According to Juslin (2001), final ritardandi constitute part of the acoustic code employed by musicians to communicate two distinct emotional states: sadness and tenderness. To test this proposition, in two experiments, participants were exposed to a set of hymns that were modified in mode and/or tempo to primarily express either happiness, sadness, or tenderness. In addition, the inclusion of final ritardandi was experimentally manipulated such that these timing variations were either present or absent in the hymn stimuli. Participants were then asked to rate the emotions expressed by each variant of the hymns. In line with Juslin (2001), results revealed that when final ritardandi were included, expressively sad music was perceived as conveying more sadness, whereas expressively tender music was perceived as conveying more tenderness. Inclusion of ritardandi did not heighten the expression of happiness in music that was in a major key nor promote the expression of tenderness in music that was in a minor key. This suggests that final ritardandi do not generally heighten emotional expressivity and only amplify the emotional message already established by other cues, particularly those based on mode and overall tempo.

中文翻译：

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Final Ritardandi和音乐情感的表达

根据Juslin（2001）的说法，最终的ritardandi构成了音乐家用来传达两种截然不同的情绪状态（悲伤和温柔）的声学代码的一部分。为了测试这一命题，在两个实验中，参与者暴露于一组赞美诗中，这些赞美诗的模式和/或节奏被修改，主要表达幸福，悲伤或温柔。此外，对最终的ritardandi的加入进行了实验操作，以使这些赞美诗刺激中出现或不存在这些时间变化。然后要求参与者对赞美诗的每个变体表达的情感进行评分。与Juslin（2001）一致，结果表明，当包括最终的里达坦迪舞曲时，表现力悲伤的音乐被认为传达了更多的悲伤，而表现力柔和的音乐被视为传达了更多的柔情。包含ritardandi并不能提高音乐在主要调子中的快乐表达，也不能促进音乐在小调中的温柔表达。这表明，最终的ritardandi通常不会提高情感表达能力，而只会放大其他线索（尤其是基于模式和整体节奏的线索）已经确立的情绪信息。