Extreme Metal Music and Anger Processing

Abstract

The claim that listening to extreme music causes anger, and expressions of anger such as aggression and delinquency have yet to be substantiated using controlled experimental methods. In this study, 39 extreme music listeners aged 18–34 years were subjected to an anger induction, followed by random assignment to 10 min of listening to extreme music from their own playlist, or 10 min silence (control). Measures of emotion included heart rate and subjective ratings on the Positive and Negative Affect Scale (PANAS). Results showed that ratings of PANAS hostility, irritability, and stress increased during the anger induction, and decreased after the music or silence. Heart rate increased during the anger induction and was sustained (not increased) in the music condition, and decreased in the silence condition. PANAS active and inspired ratings increased during music listening, an effect that was not seen in controls. The findings indicate that extreme music did not make angry participants angrier; rather, it appeared to match their physiological arousal and result in an increase in positive emotions. Listening to extreme music may represent a healthy way of processing anger for these listeners.

The influence of music on emotions and cravings in clients in addiction treatment: A study of two clinical samples

“…This is consistent with other research showing that individuals tend to listen to music that is congruent with their current mood (Papinczak, Dingle, Stoyanov, Hides & Zelenko, 2015;Thoma, Ryf, Mohiyeddini, Ehlert & Nater, 2012) and that listening to heavy metal music can help metal music fans to experience and regulate feelings of anger (Sharman & Dingle, 2015).…”

David Bowie: Transience and Potentiality

“…A recent study conducted by Sharman and Dingle (2015) supports the view that therapeutic potential of music in the rock genre goes against the commonly accepted ideal that heavy music typified in rock acts as catalysts for negative emotions, such as general anxiety or aggression. Bowie's penchant for reflecting the world around him -as encompassed especially in the lyrical content of the song and it's subsequent music video that showcases a 10 minute runtime and breathtaking visuals -is the key element of why music is not only vital as a human-created art form, but a critical venue wherein the existentialist can mirror his or her world and inspire the layperson to do the same.…”

“…Music as Watts suggested shares a similar capacity to shift one's focus away from rigidity and to a space where no certain answers exist. It is okay to not possess immediate answers in life; and, as will become evident by the research done by Sharman and Dingle (2015), extreme music might be a catalyst that one could use to nurture a sense of emotional stability in him or herself.…”

“…Interestingly, fans of Bowie's music and legacy-if the study by Sharman and Dingle (2015) is to be used as an analogy-ought to be considered as leveraging the artist's work for awe-inducing purposes. Schneider (2004) described the efficacy of awe when he explained, "While awe does not guarantee Truth (which in itself is contradictory to awe), it does guarantee sensitivity, effort, and fullness" (p. 8).…”

Música Y Adolescencia: Usos, Funciones Y Consideraciones Educativas

“…Además los gustos musicales aparecen como un valor añadido de seducción y atracción ante el colectivo de iguales del otro sexo, tal y como demuestra un estudio realizado en Inglaterra, según el cual las chicas a quienes les gusta la música clásica, son percibidas como más atractivas por los chicos que aquellas que prefieren heavy metal (North, Hargreaves y O'Neill, 2000). Sobre las preferencias musicales, de acuerdo con Santos (2003), los adolescentes españoles se inclinan por el pop-rock internacional, seguido del pop-rock nacional, de hecho la adolescencia es considerada por muchos como la edad del pop, aunque aquellos que escuchan determinadas formas de música pop, tales como heavy metal o el rap, parece que sean más proclives a los comportamientos delincuentes que aquellos que escuchan otros estilos (Sharman y Dingle, 2015).…”