Expression of emotion in music and vocal communication: Introduction to the research topic

Trainee psychotherapists' emotion recognition accuracy during 1.5 years of psychotherapy education compared to a control group: no improvement after psychotherapy training

The ability to recognize and work with patients' emotions is considered an important part of most psychotherapy approaches. Surprisingly, there is little systematic research on psychotherapists' ability to recognize other people's emotional expressions. In this study, we compared trainee psychotherapists' nonverbal emotion recognition accuracy to a control group of undergraduate students at two time points: at the beginning and at the end of one and a half years of theoretical and practical psychotherapy training. Emotion recognition accuracy (ERA) was assessed using two standardized computer tasks, one for recognition of dynamic multimodal (facial, bodily, vocal) expressions and one for recognition of facial micro expressions. Initially, 154 participants enrolled in the study, 72 also took part in the follow-up. The trainee psychotherapists were moderately better at recognizing multimodal expressions, and slightly better at recognizing facial micro expressions, than the control group at the first test occasion. However, mixed multilevel modeling indicated that the ERA change trajectories for the two groups differed significantly. While the control group improved in their ability to recognize multimodal emotional expressions from pretest to follow-up, the trainee psychotherapists did not. Both groups improved their micro expression recognition accuracy, but the slope for the control group was significantly steeper than the trainee psychotherapists'. These results suggest that psychotherapy education and clinical training do not always contribute to improved emotion recognition accuracy beyond what could be expected due to time or other factors. Possible reasons for that finding as well as implications for the psychotherapy education are discussed.

Trainee psychotherapists' emotion recognition accuracy improves after training: emotion recognition training as a tool for psychotherapy education

Introduction

Psychotherapists' emotional and empathic competencies have a positive influence on psychotherapy outcome and alliance. However, it is doubtful whether psychotherapy education in itself leads to improvements in trainee psychotherapists' emotion recognition accuracy (ERA), which is an essential part of these competencies.

Methods

In a randomized, controlled, double-blind study (N = 68), we trained trainee psychotherapists (57% psychodynamic therapy and 43% cognitive behavioral therapy) to detect non-verbal emotional expressions in others using standardized computerized trainings - one for multimodal emotion recognition accuracy and one for micro expression recognition accuracy - and compared their results to an active control group one week after the training (n = 60) and at the one-year follow up (n = 55). The participants trained once weekly during a three-week period. As outcome measures, we used a multimodal emotion recognition accuracy task, a micro expression recognition accuracy task and an emotion recognition accuracy task for verbal and non-verbal (combined) emotional expressions in medical settings.

Results

The results of mixed multilevel analyses suggest that the multimodal emotion recognition accuracy training led to significantly steeper increases than the other two conditions from pretest to the posttest one week after the last training session. When comparing the pretest to follow-up differences in slopes, the superiority of the multimodal training group was still detectable in the unimodal audio modality and the unimodal video modality (in comparison to the control training group), but not when considering the multimodal audio-video modality or the total score of the multimodal emotion recognition accuracy measure. The micro expression training group showed a significantly steeper change trajectory from pretest to posttest compared to the control training group, but not compared to the multimodal training group. However, the effect vanished again until the one-year follow-up. There were no differences in change trajectories for the outcome measure about emotion recognition accuracy in medical settings.

Discussion

We conclude that trainee psychotherapists' emotion recognition accuracy can be effectively trained, especially multimodal emotion recognition accuracy, and suggest that the changes in unimodal emotion recognition accuracy (audio-only and video-only) are long-lasting. Implications of these findings for the psychotherapy education are discussed.

Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application?

In music, the interpreter manipulates the performance parameters in order to offer a sonic rendition of the piece that is capable of conveying specific expressive intentions. Since the 1980s, there has been growing interest in expressive music performance (EMP) and its computational modeling. This research field has two fundamental objectives: understanding the phenomenon of human musical interpretation and the automatic generation of expressive performances. Rule-based, statistical, machine, and deep learning approaches have been proposed, most of them devoted to the classical repertoire, in particular to piano pieces. On the contrary, we introduce the role of expressive performance within popular music and the contemporary ecology of pop music production based on the use of digital audio workstations (DAWs) and virtual instruments. After an analysis of the tools related to expressiveness commonly available to modern producers, we propose a detailed survey of research into the computational EMP field, highlighting the potential and limits of what is present in the literature with respect to the context of popular music, which by its nature cannot be completely superimposed to the classical one. In the concluding discussion, we suggest possible lines of future research in the field of computational expressiveness applied to pop music.