Speakers use vocabulary for spatial verticality and size to describe pitch. A high—low
contrast is common to many languages, but others show contrasts like thick—thin and big …

Height‐pitch associations are claimed to be universal and independent of language, but this
claim remains controversial. The present study sheds new light on this debate with a …

Though auditory pitch is customarily mapped in Western cultures onto spatial verticality
(high–low), both anthropological reports and cognitive studies suggest that pitch may be …

To what extent are links between musical pitch and space universal, and to what extent are
they shaped by language? There is contradictory evidence in support of both universality …

Western societies strongly associate musical register (pitchheight) with verticality in physical
space, so that “low” notes are represented spatially as nearer the ground and “higher” notes …

Higher frequency and louder sounds are associated with higher positions whereas lower
frequency and quieter sounds are associated with lower locations. In English,“high” and …

Certain signaling functions of the pitch of voice are remarkably similar across languages and
cultures:(1) high or rising pitch to mark questions, low or falling pitch to mark …

We often talk about musical pitch using spatial language. In English, pitches can be high or
low, melody lines can rise or fall, and we can sing at the top or the bottom of our range. Are …

Why do we perceive bass voices as “thick”? Owing to a “mediated association” with “thick
people and animals [who] are usually loud and resonant”, or owing to some “subtle inter …

As Swift sings the phrase “real slow”, she performs an interesting effect with her voice.
Whereas the other words in these two lines last for an eighth or a sixteenth note, the word …