The Social and Applied Psychology of Music

North, Adrian C.; Hargreaves, David H.

doi:10.1093/acprof:oso/9780198567424.001.0001

Cited by 350 publications

(290 citation statements)

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“…This neural activity complies with our hypothesis that during implicit processing of emotional music clips, the rewarding aspects of music are less inhibited by conscious categorization, making the subcortical activity more visible. These findings provide a neural basis for the behavioral effects of music on, e.g., consumers' decision making in a purchasing situation (Milliman, 1982;1986), driving game performance (North & Hargreaves, 2008), or other behavior relying on learning from rewards (Gold et al, 2013).…”

Section: Implicit Vs Explicit Processingmentioning

confidence: 88%

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

et al. 2016

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Music is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the emotions (explicit condition) or pay attention to the number of instruments playing (implicit condition) in 4-sec music clips. In the implicit vs.2 explicit condition, stimuli activated bilaterally the inferior parietal lobule, premotor cortex, caudate, and ventromedial frontal areas. The cortical dorsomedial prefrontal and occipital areas activated during explicit processing were those previously shown to be associated with the cognitive processing of music and emotion recognition and regulation. Moreover, happiness in music was associated with activity in the bilateral auditory cortex, left parahippocampal gyrus, and supplementary motor area, whereas the negative emotions of sadness and fear corresponded with activation of the left anterior cingulate and middle frontal gyrus and down-regulation of the orbitofrontal cortex. Our study demonstrates for the first time in healthy subjects the neural underpinnings of the implicit processing of brief musical emotions, particularly in frontoparietal, dorsolateral prefrontal, and striatal areas of the brain.

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Section: Implicit Vs Explicit Processingmentioning

confidence: 88%

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

et al. 2016

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“…Also, a "vitamin model" wherein a particular piece of music can be prescribed to engender certain perceptual, cognitive, or emotional responses in a listener, does not apply to this field of scientific endeavour (Sloboda, 2008). There are multiple considerations that researchers need to take into account when selecting music and these include socio-cultural, task-related, and personal factors (see e.g., Karageorghis & Terry, 1997;North & Hargreaves, 2008). Much of the preliminary work in this field was characterized by a lack of sensitivity to such factors; music was viewed in a manner akin to any other auditory stimulus wherein little consideration was given to its aesthetic qualities (e.g., Anshel & Marisi, 1978;Boutcher & Trenske, 1990).…”

Section: Discussionmentioning

confidence: 99%

Psychological, psychophysical, and ergogenic effects of music in swimming

Karageorghis

Hutchinson

Jones

et al. 2013

Psychology of Sport and Exercise

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Highlights We assess the effects of asynchronous music in a swimming time trial. We had two contrasting music conditions and a no-music control. Participants swam significantly faster when exposed to either music condition. Both music conditions led to significantly higher state motivation. Use of asynchronous music had an ergogenic effect in the order of 2%. Music and Swimming 3 AbstractObjectives: Existing work using dry land exercise-related activities has shown that the careful application of music can lead to a range of benefits that include enhanced affect, lower perceived exertion, greater energy efficiency, and faster time trial performances. The purpose of this study was to assess the psychological, psychophysical, and ergogenic effects of asynchronous music in swimming using a mixed-methods approach.Design: A mixed-model design was employed wherein there was a within-subjects factor (two experimental conditions and a control) and a between-subjects factor (gender). The experimental component of the study was supplemented by qualitative data that were analysed using inductive content analysis.Methods: Twenty six participants (M age = 20.0 years, age range: 18-23 years) underwent a period of habituation with Speedo Aquabeat MP3 players prior to the experimental phase.They were then administered two experimental trials (motivational and oudeterous music at 130 bpm) and a no-music control, during which they engaged in a 200-m freestyle swimming time trial.Results: Participants swam significantly faster when exposed to either music condition relative to control (p = .022,  p 2 = .18). Moreover, the music conditions were associated with higher state motivation (p = .016,  p 2 = .16) and more dissociative thoughts (p = .014,  p 2 = .16). Conclusions:Findings supported the hypothesis that the use of asynchronous music during a high-intensity task can have an ergogenic effect; this was in the order of 2% when averaged out across the two experimental conditions. The use of music, regardless of its motivational qualities, resulted in higher self-reported motivation as well as more dissociative thoughts. behavior. Psychophysical effects concern the reduction of perceptions of physical effort, which, in the music-related literature, are most often assessed using ratings of perceived exertion (RPE). Ergogenic effects relate to the use of music to improve physical performance by either delaying fatigue or increasing work capacity; this results in higher-than-expected levels of endurance, power, productivity, or strength (see Terry & Karageorghis, 2011).Extant work has shown that music use is not effective for some people under certain circumstances (e.g., while learning new skills) and might even be contraindicated in some instances (e.g., when it might distract users from safety-relevant information, such as on public roads; see Karageorghis & Priest, 2012a, 2012b for a review). Also, a "vitamin model" wherein a particular piece of music can be prescribed to engender certain perceptual, cognitive, or emotion...

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“…Individuals tend to have stronger preferences for certain genres of music, becoming more familiar with the preferred style as a result of repeated listening. Repeated exposure to a piece of music increases the liking for it and decreases its subjective complexity (see North & Hargreaves, 2008, for a review). In relation to personality, research shows that personality traits relate to specific preferences for music styles (see Greasley & Lamont, 2016, for a review).…”

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confidence: 99%

The Repeated Recording Illusion

Anglada-Tort

Müllensiefen

2017

Music Perception

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The repeated recording illusion refers to the phenomenon in which listeners believe to hear different musical stimuli while they are in fact identical. The present paper aims to construct an experimental paradigm to enable the systematic measurement of this phenomenon, investigating potentially related extrinsic and individual difference factors. Participants were told to listen to “different” musical performances of an original piece when in fact they were exposed to the same repeated recording. Each time, the recording was accompanied by a text suggesting a low, medium, or high prestige of the performer. Most participants (75%) believed that they had heard different musical performances. Participants with high levels of neuroticism and openness were significantly more likely to fall for the illusion. While the explicit information presented with the music influenced participants’ ratings significantly, the effect of repeated exposure was only significant in the more familiar music condition. These results suggest that like many other human judgments, evaluations of music also rely on cognitive biases and heuristics that do not depend on the stimuli themselves. The repeated recording illusion can constitute a useful paradigm for investigating nonmusical factors because it allows for the study of their effects while the music remains the same.

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The Social and Applied Psychology of Music

Cited by 350 publications

References 0 publications

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions

Psychological, psychophysical, and ergogenic effects of music in swimming

The Repeated Recording Illusion

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