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Affective response to tonal modulation.

机译：对音调的情感反应。

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摘要

Tonality can be explained as a system of tonal relationships that shape melodic objects and maintain their unity. Tonal modulation is a re-orientation from one tonality to another within same musical composition. Modulation is the principal tool of thematic development in the European musical tradition. Musical practice shows that some modulations are more popular than others and that some modulations produce strong emotional effects. We suggest that affective responses to tonal modulation depend on degree of modulation, on direction of modulation along the circle of fifths, and on the involvement of the major and minor modes. We conduct two experiments to investigate affective responses to tonal modulation by asking the participants to indicate intensity of their affective response to each stimulus on six bipolar adjective scales related to valence, synaesthesia, potency, and tension. EXPERIMENT 1 examines affective responses to all twelve major and minor keys of the Western tonal schema. EXPERIMENT 2 focuses on modulations to three selected steps in the major mode only and compares affective responses to artificial stimuli (harmonic progressions) with responses to real music excerpts. In addition, EXPERIMENT 2 investigates affective influence of the direction of pitch-change in soprano and bass melodic lines in the harmonic progressions. Results demonstrate different affective responses to different degrees of modulation. Results also agree with other studies on affective response to the major and minor modes. Listeners recognize modulations to the important dominant and subdominant steps and sense the negativity of the tritone. It is found that responses agree with the theoretical model of pitch proximity and that they are influences by the direction around the circle of fifths. Results indicate that in harmonic progressions responses were influenced by melodic contour patterns and that in real music excerpts affective influence of degree of modulation can compete successfully with other expressive elements of music such as tempo, tessitura, and style.
机译：音调可以解释为形成旋律对象并保持其统一性的音调关系系统。音调是在同一音乐作品中从一种音调重新定向到另一种音调。调制是欧洲音乐传统中主题开发的主要工具。音乐实践表明，某些调制方式比其他方式更受欢迎，并且某些调制方式会产生强烈的情感效果。我们建议，对音调调制的情感响应取决于调制程度，沿五分之一圆的调制方向以及主要和次要模式的参与。我们进行了两个实验，通过要求参与者在与价，联觉，效能和张力有关的六个双极形容词量表上指示其对每种刺激的情感反应强度，来调查对音调调制的情感反应。实验1考察了对西方音调图式的所有十二个主要和次要键的情感反应。实验2仅专注于在主要模式下对三个选定步骤的调制，并将对人工刺激的情感响应（谐和进行）与对真实音乐摘录的响应进行比较。此外，实验2研究了高音和低音旋律线的音高变化方向对谐波进程的影响。结果表明对不同程度的调制有不同的情感反应。研究结果也与其他关于对主要和次要方式的情感反应的研究一致。听众认识到对重要的主要和次要步骤的调制，并感觉到三音的否定性。发现响应与音高接近度的理论模型一致，并且它们是受五分音圈的方向影响的。结果表明，在和声进行中，响应受到旋律轮廓模式的影响，而在真实音乐摘录中，调制度的情感影响可以与音乐的其他表现元素（如速度，特塞蒂图拉和风格）成功竞争。

著录项

  • 作者

    Korsakova-Kreyn, Marina.;

  • 作者单位

    The University of Texas at Dallas.;

  • 授予单位 The University of Texas at Dallas.;
  • 学科 Biology Neuroscience.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 118 p.
  • 总页数 118
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 康复医学;
  • 关键词

  • 入库时间 2022-08-17 11:38:19

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