Marcos A. Trevisan

Publications (3)11.02 Total impact

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  Available from: PubMed Central

  Article: A composition algorithm based on crossmodal taste-music correspondences.

  Bruno Mesz, Mariano Sigman, Marcos A Trevisan
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  ABSTRACT: 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 (Mesz et al., 2011). 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.
  Frontiers in Human Neuroscience 01/2012; 6:71. · 2.34 Impact Factor
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  Available from: uba.ar

  Article: The taste of music.

  Bruno Mesz, Marcos A Trevisan, Mariano Sigman
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  ABSTRACT: Zarlino, one of the most important music theorists of the XVI century, described the minor consonances as 'sweet' (dolci) and 'soft' (soavi) (Zarlino 1558/1983, in On the Modes New Haven, CT: Yale University Press, 1983). Hector Berlioz, in his Treatise on Modern Instrumentation and Orchestration (London: Novello, 1855), speaks about the 'small acid-sweet voice' of the oboe. In line with this tradition of describing musical concepts in terms of taste words, recent empirical studies have found reliable associations between taste perception and low-level sound and musical parameters, like pitch and phonetic features. Here we investigated whether taste words elicited consistent musical representations by asking trained musicians to improvise on the basis of the four canonical taste words: sweet, sour, bitter, and salty. Our results showed that, even in free improvisation, taste words elicited very reliable and consistent musical patterns:'bitter' improvisations are low-pitched and legato (without interruption between notes), 'salty' improvisations are staccato (notes sharply detached from each other), 'sour' improvisations are high-pitched and dissonant, and 'sweet' improvisations are consonant, slow, and soft. Interestingly, projections of the improvisations of taste words to musical space (a vector space defined by relevant musical parameters) revealed that, in musical space, improvisations based on different taste words were nearly orthogonal or opposite. Decoding methods could classify binary choices of improvisations (i.e., identify the improvisation word from the melody) at performance of around 80%--well above chance. In a second experiment we investigated the mapping from perception of music to taste words. Fifty-seven non-musical experts listened to a fraction of the improvisations. We found that listeners classified with high performance the taste word which had elicited the improvisation. Our results, furthermore, show that associations of taste and music go beyond basic sensory attributes into the domain of semantics, and open a new venue of investigation to understand the origins of these consistent taste-musical patterns.
  Perception 01/2011; 40(2):209-19. · 1.31 Impact Factor
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  Article: Nonlinear model predicts diverse respiratory patterns of birdsong.

  Marcos A Trevisan, Gabriel B Mindlin, Franz Goller
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  ABSTRACT: A central aspect of the motor control of birdsong production is the capacity to generate diverse respiratory rhythms, which determine the coarse temporal pattern of song. The neural mechanisms that underlie this diversity of respiratory gestures and the resulting acoustic syllables are largely unknown. We show that the respiratory patterns of the highly complex and variable temporal organization of song in the canary (Serinus canaria) can be generated as solutions of a simple model describing the integration between song control and respiratory centers. This example suggests that subharmonic behavior can play an important role in providing a complex variety of responses with minimal neural substrate.
  Physical Review Letters 03/2006; 96(5):058103. · 7.37 Impact Factor