Marble melancholy: using crossmodal correspondences of shapes, materials, and music to predict music-induced emotions.

Introduction: Music is known to elicit strong emotions in listeners, and, if primed appropriately, can give rise to specific and observable crossmodal correspondences. This study aimed to assess two primary objectives: (1) identifying crossmodal correspondences emerging from music-induced emotions, and (2) examining the predictability of music-induced emotions based on the association of music with visual shapes and materials.

Methods: To achieve this, 176 participants were asked to associate visual shapes and materials with the emotion classes of the Geneva Music-Induced Affect Checklist scale (GEMIAC) elicited by a set of musical excerpts in an online experiment.

Analysing the Impact of Music on the Perception of Red Wine via Temporal Dominance of Sensations.

Several studies have examined how music may affect the evaluation of food and drink, but the vast majority have not observed how this interaction unfolds in time. This seems to be quite relevant, since both music and the consumer experience of food/drink are time-varying in nature. In the present study we sought to fix this gap, using Temporal Dominance of Sensations (TDS), a method developed to record the dominant sensory attribute at any given moment in time, to examine the impact of music on the wine taster's perception.

Principal pitch of frequency-modulated tones with asymmetrical modulation waveform: a comparison of models.

In this work, the overall perceived pitch (principal pitch) of pure tones modulated in frequency with an asymmetric waveform is studied. The dependence of the principal pitch on the degree of asymmetric modulation was obtained from a psychophysical experiment. The modulation waveform consisted of a flat portion of constant frequency and two linear segments forming a peak.

A composition algorithm based on crossmodal taste-music correspondences.

While there is broad consensus about the structural similarities between language and music, comparably less attention has been devoted to semantic correspondences between these two ubiquitous manifestations of human culture. We have investigated the relations between music and a narrow and bounded domain of semantics: the words and concepts referring to taste sensations. In a recent work, we found that taste words were consistently mapped to musical parameters.

The pitch of vibrato tones: a model based on instantaneous frequency decomposition.

We study vibrato as the more ubiquitous manifestation of a nonstationary tone that can evoke a single overall pitch. Some recent results using nonsymmetrical vibrato tones suggest that the perceived pitch could be governed by some stability-sensitive mechanism. For nonstationary sounds the adequate tools are time-frequency representations (TFRs).