MozartV1, Main, Exploration, bibRecord, 000068

Emotional responses to Hindustani raga music: the role of musical structure

Identifieur interne : 000068 ( Main/Exploration ); précédent : 000067; suivant : 000069

Emotional responses to Hindustani raga music: the role of musical structure

Auteurs : Avantika Mathur [Inde] ; Suhas H. Vijayakumar [Inde] ; Bhismadev Chakrabarti [Royaume-Uni] ; Nandini C. Singh [Inde]

Source :

Frontiers in Psychology ; 2015.

RBID : PMC:4415143

Abstract

In Indian classical music, ragas constitute specific combinations of tonic intervals potentially capable of evoking distinct emotions. A raga composition is typically presented in two modes, namely, alaap and gat. Alaap is the note by note delineation of a raga bound by a slow tempo, but not bound by a rhythmic cycle. Gat on the other hand is rendered at a faster tempo and follows a rhythmic cycle. Our primary objective was to (1) discriminate the emotions experienced across alaap and gat of ragas, (2) investigate the association of tonic intervals, tempo and rhythmic regularity with emotional response. 122 participants rated their experienced emotion across alaap and gat of 12 ragas. Analysis of the emotional responses revealed that (1) ragas elicit distinct emotions across the two presentation modes, and (2) specific tonic intervals are robust predictors of emotional response. Specifically, our results showed that the ‘minor second’ is a direct predictor of negative valence. (3) Tonality determines the emotion experienced for a raga where as rhythmic regularity and tempo modulate levels of arousal. Our findings provide new insights into the emotional response to Indian ragas and the impact of tempo, rhythmic regularity and tonality on it.

Url:

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4415143

DOI: 10.3389/fpsyg.2015.00513
PubMed: 25983702
PubMed Central: 4415143

Affiliations:

Inde, Royaume-Uni

Le document en format XML

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 composition is typically presented in two modes, namely, <italic>alaap</italic>
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 is the note by note delineation of a <italic>raga</italic>
 bound by a slow tempo, but not bound by a rhythmic cycle. <italic>Gat</italic>
 on the other hand is rendered at a faster tempo and follows a rhythmic cycle. Our primary objective was to (1) discriminate the emotions experienced across <italic>alaap</italic>
 and <italic>gat</italic>
 of <italic>ragas</italic>
, (2) investigate the association of tonic intervals, tempo and rhythmic regularity with emotional response. 122 participants rated their experienced emotion across <italic>alaap</italic>
 and <italic>gat</italic>
 of 12 <italic>ragas</italic>
. Analysis of the emotional responses revealed that (1) <italic>ragas</italic>
 elicit distinct emotions across the two presentation modes, and (2) specific tonic intervals are robust predictors of emotional response. Specifically, our results showed that the ‘minor second’ is a direct predictor of negative valence. (3) Tonality determines the emotion experienced for a <italic>raga</italic>
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Emotional responses to Hindustani raga music: the role of musical structure

Emotional responses to Hindustani raga music: the role of musical structure

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Abstract

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