Effects of Music Therapy on Negative Emotions and Physiological Parameters in Patients Undergoing Colonoscopic Polypectomy: A Retrospective Study.

OBJECTIVE: This study aimed to determine the postoperative effects of music therapy on negative emotions, pain, and inflammatory and physiological parameters in patients undergoing colonoscopic polypectomy. METHODS: Patients who underwent colonoscopic polypectomy in Funan County People's Hospital between March 2020 and June 2023 were selected as the research subjects. Patients were divided into exposure (underwent music therapy) and control (did not undergo music therapy) groups. Baseline characteristics, Self-rating Anxiety Scale (SAS) and Visual Analog Scale (VAS) scores, physiological parameters [systolic blood pressure (SBP), diastolic blood pressure (DBP), and heart rate (HR)], and inflammatory marker levels [neutrophil/lymphocyte ratio (NLR), platelet/lymphocyte ratio (PLR), and erythrocyte sedimentation rate (ESR)] of patients before and after exposure to music were determined. The propensity score matching (PSM) method (1:1) was used to balance the baseline characteristics of the two groups. RESULTS: After PSM, the exposure group comprised 50 cases and the control group comprised 50 cases. The baseline characteristics were not significantly different between the two groups (P > 0.05). The postoperative SAS score of the exposure group was significantly lower than that of the control group (P < 0.05). Meanwhile, the postoperative VAS score of the exposure group was nonsignificantly lower than that of the control group (P > 0.05). Furthermore, the postoperative SBP, DBP, and HR levels of the exposure group were significantly lower than that of the control group (P < 0.05). The postoperative levels of NLR, PLR, and ESR were not significantly different between the exposure and control groups (P > 0.05). CONCLUSION: Music therapy exerts beneficial effects on the postoperative psychological and physiological parameters of patients undergoing colonoscopic polypectomy.

Liking music with and without sadness: Testing the direct effect hypothesis of pleasurable negative emotion.

Negative emotion evoked in listeners of music can produce intense pleasure, but we do not fully understand why. The present study addressed the question by asking participants (n = 50) to self-select a piece of sadness-evoking music that was loved. The key part of the study asked participants to imagine that the felt sadness could be removed. Overall participants reported performing the task successfully. They also indicated that the removal of the sadness reduced their liking of the music, and 82% of participants reported that the evoked sadness also adds to the enjoyment of the music. The study provided evidence for a "Direct effect hypothesis", which draws on the multicomponent model of emotion, where a component of the negative emotion is experienced as positive during music (and other aesthetic) experiences. Earlier evidence of a mediator, such as 'being moved', as the source of enjoyment was reinterpreted in light of the new findings. Instead, the present study applied a semantic overlap explanation, arguing that sadness primes emotions that share meaning with sadness, such as being-moved. The priming occurs if the overlap in meaning is sufficient. The degree of semantic overlap was defined empirically. The present study therefore suggests that mediator-based explanations need to be treated with caution both as a finding of the study, and because of analytic limitations in earlier research that are discussed in the paper.

Cognitive enrichment through art: a randomized controlled trial on the effect of music or visual arts group practice on cognitive and brain development of young children.

BACKGROUND: The optimal stimulation for brain development in the early academic years remains unclear. Current research suggests that musical training has a more profound impact on children's executive functions (EF) compared to other art forms. What is crucially lacking is a large-scale, long-term genuine randomized controlled trial (RCT) in cognitive neuroscience, comparing musical instrumental training (MIP) to another art form, and a control group (CG). This study aims to fill this gap by using machine learning to develop a multivariate model that tracks the interconnected brain and EF development during the academic years, with or without music or other art training. METHODS: The study plans to enroll 150 children aged 6-8 years and randomly assign them to three groups: Orchestra in Class (OC), Visual Arts (VA), and a control group (CG). Anticipating a 30% attrition rate, each group aims to retain at least 35 participants. The research consists of three analytical stages: 1) baseline analysis correlating EF, brain data, age, gender, and socioeconomic status, 2) comparison between groups and over time of EF brain and behavioral development and their interactions, including hypothesis testing, and 3) exploratory analysis combining behavioral and brain data. The intervention includes intensive art classes once a week, and incremental home training over two years, with the CG receiving six annual cultural outings. DISCUSSION: This study examines the potential benefits of intensive group arts education, especially contrasting music with visual arts, on EF development in children. It will investigate how artistic enrichment potentially influences the presumed typical transition from a more unified to a more multifaceted EF structure around age eight, comparing these findings against a minimally enriched active control group. This research could significantly influence the incorporation of intensive art interventions in standard curricula. TRIAL REGISTRATION: The project was accepted after peer-review by the Swiss National Science Foundation (SNSF no. 100014_214977) on March 29, 2023. The study protocol received approval from the Cantonal Commission for Ethics in Human Research of Geneva (CCER, BASEC-ID 2023-01016), which is part of Swiss ethics, on October 25, 2023. The study is registered at clinicaltrials.gov (NCT05912270).

[Tuning in addictology, the story of a shared musical experience]. / Accordage en addictologie, récit d'une expérience musicale partagée.

Music can be used as a therapeutic tool with people suffering from complex addictions and traumas. By playing together, the patient and care team create a transitional space conducive to emotional attunement and trust. This shared experience facilitates connection and engagement in the therapeutic relationship, which conveys a sense of security. Music is a powerful tool in the treatment of addiction and trauma. It helps to repair damaged bonds and develop empathy, cooperation and creativity within the care team.

Song lyrics have become simpler and more repetitive over the last five decades.

Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity. We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners' interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs' lyrics.

Music and the mind.

When I was chancellor of the University of North Carolina at Chapel Hill, I tried never to miss the annual concert of the Triangle Youth Symphony. When people asked me why I was such a regular, I complimented the music but also suggested that there were potential future college science majors on the stage. The strong correlation between scientific and musical ability is an association familiar to many scientists, but in recent years, the connections between music and the mind have begun receiving broader attention, partly because of an unexpected partnership between the former long-time director of the US National Institutes of Health Francis Collins, and soprano opera superstar Renée Fleming. I caught up with Collins and Fleming for an extended chat about their shared curiosity regarding the science of music and health.

The effects of music and auditory stimulation on autonomic arousal, cognition and attention: A systematic review.

According to the arousal-mood hypothesis, changes in arousal and mood when exposed to auditory stimulation underlie the detrimental effects or improvements in cognitive performance. Findings supporting or against this hypothesis are, however, often based on subjective ratings of arousal rather than autonomic/physiological indices of arousal. To assess the arousal-mood hypothesis, we carried out a systematic review of the literature on 31 studies investigating cardiac, electrodermal, and pupillometry measures when exposed to different types of auditory stimulation (music, ambient noise, white noise, and binaural beats) in relation to cognitive performance. Our review suggests that the effects of music, noise, or binaural beats on cardiac, electrodermal, and pupillometry measures in relation to cognitive performance are either mixed or insufficient to draw conclusions. Importantly, the evidence for or against the arousal-mood hypothesis is at best indirect because autonomic arousal and cognitive performance are often considered separately. Future research is needed to directly evaluate the effects of auditory stimulation on autonomic arousal and cognitive performance holistically.

In my life: memory, self and The Beatles.

In a large-scale study, we asked people for their memories of The Beatles. Over four thousand respondents completed an online questionnaire. The memory could be related to a song, album, event, TV, film, or even a personal encounter. Respondents judged the age at which the event remembered had occurred and rated the memory for vividness, emotional intensity, valence and rehearsal. We found 38% of the memories were classified as "seeing The Beatles live", 25% "buying Beatles music", 20% "love of The Beatles" and 17% of the memories were "listening to Beatles songs with other people" - what we refer to as cascading memories. Among the younger respondents (aged 26 and under), 84% of the memories were cascading in nature. The memories dated to what we term the "self-defining period" in autobiographical memory (previously termed "the reminiscence bump"), with a mean age-at-encoding of 13.6 years, which is consistent with other studies of memories associated with music. We propose that these memories reflect the formation of generational identity [Mannheim, K. (1952). The problem of generations. In K. Mannheim (Ed.), Essays on the sociology knowledge (pp. 276-321). Routledge & Keegan Paul].

Effects of a music-based intervention on psychophysiological outcomes of patients undergoing medical imaging procedures: A systematic review and meta-analysis.

INTRODUCTION: Musical intervention (MI) is a valuable strategy for addressing the psychological and emotional challenges faced by patients undergoing imaging procedures. This study explores MI's impact on psychophysiological outcomes during imaging procedures, detailing the sound repertoire and technical characteristics employed in MI. METHODS: A systematic review (SR) and meta-analysis (MA) were conducted. Electronic database searches of PubMed, Web-of-Science, and Scopus were performed encompassing original randomised research and quasi-experimental articles published until June 2023. RESULTS: Thirteen articles were included in this SR, scoring between 23 and 68 on the Joanna Briggs Institute (JBI) Checklist. Four articles were included to perform a MA concerning anxiety and heart rate (HR) outcomes. Most studies utilised digital playlists as the medium for MI. Headphones were commonly used, with an average volume of 50-60 dB and a musical frequency of 60-80 beats/min. While authors generally preferred selecting musical genres for the repertoire, two articles specifically chose Johann Pachelbel's "Canon in D major" as their musical theme. In terms of psychological parameters, the experimental groups exhibited lower anxiety values than the control groups, with further reductions after MI. However, MA shows that this trend is only marginally significant. Patient comfort and overall examination experience showed improvement with MI. Regarding physiological parameters, HR, especially in the final phase of the examination, was significantly lower in the experimental group compared to the control group. CONCLUSION: Across multiple studies, MI demonstrated the ability to reduce anxiety and HR. However, no specific music repertoire emerged as the most effective. IMPLICATIONS FOR PRACTICE: MI arises as a painless, reliable, low-cost, and side-effect-free strategy, presenting imaging departments with a practical means to enhance patient comfort and mitigate anxiety and stress during medical procedures.

Timbral effects on consonance disentangle psychoacoustic mechanisms and suggest perceptual origins for musical scales.

The phenomenon of musical consonance is an essential feature in diverse musical styles. The traditional belief, supported by centuries of Western music theory and psychological studies, is that consonance derives from simple (harmonic) frequency ratios between tones and is insensitive to timbre. Here we show through five large-scale behavioral studies, comprising 235,440 human judgments from US and South Korean populations, that harmonic consonance preferences can be reshaped by timbral manipulations, even as far as to induce preferences for inharmonic intervals. We show how such effects may suggest perceptual origins for diverse scale systems ranging from the gamelan's slendro scale to the tuning of Western mean-tone and equal-tempered scales. Through computational modeling we show that these timbral manipulations dissociate competing psychoacoustic mechanisms underlying consonance, and we derive an updated computational model combining liking of harmonicity, disliking of fast beats (roughness), and liking of slow beats. Altogether, this work showcases how large-scale behavioral experiments can inform classical questions in auditory perception.

Perceptual representations mediate effects of stimulus properties on liking for music.

Perceptual pleasure and its concomitant hedonic value play an essential role in everyday life, motivating behavior and thus influencing how individuals choose to spend their time and resources. However, how pleasure arises from perception of sensory information remains relatively poorly understood. In particular, research has neglected the question of how perceptual representations mediate the relationships between stimulus properties and liking (e.g., stimulus symmetry can only affect liking if it is perceived). The present research addresses this gap for the first time, analyzing perceptual and liking ratings of 96 nonmusicians (power of 0.99) and finding that perceptual representations mediate effects of feature-based and information-based stimulus properties on liking for a novel set of melodies varying in balance, contour, symmetry, or complexity. Moreover, variability due to individual differences and stimuli accounts for most of the variance in liking. These results have broad implications for psychological research on sensory valuation, advocating a more explicit account of random variability and the mediating role of perceptual representations of stimulus properties.

Live music stimulates the affective brain and emotionally entrains listeners in real time.

Music is powerful in conveying emotions and triggering affective brain mechanisms. Affective brain responses in previous studies were however rather inconsistent, potentially because of the non-adaptive nature of recorded music used so far. Live music instead can be dynamic and adaptive and is often modulated in response to audience feedback to maximize emotional responses in listeners. Here, we introduce a setup for studying emotional responses to live music in a closed-loop neurofeedback setup. This setup linked live performances by musicians to neural processing in listeners, with listeners' amygdala activity was displayed to musicians in real time. Brain activity was measured using functional MRI, and especially amygdala activity was quantified in real time for the neurofeedback signal. Live pleasant and unpleasant piano music performed in response to amygdala neurofeedback from listeners was acoustically very different from comparable recorded music and elicited significantly higher and more consistent amygdala activity. Higher activity was also found in a broader neural network for emotion processing during live compared to recorded music. This finding included observations of the predominance for aversive coding in the ventral striatum while listening to unpleasant music, and involvement of the thalamic pulvinar nucleus, presumably for regulating attentional and cortical flow mechanisms. Live music also stimulated a dense functional neural network with the amygdala as a central node influencing other brain systems. Finally, only live music showed a strong and positive coupling between features of the musical performance and brain activity in listeners pointing to real-time and dynamic entrainment processes.

Creative flow as optimized processing: Evidence from brain oscillations during jazz improvisations by expert and non-expert musicians.

Using a creative production task, jazz improvisation, we tested alternative hypotheses about the flow experience: (A) that it is a state of domain-specific processing optimized by experience and characterized by minimal interference from task-negative default-mode network (DMN) activity versus (B) that it recruits domain-general task-positive DMN activity supervised by the fronto-parietal control network (FPCN) to support ideation. We recorded jazz guitarists' electroencephalograms (EEGs) while they improvised to provided chord sequences. Their flow-states were measured with the Core Flow State Scale. Flow-related neural sources were reconstructed using SPM12. Over all musicians, high-flow (relative to low-flow) improvisations were associated with transient hypofrontality. High-experience musicians' high-flow improvisations showed reduced activity in posterior DMN nodes. Low-experience musicians showed no flow-related DMN or FPCN modulation. High-experience musicians also showed modality-specific left-hemisphere flow-related activity while low-experience musicians showed modality-specific right-hemisphere flow-related deactivations. These results are consistent with the idea that creative flow represents optimized domain-specific processing enabled by extensive practice paired with reduced cognitive control.

Exploring the neural underpinnings of chord prediction uncertainty: an electroencephalography (EEG) study.

Predictive processing in the brain, involving interaction between interoceptive (bodily signal) and exteroceptive (sensory) processing, is essential for understanding music as it encompasses musical temporality dynamics and affective responses. This study explores the relationship between neural correlates and subjective certainty of chord prediction, focusing on the alignment between predicted and actual chord progressions in both musically appropriate chord sequences and random chord sequences. Participants were asked to predict the final chord in sequences while their brain activity was measured using electroencephalography (EEG). We found that the stimulus preceding negativity (SPN), an EEG component associated with predictive processing of sensory stimuli, was larger for non-harmonic chord sequences than for harmonic chord progressions. Additionally, the heartbeat evoked potential (HEP), an EEG component related to interoceptive processing, was larger for random chord sequences and correlated with prediction certainty ratings. HEP also correlated with the N5 component, found while listening to the final chord. Our findings suggest that HEP more directly reflects the subjective prediction certainty than SPN. These findings offer new insights into the neural mechanisms underlying music perception and prediction, emphasizing the importance of considering auditory prediction certainty when examining the neural basis of music cognition.

A qualitative exploration of 40 Hz sound and music for older adults with mild cognitive impairment.

Emerging evidence suggests that 40 Hz auditory stimulation may benefit cognition. Nested within a randomized crossover trial, this qualitative study evaluates the acceptability and experience of three auditory interventions-self-selected music, 40 Hz sound, and a novel combination, termed 40 Hz music-in individuals with Mild Cognitive Impairment (MCI). Semi-structured interviews were conducted with individuals with MCI post-intervention exposure. Findings indicated a preference for self-selected music due to its memory-boosting and emotional benefits, while responses to 40 Hz sound were mixed, with several participants reporting discomfort. The composite 40 Hz music intervention showed promise, striking a balance by enhancing user experience and mitigating the 40 Hz sound's negative aspects. Engagement was influenced by personal music interests, listening routines, and support networks. This study highlights the potential of integrating 40 Hz sound with personalized music to offer a more acceptable 40 Hz auditory intervention for cognition in older adults with MCI.

The effect of music on the operating surgeon: a pilot randomized crossover trial (the MOSART study).

OBJECTIVE: The experience of stress is common among surgeons while working in the operating theatre (OT). Understanding and finding ways to mitigate this stress is important for optimizing surgical quality and maintaining clinician wellbeing. In this pilot study, we tested the feasibility and reported the outcomes of measuring the effect of background music on intra-operative surgeon stress in the clinical environment. METHODS: The effect of Music on the Operating Surgeon: A pilot Randomized crossover Trial (the MOSART study) was conducted over a 9-month period in a single-centre. Vascular and general surgeons acting as primary operators (POs) performing elective, general anaesthetic operations were included. The intervention was surgeon-selected music, and the control was the absence of music. Outcome measures were feasibility (recruitment rate, practicability, and completeness of data), heart rate variability (HRV) indices, the Six-Item State-Trait Anxiety Inventory (STAI-6), and the Surgical Task-load Index (SURG-TLX). RESULTS: Five POs performed 74 eligible randomized cases. The protocol was well tolerated, and no cases were abandoned. Data was incomplete in 8% of cases. The overall mean (SD) operative SURG-TLX score was 48 (±22). Mean HR increased and RMSSD decreased significantly from baseline, suggesting reduced parasympathetic activity while operating. The presence of intra-operative music was not found to affect the psychological or physiological outcomes. CONCLUSIONS: A music interventional study of this nature is feasible in the operating theatre environment, though no difference was found between in the music and non-music conditions. Follow-up research in a simulated environment with intensive physiological monitoring could be considered.

Bodily maps of musical sensations across cultures.

Emotions, bodily sensations and movement are integral parts of musical experiences. Yet, it remains unknown i) whether emotional connotations and structural features of music elicit discrete bodily sensations and ii) whether these sensations are culturally consistent. We addressed these questions in a cross-cultural study with Western (European and North American, n = 903) and East Asian (Chinese, n = 1035). We precented participants with silhouettes of human bodies and asked them to indicate the bodily regions whose activity they felt changing while listening to Western and Asian musical pieces with varying emotional and acoustic qualities. The resulting bodily sensation maps (BSMs) varied as a function of the emotional qualities of the songs, particularly in the limb, chest, and head regions. Music-induced emotions and corresponding BSMs were replicable across Western and East Asian subjects. The BSMs clustered similarly across cultures, and cluster structures were similar for BSMs and self-reports of emotional experience. The acoustic and structural features of music were consistently associated with the emotion ratings and music-induced bodily sensations across cultures. These results highlight the importance of subjective bodily experience in music-induced emotions and demonstrate consistent associations between musical features, music-induced emotions, and bodily sensations across distant cultures.

TenseMusic: An automatic prediction model for musical tension.

The perception of tension and release dynamics constitutes one of the essential aspects of music listening. However, modeling musical tension to predict perception of listeners has been a challenge to researchers. Seminal work demonstrated that tension is reported consistently by listeners and can be accurately predicted from a discrete set of musical features, combining them into a weighted sum of slopes reflecting their combined dynamics over time. However, previous modeling approaches lack an automatic pipeline for feature extraction that would make them widely accessible to researchers in the field. Here, we present TenseMusic: an open-source automatic predictive tension model that operates with a musical audio as the only input. Using state-of-the-art music information retrieval (MIR) methods, it automatically extracts a set of six features (i.e., loudness, pitch height, tonal tension, roughness, tempo, and onset frequency) to use as predictors for musical tension. The algorithm was optimized using Lasso regression to best predict behavioral tension ratings collected on 38 Western classical musical pieces. Its performance was then tested by assessing the correlation between the predicted tension and unseen continuous behavioral tension ratings yielding large mean correlations between ratings and predictions approximating r = .60 across all pieces. We hope that providing the research community with this well-validated open-source tool for predicting musical tension will motivate further work in music cognition and contribute to elucidate the neural and cognitive correlates of tension dynamics for various musical genres and cultures.

Music in an Emergent History of Psychology.

From a historical perspective, 'psychology' can be studied from an abundance of angels. Thus, a selected perspective requires some historiographical reflections, but also a conscious awareness of the actual chosen terms that are at stake. In this study, the historiographical perspective follows an emergent understanding of the history, which implies that the actual chosen terms are dynamically contributing to a web of terms, in which all of them may change in more or less unpredictable directions. In line with this, the aspect of music is consciously chosen, as it probably is one of the most ignored aspects of psychology in historical research. Thus, the findings in this study reveal that music as the 'direct factor' played an overarching role in the nineteenth centuries experimental psychology, but also that the changes in the understanding of music in the early sixteenth century is comparable with the changes the understanding of the soul underwent along with the introduction of the neologism 'psychology'. In the understanding of both music and the soul the sensational aspects replaced the mathematical.