Music to the inner ears: exploring individual differences in musical imagery

Validation of the Persian Involuntary Musical Imagery Scale alongside multifaceted investigation of earworms among Iranian college students

Introduction

Involuntary musical imagery is considered a ubiquitous phenomenon worldwide, while mixed and inconsistent results regarding different aspects of earworms remain challenging. Furthermore, there is a special need for research on earworms in societies other than in European or American. The primary aim of our study is to validate the Persian Involuntary Musical Imagery Scale (PIMIS) and, secondly, to carry out a detailed exploration of earworms among Iranian college students.

Methods

A total of 946 Iranian college students were recruited to answer the Persian Involuntary Musical Imagery Scale (PIMIS), and gold standards including the Thought Control Questionnaire (TCQ, to convergent validity), the Depression, Anxiety, and Stress Scale (DASS-21, to concurrent validity), the White Bear Suppression Inventory (WBSI, to predictive validity), as well as the NEO Five-Factor Inventory (NEO-FFI), the Obsessive-Compulsive Inventory-revised (OCI-R), and socio-demographic queries. A complex of features regarding the validity and reliability of the PIMIS, along with numerous aspects of earworm, were explored.

Results and discussion

The Persian Involuntary Musical Imagery Scale encompasses 15 items along with three additional questions. It was found to be a valid and reliable instrument among Iranian college students, qualified to measure individual differences in earworms. Phenomenological evidence and detailed data on individual differences could provide rich knowledge for the rest of the literature paradigms. Moreover, future investigations into the local regions of the Iranian population are recommended.

Voluntary musical imagery in music practice: contextual meaning, neuroscientific mechanisms and practical applications

Practice is acknowledged as a crucial facilitator for musicians to achieve performance excellence. Despite the rich literature on incorporating musical imagery intentionally to improve one's practice efficacy, limitations remain in the understanding of voluntary musical imagery (VMI) in the context of musical practice. Therefore, our aims in this review are threefold. First, we enriched the interpretation of VMI in the context of music practice through the lens of embodied cognition. Second, we integrated neuroscientific findings to elucidate how the deliberate use of musical imagery parallels physical practice in effectiveness. Third, we synthesize work on the application of VMI in enhancing musical learning from both theoretical and practical perspectives. By providing an integrated overview of voluntary musical imagery, we highlight gaps in the literature and encourage further research on (1) the impact of embodied experiences on VMI formation, (2) optimal imagery content and ratio combination to establish a personalized intervention protocol for more effective musical pedagogy, and (3) on physiological measures to access VMI effectiveness. Additionally, we highlight the crucial implications of VMI for researchers, performers, and music educators.

Individual differences in mental imagery in different modalities and levels of intentionality

Mental imagery is a highly common component of everyday cognitive functioning. While substantial progress is being made in clarifying this fundamental human function, much is still unclear or unknown. A more comprehensive account of mental imagery aspects would be gained by examining individual differences in age, sex, and background experience in an activity and their association with imagery in different modalities and intentionality levels. The current online study combined multiple imagery self-report measures in a sample (n = 279) with a substantial age range (18-65 years), aiming to identify whether age, sex, or background experience in sports, music, or video games were associated with aspects of imagery in the visual, auditory, or motor stimulus modality and voluntary or involuntary intentionality level. The findings show weak positive associations between age and increased vividness of voluntary auditory imagery and decreased involuntary musical imagery frequency, weak associations between being female and more vivid visual imagery, and relations of greater music and video game experience with higher involuntary musical imagery frequency. Moreover, all imagery stimulus modalities were associated with each other, for both intentionality levels, except involuntary musical imagery frequency, which was only related to higher voluntary auditory imagery vividness. These results replicate previous research but also contribute new insights, showing that individual differences in age, sex, and background experience are associated with various aspects of imagery such as modality, intentionality, vividness, and frequency. The study's findings can inform the growing domain of applications of mental imagery to clinical and pedagogical settings.

Involuntary musical imagery as a component of ordinary music cognition: A review of empirical evidence

Involuntary musical imagery (INMI) refers to a conscious mental experience of music that occurs without deliberate efforts to initiate or sustain it. This experience often consists of the repetition of a short fragment of a melody, colloquially called an "earworm." Here, we present the first comprehensive, qualitative review of published empirical research on INMI to date. We performed an extensive literature search and discovered, in total, 47 studies from 33 peer-reviewed articles that met the inclusion criteria for the review. In analyzing the content of these studies, we identified four major research themes, which concern the phenomenology, dynamics, individual differences, and musical features of INMI. The findings answer many questions of scientific interest-for instance, what is typical in terms of INMI frequency, duration, and content; which factors influence INMI onset; and whether demographic and personality factors can explain individual differences in susceptibility and responses to INMI. This review showcases INMI as a well-established phenomenon in light of a substantial body of empirical studies that have accumulated consistent results. Although the populations under study show an unfavorable bias towards Western, educated participants, the evidence depicts INMI as a universal psychological phenomenon, the possible function of which we do not yet fully understand. The concluding section introduces several suggestions for future research to expand on the topic.

Individual traits that influence the frequency and emotional characteristics of involuntary musical imagery: An experience sampling study

In this study, we investigated individual traits that influence the frequency of involuntary musical imagery (INMI) and the emotional valence of these occurrences using the experience sampling method (ESM) that measures INMI in daily life at the moment they occur. As individual traits, the effects of non-clinical obsessive-compulsive (OC) tendencies, personality traits, and musical expertise were examined. Among them, we were particularly interested in the effect of OC tendencies that are assumed to be related to INMI but are yet to be fully examined using ESM. A total of 101 university students completed questionnaires that assessed OC tendencies, the Big Five personality traits, and musical expertise. During the seven-day sampling period, participants received smartphone notifications six times per day and responded by stating whether they had experienced INMI and described the emotional characteristics of those occurrences. A multilevel analysis showed the relationship between OC tendencies and INMI. A positive effect was observed for intrusive thoughts (obsession) on the occurrence of INMI. Regarding the emotional characteristics of INMI, a negative effect of compulsive washing was observed on both the pleasantness of INMI experiences and the extent to which the participants liked the music they had heard internally. The effects of both personality traits and musical expertise were also observed in the analysis of INMI occurrences, both of which are consistent with previous findings. In summary, the present study using ESM supports previous findings on individual traits that affect INMI and clarifies them with additional detail and accuracy.

Mental Control in Musical Imagery: A Dual Component Model

Hearing music in your head is a ubiquitous experience, but the role mental control plays in these experiences has not been deeply addressed. In this conceptual analysis, a dual-component model of mental control in musical imagery experiences is developed and discussed. The first component, initiation, refers to whether the musical imagery experience began voluntarily or involuntarily. The second component, management, refers to instances of control that occur after the experience has begun (e.g., changing the song, stopping the experience). Given the complex nature of this inner experience, we propose a new model combining and integrating four literatures: lab-based auditory imagery research using musical stimuli; involuntary musical imagery; mental rehearsal and composition in musicians; and in vivo studies of musical imagery in everyday environments. These literatures support the contention that mental control of musical imagery is multi-faceted. Future research should investigate these two components of mental control and better integrate the diverse literatures on musical imagery.

Thinking about the past and future in daily life: an experience sampling study of individual differences in mental time travel

Remembering the past and imagining the future are hallmarks of mental time travel. We provide evidence that such experiences are influenced by individual differences in temporal and affective biases in cognitive style, particularly brooding rumination (a negative past-oriented bias) and optimism (a positive future-oriented bias). Participants completed a 7-day, cellphone-based experience-sampling study of temporal orientation and mental imagery. Multilevel models showed that individual differences in brooding rumination predicted less vivid and positive past- and future-oriented thoughts, even after controlling for depressed mood. People high in brooding rumination were also more likely to report thinking about a past experience when probed at random during the day. Conversely, optimists were more likely to report more vivid and positive future-oriented, but not past-oriented thoughts, although they did not report thinking more or less often about the past and future. The results suggest that temporal and affective biases in cognitive style influence how people think about the past and future in daily life.

Musical hallucinations, musical imagery, and earworms: A new phenomenological survey

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We conducted a phenomenological survey comparing musical hallucinations to other inner music.

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MH were more likely to be reported as externally located than other experiences.

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MH were less controllable and less familiar than imagery or earworms.

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MH were less likely to include lyrical content than other forms of inner music.

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Individuals with higher levels of musical expertise were less likely to report MH.

Musical hallucinations (MH) account for a significant proportion of auditory hallucinations, but there is a relative lack of research into their phenomenology. In contrast, much research has focused on other forms of internally generated musical experience, such as earworms (involuntary and repetitive inner music), showing that they can vary in perceived control, repetitiveness, and in their effect on mood. We conducted a large online survey (N = 270), including 44 participants with MH, asking participants to rate imagery, earworms, or MH on several variables. MH were reported as occurring less frequently, with less controllability, less lyrical content, and lower familiarity, than other forms of inner music. MH were also less likely to be reported by participants with higher levels of musical expertise. The findings are outlined in relation to other forms of hallucinatory experience and inner music, and their implications for psychological models of hallucinations discussed.

Involuntary and voluntary recall of musical memories: A comparison of temporal accuracy and emotional responses

Comparisons between involuntarily and voluntarily retrieved autobiographical memories have revealed similarities in encoding and maintenance, with differences in terms of specificity and emotional responses. Our study extended this research area into the domain of musical memory, which afforded a unique opportunity to compare the same memory as accessed both involuntarily and voluntarily. Specifically, we compared instances of involuntary musical imagery (INMI, or “earworms”)—the spontaneous mental recall and repetition of a tune—to deliberate recall of the same tune as voluntary musical imagery (VMI) in terms of recall accuracy and emotional responses. Twenty participants completed two 3-day tasks. In an INMI task, participants recorded information about INMI episodes as they occurred; in a VMI task, participants were prompted via text message to deliberately imagine each tune they had previously experienced as INMI. In both tasks, tempi of the imagined tunes were recorded by tapping to the musical beat while wearing an accelerometer and additional information (e.g., tune name, emotion ratings) was logged in a diary. Overall, INMI and VMI tempo measurements for the same tune were strongly correlated. Tempo recall for tunes that have definitive, recorded versions was relatively accurate, and tunes that were retrieved deliberately (VMI) were not recalled more accurately in terms of tempo than spontaneous and involuntary instances of imagined music (INMI). Some evidence that INMI elicited stronger emotional responses than VMI was also revealed. These results demonstrate several parallels to previous literature on involuntary memories and add new insights on the phenomenology of INMI.

Functional Connectivity of the Precuneus in Female University Students with Long-Term Musical Training

Conceiving concrete mental imagery is critical for skillful musical expression and performance. The precuneus, a core component of the default mode network (DMN), is a hub of mental image processing that participates in functions such as episodic memory retrieval and imagining future events. The precuneus connects with many brain regions in the frontal, parietal, temporal, and occipital cortices. The aim of this study was to examine the effects of long-term musical training on the resting-state functional connectivity of the precuneus. Our hypothesis was that the functional connectivity of the precuneus is altered in musicians. We analyzed the functional connectivity of the precuneus using resting-state functional magnetic resonance imaging (fMRI) data recorded in female university students majoring in music and nonmusic disciplines. The results show that the music students had higher functional connectivity of the precuneus with opercular/insular regions, which are associated with interoceptive and emotional processing; Heschl’s gyrus (HG) and the planum temporale (PT), which process complex tonal information; and the lateral occipital cortex (LOC), which processes visual information. Connectivity of the precuneus within the DMN did not differ between the two groups. Our finding suggests that functional connections between the precuneus and the regions outside of the DMN play an important role in musical performance. We propose that a neural network linking the precuneus with these regions contributes to translate mental imagery into information relevant to musical performance.

The speed of our mental soundtracks: Tracking the tempo of involuntary musical imagery in everyday life

The study of spontaneous and everyday cognitions is an area of rapidly growing interest. One of the most ubiquitous forms of spontaneous cognition is involuntary musical imagery (INMI), the involuntarily retrieved and repetitive mental replay of music. The present study introduced a novel method for capturing temporal features of INMI within a naturalistic setting. This method allowed for the investigation of two questions of interest to INMI researchers in a more objective way than previously possible, concerning (1) the precision of memory representations within INMI and (2) the interactions between INMI and concurrent affective state. Over the course of 4 days, INMI tempo was measured by asking participants to tap to the beat of their INMI with a wrist-worn accelerometer. Participants documented additional details regarding their INMI in a diary. Overall, the tempo of music within INMI was recalled from long-term memory in a highly veridical form, although with a regression to the mean for recalled tempo that parallels previous findings on voluntary musical imagery. A significant positive relationship was found between INMI tempo and subjective arousal, suggesting that INMI interacts with concurrent mood in a similar manner to perceived music. The results suggest several parallels between INMI and voluntary imagery, music perceptual processes, and other types of involuntary memories.

Tunes stuck in your brain: The frequency and affective evaluation of involuntary musical imagery correlate with cortical structure

Recent years have seen a growing interest in the neuroscience of spontaneous cognition. One form of such cognition is involuntary musical imagery (INMI), the non-pathological and everyday experience of having music in one's head, in the absence of an external stimulus. In this study, aspects of INMI, including frequency and affective evaluation, were measured by self-report in 44 subjects and related to variation in brain structure in these individuals. Frequency of INMI was related to cortical thickness in regions of right frontal and temporal cortices as well as the anterior cingulate and left angular gyrus. Affective aspects of INMI, namely the extent to which subjects wished to suppress INMI or considered them helpful, were related to gray matter volume in right temporopolar and parahippocampal cortices respectively. These results provide the first evidence that INMI is a common internal experience recruiting brain networks involved in perception, emotions, memory and spontaneous thoughts.

Environmental and mental conditions predicting the experience of involuntary musical imagery: An experience sampling method study

An experience sampling method (ESM) study on 40 volunteers was conducted to explore the environmental factors and psychological conditions related to involuntary musical imagery (INMI) in everyday life. Participants reported 6 times per day for one week on their INMI experiences, relevant contextual information and associated environmental conditions. The resulting data was modeled with Bayesian networks and led to insights into the interplay of factors related to INMI experiences. The activity that a person is engaged was found to play an important role in the experience of mind wandering, which in turn enables the experience of INMI. INMI occurrence is independent of the time of the day while the INMI trigger affects the subjective evaluation of the INMI experience. The results are compared to findings from earlier studies based on retrospective surveys and questionnaires and highlight the advantage of ESM techniques in research on spontaneous experiences like INMI.

Obsessive-compulsive disorder presenting with musical obsessions in otosclerosis: a case report

Introduction

Musical obsessions consist of intrusive recollections of music fragments that are experienced as unwanted. Otosclerosis is caused by an abnormal bone homeostasis of the otic capsule and represents a frequent cause of hearing impairment. Many conditions causing hearing loss have been associated with musical hallucinations, but the association between musical obsessions and hearing loss is frequently overlooked.

Case presentation

We present the case of a 51-year-old Caucasian woman with a history of obsessive-compulsive disorder who developed musical obsessions soon after being diagnosed with otosclerosis. She was referred to our obsessive-compulsive disorder outpatient unit by her general psychiatrist. At the time of our first evaluation, she had severe musical obsessions that interfered with her social functioning and made her unable to follow conversations. She was started on 40mg of paroxetine and 2.5mg of aripiprazole, which led to significant improvement of her symptoms and of her social and work functioning.

Conclusions

To the best of our knowledge, this is the first report of musical obsessions in a patient with hearing loss due to otosclerosis and a history of obsessive-compulsive disorder. This case suggests that a differential diagnosis of obsessive-compulsive disorder should be carefully considered in patients with hearing impairment who complain of involuntary musical imagery, especially in those patients who have a previous history of obsessive-compulsive disorder.