皮卡第三人组会笑吗?声调层次与声调配价:外显与内隐测量
Do Picardy thirds smile? Tonal hierarchy and tonal valence: explicit and implicit measures
摘要:
西方的调性在旋律音阶中提供了一个稳定的等级,从最稳定的主音到不稳定的半音。音调的稳定性与情绪有关,但缺乏对旋律音阶等级和感知情绪效价之间关系的系统研究。在这里,我们在三个实验中研究了这种联系,在音乐家和非音乐家中。我们使用了一个明确的任务,其中参与者匹配探测音键建立序列的面部表情,从悲伤到快乐,和一个隐式的加速任务,一个变种的隐式联想测试。在所有的实验中,无论是音乐家还是非音乐家,Stabler量表度都与更积极的效价相关。尽管如此,结果显着不同,从一个可比的拟合优度的任务,这表明,感知音调效价是不可还原的音调适合。外显和内隐的措施的比较表明,协会的音调和情绪价可能依赖于两个不同的机制,一个介导的概念音乐知识和有意识的决策过程,其他-主要是由非概念和非自愿的过程。这里介绍的联合实验范式可能有助于映射额外的内涵意义,无论是情感和跨模态,嵌入在音调结构,从而表明如何通过音乐句法向听众传达音乐外的意义。
英文摘要:
Western tonality provides a hierarchy of stability among melodic scale-degrees, from the maximally stable tonic to unstable chromatic notes. Tonal stability has been linked to emotion, yet systematic investigations of the associations between the hierarchy of melodic scale-degrees and perceived emotional valence are lacking. Here, we examined such associations in three experiments, in musicians and in non-musicians. We used an explicit task, in which participants matched probe tones following key-establishing sequences to facial expressions ranging from sad to happy, and an implicit speeded task, a variant of the Implicit Association Test. Stabler scale-degrees were associated with more positive valence in all experiments, for both musicians and nonmusicians. This notwithstanding, results significantly differed from those of a comparable goodness-of-fit task, suggesting that perceived tonal valence is not reducible to tonal fit. Comparisons of the explicit and implicit measures suggest that associations of tonality and emotional valence may rely on two distinct mechanisms, one mediated by conceptual musical knowledge and conscious decisional processes, the other - largely by non-conceptual and involuntary processes. The joint experimental paradigms introduced here may help mapping additional connotative meanings, both emotional and cross-modal, embedded in tonal structure, thus suggesting how extra-musical meanings are conveyed to listeners through musical syntax.
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