2015
DOI: 10.18061/emr.v10i3.4534
|View full text |Cite
|
Sign up to set email alerts
|

Theoretical Proposals on How Vertical Harmony May Convey Nostalgia and Longing in Music

Abstract: Music is often associated with the emotions of nostalgia and longing. According to previous survey studies, both nostalgia and longing are among the most common emotions evoked by music (Juslin, 2011). Despite nostalgia's significance as a musical emotion, research on the specific properties of music that might contribute to this particular emotion has been scarce. A recent empirical experiment by Lahdelma and Eerola (2014) sought to explore whether single chords could be effective at conveying musical emotion… Show more

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1

Citation Types

0
18
0

Year Published

2016
2016
2024
2024

Publication Types

Select...
7
1

Relationship

2
6

Authors

Journals

citations
Cited by 14 publications
(18 citation statements)
references
References 71 publications
(150 reference statements)
0
18
0
Order By: Relevance
“… Parncutt (2012) proposes that dissonance is in fact based on a combination of roughness, harmonicity, and familiarity. If we consider chord perception encompassing also emotion perception, Lahdelma and Eerola (2015) demonstrate a theoretical possibility of the role of harmonicity affecting the perception of complex musical emotions conveyed by single isolated chords. With the dimensions used in the current study, however, harmonicity does not offer any significant explanation to account for the results.…”
Section: Discussionmentioning
confidence: 99%
“… Parncutt (2012) proposes that dissonance is in fact based on a combination of roughness, harmonicity, and familiarity. If we consider chord perception encompassing also emotion perception, Lahdelma and Eerola (2015) demonstrate a theoretical possibility of the role of harmonicity affecting the perception of complex musical emotions conveyed by single isolated chords. With the dimensions used in the current study, however, harmonicity does not offer any significant explanation to account for the results.…”
Section: Discussionmentioning
confidence: 99%
“…Relatedly, Schotanus also provides a commentary on Sun and Cuthbert (2017), who similarly explored the relationship between text and affect. Additionally, Lahdelma and Eerola respond to a commentary by Michael Spitzer (2019) focusing on their article (Lahdelma & Eerola, 2015), in which they take issue with the treatment of nostalgia and tension in the perception of isolated chords, and they respond to the suggested role of appoggiatura as a marker of nostalgia.…”
mentioning
confidence: 99%
“…In the first paragraph of his commentary, Spitzer (2019) successfully summarises the article by Lahdelma and Eerola (2015). What is worth emphasizing already here, however, is that the view that "the inclination of the dissonant interval to resolve to a triad tone (a tonic or the third degree) is expressive of the yearning or longing associated with nostalgia" (Spitzer, 2019, p. 87) is not the authors' own, but a theory put forward by musicologist Deryck Cooke (1959).…”
mentioning
confidence: 99%
“…What is worth emphasizing already here, however, is that the view that "the inclination of the dissonant interval to resolve to a triad tone (a tonic or the third degree) is expressive of the yearning or longing associated with nostalgia" (Spitzer, 2019, p. 87) is not the authors' own, but a theory put forward by musicologist Deryck Cooke (1959). This theory's adequacy in explaining perceived nostalgia in the major seventh chord is criticised from various angles by Lahdelma and Eerola (2015) in the article's 'Intrinsic Emotional Meaning Built Into Tonality' section (pp. 250-251).…”
mentioning
confidence: 99%