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

8 juin 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

8 juin 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

8 juin 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

8 juin 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

8 juin 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

8 juin 2016 09 min

9 juin 2016 37 min

9 juin 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

9 juin 2016 31 min

9 juin 2016 35 min

9 juin 2016 15 min

9 juin 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

9 juin 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

9 juin 2016 01 h 00 min

9 juin 2016 45 min