本研究旨在探究音樂要素與聆賞者因素對聆賞情緒的影響，以大學生為研究對象，採用兩個研究的「解釋型」混合研究方法設計，此兩個研究分別都以量化的問卷調查為主，質性的訪談調查為輔。問卷調查的自變項為音樂要素的調性、速度與力度，以及聆賞者因素的性別與音樂訓練；依變項為聆賞情緒，包含正負向情緒與激發情緒兩個向度，以及Hevner形容詞週期情緒；並將樂曲熟悉度視為控制變項，以排除其對聆賞情緒的影響。

研究一問卷調查的音樂設計為兩首創作曲音樂要素的操弄，使其成為調性（大調與小調）× 速度（快與慢）× 力度（強與弱）八種組合的16首樂曲；研究二問卷調查的音樂設計則是選取16首具備調性、速度、力度三項音樂要素特色之真實曲，以增強本研究結果之外推效度；訪談調查進一步詢問研究對象聆賞情緒的相關問題，以收集更豐富的解釋資料。根據研究目的與方法，本研究提出下列四項結論：

一、在聆賞者的正負向情緒上，音樂要素「調性」與「速度」兩項單因子對聆賞者正負向情緒都具有顯著的影響，大調較小調易喚起正向的情緒，快速較慢速易喚起正向的情緒。至於其它因子主要效果或交互作用效果對聆賞者正負向情緒的影響，顯示「力度」、「性別」、「性別×調性」、「音樂訓練」、「音樂訓練×調性」、「音樂訓練×速度」、「音樂訓練×力度」、「音樂訓練×速度×力度」、「音樂訓練×調性×力度」對聆賞者的正負向情緒會產生顯著影響，但主要表現於研究一的創作曲中；「調性×力度」、「調性×速度」、「速度×力度」對聆賞者正負向情緒會產生顯著影響，但主要表現於研究二的真實曲，此部分於本研究中尚未獲得一致性的結果。

二、在聆賞者的激發情緒上，音樂要素「速度」與「力度」兩項單因子對聆賞者激發情緒都具有顯著的影響，快速較慢速易喚起高激發的情緒，力度強較力度弱易喚起高激發的情緒；而「調性」單因子對聆賞者的激發情緒並無顯著影響，大調與小調並不會喚起顯著不同的激發情緒。至於其它因子主要效果或交互作用效果對聆賞者激發情緒的影響，顯示「性別×調性」、「性別×速度」、「性別×力度」、「音樂訓練」、「音樂訓練×調性」、「音樂訓練×速度」對聆賞者的激發情緒會產生顯著影響，但主要表現於研究一的創作曲；「速度×力度」、「性別」對聆賞者的激發情緒會產生顯著影響，但主要表現於研究二的真實曲，此部分於本研究中尚未獲得一致性的結果。

三、在Hevner的形容詞週期情緒上，本研究提出下列八項發現：（1）大調、快速與力度強主要產生「F快樂的」、「G激動的」、「H有活力的」這三類情緒；（2）大調、慢速與力度弱主要喚起「D平靜的」這類情緒；（3）小調、快速與力度弱主要喚起「E幽默的」、「G激動的」這兩類情緒；（4）小調、慢速與力度強主要喚起「B悲傷的」、「G激動的」這兩類情緒；（5）小調、慢速與力度弱最常喚起「B悲傷的」這類情緒；（6）小調、快速與力度強主要產生「G激動的」這類情緒；（7）大調、慢速與力度強最常喚起「D平靜的」與「A嚴肅的」這兩類情緒；（8）大調、快速與力度弱主要產生「F快樂的」與「E幽默的」這兩類情緒。

四、在影響聆賞情緒的其它可能因素上，有關音樂要素與聆賞者因素的施測過程中，受訪者指出影響聆賞情緒的其它可能因素尚包含：測驗內容、施測環境、樂曲熟悉度與喜愛度、樂曲聆賞順序；至於個人音樂經驗中，影響聆賞情緒的可能因素除了調性、速度、力度與三個音樂要素組合外，受訪者認為尚包括：其它音樂要素、音樂要素的變化過程、個人當下心情、樂曲熟悉度、音樂訓練、演奏家詮釋風格、聆賞環境。

The purpose of this study was to investigate the effects of musical elements and listeners’ factors on listening emotions. Subjects were all undergraduate students. Two studies of “explanatory” mixed methods research designs were adopted; among them, questionnaire survey of quantitative approach had greater priority and weight than interview survey of qualitative approach. In questionnaire survey, the independent variables were musical elements of tonality, tempo and dynamics, as well as listeners’ factors of gender and musical training. The dependent variables were listening emotions, including positive-negative emotion, arousal emotion and Hevner’s adjective circle emotion. Familiarity with music excerpts was regarded as the controlling variable in order to exclude its effect.

The first study of questionnaire survey manipulated two compositions to 16 versions, each composition including 8 combinations: tonality (major and minor) × tempo (fast and slow) × dynamic (loud and soft). In the second study, 16 real music excerpts were chosen to represent the characteristics of combinations of tonality, tempo and dynamics in order to increase the external validity of study results. Moreover, in interview survey, researcher inquired about the related questions of listening emotions to collect more explanatory data. According to research purpose and method, this study came up with the following four conclusions.

The first conclusion was about the listeners’ positive-negative emotion. Musical elements of tonality and tempo caused significant influences on listeners’ positive-negative emotion. Music in major key aroused more positive emotion than that in minor key, and fast tempo produced more positive emotion than slow tempo. Concerning other main effects and interaction effects, this research found that dynamics, gender, gender × tonality, music training, music training × tonality, music training × tempo, music training × dynamics, music training × tempo × dynamics, and music training × tonality × dynamics had significant influences on listeners’ positive-negative emotion, but they only revealed in compositions of the first study. Besides, tonality × dynamics, tonality × tempo, and tempo × dynamics had significant influences on listeners’ positive-negative emotion, but they only revealed in real excerpts of the second study. There seemed to show no consistent results in this aspect.

The second conclusion had to do with the listeners’ arousal emotion. Musical elements of tempo and dynamics caused significant influences on listeners’ arousal emotion. Fast music produced higher arousal emotion than slow music, and loud dynamics produced higher arousal emotion than soft dynamics. But musical elements of tonality had no significant difference on listeners’ arousal emotion. The tonality of major and minor key did not cause significantly different arousal emotion among listeners. Regarding to other main effects and interaction effects, this research found that gender × tonality, gender × tempo, gender × dynamics, music training, music training × tonality, and music training × tempo had significant influences on listeners’ arousal emotion, but they only revealed in compositions of the first study. Besides, tempo × dynamics and gender had significant influences on listeners’ arousal emotion, but they only revealed in real excerpts of the second study. There seemed to show no consistent results in this aspect.

The third conclusion was related to Hevner’s adjective circle emotion. Eight findings were presented as follows : (1) Major, fast, and loud music mostly produced emotions of F-happy, G-agitated, and H-vigorous; (2) Major, slow, and soft music mostly produced emotion of D-calm; (3) Minor, fast, and soft music mostly produced emotions of E-humorous and G-agitated; (4) Minor, slow, and loud music mostly produced emotions of B-sad and G-agitated; (5) Minor, slow, and soft music mostly produced emotion of B-sad; (6) Minor, fast, and loud music mostly produced emotion of G-agitated; (7) Major, slow, and loud music mostly produced emotions of D-calm and A-serious; (8) Major, fast, and soft music mostly produced emotions of F-happy and E-humorous.

The fourth conclusion was about other possible factors influencing listening emotions. The researcher proposed two aspects of factors. One was about the test process of musical elements and listening factors influencing listening emotions, by which the researcher meant that the interviewees revealed the influencing factors included: test content, test environment, familiarity with and liking to music excerpts, and order of music excerpts in listening. The other was about individual listening experience, and the interviewees thought the influencing factors included: other musical elements, the changing process of musical elements, individuals’ mood on the spot, familiarity with music excerpts, musical training, interpreting style of performers, listening environment.

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