Tag: music

  • Bang & Olufsen Beosystem 9000c: Price, Specs, Release Date

    Bang & Olufsen Beosystem 9000c: Price, Specs, Release Date

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    Today, Bang & Olufsen—the audio company that has made what we called “the prettiest gadgets in the world”—is rereleasing its iconic CD player, the Beosound 9000. If you were alive in the 1990s, you definitely saw this CD player standing in a place of honor, six discs and glass lid gleaming, either in your bougiest friend’s home or in the background on an episode of Entourage. Now you can buy it again as a new item from Bang & Olufsen rather than bid for one on eBay.

    This is the second project in a series of what the company calls “recreated classics.” Bang & Olufsen sourced 200 original units of the Beosound 9000 and brought them to the company’s factory in Struer, Denmark. There, the Bang & Olufsen team—some of whom worked on the original models—carefully disassembled, cleaned, and repaired each unit. Each was then individually tested and fine-tuned to meet B&O’s audio standards.

    To lend it a more modern look, the team inverted the black and aluminum finishes of the original. The new black backplate makes the CDs stand out even more as works of art. But never fear—all the aluminum parts are still from the original Beosound 9000s. The pieces were all brushed, etched, and blasted in Bang & Olufsen’s factory, then re-machined and re-anodized to bring them in line with the looks of the classic player.

    Beosystem 9000c CD player and Speakers

    The Beosystem 9000c is a complete package.

    Photograph: Bang & Olufsen

    The dressed-up CD players will only be sold as part of a package that includes a pair of high-end Beolab 28 speakers and a fancy Beoremote. The products are bundled together under the name Beosystem 9000c. Only 200 units are being produced, and each bundle costs $55,000. Even if that price puts it out of reach for most of us, the Beosound 9000’s design is worthy of celebration for what it represents.

    What Goes Around

    Beosystem 9000c CD player

    The player’s glass door swings open on a motor so you can change the discs.

    Photograph: Bang & Olufsen

    The Danish brand has long prioritized product longevity, using high-end materials and keeping durability in mind. Also, its products exude timeless, quirky vibes that you really just can’t get anywhere else. I always think of the Beosound Bluetooth speaker that looks just like a picnic basket, but in 2021 the company also released the Beosound Level, an exceptionally beautiful $2,000 Bluetooth speaker that was designed to be easily repaired; the battery, wood, and cloth elements are all replaceable, giving the speaker a lifespan of decades instead of years.

    “The consumer electronics industry is not as resource-efficient as it should be,” says Mads Kogsgaard Hansen, the head of product circularity and portfolio planning at B&O, who I reached over email. By tackling obsolescence through design, he says, his team can “create a movement toward a more long-lasting future, where products serve a purpose after their first useful lifecycle.”

    The original Beosound 9000 was designed by David Lewis, a legendary industrial designer whose work is currently showcased in the Museum of Modern Art. The player’s design—with its inner workings on full display and encased in glass—was based on the concept of “audiovisuality,” which is the idea that exposing a music machine’s basic functionality is beautiful.

    Of course, these days it’s no big deal to see a clear computer case or a folding phone with an exposed hinge. But back in the 1990s, watching a smooth clamp slide soundlessly between CDs or seeing the Beosound 9000’s motorized glass lid slowly swing open was the height of luxury.

    Comes Back Around

    Bang & Olufsen’s rerelease also comes at a time of a CD revival. In my twenties, I worked in a record store—which we called a record store, even though we mostly sold CDs. That’s where bands played free daytime shows and did CD signings and where we wandered over to the death metal or African funk listening stations because the country section was too crowded.

    That click-click-click of people shuffling through bins of jewel cases is permanently embedded in my brain. A lot of us miss it, even those of us who weren’t old enough at the time to listen to music on compact disc, as evidenced by Gen Z buyers gobbling up long-neglected CD collections.

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  • Your genes may influence how much you enjoy listening to music

    Your genes may influence how much you enjoy listening to music

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    Identical twins seem to experience more similar levels of pleasure when listening to music than non-identical twins, which suggests it has a genetic element

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  • The Taylor Swift Album Leak’s Big AI Problem

    The Taylor Swift Album Leak’s Big AI Problem

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    On Thursday, Taylor Swift did a very Taylor Swift thing: She posted an Instagram story with a link to buy “Fortnight,” the first single off of her new album, The Tortured Poets Department. It was cute, maybe even unnecessary. Taylor Swift is one of the biggest recording artists in the world. She announced TTPD in February while accepting the Grammy for best pop vocal album for her last record, Midnights. Swift sold 19 million albums in the US alone last year; she doesn’t have to post IG stories about a new single. Yet there she was getting the internet all frothy like it was 1989.

    As she posted, though, something else was agitating her massive fan base: The Tortured Poets Department leaked, allegedly spreading thanks to a Google Drive link that made the rounds online. (Piracy is back, baby!) Almost immediately, there were two camps: One said true fans would wait until the album’s official release, Friday at midnight. The other couldn’t wait and pressed Play anyway. Among that latter group was a subcamp: people who thought the leak—or parts of it, at least—were the product of artificial intelligence.

    Claims of “gotta be AI” come from several corners, but many seem to stem from one particular line, in the album’s title track, in which (alleged) Swift sings, “You smoked then ate seven bars of chocolate/We declared Charlie Puth should be a bigger artist.” (The rumor mill is speculating it’s a line about her ex, Matty Healy.) The audio has since been removed for copyright violation, but when an X user posted that snippet online, the suggestions that it was AI-generated quickly followed.

    Upon the album’s release, everyone learned that the song was, in fact, real. They also learned the tracks that had been circulating before the album’s release were only part of the package. Swift returned to Instagram at 2 am Friday to announce that it was actually a “secret DOUBLE album”—The Tortured Poets Department: The Anthology—31 songs in total. But the “must be AI” reaction remains a complex one.

    Online life is awash in AI-generated fake-outs. Just a few years into the LLM revolution, the need to not believe your lying eyes is a given. Same goes for your lying ears. The bigger problem is that while skepticism and fact-checking are, generally, always a good idea when getting information online, AI has become so prevalent that it can also be a cop-out. Don’t like what your honest eyes see? Convince yourself it’s AI.

    What makes this all even trickier is that AI is progressing to the point where composing something like “The Tortured Poets Department” doesn’t seem too far out of its realm of possibility. An AI version of Johnny Cash has already covered Swift’s “Blank Space.” “Heart on My Sleeve,” an AI-generated song from 2023 that sounded shockingly similar to one actually made by Drake and the Weeknd, was close enough to the real deal that some folks thought it might be a promotional tactic.



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  • Nas’ ‘Illmatic’ Was the Beginning of the End of the Album

    Nas’ ‘Illmatic’ Was the Beginning of the End of the Album

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    Music consumption and discussion in 2024 bears little resemblance to fandom from one decade ago, let alone three or four. Old songs gain new life on TikTok; AI creates original music trained on data from the world’s most popular artists; drill rappers post a song on YouTube on Tuesday, and by Friday it’s thumping in the dormitories of elite colleges.

    Many have considered how this digital ecosystem influences the buying and selling of music. But a related question has mostly escaped inquiry: How does it impact the way music is honored and remembered? Few albums demonstrate the stark contrasts in music appreciation as well as Nas’ 1994 genre-defining Illmatic, widely recognized as one of the most important albums ever made.

    Today, the 30th anniversary of its release, offers an opportunity to reflect not only on the album, but on how the modern music industry and the technology that drives it (streaming, social media, artificial intelligence) has changed the landscape in a manner that may help to preserve its legacy.

    Illmatic’s release initially flew under the mainstream radar. There were no major release parties covered by MTV or VH1, no cover articles in Rolling Stone or splashy features in The New York Times, Nas’ hometown paper. It sold just a few thousand copies in its first week, and didn’t achieve platinum status until 2001, years after his sophomore effort (1996’s It Was Written) had done so.

    In music circles, though, praise for Illmatic arrived almost instantly. For example, it secured one of Source’s elusive “5-mic” ratings, designated for instant “hip-hop classics.” In the decades since, it has steadily accumulated accolades. Illmatic is high on many all-time greatest albums lists (in any genre), and in 2021, was the first hip-hop album inducted into the Library of Congress.

    These acknowledgements tell only part of the story, as its informal influence is far greater. So highly regarded is Illmatic that the album’s title is now used to describe a musician’s defining opus (One might ask: “Is Mama’s Gun Erykah Badu’s Illmatic?”). Its importance even transcends music: The album’s famed cover—featuring Nasir Jones as a child, with a photo of the Queensbridge Houses as the backdrop—has inspired visual artists.

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    For years, scholars and fans have examined Illmatic in search of an explanation for what made it work. The answers are multiple, but converge on a few factors. For one, there is timing. Illmatic is one of the defining albums of hip-hop’s unofficial golden age (somewhere between 1988 and 1996), when the art form achieved enormous commercial success, geographical (and sonic) diversity, a global footprint, and an large influx of talented lyricists, producers, and tastemakers, almost all raised during hip-hop’s earliest days.

    This played out in Illmatic’s production style, featuring an ensemble cast of producers that created an expansive yet cohesive soundscape. Then, of course, there are the lyrics. Nas’ words were a magic elixir, a blend of Kool G Rap, Rakim, the Last Poets, and William Shakespeare. It was a mix listeners had never heard before (and arguably, haven’t since).



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  • Taylor Swift’s Music Is Back on TikTok—Right Before Her New Album Drops

    Taylor Swift’s Music Is Back on TikTok—Right Before Her New Album Drops

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    In the drawn out contract battle between TikTok and Universal Music Group, a high profile exemption has been made for Taylor Swift. A few of her songs became available again as TikTok sounds on Thursday, just a week before the release of Swift’s latest album, The Tortured Poets Department. It remains unclear what kind of arrangement was made for her official music to come back, or how long it will remain on the social media platform.

    Madeline Macrae, a Swift fan and TikTok creator, heard the news Thursday morning and immediately started searching TikTok and Google to confirm it wasn’t some hoax. “I’m really excited to have that catalog back, and I don’t have to rely on sped up versions or edited versions,” she says. “I can just use her actual music.” Songs like “Cruel Summer,” “cardigan,” and “Style (Taylor’s Version)” can now be used by content creators on the platform, as first reported by Variety.

    In addition to being excited about using Swift songs in new videos, Macrae is grateful for the pop megastar’s music to be potentially unmuted for her past videos on TikTok. “I was going back and forth on deleting them or keeping them, because they look kind of silly muted,” she says. When UMG’s music was initially pulled from TikTok’s library in January, many creators were stunned to see their archive of past videos with certain songs go silent overnight.

    Does this mean that The Tortured Poets Department album will be available to use for videos on TikTok? It’s uncertain, but Macrae is hopeful: “I think this move also just shows the power of Taylor Swift.” Billie Eilish, another major UMG artist, will soon be promoting her upcoming album, May’s Hit Me Hard and Soft, but Eilish fans will have to wait to see if her music also returns to TikTok before it drops.

    Most UMG artists have been absent from TikTok for nearly 10 weeks, greatly shifting the user experience on the social media platform, and opening the door for non-UMG artists, like Beyoncé, to go viral with TikTok’s algorithm.

    It still remains a mystery when the longstanding contract dispute between TikTok and UMG will come to a resolution. As one of the biggest record companies in the world, UMG removing songs from TikTok has impacted the careers of many established artists as well as rising stars. Multiple artists expressed frustration about the move, often citing disrupted marketing plans or decreased audience reach. A spokesperson for UMG did not immediately respond to a request for comment.

    No matter what eventually happens between the two companies, Swifties on TikTok are feeling grateful for her music’s return as they prepare for listening parties to celebrate the new album. “I already know my Friday night plans,” says Macrae. “Staying in with friends, drinking some wine, and just listening to this album.” Sounds like an evening of truly social media.



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  • Some of our favourite songs make us sad, which may be why we like them

    Some of our favourite songs make us sad, which may be why we like them

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    Why we enjoy songs that make us feel sad is unclear

    Klaus Vedfelt

    We can love a song despite it making us feel sad — and scientists don’t agree on why.

    Researchers have previously found that sad music might cause us to feel moved in an emotionally positive way, perhaps through experiencing empathy or appreciating the artistry of the piece. Now, a study has found we might simply find pleasure in feeling the sadness such music evokes.

    “I guess part of being human is that we just can’t cope with the idea that there’s something strangely pleasurable about negative emotion,” says Emery Schubert at the University of New South Wales in Australia. “But what about people who actually just say: ‘Well, the reason I really love this piece of music is because it makes me sad’? Who’s to say that they’re wrong?”

    Schubert asked 50 people – mostly undergraduate music students – to think about a piece of music they love but consider sad, which included compositions by Ludwig van Beethoven and Taylor Swift. They then answered an online questionnaire about the emotions they felt while listening to that piece.

    Next, participants were asked to try to imagine that the sadness in their selected piece of music could somehow be removed. Overall, the participants said this made them appreciate it less, with 82 per cent reporting that the sadness added to their enjoyment.

    In another part of the experiment, Schubert asked a separate 53 people — again, mostly undergraduate music students — to identify a piece of music they love and consider “moving”. These participants widely reported feeling sad while listening to the piece, despite enjoying it.

    It is possible that the participants are blending the emotions of being “sad” and “moved”, thereby experiencing a direct link between sadness and overall pleasure, says Schubert. They might even be using the words “sadness” and “moving” to describe the same, or a closely related, feeling, he says.

    But Jonna Vuoskoski at the University of Oslo in Norway says the sadness expressed by an artist may trigger the feeling of being moved if the listener experiences empathy. People may also relate to the lyrics of sad songs, helping them to feel less alone in what they are going through and stopping them from bottling up their emotions.

    Vuoskoski also questions whether the participants could truly imagine removing sadness from a song without also taking away the sensation of feeling moved. Therefore it may be no wonder that they then imagined enjoying the music less, she says.

    Tuomas Eerola at Durham University in the UK doubts people could “remove” sadness from what is generally considered a sad song. “The whole study rests on an assumption that listeners are capable of perfect dissection of their emotional causes from each other concerning their loved music,” says Eerola, who sometimes collaborates with Schubert, but wasn’t involved in this research.

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  • Pop Music Is Mad. Social Media Loves It

    Pop Music Is Mad. Social Media Loves It

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    Not everyone is buying it. Despite the study’s findings, “I don’t believe hip-hop lyrics are more angry,” says Dame Aubrey, head of A&R for CMG Records and Management, a music label that represents rappers Moneybagg Yo, BlocBoy JB, and GloRilla. If anything, Aubrey says, what changes we do hear are a product of how music has expanded. It’s simple, Aubrey says: more people, more perspectives. The medium is more accessible now because of the technology available. “There’s just a lot more artists with opportunities to be heard because it basically became a trend to make music.”

    One major adjustment in all of this is the mechanics of how a song gets popular, and what its popularity generates.

    In the age of social media, that can often translate into more of the same kinds of sounds, although that is not always the case. So when Lamar throws punches at Drake—dubbing him one of the “goofies with a check” and following that with “Fore all your dogs gettin’ buried / That’s a K with all these nines, he gon’ see the pet cemetery”—the verses gain traction on X because they feed into the theatrics of online socializing, which is defined by joy and camaraderie between users as much as heated confrontation.

    Rap has always gotten, well, a bad rap. Ego, anger, swagger—those emotions are part of the genre’s raucous identity. Since hip-hop’s founding 50 years ago, artists have wielded those sentiments to illustrate their realities. Rap is sport. It’s theater. It is the very kind of music that encourages the style of intense engagement that is increasingly common among fans online.

    Are less positive song lyrics actually on the rise, or is the popularity of a certain kind of song simply a reflection of what we think the algorithm wants to hear?

    Streaming transformed the music industry in every way possible. Crafting hit songs is somehow easier but just as difficult. The winds of virality can still be unpredictable. Although it is not an exact science, what is evident is how streaming playlists help deliver a song to large audiences in ways analog media couldn’t.

    “While there are certainly trends in organic popularity, one unique thing about playlists is the significance and importance of context,” says JJ Italiano, head of global music curation and discovery at Spotify. “Even the most popular songs can vary wildly in how well they perform, depending on the playlist that they’re in and the other songs around them in that playlist.”

    Dasha’s recent viral hit “Austin” had around 10,000 streams when Spotify editors began programming it for their playlists, Italiano says, and it did best when paired with similar on-theme pop songs that straddle country and pop, sequenced among summery, guitar-driven tunes (like Noah Kahan), narrative-rich country songs (like Zach Bryan), or similar heartbreak tracks from a different genre (like Mitski). “Eventually the song became so popular on Spotify that it made its way into our most popular playlist, Today’s Top Hits,” he says. But over time, Italiano notes, sequencing does become less crucial to a song’s lifespan as listeners develop a “deep familiarity” with the song.

    Artists, then, find themselves making music in line with what’s trending, trying to achieve the same level of reach that songs like “Austin” or “Like That” did. In years past, everything from war to heartbreak influenced the music of the moment. That’s still true, but now TikTok, X, and other platforms drive the conversation as much as anything else. “Social media definitely plays a part in song writing just as the community, movies, and television once played a part,” Aubrey says of rap. Depending on the temperature of exchange among users, which swings from lukewarm to indignant depending on the artist, it prompts certain songs to dominate the conversation. Taylor Swift’s most popular online tracks are often the ones detailing scorn.

    Even an artist like Milwaukee rapper Khal!l, who told WIRED in August that he wanted to “create an atmosphere where we can mosh-pit but then also cry and hold hands and shit,” finds himself beholden to the algorithm. He got famous thanks to TikTok and the best way to sustain his presence on the app is to feed it the content that resonates: “We gotta ride this horse ’til the hooves fall off.”

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  • Arturia AstroLab Review: World-Class Synths in a Keyboard

    Arturia AstroLab Review: World-Class Synths in a Keyboard

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    But perhaps AstroLab’s best trick for finding what you need is playlists and songs. These are grouped presets that you’re able to bounce between with the push of a button. So if you need a quiet pad from an Ensoniq SQ-80 for the verse and a razor-sharp lead from an MS-20 for the chorus, you can group them into a song, which turns the instrument type buttons into direct shortcuts to specific presets. Songs are then further organized into playlists. You just press the arrow buttons below the screen encoder to jump to the next track in your set and load up another batch of presets.

    If you can’t find what you need among the factory sounds or any of the countless sound packs available from Arturia, you can always design a patch from scratch in one of the instruments as part of the V Collection. Then you can save it as a preset and load it on the keyboard. Granted, this requires shelling out for V Collection, but it frequently goes on sale, and if you already own Analog Lab Pro, which is included with AstroLab, you get an even steeper discount.

    World-Class Soft Synths

    I’m halfway into this review, and I haven’t talked about the sound at all. This is partly because, well, it’s Analog Lab. It’s an industry staple and sounds fantastic. If you’re not familiar though, rest assured you’re getting some of the finest emulations of vintage instruments available. When you compare the price to even one of the iconic keyboards it’s recreating, the value is undeniable.

    The Rhodes, Wurlitzer, and Hammond B3 compare favorably with what you’d find on a Nord stage keyboard, but for almost half the price. It convincingly delivers that percussive dizzying effect you’d get from an organ running through a Leslie and the smooth chime of a Fender Rhodes.

    In addition, you get rather faithful versions of basically unobtainable synth gems like a Moog Modular, a Yamaha CS-80, or a Fairlight CMI II. Not to mention mass-market classics like the Yamaha DX7 and Casio CZ-101. Plus Arturia’s Pigments and Augmented lineup, which marry orchestral, piano, and vocal samples with a robust synth engine. You’ve got access to everything from crunchy lo-fi piano and EDM bass wubs to soaring string pads perfect for scoring a sci-fi thriller.

    The only real weak spot is the acoustic pianos. They’re not terrible and have definitely improved over the years, but they still feel a touch thin and flat compared to the real thing. The chances that anyone would complain about them at your next gig, though, are slim to none.

    It’s worth noting that this is currently the only way to get Arturia’s Pigments in hardware form. That’s something that gets me personally really excited. I think it’s the best softsynth on the market, and it can easily go toe-to-toe with other giants in the space like Massive and Serum.

    Some will speak of things being a VST but built into a MIDI controller derisively. But that feels reductive here. For one thing, this isn’t just some bare-bones digital synth. And the hardware it’s crammed into is luxurious. The semi-weighted keys feel incredible, and they have aftertouch (though sadly not polyphonic). The pitch and mod wheels are solid pieces of aluminum, and the screen, while small, is bright and colorful. There are even some handsome wooden cheeks on the side. This looks and feels like a high-quality piece of gear.

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  • The 12 Best Turntables for Your Vinyl Collection (2024)

    The 12 Best Turntables for Your Vinyl Collection (2024)

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    Vinyl’s biggest selling point isn’t the sound. It’s the physical experience: shiny, delicate records; liner notes writ large; covers you want to frame and hang on your wall; and the way the stylus spins across the jagged surface, reproducing your favorite artists’ music as if by magic.

    Maybe you’ve always been interested in building a setup for listening to LPs and 45s, but you don’t know where to start. Maybe you’re like WIRED reviews editor Julian Chokkattu, who owned a record but no turntable to play it on. Maybe you’re just looking for an upgrade. No problem: There are tons of great record players to choose from, and most of them will easily connect to whatever audio system you already own. I’ve tested quite a few options, and these are my current favorites—from utilitarian, budget-friendly classics to more luxe options for those seeking audiophile-grade sound.

    Be sure to check out our other audio guides, including the Best Gear for Learning Music and the Best Podcasting Gear.

    Updated April 2024: We’ve added the Technics SL-1500C and U-Turn Orbit Theory.

    Special offer for Gear readers: Get a 1-year subscription to WIRED for $5 ($25 off). This includes unlimited access to WIRED.com and our print magazine (if you’d like). Subscriptions help fund the work we do every day.

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  • Why some songs make our heart swell and others give us butterflies

    Why some songs make our heart swell and others give us butterflies

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    New Scientist Default Image

    Music can incite emotions such as joy, sadness and anger

    Tim Robberts/Getty Images

    Scientists have found patterns of music that make our heart beat faster or cause us to feel like our stomach is doing somersaults.

    When the sequences of chords – three or more musical notes played at the same time – take a different turn from what we are expecting, it seems to trigger a strong sensation around the heart, whereas those that follow an easy-to-anticipate pattern feel like they hit us in the gut.

    “Music has this unique power to stir emotions that are beyond words,” says Tatsuya Daikoku at the University of Tokyo in Japan. “It’s not just an auditory experience, it’s physical. When music plays, sometimes our body shivers or we feel a warmth around our heart – emotions that are hard to articulate.”

    Researchers have already shown that music can evoke strong emotional reactions, but Daikoku – a pianist and composer – and his colleagues wanted to know where people feel those emotions in their bodies. To uncover this, they first used analytical and statistical software to break down 890 songs from the US Billboard Hot 100 chart.

    The software judged the songs’ chord-to-chord sequences as being different variations of high or low levels of both surprise and uncertainty. For example, some sequences consisted of a low surprise, low uncertainty chord followed by another low surprise, low uncertainty chord, while others were a low surprise, low uncertainty chord followed by a low uncertainty but high surprise chord.

    From this, the researchers created 92 musical segments of four-chord sequences, each representing one of the eight possible different surprise and uncertainty combinations. They then asked 527 volunteers to listen to different sets of all eight of these chord patterns, while looking at an online silhouette of the human body.

    The listeners were instructed to click on the places on the body where they felt a physical reaction within 10 seconds of hearing the music. Afterwards, they completed an online survey about the emotions they felt when hearing the chords.

    The researchers found that, when the first three chords followed an easily predictable pattern, the main differences in bodily sensations had a lot to do with what happened at the fourth chord. If that fourth chord followed the expected pattern, people felt it in their abdomen, but if it deviated from the expected pattern, they felt it around their heart.

    With regard to emotions, the participants reported greater feelings of calmness, relief, satisfaction, nostalgia and empathy when chord progressions followed a predictable pattern. When the first three chords were predictable and the fourth was unsurprising, even if it was relatively difficult to predict, they generally felt reduced feelings of awkwardness or anxiety, compared with the other chord arrangements.

    The findings “shed light on how music doesn’t just touch our ears, but also our bodies and hearts”, says Daikoku. “Music has the power to elicit these strong embodied emotions, guiding us to understand our inner emotional landscape in ways that words cannot.” Such understanding could one day lead to better mental health interventions, he says.

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