Musical Pleasure Research Articles

Neural Mechanism of Musical Pleasure Induced by Prediction Errors: An EEG Study

Background/Objectives: Musical pleasure is considered to be induced by prediction errors (surprise), as suggested in neuroimaging studies. However, the role of temporal changes in musical features in reward processing remains unclear. Utilizing the Information Dynamics of Music (IDyOM) model, a statistical model that calculates musical surprise based on prediction errors in melody and harmony, we investigated whether brain activities associated with musical pleasure, particularly in the θ, β, and γ bands, are induced by prediction errors, similar to those observed during monetary rewards. Methods: We used the IDyOM model to calculate the information content (IC) of surprise for melody and harmony in 70 musical pieces across six genres; eight pieces with varying IC values were selected. Electroencephalographic data were recorded during listening to the pieces, continuously evaluating the participants’ subjective pleasure on a 1–4 scale. Time–frequency analysis of electroencephalographic data was conducted, followed by general linear model analysis to fit the power-value time course in each frequency band to the time courses of subjective pleasure and IC for melody and harmony. Results: Significant positive fits were observed in the β and γ bands in the frontal region with both subjective pleasure and IC for melody and harmony. No significant fit was observed in the θ band. Both subjective pleasure and IC are associated with increased β and γ band power in the frontal regions. Conclusions: β and γ oscillatory activities in the frontal regions are strongly associated with musical rewards induced by prediction errors, similar to brain activity observed during monetary rewards.

How Culture and Musical Engagement Shape Musical Reward Sensitivity in Danish Teens: A Validation Study of the Danish Barcelona Musical Reward Questionnaire With 4641 Adolescents.

The ability to convey emotions and induce pleasure is one of the most important aspects of the way that music becomes meaningful to humans. Affective responses to music are specific to both cultural and personal preferences, but little is known about the individual variability in adolescence. The Barcelona Music Reward Questionnaire (BMRQ) is a psychometric measure that identifies five factors associated with musical pleasure: Musical Seeking, Emotional Evocation, Mood Regulation, Social Reward, and Sensory-Motor. With this study, we aimed to validate the BMRQ in Danish teens and to explore the differences in music reward experiences in relation to the amount of musical activity, between genders and over ages. Approximately 30,000 Danish adolescents participated in a mass experiment with a subset (N = 4641, 51.2% girls, age range = 13-19 years old) responding to (1) a Danish adaptation of the BMRQ and (2) the Concurrent Musical Activities (CCM) Questionnaire. Both exploratory and confirmatory factor analyses were applied, and a seven-factor model of the BMRQ was found to fit the Danish adolescent population. The seven-factor version of the Danish BMRQ was due to the split of the dimensions "Sensory-Motor" and "Social Reward" into two further subfactors. The students with a higher amount of musical engagement scored higher across all dimensions. In particular, the higher the musical engagement, the higher scores were found for the facet of musical pleasure related to the sharing of musical activities, especially in the earliest stages of adolescence. Furthermore, we found that sensitivity to music generally tends to increase with age, and that girls reported overall to be more sensitive to music than boys in the dimension related to evocation of emotions. A slightly different model of the BMRQ has to be taken into account when testing the Danish adolescent population. In addition to utilizing the Danish version of the BMRQ on a large sample of adolescents, this study may provide insight into the relationship between changes in the level of musical reward depending on amount of musical engagement and how musical reward unfolds within and between genders and across age groups during this developmental stage.

Brain electrical patterns associated with pleasure and emotion induced by tonal and atonal music.

Several studies in the last 40 years have used electroencephalography (EEG) to recognize patterns of brain electrical activity correlated with emotions evoked by various stimuli. For example, the frontal alpha and theta asymmetry models to distinguish musical emotions and musical pleasure, respectively. Since these studies have used mainly tonal music, in this study, we decided to incorporate both tonal (n = 8) and atonal (n = 8) musical stimuli to observe the subjective and electrophysiological responses associated with valence, arousal, pleasure, and familiarity, from 25 nonmusician Mexican adults (10 females, 15 males; M = 37.8 years old, SD = 15.1). Our results showed that atonal music was perceived as less familiar and pleasurable than tonal music, according to the average subjective ratings. Interestingly, greater right hemispheric activity (alpha suppression) was associated with atonal music listening. Additionally, there was an increase of theta power at the right frontal cortex (F4) correlated with a decrease of pleasure ratings, in line with the frontal theta asymmetry (FTA) model. Finally, according to the model of frontal alpha asymmetry (FAA) to distinguish musical emotions, activation (alpha suppression) of the left frontal cortex (F3) was correlated with greater valence and arousal-that is, joyful music. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Changing Your Love of Music by Stimulating the Brain

For many of us, listening to our favorite songs makes us feel happy, energetic, and inspired. One goal of brain research is to understand the role of the brain as we listen to music. For years, researchers have hypothesized that the brain areas involved in processing the music we hear are involved in musical pleasure—but they had no hard proof. By stimulating people’s brains using strong magnets, along with a brain-imaging technique that could see which areas of the brain were active, scientists have unraveled why we feel so awesome when we listen to our favorite jams. Now there is good evidence to show that our favorite tunes involve connections between specific brain areas, including the brain’s “reward center”—an area that makes us feel good when we do something that we like. These brain circuits provide a solid piece to this complex puzzle of why music makes us feel so good.

The French Leçons de Ténèbres and the Foundation of the Jansenist Music Criticism

Abstract The spread of the Leçons de ténèbres in the French capital and later in large provincial cities contributed to the evolution of musical practices and the listeners’ sensibilities and favored the incorporation of religious music into secular musical calendars. This explains why, from the end of the seventeenth century, the genre has been the focus of criticism from clerics and lay people of different persuasions, who denounced the contamination of the church by opera, using the conventional argument of antitheatricality. Initially focused on the Lessons, the criticism’s terms and arguments used against the Lessons became instrumental in the Jansenist’s critique of modern music throughout the eighteenth century, particularly to contest Jesuit musical patronage and Jesuits’ sensualist conception of music for religious services. While Jansenist criticism portrays an irreducible opposition between opponents and supporters of modern music, the latter being equated with the Jesuits, the article highlights the ambiguities of Jansenist positions. An analysis of these criticisms reveals a double reference to the Augustinian tradition, on the one hand concerning the opposition between musica luxuriantis and musica sapientis and, on the other, a moral reflection on musical pleasure’s legitimacy based on individual introspection. In the second half of the eighteenth century, the condemnation of all modern forms of religious music appeared to contradict the claim to a part of this Augustinian heritage.

Music-making in microgravity: across the first 63 years (1961-2024) of spaceflight. Academy transaction note

Musical expression is a characteristic of humanity on Earth. This paper highlights the historical relationship between music and spaceflight, including its use in the representation of space, and its role in space culture. The paper documents circa 57 musical instruments: from a miniaturized harmonica to a 1.5 m Digeridoo that are known to have been taken into space – usually as part of a crew members personal allowance. Due to mass and volume restrictions numerous classical and ethnographic instruments have been ‘spaceflight-adapted’, in addition to the use of digital technologies for personal musical pleasure and public relations. Furthermore, it charts how access to personalised music playlists and shared musical experiences have been deemed to be vital by crew, promoting individual wellbeing including a connection to home, to each other and playing a part in the marking of success, and tragedy. The value of music making in space is briefly described leading to the proposition that as humanity ventures with greater regularity to Low Earth Orbit and beyond, consideration of how music can be effectively utilised to support individual and crew wellbeing, whilst contributing to the cannon of human artistic expression is warranted.

Enhancing musical pleasure through shared musical experience

Music and social interactions represent two of the most important sources of pleasure in our lives, both engaging the mesolimbic dopaminergic system. However, there is limited understanding regarding whether and how sharing a musical activity in a social context influences and modifies individuals' rewarding experiences. Here, we aimed at (1) modulating the pleasure derived from music under different social scenarios and (2) further investigating its impact on reward-related prosocial behavior and memory. Across three online experiments, we simulated a socially shared music listening and found that participants' music reward was significantly modulated by the social context, with higher reported pleasure for greater levels of social sharing. Furthermore, the increased pleasure reported by the participants positively influenced prosocial behavior and memory outcomes, highlighting the facilitating role of socially boosted reward. These findings provide evidence about the rewarding nature of socially driven music experiences, with important potential implications in educational and clinical settings.

Loud and unwanted: Individual differences in the tolerance for exposure to music

Music is generally considered a pleasant and positive stimulus. However, constant exposure to loud music, especially in acoustic environments where individuals have limited control, can transform music listening into a potentially distressing and detrimental experience. In certain contexts, music can therefore be classified as noise, with implications for mental well-being and cognitive functioning. In our paper, we delve into the complexities of this paradoxical phenomenon, discussing the implications of commonly experienced situations in which music becomes a source of discomfort due to its intensity or forced exposure. Our exploration of the effects of music exposure focuses on individual differences, encompassing clinical sensitivity (hyperacusis, misophonia), non-clinical sensitivity (noise sensitivity, sensory-processing sensitivity), and music-related individual factors (sensitivity to music pleasure). We argue that only by recognizing these aspects, significant progress can be made in prevention strategies and interventions. Our aim is to identify regulatory gaps and propose strategies to mitigate potential music-related discomfort in order to promote the creation of auditory environments that align with individual preferences and sensitivities. This approach is particularly relevant when considering clinical and non-clinical populations, for whom sensory sensitivities may substantially influence the quality of life.

Cognitive and sensory expectations independently shape musical expectancy and pleasure.

Expectation is crucial for our enjoyment of music, yet the underlying generative mechanisms remain unclear. While sensory models derive predictions based on local acoustic information in the auditory signal, cognitive models assume abstract knowledge of music structure acquired over the long term. To evaluate these two contrasting mechanisms, we compared simulations from four computational models of musical expectancy against subjective expectancy and pleasantness ratings of over 1000 chords sampled from 739 US Billboard pop songs. Bayesian model comparison revealed that listeners' expectancy and pleasantness ratings were predicted by the independent, non-overlapping, contributions of cognitive and sensory expectations. Furthermore, cognitive expectations explained over twice the variance in listeners' perceived surprise compared to sensory expectations, suggesting a larger relative importance of long-term representations of music structure over short-term sensory-acoustic information in musical expectancy. Our results thus emphasize the distinct, albeit complementary, roles of cognitive and sensory expectations in shaping musical pleasure, and suggest that this expectancy-driven mechanism depends on musical information represented at different levels of abstraction along the neural hierarchy. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Context changes judgments of liking and predictability for melodies.

Predictability plays an important role in the experience of musical pleasure. By leveraging expectations, music induces pleasure through tension and surprise. However, musical predictions draw on both prior knowledge and immediate context. Similarly, musical pleasure, which has been shown to depend on predictability, may also vary relative to the individual and context. Although research has demonstrated the influence of both long-term knowledge and stimulus features in influencing expectations, it is unclear how perceptions of a melody are influenced by comparisons to other music pieces heard in the same context. To examine the effects of context we compared how listeners' judgments of two distinct sets of stimuli differed when they were presented alone or in combination. Stimuli were excerpts from a repertoire of Western music and a set of experimenter created melodies. Separate groups of participants rated liking and predictability for each set of stimuli alone and in combination. We found that when heard together, the Repertoire stimuli were more liked and rated as less predictable than if they were heard alone, with the opposite pattern being observed for the Experimental stimuli. This effect was driven by a change in ratings between the Alone and Combined conditions for each stimulus set. These findings demonstrate a context-based shift of predictability ratings and derived pleasure, suggesting that judgments stem not only from the physical properties of the stimulus, but also vary relative to other options available in the immediate context.

Auditory and reward structures reflect the pleasure of musical expectancies during naturalistic listening

Enjoying music consistently engages key structures of the neural auditory and reward systems such as the right superior temporal gyrus (R STG) and ventral striatum (VS). Expectations seem to play a central role in this effect, as preferences reliably vary according to listeners’ uncertainty about the musical future and surprise about the musical past. Accordingly, VS activity reflects the pleasure of musical surprise, and exhibits stronger correlations with R STG activity as pleasure grows. Yet the reward value of musical surprise – and thus the reason for these surprises engaging the reward system – remains an open question. Recent models of predictive neural processing and learning suggest that forming, testing, and updating hypotheses about one’s environment may be intrinsically rewarding, and that the constantly evolving structure of musical patterns could provide ample opportunity for this procedure. Consistent with these accounts, our group previously found that listeners tend to prefer melodic excerpts taken from real music when it either validates their uncertain melodic predictions (i.e., is high in uncertainty and low in surprise) or when it challenges their highly confident ones (i.e., is low in uncertainty and high in surprise). An independent research group (Cheung et al., 2019) replicated these results with musical chord sequences, and identified their fMRI correlates in the STG, amygdala, and hippocampus but not the VS, raising new questions about the neural mechanisms of musical pleasure that the present study seeks to address. Here, we assessed concurrent liking ratings and hemodynamic fMRI signals as 24 participants listened to 50 naturalistic, real-world musical excerpts that varied across wide spectra of computationally modeled uncertainty and surprise. As in previous studies, liking ratings exhibited an interaction between uncertainty and surprise, with the strongest preferences for high uncertainty/low surprise and low uncertainty/high surprise. FMRI results also replicated previous findings, with music liking effects in the R STG and VS. Furthermore, we identify interactions between uncertainty and surprise on the one hand, and liking and surprise on the other, in VS activity. Altogether, these results provide important support for the hypothesized role of the VS in deriving pleasure from learning about musical structure.

The Pleasurable Urge to Move to Music Through the Lens of Learning Progress.

Interacting with music is a uniquely pleasurable activity that is ubiquitous across human cultures. Current theories suggest that a prominent driver of musical pleasure responses is the violation and confirmation of temporal predictions. For example, the pleasurable urge to move to music (PLUMM), which is associated with the broader concept of groove, is higher for moderately complex rhythms compared to simple and complex rhythms. This inverted U-shaped relation between PLUMM and rhythmic complexity is thought to result from a balance between predictability and uncertainty. That is, moderately complex rhythms lead to strongly weighted prediction errors which elicit an urge to move to reinforce the predictive model (i.e., the meter). However, the details of these processes and how they bring about positive affective responses are currently underspecified. We propose that the intrinsic motivation for learning progress drives PLUMM and informs the music humans choose to listen to, dance to, and create. Here, learning progress reflects the rate of prediction error minimization over time. Accordingly, reducible prediction errors signal the potential for learning progress, producing a pleasurable, curious state characterized by the mobilization of attentional and memory resources. We discuss this hypothesis in the context of current psychological and neuroscientific research on musical pleasure and PLUMM. We propose a theoretical neuroscientific model focusing on the roles of dopamine and norepinephrine within a feedback loop linking prediction-based learning, curiosity, and memory. This perspective provides testable predictions that will motivate future research to further illuminate the fundamental relation between predictions, movement, and reward.

Development and validation of an fMRI-informed EEG model of reward-related ventral striatum activation

Reward processing is essential for our mental-health and well-being. In the current study, we developed and validated a scalable, fMRI-informed EEG model for monitoring reward processing related to activation in the ventral-striatum (VS), a significant node in the brain's reward system. To develop this EEG-based model of VS-related activation, we collected simultaneous EEG/fMRI data from 17 healthy individuals while listening to individually-tailored pleasurable music – a highly rewarding stimulus known to engage the VS. Using these cross-modal data, we constructed a generic regression model for predicting the concurrently acquired Blood-Oxygen-Level-Dependent (BOLD) signal from the VS using spectro-temporal features from the EEG signal (termed hereby VS-related-Electrical Finger Print; VS-EFP). The performance of the extracted model was examined using a series of tests that were applied on the original dataset and, importantly, an external validation dataset collected from a different group of 14 healthy individuals who underwent the same EEG/FMRI procedure. Our results showed that the VS-EFP model, as measured by simultaneous EEG, predicted BOLD activation in the VS and additional functionally relevant regions to a greater extent than an EFP model derived from a different anatomical region. The developed VS-EFP was also modulated by musical pleasure and predictive of the VS-BOLD during a monetary reward task, further indicating its functional relevance. These findings provide compelling evidence for the feasibility of using EEG alone to model neural activation related to the VS, paving the way for future use of this scalable neural probing approach in neural monitoring and self-guided neuromodulation.

Musical Self-Borrowing in Ottocento Opera and the Composer's Toolbox

Self-borrowing was a common practice in primo ottocento opera. Even though commentators of the era could find it somewhat troublesome, composers indulged in the practice. Drawing on existing scholarship, and reflecting on the work of my co-contributors to this journal issue, I ponder a few sundry notions about the procedure and its context, addressing theoretical, historical and practical perspectives relating to composers, historical commentators, listeners and modern-day scholars. I begin with a survey of terminology that has been applied in discussions of self-borrowing and a review of the manner in which selected present-day scholars have characterized the practice. I then consider the nature of self-borrowing in the ottocento opera repertory against a backdrop of contemporaneous theoretical discussions about how to compose opera, and I contemplate the extent to which self-borrowings in this repertory can be deemed to bear meaning. I conclude by raising the possibility of applying concepts from cognitive theory to operatic encounters with self-borrowing, proposing that the practice served as a tool for composers to fuel expectation, predictability, anticipation and even surprise to enhance musical pleasure. My purpose is to prompt reflection on the reasons behind as well as an appreciation for the value of this oft-maligned compositional ‘tool’ in the interest of gaining insight into its impact on the listening experience and the evaluation of musical works.

Exploring the use of music to promote physical activity: From the viewpoint of psychological hedonism.

Despite the global efforts to encourage people to regularly participate in physical activity (PA) at moderate-to-vigorous intensity, an inadequate number of adults and adolescents worldwide meet the recommended dose of PA. A major challenge to promoting PA is that sedentary or low-active people experience negative shifts in affective valence (feeling bad versus good) in response to moderate-to-vigorous intensity PA. Interestingly, empirical data indicate that listening to music during acute bouts of PA positively alters affective valence (feeling good versus bad), reduces perceived exertion, and improves physical performance and oxygen utilization efficiency. From the viewpoint of the ancient principle of psychological hedonism - humans have ultimate desires to obtain pleasure and avoid displeasure - we elaborate on three putative mechanisms underlying the affective and ergogenic effects of music on acute bouts of PA: (1) musical pleasure and reward, (2) rhythmic entrainment, and (3) sensory distraction from physical exertion. Given that a positive shift in affective valence during an acute bout of PA is associated with more PA in the future, an important question arises as to whether the affective effect of music on acute PA can be carried over to promote long-term PA. Although this research question seems intuitive, to our knowledge, it has been scarcely investigated. We propose a theoretical model of Music as an Affective Stimulant to Physical Activity (MASPA) to further explain the putative mechanisms underlying the use of music to promote long-term PA. We believe there have been important gaps in music-based interventions in terms of the rationale supporting various components of the intervention and the efficacy of these interventions to promote long-term PA. Our specification of relevant mechanisms and proposal of a new theoretical model may advance our understanding of the optimal use of music as an affective, ergogenic, and sensory stimulant for PA promotion. Future directions are suggested to address the gaps in the literature.

Is musical engagement enough to keep the brain young?

Music-making and engagement in music-related activities have shown procognitive benefits for healthy and pathological populations, suggesting reductions in brain aging. A previous brain aging study, using Brain Age Gap Estimation (BrainAGE), showed that professional and amateur-musicians had younger appearing brains than non-musicians. Our study sought to replicate those findings and analyze if musical training or active musical engagement was necessary to produce an age-decelerating effect in a cohort of healthy individuals. We scanned 125 healthy controls and investigated if musician status, and if musical behaviors, namely active engagement (AE) and musical training (MT) [as measured using the Goldsmiths Musical Sophistication Index (Gold-MSI)], had effects on brain aging. Our findings suggest that musician status is not related to BrainAGE score, although involvement in current physical activity is. Although neither MT nor AE subscales of the Gold-MSI are predictive for BrainAGE scores, dispositional resilience, namely the ability to deal with challenge, is related to both musical behaviors and sensitivity to musical pleasure. While the study failed to replicate the findings in a previous brain aging study, musical training and active musical engagement are related to the resilience factor of challenge. This finding may reveal how such musical behaviors can potentially strengthen the brain’s resilience to age, which may tap into a type of neurocognitive reserve.

Memory modulations through musical pleasure.

Music, thanks to its strong evocative power, is considered a powerful mnemonic tool for both normal and clinical populations. However, the mechanisms underpinning the music-driven benefits on memory remain unclear. In memory research, reward dopaminergic signals have been highlighted as a major modulator of memory traces consolidation. Over the last years, via behavioral and pharmacological approaches, we have investigated the hypothesis that dopaminergic-dependent musical pleasure is a crucial mechanism underpinning music-driven memory benefits. Our results show that the pleasure felt during music listening, modulated by both the dopaminergic transmission and participants' sensitivity to music reward, can increase episodic memory performance for the music itself as well as for nonmusical-associated information. In this commentary paper, we aim to review the main findings obtained from three different studies, in order to discuss current advances and future directions in this research area.

Audience Interbrain Synchrony During Live Music Is Shaped by Both the Number of People Sharing Pleasure and the Strength of This Pleasure

The study of interbrain coupling in a group of people attending a concert together is a favorable framework to estimate group emotions and more precisely emotional connection between people sharing situations in the same environment. It offers the advantage of studying interactions at the group level. By recording the cerebral activity of people from an audience during a concert using electroencephalography, we previously demonstrated that the higher the emotions and the physically closer the people were, the more the interbrain synchrony (IBS) was enhanced. To further investigate the parameters that shaped inter-brain synchronization in this context, we now focus on the emotional dynamics of the group as a whole by identifying specific moments in the concert that evoked strong or weak emotions, as well as strong or weak emotional cohesion between individuals. We demonstrated that audience interbrain synchrony is mainly associated with experiencing high musical pleasure and that the group emotional cohesion can enhance IBS, but alone is not the major parameter that shapes it in this context.

Empathy but not musicality is at the root of musical reward: A behavioral study with adults and children

Music is one of the most pleasurable human experiences. However, the determinants of the variation in individual sensitivity to musical reward are not yet fully unraveled. Empathy has been identified as a determinant of musical affect, including consciously experiencing pleasure from listening to sad music. Additionally, higher musical expertise may enhance pleasurable responses to music, whereas aging decreases individual sensitivity to musical pleasure. We conducted a study to investigate the contribution of empathy and musical abilities on musical pleasure, measured by Interpersonal Reactivity Index, Musical Ear Test, and Barcelona Musical Reward Questionnaire, respectively. To this purpose, we performed a developmental comparison between 48 children (9–11 years old) and 42 adults (18–32 years old). Our findings suggest that individual sensitivity to musical reward is positively correlated with empathy trait in both adults and children, but not with musical abilities. However, when inserted in a regression model including empathy, musical abilities are also predictive of musical reward, but only among adults. These results show that empathy plays a crucial role in determining the individual sensitivity to music reward, whereas musical abilities are less influential. More broadly, this study contributes to shed light on the determinants of the emotional responses to music affect.

Vocal melody and musical background are simultaneously processed by the brain for musical predictions.

Musical pleasure is related to the capacity to predict and anticipate the music. By recording early cerebral responses of 16 participants with electroencephalography during periods of silence inserted in known and unknown songs, we aimed to measure the contribution of different musical attributes to musical predictions. We investigated the mismatch between past encoded musical features and the current sensory inputs when listening to lyrics associated with vocal melody, only background instrumental material, or both attributes grouped together. When participants were listening to chords and lyrics for known songs, the brain responses related to musical violation produced event-related potential responses around 150-200 ms that were of a larger amplitude than for chords or lyrics only. Microstate analysis also revealed that for chords and lyrics, the global field power had an increased stability and a longer duration. The source localization identified that the right superior temporal and frontal gyri and the inferior and medial frontal gyri were activated for a longer time for chords and lyrics, likely caused by the increased complexity of the stimuli. We conclude that grouped together, a broader integration and retrieval of several musical attributes at the same time recruit larger neuronal networks that lead to more accurate predictions.