Sonata and rondo movements are often defined in terms of large-scale form, yet in the classical era, rondos were also identified according to their lively, cheerful character. We hypothesized that sonatas and rondos could be categorized based on stylistic features, and that rondos would involve more acoustic cues for happiness (e.g., higher average pitch height and higher average attack rate). In a corpus analysis, we examined paired movement openings from 180 instrumental works, composed between 1770 and 1799. Rondos had significantly higher pitch height and attack rate, as predicted, and there were also significant differences related to dynamics, meter, and cadences. We then conducted an experiment involving participants with at least 5 years of formal music training or less than 6 months of formal music training. Participants listened to 120 15-second audio clips, taken from the beginnings of movements in our corpus. After a training phase, they attempted to categorize the excerpts (2AFC task). D-prime scores were significantly higher than chance levels for both groups, and in post-experiment questionnaires, participants without music training reported that rondos sounded happier than sonatas. Overall, these results suggest that classical formal types have distinct stylistic and affective conventions.

中文翻译：

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作为风格类别的古典回旋曲和奏鸣曲

奏鸣曲和回旋曲乐章通常以大型形式来定义，但在古典时代，回旋曲也根据其活泼、欢快的特点来定义。我们假设奏鸣曲和回旋曲可以根据风格特征进行分类，并且回旋曲将涉及更多快乐的声学线索（例如，更高的平均音高和更高的平均起音率）。在语料库分析中，我们检查了 1770 年至 1799 年间创作的 180 部器乐作品的成对乐章开场。正如预测的那样，回旋曲的音高和起音率明显更高，并且在动态、节拍和节奏方面也存在显着差异。然后，我们进行了一项实验，参与者参加了至少 5 年的正规音乐培训或少于 6 个月的正规音乐培训。参与者收听了 120 个 15 秒的音频片段，这些片段取自我们语料库中运动的开始。在训练阶段之后，他们尝试对摘录进行分类（2AFC 任务）。两组的 D-prime 分数都显着高于机会水平，并且在实验后的问卷调查中，没有受过音乐训练的参与者报告说回旋曲听起来比奏鸣曲更快乐。总体而言，这些结果表明古典形式类型具有不同的文体和情感惯例。