Earworms (stuck song syndrome): towards a natural history of intrusive thoughts

The perceived catchiness of music affects the experience of groove

Catchiness and groove are common phenomena when listening to popular music. Catchiness may be a potential factor for experiencing groove but quantitative evidence for such a relationship is missing. To examine whether and how catchiness influences a key component of groove-the pleasurable urge to move to music (PLUMM)-we conducted a listening experiment with 450 participants and 240 short popular music clips of drum patterns, bass lines or keys/guitar parts. We found four main results: (1) catchiness as measured in a recognition task was only weakly associated with participants' perceived catchiness of music. We showed that perceived catchiness is multi-dimensional, subjective, and strongly associated with pleasure. (2) We found a sizeable positive relationship between PLUMM and perceived catchiness. (3) However, the relationship is complex, as further analysis showed that pleasure suppresses perceived catchiness' effect on the urge to move. (4) We compared common factors that promote perceived catchiness and PLUMM and found that listener-related variables contributed similarly, while the effects of musical content diverged. Overall, our data suggests music perceived as catchy is likely to foster groove experiences.

The aversiveness of intrusiveness: Evidence from involuntary musical imagery

OBJECTIVE

Intrusive thoughts are characterized by a sense of intrusiveness of foreign entry into cognition. While not always consisting of negative content, intrusive thoughts are almost solely investigated in that context. Involuntary Musical Imagery (INMI) offers a promising alternative, as it is a type of involuntary cognition that can be used to evaluate intrusiveness without negative content.

METHODS

In Study 1, 200 participants completed self-report questionnaires to assess several aspects of intrusiveness: meta-awareness, control, repetitiveness, frequency, and subjective experience of INMI. In Study 2, 203 participants completed self-report questionnaires to explore the clinical characteristics (depression, stress, anxiety, and rumination) which might mediate the connection between INMI frequency and INMI negative experience.

RESULTS

Study 1 revealed, through exploratory factor analysis, that intrusiveness shares variance with the negative experience of INMI but not with INMI frequency. In Study 2, ruminative thinking was found to mediate the relationship between frequent INMI and the negative experience of INMI.

CONCLUSION

These results suggest that INMI might be used to investigate intrusiveness in the lab without the potential confound of negative emotions. In addition, the results suggest that neither the content nor the frequency of intrusive thoughts can solely explain why these thoughts are aversive to some but not others. Ruminative style might be the missing link to explain how and why these intrusive thoughts become aversive and obsessive. In other words, we suggest that the cause for intrusiveness lies not in the thought or repetitiveness, but in the thinker.

The song that never ends: The effect of repeated exposure on the development of an earworm

An "earworm"-the experience of a catchy melody that repeats persistently in the mind-is a ubiquitous yet mysterious cognitive phenomenon. Previous research demonstrates that earworms for vocal music engage working memory resources, manifesting as "inner singing." This study investigated whether this effect is moderated by prior exposure to music. In one experimental session, participants (N = 44) were presented with four novel song choruses. To manipulate exposure, each song was presented between one and four times, counterbalanced across participants. The following day, participants undertook a serial recall task during and following presentation of each song. In addition, they rated the music on familiarity, enjoyment, their desire to sing along, and perceived catchiness, both before and following the experiment. Increased exposure to novel songs on the first day tended to result in greater interference on task performance during and following their presentation on the second day, yet the effect varied depending on the song. Ratings of the desire to sing along and perceived familiarity increased significantly between the sessions for all songs. These findings are important in understanding the relative influence of familiarity and song-level characteristics on the development of an earworm.

Investigating features that contribute to evaluations of intrusiveness for thoughts and memories

What makes a thought feel intrusive? One possibility is that traumatic experiences are the primary cause of intrusive thoughts and memories. Another possibility is that experiences of intrusiveness arise from the features involved with re-experiencing. We investigated several features that may lead a thought to feel intrusive: task-congruence, repetition, and affective content. In Experiment 1, participants listened to popular song clips expected to become stuck in one's head. In Experiment 2, participants were cued to recall their own autobiographical memories. We found that both songs and autobiographical memories replaying mentally felt more intrusive when they were incongruent with the current task, cued repeatedly, and had negative emotional content. Additionally, even liked songs and positive autobiographical memories were evaluated as highly intrusive under some conditions. Based on these findings, we argue that intrusiveness is not limited to traumatic thoughts, but rather is a context-dependent evaluation influenced by a variety of features.

Metamemory for involuntary autobiographical memories and semantic mind-pops in 5-, 7- and 9-year-old children and young adults

In a cross‐sectional study, 5‐, 7‐, and 9‐year‐old‐children and adults (N = 144, 86 females, predominantly White U.K. sample of lower‐middle to middle‐class background) were interviewed about their experiences of involuntary autobiographical memories (IAMs) and semantic mind‐pops that come to mind unintentionally. Although some age differences emerged, the majority of participants in all age groups claimed familiarity with involuntary memories and provided examples from their own experience. Moreover, the self‐reported frequency of IAMs and mind‐pops was high, and reported IAMs usually referred to incidental environmental triggers, whereas reported mind‐pops did not. This age invariance highlights the ubiquity of involuntary memories across development and opens up interesting avenues for developmental research on involuntary memories and other spontaneous phenomena (e.g., mind‐wandering, future thinking).

Testing the Two-Factor Model of Musical Obsessions: Can They Be Predicted by the Interaction Between Frequency and Dysfunctional Interpretations of Common Earworms?

Musical obsessions can be conceptualized as a severe form of intrusive musical imagery (IMI). The two-factor model of musical obsessions proposes that musical obsessions result from the interaction of the frequency of IMI and dysfunctional interpretations of IMI. The aim of this study was to evaluate the predictions of the two-factor model. A total of 372 participants (291 without a known diagnosis of obsessive–compulsive disorder [OCD] and 81 with a lifetime diagnosis of OCD) completed online questionnaires about the frequency of IMI, their dysfunctional interpretations, and their severity. We specified a model with severity of IMI as outcome and interpretations and frequency as predictors and controlled for the type of sample. The interaction between frequency and dysfunctional interpretations predicted severity of IMI, however in another direction than suggested. Future studies should include experimental and longitudinal designs and pay particular attention to low-frequency IMI and their role in musical obsessions.

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.

Examining tensions in the past and present uses of concepts

Examining tensions between the past and present uses of scientific concepts can help clarify their contributions as tools in experimental practices. This point can be illustrated by considering the concepts of mental imagery and hallucinations: despite debates over their respective referential reliabilities remaining unresolved within their interdependent histories, both are used as independently stable concepts in neuroimaging experiments. Building on an account of how these concepts function as tools structured for pursuit of diverging goals in experiments, this paper explores this tension by re-examining the continued reliance of each concept on inverse characterisations inherited from the nominally-discarded 'mediator-view' of sensory-like mental phenomena (SLMP). In doing so, I seek to demonstrate how examining unresolved tensions can help highlight that entrenched associations can remain both integral to, and obscured by, the uses of concepts as goal-directed tools within experimental practices.

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.

Stuck in my head: Musical obsessions and experiential avoidance

Earworms refer to catchy tunes that run repeatedly through a person's mind. Empirical literature regarding earworms is scant; however, some researchers have conceptualized the phenomenon as an unwanted intrusion in the context of obsessive-compulsive disorder. The current study expands upon past research by characterizing the experience of earworms and examining associations of earworm-related distress and interference with theoretical constructs of interest, including obsessive beliefs and experiential avoidance. Two hundred forty participants completed an online survey regarding the experience of musical obsessions (e.g., duration, frequency, distress) and related theoretical constructs (e.g., experiential avoidance) of interest. Descriptive results regarding the frequency, duration, and associated distress and interference of earworms are presented. Furthermore, results reveal that experiential avoidance is a unique predictor of earworm-related distress and interference. Results suggest that interference and distress due to earworms may be related to attempts to suppress them. Study conclusions, limitations, and directions for future research are discussed.

Musical hallucinations with a right frontotemporal stroke

have been reported in association with psychiatric diseases, brain stem strokes, deafness, degenerative diseases, intoxications, pharmacologic agents, and epilepsy. We present a patient who in the absence of these disorders developed musical hallucinations from an infarction of the right hemisphere that primarily injured his right frontal and anterior temporal lobes. This report discusses some of the possible mechanisms for this patient's presentation. Although the mechanism of his musical hallucinations remains unclear, recognition of this uncommon syndrome is important when structuring rehabilitation and management for patients with stroke who have this disorder.

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.

An Exploratory Study of Imagining Sounds and "Hearing" Music in Autism

Individuals with autism spectrum disorder (ASD) reportedly possess preserved or superior music-processing skills compared to their typically developing counterparts. We examined auditory imagery and earworms (tunes that get "stuck" in the head) in adults with ASD and controls. Both groups completed a short earworm questionnaire together with the Bucknell Auditory Imagery Scale. Results showed poorer auditory imagery in the ASD group for all types of auditory imagery. However, the ASD group did not report fewer earworms than matched controls. These data suggest a possible basis in poor auditory imagery for poor prosody in ASD, but also highlight a separability between auditory imagery and control of musical memories. The separability is present in the ASD group but not in typically developing individuals.

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.

Visual attentional load affects the frequency of involuntary autobiographical memories and their level of meta-awareness

Involuntary autobiographical memories (IAMs) are memories of past events that come to mind without deliberate retrieval attempts. Common in everyday life, IAMs have recently become a topic of experimental investigations with laboratory procedures. In the present study, we build on the recent methodological advancements in the study of IAMs, and we investigate the effects of manipulating the attentional load on the incidence of IAMs, as well as on the level of meta-awareness of these memories. In two experiments, attentional load was manipulated by varying the demands of the focal vigilance task, and reports of IAMs were collected. In Experiment 1, participants were instructed to stop the vigilance task whenever mental contents unrelated to the task came to their minds (self-caught method). In Experiment 2, participants were intermittently interrupted and probed regarding the contents of their experience (probe-caught method) and the level of meta-awareness for these contents. In both experiments, we found a reduction in the frequency of reported IAMs under increased attentional load. Moreover, in Experiment 2, IAMs were characterized by varied levels of meta-awareness, which was reduced by increased attentional load. These results indicate that allocation of attentional resources toward a focal task reduces reporting of IAMs experienced while performing this task because attentional resources play a role in both retrieval of IAMs and the realization that one is experiencing a memory.

The Stuck Song Syndrome: A Case of Musical Obsessions

Patient: Female, 32

Final Diagnosis: Obsessive compulsive disorder

Symptoms: Compulsive behavior • musical obsessions

Medication: —

Clinical Procedure: Treatment with serotonin selective reuptake inhibitors

Specialty: Psychiatry

Towards a new methodological approach: A novel paradigm for covertly inducing and sampling different forms of spontaneous cognition

A wide range of cognitions is generated involuntarily in the human mind daily. We developed a paradigm, which covertly induces and samples spontaneous cognitions in the visual and auditory modalities, focusing on 3 key characteristics: spontaneity, repetition, and emotional valence. Sixty participants watched two visual clips while listening to music and assessed their characteristics. Post-induction, participants closed their eyes for 5 min and then completed a questionnaire, which indirectly samples different forms of spontaneous cognition. Induction was effective in all categories. Results indicated that different forms of spontaneous musical cognitions are experienced as longer in duration and less negative in emotional valence compared to visual cognitions. The findings are discussed in relation to spontaneous cognition methodology and experiences in different modalities. Spontaneous cognitions are multifaceted and not unitary constructs as previously considered and studied, and as such the novel induction and sampling paradigm presents a promising line of research.

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.

Obsessive–compulsive disorder in young people

Obsessive–compulsive disorder (OCD) is one of the most debilitating psychiatric conditions in young people. In DSM-5 it is no longer characterised as an anxiety disorder, but instead is part of a group of ‘obsessive–compulsive and related disorders'. In the past 10 years, cognitive—behavioural therapy (CBT) has become well established as the first-choice treatment. This article explains some of the elements of CBT and describes new directions in research which might improve interventions.

A novel indirect method for capturing involuntary musical imagery under varying cognitive load

Involuntary musical imagery (INMI), i.e the internal experience of a repetitive musical fragment, is one of the most ubiquitous forms of spontaneous cognition. Findings regarding the relationship between INMI and cognitive load are conflicting. In the present study, 200 participants watched and evaluated two non-dialogue, music-only film trailers. Subsequently, they either closed their eyes for 5 min (baseline), or engaged in one of three dot tasks of varying challenge and attentional demand (low, medium, and high cognitive load). Finally, they completed a novel "Mind Activity Questionnaire", which allows for indirect INMI sampling rather than direct questioning. The same questionnaire was completed 24 hours later. Overall, a significant negative linear trend was found. At baseline, 65% of people reported experiencing INMI. This rate decreased to 32.5% in the low load condition with further reductions observed in the medium and high conditions, which did not differ significantly from each other. INMI frequency and duration followed the same pattern as the induction rates. In the 24-hour follow-up, 21% of participants reported INMI experiences. This study supports the hypothesis that INMI occurrence, frequency, and duration relate to spare cognitive capacity and demonstrates an ecologically valid laboratory paradigm for covertly inducing and documenting INMI experiences.

Increased frequency of involuntary semantic memories or mind-pops in schizophrenia: a diary study

INTRODUCTION

Hallucinations constitute a prominent symptom of schizophrenia and may take a variety of forms (verbal, visual, musical, or environmental noises). Interesting similarities exist between hallucinations and so-called mind-pops which refer to isolated fragments of one's semantic knowledge (e.g., a word/sentence, visual image, or a song/melody) that come to mind unexpectedly, often without any obvious triggers, and are difficult to control. The aim of the present study was to evaluate whether mind-pops may constitute the raw cognitive material from which hallucinations are constructed by studying the nature and frequency of mind-pops in the everyday life of people with schizophrenia and non-clinical controls.

METHODS

Eleven participants with schizophrenia and 14 non-clinical controls kept a diary of their mind-pops for seven days and completed a brief questionnaire every time they had a mind-pop.

RESULTS

Schizophrenia participants reported significantly more verbal and image mind-pops than controls and their content was negative more often than in controls. No group differences were obtained in terms of reported triggers or ongoing activities. Data from both groups also supported the priming hypothesis by showing that stimuli encountered in one's environment or thoughts could later re-appear in the form of a mind-pop.

CONCLUSIONS

The findings have implications for models of schizophrenia that emphasise the role of intrusive thoughts and memories in the aetiology and development of key psychotic symptoms.

Don't forget the lyrics! Spatiotemporal dynamics of neural mechanisms spontaneously evoked by gaps of silence in familiar and newly learned songs

The vast majority of people experience musical imagery, the sensation of reliving a song in absence of any external stimulation. Internal perception of a song can be deliberate and effortful, but also may occur involuntarily and spontaneously. Moreover, musical imagery is also involuntarily used for automatically completing missing parts of music or lyrics from a familiar song. The aim of our study was to explore the onset of musical imagery dynamics that leads to the automatic completion of missing lyrics. High-density electroencephalography was used to record the cerebral activity of twenty healthy volunteers while they were passively listening to unfamiliar songs, very familiar songs, and songs previously listened to for two weeks. Silent gaps inserted into these songs elicited a series of neural activations encompassing perceptual, attentional and cognitive mechanisms (range 100-500ms). Familiarity and learning effects emerged as early as 100ms and lasted 400ms after silence occurred. Although participants reported more easily mentally imagining lyrics in familiar rather than passively learnt songs, the onset of neural mechanisms and the power spectrum underlying musical imagery were similar for both types of songs. This study offers new insights into the musical imagery dynamics evoked by gaps of silence and on the role of familiarity and learning processes in the generation of these dynamics. The automatic and effortless method presented here is a potentially useful tool to understand failure in the familiarity and learning processes of pathological populations.

From mind wandering to involuntary retrieval: Age-related differences in spontaneous cognitive processes

The majority of studies that have investigated the effects of healthy aging on cognition have focused on age-related differences in voluntary and deliberately engaged cognitive processes. Yet many forms of cognition occur spontaneously, without any deliberate attempt at engaging them. In this article we review studies that have assessed age-related differences in four such types of spontaneous thought processes: mind-wandering, involuntary autobiographical memory, intrusive thoughts, and spontaneous prospective memory retrieval. These studies suggest that older adults exhibit a reduction in frequency of both mind-wandering and involuntary autobiographical memory, whereas findings regarding intrusive thoughts have been more mixed. Additionally, there is some preliminary evidence that spontaneous prospective memory retrieval may be relatively preserved in aging. We consider the roles of age-related differences in cognitive resources, motivation, current concerns and emotional regulation in accounting for these findings. We also consider age-related differences in the neural correlates of spontaneous cognitive processes.

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.

Rapid Communication: Want to block earworms from conscious awareness? B(u)y gum!

Three experiments examine the role of articulatory motor planning in experiencing an involuntary musical recollection (an “earworm”). Experiment 1 shows that interfering with articulatory motor programming by chewing gum reduces both the number of voluntary and the number of involuntary—unwanted—musical thoughts. This is consistent with other findings that chewing gum interferes with voluntary processes such as recollections from verbal memory, the interpretation of ambiguous auditory images, and the scanning of familiar melodies, but is not predicted by theories of thought suppression, which assume that suppression is made more difficult by concurrent tasks or cognitive loads. Experiment 2 shows that chewing the gum affects the experience of “hearing” the music and cannot be ascribed to a general effect on thinking about a tune only in abstract terms. Experiment 3 confirms that the reduction of musical recollections by chewing gum is not the consequence of a general attentional or dual-task demand. The data support a link between articulatory motor programming and the appearance in consciousness of both voluntary and unwanted musical recollections.

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.

Brain disorders and the biological role of music

Despite its evident universality and high social value, the ultimate biological role of music and its connection to brain disorders remain poorly understood. Recent findings from basic neuroscience have shed fresh light on these old problems. New insights provided by clinical neuroscience concerning the effects of brain disorders promise to be particularly valuable in uncovering the underlying cognitive and neural architecture of music and for assessing candidate accounts of the biological role of music. Here we advance a new model of the biological role of music in human evolution and the link to brain disorders, drawing on diverse lines of evidence derived from comparative ethology, cognitive neuropsychology and neuroimaging studies in the normal and the disordered brain. We propose that music evolved from the call signals of our hominid ancestors as a means mentally to rehearse and predict potentially costly, affectively laden social routines in surrogate, coded, low-cost form: essentially, a mechanism for transforming emotional mental states efficiently and adaptively into social signals. This biological role of music has its legacy today in the disordered processing of music and mental states that characterizes certain developmental and acquired clinical syndromes of brain network disintegration.

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.

Musical obsessions: a comprehensive review of neglected clinical phenomena

Intrusive musical imagery (IMI) consists of involuntarily recalled, short, looping fragments of melodies. Musical obsessions are distressing, impairing forms of IMI that merit investigation in their own right and, more generally, research into these phenomena may broaden our understanding of obsessive-compulsive disorder (OCD), which is phenomenologically and etiologically heterogeneous. We present the first comprehensive review of musical obsessions, based on the largest set of case descriptions ever assembled (N=96). Characteristics of musical obsessions are described and compared with normal IMI, musical hallucinations, and visual obsessional imagery. Assessment, differential diagnosis, comorbidity, etiologic hypotheses, and treatments are described. Musical obsessions may be under-diagnosed because they are not adequately assessed by current measures of OCD. Musical obsessions have been misdiagnosed as psychotic phenomena, which has led to ineffective treatment. Accurate diagnosis is important for appropriate treatment. Musical obsessions may respond to treatments that are not recommended for prototypic OCD symptoms.

Sticky tunes: how do people react to involuntary musical imagery?

The vast majority of people experience involuntary musical imagery (INMI) or ‘earworms’; perceptions of spontaneous, repetitive musical sound in the absence of an external source. The majority of INMI episodes are not bothersome, while some cause disruption ranging from distraction to anxiety and distress. To date, little is known about how the majority of people react to INMI, in particular whether evaluation of the experience impacts on chosen response behaviours or if attempts at controlling INMI are successful or not. The present study classified 1046 reports of how people react to INMI episodes. Two laboratories in Finland and the UK conducted an identical qualitative analysis protocol on reports of INMI reactions and derived visual descriptive models of the outcomes using grounded theory techniques. Combined analysis carried out across the two studies confirmed that many INMI episodes were considered neutral or pleasant, with passive acceptance and enjoyment being among the most popular response behaviours. A significant number of people, however, reported on attempts to cope with unwanted INMI. The most popular and effective behaviours in response to INMI were seeking out the tune in question, and musical or verbal distraction. The outcomes of this study contribute to our understanding of the aetiology of INMI, in particular within the framework of memory theory, and present testable hypotheses for future research on successful INMI coping strategies.

Auditory Experiences in Game Transfer Phenomena

This study investigated gamers' auditory experiences as after effects of playing. This was done by classifying, quantifying, and analysing 192 experiences from 155 gamers collected from online videogame forums. The gamers' experiences were classified as: (i) involuntary auditory imagery (e.g., hearing the music, sounds or voices from the game), (ii) inner speech (e.g., completing phrases in the mind), (iii) auditory misperceptions (e.g., confusing real life sounds with videogame sounds), and (iv) multisensorial auditory experiences (e.g., hearing music while involuntary moving the fingers). Gamers heard auditory cues from the game in their heads, in their ears, but also coming from external sources. Occasionally, the vividness of the sound evoked thoughts and emotions that resulted in behaviours and copying strategies. The psychosocial implications of the gamers' auditory experiences are discussed. This study contributes to the understanding of the effects of auditory features in videogames, and to the phenomenology of non-volitional auditory experiences.

A brain basis for musical hallucinations

The physiological basis for musical hallucinations (MH) is not understood. One obstacle to understanding has been the lack of a method to manipulate the intensity of hallucination during the course of experiment. Residual inhibition, transient suppression of a phantom percept after the offset of a masking stimulus, has been used in the study of tinnitus. We report here a human subject whose MH were residually inhibited by short periods of music. Magnetoencephalography (MEG) allowed us to examine variation in the underlying oscillatory brain activity in different states. Source-space analysis capable of single-subject inference defined left-lateralised power increases, associated with stronger hallucinations, in the gamma band in left anterior superior temporal gyrus, and in the beta band in motor cortex and posteromedial cortex. The data indicate that these areas form a crucial network in the generation of MH, and are consistent with a model in which MH are generated by persistent reciprocal communication in a predictive coding hierarchy.

Treatment of anxiety from musical obsessions with a cognitive behaviour therapy tool

Musical obsessions and hallucinations are disturbing experiences of repeating internal music. Antipsychotic medication can sometimes reduce these symptoms but can also trigger or augment them. We report the case of a female patient with schizophrenia with drug-resistant obsessive musical hallucinations. The patient volunteered to participate in a 9-month pilot study to follow the development of the condition using an involuntary music and mood inventory. The patient perceived benefits from the intervention, including reduced anxiety, increased feeling of being in control and understanding the condition better. Findings from this case study suggest that cognitive therapy can be a useful complementary method of care for persons with musical obsessions. The presented tool requires further investigations among those with this rare condition.

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

In two studies, we explored the frequency and phenomenology of musical imagery. Study 1 used retrospective reports of musical imagery to assess the contribution of individual differences to imagery characteristics. Study 2 used an experience sampling design to assess the phenomenology of musical imagery over the course of one week in a sample of musicians and non-musicians. Both studies found episodes of musical imagery to be common and positive: people rarely wanted such experiences to end and often heard music that was personally meaningful. Several variables predicted musical imagery, including personality, musical preferences, and positive mood. Musicians tended to hear musical imagery more often, but they reported less frequent episodes of deliberately-generated imagery. Taken together, the present research provides new insights into individual differences in musical imagery, and it supports the emerging view that such experiences are common, positive, and more voluntary than previously recognized.

From mind-pops to hallucinations? A study of involuntary semantic memories in schizophrenia

Involuntary semantic memories or mind-pops consist of isolated fragments of one's semantic knowledge (e.g., a word or a sentence, proper name, image or a melody) that come to mind unexpectedly, without any deliberate attempt to recall them. They can be experienced as alien and uncontrollable, and may share some phenomenological similarities with hallucinations. The aim of the present study was to investigate the nature and frequency of mind-pops in people with schizophrenia (N=37), as well as clinically depressed (N=31) and non-clinical controls (N=31). Results showed that schizophrenia patients reported experiencing mind-pops more frequently than both depressed and non-clinical controls. Schizophrenia patients also reported a wider range of different types of mind-pops than non-clinical controls. The depressed group did not differ from non-clinical controls in the frequency and range of mind-pops, indicating that mind-pops are not characteristic of clinical populations in general, but may be particularly prevalent in patients with schizophrenia. The possible implications of this finding to current models of auditory verbal hallucinations are discussed and the need for future research in this area is emphasized.