By definition, for a consonant interval, the interval between two notes is a simple numerical ratio of frequencies in terms of the harmonic overtone series Plomp and Levelt, Based on structure and composition, all ragas are tonal and the tonic is the reference point. The results of this study encourage us to hypothesize that minor second in NICM plays an important role in conveying tension and further studies should attempt to investigate its role in detail.
At the same time, the present study is characterized by certain limitations which restrict the generalizability of these findings. The first of these is with regard to the concept of sruti in NICM. The tone semitone system of western music is clearly at odds with the 22 sruti system since some semitones are composed of one sruti while others of two or more.
However, the sruti system still cannot account for the minute deviations from the norm, many of which are unconsciously presented by the artist. Thus for the purposes of this study, we were obliged to use the twelve semitone system, while making allowances for minor variations which is a limitation of this study.
Secondly, to arrive at an emotion label for a raga , we should ideally have multiple excerpts of the same raga , played on different instruments by different performers in alaap or gat and then rated by listeners.
When responses across different performers and different intruments all emerge with the same label, we would then have truly assigned an emotion label to a raga. Hopefully, further studies conducted on a large scale can address this question. Finally, we used self-reports to assess participants emotional responses. It can therefore not be ruled out that at least some of the participants rated expressed emotion instead of experienced emotion.
Nevertheless, our study provides new evidence that ragas evoke distinct emotional responses across distinct presentation modes alaap and gat.
This opens up the possibility of using different ragas as robust mood-inducing stimuli, which is relevant for studies on emotion. We also found that rhythmic regularity and tempo influence emotion experienced. This is distinct from past work in Western classical music that has shown an association for the minor third with sadness in Western music Curtis and Bharucha, Future work will attempt to extend these findings to larger population in order to delineate influences of culture, familiarity and musical training on emotion experienced.
The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest. We thank Pt. Mukesh Sharma for playing the ragas for the study. We thank Mahesh Prasad, Chaitra Rao, and Arkoprovo Paul for helpful discussions and assistance in experimental design. We also acknowledge the volunteers for their participation in the survey. Finally, we acknowledge three anonymous reviewers for their insightful critiques of the manuscript.
National Center for Biotechnology Information , U. Front Psychol. Published online Apr Avantika Mathur , 1 Suhas H. Vijayakumar , 1 Bhismadev Chakrabarti , 2 and Nandini C. Suhas H. Nandini C. Author information Article notes Copyright and License information Disclaimer. This article was submitted to Emotion Science, a section of the journal Frontiers in Psychology. Received Sep 24; Accepted Apr The use, distribution or reproduction in other forums is permitted, provided the original author s or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice.
No use, distribution or reproduction is permitted which does not comply with these terms. This article has been cited by other articles in PMC. DOCX 42K. WAV 10M. TIF K. TIF 27K. Abstract In Indian classical music, ragas constitute specific combinations of tonic intervals potentially capable of evoking distinct emotions.
Keywords: music, emotion, ragas , rhythmic regularity, tempo, tonality. Introduction While music has long been associated with emotions Miller and Williams, ; Patel, , it has also been a subject of interesting debate among philosophers. Table 1 Music intervals in Hindustani classical music. Open in a separate window. Each interval is a tone defined by the ratio of its fundamental frequency to the tonic Sa. Interval names, abbreviations used, frequency ratios and sizes in cents in Just intonation and TET tunings are given in table.
The corresponding interval name in the Western chromatic scale is also given. In the notation used the seven Shuddha swaras are denoted by capital letters Sa, Re, Ga, Ma, Pa, Dha, Ni , four komal swaras, and one tivra swara are denoted by small letters re, ga, ma, dha, ni.
Materials and Methods Three minute instrumental renditions of 12 ragas were played by a professional musician on sarod a stringed instrument and digitally recorded in both alaap and gat. Table 2 The table lists the ragas used in the study and the scale used by the artist to play the raga.
Participant Details Participants were recruited through word of mouth and social media platforms. Data Analysis Analysis was conducted at three levels 1 behavioral analysis of emotional response, 2 extraction of musical features of ragas and 3 correlation and regression analysis to investigate the relationship between musical features and emotional response. Behavioral Analysis Median ratings for each emotion were computed to assign an emotion label to a raga.
Assessment of Musical Structure Tempo, Rhythmic Regularity and Tonality As per the objectives of this study, the effect of three musical structures namely tempo, rhythm and tonality on emotional response were assessed.
Relationship Between Musical Structure and Emotional Response To assess whether there were statistically significant differences in rhythmic regularity pulse clarity and tempo note density among the ragas with different experienced emotions one-way ANOVAs were conducted. Results Behavior In order to assign an emotion label to a raga median ratings for each emotion were computed.
Relationship Between Musical Structure and Emotional Response Effect of Rhythmic Regularity and Tempo The next analysis focused on investigating the relationship between emotional response and musical structure. Table 3 Results of One way Analysis of Variance ANOVA conducted separately to investigate whether ragas with different experienced emotions differ in rhythmic regularity pulse clarity and tempo note density are listed below.
The average values of note density and pulse clarity SD in brackets for the ragas with calm, happy, sad and tensed experienced emotions are listed in the table. Effect of Tonality To study the effect of tonality on emotional response, correlation and stepwise linear regression analysis was conducted.
Table 4 The table lists the correlation coefficients of correlations between the average emotion ratings and mean frequency of occurrence of each tonic interval across the 12 ragas. Table 5 Results of Stepwise multiple linear regressions performed in order to determine the variance of the emotional responses explained by the tonic intervals in gat of ragas. Discussion and Conclusion This study reports for the first time emotional responses of North Indian Classical ragas when rendered in two distinct presentation modes, namely, alaap and gat.
Ragas and Emotional Response The key finding of our study was the experimental verification of the hypothesis that distinct emotional responses would be associated with alaap and gat of a raga. Conflict of Interest Statement The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.
Then, we experience the emotion. Richard Lazarus pioneered this theory of emotion. According to the Cognitive Appraisal Theory, thinking must occur before experiencing emotion. Thus, a person would first experience a stimulus, think, and then simultaneously experience a physiological response and the emotion.
These are far from the only theories of emotion that exist, but they provide great examples of how the ideas about how emotion is generated differ from each other. What all theories of emotion have in common is the idea that an emotion is based off some sort of personally significant stimulus or experience, prompting a biological and psychological reaction.
As discussed, emotions have helped humans evolve and survive. It would also be a very dull life. Because, basically, our emotions drive us — excitement, pleasure, even anger. Ekman argues that emotions are fundamentally constructive. They are influenced by what is good for our species overall and what we learned during our upbringing. They guide our behavior in a way that should lead us to a positive outcome. Being in touch with your emotions and turning your understanding into action is called emotional awareness.
Being able to do this with others as well is referred to as emotional intelligence. Emotional intelligence is the ability to perceive, control and evaluate emotions. The term was first coined by researchers Peter Salovey and John D.
They define it as the ability to recognize, understand and manage our own emotions as well as recognize, understand and influence those of others.
The study of emotional intelligence has gained much popularity since the mids, with business professionals, relationship coaches and more using the term to encourage others to improve their lives. Those who have emotional intelligence open themselves to positive and negative emotional experiences, identify the emotions and communicate those emotions appropriately. Emotionally intelligent people can use their understanding of their emotions and the emotions of others to move toward personal and social growth.
Those with low emotional intelligence may unable to understand and control their emotions or those of others. Clearly, there are personal and professional benefits to improving your emotional intelligence.
He pointed out that high emotional intelligence correlates with better work performance, makes people better leaders and creates the conditions for personal happiness. Emotional intelligence plays a role in overall success much like traditional intelligence. In fact, some researchers argue that it plays a bigger role. Goleman argues that EQ counts twice as much as IQ and technical skills combined when it comes to becoming successful. Whether or not that is true is certainly debatable, but emotional intelligence has served humans well throughout our evolution and history.
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