{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,6,16]],"date-time":"2026-06-16T01:54:48Z","timestamp":1781574888235,"version":"3.54.5"},"reference-count":18,"publisher":"Acoustical Society of America (ASA)","issue":"1","content-domain":{"domain":["pubs.aip.org"],"crossmark-restriction":true},"short-container-title":[],"published-print":{"date-parts":[[2024,1,1]]},"abstract":"<jats:p>In an earlier study, we analyzed how audio signals obtained from three professional opera singers varied when they sang one octave wide eight-tone scales in ten different emotional colors. The results showed systematic variations in voice source and long-term-average spectrum (LTAS) parameters associated with major emotion \u201cfamilies\u201d. For two of the singers, subglottal pressure (PSub) also was recorded, thus allowing analysis of an additional main physiological voice control parameter, glottal resistance (defined as the ratio between PSub and glottal flow), and related to glottal adduction. In the present study, we analyze voice source and LTAS parameters derived from the audio signal and their correlation with Psub and glottal resistance. The measured parameters showed a systematic relationship with the four emotion families observed in our previous study. They also varied systematically with values of the ten emotions along the valence, power, and arousal dimensions; valence showed a significant correlation with the ratio between acoustic voice source energy and subglottal pressure, while Power varied significantly with sound level and two measures related to the spectral dominance of the lowest spectrum partial. the fundamental.<\/jats:p>","DOI":"10.1121\/10.0023938","type":"journal-article","created":{"date-parts":[[2024,1,3]],"date-time":"2024-01-03T14:18:47Z","timestamp":1704291527000},"page":"18-28","update-policy":"https:\/\/doi.org\/10.1063\/aip-crossmark-policy-page","source":"Crossref","is-referenced-by-count":6,"title":["Emotional expressivity in singing. 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