Pub Date : 2025-12-18DOI: 10.1177/03057356251394985
Caroline Curwen
Musically evoked narrative imaginings (MENI) are mental stories that listeners construct in response to shifts in musical features such as dynamics, tempo, and timbre. Event segmentation – the cognitive process of identifying transitions in continuous stimuli – shapes these narratives. In music-colour synaesthesia (MCS), sounds involuntarily evoke colours and visual forms, offering perceptual anchors that may enhance event segmentation and narrative coherence. This article presents a novel theoretical framework integrating ideasthesia – the view that synaesthetic experiences are conceptually mediated rather than purely sensory-driven – with event segmentation theory to explain how MCS shapes MENI. It argues that synaesthetic percepts align with musical transitions to increase segmentation precision, strengthen narrative continuity, and deepen emotional and thematic engagement. Rather than treating MCS as an isolated phenomenon, it is situated within a broader continuum of music cognition and narrative construction, suggesting it magnifies processes shared across listeners. This perspective calls for further research into how multimodal mental imagery influences music perception, emotional response, and memory for musical narratives.
{"title":"Seeing sound, shaping stories: The role of ideasthesia and event segmentation in musically evoked narratives","authors":"Caroline Curwen","doi":"10.1177/03057356251394985","DOIUrl":"https://doi.org/10.1177/03057356251394985","url":null,"abstract":"Musically evoked narrative imaginings (MENI) are mental stories that listeners construct in response to shifts in musical features such as dynamics, tempo, and timbre. Event segmentation – the cognitive process of identifying transitions in continuous stimuli – shapes these narratives. In music-colour synaesthesia (MCS), sounds involuntarily evoke colours and visual forms, offering perceptual anchors that may enhance event segmentation and narrative coherence. This article presents a novel theoretical framework integrating ideasthesia – the view that synaesthetic experiences are conceptually mediated rather than purely sensory-driven – with event segmentation theory to explain how MCS shapes MENI. It argues that synaesthetic percepts align with musical transitions to increase segmentation precision, strengthen narrative continuity, and deepen emotional and thematic engagement. Rather than treating MCS as an isolated phenomenon, it is situated within a broader continuum of music cognition and narrative construction, suggesting it magnifies processes shared across listeners. This perspective calls for further research into how multimodal mental imagery influences music perception, emotional response, and memory for musical narratives.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"7 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145770612","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 : 2025-12-17DOI: 10.1177/03057356251393685
Li Zhang, Kaijun Chen, Fada Pan
Previous research has demonstrated an audio-visual integration effect in supraliminal music-induced emotions. This study explores the effect of visual information on subliminal music-induced emotion and the audio-visual integration effect in subliminal music using combined behavioral and physiological measures. We introduced supraliminal and subliminal visual information to investigate their influence on subliminal music-induced emotion. The results indicate that, compared with audio-only presentation, audio-visual congruent presentation leads to a more intense emotional response, as evidenced by reduced heart rates and skin temperature. The differences in audio-visual congruence were more pronounced for positive music than for negative music, as indicated by reduced heart rates and skin temperature, along with increased alpha and beta power in the prefrontal cortex. In summary, the results suggest that audio-visual integration for subliminal music occurs with both supraliminal and subliminal visual information. Furthermore, positive subliminal music strengthens the perception of congruence between visual and auditory cues.
{"title":"The effect of visual information on subliminal music-induced emotion","authors":"Li Zhang, Kaijun Chen, Fada Pan","doi":"10.1177/03057356251393685","DOIUrl":"https://doi.org/10.1177/03057356251393685","url":null,"abstract":"Previous research has demonstrated an audio-visual integration effect in supraliminal music-induced emotions. This study explores the effect of visual information on subliminal music-induced emotion and the audio-visual integration effect in subliminal music using combined behavioral and physiological measures. We introduced supraliminal and subliminal visual information to investigate their influence on subliminal music-induced emotion. The results indicate that, compared with audio-only presentation, audio-visual congruent presentation leads to a more intense emotional response, as evidenced by reduced heart rates and skin temperature. The differences in audio-visual congruence were more pronounced for positive music than for negative music, as indicated by reduced heart rates and skin temperature, along with increased alpha and beta power in the prefrontal cortex. In summary, the results suggest that audio-visual integration for subliminal music occurs with both supraliminal and subliminal visual information. Furthermore, positive subliminal music strengthens the perception of congruence between visual and auditory cues.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"4 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145765149","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 : 2025-12-03DOI: 10.1177/03057356251387705
Pablo Marín-Liébana, Javier Ibias
In recent decades, music education has increasingly recognized the impact of music as a cultural phenomenon on students. Particularly, the influence of lyrics has been explored in various psychological studies due to their capacity to convey narratives and imagery that shape perceptions of reality and interpersonal relationships. This study aims to assess the psychological effects of song lyrics on listeners. To address this, a systematic review and meta-analysis were conducted following the PRISMA protocol, including 82 studies and 42 dependent variables, respectively. The results reveal medium effects on cognitive-behavioral and attitudinal levels, and high effects on emotional levels, all consistent with the conveyed messages. These findings align with broader research on music’s psychological impact and can be explained by various theoretical models. Finally, it is suggested that critical music education could effectively intervene in students’ learning processes by teaching them to critically analyze song narratives in their daily lives.
{"title":"Systematic review and meta-analysis on the psychological effects of song lyrics: A perspective from critical music education","authors":"Pablo Marín-Liébana, Javier Ibias","doi":"10.1177/03057356251387705","DOIUrl":"https://doi.org/10.1177/03057356251387705","url":null,"abstract":"In recent decades, music education has increasingly recognized the impact of music as a cultural phenomenon on students. Particularly, the influence of lyrics has been explored in various psychological studies due to their capacity to convey narratives and imagery that shape perceptions of reality and interpersonal relationships. This study aims to assess the psychological effects of song lyrics on listeners. To address this, a systematic review and meta-analysis were conducted following the PRISMA protocol, including 82 studies and 42 dependent variables, respectively. The results reveal medium effects on cognitive-behavioral and attitudinal levels, and high effects on emotional levels, all consistent with the conveyed messages. These findings align with broader research on music’s psychological impact and can be explained by various theoretical models. Finally, it is suggested that critical music education could effectively intervene in students’ learning processes by teaching them to critically analyze song narratives in their daily lives.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"29 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145664445","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 : 2025-12-02DOI: 10.1177/03057356251384977
Jolan Kegelaers, Aoife Gibney
Music is widely regarded as a positive contributor to mental well-being, yet emerging evidence suggests that (aspiring) professional musicians face elevated mental health risks. Despite growing research interest, no comprehensive review has synthesised the existing literature on musicians’ mental health. This scoping review addresses this gap by mapping research trends, identifying key mental health outcomes in musicians, and examining associated factors. Articles were collected from Scopus, PsycInfo, and PubMed, with 89 peer-reviewed studies meeting the inclusion criteria. Following the methodology outlined by Arksey and O’Malley (2005) and Peters et al. (2020), this review analysed (a) study and sample characteristics, (b) mental health outcomes studied, and (c) factors associated with musicians’ mental health. Most studies (66.2%) examined mental ill-health outcomes (e.g., anxiety, depression, and distress), whereas 19.8% focused on positive mental health (e.g., well-being and life satisfaction), and 16.9% combined both perspectives. Various work-related demands (e.g., financial instability, performance anxiety, and playing-related health problems) were frequently linked to poor mental health outcomes. Intervention studies were scarce, highlighting the need for evidence-based approaches to support musicians’ well-being. Future research should adopt more diverse methodologies and explore targeted interventions. Applied initiatives should focus on structural changes within the industry and better mental health support systems for musicians.
{"title":"The mental health of musicians: A scoping review","authors":"Jolan Kegelaers, Aoife Gibney","doi":"10.1177/03057356251384977","DOIUrl":"https://doi.org/10.1177/03057356251384977","url":null,"abstract":"Music is widely regarded as a positive contributor to mental well-being, yet emerging evidence suggests that (aspiring) professional musicians face elevated mental health risks. Despite growing research interest, no comprehensive review has synthesised the existing literature on musicians’ mental health. This scoping review addresses this gap by mapping research trends, identifying key mental health outcomes in musicians, and examining associated factors. Articles were collected from Scopus, PsycInfo, and PubMed, with 89 peer-reviewed studies meeting the inclusion criteria. Following the methodology outlined by Arksey and O’Malley (2005) and Peters et al. (2020), this review analysed (a) study and sample characteristics, (b) mental health outcomes studied, and (c) factors associated with musicians’ mental health. Most studies (66.2%) examined mental ill-health outcomes (e.g., anxiety, depression, and distress), whereas 19.8% focused on positive mental health (e.g., well-being and life satisfaction), and 16.9% combined both perspectives. Various work-related demands (e.g., financial instability, performance anxiety, and playing-related health problems) were frequently linked to poor mental health outcomes. Intervention studies were scarce, highlighting the need for evidence-based approaches to support musicians’ well-being. Future research should adopt more diverse methodologies and explore targeted interventions. Applied initiatives should focus on structural changes within the industry and better mental health support systems for musicians.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"198200 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145651494","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 : 2025-12-01DOI: 10.1177/03057356251381808
Sara D’Amario, Laura Bishop
Musicians experience varying degrees of musical togetherness, defined as a sense of social connectedness that they experience with co-performer(s) in music ensembles. Previous investigations focused on optimal experiences and suggested a link between social connections and musical and contextual aspects. However, it is not fully understood how this concept aligns with musicians’ experiences of togetherness. This research analysed experiences of togetherness in classical ensemble performances, based on semi-structured interviews with 22 advanced music students. Thematic content analysis demonstrates the emergence of four main themes associated with togetherness experiences as follows: (1) togetherness sensation, (2) quality of the interpersonal relationships, (3) performance settings, and (4) ensemble skills. This study broadens our understanding of ensemble playing experiences and reveals how togetherness experiences can arise or be negatively affected. These results are valuable to ensemble pedagogy and social interactions.
{"title":"Self-reported experiences of togetherness in classical music ensembles","authors":"Sara D’Amario, Laura Bishop","doi":"10.1177/03057356251381808","DOIUrl":"https://doi.org/10.1177/03057356251381808","url":null,"abstract":"Musicians experience varying degrees of musical togetherness, defined as a sense of social connectedness that they experience with co-performer(s) in music ensembles. Previous investigations focused on optimal experiences and suggested a link between social connections and musical and contextual aspects. However, it is not fully understood how this concept aligns with musicians’ experiences of togetherness. This research analysed experiences of togetherness in classical ensemble performances, based on semi-structured interviews with 22 advanced music students. Thematic content analysis demonstrates the emergence of four main themes associated with togetherness experiences as follows: (1) togetherness sensation, (2) quality of the interpersonal relationships, (3) performance settings, and (4) ensemble skills. This study broadens our understanding of ensemble playing experiences and reveals how togetherness experiences can arise or be negatively affected. These results are valuable to ensemble pedagogy and social interactions.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145651495","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 : 2025-11-30DOI: 10.1177/03057356251386030
Carli D’Alebout, Liesl van der Merwe
This interpretative phenomenological analysis (IPA) study explores how five professional violinists, who teach and perform in South Africa, make sense of their lived flow experiences during solo and chamber music performances, and to what extent flow theory explains the inhibiting and promoting conditions of flow for the participants. Data were collected by conducting in-depth, semi-structured online video interviews. Rigorous data analysis followed a structured seven-step process. Eight group experiential themes emerged from the data. These themes are (1) the importance of preparation; (2) awareness and managing thoughts and attention; (3) emotion, intention, and the message of the music; (4) interactive musical relationships; (5) the audience’s role in the performer’s flow experience; (6) the influence of past experiences; (7) unique interpretations of flow; and (8) the outcomes of having experienced or not experienced flow. This study is the first of its kind, as it highlights professional performing violinists’ unique flow experiences during solo and chamber music performances. The study contributes to the improvement of practice by creating increased awareness of the conditions that promote and inhibit flow experiences for professional, amateur, and student performers as well as music teachers.
{"title":"Exploring five professional violinists’ flow experiences during solo and chamber music performances: An interpretative phenomenological analysis","authors":"Carli D’Alebout, Liesl van der Merwe","doi":"10.1177/03057356251386030","DOIUrl":"https://doi.org/10.1177/03057356251386030","url":null,"abstract":"This interpretative phenomenological analysis (IPA) study explores how five professional violinists, who teach and perform in South Africa, make sense of their lived flow experiences during solo and chamber music performances, and to what extent flow theory explains the inhibiting and promoting conditions of flow for the participants. Data were collected by conducting in-depth, semi-structured online video interviews. Rigorous data analysis followed a structured seven-step process. Eight group experiential themes emerged from the data. These themes are (1) the importance of preparation; (2) awareness and managing thoughts and attention; (3) emotion, intention, and the message of the music; (4) interactive musical relationships; (5) the audience’s role in the performer’s flow experience; (6) the influence of past experiences; (7) unique interpretations of flow; and (8) the outcomes of having experienced or not experienced flow. This study is the first of its kind, as it highlights professional performing violinists’ unique flow experiences during solo and chamber music performances. The study contributes to the improvement of practice by creating increased awareness of the conditions that promote and inhibit flow experiences for professional, amateur, and student performers as well as music teachers.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"368 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145619590","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 : 2025-11-29DOI: 10.1177/03057356251388978
Erin Foy, Laura Bottei, Elizabeth M Wakefield
Gestures are hand movements that co-occur with speech and express information through their form and movement trajectory. Previous work suggests gesture is widely employed by voice teachers and that when used in the context of singing, both self-produced and observed gesture can promote vocal change. The current mixed methods study was conducted to expand our understanding of how and why choral conductors employ gesture. Eighteen choral conductors completed a survey and semi-structured interview that included questions about the functions of singer-observed gesture (gestures produced by conductors) and singer-produced gesture. Interestingly, conductors indicated that singer-produced gesture is more beneficial than singer-observed gesture and especially powerful for younger or amateur singers. However, participants reported using their own gesture more frequently than singer-produced gesture in rehearsals. Qualitative content analysis was used to identify common themes in interviews. Results indicate singer-observed and singer-produced gesture support visualization and communication whereas singer-produced gesture uniquely promotes kinesthetic engagement. These results suggest that conductors’ intuitions about the function of gesture align with functions identified in the gesture-for-learning literature. In light of these results, ideas for how gesture could be better utilized in rehearsal are discussed.
{"title":"Functions of produced and observed gesture in choral singing","authors":"Erin Foy, Laura Bottei, Elizabeth M Wakefield","doi":"10.1177/03057356251388978","DOIUrl":"https://doi.org/10.1177/03057356251388978","url":null,"abstract":"Gestures are hand movements that co-occur with speech and express information through their form and movement trajectory. Previous work suggests gesture is widely employed by voice teachers and that when used in the context of singing, both self-produced and observed gesture can promote vocal change. The current mixed methods study was conducted to expand our understanding of how and why choral conductors employ gesture. Eighteen choral conductors completed a survey and semi-structured interview that included questions about the functions of singer-observed gesture (gestures produced by conductors) and singer-produced gesture. Interestingly, conductors indicated that singer-produced gesture is more beneficial than singer-observed gesture and especially powerful for younger or amateur singers. However, participants reported using their own gesture more frequently than singer-produced gesture in rehearsals. Qualitative content analysis was used to identify common themes in interviews. Results indicate singer-observed and singer-produced gesture support visualization and communication whereas singer-produced gesture uniquely promotes kinesthetic engagement. These results suggest that conductors’ intuitions about the function of gesture align with functions identified in the gesture-for-learning literature. In light of these results, ideas for how gesture could be better utilized in rehearsal are discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145614127","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}
This study investigates the relationship between the lexical typicality of song lyrics and song popularity in the UK Official Singles Chart from 1999 to 2013. Drawing on natural language processing (NLP) techniques, we develop a multidimensional measure of lyrics’ typicality that captures lexical repetition, complexity, thematic content, and emotional tone, addressing methodological limitations in previous research that relied heavily on static word dictionaries. By analysing 1,457 songs that reached the top five chart positions, we demonstrate that lyrics’ typicality significantly predicts the duration a song remains in the top five but does not affect the peak chart position or the trajectory of popularity (skewness and kurtosis). Our findings suggest that while typical lyrics may contribute to a song’s longevity within a given canon, they do not necessarily guarantee chart-topping success. This research contributes a replicable, dictionary-free methodology for assessing lyrics’ typicality and offers insights into the nuanced role of lyrics in shaping musical preferences.
{"title":"The effect of the typicality of song lyrics on song popularity: A natural language processing analysis of the British top singles chart","authors":"Khaoula Chehbouni, Florian Carichon, Adrien Simonnot-Lanciaux, Gilles Caporossi, Danilo C. Dantas","doi":"10.1177/03057356251384301","DOIUrl":"https://doi.org/10.1177/03057356251384301","url":null,"abstract":"This study investigates the relationship between the lexical typicality of song lyrics and song popularity in the UK Official Singles Chart from 1999 to 2013. Drawing on natural language processing (NLP) techniques, we develop a multidimensional measure of lyrics’ typicality that captures lexical repetition, complexity, thematic content, and emotional tone, addressing methodological limitations in previous research that relied heavily on static word dictionaries. By analysing 1,457 songs that reached the top five chart positions, we demonstrate that lyrics’ typicality significantly predicts the duration a song remains in the top five but does not affect the peak chart position or the trajectory of popularity (skewness and kurtosis). Our findings suggest that while typical lyrics may contribute to a song’s longevity within a given canon, they do not necessarily guarantee chart-topping success. This research contributes a replicable, dictionary-free methodology for assessing lyrics’ typicality and offers insights into the nuanced role of lyrics in shaping musical preferences.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"113 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145582994","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 : 2025-11-05DOI: 10.1177/03057356251381818
Sabrina M McKenzie, Amanda E Krause, Solange Glasser, Margaret S Osborne
Music listening can impact emotional well-being. However, self-compassion, an aspect strongly related to emotional well-being, is rarely discussed in music listening literature. Therefore, this study explored self-compassionate and uncompassionate music listening experiences within the context of the COVID-19 pandemic. Two hundred and ninety-six Australian university students ( M age = 19.32) completed a mixed-methods music listening and self-compassion questionnaire. The questionnaire included the Self-Compassion Short Form Scale along with an author-adapted version exploring the influence of music listening. Additional, open-ended questions probed self-compassionate and uncompassionate music listening experiences. Most participants (81.76%) reported self-compassionate experiences through listening to music during the pandemic. Template analysis examining people’s self-compassionate and uncompassionate music listening experiences resulted in an overlap of themes including emotional experience, connection , and music styles . Distinct patterns were found, such as positive outcomes in self-compassionate responses and negative outcomes in uncompassionate experiences. The inclusion of emotional release within uncompassionate responses demonstrates the complexity of the relationship between music listening and self-compassion. These findings highlight the need for further exploration into music listening and self-compassion, particularly in an everyday context beyond the pandemic.
{"title":"Exploring the role of music listening in cultivating self-compassion","authors":"Sabrina M McKenzie, Amanda E Krause, Solange Glasser, Margaret S Osborne","doi":"10.1177/03057356251381818","DOIUrl":"https://doi.org/10.1177/03057356251381818","url":null,"abstract":"Music listening can impact emotional well-being. However, self-compassion, an aspect strongly related to emotional well-being, is rarely discussed in music listening literature. Therefore, this study explored self-compassionate and uncompassionate music listening experiences within the context of the COVID-19 pandemic. Two hundred and ninety-six Australian university students ( <jats:italic toggle=\"yes\"> M <jats:sub>age</jats:sub> </jats:italic> = 19.32) completed a mixed-methods music listening and self-compassion questionnaire. The questionnaire included the Self-Compassion Short Form Scale along with an author-adapted version exploring the influence of music listening. Additional, open-ended questions probed self-compassionate and uncompassionate music listening experiences. Most participants (81.76%) reported self-compassionate experiences through listening to music during the pandemic. Template analysis examining people’s self-compassionate and uncompassionate music listening experiences resulted in an overlap of themes including <jats:italic toggle=\"yes\">emotional experience, connection</jats:italic> , and <jats:italic toggle=\"yes\">music styles</jats:italic> . Distinct patterns were found, such as positive outcomes in self-compassionate responses and negative outcomes in uncompassionate experiences. The inclusion of emotional release within uncompassionate responses demonstrates the complexity of the relationship between music listening and self-compassion. These findings highlight the need for further exploration into music listening and self-compassion, particularly in an everyday context beyond the pandemic.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"91 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145441162","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 : 2025-10-28DOI: 10.1177/03057356251383805
Scott Bannister, Emily Payne
Musical chills, a subjective emotional experience associated with goosebumps, shivers, and/or tingling sensations, have recently been linked to experiences of social bonding. Thus, there is some rationale for expecting music performance to afford chills, as performance can involve strong emotional responses and social bonding experiences. However, almost all musical chills research focuses on listening contexts. This study explores experiences of musical chills while performing music. Data for the study were collected through a questionnaire survey with 218 musicians about their chills experiences. Results show that chills are experienced by musicians during performance and that they are largely positive experiences. Important factors for chills in performance include various musical features, performance qualities, interpersonal connections between performers, and personal associations with the music and performance context. Findings align with links between chills and social bonding, although further research is required to understand underlying psychological mechanisms of the phenomenon. Finally, various characteristics of chills in music performance suggest that the experience may be linked to psychological wellbeing, posing a novel route for continued research.
{"title":"A survey of musical chills experiences while performing music","authors":"Scott Bannister, Emily Payne","doi":"10.1177/03057356251383805","DOIUrl":"https://doi.org/10.1177/03057356251383805","url":null,"abstract":"Musical chills, a subjective emotional experience associated with goosebumps, shivers, and/or tingling sensations, have recently been linked to experiences of social bonding. Thus, there is some rationale for expecting music performance to afford chills, as performance can involve strong emotional responses and social bonding experiences. However, almost all musical chills research focuses on listening contexts. This study explores experiences of musical chills while performing music. Data for the study were collected through a questionnaire survey with 218 musicians about their chills experiences. Results show that chills are experienced by musicians during performance and that they are largely positive experiences. Important factors for chills in performance include various musical features, performance qualities, interpersonal connections between performers, and personal associations with the music and performance context. Findings align with links between chills and social bonding, although further research is required to understand underlying psychological mechanisms of the phenomenon. Finally, various characteristics of chills in music performance suggest that the experience may be linked to psychological wellbeing, posing a novel route for continued research.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"5 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145397343","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}
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