Love songs and serenades: a theoretical review of music and romantic relationships.

In this theoretical review, we examine how the roles of music in mate choice and social bonding are expressed in romantic relationships. Darwin's Descent of Man originally proposed the idea that musicality might have evolved as a sexually selected trait. This proposition, coupled with the portrayal of popular musicians as sex symbols and the prevalence of love-themed lyrics in music, suggests a possible link between music and attraction. However, recent scientific exploration of the evolutionary functions of music has predominantly focused on theories of social bonding and group signaling, with limited research addressing the sexual selection hypothesis. We identify two distinct types of music-making for these different functions: music for attraction, which would be virtuosic in nature to display physical and cognitive fitness to potential mates; and music for connection, which would facilitate synchrony between partners and likely engage the same reward mechanisms seen in the general synchrony-bonding effect, enhancing perceived interpersonal intimacy as a facet of love. Linking these two musical functions to social psychological theories of relationship development and the components of love, we present a model that outlines the potential roles of music in romantic relationships, from initial attraction to ongoing relationship maintenance. In addition to synthesizing the existing literature, our model serves as a roadmap for empirical research aimed at rigorously investigating the possible functions of music for romantic relationships.

"Help! I need some music!": Analysing music discourse & depression on Reddit.

Individuals choose varying music listening strategies to fulfill particular mood-regulation goals. However, ineffective musical choices and a lack of cognizance of the effects thereof can be detrimental to their well-being and may lead to adverse outcomes like anxiety or depression. In our study, we use the social media platform Reddit to perform a large-scale analysis to unearth the several music-mediated mood-regulation goals that individuals opt for in the context of depression. A mixed-methods approach involving natural language processing techniques followed by qualitative analysis was performed on all music-related posts to identify the various music-listening strategies and group them into healthy and unhealthy associations. Analysis of the music content (acoustic features and lyrical themes) accompanying healthy and unhealthy associations showed significant differences. Individuals resorting to unhealthy strategies gravitate towards low-valence tracks. Moreover, lyrical themes associated with unhealthy strategies incorporated tracks with low optimism, high blame, and high self-reference. Our findings demonstrate that being mindful of the objectives of using music, the subsequent effects thereof, and aligning both for well-being outcomes is imperative for comprehensive understanding of the effectiveness of music.

Exploring agency and entrainment in joint music-making through the reported experiences of students and teachers.

This qualitative interview-based study draws on the reported experiences of students and teachers to explore how agency and entrainment resource and constrain each other in joint music-making. The participants were 23 students of Grades 6 and 11 music teachers from different primary schools. The qualitative content analysis of the 11 student pair interviews and 11 one-to-one teacher interviews indicated that experiences of music-related interpersonal entrainment intertwine with different dimensions of agency. In the analysis, four themes were identified as follows: presence, belonging, safety, and continuity. These findings provide insights into the relationship between agency and entrainment in classroom-based joint music-making and provide a novel lens through which to examine the complementary experiences of students and teachers. This study builds bridges between the concepts of agency and entrainment in the context of music education, offering theoretical clarification as to how and why joint music-making can be considered an intersubjective activity that fosters group cohesion and social interaction. The findings further present a view of the constitutive nature of the relationship among agency, entrainment, and intersubjectivity in joint music-making. The findings offer educators concrete grounds for using joint music-making as a platform for an agency.

I know what i like when i see it: Likability is distinct from pleasantness since early stages of multimodal emotion evaluation.

Liking and pleasantness are common concepts in psychological emotion theories and in everyday language related to emotions. Despite obvious similarities between the terms, several empirical and theoretical notions support the idea that pleasantness and liking are cognitively different phenomena, becoming most evident in the context of emotion regulation and art enjoyment. In this study it was investigated whether liking and pleasantness indicate behaviourally measurable differences, not only in the long timespan of emotion regulation, but already within the initial affective responses to visual and auditory stimuli. A cross-modal affective priming protocol was used to assess whether there is a behavioural difference in the response time when providing an affective rating to a liking or pleasantness task. It was hypothesized that the pleasantness task would be faster as it is known to rely on rapid feature detection. Furthermore, an affective priming effect was expected to take place across the sensory modalities and the presentative and non-presentative stimuli. A linear mixed effect analysis indicated a significant priming effect as well as an interaction effect between the auditory and visual sensory modalities and the affective rating tasks of liking and pleasantness: While liking was rated fastest across modalities, it was significantly faster in vision compared to audition. No significant modality dependent differences between the pleasantness ratings were detected. The results demonstrate that liking and pleasantness rating scales refer to separate processes already within the short time scale of one to two seconds. Furthermore, the affective priming effect indicates that an affective information transfer takes place across modalities and the types of stimuli applied. Unlike hypothesized, liking rating took place faster across the modalities. This is interpreted to support emotion theoretical notions where liking and disliking are crucial properties of emotion perception and homeostatic self-referential information, possibly overriding pleasantness-related feature analysis. Conclusively, the findings provide empirical evidence for a conceptual delineation of common affective processes.

The Role of Music in Everyday Life During the First Wave of the Coronavirus Pandemic: A Mixed-Methods Exploratory Study.

Although music is known to be a part of everyday life and a resource for mood and emotion management, everyday life has changed significantly for many due to the global coronavirus pandemic, making the role of music in everyday life less certain. An online survey in which participants responded to Likert scale questions as well as providing free text responses was used to explore how participants were engaging with music during the first wave of the pandemic, whether and how they were using music for mood regulation, and how their engagement with music related to their experiences of worry and anxiety resulting from the pandemic. Results indicated that, for the majority of participants, while many felt their use of music had changed since the beginning of the pandemic, the amount of their music listening behaviors were either unaffected by the pandemic or increased. This was especially true of listening to self-selected music and watching live streamed concerts. Analysis revealed correlations between participants' use of mood for music regulation, their musical engagement, and their levels of anxiety and worry. A small number of participants described having negative emotional responses to music, the majority of whom also reported severe levels of anxiety.

Music Therapy for Depression Enhanced With Listening Homework and Slow Paced Breathing: A Randomised Controlled Trial.

Introduction: There is evidence from earlier trials for the efficacy of music therapy in the treatment of depression among working-age people. Starting therapy sessions with relaxation and revisiting therapeutic themes outside therapy have been deemed promising for outcome enhancement. However, previous music therapy trials have not investigated this issue. Objective: To investigate the efficacy of two enhancers, resonance frequency breathing (RFB) and listening homework (LH), when combined with an established music therapy model (trial registration number ISRCTN11618310). Methods: In a 2 × 2 factorial randomised controlled trial, working-age individuals with depression were allocated into groups based on four conditions derived from either the presence or absence of two enhancers (RFB and LH). All received music therapy over 6 weeks. Outcomes were observed at 6 weeks and 6 months. The primary outcome was the Montgomery Åsberg Depression Rating Scale (MADRS) score. Results: There was a significant overall effect of treatment for the primary outcome favouring the breathing group (d = 0.50, 95% CI 0.07 to 0.93, p = 0.02). The effect was larger after adjustment for potential confounders (d = 0.62, 95% CI 0.16 to 1.08, p = 0.009). Treatment effects for secondary outcomes, including anxiety (anxiety scale of Hospital Anxiety and Depression Scale) and quality of life (RAND-36), were also significant, favouring the breathing group. The homework enhancer did not reach significant treatment effects. Conclusion: We found that the addition of RFB to a music therapy intervention resulted in enhanced therapeutic outcome for clients with depression.

Enhancing the efficacy of integrative improvisational music therapy in the treatment of depression: study protocol for a randomised controlled trial.

BACKGROUND: Depression is among the leading causes of disability worldwide. Not all people with depression respond adequately to standard treatments. An innovative therapy that has shown promising results in controlled trials is music therapy. Based on a previous trial that suggested beneficial effects of integrative improvisational music therapy (IIMT) on short and medium-term depression symptoms as well as anxiety and functioning, this trial aims to determine potential mechanisms of and improvements in its effects by examining specific variations of IIMT. METHODS/DESIGN: A 2 × 2 factorial randomised controlled trial will be carried out at a single centre in Finland involving 68 adults with a diagnosis of depression (F32 or F33 in International Statistical Classification of Diseases and Related Health Problems 10th revision). All participants will receive 6 weeks of bi-weekly IIMT, where they are invited to improvise music and reflect on those improvisations with a music therapist in a one-to-one setting. Potential enhancements to IIMT will include: home-based listening to recorded improvisations (LH) from IIMT sessions to facilitate integration of therapeutic processing into daily life; and resonance frequency breathing (RFB), a breathing exercise at the beginning of each session to facilitate emotional expression and processing. Participants will be randomised in a 1:1:1:1 ratio into each combination (IIMT alone or with one or both enhancements). The primary outcome is depressive symptoms measured by the Montgomery-Åsberg Depression Rating Scale (MADRS) at 6 weeks. Secondary outcomes are depressive symptoms at 6 months; anxiety, quality of life, and functioning at 6 weeks and 6 months; and adverse events. Secondary underlying mechanisms/process variables are self-rated momentary depression level before every IIMT session; and homework compliance in IIMT + LH. Statistical analyses involve an intention-to-treat approach, using a linear mixed-effects model examining the main effects (LH vs no LH; RFB vs no RFB) and interaction effects (LH × RFB). DISCUSSION: This trial will contribute to understanding the mechanisms of IIMT and may further enhance the effectiveness of an intervention that was previously shown to be superior to standard care alone for adults with depression. TRIAL REGISTRATION: ISRCTN11618310 . Registered on 26 January 2018.

Music Listening for Supporting Adolescents' Sense of Agency in Daily Life.

Sense of agency refers to the ability to influence one's functioning and environment, relating to self-efficacy, and wellbeing. In youth, agency may be challenged by external demands or redefinition of self-image. Music, having heightened relevance for the young, has been argued to provide feelings of self-agency for them. Yet, there is little empirical research on how music impacts adolescents' daily sense of agency. The current study investigated whether music listening influences adolescents' perceived agency in everyday life and which contextual determinants would explain such an influence. Participants were 44 adolescents (48% female, 36% with training in music, mean age 14), recruited through local schools. The mobile Experience Sampling app MuPsych was used to collect brief self-reports of personal music listening experiences during daily life. This method assessed the change in the listener's perceived control over both their emotional states (internal agency), and their external environment (external agency), over 5 min of music listening. Also measured were changes in mood states, and contextual variables (social situation, concurrent activity, and reason for listening). The impact of music on the sense of agency was analyzed using multilevel structural equation modeling. There was no general increase of agency across all music episodes, but agency fluctuations were determined by specific contextual factors. External agency change was predicted negatively by changing environments, while internal agency change was predicted by initial mood and various reasons for listening, including for enjoyment, coping, and enhancing current mood state. Our findings confirmed the plasticity and situational embeddedness of the sense of agency. Music indeed can support agency, but the impact is dependent on a range of situational factors. Sense of agency can be seen as a health resource and significant part of youth development, and current findings provide new insight into when and by which conditions such affordance is likely to be employed.

The Effect of Memory in Inducing Pleasant Emotions with Musical and Pictorial Stimuli.

Music is known to evoke emotions through a range of mechanisms, but empirical investigation into the mechanisms underlying different emotions is sparse. This study investigated how affective experiences to music and pictures vary when induced by personal memories or mere stimulus features. Prior to the experiment, participants were asked to select eight types of stimuli according to distinct criteria concerning the emotion induction mechanism and valence. In the experiment, participants (N = 30) evaluated their affective experiences with the self-chosen material. EEG was recorded throughout the session. The results showed certain interaction effects of mechanism (memory vs. stimulus features), emotional valence of the stimulus (pleasant vs. unpleasant), and stimulus modality (music vs. pictures). While effects were mainly similar in music and pictures, the findings suggest that when personal memories are involved, stronger positive emotions were experienced in the context of music, even when the music was experienced as unpleasant. Memory generally enhanced social emotions specifically in pleasant conditions. As for sadness and melancholia, stimulus features did not evoke negative experiences; however, these emotions increased strongly with the involvement of memory, particularly in the condition of unpleasant music. Analysis of EEG-data corroborated the findings by relating frontomedial theta activity to memory-evoking material.

Constituents of Music and Visual-Art Related Pleasure - A Critical Integrative Literature Review.

The present literature review investigated how pleasure induced by music and visual-art has been conceptually understood in empirical research over the past 20 years. After an initial selection of abstracts from seven databases (keywords: pleasure, reward, enjoyment, and hedonic), twenty music and eleven visual-art papers were systematically compared. The following questions were addressed: (1) What is the role of the keyword in the research question? (2) Is pleasure considered a result of variation in the perceiver's internal or external attributes? (3) What are the most commonly employed methods and main variables in empirical settings? Based on these questions, our critical integrative analysis aimed to identify which themes and processes emerged as key features for conceptualizing art-induced pleasure. The results demonstrated great variance in how pleasure has been approached: In the music studies pleasure was often a clear object of investigation, whereas in the visual-art studies the term was often embedded into the context of an aesthetic experience, or used otherwise in a descriptive, indirect sense. Music studies often targeted different emotions, their intensity or anhedonia. Biographical and background variables and personality traits of the perceiver were often measured. Next to behavioral methods, a common method was brain imaging which often targeted the reward circuitry of the brain in response to music. Visual-art pleasure was also frequently addressed using brain imaging methods, but the research focused on sensory cortices rather than the reward circuit alone. Compared with music research, visual-art research investigated more frequently pleasure in relation to conscious, cognitive processing, where the variations of stimulus features and the changing of viewing modes were regarded as explanatory factors of the derived experience. Despite valence being frequently applied in both domains, we conclude, that in empirical music research pleasure seems to be part of core affect and hedonic tone modulated by stable personality variables, whereas in visual-art research pleasure is a result of the so called conceptual act depending on a chosen strategy to approach art. We encourage an integration of music and visual-art into to a multi-modal framework to promote a more versatile understanding of pleasure in response to aesthetic artifacts.

Group Music Therapy as a Preventive Intervention for Young People at Risk: Cluster-Randomized Trial.

BACKGROUND: Music forms an important part of the lives and identities of adolescents and may have positive or negative mental health implications. Music therapy can be effective for mental disorders such as depression, but its preventive potential is unknown. OBJECTIVE: The aim of this study was to examine whether group music therapy (GMT) is an effective intervention for young people who may be at risk of developing mental health problems, as indicated via unhealthy music use. The main question was whether GMT can reduce unhealthy uses of music and increase potentials for healthy uses of music, compared to self-directed music listening (SDML). We were also interested in effects of GMT on depressive symptoms, psychosocial well-being, rumination, and reflection. METHODS: In an exploratory cluster-randomized trial in Australian schools, 100 students with self-reported unhealthy music use were invited to GMT (weekly sessions over 8 weeks) or SDML. Changes in the Healthy-Unhealthy Music Scale (HUMS) and mental health outcomes were measured over 3 months. RESULTS: Both interventions were well accepted. No effects were found between GMT and SDML (all p > 0.05); both groups tended to show small improvements over time. Younger participants benefited more from GMT, and older ones more from SDML (p = 0.018). CONCLUSIONS: GMT was associated with similar changes as SDML. Further research is needed to improve the processes of selecting participants for targeted interventions; to determine optimal dosage; and to provide more reliable evidence of effects of music-based interventions for adolescents.

Maladaptive and adaptive emotion regulation through music: a behavioral and neuroimaging study of males and females.

Music therapists use guided affect regulation in the treatment of mood disorders. However, self-directed uses of music in affect regulation are not fully understood. Some uses of music may have negative effects on mental health, as can non-music regulation strategies, such as rumination. Psychological testing and functional magnetic resonance imaging (fMRI) were used explore music listening strategies in relation to mental health. Participants (n = 123) were assessed for depression, anxiety and Neuroticism, and uses of Music in Mood Regulation (MMR). Neural responses to music were measured in the medial prefrontal cortex (mPFC) in a subset of participants (n = 56). Discharge, using music to express negative emotions, related to increased anxiety and Neuroticism in all participants and particularly in males. Males high in Discharge showed decreased activity of mPFC during music listening compared with those using less Discharge. Females high in Diversion, using music to distract from negative emotions, showed more mPFC activity than females using less Diversion. These results suggest that the use of Discharge strategy can be associated with maladaptive patterns of emotional regulation, and may even have long-term negative effects on mental health. This finding has real-world applications in psychotherapy and particularly in clinical music therapy.

Development and validation of the Healthy-Unhealthy Music Scale.

BACKGROUND: Music is an integral part of life in youth, and although it has been acknowledged that musical behavior reflects broader psychosocial aspects of adolescent behavior, no measurement instruments have been specifically designed for assessing musical engagement as an indicator of adolescent wellbeing and/or symptomatology. This study was conducted in order to develop and validate a scale for assessing musical engagement as an indicator of proneness for depression in youth. METHOD: Items were developed based on the literature and a prior grounded theory analysis and three surveys (N = 54, N = 187, N = 211) were conducted to select, refine, test, and validate the items. Scale structure was investigated through interitem correlations, exploratory and confirmatory factor analyses (EFA, CFA), and concurrent validity was tested with correlations to depression and wellbeing. RESULTS: The final Healthy-Unhealthy Music Scale (HUMS) consists of 13 items that are divided into Healthy and Unhealthy subscales. Cronbach's alpha coefficients were .78 for Healthy and .83 for Unhealthy. The concurrent validity of the HUMS was confirmed through correlations to wellbeing, happiness and school satisfaction on one hand and depression, rumination, and stress on the other. CONCLUSIONS: The HUMS is as a promising instrument for screening musical engagement that is indicative of proneness for depression in youth.

Hunting for the beat in the body: on period and phase locking in music-induced movement.

Music has the capacity to induce movement in humans. Such responses during music listening are usually spontaneous and range from tapping to full-body dancing. However, it is still unclear how humans embody musical structures to facilitate entrainment. This paper describes two experiments, one dealing with period locking to different metrical levels in full-body movement and its relationships to beat- and rhythm-related musical characteristics, and the other dealing with phase locking in the more constrained condition of sideways swaying motions. Expected in Experiment 1 was that music with clear and strong beat structures would facilitate more period-locked movement. Experiment 2 was assumed to yield a common phase relationship between participants' swaying movements and the musical beat. In both experiments optical motion capture was used to record participants' movements. In Experiment 1 a window-based period-locking probability index related to four metrical levels was established, based on acceleration data in three dimensions. Subsequent correlations between this index and musical characteristics of the stimuli revealed pulse clarity to be related to periodic movement at the tactus level, and low frequency flux to mediolateral and anteroposterior movement at both tactus and bar levels. At faster tempi higher metrical levels became more apparent in participants' movement. Experiment 2 showed that about half of the participants showed a stable phase relationship between movement and beat, with superior-inferior movement most often being synchronized to the tactus level, whereas mediolateral movement was rather synchronized to the bar level. However, the relationship between movement phase and beat locations was not consistent between participants, as the beat locations occurred at different phase angles of their movements. The results imply that entrainment to music is a complex phenomenon, involving the whole body and occurring at different metrical levels.

Influences of rhythm- and timbre-related musical features on characteristics of music-induced movement.

Music makes us move. Several factors can affect the characteristics of such movements, including individual factors or musical features. For this study, we investigated the effect of rhythm- and timbre-related musical features as well as tempo on movement characteristics. Sixty participants were presented with 30 musical stimuli representing different styles of popular music, and instructed to move along with the music. Optical motion capture was used to record participants' movements. Subsequently, eight movement features and four rhythm- and timbre-related musical features were computationally extracted from the data, while the tempo was assessed in a perceptual experiment. A subsequent correlational analysis revealed that, for instance, clear pulses seemed to be embodied with the whole body, i.e., by using various movement types of different body parts, whereas spectral flux and percussiveness were found to be more distinctly related to certain body parts, such as head and hand movement. A series of ANOVAs with the stimuli being divided into three groups of five stimuli each based on the tempo revealed no significant differences between the groups, suggesting that the tempo of our stimuli set failed to have an effect on the movement features. In general, the results can be linked to the framework of embodied music cognition, as they show that body movements are used to reflect, imitate, and predict musical characteristics.