Preattentive Integration of Visual and Auditory Dimensions of Music

We examined whether facial expressions of performers influence the emotional connotations of sung materials, and whether attention is implicated in audio-visual integration of affective cues. In Experiment 1, participants judged the emotional valence of audio-visual presentations of sung intervals. Performances were edited such that auditory and visual information conveyed congruent or incongruent affective connotations. In the single-task condition, participants judged the emotional connotation of sung intervals. In the dual-task condition, participants judged the emotional connotation of intervals while performing a secondary task. Judgements were influenced by melodic cues and facial expressions and the effects were undiminished by the secondary task. Experiment 2 involved identical conditions but participants were instructed to base judgements on auditory information alone. Again, facial expressions influenced judgements and the effect was undiminished by the secondary task. The results suggest that visual aspects of music performance are automatically and preattentively registered and integrated with auditory cues. Although music is an auditory phenomenon, music experiences often include a visual dimension arising from the facial expressions and gestures of performers. Indeed, before the invention of the gramophone and phonograph, all musical performances were heard and seen by the audience. In many contemporary musical idioms such as opera, musical theatre, and rock concerts, visual information is integral to the experience. When visual aspects of performance are perceptually available, music becomes a Correspondence should be addressed to: Bill Thompson,