“What’s Your Taste in Music?” A Comparison of the Effectiveness of Various Soundscapes in Evoking Specific Tastes

We report on the results of two online experiments designed to compare different soundtracks that had been composed (by various researchers and sound designers) in order to evoke/match different basic tastes. In Experiment 1, 100 participants listened to samples from 24 soundtracks and chose the taste (sweet, sour, salty, or bitter) that best matched each sample. Overall, the sweet soundtracks most effectively evoked the taste intended by the composer (participants chose sweet 56.9% of the time for the sweet soundtracks), whereas the bitter soundtracks were the least effective (participants chose bitter 31.4% of the time for the bitter soundtracks), compared with chance (choosing any specific taste 25% of the time). In Experiment 2, 50 participants rated their emotional responses (in terms of pleasantness and arousal) to the same 24 soundtrack samples and also to imaginary sweet/sour/salty/bitter-tasting foods. Associations between soundtracks and tastes were partly mediated by pleasantness for the sweet and bitter tastes and partly by arousal for the sour tastes. These results demonstrate how emotion mediation may be an additional mechanism behind sound-taste correspondences.

[1]  Charles Spence,et al.  That sounds sweet: using cross-modal correspondences to communicate gustatory attributes , 2015 .

[2]  R. Sekuler,et al.  Response frequency equalization: A bias model for psychophysics , 1971 .

[3]  Charles Spence,et al.  Noise and its impact on the perception of food and drink , 2014, Flavour.

[4]  H. Schifferstein,et al.  Visualising Fragrances through Colours: The Mediating Role of Emotions , 2004, Perception.

[5]  Elia Gatti,et al.  A taste of Kandinsky: assessing the influence of the artistic visual presentation of food on the dining experience , 2014, Flavour.

[6]  Charles Spence,et al.  Implicit association between basic tastes and pitch , 2009, Neuroscience Letters.

[7]  C. Spence Crossmodal correspondences: A tutorial review , 2011, Attention, perception & psychophysics.

[8]  C. Spence,et al.  As bitter as a trombone: Synesthetic correspondences in nonsynesthetes between tastes/flavors and musical notes , 2010, Attention, perception & psychophysics.

[9]  Qian Wang,et al.  Music, mind, and mouth : exploring the interaction between music and flavor perception , 2013 .

[10]  Klaus Frieler,et al.  What is the Sound of Citrus? Research on the Correspondences between the Percept ion of Sound and Flavour , 2012 .

[11]  A. Dittmar,et al.  Gender influence on emotional responses to primary tastes , 2003, Physiology & Behavior.

[12]  Geoffrey L. Collier,et al.  Affective synesthesia: Extracting emotion space from simple perceptual stimuli , 1996 .

[13]  R. Watt,et al.  Some Robust Higher-Level Percepts for Music , 2007, Perception.

[14]  Todd M. Gureckis,et al.  CUNY Academic , 2016 .

[15]  C. Spence,et al.  A bittersweet symphony: Systematically modulating the taste of food by changing the sonic properties of the soundtrack playing in the background , 2012 .

[16]  M. O'Mahony,et al.  Confusion in the use of the taste adjectives ‘sour’ and ‘bitter’ , 1979 .

[17]  Charles Spence,et al.  The role of auditory cues in modulating the perceived crispness and staleness of potato chips , 2004 .

[18]  Abdellah Touhafi,et al.  Using sound-taste correspondences to enhance the subjective value of tasting experiences , 2015, Front. Psychol..

[19]  Karen B. Schloss,et al.  Music–color associations are mediated by emotion , 2013, Proceedings of the National Academy of Sciences.

[20]  Carlos Velasco,et al.  Assessing the Role of Taste Intensity and Hedonics in Taste-Shape Correspondences. , 2016, Multisensory research.

[21]  C. Spence,et al.  Crossmodal correspondences between sounds and tastes , 2012, Psychonomic bulletin & review.

[22]  H. Meiselman,et al.  Variability in gustatory quality identification , 1967 .

[23]  C. Spence,et al.  Hedonic mediation of the crossmodal correspondence between taste and shape , 2015 .

[24]  Carlos Velasco,et al.  Conducting perception research over the internet: a tutorial review , 2015, PeerJ.

[25]  Charles Spence,et al.  Airplane noise and the taste of umami , 2014, Flavour.

[26]  M. L. Corollaro,et al.  Effects of the sound of the bite on apple perceived crispness and hardness , 2014 .

[27]  Michael D. Buhrmester,et al.  Amazon's Mechanical Turk , 2011, Perspectives on psychological science : a journal of the Association for Psychological Science.

[28]  Rita S. Wolpert Recognition of Melody, Harmonic Accompaniment, and Instrumentation: Musicians vs. Nonmusicians , 1990 .

[29]  Bruno Mesz,et al.  The Taste of Music , 2011, Perception.

[30]  L. Stafford,et al.  Perception of alcohol strength impaired by low and high volume distraction , 2013 .

[31]  Marc Leman,et al.  Does Music Influence the Multisensory Tasting Experience , 2015 .

[32]  C. Spence,et al.  The impact of pleasantness ratings on crossmodal associations between food samples and musical notes , 2012 .

[33]  Harri T. Luomala,et al.  Sweet and sour: music and taste associations , 2015 .

[34]  C. Spence Eating with our ears: assessing the importance of the sounds of consumption on our perception and enjoyment of multisensory flavour experiences , 2015, Flavour.

[35]  M. Rigg An experiment to determine how accurately college students can interpret the intended meanings of musical compositions. , 1937 .

[36]  Robin Dando,et al.  A crossmodal role for audition in taste perception. , 2015, Journal of experimental psychology. Human perception and performance.