Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. The results indicate that Western concepts of harmony are not relevant for participants unexposed to Western music when other emotional cues (tempo, pitch height, articulation, timbre) are kept relatively constant. At the same time, harmonic style alone has the ability to colour the emotional expression in music if it taps the appropriate cultural connotations. The preference for one harmonisation style over another, including the major-happy/minor-sad distinction, is influenced by culture. Finally, our findings suggest that although differences emerge across different harmonisation styles, acoustic roughness influences the expression of emotion in similar ways across cultures; preference for consonance however seems to be dependent on cultural familiarity.

In computational creativity, new concepts can be invented through conceptual blending of two independent conceptual spaces. In music, conceptual blending has been primarily used for analysing relations between musical and extra-musical elements in composed music rather than generating new music. This paper presents a probabilistic melodic harmonisation assistant that employs conceptual blending to combine learned, potentially diverse, harmonic idioms and generate new harmonic spaces that can be used to harmonise melodies given by the user. The key feature of this system is the application of creative conceptual blending to the most common chord transitions (pairs of consecutive chords) of two initial harmonic idioms. The proposed methodology integrates newly created blended chords and transitions in a compound probabilistic harmonic space, that preserves combined characteristics from both initial idioms along with those new chords and transitions within a unified setting. This methodology enables various interesting music applications, ranging from problem-solving, e.g. harmonising melodies that include key transpositions, to generative harmonic exploration, e.g. combining major–minor harmonic progressions or more extreme idiosyncratic harmonies.

This article presents the CHAMELEON melodic harmonisation assistant that utilises the principles of conceptual blending theory as a means for the invention of hybrid or novel harmonic idioms and an empirical evaluation of a number of computer-generated melodic harmonisation blends. Melodies originating from various idioms were harmonised either according to the harmonic rules of the original idiom, according to the rules of a different idiom (melody–harmony blends), or by blending idioms, modes and transported versions of the same idiom (harmony–harmony blends). In two similar experimental set ups, the task of the listeners was to i) perform idiom, mode or type of chromaticism classification, ii) report their preference, and iii) rate the degree of expectancy characterising each harmonisation. The results show that harmonic blending (either melody–harmony or harmony–harmony) influences the identification of idiom, mode and type of chromaticism. This suggests that the harmonic blending system has indeed succeeded in producing perceivable blends under various conditions that were unexpected and also equally preferred compared to non-blends.