Secretagogue laxatives as a potential strategy to overcome adherence barriers to over-the-counter treatment for clozapine-induced constipation.
Authors: Leung JG, Markota M, Wang XJ
Journal: The mental health clinician
mental health
psychology
open access
Abstract
The capacity of music to express emotions is well-documented in the literature (; ). Singing, in particular, constitutes a primary modality of musical expression. Much like speech, singing allows for the communication of complex emotions through acoustic cues (; ; ; ). While emotional transmission in both domains relies on similar acoustic parameters, recent studies suggest that the perceived intensity differs substantially between them (). In the training of a singer, the rigorous focus on technical proficiency often marginalizes emotional pedagogy, frequently failing to achieve the desired interpretive depth (). Accordingly, vocalists must understand how emotional expression modulates the voice to achieve communicative efficacy without compromising acoustic sonority. Another important aspect is the authenticity of vocal expression, which remains a subject of intense debate regarding the acoustic and perceptual distinctions between genuine and simulated affect (; ; ). Authors like commented that one can both perceive and express emotion without actually having an emotion. Other authors (; ) have proposed a distinction between perceived expressions of emotion and felt expressions of emotion, the difference being that perceived emotions can be recognized from music without necessarily feeling them, while felt emotions are actual emotions being induced in the listener by the music. Emotional expression in the singing voice is operationalized through measurable acoustic parameters characterized via spectral analysis. Singers convey affect through subtle modulations of fundamental frequency (F), temporal structure, intensity, and timbre (, ; ). Consequently, stabilizing baseline variables such as F and tempo facilitates the systematic analysis of vowel-specific variations during emotional transmission (), as performers utilize minor fundamental frequency (F) fluctuations to reinforce their interpretive intent.