Part #1: Vocal Archetypes in Music One of the most natural ways to explain emotions created by musical sounds is their proximity to lan- gage, and to expressive speech in particular. Our first guest talk, the workshop’s keynote address by
June 8, 2016 26 min
Several features of the auditory environment are analysed and predicted even before the intervention of attention in an automatic and irrepressible way in order to facilitate response to salient and potentially dangerous events. Music capit
June 8, 2016 01 h 20 min
Speech and instrumental music are very ancient, with the earliest known instruments dating to at least 40,000 years ago. These two forms of expression have many salient differences, including their acoustic structure, the way in which they
June 8, 2016 01 h 22 min
Part #1: Vocal Archetypes in Music One of the most natural ways to explain emotions created by musical sounds is their proximity to lan- gage, and to expressive speech in particular. Our first guest talk, the workshop’s keynote address by
June 8, 2016 20 min
Expressivity and emotion can be precisely analyzed though our modern sound processing technologies. It is possible to modify various parameters in the voice, altering the perception of it. Real-time algorithms can even change the way a spea
June 8, 2016 01 h 01 min
Part #1: Vocal Archetypes in Music One of the most natural ways to explain emotions created by musical sounds is their proximity to lan- gage, and to expressive speech in particular. Our first guest talk, the workshop’s keynote address by
June 8, 2016 09 min
June 9, 2016 37 min
June 9, 2016 26 min
Part #3: Animal Signals and General Auditory Semantics in Music Cognition “Music cognition is continuous with normal auditory cognition”: sounds that signal danger (“ROAR!”) or that carry meaning on their causes (“BANG!”) are archetypes f
June 9, 2016 31 min
June 9, 2016 35 min
June 9, 2016 15 min
June 9, 2016 28 min
The sound of arousal in animal vocalizations has been evolutionarily conserved across many mammalian species, and is often characterized by particular nonlinear acoustic features. Here I will describe research examining the relationship bet
June 9, 2016 01 h 01 min
We provide the outline of a (highly simplified) semantics for music. We take music cognition to be continuous with normal auditory cognition, and thus to deliver inferences about ‘virtual sources’ of the music (as in Bregman’s Auditory Scen
June 9, 2016 01 h 00 min
June 9, 2016 45 min