Sounds of scents: olfactory-auditory correspondences in the online purchase experience for perfume

Mahdavi, Mehdi; Barbosa, Belém; Oliveira, Zai­la; Chkoniya, Valentina

doi:10.7819/rbgn.v22i4.4083

Cited by 9 publications

(17 citation statements)

References 27 publications

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“…Scented musical public events would, then, seem to be more of a niche undertaking than anything else. As such, it would seem unlikely that they will be extended into the home any time soon, despite the emergence of various sensory apps, and despite the growing interest from those sensory marketers wanting to know whether scent can be meaningfully conveyed by sound ( Mahdavi et al., 2020 ; Parkin-Fairley, 2020 ; cf. Crisinel et al., 2013 ).…”

Section: Discussionmentioning

confidence: 99%

“…While, as mentioned earlier, our own attempt to assess validate the consensuality of the crossmodal mappings outlined in Piesse’s musical scent scale ( Piesse, 1862/1891 ) was inconclusive, we and others have established a number of consensual crossmodal correspondences between musical attributes, such as tonal brightness ( von Hornbostel, 1931 ), pitch ( Belkin et al., 1997 ; Crisinel et al., 2013 ; Crisinel & Spence, 2012 ; Stevenson et al., 2012 ; though see also Spence, 2019b ), loudness ( Stevenson et al., 2012 ), timbre ( Crisinel & Spence, 2012 ), and vocal sounds ( Macdermott, 1940 ; Mahdavi et al., 2020 ), types of music, and sounds of nature ( Mahdavi et al., 2020 ), and scent. 18 For instance, Belkin and colleagues demonstrated that a range of olfactory stimuli were systematically matched with different auditory pitches.…”

Section: Crossmodal Correspondences Between Music and Scent: Contemporary Interestmentioning

confidence: 95%

“…Finally here, Mahdavi et al. (2020) conducted in-depth interviews with 27 people from Brazil, Portugal, and specifically covered types of music, sounds of nature, and the human voice.…”

Section: Crossmodal Correspondences Between Music and Scent: Contemporary Interestmentioning

confidence: 99%

“…Specific to the performance is the question: What relationships exist between concurrent perceptions of smell and sound?” The performance is a jumping off point to explore Piesse’s Odophone to test new propositions about how one experiences smell, particularly in relation to sound (see also Iseki & Nakamoto, 2013 ). However, given that, as yet, there is no empirical evidence supporting the consensuality of the crossmodal correspondences outlined in Piesse’s “Gamut of Odours,” one can only imagine how much more powerful such scented musical performances might be were the mapping between scent and sound to be based on commonly shared crossmodal associations (e.g., as documented in the work of Belkin et al., 1997 ; Crisinel & Spence, 2012 ; Mahdavi et al., 2020 ).…”

Section: Crossmodal Correspondences Between Music and Scent: Contemporary Interestmentioning

confidence: 99%

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Musical Scents: On the Surprising Absence of Scented Musical/Auditory Events, Entertainments, and Experiences

Spence

2021

i-Perception

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The matching of scents with music is both one of the most natural (or intuitive) of crossmodal correspondences and, at the same time, one of the least frequently explored combinations of senses in an entertainment and multisensory experiential design context. This narrative review highlights the various occasions over the last century or two when scents and sounds have coincided, and the various motivations behind those who have chosen to bring these senses together: This has included everything from the masking of malodour to the matching of the semantic meaning or arousal potential of the two senses, through to the longstanding and recently-reemerging interest in the crossmodal correspondences (now that they have been distinguished from the superficially similar phenomenon of synaesthesia, with which they were previously often confused). As such, there exist a number of ways in which these two senses can be incorporated into meaningful multisensory experiences that can potentially resonate with the public. Having explored the deliberate combination of scent and music (or sound) in everything from “scent-sory” marketing through to fragrant discos and olfactory storytelling, I end by summarizing some of the opportunities around translating such unusual multisensory experiences from the public to the private sphere. This will likely be via the widespread dissemination of sensory apps that promise to convert (or translate) from one sense (likely scent) to another (e.g., music), as has, for example already started to occur in the world of music selections to match the flavour of specific wines.

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Section: Discussionmentioning

confidence: 99%

Section: Crossmodal Correspondences Between Music and Scent: Contemporary Interestmentioning

confidence: 95%

“…Finally here, Mahdavi et al. (2020) conducted in-depth interviews with 27 people from Brazil, Portugal, and specifically covered types of music, sounds of nature, and the human voice.…”

Section: Crossmodal Correspondences Between Music and Scent: Contemporary Interestmentioning

confidence: 99%

Section: Crossmodal Correspondences Between Music and Scent: Contemporary Interestmentioning

confidence: 99%

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Musical Scents: On the Surprising Absence of Scented Musical/Auditory Events, Entertainments, and Experiences

Spence

2021

i-Perception

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“…For instance, brands can use these findings as a baseline to produce music that may be able to enhance the multisensory tasting experience of their customers. Such music can be used as part of promotion, as in advertising and/or experiential strategies (e.g., [66]). When considering the further adoption of individual-targeted marketing, not only a particular set of products can be marketed based in past purchasing experiences, but sonic seasoning may also be useful when designing experiences to match the products as well as the customer's characteristics (e.g., based on personal musical preferences).…”

Section: Final Thoughts From the Practitioner Perspectivementioning

confidence: 99%

Blending Emotions and Cross-Modality in Sonic Seasoning: Towards Greater Applicability in the Design of Multisensory Food Experiences

Carvalho

Gunn

Horst

et al. 2020

Foods

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Sonic seasoning refers to the way in which music can influence multisensory tasting experiences. To date, the majority of the research on sonic seasoning has been conducted in Europe or the USA, typically in a within-participants experimental context. In the present study, we assessed the applicability of sonic seasoning in a large-scale between-participants setting in Asia. A sample of 1611 participants tasted one sample of chocolate while listening to a song that evoked a specific combination of cross-modal and emotional consequences. The results revealed that the music’s emotional character had a more prominent effect than its cross-modally corresponding attributes on the multisensory tasting experience. Participants expressed a higher buying intention for the chocolate and rated it as having a softer texture when listening to mainly positive (as compared to mainly negative) music. The chocolates were rated as having a more intense flavor amongst those participants listening to ‘softer’ as compared to ‘harder’ music. Therefore, the present study demonstrates that music is capable of triggering a combination of specific cross-modal and emotional effects in the multisensory tasting experience of a chocolate.

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Sonic branding: A narrative review at the intersection of art and science

Spence,

Keller

2024

Psychology and Marketing

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The field of sonic branding/marketing has grown rapidly in recent years, as has commercial interest in more science‐based approaches to the practice, particularly as more brands and agencies look for qualitative and quantitative evidence to support the efficacy of sonic branding. In this research note, we explore the ways in which the design and execution (i.e., the “art”) of sonic branding initiatives can be informed by overlapping approaches and techniques drawn from the sciences, namely psychoacoustics, semiotics, music/auditory cognition, and crossmodal research. We explore whether the rapid growth of generative AI may represent the next major evolution in the design, creation, and assessment of sonic assets, where science and art are used to train AI tools that could one day augment (and potentially disrupt) the work of human sound designers and composers. These developments notwithstanding, it is argued that sonic branding will likely remain as much an art as a science, though basing one's approach on the emerging scientific literature ought to at least tilt the odds of success in the creative's favor.

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Sounds of scents: olfactory-auditory correspondences in the online purchase experience for perfume

Cited by 9 publications

References 27 publications

Musical Scents: On the Surprising Absence of Scented Musical/Auditory Events, Entertainments, and Experiences

Musical Scents: On the Surprising Absence of Scented Musical/Auditory Events, Entertainments, and Experiences

Blending Emotions and Cross-Modality in Sonic Seasoning: Towards Greater Applicability in the Design of Multisensory Food Experiences

Sonic branding: A narrative review at the intersection of art and science

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