Consonance and dissonance perception. A critical review of the historical sources, multidisciplinary findings, and main hypotheses

Stefano, Nicola Di; Vuust, Peter; Brattico, Elvira

doi:10.1016/j.plrev.2022.10.004

Cited by 28 publications

(17 citation statements)

References 203 publications

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“…This will potentially be applied to the experiment on the formation of culturally dependent mapping of emotions and musical features (e.g. consonance, Smit et al, 2022, but also see Di Stefano et al, 2022) or the emergence of universal association patterns of specific behavioral contexts and musical features (Mehr et al, 2019;Yurdum et al, 2022), which may open up a new avenue for research on the cultural evolution of music.…”

Section: Contrast and Synthesismentioning

confidence: 99%

Cultural evolution of music and language

Ozaki¹,

Kloots²,

Ravignani³

et al. 2023

Preprint

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Music and language are both forms of communication ubiquitously observed across human societies, prompting researchers to investigate why and how they evolved. While such research initially focused on the biological evolution of the capacities to create and perceive language and music, researchers increasingly emphasize the cultural evolution of language and music to study the mechanisms and processes driving the diversity and regularities of music and language. In this chapter, we aim to provide not only an overview and seminal studies of the cultural evolution of language and music (e.g. phylogenetic analysis of basic vocabulary, sequence alignment of melodies, rhythm transmission chain experiments) but also to contrast and synthesize both fields to highlight promising areas of future research. We group the literature by empirical/field studies, laboratory studies, simulation studies, and co-evolution. Furthermore, we propose key ideas that each discipline can learn from the other and promising research topics to encourage collaborative work between these two. We argue that integrating the emerging field of cultural evolution of music with the larger literature on language evolution will enrich our understanding of both music and language.

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Section: Contrast and Synthesismentioning

confidence: 99%

Cultural evolution of music and language

Ozaki¹,

Kloots²,

Ravignani³

et al. 2023

Preprint

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“…Around the start of the 20 th century, many writers, including novelists and poets such as Charles Baudelaire (Anderson, 1980 ; Baudelaire, 1857 , 1954 ) and Emily Dickinson, experimented with synaesthetic, or cross-sensory, metaphors in their work (e.g., Gibson, 1969 ; Harrison, 2001 ; von Erhardt-Siebold, 1932 ). In such cases, the artist’s intuitive attempts to express one kind of sensory experience by means of another were often based on their own synaesthetic experiences (e.g., Di Stefano et al, 2022a ; Marks, 1978 ). Intriguingly, however, such synaesthetic metaphors are typically unidirectional 5 (Shen & Cohen, 1988 ; cf.…”

Section: Sensory Translationmentioning

confidence: 99%

“…Arrows indicate the most common direction of the occurrence of synaesthetic metaphors that are found in literary sources (Day, 1996 ), nonliterary texts (Strik-Lievers & Huang, 2016 ), and in both sources (Shen and Aisenman, 2008 ). [Reproduced from Di Stefano et al, 2022a ] …”

Section: Synaesthetic Translationsmentioning

confidence: 99%

Sensory translation between audition and vision

Spence,

Di Stefano

2023

Psychon Bull Rev

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Across the millennia, and across a range of disciplines, there has been a widespread desire to connect, or translate between, the senses in a manner that is meaningful, rather than arbitrary. Early examples were often inspired by the vivid, yet mostly idiosyncratic, crossmodal matches expressed by synaesthetes, often exploited for aesthetic purposes by writers, artists, and composers. A separate approach comes from those academic commentators who have attempted to translate between structurally similar dimensions of perceptual experience (such as pitch and colour). However, neither approach has succeeded in delivering consensually agreed crossmodal matches. As such, an alternative approach to sensory translation is needed. In this narrative historical review, focusing on the translation between audition and vision, we attempt to shed light on the topic by addressing the following three questions: (1) How is the topic of sensory translation related to synaesthesia, multisensory integration, and crossmodal associations? (2) Are there common processing mechanisms across the senses that can help to guarantee the success of sensory translation, or, rather, is mapping among the senses mediated by allegedly universal (e.g., amodal) stimulus dimensions? (3) Is the term ‘translation’ in the context of cross-sensory mappings used metaphorically or literally? Given the general mechanisms and concepts discussed throughout the review, the answers we come to regarding the nature of audio-visual translation are likely to apply to the translation between other perhaps less-frequently studied modality pairings as well.

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“…When it comes to aesthetic appreciation, however, several neurophysiological studies explicitly investigating aesthetic evaluative judgements have focused on nonrepresentative stimuli and on the role of sensory features in the judgements, rather than on the top-down modulation by higher level neural processes that are hypothesized in the PP framework. This is because non-representative stimuli, such as musical chords or black-white visual patterns, are by themselves able to induce affective associations simply based on their physical features, such as symmetry/asymmetry for visual patterns or consonance/dissonance for musical chords [25][26][27][28][29][30][31] (for a review, see [32]). These features induce neural responses in the sensory cortices according to fast, automatic constrained reactions (e.g.…”

Section: Introductionmentioning

confidence: 99%

“…For testing whether auditorily and visually induced affect ( primes) predict the aesthetic judgement of the subsequent auditory or visual stimuli (targets), we chose to apply visual and acoustic primes which have been applied in multiple psychological and neuropsychological studies and are thus known to be reliably emotionally evocative and comparable in their valence and arousal ratings [48][49][50]. The acoustic and visual target stimuli were chosen as they represent features (consonance and dissonance, symmetry and asymmetry) from the corresponding sensory modality which are known to be associated with a positive or negative valence [25][26][27][28][29][30][31] (for a review, see [32]). Affect formation in relation to aesthetic stimuli was operationalized by asking the participants for their liking assessment of the stimuli, a procedure which has been applied in various empirical neuroaesthetic studies (c.f.…”

Section: Introductionmentioning

confidence: 99%

The impact of crossmodal predictions on the neural processing of aesthetic stimuli

Tiihonen,

Haumann,

Shtyrov

et al. 2023

Phil. Trans. R. Soc. B

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Neuroaesthetic research has focused on neural predictive processes involved in the encounter with art stimuli or the related evaluative judgements, and it has been mainly conducted unimodally. Here, with electroencephalography, magnetoencephalography and an affective priming protocol, we investigated whether and how the neural responses to non-representational aesthetic stimuli are top-down modulated by affective representational (i.e. semantically meaningful) predictions between audition and vision. Also, the neural chronometry of affect processing of these aesthetic stimuli was investigated. We hypothesized that the early affective components of crossmodal aesthetic responses are dependent on the affective and representational predictions formed in another sensory modality resulting in differentiated brain responses, and that audition and vision indicate different processing latencies for affect. The target stimuli were aesthetic visual patterns and musical chords, and they were preceded by a prime from the opposing sensory modality. We found that early auditory-cortex responses to chords were more affected by valence than the corresponding visual-cortex ones. Furthermore, the assessments of visual targets were more facilitated by affective congruency of crossmodal primes than the acoustic targets. These results indicate, first, that the brain uses early affective information for predictively guiding aesthetic responses; second, that an affective transfer of information takes place crossmodally, mainly from audition to vision, impacting the aesthetic assessment. This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’.

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Consonance and dissonance perception. A critical review of the historical sources, multidisciplinary findings, and main hypotheses

Cited by 28 publications

References 203 publications

Cultural evolution of music and language

Cultural evolution of music and language

Sensory translation between audition and vision

The impact of crossmodal predictions on the neural processing of aesthetic stimuli

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