Construct · 4 fields · 4 citations
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A grammatical category realised on the verb that marks how a speaker presents a situation: as a fact (indicative), or as something wished, commanded, or merely entertained (subjunctive, imperative, and related forms), so mood is the morphological expression of modality within the clause. Palmer's 2001 Mood and modality surveyed how languages encode this distinction and treated mood as the grammaticalised part of the wider modal system. The referent is a form of the verb and a slot in a language's grammar, described by its paradigm and its function, not a felt affective state, a pattern of premises, or the character of a piece of music.[1]
A diffuse, relatively enduring affective state that is not directed at any particular object and that colours a person's experience over minutes to hours or longer, distinguished from a brief, sharply focused emotion by its longer duration, its lower intensity, and its absent or unclear cause. Beedie, Terry, and Lane's 2005 Distinctions between emotion and mood compared lay and academic accounts and found duration, cause, and control among the features people use to tell the two apart. The referent is a background state of feeling in affective science, described by its valence and its course over time, not a verb form, a syllogistic pattern, or the affect a piece of music conveys.[2]
In traditional term logic, the mood of a categorical syllogism is the pattern of proposition types across its two premises and its conclusion, each proposition being universal affirmative (A), universal negative (E), particular affirmative (I), or particular negative (O), so a mood is a string such as AAA or EIO that, together with the figure, fixes the form of the argument. Łukasiewicz's 1957 Aristotle's syllogistic from the standpoint of modern formal logic set out these forms and which moods are valid within the system. The referent is an abstract pattern of statement types in a formal argument, identified by the letters A, E, I, and O, not a verb form, a state of feeling, or a musical character.[3]
The emotional character that a piece of music expresses or evokes, the affective quality a listener hears in it, such as a passage sounding solemn, playful, or serene, treated as a describable property of the music rather than of any one listener. Hevner's 1936 Experimental studies of the elements of expression in music grouped mood-describing adjectives into related clusters and tied them to musical features such as mode, tempo, and rhythm. The referent is the expressive affect attributed to a piece, described by adjectives and by musical features, not a verb form, a syllogistic pattern, or a person's own background mood.[4]
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