Mathur Avantika, Vijayakumar Suhas H, Chakrabarti Bhismadev, Singh Nandini C
Speech and Language Laboratory, Cognitive Neuroscience, National Brain Research Centre Manesar, India.
Centre for Integrative Neuroscience and Neurodynamics, School of Psychology and Clinical Language Sciences, University of Reading Reading, UK.
Front Psychol. 2015 Apr 30;6:513. doi: 10.3389/fpsyg.2015.00513. eCollection 2015.
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.
在印度古典音乐中，拉格是主音音程的特定组合，有可能唤起不同的情感。一首拉格乐曲通常以两种模式呈现，即阿拉普和加特。阿拉普是对拉格逐个音符的描绘，节奏缓慢，但不受节奏循环的约束。另一方面，加特的演奏速度较快，并遵循节奏循环。我们的主要目标是：（1）区分在拉格的阿拉普和加特中体验到的情感；（2）研究主音音程、节奏和节奏规律性与情感反应之间的关联。122名参与者对12首拉格的阿拉普和加特中体验到的情感进行了评分。对情感反应的分析表明：（1）拉格在两种呈现模式中唤起不同的情感；（2）特定的主音音程是情感反应的有力预测指标。具体而言，我们的结果表明，“小二度”是负效价的直接预测指标。（3）调性决定了一首拉格所体验到的情感，而节奏规律性和节奏则调节唤醒水平。我们的研究结果为对印度拉格的情感反应以及节奏、节奏规律性和调性对其的影响提供了新的见解。
