Cross-sensory correspondences: A Theoretical framework and their relevance to music
Each of our senses is 'blind' to some features of objects and events (e.g., hearing can tell us little or nothing about the shape, colour, and weight of an object, or about how it might taste or smell). When we listen to sounds without support from other sensory modalities, such as when li...
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| Format: | Article |
| Language: | English |
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American Psychological Association
2016
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| Online Access: | http://eprints.sunway.edu.my/535/ http://eprints.sunway.edu.my/535/1/Walker%20Peter%20Cross_Sensory_Correspondences.pdf |
| _version_ | 1848801840971382784 |
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| author | Walker, Peter * |
| author_facet | Walker, Peter * |
| author_sort | Walker, Peter * |
| building | SU Institutional Repository |
| collection | Online Access |
| description | Each of our senses is 'blind' to some features of objects and events (e.g., hearing can tell us little or nothing about the shape, colour, and weight of an object, or about how it might taste or smell). When we listen to sounds without support from other sensory modalities, such as when listening to recorded music, how do will fill-in these blind
spots? Evidence identifying a core set of cross-sensory correspondences among basic stimulus features is reviewed, and it is proposed that they offer a potential basis for the
filling-in of information that is missing when one or more sensory systems is not available. An emerging theoretical framework for understanding correspondences and
their impact on behaviour is presented. Evidence pertaining to key features of the framework is reviewed, including that cross-sensory correspondences are based on crosstalk
among conceptual representations of aligned feature dimensions, are bi-directional in their effects, obey transitivity in the feature associations they support, involve the relative (context-sensitive) coding of stimulus features, and can be accessed through the verbal
specification of feature values. After illustrating how cross-sensory correspondences are able to embrace basic features of bodily actions, gestures, and vocalisations, their potential for exploitation in the communication of ideas is explained. The relevance of cross-sensory correspondences to musical sounds, and their potential to enhance the composition, performance, and appreciation of music, are discussed. |
| first_indexed | 2025-11-14T21:13:51Z |
| format | Article |
| id | sunway-535 |
| institution | Sunway University |
| institution_category | Local University |
| language | English |
| last_indexed | 2025-11-14T21:13:51Z |
| publishDate | 2016 |
| publisher | American Psychological Association |
| recordtype | eprints |
| repository_type | Digital Repository |
| spelling | sunway-5352019-07-03T09:23:53Z http://eprints.sunway.edu.my/535/ Cross-sensory correspondences: A Theoretical framework and their relevance to music Walker, Peter * BF Psychology MT Musical instruction and study Each of our senses is 'blind' to some features of objects and events (e.g., hearing can tell us little or nothing about the shape, colour, and weight of an object, or about how it might taste or smell). When we listen to sounds without support from other sensory modalities, such as when listening to recorded music, how do will fill-in these blind spots? Evidence identifying a core set of cross-sensory correspondences among basic stimulus features is reviewed, and it is proposed that they offer a potential basis for the filling-in of information that is missing when one or more sensory systems is not available. An emerging theoretical framework for understanding correspondences and their impact on behaviour is presented. Evidence pertaining to key features of the framework is reviewed, including that cross-sensory correspondences are based on crosstalk among conceptual representations of aligned feature dimensions, are bi-directional in their effects, obey transitivity in the feature associations they support, involve the relative (context-sensitive) coding of stimulus features, and can be accessed through the verbal specification of feature values. After illustrating how cross-sensory correspondences are able to embrace basic features of bodily actions, gestures, and vocalisations, their potential for exploitation in the communication of ideas is explained. The relevance of cross-sensory correspondences to musical sounds, and their potential to enhance the composition, performance, and appreciation of music, are discussed. American Psychological Association 2016 Article PeerReviewed text en http://eprints.sunway.edu.my/535/1/Walker%20Peter%20Cross_Sensory_Correspondences.pdf Walker, Peter * (2016) Cross-sensory correspondences: A Theoretical framework and their relevance to music. Psychomusicology: Music, Mind, and Brain, 26 (2). pp. 103-116. ISSN 0275-3987 |
| spellingShingle | BF Psychology MT Musical instruction and study Walker, Peter * Cross-sensory correspondences: A Theoretical framework and their relevance to music |
| title | Cross-sensory correspondences: A Theoretical framework and their relevance to music |
| title_full | Cross-sensory correspondences: A Theoretical framework and their relevance to music |
| title_fullStr | Cross-sensory correspondences: A Theoretical framework and their relevance to music |
| title_full_unstemmed | Cross-sensory correspondences: A Theoretical framework and their relevance to music |
| title_short | Cross-sensory correspondences: A Theoretical framework and their relevance to music |
| title_sort | cross-sensory correspondences: a theoretical framework and their relevance to music |
| topic | BF Psychology MT Musical instruction and study |
| url | http://eprints.sunway.edu.my/535/ http://eprints.sunway.edu.my/535/1/Walker%20Peter%20Cross_Sensory_Correspondences.pdf |