#TOTAL LOCKDOWN GENRES PROFESSIONAL#
Professional and lay music ensembles experimented with playing together via videoconferencing software, and artists streamed performances from their homes with tens of thousands of viewers watching as a substitute for live music. In brief, people composed new pieces, created themed playlists, and reworked famous songs, drawing new meanings from an unfamiliar context. For examples of coronamusic from around the globe, please see: (which can be sorted by country of interest). As such, coronamusic is not a particular genre produced by a certain practice, but rather a collection of cultural products which share a common theme or inspiration. ( 2021) broadly define coronamusic as the audiovisual products resulting from any number of diverse forms of musical engagement (listening, playing, dancing, composing, rehearsing, improvising, discussing, exploring, innovating) which explicitly or implicitly reference the coronavirus and/or life during the pandemic. The outburst of musical creativity was multifarious and resulted in a set of dedicated repertoires and practices that refer to, or are inspired by, the pandemic and can be termed “coronamusic.” Hansen et al. Quickly, shared narratives arose praising music for providing social connection and comfort, despite physical distancing, as well as positivity and humour against an all-too-dominant backdrop of negative emotions (Langley and Coutts, 2020 Macdonald, 2020 Taylor, 2020). In Asia, a music video commissioned by the Vietnamese government encouraging proper hand-washing technique and social distancing precautions went viral and became the impetus for a TikTok dance challenge Footnote 1. Videos of Italians singing from balconies swiftly multiplied and diversified into multifaceted reports of new ways of engaging with music during lockdown. While a variety of coping strategies gained prominence during the COVID-19 pandemic, none received as much broad public support and media endorsement as music. Here, we investigate one particularly widespread, accessible, and lockdown-compatible coping behaviour: engaging with music. Behavioural data can illuminate which coping strategies effectively strengthen individual and community resilience (Betsch, 2020 Kroska et al., 2020). People’s ability to maintain mental wellbeing affects their willingness to comply with necessary containment regulations (Jetten et al., 2020) and helps prevent social unrest, stigma, and violence (Barrett, 2020 Polo, 2020 Villa et al., 2020). Evidence is accumulating for severe negative mental health impacts, such as increased levels of anxiety, depression, stress, loneliness, and impaired sleep quality (Dagnino et al., 2020 Dawel et al., 2020 Franceschini et al., 2020 Groarke et al., 2020 Hur et al., 2020 Lenzo et al., 2020 Lippold et al., 2020 Parlapani et al., 2020 Rajkumar, 2020 Rodríguez-Rey et al., 2020 Rossi et al., 2020). In addition to fear of the virus (Lippold et al., 2020) and elevated stress levels due to physical-distancing measures (Best et al., 2020), many people faced (and continue to face) reduced income or unemployment, the need to combine working from home with childcare duties, uncertainty about the future, and social isolation. Such is the case during the COVID-19 pandemic.
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While reducing public health risk, these measures may create massive economic, societal, and political co-crises which deeply affect socio-emotional wellbeing. As globalisation increases the risk that outbreaks develop into pandemics, effective containment measures are crucial. Light gradient-boosted regressor models were used to identify the most important predictors of an individual’s use of music to cope, the foremost of which was, intriguingly, their interest in “coronamusic.” Overall, our results emphasise the importance of real-time musical responses to societal crises, as well as individually tailored adaptations in musical behaviours to meet socio-emotional needs.Įpidemics have been recurring events throughout human history (Hays, 2005) and evolution (Prohaska et al., 2019). People experiencing increased negative emotions used music for solitary emotional regulation, whereas people experiencing increased positive emotions used music as a proxy for social interaction. More than half of respondents reported engaging with music to cope. During the first lockdown period (April–May 2020), we surveyed changes in music listening and making behaviours of over 5000 people, with representative samples from three continents.
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Here, we asked whether musical engagement is an effective strategy for socio-emotional coping.
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Beyond immediate health risks, the COVID-19 pandemic poses a variety of stressors, which may require expensive or unavailable strategies during a pandemic (e.g., therapy, socialising).