Music, a powerful tool that penetrates deep into our emotions, can also calm us down, relax us, and reduce stress. But how does it achieve this remarkable feat? The Theory of Musical Equilibration, a novel approach in music research, offers insightful perspectives on this question. By proposing a link between musical harmonies and emotional states, it opens exciting possibilities for the targeted design of relaxation music.
New Perspectives for Creating Powerful Relaxation Music
The Theory of Musical Equilibration offers numerous advantages for the creation, application, and use of effective relaxation music:
- Individually Tailored Soundscapes: By linking musical elements with specific emotions, composers can create tailor-made soundscapes that are optimally suited to the needs of the listener.
- Deeper Relaxation Experience: Engaging with music informed by the Theory of Musical Equilibration can enable a more intense and lasting relaxation experience.
- Emotion regulation and mindfulness through music: The theory can guide the selection of pieces specifically designed to manage stress, anxiety, or other negative emotions, while also promoting conscious perception of musical elements and their emotional effect.
- Optimizing Music Choice: The theory provides valuable tools for selecting music that is best suited to promote rest and relaxation.
- Musical Design for Relaxation: The theory offers valuable information for composers and improvisers to create music specifically designed for relaxation purposes.
- Scientifically Sound Design: Anchored in music research, the Theory of Musical Equilibration provides a solid foundation for the development of effective relaxation music.
2 The Theory of Musical Equilibration – Developing a Model
2.1 Chords suggest Volitional Contents
In principle,the Theory of Musical Equilibration, developed by music researchers Bernd Willimek and Daniela Willimek, focuses on one of the most fundamental components of music: harmony. It describes its effect on the human psyche. To substantiate the theory, the authors conducted studies with over 2,100 participants worldwide. The study found that participants consistently associated similar emotions with specific musical examples, aligning with the predictions of the Theory of Musical Equilibration
The basic tenet of the Theory of Musical Equilibration is that music does not directly create emotions. Rather, it describes music as a mediator of volitional content (content related to the will). According to the theory, only when listeners identify with this volitional content do they experience music emotionally.
2.2 How Can Wie Imagine the Will’s Content in Music?
The Theory of Musical Equilibration can be seen as an extension of musicologist Ernst Kurth's descriptions of leading tones (Kurth, Musikpsychologie, 1931). In contrast to Kurth, who defines a leading tone as one that carries the urge to transform into a neighboring tone, the Theory of Musical Equilibration describes the leading tone as a listener's identification with the will to maintain this tone. However, since a sound isn't a tangible object, this sensation of wanting to maintain something blurs into a more general feeling. When perceiving leading tones, we identify with an abstract will to maintain.
3 The Application of the Theory of Musicial Equilibration
In principle, applying the Theory of Musical Equilibration to individual harmonies is straightforward: When perceiving a leading tone, we identify with an abstract will to maintain. In the following sections, we'll examine concise harmoniesthrough the lens of this theory to understand their sonic characteristics. It's crucial to remember, however, that harmonies are complex, and their impact can vary from the theoretical explanations in specific instances.
Furthermore, it must be considered that harmonies can mutually influence each other when they follow one another. Additionally, the emotional impact is influenced by other musical and personal factors as described in the BRECVEM model(2016) byJuslin and Västfjäll. For a deeper dive into the complexities of the Theory of Musical Equilibration, we recommend the paper “Revealing the Mystery of Emotions in Sounds: The Theory of Musical Equilibration Explains the Impact of Ordered Sounds as the Listener’s Identification with Processes of Will” by Bernd Willimek and Daniela Willimek (2023).
3.1 MajorChords – Agreement, Affirmation, and Joy
Let's take the C major chord (c, e, andg) as an example. Here, the note e is the leading tone. This is the note with which we identify an abstract will to maintain, a feeling of "yes, I want." The leading tone of the major chord often conveys a sense of affirmation, agreement, and satisfaction (cf.Herzfeld, Ullstein Musiklexikon,1965, p.149).
Major keys are often perceived as bright and positive due to their overall harmonic structure. This can create an pleasant atmosphere. However, if the music aims for a truly joyful effect, a temporary shift to the subdominant chord (e.g.,F major in C major) can be very effective. The subdominant, often described as relaxed (cf.La Motte, Harmonielehre,1983, p. 35;Güldenstein, Theorie der Tonart,1973, p. 40),provides a sense of openness and release, contributing to the joyful feeling.
It should be noted, however, that these descriptions of major chords do not always apply. For example, when a major chord serves as the dominant of a minor tonic (like the G major chord in C minor), it is pulled to the minor tonic and takes on its character, often conveying a more melancholic or dramatic mood.
3.2 Harmonic minor - Sad or Angry
When we change a C major chord to a C minor chordwith the notesc, e flat, and g, we alter specifically the note e, which was crucial in our perception of the C major chord as expressing agreement. Consequently, the feeling of 'yes, I want' transforms into the feeling of 'I don't want anymore' when switching to minor. If we were to whisper the words 'I don't want anymore', they would sound sad, but if we were to shout them, they would sound angry. Analogously, we perceive a soft minor chord as sad and a loud minor chord as angry (see Willimek & Willimek, Musik und Emotionen Studien zur Strebetendenz-Theorie,2019, p. 23). This illustrates that music, contrary to long-held beliefs, does not directly convey emotions but rather volitional contents with which we identify, thus perceiving them as emotional.
However, it is important to distinguish between the Aeolian minor (e.g., the scale of c, d, e flat, f, g, a flat, b flat, and c1) and harmonic minor(e.g., the scale of c, d, e flat, f, g, a flat, b, and c1)- While Aeolian minor and pentatonic scales are very popular in relaxation music (see following chapters), harmonic minor, depending on the volume, is used as an expression of sadness or anger only very sparingly and only with a specific goal in mind.
3.3 Aeolian minor – A Sonic Exploration of Courage and Adventure
In the Aeolian mode (e.g., the scale of c, d, e flat,f, g, a flat, b flat, andc1), not only is the thirdlowered (e.g.,e to e flat), but also the leading tone (e.g.,b to b flat). According to the Theory of Musical Equilibrationthe leading tone in harmonic minorsuggestsa resistance against the resolution into the minor tonic However, in the Aeolian mode, this resistance seems to be diminished because of the lowered leading tone.The minor tonic, an expression of the unwanted, seems to be accepted without resistance. This fits a situation where a person allows something to happen that they don't actually want. This could be a person who faces a danger, because they are courageous. The Aeolian mode corresponds to the idea of courage, tension, and adventure(cf. Lehman, Manufacturing the epic score: Hans Zimmer and the sounds of significance. Music in Epic Film: Listening to Spectacle,2016, p. 37). This explains why the Aeolian mode is often used in crime movies, frequently in the opening credits.
When played loudly and quickly, the Aeolian mode is perceived as extremely tense. But when played softly and slowly, it is very well suited for relaxing music. The path to courage and adventure can then be taken in the sense of a quiet, inner adventure, suitable for meditations and the penetration of deeper states of consciousness. However, care should be taken to ensure that prolonged exposure to the Aeolian mode does not cause the listener to feel insecure or even disorientation.
3.4 Pentatonic Meditation – A Journey Inward
The five notes of the pentatonic (e.g., c, e flat, f, g, andb flat) scale derived from the Aeolian mode have a strong meditative effect and can foster the courage for an inner journey. They invite a meditative exploration of the self without stimulating aggressive energies. The pentatonic scale allows clients to gently and mindfully open to new emotions and spiritual experiences. Withits simple and catchy structure, the pentatonic scale creates a safe space. Its tones are soothing and harmonizing, promoting relaxation and facilitating focus on the essentials. By omitting semitones, a certain naturalness and lightness is created that enables access to deeper levels of consciousness.
3.5 The diminished seventh chord – Ranging from Melancholic Brooding to Panic
The diminished seventh chord (e.g., the notes c, e flat, f sharp, and a) is characterized by multiple leading tones. As a result, the listener identifies with a multiple will to maintain. When this chord appears in a minor key and is played loudly, the multiple identifications with this will create a sense of panicky clinging. This chord is particularly effective in musically conveying despair and horror and has been used in this sense for centuries, as discussed on page 288 of Schönberg'sHarmonielehre(1922).
The diminished seventh chord is common in songs, arias, and contemporary film music. A notable example of its effect appears in the St. Matthew Passion by Johann Sebastian Bach. Here, the diminished seventh chord vividly illustrates the horrifying moment in which Pilate asks the people whom he should release, Jesus or the criminal Barabbas, and the people, with the outcry "Barabbam!", make their choice. When played softly, the diminished seventh chord can express a state of melancholic brooding.
If at all, diminished seventh chords should only be used in relaxation music in conjunction with major harmonies and played softly. Even then, care should be taken to ensure that the sound is only used as a stimulus to reach deeper states of consciousness and does not lead to sinking into brooding.
3.6 The Augmented Triad – Astonishing and Wonder
The augmented triad (e.g., the notes c, e, and g sharp) is unique in that it has no clear leading tones (cf. La Motte, Harmonielehre, 1983, p. 88). When listening to this chord, one is left wondering about its function. The chord expresses astonishment and wonder (see Willimek & Willimek, 2019, p. 72) and is frequently used in film music to accompany scenes that are surprising or magical. An example of the effect of augmented triads can be found in the German film 'Lisa and Lottie' by Josef von Báky, where the two twins first meet each other in astonishment. The psychological impact of augmented triads is characterized by surprise, tension, and a sense of wonder. While these emotions are desirable in certain contexts, they can be counterproductive in relaxation music. Therefore, augmented triads should be used cautiously and with a specific purpose in mind.
3.7 The change of major tonic and dominant
According to the Theory of Musical Equilibration, tonic and dominant chords (such as C major and G major) as major chords, on the one hand, suggest a feeling of agreement, but on the other hand, the agreement with the dominant excludes the agreement with the tonic. After all, one cannot cling to the dominant and at the same time want its resolution into the tonic. So, the leading tone, according to the Theory of Musical Equilibration, experiences resistance against resolution into the tonic. The repeated alternation between tonic and dominant thus corresponds to the statement 'I want, I don't want, I want, I don't want...'. However, such a paradoxical image can be resolved through the idea of movement, for whoever walks pushes off from a point on the path that he had just been striving for with each step. Correspondingly, the alternation between tonic and dominant can create a feeling of movement and is suitable for wandering songs and dance music (see Willimek & Willimek, 2019, p. 33)
The effect of the alternation between tonic and dominant is ambivalent. On the one hand, it can create a feeling of movement and liveliness, but on the other hand, it can also be perceived as restless. The listener may well perceive the change from the tonic to the dominant as an inward-directed step. In relaxation music, it is therefore important to use this alternation in a dosed manner and to combine it with other harmonic means to create the desired atmosphere. A successful balance between tension and relaxation is the goal here.
3.8 The Major Seventh Chord - Wistfulness and Nostalgy
The major seventh chord (e.g., c, e, g, and b), often associated with wistfulness and nostalgia (cf. Lahdelma & Eerola, Theoretical Proposals on How Vertical Harmony May Convey Nostalgia and Longing in Music, 2015) is a combination of a major triad and a major seventh. While the major triad suggests satisfaction and agreement, the added major seventh introduces a dissonant leading tone. This dissonance can create a sense of longing or a yearning to hold onto something, often evoking a melancholic mood.
Throughout history, composers have used the major seventh chord to express melancholy and longing. In the Baroque era, it was a common device in expressive music. Today, it remains a powerful tool in film music, often accompanying poignant or emotionally charged scenes.
The emotional impact of the major seventh chord is highly context dependent. While it can evoke a sense of relaxation and contemplation for some listeners, it may cause restlessness or discomfort for others. When composing music intended for relaxation, it's essential to consider the individual preferences of the target audience.
3.9 The Whole-Tone Scale – A Guide to Weightlessness and Relaxion
The whole-tone scale (e.g., the scale c, d, e, f sharp, g sharp, a sharp, c) has no leading tones (cf. La Motte,Harmonielehre, 1983, p. 250). Listening to a whole-tone scale suggests a feeling of weightlessness. In Impressionist music, whole-tone scales are frequently used to create a sense of weightlessness (see Willimek & Willimek, 2019, p. 101ff). An illustrative example is the beginning of Claude Debussy's piano piece Cloches à travers les feuilles.
The weightlessness of the whole-tone scale is often utilized in relaxation music to promote a state of calm and letting go. Due to the absence of tension and the associated tendency towards resolution, the whole-tone scale can have a meditative effect. However, it should be used sparingly in relaxation music to avoid monotony and create a varied soundscape.
3.10 The fifth – Stable, but Empty, Cold, and Eerie
The sound of a perfect fifth (e.g., c andg) can be perceived as stable due to its consonant nature but also as empty, cold, and eerie (cf. Zentner, ReclamsOpern- und Operettenführer, 1991, p. 200). Eerie especially when it is perceived as a triad from which the expressive leading tone has been removed. Composers often exploit this effect to depict emptiness, death, or a ghostly atmosphere. A prime example of this is the opening sequence of perfect fifths in Richard Wagner's opera The Flying Dutchman which evokes a sense of isolation and desolation.
The empty fifth can evoke ambivalence in the listener. On the one hand, it can be perceived as incomplete and uncanny, but on the other hand, it can also convey a deep peace by symbolizing a state of emptiness and nothingness. In relaxation music, this effect can be used intentionally to guide the listener into a state of inner stillness.
3.11 The Minor Sixth – Fearful of soothing
According to the Theory of Musical Equilibration, the minor sixth (e.g., the notes c and a flat) suggests a will that is directed against resolution into the ghostly empty fifth. Therefore, the minor sixth can be used to express a feeling of anguish (see Cooke, The Language of Music, 1959, p. 90). An illustrative example of this is the minor sixth at the beginning of the prelude to Richard Wagner's opera Tristan and Isolde.
The use of the minor sixth in relaxation music depends heavily on the context. While it can lead to restlessness in certain musical styles or contexts, it can have a calming effect when played as part of a major chord (e.g., the sixth e andc1 as part of c, e, g, c1). The decisive factor is how the minor sixth is integrated into the overall musical structure and what other musical elements accompany it.
3.12 The Tritone – A Double-Edged Sword
The tritone (for example, the notes c and f sharp) was formerly forbidden as the "Devil's interval". Its sonic effect is often described as "devilish" or "inimical” (seeCooke, The Language of Music, 1959, p. 90) because its two leading tones are not directional and do not reveal whether they lead upwards or downwards. When listening to this interval, one can imagine a danger lurking in the room, which one can feel but cannot sense where it comes from. The tritone can deceive us. Its ability to trigger strong emotions makes it a powerful musical tool. However, in relaxation music, it can be a double-edged sword. While it can build tension and thus create a dynamic atmosphere, its dissonant effect could also be perceived as disturbing and interrupt the relaxation process. Whether or not the tritone should be used in relaxation music ultimately depends on the individual listener's perception and the desired effect.
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The Theory of Musical Equilibration offers a promising approach to understanding the effects of relaxation music. By deciphering underlying musical structures, we can more purposefully select pieces that induce deep calm and well-being. The harmonies presented here are a first step in this direction.
Future research could focus on designing personalized relaxation programs based on the Theory of Musical Equilibration. By understanding the emotional processes triggered by music, we can optimize music relaxation for treating stress, anxiety, and other psychological conditions. This research could have significant implications for individuals seeking relaxation and well-being, as well as for healthcare professionals utilizing music therapy.