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Psychology Today: Empathic People Use Social Brain Circuitry to Process Music

High-empathy people process music using their social cognitive circuitry.

Christopher Bergland for Psychology Today covered the research of Zachary Wallmark, an assistant professor in the SMU Meadows School of the Arts. Wallmark’s study with researchers at UCLA found that people with higher empathy differ from others in the way their brains process music.

The SMU-UCLA study is the first to find evidence supporting a neural account of the music-empathy connection. Also, it is among the first to use functional magnetic resonance imaging (fMRI) to explore how empathy affects the way we perceive music.

The researchers found that compared to low empathy people, those with higher empathy process familiar music with greater involvement of the reward system of the brain, as well as in areas responsible for processing social information.

“This may indicate that music is being perceived weakly as a kind of social entity, as an imagined or virtual human presence,” Wallmark has said. He is director of the MuSci Lab at SMU, an interdisciplinary research collective that studies — among other things — how music affects the brain.

The Psychology Today article published June 18, 2018.

Read the full article.

EXCERPT:

By Christopher Bergland
Psychology Today

Those who deeply grasp the pain or joy of other people and display “higher empathic concern” process music differently in their brains, according to a new study by researchers at Southern Methodist University and UCLA. Their paper, “Neurophysiological Effects of Trait Empathy in Music Listening,” was recently published in the journal Frontiers in Behavioral Neuroscience.

As you can see by looking at the images at the top of the page and to the left, the SMU-UCLA researchers used fMRI neuroimaging to pinpoint specific brain areas that light up when people with varying degrees of trait empathy listen to music. Notably, the researchers found that higher empathy people process music as if it’s a pleasurable proxy for real-world human encounters and show greater involvement of brain regions associated with reward systems and social cognitive circuitry.

In the field of music psychology, there is a growing body of evidence suggesting that varying degrees of trait empathy are linked to how intensely someone responds emotionally to music, his or her listening style, and overall musical preferences.

For example, recent studies have found that high-empathy people are more likely to enjoy “beautiful but sad” music. Additionally, high empathizers seem to get more intense pleasure from listening to music in general, as indicated by robust activation of their reward system in the fMRI.

The latest research on the empathy-music connection was conceived, designed, and led by Zachary Wallmark, who is a musicologist and assistant professor in the SMU Meadows School of the Arts. In 2014, Wallmark received his PhD from UCLA. He currently serves as director of the MuSci Lab, which is an interdisciplinary research collective and lab facility dedicated to the empirical study of music. Below is a YouTube clip of Wallmark describing his latest research:

Read the full article.

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KERA: Empathetic People Experience Music Differently, SMU Study Finds

“This study contributes to a growing body of evidence that music processing may piggyback upon cognitive mechanisms that originally evolved to facilitate social interaction.” — Zachary Wallmark, SMU

KERA journalist Justin Martin covered the research of Zachary Wallmark, an assistant professor in the SMU Meadows School of the Arts. Wallmark’s study with researchers at UCLA found that people with higher empathy differ from others in the way their brains process music.

The SMU-UCLA study is the first to find evidence supporting a neural account of the music-empathy connection. Also, it is among the first to use functional magnetic resonance imaging (fMRI) to explore how empathy affects the way we perceive music.

The researchers found that compared to low empathy people, those with higher empathy process familiar music with greater involvement of the reward system of the brain, as well as in areas responsible for processing social information.

“This may indicate that music is being perceived weakly as a kind of social entity, as an imagined or virtual human presence,” Wallmark has said. He is director of the MuSci Lab at SMU, an interdisciplinary research collective that studies — among other things — how music affects the brain.

Listen to the KERA interview, which aired June 20, 2018.

EXCERPT:

By Justin Martin
KERA News

A new study from Southern Methodist University shows that empathetic people — those who are generally more sensitive to the feelings of others — receive more pleasure from listening to music, and their brains show increased activity in areas associated with social interactions.

Researchers interviewed participants about their taste in music — songs they loved and others they hated. Then, participants were put into an MRI scanner and played different selections, including unfamiliar tunes, and researchers studied how their brain reacted to them.

All participants experienced positive activity in the brain when listening to music they loved, says Zachary Wallmark, an assistant professor of musicology at SMU, who led the study. This activity increased for empathetic people.

When played unfamiliar music they didn’t like, empathetic participants still showed activity in the dorsolateral prefrontal cortex of the brain, an area associated with executive control and regulation of emotional reactions, Wallmark says.

“What this suggested to us is that these empathic people are hearing new music…and they tell us they dislike it after the fact…but they might be deliberately trying to ratchet down their negative reaction, maybe give more of the benefit of the doubt to this new music, even though they find it highly aversive,” Wallmark said.

Listen to the KERA interview.

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People who deeply grasp the pain or happiness of others also process music differently in the brain

Higher empathy people appear to process music like a pleasurable proxy for a human encounter — in the brain regions for reward, social awareness and regulation of social emotions.

People with higher empathy differ from others in the way their brains process music, according to a study by researchers at Southern Methodist University, Dallas and UCLA.

The researchers found that compared to low empathy people, those with higher empathy process familiar music with greater involvement of the reward system of the brain, as well as in areas responsible for processing social information.

“High-empathy and low-empathy people share a lot in common when listening to music, including roughly equivalent involvement in the regions of the brain related to auditory, emotion, and sensory-motor processing,” said lead author Zachary Wallmark, an assistant professor in the SMU Meadows School of the Arts.

But there is at least one significant difference.

Highly empathic people process familiar music with greater involvement of the brain’s social circuitry, such as the areas activated when feeling empathy for others. They also seem to experience a greater degree of pleasure in listening, as indicated by increased activation of the reward system.

“This may indicate that music is being perceived weakly as a kind of social entity, as an imagined or virtual human presence,” Wallmark said.

Researchers in 2014 reported that about 20 percent of the population is highly empathic. These are people who are especially sensitive and respond strongly to social and emotional stimuli.

The SMU-UCLA study is the first to find evidence supporting a neural account of the music-empathy connection. Also, it is among the first to use functional magnetic resonance imaging (fMRI) to explore how empathy affects the way we perceive music.

The new study indicates that among higher-empathy people, at least, music is not solely a form of artistic expression.

“If music was not related to how we process the social world, then we likely would have seen no significant difference in the brain activation between high-empathy and low-empathy people,” said Wallmark, who is director of the MuSci Lab at SMU, an interdisciplinary research collective that studies — among other things — how music affects the brain.

“This tells us that over and above appreciating music as high art, music is about humans interacting with other humans and trying to understand and communicate with each other,” he said.

This may seem obvious.

“But in our culture we have a whole elaborate system of music education and music thinking that treats music as a sort of disembodied object of aesthetic contemplation,” Wallmark said. “In contrast, the results of our study help explain how music connects us to others. This could have implications for how we understand the function of music in our world, and possibly in our evolutionary past.”

The researchers reported their findings in the peer-reviewed journal Frontiers in Behavioral Neuroscience, in the article “Neurophysiological effects of trait empathy in music listening.”

The co-authors are Choi Deblieck, with the University of Leuven, Belgium, and Marco Iacoboni, UCLA. The research was carried out at the Ahmanson-Lovelace Brain Mapping Center at UCLA.

“The study shows on one hand the power of empathy in modulating music perception, a phenomenon that reminds us of the original roots of the concept of empathy — ‘feeling into’ a piece of art,” said senior author Marco Iacoboni, a neuroscientist at the UCLA Semel Institute for Neuroscience and Human Behavior.

“On the other hand,” Iacoboni said, “the study shows the power of music in triggering the same complex social processes at work in the brain that are at play during human social interactions.”

Comparison of brain scans showed distinctive differences based on empathy
Participants were 20 UCLA undergraduate students. They were each scanned in an MRI machine while listening to excerpts of music that were either familiar or unfamiliar to them, and that they either liked or disliked. The familiar music was selected by participants prior to the scan.

Afterward each person completed a standard questionnaire to assess individual differences in empathy — for example, frequently feeling sympathy for others in distress, or imagining oneself in another’s shoes.

The researchers then did controlled comparisons to see which areas of the brain during music listening are correlated with empathy.

Analysis of the brain scans showed that high empathizers experienced more activity in the dorsal striatum, part of the brain’s reward system, when listening to familiar music, whether they liked the music or not.

The reward system is related to pleasure and other positive emotions. Malfunction of the area can lead to addictive behaviors.

Empathic people process music with involvement of social cognitive circuitry
In addition, the brain scans of higher empathy people in the study also recorded greater activation in medial and lateral areas of the prefrontal cortex that are responsible for processing the social world, and in the temporoparietal junction, which is critical to analyzing and understanding others’ behaviors and intentions.

Typically, those areas of the brain are activated when people are interacting with, or thinking about, other people. Observing their correlation with empathy during music listening might indicate that music to these listeners functions as a proxy for a human encounter.

Beyond analysis of the brain scans, the researchers also looked at purely behavioral data — answers to a survey asking the listeners to rate the music afterward.

Those data also indicated that higher empathy people were more passionate in their musical likes and dislikes, such as showing a stronger preference for unfamiliar music.

Precise neurophysiological relationship between empathy and music is largely unexplored
A large body of research has focused on the cognitive neuroscience of empathy — how we understand and experience the thoughts and emotions of other people. Studies point to a number of areas of the prefrontal, insular, and cingulate cortices as being relevant to what brain scientists refer to as social cognition.

Studies have shown that activation of the social circuitry in the brain varies from individual to individual. People with more empathic personalities show increased activity in those areas when performing socially relevant tasks, including watching a needle penetrating skin, listening to non-verbal vocal sounds, observing emotional facial expressions, or seeing a loved one in pain.

In the field of music psychology, a number of recent studies have suggested that empathy is related to intensity of emotional responses to music, listening style, and musical preferences — for example, empathic people are more likely to enjoy sad music.

“This study contributes to a growing body of evidence,” Wallmark said, “that music processing may piggyback upon cognitive mechanisms that originally evolved to facilitate social interaction.” — Margaret Allen, SMU

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Joint Study on Gender Disparity in Art Museum Directorships Shows Gap Persists Despite Gains

While incremental gains were observed, a new study shows that women still hold fewer than 50% of directorships, earn less than male counterparts, and typically lead institutions with smaller budgets

The Association of Art Museum Directors (AAMD) and the National Center for Arts Research (NCAR) at Southern Methodist University in Dallas today released findings from the second iteration of their gender gap study, which was designed to deepen understanding of the gender disparity in art museum directorships to help AAMD member institutions advance towards greater gender equity.

Through a combination of quantitative analysis of 2016 data collected from AAMD member institutions and interviews with female museum directors and executive search consultants who specialize in recruitment for art museums, NCAR and AAMD researchers – led by Zannie Voss, director, NCAR, and Christine Anagnos, executive director, AAMD – examined the ongoing and historical factors of the gender gap in art museum directorships, and compared their findings to those of the previous study, conducted in 2013.

While incremental gains have been observed in the last three years, the study found that the gender gap persists: women still hold fewer than 50% of directorships and, on average, earn less than their male counterparts. The study also found that museum type and budget size were influential factors on representation and salary differentials.

In 2016, AAMD conducted a survey of its members, collecting data from 210 respondents that included each institution’s operating budget, endowment, the salary of the director (or top leader), the director’s gender, and the self-reported museum type (e.g. encyclopedic, contemporary, etc.). Of these 210 museums, 181 also participated in the 2013 survey, allowing for examination of trends. The study sought to answer three main questions: What is the current state of women in art museum directorships? How has the gender gap in art museum directorships shifted in the past three years? What are some factors that may drive the gender gap? The NCAR and AAMD study had several key findings:

  • While men continue to outnumber women in director roles, there has been a 5% increase in female directorships from 2013: women represented 48% of art museum directorships in 2016 (compared to 43% in 2013).
  • There are clear disparities in gender representation depending on operating budget size: the majority of museums with budgets of less than $15 million are run by a female, rather than a male, director. The reverse is true for museums with budgets of over $15 million, where female representation decreases as budget size increases.
  • Women are at a salary disadvantage: on average, female directors earned 73 cents for every dollar that male directors earned.
  • When segmented by operating budget, the gender disparities are more nuanced:

    For museums with a budget of over $15 million—roughly the top quarter of museums—female directors earned 75 cents for every dollar a male earned, an improvement from 2013, when women earned only 70 cents per dollar earned by a man.
    For the other three-quarters of member museums (those with budgets of less than $15 million), female directors on average earned 98 cents to every dollar earned by a man. This represents a reversal from three years ago, when female directors at these same museums earned an average of $1.01 for each dollar earned by their male counterparts.

  • Women hold the majority of directorships in College/University museums (60%) and Culturally Specific museums (57%). Men hold the majority of directorships at Single Artist (67%), Encyclopedic (59%) and Contemporary (54%) museums.
  • Museum types, which are also tied to budget size, also help reveal salary dynamics at play: some museum types with higher average budgets have less of a salary gap as compared to some museums with lower average budget size. The biggest pay disparity is at Encyclopedic museums, where female directors average only 69 cents for every $1 of their male counterparts, while the smallest gap is at Culturally Specific institutions, where women earn 91 cents for every dollar a male director earns.

Drawing from interviews with executive search consultants and female museum directors, the report also includes a qualitative analysis that examines the personal as well as the institutional barriers in achieving gender equality in the field. Overall, interviewees observed that while progress is incremental, the needle is moving, with changes accomplished through cultural shifts within the field and in broader society, and with the emergence of a new generation of leaders.

In addition to Voss and Anagnos, co-authors of the study are Veronica Treviño, SMU MA/MBA Class of 2017, and Alison D. Wade, Chief Administrator, Association of Art Museum Directors. The authors gratefully acknowledge and thank the members of the Association of Art Museum Directors and, specifically, the following art museum directors and executive search consultants for their perspective: Gretchen Dietrich (Utah Museum of Fine Arts), Madeleine Grynsztejn (Museum of Contemporary Art, Chicago), Sarah James (Phillips Oppenheim), Laurie Nash (Russell Reynold Associates), Lisa Phillips (New Museum), Kimerly Rorschach (Seattle Art Museum), Sally M. Sterling (Spencer Stuart), and Belinda Tate (Kalamazoo Institute of Arts).

About AAMD
The Association of Art Museum Directors advances the profession by cultivating leadership capabilities of directors, advocating for the field, and fostering excellence in art museums. An agile, issues-driven organization, AAMD has three desired outcomes: engagement, leadership, and shared learning. Further information about AAMD’s professional practice guidelines and position papers is available at aamd.org.

About NCAR
In 2012, the Meadows School of the Arts and Cox School of Business at SMU launched the National Center for Arts Research (NCAR). The vision of NCAR is to act as a catalyst for the transformation and sustainability of the national arts and cultural community. The goals of the Center are to unlock insights on: 1) arts attendance and patronage; 2) understanding how managerial decisions, arts attendance, and patronage affect one another; and 3) fiscal trends and fiscal stability of the arts in the U.S., and to create an in-depth assessment of the industry that allows arts and cultural leaders to make more informed decisions and improve the health of their organizations. More information about NCAR and its reports, white papers, and tools can be found at smu.edu/artsresearch.

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Two faculty win NEH fellowships to study music and human brain; quest for Kurdish state

The National Endowment for the Humanities named SMU professors Zachary Wallmark and Sabri Ates as fellowship grant recipients in January — the only two recipients in North Texas for the current funding cycle.

Wallmark, assistant professor and chair of music history at SMU Meadows School of the Arts, is using music studies, cognitive sciences and original brain imaging experiments to research the nature of our emotional response to music.

“I am deeply honored to receive this recognition,” Wallmark said. “With the support of the NEH, I hope in my work to help people better understand music’s grip on human emotion and imagination.”

Ates, associate professor in the Clements Department of History, is drawing on a variety of archival sources from different languages to write Sheikh Abdulqadir Nehri (d. 1925) and the Pursuit of an Independent Kurdistan. In the book, Ates will explore the quest for a Kurdish state between 1880-1925, when the creation of such a state emerged as a distinct possibility and then quickly unraveled.

“What this grant tells us is that our work has national relevance,” Ates said. “Recognition of SMU’s faculty work by a prestigious institution like NEH further cements SMU’s standing as a research university. With the support of NEH, I hope to answer one of the enduring questions of the contemporary Middle East: The Kurdish statelessness.”

Created in 1965 as an independent federal agency, the National Endowment for the Humanities supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the nation. Additional information about the National Endowment for the Humanities and its grant programs is available at www.neh.gov.

This is the first time since 2010 that two awards were granted to SMU faculty members within the same funding cycle. More recently, history professor Alexis McCrossen received the fellowship in 2015 and assistant professor of English Timothy Cassedy earned it in 2014.

“NEH fellowships are among the most competitive humanities research opportunities in the nation, with a funding rate of approximately seven percent,” said Meadows Dean Sam Holland. “We are delighted that Zach has won this recognition, which is significant for the Meadows Music Division and reflects the growing visibility and stature of SMU on the national research stage.”

“Recognition from the NEH reinforces that our faculty garner national and international recognition for their research,” said Dedman Dean Thomas DiPiero. “Professor Ates’ work is very timely as the world struggles to determine how best to address our needs for greater intercultural understanding.”

Wallmark teaches courses in American popular music, including opera history and the psychology of music, and serves as director of Meadows’ new MuSci Lab, an interdisciplinary research group and lab facility dedicated to the scientific study of music. His first book, Timbre and Musical Meaning, is under contract with Oxford University Press. He will be combining his NEH support with a sabbatical from Meadows for a full year of dedicated research and writing time.

Ates’ research focuses on Ottoman-Iranian relations, Kurdish history, borderlands and the borderland peoples, and the history of sectarianism in the Middle East. His first book Tunalı Hilmi Bey: Osmanlıdan Cumhuriyet’e Bir Aydın, (Istanbul: Iletişim Yayınları, 2009), examines competing projects of Ottoman intellectuals to keep the disparate parts of the Empire together, as well as their responses to the age of nationalism and the birth of the Turkish Republic. Partially based on his award-winning dissertation, his second book, Ottoman-Iranian Borderlands: Making a Boundary (Cambridge University Press, 2013) discusses the making of the boundaries that modern states of Iraq, Turkey and Iran share.