National anthems and suicide rates

In a sample of 18 European nations, suicide rates were positively associated with the proportion of low notes in the national anthems and, albeit less strongly, with students' ratings of how gloomy and how sad the anthems sounded, supporting a hypothesis proposed by Rihmer.     

Music training and rate of presentation as mediators of text and song recall

The present research addresses whether music training acts as a mediator of the recall of spoken and sung lyrics and whether presentation rate is the essential variable, rather than the inclusion of melody. In Experiment 1, 78 undergraduates, half with music training and half without, heard spoken or sung lyrics. Recall for sung lyrics was superior to that for spoken lyrics for both groups. In Experiments 2 and 3, presentation rate was manipulated so that the durations of the spoken and the sung materials were equal. With presentation rate equated, there was no advantage for sung over spoken lyrics. In all the experiments, those participants with music training outperformed those without training in all the conditions. The results suggest that music training leads to enhanced memory for verbal material. Previous findings of melody's aiding text recall may be attributed to presentation rate.     

THE INFLUENCE OF SEXUALLY VIOLENT RAP MUSIC ON ATTITUDES OF MEN WITH LITTLE PRIOR EXPOSURE

This article is among the first to focus on commercially available, sexually violent rap music, so-called "gangsta" rap (GR) and its influence on attitudes toward women. Collegiate males with little experience with GR were exposed to GR music, lyrics, both, or neither. Thus the effect of GR music and lyrics were isolated from each other and from acculturation to GR. Collapsing across all attitude measures, neither lyrics alone nor lyrics with music resulted in significantly more negative attitudes toward women than music-only or no-treatment control conditions. Participants in the lyrics conditions had significantly greater adversarial sexual beliefs than no-lyrics participants, however.     

Genre of Music and Lyrical Content: Expectation Effects

This study was designed to examine whether people's expectations differ regarding how music lyrics affect individual behavior as a function of music genre. Because legislative attention and media publicity have been biased against certain types of popular music (i.e., heavy metal and rap), the authors expected that those genres of music would be viewed more negatively than other genres of popular music, for which there has been little or no negative publicity (i.e., pop and country). Participants (N = 160 college students) rated their perceptions of how the lyrical content of a song would affect listeners' behavior. The authors presented prosocial or antisocial lyrical passages to students (N = 160) under the guise of four musical genres (heavy metal, rap, pop, and country). Participants rated the potential impact of the lyrics on listeners' behavior. Findings indicated that lyrics labeled as heavy metal or rap were perceived as less likely to inspire prosocial behavior but not more likely to inspire antisocial behavior than the same lyrics labeled as country or pop.     

Effects of aggressive and nonaggressive rock songs on projective and structured tests

The differences between hostility scores on projective and objective tests as a function of listening to aggressive or nonaggressive rock music were studied. While taking the Thematic Apperception Test (Cards 1, 3BM, 4, 9BM, and 10) and the Buss-Durkee (1957) Hostility Scale, subjects (N = 90) randomly assigned to one of three groups listened to a rock song with (a) nonaggressive music and nonaggressive lyrics, (b) aggressive music and nonaggressive lyrics, or (c) aggressive music and aggressive lyrics. TAT stories were scored for aggressive content according to Hafner and Kaplan's (1960) hostility rating scale. Hostility scores did not differ between groups. The findings are congruent with other investigators' reports that subjects do not pay attention to rock lyrics. Previous findings that music affects the emotional quality of TAT stories and hostility scores on the Buss-Durkee scale were not supported.     

Effects of Aggressive and Nonaggressive Rock Songs on Projective and Structured Tests

The differences between hostility scores on projective and objective tests as a function of listening to aggressive or nonaggressive rock music were studied. While taking the Thematic Apperception Test (Cards 1, 3BM, 4, 9BM, and 10) and the Buss-Durkee (1957) Hostility Scale, subjects (N = 90) randomly assigned to one of three groups listened to a rock song with (a) nonaggressive music and non-aggressive lyrics, (b) aggressive music and nonaggressive lyrics, or (c) aggressive music and aggressive lyrics. TAT stories were scored for aggressive content according to Hafner and Kaplan's (1960) hostility rating scale. Hostility scores did not differ between groups. The findings are congruent with other investigators' reports that subjects do not pay attention to rock lyrics. Previous findings that music affects the emotional quality of TAT stories and hostility scores on the Buss-Durkee scale were not supported.     

Psychological and psychophysiological effects of music intensity and lyrics on simulated urban driving

The main aim of this study was to investigate the effect of musical characteristics (i.e., presence of lyrics and loudness) in the context of simulated urban driving. Previous work has seldom isolated musical characteristics and examined these both singularly and interactively. We investigated the potentially distracting effects of processing lyrics through exposing young drivers to the same piece of music with/without lyrics and at different sound intensities (60 dBA [soft] and 75 dBA [loud]) using a counterbalanced, within-subjects design (N = 34; M_age = 22.2 years, SD = 2.0 years). Six simulator conditions were included that comprised low-intensity music with/without lyrics, high-intensity music with/without lyrics, plus two controls – ambient in-car noise and spoken lyrics. Between-subjects variables of driving style (defensive vs. assertive) and sex (women vs. men) were explored. A key finding was that the no lyrics/soft condition yielded lower affective arousal scores when compared to the other music conditions. There was no main effect of condition for HRV data (SDNN and RMSSD). Exploratory analyses showed that, for assertive drivers, NASA-TLX Performance scores were lower in the no lyrics/soft condition compared to the lyrics/loud condition. Moreover, women exhibited higher mean heart rate than men in the presence of lyrics. Although some differences emerged in subjective outcomes, these were not replicated in HRV, which was used as an objective index of emotionality. Drivers should consider the use of soft, non-lyrical music to optimise their affective state during urban driving.     

Background music stints creativity: Evidence from compound remote associate tasks

Background music has been claimed to enhance people's creativity. In three experiments, we investigated the impact of background music on performance of Compound Remote Associate Tasks (CRATs), which are widely thought to tap creativity. Background music with foreign (unfamiliar) lyrics (Experiment 1), instrumental music without lyrics (Experiment 2), and music with familiar lyrics (Experiment 3) all significantly impaired CRAT performance in comparison with quiet background conditions. Furthermore, Experiment 3 demonstrated that background music impaired CRAT performance regardless of whether the music induced a positive mood or whether participants typically studied in the presence of music. The findings challenge the view that background music enhances creativity and are discussed in terms of an auditory distraction account (interference‐by‐process) and the processing disfluency account.     

On the role of lyrics in the music–exercise performance relationship

ObjectivesTo examine the role of lyrics on a range of psychological, psychophysical, and physiological variables during submaximal cycling ergometry.DesignWithin-subject counterbalanced design.MethodTwenty-five participants performed three 6-min cycling trials at a power output corresponding to 75% of their maximum heart rate under conditions of music with lyrics, same music without lyrics, and a no-music control. Cycling cadence, heart rate, and perceived exertion were recorded at 2-min intervals during each trial. Positive and negative affect was assessed before and after each trial.ResultsParticipants cycled at a higher cadence towards the end of the cycling trials under music with lyrics. Main effects were found for perceived exertion and heart rate, both of which increased from min 2 through to min 6, and for affect: positive affect increased and negative affect decreased from pre- to post-trials.ConclusionsParticipants pedalled faster in both music conditions (with and without lyrics) while perceived exertion and heart rate did not differ. The inclusion of lyrics influenced cycling cadence only at min 6 and had no effect on the remaining dependent variables throughout the duration of the cycling trials. The impact of lyrical content in the music–exercise performance relationship warrants further attention in order for us to better understand its role.     

Can music with prosocial lyrics heal the working world? A field intervention in a call center

Music with lyrics about helping is shown to reduce aggression in the laboratory. This paper tests whether the prosocial lyric effect generalizes to reducing customer aggression in the workplace. A field experiment involved changing the hold music played to customers of a call center. The results of a 3 week study suggested that music significantly affected customers, but not in the way suggested by previous laboratory experiments; compared with days when instrumental background music was played, caller anger and employee exhaustion were lower on days when callers were played popular music with neutral, but not prosocial, lyrics. The findings suggest that music influences customer aggression, but that the prosocial lyric effect may not generalize from the laboratory to the call center.     

Bad Rap for Rap: Bias in Reactions to Music Lyrics1

This research examines the recent public outcry against violent rap songs such as Ice T's “Cop Killer.” It was hypothesized that rap lyrics receive more negative criticism than other types of lyrics, perhaps because of their association with Black culture. Two experiments were conducted to examine the effect of musical genre and race of singer on reactions to violent song lyrics. The results support the hypothesis. When a violent lyrical passage is represented as a rap song, or associated with a Black singer, subjects find the lyrics objectionable, worry about the consequences of such lyrics, and support some form of government regulation. If the same lyrical passage is presented as country or folk music, or is associated with a White artist, reactions to the lyrics are significantly less critical on all dimensions. The findings are briefly discussed in terms of various models of racism and stereotyping.     

Feeling-of-knowing for songs and instrumental music

We explored the differences between metamemory judgments for titles as well as for melodies of instrumental music and those for songs with lyrics. Participants were given melody or title cues and asked to provide the corresponding titles or melodies or feeling of knowing (FOK) ratings. FOK ratings were higher but less accurate for titles with melody cues than vice versa, but only in instrumental music, replicating previous findings. In a series of seven experiments, we ruled out style, instrumentation, and strategy differences as explanations for this asymmetry. A mediating role of lyrics between the title and the melody in songs was also ruled out. What emerged as the main explanation was the degree of familiarity with the musical pieces, which was manipulated either episodically or semantically, and within this context, lyrics appeared to serve as an additional source of familiarity. Results are discussed using the Interactive Theory of how FOK judgments are made.     

Evaluating Agency and Responsibility in Gendered Violence: African American Youth Talk About Violence and Hip Hop

The results of this study provide insights into the ways that African American adolescents think about gendered interpersonal violence. African American high school students were invited to discuss images and incidents from contemporary urban music culture (events based on incidents with famous hip hop figures and lyrics from rap music) in a focus group format. We explored how African American youth perceived and responded to examples of gendered violence portrayed in vignettes and musical lyrics. The main analyses focus on the question of how youths’ perceptions of hip hop images, hypothetical stories, and lyrics were linked to their views of “normative” gender interactions and interpersonal relationships for their racial group.     

Who's Afraid of Rap: Differential Reactions to Music Lyrics1

This research examines the recent public outcry against violent rap songs. It was hypothesized that rap music receives more negative criticism than do other types of music, regardless of the actual content of the lyrics. Participants read a violent lyrical passage and were led to believe that it was either a rap song or a country song. They then responded to how offensive and dangerous they thought the song was. The results support the hypothesis. When a violent lyrical passage was represented as a rap song, reactions to the lyrics were significantly more negative. Age, whether or not the participants had children, and the participants’ music tastes and buying habits were all significantly related to whether or not this biased judgment occurred. The findings are briefly discussed in terms of various models of racism and stereotyping.     

The effect of auditory versus visual violent media exposure on aggressive behaviour: The role of song lyrics, video clips and musical tone

Five decades of research have shown clear links between exposure to violent visual media and subsequent aggression, however there has been little research that directly compares the effects of exposure to violent visual versus auditory media, or which has experimentally tested the effect of violent song lyrics with musical ‘tone’ held constant. In the current study 194 participants heard music either with or without lyrics, and with or without a violent music video, and were then given the chance to aggress using the hot sauce paradigm. Musical tone was held constant across groups, and a fifth (control) group had no media exposure at all. Experimental groups, on average, were significantly more aggressive than controls. The strongest effect was elicited by exposure to violent lyrics, regardless of whether violent imagery accompanied the music, and regardless of various person-based characteristics. Implications for theories of media violence and models of aggression are discussed.     

Emotional and aesthetic antecedents and consequences of music-induced thrills

The significance of music-induced thrills or chills was explored in 3 experiments (N= 223). Specifically, the ability of antecedent (priming) stimuli in different modalities and aesthetic domains (national anthems, stories, architectural objects, paintings) to increase the participants' thrills responsiveness to music by Rachmaninoff and Haydn was examined. In addition, the differential effects of having or not having experienced thrills on the participants' subsequent willingness to donate blood, and on their mood and self-concept, were tested. It was found that while the antecedent stimuli in different modalities could themselves induce thrills in a predictable manner, these priming stimuli, and the thrills they elicited, had relatively weak effects on the thrills subsequently induced by the Rachmaninoff and Haydn pieces. The measures of altruism, self-concept, and mood were not affected by either the antecedent variables or the thrills experience. Thrills may often accompany profound aesthetic experiences and provide their physiological underpinning, yet themselves be of limited psychological significance.     

Seeing a singer helps comprehension of the song’s lyrics

When listening to speech, we often benefit when also seeing the speaker’s face. If this advantage is not domain specific for speech, the recognition of sung lyrics should also benefit from seeing the singer’s face. By independently varying the sight and sound of the lyrics, we found a substantial comprehension benefit of seeing a singer. This benefit was robust across participants, lyrics, and repetition of the test materials. This benefit was much larger than the benefit for sung lyrics obtained in previous research, which had not provided the visual information normally present in singing. Given that the comprehension of sung lyrics benefits from seeing the singer, just like speech comprehension benefits from seeing the speaker, both speech and music perception appear to be multisensory processes.     

The Sound of Silence: Can Imagining Music Improve Spatial Rotation Performance?

We report two experiments exploring whether imagining music improves spatial rotation via increases in arousal and mood levels (Schellenberg 2005). To aid their imagination, participants were given instructions (none, basic or detailed) and lyrics (present or absent). Experiment 1 showed no effect of instructions or lyrics on performance although participants felt that the presence of the lyrics helped. Experiment 2 was identical to Experiment 1 except that the participants were musicians (as evidenced by musical experience and/or qualification). This time there was a significant effect of instructions in that those who received the detailed instructions performed significantly better than the no instruction condition although the presence of lyrics did not help. Further research is required to establish the similarity of the imagination to the traditional arousal and mood effect but the phenomenon may be useful for short-term boosts in spatial rotation activities.     

Semantic priming of familiar songs

We explored the functional organization of semantic memory for music by comparing priming across familiar songs both within modalities (Experiment 1, tune to tune; Experiment 3, category label to lyrics) and across modalities (Experiment 2, category label to tune; Experiment 4, tune to lyrics). Participants judged whether or not the target tune or lyrics were real (akin to lexical decision tasks). We found significant priming, analogous to linguistic associative-priming effects, in reaction times for related primes as compared to unrelated primes, but primarily for within-modality comparisons. Reaction times to tunes (e.g., “Silent Night”) were faster following related tunes (“Deck the Hall”) than following unrelated tunes (“God Bless America”). However, a category label (e.g., Christmas) did not prime tunes from within that category. Lyrics were primed by a related category label, but not by a related tune. These results support the conceptual organization of music in semantic memory, but with potentially weaker associations across modalities.     

Sexualization in Lyrics of Popular Music from 1959 to 2009: Implications for Sexuality Educators

This study analyzed sexualization in lyrics of popular music in the final year of six decades. The study sample was comprised of Billboard Hot 100 year-end songs from 1959, 1969, 1979, 1989, 1999, and 2009 (N = 600). Regression analysis was used to compare the presence of sexualized lyrics from 1959 with other study years. Male artists’ lyrics (OR = 2.163; p = .029; CI = 1.080–4.333), non-White artists’ lyrics in 1999 and 2009 (OR = 2.670; p < .001; CI = 1.554–4.586), and 2009 lyrics (OR = 3.439; p = .003; CI = 1.515–7.809), were significantly more likely to contain sexualization. Recent research associating sexual content in media with adolescent sexual activity together with findings demonstrating a connection between exposure to objectifying media and self-sexualized behavior make this study’s findings significant to sexuality educators desiring to improve sexual health outcomes and promote healthy adolescent sexual development. Sexuality educators should be cognizant of the recent significant trend toward the inclusion of sexualization in music lyrics and the probable impact such music may have on adolescent sexual behavior and attitudes.