Save

Sound Properties Associated With Equiluminant Colours

In: Multisensory Research
Authors:
Giles Hamilton-Fletcher 1School of Psychology, University of Sussex, Brighton, UK
2Sackler Centre for Consciousness Science, University of Sussex, Brighton, UK

Search for other papers by Giles Hamilton-Fletcher in
Current site
Google Scholar
PubMed
Close
,
Christoph Witzel 3Allgemeine Psychologie, Justus-Liebig-Universität Gießen, Gießen, Germany

Search for other papers by Christoph Witzel in
Current site
Google Scholar
PubMed
Close
,
David Reby 1School of Psychology, University of Sussex, Brighton, UK

Search for other papers by David Reby in
Current site
Google Scholar
PubMed
Close
, and
Jamie Ward 1School of Psychology, University of Sussex, Brighton, UK
2Sackler Centre for Consciousness Science, University of Sussex, Brighton, UK

Search for other papers by Jamie Ward in
Current site
Google Scholar
PubMed
Close
Download Citation Get Permissions

Access options

Get access to the full article by using one of the access options below.

Institutional Login

Log in with Open Athens, Shibboleth, or your institutional credentials

Login via Institution

Purchase

Buy instant access (PDF download and unlimited online access):

$40.00

There is a widespread tendency to associate certain properties of sound with those of colour (e.g., higher pitches with lighter colours). Yet it is an open question how sound influences chroma or hue when properly controlling for lightness. To examine this, we asked participants to adjust physically equiluminant colours until they ‘went best’ with certain sounds. For pure tones, complex sine waves and vocal timbres, increases in frequency were associated with increases in chroma. Increasing the loudness of pure tones also increased chroma. Hue associations varied depending on the type of stimuli. In stimuli that involved only limited bands of frequencies (pure tones, vocal timbres), frequency correlated with hue, such that low frequencies gave blue hues and progressed to yellow hues at 800 Hz. Increasing the loudness of a pure tone was also associated with a shift from blue to yellow. However, for complex sounds that share the same bandwidth of frequencies (100–3200 Hz) but that vary in terms of which frequencies have the most power, all stimuli were associated with yellow hues. This suggests that the presence of high frequencies (above 800 Hz) consistently yields yellow hues. Overall we conclude that while pitch–chroma associations appear to flexibly re-apply themselves across a variety of contexts, frequencies above 800 Hz appear to produce yellow hues irrespective of context. These findings reveal new sound–colour correspondences previously obscured through not controlling for lightness. Findings are discussed in relation to understanding the underlying rules of cross-modal correspondences, synaesthesia, and optimising the sensory substitution of visual information through sound.

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 1457 266 15
Full Text Views 400 55 0
PDF Views & Downloads 233 82 0