Taste the music: Modality-general representation of affective states derived from auditory and gustatory stimuli

Prior studies have extensively examined modality-general representation of affect across various sensory modalities, particularly focusing on auditory and visual stimuli. However, little research has explored the modality-general representation of affect between gustatory and other sensory modalities. This study aimed to investigate whether the affective responses induced by tastes and musical pieces could be predicted within and across modalities. For each modality, eight stimuli were chosen based on four basic taste conditions (sweet, bitter, sour, and salty). Participants rated their responses to each stimulus using both taste and emotion scales. The multivariate analyses including multidimensional scaling and classification analysis were performed. The findings revealed that auditory and gustatory stimuli in the sweet category were associated with positive valence, whereas those from the other taste categories were linked to negative valence. Additionally, auditory and gustatory stimuli in sour taste category were linked to high arousal, whereas stimuli in bitter taste category were associated with low arousal. This study revealed the potential mapping of gustatory and auditory stimuli onto core affect space in everyday experiences. Moreover, it demonstrated that emotions evoked by taste and music could be predicted across modalities, supporting modality-general representation of affect.

The effects of anxiety on taste perception: The role of awareness

Prior research indicate that emotional states can alter taste perception, but the underlying mechanisms remain unclear. This study explores whether taste perception changes due to the mere evocation of emotions or the cognitive awareness of emotions. The first experiment investigated how anxiety affects taste perception when individuals are aware of their anxiety. Participants watched videos inducing relaxation or anxiety, then were divided into groups focusing on their emotions and those who did not, and the taste perception was measure. The second experiment investigated the influence of awareness directed toward emotions on taste evaluation, without manipulating emotional states. This focused on cognitive processing of taste through evaluations of visual stimuli. Results showed that sweetness perception is suppressed by the evocation of anxiety, whereas bitterness perception is enhanced only by anxiety with awareness. These findings indicate that the mechanisms by which emotional states affect taste perception may differ depending on taste quality.

The taste & affect music database: Subjective rating norms for a new set of musical stimuli

Music is a ubiquitous stimulus known to influence human affect, cognition, and behavior. In the context of eating behavior, music has been associated with food choice, intake and, more recently, taste perception. In the latter case, the literature has reported consistent patterns of association between auditory and gustatory attributes, suggesting that individuals reliably recognize taste attributes in musical stimuli. This study presents subjective norms for a new set of 100 instrumental music stimuli, including basic taste correspondences (sweetness, bitterness, saltiness, sourness), emotions (joy, anger, sadness, fear, surprise), familiarity, valence, and arousal. This stimulus set was evaluated by 329 individuals (83.3% women; Mage = 28.12, SD = 12.14), online (n = 246) and in the lab (n = 83). Each participant evaluated a random subsample of 25 soundtracks and responded to self-report measures of mood and taste preferences, as well as the Goldsmiths Musical Sophistication Index (Gold-MSI). Each soundtrack was evaluated by 68 to 97 participants (Mdn = 83), and descriptive results (means, standard deviations, and confidence intervals) are available as supplemental material at osf.io/2cqa5 . Significant correlations between taste correspondences and emotional/affective dimensions were observed (e.g., between sweetness ratings and pleasant emotions). Sex, age, musical sophistication, and basic taste preferences presented few, small to medium associations with the evaluations of the stimuli. Overall, these results suggest that the new Taste & Affect Music Database is a relevant resource for research and intervention with musical stimuli in the context of crossmodal taste perception and other affective, cognitive, and behavioral domains.

Crossmodal Harmony: Looking for the Meaning of Harmony Beyond Hearing

The notion of harmony was first developed in the context of metaphysics before being applied to the domain of music. However, in recent centuries, the term has often been used to describe especially pleasing combinations of colors by those working in the visual arts too. Similarly, the harmonization of flavors is nowadays often invoked as one of the guiding principles underpinning the deliberate pairing of food and drink. However, beyond the various uses of the term to describe and construct pleasurable unisensory perceptual experiences, it has also been suggested that music and painting may be combined harmoniously (e.g., see the literature on "color music"). Furthermore, those working in the area of "sonic seasoning" sometimes describe certain sonic compositions as harmonizing crossmodally with specific flavor sensations. In this review, we take a critical look at the putative meaning(s) of the term "harmony" when used in a crossmodal, or multisensory, context. Furthermore, we address the question of whether the term's use outside of a strictly unimodal auditory context should be considered literally or merely metaphorically (i.e., as a shorthand to describe those combinations of sensory stimuli that, for whatever reason, appear to go well together, and hence which can be processed especially fluently).

Blending Emotions and Cross-Modality in Sonic Seasoning: Towards Greater Applicability in the Design of Multisensory Food Experiences

Sonic seasoning refers to the way in which music can influence multisensory tasting experiences. To date, the majority of the research on sonic seasoning has been conducted in Europe or the USA, typically in a within-participants experimental context. In the present study, we assessed the applicability of sonic seasoning in a large-scale between-participants setting in Asia. A sample of 1611 participants tasted one sample of chocolate while listening to a song that evoked a specific combination of cross-modal and emotional consequences. The results revealed that the music’s emotional character had a more prominent effect than its cross-modally corresponding attributes on the multisensory tasting experience. Participants expressed a higher buying intention for the chocolate and rated it as having a softer texture when listening to mainly positive (as compared to mainly negative) music. The chocolates were rated as having a more intense flavor amongst those participants listening to ‘softer’ as compared to ‘harder’ music. Therefore, the present study demonstrates that music is capable of triggering a combination of specific cross-modal and emotional effects in the multisensory tasting experience of a chocolate.

Multisensory Flavour Perception: Blending, Mixing, Fusion, and Pairing Within and Between the Senses

This review summarizes the various outcomes that may occur when two or more elements are paired in the context of flavour perception. In the first part, I review the literature concerning what happens when flavours, ingredients, and/or culinary techniques are deliberately combined in a dish, drink, or food product. Sometimes the result is fusion but, if one is not careful, the result can equally well be confusion instead. In fact, blending, mixing, fusion, and flavour pairing all provide relevant examples of how the elements in a carefully-crafted multi-element tasting experience may be combined. While the aim is sometimes to obscure the relative contributions of the various elements to the mix (as in the case of blending), at other times, consumers/tasters are explicitly encouraged to contemplate/perceive the nature of the relationship between the contributing elements instead (e.g., as in the case of flavour pairing). There has been a noticeable surge in both popular and commercial interest in fusion foods and flavour pairing in recent years, and various of the 'rules' that have been put forward to help explain the successful combination of the elements in such food and/or beverage experiences are discussed. In the second part of the review, I examine the pairing of flavour stimuli with music/soundscapes, in the emerging field of 'sonic seasoning'. I suggest that the various perceptual pairing principles/outcomes identified when flavours are paired deliberately can also be meaningfully extended to provide a coherent framework when it comes to categorizing the ways in which what we hear can influence our flavour experiences, both in terms of the sensory-discriminative and hedonic response.

The Role of Intrinsic and Extrinsic Sensory Factors in Sweetness Perception of Food and Beverages: A Review

When it comes to eating and drinking, multiple factors from diverse sensory modalities have been shown to influence multisensory flavour perception and liking. These factors have heretofore been strictly divided into either those that are intrinsic to the food itself (e.g., food colour, aroma, texture), or those that are extrinsic to it (e.g., related to the packaging, receptacle or external environment). Given the obvious public health need for sugar reduction, the present review aims to compare the relative influences of product-intrinsic and product-extrinsic factors on the perception of sweetness. Evidence of intrinsic and extrinsic sensory influences on sweetness are reviewed. Thereafter, we take a cognitive neuroscience perspective and evaluate how differences may occur in the way that food-intrinsic and extrinsic information become integrated with sweetness perception. Based on recent neuroscientific evidence, we propose a new framework of multisensory flavour integration focusing not on the food-intrinsic/extrinsic divide, but rather on whether the sensory information is perceived to originate from within or outside the body. This framework leads to a discussion on the combinability of intrinsic and extrinsic influences, where we refer to some existing examples and address potential theoretical limitations. To conclude, we provide recommendations to those in the food industry and propose directions for future research relating to the need for long-term studies and understanding of individual differences.

Analysing the Impact of Music on the Perception of Red Wine via Temporal Dominance of Sensations

Several studies have examined how music may affect the evaluation of food and drink, but the vast majority have not observed how this interaction unfolds in time. This seems to be quite relevant, since both music and the consumer experience of food/drink are time-varying in nature. In the present study we sought to fix this gap, using Temporal Dominance of Sensations (TDS), a method developed to record the dominant sensory attribute at any given moment in time, to examine the impact of music on the wine taster's perception. More specifically, we assessed how the same red wine might be experienced differently when tasters were exposed to various sonic environments (two pieces of music plus a silent control condition). The results revealed diverse patterns of dominant flavours for each sound condition, with significant differences in flavour dominance in each music condition as compared to the silent control condition. Moreover, musical correspondence analysis revealed that differences in perceived dominance of acidity and bitterness in the wine were correlated in the temporality of the experience, with changes in basic auditory attributes. Potential implications for the role of attention in auditory flavour modification and opportunities for future studies are discussed.

A Sweet Voice: The Influence of Cross-Modal Correspondences Between Taste and Vocal Pitch on Advertising Effectiveness

We have seen a rapid growth of interest in cross-modal correspondences between sound and taste over recent years. People consistently associate higher-pitched sounds with sweet/sour foods, while lower-pitched sounds tend to be associated with bitter foods. The human voice is key in broadcast advertising, and the role of voice in communication generally is partly characterized by acoustic parameters of pitch. However, it remains unknown whether voice pitch and taste interactively influence consumer behavior. Since consumers prefer congruent sensory information, it is plausible that voice pitch and taste interactively influence consumers’ responses to advertising stimuli. Based on the cross-modal correspondence phenomenon, this study aimed to elucidate the role played by voice pitch–taste correspondences in advertising effectiveness. Participants listened to voiceover advertisements (at a higher or lower pitch than the original narrator’s voice) for three food products with distinct tastes (sweet, sour, and bitter) and rated their buying intention (an indicator of advertising effectiveness). The results show that the participants were likely to exhibit greater buying intention toward both sweet and sour food when they listened to higher-pitched (vs lower-pitched) voiceover advertisements. The influence of a higher pitch on sweet and sour food preferences was observed in only two of the three studies: studies 1 and 2 for sour food, and studies 2 and 3 for sweet food. These findings emphasize the role that voice pitch–taste correspondence plays in preference formation, and advance the applicability of cross-modal correspondences to business.

Not Just Another Pint! The Role of Emotion Induced by Music on the Consumer's Tasting Experience

We introduce a novel methodology to assess the influence of the emotion induced by listening to music on the consumer's multisensory tasting experience. These crossmodal effects were analyzed when two contrasting music tracks (positive vs negative emotion) were presented to consumers while tasting beer. The results suggest that the emotional reactions triggered by the music influenced specific aspects of the multisensory tasting experience. Participants liked the beer more, and rated it as tasting sweeter, when listening to music associated with positive emotion. The same beer was rated as more bitter, with higher alcohol content, and as having more body, when the participants listened to music associated with negative emotion. Moreover, participants were willing to pay 7-8% more for the beer that was tasted while they listened to positive music. This novel methodology was subsequently replicated with two different styles of beer. These results are discussed along with practical implications concerning the way in which music can add significant value to how a consumer responds to a brand.

Having a Drink with Tchaikovsky: The Crossmodal Influence of Background Music on the Taste of Beverages

Previous research has shown that auditory cues can influence the flavor of food and drink. For instance, wine tastes better when preferred music is played. We have investigated whether a music background can modify judgments of the specific flavor pattern of a beverage, as opposed to mere preference. This was indeed the case. We explored the nature of this crosstalk between auditory and gustatory perception, and hypothesized that the 'flavor' of the background music carries over to the perceived flavor (i.e., descriptive and evaluative aspects) of beverages. First, we collected ratings of the subjective flavor of different music pieces. Then we used a between-subjects design to cross the music backgrounds with taste evaluations of several beverages. Participants tasted four different samples of beverages under two contrasting audio conditions and rated their taste experiences. The emotional flavor of the music had the hypothesized effects on the flavor of the beverages. We also hypothesized that such an effect would be stronger for music novices than for music experts, and weaker for aqueous solutions than for wines. However, neither music expertise nor liquid type produced additional effects. We discuss implications of this audio-gustatory interaction.

High-Tempo and Stinky: High Arousal Sound-Odor Congruence Affects Product Memory

The tendency to match different sensory modalities together can be beneficial for marketing. Here we assessed the effect of sound-odor congruence on people's attitude and memory for products of a familiar and unfamiliar brand. Participants smelled high- and low-arousal odors and then saw an advertisement for a product of a familiar or unfamiliar brand, paired with a high- or low-arousal jingle. Participants' attitude towards the advertisement, the advertised product, and the product's brand was measured, as well as memory for the product. In general, no sound-odor congruence effect was found on attitude, irrespective of brand familiarity. However, congruence was found to affect recognition: when a high-arousal odor and a high-arousal sound were combined, participants recognized products faster than in the other conditions. In addition, familiar brands were recognized faster than unfamiliar brands, but only when sound or odor arousal was high. This study provides insight into the possible applications of sound-odor congruence for marketing by demonstrating its potential to influence product memory.

Music to Make Your Mouth Water? Assessing the Potential Influence of Sour Music on Salivation

People robustly associate various sound attributes with specific smells/tastes, and soundtracks that are associated with specific tastes can influence people’s evaluation of the taste of food and drink. However, it is currently unknown whether such soundtracks directly impact the eating experience via physiological changes (an embodiment account), or whether they act at a higher cognitive level, or both. The present research assessed a version of the embodiment account, where a soundtrack associated with sourness is hypothesized to induce a physiological response in the listener by increasing salivary flow. Salivation was measured while participants were exposed to three different experimental conditions – a sour soundtrack, a muted lemon video showing a man eating a lemon, and a silent baseline condition. The results revealed that salivation during the lemon video condition was significantly greater than in the sour soundtrack and baseline conditions. However, contrary to our hypothesis, there was no significant difference between salivation levels in the sour soundtrack compared to the baseline condition. These results are discussed in terms of potential mechanisms underlying the auditory modulation of taste perception/evaluation.

"Smooth operator": Music modulates the perceived creaminess, sweetness, and bitterness of chocolate

There has been a recent growth of interest in determining whether sound (specifically music and soundscapes) can enhance not only the basic taste attributes associated with food and beverage items (such as sweetness, bitterness, sourness, etc.), but also other important components of the tasting experience, such as, for instance, crunchiness, creaminess, and/or carbonation. In the present study, participants evaluated the perceived creaminess of chocolate. Two contrasting soundtracks were produced with such texture-correspondences in mind, and validated by means of a pre-test. The participants tasted the same chocolate twice (without knowing that the chocolates were identical), each time listening to one of the soundtracks. The 'creamy' soundtrack enhanced the perceived creaminess and sweetness of the chocolates, as compared to the ratings given while listening to the 'rough' soundtrack. Moreover, while the participants preferred the creamy soundtrack, this difference did not appear to affect their overall enjoyment of the chocolates. Interestingly, and in contrast with previous similar studies, these results demonstrate that in certain cases, sounds can have a perceptual effect on gustatory food attributes without necessarily altering the hedonic experience.

"Turn Up the Taste": Assessing the Role of Taste Intensity and Emotion in Mediating Crossmodal Correspondences between Basic Tastes and Pitch

People intuitively match basic tastes to sounds of different pitches, and the matches that they make tend to be consistent across individuals. It is, though, not altogether clear what governs such crossmodal mappings between taste and auditory pitch. Here, we assess whether variations in taste intensity influence the matching of taste to pitch as well as the role of emotion in mediating such crossmodal correspondences. Participants were presented with 5 basic tastants at 3 concentrations. In Experiment 1, the participants rated the tastants in terms of their emotional arousal and valence/pleasantness, and selected a musical note (from 19 possible pitches ranging from C2 to C8) and loudness that best matched each tastant. In Experiment 2, the participants made emotion ratings and note matches in separate blocks of trials, then made emotion ratings for all 19 notes. Overall, the results of the 2 experiments revealed that both taste quality and concentration exerted a significant effect on participants' loudness selection, taste intensity rating, and valence and arousal ratings. Taste quality, not concentration levels, had a significant effect on participants' choice of pitch, but a significant positive correlation was observed between individual perceived taste intensity and pitch choice. A significant and strong correlation was also demonstrated between participants' valence assessments of tastants and their valence assessments of the best-matching musical notes. These results therefore provide evidence that: 1) pitch-taste correspondences are primarily influenced by taste quality, and to a lesser extent, by perceived intensity; and 2) such correspondences may be mediated by valence/pleasantness.