Pauline Larrouy-Maestri

• PhD
• Researcher at Max Planck Institute for Empirical Aesthetics

Objective The operatic singing technique is frequently used in classical music. Several acoustical parameters of this specific technique have been studied but how these parameters combine remains unclear. This study aims to further characterize the Western operatic singing technique by observing the effects of melody and technique on acoustical and...

Musical learning and training appear to have large cross-domain transfer effects: they are beneficial in various cognitive domains including language. The present study aimed to examine the role of musical expertise in how musical and linguistic information contained in songs is used. However, as the superiority of musicians could be attributed to...

The quality of a music performance can be lessened or enhanced if the performer experiences stressful conditions. In addition, the quality of a sung performance requires control of the fundamental frequency of the voice, which is particularly sensitive to stress. The present study aimed to clarify the effects of stress on singing voice accuracy. Th...

Objective: Vocal accuracy of a sung performance can be evaluated by two methods: acoustic analyses and subjective judgments. Acoustic analyses have been presented as a more reliable solution but both methods are still used for the evaluation of singing voice accuracy. This article presents a first time direct comparison of these methods. Methods:...

This study aims to validate our method for measuring accuracy in a melodic context. We analysed the popular song 'Happy Birthday' sung by 63 occasional and 14 professional singers thanks to AudioSculpt and OpenMusic (IRCAM, Paris, France). In terms of evaluation of the pitch interval deviation, we replicated the profile of occasional singers descri...

The human voice is remarkably versatile and can vary greatly in sound depending on how it is used. An increasing number of studies have addressed the differences and similarities between the singing and the speaking voice. However, finding adequate stimuli material that is at the same time controlled and ecologically valid is challenging, and most...

The evolution of music, speech, and sociality have been debated since before Darwin. The social bonding hypothesis proposes that these phenomena may be interlinked: musicality may have facilitated the evolution of social bonding beyond the possibilities of spoken language. Although dozens of experimental studies have argued that synchronised rhythm...

The evolution of music, speech, and sociality have been debated since before Darwin. The social bonding hypothesis proposes that these phenomena may be interlinked: musicality may have facilitated the evolution of social bonding beyond the possibilities of spoken language. Although dozens of experimental studies have argued that synchronised rhythm...

Voice preferences are an integral part of interpersonal interactions and shape how people connect with each other. While a large number of studies have investigated the mechanisms behind (speaking) voice attractiveness, very little research was dedicated to other types of vocalizations. In this Registered Report, we proposed to investigate voice pr...

Music, like spoken language, is often characterized by hierarchically organized structure. Previous experiments have shown neural tracking of notes and beats, but little work touches on the more abstract question: how does the brain establish high-level musical structures in real time? We presented Bach chorales to participants (20 females and 9 ma...

The evolution of music, language, and cooperation have been debated since before Darwin. The social bonding hypothesis proposes that these phenomena may be interlinked: musicality may have facilitated the evolution of group cooperation beyond the possibilities of spoken language. Although dozens of experimental studies have shown that synchronised...

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conve...

Why do we prefer some singers to others? We investigated how much singing voice preferences can be traced back to objective features of the stimuli. To do so, we asked participants to rate short excerpts of singing performances in terms of how much they liked them as well as in terms of 10 perceptual attributes (e.g.: pitch accuracy, tempo, breathi...

Emotional voices attract considerable attention. A search on any browser using “emotional prosody” as a key phrase leads to more than a million entries. Such interest is evident in the scientific literature as well; readers are reminded in the introductory paragraphs of countless articles of the great importance of prosody and that listeners easily...

150 words) Listeners show remarkable abilities to distinguish music and speech when asked but the essence of such categories is arguable. Here, using recordings of dùndún drumming (a West-African drum also used as a speech surrogate), we first replicate standard speech-music categorization results (N=108, sample size based on a prior study), then d...

Speech carries information about the emotional state of a speaker. Empirical evidence shows that acoustic cues in emotional prosody change over time. Here, we compile and implement a list of proposed features to capture the change of pitch over time. Our results show that these measures significantly improve the classification of emotions when appl...

Prosodic stresses are known to affect the meaning of utterances, but exactly how they do this is not known in many cases. We focus on the mechanisms underlying the meaning effects of ironic prosody (e.g., teasing or blaming through an ironic twist), which is frequently used in both personal and mass-media communication. To investigate ironic twists...

The existence of a mapping between emotions and speech prosody is commonly assumed. We propose a Bayesian modelling framework to analyse this mapping. Our models are fitted to a large collection of intended emotional prosody, yielding more than 3,000 minutes of recordings. Our descriptive study reveals that the mapping within corpora is relatively...

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: 1) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conver...

Every day, you hear many sounds in your environment, like speech, music, animal calls, or passing cars. How do you tease apart these unique categories of sounds? We aimed to understand more about how people distinguish speech and music by using an instrument that can both “speak” and play music: the dùndún talking drum. We were interested in whethe...

Music and language processing have been repeatedly compared but similarities and differences between domains are challenging to quantify. This chapter takes a step back and focuses specifically on the role of fine-grained changes in pitch, which play a role in both domains but are not widely studied. In addition to describing the units, we provide...

The ACM Multimedia 2022 Computational Paralinguistics Challenge addresses four different problems for the first time in a research competition under well-defined conditions: In the Vocalisations and Stuttering Sub-Challenges, a classification on human non-verbal vocalisations and speech has to be made; the Activity Sub-Challenge aims at beyond-audi...

The human voice is a potent source of information to signal emotion. Nonspeech vocalizations (e.g., laughter, crying, moans, or screams), in particular, can elicit compelling affective experiences. Consensus exists that the emotional intensity of such expressions matters; however how intensity affects such signals, and their perception remains cont...

Music, like language, is characterized by hierarchically organized structure that unfolds over time. Music listening therefore requires not only the tracking of notes and beats but also internally constructing high-level musical structures or phrases and anticipating incoming contents. Unlike for language, mechanistic evidence for online musical se...

It seems trivial to identify sound sequences as music or speech, particularly when the sequences come from different sound sources, such as an orchestra and a human voice. Can we also easily distinguish these categories when the sequence comes from the same sound source? On the basis of which acoustic features? We investigated these questions by ex...

Vocalizations including laughter, cries, moans, or screams constitute a potent source of information about the affective states of others. It is typically conjectured that the higher the intensity of the expressed emotion, the better the classification of affective information. However, attempts to map the relation between affective intensity and i...

Objective Singers are the first judges of their own performances. Although performers usually share a precise definition of pitch accuracy, do they correctly estimate their own ability to sing in tune? This study examines the accuracy of professional singers’ self-evaluations and investigates the profiles of performers/judges. Methods Eighteen hig...

A core problem in cognitive science and machine learning is to understand how humans derive semantic representations from perceptual objects, such as color from an apple, pleasantness from a musical chord, or trustworthiness from a face. Markov Chain Monte Carlo with People (MCMCP) is a prominent method for studying such representations, in which p...

The timing of acoustic events is central to human speech and music. Tempo tends to be slower in aesthetic contexts: rates in poetic speech and music are slower than non-poetic, running speech. We tested whether a general aesthetic preference for slower rates can account for this, using birdsong as a stimulus: it structurally resembles human sequenc...

An important aspect of the perceived quality of vocal music is the degree to which the vocalist sings in tune. Although most listeners seem sensitive to vocal mistuning, little is known about the development of this perceptual ability or how it differs between listeners. Motivated by a lack of suitable preexisting measures, we introduce in this art...

Studies of musical pitch perception typically treat pitches as if they are stable within a tone. Although pitches are represented this way in notation, performed tones are rarely stable, particularly in singing, which is arguably the most common form of melody production. This paper examines how brief dynamic changes at the beginnings and endings o...

Listeners regularly judge the accuracy of musical performances. However, as is true for several types of judgments (e.g., beauty or obscenity), estimating the correctness of melodies is not based on a precise definition of the object/performance but rather follows arguments such as “I know it when I hear it”. In order to clarify the definition of c...

Objective: Little is known about the impact of smoking on voice acoustics. Some studies have found that tobacco affects the fundamental frequency of the voice, whereas others have not. This study aimed to overcome the major methodological limitations observed in previous studies by strictly controlling several variables that could clarify the effe...

Similarities and differences between speech and song are often examined. However, the perceptual definition of these two types of vocalization is challenging. Indeed, the prototypical characteristics of speech or song support top-down processes, which influence listeners' perception of acoustic information. In order to examine vocal features associ...

Lay listeners are reliable judges when evaluating pitch accuracy of occasional singers, suggesting that enculturation and laypersons’ perceptual abilities are sufficient to judge “simple” music material adequately. However, the definition of pitch accuracy in operatic performances is much more complex than in melodies performed by occasional singer...

Chanter est une activité musicale particulièrement accessible et appreciée. Cependant, nous ne chantons pas tous très juste. Plusieurs causes peuvent être responsables d'un trouble de justesse et il n'est pas toujours évident de cibler la source du problème. Dans tous les cas, il est nécessaire d'évaluer précisément les difficultés pour proposer et...

Quand la voix dysfonctionne, le logopède/orthophoniste travaille avec le patient afin de l’aider à retrou- ver une efficacité vocale et la possibilité de s’exprimer avec aisance. Considérant que parler ou chanter en public peut engendrer du stress, il est nécessaire d’en connaitre les répercussions sur la voix. Le présent article vise à familiarise...

The increasing number of casting shows and talent contests in the media over the past years suggests a public interest in rating the quality of vocal performances. In many of these formats, laymen alongside music experts act as judges. Whereas experts' judgments are considered objective and reliable when it comes to evaluating singing voice, little...

In recent years there has been a remarkable increase in research focusing on deficits of pitch production in singing. A critical concern has been the identification of “poor pitch singers,” which we refer to more generally as individuals having a “vocal pitch imitation deficit.” The present paper includes a critical assessment of the assumption tha...

In recent years there has been a remarkable increase in research focusing on deficits of pitch production in singing. A critical concern has been the identification of “poor pitch singers”, which we refer to more generally as individuals having a “vocal pitch imitation deficit” (VPID). The present paper includes a critical assessment of the assumpt...

A previous study highlighted the effect of vocal technique on the singing voice accuracy of trained singers. The intervals' precision between the notes of the tune was altered when the singers used Western operatic singing technique. In order better to understand these results, we have recorded two different melodies sung with two different vocal t...

THE OBJECTIVE ANALYSIS OF WESTERN OPERATIC singing voices indicates that professional singers can be particularly "out of tune." This study aims to better understand the evaluation of operatic voices, which have particularly complex acoustical signals. Twenty-two music experts were asked to evaluate the vocal pitch accuracy of 14 sung performances...

The inability to vocally match a pitch can be caused by poor pitch perception or by poor vocal-motor control. Although previous studies have tried to examine the relationship between pitch perception and vocal production, they have failed to control for the timbre of the target to be matched. In the present study, we compare pitch-matching accuracy...

Déterminer si une mélodie chantée est « juste » ou « fausse » ou cibler une difficulté à chanter juste nécessite l’évaluation précise et pertinente de performances vocales. Cependant, la définition de la justesse est encore imprécise et les méthodes disponibles pour son évaluation sont à ce jour limitées. Dans le cadre de cette thèse de doctorat, n...

Afin de déterminer si une performance vocale mélodique est « juste » ou « fausse », de mieux comprendre les causes d’un trouble de justesse ou encore de porter un jugement sur la qualité d’un chanteur, des outils d’évaluation sont nécessaires. Actuellement, deux méthodes existent pour évaluer la justesse d’une performance. La méthode « subjective »...

Two songs (Happy Birthday and a chosen romantic melody) were performed by 50 trained singers aged from 19 to 66 years old (on average: 36.94). These 38 women and 12 men began their musical education between 6 and 49 years old (on average: 20.18) and have a musical background of 5 to 51 years (on average: 19.86). They practice 13.68 hours per week,...

Corpus created with the help of students of the University of Liège (Belgium) (Psychology Department : Cognition and Behaviour – Voice Unit) Popular song sung by 166 French occasional singers. The participants sang the French version of the popular tune "Happy Birthday", without a compulsory tonality, after production of two glissendi (a continuous...