Petri Laukka
Biographic Data
| ID | 1899014 |
|---|---|
| NAME | Petri Laukka |
| GIVEN NAMES | Petri |
| FAMILY NAME | Laukka |
| SIGNATURE | LAUKKA P |
| AFFILIATIONS | Stockholm University |
| ORCID | 0000-0001-8771-6818 |
| VERIFIED | Yes |
| TOTAL WORKS | 22 |
| TOTAL CITATIONS | 28 |
| AUTHOR COUNT | 22 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Machine Learning Predicts Accuracy in Eyewitnesses’ Voices
An important task in criminal justice is to evaluate the accuracy of eyewitness testimony. In this study, we examined if machine learning could be used to detect accuracy. Specifically, we examined if support vector machines (SVMs) could accurately classify testimony statements as correct or incorrect based purely on the nonverbal aspects of the voice. We analyzed 3,337 statements (76.61% accurate) from 51 eyewitness testimonies along 94 acoustic…
Blended Emotions can be Accurately Recognized from Dynamic Facial and Vocal Expressions
People frequently report feeling more than one emotion at the same time (i.e., blended emotions), but studies on nonverbal communication of such complex states remain scarce. Actors (N = 18) expressed blended emotions consisting of all pairwise combinations of anger, disgust, fear, happiness, and sadness – using facial gestures, body movement, and vocal sounds – with the intention that both emotions should be equally prominent in the resulting ex…
Cognition, prior aggression, and psychopathic traits in relation to impaired multimodal emotion recognition in psychotic spectrum disorders
Self-rated psychopathy was not independently linked to emotion recognition in PSD groups when considering prior aggression, patient status, reasoning ability, psychomotor speed and emotion word understanding
What Do We Hear in the Voice? An Open-Ended Judgment Study of Emotional Speech Prosody
The current study investigated what can be understood from another person’s tone of voice. Participants from five English-speaking nations (Australia, India, Kenya, Singapore, and the United States) listened to vocal expressions of nine positive and nine negative affective states recorded by actors from their own nation. In response, they wrote open-ended judgments of what they believed the actor was trying to express. Responses cut across the ch…
Cross-Cultural Emotion Recognition and In-Group Advantage in Vocal Expression
Most research on cross-cultural emotion recognition has focused on facial expressions. To integrate the body of evidence on vocal expression, we present a meta-analysis of 37 cross-cultural studies of emotion recognition from speech prosody and nonlinguistic vocalizations, including expressers from 26 cultural groups and perceivers from 44 different cultures. Results showed that a wide variety of positive and negative emotions could be recognized…
Investigating individual differences in emotion recognition ability using the Eram test
Individuals vary in emotion recognition ability (ERA), but the causes and correlates of this variability are not well understood. Previous studies have largely focused on unimodal facial or vocal expressions and a small number of emotion categories, which may not reflect how emotions are expressed in everyday interactions. We investigated individual differences in ERA using a brief test containing dynamic multimodal (facial and vocal) expressions…
Spontaneous vocal expressions from everyday life convey discrete emotions to listeners
Emotional expression is crucial for social interaction. Yet researchers disagree about whether nonverbal expressions truly reflect felt emotions and whether they convey discrete emotions to perceivers in everyday life. In the present study, 384 clips of vocal expression recorded in a field setting were rated by the speakers themselves and by naïve listeners with regard to their emotional contents. Results suggested that most expressions in everyd…
The primacy of categories in the recognition of 12 emotions in speech prosody across two cultures
Mapping 24 emotions conveyed by brief human vocalization
Emotional vocalizations are central to human social life. Recent studies have documented that people recognize at least 13 emotions in brief vocalizations. This capacity emerges early in development, is preserved in some form across cultures, and informs how people respond emotionally to music. What is poorly understood is how emotion recognition from vocalization is structured within what we call a semantic space, the study of which addresses qu…
The expression and recognition of emotions in the voice across five nations
This study extends previous work on emotion communication across cultures with a large-scale investigation of the physical expression cues in vocal tone. In doing so, it provides the first direct test of a key proposition of dialect theory, namely that greater accuracy of detecting emotions from one's own cultural group-known as in-group advantage-results from a match between culturally specific schemas in emotional expression style and culturall…
Evidence for cultural dialects in vocal emotion expression
The possibility of cultural differences in the fundamental acoustic patterns used to express emotion through the voice is an unanswered question central to the larger debate about the universality versus cultural specificity of emotion. This study used emotionally inflected standard-content speech segments expressing 11 emotions produced by 100 professional actors from 5 English-speaking cultures. Machine learning simulations were employed to cla…
Universal and culture-specific factors in the recognition and performance of musical affect expressions
We present a cross-cultural study on the performance and perception of affective expression in music. Professional bowed-string musicians from different musical traditions (Swedish folk music, Hindustani classical music, Japanese traditional music, and Western classical music) were instructed to perform short pieces of music to convey 11 emotions and related states to listeners. All musical stimuli were judged by Swedish, Indian, and Japanese par…
Emotion Appraisal Dimensions can be Inferred From Vocal Expressions
Vocal expressions are thought to convey information about speakers' emotional states but may also reflect the antecedent cognitive appraisal processes that produced the emotions. We investigated the perception of emotion-eliciting situations on the basis of vocal expressions. Professional actors vocally portrayed different emotions by enacting emotion-eliciting situations. Judges then rated these expressions with respect to the emotion-eliciting …
Distinct emotional abilities converge
Emotional Reactions to Music in a Nationally Representative Sample of Swedish Adults
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A se…
Emotional reactions to music in a nationally representative sample of Swedish adults
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A se…
Uses of music and psychological well-being among the elderly
Categorical perception of vocal emotion expressions
Continua of vocal emotion expressions, ranging from one expression to another, were created using speech synthesis. Each emotion continuum consisted of expressions differing by equal physical amounts. In 2 experiments, subjects identified the emotion of each expression and discriminated between pairs of expressions. Identification results show that the continua were perceived as 2 distinct sections separated by a sudden category boundary. Also, d…
Expression, Perception, and Induction of Musical Emotions
In this article, we provide an up-to-date overview of theory and research concerning expression, perception, and induction of emotion in music. We also provide a critique of this research, noting that previous studies have tended to neglect the social context of music listening. The most likely reason for this neglect, we argue, is that that most research on musical emotion has, implicitly or explicitly, taken the perspective of the musician in u…
Impact of intended emotion intensity on cue utilization and decoding accuracy in vocal expression of emotion
Actors vocally portrayed happiness, sadness, anger, fear, and disgust with weak and strong emotion intensity while reading brief verbal phrases aloud. The portrayals were recorded and analyzed according to 20 acoustic cues. Listeners decoded each portrayal by using forced-choice or quantitative ratings. The results showed that (a) portrayals with strong emotion intensity yielded higher decoding accuracy than portrayals with weak intensity, (b) li…
Improving Emotional Communication in Music Performance through Cognitive Feedback
This study investigates whether cognitive feedback (CFB) can improve the expressive skills of music performers. CFB involves providing performers with information about how their use of cues in the performance compares to an optimal model for emotional communication based on listeners' judgments. Eight guitar players were asked to perform short pieces of music so as to communicate different emotions to listeners. Their performances were judged by…
Impact of intended emotion intensity on cue utilization and decoding accuracy in vocal expression of emotion
Mapping 24 emotions conveyed by brief human vocalization
Emotional vocalizations are central to human social life. Recent studies have documented that people recognize at least 13 emotions in brief vocalizations. This capacity emerges early in development, is preserved in some form across cultures, and informs how people respond emotionally to music. What is poorly understood is how emotion recognition from vocalization is structured within what we call a semantic space, the study of which addresses qu…
The primacy of categories in the recognition of 12 emotions in speech prosody across two cultures
The expression and recognition of emotions in the voice across five nations
This study extends previous work on emotion communication across cultures with a large-scale investigation of the physical expression cues in vocal tone. In doing so, it provides the first direct test of a key proposition of dialect theory, namely that greater accuracy of detecting emotions from one's own cultural group-known as in-group advantage-results from a match between culturally specific schemas in emotional expression style and culturall…
Improving Emotional Communication in Music Performance through Cognitive Feedback
This study investigates whether cognitive feedback (CFB) can improve the expressive skills of music performers. CFB involves providing performers with information about how their use of cues in the performance compares to an optimal model for emotional communication based on listeners' judgments. Eight guitar players were asked to perform short pieces of music so as to communicate different emotions to listeners. Their performances were judged by…
Impact of intended emotion intensity on cue utilization and decoding accuracy in vocal expression of emotion
Actors vocally portrayed happiness, sadness, anger, fear, and disgust with weak and strong emotion intensity while reading brief verbal phrases aloud. The portrayals were recorded and analyzed according to 20 acoustic cues. Listeners decoded each portrayal by using forced-choice or quantitative ratings. The results showed that (a) portrayals with strong emotion intensity yielded higher decoding accuracy than portrayals with weak intensity, (b) li…
Expression, Perception, and Induction of Musical Emotions
In this article, we provide an up-to-date overview of theory and research concerning expression, perception, and induction of emotion in music. We also provide a critique of this research, noting that previous studies have tended to neglect the social context of music listening. The most likely reason for this neglect, we argue, is that that most research on musical emotion has, implicitly or explicitly, taken the perspective of the musician in u…
Categorical perception of vocal emotion expressions
Continua of vocal emotion expressions, ranging from one expression to another, were created using speech synthesis. Each emotion continuum consisted of expressions differing by equal physical amounts. In 2 experiments, subjects identified the emotion of each expression and discriminated between pairs of expressions. Identification results show that the continua were perceived as 2 distinct sections separated by a sudden category boundary. Also, d…
Uses of music and psychological well-being among the elderly
Emotional Reactions to Music in a Nationally Representative Sample of Swedish Adults
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A se…
Emotional reactions to music in a nationally representative sample of Swedish adults
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A se…
Emotion Appraisal Dimensions can be Inferred From Vocal Expressions
Vocal expressions are thought to convey information about speakers' emotional states but may also reflect the antecedent cognitive appraisal processes that produced the emotions. We investigated the perception of emotion-eliciting situations on the basis of vocal expressions. Professional actors vocally portrayed different emotions by enacting emotion-eliciting situations. Judges then rated these expressions with respect to the emotion-eliciting …
Distinct emotional abilities converge
Universal and culture-specific factors in the recognition and performance of musical affect expressions
We present a cross-cultural study on the performance and perception of affective expression in music. Professional bowed-string musicians from different musical traditions (Swedish folk music, Hindustani classical music, Japanese traditional music, and Western classical music) were instructed to perform short pieces of music to convey 11 emotions and related states to listeners. All musical stimuli were judged by Swedish, Indian, and Japanese par…
Evidence for cultural dialects in vocal emotion expression
The possibility of cultural differences in the fundamental acoustic patterns used to express emotion through the voice is an unanswered question central to the larger debate about the universality versus cultural specificity of emotion. This study used emotionally inflected standard-content speech segments expressing 11 emotions produced by 100 professional actors from 5 English-speaking cultures. Machine learning simulations were employed to cla…
The expression and recognition of emotions in the voice across five nations
This study extends previous work on emotion communication across cultures with a large-scale investigation of the physical expression cues in vocal tone. In doing so, it provides the first direct test of a key proposition of dialect theory, namely that greater accuracy of detecting emotions from one's own cultural group-known as in-group advantage-results from a match between culturally specific schemas in emotional expression style and culturall…
Mapping 24 emotions conveyed by brief human vocalization
Emotional vocalizations are central to human social life. Recent studies have documented that people recognize at least 13 emotions in brief vocalizations. This capacity emerges early in development, is preserved in some form across cultures, and informs how people respond emotionally to music. What is poorly understood is how emotion recognition from vocalization is structured within what we call a semantic space, the study of which addresses qu…
The primacy of categories in the recognition of 12 emotions in speech prosody across two cultures
Spontaneous vocal expressions from everyday life convey discrete emotions to listeners
Emotional expression is crucial for social interaction. Yet researchers disagree about whether nonverbal expressions truly reflect felt emotions and whether they convey discrete emotions to perceivers in everyday life. In the present study, 384 clips of vocal expression recorded in a field setting were rated by the speakers themselves and by naïve listeners with regard to their emotional contents. Results suggested that most expressions in everyd…
Cross-Cultural Emotion Recognition and In-Group Advantage in Vocal Expression
Most research on cross-cultural emotion recognition has focused on facial expressions. To integrate the body of evidence on vocal expression, we present a meta-analysis of 37 cross-cultural studies of emotion recognition from speech prosody and nonlinguistic vocalizations, including expressers from 26 cultural groups and perceivers from 44 different cultures. Results showed that a wide variety of positive and negative emotions could be recognized…
Investigating individual differences in emotion recognition ability using the Eram test
Individuals vary in emotion recognition ability (ERA), but the causes and correlates of this variability are not well understood. Previous studies have largely focused on unimodal facial or vocal expressions and a small number of emotion categories, which may not reflect how emotions are expressed in everyday interactions. We investigated individual differences in ERA using a brief test containing dynamic multimodal (facial and vocal) expressions…
What Do We Hear in the Voice? An Open-Ended Judgment Study of Emotional Speech Prosody
The current study investigated what can be understood from another person’s tone of voice. Participants from five English-speaking nations (Australia, India, Kenya, Singapore, and the United States) listened to vocal expressions of nine positive and nine negative affective states recorded by actors from their own nation. In response, they wrote open-ended judgments of what they believed the actor was trying to express. Responses cut across the ch…
Blended Emotions can be Accurately Recognized from Dynamic Facial and Vocal Expressions
People frequently report feeling more than one emotion at the same time (i.e., blended emotions), but studies on nonverbal communication of such complex states remain scarce. Actors (N = 18) expressed blended emotions consisting of all pairwise combinations of anger, disgust, fear, happiness, and sadness – using facial gestures, body movement, and vocal sounds – with the intention that both emotions should be equally prominent in the resulting ex…
Cognition, prior aggression, and psychopathic traits in relation to impaired multimodal emotion recognition in psychotic spectrum disorders
Self-rated psychopathy was not independently linked to emotion recognition in PSD groups when considering prior aggression, patient status, reasoning ability, psychomotor speed and emotion word understanding
Impact of intended emotion intensity on cue utilization and decoding accuracy in vocal expression of emotion
Machine Learning Predicts Accuracy in Eyewitnesses’ Voices
An important task in criminal justice is to evaluate the accuracy of eyewitness testimony. In this study, we examined if machine learning could be used to detect accuracy. Specifically, we examined if support vector machines (SVMs) could accurately classify testimony statements as correct or incorrect based purely on the nonverbal aspects of the voice. We analyzed 3,337 statements (76.61% accurate) from 51 eyewitness testimonies along 94 acoustic…
Psychology (22 works) · Cognitive psychology (20 works) · Social Psychology (15 works) · Neuroscience and Music Perception (11 works) · Communication (9 works) · Developmental psychology (9 works) · Multisensory perception and integration (9 works) · Emotion and Mood Recognition (7 works) · Emotional expression (7 works) · Perception (7 works)