Cardiovascular and respiratory responses during musical mood induction

Audio-visual concert performances synchronize audience's heart rates

People enjoy engaging with music. Live music concerts provide an excellent option to investigate real-world music experiences, and at the same time, use neurophysiological synchrony to assess dynamic engagement. In the current study, we assessed engagement in a live concert setting using synchrony of cardiorespiratory measures, comparing inter-subject, stimulus-response, correlation, and phase coherence. As engagement might be enhanced in a concert setting by seeing musicians perform, we presented audiences with audio-only (AO) and audio-visual (AV) piano performances. Only correlation synchrony measures were above chance level. In comparing time-averaged synchrony across conditions, AV performances evoked a higher inter-subject correlation of heart rate (ISC-HR). However, synchrony averaged across music pieces did not correspond to self-reported engagement. On the other hand, time-resolved analyses show that synchronized deceleration-acceleration heart rate (HR) patterns, typical of an "orienting response" (an index of directed attention), occurred within music pieces at salient events of section boundaries. That is, seeing musicians perform heightened audience engagement at structurally important moments in Western classical music. Overall, we could show that multisensory information shapes dynamic engagement. By comparing different synchrony measures, we further highlight the advantages of time series analysis, specifically ISC-HR, as a robust measure of holistic musical listening experiences in naturalistic concert settings.

Expressivity attributed to music affects the smoothness of bowing movements in violinists

Playing music is a complex task that relies on the combination of musicians' technical and expressive skills. While the literature has investigated the effects of musical expressivity on the listeners, the way how technical difficulty and emotional expressivity affect musicians during playing has surprisingly received no attention. In an attempt to fill this gap in the literature, we collected behavioral and physiological data from twelve violinists playing 29 pieces that included both technical exercises and excerpts from classical repertoire for violin. After playing each stimulus, participants rated it for emotional expressivity and technical difficulty. During the entire session, cardiac parameters and electrodermal activity were collected, together with the kinematic parameters of the bowing gesture. A set of Linear Mixed-Effect (LME) models suggested that emotional expressivity attributed to music affected the fluidity of bowing (i.e., smoothness), with the excerpts rated as more expressive being performed in a less smooth way. In contrast, LME models revealed no effects of expressivity and technical difficulty on any of the physiological parameters of violinists. Our results offer novel insights into the psychophysiological dynamics that link motor parameters with musical expressivity. These findings could influence educational practices in music and deepen our understanding of aesthetic emotions.

Lunch melodies: Investigating the impact of music on emotions, hunger, liking, and psychophysiology while viewing a lunch meal

Sensory cues like music can influence our behaviour towards food. In the present study, the effect of music on hunger, fullness, desire to eat and liking of foods, while viewing real lunch food items, was investigated. To this end, emotions and physiological measures were obtained to understand the changes in hunger, fullness, desire to eat and liking. The study aimed to examine changes in hunger, fullness, desire to eat, and liking when viewing a lunch meal under silent and varying music conditions. Additionally, the study explored the potential role of emotions to explain these changes. A crossover experimental design was employed using 50 participants (17 males and 33 females) who observed lunch food items during a silent condition (control), or while listening to either liked or disliked music. The findings demonstrate the cross-modal influence of music on hunger and food liking ratings when viewing food. Hunger ratings were higher and more negative emotions were evoked while viewing lunch food items and listening to disliked music. In contrast, in the silent and liked music conditions, which elicited more positive emotions, there were increased ratings of healthy and unhealthy food pleasantness, overall food liking, and food satisfaction. Electrophysiological measures of heart rate (HR) and skin conductance (SC) were obtained while listening to music and viewing a lunch meal. Viewing food items while listening to disliked music evoked negative emotions and significantly increased SC compared to liked music or silent conditions. Viewing the food items under the silent condition evoked positive emotions and significantly increased HR compared to listening to liked and disliked music. This study showed that the participants' emotions, hunger level, liking, and electrophysiological responses when viewing food are influenced by music that varied with liking. Results from this study may assist in enhancing dining experiences, as well as influencing food choices and satisfaction with meals.

Comparing multimodal physiological responses to social and physical pain in healthy participants

Background

Previous physiology-driven pain studies focused on examining the presence or intensity of physical pain. However, people experience various types of pain, including social pain, which induces negative mood; emotional distress; and neural activities associated with physical pain. In particular, comparison of autonomic nervous system (ANS) responses between social and physical pain in healthy adults has not been well demonstrated.

Methods

We explored the ANS responses induced by two types of pain-social pain, associated with a loss of social ties; and physical pain, caused by a pressure cuff-based on multimodal physiological signals. Seventy-three healthy individuals (46 women; mean age = 20.67 ± 3.27 years) participated. Behavioral responses were assessed to determine their sensitivity to pain stimuli. Electrocardiogram, electrodermal activity, photoplethysmogram, respiration, and finger temperature (FT) were measured, and 12 features were extracted from these signals.

Results

Social pain induced increased heart rate (HR) and skin conductance (SC) and decreased blood volume pulse (BVP), pulse transit time (PTT), respiration rate (RR), and FT, suggesting a heterogeneous pattern of sympathetic-parasympathetic coactivation. Moreover, physical pain induced increased heart rate variability (HRV) and SC, decreased BVP and PTT, and resulted in no change in FT, indicating sympathetic-adrenal-medullary activation and peripheral vasoconstriction.

Conclusion

These results suggest that changes in HR, HRV indices, RR, and FT can serve as markers for differentiating physiological responses to social and physical pain stimuli.

When is it good to feel bad? How sadness and fear differ in their effects on routine development

Introduction

This study follows recent calls to explore the emotional foundations of routine development. Routine development forms a nexus between stability and change and is thus crucial for studying organizational decision-making and organizational change. Individuals and teams going through organizational change often experience sadness and fear.

Methods

We conducted a laboratory experiment with 84 teams to study the effect of sadness and fear on routine development.

Results and discussion

In the sadness condition, we observed positive effects on repetitiveness, speed, reliability, and attentiveness in action. Teams experiencing fear reacted better to 'performance traps' in which pre-established routines are ineffective. Our findings show how the behaviors elicited by sadness and fear might ultimately affect team behavior, and therefore managerial practices.

Sensogenomics of music and Alzheimer's disease: An interdisciplinary view from neuroscience, transcriptomics, and epigenomics

Introduction

The relationship between music and Alzheimer's disease (AD) has been approached by different disciplines, but most of our outstanding comes from neuroscience.

Methods

First, we systematically reviewed the state-of-the-art of neuroscience and cognitive sciences research on music and AD (>100 studies), and the progress made on the therapeutic impact of music stimuli in memory. Next, we meta-analyzed transcriptomic and epigenomic data of AD patients to search for commonalities with genes and pathways previously connected to music in genome association, epigenetic, and gene expression studies.

Results

Our findings indicate that >93% of the neuroscience/ cognitive sciences studies indicate at least one beneficial effect of music on patients with neurodegenerative diseases, being improvements on memory and cognition the most frequent outcomes; other common benefits were on social behavior, mood and emotion, anxiety and agitation, quality of life, and depression. Out of the 334 music-related genes, 127 (38%) were found to be linked to epigenome/transcriptome analysis in AD (vs. healthy controls); some of them (SNCA, SLC6A4, ASCC2, FTH1, PLAUR and ARHGAP26) have been reported to be associated e.g. with musical aptitude and music effect on the transcriptome. Other music-related genes (GMPR, SELENBP1 and ADIPOR1) associated to neuropsychiatric, neurodegenerative diseases and music performance, emerged as hub genes in consensus co-expression modules detected between AD and music estimulated transcriptomes. In addition, we found connections between music, AD and dopamine related genes, with SCNA being the most remarkable - a gene previously associated with learning and memory, and neurodegenerative disorders (e.g., Parkinson's disease and AD).

Discussion

The present study indicate that the vast majority of neuroscientific studies unambiguously show that music has a beneficial effect on health, being the most common benefits relevant to Alzheimer's disease. These findings illuminate a new roadmap for genetic research in neurosciences, and musical interventions in AD and other neurodegenerative conditions.

How Long Is Long Enough? Controlling for Acute Caffeine Intake in Cardiovascular Research

Caffeine substantially affects cardiovascular functioning, yet wide variability exists in caffeine control procedures in cardiovascular reactivity research. This study was conducted in order to identify a minimal abstention duration in habitual coffee consumers whereby cardiovascular reactivity is unconfounded by caffeine; Six hours (caffeine's average half-life) was hypothesized. Thirty-nine subjects (mean age: 20.9; 20 women) completed a repeated measures study involving hand cold pressor (CP) and memory tasks. Caffeinated and decaffeinated coffee were administered. The following cardiovascular indices were acquired during pre-task, task, and post-task epochs prior to coffee intake, 30 min-, and six hours post-intake: Heart rate (HR), high-frequency heart rate variability (HF-HRV), root mean squared successive differences (RMSSD), systolic and diastolic blood pressures (SBP, DBP), mean arterial pressure (MAP), pre-ejection period (PEP), left ventricular ejection time (LVET), systemic vascular resistance (SVR), systemic vascular resistance index (SVRI). Results support the adequacy of a six-hour abstention in controlling for caffeine-elicited cardiovascular changes. The current study offers a suggested guideline for caffeine abstention duration in cardiovascular research in psychophysiology. Consistent practice in caffeine abstention protocols would promote validity and reliability across such studies.

Analysis and Classification of Music-Induced States of Sadness

The enjoyment and pleasure derived from sad music has sparked fascination among researchers due to its seemingly paradoxical nature in producing positive affect. Research is yet to develop a comprehensive understanding of this “paradox.” Contradictory findings have resulted in a great variability within the literature, meaning results and interpretations can be difficult to derive. Consequently, this review collated the current literature, seeking to utilize the variability in the findings to propose a model of differential sad states, providing a means for past and future findings to be interpreted. The proposed model is based on theoretical understanding, as such it requires full empirical support. Comparisons to alternative models, theoretical, clinical, and cognitive implications, as well as future directions are discussed.

How to Investigate the Effect of Music on Breathing during Exercise: Methodology and Tools

Music is an invaluable tool to improve affective valence during exercise, with the potential contribution of a mechanism called rhythmic entrainment. However, several methodological limitations impair our current understanding of the effect of music on relevant psychophysiological responses to exercise, including breathing variables. This study presents conceptual, methodological, and operational insight favoring the investigation of the effect of music on breathing during exercise. Three tools were developed for the quantification of the presence, degree, and magnitude of music-locomotor, locomotor-breathing, and music-breathing entrainment. The occurrence of entrainment was assessed during 30 min of moderate cycling exercise performed either when listening to music or not, and was complemented by the recording of relevant psychophysiological and mechanical variables. Respiratory frequency and expiratory time were among the physiological variables that were affected to a greater extent by music during exercise, and a significant (p < 0.05) music-breathing entrainment was found in all 12 participants. These findings suggest the importance of evaluating the effect of music on breathing responses to exercise, with potential implications for exercise prescription and adherence, and for the development of wearable devices simultaneously measuring music, locomotor, and breathing signals.

Placebo nasal spray protects female participants from experimentally induced sadness and concomitant changes in autonomic arousal

BACKGROUND

To investigate the powerful placebo effects in antidepressant drug trials and their mechanisms, recent pioneering experimental studies showed that expectation manipulation combined with an active placebo attenuated induced sadness. In the present study, we aimed at extending these findings by assessing the psychophysiological response in addition to mere self-report.

METHODS

One hundred and thirteen healthy female students were randomly assigned to a drug expectation group (active placebo, positive treatment expectation), placebo expectation group (active placebo, no treatment expectation), or a no-treatment group (no placebo, no treatment expectation). After placebo intake, sadness was induced by self-deprecating statements using the Velten method combined with sad music, including a rumination phase. Sadness was measured using the Positive and Negative Affect Schedule Expanded Form (PANAS-X). Heart rate and skin conductance were assessed continuously.

RESULTS

After mood induction and after rumination, self-reported sadness was significantly lower, and skin conductance level was significantly higher, in the drug expectation group than in the no-treatment group. The mood induction was further accompanied by a heart rate deceleration within all groups.

LIMITATIONS

Generalizability is limited by sample selectivity and focusing on sadness as a symptom of depression, exclusively.

CONCLUSION

Expectation-induced placebo effects significantly influenced sadness-correlated changes in autonomic arousal, and not only subjectively reported sadness, indicating that placebo effects in the context of affect are not merely due to subjective response bias. The systematic modification of treatment expectation could be utilized in clinical practice to optimize current therapeutic approaches to improve mood regulation.

Presence of Three-Dimensional Sound Field Facilitates Listeners' Mood, Felt Emotion, and Respiration Rate When Listening to Music

Many studies have investigated the effects of music listening from the viewpoint of music features such as tempo or key by measuring psychological or psychophysiological responses. In addition, technologies for three-dimensional sound field (3D-SF) reproduction and binaural recording have been developed to induce a realistic sensation of sound. However, it is still unclear whether music listened to in the presence of 3D-SF is more impressive than in the absence of it. We hypothesized that the presence of a 3D-SF when listening to music facilitates listeners' moods, emotions for music, and physiological activities such as respiration rate. Here, we examined this hypothesis by evaluating differences between a reproduction condition with headphones (HD condition) and one with a 3D-SF reproduction system (3D-SF condition). We used a 3D-SF reproduction system based on the boundary surface control principle (BoSC system) to reproduce a sound field of music in the 3D-SF condition. Music in the 3D-SF condition was binaurally recorded through a dummy head in the BoSC reproduction room and reproduced with headphones in the HD condition. Therefore, music in the HD condition was auditorily as rich in information as that in the 3D-SF condition, but the 3D-sound field surrounding listeners was absent. We measured the respiration rate and heart rate of participants listening to acousmonium and pipe organ music. The participants rated their felt moods before and after they listened to music, and after they listened, they also rated their felt emotion. We found that the increase in respiration rate, the degree of decrease in well-being, and unpleasantness for both pieces in the 3D-SF condition were greater than in the HD condition. These results suggest that the presence of 3D-SF enhances changes in mood, felt emotion for music, and respiration rate when listening to music.

Synchrony in the periphery: inter-subject correlation of physiological responses during live music concerts

While there is an increasing shift in cognitive science to study perception of naturalistic stimuli, this study extends this goal to naturalistic contexts by assessing physiological synchrony across audience members in a concert setting. Cardiorespiratory, skin conductance, and facial muscle responses were measured from participants attending live string quintet performances of full-length works from Viennese Classical, Contemporary, and Romantic styles. The concert was repeated on three consecutive days with different audiences. Using inter-subject correlation (ISC) to identify reliable responses to music, we found that highly correlated responses depicted typical signatures of physiological arousal. By relating physiological ISC to quantitative values of music features, logistic regressions revealed that high physiological synchrony was consistently predicted by faster tempi (which had higher ratings of arousing emotions and engagement), but only in Classical and Romantic styles (rated as familiar) and not the Contemporary style (rated as unfamiliar). Additionally, highly synchronised responses across all three concert audiences occurred during important structural moments in the music-identified using music theoretical analysis-namely at transitional passages, boundaries, and phrase repetitions. Overall, our results show that specific music features induce similar physiological responses across audience members in a concert context, which are linked to arousal, engagement, and familiarity.

Effects of Algorithmic Music on the Cardiovascular Neural Control

Music influences many physiological parameters, including some cardiovascular (CV) control indices. The complexity and heterogeneity of musical stimuli, the integrated response within the brain and the limited availability of quantitative methods for non-invasive assessment of the autonomic function are the main reasons for the scarcity of studies about the impact of music on CV control. This study aims to investigate the effects of listening to algorithmic music on the CV regulation of healthy subjects by means of the spectral analysis of heart period, approximated as the time distance between two consecutive R-wave peaks (RR), and systolic arterial pressure (SAP) variability. We studied 10 healthy volunteers (age 39 ± 6 years, 5 females) both while supine (REST) and during passive orthostatism (TILT). Activating and relaxing algorithmic music tracks were used to produce possible contrasting effects. At baseline, the group featured normal indices of CV sympathovagal modulation both at REST and during TILT. Compared to baseline, at REST, listening to both musical stimuli did not affect time and frequency domain markers of both SAP and RR, except for a significant increase in mean RR. A physiological TILT response was maintained while listening to both musical tracks in terms of time and frequency domain markers, compared to baseline, an increase in mean RR was again observed. In healthy subjects featuring a normal CV neural profile at baseline, algorithmic music reduced the heart rate, a potentially favorable effect. The innovative music approach of this study encourages further research, as in the presence of several diseases, such as ischemic heart disease, hypertension, and heart failure, a standardized musical stimulation could play a therapeutic role.

Emotion elicitation during music listening: Subjective self-reports, facial expression, and autonomic reactivity

The use of music as emotional stimuli in experimental studies has grown in recent years. However, prior studies have mainly focused on self-reports and central measures, with a few works exploring the time course of psychophysiological correlates. Moreover, most of the previous research has been carried out either from the dimensional or categorical model but not combining both approaches to emotions. This study aimed to investigate subjective and physiological correlates of emotion elicitation through music, following the three-dimensional and the discrete emotion model. A sample of 50 healthy volunteers (25 women) took part in this experiment by listening to 42 film music excerpts (14 pleasant, 14 unpleasant, 14 neutral) presented during 8 s, while peripheral measures were continuously recorded. After music offset, affective dimensions (valence, energy arousal, and tension arousal) as well as discrete emotions (happiness, sadness, tenderness, fear, and anger) were collected using a 9-point scale. Results showed an effect of the music category on subjective and psychophysiological measures. In peripheral physiology, greater electrodermal activity, heart rate acceleration, and zygomatic responses, besides lower corrugator amplitude, were observed for pleasant excerpts in comparison to neutral and unpleasant music, from 2 s after stimulus onset until the end of its duration. Overall, our results add evidence for the efficacy of standardized film music excerpts to evoke powerful emotions in laboratory settings; thus, opening a path to explore interventions based on music in pathologies with underlying emotion deregulatory processes.

Naturalistic Stimuli in Affective Neuroimaging: A Review

Naturalistic stimuli such as movies, music, and spoken and written stories elicit strong emotions and allow brain imaging of emotions in close-to-real-life conditions. Emotions are multi-component phenomena: relevant stimuli lead to automatic changes in multiple functional components including perception, physiology, behavior, and conscious experiences. Brain activity during naturalistic stimuli reflects all these changes, suggesting that parsing emotion-related processing during such complex stimulation is not a straightforward task. Here, I review affective neuroimaging studies that have employed naturalistic stimuli to study emotional processing, focusing especially on experienced emotions. I argue that to investigate emotions with naturalistic stimuli, we need to define and extract emotion features from both the stimulus and the observer.

The physiological signature of sadness: A comparison between text, film and virtual reality

Studies focused on the ubiquitous emotion of sadness demonstrate substantial variability in physiological responses during sadness elicitation, with no consensus regarding the physiological pattern of sadness. Variability in findings could be attributed to (a) the use of different induction techniques across studies or (b) the existence of subtypes of sadness with distinct physiological activation patterns. Typically, studies have used text and film to elicit sadness. However, virtual reality (VR) confers advantages over more traditional methods by allowing individuals a subjective sense of "being there" or presence. We compared participants' physiological responses to the same narrative presented via VR, Film and Story (n = 20 each) and collected their subjective responses to the stimuli. Results confirmed that participants in all conditions experienced the discrete emotion of sadness. Moreover, participants in the VR condition experienced the highest degree of presence. Regarding psychophysiological responses, participants in the VR condition had the lowest degree of baseline-adjusted parasympathetic activation in comparison to participants in the Film condition. Furthermore, while participants in the VR group showed diminished baseline-adjusted respiration rate and parasympathetic activation with an increase in presence, the opposite pattern was true for participants in the other conditions. The data suggest that the VR condition may elicit an activating pattern of sadness; whereas Film and Story conditions may elicit a deactivating pattern of sadness. Our results have implications for research using the discrete model of emotion, highlighting that different emotion elicitation techniques may result in differing expressions of what is considered a unitary emotion.

The Pastoral Origin of Semiotically Functional Tonal Organization of Music

This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music’s origin can therefore be answered by establishing the point in human history at which all eleven expressive aspects might have been abstracted from the instinct-driven primate calls and used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-examination of the typical patterns of expression of the basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information in the process of frequent switching from one call-type to another within the limited repertory of calls. Such calls are usually adopted for the ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been spontaneously discovered in new important cultural activities. The most likely scenario for music to have become fully semiotically functional and to have spread wide enough to avoid extinctions is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion and the subsequent cultural revolution. Changes in distance during such communication must have promoted the integration between different expressive aspects and generated the basic musical grammar. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music - kulning. This article discusses the most likely ways in which such music evolved.

Encoding or consolidation? The effects of pre- and post-learning propranolol on the impact of an emotional scene

BACKGROUND AND OBJECTIVES

Researchers have conceived of post-traumatic stress disorder (PTSD) as a disorder of memory, and proposed that blocking the impact of stress-related noradrenaline release in the aftermath of trauma may be a way of preventing the 'over-consolidation' of trauma-related memories. Experimental research in humans has been limited by typically focusing on declarative memory for emotional stories, and has mainly given propranolol before learning. In contrast, the clinical studies that we comprehensively review are hampered by practical challenges, such as reliably administering propranolol in a time window sufficiently close to the traumatic event. In this study, we aimed to assess the impact of both pre- and post-learning propranolol on emotional and declarative memory for an emotional scene, using the 'trauma film paradigm'.

METHODS

To control for drug and timing effects, participants received a pill (40 mg propranolol or placebo) both 60 min before and within 5 min after viewing a 12 min, emotionally arousing trauma film, and were assigned to one of the three conditions: propranolol-placebo (n = 25), placebo-propranolol (n = 25), or placebo-placebo (n = 25). We assessed participants' immediate emotional responses to the scene, as well as delayed impact (intrusions, Impact of Events Scale) and declarative memory.

RESULTS

Using Bayesian informative hypothesis testing, we found that pre-learning propranolol reduced the initial emotional impact of the 'trauma film'. However, we did not find strong evidence for an impact of pre- or post-learning propranolol on later consequences of having watched the emotional film (intrusions, Impact of Events, or tests of declarative memory). Exploratorily restricting analyses to women, we did find evidence suggesting that pre-encoding propranolol could reduce the rate of intrusions and self-reported negative impact of the emotional scene one week later.

LIMITATIONS

Floor effects in the delayed impact of the emotional scene could preclude observing differences as a function of propranolol, and propranolol dosage may need to be increased.

CONCLUSIONS

An impact of propranolol on encoding could raise difficulties in interpretation when only pre-encoding propranolol is used to make inferences about consolidation. We discuss the challenges of elucidating the mechanistic underpinnings of propranolol's reported effects on memory.

The neuroscience of sadness: A multidisciplinary synthesis and collaborative review

Sadness is typically characterized by raised inner eyebrows, lowered corners of the mouth, reduced walking speed, and slumped posture. Ancient subcortical circuitry provides a neuroanatomical foundation, extending from dorsal periaqueductal grey to subgenual anterior cingulate, the latter of which is now a treatment target in disorders of sadness. Electrophysiological studies further emphasize a role for reduced left relative to right frontal asymmetry in sadness, underpinning interest in the transcranial stimulation of left dorsolateral prefrontal cortex as an antidepressant target. Neuroimaging studies - including meta-analyses - indicate that sadness is associated with reduced cortical activation, which may contribute to reduced parasympathetic inhibitory control over medullary cardioacceleratory circuits. Reduced cardiac control may - in part - contribute to epidemiological reports of reduced life expectancy in affective disorders, effects equivalent to heavy smoking. We suggest that the field may be moving toward a theoretical consensus, in which different models relating to basic emotion theory and psychological constructionism may be considered as complementary, working at different levels of the phylogenetic hierarchy.

Respiration rate change induced by controlling the phasic relationship between melodic sound and respiration

It has been suggested that the phasic relationship between sound and respiration (PRSR) is important. However, the effect that the relationship has on respiration rate is rarely studied. Here, by using our invented interface, we have developed a method of systematically controlling the PRSR and show that the respiration rate can be changed by controlling the PRSR. In concrete, when realized error of PRSR is large, respiration rate significantly increased. Since the effect appears with participants listening passively to melodic sounds without any instruction, the result could be utilized as a tool for managing everyday stress.

Synchronization of Autonomic and Cerebral Rhythms During Listening to Music: Effects of Tempo and Cognition of Songs

A large number of studies document cardiorespiratory changes occurring while listening to music. Less is known, however, about the interaction between cardiorespiratory and cerebral electrical rhythms during listening to music and how cognition and acoustic structural aspects of songs influence that interaction. We focused on tempo as a structural feature of songs, since tempo is a major determinant of physiological responses to music, and on familiarity and randomization of phase of local spectra of known and unknown songs for cognition. Our results indicated an overall increase in the degree of synchronization among cardiorespiratory variables (Heart rate (RR), systolic and diastolic blood pressure (SBP, DBP), respiration) and between cardiorespiratory and cerebral (EEG) oscillations during all songs. We also observed a marked decrease in respiratory frequency bandwidth and increase in respiratory rate while listening to songs, and slow song produced the most periodic breathing. Compared with slow tempo, during fast song, DBP and cerebral oscillations became less synchronized with high frequency components of RR suggesting that the processes causing the previously known reduction in vagal activity with increase in tempo also may have caused the decrease in these synchronizations. Cognition of songs affected the SBP coherencies the most. DBP was synchronized with respiration more than all other measured variables in response to auditory stimuli. Results indicate an overall increase in the degree of synchronization among a variety of cerebral electrical and autonomically driven cardiovascular rhythms. It is possible that this significant increase in synchronizations underlies the widely reported pleasurable and palliative effects of listening to music.

Background soundscapes influence the perception of ice-cream as indexed by electrophysiological measures

Listening to specific soundscapes can influence multisensory flavour perception. In the present study, changes in people's perception of the flavour of ice-cream were tracked over time as they listened to a café soundscape, and when this soundscape was overlaid with either bird, machine, or forest soundscapes. In addition, emotions and electrophysiological measures were recorded in order to help understand any changes in taste/flavour perception. The results of Temporal Dominance of Sensation (TDS) analysis revealed that cocoa was dominant early in the consumption episode while listening to the control café soundscape. Sweetness and creaminess were dominant at the start of the consumption episode while listening to the café-forest soundscape. Creaminess was dominant at the start of the consumption episode while listening to the café-bird soundscape. Bitterness was perceived at the end of the consumption period while listening to the café control and café-machine soundscapes. These findings demonstrate the crossmodal influence of audition on perception in the chemical senses. As expected, negative emotions were significantly higher when listening to the machine soundscape, while positive emotions were significantly higher when listening to café-forest and café-bird soundscapes. Evaluating ice-cream while listening to the café-machine soundscape evoked negative emotions associated with bitterness and creaminess, that were also associated with increased heart rate (HR) and respiration rate (RESP). When listening to the café-forest soundscape, ice-cream was associated with sweetness, and positive emotions (e.g., love, satisfaction, happiness, amusement and enjoyment). This might have led to increased blood volume pulse (BVP) amplitude, which is itself indicative of a relaxed state. Enhancing eating experiences by means of atmospheric soundscapes that are designed specifically to accentuate specific aspects of multisensory taste/flavour perception is currently an area of interest in the food sciences literature and will likely lead to future commercial applications.

Emotional Induction Through Music: Measuring Cardiac and Electrodermal Responses of Emotional States and Their Persistence

Emotional inductions through music (EIM) procedures have proved to evoke genuine emotions according to neuroimaging studies. However, the persistence of the emotional states after being exposed to musical excerpts remains mostly unexplored. This study aimed to investigate the curve of emotional state generated by an EIM paradigm over a 6-min recovery phase, monitored with valence and arousal self-report measures, and physiological parameters. Stimuli consisted of a neutral and two valenced musical excerpts previously reported to generate such states. The neutral excerpt was composed in a minimalist form characterized by simple sonorities, rhythms, and patterns; the positive excerpt had fast tempo and major tones, and the negative one was slower in tempo and had minor tone. Results of 24 participants revealed that positive and negative EIM effectively induced self-reported happy and sad emotions and elicited higher skin conductance levels (SCL). Although self-reported adjectives describing evoked-emotions states changed to neutral after 2 min in the recovery phase, the SCL data suggest longer lasting arousal for both positive and negative emotional states. The implications of these outcomes for musical research are discussed.

Suppressing the Chills: Effects of Musical Manipulation on the Chills Response

Research on musical chills has linked the response to multiple musical features; however, there exists no study that has attempted to manipulate musical stimuli to enable causal inferences, meaning current understanding is based mainly on correlational evidence. In the current study, participants who regularly experience chills (N = 24) listened to an original and manipulated version of three pieces reported to elicit chills in a previous survey. Predefined chills sections were removed to create manipulated conditions. The effects of these manipulations on the chills response were assessed through continuous self-reports, and skin conductance measurements. Results show that chills were significantly less frequent following stimulus manipulation across all three pieces. Continuous measurements of chills intensity were significantly higher in the chills sections compared with control sections in the pieces; similar patterns were found for phasic skin conductance, although some differences emerged. Continuous measurements also correlated with psychoacoustic features such as loudness, brightness and roughness in two of the three pieces. Findings are discussed in terms of understanding structural and acoustic features and chills experiences within their local music contexts, the necessity of experimental approaches to musical chills, and the possibility of different features activating different underlying mechanisms.

The rhythm of cognition - Effects of an auditory beat on oculomotor control in reading and sequential scanning

Eye-movement behavior is inherently rhythmic. Even without cognitive input, the eyes never rest, as saccades are generated 3 to 4 times per second. Based on an embodied view of cognition, we asked whether mental processing in visual cognitive tasks is also rhythmic in nature by studying the effects of an external auditory beat (rhythmic background music) on saccade generation in exemplary cognitive tasks (reading and sequential scanning). While in applied settings background music has been demonstrated to impair reading comprehension, the effect of musical tempo on eye-movement control during reading or scanning has not been investigated so far. We implemented a tempo manipulation in four steps as well as a silent baseline condition, while participants completed a text reading or a sequential scanning task that differed from each other in terms of underlying cognitive processing requirements. The results revealed that increased tempo of the musical beat sped up fixations in text reading, while the presence (vs. absence) of the auditory stimulus generally reduced overall reading time. In contrast, sequential scanning was unaffected by the auditory pacemaker. These results were supported by additionally applying Bayesian inference statistics. Our study provides evidence against a cognitive load account (i.e., that spare resources during low-demand sequential scanning allow for enhanced processing of the external beat). Instead, the data suggest an interpretation in favor of a modulation of the oculomotor saccade timer by irrelevant background music in cases involving highly automatized oculomotor control routines (here: in text reading).

On Modality Effects in Bilingual Emotional Language Processing: Evidence from Galvanic Skin Response

Though previous research has shown a decreased sensitivity to emotionally-laden linguistic stimuli presented in the non-native (L2) compared to the native language (L1), studies conducted thus far have not examined how different modalities influence bilingual emotional language processing. The present experiment was therefore aimed at investigating how late proficient Polish (L1)-English (L2) bilinguals process emotionally-laden narratives presented in L1 and L2, in the visual and auditory modality. To this aim, we employed the galvanic skin response (GSR) method and a self-report measure (Polish adaptation of the PANAS questionnaire). The GSR findings showed a reduced galvanic skin response to L2 relative to L1, thus suggesting a decreased reactivity to emotional stimuli in L2. Additionally, we observed a more pronounced skin conductance level to visual than auditory stimuli, yet only in L1, which might be accounted for by a self-reference effect that may have been modulated by both language and modality.

Different Types of Sounds and Their Relationship With the Electrocardiographic Signals and the Cardiovascular System - Review

Background: For some time now, the effects of sound, noise, and music on the human body have been studied. However, despite research done through time, it is still not completely clear what influence, interaction, and effects sounds have on human body. That is why it is necessary to conduct new research on this topic. Thus, in this paper, a systematic review is undertaken in order to integrate research related to several types of sound, both pleasant and unpleasant, specifically noise and music. In addition, it includes as much research as possible to give stakeholders a more general vision about relevant elements regarding methodologies, study subjects, stimulus, analysis, and experimental designs in general. This study has been conducted in order to make a genuine contribution to this area and to perhaps to raise the quality of future research about sound and its effects over ECG signals. Methods: This review was carried out by independent researchers, through three search equations, in four different databases, including: engineering, medicine, and psychology. Inclusion and exclusion criteria were applied and studies published between 1999 and 2017 were considered. The selected documents were read and analyzed independently by each group of researchers and subsequently conclusions were established between all of them. Results: Despite the differences between the outcomes of selected studies, some common factors were found among them. Thus, in noise studies where both BP and HR increased or tended to increase, it was noted that HRV (HF and LF/HF) changes with both sound and noise stimuli, whereas GSR changes with sound and musical stimuli. Furthermore, LF also showed changes with exposure to noise. Conclusion: In many cases, samples displayed a limitation in experimental design, and in diverse studies, there was a lack of a control group. There was a lot of variability in the presented stimuli providing a wide overview of the effects they could produce in humans. In the listening sessions, there were numerous examples of good practice in experimental design, such as the use of headphones and comfortable positions for study subjects, while the listening sessions lasted 20 min in most of the studies.

Effect of mother's voice on neonatal respiratory activity and EEG delta amplitude

While the influence of the mother's voice on neonatal heart-rate response and its relevant activity on cerebral cortex and the autonomic nervous system (ANS) are well known, few studies have assessed its influence on respiratory activity. We investigated the relationship among the respiration rate, the delta wave amplitudes through electroencephalography, and the basal state of ANS through the respiratory variability index while 22 full-term neonates hear their mother's voice and an unknown voice. It was found that when respiratory variability was large, a transient (<5 s) change in respiration rates was observed in response to an unknown voice, while a greater increase in the delta wave amplitude was observed in the frontal lobe than the parietal one in response to the mother's voice. Conversely, when respiratory variability was small, a sustained increase (>10 s) in respiration rates was observed in response to the mother's voice, while a greater increase in the delta wave amplitude was found in both the frontal and parietal lobes. These results suggest that the basal state of ANS influences the latency of increases in respiration rates. Furthermore, induced by the mother's voice, transient increases in respiration rates are reduced in association with frontal lobe activity, and sustained increases in respiration rates are promoted in association with frontal and parietal lobe activities.

Experimental Methods for Inducing Basic Emotions: A Qualitative Review

Experimental emotion inductions provide the strongest causal evidence of the effects of emotions on psychological and physiological outcomes. In the present qualitative review, we evaluated five common experimental emotion induction techniques: visual stimuli, music, autobiographical recall, situational procedures, and imagery. For each technique, we discuss the extent to which they induce six basic emotions: anger, disgust, surprise, happiness, fear, and sadness. For each emotion, we discuss the relative influences of the induction methods on subjective emotional experience and physiological responses (e.g., heart rate, blood pressure). Based on the literature reviewed, we make emotion-specific recommendations for induction methods to use in experiments.

Respiratory Variability during Different Auditory Stimulation Periods in Schizophrenia Patients

Background: Schizophrenic patients are known to have difficulty processing emotions and to exhibit impairment in stimuli discrimination. However, there is limited knowledge regarding their physiological responsivity to auditory stimuli.

Objectives: The purpose of this study was to compare the respiratory effects of two types of auditory stimuli with emotional content, classical Turkish music (CTM) and white noise (WN), on schizophrenia patients and healthy control subjects.

Methods: Forty-six individuals participated in the experiment, and respiratory signals derived from a strain-gauge were recorded. Two important respiratory patterns, respiration rate and depth, were analyzed.

Results: The results indicated that the patients presented a significantly higher respiration rate than control subjects during the initial baseline and WN exposure periods. Although CTM evoked an increase in respiration rates and a decrease in respiration depths in the control group, no significant differences were found during the stimulation periods in the patient group. The respiration rate was lower in the post-stimulation period than during the initial baseline period, and no respiration depth differences were found for the WN, music or post-stimulation periods in the schizophrenia group. Patients exhibited a greater respiration depth than the control subjects over all periods; however, a significant difference between the patient and control groups was obtained in the second resting condition and CTM exposure period. Furthermore, to analyze the effect of symptom severity on respiratory patterns, patients were divided into two classes according to their Positive and Negative Syndrome Scale score.

Conclusions: Further studies are needed to correlate respiratory differences with emotionally evocative stimuli and to refine our understanding of the dynamics of these types of stimuli in relation to clinical state and medication effects.

Modeling Music Emotion Judgments Using Machine Learning Methods

Emotion judgments and five channels of physiological data were obtained from 60 participants listening to 60 music excerpts. Various machine learning (ML) methods were used to model the emotion judgments inclusive of neural networks, linear regression, and random forests. Input for models of perceived emotion consisted of audio features extracted from the music recordings. Input for models of felt emotion consisted of physiological features extracted from the physiological recordings. Models were trained and interpreted with consideration of the classic debate in music emotion between cognitivists and emotivists. Our models supported a hybrid position wherein emotion judgments were influenced by a combination of perceived and felt emotions. In comparing the different ML approaches that were used for modeling, we conclude that neural networks were optimal, yielding models that were flexible as well as interpretable. Inspection of a committee machine, encompassing an ensemble of networks, revealed that arousal judgments were predominantly influenced by felt emotion, whereas valence judgments were predominantly influenced by perceived emotion.

Hearing, Emotion, Amplification, Research, and Training Workshop: Current Understanding of Hearing Loss and Emotion Perception and Priorities for Future Research

The question of how hearing loss and hearing rehabilitation affect patients' momentary emotional experiences is one that has received little attention but has considerable potential to affect patients' psychosocial function. This article is a product from the Hearing, Emotion, Amplification, Research, and Training workshop, which was convened to develop a consensus document describing research on emotion perception relevant for hearing research. This article outlines conceptual frameworks for the investigation of emotion in hearing research; available subjective, objective, neurophysiologic, and peripheral physiologic data acquisition research methods; the effects of age and hearing loss on emotion perception; potential rehabilitation strategies; priorities for future research; and implications for clinical audiologic rehabilitation. More broadly, this article aims to increase awareness about emotion perception research in audiology and to stimulate additional research on the topic.

Cardiac vagal control as a marker of emotion regulation in healthy adults: A review

In the last two decades, a growing body of theory and research has targeted the role of cardiac vagal control (CVC) in emotional responding. This research has either focused on resting CVC (also denoted as cardiac vagal tone) or phasic changes in CVC (also denoted as vagal reactivity) in response to affective stimuli. The present paper is aimed at reporting a review of the papers published between 1996 and 2016, and focused on the results of 135 papers examining cardiac vagal control as a physiological marker of emotion regulation in healthy adults. The review shows that studies have employed a wide array of methodologies and measures, often leading to conflicting results. High resting CVC has been associated with better down-regulation of negative affect, use of adaptive regulatory strategies, and more flexible emotional responding. Concerning phasic changes, research has consistently found decreased CVC in response to stress, while CVC increases have been shown to reflect either self-regulatory efforts or recovery from stress. Despite conflicting results, we conclude that existing literature supports the use of CVC as a noninvasive, objective marker of emotion regulation.

The calming effect of a new wearable device during the anticipation of public speech

We assessed the calming effect of doppel, a wearable device that delivers heartbeat-like tactile stimulation on the wrist. We tested whether the use of doppel would have a calming effect on physiological arousal and subjective reports of state anxiety during the anticipation of public speech, a validated experimental task that is known to induce anxiety. Two groups of participants were tested in a single-blind design. Both groups wore the device on their wrist during the anticipation of public speech, and were given the cover story that the device was measuring blood pressure. For only one group, the device was turned on and delivered a slow heartbeat-like vibration. Participants in the doppel active condition displayed lower increases in skin conductance responses relative to baseline and reported lower anxiety levels compared to the control group. Therefore, the presence, as opposed to its absence, of a slow rhythm, which in the present study was instantiated as an auxiliary slow heartbeat delivered through doppel, had a significant calming effect on physiological arousal and subjective experience during a socially stressful situation. This finding is discussed in relation to past research on responses and entrainment to rhythms, and their effects on arousal and mood.

Cognitive and emotional processing of pleasant and unpleasant experiences in major depression: A matter of vantage point?

BACKGROUND AND OBJECTIVES

In nonclinical populations, adopting a third-person perspective as opposed to a first-person perspective while analyzing negative emotional experiences fosters understanding of these experiences and reduces negative emotional reactivity. We assessed whether this generalizes to people with major depression (MD). Additionally, we assessed whether the emotion-reducing effects of adopting a third-person perspective also occur when subjects with MD and HC subjects analyze positive experiences.

METHODS

Seventy-two MD subjects and 82 HC subjects analyzed a happy and a negative experience from either a first-person or a third-person perspective.

RESULTS

Unexpectedly, we found no emotion-reducing effects of third-person perspective in either group thinking about negative events. However, across groups, third-person perspective was associated with less recounting of negative experiences and with a clearer, more coherent understanding of them. Negative affect decreased and positive affect increased in both groups analyzing happy experiences. In MD subjects, decreases in depressive affect were stronger for the third-person perspective. In both groups, positive affect increased and negative affect decreased more strongly for the third-person perspective.

LIMITATIONS

While reflecting on their positive memory, MD subjects adopted their assigned perspective for a shorter amount of time (70%) than HC subjects (78%). However, percentage of time participants adopted their assigned perspective was unrelated to the significant effects we found.

CONCLUSIONS

Both people suffering from MD and healthy individuals may benefit from processing pleasant experiences, especially when adopting a self-distant perspective.

Presenting changes in acoustic features synchronously to respiration alters the affective evaluation of sound

Synchronization of respiration to cyclic auditory stimuli is a well-observed phenomenon and known to have an effect on affective evaluation of the presented sound. However, no studies have separated the effect of the change in respiratory movement itself and that when there is synchrony between respiration and sound. In this study, we used a system that can change the acoustic features synchronously with the respiration phase and directly investigated the effect the synchrony has on affective ratings without changing respiratory movements. An acoustic stimulation was presented where the sound intensity (SI) or fundamental frequency (F0) was modulated in response to the participant's respiration phase. Affective evaluations of the acoustic stimuli were made by using the Self-Assessment Manikin (SAM). The experiments compared synchronous and asynchronous conditions. In the synchronous condition, SI (or F0) was increased with inhalation (decreased with exhalation) or decreased with inhalation (increased with exhalation). In the asynchronous condition, a sound identical to that presented in the synchronous condition was replayed. The participants evaluated sounds that were acoustically the same but where the temporal relationship differed between respiration and the acoustic features. In our results, significantly higher arousal ratings were observed when the change in SI and respiration (inhalation or exhalation) was synchronous and when the increase in F0 and inhalation was synchronous. This suggests that the synchronous phenomenon between respiration and auditory stimuli can play a critical role in affective evaluation.

Female Listeners' Autonomic Responses to Dramatic Shifts Between Loud and Soft Music/Sound Passages: A Study of Heavy Metal Songs

Although music and the emotion it conveys unfold over time, little is known about how listeners respond to shifts in musical emotions. A special technique in heavy metal music utilizes dramatic shifts between loud and soft passages. Loud passages are penetrated by distorted sounds conveying aggression, whereas soft passages are often characterized by a clean, calm singing voice and light accompaniment. The present study used heavy metal songs and soft sea sounds to examine how female listeners’ respiration rates and heart rates responded to the arousal changes associated with auditory stimuli. The high-frequency power of heart rate variability (HF-HRV) was used to assess cardiac parasympathetic activity. The results showed that the soft passages of heavy metal songs and soft sea sounds expressed lower arousal and induced significantly higher HF-HRVs than the loud passages of heavy metal songs. Listeners’ respiration rate was determined by the arousal level of the present music passage, whereas the heart rate was dependent on both the present and preceding passages. Compared with soft sea sounds, the loud music passage led to greater deceleration of the heart rate at the beginning of the following soft music passage. The sea sounds delayed the heart rate acceleration evoked by the following loud music passage. The data provide evidence that sound-induced parasympathetic activity affects listeners’ heart rate in response to the following music passage. These findings have potential implications for future research on the temporal dynamics of musical emotions.

How Can Music Influence the Autonomic Nervous System Response in Patients with Severe Disorder of Consciousness?

Activations to pleasant and unpleasant musical stimuli were observed within an extensive neuronal network and different brain structures, as well as in the processing of the syntactic and semantic aspects of the music. Previous studies evidenced a correlation between autonomic activity and emotion evoked by music listening in patients with Disorders of Consciousness (DoC). In this study, we analyzed retrospectively the autonomic response to musical stimuli by mean of normalized units of Low Frequency (nuLF) and Sample Entropy (SampEn) of Heart Rate Variability (HRV) parameters, and their possible correlation to the different complexity of four musical samples (i.e., Mussorgsky, Tchaikovsky, Grieg, and Boccherini) in Healthy subjects and Vegetative State/Unresponsive Wakefulness Syndrome (VS/UWS) patients. The complexity of musical sample was based on Formal Complexity and General Dynamics parameters defined by Imberty's semiology studies. The results showed a significant difference between the two groups for SampEn during the listening of Mussorgsky's music and for nuLF during the listening of Boccherini and Mussorgsky's music. Moreover, the VS/UWS group showed a reduction of nuLF as well as SampEn comparing music of increasing Formal Complexity and General Dynamics. These results put in evidence how the internal structure of the music can change the autonomic response in patients with DoC. Further investigations are required to better comprehend how musical stimulation can modify the autonomic response in DoC patients, in order to administer the stimuli in a more effective way.

Music-induced emotions can be predicted from a combination of brain activity and acoustic features

It is widely acknowledged that music can communicate and induce a wide range of emotions in the listener. However, music is a highly-complex audio signal composed of a wide range of complex time- and frequency-varying components. Additionally, music-induced emotions are known to differ greatly between listeners. Therefore, it is not immediately clear what emotions will be induced in a given individual by a piece of music. We attempt to predict the music-induced emotional response in a listener by measuring the activity in the listeners electroencephalogram (EEG). We combine these measures with acoustic descriptors of the music, an approach that allows us to consider music as a complex set of time-varying acoustic features, independently of any specific music theory. Regression models are found which allow us to predict the music-induced emotions of our participants with a correlation between the actual and predicted responses of up to r=0.234,p<0.001. This regression fit suggests that over 20% of the variance of the participant's music induced emotions can be predicted by their neural activity and the properties of the music. Given the large amount of noise, non-stationarity, and non-linearity in both EEG and music, this is an encouraging result. Additionally, the combination of measures of brain activity and acoustic features describing the music played to our participants allows us to predict music-induced emotions with significantly higher accuracies than either feature type alone (p<0.01).

Non-expert listeners show decreased heart rate and increased blood pressure (fear bradycardia) in response to atonal music

Previous studies suggested that listening to different types of music may modulate differently psychological mood and physiological responses associated with the induced emotions. In this study the effect of listening to instrumental classical vs. atonal contemporary music was examined in a group of 50 non-expert listeners. The subjects’ heart rate and diastolic and systolic blood pressure values were measured while they listened to music of different style and emotional typologies. Pieces were selected by asking a group of composers and conservatory professors to suggest a list of the most emotional music pieces (from Renaissance to present time). A total of 214 suggestions from 20 respondents were received. Then it was asked them to identify which pieces best induced in the listener feelings of agitation, joy or pathos and the number of suggested pieces per style was computed. Atonal pieces were more frequently indicated as agitating, and tonal pieces as joyful. The presence/absence of tonality in a musical piece did not affect the affective dimension of pathos (being touching). Among the most frequently cited six pieces were selected that were comparable for structure and style, to represent each emotion and style. They were equally evaluated as unfamiliar by an independent group of 10 students of the same cohort) and were then used as stimuli for the experimental session in which autonomic parameters were recorded. Overall, listening to atonal music (independent of the pieces’ emotional characteristics) was associated with a reduced heart rate (fear bradycardia) and increased blood pressure (both diastolic and systolic), possibly reflecting an increase in alertness and attention, psychological tension, and anxiety. This evidence fits with the results of the esthetical assessment showing how, overall, atonal music is perceived as more agitating and less joyful than tonal one.

Aroused with heart: Modulation of heartbeat evoked potential by arousal induction and its oscillatory correlates

Recent studies showed that the visceral information is constantly processed by the brain, thereby potentially influencing cognition. One index of such process is the heartbeat evoked potential (HEP), an ERP component related to the cortical processing of the heartbeat. The HEP is sensitive to a number of factors such as motivation, attention, pain, which are associated with higher levels of arousal. However, the role of arousal and its associated brain oscillations on the HEP has not been characterized, yet it could underlie the previous findings. Here we analysed the effects of high- (HA) and low-arousal (LA) induction on the HEP. Further, we investigated the brain oscillations and their role in the HEP in response to HA and LA inductions. As compared to LA, HA was associated with a higher HEP and lower alpha oscillations. Interestingly, individual differences in the HEP modulation by arousal induction were correlated with alpha oscillations. In particular, participants with higher alpha power during the arousal inductions showed a larger HEP in response to HA compared to LA. In summary, we demonstrated that arousal induction affects the cortical processing of heartbeats; and that the alpha oscillations may modulate this effect.

The effect of background music on episodic memory and autonomic responses: listening to emotionally touching music enhances facial memory capacity

The aim of this study was to investigate how background auditory processing can affect other perceptual and cognitive processes as a function of stimulus content, style and emotional nature. Previous studies have offered contrasting evidence, and it has been recently shown that listening to music negatively affected concurrent mental processing in the elderly but not in young adults. To further investigate this matter, the effect of listening to music vs. listening to the sound of rain or silence was examined by administering an old/new face memory task (involving 448 unknown faces) to a group of 54 non-musician university students. Heart rate and diastolic and systolic blood pressure were measured during an explicit face study session that was followed by a memory test. The results indicated that more efficient and faster recall of faces occurred under conditions of silence or when participants were listening to emotionally touching music. Whereas auditory background (e.g., rain or joyful music) interfered with memory encoding, listening to emotionally touching music improved memory and significantly increased heart rate. It is hypothesized that touching music is able to modify the visual perception of faces by binding facial properties with auditory and emotionally charged information (music), which may therefore result in deeper memory encoding.

Music and the heart

Music can powerfully evoke and modulate emotions and moods, along with changes in heart activity, blood pressure (BP), and breathing. Although there is great heterogeneity in methods and quality among previous studies on effects of music on the heart, the following findings emerge from the literature: Heart rate (HR) and respiratory rate (RR) are higher in response to exciting music compared with tranquilizing music. During musical frissons (involving shivers and piloerection), both HR and RR increase. Moreover, HR and RR tend to increase in response to music compared with silence, and HR appears to decrease in response to unpleasant music compared with pleasant music. We found no studies that would provide evidence for entrainment of HR to musical beats. Corresponding to the increase in HR, listening to exciting music (compared with tranquilizing music) is associated with a reduction of heart rate variability (HRV), including reductions of both low-frequency and high-frequency power of the HRV. Recent findings also suggest effects of music-evoked emotions on regional activity of the heart, as reflected in electrocardiogram amplitude patterns. In patients with heart disease (similar to other patient groups), music can reduce pain and anxiety, associated with lower HR and lower BP. In general, effects of music on the heart are small, and there is great inhomogeneity among studies with regard to methods, findings, and quality. Therefore, there is urgent need for systematic high-quality research on the effects of music on the heart, and on the beneficial effects of music in clinical settings.

Extreme Metal Music and Anger Processing

The claim that listening to extreme music causes anger, and expressions of anger such as aggression and delinquency have yet to be substantiated using controlled experimental methods. In this study, 39 extreme music listeners aged 18-34 years were subjected to an anger induction, followed by random assignment to 10 min of listening to extreme music from their own playlist, or 10 min silence (control). Measures of emotion included heart rate and subjective ratings on the Positive and Negative Affect Scale (PANAS). Results showed that ratings of PANAS hostility, irritability, and stress increased during the anger induction, and decreased after the music or silence. Heart rate increased during the anger induction and was sustained (not increased) in the music condition, and decreased in the silence condition. PANAS active and inspired ratings increased during music listening, an effect that was not seen in controls. The findings indicate that extreme music did not make angry participants angrier; rather, it appeared to match their physiological arousal and result in an increase in positive emotions. Listening to extreme music may represent a healthy way of processing anger for these listeners.