Reymore Lindsey, Lindsey Delwin T
School of Music, Dance and Theatre, Herberger Institute for Design and the Arts, Arizona State University, Tempe, AZ, United States.
School of Music, The Ohio State University, Columbus, OH, United States.
Front Psychol. 2025 Jan 7;15:1520131. doi: 10.3389/fpsyg.2024.1520131. eCollection 2024.
Crossmodal correspondences, or widely shared tendencies for mapping experiences across sensory domains, are revealed in common descriptors of musical timbre such as , , and . Two experiments are reported in which participants listened to recordings of musical instruments playing major scales, selected colors to match the timbres, and rated the timbres on crossmodal semantic scales. Experiment A used three different keyboard instruments, each played in three pitch registers. Stimuli in Experiment B, representing six different orchestral instruments, were similar to those in Experiment A but were controlled for pitch register. Overall, results were consistent with hypothesized concordances between ratings on crossmodal timbre descriptors and participants' color associations. Semantic ratings predicted the lightness and saturation of colors matched to instrument timbres; effects were larger when both pitch register and instrument type varied (Experiment A) but were still evident when pitch register was held constant (Experiment B). We also observed a weak relationship between participant ratings of musical stimuli on the terms and and the warmth-coolness of selected colors in Experiment B only. Results were generally consistent with the hypothesis that instrument type and pitch register are related to color choice, though we speculate that these associations may only be relevant for certain instruments. Overall, the results have implications for our understanding the relationship between music and color, suggesting that while timbre/color matching behavior is in many ways diverse, observable trends in strategy can in part be linked to crossmodal timbre semantics.
跨通道对应，即跨感官领域映射体验的广泛共享趋势，在诸如“醇厚的”“明亮的”和“暗淡的”等常见的音乐音色描述词中得以体现。本文报告了两项实验，在实验中，参与者聆听乐器演奏大调音阶的录音，选择与之匹配的颜色，并在跨通道语义量表上对音色进行评分。实验A使用了三种不同的键盘乐器，每种乐器在三个音区演奏。实验B的刺激物代表六种不同的管弦乐器，与实验A中的刺激物相似，但对音区进行了控制。总体而言，结果与跨通道音色描述词的评分和参与者的颜色联想之间的假设一致性相符。语义评分预测了与乐器音色相匹配的颜色的明度和饱和度；当音区和乐器类型都变化时（实验A），这种效应更大，但当音区保持恒定时（实验B），效应仍然明显。我们还仅在实验B中观察到参与者对音乐刺激在“醇厚的”和“明亮的”方面的评分与所选颜色的暖冷程度之间存在微弱的关系。结果总体上与乐器类型和音区与颜色选择相关的假设一致，不过我们推测这些关联可能仅对某些乐器有意义。总体而言这些结果对我们理解音乐与颜色之间的关系具有启示意义，表明虽然音色/颜色匹配行为在许多方面是多样的，但策略中可观察到的趋势在一定程度上可以与跨通道音色语义联系起来。
