摘要
音乐的价值体现在对情绪的诱发,音乐调式是指围绕某一中心音,按一定音高距离关系组织起音符的规则。调式作为旋律进行的骨干,承担着连接音符的句法功能,对音乐的情感表现具有决定性作用。调式的核心元素是主音程(也被称为主和弦)和围绕主音程形成的结构张力。西方音乐调式体系可划分为大调和小调两个基本类别,半个世纪以来,研究者对大调和小调的情绪诱发效应以及诱发机制做出了一系列讨论,但以往研究由于对结构张力控制不够严格、概念界定模糊和测量方法单一等问题,结果之间尚存在诸多争议。并且,由于其建立在西方音乐体系和西方人群研究基础之上,理论的可迁移性受到诸多质疑。
中国音乐调式体系中,存在可与西方大调进行类比的宫调,可与西方小调进行类比的羽调,它们类比的共同点在于调式中的主音程,但在结构张力及创作风格上却彼此相异。本研究基于中国调式和西方调式在主音程和结构张力上的异同,试图展开了两方面问题的研究：其一,西方大调和小调,中国宫调和羽调对中国人群的情绪诱发效应；其二,情绪诱发过程中,西方调式和中国调式与四个层面认知因素(熟悉性经验、旋律期待、音乐文化图式、一般化认知功能)的关系,即论证在情绪诱发过程中,个体更多是受制于自下而上的知觉驱动加工,还是受制于自上而下图式驱动加工,从而揭示不同层面的认知因素在调式诱发情绪效应中的作用。
根据以上研究目的,本论文共包括四个研究,七个实验,其中,研究包—括实验1和实验2,主要探讨西方大调和小调(实验1)、中国宫调和羽调(实验2)对中国被试情绪的诱发效应；研究二包括实验3和实验4,主要探讨西方大调和小调(实验3)、中国宫调和羽调(实验4)分别在情绪诱发过程中,与旋律期待和熟悉性经验两种认知因素的关系；研究三包括实验5和实验6,主要探讨同主音程情况下的大调和宫调(实验5)、小调和羽调(实验6)分别在情绪诱发过程中,与音乐文化图式和熟悉性经验两种认知因素的关系；研究四,包括实验7,主要探讨西方大调和小调、中国宫调和羽调对儿童情绪诱发效应的发展学特点。
在本研究条件下,主要得到如下结论：
研究一：大调音乐诱发了正性情绪体验,小调音乐诱发了负性情绪体验,音乐
调式类型和张力大小与情绪效价、唤醒度、皮电、指脉率和指温反应均具有重要关联。宫调音乐诱发了正性情绪体验,羽调音乐诱发了负性情绪体验,音乐调式类型与情绪的效价和指温反应具有重要关联,音乐的张力与情绪的唤醒度,皮电和指脉率反应具有重要关联。
研究二：在大调和小调互换情况下,旋律期待没有对现调的情绪诱发效应产生影响,熟悉性经验在小调转化为大调后,会对大调的情绪诱发效应产生一定的抑制作用,被试的主观体验和生理反应均支持以上结果。在宫调和羽调互换情况下,旋律期待并没有对现调的情绪诱发效应产生影响,但熟悉性经验在宫调转化为羽调后和羽调转化为宫调后,均会对现调的情绪诱发效应产生一定的抑制作用,其主要表现在主观体验上,并没有表现在生理反应上。
研究三：在大调和宫调互换情况下,音乐文化图式和熟悉性经验都没有对现调的情绪诱发效应产生影响,被试的主观体验和生理反应均支持以上结果。在小调和羽调互换情况下,音乐文化图式和熟悉性经验都没有对现调的情绪诱发效应产生影响,被试的主观体验和生理反应均支持以上结果。
研究四：3-5岁儿童对调式的情绪反应能力具有明显的发展特征；儿童对西方调式的情绪反应发展早于对中国调式的情绪反应发展。
综上所述：大调和宫调诱发了正性情绪体验,小调和羽调诱发了负性情绪体验,情绪体验和生理反应的强烈程度受制于张力大小的影响。
在调式诱发情绪过程中,熟悉性经验因素会对被试的情绪反应产生一定影响作用,此外,认知发展水平制约着3-5岁儿童对调式的情绪反应能力。
The value of music reflects in the evoked mood. Music mode refers to certain rules in which musical notes are arranged around a central note with pitch distances. As the backbone of melody, music mode bears the syntactic function of connecting notes, thus acting a decisive role in the emotional expression of music. The core element in such mode is the tension of structure based on vocals. Western music-regulating system, based on vocals, harmonicity and the characteristics of tension, established two basic categories in the mode system as "major" and "minor". For half a century, researchers have made a series of discussions on the emotional effects of "major" and "minor" as well as the mechanisms. However, past studies still exist many controversies due to the unstrict control on the structure of tension, fuzzy definitions and single measurement. And, since it is based on the Western system of music and on the basis of population studies in the West, the portability of the theory has been questioned by many.
In the Chinese music-regulating system, there are two analogies with the Western "Major" and Minor" respectively. They are "Gong" and Yu". The common ground exists in the mode in which they ride, but they are different in tension. This research based on the similarities and differences between the mode system of China and that of West in the mode and structure tension tries to carry out studies in two aspects. First, the emotional induced effects on the Chinese people by the Western Major and Minor as well as China's Gong and Yu. Second, the relationships between the mode and four cognitive factors in four levels (familiar experiences, melody anticipation, musical cultural schema and general cognitive features) in the process of emotional induction, in other words, to demonstrate whether an individual is more subject to the bottom-top conscious driven effects or the top-bottom schema driven effects in the process of emotional induction.
Based on the above researching purposes, this dissertation designed four studies and seven experiments. Experiment1and2are included in Study1with the focus on the emotional inducing effects by the Western Major and Minor (in Experiement1), and China's Gong and Yu (in Experiement2). Experiment3and4are included in Study2
with the focus on the relationships between the two cognitive factors (melody anticipation and familiar experiences) and western Major and Minor (in Experiment3) as well as China's Gong and Yu (in Experiment4) in the emotional inducing process. In Study3. Experiment4and5were designed to demonstrate the relationships between the other two cognitive factors (musical and cultural schema, familiar experiences) and western Major and China's Gong (in Experiment4) as well as western Minor and China's Yu (in Experiment5) in the process of emotional induction. In Study4, Experiment7were designed to demonstrate the effects of Major, Minor, Gong and Yu on children's emotional induction. Conclusions are as the follows:
Study1:Major music evoked positive emotional experience, minor music induced the negative emotional experience, music mode type and tension size and emotional valence, arousal, and galvanic skin, refers to the pulse frequency, skin temperature reaction all have important relation. Modes of ancient Chinese music music evoked positive emotional experience, tone of music induced the negative emotional experience, music mode type and emotional valence and skin temperature is an important link of music and emotional arousal, the tension of galvanic skin has significant correlation and refers to the pulse frequency response.
Study2:In the major and minor cases, the original tuning scheme does not affect now adjust the mood of the induced effects, familiar with sexual experience after minor into the major can induce effect on major mood certain inhibition, the induced effect of weakening brewed, the participants subjective experience and the physiological reaction of support the above results. In modes of ancient Chinese music and tone of cases, the original tuning scheme does not affect now adjust the mood of the induced effects, but familiar with sexual experience in the modes of ancient Chinese music into correction and primaries after turned into modes of ancient Chinese music, both on fresh emotions produce certain inhibition induced effect, weakening the induced effect of brewed, but inhibitory effect mainly reflects on the emotional experience, didn't show on the physiological response.
Study3:Under the condition of major and modes of ancient Chinese music, the original schema and familiarity experiences of all have no impact on fresh emotions
induced effect, the subjects of subjective experience and physiological reactions are supported these results. Under the condition of minor and tone of swaps, the original schema and familiarity experiences of all have no impact on fresh emotions induced effect, the subjects of subjective experience and support a physiological response results.
Study4:3-5years old children's emotion ability type has obvious development characteristic, namely as the rise of the age. the mode of emotional response sensitivity is increasing; Children earlier than on the development of western mode emotional response to the development of Chinese music mode emotional response.
To sum up, major and the modes of ancient Chinese music evoked positive emotional experience, and minor's tone induced the negative emotional experience, emotional experience and physiological reaction intensity under the control of the influence of tension size.
In mode induce emotional process, familiar experience factor will be try to emotional reactions produce certain effect, in addition, the cognitive level of development restricts the mode of3-5years old children's emotion ability.
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