How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music.
TL;DR: It is indicated that live music engages listeners to a greater extent than pre-recorded music and that a pre-existing admiration for the performers also leads to higher engagement.
Abstract: A live music concert is a pleasurable social event that is among the most visceral and memorable forms of musical engagement. But what inspires listeners to attend concerts, sometimes at great expense, when they could listen to recordings at home? An iconic aspect of popular concerts is engaging with other audience members through moving to the music. Head movements, in particular, reflect emotion and have social consequences when experienced with others. Previous studies have explored the affiliative social engagement experienced among people moving together to music. But live concerts have other features that might also be important, such as that during a live performance the music unfolds in a unique and not predetermined way, potentially increasing anticipation and feelings of involvement for the audience. Being in the same space as the musicians might also be exciting. Here we controlled for simply being in an audience to examine whether factors inherent to live performance contribute to the concert experience. We used motion capture to compare head movement responses at a live album release concert featuring Canadian rock star Ian Fletcher Thornley, and at a concert without the performers where the same songs were played from the recorded album. We also examined effects of a prior connection with the performers by comparing fans and neutral-listeners, while controlling for familiarity with the songs, as the album had not yet been released. Head movements were faster during the live concert than the album-playback concert. Self-reported fans moved faster and exhibited greater levels of rhythmic entrainment than neutral-listeners. These results indicate that live music engages listeners to a greater extent than pre-recorded music and that a pre-existing admiration for the performers also leads to higher engagement.
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TL;DR: These findings demonstrate that the mere co-presence of other people sharing a common experience is enough for cardiac synchrony to occur spontaneously and that it increases in function of a shared and coherent explicit emotional experience.
Abstract: Cardiac synchrony is a crucial component of shared experiences, considered as an objective measure of emotional processes accompanying empathic interactions. No study has investigated whether cardiac synchrony among people engaged in collective situations links to the individual emotional evaluation of the shared experience. We investigated theatrical live performances as collective experiences evoking strong emotional engagement in the audience. Cross Recurrence Quantification Analysis was applied to obtain the cardiac synchrony of twelve spectators' quartets attending to two live acting performances. This physiological measure was then correlated with spectators' emotional intensity ratings. Results showed an expected increment in synchrony among people belonging to the same quartet during both performances attendance and rest periods. Furthermore, participants' cardiac synchrony was found to be correlated with audience's convergence in the explicit emotional evaluation of the performances they attended to. These findings demonstrate that the mere co-presence of other people sharing a common experience is enough for cardiac synchrony to occur spontaneously and that it increases in function of a shared and coherent explicit emotional experience.
33 citations
TL;DR: A systematic review aimed to examine the effects of music therapy on pain after orthopedic surgery and found that music interventions on postoperative pain have positive effects.
Abstract: BACKGROUND Although music interventions on postoperative pain (POP) have positive effects, limited research has focused on systematic reviews and meta-analyses of its efficacy for orthopedic patients. This systematic review aimed to examine the effects of music therapy on pain after orthopedic surgery. METHOD The Cochrane Library, PubMed, Cumulative Index to Nursing and Allied Health Literature (CINAHL), Nursing Reference Center (NRC), Airiti Library, and National Digital Library of Theses and Dissertations in Taiwan were searched up to August 2019. The risk of bias from the Cochrane Handbook for Randomized Controlled Trials of Interventions was used. A standard mean difference (SMD) with 95% confidence intervals (CIs) was applied as a summary effect on postoperative pain and anxiety using RevMan version 5.3. A meta-analysis was also carried out using subgroup analysis. RESULTS Nine randomized controlled trials were selected. (1) Music can relieve pain significantly for both music medicine (MM; SMD = -0.41, 95% CI [-0.75, -0.07], P = 0.02) and music therapy (MT; SMD = -0.31, 95% CI [-0.57, 0.04], P = 0.02). (2) Music chosen by the subjects showed significant differences for both MM (P = 0.002) and MT (P = 0.02). (3) Anxiety improved significantly among patients using MT (SMD = 0.44, 95% CI [-0.75, -0.13], P = 0.005). However, the results for the physiologic parameters, opioid requirement, and length of stay showed subtle distinctions. CONCLUSION Music can significantly relieve POP, specifically music chosen by the participants.
29 citations
Cites background from "How Live Music Moves Us: Head Movem..."
...Swarbrick et al.41 also determined that live music engages listeners to a greater extent than pre-recorded music....
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...Swarbrick et al.(41) also determined that live music engages listeners to a greater extent than pre-recorded music....
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TL;DR: The sociological concept of the frame is used to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation, by presenting a transdisciplinary sub-field of empirical (concert) studies.
Abstract: Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold this theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert.
22 citations
TL;DR: High-density EEG (HD-EEG) is shown to be a reliable method and a promising tool for the investigation of group musical pleasure through musical reward processing and identifies two specific patterns of chills.
Abstract: Music has the capacity to elicit strong positive feelings in humans by activating the brain's reward system. Because group emotional dynamics is a central concern of social neurosciences, the study of emotion in natural/ecological conditions is gaining interest. This study aimed to show that high-density EEG (HD-EEG) is able to reveal patterns of cerebral activities previously identified by fMRI or PET scans when the subject experiences pleasurable musical chills. We used HD-EEG to record participants (11 female, 7 male) while listening to their favorite pleasurable chill-inducing musical excerpts; they reported their subjective emotional state from low pleasure up to chills. HD-EEG results showed an increase of theta activity in the prefrontal cortex when arousal and emotional ratings increased, which are associated with orbitofrontal cortex activation localized using source localization algorithms. In addition, we identified two specific patterns of chills: a decreased theta activity in the right central region, which could reflect supplementary motor area activation during chills and may be related to rhythmic anticipation processing, and a decreased theta activity in the right temporal region, which may be related to musical appreciation and could reflect the right superior temporal gyrus activity. The alpha frontal/prefrontal asymmetry did not reflect the felt emotional pleasure, but the increased frontal beta to alpha ratio (measure of arousal) corresponded to increased emotional ratings. These results suggest that EEG may be a reliable method and a promising tool for the investigation of group musical pleasure through musical reward processing.
20 citations
Cites background from "How Live Music Moves Us: Head Movem..."
...These cerebral investigations remain limited to laboratory experiments with heavy neuroimaging techniques (fMRI, PET scan) whereas social neurosciences, and consequently the study of collective emotions, is moving toward natural/ecological paradigms (Acquadro et al., 2016; Volpe et al., 2016; Dikker et al., 2017; Bevilacqua et al., 2018; Soto et al., 2018; Swarbrick et al., 2018; Matusz et al., 2019)....
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TL;DR: In this paper, the authors discuss what a framework for phenomenological mixed methods could look like and provide guidance of how to work within such a framework, focusing on the phenomenological frame and the phenomenologically informed generation of qualitative and quantitative data.
Abstract: Despite a long history of researchers who combine phenomenology with qualitative or quantitative methods, there are only few examples of working with a phenomenological mixed method-a method where phenomenology informs both qualitative and quantitative data generation, analysis, and interpretation. Researchers have argued that in working with a phenomenological mixed method, there should be mutual constraint and enlightenment between the qualitative (first-person, subjective) and quantitative (third-person, objective) methods for studying consciousness. In this article, we discuss what a framework for phenomenological mixed methods could look like and we aim to provide guidance of how to work within such framework. We are inspired by resources coming from research in mixed methods and existing examples of phenomenological mixed-method research. We also present three cases of phenomenological mixed methods where we study complex social phenomena and discuss the process of how we conducted the studies. From both the research inspiration and our own studies, we depict the landscape of possibilities available for those interested in mixing phenomenology with qualitative and quantitative methods, as well as the challenges and common pitfalls that researchers face. To navigate in this landscape, we develop a three-fold structure, focusing on (1) the phenomenological frame, (2) the phenomenologically informed generation of qualitative and quantitative data (tier one), and (3) the phenomenologically informed analysis and interpretation of data (tier two).
20 citations
References
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2,074 citations
TL;DR: The evidence for early sensory selection by oscillatory phase-amplitude modulations, its mechanisms and its perceptual and behavioral consequences are reviewed.
1,387 citations
TL;DR: This work reviews the cognitive neuroscience literature of both motor and auditory domains, highlighting the value of studying interactions between these systems in a musical context, and proposes some ideas concerning the role of the premotor cortex in integration of higher order features of music with appropriately timed and organized actions.
Abstract: Music performance is both a natural human activity, present in all societies, and one of the most complex and demanding cognitive challenges that the human mind can undertake. Unlike most other sensory-motor activities, music performance requires precise timing of several hierarchically organized actions, as well as precise control over pitch interval production, implemented through diverse effectors according to the instrument involved. We review the cognitive neuroscience literature of both motor and auditory domains, highlighting the value of studying interactions between these systems in a musical context, and propose some ideas concerning the role of the premotor cortex in integration of higher order features of music with appropriately timed and organized actions.
1,295 citations
TL;DR: The results suggest that acting in synchrony with others can increase cooperation by strengthening social attachment among group members, and that positive emotions need not be generated for synchrony to foster cooperation.
Abstract: Armies, churches, organizations, and communities often engage in activities—for example, marching, singing, and dancing—that lead group members to act in synchrony with each other. Anthropologists and sociologists have speculated that rituals involving synchronous activity may produce positive emotions that weaken the psychological boundaries between the self and the group. This article explores whether synchronous activity may serve as a partial solution to the free-rider problem facing groups that need to motivate their members to contribute toward the collective good. Across three experiments, people acting in synchrony with others cooperated more in subsequent group economic exercises, even in situations requiring personal sacrifice. Our results also showed that positive emotions need not be generated for synchrony to foster cooperation. In total, the results suggest that acting in synchrony with others can increase cooperation by strengthening social attachment among group members.
1,211 citations
"How Live Music Moves Us: Head Movem..." refers background in this paper
...After adults move in synchrony, even when unaware of their synchronised movements, they remember more about each other, express liking each other more, and show greater levels of trust and cooperation compared to after moving asynchronously (Hove and Risen, 2009; Wiltermuth and Heath, 2009; Valdesolo et al., 2010; Valdesolo and DeSteno, 2011; Launay et al., 2013; Woolhouse et al., 2016)....
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...Because synchronous movement can lead to prosociality (Hove and Risen, 2009; Wiltermuth and Heath, 2009; Valdesolo et al., 2010; Valdesolo and DeSteno, 2011; Launay et al., 2013; Cirelli et al., 2014b; Trainor and Cirelli, 2015; Rennung and Goritz, 2016; Woolhouse et al., 2016), and because entrainment to music was fostered more by Listener-preference than Concert-status, it is possible that personal factors are more important than environmental factors for generating synchronous movement and subsequent prosociality....
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...…more about each other, express liking each other more, and show greater levels of trust and cooperation compared to after moving asynchronously (Hove and Risen, 2009; Wiltermuth and Heath, 2009; Valdesolo et al., 2010; Valdesolo and DeSteno, 2011; Launay et al., 2013; Woolhouse et al., 2016)....
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...Because synchronous movement can lead to prosociality (Hove and Risen, 2009; Wiltermuth and Heath, 2009; Valdesolo et al., 2010; Valdesolo and DeSteno, 2011; Launay et al., 2013; Cirelli et al., 2014b; Trainor and Cirelli, 2015; Rennung and Goritz, 2016; Woolhouse et al., 2016), and because…...
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TL;DR: In this article, the authors investigated the effect of interpersonal synchrony on affiliation by having participants match finger movements with a visual moving metronome and found that the degree of synchrony predicted subsequent affiliation ratings.
Abstract: The tendency to mimic and synchronize with others is well established. Although mimicry has been shown to lead to affiliation between co-actors, the effect of interpersonal synchrony on affiliation remains an open question. The authors investigated the relationship by having participants match finger movements with a visual moving metronome. In Experiment 1, affiliation ratings were examined based on the extent to which participants tapped in synchrony with the experimenter. In Experiment 2, synchrony was manipulated. Affiliation ratings were compared for an experimenter who either (a) tapped to a metronome that was synchronous to the participant's metronome, (b) tapped to a metronome that was asynchronous, or (c) did not tap. As hypothesized, in both studies, the degree of synchrony predicted subsequent affiliation ratings. Experiment 3 found that the affiliative effects were unique to interpersonal synchrony.
926 citations
"How Live Music Moves Us: Head Movem..." refers background in this paper
...After adults move in synchrony, even when unaware of their synchronised movements, they remember more about each other, express liking each other more, and show greater levels of trust and cooperation compared to after moving asynchronously (Hove and Risen, 2009; Wiltermuth and Heath, 2009; Valdesolo et al., 2010; Valdesolo and DeSteno, 2011; Launay et al., 2013; Woolhouse et al., 2016)....
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...Because synchronous movement can lead to prosociality (Hove and Risen, 2009; Wiltermuth and Heath, 2009; Valdesolo et al., 2010; Valdesolo and DeSteno, 2011; Launay et al., 2013; Cirelli et al., 2014b; Trainor and Cirelli, 2015; Rennung and Goritz, 2016; Woolhouse et al., 2016), and because entrainment to music was fostered more by Listener-preference than Concert-status, it is possible that personal factors are more important than environmental factors for generating synchronous movement and subsequent prosociality....
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