Implementation and evaluation of a multi-level mental health promotion intervention for the workplace (MENTUPP): study protocol for a cluster randomised controlled trial.

BACKGROUND: Well-organised and managed workplaces can be a source of wellbeing. The construction, healthcare and information and communication technology sectors are characterised by work-related stressors (e.g. high workloads, tight deadlines) which are associated with poorer mental health and wellbeing. The MENTUPP intervention is a flexibly delivered, multi-level approach to supporting small- and medium-sized enterprises (SMEs) in creating mentally healthy workplaces. The online intervention is tailored to each sector and designed to support employees and leaders dealing with mental health difficulties (e.g. stress), clinical level anxiety and depression, and combatting mental health-related stigma. This paper presents the protocol for the cluster randomised controlled trial (cRCT) of the MENTUPP intervention in eight European countries and Australia. METHODS: Each intervention country will aim to recruit at least two SMEs in each of the three sectors. The design of the cRCT is based on the experiences of a pilot study and guided by a Theory of Change process that describes how the intervention is assumed to work. SMEs will be randomly assigned to the intervention or control conditions. The aim of the cRCT is to assess whether the MENTUPP intervention is effective in improving mental health and wellbeing (primary outcome) and reducing stigma, depression and suicidal behaviour (secondary outcome) in employees. The study will also involve a process and economic evaluation. CONCLUSIONS: At present, there is no known multi-level, tailored, flexible and accessible workplace-based intervention for the prevention of non-clinical and clinical symptoms of depression, anxiety and burnout, and the promotion of mental wellbeing. The results of this study will provide a comprehensive overview of the implementation and effectiveness of such an intervention in a variety of contexts, languages and cultures leading to the overall goal of delivering an evidence-based intervention for mental health in the workplace. TRIAL REGISTRATION: Please refer to Item 2a and registration ISRCTN14104664. Registered on 12th July 2022.

Emotionally congruent music and text increase immersion and appraisal.

Numerous studies indicate that listening to music and reading are processes that interact in multiple ways. However, these interactions have rarely been explored with regard to the role of emotional mood. In this study, we first conducted two pilot experiments to assess the conveyed emotional mood of four classical music pieces and that of four narrative text excerpts. In the main experiment, participants were asked to read the texts while listening to the music and to rate their emotional state in terms of valence, arousal, and dominance. Subsequently, they rated text and music of the multisensory event in terms of the perceived mood, liking, immersion, and music-text fit. We found a mutual carry-over effect of happy and sad moods from music to text and vice versa. Against our expectations, this effect was not mediated by the valence, arousal, or dominance experienced by the subject. Moreover, we revealed a significant interaction between music mood and text mood. Texts were liked better, they were classified as of better quality, and participants felt more immersed in the text if text mood and music mood corresponded. The role of mood congruence when listening to music while reading should not be ignored and deserves further exploration.

Crossmodal Correspondence between Music and Ambient Color Is Mediated by Emotion.

The quality of a concert hall primarily depends on its acoustics. But does visual input also have an impact on musical enjoyment? Does the color of ambient lighting modulate the perceived music quality? And are certain colors perceived to fit better than others with a given music piece? To address these questions, we performed three within-subjects experiments. We carried out two pretests to select four music pieces differing in tonality and genre, and 14 lighting conditions of varying hue, brightness, and saturation. In the main experiment, we applied a fully crossed repeated-measures design. Under each of the four lighting conditions, participants rated the musical variables 'Harmonic', 'Powerful', 'Gloomy', 'Lively' and overall liking of the music pieces, as well as the perceived fit of music and lighting. Subsequently, participants evaluated music and lighting separately by rating the same variables as before, as well as their emotional impact (valence, arousal, dominance). We found that music and lighting being similarly rated in terms of valence and arousal in the unimodal conditions were judged to match better when presented together. Accordingly, tonal (atonal) music was rated to fit better with weakly saturated (highly saturated) colors. Moreover, some characteristics of the lighting were carried over to music. That is, just as red lighting was rated as more powerful than green and blue lighting, music was evaluated to be more powerful under red compared to green and blue lighting. We conclude that listening to music is a multisensory process enriched by impressions from the visual domain.

The Louder, the Longer: Object Length Perception Is Influenced by Loudness, but Not by Pitch.

Sound by itself can be a reliable source of information about an object's size. For instance, we are able to estimate the size of objects merely on the basis of the sound they make when falling on the floor. Moreover, loudness and pitch are crossmodally linked to size. We investigated if sound has an effect on size estimation even in the presence of visual information, that is if the manipulation of the sound produced by a falling object influences visual length estimation. Participants watched videos of wooden dowels hitting a hard floor and estimated their lengths. Sound was manipulated by (A) increasing (decreasing) overall sound pressure level, (B) swapping sounds among the different dowel lengths, and (C) increasing (decreasing) pitch. Results showed that dowels were perceived to be longer with increased sound pressure level (SPL), but there was no effect of swapped sounds or pitch manipulation. However, in a sound-only-condition, main effects of length and pitch manipulation were found. We conclude that we are able to perceive subtle differences in the acoustic properties of impact sounds and use them to deduce object size when visual cues are eliminated. In contrast, when visual cues are available, only loudness is potent enough to exercise a crossmodal influence on length perception.

Having a Drink with Tchaikovsky: The Crossmodal Influence of Background Music on the Taste of Beverages.

Previous research has shown that auditory cues can influence the flavor of food and drink. For instance, wine tastes better when preferred music is played. We have investigated whether a music background can modify judgments of the specific flavor pattern of a beverage, as opposed to mere preference. This was indeed the case. We explored the nature of this crosstalk between auditory and gustatory perception, and hypothesized that the 'flavor' of the background music carries over to the perceived flavor (i.e., descriptive and evaluative aspects) of beverages. First, we collected ratings of the subjective flavor of different music pieces. Then we used a between-subjects design to cross the music backgrounds with taste evaluations of several beverages. Participants tasted four different samples of beverages under two contrasting audio conditions and rated their taste experiences. The emotional flavor of the music had the hypothesized effects on the flavor of the beverages. We also hypothesized that such an effect would be stronger for music novices than for music experts, and weaker for aqueous solutions than for wines. However, neither music expertise nor liquid type produced additional effects. We discuss implications of this audio-gustatory interaction.