Pauline Larrouy-Maestri

Pauline Larrouy-Maestri
Max Planck Institute for Empirical Aesthetics | MPGAESTHETIC

PhD
Researcher

About

34
Publications
19,743
Reads
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326
Citations
Introduction
Pauline Larrouy-Maestri currently works at the Max Planck Institute for Empirical Aesthetics.
Additional affiliations
December 2013 - June 2014
University at Buffalo, The State University of New York
Position
  • PostDoc Position
October 2009 - November 2014
University of Liège
Position
  • Research Assistant

Publications

Publications (34)
Article
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...
Article
Full-text available
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...
Article
Full-text available
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...
Article
Full-text available
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:...
Article
Full-text available
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...
Preprint
Full-text available
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...
Article
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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...
Preprint
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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...
Article
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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...
Article
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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...
Preprint
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Recent TTS systems are able to generate prosodically varied and realistic speech. However, it is unclear how this prosodic variation contributes to the perception of speakers' emotional states. Here we use the recent psychological paradigm 'Gibbs Sampling with People' to search the prosodic latent space in a trained GST Tacotron model to explore pr...
Article
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...
Preprint
Full-text available
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...
Article
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...
Article
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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...
Article
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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...
Article
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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...
Article
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...
Article
Full-text available
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...
Article
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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...
Chapter
Full-text available
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...
Article
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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...
Article
Full-text available
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...
Article
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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...
Article
Full-text available
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...
Article
Full-text available
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...
Article
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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...
Article
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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...
Article
Full-text available
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...
Thesis
Full-text available
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 »...
Data
Full-text available
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,...
Data
Full-text available
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...

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