Many adjectives for musical timbre reflect cross-modal correspondence, particularly with vision and touch (e.g., “dark–bright,” “smooth–rough”). Although multisensory integration between visual/tactile processing and hearing has been demonstrated for pitch and loudness, timbre is not well understood as a locus of cross-modal mappings. Are people consistent in these semantic associations? Do cross-modal terms reflect dimensional interactions in timbre processing? Here I designed two experiments to investigate crosstalk between timbre semantics and perception through the use of Stroop-type speeded classification. Experiment 1 found that incongruent pairings of instrument timbres and written names caused significant Stroop-type interference relative to congruent pairs, indicating bidirectional crosstalk between semantic and auditory modalities. Pre-Experiment 2 asked participants to rate natural and synthesized timbres on semantic differential scales capturing luminance (brightness) and texture (roughness) associations, finding substantial consistency for a number of timbres. Acoustic correlates of these associations were also assessed, indicating an important role for high-frequency energy in the intensity of cross-modal ratings. Experiment 2 used timbre adjectives and sound stimuli validated in the previous experiment in two variants of a semantic-auditory Stroop-type task. Results of linear mixed-effects modeling of reaction time and accuracy showed slight interference in semantic processing when adjectives were paired with cross-modally incongruent instrument timbres (e.g., the word “smooth” with a “rough” timbre). Taken together, I conclude by suggesting that semantic crosstalk in timbre processing may be partially automatic and could reflect weak synesthetic congruency between interconnected sensory domains.
Concreteness effects on semantic processing of single Chinese characters using mixed effects modeling of EEG data
