In a previous blog that I wrote seven years ago, I looked at the concept of ‘music addiction’. As Philip Dorrell pointed out in his 2005 book What is Music? Solving a Scientific Mystery, music (like drugs) acts on our emotions and feelings. Regular readers of my blog will know that I describe myself as a ‘music obsessive’ and have written many articles about my own passion for listening to and collecting music (a few examples here, here, and here). One of the proudest moments of my life was getting a populist article on ‘music addiction’ published in Record Collector, my favourite magazine (see screenshot below and ‘Further reading’ for the full reference).
A 2011 study published by Dr. Valorie Salimpoor and her colleagues in Nature Neuroscience reported that on a neurochemical level, the pleasurable experience of listening to music releases the neurotransmitter dopamine that is important for the pleasures associated with rewards such as food, psychoactive drugs and money. This led to many headlines in newspapers along the lines of ‘people who say that they are addicted to music are not lying’. The team also reported that just the anticipation of pleasurable music led to increased dopamine release. Therefore, this helps explain why individuals (like myself) continually repeat songs or albums all the time as we want to re-experience those sensations repeatedly.
My previous article examined the concept of ‘musomania’ (i.e., an obsession with music). I noted that there had been very little in the way of academic or clinical literature on the topic although since writing my original article I have come across a couple of more recently published studies looking at the concept (one which published shortly after my original blog on the topic).
Dr. Nicolas Schmuziger and his colleagues published a paper in a 2012 issue of Audiology Research entitled ‘Is there addiction to loud music? Findings in a group of non-professional pop/rock musicians’. They hypothesized that listening to loud music may be an addictive behavior and that it could result in hearing damage (which is one of the reasons they published their findings in an audiology journal – also, they probably would have found it harder to publish their study in an addiction journal). They hypothesized that individuals who were members of non-professional pop/rock bands who had regular exposure to loud music would be more likely to show an addictive-like behavior for loud music compared to individuals who were not.
In their study, the researchers recruited 50 non-professional musicians and matched them with 50 control participants. Both groups completed a questionnaire called the Northeastern Music Listening Survey (NEMLS) comprising two basic scales. The first scale was an adaptation of the Michigan Alcohol Screening Test (MAST) to study the addictive-like behavior towards loud music. The NEMLS was developed by Dr. Mary Florentine and her colleagues to assess Maladaptive Music Listening (MML). It is a 24 item scale that (in relation to listening to music) examining five distinct areas: “(i) recognition and admission of the problem by self and others; (ii) legal, work and social problems; (iii) seeking involvement with treatment programs; (iv) marital-family difficulties; and (v) medical pathology”. In addition to socio-demographic questions (on age, gender, and level of education), a second component of the NEMLS included “four items assessing three out of seven clinical diagnostic criteria for substance dependence as outlined by the 4th edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV) of the American Psychiatric Association…The other four criteria were already embedded within the MAST”.
Findings showed that nine (out of 50) met the DSM-IV criteria for ‘music dependence’ compared to just one individual in the control group. Seven of the nine musicians endorsing DSM criteria also had a positive score on the NEMLS. The researchers concluded that traits of addictive-like behavior to loud music were detected more often in members of nonprofessional pop/rock bands than in matched controls. The authors themselves pointed out that they did not explore the reasons why their participants “with repeated exposure to high-sound levels of electro-amplified music may be more likely to show traits of maladaptive behavior to loud music than the control subjects, and whether they develop such behavior before or after joining a pop/rock band”. They also concluded that only a few participants in their sample may have maladaptive music listening.
A more recent paper by Dr. Christine Ahrends entitled ‘Does excessive music practicing have addiction potential?’ was published in the journal Psychomusicology: Music, Mind, and Brain. She noted that:
“A theory that has previously been put forward but has not yet been empirically examined is the idea of “musical addictivity” (Panksepp, 1995)… Panksepp assumes an involvement of the opioid system for the emergence of “chills” when listening to music and concludes from there that listening to emotionally arousing music can be addictive through the release of opioids. On those grounds, Panksepp compares the phenomenon of music-induced chills (defining the main bodily response as a feeling of coldness) with that of drug addiction and its related withdrawal symptoms (like the so-called “cold turkey”). Although this comparison has major limitations, the general hypothesis might provide a new perspective on certain types of music-related behavior”.
Put simply, it has been argued that music has the capacity to activate the reward centres in the human brain and this can lead to behavioural addiction. Dr. Ahrends noted that recent studies supported the idea of addictive music consumption (citing the studies by Schmuziger and colleagues, and the study by Florentine and colleagues, both mentioned above) but not for music practicing. She wrote that:
“Anecdotal evidence has shown that some musicians either continue to practice through practice-induced pain or have psychosomatic disorders at deprivation, thus transforming a former goal-directed behavior into a maladaptive one”.
Based on the small empirical literature and anecdotal evidence, Dr. Ahrends hypothesized that music practice has the potential to be addictive and carried out an exploratory empirical study. To assess music practice addiction, she adapted the Exercise Dependence Scale Revised (EDS-R) (very similar to my own Exercise Addiction Inventory) and investigated the extent to whether musicians fulfilled the criteria to be classified as being “at risk for dependence” in relation to their music practice. A total of 25 musicians were recruited from German conservatories. Based on the scale scores three of the participants were classified as “at risk for dependence,” 20 of the participants were classified as “nondependent-symptomatic,” and two were classified as “nondependent-asymptomatic.” Based on these results, Dr. Ahrends claimed the findings provided tentative support for music practice addiction. She went on to argue that the concept of music practice addiction is a promising concept for further research and “may have implications for the understanding of mental health problems in musicians”.
In relation to this latter study, I would argue that this isn’t a case of ‘music practice addiction’ (if it exists at all) but if it exists, it is actually akin to ‘study addiction’ (a pre-cursor to ‘workaholism’) that I and my colleagues have published a number of papers on over the past few years (see ‘Further reading). The notion of ‘study addiction’ is highly controversial so it’s unsurprising that ‘music practice addiction’ would similarly be seen as controversial by most scholars working in the behavioural addiction field.
Dr Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Ahrends, C. (2017). Does excessive music practicing have addiction potential? Psychomusicology: Music, Mind, and Brain, 27(3), 191-202.
Atroszko, P.A., Andreassen, C.S., Griffiths, M.D. & Pallesen, S. (2015). Study addiction – A new area of psychological study: Conceptualization, assessment, and preliminary empirical findings. Journal of Behavioral Addictions, 4, 75–84.
Atroszko, P.A., Andreassen, C.S., Griffiths, M.D. & Pallesen, S. (2016). Study addiction: A cross-cultural longitudinal study examining temporal stability and predictors of its changes. Journal of Behavioral Addictions, 5, 357–362.
Atroszko, P.A., Andreassen, C.S., Griffiths, M.D., Pallesen, S. (2016). The relationship between study addiction and work addiction: A cross-cultural longitudinal study. Journal of Behavioral Addiction, 5, 708–714.
Dorrell, P. (2005). Is music a drug? 1729.com, July 3. Located at: http://www.1729.com/blog/IsMusicADrug.html
Dorrell, P. (2005).What is Music? Solving a Scientific Mystery. Located at: http://whatismusic.info/.
Florentine, M., Hunter, W., Robinson, M., Ballou, M., & Buus, S. (1998). On the behavioral characteristics of loud-music listening. Ear and Hearing, 19(6), 420-428.
Griffiths, M.D. (2012). Music addiction. Record Collector, 406 (October), p.20.
The Local (2007). Man gets sick benefits for heavy metal addiction. June 19. Located at: http://www.thelocal.se/7650/20070619/
Morrison, E. (2011). Researchers show why music is so addictive. Medhill Reports, January 21. Located at: http://news.medill.northwestern.edu/chicago/news.aspx?id=176870
Panksepp, J. (1995). The emotional sources of “chills” induced by music. Music Perception, 13, 171–207.
Salimpoor, V.N., Benovoy, M., Larcher, K. Dagher, A. & Zatorre, R.J. (2011). Anatomically distinct dopamine release during anticipation and experience of peak emotion to music. Nature Neuroscience 14, 257–262.
Schmuziger, N., Patscheke, J., Stieglitz, R., & Probst, R. (2012). Is there addiction to loud music? Findings in a group of non-professional pop/rock musicians. Audiology Research, 2(e1), 57-63.
Smith, J. (1989). Senses and Sensibilities. New York: Wiley.
Throughout my academic career, I have always been interested in how the design of environments affects human behaviour. Given that my primary research area is the psychology of gambling and that my most passionate hobby is listening to music, it probably won’t come as a surprise that I have carried out research into the effect of music on gambling behaviour.
The effect of music has been studied extensively in commercial contexts (particularly advertising and retailing). Many research studies have shown that music has the capacity to affect consumers’ perceptions of a particular environment, their intended and actual purchase behaviour, and time spent in a particular environment. Advertisers and marketers use such knowledge to help target their consumer group. Psychologists Adrian North and David Hargreaves have noted in many of their papers that music may have the capacity to modify psychological arousal or induce relaxation. A number of studies have supported this claim through various investigations into the arousal of music.
Highly arousing music has been characterised as loud, unpredictable and with a quick tempo. Low arousing music in contrast is soft, predictable, and has a slower tempo. The more the music is able to produce arousal in individuals, the more pleasurable it is for them, and the more likely it will be their preference. Musical tempo is another area within the field of music that has generated empirical research. A variety of reports from participants and consumers have described fast tempo music with a variety of adjectives, indicating it as happier, pleasant, joyous, exhilarating. Studies manipulating the tempo of music have found that faster music leads to more positive judgements of advertisements, enhances effects on the performance of tasks, leads to faster movement, and higher arousal levels. Slow music has the opposite effects resulting in more relaxing, solemn adjectives being used when participants described it.
As both a structural and situational characteristic in gambling behaviour, the role of music has become more apparent in the last decade. Many slot machines now have musical interludes. This makes them generally more appealing, especially if they are familiar. Researchers (including myself) have consistently argued that sound effects can contribute to the encouragement of gambling.
Back in 2003, Dr. Jonathan Parke and myself published a book chapter examining the environmental psychology of gambling in the book Gambling: Who Wins? Who Loses? (edited by the sociologist Gerda Reith). A small part of that review speculatively examined the role of music in facilitating gambling behaviour. We noted that at the time we wrote the review, no research has been carried out on the topic (and that research was obviously needed). A couple of years later, we published a paper in the Journal of Gambling Issues and reported a number of observations based on our experiences of enaging in participant and non-participant observation in amusement arcades and other gambling venues.
We argued that auditory effects have the capacity to make a slot machine more ”aesthetically appealing” to individuals and this differentiation could be a deciding factor when choosing a machine. We also hypothesized that music has the potential to facilitate, stimulate, maintain and exacerbate gambling behaviour in some individuals. This could be due to the fact that familiar music may induce a feeling of enjoyment as it is recognisable to the individual and thus may entice them into playing (something that I had noted in an earlier paper that I wrote with David Dunbar in a 1997 issue of the Society for the Study of Gambling Newsletter). The music played when one wins is distinctive and memorable and could also lead to further plays. In short, music has the capability to increase confidence, modulate arousal and relaxation and help the player to disregard previous losses.
In 2007, I published a study in the journal International Gambling Studies that I carried out with Laura Dixon and Dr. Richard Trigg investigating the role of music in gambling behaviour. In our experiment, 60 participants played virtual roulette in one of three conditions.The three conditions were (i) no music, (ii) slow tempo music,and (iii) fast music (20 participants in each condition). Tengames of roulette were played with speed of betting, amountspent across high, medium and low-level risk bets and totalamount spent recorded. Their results showed that speed ofbetting was influenced by musical tempo with faster bettingoccurring while listening to higher tempo music.However, there was no relationship between musical tempo and either the size of the bet or the overall amountspent. Although not carried out in a casino, we believed our findingsprovided valuable insight into how background music can bemanipulated to increase the speed of gambling.
In 2010, along with Jenny Spenwyn and Dr. Doug Barrett, I published another study examining the effect of music on gambling in the International Journal of Mental Health and Addiction. This study (as far as we are aware) was the first ever empirical study to examine the combined effects of both music and light on gambling behaviour. While playing an online version of roulette, 56 participants took part in one of four experimental conditions (14 participants in each condition); (1) gambling with fast tempo music under normal (white) light, (2) gambling with fast tempo music under red light, (3) gambling with slow tempo music under normal (white) light, and (4) gambling with slow tempo music under red light. Risk (i.e., the amount of money spent) per spin and speed of bets were measured as indicators of gambling behaviour. We found significant effects for speed of bets in relation to musical tempo, but not light. We also found a significant interaction between light and music for speed of bets. In short, we found that fast tempo music under red light resulted in individuals gambling faster gambling.
Most recently, some of my research colleagues in Norway, led by Dr. Rune Mentzoni, published a paper in the Journal of Behavioral Addictions that also examined music’s effect of gambling behaviour. Like our studies, they carried out a laboratory experiment. Their study comprised101 undergraduate students who played a computerized gambling task inwhich either a high-tempo or a low-tempo musical soundtrack was present. It was reported that: low-tempo music was associated with increased gambling persistence in terms of overall number of bets placed, whereas high-tempo music was associated with intensified gambling in terms of faster reaction time per placed bet. Based on their results, they concluded that high-tempo music is associated with more risky gambling behaviour (by increasing gambling persistence and by reducing reaction time for bets placed).
From the empirical literature published so far, there does appear to be some evidence to suggest that the gambling environment may be manipulated by the use of sound of music (as well as other characteristics such as light and colour) and that such situational characteristics may affect gambling behaviour. However, the empirical base, is limited and further research is needed before reaching any definitive conclusions.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Caldwell, C. & Hibbert, S.A. (1999). “Play that one again: The effect of music tempo on consumer behaviour in a restaurant. European Advances in Consumer Research, 4, 58-62.
Dixon, L., Trigg, R. & Griffiths, M. (2007). An empirical investigation of music and gambling behaviour. International Gambling Studies, 7, (3), 315-326.
Dube, L., Chebat, J.C. & Morin, S. (1995). The effects of background music on consumers desire to affiliate in buyer- seller interactions”, Psychology and Marketing, 12, 305-319.
Griffiths, M.D. & Dunbar, D. (1997). The role of familiarity in fruit machine gambling. Society for the Study of Gambling Newsletter, 29, 15-20.
Griffiths, M.D. & Parke, J. (2003). The environmental psychology of gambling. In G. Reith (Ed), Gambling: Who wins? Who loses? pp. 277-292. New York: Prometheus Books.
Griffiths, M.D. & Parke, J. (2005). The psychology of music in gambling environments: an observational research note. Journal of Gambling Issues, 13. Available at: http://jgi.camh.net/doi/full/10.4309/jgi.2005.13.8
Hebert, S., Beland, R., Dionne-Fournelle, O., Crete, M. & Lupien, S.J. (2004). Psychological stress response to video game playing: the contribution of built in music. Life Sciences, 76, 2371-2380.
Kellaris, J.J. & Kent, R.J. (1993). An exploratory investigation of responses elicited by music varying in tempo, tonality, and texture. Journal of Consumer Psychology, 2, 381-402.
Mentzoni, R. A., Laberg, J. C., Brunborg, G. S., Molde, H., & Pallesen, S. (2014). Type of musical soundtrack affects behavior in gambling. Journal of Behavioral Addictions, DOI: 10.1556/JBA.3.2014.006.
Milliman, R.E. (1982). Using background music to affect the behaviour of supermarket shoppers. Journal of Marketing, 46, 86-91.
Milliman, R.E. (1986). “The influence of background music on the behaviour of restaurant patrons. Journal of Consumer Research, 13, 286-289.
North, A.C., & Hargreaves, D.J. (1997). Experimental aesthetics and everyday music listening. In D.J. Hargreaves & A.C. North (Eds.), The Social Psychology of Music. pp.84-103. Oxford: Oxford University Press.
Parke, J. & Griffiths, M.D. (2006). The psychology of the fruit machine: The role of structural characteristics re-visited. International Journal of Mental Health and Addiction, 4, 151-179.
Parke, J. & Griffiths, M.D. (2007). The role of structural characteristics in gambling. In G. Smith, D. Hodgins & R. Williams (Eds.), Research and Measurement Issues in Gambling Studies. pp.211-243. New York: Elsevier.
Spenwyn, J., Barrett, D.K.R. & Griffiths, M.D. (2010). The role of lights and music in gambling behavior: An empirical pilot study. International Journal of Mental Health and Addiction, 8, 107-118.