Description: So, you hear a new song and love it. You listen to is over and over and eventually you find you don’t like it as much as you did originally. Of course, there ARE exceptions to this sort of “wear-out” effect too,… some songs remain well liked for years and years. What is the difference between these two sorts of songs and our experience of them? Why does our liking of some songs wear out over time and exposure? Once you have a psychological hypothesis have a read through the article linked below to see how what his has to say matches up with your predictions.
Source: The Science Behind “Killing” a Song When You Listen to it Too Much, Kashmira Gander, Independent.
Date: May 10, 2017
Photo Credit: Christopher Polk/ Getty Images
So were exposure and song complexity part of your hypothesis? Human responses to music are so powerful there most certainly must be some brain-based foundations for how song effects come and go. The example of the staying power of Queen’s Hungarian Rhapsody reflects the role of complexity in song liking longevity. Simple may be catchier initially but the glow is short lived…. Our brain gets tired of it.
Questions for Discussion:
- What gives a song “hit” stating power (psychologically speaking)? Oh and what is “flow”?
- Are there some more recent songs than the older Queen hit that you think might have staying power? Why?
- What advice would you offer to song writers and performers if they want to boost their popularity (AND their royalties)?
References (Read Further):
Skowron, M., Lemmerich, F., Ferwerda, B., & Schedl, M. (2017, April). Predicting genre preferences from cultural and socio-economic factors for music retrieval. In European Conference on Information Retrieval (pp. 561-567). Springer, Cham. http://www.bruceferwerda.com/papers/2017_Skowron_etal_ECIR.pdf
Thomas, K. S. (2016). Music preferences and the adolescent brain: A review of literature. Update: Applications of Research in Music Education, 35(1), 47-53. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.830.8679&rep=rep1&type=pdf
Sallavanti, M. I., Szilagyi, V. E., & Crawley, E. J. (2016). The role of complexity in music uses. Psychology of Music, 44(4), 757-768.
Ruth, N., Spangardt, B., & Schramm, H. (2016). Alternative music playlists on the radio: Flow experience and appraisal during the reception of music radio programs. Musicae Scientiae, 1029864916642623. https://www.researchgate.net/profile/Benedikt_Spangardt/publication/301318955_Alternative_music_playlists_on_the_radio_Flow_experience_and_appraisal_during_the_reception_of_music_radio_programs/links/574c375c08aed8df7c54d640.pdf
Eerola, T. (2016). Expectancy-violation and information-theoretic models of melodic complexity. Empirical Musicology Review, 11(1), 2-17. http://dro.dur.ac.uk/18968/2/18968.pdf