Major and minor music compared to excited and subdued speech.
Repository Usage Stats
The affective impact of music arises from a variety of factors, including intensity, tempo, rhythm, and tonal relationships. The emotional coloring evoked by intensity, tempo, and rhythm appears to arise from association with the characteristics of human behavior in the corresponding condition; however, how and why particular tonal relationships in music convey distinct emotional effects are not clear. The hypothesis examined here is that major and minor tone collections elicit different affective reactions because their spectra are similar to the spectra of voiced speech uttered in different emotional states. To evaluate this possibility the spectra of the intervals that distinguish major and minor music were compared to the spectra of voiced segments in excited and subdued speech using fundamental frequency and frequency ratios as measures. Consistent with the hypothesis, the spectra of major intervals are more similar to spectra found in excited speech, whereas the spectra of particular minor intervals are more similar to the spectra of subdued speech. These results suggest that the characteristic affective impact of major and minor tone collections arises from associations routinely made between particular musical intervals and voiced speech.
Databases as Topic
Published Version (Please cite this version)10.1121/1.3268504
Publication InfoBowling, DL; Gill, K; Choi, JD; Prinz, J; & Purves, D (2010). Major and minor music compared to excited and subdued speech. J Acoust Soc Am, 127(1). pp. 491-503. 10.1121/1.3268504. Retrieved from http://hdl.handle.net/10161/4233.
This is constructed from limited available data and may be imprecise. To cite this article, please review & use the official citation provided by the journal.
More InfoShow full item record
Research Professor in the Duke Institute for Brain Sciences
The Purves Laboratory is continuing to study visual perception and its neurobiological underpinnings. Ongoing investigations include understanding the perception of brightness, color, orientation, motion, and depth. The unifying theme of these several projects is the hypothesis that visual percepts are generated according to a wholly empirical strategy. The strategy represents in perception the empirical significance of the stimulus rather than its properties. This theory of vision and its