This functional magnetic resonance imaging study examines shared and distinct cortical areas involved in the auditory perception of song and speech at the level of their underlying constituents: words and pitch patterns. Univariate and multivariate analyses were performed to isolate the neural correlates of the word- and pitch-based discrimination between song and speech, corrected for rhythmic differences in both. Therefore, six conditions, arranged in a subtractive hierarchy were created: sung sentences including words, pitch and rhythm; hummed speech prosody and song melody containing only pitch patterns and rhythm; and as a control the pure musical or speech rhythm. Systematic contrasts between these balanced conditions following their hierarchical organization showed a great overlap between song and speech at all levels in the bilateral temporal lobe, but suggested a differential role of the inferior frontal gyrus (IFG) and intraparietal sulcus (IPS) in processing song and speech. While the left IFG coded for spoken words and showed predominance over the right IFG in prosodic pitch processing, an opposite lateralization was found for pitch in song. The IPS showed sensitivity to discrete pitch relations in song as opposed to the gliding pitch in speech. Finally, the superior temporal gyrus and premotor cortex coded for general differences between words and pitch patterns, irrespective of whether they were sung or spoken. Thus, song and speech share many features which are reflected in a fundamental similarity of brain areas involved in their perception. However, fine-grained acoustic differences on word and pitch level are reflected in the IPS and the lateralized activity of the IFG.

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

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

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

All experimental procedures were approved by the Ethics Council of the Max Planck Society, and were undertaken with written informed consent of each participant. The data supporting the findings of this study are available from the corresponding author upon request. We declare that there are no conflicts of interest. We wish to thank Alexander Lindau, Patrick Ulrich and Eike Walkenhorst for help in organizing and implementing the concerts, Mathias Scharinger and Cornelius Abel for help with data preprocessing, Alessandro Tavano for data quality checks, Helen Singer for annotating the musical beats in the music recordings, and Thijs Vroegh and Elke Lange for the use of their absorption questionnaire. We thank Martin Tröndle and Folkert Uhde for preliminary ideas for this research project and the concert program. We thank Claudia Lehr and Freya Materne for organizing the invitations of the participants, and finally, thanks to the many assistants during data collection, particularly Till Gerneth, Sandro Wiesmann, Nancy Schön, and Simone Franz.

A concert is a common event at which people gather to share a musical experience. While techniques are increasingly offering insights into naturalistic stimuli perception, this study extended methods to a more ecological context in order to explore real-world music listening within a concert setting. Cardiorespiratory, skin conductance, and facial muscle responses were measured from participants attending one of three concerts with live chamber music performances of works of varying Western Classical styles (Viennese Classical, Contemporary, and Romantic). Collective physiological synchronisation of audience members was operationalised via inter-subject correlation (ISC). By assessing which musical features (obtained via Music Information Retrieval and music-theoretical analyses) evoked moments of high synchrony, logistic regressions revealed that tempo consistently predicted physiological synchrony across all concerts in Classical and Romantic styles, but not the Contemporary style. Highly synchronised responses across all three concert audiences seemed to occur during structural transitional passages, boundaries, and at phrase repetitions. The results support the idea that group synchronisation is linked to musical arousal, structural coherence, and familiarity. By employing physiological ISC and an inter-disciplinary musical analysis, the current study demonstrates a novel approach to gain valuable insight into experiences of naturalistic stimuli in an ecological context.

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

Music serves to satisfy emotional and social needs. In its individual quality as liked or disliked music, it can also be used to create and affirm one’s own identity. While studies on musical preferences are abundant, dislikes have rarely been considered in musical taste research. The current study is centered on the rationales and functions of musical dislikes using semi-structured interviews with participants from different age groups (N = 21). The observed rationales for disliked music followed three main themes of (1) object-related reasons such as the composition, the lyrics, and aesthetic dichotomies, (2) subject-related reasons such as emotions evoked – or not evoked – in the listener, physical reactions, self-related and normative reasons such as a mismatch with the self-image, and (3) social reasons which reflect a rejection of the values presented by the music and its fans and therefore underlining the importance of social distinction as a function of musical dislikes. Other functions include identity expression, the avoidance of negative emotional and physical states, and the implicitly expressed demonstration of musical competence. The explanations for disliked music are based on both an excess or lack of certain qualities of the music or emotional reaction to the music, pointing to the idea of a missing ideal mean of music. Quantitatively, the rationales found relate to a combination of reference points which is mainly the music, but often in combination with the lyrics, the performance, the artist, and the fans. Further, the degree of dislike ranged from a slight dislike to strong hatred. To conclude, musical dislikes are a complex, multidimensional component of musical taste. Taking musical dislikes into account, the diversity and complexity of an everyday aesthetics of music can be captured, extending our understanding of attitudes toward music and the functions of music.