Jürgens, Rebecca

[["dc.bibliographiccitation.firstpage","195"],["dc.bibliographiccitation.issue","3"],["dc.bibliographiccitation.journal","Journal of Nonverbal Behavior"],["dc.bibliographiccitation.lastpage","214"],["dc.bibliographiccitation.volume","39"],["dc.contributor.author","Jürgens, Rebecca"],["dc.contributor.author","Grass, Annika"],["dc.contributor.author","Drolet, Matthis"],["dc.contributor.author","Fischer, Julia"],["dc.date.accessioned","2017-09-07T11:47:14Z"],["dc.date.available","2017-09-07T11:47:14Z"],["dc.date.issued","2015"],["dc.description.abstract","Both in the performative arts and in emotion research, professional actors are assumed to be capable of delivering emotions comparable to spontaneous emotional expressions. This study examines the effects of acting training on vocal emotion depiction and recognition. We predicted that professional actors express emotions in a more realistic fashion than non-professional actors. However, professional acting training may lead to a particular speech pattern; this might account for vocal expressions by actors that are less comparable to authentic samples than the ones by non-professional actors. We compared 80 emotional speech tokens from radio interviews with 80 re-enactments by professional and inexperienced actors, respectively. We analyzed recognition accuracies for emotion and authenticity ratings and compared the acoustic structure of the speech tokens. Both play-acted conditions yielded similar recognition accuracies and possessed more variable pitch contours than the spontaneous recordings. However, professional actors exhibited signs of different articulation patterns compared to non-trained speakers. Our results indicate that for emotion research, emotional expressions by professional actors are not better suited than those from non-actors."],["dc.identifier.doi","10.1007/s10919-015-0209-5"],["dc.identifier.gro","3150659"],["dc.identifier.pmid","26246649"],["dc.identifier.purl","https://resolver.sub.uni-goettingen.de/purl?gs-1/11622"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/7439"],["dc.language.iso","en"],["dc.notes.intern","Merged from goescholar"],["dc.notes.status","final"],["dc.relation.issn","0191-5886"],["dc.rights","CC BY 4.0"],["dc.rights.uri","https://creativecommons.org/licenses/by/4.0"],["dc.subject","Acoustics; Actors; Emotion; Play-acting; Vocal expressions"],["dc.title","Effect of Acting Experience on Emotion Expression and Recognition in Voice: Non-Actors Provide Better Stimuli than Expected"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dc.type.peerReviewed","yes"],["dc.type.version","published_version"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.artnumber","111"],["dc.bibliographiccitation.firstpage","1"],["dc.bibliographiccitation.issue","1"],["dc.bibliographiccitation.journal","Frontiers in Psychology"],["dc.bibliographiccitation.lastpage","10"],["dc.bibliographiccitation.volume","4"],["dc.contributor.author","Jürgens, Rebecca"],["dc.contributor.author","Drolet, Matthis"],["dc.contributor.author","Pirow, Ralph"],["dc.contributor.author","Scheiner, Elisabeth"],["dc.contributor.author","Fischer, Julia"],["dc.date.accessioned","2017-09-07T11:47:40Z"],["dc.date.available","2017-09-07T11:47:40Z"],["dc.date.issued","2013"],["dc.description.abstract","Although the expression of emotions in humans is considered to be largely universal, cultural effects contribute to both emotion expression and recognition. To disentangle the interplay between these factors, play-acted and authentic (non-instructed) vocal expressions of emotions were used, on the assumption that cultural effects may contribute differentially to the recognition of staged and spontaneous emotions. Speech tokens depicting four emotions (anger, sadness, joy, fear) were obtained from German radio archives and re-enacted by professional actors, and presented to 120 participants from Germany, Romania, and Indonesia. Participants in all three countries were poor at distinguishing between play-acted and spontaneous emotional utterances (58.73% correct on average with only marginal cultural differences). Nevertheless, authenticity influenced emotion recognition: across cultures, anger was recognized more accurately when play-acted (z = 15.06, p < 0.001) and sadness when authentic (z = 6.63, p < 0.001), replicating previous findings from German populations. German subjects revealed a slight advantage in recognizing emotions, indicating a moderate in-group advantage. There was no difference between Romanian and Indonesian subjects in the overall emotion recognition. Differential cultural effects became particularly apparent in terms of differential biases in emotion attribution. While all participants labeled play-acted expressions as anger more frequently than expected, German participants exhibited a further bias toward choosing anger for spontaneous stimuli. In contrast to the German sample, Romanian and Indonesian participants were biased toward choosing sadness. These results support the view that emotion recognition rests on a complex interaction of human universals and cultural specificities. Whether and in which way the observed biases are linked to cultural differences in self-construal remains an issue for further investigation."],["dc.identifier.doi","10.3389/fpsyg.2013.00111"],["dc.identifier.gro","3150671"],["dc.identifier.pmid","23493452"],["dc.identifier.purl","https://resolver.sub.uni-goettingen.de/purl?gs-1/10679"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/7454"],["dc.language.iso","en"],["dc.notes.intern","Merged from goescholar"],["dc.notes.status","final"],["dc.relation.issn","1664-1078"],["dc.rights","Goescholar"],["dc.rights.uri","https://goescholar.uni-goettingen.de/licenses"],["dc.title","Encoding Conditions Affect Recognition of Vocally Expressed Emotions Across Cultures"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dc.type.peerReviewed","yes"],["dc.type.version","published_version"],["dspace.entity.type","Publication"]]