Here comes the sun: music features of popular songs reflect prevailing weather conditions.

We examine associations between prevailing weather conditions and music features in all available songs that reached the United Kingdom weekly top charts throughout a 67-year period (1953-2019), comprising 23 859 unique entries. We found that music features reflecting high intensity and positive emotions were positively associated with daily temperatures and negatively associated with rainfall, whereas music features reflecting low intensity and negative emotions were not related to weather conditions. These results held true after controlling for the mediating effects of year (temporal patterns) and month (seasonal patterns). However, music-weather associations were more nuanced than previously assumed by linear models, becoming only meaningful in those months and seasons when changes in weather were the most notable. Importantly, the observed associations depended on the popularity of the music: while songs in the top 10 of the charts exhibited the strongest associations with weather, less popular songs showed no relationship. This suggests that a song's fit with prevailing weather may be a factor pushing a song into the top of the charts. Our work extends previous research on non-musical domains (e.g. finance, crime, mental health) by showing that large-scale population-level preferences for cultural phenomena (music) are also influenced by broad environmental factors that exist over long periods of time (weather) via mood-regulation mechanisms. We discuss these results in terms of the limited nature of correlational studies and cross-cultural generalizability.

The Behavioural Economics of Music: Systematic review and future directions.

Music-related decision-making encompasses a wide range of behaviours including those associated with listening choices, composition and performance, and decisions involving music education and therapy. Although research programmes in psychology and economics have contributed to an improved understanding of music-related behaviour, historically, these disciplines have been unconnected. Recently, however, researchers have begun to bridge this gap by employing tools from behavioural economics. This article contributes to the literature by providing a discussion about the benefits of using behavioural economics in music-decision research. We achieve this in two ways. First, through a systematic review, we identify the current state of the literature within four key areas of behavioural economics-heuristics and biases, social decision-making, behavioural time preferences, and dual-process theory. Second, taking findings of the literature as a starting point, we demonstrate how behavioural economics can inform future research. Based on this, we propose the Behavioural Economics of Music (BEM), an integrated research programme that aims to break new ground by stimulating interdisciplinary research in the intersection between music, psychology, and economics.

Using Self-Determination Theory to Examine Musical Participation and Well-Being.

A recent surge of research has begun to examine music participation and well-being; however, a particular challenge with this work concerns theorizing around the associated well-being benefits of musical participation. Thus, the current research used Self-Determination Theory to consider the potential associations between basic psychological needs (competence, relatedness, and autonomy), self-determined autonomous motivation, and the perceived benefits to well-being controlling for demographic variables and the musical activity parameters. A sample of 192 Australian residents (17-85, M age = 36.95), who were currently participating in a musical activity at the time, completed an online questionnaire. Results indicated that females were more likely to perceive benefits to their well-being; and that how important an individual considers music in their life was positively related to perceived well-being. Importantly, the analyses also revealed that the basic needs of competency and relatedness were related to overall perceived well-being as well as specifically social, cognitive, and esteem dimensions of well-being. Autonomous motivation demonstrated significant associations with both an overall well-being score as well as four of five specific well-being subscales measured. Collectively, the findings indicate that Self-Determination Theory offers a useful theoretical framework to understanding the relationship between musical participation and well-being. Further, the pattern of findings reiterates the positive associations between musical participation and one's psychosocial well-being, with broad implications for people involved in the facilitation of musical activity.

How do location and control over the music influence listeners' responses?

This study uses Mehrabian and Russell's () Pleasure-Arousal-Dominance (PAD) model to consider how responses to both the music heard and overall in-situ listening experience are influenced by the listener's degree of control over music selected for a particular listening episode and the location in which the listening takes place. Following recruitment via campus advertisements and a university research participation program, 216 individuals completed a background questionnaire and music listening task in a 3 (location) × 2 (experimenter- or participant-selected music) design. After the listening task, participants completed a short questionnaire concerning the music they heard and the overall in-situ listening experience. Results demonstrated that there was a positive relationship between control and liking for the music and episode, whether the former was considered in terms of: (1) whether the music was self-selected or experimenter-selected or (2) overt ratings of perceived control. Furthermore, the location and liking for the music were related to people's judgments of their enjoyment of the overall experience. This research indicates that the PAD model is a useful framework for understanding everyday music listening and supports the contention that, in a musical context, dominance may be operationalized as control over the music.

A dynamically minimalist cognitive explanation of musical preference: is familiarity everything?

This paper examines the idea that attraction to music is generated at a cognitive level through the formation and activation of networks of interlinked "nodes." Although the networks involved are vast, the basic mechanism for activating the links is relatively simple. Two comprehensive cognitive-behavioral models of musical engagement are examined with the aim of identifying the underlying cognitive mechanisms and processes involved in musical experience. A "dynamical minimalism" approach (after Nowak, 2004) is applied to re-interpret musical engagement (listening, performing, composing, or imagining any of these) and to revise the latest version of the reciprocal-feedback model (RFM) of music processing. Specifically, a single cognitive mechanism of "spreading activation" through previously associated networks is proposed as a pleasurable outcome of musical engagement. This mechanism underlies the dynamic interaction of the various components of the RFM, and can thereby explain the generation of positive affects in the listener's musical experience. This includes determinants of that experience stemming from the characteristics of the individual engaging in the musical activity (whether listener, composer, improviser, or performer), the situation and contexts (e.g., social factors), and the music (e.g., genre, structural features). The theory calls for new directions for future research, two being (1) further investigation of the components of the RFM to better understand musical experience and (2) more rigorous scrutiny of common findings about the salience of familiarity in musical experience and preference.

Experiences of stalking in same-sex and opposite-sex contexts.

Most stalking literature reports on male stalkers and female victims. This work examines stalking experiences in 4 sex dyads: male stalker-female victim, female stalker-male victim, female-female dyads, and male-male dyads. Respondents were 872 self-defined victims of stalking from the United Kingdom and the United States who completed an anonymous survey. The study variables covered the process of stalking, effects on victims and third parties, and victim responses to stalking. Approximately 10% of comparisons were significant, indicating that sex of victim and stalker is not a highly discriminative factor in stalking cases. Female victims of male stalkers were most likely to suffer physical and psychological consequences. Female victims reported more fear than males did, and most significant differences conformed to sex role stereotypes. Earlier work suggested stalker motivation and prior victim-stalker relationship as important variables in analyses of stalking, but these did not prove significant in this work, perhaps because of sampling differences.

Musical taste, employment, education, and global region.

Sociologists have argued that musical taste should vary between social groups, but have not considered whether the effect extends beyond taste into uses of music and also emotional reactions to music. Moreover, previous research has ignored the culture in which participants are located. The present research employed a large sample from five post-industrial global regions and showed that musical taste differed between regions but not according to education and employment; and that there were three-way interactions between education, employment, and region in the uses to which participants put music and also their typical emotional reactions. In addition to providing partial support for existing sociological theory, the findings highlight the potential of culture as a variable in future quantitative research on taste.

The effect of background music on the taste of wine.

Research concerning cross-modal influences on perception has neglected auditory influences on perceptions of non-auditory objects, although a small number of studies indicate that auditory stimuli can influence perceptions of the freshness of foodstuffs. Consistent with this, the results reported here indicate that independent groups' ratings of the taste of the wine reflected the emotional connotations of the background music played while they drank it. These results indicate that the symbolic function of auditory stimuli (in this case music) may influence perception in other modalities (in this case gustation); and are discussed in terms of possible future research that might investigate those aspects of music that induce such effects in a particular manner, and how such effects might be influenced by participants' pre-existing knowledge and expertise with regard to the target object in question.

Why do we listen to music? A uses and gratifications analysis.

Four 'uses and gratifications' studies investigated peoples' reasons for listening to music (Study 1); and whether these reasons differ significantly from those associated with other leisure activities (Study 2). In Study 3, an open-ended, qualitative research design was used to investigate why people listen to music. In Study 4, a cross-sectional design was used to investigate the possibility that people of different ages might listen to music for different reasons. Findings showed that there are a number of reasons why participants listen to music, comparison of which indicated that participants listen to music primarily to manage/regulate their moods. Comparison with other leisure activities indicated that for the most part, listening to music was rated better than other leisure activities at serving an individual's different needs. This versatility may explain why music is so important to people. Evidence was also found to suggest that the reasons for listening to music may change as people grow older.

Individual differences in musical taste.

Several studies have investigated the relationship between (usually a narrow set of) personality dimensions and liking for a small number of individual musical styles. To date there has been no attempt to investigate, within a single methodology, the extent to which personality factors correlate with liking for a very wide range of musical styles. To address this, 36,518 participants rated their liking for 104 musical styles, completed a short form of the Big 5 personality inventory, and provided other data about their favorite musical styles. Personality factors were related to both liking for the musical styles and participants' reasons for listening to this music. However, on the whole these latter variables were related more closely to participants' age, sex, and income than to Big 5 scores. Thus, personality is related to musical taste, but other individual differences are arguably related more closely.

Death, attractiveness, moral conduct, and attitudes to public figures.

In this study, 2,894 participants rated attitudes toward their favorite public figure on the Celebrity Attitude Scale. It was noted whether each figure was alive or dead, and a panel of four independent judges assessed each in terms of their moral conduct and physical attractiveness. Dead figures appealed less and were subject to lower "intense personal" celebrity worship, and death was unrelated to "borderline pathological" and "deleterious imitation" celebrity worship. Physical attractiveness was positively related to overall celebrity worship and "intense personal" celebrity worship, but negatively related to "borderline pathological" and "deleterious imitation" celebrity worship. Moral conduct was associated negatively with "deleterious imitation" celebrity worship. Results are discussed briefly in terms of their implications for research on physical attractiveness and "copycat suicide".

Problem music and self-harming.

Academics and protest groups have claimed that "problem music" (hard rock, hip hop/rap, & punk) causes self-injurious thoughts/behaviors among fans. In this study we investigated whether the relationship is mediated by self-esteem, delinquency, and conservatism; and whether first exposure to problem music preceded self-injurious thoughts. A liking for problem music was associated with four of the five self-injurious measures, although these significant relationships were weakened (into nonsignificance in the case of two self-injurious measures) when the mediating variables were included. Listening to problem music did not precede self-injurious thoughts. Problem music is associated with self-injurious thoughts and behaviors, but this relationship is mediated by other factors and the former does not seem to cause the latter.

Brief report: Labelling effects on the perceived deleterious consequences of pop music listening.

Several correlational studies have supported the claim of conservative protestors that there exists a positive relationship between listening to pop music and adolescent problem behaviours. However, research on the so-called 'prestige effects' has shown that experimental participants' responses to music can be mediated by manipulations of prior information concerning that music. This study investigated whether perceptions of deleterious effects of pop songs on listeners may be attributable to prior labelling of those stimuli as 'problem music'. Eighty undergraduates were played songs that they were told were either suicide-inducing or life-affirming. Subsequent ratings of the songs indicated that those presented as 'suicide-inducing' were perceived as such, whereas presentation of the same songs in a 'life-affirming' frame led to the perception of them as such. These findings indicate that censorship and the subsequent labelling of certain songs as 'problematic' might itself cause these songs to have deleterious effects on listeners.

Distinguishing heroes from celebrities.

Although numerous studies have concerned both 'greatness' and 'celebrity worship,' little previous research has overtly investigated the psychological bases for distinguishing 'heroes' from 'celebrities'. Study 1 indicated that, in response to 13 attitudinal measures, participants' responses to heroes could be summarized in terms of emotional attachment, drive for affiliation, and ordinariness, whereas the corresponding factors for celebrities were drive for affiliation, disdain, and ordinariness. Study 2 investigated how certain individuals might come to be perceived as producing 'great' outputs. Using a vignette, manipulations of 'dead versus alive,' and 'good conduct versus bad conduct' mediated perceptions of the emotional significance of a pop song. The results are used to generate some tentative theoretical explanations for the differences between heroism and celebrity.

Gender bias in the evaluation of new age music.

Eminent composers in Western European art music continue to be predominantly male and eminence in contemporary pop music is similarly male dominated. One contributing factor may be the continuing under-valuation of women's music. Possible anti-female bias in a contemporary genre was investigated using the Goldberg paradigm to elicit judgments of New Age compositions. Since stronger stereotyping effects occur when information provided about individuals is sparse, fictitious male and female composers were presented either by name only or by name with a brief biography. Evidence for anti-female bias was found in the name-only condition and was stronger when liking for the music was controlled. Other findings were the tendency for females to give higher ratings, and the association of gender differences in liking of the music with ratings of quality in the name-only condition. These results are relevant to the design of formal assessment procedures for musical composition.

Age variations in judgments of 'great' art works.

This paper reports the results of two large-scale surveys concerning nominations of 'greatness' in the arts. In Study 1, 1088 respondents to a national newspaper survey nominated the greatest art works of the past 1000 years. Analyses indicated that there was some, albeit limited, evidence that older respondents nominated older art works, but no evidence of a tendency to nominate works produced during the participants' adolescence/early adulthood. In Study 2, a very brief questionnaire distributed through a CD retail chain, a national newspaper, and a national TV station asked 12,502 participants to nominate up to three of the greatest pop musicians of all time. Analyses indicated a tendency to nominate musicians who were successful while the participants themselves were in adolescence/early adulthood. These results are discussed in terms of the extent to which age can explain judgments of artistic 'greatness' within different art forms.