by Dwight Furrow
When I first encountered the claim that our perception of wine was influenced by the music we listen to while imbibing, I was skeptical. It would seem to have all the hallmarks of a magic trick–barriers to accurate perception due to the vagueness of wines' properties and subject to the power of suggestion. However, the considerable empirical evidence amassed to support the idea has made the thesis impossible to ignore, and I'm persuaded not only by the science but by my own experience that there is something to the idea, although discovering the explanation of how this works remains a challenge.
Winemaker and wine consultant Clark smith started the ball rolling in the mid-1990's testing the relationship between wine and music and carrying out seminars on the subject that continue today. More recently, experimental psychologist Charles Spence and his associates have performed reasonably rigorous empirical tests of the idea (summaries here, here, and here), and there now seems little doubt that there is something going on beyond mere personal association.
The earliest experiments in psychology were testing cross-modal correspondences—the associations we make between features of one sense modality, taste, and the apparently unrelated features of another sense modality, sound. In simple, matching tests, where subjects are encouraged to choose which of two wines, a white and a red, best matches music chosen specifically to "go with" each wine, there has been, consistently over many tests, statistically significant agreement about the best matches. In some cases the agreement was up to 90% of the test subjects. Such evidence, of course, does not tell us what the basis of the matching is. Is there some perceptual similarity between the wines and the music or is the music perceived to be complementing the wine independently of any similarity just as olive oil goes with tomatoes?
There is now a large body of research showing that sweetness and fruit aromas are matched with musical sounds that are high in pitch, notes that are connected smoothly together (legato), as well as consonant harmonies, and instruments such as piano and woodwinds. Sourness tends to match very high-pitched sounds, fast tempos and dissonant harmonies. Aromas of musk, wood, chocolate, and smoke along with bitter tastes match brassy or low pitched sounds. Loud music also seems to be associated with taste intensity.
What explains these perceptual correspondences between sounds and tastes?