For quite some time,
the Theory of Musical
Equilibration has astonished people with its
assertion that music
cannot convey emotions directly; instead,
it simply expresses
processes of the will
with which the listener
can identify. The theory states that identifying with these pro-
No progress despite highly sophisticated equipment
cesses gives them an
emotional
content.
For example, when we
hear a major chord, we
identify with a process
of the will that says,
‘Yes, I want to’, whereas in a minor chord the
message is, ‘No more’.
This process of the will
that states ‘No more’
can be experienced
as something sad or
angry, depending on
whether the minor
chord is played quietly
or loudly. The distinction here is the same
as if someone were to
whisper the words ‘No
more’ quietly or if they
were to shout them at
41
the top of their voice.
The words sound sad
when whispered and
furious when shouted.
The minor chord is the
same: a quiet minor
chord sounds resigned
and a loud one, angry.