Personal and contextual variables predict music consumption during the first COVID-19 lockdown in Canada.

The global COVID-19 lockdowns shattered familiar routines, plunging individuals into a disorienting emotional landscape characterized by loss, uncertainty, and a deep yearning for social bonds. Many employed coping strategies such as cleaning, dancing, and mindfulness-based practices to ameliorate negative emotions. Music listening was one of the most widely used coping strategies, moderated by personal and contextual variables. We obtained data from a Canadian national survey conducted in April 2020 to examine the role of personal (sex, age, education level, pre-pandemic income, minority status, feelings about music, and Schwartz's "personal values") and contextual variables (level of worry, changes to income, COVID-19 status and risk, having children at home, and internet access) in predicting music listening for stress relief, changes to music listening, changes to music watching, and music discovery. Our results indicate that women, younger adults, individuals who like or love music, and those reporting high levels of worry were more likely to listen to music to relieve stress. Personal variables were more significantly associated with music listening for stress relief than contextual variables.

Shifting the sociometer: opioid receptor blockade lowers self-esteem.

Given the evolutionary importance of social ties for survival, humans are thought to have evolved psychobiological mechanisms to monitor and safeguard the status of their social bonds. At the psychological level, self-esteem is proposed to function as a gauge-'sociometer'-reflecting one's social belongingness status. At the biological level, endogenous opioids appear to be an important substrate for the hedonic signalling needed to regulate social behaviour. We investigated whether endogenous opioids may serve as the biological correlate of the sociometer. We administered 50 mg naltrexone (an opioid receptor antagonist) and placebo in a counterbalanced order to 26 male and female participants on two occasions ∼1 week apart. Participants reported lower levels of self-esteem-particularly self-liking-on the naltrexone (vs placebo) day. We also explored a potential behavioural consequence of naltrexone administration: attentional bias to accepting (smiling) faces-an early-stage perceptual process thought to maximize opportunities to restore social connection. Participants exhibited heightened attentional bias towards accepting faces on the naltrexone (vs placebo) day, which we interpret as an indicator of heightened social need under opioid receptor blockade. We discuss implications of these findings for understanding the neurobiological underpinnings of sociality as well as the relationship between adverse social conditions, low self-esteem and psychopathology.

1/f laws found in non-human music.

A compelling question at the intersection of physics, neuroscience, and evolutionary biology concerns the extent to which the brains of various species evolved to encode regularities of the physical world. It would be parsimonious and adaptive, for example, for brains to evolve an innate understanding of gravity and the laws of motion, and to be able to detect, auditorily, those patterns of noises that ambulatory creatures make when moving about the world. One such physical regularity of the world is fractal structure, generally characterized by power-law correlations or 1/f ß spectral distributions. Such laws are found broadly in nature and human artifacts, from noise in physical systems, to coastline topography (e.g., the Richardson effect), to neuronal spike patterns. These distributions have also been found to hold for the rhythm and power spectral density of a wide array of human music, suggesting that human music incorporates regularities of the physical world that our species evolved to recognize and produce. Here we show for the first time that 1/fß laws also govern the spectral density of a wide range of animal vocalizations (music), from songbirds, to whales, to howling wolves. We discovered this 1/fß power-law distribution in the vocalizations within all of the 17 diverse species examined. Our results demonstrate that such power laws are prevalent in the animal kingdom, evidence that their brains have evolved a sensitivity to them as an aid in processing sensory features of the natural world.

The disintegrated theory of consciousness: Sleep, waking, and meta-awareness.

The study of sleep and wakefulness can inform debates about the nature of consciousness. We argue that sleep and wakefulness fall along a multidimensional continuum and that inconsistencies and paradoxes with the accounts put forth by Merker et al. and Tononi can be understood in terms of a pervasive false dichotomy between these two states.

Knowledge songs as an evolutionary adaptation to facilitate information transmission through music.

I propose an adjunct to the two models presented in the target articles, a function of music that is ubiquitous and would have solved a clear adaptive problem, that of transmitting important survival information among pre-literate humans. This class of knowledge songs uniquely preserved cultural, botanical, medical, safety, and practical information that increased the adaptive fitness of societies.

Towards an Understanding of Control of Complex Rhythmical "Wavelike" Coordination in Humans.

How does the human neurophysiological system self-organize to achieve optimal phase relationships among joints and limbs, such as in the composite rhythms of butterfly and front crawl swimming, drumming, or dancing? We conducted a systematic review of literature relating to central nervous system (CNS) control of phase among joint/limbs in continuous rhythmic activities. SCOPUS and Web of Science were searched using keywords "Phase AND Rhythm AND Coordination". This yielded 1039 matches from which 23 papers were extracted for inclusion based on screening criteria. The empirical evidence arising from in-vivo, fictive, in-vitro, and modelling of neural control in humans, other species, and robots indicates that the control of movement is facilitated and simplified by innervating muscle synergies by way of spinal central pattern generators (CPGs). These typically behave like oscillators enabling stable repetition across cycles of movements. This approach provides a foundation to guide the design of empirical research in human swimming and other limb independent activities. For example, future research could be conducted to explore whether the Saltiel two-layer CPG model to explain locomotion in cats might also explain the complex relationships among the cyclical motions in human swimming.

Fluency misattribution and auditory hindsight bias.

We conducted three experiments to test the fluency-misattribution account of auditory hindsight bias. According to this account, prior exposure to a clearly presented auditory stimulus produces fluent (improved) processing of a distorted version of that stimulus, which results in participants mistakenly rating that item as easy to identify. In all experiments, participants in an exposure phase heard clearly spoken words zero, one, three, or six times. In the test phase, we examined auditory hindsight bias by manipulating whether participants heard a clear version of a target word just prior to hearing the distorted version of that word. Participants then estimated the ability of naïve peers to identify the distorted word. Auditory hindsight bias and the number of priming presentations during the exposure phase interacted underadditively in their prediction of participants' estimates: When no clear version of the target word appeared prior to the distorted version of that word in the test phase, participants identified target words more often the more frequently they heard the clear word in the exposure phase. Conversely, hearing a clear version of the target word at test produced similar estimates, regardless of the number of times participants heard clear versions of those words during the exposure phase. As per Roberts and Sternberg's (Attention and Performance XIV, pp. 611-653, 1993) additive factors logic, this finding suggests that both auditory hindsight bias and repetition priming contribute to a common process, which we propose involves a misattribution of processing fluency. We conclude that misattribution of fluency accounts for auditory hindsight bias.

The Psychology of Music: Rhythm and Movement.

The urge to move to music is universal among humans. Unlike visual art, which is manifest across space, music is manifest across time. When listeners get carried away by the music, either through movement (such as dancing) or through reverie (such as trance), it is usually the temporal qualities of the music-its pulse, tempo, and rhythmic patterns-that put them in this state. In this article, we review studies addressing rhythm, meter, movement, synchronization, entrainment, the perception of groove, and other temporal factors that constitute a first step to understanding how and why music literally moves us. The experiments we review span a range of methodological techniques, including neuroimaging, psychophysics, and traditional behavioral experiments, and we also summarize the current studies of animal synchronization, engaging an evolutionary perspective on human rhythmic perception and cognition.

Anhedonia to music and mu-opioids: Evidence from the administration of naltrexone.

Music's universality and its ability to deeply affect emotions suggest an evolutionary origin. Previous investigators have found that naltrexone (NTX), a µ-opioid antagonist, may induce reversible anhedonia, attenuating both positive and negative emotions. The neurochemical basis of musical experience is not well-understood, and the NTX-induced anhedonia hypothesis has not been tested with music. Accordingly, we administered NTX or placebo on two different days in a double-blind crossover study, and assessed participants' responses to music using both psychophysiological (objective) and behavioral (subjective) measures. We found that both positive and negative emotions were attenuated. We conclude that endogenous opioids are critical to experiencing both positive and negative emotions in music, and that music uses the same reward pathways as food, drug and sexual pleasure. Our findings add to the growing body of evidence for the evolutionary biological substrates of music.

Measuring the representational space of music with fMRI: a case study with Sting.

Functional brain imaging has revealed much about the neuroanatomical substrates of higher cognition, including music, language, learning, and memory. The technique lends itself to studying of groups of individuals. In contrast, the nature of expert performance is typically studied through the examination of exceptional individuals using behavioral case studies and retrospective biography. Here, we combined fMRI and the study of an individual who is a world-class expert musician and composer in order to better understand the neural underpinnings of his music perception and cognition, in particular, his mental representations for music. We used state of the art multivoxel pattern analysis (MVPA) and representational dissimilarity analysis (RDA) in a fixed set of brain regions to test three exploratory hypotheses with the musician Sting: (1) Composing would recruit neutral structures that are both unique and distinguishable from other creative acts, such as composing prose or visual art; (2) listening and imagining music would recruit similar neural regions, indicating that musical memory shares anatomical substrates with music listening; (3) the MVPA and RDA results would help us to map the representational space for music, revealing which musical pieces and genres are perceived to be similar in the musician's mental models for music. Our hypotheses were confirmed. The act of composing, and even of imagining elements of the composed piece separately, such as melody and rhythm, activated a similar cluster of brain regions, and were distinct from prose and visual art. Listened and imagined music showed high similarity, and in addition, notable similarity/dissimilarity patterns emerged among the various pieces used as stimuli: Muzak and Top 100/Pop songs were far from all other musical styles in Mahalanobis distance (Euclidean representational space), whereas jazz, R&B, tango and rock were comparatively close. Closer inspection revealed principaled explanations for the similarity clusters found, based on key, tempo, motif, and orchestration.

Functional near-infrared spectroscopy for neuroimaging in cochlear implant recipients.

Functional neuroimaging can provide insight into the neurobiological factors that contribute to the variations in individual hearing outcomes following cochlear implantation. To date, measuring neural activity within the auditory cortex of cochlear implant (CI) recipients has been challenging, primarily because the use of traditional neuroimaging techniques is limited in people with CIs. Functional near-infrared spectroscopy (fNIRS) is an emerging technology that offers benefits in this population because it is non-invasive, compatible with CI devices, and not subject to electrical artifacts. However, there are important considerations to be made when using fNIRS to maximize the signal to noise ratio and to best identify meaningful cortical responses. This review considers these issues, the current data, and future directions for using fNIRS as a clinical application in individuals with CIs. This article is part of a Special Issue entitled .

Bach Is the Father of Harmony: Revealed by a 1/f Fluctuation Analysis across Musical Genres.

Harmony is a fundamental attribute of music. Close connections exist between music and mathematics since both pursue harmony and unity. In music, the consonance of notes played simultaneously partly determines our perception of harmony; associates with aesthetic responses; and influences the emotion expression. The consonance could be considered as a window to understand and analyze harmony. Here for the first time we used a 1/f fluctuation analysis to investigate whether the consonance fluctuation structure in music with a wide range of composers and genres followed the scale free pattern that has been found for pitch, melody, rhythm, human body movements, brain activity, natural images and geographical features. We then used a network graph approach to investigate which composers were the most influential both within and across genres. Our results showed that patterns of consonance in music did follow scale-free characteristics, suggesting that this feature is a universally evolved one in both music and the living world. Furthermore, our network analysis revealed that Bach's harmony patterns were having the most influence on those used by other composers, followed closely by Mozart.

Reducing social stress elicits emotional contagion of pain in mouse and human strangers.

Empathy for another's physical pain has been demonstrated in humans [1] and mice [2]; in both species, empathy is stronger between familiars. Stress levels in stranger dyads are higher than in cagemate dyads or isolated mice [2, 3], suggesting that stress might be responsible for the absence of empathy for the pain of strangers. We show here that blockade of glucocorticoid synthesis or receptors for adrenal stress hormones elicits the expression of emotional contagion (a form of empathy) in strangers of both species. Mice and undergraduates were tested for sensitivity to noxious stimulation alone and/or together (dyads). In familiar, but not stranger, pairs, dyadic testing was associated with increased pain behaviors or ratings compared to isolated testing. Pharmacological blockade of glucocorticoid synthesis or glucocorticoid and mineralocorticoid receptors enabled the expression of emotional contagion of pain in mouse and human stranger dyads, as did a shared gaming experience (the video game Rock Band) in human strangers. Our results demonstrate that emotional contagion is prevented, in an evolutionarily conserved manner, by the stress of a social interaction with an unfamiliar conspecific and can be evoked by blocking the endocrine stress response.

Musicality Correlates With Sociability and Emotionality in Williams Syndrome.

Williams Syndrome (WS) is a neurogenetic developmental disorder characterized by peaks and valleys of cognitive abilities. One peak that has been understudied is the affinity that many individuals with WS have toward music. It remains unknown whether their high levels of musical interest, skill and expressivity are related to their sociable personality or their verbal intelligence. We examined the relationships between musicality (musical interest, creativity and expressivity), sociability (social-emotionality, social approach) and language comprehension in WS and typically developing (TD) controls. Findings suggest that emotion-expressivity through music in WS may be linked to their sensitivity and responsivity to emotions of others, whereas general interest in music may be related to greater linguistic capacity in TD individuals. Musicality and sociability may be more closely related in WS relative than in typical development; implications for future interventions for this neurodevelopmental condition will be discussed.

Trait anhedonia is associated with reduced reactivity and connectivity of mesolimbic and paralimbic reward pathways.

Anhedonia is the inability to experience pleasure from normally pleasant stimuli. Although anhedonia is a prominent feature of many psychiatric disorders, trait anhedonia is also observed dimensionally in healthy individuals. Currently, the neurobiological basis of anhedonia is poorly understood because it has been mainly investigated in patients with psychiatric disorders. Thus, previous studies have not been able to adequately disentangle the neural correlates of anhedonia from other clinical symptoms. In this study, trait anhedonia was assessed in well-characterized healthy participants with no history of Axis I psychiatric illness. Functional magnetic resonance imaging with musical stimuli was used to examine brain responses and effective connectivity in relation to individual differences in anhedonia. We found that trait anhedonia was negatively correlated with pleasantness ratings of music stimuli and with activation of key brain structures involved in reward processing, including nucleus accumbens (NAc), basal forebrain and hypothalamus which are linked by the medial forebrain bundle to the ventral tegmental area (VTA). Brain regions important for processing salient emotional stimuli, including anterior insula and orbitofrontal cortex were also negatively correlated with trait anhedonia. Furthermore, effective connectivity between NAc, VTA and paralimbic areas, that regulate emotional reactivity to hedonic stimuli, was negatively correlated with trait anhedonia. Our results indicate that trait anhedonia is associated with reduced reactivity and connectivity of mesolimbic and related limbic and paralimbic systems involved in reward processing. Critically, this association can be detected even in individuals without psychiatric illness. Our findings have important implications both for understanding the neurobiological basis of anhedonia and for the treatment of anhedonia in psychiatric disorders.

Inter-subject synchronization of brain responses during natural music listening.

Music is a cultural universal and a rich part of the human experience. However, little is known about common brain systems that support the processing and integration of extended, naturalistic 'real-world' music stimuli. We examined this question by presenting extended excerpts of symphonic music, and two pseudomusical stimuli in which the temporal and spectral structure of the Natural Music condition were disrupted, to non-musician participants undergoing functional brain imaging and analysing synchronized spatiotemporal activity patterns between listeners. We found that music synchronizes brain responses across listeners in bilateral auditory midbrain and thalamus, primary auditory and auditory association cortex, right-lateralized structures in frontal and parietal cortex, and motor planning regions of the brain. These effects were greater for natural music compared to the pseudo-musical control conditions. Remarkably, inter-subject synchronization in the inferior colliculus and medial geniculate nucleus was also greater for the natural music condition, indicating that synchronization at these early stages of auditory processing is not simply driven by spectro-temporal features of the stimulus. Increased synchronization during music listening was also evident in a right-hemisphere fronto-parietal attention network and bilateral cortical regions involved in motor planning. While these brain structures have previously been implicated in various aspects of musical processing, our results are the first to show that these regions track structural elements of a musical stimulus over extended time periods lasting minutes. Our results show that a hierarchical distributed network is synchronized between individuals during the processing of extended musical sequences, and provide new insight into the temporal integration of complex and biologically salient auditory sequences.

The neurochemistry of music.

Music is used to regulate mood and arousal in everyday life and to promote physical and psychological health and well-being in clinical settings. However, scientific inquiry into the neurochemical effects of music is still in its infancy. In this review, we evaluate the evidence that music improves health and well-being through the engagement of neurochemical systems for (i) reward, motivation, and pleasure; (ii) stress and arousal; (iii) immunity; and (iv) social affiliation. We discuss the limitations of these studies and outline novel approaches for integration of conceptual and technological advances from the fields of music cognition and social neuroscience into studies of the neurochemistry of music.

Processing of musical structure by high-functioning adolescents with autism spectrum disorders.

Enhanced pitch perception and memory have been cited as evidence of a local processing bias in autism spectrum disorders (ASD). This bias is argued to account for enhanced perceptual functioning ( Mottron & Burack, 2001 ; Mottron, Dawson, Soulières, Hubert, & Burack, 2006 ) and central coherence theories of ASD ( Frith, 1989 ; Happé & Frith, 2006 ). A local processing bias confers a different cognitive style to individuals with ASD ( Happé, 1999 ), which accounts in part for their good visuospatial and visuoconstructive skills. Here, we present analogues in the auditory domain, audiotemporal or audioconstructive processing, which we assess using a novel experimental task: a musical puzzle. This task evaluates the ability of individuals with ASD to process temporal sequences of musical events as well as various elements of musical structure and thus indexes their ability to employ a global processing style. Musical structures created and replicated by children and adolescents with ASD (10-19 years old) and typically developing children and adolescents (7-17 years old) were found to be similar in global coherence. Presenting a musical template for reference increased accuracy equally for both groups, with performance associated to performance IQ and short-term auditory memory. The overall pattern of performance was similar for both groups; some puzzles were easier than others and this was the case for both groups. Task performance was further found to be correlated with the ability to perceive musical emotions, more so for typically developing participants. Findings are discussed in light of the empathizing-systemizing theory of ASD ( Baron-Cohen, 2009 ) and the importance of describing the strengths of individuals with ASD ( Happé, 1999 ; Heaton, 2009 ).