Musical chords and emotion: Major and minor triads are processed for emotion

Abstract

Musical chords are arguably the smallest building blocks of music that retain emotional information. Major chords are generally perceived as positive- and minor chords as negative-sounding, but there has been debate concerning how early these emotional connotations may be processed. To investigate this, emotional facial stimuli and musical chord stimuli were simultaneously presented to participants, and facilitation of processing was measured via event-related potential (ERP) amplitudes. Decreased amplitudes of the P1 and N2 ERP components have been found to index the facilitation of early processing. If simultaneously presented musical chords and facial stimuli are perceived at early stages as belonging to the same emotional category, then early processing should be facilitated for these congruent pairs, and ERP amplitudes should therefore be decreased as compared to the incongruent pairs. ERPs were recorded from 30 musically naive participants as they viewed happy, sad, and neutral faces presented simultaneously with a major or minor chord. When faces and chords were presented that contained congruent emotional information (happy–major or sad–minor), processing was facilitated, as indexed by decreased N2 ERP amplitudes. This suggests that musical chords do possess emotional connotations that can be processed as early as 200 ms in naive listeners. The early stages of processing that are involved suggest that major and minor chords have deeply connected emotional meanings, rather than superficially attributed ones, indicating that minor triads possess negative emotional connotations and major triads possess positive emotional connotations.