Musical friends and foes: The social cognition of affiliation and control in improvised interactions

Music communicates social emotions: Evidence from 750 music excerpts

Humans perceive a range of basic emotional connotations from music, such as joy, sadness, and fear, which can be decoded from structural characteristics of music, such as rhythm, harmony, and timbre. However, despite theory and evidence that music has multiple social functions, little research has examined whether music conveys emotions specifically associated with social status and social connection. This investigation aimed to determine whether the social emotions of dominance and affiliation are perceived in music and whether structural features of music predict social emotions, just as they predict basic emotions. Participants (N = 1513) listened to subsets of 750 music excerpts and provided ratings of energy arousal, tension arousal, valence, dominance, and affiliation. Ratings were modelled based on ten structural features of music. Dominance and affiliation were readily perceived in music and predicted by structural features including rhythm, harmony, dynamics, and timbre. In turn, energy arousal, tension arousal and valence were also predicted by musical structure. We discuss the results in view of current models of music and emotion and propose research to illuminate the significance of social emotions in music.

The influence of musical parameters and subjective musical ratings on perceptions of culture

Recent research suggests that music can affect evaluations of other groups and cultures. However, little is known about the objective and subjective musical parameters that influence these evaluations. We aimed to fill this gap through two studies. Study 1 collected responses from 52 American participants who listened to 30 folk-song melodies from different parts of the world. Linear mixed-effects models tested the influence of objective and subjective musical parameters of these melodies on evaluations of the cultures from which they originated. Musical parameters consistently predicted cultural evaluations. The most prominent musical parameter was musical velocity, a measure of number of pitch onsets, predicting more cultural warmth, competence and evolvedness and less cultural threat. Next, with a sample of 212 American participants, Study 2 used a within-subjects experiment to alter the tempo and dissonance for a subset of six melody excerpts from Study 1, testing for causal effects. Linear mixed-effects models revealed that both dissonance and slow tempo predicted more negative cultural evaluations. Together, both studies demonstrate how musical parameters can influence cultural perceptions. Avenues for future research are discussed.

Not just in sync: Relations between partners' actions influence the sense of joint agency during joint action

When people perform joint actions together, they often experience a sense of joint agency ("we did that together"). The current study investigated whether relations between partners' actions within joint actions that require precise interpersonal synchrony influence joint agency, above and beyond the degree of synchrony partners achieve. We employed a mixed-methods approach that combined a quantitative experiment with a qualitative analysis of post-experiment interviews. Partners produced synchronized tone sequences that comprised either constant pitch sequences (simple temporal alignment between partners' actions) or musical duets (complex metrical and harmonic relations between partners' actions). Participants reported stronger joint agency for duets than constant pitches, when comparing trials with equally good synchronization. Post-experiment interviews revealed that joint agency was also influenced by participants' knowledge of the music and their perceptions of task performance, difficulty, and enjoyability. These findings further our understanding of joint agency for joint actions that require precise interpersonal synchrony.

Testosterone, oxytocin and co-operation: A hypothesis for the origin and function of music

Since the time of Darwin, theories have been proposed on the origin and functions of music; however, the subject remains enigmatic. The literature shows that music is closely related to important human behaviours and abilities, namely, cognition, emotion, reward and sociality (co-operation, entrainment, empathy and altruism). Notably, studies have deduced that these behaviours are closely related to testosterone (T) and oxytocin (OXT). The association of music with important human behaviours and neurochemicals is closely related to the understanding of reproductive and social behaviours being unclear. In this paper, we describe the endocrinological functions of human social and musical behaviour and demonstrate its relationship to T and OXT. We then hypothesised that the emergence of music is associated with behavioural adaptations and emerged as humans socialised to ensure survival. Moreover, the proximal factor in the emergence of music is behavioural control (social tolerance) through the regulation of T and OXT, and the ultimate factor is group survival through co-operation. The "survival value" of music has rarely been approached from the perspective of musical behavioural endocrinology. This paper provides a new perspective on the origin and functions of music.

Judgment of togetherness in performances by musical duos

Musicians experience varying degrees of togetherness with their co-performers when playing in ensembles. However, little is known about how togetherness is experienced by audiences and how interpersonal dynamics in body motion and sound support the judgment of togetherness. This research investigates audience sensitivity to audio and visual markers of interperformer coordination and expressivity in ensembles, in relation to modality of stimulus presentation and audience music background. A set of duo ensemble performances, comprising motion capture recordings of the musicians' upper bodies and instruments, were presented to participants with varying music background, including novices and semi-professional musicians. Participants were required to: (i) watch and listen, (ii) only watch, and (iii) only listen to the selected recordings, whilst providing dynamic ratings of how much togetherness between musicians they perceived. Results demonstrate that sound intensity and similarity in right arm motion (quantified using cross-wavelet transform analysis) were significant predictors of rated togetherness in novices, whilst sound synchronization and chest motion coordination predicted togetherness responses in semi-professional musicians. These results suggest the relevance of the quality of body motion coordination and of certain features of the audio outputs in the audience perception of togetherness. This research contributes to a better understanding of the perceptual mechanisms supporting socio-cognitive judgments of joint action activities.

Feeling moved by music: Investigating continuous ratings and acoustic correlates

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.

The sense of agency in joint action: An integrative review

When people perform joint actions together, their individual actions (e.g., moving one end of a heavy couch) must be coordinated to achieve a collective goal (e.g., moving the couch across the room). Joint actions pose unique challenges for understanding people's sense of agency, because each person engaged in the joint action can have a sense of agency not only at the individual level (a sense that "I moved my end of the couch" or "My partner moved their end of the couch"), but also at the collective level (a sense that "We moved the couch together"). This review surveys research that has examined people's sense of agency in joint action, including explicit judgments of agency, implicit measures of agency, and first-hand accounts of agency in real-world settings. The review provides a comprehensive summary of the factors that influence individual- and collective-level agency in joint action; reveals the progress that has been made toward understanding different forms of collective-level agency in joint action, including the sense that agency is shared among co-actors and the sense that co-actors are acting as a single unit; and synthesizes evidence concerning the relationships between different measures of implicit agency and individual- versus collective-level agency in joint action. The review concludes by highlighting numerous outstanding questions and promising avenues for future research.

Tonal Emergence: An agent-based model of tonal coordination

Humans have a remarkable capacity for coordination. Our ability to interact and act jointly in groups is crucial to our success as a species. Joint Action (JA) research has often concerned itself with simplistic behaviors in highly constrained laboratory tasks. But there has been a growing interest in understanding complex coordination in more open-ended contexts. In this regard, collective music improvisation has emerged as a fascinating model domain for studying basic JA mechanisms in an unconstrained and highly sophisticated setting. A number of empirical studies have begun to elucidate coordination mechanisms underlying joint musical improvisation, but these findings have yet to be cached out in a working computational model. The present work fills this gap by presenting Tonal Emergence, an idealized agent-based model of improvised musical coordination. Tonal Emergence models the coordination of notes played by improvisers to generate harmony (i.e., tonality), by simulating agents that stochastically generate notes biased towards maximizing harmonic consonance given their partner's previous notes. The model replicates an interesting empirical result from a previous study of professional jazz pianists: feedback loops of mutual adaptation between interacting agents support the production of consonant harmony. The model is further explored to show how complex tonal dynamics, such as the production and dissolution of stable tonal centers, are supported by agents that are characterized by (i) a tendency to strive toward consonance, (ii) stochasticity, and (iii) a limited memory for previously played notes. Tonal Emergence thus provides a grounded computational model to simulate and probe the coordination mechanisms underpinning one of the more remarkable feats of human cognition: collective music improvisation.

Bridging the gap between emotion and joint action

Our daily human life is filled with a myriad of joint action moments, be it children playing, adults working together (i.e., team sports), or strangers navigating through a crowd. Joint action brings individuals (and embodiment of their emotions) together, in space and in time. Yet little is known about how individual emotions propagate through embodied presence in a group, and how joint action changes individual emotion. In fact, the multi-agent component is largely missing from neuroscience-based approaches to emotion, and reversely joint action research has not found a way yet to include emotion as one of the key parameters to model socio-motor interaction. In this review, we first identify the gap and then stockpile evidence showing strong entanglement between emotion and acting together from various branches of sciences. We propose an integrative approach to bridge the gap, highlight five research avenues to do so in behavioral neuroscience and digital sciences, and address some of the key challenges in the area faced by modern societies.

Engaging students in creative music making with musical instrument application in an online flipped classroom

In K-12 schools, classes are forced to transform online due to the class suspension amid the COVID-19 pandemic. Educators began to design alternative ways to conduct some meaningful learning activities for their students. However, not all subject disciplines could be easily transformed online, especially for those requiring much social interaction and creation processes. In this article, we explore the learning processes through learning Shubailan, a form of music folk-talk-singing, with a mobile instrument application called muyu in an online flipped classroom among 122 secondary school students in Hong Kong. The opportunities can encourage students to learn music theories and instruments about Shubailan, and create a Shubailan piece through 6-lesson music learning. To gain more online face-to-face time for collaboration, flipping the online classroom is adopted in this study to engage students in lesson preparations via preassigned recorded videos and collaborative activities during face-to-face online lessons. In this study, a mixed research method was employed with the use of a learning satisfaction survey, teachers' observations and semi-structured interviews. We found that this strategy could effectively motivate students to learn music and improve their music knowledge in Shubailan. This article presents evidence of implementing the online flipped classroom approach to enhance students' satisfaction and knowledge acquisition throughout Shubailan music making processes, and offers recommendations for online music educators. Results provide a set of innovative pedagogical approaches to teach music in an online alternative mode during the difficult times.

Musical improvisation enhances interpersonal coordination in subsequent conversation: Motor and speech evidence

This study explored the effects of musical improvisation between dyads of same-sex strangers on subsequent behavioural alignment. Participants-all non-musicians-conversed before and after either improvising music together (Musical Improvisation-MI-group) or doing a motoric non-rhythmic cooperative task (building a tower together using wooden blocks; the Hands-Busy-HB-group). Conversations were free, but initially guided by an adaptation of the Fast Friends Questionnaire for inducing talk among students who are strangers and meeting for the first time. Throughout, participants' motion was recorded with an optical motion-capture system (Mocap) and analysed in terms of speed cross-correlations. Their conversations were also recorded on separate channels using headset microphones and were analysed in terms of the periodicity displayed by rhythmic peaks in the turn transitions across question and answer pairs (Q+A pairs). Compared with their first conversations, the MI group in the second conversations showed: (a) a very rapid, partially simultaneous anatomical coordination between 0 and 0.4 s; (b) delayed mirror motoric coordination between 0.8 and 1.5 s; and (c) a higher proportion of Periodic Q+A pairs. In contrast, the HB group's motoric coordination changed slightly in timing but not in degree of coordination between the first and second conversations, and there was no significant change in the proportion of periodic Q+A pairs they produced. These results show a convergent effect of prior musical interaction on joint body movement and use of shared periodicity across speech turn-transitions in conversations, suggesting that interaction in music and speech may be mediated by common processes.

The Compassionate Kitbag: A creative and integrative approach to compassion-focused therapy

PURPOSE

This paper outlines the concept of the 'Compassionate Kitbag', a novel multi-sensory-based means of helping draw together the various elements of compassionate mind training and processes within compassion-focused therapy (CFT), to help clients cultivate and facilitate their capacities for compassion. Building on the work of Lucre and Corten (2013, Psychology and Psychotherapy: Theory, Research and Practice, 86, 387), this is the first published work exploring this concept and the theoretical underpinnings, with a specific focus on how this can be used to support people with attachment and relational trauma.

METHODS

A narrative review of the literature on multi-sensory stimulation in facilitating people's capacities for compassion was conducted, coupled with a review of the literature of the use of non-human and transitional objects as explained by attachment theory and the broader scientific research underpinning the CFT model.

RESULTS

Clinical examples of how to use the Compassionate Kitbag to help stimulate compassionate therapeutic processes demonstrate the benefits of and how to begin utilizing this approach in compassion-focused work with clients with complex needs.

CONCLUSIONS

The Compassionate Kitbag's potential therapeutic value lies in offering multifarious creative and tangible means of accessing compassion to a wide range of individuals whom are typically fearful of, blocked, and/or resistant to compassion. Further research into the wider application of the concept of the Compassionate Kitbag is needed.

PRACTITIONER POINTS

Many patients with ruptured and/or traumatized early attachment relationships can find more traditional talking therapies difficult to access. Compassion-focused therapy (CFT) can offer an evolutionary-based understanding of interpersonal difficulties which can be helpful for such patients. Creatively harnessing and utilizing multi-sensory and non-linguistic social signals in CFT is key to exercising the care-giving and care-receiving social mentalities that facilitate compassionate flow. There is considerable evidence to support the use of a multi-sensory component to the therapeutic work to help patients cultivate and facilitate their capacities for compassion. The Compassionate Kitbag can be a way of supporting patients to create concrete representations of compassion in the context of the compassionate mind training component of the therapeutic work. Some of these objects can become transitional objects which can aid the therapeutic work.

Emergent Shared Intentions Support Coordination During Collective Musical Improvisations

Human interactions are often improvised rather than scripted, which suggests that efficient coordination can emerge even when collective plans are largely underspecified. One possibility is that such forms of coordination primarily rely on mutual influences between interactive partners, and on perception-action couplings such as entrainment or mimicry. Yet some forms of improvised joint actions appear difficult to explain solely by appealing to these emergent mechanisms. Here, we focus on collective free improvisation, a form of highly unplanned creative practice where both agents' subjective reports and the complexity of their interactions suggest that shared intentions may sometimes emerge to support coordination during the course of the improvisation, even in the absence of verbal communication. In four experiments, we show that shared intentions spontaneously emerge during collective musical improvisations, and that they foster coordination on multiple levels, over and beyond the mere influence of shared information. We also show that musicians deploy communicative strategies to manifest and propagate their intentions within the group, and that this predicts better coordination. Overall, our results suggest that improvised and scripted joint actions are more continuous with one another than it first seems, and that they differ merely in the extent to which they rely on emergent or planned coordination mechanisms.

Being emotionally moved is associated with phasic physiological calming during tonic physiological arousal from pleasant tears

The experience of being emotionally "moved" is considered a valuable emotional experience. Although pleasant chills (goosebumps and shivers) and tears (weeping and a lump in the throat) are commonly associated with the experience of being emotionally moved, no previous studies have examined which of these psychophysiological responses is the most intrinsic to the phenomenon of being moved. We conducted two music listening experiments to examine this question. Both experiments revealed that, when chills and tears were reliably separated, chills evoked phasic increases in electrodermal activity, whereas tears induced phasic decreases in heart and respiration rate during tonic physiological arousal. Importantly, whereas tears predicted the experience of being moved, experiencing chills did not. Furthermore, psychoacoustic features of music did not explain the physiological response of chills and tears. The results demonstrated that the experience of being moved involved a sense of pleasure coupled with psychophysiological relief from tension. Based on extended attachment theory, the sequential process of physiological arousal to physiological calming, which is derived from abstract life-guiding ideas via the combination of sound and lyrics, may be important for evoking the experience of being emotionally moved. These psychophysiological characteristics could explain why people seek to be moved.

Musical coordination in a large group without plans nor leaders

A widespread belief is that large groups engaged in joint actions that require a high level of flexibility are unable to coordinate without the introduction of additional resources such as shared plans or hierarchical organizations. Here, we put this belief to a test, by empirically investigating coordination within a large group of 16 musicians performing collective free improvisation-a genre in which improvisers aim at creating music that is as complex and unprecedented as possible without relying on shared plans or on an external conductor. We show that musicians freely improvising within a large ensemble can achieve significant levels of coordination, both at the level of their musical actions (i.e., their individual decisions to play or to stop playing) and at the level of their directional intentions (i.e., their intentions to change or to support the music produced by the group). Taken together, these results invite us to reconsider the range and scope of actions achievable by large groups, and to explore alternative organizational models that emphasize decentralized and unscripted forms of collective behavior.

Coordination and Consonance Between Interacting, Improvising Musicians

Joint action (JA) is ubiquitous in our cognitive lives. From basketball teams to teams of surgeons, humans often coordinate with one another to achieve some common goal. Idealized laboratory studies of group behavior have begun to elucidate basic JA mechanisms, but little is understood about how these mechanisms scale up in more sophisticated and open-ended JA that occurs in the wild. We address this gap by examining coordination in a paragon domain for creative joint expression: improvising jazz musicians. Coordination in jazz music subserves an aesthetic goal: the generation of a collective musical expression comprising coherent, highly nuanced musical structure (e.g., rhythm, harmony). In our study, dyads of professional jazz pianists improvised in a "coupled," mutually adaptive condition, and an "overdubbed" condition that precluded mutual adaptation, as occurs in common studio recording practices. Using a model of musical tonality, we quantify the flow of rhythmic and harmonic information between musicians as a function of interaction condition. Our analyses show that mutually adapting dyads achieve greater temporal alignment and produce more consonant harmonies. These musical signatures of coordination were preferred by independent improvisers and naive listeners, who gave higher quality ratings to coupled interactions despite being blind to condition. We present these results and discuss their implications for music technology and JA research more generally.

Adaptation and destabilization of interpersonal relationships in sport and music during the Covid-19 lockdown

The 2020 COVID-19 pandemic and the resulting imposition of physical distancing rules had consequences in the domains of music and sport. The present study sought to analyze how the COVID-19 lockdown period affected interpersonal relationships between music teachers and students and sports coaches and athletes. As part of a semi-structured interview, eighteen participants—six athletes and their three coaches and six musicians and their three teachers—were asked to recall how their interpersonal relationships evolved during the lockdown. Findings showed that these changes could be grouped into four dimensions: establishing a new relationship; working on a new form for the relationship; developing functional, positive adaptations; and developingnon-adaptive,detached relationships. Findings also showed that members of the dyad gave meaning to their interpersonal relationship in a dynamic way, even over such a short time. There were some similarities between the experiences of musicians and athletes, highlighting the importance of a well-functioning dyad and good communication between the parties.

On the Enjoyment of Sad Music: Pleasurable Compassion Theory and the Role of Trait Empathy

Drawing on recent empirical studies on the enjoyment of nominally sad music, a general theory of the pleasure of tragic or sad portrayals is presented. Not all listeners enjoy sad music. Multiple studies indicate that those individuals who enjoy sad music exhibit a particular pattern of empathic traits. These individuals score high on empathic concern (compassion) and high on imaginative absorption (fantasy), with only nominal personal distress (commiseration). Empirical studies are reviewed implicating compassion as a positively valenced affect. Accordingly, individuals who most enjoy sad musical portrayals experience a pleasurable prosocial affect (compassion), amplified by empathetic engagement (fantasy), while experiencing only nominal levels of unpleasant emotional contagion (commiseration). It is suggested that this pattern of trait empathy may apply more broadly, accounting for many other situations where spectators experience pleasure when exposed to tragic representations or portrayals.

Adaptation to unstable coordination patterns in individual and joint actions

Previous research on interlimb coordination has shown that some coordination patterns are more stable than others, and function as attractors in the space of possible phase relations between different rhythmic movements. The canonical coordination patterns, i.e. the two most stable phase relations, are in-phase (0 degree) and anti-phase (180 degrees). Yet, musicians are able to perform other coordination patterns in intrapersonal as well as in interpersonal coordination with remarkable precision. This raises the question of how music experts manage to produce these unstable patterns of movement coordination. In the current study, we invited participants with at least five years of training on a musical instrument. We used an adaptation paradigm to address two factors that may facilitate producing unstable coordination patterns. First, we investigated adaptation in different coordination settings, to test the hypothesis that the lower coupling strength between individuals during joint performance makes it easier to achieve stability outside of the canonical patterns than the stronger coupling during individual bimanual performance. Second, we investigated whether adding to the structure of action effects may support achieving unstable coordination patterns, both intra- and inter-individually. The structure of action effects was strengthened by adding a melodic contour to the action effects, a measure that has been shown to improve the acquisition of bimanual coordination skills. Adaptation performance was measured both in terms of asynchrony and variability thereof. As predicted, we found that producing unstable patterns benefitted from the weaker coupling during joint performance. Surprisingly, the structure of action effects did not help with achieving unstable coordination patterns.

Distinct varieties of aesthetic chills in response to multimedia

The experience of aesthetic chills, often defined as a subjective response accompanied by goosebumps, shivers and tingling sensations, is a phenomenon often utilized to indicate moments of peak pleasure and emotional arousal in psychological research. However, little is currently understood about how to conceptualize the experience, particularly in terms of whether chills are general markers of intense pleasure and emotion, or instead a collection of distinct phenomenological experiences. To address this, a web-study was designed using images, videos, music videos, texts and music excerpts (from both an online forum dedicated to chills-eliciting stimuli and previous musical chills study), to explore variations across chills experience in terms of bodily and emotional responses reported. Results suggest that across participants (N = 179), three distinct chills categories could be identified: warm chills (chills co-occurring with smiling, warmth, feeling relaxed, stimulated and happy), cold chills (chills co-occurring with frowning, cold, sadness and anger), and moving chills (chills co-occurring with tears, feeling a lump in the throat, emotional intensity, and feelings of affection, tenderness and being moved). Warm chills were linked to stimuli expressing social communion and love; cold chills were elicited by stimuli portraying entities in distress, and support from one to another; moving chills were elicited by most stimuli, but their incidence were also predicted by ratings of trait empathy. Findings are discussed in terms of being moved, the importance of differing induction mechanisms such as shared experience and empathic concern, and the implications of distinct chills categories for both individual differences and inconsistencies in the existing aesthetic chills literature.

Collaborative Musical Creativity: How Ensembles Coordinate Spontaneity

Music performance is inherently social. Most music is performed in groups, and even soloists are subject to influence from a (real or imagined) audience. It is also inherently creative. Performers are called upon to interpret notated music, improvise new musical material, adapt to unexpected playing conditions, and accommodate technical errors. The focus of this paper is how creativity is distributed across members of a music ensemble as they perform these tasks. Some aspects of ensemble performance have been investigated extensively in recent years as part of the broader literature on joint action (e.g., the processes underlying sensorimotor synchronization). Much of this research has been done under highly controlled conditions, using tasks that generate reliable results, but capture only a small part of ensemble performance as it occurs naturalistically. Still missing from this literature is an explanation of how ensemble musicians perform in conditions that require creative interpretation, improvisation, and/or adaptation: how do they coordinate the production of something new? Current theories of creativity endorse the idea that dynamic interaction between individuals, their actions, and their social and material environments underlies creative performance. This framework is much in line with the embodied music cognition paradigm and the dynamical systems perspective on ensemble coordination. This review begins by situating the concept of collaborative musical creativity in the context of embodiment. Progress that has been made toward identifying the mechanisms that underlie collaborative creativity in music performance is then assessed. The focus is on the possible role of musical imagination in facilitating performer flexibility, and on the forms of communication that are likely to support the coordination of creative musical output. Next, emergence and group flow–constructs that seem to characterize ensemble performance at its peak–are considered, and some of the conditions that may encourage periods of emergence or flow are identified. Finally, it is argued that further research is needed to (1) demystify the constructs of emergence and group flow, clarifying their effects on performer experience and listener response, (2) determine how constrained musical imagination is by perceptual experience and understand people's capacity to depart from familiar frameworks and imagine new sounds and sound structures, and (3) assess the technological developments that are supposed to facilitate or enhance musical creativity, and determine what effect they have on the processes underlying creative collaboration.

Reporting quality of music intervention research in healthcare: A systematic review

INTRODUCTION

Concomitant with the growth of music intervention research, are concerns about inadequate intervention reporting and inconsistent terminology, which limits validity, replicability, and clinical application of findings.

OBJECTIVE

Examine reporting quality of music intervention research, in chronic and acute medical settings, using the Checklist for Reporting Music-based Interventions. In addition, describe patient populations and primary outcomes, intervention content and corresponding interventionist qualifications, and terminology.

METHODS

Searching MEDLINE, PubMed, CINAHL, HealthSTAR, and PsycINFO we identified articles meeting inclusion/exclusion criteria for a five-year period (2010-2015) and extracted relevant data. Coded material included reporting quality across seven areas (theory, content, delivery schedule, interventionist qualifications, treatment fidelity, setting, unit of delivery), author/journal information, patient population/outcomes, and terminology.

RESULTS

Of 860 articles, 187 met review criteria (128 experimental; 59 quasi-experimental), with 121 publishing journals, and authors from 31 countries. Overall reporting quality was poor with <50% providing information for four of the seven checklist components (theory, interventionist qualifications, treatment fidelity, setting). Intervention content reporting was also poor with <50% providing information about the music used, decibel levels/volume controls, or materials. Credentialed music therapists and registered nurses delivered most interventions, with clear differences in content and delivery. Terminology was varied and inconsistent.

CONCLUSIONS

Problems with reporting quality impedes meaningful interpretation and cross-study comparisons. Inconsistent and misapplied terminology also create barriers to interprofessional communication and translation of findings to patient care. Improved reporting quality and creation of shared language will advance scientific rigor and clinical relevance of music intervention research.

Neurophysiological Effects of Trait Empathy in Music Listening

The social cognitive basis of music processing has long been noted, and recent research has shown that trait empathy is linked to musical preferences and listening style. Does empathy modulate neural responses to musical sounds? We designed two functional magnetic resonance imaging (fMRI) experiments to address this question. In Experiment 1, subjects listened to brief isolated musical timbres while being scanned. In Experiment 2, subjects listened to excerpts of music in four conditions (familiar liked (FL)/disliked and unfamiliar liked (UL)/disliked). For both types of musical stimuli, emotional and cognitive forms of trait empathy modulated activity in sensorimotor and cognitive areas: in the first experiment, empathy was primarily correlated with activity in supplementary motor area (SMA), inferior frontal gyrus (IFG) and insula; in Experiment 2, empathy was mainly correlated with activity in prefrontal, temporo-parietal and reward areas. Taken together, these findings reveal the interactions between bottom-up and top-down mechanisms of empathy in response to musical sounds, in line with recent findings from other cognitive domains.

What About Their Performance Do Free Jazz Improvisers Agree Upon? A Case Study

When musicians improvise freely together—not following any sort of script, predetermined harmonic structure, or “referent”—to what extent do they understand what they are doing in the same way as each other? And to what extent is their understanding privileged relative to outside listeners with similar levels of performing experience in free improvisation? In this exploratory case study, a saxophonist and a pianist of international renown who knew each other's work but who had never performed together before were recorded while improvising freely for 40 min. Immediately afterwards the performers were interviewed separately about the just-completed improvisation, first from memory and then while listening to two 5 min excerpts of the recording in order to prompt specific and detailed commentary. Two commenting listeners from the same performance community (a saxophonist and drummer) listened to, and were interviewed about, these excerpts. Some months later, all four participants rated the extent to which they endorsed 302 statements that had been extracted from the four interviews and anonymized. The findings demonstrate that these free jazz improvisers characterized the improvisation quite differently, selecting different moments to comment about and with little overlap in the content of their characterizations. The performers were not more likely to endorse statements by their performing partner than by a commenting listener from the same performance community, and their patterns of agreement with each other (endorsing or dissenting with statements) across multiple ratings—their interrater reliability as measured with Cohen's kappa—was only moderate, and not consistently higher than their agreement with the commenting listeners. These performers were more likely to endorse statements about performers' thoughts and actions than statements about the music itself, and more likely to endorse evaluatively positive than negative statements. But these kinds of statements were polarizing; the performers were more likely to agree with each other in their ratings of statements about the music itself and negative statements. As in Schober and Spiro (2014), the evidence supports a view that fully shared understanding is not needed for joint improvisation by professional musicians in this genre and that performing partners can agree with an outside listener more than with each other.

The Pleasure Evoked by Sad Music Is Mediated by Feelings of Being Moved

Why do we enjoy listening to music that makes us sad? This question has puzzled music psychologists for decades, but the paradox of “pleasurable sadness” remains to be solved. Recent findings from a study investigating the enjoyment of sad films suggest that the positive relationship between felt sadness and enjoyment might be explained by feelings of being moved (Hanich et al., 2014). The aim of the present study was to investigate whether feelings of being moved also mediated the enjoyment of sad music. In Experiment 1, 308 participants listened to five sad music excerpts and rated their liking and felt emotions. A multilevel mediation analysis revealed that the initial positive relationship between liking and felt sadness (r = 0.22) was fully mediated by feelings of being moved. Experiment 2 explored the interconnections of perceived sadness, beauty, and movingness in 27 short music excerpts that represented independently varying levels of sadness and beauty. Two multilevel mediation analyses were carried out to test competing hypotheses: (A) that movingness mediates the effect of perceived sadness on liking, or (B) that perceived beauty mediates the effect of sadness on liking. Stronger support was obtained for Hypothesis A. Our findings suggest that – similarly to the enjoyment of sad films – the aesthetic appreciation of sad music is mediated by being moved. We argue that felt sadness may contribute to the enjoyment of sad music by intensifying feelings of being moved.