Coagulación Sonora by Sergio Gurrola

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A Cinema’s Female Worker in a Musical Key: Ana Satrova by Virginia Sánchez Rodríguez

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Uma trilha sonora no largo da carioca: caminhadas de escuta e observação como método de investigação dos espaços públicos/A soundtrack on the Largo da Carioca: listening and observation walks as a public spaces investigation method by Renato Coimbra Frias

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NAMELESS STAR: EDISON DENISOV’S MUSIC IN THE DISCOURSES OF AN UNORDINARY STORY / «БЕЗЫМЯННАЯ ЗВЕЗДА»: МУЗЫКА ЭДИСОНА ДЕНИСОВА В ДИСКУРСАХ НЕОБЫКНОВЕННОЙ ИСТОРИИ... by NAUMENKO TATIANA I. / НАУМЕНКО Т.И., MOLOZYA ANASTASIA A. / МОЛОЗЯ А.А.

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Kompositorische Effizienz und dramaturgische Vielfalt. Der Fabelzusammenhang in der Filmmusik Ennio Morricones und die Beziehungen zu narrativ wirksamen Topik-Reihen by Robert Rabenalt

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Adapting Peircean semiotics to sound theory and practice by Leo Murray

“…With the overall goal of the soundtrack being to ‘serve the needs of the story’, the choices in the soundtrack are geared around creating these understandings or emotional responses. …”
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I am Sitting in a Room, Listening to Mank by Cormac Donnelly

“…The soundtrack for Mank (David Fincher, 2020) raises interesting questions about the reception of film sound in the domestic viewing/listening space. …”
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Music to make your mouth water? Assessing the potential influence of sour music on salivation by Wang, Q, Knoeferle, K, Spence, C

“…People robustly associate various sound attributes with specific smells/tastes, and soundtracks that are associated with specific tastes can influence people’s evaluation of the taste of food and drink. …”

The influence of music on the perception of oaked wines – A tasting room case study in the Finger Lakes Region by Wang, QJ, Frank, M, Houge, B, Spence, C, LaTour, KA

“…Undisclosed to the participants, the soundtrack had been designed to bring to mind woody/spiced elements of oak ageing. …”

Music to Make Your Mouth Water? Assessing the Potential Influence of Sour Music on Salivation by Qian J. Wang, Klemens Knoeferle, Charles Spence

“…People robustly associate various sound attributes with specific smells/tastes, and soundtracks that are associated with specific tastes can influence people’s evaluation of the taste of food and drink. …”
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Beneath sci-fi sound: Primer, science fiction sound design, and American independent cinema by Nessa Johnston

“…Although this is partly a consequence of the economics of its production, the aesthetic approach to the soundtrack is what makes Primer formally distinctive. …”
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Sweeter together? Assessing the combined influence of product-related and contextual factors on perceived sweetness of fruit beverages by Wang, Q, Meilby, L, Thybo, A, Spence, C

“…The results revealed that both added aroma and background music significantly influenced participants’ sweetness ratings, with a medium level of added aroma enhancing sweetness significantly as compared to no added aroma, and with the sweet-congruent soundtrack enhancing perceived sweetness significantly as compared to the bitter-congruent soundtrack. …”

On Audiovisual Translation: Dubbing by Nicolae Cristina

“…The present article focuses on dubbing understood as a creative process of “adapting” the source language script/verbalized message/soundtrack to the target language script/verbalized message/soundtrack, challenging principles such as fidelity versus freedom in translation, bringing once again to our attention the much debated ‘reality’ pinpointed by the Italian adage “traduttore tradittore”, yet not from the point of view of untranslatability, but from that of the need for “transadaptation” in the interlingual transfer required by the audiovisual industry.…”
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"Smooth operator": Music modulates the perceived creaminess, sweetness, and bitterness of chocolate by Reinoso Carvalho, F, Wang, Q, van Ee, R, Persoone, D, Spence, C

“…The participants tasted the same chocolate twice (without knowing that the chocolates were identical), each time listening to one of the soundtracks. The 'creamy' soundtrack enhanced the perceived creaminess and sweetness of the chocolates, as compared to the ratings given while listening to the 'rough' soundtrack. …”

Crossmodal constraints on human perceptual awareness: auditory semantic modulation of binocular rivalry. by Chen, Y, Yeh, S, Spence, C

“…The results demonstrate that participants report a particular percept as being dominant for less of the time when listening to an auditory soundtrack that happens to be semantically congruent with the other alternative (i.e., the competing) percept, as compared to when listening to an auditory soundtrack that was irrelevant to both visual figures (Experiment 1A). …”

Crossmodal constraints on human perceptual awareness: Auditory semantic modulation of binocular rivalry by Yi-Chuan eChen, Su-Ling eYeh, Charles eSpence

“…The results demonstrate that participants report a particular percept as being dominant for less of the time when listening to an auditory soundtrack that happens to be semantically congruent with the other alternative (i.e., the competing) percept, as compared to when listening to an auditory soundtrack that is irrelevant to both visual figures (Experiment 1A). …”
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The border between sound design and the film score in the series The Twilight Zone (1959-1964) by Lucas Zangirolami Bonetti

“…The present paper discusses paradigms that, analytically, confuse its limits and conceptual boundaries of the categorical division of the soundtrack: music, noises and dialogues. Focusing on the conceptualization of the fine line between sound design and music, this paper studies the case of The Twilight Zone (1959-1964). …”
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Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press by Katherine McQuiston

“…The publication of Music and Cinema reflects the growing interest among musicologists in studying intersections of music and film, i.e., the soundtrack with its simultaneous images. Scholarship concerning music and film, which enjoyed its most vigorous growth spurt from the mid-1980s into the mid-1990s, seems to be largely motivated by three interlocking concerns: establishing the soundtrack as an indispensable component in film analysis, a field in which visual elements have always been favored; describing, analyzing, and categorizing the ways in which music bears upon understandings of film; and championing the composers of original scores who, until the appearance of this kind of literature, have not received due recognition for their achievements.…”
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Assessing the effects of audiovisual semantic congruency on the perception of a bistable figure. by Hsiao, J, Chen, Y, Spence, C, Yeh, S

“…The possibility of a response-bias account-that participants simply reported the percept that happened to be congruent with the soundtrack that they were listening to-was excluded in Experiment 2. …”

Assessing the effects of audiovisual semantic congruency on the perception of a bistable figure by Hsiao, J, Chen, Y, Spence, C, Yeh, S

“…The possibility of a response-bias account-that participants simply reported the percept that happened to be congruent with the soundtrack that they were listening to-was excluded in Experiment 2. …”