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/plain02354nas 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