I have no formal education in music theory so I am looking for some resources on the psychology of music. Specifically, I am seeking to learn how various aspects of music affect mood. A formal understanding of how melody progressions, rhythms, key, etc, effect mood would be far more helpful than the trial and error composing only to find I have managed to put together a decent piece, but totally wrong for the mood I am aiming for. Does anyone know of some sites or research that have been done in this area? PS, I am an amateur (obviously) using reason 3 to compose and record (sans MIDI keyboard) synthetic music.

As far as I am aware, there is no such thing. There are some arguments that the tempo of music may have some physiological effects, but there are no rules saying "E minor makes you sad, F locrian makes you cheerful" or anything. It's all just cultural, where we learn to associate different types of music with different situations. Generally when you want to capture a mood, what you really need to do is capture the feel of previous pieces that have been associated with that mood.

Actually, key is a very important thing to achieve specific mood. It's all cultural or psychological, but for example, D minor has been proven to be a most sadful of all keys. Zimmer's scores are most of the time in D minor - because also has a very "serious" kind of sound.

Another example is, that let's say Eb major with A instead of Ab (it's hypolydian scale actually), used in flutes and bells makes it sound magical or shiny.

Just a couple of examples.

- Piotr

Did you just say "sadful?"

I believe it's cultural and associative.

There are a few people out there who are sound synesthetics, where certain keys, notes, or timbres will consistently associate themselves in their brain as sensory input from another sense.

I'm synesthetic with letters, when I see the letter L, I think of purple, sometimes even see purple. I can't help it.

I think that's the only formal study you'll be able to find on actual sensory translation.

If Zimmer's scores are largely in D minor, that's probably because that's a key that he himself has an association with OR he's lazy. The fact that Zimmer uses D minor is not proof that D minor is "sadful."

Using flutes and bells is going to make something sound "shiny" because our culture has an association with shine and metalic noises. The key itself isn't going to make it seem shinier.

Just because its a cultural association doesnt invalidate its affect. If you aim for an audience, you can aim for their culture and the associations you expect from them. Its doesnt need to be an absolute, it just needs to be valid for those you intend to listen to the music.

You wanted a formal study.

Synesthesia was the closest I could get. I never said it was an invalid affect, you're just going to be hard pressed to find formal research on how keys make people feel.

The only other thing I can think of is Music Therapy research, that might be worth exploring as well.

I imagine most people wouldn't be able to tell the difference between D minor and any other minor key.

Quote: Original post by mPietro
for example, D minor has been proven to be a most sadful of all keys.

By Spinal Tap, perhaps...

Quote: The fact that Zimmer uses D minor is not proof that D minor is "sadful."

Using flutes and bells is going to make something sound "shiny" because our culture has an association with shine and metalic noises. The key itself isn't going to make it seem shinier.

Ok, I'm not saying, that Zimmer's use of D minor is a proof of any kind. This is just an example of how D minor actually sounds, what is it's character. And this has a lot to do with registers of all instruments, and their aliquot tones. D minor and G minor allow strings to play very low, clarinets, bassons, brass - these keys are very convinient for them. If you transpose whole compositions, you'll find, that some keys sound simply better then others (even if you reorchestrate).

Using flutes and bells is going to make something sound "shiny" and that's also because of the higher aliquot tones from these instruments. Try making "shiny" sound using double bass, with bass clarinet. Try flutes, bells, and violin harmonics instead. It's not all cultural, and even if it is, in some part, it came for some reason in the first place. Hundreds of years of orchestral music, learning on mistakes.

- Piotr

Quote: Original post by mPietro

Quote:
Using flutes and bells is going to make something sound "shiny" because our culture has an association with shine and metalic noises. The key itself isn't going to make it seem shinier.

Using flutes and bells is going to make something sound "shiny" and that's also because of the higher aliquot tones from these instruments.

That's basically what I just said.