Rapping in the brain scanner

In seeking to understand the brain processes underlying creative performance, researchers have already scanned opera singers and actors. Now they've invited rappers to undergo the same treatment. Siyuan Liu and her colleagues were specifically interested in the difference between freestyle rap, which requires the spontaneous generation of rhyming lyrics, and rehearsed rapping.

Twelve male professional rappers had their brains scanned while they engaged in freestyle rap and while they performed raps they'd learned earlier. Rappers usually like to gesticulate energetically as they perform, but this would have distorted the brain images so they had to keep still. No worry - "... debriefing indicated that participants' performance was not affected by the motion restraints," the researchers said. The fMRI brain scanner is effectively a powerful magnet so it would also have been imperative that the rappers remove all of their bling before the scan began.

The main finding was that freestyle rapping versus rehearsed rapping was associated with increased activation in medial (inner) areas at the front of the brain, especially on the left-hand side, and concomitant reductions in activity in dorsolateral frontal areas, especially on the right-hand side. These patterns of activation were ante-correlated - the greater the increases in left-medial areas, the more the reductions on the right lateral areas. Liu and her team think this reflects a kind of disinhibition, whereby supervisory attentional systems allowed creative areas of the brain to have free reign. The researchers said this fitted the possibility that the creative process of freestyle rap is experienced as largely occurring outside of conscious awareness. "This is is not inconsistent with the experience of many artists who describe the creative process as seemingly guided by an outside agency," they added.

Freestyle rapping also exercised language areas more powerfully than rehearsed rapping, likely indicative of the need to find appropriate rhyming words. The researchers also looked for other connectivity patterns by seeing how activity levels correlated across the brain. The medial frontal areas engaged by freestyle rap appeared to be connected to activity in prefrontal motor regions, the left amygdala and on to the right inferior frontal gyrus and inferior parietal lobes - what the researchers called a network integrating "motivation, language, emotion and motor function" and which they proposed could reflect the psychological state of "flow". Critics will likely wince at the excesses of reverse inference in this study - making assumptions about the role played by different brain areas during rapping based on the activity of those regions in other studies.

"We speculate that the neural mechanisms illustrated here could be generalised to explain the cognitive processes of other spontaneous artistic forms," the researchers concluded. Eminem was unavailable for comment.

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Liu, S., Chow, H., Xu, Y., Erkkinen, M., Swett, K., Eagle, M., Rizik-Baer, D., and Braun, A. (2012). Neural Correlates of Lyrical Improvisation: An fMRI Study of Freestyle Rap. Scientific Reports, 2 DOI: 10.1038/srep00834

--Further reading--
Opera singing in the brain scanner

Post written by Christian Jarrett (@psych_writer) for the BPS Research Digest.

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Pop music is getting sadder and more emotionally ambiguous

Gaga is unusual in sounding uptempo yet fresh

Have you heard older generations lamenting the way pop songs don't sound like they used to? There's a sense that the hits from yesteryear had an innocence and feel-good quality that's missing from today's pop offerings. Now Glenn Schellenberg and Christian von Scheve have confirmed what many suspected - pop music over the last five decades has grown progressively more sad-sounding and emotionally ambiguous.

The researchers analysed the tempo (fast or slow) and mode (major or minor) of the most popular 1,010 pop songs identified using year-end lists published by Billboard magazine in the USA from 1965 to 2009. Tempo was determined using the beats per minute of a song, and where this was ambiguous the researchers used the rate at which you'd clap along. The mode of the song was identified from its tonic chord - the three notes played together at the outset, in either minor or major. Happy sounding songs are typically of fast tempo in major mode, whilst sad songs are slow and in minor. Songs can also be emotionally ambiguous, having a tempo that's fast in minor, or vice versa.

Schellenberg and von Scheve found that the proportion of songs recorded in minor-mode has increased, doubling over the last fifty years. The proportion of slow tempo hits has also increased linearly, reaching a peak in the 90s. There's also been a decrease in unambiguously happy-sounding songs and an increase in emotionally ambiguous songs. The findings complement an analysis of pop lyrics from 1980-2007, published last year, that found a drop over time in references to social interactions and positive emotions, but an increase in angry and anti-social words.

Why has pop music changed like this? Schellenberg and von Scheve can only speculate. They point to the rise of consumerism and individualism, which produces a demand for more choice; increasing cultural and societal ambiguity (such as the erosion of traditional gender roles); as well as the desire among pop consumers to demonstrate distinctiveness and sophistication in their taste.

Unambiguously happy songs like Abba's Waterloo sound, to today's ears, "naive and slightly juvenile", the researchers noted. And whilst modern songs in a similar style, such as Aqua's Barbie Girl, can still enjoy huge commercial success, they're usually seen as a guilty pleasure and savaged by critics.

Schellenberg and von Scheve think emotional ambiguity in a song is a way for modern acts to convey their seriousness and complexity. Lady Gaga is highlighted as rare in her ability to produce up-tempo major-mode recordings, such as Born This Way, that "sound fresh while recalling or quoting popular music from an earlier time."

Other findings to emerge from the analysis were a general lengthening of songs, and a greater prevalence of female acts."Our study sheds light on links between long-term cultural change on a macro social scale and emotional expression, perception, and responding, at least in relation to music," the researchers concluded. "As such the findings improve our understanding of the individual in relation to society, and how culture is shaped by the emotional needs and preferences of individuals."
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  E. Glenn Schellenberg, and Christian von Scheve (2012). Emotional Cues in American Popular Music: Five Decades of the Top 40. Psychology of Aesthetics, Creativity, and the Arts DOI: 10.1037/a0028024

Post written by Christian Jarrett for the BPS Research Digest.

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Music we like can be more distracting than music we don't

Music by Infernal: enjoyable but distracting 

Many of us like to listen to music while we work. It's become a ritual, alongside the coffee in our favourite mug. Previous research suggests this is probably no bad thing. In lab studies, people who listen to music they like, generally perform better at mental tasks afterwards, an effect that's been attributed to boosts in mood and arousal.

But what about the effect of background music that plays on during a task - more akin what we do in real life? This is actually less studied. The traditional mood-arousal literature would predict it to be beneficial too, especially if the music is to the listener's taste.

However, there's another line of research, known as the "Irrelevant Sound Effect", that's all about the way background sounds can interfere with our short-term memory for ordered lists, which would be a bad thing for many work-related tasks. These studies show that the distraction is greater when the sound is more acoustically varied - just like your typical pop song. Based on this, Nick Perham and Martinne Sykora made a counter-intuitive prediction - background music that you like will be more detrimental to working memory than unappealing music, so long as the liked music has more acoustical variation than the disliked music.

Twenty-five undergrads completed several serial recall tasks. They were presented with strings of eight consonants and had to repeat them back from memory in the correct order. Performance was best in the quiet condition, but the key finding was that particiants' performance was worse when they completed the memory task with a song they liked playing over headphones (Infernal's "From Paris to Berlin"), compared with a song they disliked (songs such as "Acid Bath" from the grind core metal band Repulsion). In case you're wondering, participants who liked Repulsion were excluded from the study.

The fast-tempo "extreme guitar-based" music of Repulsion, the researchers explained, is like "a cacophony of sound, in which the segmentation of each individual sound from the next is difficult to identify". This means it has less acoustic variation from one moment to the next, which helps explain why, even though disliked, it had a less detrimental effect on serial recall than Infernal's pop song.

Perham and Sykora said their findings were "seemingly incompatible with the mood and arousal literature, but are consistent with the changing-state explanation of the Irrelevant Sound Effect."

A further intriguing detail from the study is the participants' lack of insight into the degree of distraction associated with each type of music. Asked to judge their own performance, they determined correctly that their memory was more accurate in the quiet condition, but they didn't realise that their performance was poorest whilst listening to the music they liked.

So, the next time you're bothered by someone else's bad music, console yourself that the noise could be less harmful to your work performance than your own choice would be!

_________________________________


Nick Perham and Martinne Sykora (2012). Disliked Music can be Better for Performance than Liked Music. Applied Cognitive Psychology DOI: 10.1002/acp.2826

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What triggers an Earworm - the song that's stuck in your head?

PYT was triggered by the letters EYC 

The brain has its own jukebox. A personal sound system for your private listening pleasure. The downside is that it has a mind of its own. It often chooses the songs and it frequently gets stuck, playing a particular tune over and over until you're sick of it. Psychologists have nicknamed these mental tunes "earworms" (from the German Ohrwurm). A study from 2009 found that they can last anywhere between minutes to hours, but that they're only unpleasant in a minority of cases. Now a team led by Victoria Williamson, in partnership with BBC 6 Music and other international radio stations, has surveyed thousands of people to try to find out the various triggers that cause earworms to start playing. Radio listeners and web visitors were invited to fill in an online form or email the station about their latest earworm experience and the circumstances that preceded it.

Just over 600 participants provided all the information that was needed for a detailed analysis. Predictably, the most frequently cited circumstance was recent exposure to a particular song. "My bloody earworm is that bloody George Harrison song you played yesterday," one 6 Music listener wrote in. "Woke at 4.30 this morning with it going round me head. PLEASE DON'T EVER PLAY IT AGAIN." In relation to this kind of earworm-inducing exposure, the survey revealed the manifold ways that we come into contact with music in modern life, including: music in public places, in gyms, restaurants and shops; radio music; live music; ring tones; another person's humming or singing; and music played in visual media on TV and on the Internet.

However, a song doesn't have to be heard to worm its way inside your head. Many listeners described how earworms had been triggered by association - contact with certain people, rhythms, situations, sounds or words - sometimes with quite obscure links. "On my journey, I read a number plate on a car that ended in the letters 'EYC' which is NOTHING LIKE 'PYT' (by Michael Jackson)," said another listener, "but for some unknown reason, there it was - the song was in my head."

Memories also triggered earworms - for example, driving along the same stretch of road that a song was first heard. And also anticipation. Another listener had "Alive" by Pearl Jam stuck in their head in the days before attending a Pearl Jam concert.

Mood and stress were other triggers. "Prokofiev 'Montagues and Capulets' opening theme. I was writing an email about a distressing subject. I suspect the mood of the piece matched my mood at the time," said an amateur musician. Another listener had Michael Jackson's Man in the Mirror playing in her mind ever since she'd been thinking about the star non-stop and feeling sad (the survey coincided with his death in 2009).

A final theme to emerge from the survey was the way that earworms start playing when we're in a "low attention state", bored or even asleep. "My earworm is 'Mulder and Scully' by Catatonia. In fact I dreamt about running through woods and this was the sound track in my head," said a 6 Music listener. Another survey respondent experienced K'naan "Waving Flag" when mind wandering through a monotonous lab task.

Theoretically, Williamson and her colleagues said earworms can be understood as another manifestation of what Ebbinghaus in the nineteenth century identified as "involuntary memory retrieval". They could even provide a new window through which to study that phenomenon.

"While musical imagery is a skill that many (especially musicians) can utilise to their advantage, involuntary musical imagery (INMI) is an involuntary, spontaneous, cognitive intrusion that, while not necessarily unpleasant or worrying, can prove hard to control," the researchers concluded. "The present study has classified the breadth of circumstances associated with the onset of an INMI episode in everyday life and provided insights into the origins of the pervasive phenomenon, as well as an illustration of how these different contexts might interact."

What about you? What earworms have you experienced lately and what was the context? Please use comments to share your earworm experiences.
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Williamson, V., Jilka, S., Fry, J., Finkel, S., Mullensiefen, D., and Stewart, L. (2011). How do "earworms" start? Classifying the everyday circumstances of Involuntary Musical Imagery Psychology of Music DOI: 10.1177/0305735611418553

Link to Earwormery, the website used by the authors of this study to survey participants' experiences.
Link to previous Digest item on earworms, "A natural history of the Earworm - the song that won't get out of your head."
Link to previous Digest item: "Hearing music that isn't there."

Post written by Christian Jarrett for the BPS Research Digest.

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How listening to an iPod shrinks your sense of personal space

There you stand on the daily commute, so close to the man in front that you can count each strand of his chin stubble. Behind you, the breath of another traveller gently warms your neck. For a species that likes its space, it's amazing how we cope with the claustrophobia of city life.

Anecdotally, one way we manage is by plugging ourselves into an iPod, creating an invisible, audio-fuelled layer of protection. Now Ana Tajadura-Jiménez and her team have tested this idea scientifically. They asked dozens of participants to walk towards an unfamiliar experimenter (a man or woman) until they got so close it felt uncomfortable. In another condition, the experimenter walked towards the participant, and again the participant indicated when it felt too close. Crucially, this procedure was followed in silence, listening to positive music or listening to negative music. The unfamiliar musical clips, composed for an earlier experiment, were in the style of instrumental movie music. Sometimes the music was played over headphones via an iPod, other times it was played over a speaker system in the room. After the experiment, the participants listened to the music clips again and rated how much they affected them emotionally.

Positive music played over headphones (but not speakers) had the effect of shrinking the participants' sense of personal space, so that the approaching experimenter could walk closer to them before they (the participant) felt uncomfortable. On the other hand, negative music played over speakers (but not headphones) expanded the participants' personal space, so they felt uncomfortable when the approaching experimenter was further away. These effects were most pronounced in the participants who afterwards reported that they'd been affected emotionally by the music to a greater degree. Music made no difference to the participants' sense of personal space when they were the ones walking towards the experimenter.

A possible weakness of the study is that the experimenters could hear the music that the participants were listening to, which may have had a subtle influence on their behaviour. The Digest put this to Dr Tajadura-Jiménez. She told us this was unlikely, since the experimenters were careful to maintain the same neutral expression throughout, and another researcher looked on to ensure consistency across conditions.

"Our study might help to understand the benefit that people find in using personal music players in crowded situations, such as when using the public transport in urban settings," the researchers concluded. "In situations in which there are little possibilities for personal mobility and personal space is constantly compromised, a portable device allowing for a change in the perceived space around would be highly desirable."

The findings chime with an earlier qualitative study in which a homeless man described how he used a personal radio to create his own sense of personal space - an "audio cave" - when out on the streets. The idea that music influences sense of personal space via its emotional effects also tallies with a recent study involving a brain-damaged patient. The woman S.M. had suffered damage to both her amygdala - deep brain nuclei involved in emotional processing - and appeared to have lost her sense of personal space as a result.
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Tajadura-Jiménez, A., Pantelidou, G., Rebacz, P., Västfjäll, D., and Tsakiris, M. (2011). I-Space: The Effects of Emotional Valence and Source of Music on Interpersonal Distance. PLoS ONE, 6 (10) DOI: 10.1371/journal.pone.0026083

Post written by Christian Jarrett for the BPS Research Digest.

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Wine tastes like the music you're listening to

We often think of our sensory modalities as like separate channels. In fact, there's a lot of cross-talk and interference between them. Consider how the prick of a needle is more painful if you watch it go in. Under-researched in this respect is the way that sound can affect our taste of food and drink. We know that such interactions occur. For instance, crisps taste fresher when they make a louder crunching noise. In a new study, Adrian North has shown that when people drink wine to the accompaniment of music, they perceive the wine to have taste characteristics that reflect the nature of that concurrent music. If you want your Merlot to taste earthy and full-bodied, try savouring it to the tune of Tom Jones. To add a little zing to your Pinot, perhaps try some Gaga?

North tested out the taste perceptions of 250 university students as they drank either Montes Alpha 2006 Cabernet Sauvignon (red wine) or Chardonnay (white wine) - both are Chilean. Crucially, some of the participants sampled their glass to the tune of music previously identified by a separate group of people as powerful and heavy (Carmina Burana by Orff); others drank their wine to music rated earlier as subtle and refined (Waltz of the Flowers from Tchaikovsky's 'Nutcracker'); others to the tune of zingy and refreshing music (Just Can't Get Enough by Nouvelle Vague); and lastly, the remaining participants drank their wine with mellow and soft music in the background (Slow Breakdown by Michael Brook). There was also a control group who drank the wine with no music.

After they'd savoured their wine for five minutes, the participants were asked to rate how much they felt the wine was powerful and heavy; subtle and refined; mellow and soft; and zingy and refreshing. The results showed that the music had a consistent effect on the participants' perception of the wine. They tended to think their wine had the qualities of the music they were listening to. So, for example, both the red and white wines were given the highest ratings for being powerful and heavy by those participants who drank them to the tune of Carmina Burana.

It remains for future research to establish whether these effects would hold among participants who had a greater knowledge of wine (a factor not assessed in the current study). Also, it's not clear how much it's the cultural connotations of the music that influences the perception of the wine, or how much it's the physical properties of that music. Finally, it perhaps would have been better if the music had stopped whilst the wines were rated.

This research builds on some earlier, related findings. People buy more French wine when French music is playing (and ditto for German music and wine). Past research has also shown that people eat and drink their way to a higher dinner bill when the restaurant plays classical music as opposed to pop, presumably because of the "upmarket" connotations of the classical accompaniment.
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North, A. (2011). The effect of background music on the taste of wine. British Journal of Psychology DOI: 10.1111/j.2044-8295.2011.02072.x

Further reading:

• Practising describing wines could help you become a connoisseur (earlier Digest item).
• On Vines and Minds (Psychologist magazine feature).
• And check out the Wine Psych blog!

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Post written by Christian Jarrett for the BPS Research Digest.

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Scientists who rock

Joseph LeDoux

The review journal Trends in Cognitive Sciences has a reflective essay in-press written by Joseph LeDoux, a neuroscientist and performer with the Amygdaloids, a band that sings songs about "love and life peppered with insights drawn from research about mind and brain and mental disorders".

As well as providing interesting background info on the Amygdaloids (they're currently working on a EP called In Our Minds), LeDoux reflects on why so many scientists are drawn to music, and he talks about the benefits that performing music has brought to his own life and work. "Playing music makes me a healthier, happier person," he says. "It not only connects me with others in a unique way, it also makes connections in my own mind, drawing up emotions and thoughts I didn’t know I had."

LeDoux also gives plenty of examples of other scientists who rock:

"Dan Levitin, author of bestselling books, This Is Your Brain On Music and The World in Six Songs, is part of the Diminished Faculties at McGill University. Harvard molecular biologist, Pardis Sabetti, heads Thousand Days. Francis Collins, Director of NIH, has played at benefits with Joe Perry of Arrowsmith. Richard Brown, a philosopher at CUNY, is in the house band of a monthly jam session he organizes (The Amygdaloids played at their Qualia Freak Fest last year). Dave Sulzer, a neuroscientist at Columbia, has an alter ego as David Soldier, the leader of an avant garde music group. A biology-based bluegrass band in New York is called the Southern Blots. There’s a band of shrinks called The Psy- choanalytics. A New Jersey punk band is named the Lonely Ions. The Periodic Table hails from Long Island. Ryan Johnson of Michigan State is in Kinase Moves. The Science Fair is a jazz group from Norway that sings about science.

Andy Revkin, a biologist and New York Times environmental writer is part of the roots group Uncle Wade. Freaks of Nature are a science band from Philadelphia. The Cell Mates are from Yale. Darwin’s Finches are an a capella group from Rockefeller University. MacArthur awardee David Montgomery, a geomorphologist at the University of Washington, plays guitar for Seattle band Big Dirt. Mike Shadlen, also at the University of Washington, fronts the Turing Machines. Chris Code, a psychologist from Exeter in the UK, is in Broken Road. The Society for Neuroscience has a music social every year at its annual meeting, where brain geeks strap on guitars and other instruments. And we shouldn’t overlook that there are some really well known rockers with connections to science. Brian May of Queen has a PhD in astronomy and spends part of his time these days teaching at Imperial College London. Greg Gaffin of Bad Religion has a PhD from Cornell and teaches life science at UCLA. They Might Be Giants does some science-themed songs. We Are Scientists, on the other hand, seem to only be connected to science in name."

To his list I can add at least four psychologists who rock: Catherine Loveday, a neuropsychologist at the University of Westminster plays keyboard and sings backing vocals in a band; Ellen Poliakoff, a psychologist at the University of Manchester is in a band called Stray Light; Rob Hughes, a psychologist at Cardiff was in a band called Alien Matter; and psychologist Stephen Kosslyn was in a band when he lived in Cambridge Massachusetts. Do you know of any other psychologists who rock?

Update. More psychologists/neuroscientists who rock (grabbed from comments or Twitter): Stats whiz Andy Field drums with Fracture Pattern; Charles Fernyhough plays guitar with the Aimless Mules; Tim Byron plays keyboard with Lazy Susan; Roy Baumeister apparently plays guitar; Matt Wall is a UCL neuroscientist who plays guitar in a pub-rock covers band; and post-doctoral psychology researcher Dan Carney plays guitar and sings in the folk/indie/electronic band Dark Captain Light Captain (they've had Single of The Week on iTunes US, toured the UK, Germany, Austria and the Czech Republic, and been played on Radio 1/Radio 2/XFm etc... They've also soundtracked a Royal Bank of Scotland advert and had their music used on numerous TV programmes both here and abroad!).

-Read The Flip Side: Scientists Who Rock (pdf) by Joseph LeDoux.

(Thanks to Tadhg MacIntyre for the tip-off about this article, and about Kosslyn).

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How Michael Jackson's Heal The World really could help heal the world

"Heal The World

Make It A Better Place

For You And For Me

And The Entire Human Race"

So much research has looked at the effects of violent music lyrics and video-games on people's aggressiveness, but what about the effects of media with a positive message? Can songs like Michael Jackson's Heal the World and Bob Sinclair's Love Generation change people's behaviour for the better? Tobias Greitemeyer says this side of the media-behaviour equation has been neglected before now, but in a series of five studies conducted in Germany and the UK he's shown that 'pro-social' music reduces people's aggression. What's more, he's demonstrated that it appears to do so through its effect on mood and emotion rather than via changes to thoughts and cognition.

Greitemeyer's general approach was to have half his participants listen to a few pro-social songs, the others listen to neutral songs, and then all of them complete various questionnaires or tasks, depending on the specific experiment.

Further examples of pro-social songs used in the experiments include Michael Jackson and Lionel Richie's We Are The World (among the biggest selling singles of all time) and U2's Vertigo. Among the neutral songs used were Michael Jackson's On The Line and Bob Sinclair's Rock This Party. Greitemeyer deliberately chose some pro-social and neutral songs by the same artists so as to control for the effects of the actual singer and general style.

Participants who listened to pro-social songs subsequently showed reduced aggressive cognitions - for example they were less likely to complete ambiguous word stems (e.g. 'schla_' in German) with violent endings (e.g. 'schlagen', to hit), choosing instead more peaceful endings (e.g. 'schlafen' to sleep). They also exhibited reduced aggressive mood, being less likely to say they felt angry or irritated.

Most importantly, participants who listened to Heal the World and other pro-social songs were less likely than participants who listened to neutral music to actually be aggressive. This was tested indirectly by having participants evaluate a job candidate. Apparently this is a common measure in the aggression field, with harsh judgements being taken as a sign of indirect aggression. Aggressive behaviour was tested directly in another experiment by giving participants the chance to choose how much chilli sauce another student would have to eat, having heard that he or she hated chilli. This student had earlier given the participants an unfair essay evaluation so there was a temptation to be aggressive.

In the final experiment, when Greitemeyer looked to see whether it was cognitions or mood that mediated the effect of pro-social songs on aggressive behaviour, he found it was mood or 'affect' that was key. Intriguingly, this is the opposite to what's been found for video-games, in which case it's changes to cognitions, not affect, that mediates the influence, for better or worse, of violent or pro-social games on subsequent aggression.

'Music exposure is omnipresent in our daily life,' Greitemeyer concluded. 'Thus, the present findings are not only of theoretical significance, but have important practical implications as well, in suggesting that depending on the context of the song lyrics music exposure may reduce aggressive encounters.'
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Greitemeyer, T. (2011). Exposure to music with prosocial lyrics reduces aggression: First evidence and test of the underlying mechanism. Journal of Experimental Social Psychology, 47 (1), 28-36 DOI: 10.1016/j.jesp.2010.08.005

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