Auditory roughness elicits defense reactions

Taffou, Marine; Suied, Clara; Viaud‐Delmon, Isabelle

doi:10.1038/s41598-020-79767-0

Cited by 13 publications

(4 citation statements)

References 69 publications

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“…Audiotactile interactions have also been shown for roughness perception 19 , and people can reliably judge textural roughness from acoustic cues alone 25 . Moreover, people readily classify sounds in terms of ‘roughness’ 26 – 28 . In English, the words rough and smooth are two very common descriptors of auditory qualities 29 , and, more generally, touch words are amongst the most frequent adjectives used to describe sound 30 – 32 .…”

Section: Introductionmentioning

confidence: 99%

Trilled /r/ is associated with roughness, linking sound and touch across spoken languages

Winter

Sóskuthy

Perlman

et al. 2022

Sci Rep

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Cross-modal integration between sound and texture is important to perception and action. Here we show this has repercussions for the structure of spoken languages. We present a new statistical universal linking speech with the evolutionarily ancient sense of touch. Words that express roughness—the primary perceptual dimension of texture—are highly likely to feature a trilled /r/, the most commonly occurring rhotic consonant. In four studies, we show the pattern to be extremely robust, being the first widespread pattern of iconicity documented not just across a large, diverse sample of the world’s spoken languages, but also across numerous sensory words within languages. Our deep analysis of Indo-European languages and Proto-Indo-European roots indicates remarkable historical stability of the pattern, which appears to date back at least 6000 years.

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Section: Introductionmentioning

confidence: 99%

Trilled /r/ is associated with roughness, linking sound and touch across spoken languages

Winter

Sóskuthy

Perlman

et al. 2022

Sci Rep

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show abstract

“…Neuroscientific research has also identified auditory roughness as a fundamental feature in both screams and artificial alarm signals, as it engages with subcortical structures that are critical to rapidly appraise danger [103]. Another study showed how even in the absence of emotional or social cues, auditory roughness acts as an innate indication of threat, prompting defensive responses in the listeners [104].…”

Section: Discussionmentioning

confidence: 99%

A Multimodal Understanding of the Role of Sound and Music in Gendered Toy Marketing

Marinelli,

Lucht,

Saitis

2024

Preprint

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Literature in music theory and psychology shows that, even in isolation, musical sounds can reliably encode gender-loaded messages. In fact, musical material can be imbued with many ideological dimensions and gender is just one of them. Nonetheless, studies of the gendering of music within multimodal communicative events are sparse and lack an encompassing theoretical framework. The present study attempts to address this literature gap by means of a critical quantitative analysis of music in gendered toy marketing, which integrated a content analytical approach with multimodal affective and music-focused perceptual responses. Ratings were collected on a set of 606 commercials spanning over a ten years time frame, and strong gender polarisation was observed in nearly all of the collected variables. Gendered music styles in toy commercials were found to exhibit synergistic design choices, as music in masculine-targeted adverts was substantially more abrasive---louder, more inharmonious, and more distorted---than that in feminine-targeted ones. Toy advertising music appeared thus to be deliberately and consistently in line with traditional gender norms. In addition, music perceptual scales and voice-related content analytical variables were found to explain quite well the heavily polarised affective ratings. This study presents an empirical understanding of the gendering of music as constructed within multimodal discourse, reiterating the importance of the sociocultural underpinnings of music cognition. We provide a public repository with all code and data necessary to reproduce the results of this study at github.com/marinelliluca/music-role-gender-marketing.

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“…The results confirmed that nonlinear vocal phenomena lowered perceived voice pitch, increased voice darkness and roughness, and caused vocalizers to sound larger, more formidable, and more aggressive. Moreover, in the absence of emotional or social contextual information, auditory roughness per se has been shown to trigger defensive reactions in humans with respect to nonrough stimuli (harmonic tone; Taffou et al, 2021 ). For these reasons, infant-directed vocalizations across cultures tend to be less rough than adult-directed ones (Hilton et al, 2021 ).…”

Section: Auditory Roughnessmentioning

confidence: 99%

Roughness perception: A multisensory/crossmodal perspective

Stefano

Spence

2022

Atten Percept Psychophys

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Roughness is a perceptual attribute typically associated with certain stimuli that are presented in one of the spatial senses. In auditory research, the term is typically used to describe the harsh effects that are induced by particular sound qualities (i.e., dissonance) and human/animal vocalizations (e.g., screams, distress cries). In the tactile domain, roughness is a crucial factor determining the perceptual features of a surface. The same feature can also be ascertained visually, by means of the extraction of pattern features that determine the haptic quality of surfaces, such as grain size and density. By contrast, the term roughness has rarely been applied to the description of those stimuli perceived via the chemical senses. In this review, we take a critical look at the putative meaning(s) of the term roughness, when used in both unisensory and multisensory contexts, in an attempt to answer two key questions: (1) Is the use of the term ‘roughness’ the same in each modality when considered individually? and (2) Do crossmodal correspondences involving roughness match distinct perceptual features or (at least on certain occasions) do they merely pick-up on an amodal property? We start by examining the use of the term in the auditory domain. Next, we summarize the ways in which the term roughness has been used in the literature on tactile and visual perception, and in the domain of olfaction and gustation. Then, we move on to the crossmodal context, reviewing the literature on the perception of roughness in the audiovisual, audiotactile, and auditory-gustatory/olfactory domains. Finally, we highlight some limitations of the reviewed literature and we outline a number of key directions for future empirical research in roughness perception.

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Auditory roughness elicits defense reactions

Cited by 13 publications

References 69 publications

Trilled /r/ is associated with roughness, linking sound and touch across spoken languages

Trilled /r/ is associated with roughness, linking sound and touch across spoken languages

A Multimodal Understanding of the Role of Sound and Music in Gendered Toy Marketing

Roughness perception: A multisensory/crossmodal perspective

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