A composition algorithm based on crossmodal taste-music correspondences
While there is broad consensus about the structural similarities between language and music, comparably less attention has been devoted to semantic correspondences between these two ubiquitous manifestations of human culture. We have investigated the relations between music and a narrow and bounded...
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2012
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| LEADER | 11280caa a22011657a 4500 | ||
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| 001 | PAPER-9717 | ||
| 003 | AR-BaUEN | ||
| 005 | 20230518203940.0 | ||
| 008 | 140217s2012 xx ||||fo|||| 00| 0 eng|d | ||
| 024 | 7 | |2 scopus |a 2-s2.0-84859125690 | |
| 040 | |a Scopus |b spa |c AR-BaUEN |d AR-BaUEN | ||
| 100 | 1 | |a Mesz, B. | |
| 245 | 1 | 2 | |a A composition algorithm based on crossmodal taste-music correspondences |
| 260 | |c 2012 | ||
| 270 | 1 | 0 | |m Trevisan, M.; Laboratorio de Sistemas Dinámicos, Departamento de Física-IFIBA, Pabellón I, Ciudad Universitaria, 1428EGA, Buenos Aires, Argentina; email: marcos@df.uba.ar |
| 506 | |2 openaire |e Política editorial | ||
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| 520 | 3 | |a While there is broad consensus about the structural similarities between language and music, comparably less attention has been devoted to semantic correspondences between these two ubiquitous manifestations of human culture. We have investigated the relations between music and a narrow and bounded domain of semantics: the words and concepts referring to taste sensations. In a recent work, we found that taste words were consistently mapped to musical parameters. Bitter is associated with low-pitched and continuous music (legato), salty is characterized by silences between notes (staccato), sour is high pitched, dissonant and fast and sweet is consonant, slow and soft (Mesz2011). Here we extended these ideas, in a synergistic dialog between music and science, investigating whether music can be algorithmically generated from taste-words. We developed and implemented an algorithm that exploits a large corpus of classic and popular songs. New musical pieces were produced by choosing fragments from the corpus and modifying them to minimize their distance to the region in musical space that characterizes each taste. In order to test the capability of the produced music to elicit significant associations with the different tastes, musical pieces were produced and judged by a group of non musicians. Results showed that participants could decode well above chance the taste-word of the composition. We also discuss how our findings can be expressed in a performance bridging music and cognitive science. © 2012 Mesz, Sigman and Trevisan. |l eng | |
| 593 | |a Laboratory of Musical Research and Production (LIPM), Centro Cultural Recoleta, Junín 1930, C1113AAX, Buenos Aires, Argentina | ||
| 593 | |a Laboratory of Integrative Neuroscience, Physics dept., FCEN, University of Buenos Aires. Ciudad Universitaria, 1428EGA, Buenos Aires, Argentina | ||
| 593 | |a Laboratory of Dynamical Systems, IFIBA-Physics dept., FCEN, University of Buenos Aires. Ciudad Universitaria, 1428EGA, Buenos Aires, Argentina | ||
| 690 | 1 | 0 | |a ALGORITHM |
| 690 | 1 | 0 | |a COMPOSITION |
| 690 | 1 | 0 | |a CROSS-MODAL |
| 690 | 1 | 0 | |a LANGUAGE |
| 690 | 1 | 0 | |a MUSIC |
| 690 | 1 | 0 | |a SEMANTICS |
| 690 | 1 | 0 | |a TASTE |
| 690 | 1 | 0 | |a ADULT |
| 690 | 1 | 0 | |a ARTICLE |
| 690 | 1 | 0 | |a ASSOCIATION |
| 690 | 1 | 0 | |a AUDITORY DISCRIMINATION |
| 690 | 1 | 0 | |a AUDITORY FEEDBACK |
| 690 | 1 | 0 | |a AUDITORY STIMULATION |
| 690 | 1 | 0 | |a BITTER TASTE |
| 690 | 1 | 0 | |a CONTROLLED STUDY |
| 690 | 1 | 0 | |a FEMALE |
| 690 | 1 | 0 | |a GESTURE |
| 690 | 1 | 0 | |a HUMAN |
| 690 | 1 | 0 | |a HUMAN EXPERIMENT |
| 690 | 1 | 0 | |a LANGUAGE PROCESSING |
| 690 | 1 | 0 | |a LEARNING ALGORITHM |
| 690 | 1 | 0 | |a MALE |
| 690 | 1 | 0 | |a MUSIC |
| 690 | 1 | 0 | |a NORMAL HUMAN |
| 690 | 1 | 0 | |a PROCESS DEVELOPMENT |
| 690 | 1 | 0 | |a SCORING SYSTEM |
| 690 | 1 | 0 | |a SEMANTICS |
| 690 | 1 | 0 | |a STIMULUS RESPONSE |
| 690 | 1 | 0 | |a SWEETNESS |
| 690 | 1 | 0 | |a TASK PERFORMANCE |
| 690 | 1 | 0 | |a TASTE DISCRIMINATION |
| 700 | 1 | |a Sigman, M. | |
| 700 | 1 | |a Trevisan, M. | |
| 773 | 0 | |d 2012 |k n. MARCH 2012 |p Front. Human Neurosci. |x 16625161 |w (AR-BaUEN)CENRE-7999 |t Frontiers in Human Neuroscience | |
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| 856 | 4 | 0 | |u https://doi.org/10.3389/fnhum.2012.00071 |y DOI |
| 856 | 4 | 0 | |u https://hdl.handle.net/20.500.12110/paper_16625161_v_nMARCH2012_p_Mesz |y Handle |
| 856 | 4 | 0 | |u https://bibliotecadigital.exactas.uba.ar/collection/paper/document/paper_16625161_v_nMARCH2012_p_Mesz |y Registro en la Biblioteca Digital |
| 961 | |a paper_16625161_v_nMARCH2012_p_Mesz |b paper |c PE | ||
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| 999 | |c 70670 | ||