Enjoyment Of Music Research Articles

Designing audio processing strategies to enhance cochlear implant users' music enjoyment

Cochlear implants (CIs) provide hundreds of thousands of users with increased access to sound, particularly speech, but experiences of music are more varied. Can greater engagement by CI users in the music mixing process mutually benefit them as well as audio engineers? This paper presents an exploratory mixed-methods study that leverages insights from CI users and professional audio engineers (AEs) in the investigation of techniques to enhance CI user music enjoyment and promote empathetic practices in AEs. Analysis of data collected over a multi-step process of surveys, interviews, and iterative cycles of sound mixing and feedback revealed two mixing strategies—namely essentializing and exaggeration of musical elements—common among mixes preferred by CI users. Participant responses also highlighted systemic ableism and audism in the music industry—an industry from which CI users report feeling excluded. Specifically, AEs felt inadequately trained around aural diversity considerations and experienced anxiety around their own aural diversity. In sum, this work contributes to insights into CI user music listening preferences; how AEs approach mixing for an aurally diverse audience; and discussion around the efficacy of CI simulation, user feedback, and AE peer feedback on mix enjoyment by CI users. Based on these findings, we offer several design insights that emphasize the need for customizable music listening tools centered around user agency and enjoyment.

Music Perception and Music-Related Quality of Life in Adult Cochlear Implant Users: Exploring the Need for Music Rehabilitation.

Cochlear implant (CI) users face difficulties in accurately perceiving basic musical elements such as pitch, melody, and timbre. Music significantly affects the quality of life (QoL) of CI users. Individually and culturally influenced music perception exceeds psychophysical measures in capturing the subjective music enjoyment of CI users. Understanding the music perception, enjoyment, and habits of CI users is crucial for approaches to improve music-related QoL (MuRQoL). Therefore, this study aims to investigate music perception skills, experiences, and participation in music activities in a large group of adult CI users, and to understand the importance of these factors and their impact on QoL of CI users. This study included 214 CI recipients with diverse auditory experiences who were aged between 18 and 65 years and were unilateral, bimodal, or bilateral users for at least 1 year and 193 normal hearing (NH) controls. All participants completed the information forms and the MuRQoL questionnaire. To assess the impact of music on QoL and identify personalized rehabilitation needs, the scores for each question in both parts of the questionnaire were intersected on a matrix. Data were presented in detail for the CI group and compared between CI and NH groups. A statistically significant difference was found between the matched CI and NH groups in favor of the NH group in terms of music perception and music engagement. Participants who received music education at any point in their lives had significantly higher MuRQoL questionnaire scores. There was no significant relationship found between the duration of auditory rehabilitation, pre-CI hearing aid usage, music listening modality, and MuRQoL questionnaire scores. Unilateral CI users had significantly lower scores in music perception and music engagement subsections compared with bimodal and bilateral CI users. Also, it was found that music had a strong negative impact on QoL in 67/214 of the CI users. Although CI users scored significantly lower than NH individuals on the first part of the questionnaire, which asked about musical skills, enjoyment, and participation in musical activities, findings suggest that CI users value music and music enjoyment just as much. The study reveals the influence of factors such as education level, age, music education, type of hearing loss and auditory rehabilitation on music perception, music enjoyment, and participation in music activities through self-report. The results indicate that for many CI users, music has a strong negative impact on QoL, highlighting the need for personalized music interventions, the inclusion of self-report questionnaires, and music perception tests in clinical evaluations.

Experience with the cochlear implant enhances the neural tracking of spectrotemporal patterns in the Alberti bass

Cochlear implant (CI) users experience diminished music enjoyment due to the technical limitations of the CI. Nonetheless, behavioral studies have reported that rhythmic features are well-transmitted through the CI. Still, the gradual improvement of rhythm perception after the CI switch-on has not yet been determined using neurophysiological measures. To fill this gap, we here reanalyzed the electroencephalographic responses of participants from two previous mismatch negativity studies. These studies included eight recently implanted CI users measured twice, within the first six weeks after CI switch-on and approximately three months later; thirteen experienced CI users with a median experience of 7 years; and fourteen normally hearing (NH) controls. All participants listened to a repetitive four-tone pattern (known in music as Alberti bass) for 35 min. Applying frequency tagging, we aimed to estimate the neural activity synchronized to the periodicities of the Alberti bass. We hypothesized that longer experience with the CI would be reflected in stronger frequency-tagged neural responses approaching the responses of NH controls. We found an increase in the frequency-tagged amplitudes after only 3 months of CI use. This increase in neural synchronization may reflect an early adaptation to the CI stimulation. Moreover, the frequency-tagged amplitudes of experienced CI users were significantly greater than those of recently implanted CI users, but still smaller than those of NH controls. The frequency-tagged neural responses did not just reflect spectrotemporal changes in the stimuli (i.e., intensity or spectral content fluctuating over time), but also showed non-linear transformations that seemed to enhance relevant periodicities of the Alberti bass. Our findings provide neurophysiological evidence indicating a gradual adaptation to the CI, which is noticeable already after three months, resulting in close to NH brain processing of spectrotemporal features of musical rhythms after extended CI use.

Acquiring musical knowledge increases music liking: Evidence from a neurophysiological study.

People possessing musical knowledge tend to enjoy music more, but the linkage remains to be determined. Based on the shared affective motion experience model for music appreciation, we hypothesized that acquiring musical knowledge about the music itself, for example, an analytical understanding of music elements and the related emotional expressions, would increase music liking. To test the hypothesis, we asked 48 participants to learn analytical or historical information about a piece of music by watching a pre-recorded teaching video. Learners' physiological responses, such as skin conductance and heart rate, were recorded during learning. The increase of music liking was observed after both types of knowledge acquisition, but more so for analytical knowledge. Notably, acquiring analytical knowledge made learners' skin conductance more similar, indicating the alignment of physiological responses. This physiological similarity, correlated with analytical knowledge similarity, could mediate the effect of knowledge acquisition on music liking. In sum, this study reveals the impact of analytical knowledge on music enjoyment and the associated neurophysiological mechanism. It extends the theoretical framework of shared affective motion experience to explain how musical knowledge influences music appreciation.

Patient-Led Research to Develop a Training Programme for Restoring Musical Joy in Cochlear Implant Recipients: A Reflexive Process Evaluation.

The role of patients in healthcare research is slowly evolving, although patient roles in the research process are limited. This paper reports on a patient-led research project aiming to develop a musical hearing training programme for patients with a cochlear implant (CI): the Musi-CI programme. A CI is an inner ear prosthesis that allows people with severe hearing loss to hear. However, while speech can be understood, CI users cannot fully enjoy music or feel aversion to it. The Musi-CI programme aims to reduce this music aversion to ultimately improve music enjoyment and social participation. The development of the Musi-CI programme was supported by a consortium of professionals in CI rehabilitation and research. The aim of this paper is to describe and evaluate the Musi-CI programme development process and its impact on professional CI rehabilitation and research. Programme development was described using a 3-layered process model of action research, distinguishing the CI user process, the healthcare professional process and the research process. To evaluate perceptions on the programme development process, consortium partners provided written commentsand participated in a reflexive evaluation session that was video-recorded. Reflexive evaluation aims for collective learning and strengthening collaboration among participants. Written comments and video data were analysed using template analysis. The involvement of an expert by experience was perceived as challenging but rewarding for all consortium partners, opening up new perspectives on CI-rehabilitation practice and research. Data analysis revealed two themes on the programme development process, professional space and acknowledgement, and two themes on the outcomes on CI rehabilitation and research: critical reflection and paradigm shift. Experts by experience represent a different knowledge domain that may contribute to change in rehabilitation and research. The development of the programme was initiated by a professional musician and CI user who organized the funding, had a leading role throughout the research process, including the write-up of the results, and co-authored this paper.

Some, but not all, cochlear implant users prefer music stimuli with congruent haptic stimulation.

Cochlear implant (CI) users often report being unsatisfied by music listening through their hearing device. Vibrotactile stimulation could help alleviate those challenges. Previous research has shown that musical stimuli was given higher preference ratings by normal-hearing listeners when concurrent vibrotactile stimulation was congruent in intensity and timing with the corresponding auditory signal compared to incongruent. However, it is not known whether this is also the case for CI users. Therefore, in this experiment, we presented 18 CI users and 24 normal-hearing listeners with five melodies and five different audio-to-tactile maps. Each map varied the congruence between the audio and tactile signals related to intensity, fundamental frequency, and timing. Participants were asked to rate the maps from zero to 100, based on preference. It was shown that almost all normal-hearing listeners, as well as a subset of the CI users, preferred tactile stimulation, which was congruent with the audio in intensity and timing. However, many CI users had no difference in preference between timing aligned and timing unaligned stimuli. The results provide evidence that vibrotactile music enjoyment enhancement could be a solution for some CI users; however, more research is needed to understand which CI users can benefit from it most.

From Music Scores to Audio Recordings: Deep Pitch-Class Representations for Measuring Tonal Structures

The availability of digital music data in various modalities provides opportunities both for music enjoyment and music research. Regarding the latter, the computer-assisted analysis of tonal structures is a central topic. For Western classical music, studies typically rely on machine-readable scores, which are tedious to create for large-scale works and comprehensive corpora. As an alternative, music audio recordings, which are readily available, can be analyzed with computational methods. With this paper, we want to bridge the gap between score- and audio-based measurements of tonal structures by leveraging the power of deep neural networks. Such networks are commonly trained in an end-to-end fashion, which introduces biases towards the training repertoire or towards specific annotators. To overcome these problems, we propose a multi-step strategy. First, we compute pitch-class representations of the audio recordings using networks trained on score–audio pairs. Second, we measure the presence of specific tonal structures using a pattern-matching technique that solely relies on music theory knowledge and does not require annotated training data. Third, we highlight these measurements with interactive visualizations, thus leaving the interpretation to the musicological experts. Our experiments on Richard Wagner's large-scale cycle Der Ring des Nibelungen indicate that deep pitch-class representations lead to a high similarity between score- and audio-based measurements of tonal structures, thus demonstrating how to leverage multimodal data for application scenarios in the computational humanities, where an explicit and interpretable methodology is essential.

Anatomy of a Song

Anatomy of a Song

Remixing Preferences for Western Instrumental Classical Music of Bilateral Cochlear Implant Users.

For people with profound hearing loss, a cochlear implant (CI) is able to provide access to sounds that support speech perception. With current technology, most CI users obtain very good speech understanding in quiet listening environments. However, many CI users still struggle when listening to music. Efforts have been made to preprocess music for CI users and improve their music enjoyment. This work investigates potential modifications of instrumental music to make it more accessible for CI users. For this purpose, we used two datasets with varying complexity and containing individual tracks of instrumental music. The first dataset contained trios and it was newly created and synthesized for this study. The second dataset contained orchestral music with a large number of instruments. Bilateral CI users and normal hearing listeners were asked to remix the multitracks grouped into melody, bass, accompaniment, and percussion. Remixes could be performed in the amplitude, spatial, and spectral domains. Results showed that CI users preferred tracks being panned toward the right side, especially the percussion component. When CI users were grouped into frequent or occasional music listeners, significant differences in remixing preferences in all domains were observed.

The Association of Hearing Loss With Active Music Enjoyment in Hearing Aid Users.

Hearing aids (HAs) are designed for speech rather than music listening. The impact of HAs on music enjoyment is poorly studied. We examine the effect of HAs on active music enjoyment in individuals with varying levels of hearing loss (HL). Cross-sectional study. Tertiary medical center and community. Adult (≥18 years) bilateral HA users and normal hearing (NH) controls actively listened to musical stimuli and rated their enjoyment across 3 measures (pleasantness, musicality, naturalness) with and without HAs using a visual analog scale. Multivariable linear regression was used to assess the association between HL (measured by a pure-tone average [PTA] and word recognition score [WRS] of the better ear) and music enjoyment with and without HAs, adjusting for covariates. Music enjoyment was compared between HA users and NH controls, and HA users with and without their HAs. One hundred bilateral HA users (mean age 66.0 years, 52% female, better ear mean [SD] PTA 50.2 [13.5] dBHL, mean WRS 84.5 [16.5]%) completed the study. Increasing severity of HL (PTA) was independently associated with decreased music enjoyment (pleasantness, musicality, naturalness) with and without HAs (p < .05). HA usage increased music enjoyment (musicality) in those with moderate to moderately severe HL. Music enjoyment in NH controls (n = 20) was significantly greater across all measures compared to HA users. Increased severity of HL is associated with decreased music enjoyment that can be enhanced with HA usage. Thus, HA usage can positively enhance both speech and music appreciation.

Development of the Musi-CI Training, A Musical Listening Training for Cochlear Implant Users: A Participatory Action Research Approach.

A cochlear implant (CI) is a prosthesis that allows people with severe to profound hearing loss to understand speech in quiet settings. However, listening to music presents a challenge to most CI users; they often do not enjoy music or avoid it altogether. The Musi-CI training course was developed for CI users with the goal of reducing music aversion and improving music enjoyment. A consortium was established consisting of a professional musician with CI, CI rehabilitation professionals and researchers. Participatory action research (PAR) was applied to develop and evaluate the training experiences, collaborating with 37 CI users during three cycles of eight training sessions, each held over a period of 3 months. Input and feedback were collected after each training session using questionnaires, observations and focus group interviews. Almost all participants (86%) completed the training. After completing the training a large majority of participants reported increased music appreciation, increased social participation in musical settings and a positive impact on general auditory perception. The resulting Musi-CI training programme focuses on music listening skills, self-efficacy, and self-motivation. It consists of exercises intended to strengthen attention and working memory, to improve beat and rhythm perception (with online rhythm exercises) and exercises to distinguish timbre of instruments and emotion in music. A Melody Game was developed to improve pitch and melodic contour discrimination.

The relation between autonomy support and music enjoyment in online learning for music undergraduates in the post-COVID-19 era.

Music enjoyment is considered to predict music-related academic performance and career choice. Although relevant research in non-music fields has demonstrated the association between teachers' autonomy support and students' academic enjoyment, it remains unknown whether this association is valid in the music discipline. In addition, in the post-COVID-19 era, online education has become a common way of teaching and learning for music undergraduates. In the form of online learning, the mechanisms mediating teachers' music autonomy support and students' music academic enjoyment are also unknown. This study draws on Pekrun's theory of achievement emotions and control values to explore the mediating role of attributions and values in the association between autonomous support and academic achievement. In this study, 270 undergraduates majoring in music eventually completed the online surveys. Results from structural equation modeling indicated that autonomy support positively predicted music enjoyment and that attributions (i.e., internal attribution and external attribution) and values (i.e., intrinsic value, attainment value, utility value) mediated the association between autonomy support and music enjoyment. The findings also provide insights into possible avenue for promoting music enjoyment emotion during online teaching in the post-COVID-19 era. Implications and limitations are discussed in the study.

Music Preferences and Enjoyment of Music as Predictors of Involvement of Teacher Studies Students in Music Teaching

The study of musical preferences, enjoyment of music and students’ involvement in teaching, as a current topic worthy of attention, deserves a multidisciplinary approach. Therefore, the aim of this research is to determine the predictive power of music enjoyment and musical preferences on students’ cognitive, emotional and social involvement in music teaching, as well as on their overall involvement in music teaching, which includes all three mentioned aspects. The sample included 183 teacher studies students from four university centers in Bosnia and Herzegovina. Research findings confirm that enjoyment of music, based on internal motivation, is a predictor of greater involvement (cognitive, emotional and social) of students in music lessons. Musical preferences are statistically significant as a model, but they do not make a statistically significant partial contribution to the prediction of cognitive, emotional and social involvement of students in music classes. It is clear that the research findings open up the „old-new” issues of the quality of music in society, detours or some „new avant-garde”. The recommendations brought by this research are reflected in the greater activation of the emotional dimension of university music teaching, which must be closely related to the cognitive and social aspects of music. The key to success, the experience of the lecturer, and thus the atmosphere in lessons, is primary for the quality of students’ involvement in the teaching process. We need high-quality, creative and at the same time fun and emotionally rich music teaching in order to create a path of faith into stimulating and healthy development of the students’ versatile personalities with a developed attitude towards music preference.

Emotion equalization app: A first study and results

In recent years, there is an increasing trend of mental health issues in society. It is important to identify mental first aid strategies that can be applied at an early age, whether emotional issues have been diagnosed or have yet to be found. Music has tremendous potential impact on changing emotional states since it can distract listeners from rumination on negative thoughts and engage them in a moment of musical enjoyment. This paper presents a new emotion equalization app that incorporates validated diagnosis tests (PHQ-9 and GAD-7) and an emotion measuring tool (SAM) for establishing a personalized therapy treatment using emotion rebalancing methods. By determining the emotional state of the user, songs are chosen and sequenced in a playlist using one of three proposed methods (consoling, relaxing, and uplifting) with a baseline method (random). With this systematic generation of playlists, the app can be used for personalized therapeutic treatment even for users without music background. In our experiment, the results showed positive changes in listeners’ valence levels while there was no significant change in arousal. Furthermore, the relaxing and uplifting methods showed a significant effect on moving listeners from negative to more positive emotional states.

Study on Aesthetic Teaching Methods in Ethnic Music Teaching in Universities in the Context of Intelligent Internet of Things

Folk vocal music is an important part of music majors in colleges and universities (CaU), and the core of music education is AE. Therefore, in vocal music teaching, students should be guided to understand the beauty of music and to use vocal performance as an aesthetic experience so as to cultivate their aesthetic appreciation ability. As one of the national musical instruments, Chinese Zither has a unique musical charm. Its traditional aesthetic value is high, which can bring people beautiful music enjoyment. This paper takes Chinese Zither as an example to study the aesthetic teaching methods in college national instrumental music teaching. In the process of research, we use a combination of a variety of research methods to study two classes of music major in our school. This paper first uses the literature analysis method to elaborate the AE and then uses the questionnaire survey method to study the college students’ understanding and views on the national instrumental music. Then, through the case analysis method, it analyzes the achievements and interest changes of the students after the introduction of aesthetic teaching in Chinese Zither teaching. At the same time, through expert interviews, it summarizes the teaching of national instrumental music in the CaU aesthetic teaching strategy and the use of mathematical analysis on the relevant data processing. This study found that before the introduction of aesthetic teaching in Chinese Zither teaching, the good rate of class 2 students was only 33.33%, and after the introduction of aesthetic teaching in Chinese Zither teaching, the good rate of students in class 2 reached 86.67%. Therefore, the introduction of aesthetic teaching in Chinese Zither teaching can effectively improve students’ learning level. This also shows that in the teaching of ethnic music, the introduction of aesthetic teaching and the combination of aesthetic art and music art can effectively improve the learning level of students.

Hearing Aids Enhance Music Enjoyment in Individuals With Hearing Loss.

To investigate music appreciation in hearing aid (HA) users with varying levels of hearing loss (HL). Cross-sectional, within-subjects design. Tertiary medical center, community. Adults (≥18 yr) bilateral HA users. HA usage. Outcome variables included self-reported music enjoyment measures (pleasantness, musicality, naturalness) with and without HAs assessed with visual analogue scales (10 indicates highest level of enjoyment, 0 the least). Exposure variables include HL (better ear pure-tone average) and speech discrimination (word recognition scores [WRS]). Demographic information was collected. One hundred nine bilateral HA users completed the study. Mean (standard deviation) age was 66.6 years (16.8 yr); 52.3% were female patients. Mean (standard deviation) better ear pure-tone average was 51.1 dB (16.3 dB) HL. Increased severity of HL and worse WRS were associated with decreased music enjoyment ( p < 0.05) across all measures without HAs, adjusting for sex, age, education, race, HA type, age of HL diagnosis, duration of HL, duration of HA use, musical preference, and musical experience. However, these associations were attenuated or no longer significant with HA usage. Moreover, among all subjects, HAs (vs. no HAs) provided increased music enjoyment in pleasantness (HA, 6.94, no HA, 5.74; p < 0.01), musicality (HA, 7.35; no HA, 6.13, p < 0.01), and naturalness (HA, 6.75; no HA, 6.02; p = 0.02). HA users report increased music enjoyment with HAs compared with without HAs. Increased severity of HL and worse WRS were independently associated with decreased unaided music enjoyment. HA usage seems to mitigate this effect, particularly for those with worse HL.

HÜZÜNLÜ MÜZİKTEN HOŞLANMA: DUYGUDURUM DÜZENLEME STRATEJİLERİ VE KİŞİLİK ÖZELLİKLERİNİN YORDAYICI ETKİSİ

Araştırma kapsamında öncelikle Müzikle Duygudurum Düzenleme Ölçeği - Kısa Formu’nun Türkiye örneklemi için geçerlik ve güvenirlik çalışması 296 kişilik bir örneklem ile yapılmıştır. Doğrulayıcı faktör analizi sonucunda, ölçeğin orijinal yedi faktörlü yapısının veriyle uyumlu olduğu belirlenmiştir. Ayrıca alt boyutlara ait iç tutarlılık katsayılar da kabul edilebilir düzeydedir. Araştırmanın ikinci kısmında, Türkçe Büyük Beşli Kişilik Envanteri, Müzikle Duygudurum Düzenleme Ölçeği - Kısa Formu ve Hüzünlü Müziği Beğenme Ölçeği kullanılarak, kişilik özellikleri ve duygudurum düzenleme stratejilerinin hüzünlü müzikten hoşlanma üzerindeki yordayıcı etkisi belirlenmiştir. Buna göre, dışadönüklük ve duygusal denge kişilik özellikleri ile dikkati dağıtma, serbest bırakma, bilişsel değerlendirme ve teselli bulma stratejilerinin hüzünlü müzikten hoşlanmayı yordadığı belirlenmiştir. Buna göre dinleyiciler, hüzün duygusuyla sağlıklı bir şekilde başa çıkabilmek için, farklı duygudurum düzenleme stratejilerini hüzünlü müzikler aracılığıyla kullanıyor gibi görünmektedir.

Vibrotactile Threshold Measurements at the Wrist Using Parallel Vibration Actuators

This article presents an investigation into the perceptual vibrotactile thresholds for a range of frequencies on both the inside and outside areas of the wrist when exciting the skin with parallel vibrations, realized using the L5 actuator made by Lofelt GmbH. The vibrotactile threshold of 30 participants was measured using a modified audiometry test for the frequency range of 25–1,000 Hz. The average threshold across the respective frequencies was then ultimately determined from acceleration minima. The results show that maximum sensitivity lies in the range of 100–275 Hz (peaking at 200 Hz) for the inside and 75–250 Hz (peaking at 125 Hz) for the outside of the wrist and that thresholds are overall higher for the hairy skin on the outside of the wrist than for the glabrous skin on the inside. The results also show that the vibrotactile thresholds varied highly between individuals. Hence, personalized threshold measurements at the actuator locations will be required to fine-tune a device for the user. This study is a part of an ongoing research and development project where the aim is to develop a tactile display device and a music encoding scheme with the purpose of augmenting the musical enjoyment of cochlear implant recipients. These results, along with results from planned follow-up experiments, will be used to determine the appropriate frequency range and to cast light on the dynamic range on offer for the tactile device.

Separating the art from the artist: The role of narratives on music enjoyment and appreciation

This study tests the effect to which narratives influence the enjoyment and appreciation of popular music. Two experiments tested how narratives about artists influenced listener perception of their songs. Experiment 1 found that narratives about artists influence how their music is appreciated and enjoyed. Experiment 2 found that this influence was due to narratives increasing how much listeners like the artist and desire to see them succeed. The increase in enjoyment and appreciation was stronger for songs that were not as well-liked to begin with. The results suggest that narratives about creators may influence the perception of their work.

Crossmodal Correspondence between Music and Ambient Color Is Mediated by Emotion.

The quality of a concert hall primarily depends on its acoustics. But does visual input also have an impact on musical enjoyment? Does the color of ambient lighting modulate the perceived music quality? And are certain colors perceived to fit better than others with a given music piece? To address these questions, we performed three within-subjects experiments. We carried out two pretests to select four music pieces differing in tonality and genre, and 14 lighting conditions of varying hue, brightness, and saturation. In the main experiment, we applied a fully crossed repeated-measures design. Under each of the four lighting conditions, participants rated the musical variables 'Harmonic', 'Powerful', 'Gloomy', 'Lively' and overall liking of the music pieces, as well as the perceived fit of music and lighting. Subsequently, participants evaluated music and lighting separately by rating the same variables as before, as well as their emotional impact (valence, arousal, dominance). We found that music and lighting being similarly rated in terms of valence and arousal in the unimodal conditions were judged to match better when presented together. Accordingly, tonal (atonal) music was rated to fit better with weakly saturated (highly saturated) colors. Moreover, some characteristics of the lighting were carried over to music. That is, just as red lighting was rated as more powerful than green and blue lighting, music was evaluated to be more powerful under red compared to green and blue lighting. We conclude that listening to music is a multisensory process enriched by impressions from the visual domain.