenticity specifically, customers' heterogeneous reactions to authentic displays have received little scholarly attention. Drawing on emotion as social information theory, we investigate the role of motivational orientations (i.e., regulatory focus) in customer reactions to authentic displays. The findings show that inauthentic displays have stronger negative effects on service performance for prevention-focused than for promotion-focused customers. A dyadic field study details these effects in terms of tipping, and three experiments provide further evidence by experimentally manipulating authenticity and regulatory focus. The conditional effect of authenticity on service performance also is mediated by inferred deception. Specifically, prevention-focused customers interpret inauthentic emotion displays as more deceptive than promotion-focused customers do. Managers should prime customers' promotion focus using marketing communications before the service delivery when inauthentic displays are likely as well as consider customers' regulatory focus when designing authenticity training for employees. [ABSTRACT FROM AUTHOR]

Vocal imitation guides both music and language development. Despite the developmental significance of this behavior, a sizable minority of individuals are inaccurate at vocal pitch imitation. Although previous research suggested that inaccurate pitch imitation results from deficient sensorimotor associations between pitch perception and vocal motor planning, the cognitive processes involved in sensorimotor translation are not clearly defined. In the present research, we investigated the roles of basic cognitive processes in the vocal imitation of pitch, as well as the degree to which these processes rely on pitch-specific resources. In the present study, participants completed a battery of pitch and verbal tasks to measure pitch perception, pitch and verbal auditory imagery, pitch and verbal auditory short-term memory, and pitch imitation ability. Information on participants' music background was collected, as well. Pitch imagery, pitch short-term memory, pitch discrimination ability, and musical experience were unique predictors of pitch imitation ability. Furthermore, pitch imagery was a partial mediator of the relationship between pitch short-term memory and pitch imitation ability. These results indicate that vocal imitation recruits cognitive processes that rely on at least partially separate neural resources for pitch and verbal representations. [ABSTRACT FROM AUTHOR]

The article offers a list of individuals who served as expert referees on submitted papers between September 1, 2017 and August 31, 2018 for magazine including Elger Abrahamse and Richard Allen.

Cattle mother-offspring contact calls encode individual-identity information; however, it is unknown whether cattle are able to maintain individuality when vocalising to familiar conspecifics over other positively and negatively valenced farming contexts. Accordingly, we recorded 333 high-frequency vocalisations from 13 Holstein-Friesian heifers during oestrus and anticipation of feed (putatively positive), as well as denied feed access and upon both physical and physical & visual isolation from conspecifics (putatively negative). We measured 21 source-related and nonlinear vocal parameters and stepwise discriminant function analyses (DFA) were performed. Calls were divided into positive (n = 170) and negative valence (n = 163) with each valence acting as a 'training set' to classify calls in the oppositely valenced 'test set'. Furthermore, MANOVAs were conducted to determine which vocal parameters were implicated in individual distinctiveness. Within the putatively positive 'training set', the cross-validated DFA correctly classified 68.2% of the putatively positive calls and 52.1% of the putatively negative calls to the correct individual, respectively. Within the putatively negative 'training set', the cross-validated DFA correctly assigned 60.1% of putatively negative calls and 49.4% of putatively positive calls to the correct individual, respectively. All DFAs exceeded chance expectations indicating that vocal individuality of high-frequency calls is maintained across putatively positive and negative valence, with all vocal parameters except subharmonics responsible for this individual distinctiveness. This study shows that cattle vocal individuality of high-frequency calls is stable across different emotionally loaded farming contexts. Individual distinctiveness is likely to attract social support from conspecifics, and knowledge of these individuality cues could assist farmers in detecting individual cattle for welfare or production purposes. [ABSTRACT FROM AUTHOR]