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Background: There is evidence that major depressive disorder (MDD) comes with multiple cognitive impairments including deficits in perception and memory. Music cognition is one of the least explored cognitive functions in relation to MDD, with some studies pointing to mild amusic deficits. These findings, however, are derived only from performance-based tests. Our objectives were to explore differences in music perception and memory between individuals with MDD and a control group, in both performance test and self-report of amusic dysfunction, and to assess the correlation between these measures. Method: We recruited 62 participants, including MDD individuals (n = 34) diagnosed with the Mini International Neuropsychiatric Interview and controls (n = 18). All the participants were evaluated with the Montreal Battery for Evaluation of Amusia (MBEA) and the Amusic Dysfunction Inventory (ADI). Results: None of the assessed dimensions from the MBEA or the ADI showed statistical differences between groups. Some significant associations were found between ADI's Vocal Production and the MBEA's three tests of the melodic dimension (Scale, Contour and Interval) and between MBEA's Scale and Memory, Meter and ADI's Melodic Perception, and tests of Memory from each respective instrument. Conclusion: Results suggest that perception and memory of basic music stimuli are not among the cognitive deficits within MDD, however, they may be indirectly affected by other cognitive phenomena common to this psychopathology, such as poor sustained concentration due to mental fatigue. [ABSTRACT FROM AUTHOR]

The article reports the results of a study on the perception of reduced forms by non-native users of English. It tests three hypotheses: (i) reduced forms with context are recognized more accurately and faster than reduced forms without context; (ii) gradient reduction is perceived less robustly than the categorical one; and (iii) subjects with musical background perceive reduced forms better than those without. An E-Prime study on 102 Polish learners of English was implemented, comparing participants’ accuracy and reaction times with a control group of 14 native speakers. The study was corpus-based and used 287 reduced forms from a corpus of Lancashire. The results indicate that (i) lexical context and phone density significantly affect perception, (ii) the category of reduction process (gradient or categorical) is irrelevant, and (iii) musical background only partially impacts non-native perception. [ABSTRACT FROM AUTHOR]

Background: This study investigated whether music training led to better length estimation and/or rightward bias by comparing the performance of musicians (pianists) and non-musicians on performance of line sections and line extensions. Methods: One hundred and sixteen participants, among them 62 musicians and 54 non-musicians, participated in the present study, completed line section and line extension task under three conditions: 1/2, 1/3 and 2/3. Results: The mixed repeated measures ANOVA analysis revealed a significant group × condition interaction, that the musicians were more accurate than non-musicians in all the line section tasks and showed no obvious pseudoneglect, while their overall performance on the line extension tasks was comparable to the non-musicians, and only performed more accurately in the 1/2 line extension condition. Conclusion: These findings indicated that there was a dissociation between the effects of music training on line section and line extension. This dissociation does not support the view that music training has a general beneficial effect on line estimation, and provides insight into a potentially important limit on the effects of music training on spatial cognition. [ABSTRACT FROM AUTHOR]

Introduction: Previous work on audio quality evaluation has demonstrated a developing convergence of the key perceptual attributes underlying judgments of quality, such as timbral, spatial and technical attributes. However, across existing research there remains a limited understanding of the crucial perceptual attributes that inform audio quality evaluation for people with hearing loss, and those who use hearing aids. This is especially the case with music, given the unique problems it presents in contrast to human speech. Method: This paper presents a sensory evaluation study utilising descriptive analysis methods, in which a panel of hearing aid users collaborated, through consensus, to identify the most important perceptual attributes of music audio quality and developed a series of rating scales for future listening tests. Participants (N = 12), with a hearing loss ranging from mild to severe, first completed an online elicitation task, providing single-word terms to describe the audio quality of original and processed music samples; this was completed twice by each participant, once with hearing aids, and once without. Participants were then guided in discussing these raw terms across three focus groups, in which they reduced the term space, identified important perceptual groupings of terms, and developed perceptual attributes from these groups (including rating scales and definitions for each). Results: Findings show that there were seven key perceptual dimensions underlying music audio quality (clarity, harshness, distortion, spaciousness, treble strength, middle strength, and bass strength), alongside a music audio quality attribute and possible alternative frequency balance attributes. Discussion: We outline how these perceptual attributes align with extant literature, how attribute rating instruments might be used in future work, and the importance of better understanding the music listening difficulties of people with varied profiles of hearing loss. [ABSTRACT FROM AUTHOR]

Using three musical pieces as musical stimuli from Romania, Brazil, and Saudi Arabia, this study extended Fung's study by examining Chinese pre-service music teachers' (n = 115) and schoolteachers' (n = 131) personal preferences and external preferences for orchestral, folk, and popular music pieces. Two groups of participants were asked to select their preferred music from three pieces and to provide verbal descriptions of the reasons for their selections. The results showed (a) no significant differences in personal preference between the two groups but statistical significances in external preferences between the two groups; (b) the highest preference rating by both groups of teachers was folk music and the highest forced-choice preference was popular music; (c) statistically significant correlations between personal preference and external preference were evident in both groups across all three pieces; and (d) frequent descriptions by both groups of participants of the pieces in terms of musical characteristics were shared. The implications of this study are as follows. (1) Psychologists and music researchers gain insights about Chinese young adults' listening preferences, which might offer implications for future research in the field of psychology; and (2) By enhancing multicultural awareness, music education teachers and researchers should combine different music styles to broaden students' music horizons. [ABSTRACT FROM AUTHOR]

This document is an editorial titled "The adaptive role of musicality in human evolution" published in the journal Frontiers in Psychology. The editorial discusses the renewed interest in the topic of human musical behavior and its evolution. It aims to encourage exploration of human aural perception and its role in music and language, with a focus on how musical abilities are acquired and transmitted through vocal learning. The editorial presents various studies examining the evolution of musical abilities from different perspectives, including animal behavior, cultural evolution, and human musicality. The document also acknowledges the diverse interpretations and approaches within the field and highlights the need for further research to clarify the nature and practice of human musical behavior. [Extracted from the article]

Predictability plays an important role in the experience of musical pleasure. By leveraging expectations, music induces pleasure through tension and surprise. However, musical predictions draw on both prior knowledge and immediate context. Similarly, musical pleasure, which has been shown to depend on predictability, may also vary relative to the individual and context. Although research has demonstrated the influence of both long-term knowledge and stimulus features in influencing expectations, it is unclear how perceptions of a melody are influenced by comparisons to other music pieces heard in the same context. To examine the effects of context we compared how listeners' judgments of two distinct sets of stimuli differed when they were presented alone or in combination. Stimuli were excerpts from a repertoire of Western music and a set of experimenter created melodies. Separate groups of participants rated liking and predictability for each set of stimuli alone and in combination. We found that when heard together, the Repertoire stimuli were more liked and rated as less predictable than if they were heard alone, with the opposite pattern being observed for the Experimental stimuli. This effect was driven by a change in ratings between the Alone and Combined conditions for each stimulus set. These findings demonstrate a context-based shift of predictability ratings and derived pleasure, suggesting that judgments stem not only from the physical properties of the stimulus, but also vary relative to other options available in the immediate context. [ABSTRACT FROM AUTHOR]

Introduction: Music students in higher education experience health-related challenges linked to practice and performance, while an understanding of these challenges and access to resources to deal with them are required to promote the students´ health. Health literacy and health education are integral parts of health promotion and resources for health, which encompasses health-related knowledge and competence aiming to improve health. The aim of this study was to explore Norwegian music students' perceptions and experiences of resources and challenges for health and address the following research question: What health-related challenges do music students in higher music education meet, and what health promoting resources do they need and use to deal with these challenges and promote their health? Methods: We conducted a qualitative study including three focus group interviews with 13 music students aged between 19 and 31 years studying classical, folk, jazz or rhythmic genres from five different music departments in Norwegian universities. The Salutogenic model of health was used as theoretical framework and a few questions regarding the concept of health literacy were included in the interviews. We used thematic network analysis to analyze the data. Results: Main health challenges were related to performance pressure and difficulties implementing good health habits in the students' daily lives. Furthermore, the findings revealed several resources that promoted the students' health: (1) Personal resources included situational understanding, using adequate coping strategies, high motivation and participating in regular physical activity. (2) Social resources involved an understanding of the importance of social support from peers and teachers and synergy created between themselves and the audience through sharing of music. (3) Environmental resources were linked to access to good rehearsal rooms. The music students expressed a need for increased competence in health promoting routines during practice and performance and suggested that health-related topics should be an integrated part of education. [ABSTRACT FROM AUTHOR]

Musical training has been evidenced to facilitate music perception, which refers to the consistencies, boundaries, and segmentations in pieces of music that are associated with the Gestalt principles. The current study aims to test whether musical training is beneficial to non-musical cognitive ability with Gestalt principles. Three groups of Chinese participants (with early, late, and no musical training) were compared in terms of their performances on the Motor-Free Visual Perception Test (MVPT). The results show that the participants with early musical training had significantly better performance in the Gestalt-like Visual Closure subtest than those with late and no musical training, but no significances in other Gestalt-unlike subtests was identified (Visual Memory, Visual Discrimination, Spatial Relationship, Figure Ground in MVPT). This study suggests the benefit of early musical training on non-musical cognitive ability with Gestalt principles. [ABSTRACT FROM AUTHOR]

Introduction: During their career, musicians need to undergo intense periods of training to master musical instruments and become accomplished artists. Dysfunctional practice behaviors and anxiety are often mentioned among the possible risk factors for playing-related injuries in musicians. However, the mechanism through which these might lead to the onset of these injuries is still unclear. The present study aims at overcoming this limitation by investigating the relationship between quantitative measurements of anxiety, practice behaviors and music performance quality. Methods: The experiment consisted in monitoring practice behaviors in 30 pianists practicing a short musical task. Results: Most self-report anxiety measurements were positively correlated with practice time, especially those collected right before the practice sessions. Similar correlations were identified between anxiety and the number of repetitions of the musical task. Physiological markers of anxiety were only weakly related to practice behaviors. Subsequent analyses showed that high levels of anxiety were associated with poor quality of music performances at baseline. Nevertheless, the interaction between participants’ learning rate and anxiety measures showed no association with performance quality scores. Moreover, anxiety and performance quality co-developed during practice sessions, showing that pianists who improved their playing were also less anxious in the latter part of the experiment. Discussion: These findings suggest that anxious musicians are likely at higher risk of developing playing-related injuries related to overuse and repetitive strains. Future directions and clinical implications are discussed. [ABSTRACT FROM AUTHOR]

The effects of musical tempo on cognitive processing speed were investigated, and the mediating effect of arousal was empirically tested. In an experiment, participants were divided into fast tempo, slow tempo, and no-music groups and completed three cognitive processing speed tests measuring motor speed, visuospatial processing speed, and linguistic processing speed. The results indicated a significant effect of musical tempo on processing speed and task performance in all three tasks. The slow-tempo group exhibited slower processing speed and worse performance than the no-music group in all three tasks. The fast tempo group displayed no significant difference in processing speed or performance compared with the no-music group. In the linguistic processing task, those who listened to slow-tempo music had better accuracy than those in the other conditions. Arousal did not mediate the relationship between musical tempo and cognitive processing speed. [ABSTRACT FROM AUTHOR]

Musicians Focal Dystonia (MFD) is a task-specific movement disorder affecting highly skilled musicians. The pathophysiology is poorly understood, and the available treatments are unable to fully and reliably rehabilitate the affected skill. Recently, the exclusively neurological nature of the condition has been questioned, and additional psychological, behavioral, and psychosocial contributing factors were identified. However, very little is known about how these factors influence the recovery process, and how, if at all, they are addressed in ongoing practices. For this study, 14 practitioners with substantial experience in working with musicians with MFD were interviewed about the elements in their approach which are directed at the cognition, emotions, attitudes, and behaviors of their patients and clients. A wide variety of tools were reported in three areas: (1) creating a supportive learning environment and addressing anxiety and perfectionism, (2) using body-oriented methods to optimize the playing behaviors and (3) consciously channeling the focus of attention to guide the physical retraining exercises and establishing new habits. The study also revealed that in-depth knowledge of the instrumental technique is profitable to retrain the impaired motor patterns. Therefore, the importance of including music [ABSTRACT FROM AUTHOR]

Music performance anxiety (MPA) is a prevalent phenomenon with potentially serious consequences to a musician's wellbeing and professional career. Yet, MPA does not always affect performance quality. It is hypothesized that trait anxiety, situational stress, and task mastery can exacerbate the effects of MPA and affect performance quality. Furthermore, it is unclear whether these effects are noticeable to both listeners and performing musicians.We measure performance quality as the expressiveness scores assigned by musicians and listeners to a set of pre-recorded performances. We selected three pianists with low, mid, and high MPA. Each pianist performed two pieces of their choice, familiar and unfamiliar, which were performed in rehearsal and recital conditions. The performances were videoed and edited into shorter clips for being presented to the performing pianists and to a set of online raters. Listeners and pianists will be asked to rate the expressiveness of all clips. We will determine the difference between the listeners' perceived expressiveness and the pianists' own expressiveness scores to estimate how well did listeners understand the pianists' expressive intentions. We investigate (1) what is the effect of trait anxiety, situational stress, and task mastery on the listener's perception of expressiveness and (2) what is the effect of these same variables on the listeners' understanding of expressiveness. [ABSTRACT FROM AUTHOR]

Music enjoyment is considered to predict music-related academic performance and career choice. Although relevant research in non-music fields has demonstrated the association between teachers' autonomy support and students' academic enjoyment, it remains unknown whether this association is valid in the music discipline. In addition, in the post-COVID-19 era, online education has become a common way of teaching and learning for music undergraduates. In the form of online learning, the mechanisms mediating teachers' music autonomy support and students' music academic enjoyment are also unknown. This study draws on Pekrun's theory of achievement emotions and control values to explore the mediating role of attributions and values in the association between autonomous support and academic achievement. In this study, 270 undergraduates majoring in music eventually completed the online surveys. Results from structural equation modeling indicated that autonomy support positively predicted music enjoyment and that attributions (i.e., internal attribution and external attribution) and values (i.e., intrinsic value, attainment value, utility value) mediated the association between autonomy support and music enjoyment. The findings also provide insights into possible avenue for promoting music enjoyment emotion during online teaching in the post-COVID-19 era. Implications and limitations are discussed in the study. [ABSTRACT FROM AUTHOR]

Background/aims: High occupational injury rates are reported in musicians, with a career prevalence of up to 89%. Fatigue and playing (over)load are identified as key risk factors for musicians' injuries. Self-report fatigue management strategies in sport have demonstrated preventive effects. A selfreport fatigue management tool for musicians was developed based on a Delphi survey of international experts and hosted in an online app. The aims of this study are to evaluate the content validity and uptake of this new tool, and explore associations between collected performance quality, physical/psychological stress, pain, injury and fatigue data. Methods: University and professional musicians were asked to provide entries into the online app twice per week for 1-6 months. Entries into the app were designed to take 2-3 min to complete and consisted of the following: 6 questions regarding playing load over the previous 72 h; 5 questions regarding current levels in key physical/psychological stress domains (sleep, recovery, overplaying, pain, fitness); one question self-rating of performance quality over the previous day; one question regarding current musculoskeletal symptoms; a reaction time task to evaluate psychomotor fatigue. Results: N = 96 participants provided an average of 2 app entries (range 0-43). Increased playing time, rating of perceived exertion (RPE), and feelings of having to "play too much" were consistently associated with increased selfrated performance quality (p ≤ 0.004; 6.7 <| t |< 2148.5). Increased ratings of feeling fit and recovering well were consistently associated with reduced pain severity (p < 0.001; 3.8 <| t |< 20.4). Pain severity was increased (6.5/10 vs. 2.5/10; p < 0.001) in participants reporting playing-related musculoskeletal disorders (PRMDs; symptoms affecting playing). Conclusion: The prospective value of regular individual self-report playing load, stress, and performance data collection in musicians is clear. However, limited uptake of the online fatigue management app piloted in this study indicates that new approaches to the collection of these data are needed to realize their potential impact. [ABSTRACT FROM AUTHOR]

Listening to groovy music is an enjoyable experience and a common human behavior in some cultures. Specifically, many listeners agree that songs they find to be more familiar and pleasurable are more likely to induce the experience of musical groove. While the pleasurable and dance-inducing effects of musical groove are omnipresent, we know less about how subjective feelings toward music, individual musical or dance experiences, or more objective musical perception abilities are correlated with the way we experience groove. Therefore, the present study aimed to evaluate how musical and dance sophistication relates to musical groove perception. Onehundred 24 participants completed an online study during which they rated 20 songs, considered high- or low-groove, and completed the Goldsmiths Musical Sophistication Index, the Goldsmiths Dance Sophistication Index, the Beat and Meter Sensitivity Task, and a modified short version of the Profile for Music Perception Skills. Our results reveal that measures of perceptual abilities, musical training, and social dancing predicted the difference in groove rating between high- and low-groove music. Overall, these findings support the notion that listeners' individual experiences and predispositions may shape their perception of musical groove, although other causal directions are also possible. This research helps elucidate the correlates and possible causes of musical groove perception in a wide range of listeners. [ABSTRACT FROM AUTHOR]

Recent research has indicated that many people around the world turned to artistic creative activities (ACAs) to support their mental health during COVID-19 lockdowns. However, studies have also shown that the negative psychosocial impacts of the pandemic have disproportionately affected young people, suggesting that the use of ACAs to support mental health in lockdown may have varied across age groups. This study investigated how Australians in four different age groups (18-24, 25-34, 35-54, and 55+) engaged in ACAs to support their mental health during the 2020 pandemic lockdowns. Participants (N = 653) recruited from the general public completed an online survey between May and October 2020, in which they reported which ACAs they had undertaken during the pandemic using an established list. Participants subsequently ranked undertaken ACAs in terms of effectiveness at making them "feel better," and those who had engaged in musical ACAs also completed the Musical Engagement Questionnaire (MusEQ). Additionally, ratings of anxiety (GAD7) and depression (PHQ9) symptoms were obtained and examined for potential variations across four diverse variables: age, exercise, gender and state/territory of residence. ACA rankings showed that younger participants overwhelmingly rated musical activities as most effective, while, with the exception of singing, those aged 55+ rated non-musical activities as being most effective. These differences were further supported by ratings for all six MusEQ subscales, with responses strongly indicating that the youngest participants (aged 18-24) used music in significantly different ways during the pandemic than participants in all other age groups. Specifically, these youngest participants were more likely to integrate music into daily life, use music for emotion regulation, respond to music in embodied ways, and use music to perform a social identity. In line with prior research, further analyses indicated that symptoms of anxiety and depression were lessened for older participants, as well for those who reported exercising more during the lockdowns. These findings provide insight into how ACAs can support mental health during a pandemic crisis for specific age groups, which may inform future policy directions, and suggestions for how this can be done are provided. [ABSTRACT FROM AUTHOR]

In this study we evaluated heart rate variability (HRV) changes in a pianist, playing in a laboratory, to investigate whether HRV changes are guided by music temporal features or by technical difficulty and/or subjective factors (e.g., experienced effort). The pianist was equipped with a wearable telemetry device for ECG recording during the execution of 4 classical and 5 jazz pieces. From ECG we derived the RR intervals series (tachogram), and, for each piece, analyzed HRV in the time (RR, RMSSD, Stress Index) and frequency domains (Total spectral power) and performed non-linear analysis (Multiscale Entropy). We also studied the correlation (Pearson) between the time course of music volume envelope and tachogram. Results showed a general reduction of parasympathetic and an increase of sympathetic activity, with the greatest changes during the classical pieces execution, the pianist appraised as more demanding than the jazz ones. The most marked changes occurred during the most technically/emotionally demanding piece, and correlation analysis revealed a negative association between music volume envelope time course and tachogram only for this piece, suggesting a modulation of the limbic system on the synchronization between heart rhythm and music temporal features. Classical music was also associated with the increase of entropy (1st scale) with respect to rest, indicating its effectiveness in driving flexible, healthy, heart dynamics. In conclusion, HRV seems modulated not only by the music temporal features, but also by the pianist's emotional involvement, which is greatly influenced, in a non-trivial manner, by the technical demands and musician expertise. [ABSTRACT FROM AUTHOR]

A number of theories about the origins of musicality have incorporated biological and social perspectives. Darwin argued that musicality evolved by sexual selection, functioning as a courtship display in reproductive partner choice. Darwin did not regard musicality as a sexually dimorphic trait, paralleling evidence that both sexes produce and enjoy music. A novel research strand examines the effect of musicality on sexual attraction by acknowledging the importance of facial attractiveness. We previously demonstrated that music varying in emotional content increases the perceived attractiveness and dating desirability of opposite-sex faces only in females, compared to a silent control condition. Here, we built upon this approach by presenting the person depicted (target) as the performer of the music (prime), thus establishing a direct link. We hypothesized that musical priming would increase sexual attraction, with high-arousing music inducing the largest effect. Musical primes (25s, piano solo music) varied in arousal and pleasantness, and targets were photos of other-sex faces of average attractiveness and with neutral expressions (2s). Participants were 35 females and 23 males (heterosexual psychology students, single, and no hormonal contraception use) matched for musical background, mood, and liking for the music used in the experiment. After musical priming, females' ratings of attractiveness and dating desirability increased significantly. In males, only dating desirability was significantly increased by musical priming. No specific effects of music-induced pleasantness and arousal were observed. Our results, together with other recent empirical evidence, corroborate the sexual selection hypothesis for the evolution of human musicality. [ABSTRACT FROM AUTHOR]

Regular musical activity as a complex multimodal lifestyle activity is proposed to be protective against age-related cognitive decline and Alzheimer's disease. This crosssectional study investigated the association and interplay between musical instrument playing during life, multi-domain cognitive abilities and brain morphology in older adults (OA) from the DZNE-Longitudinal Cognitive Impairment and Dementia Study (DELCODE) study. Participants reporting having played a musical instrument across three life periods (n = 70) were compared to controls without a history of musical instrument playing (n = 70), well-matched for reserve proxies of education, intelligence, socioeconomic status and physical activity. Participants with musical activity outperformed controls in global cognition, working memory, executive functions, language, and visuospatial abilities, with no effects seen for learning and memory. The musically active group had greater gray matter volume in the somatosensory area, but did not differ from controls in higher-order frontal, temporal, or hippocampal volumes. However, the association between gray matter volume in distributed frontal-to-temporal regions and cognitive abilities was enhanced in participants with musical activity compared to controls. We show that playing a musical instrument during life relates to better late-life cognitive abilities and greater brain capacities in OA. Musical activity may serve as a multimodal enrichment strategy that could help preserve cognitive and brain health in late life. Longitudinal and interventional studies are needed to support this notion. [ABSTRACT FROM AUTHOR]

Background: Cognitive deficits are one of the core features of major depressive disorder (MDD) that play crucial role in functional recovery. Studies have explored cognitive deficits in MDD, however, given inconsistent results, especially in mild-moderate MDD. Recently, studies have explored music as cognitive ability in various clinical conditions. In MDD, large focus has been on evaluating emotion deficits and just a handful on music cognition. With growing evidence on use of music based intervention to target cognitive deficits, it is imperative to explore nature of music cognitive ability in MDD. Aim: To examine musical and neuro-cognitive deficits in patients with mild-moderate MDD. Methods: Patients diagnosed with mild or moderate MDD (n = 19) and matched healthy controls (HC) (n = 18) were evaluated on selected tests from NIMHANS Neuropsychological test battery and Montreal battery for evaluation of amusia (MBEA). Results: MDD group performed significantly lower than HC on working memory (p = 0.007), verbal learning (p = 0.02) and retention (p = 0.03). Three indices were computed for a comprehensive evaluation. Groups did not differ significantly in any of the indices- focused attention, executive function, learning and memory as well as on music cognition. Focused attention and memory index predicted music cognition in HC and the combined group (MDD + HC) (p < 0.01). Attention alone contributed to 62.1% of variance in music cognition. Similarly, music cognition significantly predicted focused attention (p < 0.01). Conclusion: Individuals with mild-moderate MDD show significant deficits in working memory, verbal learning and memory, however, not in music cognition. There exists a significant relationship between music cognition and attention, which could be implicated in use of music interventions to ameliorate cognitive deficits. Limitations of study include small sample size and heterogeneity. Future studies on larger cohort examining musical emotion perception and neurocognition is imperative to have deeper understanding of this debilitating condition. [ABSTRACT FROM AUTHOR]

Music performance anxiety (MPA) affects musicians at various stages of a performance, from its preparation until the aftermath of its delivery. Given the commonality and potentially grave consequences of MPA, it is understandable that much attention has been paid to the musician experiencing it. Consequently, we have learned a great deal about the intrapersonal level of MPA: how to measure it, treatments, experimental manipulations, and subjective experiences. However, MPA may also manifest at an interpersonal level by influencing how the performance is perceived. Yet, this has not yet been measured. This exploratory online study focuses on the listener's perception of anxiety and compares it to the musician's actual experienced anxiety. Forty-eight participants rated the amount of perceived anxiety of a pianist performing two pieces of contrasting difficulty in online-recital and practice conditions. Participants were presented with two stimulus modality conditions of the performance: audiovisual and audio-only. The listener's perception of anxiety and its similarity to the musician's experienced anxiety varies depending on variables such as the piece performed, the stimulus modality, as well as interactions between these variables and the listener's musical background. We discuss the implications for performance and future research on the interpersonal level of MPA. [ABSTRACT FROM AUTHOR]

This study sought to determine if hues overlayed on a video recording of a piano performance would systematically influence perception of its emotional arousal level. The hues were artificially added to a series of four short video excerpts of different performances using video editing software. Over two experiments 106 participants were sorted into 4 conditions, with each viewing different combinations of musical excerpts (two excerpts with nominally high arousal and two excerpts with nominally low arousal) and hue (red or blue) combinations. Participants rated the emotional arousal depicted by each excerpt. Results indicated that the overall arousal ratings were consistent with the nominal arousal of the selected excerpts. However, hues added to video produced no significant effect on arousal ratings, contrary to predictions. This could be due to the domination of the combined effects of other channels of information (e.g., the music and player movement) over the emotional effects of the hypothesized influence of hue on perceived performance (red expected to enhance and blue to reduce arousal of the performance). To our knowledge this is the first study to investigate the impact of these hues upon perceived arousal of music performance, and has implications for musical performers and stage lighting. Further research that investigates reactions during live performance and manipulation of a wider range of lighting hues, saturation and brightness levels, and editing techniques, is recommended to further scrutinize the veracity of the findings. [ABSTRACT FROM AUTHOR]

In western cultures, when it comes to places of worship and liturgies, music, acoustics and architecture go hand in hand. In the present study, we aimed to investigate whether the emotions evoked by music are enhanced by the acoustics of the space where the music was composed to be played on. We explored whether the emotional responses of western naïve listeners to two vocal pieces from the Renaissance, one liturgical and one secular, convolved with the impulse responses of four Christian temples from the United Kingdom, were modulated by the appropriate piece/space matching. In an alternative forced choice task where participants had to indicate their preference for the original recording of the piece (not convolved with any temple-like acoustics) vs. the convolved one, no significant differences were found. However, in the tasks where participants rated their emotional in response to each piece and acoustic condition, the factorial ANCOVA analyses performed on the results revealed significant effects. We observed that, across pieces and spaces, participants found the temple-like acoustics as more transcendent, compared to the acoustics of the original version of the pieces. In addition, they rated the secular piece as more tender and the liturgical piece as more expressive in its original versions, compared to the convolved ones. We conclude that the acoustic signature of the four Christian temples causes an exaltation of certain emotions on listeners, although this effect is not associated to one or another musical piece. [ABSTRACT FROM AUTHOR]

Perception of music and speech is based on similar auditory skills, and it is often suggested that those with enhanced music perception skills may perceive and learn novel words more easily. The current study tested whether music perception abilities are associated with novel word learning in an ambiguous learning scenario. Using a cross-situational word learning (CSWL) task, nonmusician adults were exposed to word-object pairings between eight novel words and visual referents. Novel words were either non-minimal pairs differing in all sounds or minimal pairs differing in their initial consonant or vowel. In order to be successful in this task, learners need to be able to correctly encode the phonological details of the novel words and have sufficient auditory working memory to remember the correct word-object pairings. Using the Mistuning Perception Test (MPT) and the Melodic Discrimination Test (MDT), we measured learners' pitch perception and auditory working memory. We predicted that those with higher MPT and MDT values would perform better in the CSWL task and in particular for novel words with high phonological overlap (i.e., minimal pairs). We found that higher musical perception skills led to higher accuracy for non-minimal pairs and minimal pairs differing in their initial consonant. Interestingly, this was not the case for vowel minimal pairs. We discuss the results in relation to theories of second language word learning such as the Second Language Perception model (L2LP). [ABSTRACT FROM AUTHOR]

This study describes a preliminary test of the hypothesis that, when people engage in musical and linguistic activities designed to enhance the interactive, turn-taking properties of typical conversation, they benefit in ways that enhance empathy and self-esteem, relative to people who experience activities that are similar except that synchronous action is emphasized, with no interactional turn-taking. Twenty-two 12–14 year olds identified as socially vulnerable (e.g., for anxiety) received six enjoyable 1-h sessions of musical improvisation, language games that developed sensitivity to linguistic rhythm and melody, and cross-over activities like rap. The Turn-taking group (n = 11), practiced characteristics of conversation in language games, and these were also introduced into musical activities. This involved much turn-taking and predicting what others would do. A matched control group, the Synchrony group, did similar activities but in synchrony, with less prediction and no turn-taking. Task complexity increased over the six sessions. Psychometric testing before and after the series showed that the Turn-taking group increased in empathy on self-report (Toronto Empathy Questionnaire) and behavioral ('Reading the Mind in the Eyes') measures, and in the General subtest of the Culture-Free Self-Esteem Inventory. While more work is needed to confirm the conclusions for relevant demographic groups, the current results point to the social value of musical and linguistic activities that mimic entrained, tightly coordinated parameters of everyday conversational interaction, in which, at any one time, individuals act as equal participants who have different roles. [ABSTRACT FROM AUTHOR]

Music is not only the art of organized sound but also a compound of social interaction among people, built upon social and environmental foundations. Since the beginning of the COVID-19 outbreak, containment measures such as shelter-in-place, lockdown, social distancing, and self-quarantine have severely impacted the foundation of human society, resulting in a drastic change in our everyday experience. In this paper, the relationships between musical behavior, lifestyle, and psychological states during the shelter-in-place period of the COVID-19 pandemic are investigated. An online survey on musical experience, lifestyle changes, stress level, musical behaviors, media usage, and environmental sound perception was conducted. The survey was conducted in early June 2020. Responses from 620 people in 24 countries were collected, with the large proportion of the responses coming from the U.S. (55.5%) and India (21.4%). Structural equation modeling (SEM) analysis revealed causal relationships between lifestyle, stress, and music behaviors. Elements such as stress-level change, work risk, and staying home contribute to changes in musical experiences, such as moderating emotion with music, feeling emotional with music, and being more attentive to music. Stress-level change was correlated with work risk and income change, and people who started living with others due to the outbreak, especially with their children, indicated less change in stress level. People with more stress-level change tended to use music more purposefully for their mental well-being, such as to moderate emotions, to influence mood, and to relax. In addition, people with more stress-level change tend to be more annoyed by neighbors' noise. Housing type was not directly associated with annoyance; however, attention to environmental sounds decreased when the housing type was smaller. Attention to environmental and musical sounds and the emotional responses to them are highly inter-correlated. Multi-group SEM based on musicians showed that the causal relationship structure for professional musicians differs from that of less-experienced musicians. For professional musicians, staying at home was the only component that caused all musical behavior changes; stress did not cause musical behavior changes. Regarding Internet use, listening to music via YouTube and streaming was preferred over TV and radio, especially among less-experienced musicians, while participation in the online music community was preferred by more advanced musicians. This work suggests that social, environmental, and personal factors and limitations influence the changes in our musical behavior, perception of sonic experience, and emotional recognition, and that people actively accommodated the unusual pandemic situations using music and Internet technologies. [ABSTRACT FROM AUTHOR]

Given its practical implications, the effect of musicianship on language learning has been vastly researched. Interestingly, growing evidence also suggests that language experience can facilitate music perception. However, the precise nature of this facilitation is not fully understood. To address this research gap, I investigated the interactive effect of language and musicianship on musical pitch and rhythmic perception. Cantonese and English listeners, each divided into musician and non-musician groups, completed the Musical Ear Test and the Raven's 2 Progressive Matrices. Essentially, an interactive effect of language and musicianship was found on musical pitch but not rhythmic perception. Consistent with previous studies, Cantonese language experience appeared to facilitate musical pitch perception. However, this facilitatory effect was only present among the non-musicians. Among the musicians, Cantonese language experience did not offer any perceptual advantage. The above findings reflect that musicianship influences the effect of language on musical pitch perception. Together with the previous findings, the new findings offer two theoretical implications for the OPERA hypothesis—bi-directionality and mechanisms through which language experience and musicianship interact in different domains. [ABSTRACT FROM AUTHOR]

Timbre is one of the psychophysical cues that has a great impact on affect perception, although, it has not been the subject of much cross-cultural research. Our aim is to investigate the influence of timbre on the perception of affect conveyed by Western and Chinese classical music using a cross-cultural approach. Four listener groups (Western musicians, Western nonmusicians, Chinese musicians, and Chinese nonmusicians; 40 per group) were presented with 48 musical excerpts, which included two musical excerpts (one piece of Chinese and one piece of Western classical music) per affect quadrant from the valence-arousal space, representing angry, happy, peaceful, and sad emotions and played with six different instruments (erhu , dizi , pipa , violin, flute, and guitar). Participants reported ratings of valence, tension arousal, energy arousal, preference, and familiarity on continuous scales ranging from 1 to 9. ANOVA reveals that participants' cultural backgrounds have a greater impact on affect perception than their musical backgrounds, and musicians more clearly distinguish between a perceived measure (valence) and a felt measure (preference) than do nonmusicians. We applied linear partial least squares regression to explore the relation between affect perception and acoustic features. The results show that the important acoustic features for valence and energy arousal are similar, which are related mostly to spectral variation, the shape of the temporal envelope, and the dynamic range. The important acoustic features for tension arousal describe the shape of the spectral envelope, noisiness, and the shape of the temporal envelope. The explanation for the similarity of perceived affect ratings between instruments is the similar acoustic features that were caused by the physical characteristics of specific instruments and performing techniques. [ABSTRACT FROM AUTHOR]

We know little about the psychological experiences of children and young people who have participated in virtual group music-making during the Coronavirus disease (COVID-19) pandemic. Adopting a mixed-methods design, we worked across three music education hubs in the UK, with a total 13 virtual music groups. These included a range of mainstream ensembles, inclusive ensembles targeting young people with special educational needs and/or disabilities, and inclusive music production spaces, targeting young people from lower socio-economic backgrounds. Reported progress in intra- and inter-personal psychological outcomes was investigated using quantitative and qualitative staff session reports, which were collected since before the pandemic (n1 for in-person sessions = 87, n2 for virtual sessions = 68), and surveys distributed to tutors, young people, and their parents during the first and second United Kingdom (UK) national lockdowns (n3 for qualitative responses = 240, n4 for quantitative responses = 96). Satisfaction of three basic psychological needs of self-determination theory and their relation to joint music-making in virtual spaces was also observed in real time by the researchers performing quantitative checklist observations on 16 separate occasions. Findings indicated that virtual music groups represented a meaningful psychological resource for the participating children and young people, especially considering the lack of opportunities offered by their schools and other extra-curricular activities. Through their participation with virtual group music-making activities, young people used music as a tool for self-expression and emotion management, restored lost musical identities and confidence, and preserved treasured social connections. Virtual alternatives to group music-making appear to indirectly nurture the sense of belongingness, mediated by supportive staff behaviors, but their direct connection, which has been widely reported for in-person group music-making experiences, has not been observed in virtual music groups. [ABSTRACT FROM AUTHOR]

Mindfulness meditation is a form of self-regulatory training for the mind and the body. The relationship between mindfulness meditation and musical aesthetic emotion processing (MAEP) remains unclear. This study aimed to explore the effect of temporary mindfulness meditation on MAEP while listening to Chinese classical folk instrumental musical works. A 2 [(groups: mindfulness meditation group (MMG); control group (CG)] × 3 (music emotions: calm music, happy music, and sad music) mixed experimental design and a convenience sample of university students were used to verify our hypotheses, which were based on the premise that temporary mindfulness meditation may affect MAEP (MMG vs. CG). Sixty-seven non-musically trained participants (65.7% female, age range: 18–22 years) were randomly assigned to two groups (MMG or CG). Participants in MMG were given a single 10-min recorded mindfulness meditation training before and when listening to music. The instruments for psychological measurement comprised of the Five Facet Mindfulness Questionnaire (FFMQ) and the Positive and Negative Affect Schedule (PANAS). Self-report results showed no significant between-group differences for PANAS and for the scores of four subscales of the FFMQ (p > 0.05 throughout), except for the non-judging of inner experience subscale. Results showed that temporary mindfulness meditation training decreased the negative emotional experiences of happy and sad music and the positive emotional experiences of calm music during recognition and experience and promoted beautiful musical experiences in individuals with no musical training. Maintaining a state of mindfulness while listening to music enhanced body awareness and led to experiencing a faster passage of musical time. In addition, it was found that Chinese classical folk instrumental musical works effectively induced aesthetic emotion and produced multidimensional aesthetic experiences among non-musically trained adults. This study provides new insights into the relationship between mindfulness and music emotion. [ABSTRACT FROM AUTHOR]

Emotion regulation literature often emphasizes that individuals regulate their emotions for hedonic reasons. However, there is increasing support for an instrumental approach to emotion regulation. This approach suggests that emotions are regulated if they are believed to be beneficial to the pursuit of personally relevant goals. When pursuing a long-term goal, an individual may forego immediate, hedonic emotional reward in order to maximize the instrumental benefits of emotions. The current study investigates emotion regulation behaviour in the context of musical practice. We examine whether musicians adopt specific, regulated emotional stances which support their goal orientation, and which are in line with their beliefs regarding the functional impact of emotions. Via an online questionnaire, 421 musicians reported their goal-orientation, meta-emotion beliefs, and affect-regulation strategies. Participants then completed a scale assessing specific emotions they would regulate in order to support their musical practice. Data were analysed using PCA, MANOVA, subgroup analysis and categorical regression. Musicians reported using affect-improvement strategies more often than affect-worsening strategies in order to influence how they felt during musical practice. Greater reported use of affect-worsening strategies was associated with stronger meta-emotion beliefs supporting the possible instrumental benefits of unpleasant emotions (F = 30.33; p < 0.01; η p 2 = 0.06). Musicians who strongly endorsed this belief more strongly pursued mastery goals in contrast to enjoyment goals. In terms of specific targeted emotions, musicians generally sought to reduce unpleasant emotions, and increase pleasant, energizing emotions in order to support their musical practice. However, a subgroup of mastery- rather than enjoyment-oriented musicians may seek a mixed emotional state, increasing anger and nervousness in conjunction with a number of pleasant emotions (Wilks λ1,420 = 14.42; p < 0.01; η p 2 = 0.50). Musicians who pursue expert musical skills may be motivated to experience emotions that combine the instrumental and hedonic benefits of emotions. Musicians who practice for enjoyment may prioritize emotions that maximize only the hedonic benefits. Future research should aim to identify the regulated emotional states that best support specific musical practice outcomes in an individual. It will also be important to understand on all levels, including music performance quality as well as health and well-being, the outcomes that may be associated with the use of affect-worsening strategies and unpleasant emotions. Research in this field may equip musicians with novel skills for better pursuit of their goals, and may help to maximize health and well-being in musical practice. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic and the measures taken to mitigate its impact (e.g., confinement orders) have affected people's lives in profound ways that would have been unimagable only months before the pandemic began. Media reports from the height of the pandemic's initial international surge frequently highlighted that many people were engaging in music-related activities (from singing and dancing to playing music from balconies and attending virtual concerts) to help them cope with the strain of the pandemic. Our first goal in this study was to investigate changes in music-related habits due to the pandemic. We also investigated whether engagement in distinct music-related activities (singing, listening, dancing, etc.) was associated with individual differences in musical reward, music perception, musical training, or emotional regulation strategies. To do so, we collected detailed (~1 h-long) surveys during the initial peak of shelter-in-place order implementation (May–June 2020) from over a thousand individuals across different Countries in which the pandemic was especially devastating at that time: the USA, Spain, and Italy. Our findings indicate that, on average, people spent more time in music-related activities while under confinement than they had before the pandemic. Notably, this change in behavior was dependent on individual differences in music reward sensitivity, and in emotional regulation strategies. Finally, the type of musical activity with which individuals engaged was further associated with the degree to which they used music as a way to regulate stress, to address the lack of social interaction (especially the individuals more concerned about the risk of contracting the virus), or to cheer themselves up (especially those who were more worried about the pandemic consequences). Identifying which music-related activities have been particularly sought for by the population as a means for coping with such heightened uncertainty and stress, and understanding the individual differences that underlie said propensities are crucial to implementing personalized music-based interventions that aim to reduce stress, anxiety, and depression symptoms. [ABSTRACT FROM AUTHOR]

Music performance can be cognitively and physically demanding. These demands vary across the course of a performance as the content of the music changes. More demanding passages require performers to focus their attention more intensity, or expend greater "mental effort." To date, it remains unclear what effect different cognitive-motor demands have on performers' mental effort. It is likewise unclear how fluctuations in mental effort compare between performers and perceivers of the same music. We used pupillometry to examine the effects of different cognitive-motor demands on the mental effort used by performers and perceivers of classical string quartet music. We collected pupillometry, motion capture, and audio-video recordings of a string quartet as they performed a rehearsal and concert (for live audience) in our lab. We then collected pupillometry data from a remote sample of musically-trained listeners, who heard the audio recordings (without video) that we captured during the concert. We used a modelling approach to assess the effects of performers' bodily effort (head and arm motion; sound level; performers' ratings of technical difficulty), musical complexity (performers' ratings of harmonic complexity; a score-based measure of harmonic tension), and expressive difficulty (performers' ratings of expressive difficulty) on performers' and listeners' pupil diameters. Our results show stimulating effects of bodily effort and expressive difficulty on performers' pupil diameters, and stimulating effects of expressive difficulty on listeners' pupil diameters. We also observed negative effects of musical complexity on both performers and listeners, and negative effects of performers' bodily effort on listeners, which we suggest may reflect the complex relationships that these features share with other aspects of musical structure. Looking across the concert, we found that both of the quartet violinists (who exchanged places halfway through the concert) showed more dilated pupils during their turns as 1st violinist than when playing as 2nd violinist, suggesting that they experienced greater arousal when "leading" the quartet in the 1st violin role. This study shows how eye tracking and motion capture technologies can be used in combination in an ecological setting to investigate cognitive processing in music performance. [ABSTRACT FROM AUTHOR]

The spontaneous motor tempo (SMT) describes the pace of regular and repeated movements such as hand clapping or walking. It is typically measured by letting people tap with their index finger at a pace that feels most natural and comfortable to them. A number of factors have been suggested to influence the SMT, such as age, time of the day, arousal, and potentially musical experience. This study aimed at investigating the effects of these factors in a combined and out-of-the-lab context by implementing the finger-tapping paradigm in an online experiment using a self-developed web application. Due to statistical multimodality in the distribution of participants' SMT (N = 3,576), showing peaks at modes of around 250 ms, a Gaussian mixture model was applied that grouped participants into six clusters, ranging from Very Fast (M = 265 ms, SD = 74) to Very Slow (M = 1,757 ms, SD = 166). These SMT clusters differed in terms of age, suggesting that older participants had a slower SMT, and time of the day, showing that the earlier it was, the slower participants' SMT. While arousal did not differ between the SMT clusters, more aroused participants showed faster SMTs across all normalized SMT clusters. Effects of musical experience were inconclusive. With a large international sample, these results provide insights into factors influencing the SMT irrespective of cultural background, which can be seen as a window into human timing processes. [ABSTRACT FROM AUTHOR]

Post-tonal music often poses perceptual and cognitive challenges for listeners, potentially related to the use of relatively uncommon and unfamiliar musical material and compositional processes. As a basic compositional device, repetition affects memory for music and is structured by composers in very different ways across tonal and post-tonal musical repertoires. Of particular concern is whether post-tonal music exhibits mnemonic affordances that allow listeners to experience a sense of global coherence, and whether repetition correlates strongly with aesthetic judgment. Although previous research suggests that repetition impacts aesthetic preference, empirical research has not mapped out the relationship between repetition and aesthetic judgments across a broad set of post-tonal music. Presenting 14 excerpts, grouped into three categories: tonal, modernist, and post-1970, we observed that indications of repetitions in the music for a group of 60 listeners, with and without musical training, showed significant periods of interindividual synchronization. Aesthetic judgments were assessed by means of ratings for the following parameters: familiarity with the piece, confidence of repetition responses, judgments of affordances for easy listening, coherence, similarity of moments, and recognition, as well as listeners' liking and interest. A principal component analysis (PCA) on the joint question data and the repetition responses suggested that two factors account for 92% of variance in the data. These factors were interpreted as dominated by aesthetic judgment and repetition strength. Linear mixed-effects regression indicated that repetition strength generally differed across excerpt category, with modernist excerpts featuring lower repetition strength compared to both post-1970 and tonal excerpts. Aesthetic preference, on the other hand, was lower for excerpts in both the modernist and post-1970 categories when compared to tonal excerpts. The analysis did not reveal difference in response behavior for repetition responses as a function of musical training, though it indicated higher preference of modernist excerpts with increasing levels of musical training. Overall, the results suggest that the two factors, aesthetic judgment and repetition strength, act as independent determinants in the experience of post-tonal music. [ABSTRACT FROM AUTHOR]

Individuals typically produce auditory sequences, such as speech or music, at a consistent spontaneous rate or tempo. We addressed whether spontaneous rates would show patterns of convergence across the domains of music and language production when the same participants spoke sentences and performed melodic phrases on a piano. Although timing plays a critical role in both domains, different communicative and motor constraints apply in each case and so it is not clear whether music and speech would display similar timing mechanisms. We report the results of two experiments in which adult participants produced sequences from memory at a comfortable spontaneous (uncued) rate. In Experiment 1, monolingual pianists in Buffalo, New York engaged in three production tasks: speaking sentences from memory, performing short melodies from memory, and tapping isochronously. In Experiment 2, English-French bilingual pianists in Montréal, Canada produced melodies on a piano as in Experiment 1, and spoke short rhythmically-structured phrases repeatedly. Both experiments led to the same pattern of results. Participants exhibited consistent spontaneous rates within each task. People who produced one spoken phrase rapidly were likely to produce another spoken phrase rapidly. This consistency across stimuli was also found for performance of different musical melodies. In general, spontaneous rates across speech and music tasks were not correlated, whereas rates of tapping and music were correlated. Speech rates (for syllables) were faster than music rates (for tones) and speech showed a smaller range of spontaneous rates across individuals than did music or tapping rates. Taken together, these results suggest that spontaneous rate reflects cumulative influences of endogenous rhythms (in consistent self-generated rates within domain), peripheral motor constraints (in finger movements across tapping and music), and communicative goals based on the cultural transmission of auditory information (slower rates for to-be-synchronized music than for speech). [ABSTRACT FROM AUTHOR]

As the COVID-19 pandemic continues to disrupt our lives in unimagined ways, families are reinventing daily rituals, and this is likely true for musical rituals. This study explored how parents with young children used recorded music in their everyday lives during the pandemic. Mothers (N = 19) of child(ren) aged 18 months to 5 years living in the United States played the role of home DJ over a period of one week by strategically crafting the sonic home environment, based on resources provided by the authors, in response to their children's mood and state. Using a newly developed data collection tool, inspired by the Experience Sampling Method, a total of 197 episodes were collected about children's engagement with recorded music. Findings showed that while mothers utilized music to fulfill various emotional needs, they tended to use it to maintain or reinforce their child's positive mood rather than to improve a negative mood. Also, mothers' reports suggested various ways that young children engaged with music, being aligned with the multimodal nature of their musical experiences. Lastly, mothers reported that their strategic approaches to use recorded music seemed to help their children feel less distressed and happier, and this, in turn, aided in the reduction of some of the burdens associated with parenting. [ABSTRACT FROM AUTHOR]

The strict lockdown experienced in Spain during March–June 2020 as a consequence of the COVID-19 crisis has led to strong negative emotions. Music can contribute to enhancing wellbeing, but the extent of this effect may be modulated by both personal and context-related variables. This study aimed to analyze the impact of the two types of variables on the perceived efficacy of musical behaviors to fulfill adults' emotional wellbeing-related goals during the lockdown established in Spain. Personal variables included age, gender, musical training, personality, resilience, and perception of music's importance. Contextual variables referred to living in a region with a high COVID-19 impact, perception of belonging to a risk group, being alone, having caring responsibilities during confinement, and amount of time of music listening as compared to prior to the crisis. The study was conducted retrospectively during August–December 2020, when the strict lockdown was over in Spain. An online survey was disseminated among the general population and groups of musicians, and the answers of 507 adults (from 18 years on, 73.9% females, 51.3% musically trained adults) were analyzed. Only personal, but not COVID-19 context-related variables, showed an impact on music's efficacy. The youngest age group of adults and those with musical training reported the highest efficacy of music for wellbeing enhancement, and music's importance was found to be the main significant predictor of music's perceived efficacy. Our findings suggest that the people who have been reported to be emotionally more vulnerable during the lockdown, due to either a strong impact on their daily lives or their lower resilience, perceive a higher benefit from musical behaviors. Being musically trained, even for a small number of years, also leads to a perception of higher efficacy of music for the achievement of emotional wellbeing goals. However, this effect is explained by the musically trained individuals' higher perception of music's importance. Although musical behaviors can be generally considered as important for wellbeing enhancement, our study highlights who are the potential individuals who could benefit the most from music-related activities for obtaining better levels of wellbeing, at least within the current context of the COVID-19 crisis. [ABSTRACT FROM AUTHOR]

Musical Group Interaction (MGI) has been found to promote prosocial tendencies, including empathy, across various populations. However, experimental study is lacking in respect of effects of everyday forms of musical engagement on prosocial tendencies, as well as whether key aspects—such as physical co-presence of MGI participants—are necessary to enhance prosocial tendencies. We developed an experimental procedure in order to study online engagement with collaborative playlists and to investigate socio-cognitive components of prosocial tendencies expected to increase as a consequence of engagement. We aimed to determine whether mere perceived presence of a partner during playlist-making could elicit observable correlates of social processing implicated in both MGI and prosocial behaviors more generally and identify the potential roles of demographic, musical, and inter-individual differences. Preliminary results suggest that for younger individuals, some of the social processes involved in joint music-making and implicated in empathic processes are likely to be elicited even by an assumption of virtual co-presence. In addition, individual differences in styles of listening behavior may mediate the effects of mere perceived partner presence on recognition memory. [ABSTRACT FROM AUTHOR]

Keywords: Covid-19; cognitive dissonance; uncertainty; music; neuroaesthetics; emotions; social change; aesthetic appreciation EN Covid-19 cognitive dissonance uncertainty music neuroaesthetics emotions social change aesthetic appreciation N.PAG N.PAG 4 03/17/21 20210312 NES 210312 Introduction During the coronavirus disease 2019 (Covid-19) pandemic lockdown, people from all over the world shared all sorts of artistic experiences. Moreover, the same authors showed that cognitive interference in a "Stroop interference task" can be mitigated by consonant music and potentiated by dissonant music (Masataka and Perlovsky, [28]). Cognitive interference can be mitigated by consonant music and facilitated by dissonant music. Covid-19, cognitive dissonance, uncertainty, music, neuroaesthetics, emotions, social change, aesthetic appreciation. [Extracted from the article]

Strategies to support the psychosocial well-being of older adults living in aged-care are needed; and evidence points toward music listening as an effective, non-pharmacological tool with many benefits to quality of life and well-being. Yet, the everyday listening practices (and their associated specific psychosocial benefits) of older adults living in residential aged-care remain under-researched. The current study explored older adults' experiences of music listening in their daily lives while living in residential aged-care and considered how music listening might support their well-being. Specifically, what might go into autonomous listening activities? 32 Australian residents (aged 73–98) living in two Australian care facilities participated in semi-structured interviews. The results of a qualitative thematic analysis revealed three themes pertaining to "previous music experiences and interest," "current music listening," and "barriers to listening." While an interest in and access to music did not necessarily result in everyday listening practices, of those participants who did listen to music, perceived benefits included outcomes such as entertainment, enjoyment, relaxation, and mood regulation. Drawing on Ruud's notion of music as a "cultural immunogen" supporting well-being and Self-Determination Theory, theoretical implications of the findings are addressed, relating to how to create and support music activities in aged-care facilities so that they are engaging, meaningful, and promote emotional regulation, community, and well-being. [ABSTRACT FROM AUTHOR]

Since communication and expression are central aspects of music performance it is important to develop a systematic pedagogy of teaching children and teenagers expressiveness. Although research has been growing in this area a comprehensive literature review that unifies the different approaches to teaching young musicians expressiveness has been lacking. Therefore, the aim of this article is to provide an overview of literature related to teaching and learning of expressiveness from music psychology and music education research in order to build a new theoretical framework for teaching and learning expressive music performance in instrumental music lessons with children and teenagers. The article will start with a brief discussion of interpretation and expression in music performance, before providing an overview of studies that investigated teaching and learning of performance expression in instrumental music education with adults and children. On the foundation of this research a theoretical framework for dialogic teaching and learning of expressive music performance will be proposed and the rationale explained. Dialogic teaching can be useful for scaffolding young musicians' learning of expressivity as open questions can stimulate thinking about the interpretation and may serve to connect musical ideas to the embodied experience of the learner. A "toolkit" for teaching and learning of expressiveness will be presented for practical application in music lessons. In addition, a theoretical model will be proposed to further our understanding of teaching and learning of expressive music performance as a multifaceted and interactive process that is embedded in the context of tutors' and learners' experiences and environment. Finally, implications of this framework and suggestions for future research will be discussed. [ABSTRACT FROM AUTHOR]