Although studies of musical emotion often focus on the role of the composer and performer, the communicative process is also influenced by the listener’s musical background or experience. Given the equivocal nature of evidence regarding the effects of musical training, the role of listener expertise in conveyed musical emotion remains opaque. Here we examine emotional responses of musically trained listeners across two experiments using (1) eight measure excerpts, (2) musically resolved excerpts and compare them to responses collected from untrained listeners in Battcock and Schutz (2019). In each experiment 30 participants with six or more years of music training rated perceived emotion for 48 excerpts from Bach’s Well-Tempered Clavier (WTC) using scales of valence and arousal. Models of listener ratings predict more variance in trained vs. untrained listeners across both experiments. More importantly however, we observe a shift in cue weights related to training. Using commonality analysis and Fischer Z score comparisons as well as margin of error calculations, we show that timing and mode affect untrained listeners equally, whereas mode plays a significantly stronger role than timing for trained listeners. This is not to say the emotional messages are less well recognized by untrained listeners—simply that training appears to shift the relative weight of cues used in making evaluations. These results clarify music training’s potential impact on the specific effects of cues in conveying musical emotion.

虽然音乐情感的研究往往集中在作曲家和演奏者的角色上，但交流过程也受到听众的音乐背景或经验的影响。鉴于有关音乐训练效果的证据模棱两可，听众专业知识在传达音乐情感中的作用仍然不透明。在这里，我们使用 (1) 八个小节摘录，(2) 音乐解析摘录，在两个实验中检查受过音乐训练的听众的情绪反应，并将它们与 Battcock 和 Schutz (2019) 从未经训练的听众收集的反应进行比较。在每个实验中，30 名接受过六年或以上音乐训练的参与者对巴赫的 48 段温律钢琴 (WTC) 的片段感知情绪 进行评分使用效价和唤醒量表。听众评分模型预测，在两个实验中，受过训练的听众与未受过训练的听众的差异更大。然而，更重要的是，我们观察到与训练相关的提示权重发生了变化。使用共性分析和 Fischer Z 分数比较以及误差范围计算，我们表明时间和模式对未受过训练的听众的影响是相同的，而对于训练有素的听众来说，模式比时间发挥的作用要强得多。这并不是说未经训练的听众不太能识别情感信息——只是训练似乎改变了用于评估的线索的相对权重。这些结果阐明了音乐训练对线索在传达音乐情感方面的具体影响的潜在影响。