T HE S OUND S YMBOLISM
OF
M AJOR
N ORMAN D. C OOK
Kansai University
Osaka, Japan
ABSTRACT: THE STRUCTURE OF MAJOR and minor
triads is discussed in relation to the tension inherent to
triads showing intervallic equidistance. The fact that
tension triads resolve to minor chords with a semitone
increase and to major chords with a semitone decrease
reflects the well-known affective valence of rising and
falling pitches in speech and animal vocalizations (the
frequency code).
Key words: harmony, major, minor, tension, triads
Music Perception
VOLUME
24,
ISSUE
3,
PP.
315319,
ISSN
0730-7829, ELECTRONIC
AND
315
M INOR H ARMONIES
ISSN
1533-8312 2007
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DOI:
MP.2007.24.3.315
316
N. D. Cook
What is most significant about intervallic equidistancebut where Scherer & Sander (2005) suddenly
turn light-hearted in detecting a juicy argumentis
that it leads to a possible solution to the oldest conundrum in all of Western music: the affective valence of
major and minor harmonies. That is, if we take the
unsettled ambiguity of the tension chords as the reference point for discussing harmony, then major and
minor chords represent the only two possible directions
for resolution of the tension. The clearest example is the
augmented chord, where the rising or falling direction
of semitone movement of any tone determines the
mode of resolution: major (downward) or minor
(upward; Figure 1). It is a remarkable feature of diatonic harmonies that changes in any of the tension triads (diminished, augmented, and suspended fourth)
give similar results.
Such structural arguments alone do not, however,
explain why major and minor chords are typically characterized as having positive and negative affect, respectively. The main musical argument in Tone of Voice and
Mind was therefore an attempt to answer that question
on the basis of the frequency code (or sound symbolism) of animal vocalizations. Briefly, it is known that
animals signal their social strength, aggression, and territorial dominance using vocalizations with a low
and/or falling pitch; conversely, they signal social weakness, defeat, and submission using a high and/or rising
pitch (Morton, 1977). Many other signals with speciesspecific meanings also are used, but it is the rising or
falling F0 that has been found to have cross-species generality and profound affective significance for any animal within earshot, regardless of night-time obscurity,
visual angle, or jungle obstructions. A falling F0 implies
that the vocalizer is not in retreat, has not backed down
from a direct confrontation, and has assumed a stance
of social dominance. Conversely, a rising F0 indicates
weakness. How and why this F0 signal has evolved, and
its correlation with facial expressions and vowel sounds,
have been discussed amply in the literature, but its reality is not in dispute. Unfortunately, Scherer & Sander
(2005) confuse the issue by noting the additional contributions of vocal energy, spectral quality, and timbre
(p. 88)all of which is true, but irrelevant to the fact
that, all else being equal, changes in F0 have intrinsic
meaning (which is why it is called the frequency code).
Interestingly, the frequency code is known to have
spilled over into human languages, where rising and
falling intonation have related, if greatly attenuated,
meanings concerning social status . Across divers languages, falling pitch is again used to signal social
strength (commands, statements, dominance) and
317
FIGURE 1. A semitone increase in any tone of an augmented chord resolves to minor, whereas a semitone decrease resolves to major (interval structure is noted below each chord). This general pattern is found for all tension chords (augmented, diminished, suspended fourth in all inversions), unless
a semitone change results in dissonance (see Cook & Fujisawa, 2006, for a comprehensive discussion).
318
N. D. Cook
Speech
Intonation
Animal
Vocalizations
weakness, defeat,
submission
politeness, assent,
questions
rising pitch
normal tonic
of the voice
dominance,
strength, victory
falling pitch
Musical
Harmony
rising pitch
negative affect,
sadness,
despair
harmonic
tension
falling pitch
commands,
assertions, statements
positive affect,
happiness,
joy
FIGURE 2. The meaning of pitch changes in animal calls, human language, and music.
References
B ANSE , R., & S CHERER , K.R. (1996). Acoustic profiles in vocal
emotion expression. Journal of Personality and Social
Psychology, 70, 614-636.
B OLINGER , D.L. (1978). Intonation across languages. In J.H.
Greenberg, C.A. Ferguson, & E.A. Moravcsik (Eds.),
319