scholarly journals The Perceived Emotion of Isolated Synthetic Audio

Author(s):  
Alice Baird ◽  
Emilia Parada-Cabaleiro ◽  
Cameron Fraser ◽  
Simone Hantke ◽  
Björn Schuller
Keyword(s):  
Neuroreport ◽  
1997 ◽  
Vol 8 (3) ◽  
pp. 623-627 ◽  
Author(s):  
Hans Pihan ◽  
Eckart Altenmüller ◽  
Hermann Ackermann

2020 ◽  
Vol 34 (02) ◽  
pp. 1342-1350 ◽  
Author(s):  
Uttaran Bhattacharya ◽  
Trisha Mittal ◽  
Rohan Chandra ◽  
Tanmay Randhavane ◽  
Aniket Bera ◽  
...  

We present a novel classifier network called STEP, to classify perceived human emotion from gaits, based on a Spatial Temporal Graph Convolutional Network (ST-GCN) architecture. Given an RGB video of an individual walking, our formulation implicitly exploits the gait features to classify the perceived emotion of the human into one of four emotions: happy, sad, angry, or neutral. We train STEP on annotated real-world gait videos, augmented with annotated synthetic gaits generated using a novel generative network called STEP-Gen, built on an ST-GCN based Conditional Variational Autoencoder (CVAE). We incorporate a novel push-pull regularization loss in the CVAE formulation of STEP-Gen to generate realistic gaits and improve the classification accuracy of STEP. We also release a novel dataset (E-Gait), which consists of 4,227 human gaits annotated with perceived emotions along with thousands of synthetic gaits. In practice, STEP can learn the affective features and exhibits classification accuracy of 88% on E-Gait, which is 14–30% more accurate over prior methods.


2004 ◽  
Vol 21 (4) ◽  
pp. 561-585 ◽  
Author(s):  
Emery Schubert

The relationship between musical features and perceived emotion was investigated by using continuous response methodology and time-series analysis. Sixty-seven participants responded to four pieces of Romantic music expressing different emotions. Responses were sampled once per second on a two-dimensional emotion space (happy-sad valence and aroused-sleepy). Musical feature variables of loudness, tempo, melodic contour, texture, and spectral centroid (related to perceived timbral sharpness) were coded. Musical feature variables were differenced and used as predictors in two univariate linear regression models of valence and arousal for each of the four pieces. Further adjustments were made to the models to correct for serial correlation. The models explained from 33% to 73% of variation in univariate perceived emotion. Changes in loudness and tempo were associated positively with changes in arousal, but loudness was dominant. Melodic contour varied positively with valence, though this finding was not conclusive. Texture and spectral centroid did not produce consistent predictions. This methodology facilitates a more ecologically valid investigation of emotion in music and, importantly in the present study, enabled the approximate identification of the lag between musical features and perceived emotion. Responses were made 1 to 3 s after a change in the causal musical event, with sudden changes in loudness producing response lags from zero (nearly instantaneous) to 1 s. Other findings, interactions, and ramifications of the methodology are also discussed.


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