The credibility of acted screams: Implications for emotional communication research

The evolutionary benefit of less-credible affective musical signals for emotion induction during storytelling

The credible signaling theory underexplains the evolutionary added value of less-credible affective musical signals compared to vocal signals. The theory might be extended to account for the motivation for, and consequences of, culturally decontextualizing a biologically contextualized signal. Musical signals are twofold, communicating "emotional fiction" alongside biological meaning, and could have filled an adaptive need for affect induction during storytelling.

Neurocognitive processing efficiency for discriminating human non-alarm rather than alarm scream calls

Across many species, scream calls signal the affective significance of events to other agents. Scream calls were often thought to be of generic alarming and fearful nature, to signal potential threats, with instantaneous, involuntary, and accurate recognition by perceivers. However, scream calls are more diverse in their affective signaling nature than being limited to fearfully alarming a threat, and thus the broader sociobiological relevance of various scream types is unclear. Here we used 4 different psychoacoustic, perceptual decision-making, and neuroimaging experiments in humans to demonstrate the existence of at least 6 psychoacoustically distinctive types of scream calls of both alarming and non-alarming nature, rather than there being only screams caused by fear or aggression. Second, based on perceptual and processing sensitivity measures for decision-making during scream recognition, we found that alarm screams (with some exceptions) were overall discriminated the worst, were responded to the slowest, and were associated with a lower perceptual sensitivity for their recognition compared with non-alarm screams. Third, the neural processing of alarm compared with non-alarm screams during an implicit processing task elicited only minimal neural signal and connectivity in perceivers, contrary to the frequent assumption of a threat processing bias of the primate neural system. These findings show that scream calls are more diverse in their signaling and communicative nature in humans than previously assumed, and, in contrast to a commonly observed threat processing bias in perceptual discriminations and neural processes, we found that especially non-alarm screams, and positive screams in particular, seem to have higher efficiency in speeded discriminations and the implicit neural processing of various scream types in humans.

The emotional canvas of human screams: patterns and acoustic cues in the perceptual categorization of a basic call type

Screams occur across taxonomically widespread species, typically in antipredator situations, and are strikingly similar acoustically, but in nonhuman primates, they have taken on acoustically varied forms in association with more contextually complex functions related to agonistic recruitment. Humans scream in an even broader range of contexts, but the extent to which acoustic variation allows listeners to perceive different emotional meanings remains unknown. We investigated how listeners responded to 30 contextually diverse human screams on six different emotion prompts as well as how selected acoustic cues predicted these responses. We found that acoustic variation in screams was associated with the perception of different emotions from these calls. Emotion ratings generally fell along two dimensions: one contrasting perceived anger, frustration, and pain with surprise and happiness, roughly associated with call duration and roughness, and one related to perceived fear, associated with call fundamental frequency. Listeners were more likely to rate screams highly in emotion prompts matching the source context, suggesting that some screams conveyed information about emotional context, but it is noteworthy that the analysis of screams from happiness contexts (n = 11 screams) revealed that they more often yielded higher ratings of fear. We discuss the implications of these findings for the role and evolution of nonlinguistic vocalizations in human communication, including consideration of how the expanded diversity in calls such as human screams might represent a derived function of language.

Nonverbal auditory communication - Evidence for integrated neural systems for voice signal production and perception

While humans have developed a sophisticated and unique system of verbal auditory communication, they also share a more common and evolutionarily important nonverbal channel of voice signaling with many other mammalian and vertebrate species. This nonverbal communication is mediated and modulated by the acoustic properties of a voice signal, and is a powerful - yet often neglected - means of sending and perceiving socially relevant information. From the viewpoint of dyadic (involving a sender and a signal receiver) voice signal communication, we discuss the integrated neural dynamics in primate nonverbal voice signal production and perception. Most previous neurobiological models of voice communication modelled these neural dynamics from the limited perspective of either voice production or perception, largely disregarding the neural and cognitive commonalities of both functions. Taking a dyadic perspective on nonverbal communication, however, it turns out that the neural systems for voice production and perception are surprisingly similar. Based on the interdependence of both production and perception functions in communication, we first propose a re-grouping of the neural mechanisms of communication into auditory, limbic, and paramotor systems, with special consideration for a subsidiary basal-ganglia-centered system. Second, we propose that the similarity in the neural systems involved in voice signal production and perception is the result of the co-evolution of nonverbal voice production and perception systems promoted by their strong interdependence in dyadic interactions.

Terrifying film music mimics alarming acoustic feature of human screams

One way music is thought to convey emotion is by mimicking acoustic features of affective human vocalizations [Juslin and Laukka (2003). Psychol. Bull. 129(5), 770-814]. Regarding fear, it has been informally noted that music for scary scenes in films frequently exhibits a "scream-like" character. Here, this proposition is formally tested. This paper reports acoustic analyses for four categories of audio stimuli: screams, non-screaming vocalizations, scream-like music, and non-scream-like music. Valence and arousal ratings were also collected. Results support the hypothesis that a key feature of human screams (roughness) is imitated by scream-like music and could potentially signal danger through both music and the voice.

Do human screams permit individual recognition?

The recognition of individuals through vocalizations is a highly adaptive ability in the social behavior of many species, including humans. However, the extent to which nonlinguistic vocalizations such as screams permit individual recognition in humans remains unclear. Using a same-different vocalizer discrimination task, we investigated participants' ability to correctly identify whether pairs of screams were produced by the same person or two different people, a critical prerequisite to individual recognition. Despite prior theory-based contentions that screams are not acoustically well-suited to conveying identity cues, listeners discriminated individuals at above-chance levels by their screams, including both acoustically modified and unmodified exemplars. We found that vocalizer gender explained some variation in participants' discrimination abilities and response times, but participant attributes (gender, experience, empathy) did not. Our findings are consistent with abundant evidence from nonhuman primates, suggesting that both human and nonhuman screams convey cues to caller identity, thus supporting the thesis of evolutionary continuity in at least some aspects of scream function across primate species.