The taste of scales and chords

• Alan Taitz University of Buenos Aires
• Diego Shalom University of Buenos Aires
• Marcos Trevisan University of Buenos Aires
• Bruno Mesz National University of Tres de Febrero

DOI: https://doi.org/10.5753/sbcm.2019.10445

Resumo

Reliable crossmodal correspondences between basic tastes and music features have been found in recent studies [1,2]. In this work, we explore associations between scales, chords and tastes. Several of these elementary musical structures show non-random patterns of matching with basic tastes. Moreover, their aggregate dyadic consonance [3] anti-correlates with the relative frequency of their matching to bitter taste.

Palavras-chave: Computational Musicology, Music Perception, Psychoacoustics and Cognition

Referências

Mesz, B., Trevisan, M. A., & Sigman, M. (2011). The taste of music. Perception , 40 (2), 209-219.

Knöferle, K., & Spence, C. (2012). Crossmodal correspondences between sounds and tastes. Psychonomic bulletin & review , 1-15.

Huron, D. (1994). Interval-class content in equally tempered pitch-class sets: Common scales exhibit optimum tonal consonance. Music Perception: An Interdisciplinary Journal , 1 1 ( 3), 289-305.

Mamedov, N., & Peck, R. (2017). The Interval Dissonance Rate: An Analytical Look into Chromaticism of Chopin’s Op. 10 No. 2 and Scriabin's Op. 11 No. 2. In Bridges 2017 Conference Proceedings (pp. 475-478). Tessellations Publishing.