Why do different musical scales have unique emotions?

I’ve been thinking lately about musical scales and their relation to psychology. Most people would agree with each other that every type of musical scale (major/minor, et c) has its own unique qualities. Considering that, I’ve started a series of posts on the matter on my new music blog. So far, I’ve done Major, Natural Minor, Dorian, and Harmonic Minor, but I plan to do all the modes soon and have a comprehensive set of scales used in Western music.
One interesting facet of this is that there is actually a continuum between major and minor, something that Jacob Collier has explored. Basically, there is actually something more major than major (the Lydian mode), and something more minor than minor, (the Phrygian mode.) That is really a much different method of looking at music theory than the more typical Baroque method of just major and minor. (except for Bach, who was quite old fashioned at that time)

I hope you enjoy the posts!

Thanks for reading!

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Description & Analysis of musical intervals (third/sixth/second et c.)

Interval            Consonance/Dissonance       Waveform                        Character
Unison             perfectly consonant                    simple                     plain
Second               dissonant                            quickly pulsating       wants to be resolved
Third                 consonant-                                pulsating            pleasant, richer
Fourth               consonant                                 stable                 pre-classical connotations,  sound slowly cycles
Fifth                   consonant+                              stable         classical connotation, halfway between tonic/dominant
Sixth                  semi-consonant                  pulsating     less frequently used, harder to identify, not simple like 5th
Seventh            dissonant                       pulsating quicker              wants to be resolved, unusual interval
Octave          perfectly consonant      more complex than unison,stable               richer than unison
Ninth            semi-dissonant                       pulsating                                   more pleasant than second
Tenth            consonant                                   stable                                     complex, somewhat similar to third, happy

Tuning Ratios for Just Intonation:

Unison= 1:1 Second=9:8 Third=5:4 Fourth=4:3
Fifth=3:2 Sixth=5:3 Seventh=15:8 Octave=2:1

(here is my new music blog which focuses on things similar to this.)