This study investigated the inverted-U model of preference for music as a function of collative variables (especially familiarity and complexity) over the last 115 years. The results of 57 studies on music preference were categorized according to their patterns of preference. Fifty of the 57 studies (87.7%) were categorized as compatible with an overarching (segmented) inverted-U model, while the results of five studies (8.8%) were interpreted as mixed, showing both compatible and incompatible results. Two studies (3.5%) were categorized as completely incompatible with the model. In contrast to authors who describe the model as defunct, this review has observed that studies producing results compatible with the inverted-U are still prevalent. We propose that while there may be inconsistencies with Berlyne’s psychobiological theory from a scientific, arousal-based standpoint, the inverted-U model is able to explain a considerable amount of data. Rather, it seems that research interests have moved elsewhere, but caution is urged in asserting denial or dismissal of the relationship in music preference research.

Recent research has indicated that many people around the world turned to artistic creative activities (ACAs) to support their mental health during COVID-19 lockdowns. However, studies have also shown that the negative psychosocial impacts of the pandemic have disproportionately affected young people, suggesting that the use of ACAs to support mental health in lockdown may have varied across age groups. This study investigated how Australians in four different age groups (18–24, 25–34, 35–54, and 55+) engaged in ACAs to support their mental health during the 2020 pandemic lockdowns. Participants (N = 653) recruited from the general public completed an online survey between May and October 2020, in which they reported which ACAs they had undertaken during the pandemic using an established list. Participants subsequently ranked undertaken ACAs in terms of effectiveness at making them “feel better,” and those who had engaged in musical ACAs also completed the Musical Engagement Questionnaire (MusEQ). Additionally, ratings of anxiety (GAD7) and depression (PHQ9) symptoms were obtained and examined for potential variations across four diverse variables: age, exercise, gender and state/territory of residence. ACA rankings showed that younger participants overwhelmingly rated musical activities as most effective, while, with the exception of singing, those aged 55+ rated non-musical activities as being most effective. These differences were further supported by ratings for all six MusEQ subscales, with responses strongly indicating that the youngest participants (aged 18–24) used music in significantly different ways during the pandemic than participants in all other age groups. Specifically, these youngest participants were more likely to integrate music into daily life, use music for emotion regulation, respond to music in embodied ways, and use music to perform a social identity. In line with prior research, further analyses indicated that symptoms of anxiety and depression were lessened for older participants, as well for those who reported exercising more during the lockdowns. These findings provide insight into how ACAs can support mental health during a pandemic crisis for specific age groups, which may inform future policy directions, and suggestions for how this can be done are provided.

This paper investigates the role of unusualness ratings in predicting music preference. In addition, the variables complexity and familiarity were rated for five music stimuli covering a range of styles. Ninety-four participants were exposed to each stimulus ten times over a three-week period. The three variables were tested as predictors of preference using linear and quadratic curve-fitting procedures. A linear increasing relationship was observed for familiarity, and inverted-U relationships were observed for unusualness and complexity. These results are consistent with Berlyne’s inverted-U model, or a segment of the inverted-U in the case of familiarity. Unusualness was a good indicator of music preference, and explained more variance than complexity or familiarity. Furthermore, the two stimuli that scored highest in unusualness produced consistently low ratings of preference independent of exposure, which appears to be a hallmark of “extreme” music stimuli.

As a result of the COVID-19 pandemic, many cultural and artistic programs for older adults have been put on hold, despite the numerous physical, social, and emotional well-being benefits continued participation may bring. This article details a cross-section of participants ( n = 13) in the Active Minds Music Ensemble—a longitudinal Australian-based research project that provides 12 months of group music instrument lessons to healthy older adult novices—who transitioned from face-to-face (F2F) to an online format. Research questions include the benefits and challenges for older adults as they cope with the technological demands of “going online,” perceived effects on teaching and older adults’ musical learning, as well as perceived effects on group learning benefits. Qualitative data were collected from three different perspectives: i) a frequently asked questions (FAQ) report from the research team documenting technological issues, ii) individual semi-structured interviews with the participants, and iii) a reflective report from the teacher. The findings confirm that online group music instrument lessons are viable for and valued by older adults, with appreciation of continued technical support. Teaching and learning changed as a result of the online format, primarily in the reduction of individual feedback and less interplay between participants; this was mitigated by use of various functions such as chat, whiteboards, and breakout rooms. Implications for older adult online music instrument lessons include providing continued technical support to learners and helping them maintain confidence with technology. Social opportunities for informal “side-chatter” may also help them to empathize with and encourage each other during music learning activities.

A significant contribution to the literature on aesthetics in the last decade has been Bullot and Reber's ecologically-driven psycho-historical framework for the science of art appreciation (PHF). The framework proposes that the presence of contextualizing information accompanying an artwork will impart a substantial impact on appreciation for it, which is accessible through understanding of the causal information surrounding the work. Artistic understanding is outlined in terms of three hierarchical “modes” of appreciation. This paper tested a simplified hypothesis drawn from the PHF, using results reported in the existing literature. As Bullot and Reber note that such a framework is relevant for any artistic medium containing causal information, results were drawn from literature concerned with either music or visual works. Our review identified 34 studies that reported results of appreciation (or equivalent) as a dependent variable, while manipulating contextual/historical information for the stimuli as an independent variable. Overall the results were consistent across the two artistic mediums: 9 experiments (26%) produced strong support for the PHF, 6 experiments (18%) produced inconclusive results, and 19 experiments (56%) produced no support for the PHF. We concluded that the majority of the reviewed literature does not support the simplified PHF hypothesis for either medium. However, we also discuss a number of limitations surrounding these studies which may have produced a substantial impact on the categorization results: small sample sizes in some studies, difficulty in translating philosophically-based theory into empirical practice, and interactions with variables such as exposure and “unusualness.”