The Emotional Implications of Acoustic Nuance in Preludes by Bach and Chopin
Presenter Name:Cameron Anderson
Abstract:Recent studies examining music’s conveyed emotion have explored how mode and timing affect emotional perception by manipulating cues. Although these controlled approaches provide a clear indication of how differences in cue use can contribute to music’s emotional messages, it remains unclear how composers actually use these cues to shape our perception of musical emotion. Musicological studies examining mode and timing’s use across musical eras indicate important historic shifts in their relationship, raising question to how differences in compositional style affect music perception. To explore how these historic differences in cue use affect emotional perception, we examined how differences in mode’s associations with timing and pitch affect perceptions of emotional valence and arousal in unaltered stimuli by J.S. Bach (1722) and F. Chopin (1837). Using commonality analysis to distinguish how cues’ unique and combined use affects emotion perception revealed important differences between composers. Whereas accounting for each cues’ unique and joint effects revealed broad similarities with findings from previous studies—such as mode’s association with emotional valence and timing’s association with arousal—nuanced differences in each composer’s cue use led to differences in their music’s emotional effects. For example, mode’s association with timing most strongly distinguished valence ratings of Bach, yet its unique effect explained most of the variance in valence ratings of Chopin’s pieces. Our findings provide novel insight into how composers idiosyncratically combine cues to form affective gestures. This complements a growing body of work showing changes in cue use across musical history by exploring their perceptual implications.