This article investigates the cross-modal correspondences between musical timbre and shapes. Prev... more This article investigates the cross-modal correspondences between musical timbre and shapes. Previously, such features as pitch, loudness, light intensity, visual size, and color characteristics have mostly been used in studies of audio-visual correspondences. Moreover, in most studies, simple stimuli e.g., simple tones have been utilized. In this experiment, 23 musical sounds varying in fundamental frequency and timbre but fixed in loudness were used. Each sound was presented once against colored shapes and once against grayscale shapes. Subjects had to select the visual equivalent of a given sound i.e., its shape, color (or grayscale) and vertical position. This scenario permitted studying the associations between normalized timbre and visual shapes as well as some of the previous findings for more complex stimuli. One hundred and nineteen subjects (31 females and 88 males) participated in the online experiment. Subjects included 36 claimed professional musicians, 47 claimed amate...
This article investigates the cross-modal correspondences between musical timbre and shapes. Prev... more This article investigates the cross-modal correspondences between musical timbre and shapes. Previously, such features as pitch, loudness, light intensity, visual size, and color characteristics have mostly been used in studies of audio-visual correspondences. Moreover, in most studies, simple stimuli e.g., simple tones have been utilized. In this experiment, 23 musical sounds varying in fundamental frequency and timbre but fixed in loudness were used. Each sound was presented once against colored shapes and once against grayscale shapes. Subjects had to select the visual equivalent of a given sound i.e., its shape, color (or grayscale) and vertical position. This scenario permitted studying the associations between normalized timbre and visual shapes as well as some of the previous findings for more complex stimuli. One hundred and nineteen subjects (31 females and 88 males) participated in the online experiment. Subjects included 36 claimed professional musicians, 47 claimed amate...
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