Literature DB >> 20952795

As bitter as a trombone: synesthetic correspondences in nonsynesthetes between tastes/flavors and musical notes.

Anne-Sylvie Crisinel1, Charles Spence.   

Abstract

In parallel to studies of various cases of synesthesia, many cross-modal correspondences have also been documented in nonsynesthetes. Among these correspondences, implicit associations between taste and pitch have been reported recently (Crisinel & Spence, 2009, 2010). Here, we replicate and extend these findings through explicit matching of sounds of varying pitch to a range of tastes/flavors. In addition, participants in the experiment reported here also chose the type of musical instrument most appropriate for each taste/flavor. The association of sweet and sour tastes to high-pitched notes was confirmed. By contrast, umami and bitter tastes were preferentially matched to low-pitched notes. Flavors did not display such strong pitch associations. The choice of musical instrument seems to have been driven primarily by a matching of the hedonic value and familiarity of the two types of stimuli. Our results raise important questions about our representation of tastes and flavors and could also lead to applications in the marketing of food products.

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Year:  2010        PMID: 20952795     DOI: 10.3758/APP.72.7.1994

Source DB:  PubMed          Journal:  Atten Percept Psychophys        ISSN: 1943-3921            Impact factor:   2.199


  17 in total

1.  Emotional visual stimuli affect the evaluation of tactile stimuli presented on the arms but not the related electrodermal responses.

Authors:  Roberta Etzi; Massimiliano Zampini; Georgiana Juravle; Alberto Gallace
Journal:  Exp Brain Res       Date:  2018-09-29       Impact factor: 1.972

Review 2.  Crossmodal correspondences between odors and contingent features: odors, musical notes, and geometrical shapes.

Authors:  Ophelia Deroy; Anne-Sylvie Crisinel; Charles Spence
Journal:  Psychon Bull Rev       Date:  2013-10

Review 3.  Why we are not all synesthetes (not even weakly so).

Authors:  Ophelia Deroy; Charles Spence
Journal:  Psychon Bull Rev       Date:  2013-08

4.  Cross-modal tactile-taste interactions in food evaluations.

Authors:  B G Slocombe; D A Carmichael; J Simner
Journal:  Neuropsychologia       Date:  2015-07-10       Impact factor: 3.139

5.  A composition algorithm based on crossmodal taste-music correspondences.

Authors:  Bruno Mesz; Mariano Sigman; Marcos A Trevisan
Journal:  Front Hum Neurosci       Date:  2012-04-27       Impact factor: 3.169

6.  "Turn Up the Taste": Assessing the Role of Taste Intensity and Emotion in Mediating Crossmodal Correspondences between Basic Tastes and Pitch.

Authors:  Qian Janice Wang; Sheila Wang; Charles Spence
Journal:  Chem Senses       Date:  2016-02-12       Impact factor: 3.160

7.  "What's Your Taste in Music?" A Comparison of the Effectiveness of Various Soundscapes in Evoking Specific Tastes.

Authors:  Qian Janice Wang; Andy T Woods; Charles Spence
Journal:  Iperception       Date:  2015-12-28

8.  Teaching and Learning of Piano Timbre Through Teacher-Student Interactions in Lessons.

Authors:  Shen Li; Renee Timmers
Journal:  Front Psychol       Date:  2021-06-10

9.  On why music changes what (we think) we taste.

Authors:  Charles Spence; Ophelia Deroy
Journal:  Iperception       Date:  2013-04-16

10.  Using sound-taste correspondences to enhance the subjective value of tasting experiences.

Authors:  Felipe Reinoso Carvalho; Raymond Van Ee; Monika Rychtarikova; Abdellah Touhafi; Kris Steenhaut; Dominique Persoone; Charles Spence
Journal:  Front Psychol       Date:  2015-09-01
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