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Princípios de correspondência intermodal entre música, forma visual e movimento corporal – uma abordagem à luz do Efeito Kiki-Bouba
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Pela sua natureza multissensorial e capacidade de evocar e envolver diferentes sentidos percetivos, a musica tem sido um foco de interesse no campo de estudo das correspondencias intermodais (CIs). Uma das primeiras experiencias da area evidenciou a conexao entre os sentidos auditivo e visual, ao observar uma forte associacao entre palavras sem sentido e figuras pontiagudas e arredondadas. Esse fenomeno, conhecido como Efeito Kiki-Bouba (EKB), demonstra a habilidade humana de perceber as formas sonoramente, numa conexao audiovisual nao-arbitraria. Embora diversas relacoes intermodais envolvendo a musica (ex.: altura tonal-deslocamento espacial, timbre-forma) sejam documentadas, as conexoes entre musica, forma e movimento corporal oferecem ainda um amplo campo de estudo. Concretamente, questiona-se se estas conexoes poderiam ser uma extensao das associacoes observadas no EKB. Esta pesquisa teve como objetivo estudar CIs entre musica, movimento corporal e forma visual, por meio de tres estudos empiricos. O Estudo 1 analisou a relacao entre 18 excertos musicais e as formas arredondada e pontiaguda do EKB, atraves de uma tarefa de associacao explicita. O Estudo 2 repetiu o processo com 6 excertos, incluindo uma tarefa de atribuicao de palavras. O Estudo 3 avaliou a correspondencia entre 4 excertos musicais (selecionados dos estudos anteriores) e 4 tipologias de movimento (previamente associados as formas EKB), para o que foram apresentados 16 videoclipes. Relacoes inequivocas foram encontradas para 6 excertos musicais associados a forma EKB arredondada (Estudo 1) e 3 excertos musicais associados a forma EKB pontiaguda (Estudo 2). A tarefa de associacao de palavras (Estudo 2) revelou descritores recorrentes como medo, tensao e caos (musicas EKB pontiagudas), e paz, tranquilidade e harmonia (musicas EKB arredondadas). No Estudo 3, os videoclipes com estimulos de uma mesma forma EKB (ex.: movimento e excerto musical associados a forma arredondada) tiveram uma correspondencia percecionada forte a muito forte, enquanto os videoclipes com estimulos oriundos de formas EKB diferentes (ex.: movimento associado a forma arredondada e excerto musical associados a forma pontiaguda) tiveram correspondencia percecionada fraca ou ausente. Concluiu-se que a relacao entre musica e movimento corporal, quando mediada pela forma visual, apoia-se nos principios de hierarquia sonora (Athanasopoulos & Antovi., 2018), unidade dos sentidos (Marks, 1978), efeito de congruencia (Parise & Spence, 2013) e organizacao intrinseca dos estimulos auditivos e cinestesicos. Esta pesquisa contribui para a compreensao da natureza multissensorial da musica, reforcando a ideia de que o paradigma do EKB se estende a estimulos musicais (cuja natureza e mais complexa e dinamica do que os estimulos usados nos estudos originais). Artistas e criadores sao incentivados a explorar as abordagens multissensoriais em suas criacoes, ampliando as possibilidades de fruicao das experiencias artisticas. No campo pedagogico, os principios de CIs aqui observados poderao orientar a escolha de excertos musicais que induzam movimentos corporais especificos, uma ideia ja presente na Pedagogia Musical. Em acrescimo, este estudo revela que o EKB constitui uma ferramenta promissora na sistematizacao de repertorio musical, considerando a necessidade de alargar a escuta musical para experiencias diversificadas de movimento.
Due to its multisensory nature and ability to evoke and involve various perceptual senses, music has been a focus of interest in the study of intermodal correspondences (ICs). One of the earliest experiments in the field highlighted the connection between auditory and visual senses by observing a strong association between meaningless words and pointed or rounded shapes. This phenomenon, known as the Kiki-Bouba Effect (KBE), demonstrates the human ability to perceive shapes through sound, revealing a non-arbitrary audiovisual connection. Although various intermodal relationships involving music (e.g., pitch-spatial displacement, timbre-shape) have been documented, the connections between music, shape, and bodily movement still present a vast field for further study. Specifically, it is questioned whether these connections could be an extension of the associations observed in the KBE. This research aimed to study intermodal correspondences between music, bodily movement, and visual form through three empirical studies. Study 1 analyzed the relationship between 18 musical excerpts and the rounded and pointed shapes from the KBE through an explicit association task. Study 2 repeated the process with 6 excerpts, adding a word-association task. Study 3 evaluated the correspondence between 4 musical excerpts (selected from the previous studies) and 4 types of movement (previously associated with KBE shapes), for which 16 video clips were presented. Unequivocal associations were found for 6 musical excerpts linked to the rounded KBE shape (Study 1) and 3 musical excerpts linked to the pointed KBE shape (Study 2). The word-association task (Study 2) revealed recurring descriptors such as fear, tension, and chaos (pointed KBE music), and peace, tranquility, and harmony (rounded KBE music). In Study 3, video clips featuring stimuli from the same KBE shape (e.g., movement and musical excerpt associated with the rounded shape) showed a perceived correspondence ranging from strong to very strong. In contrast, video clips with stimuli from different KBE shapes (e.g., movement associated with the rounded shape and musical excerpt associated with the pointed shape) demonstrated a perceived correspondence that was weak or absent. It was concluded that the relationship between music and bodily movement, when mediated by visual form, is supported by the principles of sound hierarchy (Athanasopoulos & Antović, 2018), unity of the senses (Marks, 1978), congruence effect (Parise & Spence, 2013), and the intrinsic organization of auditory and kinesthetic stimuli. This research contributes to the understanding of the multisensory nature of music, reinforcing the idea that the KBE paradigm extends to musical stimuli, which are inherently more complex and dynamic than the stimuli used in the original studies. Artists and creators are encouraged to explore multisensory approaches in their work, expanding the possibilities for enjoying artistic experiences. In the pedagogical field, the principles of intermodal correspondences observed here can guide the selection of musical excerpts that induce specific bodily movements, a concept already present in Music Pedagogy. Additionally, this study reveals that the KBE serves as a promising tool for systematizing musical repertoire, considering the need to broaden musical listening to include diverse movement experiences.
Due to its multisensory nature and ability to evoke and involve various perceptual senses, music has been a focus of interest in the study of intermodal correspondences (ICs). One of the earliest experiments in the field highlighted the connection between auditory and visual senses by observing a strong association between meaningless words and pointed or rounded shapes. This phenomenon, known as the Kiki-Bouba Effect (KBE), demonstrates the human ability to perceive shapes through sound, revealing a non-arbitrary audiovisual connection. Although various intermodal relationships involving music (e.g., pitch-spatial displacement, timbre-shape) have been documented, the connections between music, shape, and bodily movement still present a vast field for further study. Specifically, it is questioned whether these connections could be an extension of the associations observed in the KBE. This research aimed to study intermodal correspondences between music, bodily movement, and visual form through three empirical studies. Study 1 analyzed the relationship between 18 musical excerpts and the rounded and pointed shapes from the KBE through an explicit association task. Study 2 repeated the process with 6 excerpts, adding a word-association task. Study 3 evaluated the correspondence between 4 musical excerpts (selected from the previous studies) and 4 types of movement (previously associated with KBE shapes), for which 16 video clips were presented. Unequivocal associations were found for 6 musical excerpts linked to the rounded KBE shape (Study 1) and 3 musical excerpts linked to the pointed KBE shape (Study 2). The word-association task (Study 2) revealed recurring descriptors such as fear, tension, and chaos (pointed KBE music), and peace, tranquility, and harmony (rounded KBE music). In Study 3, video clips featuring stimuli from the same KBE shape (e.g., movement and musical excerpt associated with the rounded shape) showed a perceived correspondence ranging from strong to very strong. In contrast, video clips with stimuli from different KBE shapes (e.g., movement associated with the rounded shape and musical excerpt associated with the pointed shape) demonstrated a perceived correspondence that was weak or absent. It was concluded that the relationship between music and bodily movement, when mediated by visual form, is supported by the principles of sound hierarchy (Athanasopoulos & Antović, 2018), unity of the senses (Marks, 1978), congruence effect (Parise & Spence, 2013), and the intrinsic organization of auditory and kinesthetic stimuli. This research contributes to the understanding of the multisensory nature of music, reinforcing the idea that the KBE paradigm extends to musical stimuli, which are inherently more complex and dynamic than the stimuli used in the original studies. Artists and creators are encouraged to explore multisensory approaches in their work, expanding the possibilities for enjoying artistic experiences. In the pedagogical field, the principles of intermodal correspondences observed here can guide the selection of musical excerpts that induce specific bodily movements, a concept already present in Music Pedagogy. Additionally, this study reveals that the KBE serves as a promising tool for systematizing musical repertoire, considering the need to broaden musical listening to include diverse movement experiences.
Descrição
Palavras-chave
Correspondências intermodais Multissensorialidade Efeito kiki-bouba Estímulos musicais complexos Música e movimento Intermodal correspondences Multisensory experience Kiki-Bouba effect Complex musical stimuli Music and movement