Don't drink and chill: Effects of alcohol on subjective and physiological reactions during music listening and their relationships with personality and listening habits

A correlation study of music training, adult attachment, and personality traits using a large-sample questionnaire

Introduction

Music training can provide benefits to psychological health and is strongly associated with adult attachment style and personality traits through bidirectional interactions.

Methods

A large sample including 10,191 Chinese musicians and non-musicians completed the Relationship Questionnaire and Big-Five Personality Inventory.

Results

Connections between music training, adult attachment, and personality were analyzed with the following results: (1) personality traits were correlated with attachment dimensions, with positive correlations between secure attachment and extroversion and between dismissing attachment and neuroticism; (2) music training was connected with the secure and fearful-avoidant attachment dimensions, which complemented the effect of educational level in the preoccupied and dismissing dimensions; (3) music training enhanced extroversion, openness, agreeableness, and conscientiousness, which interacted to affect extroversion and openness by gender; and (4) music training enhanced the regression of extroversion to preoccupied and secure attachments, and the regression of openness to preoccupied attachment.

Discussion

Conclusively, music training enhanced the connection between secure attachment and positive personality traits and regulated the correlation between insecure attachment and neuroticism. This analysis provides a large sample of statistical and practical evidence for the clinical practices of mental health and the educational and music training practices of co-cultivating cultural knowledge and artistic quality.

On the etiology of aesthetic chills: a behavioral genetic study

Aesthetic chills, broadly defined as a somatic marker of peak emotional-hedonic responses, are experienced by individuals across a variety of human cultures. Yet individuals vary widely in the propensity of feeling them. These individual differences have been studied in relation to demographics, personality, and neurobiological and physiological factors, but no study to date has explored the genetic etiological sources of variation. To partition genetic and environmental sources of variation in the propensity of feeling aesthetic chills, we fitted a biometrical genetic model to data from 14,127 twins (from 8995 pairs), collected by the Netherlands Twin Register. Both genetic and unique environmental factors accounted for variance in aesthetic chills, with heritability estimated at 0.36 ([0.33, 0.39] 95% CI). We found females more prone than males to report feeling aesthetic chills. However, a test for genotype x sex interaction did not show evidence that heritability differs between sexes. We thus show that the propensity of feeling aesthetic chills is not shaped by nurture alone, but it also reflects underlying genetic propensities.

Emotion Modulation through Music after Sadness Induction-The Iso Principle in a Controlled Experimental Study

Music therapy intervention manuals suggest that individuals who suffer from affective disorders benefit from listening to music according to the iso principle. The iso principle comprises listening to music that matches the current mood of patients at first, and then to gradually shift to music that represents a desired mood. Within the current study, we investigate whether the sequence of music with different emotional valence can modulate the emotional state. All participants were healthy adults who underwent a sadness induction via a movie clip. They were subsequently divided into four experimental groups. Each was asked to listen to two pieces of music according to a specific sequence: sad-sad; sad-happy; happy-happy; happy-sad. Participants were prompt to rate their current emotional state at different stages of the experiment: prior to and after the movie clip, as well as after each of the two pieces of music. The frame used for the assessment was the Positive and Negative Affect Schedule and the Self-Assessment Manikin. The results indicate that the movie clip induced sadness. The group of participants who listened to the sad music first and the happy music afterwards ultimately reported a higher positive affect, a higher emotional valence, and a lower negative affect compared with the other groups. However, not all the between-group differences reached significance. We conclude that the sequence of music with different emotional valence affects the current emotional state. The results are generally in line with the iso principle. Directions for future research are presented.

Eros, Beauty, and Phon-Aesthetic Judgements of Language Sound. We Like It Flat and Fast, but Not Melodious. Comparing Phonetic and Acoustic Features of 16 European Languages

This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the "music" found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language - the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited research has been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say "it is music in my ears"? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful - ugly and funny - boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a "musical" sense.