This study analyzed racial differences in the way African Americans and Caucasians perceive emotion from facial expressions and tone of voice. Participants were African American (n=25) and Caucasian (n=26) college students. The study utilizes 56 images of African American and Caucasian faces balanced for race and sex from the NimStim stimulus set (Tottenham, 2006). The study also utilized visual and auditory stimuli form the DANVA2. Participants were asked to judged emotion for each stimulus in the tasks. The BFRT, the WASI, and the Seashore Rhythm test were used as exclusionary criteria. In general the study found few differences in the way African Americans and Caucasians perceived emotion, though racial differences emerged as an interaction with other factors. The results of the study supported the theory of universality of emotion perception and expression though social influences, which may affect emotion perception, is also a possibility. Areas of future research were discussed.

No description available.

This study analyzed racial differences in the way African Americans and Caucasians perceive emotion from facial expressions and tone of voice. Participants were African American (n=25) and Caucasian (n=26) college students. The study utilizes 56 images of African American and Caucasian faces balanced for race and sex from the NimStim stimulus set (Tottenham, 2006). The study also utilized visual and auditory stimuli form the DANVA2. Participants were asked to judged emotion for each stimulus in the tasks. The BFRT, the WASI, and the Seashore Rhythm test were used as exclusionary criteria. In general the study found few differences in the way African Americans and Caucasians perceived emotion, though racial differences emerged as an interaction with other factors. The results of the study supported the theory of universality of emotion perception and expression though social influences, which may affect emotion perception, is also a possibility. Areas of future research were discussed.

No description available.

For people without speech, voice output communication aids are an assistive technology––but can also be restrictive: whilst Text-To-Speech synthesis can say anything, it affords little choice of how this is spoken. An absence of nuanced tone of voice can inhibit social interaction. This research explores this profound but relatively overlooked issue in augmentative and alternative communication through the lens––with the sensibilities and skills––of interaction design. Tone of voice is such an elusive and intangible quality: difficult for even phoneticians to define, let alone AAC users and carers to discuss in the context of their everyday lives. Therefore the activities of design exploration and design practice have been employed to visualise tone of voice, in order to catalyse new conversations, through two original research projects: Six Speaking Chairs, curated with Andrew Cook, is a collection of interactive artefacts that illustrate alternative models of tone of voice developed by academics and practitioners as diverse as sociolinguists and playwrights;Speech Hedge, created with the assistance of Ryan McLeod, is a visualisation of how someone might interact with nuanced tone of voice using a conventional communication aid in combination with an interface on a smart phone. Audience responses to each project have illuminated the perspectives from which laypeople conceive of tone of voice, challenging the conventional emotional model that dominates speech technology in favour of something more complex and heterogeneous. In order to reconcile such complexity with simplicity of use, design principles have been distilled that could inspire future user interfaces but also inform further research. This research has been published and presented within different academic fields, including design research, interaction design and augmentative and alternative communication.

Asperger's syndrome (AS) is a pervasive developmental disorder that is associated with marked social dysfunction. Deficits in the perception of nonverbal cues of emotion may be related to this social impairment. Research has indicated that children with autism are limited in their emotion perception abilities, but studies that have addressed this issue with individuals with AS or high-functioning autism (HFA) have yielded inconsistent findings. These inconsistencies may be related to methodological differences across studies including diagnostic criteria and failure to consider the intensity of the emotion cues. It was hypothesized that children with AS and HFA would both have deficits in emotion perception compared to typically-developing children. However, children with HFA were expected to have an even greater emotion perception deficit than children with AS and this difference was hypothesized to be most pronounced for low intensity cues of emotion. It is important to clarify whether individuals with AS and HFA differ in emotion perception because most studies of this skill combine them into one group or use poorly defined diagnostic criteria. This study examined the ability of 30 8- to 15-year-old children with either AS or HFA to perceive emotion from high and low intensity cues. In order to address limitations with the differential validity of the DSM-IV criteria for AS, diagnoses were based on diagnostic criteria proposed by Klin et al. (in press). A researcher who was blind to diagnosis administered a test that presented low and high intensity cues of emotion in photographs of facial expression and audiotapes of tone of voice. Comparison of the emotion perception accuracy of children with AS to the normative means of this instrument for typically-developing children did not reveal any significant differences. In contrast, the children with HFA were significantly less accurate in their perception of facial expressions and tone of voice than the normative sample and the participants with AS. Contrary to expectations, IQ was significantly related to emotion perception accuracy. After controlling for IQ, the difference in perception of facial expressions between children with AS and HFA was not significant. On the other hand, cue intensity moderated the relation between diagnosis and emotion perception accuracy for tone of voice even after IQ was taken into account. Children with AS perceived high and low intensity tone of voice cues with similar accuracy, but children with HFA had significantly poorer performance on the low intensity tone of voice cues. Although emotion perception accuracy was related to better adjustment, it was not correlated with the most sensitive measure of current social functioning. This suggests that even when children with AS or HFA perceive cues correctly, they may not know how or be able to properly integrate them for adaptive responses in social interaction. The findings have important implications for understanding inconsistencies in past research and identifying future directions.

The thesis is a critical reading of pedagogical and biographical texts by and on violinists, written in the early twentieth century. It contributes to historical and discursive studies by providing a limited engagement with a largely neglected group of historical sources relating to musical performance, and further advances the historical research on subjectivity, the body, pathology, and erotics, in relation to discourses of music. The thesis also contributes to studies of performance practice, and empirical and psychological studies of musical performance, in that it engages with discursive notions of theoretical and performance categories, such as tempo, melody, vibrato and portamento. By taking a hermeneutic approach to detailed discussions of performative practices, primarily found in pedagogical texts, the project aims to provide a more nuanced assessment of many of the topics that have played a central role in the ongoing research on early twentieth-century performance (which principally consists of recordings analysis). The project does this by demonstrating the extent to which these practices are culturally and historically mediated. Following an introduction, chapter 2 demonstrates that notions of consciousness inform writers’ notions of musical virtuosity, and shows that Nietzschean and Wagnerian notions of self underpin the idea of the violinist as a superior producer of art. Chapter 3 argues that these ideas combine with metaphysical notions of melody to make the concept of ‘tone’/Ton the cornerstone of string playing during this period, which in turn has important implications for how writers conceive of tempo, rhythm, vibrato, portamento and dynamics. Chapter 4 demonstrates that writers perceive their ideal of tone to be threatened by moral and physiological disease, manifested in individual/social bodies, which leads to a very different articulation of these same practices. Chapter 5 explores traces of notions of intersubjectivity, arising from metaphors of erotic desire, which challenge the hegemonic ideal of universal mind. The conclusion frames the discourse as a problematic attempt to posit an authoritarian model of string playing. It also includes a preliminary study of early twentieth-century discourses of cello playing, and engages with the research to date on national styles of violin playing in the same period.