Michael Cooper writes:

>Maybe the relationship is arbitrary.

I wouldn't say arbitrary, but I would say that "emotional" meaning depends
on the absorption of conventional associations between music and mood.

>But just because I cannot perfectly explain (to stick with my same
>example) why the fourth movement of Tchaikovky's Sixth seems to express
>certain emotions to me (and similar ones to a very wide audience), does
>not mean there is not a logical relationship.

Again, I wouldn't say "logical," but "conventional." For example, you've
absorbed certain conventions of Romantic music built by composers in
programmatic works or works with text.  I'd guess that when you thought of
music expressing passion, you'd think of music like Tchaikovsky's Romeo and
Juliet or Wagner's Tristan, rather than Mozart's "La ci darem." I know you
want to say that a link exists which is not purely random between the music
we hear and the emotions we feel.  But this is really more a function of
cultural history rather than of human nature, or at least the links are
more obvious in the former.  However, if you posit an unchanging human
nature (and I infer this from the way you've phrased the argument), how do
you explain the differences in musical expression among Lassus's "Matona
mia cara," Mozart's "La ci darem," and Puccini's "Nessun dorma?"

>And, in fact, I can point out several musical devices which aid in
>expressing different things.  "Dark" tone colorings, the slow tempo, the
>minor key, suspensions (particularly those involving a minor second), all
>contribute to the emotions expressed.  A scientific explanation as to the
>relationship between the devices Tchaikovsky used and the emotions we
>"hear" in this work is beyond me.  But the relationship is there
>nonetheless.

It's there and somewhat constant for a relatively brief period of time.
However, one could point out specific examples of the devices you mention
counter to what you might think they mean.  To take one, minor key does not
always mean "sad" or "serious." Probably the most well-known example right
now would be "When Johnny Comes Marching Home." One could point out many
other folk tunes in minor modes that are quite jaunty, at least according
to their texts.  One could also point to very sad major-mode pieces in
"bright" colors:  Puccini's "Un bel di," for one.  We take our cues as
much from story and text as we do from notes.

Steve Schwartz