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Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music

Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakista...

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Autores principales: Athanasopoulos, George, Eerola, Tuomas, Lahdelma, Imre, Kaliakatsos-Papakostas, Maximos
Formato: Online Artículo Texto
Lenguaje:English
Publicado: Public Library of Science 2021
Materias:
Acceso en línea:https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7806179/
https://www.ncbi.nlm.nih.gov/pubmed/33439887
http://dx.doi.org/10.1371/journal.pone.0244964
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author Athanasopoulos, George
Eerola, Tuomas
Lahdelma, Imre
Kaliakatsos-Papakostas, Maximos
author_facet Athanasopoulos, George
Eerola, Tuomas
Lahdelma, Imre
Kaliakatsos-Papakostas, Maximos
author_sort Athanasopoulos, George
collection PubMed
description Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. The results indicate that Western concepts of harmony are not relevant for participants unexposed to Western music when other emotional cues (tempo, pitch height, articulation, timbre) are kept relatively constant. At the same time, harmonic style alone has the ability to colour the emotional expression in music if it taps the appropriate cultural connotations. The preference for one harmonisation style over another, including the major-happy/minor-sad distinction, is influenced by culture. Finally, our findings suggest that although differences emerge across different harmonisation styles, acoustic roughness influences the expression of emotion in similar ways across cultures; preference for consonance however seems to be dependent on cultural familiarity.
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spelling pubmed-78061792021-01-25 Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music Athanasopoulos, George Eerola, Tuomas Lahdelma, Imre Kaliakatsos-Papakostas, Maximos PLoS One Research Article Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. The results indicate that Western concepts of harmony are not relevant for participants unexposed to Western music when other emotional cues (tempo, pitch height, articulation, timbre) are kept relatively constant. At the same time, harmonic style alone has the ability to colour the emotional expression in music if it taps the appropriate cultural connotations. The preference for one harmonisation style over another, including the major-happy/minor-sad distinction, is influenced by culture. Finally, our findings suggest that although differences emerge across different harmonisation styles, acoustic roughness influences the expression of emotion in similar ways across cultures; preference for consonance however seems to be dependent on cultural familiarity. Public Library of Science 2021-01-13 /pmc/articles/PMC7806179/ /pubmed/33439887 http://dx.doi.org/10.1371/journal.pone.0244964 Text en © 2021 Athanasopoulos et al http://creativecommons.org/licenses/by/4.0/ This is an open access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/) , which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
spellingShingle Research Article
Athanasopoulos, George
Eerola, Tuomas
Lahdelma, Imre
Kaliakatsos-Papakostas, Maximos
Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
title Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
title_full Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
title_fullStr Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
title_full_unstemmed Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
title_short Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
title_sort harmonic organisation conveys both universal and culture-specific cues for emotional expression in music
topic Research Article
url https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7806179/
https://www.ncbi.nlm.nih.gov/pubmed/33439887
http://dx.doi.org/10.1371/journal.pone.0244964
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