Musical Preferences are Linked to Cognitive Styles

Songs tell a story: The Arc of narrative for music

Research suggests that a core lexical structure characterized by words that define plot staging, plot progression, and cognitive tension underlies written narratives. Here, we investigate the extent to which song lyrics follow this underlying narrative structure. Using a text analytic approach and two publicly available datasets of song lyrics including a larger dataset (N = 12,280) and a smaller dataset of greatest hits (N = 2,823), we find that music lyrics tend to exhibit a core Arc of Narrative structure: setting the stage at the beginning, progressing the plot steadily until the end of the song, and peaking in cognitive tension in the middle. We also observe differences in narrative structure based on musical genre, suggesting different genres set the scene in greater detail (Country, Rap) or progress the plot faster and have a higher rate of internal conflict (Pop). These findings add to the evidence that storytelling exhibits predictable language patterns and that storytelling is evident in music lyrics.

Illness Narratives in Popular Music: An Untapped Resource for Medical Education

Illness narratives convey a person's feelings, thoughts, beliefs, and descriptions of suffering and healing as a result of physical or mental breakdown. Recognized genres include fiction, nonfiction, poetry, plays, and films. Like poets and playwrights, musicians also use their life experiences as fodder for their art. However, illness narratives as expressed through popular music are an understudied and underutilized source of insights into the experience of suffering, healing, and coping with illness, disease, and death. Greater attention to the value of music within medical education is needed to improve students' perspective-taking and communication. Like reading a good book, songs that resonate with listeners speak to shared experiences or invite them into a universe of possibilities that they had not yet imagined. In this article, we show how uncovering these themes in popular music might be integrated into medical education, thus creating a space for reflection on the nature and meaning of illness and the fragility of the human condition. We describe three kinds of illness narratives that may be found in popular music (autobiographical, biographical, and metaphorical) and show how developing skills of close listening through exposure to these narrative forms can improve patient-physician communication and expand students' moral imaginations.

Soundscapes of morality: Linking music preferences and moral values through lyrics and audio

Music is a fundamental element in every culture, serving as a universal means of expressing our emotions, feelings, and beliefs. This work investigates the link between our moral values and musical choices through lyrics and audio analyses. We align the psychometric scores of 1,480 participants to acoustics and lyrics features obtained from the top 5 songs of their preferred music artists from Facebook Page Likes. We employ a variety of lyric text processing techniques, including lexicon-based approaches and BERT-based embeddings, to identify each song's narrative, moral valence, attitude, and emotions. In addition, we extract both low- and high-level audio features to comprehend the encoded information in participants' musical choices and improve the moral inferences. We propose a Machine Learning approach and assess the predictive power of lyrical and acoustic features separately and in a multimodal framework for predicting moral values. Results indicate that lyrics and audio features from the artists people like inform us about their morality. Though the most predictive features vary per moral value, the models that utilised a combination of lyrics and audio characteristics were the most successful in predicting moral values, outperforming the models that only used basic features such as user demographics, the popularity of the artists, and the number of likes per user. Audio features boosted the accuracy in the prediction of empathy and equality compared to textual features, while the opposite happened for hierarchy and tradition, where higher prediction scores were driven by lyrical features. This demonstrates the importance of both lyrics and audio features in capturing moral values. The insights gained from our study have a broad range of potential uses, including customising the music experience to meet individual needs, music rehabilitation, or even effective communication campaign crafting.

A novel music-based therapeutic approach: the Therapeutic Music Listening

The therapeutic use of music is frequently based on active interventions that directly involve the patient through a sonorous-music interaction with the music therapist. In contrast, approaches based on musical listening are characterized by a relationship aimed at promoting an introspective work and processing of one's emotional experiences. Increasingly, the scientific literature has shown how even listening to music related to the patient's personal tastes (preferred music listening) and by-passing the direct relationship with the patient, can produce therapeutic effects in different clinical settings. However, in many cases, a clear therapeutic rationale and specific application protocols are still lacking. The paper introduces a novel approach based on music listening: the Therapeutic Music Listening. This approach integrates the subjective component of listening (patient's musical tastes) and structural and parametric characteristics of the music in relation to the therapeutic aims. The article defines theoretical-applicative bases as well as therapeutic and research perspectives of this music listening-based intervention.

Music, Pleasure, and Meaning: The Hedonic and Eudaimonic Motivations for Music (HEMM) Scale

Many people listen to music that conveys challenging emotions such as sadness and anger, despite the commonly assumed purpose of media being to elicit pleasure. We propose that eudaimonic motivation, the desire to engage with aesthetic experiences to be challenged and facilitate meaningful experiences, can explain why people listen to music containing such emotions. However, it is unknown whether music containing violent themes can facilitate such meaningful experiences. In this investigation, three studies were conducted to determine the implications of eudaimonic and hedonic (pleasure-seeking) motivations for fans of music with violent themes. In Study 1, we developed and tested a new scale and showed that fans exhibit high levels of both types of motivation. Study 2 further validated the new scale and provided evidence that the two types of motivations are associated with different affective outcomes. Study 3 revealed that fans of violently themed music exhibited higher levels of eudaimonic motivation and lower levels of hedonic motivation than fans of non-violently themed music. Taken together, the findings support the notion that fans of music with violent themes are driven to engage with this music to be challenged and to pursue meaning, as well as to experience pleasure. Implications for fans' well-being and future applications of the new measure are discussed.

Musical preferences of Indian children with autism spectrum disorder and acceptability of music therapy by their families: An exploratory study

Background

Music therapy has been in use for children with autism spectrum disorder (ASD) since the 1940s. However, there is limited scientific evidence on its use in the Indian context.

Aim

The present study aims to explore musical preferences of children with ASD and their caregivers' acceptability of music as a form of intervention.

Materials and Methods

It is a cross-sectional study of 120 subjects diagnosed with ASD as per the Diagnostic and Statistical Manual of Mental Disorders-5 identified by convenience sampling. A semi-structured interview schedule consisting of 25 objective response questions with multiple choices and 11 open-ended questions (pertaining to music and the use of music) was used to explore caregivers'/parents' thoughts and beliefs. The responses to open-ended questions were collected in narrative mode. A descriptive approach of content analysis was adopted to analyse the data. The data are presented using descriptive statistics. Institutional Ethics Committee's approval was obtained for conducting the study.

Results

Most of the children liked (89.2%, n = 107) music and responded (88.3%, n = 106) actively (listen intently/hum or sing or dance along) to music. Most subjects preferred rhythm (65%, n = 78) over melody (15%, n = 18). While 98.3% (n = 118) of the parents were willing to try music therapy for their child, 61% of them (n = 72) asked follow-up questions like - "Is there available data on it?" (n = 12; 10.2%) and "Will it be worth investing our time and efforts on it?" (n = 60; 50.8%).

Conclusion

Most of the children including those with auditory sensitivity like music and prefer rhythm over melody. Caregivers possess a positive attitude toward the use of music therapy. However, most of them wish to clarify the scientific basis of the same.

Isn't There Room for Music in Chronic Pain Management?

Chronic pain with its comorbidities, such as depression, insomnia, and social deprivation, is a major cause of disability and health-economic burden. Insufficient response to pain medication and potentially serious adverse effects have led the majority of chronic pain patients to seek relief from non-pharmacological remedies. Along with this trend, pain research has paid increasing interest in critical evaluation of various complementary treatments. Music-based treatments have emerged as an efficacious and safe means to enhance the management of acute and chronic pain. We review the current position of music-based interventions in the treatment of chronic pain and present explanations for the analgesic effects of music through modulation of the primary nociception and discuss the contribution of the mesolimbic dopaminergic system to the affective component of pain perception. We propose ways to translate the novel theoretical understanding into clinical practice in different health care settings, primary health care in particular, and discuss the preconditions of successful implementation. We argue that music interventions provide low-cost, easily applicable complementary pain treatments not requiring heavy utilization of health care resources. Finally, we provide research and quality improvement frameworks and make suggestions to cover the gaps of existing evidence. PERSPECTIVE: This article addresses the current evidence for analgesic effects of music interventions, discusses its neurobiological basis and evaluates potential use of music in treating chronic pain patients in different health care settings. We also propose directions for future research to cover shortages in the currently published data.

You Eat How You Think: A Review on the Impact of Cognitive Styles on Food Perception and Behavior

Sensory perception is understood to be a complex area of research that requires investigations from a variety of different perspectives. Although researchers have tried to better understand consumers’ perception of food, one area that has been minimally explored is how psychological cognitive theories can help them explain consumer perceptions, behaviors, and decisions in food-related experiences. The concept of cognitive styles has existed for nearly a century, with the majority of cognitive style theories existing along a continuum with two bookends. Some of the more common theories such as individualist-collectivist, left-brain-right-brain, and convergent-divergent theories each offered their own unique insight into better understanding consumer behavior. However, these theories often focused only on niche applications or on specific aspects of cognition. More recently, the analytic-holistic cognitive style theory was developed to encompass many of these prior theoretical components and apply them to more general cognitive tendencies of individuals. Through applying the analytic-holistic theory and focusing on modern cultural psychology work, this review may allow researchers to be able to answer one of the paramount questions of sensory and consumer sciences: how and why do consumers perceive and respond to food stimuli the way that they do?

Multi-Modal Integration of EEG-fNIRS for Characterization of Brain Activity Evoked by Preferred Music

Music can effectively improve people's emotions, and has now become an effective auxiliary treatment method in modern medicine. With the rapid development of neuroimaging, the relationship between music and brain function has attracted much attention. In this study, we proposed an integrated framework of multi-modal electroencephalogram (EEG) and functional near infrared spectroscopy (fNIRS) from data collection to data analysis to explore the effects of music (especially personal preferred music) on brain activity. During the experiment, each subject was listening to two different kinds of music, namely personal preferred music and neutral music. In analyzing the synchronization signals of EEG and fNIRS, we found that music promotes the activity of the brain (especially the prefrontal lobe), and the activation induced by preferred music is stronger than that of neutral music. For the multi-modal features of EEG and fNIRS, we proposed an improved Normalized-ReliefF method to fuse and optimize them and found that it can effectively improve the accuracy of distinguishing between the brain activity evoked by preferred music and neutral music (up to 98.38%). Our work provides an objective reference based on neuroimaging for the research and application of personalized music therapy.

The Influence of Different Genres of Music on the Performance of Medical Students on Standardized Laparoscopic Exercises

PURPOSE

Whether and how music influences the performance of surgical procedures such as laparoscopy is unclear and can be feasibly determined using laparoscopic box training tools under standardized conditions. The aim of this prospective study is to evaluate the effect of different genres of music on the performance of laparoscopic novices.

METHODS

Between May 2018 and December 2018, n = 82 students (38 male, 44 female) from Heidelberg University Medical School performed 3 different laparoscopic exercises (A, B, C) from the "Luebecker Toolbox" with 2 repetitions each under standardized conditions. Time was recorded for each exercise. The students were assigned either to one of four groups, each of which was exposed to a compilation of music from 1 genre (hip hop, classical, rock, or mixed radio music), or to a fifth, control group, without exposure to music. The music was played at a constant sound pressure level of 70 decibels . Each group was compared with the others using a t-test for independent samples.

RESULTS

Exposure to music generally led to better performance compared with the control group. Compared with exposure to mixed radio music or to rock, significantly better performance could be demonstrated for exposure to classical music in Exercise B, with an average exposure time of 127 s needed (± 21.4; p < 0.05). No significant differences could be demonstrated for Exercise A, though for classical music, best performance was possible with 120 s (±17.3) of exposure. In Exercise C, hip hop triggered significantly better performance than rock or radio music (p < 0.05).

CONCLUSIONS

At an sound pressure level of 70 decibels, exposure to classical music or hip hop appears to have beneficial effects on training performance for surgical novices under standardized conditions.

Hedonic Preferences to Audio and Visual Stimulation in Seniors with Cognitive Impairments

BACKGROUND

Hedonic (or aesthetic) preferences to repeated sensory stimulation can remain stable over time (Island of Stability Effect, ISE) or vary with prior exposures (Mere Exposure Effect, MEE).

OBJECTIVE

Here we compared the liking ratings of seniors with cognitive impairments (mostly mild-to-moderate dementia, DPs) and neurotypical senior controls (CNs) to audio and visual stimuli and examined whether those ratings conformed to the ISE or the MEE predictions.

METHOD

Participants (n = 212) rated sets of stimuli repeated three times at weekly intervals: images of Picasso's paintings, PANTONE color cards, and avant-garde music clips.

RESULTS

The aggregated liking ratings of DPs and CNs were stable over time, in line with the ISE model. However, latent growth modeling indicated that those stable responses might have masked differences at the individual level, since seniors in both cohorts exhibited clusters of different responses over the time evaluated, supporting the predictions of the MEE. Notably, there was a dampening of hedonic experiences in DPs comparatively to CNs.

CONCLUSION

The presence of hedonic responses (and individual variations) in DPs is relevant not only to their wellbeing and therapy interventions involving audio and visual stimulation, but also to the design of spaces that offset the downturn in hedonic experiences affecting seniors with cognitive impairments.

Preferred musical attribute dimensions underlie individual differences in music-induced analgesia

Music-induced analgesia (MIA) is a phenomenon that describes a situation in which listening to music influences pain perception. The heterogeneity of music used in MIA studies leads to a problem of a specific effect for an unspecified stimulus. To address this, we use a previously established model of musical preferences that categorizes the multidimensional sonic space of music into three basic dimensions: arousal, valence and depth. Participants entered an experimental pain stimulation while listening to compilations of short musical excerpts characteristic of each of the three attribute dimensions. The results showed an effect on the part of music attribute preferences on average pain, maximal pain, and pain tolerance after controlling for musical attributes and order effects. This suggests that individual preferences for music attributes play a significant role in MIA and that, in clinical contexts, music should not be chosen arbitrarily but according to individual preferences.

Ballroom dancers exhibit a dispositional need for arousal and elevated cerebral cortical activity during preferred melodic recall

Background

Although the association of human temperament and preference has been studied previously, few investigations have examined cerebral cortical activation to assess brain dynamics associated with the motivation to engage in performance. The present study adopted a personality and cognitive neuroscience approach to investigate if participation in ballroom dancing is associated with sensation-seeking temperament and elevated cerebral cortical arousal during freely chosen musical recall.

Methods

Preferred tempo, indicated by tapping speed during melodic recall, and a measure of fundamental disposition or temperament were assessed in 70 ballroom dancers and 71 nondancers. All participants completed a trait personality inventory (i.e., the Chen Huichang 60 Temperaments Inventory) to determine four primary types: choleric, sanguine, phlegmatic and melancholic. Participants separately recalled their favorite musical piece and tapped to it with their index finger for 40 beats using a computer keyboard. A subset of 59 participants (29 ballroom dancers and 30 nondancers) also repeated the same tapping task while electroencephalographic (EEG) activity was recorded.

Results

The results revealed that the dancers were more extraverted, indicative of a heightened need for arousal, exhibited a preference for faster musical tempo, and exhibited elevated EEG beta power during the musical recall task relative to nondancers. Paradoxically, dancers also showed elevated introversion (i.e., melancholic score) relative to nondancers, which can be resolved by consideration of interactional personality theory if one assumes reasonably that dance performance environment is perceived in a stimulating manner.

Conclusion

The results are generally consistent with arousal theory, and suggest that ballroom dancers seek elevated stimulation and, thereby, choose to engage with active and energetic rhythmic auditory stimulation, thus providing the nervous system with the requisite stimulation for desired arousal. These results also suggest an underlying predisposition for engagement in ballroom dance and support the gravitational hypothesis, which propose that personality traits and perception lead to the motivation to engage in specific forms of human performance.

Common and distinct neural correlates of music and food-induced pleasure: A coordinate-based meta-analysis of neuroimaging studies

Neuroimaging studies have shown that, despite the abstractness of music, it may mimic biologically rewarding stimuli (e.g., food) in its ability to engage the brain's reward circuitry. However, due to the lack of research comparing music and other types of reward, it is unclear to what extent the recruitment of reward-related structures overlaps among domains. To achieve this goal, we performed a coordinate-based meta-analysis of 38 neuroimaging studies (703 subjects) comparing the brain responses specifically to music and food-induced pleasure. Both engaged a common set of brain regions, including the ventromedial prefrontal cortex, ventral striatum, and insula. Yet, comparative analyses indicated a partial dissociation in the engagement of the reward circuitry as a function of the type of reward, as well as additional reward type-specific activations in brain regions related to perception, sensory processing, and learning. These results support the idea that hedonic reactions rely on the engagement of a common reward network, yet through specific routes of access depending on the modality and nature of the reward.

Music therapy as social skill intervention for children with comorbid ASD and ID: study protocol for a randomized controlled trial

BACKGROUND

Autism spectrum disorder (ASD) is a developmental impairment characterized by persistent deficits in social communication and interactions, and over half of children with ASD possess below average intellectual ability (IQ < 85). The social development and response to social skill interventions among children with ASD and comorbid intellectual disability (ID) is not well understood. Music therapy is a systematic process of intervention, wherein a therapist may help clients promote their social skills by using musical experience. The proposed study will address limited research evidence on music therapy as an intervention for social functioning in children with ASD with mild to borderline ID.

METHOD

A randomized controlled trial (RCT) with two parallel groups of 40 children each (1:1 allocation ratio) is planned. Participants will receive 45 min of music therapy or non-musical intervention targeting social skills once a week for 12 weeks. Primary outcome measures will be independent ratings on the Childhood Autism Rating Scale and parent ratings on the Social Responsiveness Scale-2. Linear mixed-effects models for these two outcome measures will be created for data collected at 2-week pre-intervention, 2-week post-intervention, and 4-month post-intervention sessions. In-session behaviors at the first and last intervention will be videotaped and coded offline and compared. Pretreatment neural response of quantitative electroencephalograms (qEEG) to social scenes will be used to predict the outcomes of musical and non-musical social skill interventions, whereas qEEG responses to music will be used to predict the effectiveness of musical social skill intervention.

DISCUSSION

If neural markers of social skill development are found, then the long-term goal is to develop individualized intervention based on pre-treatment markers to maximize treatment efficacy. The proposed study's results may also suggest directions to development and provision of music therapy services in Hong Kong.

TRIAL REGISTRATION

ClinicalTrials.gov ( NCT04557488 ). Registered September 21, 2020.

“Just the Way You Are”: Linking Music Listening on Spotify and Personality

Advances in digital technology have put music libraries at people’s fingertips, giving them immediate access to more music than ever before. Here we overcome limitations of prior research by leveraging ecologically valid streaming data: 17.6 million songs and over 662,000 hr of music listened to by 5,808 Spotify users spanning a 3-month period. Building on interactionist theories, we investigated the link between personality traits and music listening behavior, described by an extensive set of 211 mood, genre, demographic, and behavioral metrics. Findings from machine learning showed that the Big Five personality traits are predicted by musical preferences and habitual listening behaviors with moderate to high accuracy. Importantly, our work contrasts a recent self-report-based meta-analysis, which suggested that personality traits play only a small role in musical preferences; rather, we show with big data and advanced machine learning methods that personality is indeed important and warrants continued rigorous investigation.

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.

Machine learning techniques to predict the effectiveness of music therapy: A randomized controlled trial

BACKGROUND

The literature shows the effectiveness of music listening, but which factors and what types of music produce therapeutic effects, as well as how music therapists can select music, remain unclear. Here, we present a study to establish the main predictive factors of music listening's relaxation effects using machine learning methods.

METHODS

Three hundred and twenty healthy participants were evenly distributed by age, education level, presence of musical training, and sex. Each of them listened to music for nine minutes (either to their preferred music or to algorithmically generated music). Relaxation levels were recorded using a visual analogue scale (VAS) before and after the listening experience. The participants were then divided into three classes: increase, decrease, or no change in relaxation. A decision tree was generated to predict the effect of music listening on relaxation.

RESULTS

A decision tree with an overall accuracy of 0.79 was produced. An analysis of the structure of the decision tree yielded some inferences as to the most important factors in predicting the effect of music listening, particularly the initial relaxation level, the combination of education and musical training, age, and music listening frequency.

CONCLUSIONS

The resulting decision tree and analysis of this interpretable model makes it possible to find predictive factors that influence therapeutic music listening outcomes. The strong subjectivity of therapeutic music listening suggests the use of machine learning techniques as an important and innovative approach to supporting music therapy practice.

Privacy trading in the surveillance capitalism age viewpoints on 'privacy-preserving' societal value creation

In the modern era of the mobile apps (part of the era of surveillance capitalism , a famously coined term by Shoshana Zuboff), huge quantities of data about individuals and their activities offer a wave of opportunities for economic and societal value creation. However, the current personal data ecosystem is mostly de-regulated, fragmented, and inefficient. On one hand, end-users are often not able to control access (either technologically, by policy, or psychologically) to their personal data which results in issues related to privacy, personal data ownership, transparency, and value distribution. On the other hand, this puts the burden of managing and protecting user data on profit-driven apps and ad-driven entities (e.g., an ad-network) at a cost of trust and regulatory accountability. Data holders (e.g., apps) may hence take commercial advantage of the individuals' inability to fully anticipate the potential uses of their private information, with detrimental effects for social welfare. As steps to improve social welfare, we comment on the the existence and design of efficient consumer-data releasing ecosystems aimed at achieving a maximum social welfare state amongst competing data holders. In view of (a) the behavioral assumption that humans are 'compromising' beings, (b) privacy not being a well-boundaried good, and (c) the practical inevitability of inappropriate data leakage by data holders upstream in the supply-chain, we showcase the idea of a regulated and radical privacy trading mechanism that preserves the heterogeneous privacy preservation constraints (at an aggregate consumer, i.e., app, level) upto certain compromise levels, and at the same time satisfying commercial requirements of agencies (e.g., advertising organizations) that collect and trade client data for the purpose of behavioral advertising. More specifically, our idea merges supply function economics , introduced by Klemperer and Meyer, with differential privacy, that, together with their powerful theoretical properties, leads to a stable and efficient, i.e., a maximum social welfare, state, and that too in an algorithmically scalable manner. As part of future research, we also discuss interesting additional techno-economic challenges related to realizing effective privacy trading ecosystems.

Decomposing Complexity Preferences for Music

Recently, we demonstrated complexity as a major factor for explaining individual differences in visual preferences for abstract digital art. We have shown that participants could best be separated into two groups based on their liking ratings for abstract digital art comprising geometric patterns: one group with a preference for complex visual patterns and another group with a preference for simple visual patterns. In the present study, building up on these results, we extended our investigations for complexity preferences from highly controlled visual stimuli to ecologically valid stimuli in the auditory modality. Similar to visual preferences, we showed that music preferences are highly influenced by stimulus complexity. We demonstrated this by clustering a large number of participants based on their liking ratings for song excerpts from various musical genres. Our results show that, based on their liking ratings, participants can best be separated into two groups: one group with a preference for more complex songs and another group with a preference for simpler songs. Finally, we considered various demographic and personal characteristics to explore differences between the groups, and reported that at least for the current data set age and gender to be significant factors separating the two groups.

Modeling Music-Selection Behavior in Everyday Life: A Multilevel Statistical Learning Approach and Mediation Analysis of Experience Sampling Data

Music listening has become a highly individualized activity with smartphones and music streaming services providing listeners with absolute freedom to listen to any kind of music in any situation. Until now, little has been written about the processes underlying the selection of music in daily life. The present study aimed to disentangle some of the complex processes among the listener, situation, and functions of music listening involved in music selection. Utilizing the experience sampling method, data were collected from 119 participants using a smartphone application. For 10 consecutive days, participants received 14 prompts using stratified-random sampling throughout the day and reported on their music-listening behavior. Statistical learning procedures on multilevel regression models and multilevel structural equation modeling were used to determine the most important predictors and analyze mediation processes between person, situation, functions of listening, and music selection. Results revealed that the features of music selected in daily life were predominantly determined by situational characteristics, whereas consistent individual differences were of minor importance. Functions of music listening were found to act as a mediator between characteristics of the situation and music-selection behavior. We further observed several significant random effects, which indicated that individuals differed in how situational variables affected their music selection behavior. Our findings suggest a need to shift the focus of music-listening research from individual differences to situational influences, including potential person-situation interactions.

The Role of Musical Attributes in Music-Induced Analgesia: A Preliminary Brief Report

Music-induced analgesia (MIA) is the ability of music to influence pain perception. Although this phenomenon has been extensively studied in recent years, only a few studies have addressed what musical characteristics are optimal for MIA. Here, we present a novel approach to this topic, using a recently proposed model of music attribute preferences. The model addresses three musical dimensions: arousal, valence, and depth. Thirty participants (15 women and 15 men, M_age = 37.1 years, standard deviation = 15.7) were subjected to experimental pain stimulation (cold-pressor task) while listening to brief music excerpts with characteristics of the three attribute dimensions. Each excerpt was selected to score high on one of the three attributes while being average on the other two, to create three distinct music conditions. There was also a control condition, where participants listened to white noise. Results showed that average pain ratings were significantly lower in the arousal (p = 0.002) and depth (p = 0.01) conditions compared to the control condition. Furthermore, participants showed increased pain tolerance in musical conditions compared to the control condition (p = 0.04). This preliminary report introduces a novel approach to studying MIA in the context of music attribute preferences. With the advent of online music streaming services, this research opens new possibilities for music-based pain interventions.

Validation of the German Version of the Music-Empathizing-Music-Systemizing (MEMS) Inventory (Short Version)

Background: Kreutz et al. (2008) developed the Music-Empathizing-Music-Systemizing (ME-MS) Inventory to extend Baron-Cohen's cognitive style theory to the domain of music. We sought to confirm the ME-MS construct in a German sample and to explore these individual differences in relation to music preferences.

Methods: The German adaptation of the MEMS Inventory was achieved by forward and backward translation. A total of 1014 participants (532 male, age: 33.79 ± 11.89 years) completed the 18-item short version of the MEMS Inventory online. Confirmatory factor analysis (CFA) was performed and cut-off values were established to identify individuals who could be classified as ME, Balanced, or MS. Statistical analyses were used to examine differences in music preference based on music-related cognitive styles.

Results: Confirmatory factor analysis (CFA) confirmed two factors, ME and MS, with sufficiently good fit (CFI = 0.87; GFI = 0.93) and adequate internal consistency (Cronbach's Alpha ME: 0.753, MS: 0.783). Analyses of difference scores allowed for a classification as either ME, Balanced, or MS. ME and MS differed in sociodemographic variables, preferred music genres, preferred reasons for music listening, musical expertise, situations in which music is listened to in daily life, and frequency of music-induced chills.

Discussion: The German short version of the MEMS Inventory shows good psychometric properties. Based on the cut-off values, differences in music preference were found. Consequently, ME and MS use music in different ways, and the cognitive style of music listening thus appears to be an important moderator in research on the psychology of music. Future research should identify behavioral and neurophysiological correlates and investigate mechanisms underlying music processing based on these different cognitive styles of music listening.

Groove in drum patterns as a function of both rhythmic properties and listeners' attitudes

Music psychology defines groove as humans’ pleasureable urge to move their body in synchrony with music. Past research has found that rhythmic syncopation, event density, beat salience, and rhythmic variability are positively associated with groove. This exploratory study investigates the groove effect of 248 reconstructed drum patterns from different popular music styles (pop, rock, funk, heavy metal, rock’n’roll, hip hop, soul, R&B). It aims at identifying factors that might be relevant for groove and worth investigating in a controlled setting in the future. Drum patterns of eight bars duration, chosen from 248 popular music tracks, have been transcribed and audio reconstructions have been created on the basis of sound samples. During an online listening experiment, 665 participants rated the reconstructions a total of 8,329 times using a groove questionnaire. Results show that, among 15 tested variables, syncopation (R² = 0.010) and event density (R² = 0.011) were positively associated with the groove ratings. These effects were stronger in participants who were music professionals, compared to amateur musicians or mere listeners. A categorisation of the stimuli according to structural aspects was also associated with groove (R² = 0.018). Beat salience, residual microtiming and rhythmic variability showed no effect on the groove ratings. Participants’ familiarity with a drum pattern had a positive influence on the groove ratings (η² = 0.051). The largest isolated effect was measured for participants’ style bias (R² = 0.123): groove ratings tended to be high if participants had the impression that the drum pattern belonged to a style they liked. Combined, the effects of style bias and familiarity (R² = 0.152) exceeded the other effects as predictors for groove by a wide margin. We conclude that listeners’ taste, musical biographies and expertise have a strong effect on their groove experience. This motivates groove research not to focus on the music alone, but to take the listeners into account as well.

Musical Preferences Predict Personality: Evidence From Active Listening and Facebook Likes

Research over the past decade has shown that various personality traits are communicated through musical preferences. One limitation of that research is external validity, as most studies have assessed individual differences in musical preferences using self-reports of music-genre preferences. Are personality traits communicated through behavioral manifestations of musical preferences? We addressed this question in two large-scale online studies with demographically diverse populations. Study 1 ( N = 22,252) shows that reactions to unfamiliar musical excerpts predicted individual differences in personality—most notably, openness and extraversion—above and beyond demographic characteristics. Moreover, these personality traits were differentially associated with particular music-preference dimensions. The results from Study 2 ( N = 21,929) replicated and extended these findings by showing that an active measure of naturally occurring behavior, Facebook Likes for musical artists, also predicted individual differences in personality. In general, our findings establish the robustness and external validity of the links between musical preferences and personality.

Antenatal Training with Music and Maternal Talk Concurrently May Reduce Autistic-Like Behaviors at around 3 Years of Age

Antenatal training through music and maternal talk to the unborn fetus is a topic of general interest for parents-to-be in China, but we still lack a comprehensive assessment of their effects on the development of autistic-like behaviors during early childhood. During 2014-2016, 34,749 parents of children around the age of 3 years who were enrolled at kindergarten in the Longhua district of Shenzhen participated in this study. Self-administered questionnaires regarding demographics, antenatal music training, and maternal talk to the fetus during pregnancy were completed by the children's primary caregivers. Autistic-like behaviors were assessed using the Autism Behavioral Checklist. Tobit regression analyses revealed that antenatal music training and maternal talk to the fetus was associated with a reduction in autistic-like behaviors in children, with a dose-dependent relationship. Furthermore, factorial analysis of covariance indicated a significant interaction effect between antenatal music training and maternal talk to the fetus on the autistic-like behaviors and found that children who often experienced antenatal music training and maternal talk concurrently had the lowest risk of autistic-like behaviors, while children who were never exposed to maternal talk and only sometimes experienced antenatal music training had the highest risk. Our results suggest that antenatal training through both music and maternal talk to the unborn fetus might reduce the risk of children's autistic-like behaviors at around 3 years of age.

There's More to Groove than Bass in Electronic Dance Music: Why Some People Won't Dance to Techno

The purpose of this study was to explore the relationship between audio descriptors for groove-based electronic dance music (EDM) and raters’ perceived cognitive, affective, and psychomotor responses. From 198 musical excerpts (length: 15 sec.) representing 11 subgenres of EDM, 19 low-level audio feature descriptors were extracted. A principal component analysis of the feature vectors indicated that the musical excerpts could effectively be classified using five complex measures, describing the rhythmical properties of: (a) the high-frequency band, (b) the mid-frequency band, and (c) the low-frequency band, as well as overall fluctuations in (d) dynamics, and (e) timbres. Using these five complex audio measures, four meaningful clusters of the EDM excerpts emerged with distinct musical attributes comprising music with: (a) isochronous bass and static timbres, (b) isochronous bass with fluctuating dynamics and rhythmical variations in the mid-frequency range, (c) non-isochronous bass and fluctuating timbres, and (d) non-isochronous bass with rhythmical variations in the high frequencies. Raters (N = 99) were each asked to respond to four musical excerpts using a four point Likert-Type scale consisting of items representing cognitive (n = 9), affective (n = 9), and psychomotor (n = 3) domains. Musical excerpts falling under the cluster of “non-isochronous bass with rhythmical variations in the high frequencies” demonstrated the overall highest composite scores as evaluated by the raters. Musical samples falling under the cluster of “isochronous bass with static timbres” demonstrated the overall lowest composite scores as evaluated by the raters. Moreover, music preference was shown to significantly affect the systematic patterning of raters’ responses for those with a musical preference for “contemporary” music, “sophisticated” music, and “intense” music.

Music, empathy and cultural understanding

In the age of the Internet and with the dramatic proliferation of mobile listening technologies, music has unprecedented global distribution and embeddedness in people's lives. It is a source of intense experiences of both the most intimate and solitary, and public and collective, kinds - from an individual with their smartphone and headphones, to large-scale live events and global simulcasts; and it increasingly brings together a huge range of cultures and histories, through developments in world music, sampling, the re-issue of historical recordings, and the explosion of informal and home music-making that circulates via YouTube. For many people, involvement with music can be among the most powerful and potentially transforming experiences in their lives. At the same time, there has been increasing interest in music's communicative and affective capacities, and its potential to act as an agent of social bonding and affiliation. This review critically discusses a considerable body of research and scholarship, across disciplines ranging from the neuroscience and psychology of music to cultural musicology and the sociology and anthropology of music, that provides evidence for music's capacity to promote empathy and social/cultural understanding through powerful affective, cognitive and social factors; and explores ways in which to connect and make sense of this disparate evidence (and counter-evidence). It reports the outcome of an empirical study that tests one aspect of those claims, demonstrating that 'passive' listening to the music of an unfamiliar culture can significantly change the cultural attitudes of listeners with high dispositional empathy; presents a model that brings together the primary components of the music and empathy research into a single framework; and considers both some of the applications, and some of the shortcomings and problems, of understanding music from the perspective of empathy.