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Recent findings in Alzheimer’s disease research has suggested that light entrainment in the form of gamma-band (40 Hz) stimulation can ameliorate Alzheimer’s-associated pathology and improve cognition. Here we report feasibility of a music-based intervention that is coupled with light entrainment in the gamma band, as well as a control intervention that pairs podcast listening with lights tuned to delta but not gamma band frequencies. We compare qualitative data from participant-maintained logbooks (diaries) and researcher notes using Natural Language Processing (NLP) methods, specifically word count and sentiment analysis, and show that both music-listening and podcast-listening participants spent a similar amount of time engaging with intervention and, on average, described positively valenced experiences. Results suggest the importance of naturalistic data obtained from diary studies as a snapshot of ongoing interventions. 

Music is often considered an important domain for creativity. Traditional studies of musical creativity have examined musical improvisation using jazz as a model. While this approach has yielded many valuable insights about creativity’s cognitive and neural mechanisms, it has limited the study sample to those with the means to engage in improvisation within one specific Western style. Here, we introduce a novel tool for assessing musical creativity in the broader sample of individuals with no specialized training. In two experiments (n = 165) we show that this sequencer can be used in people with minimal training to generate a database of sequences composed at the Bohlen-Pierce scale and to evaluate them for creativity. Results show that creativity ratings are predicted by length of melodies, number of distinct pitches used, and information content of pitch intervals. Results also show some external validity with existing creativity tasks. We advocate the use of this sequencer in creativity research, as it provides a theoretically motivated, rigorous tool to examine the iterative process of producing and evaluating musical creativity. (PsycInfo Database Record (c) 2024 APA, all rights reserved) 

Music listening is enjoyed across the lifespan and around the world. This has spurred many theories on the evolutionary purpose of music. The Music for Social Bonding hypothesis posits that the human capacity to make music evolved for the purpose of creating and preserving relationships between one another. Considering different time periods of music use across the lifespan, adolescence is especially a period of social reorientation away from family towards peers, characterized by new social bonds and increased prosocial behavior. This shift is accompanied by notable structural and functional changes in brain networks supporting reward processing and prosocial behavior. Reviewing the extant literature on developmental cognitive neuroscience and adolescent music use, we propose that neurocognitive changes in the reward system make adolescence an ideal developmental time window for investigating interactions between prosocial behavior and reward processing, as adolescence constitutes a time of relative increase in music reward valuation. Testing this hypothesis may clarify our understanding of developmental trajectories in music reward valuation, and offer insights into why music from adults’ adolescence holds a great deal of personal significance. 

Abstract Early home musical environments can significantly impact sensory, cognitive, and socioemotional development. While longitudinal studies may be resource-intensive, retrospective reports are a relatively quick and inexpensive way to examine associations between early home musical environments and adult outcomes. We present the Music@Home–Retrospective scale, derived partly from the Music@Home–Preschool scale (Politimou et al., 2018), to retrospectively assess the childhood home musical environment. In two studies (totaln = 578), we conducted an exploratory factor analysis (Study 1) and confirmatory factor analysis (Study 2) on items, including many adapted from the Music@Home–Preschool scale. This revealed a 20-item solution with five subscales. Items retained for three subscales (Caregiver Beliefs, Caregiver Initiation of Singing, Child Engagement with Music) load identically to three in the Music@Home-–Preschool Scale. We also identified two additional dimensions of the childhood home musical environment. The Attitude Toward Childhood Home Musical Environment subscale captures participants’ current adult attitudes toward their childhood home musical environment, and the Social Listening Contexts subscale indexes the degree to which participants listened to music at home with others (i.e., friends, siblings, and caregivers). Music@Home–Retrospective scores were related to adult self-reports of musicality, performance on a melodic perception task, and self-reports of well-being, demonstrating utility in measuring the early home music environment as captured through this scale. The Music@Home–Retrospective scale is freely available to enable future investigations exploring how the early home musical environment relates to adult cognition, affect, and behavior. 

Groove, or the pleasurable urge to move to music, offers unique insight into the relationship between emotion and action. The predictive coding of music model posits that groove is linked to predictions of music formed over time, with stimuli of moderate complexity rated as most pleasurable and likely to engender movement. At the same time, listeners vary in the pleasure they derive from music listening: individuals with musical anhedonia report reduced pleasure during music listening despite no impairments in music perception and no general anhedonia. Little is known about musical anhedonics’ subjective experience of groove. Here we examined the relationship between groove and music reward sensitivity. Participants (n = 287) heard drum-breaks that varied in perceived complexity, and rated each for pleasure and wanting to move. Musical anhedonics (n = 13) had significantly lower ratings compared to controls (n = 13) matched on music perception abilities and general anhedonia. However, both groups demonstrated the classic inverted-U relationship between ratings of pleasure & move and stimulus complexity, with ratings peaking for intermediately complex stimuli. Across our entire sample, pleasure ratings were most strongly related with music reward sensitivity for highly complex stimuli (i.e., there was an interaction between music reward sensitivity and stimulus complexity). Finally, the sensorimotor subscale of music reward was uniquely associated with move, but not pleasure, ratings above and beyond the five other dimensions of musical reward. Results highlight the multidimensional nature of reward sensitivity and suggest that pleasure and wanting to move are driven by overlapping but separable mechanisms. 

Abstract Background music is widely used to sustain attention, but little is known about what musical properties aid attention. This may be due to inter-individual variability in neural responses to music. Here we find that music with amplitude modulations added at specific rates can sustain attention differentially for those with varying levels of attentional difficulty. We first tested the hypothesis that music with strong amplitude modulation would improve sustained attention, and found it did so when it occurred early in the experiment. Rapid modulations in music elicited greater activity in attentional networks in fMRI, as well as greater stimulus-brain coupling in EEG. Finally, to test the idea that specific modulation properties would differentially affect listeners based on their level of attentional difficulty, we parametrically manipulated the depth and rate of amplitude modulations inserted in otherwise-identical music, and found that beta-range modulations helped more than other modulation ranges for participants with more ADHD symptoms. Results suggest the possibility of an oscillation-based neural mechanism for targeted music to support improved cognitive performance. 

Pleasure in music has been linked to predictive coding of melodic and rhythmic patterns, subserved by connectivity between regions in the brain's auditory and reward networks. Specific musical anhedonics derive little pleasure from music and have altered auditory-reward connectivity, but no difficulties with music perception abilities and no generalized physical anhedonia. Recent research suggests that specific musical anhedonics experience pleasure in nonmusical sounds, suggesting that the implicated brain pathways may be specific to music reward. However, this work used sounds with clear real-world sources (e.g., babies laughing, crowds cheering), so positive hedonic responses could be based on the referents of these sounds rather than the sounds themselves. We presented specific musical anhedonics and matched controls with isolated short pleasing and displeasing synthesized sounds of varying timbres with no clear real-world referents. While the two groups found displeasing sounds equally displeasing, the musical anhedonics gave substantially lower pleasure ratings to the pleasing sounds, indicating that their sonic anhedonia is not limited to musical rhythms and melodies. Furthermore, across a large sample of participants, mean pleasure ratings for pleasing synthesized sounds predicted significant and similar variance in six dimensions of musical reward considered to be relatively independent, suggesting that pleasure in sonic timbres play a role in eliciting reward-related responses to music. We replicate the earlier findings of preserved pleasure ratings for semantically referential sounds in musical anhedonics and find that pleasure ratings of semantic referents, when presented without sounds, correlated with ratings for the sounds themselves. This association was stronger in musical anhedonics than in controls, suggesting the use of semantic knowledge as a compensatory mechanism for affective sound processing. Our results indicate that specific musical anhedonia is not entirely specific to melodic and rhythmic processing, and suggest that timbre merits further research as a source of pleasure in music. 

Much of what we know and love about music hinges on our ability to make successful predictions, which appears to be an intrinsically rewarding process. Yet the exact process by which learned predictions become pleasurable is unclear. Here we created novel melodies in an alternative scale different from any established musical culture to show how musical preference is generated de novo. Across nine studies ( n = 1,185), adult participants learned to like more frequently presented items that adhered to this rapidly learned structure, suggesting that exposure and prediction errors both affected self-report liking ratings. Learning trajectories varied by music-reward sensitivity but were similar for U.S. and Chinese participants. Furthermore, functional MRI activity in auditory areas reflected prediction errors, whereas functional connectivity between auditory and medial prefrontal regions reflected both exposure and prediction errors. Collectively, results support predictive coding as a cognitive mechanism by which new musical sounds become rewarding.