Figure 2 reaching a contrast with the opposite direction.
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bipolarity of valence (J. A. Russell and J. M. Carroll, 1999). The two-dimensional Circumplex model suggests that feelings vary in their degree of This study assumes that a three-dimensional categorisation is necessary to better define Circumplex model and Thayer’s model to emotion categorisation. relationship is the ‘Pitch Helix’ design by Shepard (1982). between pitches. Chroma are perceived as being very similar; a representation of this meaning that an average of 3.5 answers (21/6) was provided by each responder. Table 3. Fear’s rates determining preferences in mode. Both dissonant and consonant harmonies shows a prevalence when minor, even thought high rates are displayed also in dissonant major harmonies. showing a preference for higher tempi in fear related words (Zable 4). automatically depending on the way the emotional values are set, or manually. The central automatic control over all the parameters. In fact, valence controls loudness and octave energy, tension, and valence.
