How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music

Reliability for music-induced heart rate synchronization

Common inputs synchronize various biological systems, including human physical and cognitive processes. This mechanism potentially explains collective human emotions in theater as unintentional behavioral synchronization. However, the inter-subject correlation of physiological signals among individuals is small. Based on findings on the common-input synchronization of nonlinear systems, we hypothesized that individual differences in perceptual and cognitive systems reduce the reliability of physiological responses to aesthetic stimuli and, thus, disturb synchronization. We tested this by comparing the inter- and intra-subject Pearson's correlation coefficients and nonlinear phase synchronization, calculated using instantaneous heart rate data measured while appreciating music. The results demonstrated that inter-subject correlations were consistently lower than intra-subject correlations, regardless of participants' music preferences and daily moods. Further, music-induced heart rate synchronization depends on the reliability of physiological responses to musical pieces rather than mood or motivation. This study lays the foundation for future empirical research on collective emotions in theater.

Research Trends in Virtual Reality Music Concert Technology: A Systematic Literature Review

Advances in virtual reality (VR) technology have sparked novel avenues of growth in the musical domain. Following the COVID-19 pandemic, the rise of VR technology has led to growing interest in VR music concerts as an alternative to traditional live concerts. These virtual settings can provide immersion like attending real concerts for physically distant audiences and performers, and also can offer new creative possibilities. VR music concert research is still in its infancy, and advances in technologies such as multimodal devices are rapidly expanding the diversity of research, requiring a unified understanding of the field. To identify trends in VR music concert technology, we conducted a PRISMA-based systematic literature review covering the period from 2018 to 2023. After a thorough screening process, a total of 27 papers were selected for review. The studies were classified and analyzed based on the research topic (audience, performer, concert venue), interaction type (user-environment, user-user), and hardware used (head-mounted display, additional hardware). Furthermore, we categorized the evaluation metrics into user experience, usability, and performance. Our review contributes to advancing the understanding of recent developments in VR music concert technology, shedding light on the diversification and potential of this emerging field.

Audience reconstructed: social media interaction by BTS fans during live stream concerts

COVID-19-motivated social distancing made online concerts common practice in 2020 and 2021, with millions logging into streaming sites to see their favorite artists perform in realtime. For some fans, watching alone at home may have been enough, but concert-concurrent surges of social media activity suggest many virtual performance attendees are doing more. To understand why fans would turn their attention from these precious performance streams to social media, we explored Twitter engagement during four live streamed concerts performed by the Kpop group BTS in 2021. In public Tweets sampled by either concert hashtag or a predefined stream of users and keywords, we evaluated patterns in posting rates in relation to concert program events and investigated the content patterns in 1,200 Tweets sampled from four ranges of popularity (number of Retweets during the concert). Across concerts, short "Shout" Tweets surged at the start of songs, while the rate of retweets often fell during musical performances and shot up when BTS was off stage. Content analysis on the subsample found the materials most widely shared were informational or featured concert visuals, mimicking how fans use their phones at in-person concerts. Most original posts received few Retweets and were more personal and expressive of admiration for the performers. Comparison between the samples (concert hashtag vs. stream) also suggests users were strategic in using or omitting official concert hashtags with the strongest differences in the most widely disseminated content. Postings on Twitter during these performances seemed principally directed to fellow fans and audience members, by individuals choosing to share their own excitement and check in with others. By leveraging their existing social media networks, these concert attendees constructed a collective and interactive concert space, connecting with friends and strangers in the crowd and helping each other capture a richer experience than any broadcasting platform currently supports.

Capturing differences in perception and aesthetic judgment of live or medially presented music: development of a self-report instrument

Nowadays there are multiple ways to perceive music, from attending concerts (live) to listening to recorded music through headphones (medial). In between there are many mixed modes, such as playback performances. In empirical music research, this plurality of performance forms has so far found little recognition. Until now no measuring instrument has existed that could adequately capture the differences in perception and aesthetic judgment. The purpose of our empirical investigation was to capture all dimensions relevant to such an assessment. Using 3D-simulations and dynamic binaural synthesis, various live and medial situations were simulated. A qualitative survey was conducted at the Department of Audio Communication of the Technical University of Berlin (TU Berlin). With the help of the repertory grid technique, a data pool of approximately 400 attribute pairs was created and individual rating data were collected. Our first study served to create a semantic differential. In a second study, this semantic differential was evaluated. The development of the semantic differential was carried out by first using a mixed-method approach to qualitative analysis according to grounded theory. Thereafter, a principal component analysis reduced the attribute pairs to 67 items in four components. The semantic differential consists of items concerning acoustic, visual and audio-visual interaction as well as items with an overarching assessment of the stimuli. The evaluation study, comprising 45 participants (23 male and 22 female, M = 42.56 years, SD = 17.16) who rated 12 stimuli each, reduced the items to 61 and resulted in 18 subscales and nine single items. Because the survey used simulations, the social component may be underrepresented. Nevertheless, the questionnaire we created enables the evaluation of music performances (especially for classical concerts) in a new scope, thus opening many opportunities for further research. For example, in a live concert context, we observed not only that seating position influences the judgment of sound quality but also that visual elements influence immersion and felt affect. In the future, the differential could be reviewed for a larger stimulus pool, extended or used modularly for different research questions.

Hemodynamic and Stress Response After Sound Intervention with Different Headphone Systems: A Double-Blind Randomized Study in Healthy Volunteers Working in the Health Care Sector

Objectives: Two headphone systems using different sound systems were compared to investigate the effects of a sound intervention on cardiovascular parameters, indicators of stress, and subjective feelings. Methods: One hundred volunteers who work in the health care sector reporting elevated workplace-related stress were enrolled and randomized to a 12-min sound intervention (classical music) with either conventional headphones ("MEZE 99 Classic") or with the same-but internally modified-headphone (called "Lautsaenger"). Cardiovascular parameters were measured with the VascAssist2.0, both before and after sound interventions. In addition, participants were asked to complete questionnaires on burnout risk and emotions/stress. Results: The study population consisted mainly of female participants (n = 83), with the majority being students (42%). Median age was 32.5 years (range 21-71). In terms of cardiovascular parameters, a significant reduction in aortic pulse wave velocity, as measure of arterial stiffness, and heart rate was observed within both treatment arms. Both systolic blood pressure and arterial flow resistance were reduced by sound intervention, while these effects were only documented with Lautsaenger. Treatment groups were comparable in terms of subjective feedback by participants: a significant increase in emotional wellbeing was achieved with both headphone systems. Conclusions: A single short-term sound intervention seems to be able to achieve objective cardiovascular improvements in healthy volunteers reporting subjective symptoms of workplace-related stress, using two different headphone systems. Moreover, significant emotional improvement was reported within both arms. Trial Registration: ISRCTN registry 70947363, date of registration August 13, 2021.

Live music stimulates the affective brain and emotionally entrains listeners in real time

Music is powerful in conveying emotions and triggering affective brain mechanisms. Affective brain responses in previous studies were however rather inconsistent, potentially because of the non-adaptive nature of recorded music used so far. Live music instead can be dynamic and adaptive and is often modulated in response to audience feedback to maximize emotional responses in listeners. Here, we introduce a setup for studying emotional responses to live music in a closed-loop neurofeedback setup. This setup linked live performances by musicians to neural processing in listeners, with listeners' amygdala activity was displayed to musicians in real time. Brain activity was measured using functional MRI, and especially amygdala activity was quantified in real time for the neurofeedback signal. Live pleasant and unpleasant piano music performed in response to amygdala neurofeedback from listeners was acoustically very different from comparable recorded music and elicited significantly higher and more consistent amygdala activity. Higher activity was also found in a broader neural network for emotion processing during live compared to recorded music. This finding included observations of the predominance for aversive coding in the ventral striatum while listening to unpleasant music, and involvement of the thalamic pulvinar nucleus, presumably for regulating attentional and cortical flow mechanisms. Live music also stimulated a dense functional neural network with the amygdala as a central node influencing other brain systems. Finally, only live music showed a strong and positive coupling between features of the musical performance and brain activity in listeners pointing to real-time and dynamic entrainment processes.

Multimodal robotic music performance art based on GRU-GoogLeNet model fusing audiovisual perception

The field of multimodal robotic musical performing arts has garnered significant interest due to its innovative potential. Conventional robots face limitations in understanding emotions and artistic expression in musical performances. Therefore, this paper explores the application of multimodal robots that integrate visual and auditory perception to enhance the quality and artistic expression in music performance. Our approach involves integrating GRU (Gated Recurrent Unit) and GoogLeNet models for sentiment analysis. The GRU model processes audio data and captures the temporal dynamics of musical elements, including long-term dependencies, to extract emotional information. The GoogLeNet model excels in image processing, extracting complex visual details and aesthetic features. This synergy deepens the understanding of musical and visual elements, aiming to produce more emotionally resonant and interactive robot performances. Experimental results demonstrate the effectiveness of our approach, showing significant improvements in music performance by multimodal robots. These robots, equipped with our method, deliver high-quality, artistic performances that effectively evoke emotional engagement from the audience. Multimodal robots that merge audio-visual perception in music performance enrich the art form and offer diverse human-machine interactions. This research demonstrates the potential of multimodal robots in music performance, promoting the integration of technology and art. It opens new realms in performing arts and human-robot interactions, offering a unique and innovative experience. Our findings provide valuable insights for the development of multimodal robots in the performing arts sector.

Live bedside music for hospitalized older adults: A qualitative descriptive interview study

INTRODUCTION

Hospitalization may have a major impact on older patients as it is often a period of psychosocial vulnerability. Music is one of the most described art forms used in healthcare. Applied in clinical settings, it can affect a patients' emotional and psychosocial well-being. Incorporating a wider perspective of health promotion that aims to advance not only physical health, but a patients' overall well-being, is part of a person-centred approach to care. We developed an innovative participatory music practice in which professional musicians and music therapists visited patients at their bedside for 10-15 min in a Dutch and Austrian hospital. This qualitative study explores the added value of live bedside music practice for older hospitalized patients in Austria and the Netherlands.

METHODS

Semi-structured interviews were conducted between October 2020 and February 2022 with 23 hospitalized patients aged ≥60 years. Due to the COVID-19 pandemic, the music sessions in Austria were facilitated by establishing a live connection between musicians and patients using a tablet. Data were transcribed verbatim and performed qualitative content analysis following the steps of thematic analysis. The COnsolidated criteria for REporting Qualitative research (COREQ) checklist was applied to report data collection, analysis and results.

RESULTS

Four themes emerged from the data analysis. Participants described the perceived influences of live bedside music in terms of (1) emotional release, (2) positive distraction, (3) alterations in contact and (4) shared humanity. Overall, participants positively valued the live bedside music practice and expressed a desire for its continuation.

CONCLUSION

This study explores the experiences and the added value of live bedside music for older hospitalized patients. By facilitating distraction and emotional release and enhancing nurse-patient interactions, live bedside music can significantly improve hospital experiences for older patients. Results reveal that live bedside music provides a positive patient experience and can be part of integrative and holistic care for hospitalized older patients. Live bedside music can attend to the emotional needs of older patients which are often under addressed in clinical settings but are crucial for enhancing their well-being.

Recurrence Quantification Analysis of Crowd Sound Dynamics

When multiple individuals interact in a conversation or as part of a large crowd, emergent structures and dynamics arise that are behavioral properties of the interacting group rather than of any individual member of that group. Recent work using traditional signal processing techniques and machine learning has demonstrated that global acoustic data recorded from a crowd at a basketball game can be used to classify emergent crowd behavior in terms of the crowd's purported emotional state. We propose that the description of crowd behavior from such global acoustic data could benefit from nonlinear analysis methods derived from dynamical systems theory. Such methods have been used in recent research applying nonlinear methods to audio data extracted from music and group musical interactions. In this work, we used nonlinear analyses to extract features that are relevant to the behavioral interactions that underlie acoustic signals produced by a crowd attending a sporting event. We propose that recurrence dynamics measured from these audio signals via recurrence quantification analysis (RQA) reflect information about the behavioral dynamics of the crowd itself. We analyze these dynamics from acoustic signals recorded from crowds attending basketball games, and that were manually labeled according to the crowds' emotional state across six categories: angry noise, applause, cheer, distraction noise, positive chant, and negative chant. We show that RQA measures are useful to differentiate the emergent acoustic behavioral dynamics between these categories, and can provide insight into the recurrence patterns that underlie crowd interactions.

Aesthetic and physiological effects of naturalistic multimodal music listening

Compared to audio only (AO) conditions, audiovisual (AV) information can enhance the aesthetic experience of a music performance. However, such beneficial multimodal effects have yet to be studied in naturalistic music performance settings. Further, peripheral physiological correlates of aesthetic experiences are not well-understood. Here, participants were invited to a concert hall for piano performances of Bach, Messiaen, and Beethoven, which were presented in two conditions: AV and AO. They rated their aesthetic experience (AE) after each piece (Experiment 1 and 2), while peripheral signals (cardiorespiratory measures, skin conductance, and facial muscle activity) were continuously measured (Experiment 2). Factor scores of AE were significantly higher in the AV condition in both experiments. LF/HF ratio, a heart rhythm that represents activation of the sympathetic nervous system, was higher in the AO condition, suggesting increased arousal, likely caused by less predictable sound onsets in the AO condition. We present partial evidence that breathing was faster and facial muscle activity was higher in the AV condition, suggesting that observing a performer's movements likely enhances motor mimicry in these more voluntary peripheral measures. Further, zygomaticus ('smiling') muscle activity was a significant predictor of AE. Thus, we suggest physiological measures are related to AE, but at different levels: the more involuntary measures (i.e., heart rhythms) may reflect more sensory aspects, while the more voluntary measures (i.e., muscular control of breathing and facial responses) may reflect the liking aspect of an AE. In summary, we replicate and extend previous findings that AV information enhances AE in a naturalistic music performance setting. We further show that a combination of self-report and peripheral measures benefit a meaningful assessment of AE in naturalistic music performance settings.

Concert experiences in virtual reality environments

Spurred by recent advances in digital technologies, virtual concerts have become established modes for event attendance and represent a rapidly growing segment of the music industry. Yet, up to now, general experience of virtual concert attendees remains largely underexplored. Here, we focus on a subcategory in this domain: music concerts in virtual reality (VR). Our approach is situated within the theoretical framework of embodied music cognition and entailed investigation through a survey study. Responses of seventy-four VR concert attendees were collected, consisting of demographics, motivations, experiences, and future perspectives. In contrast to previous research, which generally identified social connectedness as a main motivator for concert attendance, our sample regarded it as one of the least important incentives. On the other hand, in line with previous studies, 'seeing specific artists perform' and 'uniqueness of the experience', were pivotal. The latter was mostly fueled by the possibility to experience/interact with visuals and environments considered as unconceivable in the real world. Furthermore, 70% of our sample regarded VR concerts as 'the future of the music industry', mainly relating to the accessibility of such events. Positive evaluations of VR concert experiences, as well as future perspectives regarding the medium, were significantly influenced by the level of experienced immersivity. To our knowledge, this is the first study to provide such an account.

Supplementary Information

The online version contains supplementary material available at 10.1007/s10055-023-00814-y.

Barriers to Implementation of Music Listening Interventions for Cancer-Related Phenomena: A Mapping Review

Introduction: Despite music listening interventions (MLIs) being recommended in multiple clinical practice guidelines, implementation into oncology clinical practice sites has been slow. This mapping review aimed to critique and identify barriers to MLI clinical implementation, as well as offer practical solutions for both clinicians and researchers. Methods: A PRISMA-based mapping review of MLI literature was performed using CINAHL, PubMed, PsycINFO, and Web of Science databases. Eligibility criteria included studies with MLIs as independent variables and cancer-related phenomena as outcome variables. Search was performed in October 2021, and no date limit was set. Results: Thirty-eight studies met the eligibility criteria for inclusion. Several aspects of MLI studies suggested potential barrier status to clinician or patient adoption. These findings included choice of music, music delivery hardware, dose of MLI, and timing of MLI specific to outcomes of interest (e.g., pain, anxiety, mood). Few investigators addressed the concurrent effects of pharmaceuticals (e.g., analgesics, anxiolytics), and controlling for the effects of competing auditory stimuli was minimal. Discussion: This review has identified several barriers that may obstruct clinician and patient adoption of MLIs, despite level of evidence for MLIs that presently exists in the literature. The review makes practical suggestions for clinicians, researchers, and patients to overcome the present barriers and ease MLIs into common practice in clinics and homes.

The neuroscience of music – towards ecological validity

Studies in the neuroscience of music gained momentum in the 1990s as an integrated part of the well-controlled experimental research tradition. However, during the past two decades, these studies have moved toward more naturalistic, ecologically valid paradigms. Here, I introduce this move in three frameworks: (i) sound stimulation and empirical paradigms, (ii) study participants, and (iii) methods and contexts of data acquisition. I wish to provide a narrative historical overview of the development of the field and, in parallel, to stimulate innovative thinking to further advance the ecological validity of the studies without overlooking experimental rigor.

A concert for babies: Attentional, affective, and motor responses in an infant audience

Many of our most powerful musical experiences are shared with others, and researchers have increasingly investigated responses to music in group contexts. Though musical performances for infants are growing in popularity, most research on infants' responses to live music has focused on solitary caregiver-infant pairs. Here, we report infants' attentional, affective, and motor responses to live music as audience members. Two groups of caregiver-infant (6-18 months) pairs (50 total) watched a short musical performance with two song styles - lullaby and playsong. Caregivers were instructed to watch passively or interactively. The playsong captured more infant attention and, especially in the interactive condition, elicited more infant smiles. Notably, infant attention was more coordinated with their own caregiver than a random caregiver, and infants with no experience attending group musical events in the past were especially attentive to the performance. Infants were more likely to generate movements when parents remained still. Overall, infants' responses to live musical performance in an audience were influenced by song style, caregiver behavior, and their own musical histories. A video abstract of this article can be viewed at https://www.youtube.com/watch?v=q61qnDMW8dU. RESEARCH HIGHLIGHTS: Infants' responses to live musical performances are shaped by the music, by their caregivers, and by their own musical histories During a concert for babies, a playsong more effectively elicited infant attention and smiles than a lullaby, especially when caregivers were interactive Infant attention was more coordinated with their own caregiver than with other caregivers watching the same show.

Evaluation of expert skills in refinery patrol inspection: visual attention and head positioning behavior

We aimed to clarify expert skills in refinery patrol inspection using data collected through a virtual reality experimental system. As body positioning and postural changes are relevant factors during refinery patrol inspection tasks, we measured and analyzed both visual attention and head positioning behavior among experts and "knowledgeable novices" who were engaged in the engineering of the refinery but had less inspection experience. The participants performed a simulated inspection task, and the results showed that 1) expert inspectors could find more defects compared to knowledgeable novices, 2) visual attention behavior was similar between knowledgeable novices and experts, and 3) experts tended to position their heads at various heights and further from the inspection target to obtain visual information more effectively from the target compared to knowledgeable novices. This study presented the differences in head positioning behavior between expert and novice inspectors for the first time. These results suggest that to evaluate the skills used in inspecting relatively larger targets, both visual attention and head positioning behavior of the inspectors must be measured.

Music and Brain Circuitry: Strategies for Strengthening Evidence-Based Research for Music-Based Interventions

The neuroscience of music and music-based interventions (MBIs) is a fascinating but challenging research field. While music is a ubiquitous component of every human society, MBIs may encompass listening to music, performing music, music-based movement, undergoing music education and training, or receiving treatment from music therapists. Unraveling the brain circuits activated and influenced by MBIs may help us gain better understanding of the therapeutic and educational values of MBIs by gathering strong research evidence. However, the complexity and variety of MBIs impose unique research challenges. This article reviews the recent endeavor led by the National Institutes of Health to support evidence-based research of MBIs and their impact on health and diseases. It also highlights fundamental challenges and strategies of MBI research with emphases on the utilization of animal models, human brain imaging and stimulation technologies, behavior and motion capturing tools, and computational approaches. It concludes with suggestions of basic requirements when studying MBIs and promising future directions to further strengthen evidence-based research on MBIs in connections with brain circuitry.SIGNIFICANCE STATEMENT Music and music-based interventions (MBI) engage a wide range of brain circuits and hold promising therapeutic potentials for a variety of health conditions. Comparative studies using animal models have helped in uncovering brain circuit activities involved in rhythm perception, while human imaging, brain stimulation, and motion capture technologies have enabled neural circuit analysis underlying the effects of MBIs on motor, affective/reward, and cognitive function. Combining computational analysis, such as prediction method, with mechanistic studies in animal models and humans may unravel the complexity of MBIs and their effects on health and disease.

Synchrony in the periphery: inter-subject correlation of physiological responses during live music concerts

While there is an increasing shift in cognitive science to study perception of naturalistic stimuli, this study extends this goal to naturalistic contexts by assessing physiological synchrony across audience members in a concert setting. Cardiorespiratory, skin conductance, and facial muscle responses were measured from participants attending live string quintet performances of full-length works from Viennese Classical, Contemporary, and Romantic styles. The concert was repeated on three consecutive days with different audiences. Using inter-subject correlation (ISC) to identify reliable responses to music, we found that highly correlated responses depicted typical signatures of physiological arousal. By relating physiological ISC to quantitative values of music features, logistic regressions revealed that high physiological synchrony was consistently predicted by faster tempi (which had higher ratings of arousing emotions and engagement), but only in Classical and Romantic styles (rated as familiar) and not the Contemporary style (rated as unfamiliar). Additionally, highly synchronised responses across all three concert audiences occurred during important structural moments in the music-identified using music theoretical analysis-namely at transitional passages, boundaries, and phrase repetitions. Overall, our results show that specific music features induce similar physiological responses across audience members in a concert context, which are linked to arousal, engagement, and familiarity.

Interbrain emotional connection during music performances is driven by physical proximity and individual traits

How musical emotions and the pleasure derived from music, regardless of the musical valence, can be shared between individuals is a fascinating question, and investigating it can shed light on the function of musical reward. We carried out our investigations in a natural setting during an international competition for orchestra conductors. Participants (n = 15) used a dedicated smartphone app to report their subjective emotional experiences in real time while we recorded their cerebral activity using electroencephalography and their electrodermal activity. The overall behavioral real-time behavioral ratings suggest a possible social influence on the reported and felt pleasure. The physically closer the participants, the more similar their reported pleasure. By calculating the interindividual cerebral coherence (n = 21 pairs), we showed that when people simultaneously reported either high or low pleasure, their cerebral activities were closer than for simultaneous neutral pleasure reports. Participants' skin conductance levels were also more coupled when reporting higher emotional degrees simultaneously. More importantly, the participants who were physically closer had higher cerebral coherence, but only when they simultaneously reported a high level of pleasure. We propose that emotional contagion and/or emotional resonance mechanisms could explain why a form of "emotional connecting force" arises between people during shared appraisal situations.

Pilot Study on Music in the Waiting Room of Outpatient Pain Clinics

BACKGROUND

This study explores live and recorded music listening in the outpatient pain clinic. There is evidence demonstrating the effectiveness of live and recorded music in a hospital setting but a comparison study of this kind has yet to be conducted.

METHODS

A multimethod survey study design was used. A questionnaire utilizing rating scales was self-administered across two outpatient pain clinic waiting rooms. Patients were included through convenience sampling. In one clinic, a playlist of recorded music curated by two of the authors was provided. In the second clinic, a music therapy student played live music using guitar, flute, and voice. The questionnaire gathered data on music's impact on pain and emotional states, as well as attitudes toward music in the waiting room. Quantitative data was analyzed using descriptive statistics and qualitative data, gathered in the questionnaires open ended question, was analyzed using thematic analysis.

RESULTS

The questionnaire was completed by 200 adult patients. Patients reported lowered levels of anxiety, stress, and pain in both clinics, as well as a shorter waiting time and more caring experience. Patients in the live music clinic reported that music lowered levels of stress, nervousness, agitation, and pain more than in the recorded music clinic.

CONCLUSIONS

Participants in this study identified that music is a useful tool in the pain clinic waiting room. This study contributes to evidence that music should be considered as a complimentary treatment for people living with pain and in the wider hospital setting. Additional research is warranted with a control group, pre- and posttesting, and studies of music in hospitals in a range of cultural contexts.

Is the MSB hypothesis (music as a coevolved system for social bonding) testable in the Popperian sense?

"Music As a Coevolved System for Social Bonding" (MSB) is a brilliant synthesis and appealing hypothesis offering insights into the evolution and social bonding of musicality, but is so broad and sweeping it will be challenging to test, prove or falsify in the Popperian sense (Popper, 1959). After general comments, I focus my critique on underlying neurobiological mechanisms, and offer some suggestions for experimental tests of MSB.

Audience facial expressions detected by automated face analysis software reflect emotions in music

An abundance of studies on emotional experiences in response to music have been published over the past decades, however, most have been carried out in controlled laboratory settings and rely on subjective reports. Facial expressions have been occasionally assessed but measured using intrusive methods such as facial electromyography (fEMG). The present study investigated emotional experiences of fifty participants in a live concert. Our aims were to explore whether automated face analysis could detect facial expressions of emotion in a group of people in an ecologically valid listening context, to determine whether emotions expressed by the music predicted specific facial expressions and examine whether facial expressions of emotion could be used to predict subjective ratings of pleasantness and activation. During the concert, participants were filmed and facial expressions were subsequently analyzed with automated face analysis software. Self-report on participants’ subjective experience of pleasantness and activation were collected after the concert for all pieces (two happy, two sad). Our results show that the pieces that expressed sadness resulted in more facial expressions of sadness (compared to happiness), whereas the pieces that expressed happiness resulted in more facial expressions of happiness (compared to sadness). Differences for other facial expression categories (anger, fear, surprise, disgust, and neutral) were not found. Independent of the musical piece or emotion expressed in the music facial expressions of happiness predicted ratings of subjectively felt pleasantness, whilst facial expressions of sadness and disgust predicted low and high ratings of subjectively felt activation, respectively. Together, our results show that non-invasive measurements of audience facial expressions in a naturalistic concert setting are indicative of emotions expressed by the music, and the subjective experiences of the audience members themselves.

Evolutionary origins of music. Classical and recent hypotheses

The aim of this paper is to review recent hypotheses on the evolutionary origins of music in Homo sapiens, taking into account the most influential traditional hypotheses. To date, theories derived from evolution have focused primarily on the importance that music carries in solving detailed adaptive problems. The three most influential theoretical concepts have described the evolution of human music in terms of 1) sexual selection, 2) the formation of social bonds, or treated it 3) as a byproduct. According to recent proposals, traditional hypotheses are flawed or insufficient in fully explaining the complexity of music in Homo sapiens. This paper will critically discuss three traditional hypotheses of music evolution (music as an effect of sexual selection, a mechanism of social bonding, and a byproduct), as well as and two recent concepts of music evolution - music as a credible signal and Music and Social Bonding (MSB) hypothesis.

Corona Concerts: The Effect of Virtual Concert Characteristics on Social Connection and Kama Muta

The popularity of virtual concerts increased as a result of the social distancing requirements of the coronavirus pandemic. We aimed to examine how the characteristics of virtual concerts and the characteristics of the participants influenced their experiences of social connection and kama muta (often labeled “being moved”). We hypothesized that concert liveness and the salience of the coronavirus would influence social connection and kama muta. We collected survey responses on a variety of concert and personal characteristics from 307 participants from 13 countries across 4 continents. We operationalized social connection as a combination of feelings and behaviors and kama muta was measured using the short kama muta scale (Zickfeld et al., 2019). We found that (1) social connection and kama muta were related and predicted by empathic concern, (2) live concerts produced more social connection, but not kama muta, than pre-recorded concerts, and (3) the salience of the coronavirus during concerts predicted kama muta and this effect was completely mediated by social connection. Exploratory analyses also examined the influence of social and physical presence, motivations for concert attendance, and predictors of donations. This research contributes to the understanding of how people can connect socially and emotionally in virtual environments.

Music Listening in Classical Concerts: Theory, Literature Review, and Research Program

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.

Framing a Phenomenological Mixed Method: From Inspiration to Guidance

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).

Leadership and tempo perturbation affect coordination in medium-sized groups

In marching bands, sports, dance and virtually all human group behaviour, we coordinate our actions with others. Coordinating actions in time and space can act as a social glue, facilitating bonding among people. However, much of our understanding about coordination dynamics is based on research into dyadic interactions. Little is known about the nature of the sensorimotor underpinnings and social bonding outcomes of coordination in medium-sized groups-the type of groups, in which most everyday teamwork takes place. In this study, we explored how the presence of a leader and an unexpected perturbation influence coordination and cohesion in a naturalistic setting. In groups of seven, participants were instructed to walk in time to an auditory pacing signal. We found that the presence of a reliable leader enhanced coordination with the target tempo, which was disrupted when the leader abruptly changed their movement tempo. This effect was not observed on coordination with the group members. Moreover, participants' perceptions of being a follower and group cooperativeness increased in the presence of a leader. This study extends our knowledge about coordination beyond previous work on dyads. We discuss our results in light of sensorimotor coupling and social cohesion theories of coordination in groups.

Aesthetic Judgments of Live and Recorded Music: Effects of Congruence Between Musical Artist and Piece

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants (N = 32) made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece (congruent with the army band) and a non-patriotic piece (congruent with the university band). Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible.

Collective music listening: Movement energy is enhanced by groove and visual social cues

The regularity of musical beat makes it a powerful stimulus promoting movement synchrony among people. Synchrony can increase interpersonal trust, affiliation, and cooperation. Musical pieces can be classified according to the quality of groove; the higher the groove, the more it induces the desire to move. We investigated questions related to collective music-listening among 33 participants in an experiment conducted in a naturalistic yet acoustically controlled setting of a research concert hall with motion tracking. First, does higher groove music induce (1) movement with more energy and (2) higher interpersonal movement coordination? Second, does visual social information manipulated by having eyes open or eyes closed also affect energy and coordination? Participants listened to pieces from four categories formed by crossing groove (high, low) with tempo (higher, lower). Their upper body movement was recorded via head markers. Self-reported ratings of grooviness, emotional valence, emotional intensity, and familiarity were collected after each song. A biomechanically motivated measure of movement energy increased with high-groove songs and was positively correlated with grooviness ratings, confirming the theoretically implied but less tested motor response to groove. Participants’ ratings of emotional valence and emotional intensity correlated positively with movement energy, suggesting that movement energy relates to emotional engagement with music. Movement energy was higher in eyes-open trials, suggesting that seeing each other enhanced participants’ responses, consistent with social facilitation or contagion. Furthermore, interpersonal coordination was higher both for the high-groove and eyes-open conditions, indicating that the social situation of collective music listening affects how music is experienced.

Live bedside music in daily clinical practice of a surgical hospital ward among older patients: A controlled study design of an innovative practice

OBJECTIVE

There is an increasing interest in the role of the arts, particularly music, in healthcare. Music seems an attractive non-pharmacological intervention for older patients to improve postoperative outcomes. Although live music elicits more meaningful responses from an audience than recorded music, the use of live music is still rare on hospital wards. In view of the positive effects of recorded music on older surgical patients, we designed, in collaboration with a conservatoire, an innovative practice named Meaningful Music in Health Care (MiMiC). The aim is to determine whether live bedside music implements into daily practice and allows improves patient outcomes.

METHOD

This manuscript provides an overview of a trial evaluating if live bedside music can improve postoperative outcomes in older patients. The MiMiC initiative is a non randomized controlled trial study among older surgical patients on three hospital wards. Live bedside music is performed by professional musicians, once a day for six or seven consecutive days. The primary outcome is experienced pain; secondary outcomes are anxiety, relaxation and physical parameters (heart rate, heart rate variability, blood pressure, respiratory rate and oxygenation). Measurements of these variables are collected before the intervention, 30 min afterwards and again after three hours. Daily evaluations determine whether this innovative practice can be implemented in daily practice.

CONCLUSION

This manuscript describes a new practice, live bedside music by professional musicians, on surgical hospital wards aiming to improve patient outcomes. It offers a new field of interprofessional collaboration for the benefit of patients. Further research must be conducted focussing on patient outcomes, including cost-effectiveness and the experiences of patients and healthcare professionals.

Cortical Patterns of Pleasurable Musical Chills Revealed by High-Density EEG

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.

Audience spontaneous entrainment during the collective enjoyment of live performances: physiological and behavioral measurements

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.

The Relevance of a Conductor Competition for the Study of Emotional Synchronization Within and Between Groups in a Natural Musical Setting

Group emotional dynamics are a central concern in the study of human interaction and communication. To study group emotions, the social context of a musical event in natural conditions may overcome several limits of laboratory experiments and could provide a suitable framework. This study aimed to evaluate if cultural events such as a conductor competition could welcome scientific research for the study of group emotional sharing. We led an observational study, which suggests that in this particular context, public, musicians and jury would agree to participate and to wear neurophysiological and physiological devices to monitor their emotional state during the competition. Self-administrated scales showed that, in the context of a musical competition, members of the public felt strong musical emotions such as music chills. Our results suggest that such a specific competition design is a suitable experimental model to lead an experiment under ecological conditions to effectively investigate collective emotional synchronization. In the future, with the implementation of an acquisition system recording synchronous neurophysiological data for a large group of participants, we may be able to highlight mechanisms involved in emotional synchronization in a natural musical setting.