Spirituality/Religion Among First Responders With and Without Posttraumatic Stress Disorder and Alcohol Misuse.

Objective: To examine the co-occurrence of alcohol misuse and posttraumatic stress disorder (PTSD) and potential sources of coping (e.g., spirituality/religion) and clinically relevant variables among first responders (e.g., firefighters, law enforcement corrections officers, paramedics). Method: We assessed rates of independent and co-occurring alcohol misuse and PTSD among a national online sample of 320 first responders as well as the prevalence and salience of S/R, guilt, shame, moral injury, aspects of S/R, and treatment interest. Results: In our sample, 46.88% (n = 150) met criteria for comorbid alcohol misuse and probable PTSD and individuals with these comorbid conditions reported significantly greater negative religious coping, moral injury, and shame than all other diagnostic groups (i.e., independent alcohol misuse, independent PTSD, and neither). Correlations also revealed significant relationships between alcohol misuse and PTSD symptomatology with positive and negative religious coping, moral injury, shame, guilt, interest in treatment, and interest in spiritually integrated treatment. Conclusions: Findings highlight the high rates of independent and co-occurring alcohol misuse and PTSD among first responders as well as the salience of S/R in this population.

Effects of supplemental calcium and vitamin D on tight-junction proteins and mucin-12 expression in the normal rectal mucosa of colorectal adenoma patients.

The physical gut barrier, comprised of a thick mucus layer and the epithelium, plays an important role in defense against microbes and foreign antigens. Calcium and vitamin D may be involved in maintaining the integrity of the intestinal mucosal barrier, the dysfunction of which may lead to endotoxemia and inflammation, and contribute to colorectal carcinogenesis. We investigated supplemental calcium (1200 mg, daily) and/or vitamin D3 (1000 IU daily) effects on intestinal barrier function-related biomarkers in a subset of 105 participants from a large colorectal adenoma recurrence chemoprevention clinical trial. We assessed expression of the tight junction proteins claudin-1 (CLDN1), occludin (OCLD), and mucin-12 (MUC12) in the normal-appearing colorectal mucosa using standardized, automated immunohistochemistry and quantitative image analysis. Following 1 year of treatment, in the calcium relative to the no calcium group, the CLDN1, OCLD, and MUC12 expression increased by 14% (P = 0.17), 23% (P = 0.11), and 22% (P = 0.07), respectively. In secondary analyses, the estimated calcium treatment effects were greater among participants with baseline serum 25-OH-vitamin D concentrations below the median value of 22.69 ng/mL (CLDN1: 29%, P = 0.04; OCLD: 36%, P = 0.06; MUC12: 35%, P = 0.05). There were no biomarker expression changes in the vitamin D3 alone group; however, modest increases were found in the combined calcium/vitamin D3 group. At baseline, obesity, history of a sessile-serrated adenoma, colorectal MIB-1/Ki-67 expression, and a family history of colorectal cancer were associated with CLDN1, OCLD, and MUC12 expression. Our study supports continued investigation of factors that could affect intestinal mucosal barrier integrity relevant to colorectal carcinogenesis.

Classifying song and speech: effects of focal temporal lesions and musical disorder.

Song and speech represent two auditory categories the brain usually classifies fairly easily. Functionally, this classification ability may depend to a great extent on characteristic features of pitch patterns present in song melody and speech prosody. Anatomically, the temporal lobe (TL) has been discussed as playing a prominent role in the processing of both. Here we tested individuals with congenital amusia and patients with unilateral left and right TL lesions in their ability to categorize song and speech. In a forced-choice paradigm, specifically designed auditory stimuli representing sung, spoken and "ambiguous" stimuli (being perceived as "halfway between" song and speech), had to be classified as either "song" or "speech". Congenital amusics and TL patients, contrary to controls, exhibited a surprising bias to classifying the ambiguous stimuli as "song" despite their apparent deficit to correctly process features typical for song. This response bias possibly reflects a strategy where, based on available context information (here: forced choice for either speech or song), classification of non-processable items may be achieved through elimination of processable classes. This speech-based strategy masks the pitch processing deficit in congenital amusics and TL lesion patients.

Electroconvulsive therapy for the acute management of severe agitation in dementia (ECT-AD): A modified study protocol.

OBJECTIVE: This study began as a single-blind randomized controlled trial (RCT) to investigate the efficacy and safety of electroconvulsive therapy (ECT) for severe treatment-refractory agitation in advanced dementia. The aims are to assess agitation reduction using the Cohen-Mansfield Agitation Inventory (CMAI), evaluate tolerability and safety outcomes, and explore the long-term stability of agitation reduction and global functioning. Due to challenges encountered during implementation, including recruitment obstacles and operational difficulties, the study design was modified to an open-label format and other protocol amendments were implemented. METHODS: Initially, the RCT randomized participants 1:1 to either ECT plus usual care or simulated ECT plus usual care (S-ECT) groups. As patients were enrolled, data were collected from both ECT and simulated ECT (S-ECT) patients. The study now continues in an open-label study design where all patients receive actual ECT, reducing the targeted sample size from 200 to 50 participants. RESULTS: Study is ongoing and open to enrollment. CONCLUSION: The transition of the ECT-AD study design from an RCT to open-label design exemplifies adaptive research methodologies in response to real-world challenges. Data from both the RCT and open-label phases of the study will provide a unique perspective on the role of ECT in managing severe treatment-refractory agitation in dementia, potentially influencing future clinical practices and research approaches.

Effects of disliked music on psychophysiology.

While previous research has shown the positive effects of music listening in response to one's favorite music, the negative effects of one's most disliked music have not gained much attention. In the current study, participants listened to three self-selected disliked musical pieces which evoked highly unpleasant feelings. As a contrast, three musical pieces were individually selected for each participant based on neutral liking ratings they provided to other participants' disliked music. During music listening, real-time ratings of subjective (dis)pleasure and simultaneous recordings of peripheral measures were obtained. Results showed that compared to neutral music, listening to disliked music evoked physiological reactions reflecting higher arousal (heart rate, skin conductance response, body temperature), disgust (levator labii muscle), anger (corrugator supercilii muscle), distress and grimacing (zygomaticus major muscle). The differences between conditions were most prominent during "very unpleasant" real-time ratings, showing peak responses for the disliked music. Hence, disliked music has a strenuous effect, as shown in strong physiological arousal responses and facial expression, reflecting the listener's attitude toward the music.

Rationales and functions of disliked music: An in-depth interview study.

BACKGROUND AND OBJECTIVES: With a few exceptions, musical taste has been researched via likes or preferences of certain types of music. The present study focuses on disliked music and takes a broad approach to cover explanatory strategies related to personal dislikes. METHODS: In-depth interviews were conducted with 21 participants in five age groups. Interviewees were asked to prepare a list of their disliked music, and for each item they were asked about the reasons for the dislike. To ensure that the complexity and range of the participants' dislikes and rationales were captured in the analysis, a structuring content analysis as a mostly theory-driven approach was combined with inductive category creation out of the interview data. RESULTS: The most often mentioned type of dislike was musical style, followed by artist and genre. Five main reference points were identified for describing musical dislikes: the music itself, lyrics, performance, artist, and the people who listen to it. The identified rationales for disliked music were assigned to three larger categories: object-related reasons, such as music-compositional aspects, aesthetic dichotomies or lyrics; subject-related reasons, such as emotional or bodily effects, or discrepancies with the self-image; social reasons, which refer to one's social environment and the taste judgments common to it (in-group) or to other groups of which the participants do not feel part of (out-group). Apart from the rationales for disliked music, the participants described specific reactions when they are confronted with their disliked music, such as emotional, physical, and social reactions. CONCLUSIONS: While musical dislikes have already been shown to fulfill important social functions, the current study extends the rationales to music-related and self-related reasons. Musical dislikes fulfill similar functions to liked music, such as preservation of a good mood, identity expression and construction, strengthening of group cohesion as well as social distinction.

In touch: Cardiac and respiratory patterns synchronize during ensemble singing with physical contact.

Musical ensemble performances provide an ideal environment to gain knowledge about complex human interactions. Network structures of synchronization can reflect specific roles of individual performers on the one hand and a higher level of organization of all performers as a superordinate system on the other. This study builds on research on joint singing, using hyperscanning of respiration and heart rate variability (HRV) from eight professional singers. Singers performed polyphonic music, distributing their breathing within the same voice and singing without and with physical contact: that is touching each other's shoulder or waist. The idea of singing with touch was motivated by historical depictions of ensemble performances that showed singers touching each other. It raises the question of the potential benefit of touch for group performances. From a psycho-physiological point of view, physical contact should increase the synchronization of singing coordination. The results confirm previous findings on synchronization of respiration and HRV during choir singing and extend those findings to a non-homophonic musical repertoire while also revealing an increase in synchronization in respiration during physical contact. These effects were significant across different frequency ranges. The effect of physical contact was stronger when all singers were singing in comparison to the partial ensemble. Importantly, the synchronization could not be fully explained by the singing action (i.e., singing the same voice, or singing vs. listening) or by the standing position or touch. This finding suggests a higher level of organization of all singers, forming a superordinate system.

Consequences of the COVID-19 Lockdown in Germany: Effects of Changes in Daily Life on Musical Engagement and Functions of Music.

The current study investigated how music has been used during the COVID-19 pandemic and how personal factors have affected music-listening behavior. During the shutdown in Spring 2020 in Germany, 539 participants took part in an online survey reporting on functions of music listening, attributes of listened music, and active engagement with music, retrospectively before and during the pandemic. Next to these implicit questions, participants were asked to describe the changes they explicitly noticed in handling music during COVID-19, their current worries, and their new everyday life during the pandemic as well as personality traits and stress reactivity. A logistic regression model was fitted, showing that people reduced their active engagement with music during the lockdown, and the function of killing time and overcoming loneliness became more important, reflecting the need for distraction and filling the silence. Before the lockdown, music was listened to for the function of motor synchronization and enhanced well-being, which reflects how people have lost both their musical and activity routines during the lockdown. The importance of in-person engagement with music in people's lives became particularly evident in the connection between worries about further restrictions and the need for live music.

Synchrony in the periphery: inter-subject correlation of physiological responses during live music concerts.

While there is an increasing shift in cognitive science to study perception of naturalistic stimuli, this study extends this goal to naturalistic contexts by assessing physiological synchrony across audience members in a concert setting. Cardiorespiratory, skin conductance, and facial muscle responses were measured from participants attending live string quintet performances of full-length works from Viennese Classical, Contemporary, and Romantic styles. The concert was repeated on three consecutive days with different audiences. Using inter-subject correlation (ISC) to identify reliable responses to music, we found that highly correlated responses depicted typical signatures of physiological arousal. By relating physiological ISC to quantitative values of music features, logistic regressions revealed that high physiological synchrony was consistently predicted by faster tempi (which had higher ratings of arousing emotions and engagement), but only in Classical and Romantic styles (rated as familiar) and not the Contemporary style (rated as unfamiliar). Additionally, highly synchronised responses across all three concert audiences occurred during important structural moments in the music-identified using music theoretical analysis-namely at transitional passages, boundaries, and phrase repetitions. Overall, our results show that specific music features induce similar physiological responses across audience members in a concert context, which are linked to arousal, engagement, and familiarity.

Locus of emotion influences psychophysiological reactions to music.

It is now widely accepted that the perception of emotional expression in music can be vastly different from the feelings evoked by it. However, less understood is how the locus of emotion affects the experience of music, that is how the act of perceiving the emotion in music compares with the act of assessing the emotion induced in the listener by the music. In the current study, we compared these two emotion loci based on the psychophysiological response of 40 participants listening to 32 musical excerpts taken from movie soundtracks. Facial electromyography, skin conductance, respiration and heart rate were continuously measured while participants were required to assess either the emotion expressed by, or the emotion they felt in response to the music. Using linear mixed effects models, we found a higher mean response in psychophysiological measures for the "perceived" than the "felt" task. This result suggested that the focus on one's self distracts from the music, leading to weaker bodily reactions during the "felt" task. In contrast, paying attention to the expression of the music and consequently to changes in timbre, loudness and harmonic progression enhances bodily reactions. This study has methodological implications for emotion induction research using psychophysiology and the conceptualization of emotion loci. Firstly, different tasks can elicit different psychophysiological responses to the same stimulus and secondly, both tasks elicit bodily responses to music. The latter finding questions the possibility of a listener taking on a purely cognitive mode when evaluating emotion expression.

Vocal Features of Song and Speech: Insights from Schoenberg's Pierrot Lunaire.

Similarities and differences between speech and song are often examined. However, the perceptual definition of these two types of vocalization is challenging. Indeed, the prototypical characteristics of speech or song support top-down processes, which influence listeners' perception of acoustic information. In order to examine vocal features associated with speaking and singing, we propose an innovative approach designed to facilitate bottom-up mechanisms in perceiving vocalizations by using material situated between speech and song: Speechsong. 25 participants were asked to evaluate 20 performances of a speechsong composition by Arnold Schoenberg, "Pierrot lunaire" op. 21 from 1912, evaluating 20 features of vocal-articulatory expression. Raters provided reliable judgments concerning the vocal features used by the performers and did not show strong appeal or specific expectations in reference to Schoenberg's piece. By examining the relationship between the vocal features and the impression of song or speech, the results confirm the importance of pitch (height, contour, range), but also point to the relevance of register, timbre, tension and faucal distance. Besides highlighting vocal features associated with speech and song, this study supports the relevance of the present approach of focusing on a theoretical middle category in order to better understand vocal expression in song and speech.

Perception of words and pitch patterns in song and speech.

THIS FUNCTIONAL MAGNETIC RESONANCE IMAGING STUDY EXAMINES SHARED AND DISTINCT CORTICAL AREAS INVOLVED IN THE AUDITORY PERCEPTION OF SONG AND SPEECH AT THE LEVEL OF THEIR UNDERLYING CONSTITUENTS: words and pitch patterns. Univariate and multivariate analyses were performed to isolate the neural correlates of the word- and pitch-based discrimination between song and speech, corrected for rhythmic differences in both. Therefore, six conditions, arranged in a subtractive hierarchy were created: sung sentences including words, pitch and rhythm; hummed speech prosody and song melody containing only pitch patterns and rhythm; and as a control the pure musical or speech rhythm. Systematic contrasts between these balanced conditions following their hierarchical organization showed a great overlap between song and speech at all levels in the bilateral temporal lobe, but suggested a differential role of the inferior frontal gyrus (IFG) and intraparietal sulcus (IPS) in processing song and speech. While the left IFG coded for spoken words and showed predominance over the right IFG in prosodic pitch processing, an opposite lateralization was found for pitch in song. The IPS showed sensitivity to discrete pitch relations in song as opposed to the gliding pitch in speech. Finally, the superior temporal gyrus and premotor cortex coded for general differences between words and pitch patterns, irrespective of whether they were sung or spoken. Thus, song and speech share many features which are reflected in a fundamental similarity of brain areas involved in their perception. However, fine-grained acoustic differences on word and pitch level are reflected in the IPS and the lateralized activity of the IFG.