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PLoS ONE ◽  
2022 ◽  
Vol 17 (1) ◽  
pp. e0261151
Author(s):  
Jonna K. Vuoskoski ◽  
Janis H. Zickfeld ◽  
Vinoo Alluri ◽  
Vishnu Moorthigari ◽  
Beate Seibt

The experience often described as feeling moved, understood chiefly as a social-relational emotion with social bonding functions, has gained significant research interest in recent years. Although listening to music often evokes what people describe as feeling moved, very little is known about the appraisals or musical features contributing to the experience. In the present study, we investigated experiences of feeling moved in response to music using a continuous rating paradigm. A total of 415 US participants completed an online experiment where they listened to seven moving musical excerpts and rated their experience while listening. Each excerpt was randomly coupled with one of seven rating scales (perceived sadness, perceived joy, feeling moved or touched, sense of connection, perceived beauty, warmth [in the chest], or chills) for each participant. The results revealed that musically evoked experiences of feeling moved are associated with a similar pattern of appraisals, physiological sensations, and trait correlations as feeling moved by videos depicting social scenarios (found in previous studies). Feeling moved or touched by both sadly and joyfully moving music was associated with experiencing a sense of connection and perceiving joy in the music, while perceived sadness was associated with feeling moved or touched only in the case of sadly moving music. Acoustic features related to arousal contributed to feeling moved only in the case of joyfully moving music. Finally, trait empathic concern was positively associated with feeling moved or touched by music. These findings support the role of social cognitive and empathic processes in music listening, and highlight the social-relational aspects of feeling moved or touched by music.


First Monday ◽  
2022 ◽  
Author(s):  
Sophie Freeman ◽  
Martin Gibbs ◽  
Bjørn Nansen

Given access to huge online collections of music on streaming platforms such as Spotify or Apple Music, users have become increasingly reliant on algorithmic recommender systems and automated curation and discovery features to find and curate music. Based on participant observation and semi-structured interviews with 15 active users of music streaming services, this article critically examines the user experience of music recommendation and streaming, seeking to understand how listeners interact with and experience these systems, and asking how recommendation and curation features define their use in a new and changing landscape of music consumption and discovery. This paper argues that through daily interactions with algorithmic features and curation, listeners build complex socio-technical relationships with these algorithmic systems, involving human-like factors such as trust, betrayal and intimacy. This article is significant as it positions music recommender systems as active agents in shaping music listening habits and the individual tastes of users.


2022 ◽  
pp. 102986492110469
Author(s):  
Cristina Harney ◽  
Judith Johnson ◽  
Freya Bailes ◽  
Jelena Havelka

Anxiety is the most commonly diagnosed mental health disorder in the EU and 18% of the US population experiences an anxiety disorder at any one time. However, only 20% of individuals experiencing anxiety receive a formally administered intervention, highlighting a need for evidence-based interventions that can be self-administered. Music listening can be flexibly self-administered and may be useful for anxiety reduction, but further evidence is needed. The current paper addressed this by conducting the first systematic review and meta-analysis of controlled studies testing music listening interventions for naturally occurring state anxiety. A protocol was registered on PROSPERO ID: CRD42018104308. Searches were carried out of the Cochrane Library, Ovid MEDLINE, PsycINFO, Embase, Web of Science and CINAHL databases, yielding 6208 records. After screening for eligibility, 24 controlled studies were included in the review and 21 were included in the meta-analysis. Results of the meta-analyses showed that music listening had an overall significant large effect on alleviating anxiety ( d = −0.77 [95% CI = −1.26, −0.28], k = 21). It was concluded that music listening is effective for reducing anxiety in a range of groups. Further research should focus on clinical groups with diagnosed mental health problems.


2021 ◽  
pp. 030573562110618
Author(s):  
Katrin Starcke ◽  
Sina Zimmermann ◽  
Richard von Georgi

Recent findings suggest that music listening plays an important role in affect and arousal modulation. Individuals use music to enhance their well-being and counteract negative affect in numerous everyday situations. We investigated whether listening to preferred, non-preferred, or no music altered affect, arousal, psychological and physical health, and stress. Thirty police officers participated in the study. After a baseline assessment, participants were divided into three experimental groups: Group 1 listened to their preferred music; Group 2 listened to their non-preferred music; and Group 3 did not listen to any music. The manipulation was maintained over a period of 7 days. At the end of each day, participants filled out questionnaires concerning their current affect, arousal, psychological and physical health, and stress. Results indicate that the no music group showed significant decreases in affect and psychological and physical health, and significant increases in stress levels compared with the other groups. In contrast, no statistical differences were observed between the non-preferred music group and the preferred music group. We conclude that not listening to any music might be followed by discomfort. We recommend music listening in everyday life for supporting health.


Author(s):  
Mark Reybrouck ◽  
Piotr Podlipniak ◽  
David Welch

This paper argues for a biological conception of music listening as an evolutionary achievement that is related to a long history of cognitive and affective-emotional functions, which are grounded in basic homeostatic regulation. Starting from the three levels of description, the acoustic description of sounds, the neurological level of processing, and the psychological correlates of neural stimulation, it conceives of listeners as open systems that are in continuous interaction with the sonic world. By monitoring and altering their current state, they can try to stay within the limits of operating set points in the pursuit of a controlled state of dynamic equilibrium, which is fueled by interoceptive and exteroceptive sources of information. Listening, in this homeostatic view, can be adaptive and goal-directed with the aim of maintaining the internal physiology and directing behavior towards conditions that make it possible to thrive by seeking out stimuli that are valued as beneficial and worthy, or by attempting to avoid those that are annoying and harmful. This calls forth the mechanisms of pleasure and reward, the distinction between pleasure and enjoyment, the twin notions of valence and arousal, the affect-related consequences of music listening, the role of affective regulation and visceral reactions to the sounds, and the distinction between adaptive and maladaptive listening.


Author(s):  
Jessica M. Ross ◽  
Daniel C. Comstock ◽  
John R. Iversen ◽  
Scott Makeig ◽  
Ramesh Balasubramaniam

Brain systems supporting body movement are active during music listening in the absence of overt movement. This covert motor activity is not well understood, but some theories propose a role in auditory timing prediction facilitated by motor simulation. One question is how music-related covert motor activity relates to motor activity during overt movement. We address this question using scalp electroencephalogram by measuring mu rhythms-- cortical field phenomena associated with the somatomotor system that appear over sensorimotor cortex. Lateralized mu enhancement over hand sensorimotor cortex during/just before foot movement in foot vs. hand movement paradigms is thought to reflect hand movement inhibition during current/prospective movement of another effector. Behavior of mu during music listening with movement suppressed has yet to be determined. We recorded 32-channel EEG (N=17) during silence without movement, overt movement (foot/hand), and music listening without movement. Using an Independent Component Analysis-based source equivalent dipole clustering technique, we identified three mu-related clusters, localized to left primary motor and right and midline premotor cortices. Right foot tapping was accompanied by mu enhancement in the left lateral source cluster, replicating previous work. Music listening was accompanied by similar mu enhancement in the left, as well as midline, clusters. We are the first to report, and also to source-resolve, music-related mu modulation in the absence of overt movements. Covert music-related motor activity has been shown to play a role in beat perception (1). Our current results show enhancement in somatotopically organized mu, supporting overt motor inhibition during beat perception.


2021 ◽  
Vol 12 ◽  
Author(s):  
Inge Nygaard Pedersen ◽  
Lars Ole Bonde ◽  
Niels Jørgensen Hannibal ◽  
Jimmi Nielsen ◽  
Jørgen Aagaard ◽  
...  

Objective: To investigate the efficacy of music therapy for negative symptoms in patients with schizophrenia.Methods: Randomized, participant- and assessor-blinded, multicenter, controlled trial including patients diagnosed with schizophrenia according to ICD-10 with predominantly negative symptoms, between 18 and 65 years. Participants were randomized to 25 successive weekly individual sessions (excluding holidays, including cancellation by the participant) of either music therapy conducted by trained music therapists, or music listening together with a social care worker. The primary outcome was reduction in negative symptoms as measured by The Positive and negative Syndrome Scale (PANSS) negative subscale total score, assessed by a blinded rater, utilizing mixed-effects model analysis.Results: In total, 57 participants were randomized; 39 completed the study's initial 15 weeks, and 30 completed follow-up at 25 weeks. On the primary outcome of PANSS negative subscale, no significant difference was observed between groups with a coefficient of −0.24 (95% CI −1.76 to 1.27, P = 0.754) in the intention to treat analysis, and −0.98 (95% CI −5.06 to 3.09, P = 0.625) when only analyzing completers. Both interventions showed significant reduction from baseline to 25 weeks on PANSS negative subscale. On secondary outcomes, no between group differences were observed in The Brief Negative Symptom Scale, WHOQOL-Bref (Quality of Life), The Helping Alliance Questionnaire and The Global Assessment of Functioning in the intention to treat or completers populations utilizing Mixed Effects Models.Conclusion: No difference between groups randomized to music therapy vs. musical listening was observed resulting in no clear recommendation for which intervention to use as the first choice for treatment of patients diagnosed with schizophrenia and predominantly having negative symptoms.Clinical Trial Registration:www.ClinicalTrials.gov, identifier: NCT02942459.


2021 ◽  
pp. 027623742110594
Author(s):  
Diana Omigie ◽  
Jessica Ricci

Music offers a useful opportunity to consider the factors contributing to the experience of curiosity in the context of dynamically changing stimuli. Here, we tested the hypothesis that the perception of change in music triggers curiosity as to how the heard music will unfold. Participants were presented with unfamiliar musical excerpts and asked to provide continuous ratings of their subjective experience of curiosity and calm, and their perception of change, as the music unfolded. As hypothesized, we found that for all musical pieces, the perceptual experience of change Granger-caused feelings of curiosity but not feelings of calm. Our results suggest music is a powerful tool with which to examine the factors contributing to curiosity induction. Accordingly, we outline ways in which extensions to the approach taken here may be useful: both in elucidating our information-seeking drive more generally, and in elucidating the manifestation of this drive during music listening.


2021 ◽  
Vol 15 ◽  
Author(s):  
Xiulin Wang ◽  
Wenya Liu ◽  
Xiaoyu Wang ◽  
Zhen Mu ◽  
Jing Xu ◽  
...  

Ongoing electroencephalography (EEG) signals are recorded as a mixture of stimulus-elicited EEG, spontaneous EEG and noises, which poses a huge challenge to current data analyzing techniques, especially when different groups of participants are expected to have common or highly correlated brain activities and some individual dynamics. In this study, we proposed a data-driven shared and unshared feature extraction framework based on nonnegative and coupled tensor factorization, which aims to conduct group-level analysis for the EEG signals from major depression disorder (MDD) patients and healthy controls (HC) when freely listening to music. Constrained tensor factorization not only preserves the multilinear structure of the data, but also considers the common and individual components between the data. The proposed framework, combined with music information retrieval, correlation analysis, and hierarchical clustering, facilitated the simultaneous extraction of shared and unshared spatio-temporal-spectral feature patterns between/in MDD and HC groups. Finally, we obtained two shared feature patterns between MDD and HC groups, and obtained totally three individual feature patterns from HC and MDD groups. The results showed that the MDD and HC groups triggered similar brain dynamics when listening to music, but at the same time, MDD patients also brought some changes in brain oscillatory network characteristics along with music perception. These changes may provide some basis for the clinical diagnosis and the treatment of MDD patients.


2021 ◽  
Vol 15 ◽  
Author(s):  
Tysen Dauer ◽  
Duc T. Nguyen ◽  
Nick Gang ◽  
Jacek P. Dmochowski ◽  
Jonathan Berger ◽  
...  

Musical minimalism utilizes the temporal manipulation of restricted collections of rhythmic, melodic, and/or harmonic materials. One example, Steve Reich's Piano Phase, offers listeners readily audible formal structure with unpredictable events at the local level. For example, pattern recurrences may generate strong expectations which are violated by small temporal and pitch deviations. A hyper-detailed listening strategy prompted by these minute deviations stands in contrast to the type of listening engagement typically cultivated around functional tonal Western music. Recent research has suggested that the inter-subject correlation (ISC) of electroencephalographic (EEG) responses to natural audio-visual stimuli objectively indexes a state of “engagement,” demonstrating the potential of this approach for analyzing music listening. But can ISCs capture engagement with minimalist music, which features less obvious expectation formation and has historically received a wide range of reactions? To approach this question, we collected EEG and continuous behavioral (CB) data while 30 adults listened to an excerpt from Steve Reich's Piano Phase, as well as three controlled manipulations and a popular-music remix of the work. Our analyses reveal that EEG and CB ISC are highest for the remix stimulus and lowest for our most repetitive manipulation, no statistical differences in overall EEG ISC between our most musically meaningful manipulations and Reich's original piece, and evidence that compositional features drove engagement in time-resolved ISC analyses. We also found that aesthetic evaluations corresponded well with overall EEG ISC. Finally we highlight co-occurrences between stimulus events and time-resolved EEG and CB ISC. We offer the CB paradigm as a useful analysis measure and note the value of minimalist compositions as a limit case for the neuroscientific study of music listening. Overall, our participants' neural, continuous behavioral, and question responses showed strong similarities that may help refine our understanding of the type of engagement indexed by ISC for musical stimuli.


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