Single chords convey distinct emotional qualities to both naïve and expert listeners.

Previous research on music and emotions has been able to pinpoint many structural features conveying emotions. Empirical research on vertical harmony’s emotional qualities, however, has been rare. The main studies in harmony and emotions usually concern the horizontal aspects of harmony, ignoring emotional qualities of chords as such. An empirical experiment was conducted where participants (N = 269) evaluated pre-chosen chords on a 9-item scale of given emotional dimensions. 14 different chords (major, minor, diminished, augmented triads and dominant, major and minor seventh chords with inversions) were played with two distinct timbres (piano and strings). The results suggest significant differences in emotion perception across chords. These were consistent with notions about musical conventions, while providing novel data on how seventh chords affect emotion perception. The inversions and timbre also contributed to the evaluations. Moreover, certain chords played on the strings scored moderately high on the dimension of ‘nostalgia/longing,’ which is usually held as a musical emotion rising only from extra-musical connotations and conditioning, not intrinsically from the structural features of the music. The role of background variables to the results was largely negligible, suggesting the capacity of vertical harmony to convey distinct emotional qualities to both naïve and expert listeners

Single chords convey distinct emotional qualities to both naïve and expert listeners

Previous research on music and emotions has been able to pinpoint many structural features conveying emotions. Empirical research on vertical harmony’s emotional qualities, however, has been rare. The main studies in harmony and emotions usually concern the horizontal aspects of harmony, ignoring emotional qualities of chords as such. An empirical experiment was conducted where participants (N = 269) evaluated pre-chosen chords on a 9-item scale of given emotional dimensions. 14 different chords (major, minor, diminished, augmented triads and dominant, major and minor seventh chords with inversions) were played with two distinct timbres (piano and strings). The results suggest significant differences in emotion perception across chords. These were consistent with notions about musical conventions, while providing novel data on how seventh chords affect emotion perception. The inversions and timbre also contributed to the evaluations. Moreover, certain chords played on the strings scored moderately high on the dimension of ‘nostalgia/longing,’ which is usually held as a musical emotion rising only from extra-musical connotations and conditioning, not intrinsically from the structural features of the music. The role of background variables to the results was largely negligible, suggesting the capacity of vertical harmony to convey distinct emotional qualities to both naïve and expert listeners

Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music

Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. The results indicate that Western concepts of harmony are not relevant for participants unexposed to Western music when other emotional cues (tempo, pitch height, articulation, timbre) are kept relatively constant. At the same time, harmonic style alone has the ability to colour the emotional expression in music if it taps the appropriate cultural connotations. The preference for one harmonisation style over another, including the major-happy/minor-sad distinction, is influenced by culture. Finally, our findings suggest that although differences emerge across different harmonisation styles, acoustic roughness influences the expression of emotion in similar ways across cultures; preference for consonance however seems to be dependent on cultural familiarity

Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music

Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. The results indicate that Western concepts of harmony are not relevant for participants unexposed to Western music when other emotional cues (tempo, pitch height, articulation, timbre) are kept relatively constant. At the same time, harmonic style alone has the ability to colour the emotional expression in music if it taps the appropriate cultural connotations. The preference for one harmonisation style over another, including the major-happy/minor-sad distinction, is influenced by culture. Finally, our findings suggest that although differences emerge across different harmonisation styles, acoustic roughness influences the expression of emotion in similar ways across cultures; preference for consonance however seems to be dependent on cultural familiarity

Advancing Alternative Analysis: Integration of Decision Science.

Decision analysis-a systematic approach to solving complex problems-offers tools and frameworks to support decision making that are increasingly being applied to environmental challenges. Alternatives analysis is a method used in regulation and product design to identify, compare, and evaluate the safety and viability of potential substitutes for hazardous chemicals.Assess whether decision science may assist the alternatives analysis decision maker in comparing alternatives across a range of metrics.A workshop was convened that included representatives from government, academia, business, and civil society and included experts in toxicology, decision science, alternatives assessment, engineering, and law and policy. Participants were divided into two groups and prompted with targeted questions. Throughout the workshop, the groups periodically came together in plenary sessions to reflect on other groups' findings.We conclude the further incorporation of decision science into alternatives analysis would advance the ability of companies and regulators to select alternatives to harmful ingredients, and would also advance the science of decision analysis.We advance four recommendations: (1) engaging the systematic development and evaluation of decision approaches and tools; (2) using case studies to advance the integration of decision analysis into alternatives analysis; (3) supporting transdisciplinary research; and (4) supporting education and outreach efforts

Refugees and local politics: Elite and citizen responses to asylum seekers

How do voters and candidates arrive at their immigration stances? Although immigration is at the center of current political debates, we know surprisingly little about how these attitudes are formed. This is because research on immigration attitudes in political behavior relies mainly on expressed preferences and aggregate election results. This thesis attempts to innovate by using outcomes that have real policy effects and are possible to measure at the micro-level with causal identification strategies. The first paper makes use of unique Finnish Voting Advice Application data that measure candidates' support for different policies. I measure the over-time evolution of candidates' revealed preferences with which they try to attract voters in local elections after receiving or not receiving asylum seekers in the constituency. The results suggest that politicians in affected rural areas update their stances to be more pro-immigration upon realising the socio-economic benefits of refugee intake. In the second paper I use this setting to measure what kinds of immigration policies are rewarded by the electorate. I propose three different ways to measure the anti-immigration vote and conclude that measuring party support brings different results from measuring individual-level policy support. All ways of measurements, however, corroborate that rural reactions to asylum seekers are more positive than urban reactions. The third paper tests the citizen-level mechanisms of this rural—urban division and concludes that people in rural areas are more receptive to asylum seekers because they experience more contact with them, don't associate them with crime, and they also economically profit more from their reception. Together, these three papers question the thus far unanimous belief that rural areas are more hostile to immigration than cities and also highlight how aggregation and analyzing parties' vote shares cloud our understanding of the formation of immigration preferences. </p

Cultural familiarity and musical expertise impact the pleasantness of consonance/dissonance but not its perceived tension

The contrast between consonance and dissonance is vital in making music emotionally meaningful. Consonance typically denotes perceived agreeableness and stability, while dissonance disagreeableness and a need of resolution. This study addresses the perception of consonance/dissonance in single intervals and chords with two empirical experiments conducted online. Experiment 1 explored the perception of a representative sample of intervals and chords to investigate the overlap between the seven most used concepts (Consonance, Smoothness, Purity, Harmoniousness, Tension, Pleasantness, Preference) denoting consonance/dissonance in all the available (60) empirical studies published since 1883. The results show that the concepts exhibit high correlations, albeit these are somewhat lower for non-musicians compared to musicians. In Experiment 2 the stimuli’s cultural familiarity was divided into three levels, and the correlations between the key concepts of Consonance, Tension, Harmoniousness, Pleasantness, and Preference were further examined. Cultural familiarity affected the correlations drastically across both musicians and non-musicians, but in different ways. Tension maintained relatively high correlations with Consonance across musical expertise and cultural familiarity levels, making it a useful concept for studies addressing both musicians and non-musicians. On the basis of the results a control for cultural familiarity and musical expertise is recommended for all studies investigating consonance/dissonance perception