A growing number of studies have highlighted the various sensory interactions involved in the musical experience, as relationships between music and dimensions of taste, olfaction, sound, and visual qualities, such as associations between pitch and the size of images or objects, spatial location and frequency, and instrumental timbres and visual shapes. These studies share the premise that the way we relate to the musical phenomenon, whether in the processes of production, perception, or understanding, emerges from an integrated and intrinsically multisensory perceptual event. Nevertheless, because music is present daily in everyday life and because this experience is inherently subjective, such interactions tend to occur so naturally and seem so obvious that they have been relegated to common sense. On the other hand, evidence indicates that sensory interactions constitute a fundamental ancestral mechanism for cognitive and neuronal development governed by non-arbitrary tendencies, multiple variables, and patterns of predictability. The novel contribution of this review is to advance a dynamic theoretical model of multisensory musical experience that takes crossmodal correspondences as its central organising axis, articulated through three structuring principles (universality, congruence effect, hierarchical tendency) and their interaction with musical organisation, cognitive structure, and the sensory systems mobilised by music. A future research agenda is also proposed to broaden and deepen investigations in the field of music psychology and human development.
Nogueira et al. (Wed,) studied this question.
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