01193nas a2200157 4500008004100000020001500041245002600056210002200082520079100104100001900895700001800914700001800932700001500950700001900965856005100984 2002 eng d a158113454100aThe sound of one hand0 asound of one hand3 a

Two hundred and fifty years ago the Japanese Zen master Hakuin asked the question, "What is the Sound of the Single Hand?" This koan has long served as an aid to meditation but it also describes our new interaction techinique. We discovered that gentle fingertip gestures such as tapping, rubbing, and flicking make quiet sounds that travel by bone conduction throughout the hand. A small wristband-mounted contact microphone can reliably and inexpensively sense these sounds. We harnessed this "sound in the hand" phenomenon to build a wristband-mounted bio-acoustic fingertip gesture interface. The bio-acoustic interface recognizes some common gestures that state-of-the-art glove and image-processing techniques capture but in a smaller, mobile package.

1 aTerveen, Loren1 aWixon, Dennis1 aAmento, Brian1 aHill, Will1 aTerveen, Loren uhttp://portal.acm.org/citation.cfm?doid=50644302197nas a2200181 4500008004100000245008500041210006900126520159500195653001401790653002301804653003201827653001401859653001101873100002201884700003101906700002201937856005601959 2019 eng d00aWas That a Scream? Listener Agreement and Major Distinguishing Acoustic Features0 aWas That a Scream Listener Agreement and Major Distinguishing Ac3 a

Human screams have been suggested to comprise a salient and readily identified call type, yet few studies have explored the degree to which people agree on what constitutes a scream, and the defining acoustic structure of screams has not been fully determined. In this study, participants listened to 75 human vocal sounds, representing both a broad acoustical range and array of emotional contexts, and classified each as to whether it was a scream or not. Participants showed substantial agreement on which sounds were considered screams, consistent with the idea of screams as a basic call type. Agreement on classifications was related to participant gender, emotion processing accuracy, and empathy. To characterize the acoustic structure of screams, we measured the stimuli on 27 acoustic parameters. Principal components analysis and generalized linear mixed modeling indicated that classification as a scream was positively correlated with 3 acoustic dimensions: one corresponding to high pitch and roughness, another corresponding to wide fundamental frequency variability and narrow interquartile range bandwidth, and a third positively correlated with peak frequency slope. Twenty-six stimuli were agreed upon by > 90% of participants to be screams, but these were not acoustically homogeneous, and others evoked mixed responses. These results suggest that while screams might represent a salient and possibly innate call type, they also exhibit perceptual and acoustic gradation, perhaps reflecting the wide range of emotions and contexts in which they occur.

10aacoustics10aForced-choice task10aNon-linguistic vocalization10aRoughness10aScream1 aSchwartz, Jay, W.1 aEngelberg, Jonathan, W. M.1 aGouzoules, Harold uhttp://link.springer.com/10.1007/s10919-019-00325-y01218nas a2200169 4500008004100000020002200041245005200063210005200115520064600167653002200813653003000835653005700865100002300922700002700945700002100972856005500993 2019 eng d a978-3-030-30733-200aPhonetic Variation in Cat–Human Communication0 aPhonetic Variation in Cat–Human Communication3 a

In this chapter, the phonetic variation of the vocal communication between domestic cats and humans is summarised and described, based on previous research as well as more recent studies and observations. Emphasis lies on classifying and describing the different vocalisation types of the cat using phonetic methods and terminology. The articulation, phonetic transcription and acoustic patterns of the most common vocalisation types are described. In addition, the segments (vowel and consonants), the prosody (the tone, intonation, rhythm and dynamics) of cat sounds as well as human perception of cat vocalisations is summarised.

10aCat vocalisations10aCat–human communication10aPhonetic description and transcription of cat sounds1 aPastorinho, Ramiro1 aSousa, Ana, Catarina A1 aSchötz, Susanne uhttp://link.springer.com/10.1007/978-3-030-30734-901890nas a2200217 4500008004100000245010700041210006900148520112500217653001801342653001401360653003101374653001101405653001101416653001201427100001801439700002601457700001801483700002001501700002001521856013101541 2019 eng d00aWhistling shares a common tongue with speech: bioacoustics from real-time MRI of the human vocal tract0 aWhistling shares a common tongue with speech bioacoustics from r3 a

Most human communication is carried by modulations of the voice. However, a wide range of cultures has developed alternative forms of communication that make use of a whistled sound source. For example, whistling is used as a highly salient signal for capturing attention, and can have iconic cultural meanings such as the catcall, enact a formal code as in boatswain's calls or stand as a proxy for speech in whistled languages. We used real-time magnetic resonance imaging to examine the muscular control of whistling to describe a strong association between the shape of the tongue and the whistled frequency. This bioacoustic profile parallels the use of the tongue in vowel production. This is consistent with the role of whistled languages as proxies for spoken languages, in which one of the acoustical features of speech sounds is substituted with a frequency-modulated whistle. Furthermore, previous evidence that non-human apes may be capable of learning to whistle from humans suggests that these animals may have similar sensorimotor abilities to those that are used to support speech in humans.

10acommunication10aevolution10amagnetic resonance imaging10aspeech10atongue10awhistle1 aBelyk, Michel1 aSchultz, Benjamin, G.1 aCorreia, Joao1 aBeal, Deryk, S.1 aKotz, Sonja, A. uhttps://royalsocietypublishing.org/doi/10.1098/rspb.2019.1116https://royalsocietypublishing.org/doi/pdf/10.1098/rspb.2019.111602169nas a2200253 4500008004100000022001400041245010400055210006900159260001600228300001100244490000600255520132100261653002501582653001501607653001101622653001501633653002301648653001501671100002701686700002401713700002801737700002501765856012501790 2019 eng d a2054-570300aPawsitively sad: pet-owners are more sensitive to negative emotion in animal distress vocalizations0 aPawsitively sad petowners are more sensitive to negative emotion cJun-08-2021 a1815550 v63 a

Pets have numerous, effective methods to communicate with their human hosts. Perhaps most conspicuous of these are distress vocalizations: in cats, the ‘miaow’ and in dogs, the ‘whine’ or ‘whimper’. We compared a sample of young adults who owned cats and or dogs (‘pet-owners’ n = 264) and who did not (n=297) on their ratings of the valence of animal distress vocalizations, taken from a standardized database of sounds. We also examined these participants’ self-reported symptoms of anxiety and depression, and their scores on a measure of interpersonal relationship functioning. Pet-owners rated the animal distress vocalizations as sadder than adults who did not own a pet. Cat-owners specifically gave the most negative ratings of cat miaows compared with other participants, but were no different in their ratings of other sounds. Dog sounds were rated more negatively overall, in fact as negatively as human baby cries. Pet-owning adults (cat only, dog only, both) were not significantly different from adults with no pets on symptoms of depression, anxiety or on self- reported interpersonal relationship functioning. We suggest that pet ownership is associated with greater sensitivity to negative emotion in cat and dog distress vocalizations.

10aanimal vocalizations10acat miaows10acrying10adog whines10aemotion perception10apet-owners1 aParsons, Christine, E.1 aLeBeau, Richard, T.1 aKringelbach, Morten, L.1 aYoung, Katherine, S. uhttps://royalsocietypublishing.org/doi/10.1098/rsos.181555https://royalsocietypublishing.org/doi/pdf/10.1098/rsos.18155503063nas a2200229 4500008004100000022001300041245012100054210006900175260001600244520211700260653002502377653001602402653003002418653001202448653001802460100002202478700002302500700002002523700003702543700002002580856023302600 2018 eng d a0168159100aDomestic piglets (Sus scrofa domestica) are attentive to human voice and able to discriminate some prosodic features0 aDomestic piglets Sus scrofa domestica are attentive to human voi cJan-10-20183 a

Vocal communication is of major social importance in pigs. Their auditory sensitivity goes beyond the intraspecific level; studies have shown that domestic pigs are sensitive to and can learn to recognise human voices. The question of which prosodic features (intonation, accentuation, rhythm) of human speech may matter to this recognition, however, remains open. A total of 42 piglets were allocated to three experimental groups. Each piglet was submitted to three choice tests, during which different pairs of sounds were broadcast. Each group was first offered a choice between an unmodified (neutral) human voice and a background noise, in order to verify the attractiveness of human voice. We found that piglets could distinguish human voice; they gazed more rapidly (P < 0.05) and for longer (P < 0.05) in the direction of the human voice than in the direction of the background noise. Group 1 was then submitted to artificially modified voices: low vs high-pitched, and then slow vs rapid rhythm. Group 2 was submitted to artificially modified voices with a combination of these features: rapid and high-pitched vs slow and low-pitched, and then slow and high-pitched vs rapid and low-pitched. Group 3 was submitted to naturally recorded voices coding for different emotions (happiness vs anger) and then different intonations (interrogation vs command). We found that piglets approached the loudspeaker broadcasting the rapid rhythm (6 s (2–32)) more rapidly than the loudspeaker broadcasting the slow rhythm (33 s (15–70); p < 0.05). They also spent more time near the loudspeaker broadcasting the “high-pitched and slow” voice (86 s (52–110)) than near the one broadcasting the “low-pitched and rapid” voice (29 s (9–73); W = 86, P < 0.05). In sum, the sensitivity of piglets for human prosody was moderate but not inexistent. Our results suggest that piglets base their responses to human voice on a combination of prosodic features.

10aAuditory preferences10aChoice test10aHuman-animal relationship10aPiglets10aVoice prosody1 aBensoussan, Sandy1 aTigeot, Raphaëlle1 aLemasson, Alban1 aMeunier-Salaün, Marie-Christine1 aTallet, Céline uhttps://linkinghub.elsevier.com/retrieve/pii/S0168159118301485https://api.elsevier.com/content/article/PII:S0168159118301485?httpAccept=text/xmlhttps://api.elsevier.com/content/article/PII:S0168159118301485?httpAccept=text/plain02806nas a2200181 4500008004100000245013700041210006900178260001600247300001400263490000800277520219800285653001402483653001402497653003202511653001702543100001902560856004502579 2018 eng d00aTemporal patterns of chimpanzee loud calls in the Issa Valley, Tanzania: Evidence of nocturnal acoustic behavior in wild chimpanzees0 aTemporal patterns of chimpanzee loud calls in the Issa Valley Ta cJan-07-2018 a530 - 5400 v1663 a

Objectives: Much is known about chimpanzee diurnal call patterns, but far less about night-time vocal behavior. I deployed a passive acoustic monitoring (PAM) system to assess 24-hr temporal acoustic activity of wild, unhabituated chimpanzees that live in a woodland mosaic habitat similar to hominin landscapes from the Plio-Pleistocene. A primary aim was to apply findings to our broader understanding to chimpanzee 24-hr activity patterns, and what implications this may have for reconstructing hominin adaptations to similarly hot, dry, and open landscapes. I also tested whether chimpanzees conform to the acoustic adaptation hypothesis, and produce loud calls dur- ing periods of optimal sound transmission.


Methods: Nine custom-made solar-powered acoustic transmission units (SPATUs) recorded con- tinuously for 250 days over 11 months in the Issa Valley, western Tanzania. I complemented acoustic data with environmental data from weather stations as well as behavioral data collected on chimpanzee nest group sizes to assess the relationship between party size and calling.


Results: Chimpanzees called at all hours of the day and night in both wet and dry seasons, and night and day calls exhibited parallel rates/month, although twilight calls were produced signifi- cantly more in the dry, compared to the wet season. Calls were more likely during warmer temperatures and lower humidity. Call rate was positively associated with (nest) party size and counter-calls exhibited no temporal variation in their origins (similar vs. adjacent valleys).


Conclusions: Chimpanzees were acoustically active throughout the 24-hr cycle, although at low rates compared to diurnal activity, revealing night-time activity in an ape otherwise described as diurnal. Chimpanzee loud calls partially, and weakly, conformed to the acoustic adaptation hypoth- esis and likely responded to social, rather than environmental factors. Call rates accurately reflect grouping patterns and PAM is demonstrated to be an effective means of remotely assessing activ- ity, especially at times and from places that are difficult to access for researchers.

10agreat ape10apant hoot10apassive acoustic monitoring10avocalization1 aPiel, Alex, K. uhttp://doi.wiley.com/10.1002/ajpa.v166.302724nas a2200277 4500008004100000022001300041245009200054210006900146260001600215300001400231490000800245520190000253653001502153653001802168653001602186653001302202653002902215653001302244653002002257100002202277700002002299700002202319700002202341700001702363856006602380 2017 eng d a0003347200aGestural development of chimpanzees in the wild: the impact of interactional experience0 aGestural development of chimpanzees in the wild the impact of in cJan-12-2017 a271 - 2820 v1343 a

To understand the complexity involved in animal signalling, studies have mainly focused on repertoire size and information conveyed in vocalizations of birds and nonhuman primates. However, recent studies on gestural abilities of nonhuman primates have shown that we also need a detailed understanding of other communicative modalities and underlying cognitive skills to grasp this phenomenon in detail. Here, we thus examined gestural signalling of chimpanzees, Pan troglodytes, living in two communities in the wild (Kanyawara, Uganda; Taï South, Co^te d'Ivoire) with a special focus on the influence of the social environment on signal development. Specifically, we investigated to what extent specific social factors, namely behavioural context, interaction rates and maternal proximity, affect gestural production (i.e. gesture frequency, sequences and repertoire size). We used a combination of video recordings and focal scans obtained from 11 infants aged between 9 and 69 months during 1145 h of observation throughout two consecutive field periods. Overall, we found that social play was the context in which the highest number of gestures occurred. While gesture frequency and repertoire size increased with higher inter- action rates with nonmaternal conspecifics and the number of previous interaction partners, no effect was found for interaction rates with mothers. Our results thus imply that infants of social mothers may have a head start in life. Moreover, we provide hitherto undocumented evidence for sex differences in gestural signalling, which may reflect the differential importance of early socialization for chimpanzee males and females. Gestural development thus relies heavily on interactional experiences with con- specifics, which adds support for gestural acquisition via the learning mechanism of ‘social negotiation’ in great apes.

10achimpanzee10acommunication10adevelopment10agestures10ainteractional experience10aontogeny10aPan troglodytes1 aFröhlich, Marlen1 aMüller, Gudrun1 aZeiträg, Claudia1 aWittig, Roman, M.1 aPika, Simone uhttp://linkinghub.elsevier.com/retrieve/pii/S000334721630361X02354nas a2200337 4500008004100000022001300041245007700054210006900131260001600200300001400216490000800230520139100238653001901629653002001648653001201668653002601680653001001706653000901716653002101725653001901746653001001765653003101775100002001806700002001826700001901846700002101865700002301886700002101909700002001930856006601950 2017 eng d a0003347200aVoices of Africa: acoustic predictors of human male vocal attractiveness0 aVoices of Africa acoustic predictors of human male vocal attract cJan-05-2017 a205 - 2110 v1273 a

Robust evidence shows that voice quality affects various social interactions, including mate preferences. Previous research found that male voices perceived as attractive are characterized by low voice pitch, lower or sexually typical formants and relatively high breathiness. These features tend to be seen as markers of an individual's quality as a potential mate. Although there are considerable differences between languages in vocal parameters that could influence the perceived attractiveness, the above-mentioned findings rely on research based mainly on participants from European or North American countries. In our study, we therefore tested the main acoustic predictors of vocal attractiveness using two male samples from Cameroon and Namibia. Standardized vocal recordings were then assessed for vocal attractiveness by a panel of female raters from the Czech Republic. Our results show that in the Cameroonian voices, fundamental frequency was strongly negatively associated with perceived vocal attractiveness. In the Namibian sample, however, it was not the fundamental frequency but lower mean formants and harmonics-to-noise ratio that were negatively associated with vocal attractiveness. This pattern may be partly attributed to differences in morphological characteristics such as the body mass index, indicating variation across individual populations.

10aattractiveness10abody mass index10aformant10afundamental frequency10ahuman10amale10asexual selection10aundernutrition10avoice10ay harmonics-to-noise ratio1 aŠebesta, Pavel1 aKleisner, Karel1 aTureček, Petr1 aKočnar, Tomáš1 aAkoko, Robert, Mbe1 aTřebický, Vít1 aHavlíček, Jan uhttp://linkinghub.elsevier.com/retrieve/pii/S000334721730086602327nas a2200241 4500008004100000022001300041245007100054210006900125260001600194300001200210490000800222520161100230653001401841653002601855653002801881653001001909653001801919653002401937100001801961700002401979700001602003856006602019 2017 eng d a0003347200aTennis grunts communicate acoustic cues to sex and contest outcome0 aTennis grunts communicate acoustic cues to sex and contest outco cJan-08-2017 a47 - 550 v1303 a

Despite their ubiquity in human behaviour, the communicative functions of nonverbal vocalizations remain poorly understood. Here, we analysed the acoustic structure of tennis grunts, nonverbal vocal- izations produced in a competitive context. We predicted that tennis grunts convey information about the vocalizer and context, similar to nonhuman vocal displays. Speci fi cally, we tested whether the fundamental frequency (F0) of tennis grunts conveys static cues to a player's sex, height, weight, and age, and covaries dynamically with tennis shot type (a proxy of body posture) and the progress and outcome of male and female professional tennis contests. We also performed playback experiments (using natural and resynthesized stimuli) to assess the perceptual relevance of tennis grunts. The F0 of tennis grunts predicted player sex, but not age or body size. Serve grunts had higher F0 than forehand and backhand grunts, grunts produced later in contests had higher F0 than those produced earlier, and grunts produced during contests that players won had a lower F0 than those produced during lost contests. This difference in F0 between losses and wins emerged early in matches, and did not change in magnitude as the match progressed, suggesting a possible role of physiological and/or psychological factors manifesting early or even before matches. Playbacks revealed that listeners use grunt F0 to infer sex and contest outcome. These fi ndings indicate that tennis grunts communicate information about both the vocalizer and contest, consistent with nonhuman mammal vocalizations.

10adominance10afundamental frequency10anonverbal vocalizations10apitch10atennis grunts10avocal communication1 aRaine, Jordan1 aPisanski, Katarzyna1 aReby, David uhttp://linkinghub.elsevier.com/retrieve/pii/S0003347217301975