Imaginative enrichment produces higher preference for unusual music than historical framing : a literature review and two empirical studies

Does accompanying information (“framing”) such as in a program note influence our preference for music? To date the findings have been mixed, although a small body of research has suggested that when framing accompanies music considered unusual (characterized by extreme complexity and extreme unfamiliarity), the music may be preferred compared to when no such framing occurs. A literature review (study 1) revealed that for 50% of experiments where valenced framing (positive versus negative suggestions of prestige) was manipulated, positive framing was accompanied by significantly higher ratings of preference and/or quality judgements. However, only one example contained music that could be considered unusual (atonal music). We therefore conducted two follow-up experiments, with each examining the influence of valenced framing as well as historical framing (accompanying historical details) for music intended to be unusual. Study 2 manipulated framing for an excerpt using atonal music, although we were unable to find evidence that positively valenced historical framing increased preference for this piece. A surprising finding in study 2 was that our active control—requiring the participant to engage imaginatively with the music—produced a significant increase in preference. Subsequently, in study 3 we examined the same three framing conditions and included both an unusual excerpt (free jazz) as well as an over-familiar, typical excerpt for comparison (being a repeatedly pre-exposed classical piano piece). Study 3 produced no significant differences in preference ratings between the two historical conditions, although a positive impact of imagination was again evident. We concluded that the impact of historical framing may be highly subjective and not of favorable consequence to the typical listener. Furthermore, while imaginative engagement appears a fruitful avenue for further preference research, it has been largely ignored

The magnetic Urtext : restoration as music interpretation

This paper discusses historical-critical thought to address the problems of restoration and preservation of tape music, proposing viable solutions to the matter of digitizing the historically valuable data that exists on and is represented by magnetic tapes. A detailed program of research and restoration and some software for helping in creation of critical editions of the musical works are proposed. We also present some of the issues and controversies that must be considered and approaches we have applied in the preservation of tape music, highlighting how these interpretations can impact later performances (playback) of these tape documents. Fundamentally, we argue that the act of tape music restoration has a parallel with the interpretation of the “Urtext score” in the performance of music from the Common Practice Era

The role of artistic creative activities in navigating the COVID-19 pandemic in Australia

During the COVID-19 pandemic some Australians turned to artistic creative activities (ACAs) as a way of managing their own mental health and well-being. This study examined the role of ACAs in regulating emotion and supporting mental health and well-being during the COVID-19 pandemic, and also attempted to identify at-risk populations. We proposed that (1) participants would use ACAs as avoidance-based emotion regulation strategies; and (2) music engagement would be used for emotion regulation. Australian participants (N = 653) recruited from the general public completed an online survey, which included scales targeting anxiety (GAD7 scale), depression (PHQ9 scale) and loneliness (two UCLA Loneliness Scales, referring to “Before” and “Since” COVID-19). Participants reported which ACAs they had undertaken and ceased during the pandemic using an established list and ranked their undertaken ACAs in terms of effectiveness at making them “feel better.” For their top-ranked ACA, participants then completed the Emotion Regulation Scale for Artistic Creative Activities (ERS-ACA), and if participants had undertaken any musical ACAs, also the Musical Engagement Questionnaire (MusEQ). The results supported both hypotheses. ANOVAs indicated that participants ranked significantly higher on the “avoidance” ERS-ACA subscale than the other subscales, and that participants ranked significantly higher on the emotion regulation and musical preference MusEQ subscales than the other subscales. Additionally, while ACAs such as “Watching films or TV shows” and “Cookery or baking” were common, they ranked poorly as effective methods of emotion regulation, whereas “Listening to music” was the second-most frequently undertaken ACA and also the most effective. “Singing” and “Dancing” were among the most ceased ACAs but also ranked among the most effective for emotion regulation, suggesting that support for developing pandemic-safe approaches to these ACAs may provide well-being benefits in future crises. Additionally, correlation analyses showed that younger participants, those who took less exercise during the pandemic, and those with the highest musical engagement reported the poorest well-being. We conclude that ACAs provided an important resource for supporting mental health and well-being during the COVID-19 pandemic in Australia and could potentially support mental health and well-being in future crises

Illuminating music : impact of color hue for background lighting on emotional arousal in piano performance videos

This study sought to determine if hues overlayed on a video recording of a piano performance would systematically influence perception of its emotional arousal level. The hues were artificially added to a series of four short video excerpts of different performances using video editing software. Over two experiments 106 participants were sorted into 4 conditions, with each viewing different combinations of musical excerpts (two excerpts with nominally high arousal and two excerpts with nominally low arousal) and hue (red or blue) combinations. Participants rated the emotional arousal depicted by each excerpt. Results indicated that the overall arousal ratings were consistent with the nominal arousal of the selected excerpts. However, hues added to video produced no significant effect on arousal ratings, contrary to predictions. This could be due to the domination of the combined effects of other channels of information (e.g., the music and player movement) over the emotional effects of the hypothesized influence of hue on perceived performance (red expected to enhance and blue to reduce arousal of the performance). To our knowledge this is the first study to investigate the impact of these hues upon perceived arousal of music performance, and has implications for musical performers and stage lighting. Further research that investigates reactions during live performance and manipulation of a wider range of lighting hues, saturation and brightness levels, and editing techniques, is recommended to further scrutinize the veracity of the findings

Back to the inverted-U for music preference : a review of the literature

This study investigated the inverted-U model of preference for music as a function of collative variables (especially familiarity and complexity) over the last 115 years. The results of 57 studies on music preference were categorized according to their patterns of preference. Fifty of the 57 studies (87.7%) were categorized as compatible with an overarching (segmented) inverted-U model, while the results of five studies (8.8%) were interpreted as mixed, showing both compatible and incompatible results. Two studies (3.5%) were categorized as completely incompatible with the model. In contrast to authors who describe the model as defunct, this review has observed that studies producing results compatible with the inverted-U are still prevalent. We propose that while there may be inconsistencies with Berlyne's psychobiological theory from a scientific, arousal-based standpoint, the inverted-U model is able to explain a considerable amount of data. Rather, it seems that research interests have moved elsewhere, but caution is urged in asserting denial or dismissal of the relationship in music preference research

Performing Lieder : expert perspectives and comparison of vibrato and singer's formant with opera singers

This article reports three studies about performance of lieder, and in particular in comparison with opera performance. In study 1, 21 participants with experience in music performance and teaching completed a survey concerning various characteristics of lieder performance. The results showed that there was consensus between the literature and the assessment of an expert panel - that a "natural" and "unoperatic" vibrato was favored, and that diction, text, and variation of tone are all important aspects of lieder performance. Two acoustic analyses were conducted to investigate genre-specific differences of the singer's formant and vibrato parameters. The first analysis (study 2) used 18 single quasi-unaccompanied notes from commercial recordings of two lieder, and, for comparison, 20 single unaccompanied notes from an opera. Vibrato rate was statistically identical between the two genres at ∼6.4 Hz; however, lieder featured a longer delay in vibrato onset. Vibrato extent was smaller for lieder (∼112 cents) compared with opera (∼138 cents). The singer's formant, which is generally associated with opera, was at times observed in the lieder recordings; however, this was at an overall significantly weaker intensity than in the opera recordings. The results were replicated in study 3, where recordings using only singers who performed in both lied and opera were analyzed. This direct comparison used 45 lieder notes and 55 opera notes and also investigated three different methods of analyzing the singer's formant. A number of consistencies and inconsistencies were identified between acoustic parameters reported in studies 2 and 3, and the beliefs of singing teachers and scholars in the literature and study 1

[In Press] Increasing music preference through guided self-framing : a comparison of historical and imaginative approaches

While accompanying or contextualizing information ("framing") is often included alongside music, prior research on the impact of framing on music preference has produced heterogeneous results. Most of these studies have examined historical framing, although a small subset has suggested that imaginative framing may have an understudied potential to increase preference. In such studies the participants are encouraged to freely use their imagination while listening. The present work directly compared these 2 approaches to framing to examine which has greater positive impact on preference. One hundred and fifty-two participants were exposed to 5 varied music excerpts (Pop/Rock and Classical), with participants placed into 1 of 3 conditions. Those in the historical condition were supplied with initial historical framing and were encouraged to freely search online for information related to the piece while listening to it (hence guided self-framing), whereas those in the imaginative condition were encouraged to freely use their imagination while listening. Those in a third, "unrelated" control condition were encouraged to choose an online game (selected from a provided list) while listening. Bayesian modeling was used to examine preference ratings by piece and condition. Historical framing led to higher preference than the control for 4 of 5 pieces, while imaginative framing led to higher preference than the control for 2 pieces. Additionally, those receiving historical framing rated preference higher for pieces that had a greater amount of information readily available online. Thus, historical framing most benefited preference, although we discuss limitations and future directions for research on guided self-framing

MoodyTunes : a mixed methods usability study of an app for adolescent mental health

Suicide is the leading cause of death in young people around the world, with depression as a major driver of these numbers. However, a substantial percentage of young people with depression do not seek professional help. As people in this demographic report listening should be to up to 5 hrs of music per day, music has the potential to serve as an effective method of reaching young people and increase their mental health literacy. MoodyTunes is an in-development mHealth app that aims to increasing mental health awareness in young people and to inform young people about how music can be used as an effective tool for self-regulating mood. Here, we report a mixed methods usability study of MoodyTunes in which a sample of young people (N = 20, age range: 12-25) experienced the app for the first time. A think-aloud method was used to evaluate the app, alongside quantitative survey responses, automated facial analysis data, and interview data. Survey data indicated that the app was perceived in a positive manner, and as effective and well-functioning, whereas aesthetic appeal received the lowest score. As hypothesized, women and younger participants displayed more positive emotions while using the app. Qualitative data indicated several positive aspects such as links to mental health resources and the ability to share music with others, but also highlighted the need to improve the aesthetic appeal, ease of use, and capacity to personalize the app. Future considerations and approaches for mHealth apps, as well as limitations in the present study, are discussed

Encouraging help-seeking and engagement in a mental health app : what young people want

Although many young people evince a preference for digital mental health support over face to face, engagement with smartphone apps for mental health remains relatively low, particularly in young people not accessing professional support services. While some of this can be attributed to stigma or embarrassment, there is also a need for developers and researchers to investigate features which promote long-term usage. MoodyTunes is a music-based smartphone app that has been co-designed with young people to help them develop effective self-management strategies for mood through music listening. Four focus groups with young people (N = 24, aged 13–25) were conducted to workshop how MoodyTunes could promote help-seeking behaviours and long-term engagement with the app. Online discussions following a broad topic guide were held in groups of 4–7 in which participants explored topics including the use of social features, promoting help-seeking behaviour, gamification and mood tracking. Participants also viewed visual materials and offered ideas about visual design both verbally and on paper. A general inductive approach was taken to analysis of qualitative data. Three primary themes were identified in the data: privacy; user empowerment; and engagement vs. achievement. Participants voiced a strong desire to remain anonymous and to feel empowered to make their own decisions about accessing professional help. Sensitive use of language was noted as critical, with some participants noting that the use of more directive language could have a negative impact on their mental health and that motivational features should focus on engagement with the primary aim of the app rather than rewarding achievement. Findings highlight the benefits of a co-design approach and provide key insights into how mental health apps may be able to improve long-term user engagement with young people

[In Press] Going online : successes and challenges in delivering group music instrument and aural learning for older adult novices during the COVID-19 pandemic

As a result of the COVID-19 pandemic, many cultural and artistic programs for older adults have been put on hold, despite the numerous physical, social, and emotional well-being benefits continued participation may bring. This article details a cross-section of participants (n = 13) in the Active Minds Music Ensemble—a longitudinal Australian-based research project that provides 12 months of group music instrument lessons to healthy older adult novices—who transitioned from face-to-face (F2F) to an online format. Research questions include the benefits and challenges for older adults as they cope with the technological demands of “going online,” perceived effects on teaching and older adults’ musical learning, as well as perceived effects on group learning benefits. Qualitative data were collected from three different perspectives: i) a frequently asked questions (FAQ) report from the research team documenting technological issues, ii) individual semi-structured interviews with the participants, and iii) a reflective report from the teacher. The findings confirm that online group music instrument lessons are viable for and valued by older adults, with appreciation of continued technical support. Teaching and learning changed as a result of the online format, primarily in the reduction of individual feedback and less interplay between participants; this was mitigated by use of various functions such as chat, whiteboards, and breakout rooms. Implications for older adult online music instrument lessons include providing continued technical support to learners and helping them maintain confidence with technology. Social opportunities for informal “side-chatter” may also help them to empathize with and encourage each other during music learning activities