Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening

Music Listening as Exploratory Behavior: From Dispositional Reactions to Epistemic Interactions with the Sonic World

Listening to music can span a continuum from passive consumption to active exploration, relying on processes of coping with the sounds as well as higher-level processes of sense-making. Revolving around the major questions of "what" and "how" to explore, this paper takes a naturalistic stance toward music listening, providing tools to objectively describe the underlying mechanisms of musical sense-making by weakening the distinction between music and non-music. Starting from a non-exclusionary conception of "coping" with the sounds, it stresses the exploratory approach of treating music as a sound environment to be discovered by an attentive listener. Exploratory listening, in this view, is an open-minded and active process, not dependent on simply recalling pre-existing knowledge or information that reduces cognitive processing efforts but having a high cognitive load due to the need for highly focused attention and perceptual readiness. Music, explored in this way, is valued for its complexity, surprisingness, novelty, incongruity, puzzlingness, and patterns, relying on processes of selection, differentiation, discrimination, and identification.

Effect of Family Music Therapy on Patients with Primary Liver Cancer Undergoing Palliative Care and their Caregivers: A Retrospective Study

OBJECTIVE

The effectiveness of family music therapy for patients with advanced palliative care hepatocellular carcinoma and their main caregivers was investigated.

METHODS

The clinical data of liver cancer patients and their main caregivers admitted to Wuwei City People's Hospital from August 2022 to April 2023 were retrospectively analysed. Patients were divided into observation group A and control group A according to whether they received family music therapy, and caregivers were divided into control group B and observation group B. The general demographic data, self-rating depression scale (SDS), self-rating anxiety scale (SAS), cancer-related fatigue scale (CFS), Pittsburgh sleep quality index (PSQI), anticipatory grief scale (AGS), and caregiver burden inventory (CBI) scores of the patients and their primary caregivers were collected. Propensity score matching (PSM) was used to balance the baseline data of the two groups. Then, data were analysed using t-test and chi-squared (χ2) test.

RESULTS

After 1:1 PSM, 45 samples were included in each group. Before management, no significant differences in SDS, SAS, AGS, CFS, PSQI and CBI scores were found among the groups (P > 0.05). After management, the SDS, SAS and CFS scores of observation group A were lower than those of control group A (P < 0.05). The AGS, PSQI and CBI scores of observation group B were lower than those of control group B (P < 0.05).

CONCLUSIONS

The effect of family music supplement therapy is ideal, which can relieve the negative emotions of patients, reduce the degree of cancer-related fatigue, enhance the sleep quality of the main caregivers and reduce anticipatory grief and the burden of care.

Hardiness and Expectations for Future Life: The Roles of Perceived Stress, Music Listening for Negative Emotion Regulation, and Life Satisfaction

This study investigated the relationship between hardiness and Korean adults' expectations for future life, and verified the multiple mediating effects of perceived stress, music listening for negative emotion regulation, and life satisfaction on that relationship. The participants were 412 Korean adults aged 20-65 years. PROCESS Macro 3.5 Model 80 was used to examine the multiple mediating effects. Correlational analysis showed that hardiness was positively correlated with music listening for negative emotion regulation, life satisfaction, and expectations for future life, whereas it was negatively correlated with perceived stress. Perceived stress was negatively correlated with life satisfaction and expectations for future life, whereas music listening for negative emotion regulation was positively correlated with life satisfaction and expectations for future life. In the multiple mediation model, the relationships between hardiness and expectations for future life, the sequential mediating effect of perceived stress and life satisfaction, and the sequential mediating effect of music listening for negative emotion regulation and life satisfaction were significant. The direct effect of hardiness on expectations for future life was also significant, indicating that perceived stress, music listening for negative emotion regulation, and life satisfaction only partially mediated the relationship between hardiness and expectations for future life. It seems, thus, that perceived stress, music listening for negative emotion regulation, and life satisfaction play an important role in Korean adults' expectations for future life.

Emotional valence perception in music and subjective arousal: Experimental validation of stimuli

Musical stimuli are widely used in emotion research and intervention studies. However, reviews have repeatedly noted that a lack of pre-evaluated musical stimuli is stalling progress in our understanding of specific effects of varying music. Musical stimuli vary along a plethora of dimensions. Of particular interest are emotional valence and tempo. Thus, we aimed to evaluate the emotional valence of a set of slow and fast musical stimuli. N = 102 (mean age: 39.95, SD: 13.60, 61% female) participants rated the perceived emotional valence in 20 fast (>110 beats per minute [bmp]) and 20 slow (<90 bpm) stimuli. Moreover, we collected reports on subjective arousal for each stimulus to explore arousal's association with tempo and valence. Finally, participants completed questionnaires on demographics, mood (profile of mood states), personality (10-item personality index), musical sophistication (Gold-music sophistication index), and sound preferences and hearing habits (sound preference and hearing habits questionnaire). Using mixed-effect model estimates, we identified 19 stimuli that participants rated to have positive valence and 16 stimuli that they rated to have negative valence. Higher age predicted more positive valence ratings across stimuli. Higher tempo and more extreme valence ratings were each associated with higher arousal. Higher educational attainment was also associated with higher arousal reports. Pre-evaluated stimuli can be used in future musical research.

Music, Pleasure, and Meaning: The Hedonic and Eudaimonic Motivations for Music (HEMM) Scale

Many people listen to music that conveys challenging emotions such as sadness and anger, despite the commonly assumed purpose of media being to elicit pleasure. We propose that eudaimonic motivation, the desire to engage with aesthetic experiences to be challenged and facilitate meaningful experiences, can explain why people listen to music containing such emotions. However, it is unknown whether music containing violent themes can facilitate such meaningful experiences. In this investigation, three studies were conducted to determine the implications of eudaimonic and hedonic (pleasure-seeking) motivations for fans of music with violent themes. In Study 1, we developed and tested a new scale and showed that fans exhibit high levels of both types of motivation. Study 2 further validated the new scale and provided evidence that the two types of motivations are associated with different affective outcomes. Study 3 revealed that fans of violently themed music exhibited higher levels of eudaimonic motivation and lower levels of hedonic motivation than fans of non-violently themed music. Taken together, the findings support the notion that fans of music with violent themes are driven to engage with this music to be challenged and to pursue meaning, as well as to experience pleasure. Implications for fans' well-being and future applications of the new measure are discussed.

Meaning in Music Is Intentional, but in Soundscape It Is Not-A Naturalistic Approach to the Qualia of Sounds

The sound environment and music intersect in several ways and the same holds true for the soundscape and our internal response to listening to music. Music may be part of a sound environment or take on some aspects of environmental sound, and therefore some of the soundscape response may be experienced alongside the response to the music. At a deeper level, coping with music, spoken language, and the sound environment may all have influenced our evolution, and the cognitive-emotional structures and responses evoked by all three sources of acoustic information may be, to some extent, the same. This paper distinguishes and defines the extent of our understanding about the interplay of external sound and our internal response to it in both musical and real-world environments. It takes a naturalistic approach to music/sound and music-listening/soundscapes to describe in objective terms some mechanisms of sense-making and interactions with the sounds. It starts from a definition of sound as vibrational and transferable energy that impinges on our body and our senses, with a dynamic tension between lower-level coping mechanisms and higher-level affective and cognitive functioning. In this way, we establish both commonalities and differences between musical responses and soundscapes. Future research will allow this understanding to grow and be refined further.