Pub Date : 2025-02-06DOI: 10.1177/03057356241312213
Dorothée Morand-Grondin, Beatriz Oliveira, Floris T van Vugt, Simon Rigoulot
Engaging in music practice is often assumed to increase empathy and prosociality. However, data in support of this relationship are limited, leaving unclear which components of empathy (cognitive empathy, emotional contagion, and emotional disconnection) and prosocial behaviors, if any, would be affected. Here, we recruited musicians with more than 2 years of musical experience ( n = 80) and nonmusicians ( n = 89) to measure empathy (using subjective and objective measures) and prosociality (using economic games). We hypothesized that musicians would score higher than nonmusicians on empathy and prosociality, and that musicians who practice more would show greater effects. Using classical and Bayesian analyses of variance (ANOVAs), we found no difference between musicians and nonmusicians in empathy and prosociality, and no correlation with the amount of practice. Exploratory analyses revealed associations between the age of onset of music practice and empathy, suggesting that it is not music practice per se but specifically its initiation in early life that could be linked to empathy. These findings challenge the common assumption that music practice in general increases empathy and prosociality and invites to explore in which specific contexts music practice does so (e.g., particular age ranges or group-based settings).
{"title":"A new look at the potential links between music practice, empathy, and prosociality","authors":"Dorothée Morand-Grondin, Beatriz Oliveira, Floris T van Vugt, Simon Rigoulot","doi":"10.1177/03057356241312213","DOIUrl":"https://doi.org/10.1177/03057356241312213","url":null,"abstract":"Engaging in music practice is often assumed to increase empathy and prosociality. However, data in support of this relationship are limited, leaving unclear which components of empathy (cognitive empathy, emotional contagion, and emotional disconnection) and prosocial behaviors, if any, would be affected. Here, we recruited musicians with more than 2 years of musical experience ( n = 80) and nonmusicians ( n = 89) to measure empathy (using subjective and objective measures) and prosociality (using economic games). We hypothesized that musicians would score higher than nonmusicians on empathy and prosociality, and that musicians who practice more would show greater effects. Using classical and Bayesian analyses of variance (ANOVAs), we found no difference between musicians and nonmusicians in empathy and prosociality, and no correlation with the amount of practice. Exploratory analyses revealed associations between the age of onset of music practice and empathy, suggesting that it is not music practice per se but specifically its initiation in early life that could be linked to empathy. These findings challenge the common assumption that music practice in general increases empathy and prosociality and invites to explore in which specific contexts music practice does so (e.g., particular age ranges or group-based settings).","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"55 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143191866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-30DOI: 10.1177/03057356241311581
Jan Stupacher, Cecilie Møller, Alexandre Celma-Miralles, Peter Vuust
No two people perceive the same music alike. This may apply especially to polyrhythms, which consist of two or more rhythms with indivisible regular pulses, such as three over four (3:4). Either of these pulses can be perceived as the underlying beat. Previously, we showed that people naturally tap along to pulses that can be subdivided into groups of two or four equally spaced units (i.e., binarized pulses). This propensity for binarized pulses is reduced when the opposite pulse admitting ternary subdivisions is pitched lower. However, individual factors may modulate these binary and low-pitch preferences. Therefore, we examined the influence of spontaneous motor tempo (SMT), musicianship, played instrument, and played musical style on beat perception in 2:3 and 3:4 polyrhythms. Participants with slower SMT synchronized their tapping with slower metrical levels of the pulses admitting binary subdivisions, suggesting that the natural pace with which we move through the world is linked to our perception of musical tempo. In addition, classical musicians were more likely to synchronize with lower pitched pulses than pop/rock musicians when the low pitch was in the pulse admitting ternary subdivisions. This suggests that enculturation in specific musical styles shapes how pitch and rhythm influence beat perception.
{"title":"Beat perception in polyrhythms is influenced by spontaneous motor tempo, musicianship, and played musical style","authors":"Jan Stupacher, Cecilie Møller, Alexandre Celma-Miralles, Peter Vuust","doi":"10.1177/03057356241311581","DOIUrl":"https://doi.org/10.1177/03057356241311581","url":null,"abstract":"No two people perceive the same music alike. This may apply especially to polyrhythms, which consist of two or more rhythms with indivisible regular pulses, such as three over four (3:4). Either of these pulses can be perceived as the underlying beat. Previously, we showed that people naturally tap along to pulses that can be subdivided into groups of two or four equally spaced units (i.e., binarized pulses). This propensity for binarized pulses is reduced when the opposite pulse admitting ternary subdivisions is pitched lower. However, individual factors may modulate these binary and low-pitch preferences. Therefore, we examined the influence of spontaneous motor tempo (SMT), musicianship, played instrument, and played musical style on beat perception in 2:3 and 3:4 polyrhythms. Participants with slower SMT synchronized their tapping with slower metrical levels of the pulses admitting binary subdivisions, suggesting that the natural pace with which we move through the world is linked to our perception of musical tempo. In addition, classical musicians were more likely to synchronize with lower pitched pulses than pop/rock musicians when the low pitch was in the pulse admitting ternary subdivisions. This suggests that enculturation in specific musical styles shapes how pitch and rhythm influence beat perception.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"24 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143071752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-18DOI: 10.1177/03057356241311288
Kyoko Hine, Koki Abe, Shigeki Nakauchi
Music tempo affects listeners’ mental state, especially arousal levels. However, several studies have demonstrated that the effect of music tempo on arousal while listening to music can be modulated by individual differences, such as the pace of mental activity, that is, spontaneous motor tempo (SMT). Thus, SMT is a candidate factor that affects the relationship between music tempo and arousal. Here, we conducted a psychological experiment to investigate how SMT modulates the effect of music tempo on listeners’ arousal levels. First, the participants were required to tap their finger at their preferred tempo to identify the SMT of each participant. Next, the participants listened to music and then rated their arousal levels on a nine-point scale. A linear mixed model analysis revealed a significant effect of the interaction between music tempo and preferred tapping tempo on arousal levels. This finding indicates that SMT modulated the effect of music tempo on arousal levels while listening to music; the faster the SMT of a listener, the greater the impact of music tempo on arousal levels.
{"title":"Spontaneous motor tempo modulates the effect of music tempo on arousal levels","authors":"Kyoko Hine, Koki Abe, Shigeki Nakauchi","doi":"10.1177/03057356241311288","DOIUrl":"https://doi.org/10.1177/03057356241311288","url":null,"abstract":"Music tempo affects listeners’ mental state, especially arousal levels. However, several studies have demonstrated that the effect of music tempo on arousal while listening to music can be modulated by individual differences, such as the pace of mental activity, that is, spontaneous motor tempo (SMT). Thus, SMT is a candidate factor that affects the relationship between music tempo and arousal. Here, we conducted a psychological experiment to investigate how SMT modulates the effect of music tempo on listeners’ arousal levels. First, the participants were required to tap their finger at their preferred tempo to identify the SMT of each participant. Next, the participants listened to music and then rated their arousal levels on a nine-point scale. A linear mixed model analysis revealed a significant effect of the interaction between music tempo and preferred tapping tempo on arousal levels. This finding indicates that SMT modulated the effect of music tempo on arousal levels while listening to music; the faster the SMT of a listener, the greater the impact of music tempo on arousal levels.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"50 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142988487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-18DOI: 10.1177/03057356241312219
Elaine Paravati, Esha Naidu, Shira Gabriel
Social need fulfillment is imperative to well-being, leading to a strong motivation to ensure that social needs are met. The social surrogacy hypothesis proposes that individuals may use non-human social targets, including television characters, books, or comfort foods, to address social needs. The current work sought to examine the social surrogacy hypothesis in the domain of music. Utilizing both correlational (Study 1) and experimental (Study 2) methodology, the current research suggests that music can provide social benefits in response to social threats. In addition, it suggests that music may operate via multiple social surrogate pathways (Study 1) and that the benefits of music are social in nature (Study 2).
{"title":"Thank you for the music: Music as a social surrogate that protects against social threats","authors":"Elaine Paravati, Esha Naidu, Shira Gabriel","doi":"10.1177/03057356241312219","DOIUrl":"https://doi.org/10.1177/03057356241312219","url":null,"abstract":"Social need fulfillment is imperative to well-being, leading to a strong motivation to ensure that social needs are met. The social surrogacy hypothesis proposes that individuals may use non-human social targets, including television characters, books, or comfort foods, to address social needs. The current work sought to examine the social surrogacy hypothesis in the domain of music. Utilizing both correlational (Study 1) and experimental (Study 2) methodology, the current research suggests that music can provide social benefits in response to social threats. In addition, it suggests that music may operate via multiple social surrogate pathways (Study 1) and that the benefits of music are social in nature (Study 2).","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"292 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142989508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-17DOI: 10.1177/03057356241311166
Patrick K Cooper
The purpose of this study was to conduct a random-effects meta-analysis to measure the overall mean effect of music participation on social and emotional measures in participants across the lifespan. Results showed small to medium overall effects ( N = 18,564, k = 56, g = .23, p < .0001, 95% confident interval = [.16, .29]), indicating subjects who participated in music had better scores on social and emotional measures compared with those participating in other activities (such as sports) or no other activities (passive control group). Moderator analysis showed no statistical differences across seven moderators. Results did not differ by age of the participants, type of scale used (social or emotional), research design (cross-sectional or experimental), presence of an active or passive control group, if the study was located at a school site or elsewhere (such as a town community center), length of the intervention, or the type of musical activities experienced by the participants (singing, instrumental, or both). Overall, the results suggest that the social and emotional benefits of participating in musical activities transcend age and type of music making. The utility of music participation as a conduit of social or emotional growth appears to be empirically supported.
本研究的目的是进行随机效应荟萃分析，以衡量参与者在整个生命周期中参与音乐对社会和情感测量的总体平均影响。结果显示，总体效应为小到中等(N = 18,564, k = 56, g = .23, p <；0.0001, 95%置信区间=[。[16,29])，这表明参加音乐的受试者在社交和情感方面的得分高于参加其他活动（如体育运动）或不参加其他活动（被动对照组）的受试者。调节因子分析显示七个调节因子之间没有统计学差异。结果没有因参与者的年龄、使用的量表类型（社会或情感）、研究设计（横断面或实验）、主动或被动对照组的存在(如果研究位于学校场地或其他地方（如城镇社区中心）、干预的长度或参与者所经历的音乐活动类型（唱歌、乐器或两者）而有所不同。总的来说，研究结果表明，参加音乐活动对社会和情感的好处超越了年龄和音乐制作的类型。音乐参与作为社交或情感成长渠道的效用似乎得到了经验的支持。
{"title":"Meta-analysis on the effects of music participation on social and emotional measures across the lifespan","authors":"Patrick K Cooper","doi":"10.1177/03057356241311166","DOIUrl":"https://doi.org/10.1177/03057356241311166","url":null,"abstract":"The purpose of this study was to conduct a random-effects meta-analysis to measure the overall mean effect of music participation on social and emotional measures in participants across the lifespan. Results showed small to medium overall effects ( N = 18,564, k = 56, g = .23, p < .0001, 95% confident interval = [.16, .29]), indicating subjects who participated in music had better scores on social and emotional measures compared with those participating in other activities (such as sports) or no other activities (passive control group). Moderator analysis showed no statistical differences across seven moderators. Results did not differ by age of the participants, type of scale used (social or emotional), research design (cross-sectional or experimental), presence of an active or passive control group, if the study was located at a school site or elsewhere (such as a town community center), length of the intervention, or the type of musical activities experienced by the participants (singing, instrumental, or both). Overall, the results suggest that the social and emotional benefits of participating in musical activities transcend age and type of music making. The utility of music participation as a conduit of social or emotional growth appears to be empirically supported.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"29 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142987301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-17DOI: 10.1177/03057356241310863
Christian Weining, Deborah Meier, Melanie Wald-Fuhrmann, Martin Tröndle
Listening modes are often ignored in music perception research, especially when it comes to the supposedly attentive listening situation of a classical concert. The audience members’ various ways of listening, understood as the directedness of activity toward different dimensions of sound, is hypothesized to play a key role in the experience of live music. We assessed listening activity of participants ( N = 786) attending a series of experimental live concerts. Exploratory factor analysis (EFA) revealed the following five listening modes: emotional-immersive, structural, sound-causal, diffuse, and single-focused. Furthermore, listening modes significantly predicted affective states (positive activation, negative activation, and valence) after the concert. Results show that, despite music educational paradigms, structural listening increases negative activation, whereas emotional-immersive and sound-causal listening increase valence and lead to relaxation in a classical music performance. The results are in line with former empirical and theoretical taxonomies of listening modes and provide a new contribution to the understanding of the role of listening modes for the perception and aesthetic experience of music in live concerts and beyond.
{"title":"From structural listening to daydreaming: Listening modes influence the individual experience in live concerts","authors":"Christian Weining, Deborah Meier, Melanie Wald-Fuhrmann, Martin Tröndle","doi":"10.1177/03057356241310863","DOIUrl":"https://doi.org/10.1177/03057356241310863","url":null,"abstract":"Listening modes are often ignored in music perception research, especially when it comes to the supposedly attentive listening situation of a classical concert. The audience members’ various ways of listening, understood as the directedness of activity toward different dimensions of sound, is hypothesized to play a key role in the experience of live music. We assessed listening activity of participants ( N = 786) attending a series of experimental live concerts. Exploratory factor analysis (EFA) revealed the following five listening modes: emotional-immersive, structural, sound-causal, diffuse, and single-focused. Furthermore, listening modes significantly predicted affective states (positive activation, negative activation, and valence) after the concert. Results show that, despite music educational paradigms, structural listening increases negative activation, whereas emotional-immersive and sound-causal listening increase valence and lead to relaxation in a classical music performance. The results are in line with former empirical and theoretical taxonomies of listening modes and provide a new contribution to the understanding of the role of listening modes for the perception and aesthetic experience of music in live concerts and beyond.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"42 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142987306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-17DOI: 10.1177/03057356241305558
Kaja Korošec, Anna Backman Bister, Eva Bojner Horwitz
Despite many decades of academic interest in music and autism, we know little about what music means to autistic adults and how they experience it. The few existing studies lack a common theoretical basis and are therefore difficult to compare and integrate. To address this gap, we investigated whether Self-Determination Theory can be used as a common framework for understanding the functions of music as experienced by autistic adults. We focused specifically on the support and thwarting of the basic psychological needs (autonomy, competence, and relatedness). Thirteen autistic adults (seven women and six men; aged between 24 and 69 years) described their experiences with musicking in a one-to-one semi-structured online interview. We analyzed the transcripts using directed qualitative content analysis (DQCA). We found that music engagement can thwart as well as support autonomy, competence, and relatedness and that Self-Determination Theory indeed offers a robust starting point for understanding the functions of music as seen by autistic adults. We illustrate how basic psychological needs provide a red thread connecting all previous studies that investigated the experience of music in autistic adults.
{"title":"“A space to be myself ”: Music and self-determination in the lives of autistic adults","authors":"Kaja Korošec, Anna Backman Bister, Eva Bojner Horwitz","doi":"10.1177/03057356241305558","DOIUrl":"https://doi.org/10.1177/03057356241305558","url":null,"abstract":"Despite many decades of academic interest in music and autism, we know little about what music means to autistic adults and how they experience it. The few existing studies lack a common theoretical basis and are therefore difficult to compare and integrate. To address this gap, we investigated whether Self-Determination Theory can be used as a common framework for understanding the functions of music as experienced by autistic adults. We focused specifically on the support and thwarting of the basic psychological needs (autonomy, competence, and relatedness). Thirteen autistic adults (seven women and six men; aged between 24 and 69 years) described their experiences with musicking in a one-to-one semi-structured online interview. We analyzed the transcripts using directed qualitative content analysis (DQCA). We found that music engagement can thwart as well as support autonomy, competence, and relatedness and that Self-Determination Theory indeed offers a robust starting point for understanding the functions of music as seen by autistic adults. We illustrate how basic psychological needs provide a red thread connecting all previous studies that investigated the experience of music in autistic adults.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"7 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142988625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-17DOI: 10.1177/03057356241307570
Isabel Fernholz, Christian Hering, Hagen Kunte, Jennifer Mumm, Andreas Ströhle, Alexander Schmidt, Antonia Bendau, Jens Plag
Professional musicians are often confronted with multiple profession-related stressors, which may be associated with an increased risk of mental strain, but empirical evidence focusing on clinical samples of musicians is limited. The aim of this study was to examine clinically confirmed mental disorders and personality accentuations in musicians attending a musician-specific outpatient service, to better understand how occupational and person-related stressors may impact their mental health. We performed a cross-sectional secondary data analysis of diagnoses and sociodemographic data of 678 professional musicians (including music students) that were routinely collected in the outpatient clinic. Of the 678 patients, 110 (16.2%) received a tentative psychiatric diagnosis, and 46 presented themselves to the psychiatric outpatient clinic for extensive diagnostics (using ICD-10 and SKID-II). In these 46 musicians, depression (39%) and music performance anxiety (26%) were the most frequent diagnoses, followed by adjustment disorders (13%) and somatoform disorders (11%). Twenty-eight percent of the sample fulfilled the criteria of either a personality disorder or accentuation. The frequency rates emphasize the importance of targeting the mental health of professional musicians with preventive and therapeutic measures. Further research with larger sample sizes is needed to validate and extend our findings and develop individual preventive measures.
{"title":"Psychiatric diagnoses of professional musicians: Results of an outpatient service specializing in musicians’ health","authors":"Isabel Fernholz, Christian Hering, Hagen Kunte, Jennifer Mumm, Andreas Ströhle, Alexander Schmidt, Antonia Bendau, Jens Plag","doi":"10.1177/03057356241307570","DOIUrl":"https://doi.org/10.1177/03057356241307570","url":null,"abstract":"Professional musicians are often confronted with multiple profession-related stressors, which may be associated with an increased risk of mental strain, but empirical evidence focusing on clinical samples of musicians is limited. The aim of this study was to examine clinically confirmed mental disorders and personality accentuations in musicians attending a musician-specific outpatient service, to better understand how occupational and person-related stressors may impact their mental health. We performed a cross-sectional secondary data analysis of diagnoses and sociodemographic data of 678 professional musicians (including music students) that were routinely collected in the outpatient clinic. Of the 678 patients, 110 (16.2%) received a tentative psychiatric diagnosis, and 46 presented themselves to the psychiatric outpatient clinic for extensive diagnostics (using ICD-10 and SKID-II). In these 46 musicians, depression (39%) and music performance anxiety (26%) were the most frequent diagnoses, followed by adjustment disorders (13%) and somatoform disorders (11%). Twenty-eight percent of the sample fulfilled the criteria of either a personality disorder or accentuation. The frequency rates emphasize the importance of targeting the mental health of professional musicians with preventive and therapeutic measures. Further research with larger sample sizes is needed to validate and extend our findings and develop individual preventive measures.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"55 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142988489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-09DOI: 10.1177/03057356241292067
Teresa Lesiuk, Giulia Ripani
Music can play a significant role in mitigating cognitive deficits in aging adults. When music is long known and has an emotional significance (i.e., autobiographical music), it can trigger memories of past experiences (i.e., Music-Evoked Autobiographical Memories, MEAMs). In this study, we examined the cognitive and emotional content of MEAMs when older adults listened to autobiographical music. To better understand the unique features of MEAMs, we also compared them with responses to non-autobiographical music. Participants ( N = 18; Mean age = 67.7) were asked to listen to (a) a selection of self-selected autobiographical musical pieces and (b) excerpts of researcher-selected songs. Furthermore, participants completed two surveys on their cognitive and emotional responses to music and took part in follow-up interviews. Results indicated that MEAMs elicited positive emotions, which were strongly felt, and triggered memories of life periods with references to themes such as growing up, love relationships and relationships with family, leisure and working times, and stress releasing. Responses to non-autobiographical music triggered different types of cognitive responses, including assimilating new music sounds, and mainly featured references to negative emotional states. MEAMs should be further investigated as a non-pharmacological treatment for age-related cognitive decline and for clinically diagnosed memory disorders.
{"title":"The cognitive and emotional content of music-evoked autobiographical memories in older adults","authors":"Teresa Lesiuk, Giulia Ripani","doi":"10.1177/03057356241292067","DOIUrl":"https://doi.org/10.1177/03057356241292067","url":null,"abstract":"Music can play a significant role in mitigating cognitive deficits in aging adults. When music is long known and has an emotional significance (i.e., autobiographical music), it can trigger memories of past experiences (i.e., Music-Evoked Autobiographical Memories, MEAMs). In this study, we examined the cognitive and emotional content of MEAMs when older adults listened to autobiographical music. To better understand the unique features of MEAMs, we also compared them with responses to non-autobiographical music. Participants ( N = 18; Mean age = 67.7) were asked to listen to (a) a selection of self-selected autobiographical musical pieces and (b) excerpts of researcher-selected songs. Furthermore, participants completed two surveys on their cognitive and emotional responses to music and took part in follow-up interviews. Results indicated that MEAMs elicited positive emotions, which were strongly felt, and triggered memories of life periods with references to themes such as growing up, love relationships and relationships with family, leisure and working times, and stress releasing. Responses to non-autobiographical music triggered different types of cognitive responses, including assimilating new music sounds, and mainly featured references to negative emotional states. MEAMs should be further investigated as a non-pharmacological treatment for age-related cognitive decline and for clinically diagnosed memory disorders.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"Spec No 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142940091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-08DOI: 10.1177/03057356241300538
Patrick Racine, Samuel Vachon Laflamme, Patrick Gaudreau, Frédéric Langlois
Musicians have normalized performance anxiety (PA) to be part of their musical career. Perfectionism has been proposed as a possible personality risk factor for PA. Although perfectionistic concerns have been consistently positively correlated to PA, results have been inconsistent for perfectionistic standards. This inconsistency is potentially attributable to the fact that past studies did not differentiate the pursuit of high standards and the pursuit of perfectionistic standards. In this study, we aimed to compare the levels of PA of students who pursue high standards (excellence) from those who pursue perfection with the model of excellencism and perfectionism. As a supplementary analysis, we have also investigated if different standards predicted different positive and negative affect levels. A total of 94 music students completed questionnaires on perfectionism, PA, and positive and negative affect. They were recruited through their music conservatory ( N = 69) and recruitment ads on Facebook ( N = 25). Results of multiple linear regression demonstrated that only perfectionistic standards were positively and significantly associated with cognitive state anxiety, overall score of PA, and negative affect. Overall, aiming for excellence rather than perfection seemed to help mitigate levels of PA and the negative affect felt by musicians.
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