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Auditory Imagery Contains More Than Audition

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Multisensory Imagery

Abstract

Contributions of nonauditory information to auditory imagery are examined. The spontaneous appearance of visual imagery concurrent with intentionally formed auditory imagery, and the similarities of spatial-temporal properties, mnemonic properties, and perceptual properties of auditory imagery and of visual imagery, is considered. A hypothesized distinction between an “inner voice” (which contains kinesthetic information related to speech articulation) and an “inner ear” (which does not) in auditory imagery is discussed, and evidence consistent (verbal transformation effect, judgments and comparisons of imaged content, clinical studies) and inconsistent (evidence against existence of a separate phonological loop, pre-articulatory auditory verbal imagery) with this distinction is considered. Possible relationships of auditory imagery to kinesthetic information from practice and performance of music and dance are considered, and the relationship of auditory imagery and synesthesia is briefly considered.

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Notes

  1. 1.

    Godøy (2001) argued “sound and sound source are inseparable in most cases of music cognition” (p. 242), but it could be suggested that his argument applies to auditory cognition more generally, especially given Bregman’s (1990) suggestion that hearing evolved to inform listeners about stimuli in the environment. Visual or kinesthetic imagery of a sound source or how a sound was produced might aid in anticipating subsequent actions of or toward the sound source, and this would be consistent with theories that perception is influenced by possible action (e.g., Hommel et al. 2001; Proffitt 2006). On a related note, Baker (2001) argued that kinesthetic and visual imagery of the keyboard influenced composition of music during the past several centuries.

  2. 2.

    As noted by Zatorre and Halpern (2005) and Hubbard (2010), some researchers suggest or claim a role for auditory imagery in accounting for a specific experimental outcome even if there was no evidence that imagery was actually generated and used in the experimental task. For the sake of completeness, studies that suggest a role for imagery are included in the current chapter, but it is noted if studies do not provide sufficient evidence auditory imagery was actually generated and used in the experimental task.

  3. 3.

    The relationship between emotion and imagery is considered in Chap. 19 in this volume, and so just a few points specific to auditory imagery are mentioned here. First, music is a promising venue for exploring the relationship of auditory imagery and emotion (for a review of music and emotion, see Juslin and Sloboda 2001; also Collier and Hubbard 2001; Gagnon and Peretz 2003; Schubert 2004). Second, emotional experience of music might be related to the ability of music to evoke spontaneous visual imagery (Juslin and Västfjäll 2008), and this has implications for multisensory and crossmodal imagery.

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Acknowledgments

The author thanks Andrea Halpern and Caroline Palmer for helpful comments on a previous version of this chapter.

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  1. Department of Psychology, Texas Christian University, Fort Worth, TX, 76132, USA

    Timothy L. Hubbard

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Correspondence to Timothy L. Hubbard .

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  1. , Department of Neurology, Emory University School of Medicine, WOODRUFF CIRCLE WMB 6207 101, ATLANTA, 30329, Georgia, USA

    Simon Lacey

  2. , School of Psychology, University of Liverpool, Eleanor Rathbone Building, Bedford Street South, Liverpool, L69 7ZA, Montserrat

    Rebecca Lawson

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Hubbard, T.L. (2013). Auditory Imagery Contains More Than Audition. In: Lacey, S., Lawson, R. (eds) Multisensory Imagery. Springer, New York, NY. https://doi.org/10.1007/978-1-4614-5879-1_12

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