Cross-Modal Perception of Noise-in-Music: Audiences Generate Spiky Shapes in Response to Auditory Roughness in a Novel Electroacoustic Concert Setting

Liew, K. M.; Lindborg, PerMagnus; Rodrigues, Ruth; Styles, Suzy J

doi:10.3389/fpsyg.2018.00178

Cited by 10 publications

(10 citation statements)

References 43 publications

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“…The observed correspondence effects for SWS stimuli that were not heard as speech can be explained based on associations of visual contours with auditory stimulus attributes, rather than with speech-specific representations of articulatory gestures or abstract phonological units. Consistent with findings on non-verbal sound-shape correspondences (Adeli, Rouat, & Molotchnikoff, 2014;Liew, Lindborg, Rodrigues, & Styles, 2018;Marks, 1987;O'Boyle & Tarte, 1980;Parise & Spence, 2012;Walker et al, 2010), it has been conjectured that differences in the frequency content and waveform envelope are key to the bouba-kiki effect (Fort et al, 2015;Nielsen & Rendall, 2011). Regarding the taketa-maluma pair, vowel [e] sounds brighter than [u] due to its higher formant frequenciesthe second formant frequency has been identified as a major contributor to sound-shape correspondences (Knoeferle et al, 2017); energy changes associated with voiceless obstrudents [t, k] are sharper than those associated with sonorants [m,l] (see Fig.…”

Section: Discussionsupporting

confidence: 85%

Cross-modal correspondences in sine wave: Speech versus non-speech modes

Silva

Bellini-Leite

2019

Atten Percept Psychophys

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The present study aimed to investigate whether or not the so-called "bouba-kiki" effect is mediated by speech-specific representations. Sine-wave versions of naturally produced pseudowords were used as auditory stimuli in an implicit association task (IAT) and an explicit cross-modal matching (CMM) task to examine cross-modal shape-sound correspondences. A group of participants trained to hear the sine-wave stimuli as speech was compared to a group that heard them as non-speech sounds. Sound-shape correspondence effects were observed in both groups and tasks, indicating that speech-specific processing is not fundamental to the "bouba-kiki" phenomenon. Effects were similar across groups in the IAT, while in the CMM task the speechmode group showed a stronger effect compared with the non-speech group. This indicates that, while both tasks reflect auditoryvisual associations, only the CMM task is additionally sensitive to associations involving speech-specific representations.

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Section: Discussionsupporting

confidence: 85%

Cross-modal correspondences in sine wave: Speech versus non-speech modes

Silva

Bellini-Leite

2019

Atten Percept Psychophys

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“…The current study confirms the results from Liew et al (2017Liew et al ( , 2018 according to which rougher objects are associated with harsher sounds and vice versa. The key difference, however, is that the stimuli presented in those experiments represented either single tones or the element of noise in music, whereas the current study examines this linkage through the perspective of harmony.…”

Section: Discussionsupporting

confidence: 92%

Cross-Modal Associations Between Harmonic Dissonance and Visual Roughness

2021

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Visual associations with auditory stimuli have been the subject of numerous studies. Colour, shape, size, and several other parameters have been linked to musical elements like timbre and pitch. In this article, we aim to examine the relationship between harmonisations with varying degrees of dissonance and visual roughness. Based on past research in which high sensory dissonance was associated with angular shapes, we argued that nontonal and highly dissonant harmonisations will be associated with angular and rough images, while more consonant stimuli will be associated with the images of low visual roughness. A fixed melody was harmonised in 7 different styles, including highly tonal, nontonal, and random variations. Through a listening task, musically trained participants rated the stimuli in terms of enjoyment, familiarity, and matched them to images of variable roughness. The overall consonance of the stimuli was calculated using two distinct models (Harrison & Pearce, 2020; Wang et al., 2013 ) and a variant of the aggregate dyadic consonance index ( Huron, 1994 ). Our results demonstrate that dissonance, as calculated by all models, was highly correlated with visual roughness, and enjoyment and familiarity followed expected patterns compared to tonal and nontonal stimuli. In addition to sensory dissonance, however, it appears that other factors, such as the typicality of chord progressions and the sense of tonality may also influence this cross-modal interaction.

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“…Finally, here, beyond the effect of sonic seasoning on the consumers' tasting experience, there is also some preliminary evidence to suggest that the music playing in the background might also influence the way in which those in the kitchen, or bar, season the food and drink they prepare (Kontukoski, Luomala, Mesz, Sigman, Trevisan, Rotola-Pukkila, & Hopia, 2015; see also Liew, Lindborg, Rodrigues, & Styles, 2018).…”

Section: Crossmodal Correspondences Between Audition and The Chemicalmentioning

confidence: 93%

Extrinsic Auditory Contributions to Food Perception & Consumer Behaviour: an Interdisciplinary Review

et al. 2019

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Food product-extrinsic sounds (i.e., those auditory stimuli that are not linked directly to a food or beverage product, or its packaging) have been shown to exert a significant influence over various aspects of food perception and consumer behaviour, often operating outside of conscious awareness. In this review, we summarise the latest evidence concerning the various ways in which what we hear can influence what we taste. According to one line of empirical research, background noise interferes with tasting, due to attentional distraction. A separate body of marketing-relevant research demonstrates that music can be used to bias consumers’ food perception, judgments, and purchasing/consumption behaviour in various ways. Some of these effects appear to be driven by the arousal elicited by loud music as well as the entrainment of people’s behaviour to the musical beat. However, semantic priming effects linked to the type and style of music are also relevant. Another route by which music influences food perception comes from the observation that our liking/preference for the music that we happen to be listening to carries over to influence our hedonic judgments of what we are tasting. A final route by which hearing influences tasting relates to the emerging field of ‘sonic seasoning’. A developing body of research now demonstrates that people often rate tasting experiences differently when listening to soundtracks that have been designed to be (or are chosen because they are) congruent with specific flavour experiences (e.g., when compared to when listening to other soundtracks, or else when tasting in silence). Taken together, such results lead to the growing realization that the crossmodal influences of music and noise on food perception and consumer behaviour may have some important if, as yet, unrecognized implications for public health.

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Cross-Modal Perception of Noise-in-Music: Audiences Generate Spiky Shapes in Response to Auditory Roughness in a Novel Electroacoustic Concert Setting

Cited by 10 publications

References 43 publications

Cross-modal correspondences in sine wave: Speech versus non-speech modes

Cross-modal correspondences in sine wave: Speech versus non-speech modes

Cross-Modal Associations Between Harmonic Dissonance and Visual Roughness

Extrinsic Auditory Contributions to Food Perception & Consumer Behaviour: an Interdisciplinary Review

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