Being moved by listening to unfamiliar sad music induces reward-related hormonal changes in empathic listeners

The psychophysiology of music-based interventions and the experience of pain

In modern times there is increasing acceptance that music-based interventions are useful aids in the clinical treatment of a range of neurological and psychiatric conditions, including helping to reduce the perception of pain. Indeed, the belief that music, whether listening or performing, can alter human pain experiences has a long history, dating back to the ancient Greeks, and its potential healing properties have long been appreciated by indigenous cultures around the world. The subjective experience of acute or chronic pain is complex, influenced by many intersecting physiological and psychological factors, and it is therefore to be expected that the impact of music therapy on the pain experience may vary from one situation to another, and from one person to another. Where pain persists and becomes chronic, aberrant central processing is a key feature associated with the ongoing pain experience. Nonetheless, beneficial effects of exposure to music on pain relief have been reported across a wide range of acute and chronic conditions, and it has been shown to be effective in neonates, children and adults. In this comprehensive review we examine the various neurochemical, physiological and psychological factors that underpin the impact of music on the pain experience, factors that potentially operate at many levels - the periphery, spinal cord, brainstem, limbic system and multiple areas of cerebral cortex. We discuss the extent to which these factors, individually or in combination, influence how music affects both the quality and intensity of pain, noting that there remains controversy about the respective roles that diverse central and peripheral processes play in this experience. Better understanding of the mechanisms that underlie music's impact on pain perception together with insights into central processing of pain should aid in developing more effective synergistic approaches when music therapy is combined with clinical treatments. The ubiquitous nature of music also facilitates application from the therapeutic environment into daily life, for ongoing individual and social benefit.

Liking music with and without sadness: Testing the direct effect hypothesis of pleasurable negative emotion

Negative emotion evoked in listeners of music can produce intense pleasure, but we do not fully understand why. The present study addressed the question by asking participants (n = 50) to self-select a piece of sadness-evoking music that was loved. The key part of the study asked participants to imagine that the felt sadness could be removed. Overall participants reported performing the task successfully. They also indicated that the removal of the sadness reduced their liking of the music, and 82% of participants reported that the evoked sadness also adds to the enjoyment of the music. The study provided evidence for a "Direct effect hypothesis", which draws on the multicomponent model of emotion, where a component of the negative emotion is experienced as positive during music (and other aesthetic) experiences. Earlier evidence of a mediator, such as 'being moved', as the source of enjoyment was reinterpreted in light of the new findings. Instead, the present study applied a semantic overlap explanation, arguing that sadness primes emotions that share meaning with sadness, such as being-moved. The priming occurs if the overlap in meaning is sufficient. The degree of semantic overlap was defined empirically. The present study therefore suggests that mediator-based explanations need to be treated with caution both as a finding of the study, and because of analytic limitations in earlier research that are discussed in the paper.

Bodily maps of musical sensations across cultures

Emotions, bodily sensations and movement are integral parts of musical experiences. Yet, it remains unknown i) whether emotional connotations and structural features of music elicit discrete bodily sensations and ii) whether these sensations are culturally consistent. We addressed these questions in a cross-cultural study with Western (European and North American, n = 903) and East Asian (Chinese, n = 1035). We precented participants with silhouettes of human bodies and asked them to indicate the bodily regions whose activity they felt changing while listening to Western and Asian musical pieces with varying emotional and acoustic qualities. The resulting bodily sensation maps (BSMs) varied as a function of the emotional qualities of the songs, particularly in the limb, chest, and head regions. Music-induced emotions and corresponding BSMs were replicable across Western and East Asian subjects. The BSMs clustered similarly across cultures, and cluster structures were similar for BSMs and self-reports of emotional experience. The acoustic and structural features of music were consistently associated with the emotion ratings and music-induced bodily sensations across cultures. These results highlight the importance of subjective bodily experience in music-induced emotions and demonstrate consistent associations between musical features, music-induced emotions, and bodily sensations across distant cultures.

Treatments and regulatory mechanisms of acoustic stimuli on mood disorders and neurological diseases

Acoustic stimuli such as music or ambient noise can significantly affect physiological and psychological health in humans. We here summarize positive effects of music therapy in premature infant distress regulation, performance enhancement, sleep quality control, and treatment of mental disorders. Specifically, music therapy exhibits promising effects on treatment of neurological disorders such as Alzheimer's disease (AD) and Parkinson's disease (PD). We also highlight regulatory mechanisms by which auditory intervention affects an organism, encompassing modulation of immune responses, gene expression, neurotransmitter regulation and neural circuitry. As a safe, cost-effective and non-invasive intervention, music therapy offers substantial potential in treating a variety of neurological conditions.

Hardiness and Expectations for Future Life: The Roles of Perceived Stress, Music Listening for Negative Emotion Regulation, and Life Satisfaction

This study investigated the relationship between hardiness and Korean adults' expectations for future life, and verified the multiple mediating effects of perceived stress, music listening for negative emotion regulation, and life satisfaction on that relationship. The participants were 412 Korean adults aged 20-65 years. PROCESS Macro 3.5 Model 80 was used to examine the multiple mediating effects. Correlational analysis showed that hardiness was positively correlated with music listening for negative emotion regulation, life satisfaction, and expectations for future life, whereas it was negatively correlated with perceived stress. Perceived stress was negatively correlated with life satisfaction and expectations for future life, whereas music listening for negative emotion regulation was positively correlated with life satisfaction and expectations for future life. In the multiple mediation model, the relationships between hardiness and expectations for future life, the sequential mediating effect of perceived stress and life satisfaction, and the sequential mediating effect of music listening for negative emotion regulation and life satisfaction were significant. The direct effect of hardiness on expectations for future life was also significant, indicating that perceived stress, music listening for negative emotion regulation, and life satisfaction only partially mediated the relationship between hardiness and expectations for future life. It seems, thus, that perceived stress, music listening for negative emotion regulation, and life satisfaction play an important role in Korean adults' expectations for future life.

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.

Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening

This article is a hypothesis and theory paper. It elaborates on the possible relation between music as a stimulus and its possible effects, with a focus on the question of why listeners are experiencing pleasure and reward. Though it is tempting to seek for a causal relationship, this has proven to be elusive given the many intermediary variables that intervene between the actual impingement on the senses and the reactions/responses by the listener. A distinction can be made, however, between three elements: (i) an objective description of the acoustic features of the music and their possible role as elicitors; (ii) a description of the possible modulating factors—both external/exogenous and internal/endogenous ones; and (iii) a continuous and real-time description of the responses by the listener, both in terms of their psychological reactions and their physiological correlates. Music listening, in this broadened view, can be considered as a multivariate phenomenon of biological, psychological, and cultural factors that, together, shape the overall, full-fledged experience. In addition to an overview of the current and extant research on musical enjoyment and reward, we draw attention to some key methodological problems that still complicate a full description of the musical experience. We further elaborate on how listening may entail both adaptive and maladaptive ways of coping with the sounds, with the former allowing a gentle transition from mere hedonic pleasure to eudaimonic enjoyment.

Music Listening and Homeostatic Regulation: Surviving and Flourishing in a Sonic World

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

Dance and Music for Improving Health among Patients with Breast Cancer and Parkinson’s Disease: A Narrative Review

Although a longer life may bring new opportunities for older people and society, advancing age is a leading risk factor for developing several chronic diseases, consequently limiting the health span. During the ageing process, changes in the activity of several endocrine glands may occur, leading to different clinical conditions. Being physically active becomes fundamental for healthy ageing. Despite regular physical activity being shown to have many health benefits, patients with cancer and neurodegenerative diseases remain physically inactive. Over the past two decades, there has been a major increase in arts engagement (e.g., dance and music) on health and well-being in both clinical and non-clinical contexts. Dance and music have been shown to induce positive effects on hormonal glands, patients’ sociality, and self-confidence. Therefore, this review aims to highlight evidence regarding the effects of music and dance on hormonal responses and as preventive and compliance tools for heathy ageing in breast cancer and Parkinson’s disease patients.

How narrative transportation in movies affects audiences' positive word-of-mouth: The mediating role of emotion

On the basis of the cognitive–affective–behavioral model, this study investigated the effects of narrative transportation in movies on audience emotion and positive word-of-mouth (PWOM). To the best of the authors’ knowledge, this is the first study to explore the effects of the multidimensionality of narrative transportation on the multidimensionality of emotion. In this study, narrative transportation was divided into dimensions of empathy, immersion, and belief revision, and emotion was divided into pleasure and arousal. To explore the relationship between narrative transportation, emotions, and PWOM, the participants, comprising individuals with movie watching experience, completed a questionnaire on the movie that had left the deepest impression on them. The responses were analyzed through structural equation modeling. Empathy, immersion, and belief revision were significantly and positively associated with pleasure and arousal, which positively correlated with PWOM. The relationship between empathy or immersion and PWOM was partially mediated by pleasure and arousal, whereas pleasure and arousal fully mediated the association between belief revision and PWOM. Practical suggestions for filmmakers were derived from the present findings.