Music-Evoked Autobiographical Memories are Associated with Negative Affect in Younger and Older Adults.

BACKGROUND: Music evokes strong and persistent emotional responses. However, the mechanisms underlying the emotional effects of music, particularly in older adults, are largely unknown. One purported mechanism by which music evokes emotions is through memory - that is, music evokes personal, autobiographical memories that then lead to emotional responses. METHOD: Here, we investigated whether memory-evoking music induces stronger and longer-lasting emotional responses than non-memory-evoking music, and whether these emotional responses differ between younger and older adults. Older (N = 30) and younger adults (N =30) listened to two blocks of self-selected music (one block of memory-evoking music and one block of familiar but non-memory-evoking music). Participants reported their emotions prior to and at three timepoints post-listening. RESULTS: Older adults reported higher levels of positive affect than younger adults. For both groups, positive affect increased after listening to both memory-evoking and non-memory-evoking music. However, negative affect only increased after listening to memory-evoking music. CONCLUSIONS: These results suggest that both memory-evoking and non-memory-evoking music generate strong emotions in younger and older adults, but music that conjures personal memories is more likely to elicit mixed emotions. Our results have important clinical implications when designing music-based interventions for mood and affect, particularly in older adult populations.

Your ears don't change what your eyes like: People can independently report the pleasure of music and images.

Observers can make independent aesthetic judgments of at least two images presented briefly and simultaneously. However, it is unknown whether this is the case for two stimuli of different sensory modalities. Here, we investigated whether individuals can judge auditory and visual stimuli independently, and whether stimulus duration influences such judgments. Participants (N = 120, across two experiments and a replication) saw images of paintings and heard excerpts of music, presented simultaneously for 2 s (Experiment 1) or 5 s (Experiment 2). After the stimuli were presented, participants rated how much pleasure they felt from the stimulus (music, image, or combined pleasure of both, depending on which was cued) on a 9-point scale. Finally, participants completed a baseline rating block where they rated each stimulus in isolation. We used the baseline ratings to predict ratings of audiovisual presentations. Across both experiments, the root mean square errors (RMSEs) obtained from leave-one-out-cross-validation analyses showed that people's ratings of music and images were unbiased by the simultaneously presented other stimulus, and ratings of both were best described as the arithmetic mean of the ratings from the individual presentations at the end of the experiment. This pattern of results replicates previous findings on simultaneously presented images, indicating that participants can ignore the pleasure of an irrelevant stimulus regardless of the sensory modality and duration of stimulus presentation. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Comparing music- and food-evoked autobiographical memories in young and older adults: A diary study.

Previous research has found that music brings back more vivid and emotional autobiographical memories than various other retrieval cues. However, such studies have often been low in ecological validity and constrained by relatively limited cue selection and predominantly young adult samples. Here, we compared music to food as cues for autobiographical memories in everyday life in young and older adults. In two separate four-day periods, 39 younger (ages 18-34) and 39 older (ages 60-77) adults recorded their music- and food-evoked autobiographical memories in paper diaries. Across both age groups, music triggered more frequent autobiographical memories, a greater proportion of involuntary memories, and memories rated as more personally important in comparison to food cues. Age differences impacted music- and food-evoked memories similarly, with older adults consistently recalling older and less specific memories, which they rated as more positive, vivid, and rehearsed. However, young and older adults did not differ in the number or involuntary nature of their recorded memories. This work represents an important step in understanding the phenomenology of naturally occurring music-evoked autobiographical memories across adulthood and provides new insights into how and why music may be a more effective trigger for personally valued memories than certain other everyday cues.

Differences in autobiographical memories reported using text and voice during everyday life.

Autobiographical memories frequently occur during everyday life. One of the most common approaches to measuring memories in everyday life is a diary method: Participants record memories as they occur by writing down these memories in a paper diary or typing them on a smartphone. Conversely, many laboratory-based studies of autobiographical memory require participants to describe their memories out loud in a spoken manner. Here, we sought to directly compare memories recorded via typing to those spoken out loud in a smartphone diary study. Participants reported or, autobiographical memories that occurred over a period of four days either by typing (n = 43) or recording themselves orally describing memories (n = 39) using a smartphone app. Results indicated that the audio recording group reported memories more frequently and these memories contained a greater number of words, while the text group reported memories more promptly after they occurred. Additionally, the typing group reported memories that were episodically richer and contained a greater proportion of perceptual details. This work has important implications for future autobiographical memory studies in the lab, online, and using diary methods, and suggests that certain reporting modalities may be advantageous depending on the specific research focus.

AI composer bias: Listeners like music less when they think it was composed by an AI.

The use of artificial intelligence (AI) to compose music is becoming mainstream. Yet, there is a concern that listeners may have biases against AIs. Here, we test the hypothesis that listeners will like music less if they think it was composed by an AI. In Study 1, participants listened to excerpts of electronic and classical music and rated how much they liked the excerpts and whether they thought they were composed by an AI or human. Participants were more likely to attribute an AI composer to electronic music and liked music less that they thought was composed by an AI. In Study 2, we directly manipulated composer identity by telling participants that the music they heard (electronic music) was composed by an AI or by a human, yet we found no effect of composer identity on liking. We hypothesized that this was due to the "AI-sounding" nature of electronic music. Therefore, in Study 3, we used a set of "human-sounding" classical music excerpts. Here, participants liked the music less when it was purportedly composed by an AI. We conclude with implications of the AI composer bias for understanding perception of AIs in arts and aesthetic processing theories more broadly. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Investigating the role of involuntary retrieval in music-evoked autobiographical memories.

Music is a particularly salient autobiographical memory cue. Prior work has indicated that autobiographical memories evoked by music are more episodically rich than those evoked by other sensory cues. One explanation for this effect could be that music evokes autobiographical memories in a more involuntary manner than other cues. Here, we investigated the role of involuntary retrieval in music-evoked autobiographical memories. Results indicated that, regardless of intentionality, music-evoked autobiographical memories were more episodically rich and contained more perceptual details than face-evoked memories. That is, even when directly comparing involuntary music-evoked memories to involuntary face-evoked memories, there was still a consistent difference in episodic richness between memories evoked by the two cue types. This suggests that it is not the involuntary nature of music-evoked memories alone that drives this difference, but that the difference in episodic richness between cue types seems at least partially to depend on other stimulus features.

Musical reward across the lifespan.

Music is ubiquitous. Despite the fact that most people find music enjoyable, there are individual differences in the degree to which listeners derive pleasure from music. However, there has been little focus on how musical reward may change across the lifespan. Some theories predict that there would be little change, or even an increase in musical reward across the lifespan, while others suggest that older adults may have decreased capacity for musical reward. Here, we investigated musical reward across the lifespan. Participants consisted of American adults ranging between 20-85 years old (n = 20 participants in each 10-year age bin). Participants in Study 1 completed the Barcelona Music Reward Questionnaire (BMRQ), which is a multi-dimensional assessment of musical reward. We found a negative correlation between age and BMRQ scores, suggesting decreases in musical reward across the lifespan. When investigating which components were driving this effect, we found that the music seeking subscale was the strongest predictor of age. Participants in Study 2 completed the Aesthetic Experiences in Music Scale (AES-M), which focuses on intense emotional responses to music. In contrast to the BMRQ, we found no relationship between age and scores on the AES-M, suggesting that strong emotional responses to music are consistent across the lifespan. These results have implications for the use of music as a therapeutic tool in older adults. In addition, this work points to the importance of considering age when investigating reward for music and suggests that the ways individuals experience music may change across the lifespan.

Social bonding and music: Evidence from lesions to the ventromedial prefrontal cortex.

The music and social bonding (MSB) hypothesis suggests that damage to brain regions in the proposed neurobiological model, including the ventromedial prefrontal cortex (vmPFC), would disrupt the social and emotional effects of music. This commentary evaluates prior research in persons with vmPFC damage in light of the predictions put forth by the MSB hypothesis.

Aesthetic Judgments of Live and Recorded Music: Effects of Congruence Between Musical Artist and Piece.

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants (N = 32) made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece (congruent with the army band) and a non-patriotic piece (congruent with the university band). Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that "fit" with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible.

The famous melodies stimulus set.

Famous musical melodies, such as "Row, Row, Row Your Boat" and "Hot Cross Buns," are frequently used in psychological research. Such melodies have been used to assess the degree of cognitive impairments in various neurological disorders, and to investigate differences between "naming" vs. "knowing." Despite their utility as an experimental stimulus, there is currently no standardized, openly available set of famous musical melodies based on a United States population, as prior work on the topic has primarily relied on creating stimuli in an ad hoc manner. Therefore, the goal of the present work was to create a set of famous musical melodies. Here, we describe the development of the Famous Melodies Stimulus Set, a set of 107 melodies. We provide normative data for the melodies on five dimensions: familiarity, age of acquisition, emotional valence, emotional arousal, and naming ability. Participants (N = 397) rated the melodies on these five variables, validating that most melodies were highly familiar and reliably named. While familiarity ratings were skewed, all other rating scales covered a relatively broad range, allowing for researchers to select melodies for future work based on particular attributes.

Hooked on a Feeling: Influence of Brief Exposure to Familiar Music on Feelings of Emotion in Individuals with Alzheimer's Disease.

BACKGROUND: Research has indicated that individuals with Alzheimer's-type dementia (AD) can experience prolonged emotions, even when they cannot recall the eliciting event. Less is known about whether music can modify the emotional state of individuals with AD and whether emotions evoked by music linger in the absence of a declarative memory for the eliciting event. OBJECTIVE: We examined the effects of participant-selected recorded music on self-reported feelings of emotion in individuals with AD, and whether these feelings persisted irrespective of declarative memory for the emotion-inducing stimuli. METHODS: Twenty participants with AD and 19 healthy comparisons (HCs) listened to two 4.5-minute blocks of self-selected music that aimed to induce either sadness or happiness. Participants reported their feelings at baseline and three times post-induction and completed recall and recognition tests for the music selections after each induction. RESULTS: Participants with AD had impaired memory for music selections compared to HCs. Both groups reported elevated sadness and negative affect after listening to sad music and increased happiness and positive affect after listening to happy music, relative to baseline. Sad/negative and happy/positive emotions endured up to 20 minutes post-induction. CONCLUSION: Brief exposure to music can induce strong and lingering emotions in individuals with AD. These findings extend the intriguing phenomenon whereby lasting emotions can be prompted by stimuli that are not remembered declaratively. Our results underscore the utility of familiar music for inducing emotions in individuals with AD and may ultimately inform strategies for using music listening as a therapeutic tool with this population.

Musical anhedonia and rewards of music listening: current advances and a proposed model.

Music frequently elicits intense emotional responses, a phenomenon that has been scrutinized from multiple disciplines that span the sciences and arts. While most people enjoy music and find it rewarding, there is substantial individual variability in the experience and degree of music-induced reward. Here, we review current work on the neural substrates of hedonic responses to music. In particular, we focus the present review on specific musical anhedonia, a selective lack of pleasure from music. Based on evidence from neuroimaging, neuropsychology, and brain stimulation studies, we derive a neuroanatomical model of the experience of pleasure during music listening. Our model posits that hedonic responses to music are the result of connectivity between structures involved in auditory perception as a predictive process, and those involved in the brain's dopaminergic reward system. We conclude with open questions and implications of this model for future research on why humans appreciate music.

The default-mode network represents aesthetic appeal that generalizes across visual domains.

Visual aesthetic evaluations, which impact decision-making and well-being, recruit the ventral visual pathway, subcortical reward circuitry, and parts of the medial prefrontal cortex overlapping with the default-mode network (DMN). However, it is unknown whether these networks represent aesthetic appeal in a domain-general fashion, independent of domain-specific representations of stimulus content (artworks versus architecture or natural landscapes). Using a classification approach, we tested whether the DMN or ventral occipitotemporal cortex (VOT) contains a domain-general representation of aesthetic appeal. Classifiers were trained on multivoxel functional MRI response patterns collected while observers made aesthetic judgments about images from one aesthetic domain. Classifier performance (high vs. low aesthetic appeal) was then tested on response patterns from held-out trials from the same domain to derive a measure of domain-specific coding, or from a different domain to derive a measure of domain-general coding. Activity patterns in category-selective VOT contained a degree of domain-specific information about aesthetic appeal, but did not generalize across domains. Activity patterns from the DMN, however, were predictive of aesthetic appeal across domains. Importantly, the ability to predict aesthetic appeal varied systematically; predictions were better for observers who gave more extreme ratings to images subsequently labeled as "high" or "low." These findings support a model of aesthetic appreciation whereby domain-specific representations of the content of visual experiences in VOT feed in to a "core" domain-general representation of visual aesthetic appeal in the DMN. Whole-brain "searchlight" analyses identified additional prefrontal regions containing information relevant for appreciation of cultural artifacts (artwork and architecture) but not landscapes.

Anomia for musical entities.

BACKGROUND: Previous work has investigated extensively the neuroanatomical correlates of lexical retrieval for words for concrete entities. Musical entities, such as musical instruments, are often included in studies of category-specific naming deficits, but have rarely been the focus of such work. AIMS: This article reviews a program of research investigating the neuroanatomical basis for lexical retrieval of words for unique (i.e., melodies) and non-unique (i.e., musical instruments) musical entities. MAIN CONTRIBUTION: We begin by reporting findings on the retrieval of words for unique musical entities, including musical melodies. We then consider work focusing on retrieval of words for non-unique musical entities, specifically musical instruments. We highlight similarities between the two lines of work, and then report results from new analyses including direct comparisons between the two. These comparisons suggest that impairments in naming musical melodies and in naming musical instruments are both associated with damage to the left temporal pole (LTP). However, musical instrument naming appears to rely on a more distributed set of brain regions, possibly including those relating to sensorimotor interactions with such instruments, whereas melody naming relies more exclusively on the left temporal pole. CONCLUSIONS: Retrieval of names for musical melodies appears to rely on similar neuroanatomical correlates as for other proper nouns, namely the LTP. Musical instrument naming seems to rely on a broader network of regions, including the LTP and sensorimotor areas. Overall, melody naming seems to coincide with naming of other proper nouns, while musical instrument naming appears distinct from other categories of non-unique items.

Dynamics of aesthetic experience are reflected in the default-mode network.

Neuroaesthetics is a rapidly developing interdisciplinary field of research that aims to understand the neural substrates of aesthetic experience: While understanding aesthetic experience has been an objective of philosophers for centuries, it has only more recently been embraced by neuroscientists. Recent work in neuroaesthetics has revealed that aesthetic experience with static visual art engages visual, reward and default-mode networks. Very little is known about the temporal dynamics of these networks during aesthetic appreciation. Previous behavioral and brain imaging research suggests that critical aspects of aesthetic experience have slow dynamics, taking more than a few seconds, making them amenable to study with fMRI. Here, we identified key aspects of the dynamics of aesthetic experience while viewing art for various durations. In the first few seconds following image onset, activity in the DMN (and high-level visual and reward regions) was greater for very pleasing images; in the DMN this activity counteracted a suppressive effect that grew longer and deeper with increasing image duration. In addition, for very pleasing art, the DMN response returned to baseline in a manner time-locked to image offset. Conversely, for non-pleasing art, the timing of this return to baseline was inconsistent. This differential response in the DMN may therefore reflect the internal dynamics of the participant's state: The participant disengages from art-related processing and returns to stimulus-independent thought. These dynamics suggest that the DMN tracks the internal state of a participant during aesthetic experience.

The left temporal pole is a convergence region mediating the relation between names and semantic knowledge for unique entities: Further evidence from a "recognition-from-name" study in neurological patients.

Prior research has implicated the left temporal pole (LTP) as a critical region for naming semantically unique items, including famous faces, landmarks, and musical melodies. Most studies have used a confrontation naming paradigm, where a participant is presented with a stimulus and asked to retrieve its name. We have proposed previously that the LTP functions as a two-way, bidirectional convergence region brokering between conceptual knowledge and proper names for unique entities. Under this hypothesis, damage to the LTP should result in a "two way" impairment: (1) defective proper name retrieval when presented with a unique stimulus (as shown in prior work); and (2) defective concept retrieval when presented with a proper name. Here, we directly tested the second prediction using a "recognition-from-name" paradigm. Participants were patients with LTP damage, brain-damaged comparisons with damage outside the LTP, and healthy comparisons. Participants were presented with names of famous persons (e.g., "Marilyn Monroe"), landmarks (e.g., "Leaning Tower of Pisa"), or melodies (e.g., "Rudolph the Red-Nosed Reindeer") and were asked to provide conceptual knowledge about each. We found that individuals with damage to the LTP were significantly impaired at conceptual knowledge retrieval when given names of famous people and landmarks (but this finding did not hold for melodies). This outcome supports the theory that the LTP is a bidirectional convergence region for proper naming, but suggests that melody retrieval may rely on processes different from those supported by the LTP.

Rapid timing of musical aesthetic judgments.

In recent years, psychological models of perception have undergone reevaluation due to a broadening of focus toward understanding not only how observers perceive stimuli but also how they subjectively evaluate stimuli. Here, we investigated the time course of such aesthetic evaluations using a gating paradigm. In a series of experiments, participants heard excerpts of classical, jazz, and electronica music. Excerpts were of different durations (250 ms, 500 ms, 750 ms, 1,000 ms, 2,000 ms, 10,000 ms) or note values (eighth note, quarter note, half note, dotted-half note, whole note, and entire 10,000 ms excerpt). After each excerpt, participants rated how much they liked the excerpt on a 9-point Likert scale. In Experiment 1, listeners made accurate aesthetic judgments within 750 ms for classical and jazz pieces, while electronic pieces were judged within 500 ms. When translated into note values (Experiment 2), electronica and jazz clips were judged more quickly than classical. In Experiment 3, we manipulated the familiarity of the musical excerpts. Unfamiliar clips were judged more quickly (500 ms) than familiar clips (750 ms), but there was overall higher accuracy for familiar pieces. Finally, we investigated listeners' aesthetic judgments continuously over the time course of more naturalistic (60 s) excerpts: Within 3 s, listeners' judgments differed between most- and least-liked pieces. We suggest that such rapid aesthetic judgments represent initial gut-level decisions that are made quickly, but that even these initial judgments are influenced by characteristics such as genre and familiarity. (PsycINFO Database Record (c) 2018 APA, all rights reserved).

Musical anhedonia after focal brain damage.

People listen to music because it is pleasurable. However, there are individual differences in the reward value of music. At the extreme low end of this continuum, individuals who derive no pleasure from music are said to have 'musical anhedonia.' Cases of acquired musical anhedonia following focal brain damage are rare, with only a handful having been reported in the scientific literature. Here, we surveyed a large sample of patients with focal brain damage to identify the frequency, specificity, and neural correlates of acquired musical anhedonia. Participants completed the Musical anhedonia Questionnaire and the Barcelona Music Reward Questionnaire (Mas-Herrero et al., 2013) to assess changes in musical enjoyment and reward following brain injury. Neuroanatomical data were analyzed with a proportional MAP-3 method to create voxelwise lesion proportion difference maps. No clear or consistent neuroanatomical correlates of musical anhedonia were identified. One patient with damage to the right-hemisphere putamen and internal capsule displayed specific and severe acquired musical anhedonia. These findings indicate that acquired musical anhedonia is very uncommon, a result which is consistent with the fact that only a small number of such cases have been reported in the literature. This rarity could have positive implications for the therapeutic potentialities of music in patients with severe neurological disorders.

Neural correlates of recognition and naming of musical instruments.

OBJECTIVE: Retrieval of lexical (names) and conceptual (semantic) information is frequently impaired in individuals with neurological damage. One category of items that is often affected is musical instruments. However, distinct neuroanatomical correlates underlying lexical and conceptual knowledge for musical instruments have not been identified. METHOD: We used a neuropsychological approach to explore the neural correlates of knowledge retrieval for musical instruments. A large sample of individuals with focal brain damage (N = 298), viewed pictures of 16 musical instruments and were asked to name and identify each instrument. Neuroanatomical data were analyzed with a proportional MAP-3 method to create voxelwise lesion proportion difference maps. RESULTS: Impaired naming (lexical retrieval) of musical instruments was associated with damage to the left temporal pole and inferior pre- and postcentral gyri. Impaired recognition (conceptual knowledge retrieval) of musical instruments was associated with a more broadly and bilaterally distributed network of regions, including ventromedial prefrontal cortices, occipital cortices, and superior temporal gyrus. CONCLUSIONS: The findings extend our understanding of how musical instruments are processed at neural system level, and elucidate factors that may explain why brain damage may or may not produce anomia or agnosia for musical instruments. Our findings also help inform broader understanding of category-related knowledge mapping in the brain, as musical instruments possess several characteristics that are similar to various other categories of items: They are inanimate and highly manipulable (similar to tools), produce characteristic sounds (similar to animals), and require fine-grained visual differentiation between each other (similar to people). (PsycINFO Database Record

The cognitive and behavioral effects of meningioma lesions involving the ventromedial prefrontal cortex.

OBJECT Anterior skull base meningiomas are frequently associated with changes in personality and behavior. Although such meningiomas often damage the ventromedial prefrontal cortex (vmPFC), which is important for higher cognition, the cognitive and behavioral effects of these meningiomas remain poorly understood. Using detailed neuropsychological assessments in a large series of patients, this study examined the cognitive and behavioral effects of meningioma lesions involving the vmPFC. METHODS The authors reviewed neuropsychology and lesion mapping records of 70 patients who underwent resection of meningiomas. The patients were drawn from the Neurological Patient Registry at the University of Iowa. Patients were sorted into 2 groups: those with lesions involving the vmPFC and those with lesions that did not involve the vmPFC. Neuropsychological data pertaining to a comprehensive array of cognitive and behavioral domains were available preoperatively in 20 patients and postoperatively in all 70 patients. RESULTS No change occurred in basic cognitive functions (e.g., attention, perception, memory, construction and motor performance, language, or executive functions) from the preoperative to postoperative epochs for the vmPFC and non-vmPFC groups. There was a significant decline in the behavioral domain, specifically adaptive function, for both the vmPFC and non-vmPFC groups, and this decline was more pronounced for the vmPFC group. Additionally, postoperative data indicated that the vmPFC group had a specific deficit in value-based decision making, as evidenced by poor performance on the Iowa Gambling Task, compared with the non-vmPFC group. The vmPFC and non-vmPFC groups did not differ postoperatively on other cognitive measures, including intellect, memory, language, and perception. CONCLUSIONS Lesions of the vmPFC resulting from meningiomas are associated with specific deficits in adaptive function and value-based decision making. Meningioma patients showed a decline in adaptive function postoperatively, and this decline was especially notable in patients with vmPFC region meningiomas. Early detection and resection of meningiomas of the anterior skull base (involving the gyrus rectus) may prevent these deficits.