ISSN 0439-755X
CN 11-1911/B
主办:中国心理学会
   中国科学院心理研究所
出版:科学出版社

心理学报 ›› 2016, Vol. 48 ›› Issue (7): 757-769.doi: 10.3724/SP.J.1041.2016.00757

• 论文 •    下一篇

中−西方音乐对情绪的诱发效应

白学军1; 马谐2,3; 陶云2,3   

  1. (1天津师范大学心理与行为研究院, 天津 300387) (2云南师范大学教育科学与管理学院, 昆明 650000) (3云南师范大学民族教育信息化教育部重点实验室, 昆明 650000)
  • 收稿日期:2015-06-23 出版日期:2016-07-25 发布日期:2016-07-25
  • 通讯作者: 白学军, E-mail: bxuejun@126.com; 马谐, E-mail: mxnn6@aliyun.com
  • 基金资助:

    天津市民心理健康素质监测系统开发”(12ZCZDSF07100), 天津市高等学校心理健康与行为调控创新团队(39)资助。

The response effects of Chinese and western music on emotion

BAI Xuejun1; MA Xie2,3; TAO Yun2,3   

  1. (1 Academy of Psychology and Behavior, Tianjin Normal University, Tianjin 300074, China) (2 College of Educational Science and Management, Yunnan Normal University, Kunming 650500, China) (3 Key Laboratory of Educational Informatization for Nationalities, Yunnan Normal University, Kunming 650500, China)
  • Received:2015-06-23 Online:2016-07-25 Published:2016-07-25
  • Contact: BAI Xuejun, E-mail: bxuejun@126.com; 马谐, E-mail: mxnn6@aliyun.com

摘要:

研究基于西方音乐与中国音乐调性规则的异同, 采用主观评定指标(情绪效价、唤醒度、紧张度)和生理指标(皮电、指脉率、指温), 实验1考察了西方大调和小调在采用不同稳定性和声结构下的情绪诱发效应; 实验2考察了中国宫调和羽调在采用不同稳定性和声结构下的情绪诱发效应。研究发现:(1)大调和宫调诱发了正性情绪, 小调和羽调诱发了负性情绪, 低稳定和声结构诱发的效价低于高稳定和声结构; (2)低稳定和声结构诱发的唤醒度高于高稳定和声结构; (3)大调条件下, 低稳定和声结构诱发的紧张度高于高稳定和声结构; (4)低稳定和声结构诱发的皮电高于高稳定和声结构; (5)低稳定和声结构诱发的指脉率高于高稳定和声结构; (6)大调诱发的指温高于小调, 宫调诱发的指温高于羽调。表明调性对情绪的诱发效应具有一定文化普遍性, 调性诱发的情绪成分具有领域一般化特征。

关键词: 调式, 调性, 和声功能, 情绪

Abstract:

Music tonality refers to music mode and harmony hierarchical structure. Studies on the relationship between music tonality and emotions are mainly done based on western music and westerners. It is found that music mode and harmony hierarchical structure that’s formed on a basis of a certain keynote are both important reasons of emotional responses. It is commonly shown that for westerners major modes arouses positive emotion while minor modes arouses passive emotion. What’s more, stable harmony generally arouses the feeling of relax while unstable harmony generally arouses the feeling of nervousness. The current dispute is whether the emotion effects of western music tonality which is established on the system of western music represent a cultural specificity or a cultural generality on emotional responses. Moreover, the emotional responses aroused by music tonality go in line with domain specificity or domain generality. To clear the dispute mentioned above, we examined the emotional responses of the Chinese person when the western music modes (major and minor) differed in the stability and harmony in experiment I. In Experiment II, we examined the emotional responses when the Chinese traditional music modes (gong-mode and yu-mode) were adopted. The Chinese gong-mode has similar characteristics to the western major mode and the Chinese yu-mode has similar characteristics to the western minor mode. We use subjective indicators (emotional valence, arousal and tension) and physical indicators (skin conductance, finger pulse and finger temperature) to examine the emotional responses. Six effects were observed through the two experiments. First, major and gong-mode induced positive emotion while minor and yu-mode induced negative emotion. The emotional valence when induced by the harmony in low stability was lower than when the harmony was in high stability. Second, the arousal induced by the harmony in low stability was higher than in high stability. Third, in major, the tension induced by the harmony in low stability was higher in high stability. Fourth, the skin conductance induced by the harmony in low stability was higher than in high stability. Fifth, the finger pulse induced by the harmony in low stability was higher than in high stability. Sixth, the finger temperature induced by major and gong-mode was higher than that of minor and yu-mode. Chinese participants, when examined under the circumstances of the western music tonality, share mostly common emotional responses with the western studies. As to the emotional responses, the Chinese traditional music tonality shares mostly common characteristics with the western music tonality. We suggest that the western and the Chinese music tonality are universal in emotional responses. Also, the emotional responses aroused by music tonality and its correlation trends with the subjective indicators have domain generality.

Key words: tonality, mode, function of harmony, emotion