Effects of choir singing on physiological stress in Japanese older adults: its relationship with cognitive functioning and subjective well-being.

BACKGROUND: Leisure activities are believed to contribute to healthy ageing. We compared the effects of choir singing and go playing on cortisol levels in Japanese older adults. We also examined its relevance to the older adults' emotional affect and cognitive performance. METHODS: Thirty-six older adults participated either in choir or go playing, within a 2 (groups)×2 (time points) design. Dependent measures included levels of salivary cortisol, as well as key psychological, cognitive, and neuropsychological measures. RESULTS: A significant two-way interaction was observed, showing that levels of salivary cortisol decreased for the choir but increased for the go groups. The decrease in salivary cortisol for the choir group correlated with the participant's negative affect and their degree of cognitive impairment. CONCLUSION: Choir singing has the potential to reduce Japanese older adults' physiological stress. The decreases can be seen more prominently for people with stronger negative affect and cognitive impairment. Further research is required to replicate these effects.

A review of psychological research on kando as an inclusive concept of moving experiences.

We are emotionally moved when we give birth to a child, witness the triumph of an athlete, listen to a beautiful piece of music, and so forth. Such moving experiences have been described as a form of emotion, by terms such as being moved, awe, and kama muta, each of which have been studied as a separate, but interrelated, psychological phenomenon. Japanese people use the term kando to describe these experiences collectively. In this study, we propose that kando should be treated as an umbrella term covering being moved, awe, and kama muta. To this end, we reviewed the literature on kando conducted by Japanese researchers and compared it to relevant concepts, mainly examined in Western countries. We also reviewed the literature on the generative mechanism of kando, and established that emotional and physical reactions are important to determine the degree of kando across the cases with and without storyline. Furthermore, individual characteristics such as trait empathy may generate a stronger degree of kando. Kando experiences can affect subsequent behaviors and cognition, though we still need evidence that such change can be triggered genuinely by the experience of kando. We suggest that kando may make our neuro-cognitive network tend toward more direct, unconscious, and impulsive decision making. One of the remaining questions in this domain is whether the mental construct of kando can find an equivalent to people in Western countries. For this purpose, events and reactions relevant to kando experiences should be systematically collected from a broad population.

How Live Performance Moves the Human Heart.

We investigated how the audience member's physiological reactions differ as a function of listening context (i.e., live versus recorded music contexts). Thirty-seven audience members were assigned to one of seven pianists' performances and listened to his/her live performances of six pieces (fast and slow pieces by Bach, Schumann, and Debussy). Approximately 10 weeks after the live performance, each of the audience members returned to the same room and listened to the recorded performances of the same pianists' via speakers. We recorded the audience members' electrocardiograms in listening to the performances in both conditions, and analyzed their heart rates and the spectral features of the heart-rate variability (i.e., HF/TF, LF/HF). Results showed that the audience's heart rate was higher for the faster than the slower piece only in the live condition. As compared with the recorded condition, the audience's sympathovagal balance (LF/HF) was less while their vagal nervous system (HF/TF) was activated more in the live condition, which appears to suggest that sharing the ongoing musical moments with the pianist reduces the audience's physiological stress. The results are discussed in terms of the audience's superior attention and temporal entrainment to live performance.

Why live recording sounds better: a case study of Schumann's Träumerei.

We explore the concept that artists perform best in front of an audience. The negative effects of performance anxiety are much better known than their related cousin on the other shoulder: the positive effects of "social facilitation." The present study, however, reveals a listener's preference for performances recorded in front of an audience. In Study 1, we prepared two types of recordings of Träumerei performed by 13 pianists: recordings in front of an audience and those with no audience. According to the evaluation by 153 listeners, the recordings performed in front of an audience sounded better, suggesting that the presence of an audience enhanced or facilitated the performance. In Study 2, we analyzed pianists' durational and dynamic expressions. According to the functional principal components analyses, we found that the expression of "Träumerei" consisted of three components: the overall quantity, the cross-sectional contrast between the final and the remaining sections, and the control of the expressive variability. Pianists' expressions were targeted more to the "average" of the cross-sectional variation in the audience-present than in the audience-absent recordings. In Study 3, we explored a model that explained listeners' responses induced by pianists' acoustical expressions, using path analyses. The final model indicated that the cross-sectional variation of the duration and that of the dynamics determined listeners' evaluations of the quality and the emotionally moving experience, respectively. In line with human's preferences for commonality, the more "average" the durational expressions were in live recording, the better the listeners' evaluations were regardless of their musical experiences. Only the well-experienced listeners (at least 16 years of musical training) were moved more by the "deviated" dynamic expressions in live recording, suggesting a link between the experienced listener's emotional experience and the unique dynamics in music.