![]() Moreover, certain chords played on the strings scored moderately high on the dimension of ‘nostalgia/longing,’ which is usually held as a musical emotion rising only from extra-musical connotations and conditioning, not intrinsically from the structural features of the music. The inversions and timbre also contributed to the evaluations. ![]() These were consistent with notions about musical conventions, while providing novel data on how seventh chords affect emotion perception. The results suggest significant differences in emotion perception across chords. 14 different chords (major, minor, diminished, augmented triads and dominant, major and minor seventh chords with inversions) were played with two distinct timbres (piano and strings). The main studies in harmony and emotions usually concern the horizontal aspects of harmony, ignoring emotional qualities of chords as such.Īn empirical experiment was conducted where participants (N = 269) evaluated pre-chosen chords on a 9-item scale of given emotional dimensions. Empirical research on vertical harmony’s emotional qualities, however, has been rare. Previous research on music and emotions has been able to pinpoint many structural features conveying emotions.
0 Comments
Leave a Reply. |