There are numerous research aspects dedicated to the topic, for instance, asses taste intensity and pitch rating or the role of emotions mediated pitch and taste matching. More musically, Mesz et al., (2011), has investigated whether taste words elicited consistent musical representation by using improvisation from trained musicians. He utilized six musical dimensions: pitch, duration, articulation, loudness, chord consonance, and melodic consonance, as tools for finding associations with four canonical taste words and evaluating improvisations whether the improvisation results elicited consistent responses to taste words in an average population. As an extension to previous findings, Mesz et al., (2012) expanded the possibility of understanding the topic of taste - sound correspondences by applying technological aspects into the experiment. He developed an algorithm that could exploit an extensive music collection and create flavoured musical pieces from the original resource from the improvisation in 2011.

As the auditory perception is unrecognizable and unimportant from the consumer's flavour perception., flavour/taste seems to be a non-related subject from a musical perspective since we mostly use one or more among the three senses to perceive music, auditory, visual, and somatosensory. The auditory sense is an apparent moderator between musical performances and human perception. Visual sense is a simultaneous sensorial perception that we experience during a live musical performance and video recording. Therefore, as an audience, we may anticipate sonic behaviours by observing the performer's gesture. For example, a performer naturally signals a big gesture to create loud dynamics. As a performer, physical gestures significantly affect the audience's perception regarding auditory experience, engagement, and interaction. Consequently, somatosensory sense is a sense of touch which cooperates with the auditory and visual senses. In a situation of live performance, we potentially perceive sonic vibration within the surrounding environment and space. For instance, our body could be aware of shaking-floor when listening to the bass drum reverberation in the hall. Contrary, with virtual performance, somatosensory may be lost.

In another field, Spence (2013) experimented on the topic of correspondences at a more complex level, namely crossmodal correspondences between classical music and fine wines. As wine critique sometimes compares wine to music, musical style, artist, or even musical parameters, this research aims to find whether such comparisons are just personal interpretation of wine critique or reflection of general correspondences that the average population can experience. Besides musical and instrumental sounds, speech sound is relevant to this topic and intriguing in musical creation processes such as lied songs or opera. Simner et al. (2010) found that distinct properties of vowels could be systematically links to four basic tastes. Spence et al. (2011) have looked for associations between chocolate and round/angular words a year later.

Beyond notation points, Hector Berlioz uses a taste word to describe the oboe's sound in his Grand traité d'instrumentation et d'orchestration modernes as a small acid-sweet voice, which is a beautiful way of describing instrumental sound.

For gustatory perspectives in musical perception, there is considerable evidence in our history that shows the relation between music and food. There are several indications and records both in texts and paintings showing that humans usually use music in combination with food to fulfill their desires, needs for more pleasure, or own prosperity. In ancient civilization, such as Greek, the Romans, the Qing Dynasty from China, or the Sukhothai and the Rattanakosin Dynasties from Thailand, there has been evidence of using music as an accompaniment for entertainment in elite feasts. Going back to when the music recording did not exist, a fine restaurant or a high society gathering usually involved live music performance as a part of the experience. The live music performance has been inherited since then, and it is almost odd if there is no music element in the restaurant setting.

A growing number of studies have shown that people can match basic tastes and flavour with sound and different musical parameters in a consistent manner. Researchers have been giving their attention to various perspectives on crossmodal correspondences between audition and gustation in a simple form (basic tastes and pure tones), and a complex form (flavour and complex musical piece). This growing body of research is the evidence indicating that the crossmodal correspondences between sound and tastes/flavour are experienced by populations, and they are different from synaesthesia, which is more idiosyncratic and particular.

Compared with other correspondences, tastes/flavour - sound correspondences are quite behind as they are only in the beginning phase and only recently started an investigation. There are conflicting research results, but there are many striking consistencies in several experiments shining through and giving full support to this type of correspondence. Besides research outcomes, researchers are trying to find a potential mechanism that mediates this correspondent type. Until today, there has been no concrete answer to this question, but there are several potential mechanisms that can lead us to the answer.

In the modern classical music world, the notation is usually a mediator between composers and performers. A score is a tool for composers to express their musical wills. On the other hand, performers use the score to understand composers' intention. To make each intention delivered properly to performers and audiences, using only dots and rhythms are not enough. In addition, composers have to use expressive marks and descriptive words to make the scores explicit. In many cases, expression words come in emotion or indication, but there is one striking musical expression, a taste expression, "Dolce". It is intriguing how we can understand and are able to produce a sweet sound even there is no apparent relation between the word and the sound. The use of words from another sensory modality to express something that may be difficult to capture in the original sense is a common tendency of humans. In the artistic field, non-related sensory descriptions are an enhancement tool for interpretation and artistic expression.