Audiovisual crossmodal correspondences and sound symbolism: a study using the implicit association test

Parise, Cesare; Spence, Charles

doi:10.1007/s00221-012-3140-6

Cited by 189 publications

(250 citation statements)

References 76 publications

(70 reference statements)

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“…As with the mil/mal effect, the maluma/takete effect has been repeatedly demonstrated using explicit matching tasks (e.g., Maurer et al 2006;Nielsen & Rendall, 2011;. It also emerges on implicit tasks such as the IAT (Parise & Spence, 2012) and on lexical decision tasks, such that nonwords are responded to faster when presented inside of congruent (vs. incongruent) shape frames (e.g., a sharp nonword inside of a jagged vs. curvy frame; Westbury, 2005;cf. Sučević et al, 2015).…”

Section: /U/ As In Who'd /ɑ/ As In Hawedmentioning

confidence: 91%

“…Participants are faster to respond on an implicit association task (IAT) if mil/small shapes and mal/large shapes share response buttons compared to when the pairing is reversed (Parise & Spence, 2012). In addition, participants are faster to classify a shape's size if a sound-symbolically-congruent (vs. incongruent) vowel is simultaneously presented auditorily (Ohtake & Haryu, 2013).…”

Section: Size and Shape Symbolismmentioning

confidence: 99%

“…3 An illustration of vowel space. The x-axis corresponds to the front-back dimension; the y-axis corresponds to the high-low dimension associations would certainly fall into this category (as in Parise & Spence, 2012;Spence, 2011). However, associations involving either simple or complex stimuli could potentially be distinct phenomena (see Parise, 2016).…”

Section: Mechanisms For Associations Between Phonetic and Semantic Fementioning

confidence: 99%

“…Nevertheless there is evidence that the two classes of effects are related. For instance, when Parise and Spence (2012) studied the mil/mal and maluma/ takete effects using an IAT, they also examined crossmodal correspondences (e.g., between pitch and size). All of these effects were found to have the same effect size, which was interpreted as being indicative of a common mechanism.…”

Section: Outstanding Issues and Future Directionsmentioning

confidence: 99%

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Five mechanisms of sound symbolic association

2017

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Sound symbolism refers to an association between phonemes and stimuli containing particular perceptual and/or semantic elements (e.g., objects of a certain size or shape). Some of the best-known examples include the mil/mal effect (Sapir, Journal of Experimental Psychology, 12, 225-239, 1929) and the maluma/takete effect (Köhler, 1929). Interest in this topic has been on the rise within psychology, and studies have demonstrated that sound symbolic effects are relevant for many facets of cognition, including language, action, memory, and categorization. Sound symbolism also provides a mechanism by which words' forms can have nonarbitrary, iconic relationships with their meanings. Although various proposals have been put forth for how phonetic features (both acoustic and articulatory) come to be associated with stimuli, there is as yet no generally agreed-upon explanation. We review five proposals: statistical co-occurrence between phonetic features and associated stimuli in the environment, a shared property among phonetic features and stimuli; neural factors; species-general, evolved associations; and patterns extracted from language. We identify a number of outstanding questions that need to be addressed on this topic and suggest next steps for the field.

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Section: /U/ As In Who'd /ɑ/ As In Hawedmentioning

confidence: 91%

Section: Size and Shape Symbolismmentioning

confidence: 99%

Section: Mechanisms For Associations Between Phonetic and Semantic Fementioning

confidence: 99%

Section: Outstanding Issues and Future Directionsmentioning

confidence: 99%

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Five mechanisms of sound symbolic association

2017

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“…Reliable pitch-hue associations have been reported in children (8) although these effects were probably due to lightness, where spectral yellow and green (lightest) were associated with higher pitches, red and orange (midlightness) with midlevel pitches, and blue and violet (darkest) with lower pitches. There is evidence for other low-level auditory-visual associations such as timbre-saturation (9), loudness-brightness (7), and pitch-size (10,11) [Spence (12)]. …”

mentioning

confidence: 99%

Music–color associations are mediated by emotion

Palmer

Schloss

et al. 2013

Proc. Natl. Acad. Sci. U.S.A.

280

291

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Experimental evidence demonstrates robust cross-modal matches between music and colors that are mediated by emotional associations. US and Mexican participants chose colors that were most/least consistent with 18 selections of classical orchestral music by Bach, Mozart, and Brahms. In both cultures, faster music in the major mode produced color choices that were more saturated, lighter, and yellower whereas slower, minor music produced the opposite pattern (choices that were desaturated, darker, and bluer). There were strong correlations (0.89 < r < 0.99) between the emotional associations of the music and those of the colors chosen to go with the music, supporting an emotional mediation hypothesis in both cultures. Additional experiments showed similarly robust cross-modal matches from emotionally expressive faces to colors and from music to emotionally expressive faces. These results provide further support that music-to-color associations are mediated by common emotional associations.color cognition | cross-modal associations | music cognition | emotion mediation hypothesis R esearchers have attempted to identify systematic links between music and color. Perhaps the most direct connection comes from the fascinating phenomenon of music-color synesthesia (1-4). A small minority of individuals, including some distinguished artists (e.g., Kandinsky and Klee) and musicians (e.g., Scriabin and Rimsky-Korsokov) report diverse cross-modal experiences of color while hearing musical sounds (1). Scientific studies initially failed to establish general correspondences because synesthetic sound-to-color mappings appeared idiosyncratic (3).Nonsynesthetic people also have music-to-color associations but do not actually experience colors while hearing music. Relatively low-level sound-to-color associations-e.g., higher pitches being associated with lighter colors (2, 5-7)-appear to hold for both synesthetes and nonsynesthetes (1). Reliable pitch-hue associations have been reported in children (8) although these effects were probably due to lightness, where spectral yellow and green (lightest) were associated with higher pitches, red and orange (midlightness) with midlevel pitches, and blue and violet (darkest) with lower pitches. There is evidence for other low-level auditory-visual associations such as timbre-saturation (9), loudness-brightness (7), and pitch-size (10, 11) [Spence (12)].Other studies have investigated music-color correspondences at a higher level. Bresin found that music in the major mode was associated with lighter colors than music in the minor mode (13), but only two melodies were studied. Sebba reported that students used warmer, more saturated, lighter, and more highly contrasting colors in creating images while listening to a major Mozart selection than did students listening to a minor Albinoni selection (14). Again, only two musical selections were used, and students chose the musical selections rather than being randomly assigned, so students who are more inclined to choose major music may merely b...

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Sound Symbolism

Bermúdez¹

2020

The International Encyclopedia of Linguistic Anthropology

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Sound symbolism refers to a non‐arbitrary association of a particular sound to a conventional meaning. Examples of sound symbolism across diverse languages are important because they provide recurring evidence that language is not entirely arbitrary or systematic, showing that human interpretation of linguistic forms is not purely based on grammar but also dependent on cognitive and social dimensions. Current and future directions of research on sound symbolism include cognitive, typological, semiotic, and verbal art approaches. Experimental research in the cognitive sciences explores how iconic relationships between form and meaning facilitate language learning, acquisition, and memory. Typological approaches to sound newly show how grammatical integration and phonetic saliency also facilitate sound symbolic interpretation. Semiotic approaches address sound symbolism in relation to the theory of qualia. Verbal art research explains sound symbolism in the context of ethnographic description, grammatical integration, and human creativity.

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Audiovisual crossmodal correspondences and sound symbolism: a study using the implicit association test

Cited by 189 publications

References 76 publications

Five mechanisms of sound symbolic association

Five mechanisms of sound symbolic association

Music–color associations are mediated by emotion

Sound Symbolism

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