[AUDITORY] CALL FOR PAPERS -> Auditory contributions to food perception and consumer behaviour ("Felipe Reinoso Carvalho (Sonic Taste)" )

Subject: [AUDITORY] CALL FOR PAPERS -> Auditory contributions to food perception and consumer behaviour From: "Felipe Reinoso Carvalho (Sonic Taste)" <f.sound@xxxxxxxx> Date: Tue, 13 Nov 2018 12:10:21 -0500 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY> --Apple-Mail=_F513957E-FB3D-4B80-BCF6-04C9E9CEA6B4 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 CALL FOR PAPERS: SPECIAL ISSUE OF MULTISENSORY RESEARCH=20 (MSR; November, 2018) Auditory contributions to food perception and consumer behaviour =20 Edited by Prof Charles Spence (University of Oxford), Dr. Felipe Reinoso = Carvalho (Los Andes University - School of Management, Bogota, = Colombia), Dr. Carlos Velasco (BI Norwegian Business School, Norway) & = Dr. Janice Wang (Department of Food Science, Aarhus University, Denmark) =20 What we hear affects the perception of what we taste, no matter whether = we realize it or not. Both music and ambient soundscapes have been shown = to bias what we choose to buy/order in shops and restaurants/cafes = (Biswas, Lund, & Szocs, 2018; Zellner, Geller, Lyons, Pyper, & = Riaz,2017), typically without us realizing it. Meanwhile, a separate = literature has developed over the last decade on the topic of =E2=80=98son= ic seasoning.=E2=80=99 This is where music is especially chosen, or = composed, in order to correspond crossmodal with the taste / aroma / = mouthfeel / flavour (Crisinel el al., 2012; Reinoso Carvalho et al., = 2015; Wang & Spence, 2016). Interesting questions here concern where = such surprising correspondences come from, and elucidating the = conditions under which corresponding vs incongruent (or no music) do, = versus do not influence the tasting experience and eating behaviours = (e.g., Hauck & Hecht, in press; H=C3=B6chenberger & Ohla, in press; = Lowe, Ringler, & Haws; 2018, Watson & Gunter, 2017), and the neural = consequences/underpinnings of such almost-synaesthetic crossmodal = interactions (Callan, Callan, & Ando, 2018). A branch of this literature = has also examined =E2=80=98sensation transference=E2=80=99 effects =E2=80=93= addressing questions such as =E2=80=98If you like the music more, do = you like what you are eating/drinking more too?=E2=80=99 (Kantono et = al., 2015, 2016). Auditory inputs that influence the perception of what = we taste are not limited to environmental sounds. They also involve the = sounds that derived from what we eat such as slurping, crunching, or = smacking as well as speech sounds that we use to refer to specific foods = (see Spence, 2015, for a review). When what we hear becomes too loud, it is usually regarded as noise. The = research shows that loud background noise, be it airplane noise, white = noise, or restaurant noise, can affect both the taste of food and drink, = as well as people=E2=80=99s ability to discriminate various aspects of = their tasting experience (see Spence, 2014, for a review). Given the = increasing noise levels in many restaurants and bars these days, there = may even be a public health angle to this research. Finally, given the = growing literature on music and soundscape=E2=80=99s influence on the = multisensory tasting experience, there is a growing interest in using = technology to synchronize auditory stimulation with the tasting = experience (see Spence, 2019, for a review). This is a rich area for = creative practice (see also The Chocolate Symphony at this year=E2=80=99s = IMRF meeting) and submissions are also welcomed in this area, providing = they connect to the multisensory science. Hence, despite its inauspicious beginnings 70 years ago (see Pettit, = 1958), research on auditory contributions to food perception and = behaviour has exploded in recent years, with interest coming from the = fields of cognitive neuroscience, marketing, food science, design, = branding, public health and beyond. As such, now would seem like an = excellent time to capture the growing interest and excitement in this = area with a Special Issue dedicated to the topic. Tentative deadline for submissions 1st December, 2018.=20 Queries regarding the suitability of specific submissions etc. should be = directed in the first instance to Charles.spence@xxxxxxxx = <mailto:Charles.spence@xxxxxxxx>. =20 REFERENCES =20 Biswas, D., Lund, K., & Szocs, C. (2018). Sounds like a healthy retail = atmospheric strategy: Effects of ambient music and background noise on = food sales. Journal of the Academy of Marketing Science, 1-19. Callan, A., Callan, D., & Ando, H. (2018). Differential effects of music = and pictures on taste perception =E2=80=93an fMRI study. Poster = presented at theAnnual Meeting of the International Multisensory = Research Forum. June, 14-17th June, Toronto, CA. Crisinel, A.-S., Cosser, S., King, S., Jones, R., Petrie, J., & Spence, = C. (2012). A bittersweet symphony: Systematically modulating the taste = of food by changing the sonic properties of the soundtrack playing in = the background. Food Quality and Preference, 24, 201-204. Hauck, P., & Hecht, H. (in press). Having a drink with Tchaikovsky: The = crossmodal influence of background music on the taste of = beverages.Multisensory Research. H=C3=B6chenberger, R., & Ohla, K. (in press). A bittersweet symphony: = Evidence for taste=E2=80=90sound correspondences without effects on = taste quality=E2=80=90specific perception. Journal of Neuroscience = Research.=20 Kantono, K., Hamid, N., Sheperd, D., Yoo, M. J. Y., Carr, B. T., & = Grazioli, G. (2015). The effect of background music on food pleasantness = ratings. Psychology of Music, 13, 1-15. Kantono, K., Hamid, N., Sheperd, D., Yoo, M. J. Y., Grazioli, G., & = Carr, T. (2016). Listening to music can influence hedonic and sensory = perceptions of gelati. Appetite, 100, 244-255. Lowe,=C2=A0 <>M., Ringler, C., <>& Haws, K. (2018). An overture to = overeating: The cross-modal effects of acoustic pitch on food = preferences and serving behaviour. Appetite, 123, 128-134. Pettit, L. A. (1958). The influence of test location and accompanying = sound in flavor preference testing of tomato juice. Food Technology, 12, = 55-57. Reinoso Carvalho, F., Van Ee, R., Rychtarikova, M., Touhafi, A., = Steenhaut, K., Persoone, D., Spence, C., & Leman, M. (2015). Does music = influence the multisensory tasting experience? Journal of Sensory = Studies, 30(5), 404-412. Spence, C. (2014). Noise and its impact on the perception of food and = drink. Flavour, 3:9. Spence, C. (2015d). Eating with our ears: Assessing the importance of = the sounds of consumption to our perception and enjoyment of = multisensory flavour experiences. Flavour, 4:3. Spence, C. (2019). Multisensory experiential wine marketing. Food = Quality & Preference, 71, 106-116. Wang, Q. (J.) & Spence, C. (2016). =E2=80=9CStriking a sour note=E2=80=9D:= Assessing the influence of consonant and dissonant music on taste = perception.Multisensory Research, 30, 195-208. Watson, Q. J., & Gunter, K. L. (2017). Trombones elicit bitter more = strongly than do clarinets: A partial replication of three studies of = Crisinel and Spence. Multisensory Research, 30(3-5 = <http://booksandjournals.brillonline.com/content/journals/22134808/30/3-5>= ), 321-335. Zellner, D., Geller, T., Lyons, S., Pyper, A., & Riaz, K. (2017). Ethnic = congruence of music and food affects food selection but not liking. Food = Quality & Preference, 56, Part A, 126-129. -- Felipe Reinoso Carvalho Twitter @xxxxxxxx f.sound [at] gmail.com --Apple-Mail=_F513957E-FB3D-4B80-BCF6-04C9E9CEA6B4 Content-Type: multipart/related; type="text/html"; boundary="Apple-Mail=_290B72EF-0150-457D-BE54-AD48D4D2EDAB" --Apple-Mail=_290B72EF-0150-457D-BE54-AD48D4D2EDAB Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8 <html><head><meta http-equiv=3D"Content-Type" content=3D"text/html; = charset=3Dutf-8"></head><body style=3D"word-wrap: break-word; = -webkit-nbsp-mode: space; line-break: after-white-space;" = class=3D""><div><div style=3D"word-wrap: break-word; -webkit-nbsp-mode: = space; line-break: after-white-space;" class=3D""><div class=3D""><div = style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; line-break: = after-white-space;" class=3D""><div dir=3D"auto" style=3D"word-wrap: = break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" = class=3D""><div class=3D""><div class=3D"WordSection1" style=3D"page: = WordSection1;"> <div class=3D""> </div><div = class=3D""> </div>CALL FOR PAPERS: SPECIAL ISSUE = OF MULTISENSORY RESEARCH (MSR; November, 2018)<o:p class=3D""></o:p>Auditory contributions to food perception and consumer = behaviour<o:p class=3D""></o:p><div style=3D"margin: 0cm = 0cm 8pt; line-height: 22px; font-size: 11pt; font-family: Calibri, = sans-serif; text-align: justify;" class=3D"">  </div>Edited by Prof Charles Spence (University of = Oxford), Dr. Felipe Reinoso Carvalho (Los Andes University - School of = Management, Bogota, Colombia), Dr. Carlos Velasco (BI Norwegian Business = School, Norway) & Dr. Janice Wang (Department of Food Science, = Aarhus University, Denmark)<o:p class=3D""></o:p><div = style=3D"margin: 0cm 0cm 8pt; line-height: 22px; font-size: 11pt; = font-family: Calibri, sans-serif; text-align: justify;" class=3D"">  </div>What we hear affects the perception of what we = taste, no matter whether we realize it or not. Both music and ambient = soundscapes have been shown to bias what we choose to buy/order in shops = and restaurants/cafes (Biswas, Lund, & = Szocs, 2018; = Zellner, Geller, Lyons, Pyper, & Riaz,2017), typically without us realizing it. Meanwhile, a separate = literature has developed over the last decade on the topic of =E2=80=98son= ic seasoning.=E2=80=99 This is where music is especially chosen, or = composed, in order to correspond crossmodal with the taste / aroma / = mouthfeel / flavour (Crisinel el al., 2012; Reinoso Carvalho et al., = 2015; Wang & Spence, 2016). Interesting questions here concern where = such surprising correspondences come from, and elucidating the = conditions under which corresponding vs incongruent (or no music) do, = versus do not influence the tasting experience and eating behaviours = (e.g., Hauck & Hecht, in press; H=C3=B6chenberger & Ohla, in = press; Lowe, Ringler, & = Haws; 2018, Watson & Gunter, 2017), and the neural consequences/underpinnings of = such almost-synaesthetic crossmodal interactions (Callan, Callan, & = Ando, 2018). A branch of this literature has also examined =E2=80=98sensat= ion transference=E2=80=99 effects =E2=80=93 addressing questions such = as =E2=80=98If you like the music more, do you like = what you are eating/drinking more too?=E2=80=99 (Kantono et al., 2015, 2016). Auditory inputs that = influence the perception of what we taste are not limited to = environmental sounds. They also involve the sounds that derived from = what we eat such as slurping, crunching, or smacking as well as speech = sounds that we use to refer to specific foods (see Spence, 2015, for a = review).<o:p class=3D""></o:p>When what we hear becomes too loud, it is = usually regarded as noise. The research shows that loud background = noise, be it airplane noise, white noise, or restaurant noise, can = affect both the taste of food and drink, as well as people=E2=80=99s = ability to discriminate various aspects of their tasting experience (see = Spence, 2014, for a review). Given the increasing noise levels in many = restaurants and bars these days, there may even be a public health angle = to this research. Finally, given the growing literature on music and = soundscape=E2=80=99s influence on the multisensory tasting experience, = there is a growing interest in using technology to synchronize auditory = stimulation with the tasting experience (see Spence, 2019, for a = review). This is a rich area for creative practice (see also The = Chocolate Symphony at this year=E2=80=99s IMRF meeting) and submissions = are also welcomed in this area, providing they connect to the = multisensory science.<o:p class=3D""></o:p>Hence, despite its = inauspicious beginnings 70 years ago (see Pettit, 1958), research on = auditory contributions to food perception and behaviour has exploded in = recent years, with interest coming from the fields of cognitive = neuroscience, marketing, food science, design, branding, public health = and beyond. As such, now would seem like an excellent time to capture = the growing interest and excitement in this area with a Special Issue = dedicated to the topic.<o:p class=3D""></o:p> Tentative deadline for = submissions 1st December, = 2018. Queries regarding the suitability of specific submissions etc. = should be directed in the first instance to <a = href=3D"mailto:Charles.spence@xxxxxxxx" class=3D"" style=3D"color: = rgb(149, 79, 114);">Charles.spence@xxxxxxxx</a>.<o:p class=3D""></o:p><div = style=3D"margin: 0cm 0cm 8pt; line-height: 22px; font-size: 11pt; = font-family: Calibri, sans-serif; text-align: justify;" class=3D"">  </div>REFERENCES<o:p = class=3D""></o:p><o:p = class=3D""> </o:p>Biswas, D., Lund, K., & Szocs, C. = (2018). Sounds like a healthy retail atmospheric strategy: Effects of = ambient music and background noise on food sales. Journal of the Academy of Marketing Science, 1-19.<o:p = class=3D""></o:p>Callan, A., = Callan, D., & Ando, H. (2018). Differential effects of music and pictures on taste perception = =E2=80=93an fMRI study. Poster presented at = theAnnual Meeting of = the International = Multisensory Research Forum. June, 14-17th June, Toronto, = CA.<o:p class=3D""></o:p>Crisinel, A.-S., Cosser, S., King, S., Jones, R., Petrie, J., = & Spence, C. (2012). A bittersweet symphony: Systematically = modulating the taste of food by changing the sonic = properties of the soundtrack playing in the background. Food Quality and Preference, 24, = 201-204.<o:p = class=3D""></o:p>Hauck, P., & Hecht, H. (in press). Having a drink with = Tchaikovsky: The crossmodal influence of background music on the taste = of beverages.Multisensory Research.<o:p = class=3D""></o:p>H=C3=B6chenberger,= R., & Ohla, K. (in press). A bittersweet symphony: Evidence for = taste=E2=80=90sound correspondences without effects on taste = quality=E2=80=90specific perception. Journal of = Neuroscience Research. <o:p class=3D""></o:p>Kantono, K., Hamid, N., Sheperd, = D., Yoo, M. J. Y., Carr, B. T., & Grazioli, G. (2015). The effect of = background music on food pleasantness ratings. Psychology of Music, 13, 1-15.<o:p = class=3D""></o:p>Kantono, K., = Hamid, N., Sheperd, D., Yoo, M. J. Y., Grazioli, G., & Carr, T. = (2016). Listening to music can influence hedonic and sensory perceptions = of gelati. Appetite, 100, = 244-255.<o:p class=3D""></o:p>Lowe<a name=3D"bau2" class=3D"">, </a>M., = Ringler, C., <a name=3D"bau3" = class=3D""></a>& Haws, K. (2018). An overture to overeating: The cross-modal effects = of acoustic pitch on food preferences and serving = behaviour. Appetite, 123, 128-134.<o:p = class=3D""></o:p>Pettit, L. A. (1958). The influence of test location and accompanying sound in flavor = preference testing of tomato juice. Food = Technology, 12, 55-57.<o:p = class=3D""></o:p>Reinoso = Carvalho, F., Van Ee, R., Rychtarikova, M., Touhafi, A., Steenhaut, K., = Persoone, D., Spence, C., & Leman, M. (2015). Does music influence = the multisensory tasting experience? Journal of = Sensory Studies, 30(5), 404-412.<o:p class=3D""></o:p>Spence, C. (2014). Noise and its = impact on the perception of food and drink. Flavour, 3:9.<o:p = class=3D""></o:p>Spence, C. = (2015d). Eating with our ears: Assessing the importance of the sounds of = consumption to our perception and enjoyment of multisensory flavour = experiences. Flavour, 4:3.<o:p class=3D""></o:p>Spence, C. (2019). Multisensory experiential wine = marketing. Food Quality & Preference, 71, 106-116.<o:p class=3D""></o:p>Wang, Q. (J.) & Spence, C. = (2016). =E2=80=9CStriking a sour note=E2=80=9D: Assessing the influence = of consonant and dissonant music on taste perception.Multisensory Research, 30, 195-208.<o:p class=3D""></o:p>Watson, Q. J., & Gunter, K. L. = (2017). Trombones elicit bitter more strongly than do clarinets: A = partial replication of three studies of Crisinel and Spence. Multisensory Research, <a = href=3D"http://booksandjournals.brillonline.com/content/journals/22134808/= 30/3-5" class=3D"" style=3D"color: rgb(149, 79, 114);"><span= class=3D"" style=3D"font-size: 10pt; font-family: "Times New = Roman", serif; border: 1pt none windowtext; padding: 0cm; = background-color: white; text-decoration: = none;">30(3-5</a>), 321-335.<o:p = class=3D""></o:p>Zellner, D., Geller, = T., Lyons, S., Pyper, A., & Riaz, K. (2017). Ethnic congruence of music and food affects food = selection but not liking. Food Quality & = Preference, 56, Part A, 126-129.</div></div></div></div></div> </div></div> <div class=3D""> <div style=3D"color: rgb(0, 0, 0); font-family: Helvetica; font-size: = 12px; font-style: normal; font-variant-caps: normal; font-weight: = normal; letter-spacing: normal; text-align: start; text-indent: 0px; = text-transform: none; white-space: normal; word-spacing: 0px; = -webkit-text-stroke-width: 0px;">-- </div><span style=3D"color: rgb(0, 0, 0); font-family: = Helvetica; font-size: 12px; font-style: normal; font-variant-caps: = normal; font-weight: normal; letter-spacing: normal; text-align: start; = text-indent: 0px; text-transform: none; white-space: normal; = word-spacing: 0px; -webkit-text-stroke-width: 0px;"><br = class=3D"Apple-interchange-newline" style=3D"color: rgb(0, 0, 0); = font-family: Helvetica; font-size: 12px; font-style: normal; = font-variant-caps: normal; font-weight: normal; 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font-style: normal; font-variant-caps: normal; = font-weight: normal; letter-spacing: normal; orphans: auto; text-align: = start; text-indent: 0px; text-transform: none; white-space: normal; = widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; = -webkit-text-stroke-width: 0px; float: none; display: inline = !important;" class=3D"">Felipe Reinoso Carvalho<br style=3D"color: = rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: = normal; font-variant-caps: normal; font-weight: normal; letter-spacing: = normal; orphans: auto; text-align: start; text-indent: 0px; = text-transform: none; white-space: normal; widows: auto; word-spacing: = 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px;" = class=3D""><span style=3D"color: rgb(0, 0, 0); font-family: Helvetica; = font-size: 12px; font-style: normal; font-variant-caps: normal; = font-weight: normal; letter-spacing: normal; orphans: auto; text-align: = start; text-indent: 0px; text-transform: 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class=3D"">f.sound [at] <a href=3D"http://gmail.com" = class=3D"">gmail.com</a><br style=3D"color: rgb(0, 0, 0); = font-family: Helvetica; font-size: 12px; font-style: normal; = font-variant-caps: normal; font-weight: normal; letter-spacing: normal; = orphans: auto; text-align: start; text-indent: 0px; text-transform: = none; white-space: normal; widows: auto; word-spacing: 0px; = -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px;" = class=3D""> </div> </body></html>= --Apple-Mail=_290B72EF-0150-457D-BE54-AD48D4D2EDAB Content-Transfer-Encoding: base64 Content-Disposition: inline; filename=image001.png Content-Type: image/png; name="image001.png" Content-Id: <image001.png@xxxxxxxx> iVBORw0KGgoAAAANSUhEUgAAAG8AAAB4CAYAAAD8FqxDAAAAAXNSR0IArs4c6QAAAAlwSFlzAAAW JQAAFiUBSVIk8AAAAZ1pVFh0WE1MOmNvbS5hZG9iZS54bXAAAAAAADx4OnhtcG1ldGEgeG1sbnM6 eD0iYWRvYmU6bnM6bWV0YS8iIHg6eG1wdGs9IlhNUCBDb3JlIDUuNC4wIj4KICAgPHJkZjpSREYg 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src/postings/2018/
maintained by:

DAn Ellis <dpwe@ee.columbia.edu>
Electrical Engineering Dept., Columbia University