Data and R code for manuscript "The perception of spontaneous and volitional laughter across 21 societies."

The way we speak can reveal much about what we intend to communicate, but the words we use often only indirectly relate to the meanings we wish to convey. Verbal irony is a commonly studied form of indirect speech in which a speaker produces an explicit evaluative utterance that implicates an unstated, opposing evaluation. Producing and understanding ironic language, as well as many other types of indirect speech, requires the ability to recognize mental states in others, sometimes described as a capacity for metarepresentation. This article aims to connect common elements between the major theoretical approaches to verbal irony to recent psycholinguistic, developmental, and neuropsychological research demonstrating the necessity for metarepresentation in the effective use of verbal irony in social interaction. Here I will argue that verbal irony is one emergent, strategic possibility given the interface between people's ability to infer mental states, and use language. Rather than think of ironic communication as a specialized cognitive ability, I will claim that it arises from the same set of abilities that underlie a wide range of inferential communicative behaviors. © 2012 The Author. Language and Linguistics Compass © 2012 Blackwell Publishing Ltd.

This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library.

Researchers studying the emotional impact of music have not traditionally been concerned with the principled relationship between form and function in evolved animal signals. The acoustic structure of musical forms is related in important ways to emotion perception, and thus research on non-human animal vocalizations is relevant for understanding emotion in music. Musical behavior occurs in cultural contexts that include many other coordinated activities which mark group identity, and can allow people to communicate within and between social alliances. The emotional impact of music might be best understood as a proximate mechanism serving an ultimately social function. Recent work reveals intimate connections between properties of certain animal signals and evocative aspects of human music, including (1) examinations of the role of nonlinearities (e.g., broadband noise) in non-human animal vocalizations, and the analogous production and perception of these features in human music, and (2) an analysis of group musical performances and possible relationships to non-human animal chorusing and emotional contagion effects. Communicative features in music are likely due primarily to evolutionary by-products of phylogenetically older, but still intact communication systems. But in some cases, such as the coordinated rhythmic sounds produced by groups of musicians, our appreciation and emotional engagement might be driven by an adaptive social signaling system. Future empirical work should examine human musical behavior through the comparative lens of behavioral ecology and an adaptationist cognitive science. By this view, particular coordinated sound combinations generated by musicians exploit evolved perceptual response biases - many shared across species - and proliferate through cultural evolutionary processes.

Verbal irony constitutes a rough class of indirect intentional communication involving a complex interaction of language-specific and communication-general phenomena. Conversationalists use verbal irony in conjunction with paralinguistic signals such as speech prosody. Researchers examining acoustic features of speech communication usually focus on how prosodic information relates to the surface structure of utterances, and often ignore prosodic phenomena associated with implied meaning. In the case of verbal irony, there exists some debate concerning how these prosodic features manifest themselves in conversation. A form-function approach can provide a valuable tool for understanding speakers' varied vocal strategies in this domain. Here I describe several ways conversationalists employ prosodic contrasts, laughter, and other speech characteristics in their attempts to communicate effectively and efficiently. The presented examples, culled from spontaneous conversation recordings, reveal just a small sample of the enormous variation in delivery styles speakers adopt when communicating with ironic language. © John Benjamins Publishing Company.

Prosodic features in spontaneous speech help disambiguate implied meaning not explicit in linguistic surface structure, but little research has examined how these signals manifest themselves in real conversations. Spontaneously produced verbal irony utterances generated between familiar speakers in conversational dyads were acoustically analyzed for prosodic contrasts. A prosodic contrast was defined as a statistically reliable shift between adjacent phrasal units in at least 1 of 5 acoustic dimensions (mean fundamental frequency, fundamental frequency variability, mean amplitude, amplitude variability, and mean syllable duration). Overall, speakers contrasted prosodic features in ironic utterances with utterances immediately preceding them at a higher rate than between adjacent nonironic utterance pairs from the same interactions. Across multiple speakers, ironic utterances were spoken significantly slower than preceding speech, but no other acoustic dimensions changed consistently. This is the first acoustic analysis examining relative prosodic changes in spontaneous ironic speech. Prosodic contrasts are argued to be an important mechanism for communicating implicit emotional and intentional information in speech-and a means to understanding traditional notions of an ironic tone. © Taylor & Francis Group, LLC.