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Please use this identifier to cite or link to this item: https://doi.org/10.18061/1811/44530

dc.creatorHuron, David
dc.creatorDahl, Sofia
dc.creatorJohnson, Randolph
dc.date.accessioned2009-11-19T18:59:13Z
dc.date.available2009-11-19T18:59:13Z
dc.date.issued2009-07
dc.identifier.citationEmpirical Musicology Review, v4 n3 (July 2009), 93-100en_US
dc.identifier.issn1559-5749
dc.identifier.otherEMR000074a
dc.identifier.urihttps://doi.org/10.18061/1811/44530
dc.identifier.urihttp://hdl.handle.net/1811/44530
dc.description.abstractForty-four participants were asked to sing moderate, high, and low pitches while their faces were photographed. In a two-alternative forced choice task, independent judges selected the high-pitch faces as more friendly than the low-pitch faces. When photographs were cropped to show only the eye region, judges still rated the high-pitch faces friendlier than the low-pitch faces. These results are consistent with prior research showing that vocal pitch height is used to signal aggression (low pitch) or appeasement (high pitch). An analysis of the facial features shows a strong correlation between eyebrow position and sung pitch—consistent with the role of eyebrows in signaling aggression and appeasement. Overall, the results are consistent with an inter-modal linkage between vocal and facial expressions.en_US
dc.language.isoenen_US
dc.publisherEmpirical Musicology Reviewen_US
dc.subjectpitch heighten_US
dc.subjectfacial expressionen_US
dc.subjectaggressionen_US
dc.subjectintermodal perceptionen_US
dc.titleFacial Expression and Vocal Pitch Height: Evidence of an Intermodal Associationen_US
dc.typeArticleen_US


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