This study investigates the existence of cross-modal correspondences between a series of paintings by Kandinsky and a series of selections from Schönberg music. The experiment was conducted in two phases. In the first phase, by means of the Osgood semantic differential, the participants evaluated the perceptual characteristics first of visual stimuli (some pictures of Kandinsky’s paintings, with varying perceptual characteristics and contents) and then of auditory stimuli (musical excerpts taken from the repertoire of Schönberg’s piano works) relative to 11 pairs of adjectives tested on a continuous bipolar scale. In the second phase, participants were required to associate pictures and musical excerpts. The results of the semantic differential test show that certain paintings and musical excerpts were evaluated as semantically more similar, while others were evaluated as semantically more different. The results of the direct association between musical excerpts and paintings showed both attractions and repulsions among the stimuli. The overall results provide significant insights into the relationship between concrete and abstract concepts and into the process of perceptual grouping in cross-modal phenomena.

中文翻译：

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艺术品中的跨模态感知组织。

这项研究调查了康定斯基的一系列绘画与Schönberg音乐的一系列选择之间的交叉模态对应关系的存在。实验分两个阶段进行。在第一阶段中，参与者通过Osgood语义差异，首先评估视觉刺激（一些康定斯基绘画的图片，具有不同的感知特征和内容）的感知特征，然后评估听觉刺激（摘录自音乐库的音乐摘录） Schönberg的钢琴作品）相对于在连续双极音阶上测试的11对形容词。在第二阶段，要求参与者将图片和音乐摘录关联起来。语义差异测试的结果表明，某些绘画和音乐摘录在语义上更相似，而其他人则被认为在语义上更加不同。音乐摘录和绘画之间的直接联系的结果表明，刺激之间既有吸引力，也有排斥感。总体结果为深入了解具体概念与抽象概念之间的关系以及跨模态现象中的感知分组过程提供了重要见解。