In most Western music, notes in a melody relate not only to each other, but also to a “key”—a tonal center combined with an associated scale. Music is often classified as in a major or minor key, but within a scale that defines a major key, emphasizing different notes as the tonic yields different “modes.” Thus, within a set of notes, changing the tonal center changes the putative role of any given note. In this experiment, we eliminated all structural cues to the tonic within a melody by presenting notes randomly selected from the C major scale. A “mode” was established by a continuous drone note lower than the melody. Subjects rated mood (happy versus sad) and tension of each pseudo-melody. Consistent with Temperley and Tan (2013)—in which multiple structural cues were present—different modes produced reliable differences in judged mood and tension. Notably, modes with a major 3rd from the tonic (Ionian, Lydian, Mixolydian) were perceived as happier and less tense than modes with a minor 3rd (Dorian, Aeolian, Phrygian, Locrian). The results confirm that the perception of notes in a melody, and their consequent emotional connotation, depend at least in part to their relationship to a tonal center.

中文翻译：

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无结构音调

在大多数西方音乐中，旋律中的音符不仅彼此相关，而且与“音调”相关—音调中心与相关的音阶相结合。音乐通常分为大调或小调，但在定义大调的音阶中，强调不同的音符，因为音调会产生不同的“模式”。因此，在一组音符中，更改音调中心会更改任何给定音符的假定角色。在本实验中，我们通过呈现从C大调音阶中随机选择的音符，消除了旋律中所有对音调的结构提示。连续的无人机音调低于旋律，便建立了一种“模式”。受试者对每种假旋律的情绪（快乐与悲伤）和紧张进行了评估。与存在多种结构暗示的Temperley和Tan（2013）一致，不同的模式在判断的情绪和紧张感方面产生了可靠的差异。值得注意的是，与补品大三分的模式（爱奥尼亚语，Lydian，Mixolydian）相比，与小三分的模式（Dorian，Aeolian，Phrygian，Locrian）更快乐，更不紧张。结果证实，旋律中音符的感知以及其随后的情感内涵至少部分取决于它们与音调中心的关系。