With increasing interest in the emotional responses to music, some studies are specifically looking into music’s regulatory function on emotion, known as “music emotion regulation (MER)”. The purpose of this study was to examine the concepts on the regulatory impact of music on emotion using a scoping review procedure. Through an electronic database and manual searches based on the guidelines suggested by the JBI Manual for Evidence Synthesis, a total of 47 studies were identified and included for analysis. The results showed that there were some definitional challenges in each component of music emotion regulation. Most studies treated music as a single variable without exploring the regulatory mechanism of the intra-musical elements that constitute music. When examining the regulatory impact of music on emotion, emotion was inclusive of other terms ranging from feeling to mood. Most of the MER studies employed the terms used in the emotion regulation strategies; however, there were some regulatory processes that pertained solely to music’s cathartic effect. Overall, the results showed that music emotion regulation (MER) was not clearly distinguished from music emotion (ME) studies. Future research should allocate more attention to the theoretical mechanism behind music’s intrinsic regulatory effect in emotion regulation (MER) studies.

Objectives: Group singing has been reported to enhance quality of life (QoL) and mental health in older people. This paper explored whether there are differences in the effects of group singing intervention on people with Parkinson’s (PwPs) in Australia, UK and South Korea. Methods: The study included PwPs (N = 95; mean age = 70.26; male 45%) who participated in a standardised 6-month weekly group singing programme. Parkinson’s health-related QoL measure (PDQ39) and mental health assessment (DASS) were administered at baseline and follow-up. ANOVAs were performed with significance set as p < .05. Results: ANOVAs revealed main effects of Time on the Stigma and Social Support subscales of PDQ39; both showed a small but significant improvement over time. However, the social support reduction was moderated by country; social support was improved only in South Korean participants. The reduction in stigma was greater than previously reported minimal clinically important differences, as was the social support reduction in South Korean participants. In terms of mental health, ANOVAs revealed that the scores of Anxiety and Stress domains of DASS significantly decreased from pre-test to post-test with small effect sizes. Conclusion: This first international singing study with PwPs demonstrated that group singing can reduce stigma, anxiety and stress and enhance social support in older adults living with Parkinson’s. The findings are encouraging and warrant further research using more robust designs.

Patients with Parkinson's disease (PD) frequently experience depression associated with voice problems. Singing involves the use of similar muscles and the neural networks associated with vocal function and emotional response. The purpose of this study is to enhance vocal quality and depressive symptoms of patients with PD using individual singing program. The Individual Therapeutic Singing Program for PD (ITSP-PD) was conducted by a certified music therapist. In total, nine PD patients with a subjective voice problem or depression participated in 6 sessions over 2 weeks. We measured the Maximum Phonation Time (MPT) via the Praat test, the Voice Handicap Index (VHI), the Voice-Related Quality of Life (V-RQOL) and the Geriatric Depression Scale (GDS). In total, 8 out of 9 patients completed all the sessions; 6 out of 8 patients participated in the follow-up test after 6 months. A statistically significant change in MPT (p = 0.011) was observed between the pre- and post-tests. The VHI (p = 0.035) and the GDS (p = 0.018) were significantly lower in the post-test. In the pre-, post-, and follow-up tests, the MPT (p = 0.030), V-RQOL (p = 0.008), and GDS (p = 0.009) were significantly changed. The ITSP-PD based on neurological singing therapy for PD showed therapeutic possibility for vocal function and depression in patients with PD. Our findings suggest the need for a randomized study to examine the continuing positive effects of the ITSP-PD over a longer period of time.

The effects of rhythmic auditory stimulation (RAS) on gait in adolescents with acquired brain injury (ABI) were investigated. A total of 14 adolescents with ABI were initially recruited, and 12 were included in the final analysis (n = 6 each). They were randomly assigned to the experimental (RAS) or the control (conventional gait training) groups. The experimental group received gait training with RAS three times a week for 4 weeks. For both groups, spatiotemporal parameters and kinematic data, such as dynamic motions of joints on three‐dimensional planes during a gait cycle and the range of motion in each joint, were collected. Significant group differences in pre–post changes were observed in cadence, walking velocity, and step time, indicating that there were greater improvements in those parameters in the RAS group compared with the control group. Significant increases in hip and knee motions in the sagittal plane were also observed in the RAS group. The changes in kinematic data significantly differed between groups, particularly from terminal stance to mid‐swing phase. An increase of both spatiotemporal parameters and corresponding kinematic changes of hip and knee joints after RAS protocol indicates that the use of rhythmic cueing may change gait patterns in adolescents with ABI.

Introduction: This study investigated attitudes (intrapersonal, interpersonal, and communal) toward, and uses of, music among people with visual impairments compared with those who are sighted to investigate the potential of music as a means of communication and social expression. Method: A total of 137 participants (63 visually impaired, 74 sighted) were recruited from six cities in South Korea. Participants, aged 20 to 39 years, were asked to complete a 30-question survey on music attitudes and use, which was distributed (electronically, by post, by telephone, and in person) between June 2013 and February 2014. Results: The response rate was 87%. Attitudes toward music showed that visually impaired participants demonstrated significantly higher (more positive) values than sighted participants on interpersonal and communal survey dimensions ( p < .05). The groups demonstrated similar results regarding intrapersonal attitudes, which received the highest scores of all three categories. Visually impaired participants mainly accessed music from home via portable devices or computers, whereas sighted participants used music most frequently at their homes or in cars. The most significant difference between groups was that music was involved in the majority of leisure time for visually impaired participants, but not for sighted participants. Discussion: Higher attitude scores in the intrapersonal category from both groups imply an important role of music, with its emotional and affective aspects, in self-expression. Findings indicated that visually impaired participants utilized music mainly for self-amusement despite perceiving it as an interpersonal and communal tool, most likely due to social restrictions. Implications for practitioners: The role of music in the lives of visually impaired individuals could be expanded to provide more group opportunities, hands-on experiences, enjoyable outdoor activities, and psychosocial coping strategies. Group music programs should be considered in order to expand interpersonal and communal experiences for both visually impaired and sighted individuals.

In music listening, limitations on visual experience affect a listener’s abstract information processing and conceptualization of the music. The aim of this study is to examine the differences in emotional responses to music between adults with visual impairment (VI) and adults with normal vision (NV). By using specific, emotion-inducing music reflecting happiness, sadness, anger, and fear, this study considers factors such as music emotion identification, emotional valence, arousal, intensity, and musical preference. A total of 120 participants (60 VI and 60 NV) listened to sixteen 15-second music excerpts and reported which emotion and to what extent they perceived it, using a self-reported music emotion evaluation scale. The results indicated that both of the groups showed high congruence in music emotion identification. However, the VI group showed significantly higher arousal, intensity and preference for sadness, while showing the lowest score for the intensity of fear. The main factor affecting emotion identification was preference for the VI group, and valence for the NV group.