0000000000442030
AUTHOR
Imre Lahdelma
Duurin epäkonventionaalinen käyttö Ennio Morriconen musiikissa elokuvassa "Hyvät, pahat ja rumat"
Tutkimuksessa tarkasteltiin, miten duurisävellajissa menevä musiikki voi välittää melankolisen emootion. Tutkimus sivusi aiheita kuten mihin konventio duuri-iloinen molli-surullinen perustuu, sävellajin tulkinnan konvention kulttuurisidonnaisuus vs. universaalisuus sekä kuvan ja musiikin suhde elokuvan kontekstissa. Tutkimuksen viitekehys oli lännenelokuva Hyvät, pahat ja rumat ja sen sisällä melankolinen balladi La Storia Di Un Soldato, joka menee D-duurissa. Menetelmänä oli kappaleesta tehdyn partituurin tutkiminen, jonka perusteella tehtiin lähdekirjallisuuteen nojaten musiikkitieteellisiä havaintoja siitä, mitkä musiikilliset tekijät mahdollistavat duurin käytön melankolisessa balladiss…
Duurisävellajin epäkonventionaalinen käyttö musiikillisen emootion välityksessä
Tutkimuksessa tarkasteltiin, miten duurisävellajissa menevä musiikki voi välittää melankolisen tai surullisen emootion. Kysymyksenasettelulla pyrittiin kyseenalaistamaan yksinkertaistava emootiokonventio duurisävellajin iloisuudesta ja kiinnitettiin huomiota perusemootiokategorisoinnin (ilo-suru-dikotomia) riittämättömyyteen kuvaamaan musiikillista emootionvälitystä. Tutkimuksessa tarkasteltiin perinteisen ilo-suru perusemootiokategorisoinnin välissä olevia emootioita kuten nostalgia ja melankolia. Epäkonventionaalista sävellajin käyttöä pyrittiin selittämään soveltamalla Brunswikin linssimallia musiikilliseen emootionvälitykseen. Tämän lisäksi Balkwillin ja Thompsonin esittelemä kulttuurit…
At the interface between sensation and emotion : perceived qualities of single chords
The focus of this dissertation is to investigate the perception of single chords, both in terms of perceived emotions and psychoacoustic qualities. Previous empirical research on harmony perception has mainly been concerned with horizontal aspects of harmony: studies focusing on vertical harmony perception have been rare. The current work aims to fill some of the still evident gaps between musicology, music psychology, and psychoacoustics with regard to single chord perception by combining both empirical and theoretical approaches. The work comprises three publications, based on two large-scale empirical experiments conducted with the aim of drawing the attention of both expert and inexpert…
Mild Dissonance Preferred Over Consonance in Single Chord Perception
Previous research on harmony perception has mainly been concerned with horizontal aspects of harmony, turning less attention to how listeners perceive psychoacoustic qualities and emotions in single isolated chords. A recent study found mild dissonances to be more preferred than consonances in single chord perception, although the authors did not systematically vary register and consonance in their study; these omissions were explored here. An online empirical experiment was conducted where participants ( N = 410) evaluated chords on the dimensions of Valence, Tension, Energy, Consonance, and Preference; 15 different chords were played with piano timbre across two octaves. The results sugg…
Single chords convey distinct emotional qualities to both naïve and expert listeners.
Previous research on music and emotions has been able to pinpoint many structural features conveying emotions. Empirical research on vertical harmony’s emotional qualities, however, has been rare. The main studies in harmony and emotions usually concern the horizontal aspects of harmony, ignoring emotional qualities of chords as such. An empirical experiment was conducted where participants ( N = 269) evaluated pre-chosen chords on a 9-item scale of given emotional dimensions. 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 results suggest significant…
Theoretical Proposals on How Vertical Harmony May Convey Nostalgia and Longing in Music
<p>Music is often associated with the emotions of nostalgia and longing. According to previous survey studies both nostalgia and longing are among the most commonly evoked emotions by music (Juslin, 2011). Despite nostalgia&rsquo;s significance as a musical emotion, research on the specific properties of music that might contribute to this particular emotion has been scarce. A recent empirical experiment by Lahdelma and Eerola (2014) sought to explore whether single chords could be effective at conveying musical emotions to listeners, which spanned complex emotions such as nostalgia. According to the results single chords such as the minor triad, the minor seventh and the major se…