We combine perceptual research and acoustic analysis to probe the messy, pluralistic world of musical semantics, focusing on sound mass music. Composers and scholars describe sound mass with many semantic associations. We designed an experiment to evaluate to what extent these associations are experienced by other listeners. Thirty-eight participants heard 40 excerpts of sound mass music and related contemporary genres and rated them along batteries of semantic scales. Participants also described their rating strategies for some categories. A combination of qualitative stimulus analyses, Cronbach’s alpha tests, and principal component analyses suggest that cross-domain mappings between semantic categories and musical properties are statistically coherent between participants, implying non-arbitrary relations. Some aspects of participants’ descriptions of their rating strategies appear to be reflected in their numerical ratings. We sought quantitative bases for these associations in the acoustic signals. After attempts to correlate semantic ratings with classical audio descriptors failed, we pursued a neuromimetic representation called spectrotemporal modulations (STMs), which explains much more of the variance in semantic ratings. This result suggests that semantic interpretations of music may involve qualities or attributes that are objectively present in the music, since computer simulation can use sound signals to partially reconstruct human semantic ratings.

THE AIM OF THIS STUDY WAS TO DETERMINE WHETHER conceptual priming occurs between successively presented short musical pieces called Temporal Semantic Units (TSUs). Behavioral and ERP data were recorded while participants, experts and nonexperts in TSUs, were listening to pairs of TSUs and were asked to determine whether the target TSU evoked the same or a different concept than the prime TSU. Target TSUs were either congruous (i.e., they developed the same musical concept as the prime TSUs) or incongruous (i.e., they started as congruous TSUs but shifted midstream into a different concept). Results showed that, whereas P3a components were elicited in both groups by the shifting into incongruous TSUs, thereby reflecting an automatic shift of attention when the changes occurred, P3b components were elicited in experts and N400-like components were found in nonexperts. The functional significance of these results is discussed in regard of previous results with environmental sounds.