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‘I would want to listen to it as a medicine’ – Lo- music and state
anxiety, a mixed-methods pilot study on young adults
Melanie Pius Dsouza
a
, Ankitha Shetty
a
, Shwetha TS
b
, Pooja Damodar
a
,
Asha Albuquerque Pai
c
, Rebecca Joyline Mathias
a
, Sara D’Souza
d
and Neha Tanya Lewis
a
a
Department of Commerce, Manipal Academy of Higher Education (MAHE), Manipal, India;
b
Department of Clinical
Psychology, Manipal College of Health Professions (MCHP), MAHE, Manipal, India;
c
Department of Social & Health
Innovation, Prasanna School of Public Health, MAHE, Manipal, India;
d
Department of Music Therapy, HopeStone
Interventions, Mumbai, India
ABSTRACT
Faced with heightened state anxiety, today’s youth are turning to lo- music
for relief – but does it truly work, how and why? This study represents
a pioneering initial exploration of lo- music and state anxiety through the
lens of critical realism. It employs a mixed-methods intervention design to
assess the preliminary eectiveness of lo- music in alleviating state anxiety
and explores its possible underlying mechanisms. A pre-post experiment (n =
76) followed by interviews (n = 27) was conducted on young adults pursuing
post-graduate education in Karnataka, India. Results demonstrate a signicant
reduction in state anxiety after lo- exposure. Participants reported that lo-
disrupts intrusive thoughts and promotes relaxation, sleep, and positive
mental states, construing it as an antidote to anxiety. This research unearths
the unique characteristics of lo- music that may drive this eect. Future
investigation is warranted to test the ecacy of this music in youth-focused
mental health interventions.
ARTICLE HISTORY
Received 12 March 2024
Accepted 31 July 2024
KEYWORDS
Lo-fi music; music; state
anxiety; anxiety; young
adult; health and well-being
Introduction
Background of the study
Embarking on a period marked by signicant life transitions, young adults nd themselves enmeshed in
a complex web of concurrent challenges, encompassing the unpredictability of employment, the stress of
academics, the expectations of social life, the complexities of relationships, and the double-edged sword
of technology. These unrelenting stressors frequently contribute to heightened anxiety, a growing global
concern (Mental Health Million Project Report, 2023). The COVID-19 pandemic has further exacerbated
this trend, with young adults (18–25 years) reporting higher levels of anxiety symptoms compared to
other adult age groups (Adams et al., 2022; Mental Health Million Project Report, 2023; Santomauro et al.,
2021), and postgraduate students particularly at risk (Passini, 2022; Sokratous et al., 2023). Anxiety,
a multifaceted mental health challenge, manifests in various forms. State anxiety, a distinct type, is
characterized by a transient emotional state marked by subjective feelings of unease, nervousness,
tension, worry, and physiological arousal, such as increased heart rate or respiration (Gaudry et al.,
1975; Spielberger, 1979). It can change over time and diers from the more enduring ‘trait anxiety’
(Endler & Kocovski, 2001; Gaudry et al., 1975; Spielberger et al., 1983; L. Wang & Yang, 2013).
CONTACT Ankitha Shetty ankitha.shetty@manipal.edu; Shwetha TS shwetha.ts@manipal.edu
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH
2024, VOL. 29, NO. 1, 2388787
https://doi.org/10.1080/02673843.2024.2388787
© 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group.
This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.
0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The terms on which
this article has been published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent.
State anxiety is a natural response to perceived threats or stressors. However, its intensity,
duration, and frequency can vary from person to person based on the perceived severity of the
threat (Wiedemann, 2001). While evidence in sports and musical performances suggests that
a certain amount of state anxiety may be benecial for peak performance (e.g. Ford et al., 2017;
Kim et al., 2019; Osborne et al., 2020), other authors have demonstrated that higher levels of state
anxiety can negatively impact young adults’ cognitive performance and emotional regulation (Choi
et al., 2012; Lincoln et al., 2010; Xu et al., 2016). Research documents impairments in concentration
(Fernández-Castillo & Caurcel, 2014; L. Wang & Yang, 2013), reasoning (Tohill & Holyoak, 2000), and
memory retrieval (Ward et al., 2020), as well as unfavourable interpersonal outcomes (Brooks, 2013)
and barriers to eective decision-making (Buelow, 2020) among young adults experiencing high
levels of state anxiety. Some authors (Derakshan et al., 2009; Eysenck et al., 2007; Thomas & Cassady,
2021) present evidence that state anxiety can lead to excessive worry, self-doubt, and low self-
esteem, aecting information processing. Others (Brooks & Schweitzer, 2011; Hartanto, 2017) reveal
its potential to hinder work eciency in young adult populations.
Seeking relief from the negative symptoms and consequences associated with state anxiety,
many young adults turn to self-soothing music. In recent years, lo- music has emerged as a popular
choice for this demographic, as reported by various sources (e.g. Bhatt, 2022; Hochberg, 2020;
Kobale, 2022; Glimpse, 2023; Music Press Asia, 2023; J. Wang, 2020; Winston & Saywood, 2019;
Zheng, 2023). Market trends on Gitnux (Lindner, 2024) suggest a core audience for lo- music within
the 18–24 age range. The statistics also indicate positive performance metrics on platforms like
YouTube, Spotify, Apple Music, Instagram, and Twitch. Lo- music is frequently marketed as a coping
tool for anxiety under the branding of ‘beats to relax’ and ‘chill beats’ (Kobale, 2022; J. Wang, 2020;
Winston & Saywood, 2019), but scientic literature oers limited empirical support for this claim.
Preliminary investigations on lo- music (e.g. Baltaxe-Admony et al., 2017; Jhuang et al., 2022;
Strugaru, 2021; J. Wang, 2020; Winston & Saywood, 2019) indicate anecdotal benets for anxiety
management among young listeners. However, a growing body of literature explicitly demonstrates
the positive impact of music listening in alleviating state anxiety (e.g. Deka et al., 2022; Harney et al.,
2022; Malakoutikhah et al., 2020; Öztürk et al., 2022; Pedersen et al., 2023; Saifman et al., 2023;
Scheuer et al., 2020), with varying outcomes based on dierent music genres (e.g. Chairinkam et al.,
2019; Harney et al., 2022; Huang et al., 2021; Lee-Harris et al., 2018; Malakoutikhah et al., 2020;
Osmanoğlu & Yilmaz, 2019; Panteleeva et al., 2017; Pedersen et al., 2023). This necessitates an
assessment of the lo- music genre’s potential to reduce state anxiety, elucidating the underlying
causal mechanisms, particularly those innate to its characteristics.
Literature review
The denition of ‘low delity’, ‘lo-’ or ‘lo’ music is evolving (Stefano, 2023), but it is generally
described as deliberately ‘unpolished, amateurish, or technologically unsophisticated’ (Lo-Fi, 2014,
para 10). This distinctive music genre challenges conventional notions of sonic perfection and, as
Harper (2014) suggested, celebrates perceived imperfections in a recording. Lo- music blends
elements from diverse genres like hip-hop, jazz, and ambient, often layered with signature ‘lo-
eects’ such as ‘clipping, tape hissing, vinyl warbling, and slowed-down tempos with samples’
(Tolbert, 2023) that create a distinctive sonic atmosphere. It intentionally incorporates phonographic
imperfections, incidental sounds from performances, environmental noises, non-professional musi-
cal instruments or mistakes in musical execution (Stefano, 2023). A unique attribute of lo- music
highlighted by some researchers (Murahari & Pinard, 2022; Ramzi, 2023) is the blending of over-
lapping drum beats with melodic tones like ambient sounds or pianos and violins.
Although we could not nd research directly investigating lo- and state anxiety, existing studies
provide initial insights, suggesting relief from anxiety symptoms in anxiety-prone individuals
(Strugaru, 2021), in youth (Baltaxe-Admony et al., 2017; J. Wang, 2020) and in education (Martin,
2022) and work settings (Jhuang et al., 2022). Strugaru’s (2021) qualitative inquiry suggests that
2M. P. DSOUZA ET AL.
individuals prone to anxiety perceive lo- music as benecial for emotion regulation and mood
stability. Participants reported reduced overthinking, lessened negative thoughts, and temporary
relief from anxiety symptoms. Complementing these ndings, in Barandon et al. (2021) and Martin
(2022), young participants reported reduced worrisome thoughts. Winston and Saywood (2019)
even present lo- music as a conduit for socio-economic escapism. Moreover, young listeners
perceive lo- music as a mechanism for coping with stress, anxiety and fears (Baltaxe-Admony
et al., 2017; Murahari & Pinard, 2022). Anecdotal evidence in Jhuang et al. (2022) further supports
this assertion, particularly in work-related contexts. J. Wang’s (2020) research extends this narrative,
portraying the lo- hip-hop genre as emblematic of a generation characterized by heightened
emotional tension and anxiety. This study, through media content analysis, identies anxiety and
depression as prevalent themes within both YouTube comment sections and lo- music-related
magazine content.
In addition, Martin (2022) utilized descriptive statistical methods to investigate the impact of lo-
music on anxiety levels among nursing students. This pre-post study, employing the General Anxiety
Disorder and Beck Anxiety Inventory scales, observed a decrease in anxiety symptoms following
exposure to lo- music. However, Yeoh and Spence’s (2023) research suggests that silence may be
more eective in reducing patient anxiety levels while waiting, compared to lo- and Western
classical music, as measured by the STAI 6 scale.
A review of participant narratives in the existing literature indicates alleviation of state anxiety.
Listeners of lo- music have consistently reported sensations of calmness and relaxation associated
with their listening experience, as observed in the studies conducted by Aldiana (2022), Baltaxe-
Admony et al. (2017), Jhuang et al. (2022), Murahari and Pinard (2022), Strugaru (2021), Zheng (2023),
among others. Neal’s (2022) observations resonate with these ndings, attributing a ‘chill aesthetic’
to the music, a description that aligns with the responses of participants across various studies (e.g.
Baltaxe-Admony et al., 2017; Strugaru, 2021). This sentiment is further supported by qualitative
evidence suggesting that one of the principal motivations driving individuals towards this genre is
the pursuit of relaxation (Barandon et al., 2021; Jhuang et al., 2022; Kobale, 2022; J. Wang, 2020).
Additionally, an analysis of the titles, chat, and comment sections associated with lo- music videos
on YouTube, as reported by Kobale (2022), J. Wang (2020), and Winston and Saywood (2019), reveals
pervasive themes of ‘chill’ relaxation, calmness, and a soothing ambience. Aldiana (2022), Baltaxe-
Admony et al. (2017), Strugaru (2021), and Zheng (2023) reported sensations of comfort, peace and
stability when engaging with this music. Martin (2022) also reports a decrease in nervousness among
listeners. Notably, Strugaru (2021) emphasizes the transient nature of these benets.
Lo- music has been suggested to have a positive impact on alleviating physical discomfort
associated with anxiety. According to Strugaru (2021), some participants believe that listening to this
genre enhances the eectiveness of their anti-anxiety medication. However, it is important to note
that individual responses vary, as one participant experienced a resurgence of anxious memories
associated with the music. While the above are qualitative explorations of the genre, quantitative
studies have also been conducted to test the eect of lo- music listening on the physiological
changes associated with relaxation. Kirk et al. (2021) reported increased parasympathetic heart rate
variability (HRV), indicating a shift towards relaxed states. Corpuz et al. (2022) found lowered blood
pressure in hypertensive patients listening to lo-. Daroin et al. (2022) suggested that lo- music may
stimulate the endorphin hormone associated with causing relaxation and a sense of comfort.
Gaps in the literature and rationale for the current study
Despite promising anecdotal evidence, the research on lo- music and state anxiety remains in its
infancy. While there are studies on the physiological markers of relaxation, several key gaps exist in
the current literature. Firstly, most of the extant research predominantly utilizes qualitative meth-
odologies. Ubrangala et al. (2022) emphasized the need to incorporate subjective and objective
measures in assessing music interventions, a scarcely employed method. Additionally, most
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 3
quantitative studies in the current literature lack inferential statistical analysis. Secondly, research
often focuses on general feelings of current relaxation without specically measuring and exploring
state anxiety. Finally, the specic musical elements innate to lo- that may induce such feelings
remain unexplored.
The current pilot study addresses these gaps by employing a mixed-methods intervention
design by combining quantitative (pre-post experiment) and qualitative (interviews) data. The
objective of this study is to investigate the preliminary eectiveness of lo- music in
reducing state anxiety among young adults pursuing post-graduate education. State anxiety
will be the primary outcome variable, measured using a validated scale. Moreover, from
a critical realist perspective, the study explores the possible causal mechanisms underlying
the music’s potential anxiety-reducing eects. It lays the groundwork for subsequent studies
to test the ecacy of this intervention. Additionally, it prompts an imperative for more
rigorous scholarly inquiry into this burgeoning musical genre, tapping into its potential to
enhance young adults’ health and well-being.
Methods
The present study is framed within the critical realist paradigm as promulgated by Bhaskar (1989,
2008) and further explored by Williams et al. (2016), adopting a stratied ontology approach as
articulated by Heeks and Wall (2018) and Lawani (2020). This approach acknowledges the existence
of underlying generative mechanisms that shape observable phenomena. This philosophical stance
guided the adoption of a mixed-methods approach, enabling the investigation of causal mechan-
isms in conjunction with the analysis of quantitative outcomes and the enrichment of these ndings
through qualitative data triangulation, as McEvoy and Richards (2006) and Stutchbury (2021)
recommended.
To operationalize this approach, the study employed an explanatory sequential core design
within the mixed-methods intervention design, specically a [QUAN(qual)] design (Creswell &
Plano Clark, 2011; Ivankova et al., 2006; Sandelowski, 1996, 2000). This constituted conducting a one-
group-pre-test-post-test experiment followed by follow-up interviews (Creswell & Creswell, 2018).
This comprehensive design and its execution are succinctly depicted in the study owchart pre-
sented in Figure 1.
Quantitative phase (phase 1)
Drawing upon the foundation established by prior research on music listening and state anxiety and
supported by anecdotal reports on lo- music, our study in phase 1 seeks to answer the following
research question:
RQ 1: Does exposure to lo- music reduce state anxiety among young adults pursuing postgrad-
uate education?
We propose that exposure to lo- music (independent variable) potentially reduces state anxiety
(dependent variable). Based on this conceptual framework, we hypothesize that:
Hypothesis (H1): Exposure to lo- music listening sessions will lead to a decrease in state anxiety.
Participants, setting, and procedures
We conducted a one-group pre-test-post-test experiment to test this hypothesis. Such pre-
experimental designs evaluate intervention outcomes among small groups without a control
4M. P. DSOUZA ET AL.
Figure 1. Study flowchart. Source: Author’s own
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 5
group. These designs determine whether a potential explanation is credible and worthy of further
investigation (Mauldin, 2020). Pre-experimental designs are vital in advancing scientic understand-
ing and developing novel interventions by providing a foundation for further inquiry.
A priori power analysis was conducted using G*Power 3.1 (Faul et al., 2007) to determine the
required sample size for a one-tailed paired t-test. The analysis aimed to detect a medium eect size
(Cohen’s d = 0.3) with 80% power at a signicance level of 0.05. The analysis indicated a minimum
required sample size of N = 71. We aimed to recruit a larger sample size to account for potential
attrition due to missing data, participant dropouts, or incomplete questionnaires.
Purposive sampling was employed to recruit participants undergoing high-stress periods for an
initial assessment of the intervention in a real-world setting. This pilot study is part of a broader PhD
study that received approval from the KH Ethics Committee (Number IEC1: 206/2022). The study
participants were young adults pursuing postgraduate studies at a deemed-to-be university in
Karnataka, India. Deemed-to-be universities in India ‘enjoy the academic status and privileges of
a university’ (Government of India, 2016). Participants were included if they met the following
criteria: students pursuing postgraduate education, aged 20 to 25 years, and anticipating academic
stressors within a one-week timeframe (nal exams, project submissions, viva voces, and job
placement interviews). This timeframe ensured that participants would encounter natural anxiety
triggers before and after the intervention. To prioritize participant well-being, individuals with pre-
existing, clinically diagnosed mental health conditions were excluded.
Initially, 95 eligible participants were identied and invited through an open advertisement.
Seventy-nine students voluntarily provided informed consent after receiving a detailed explanation
of the study procedures, their rights (including the option to withdraw at any point), and the measures
taken to ensure anonymity and condentiality. Three participants withdrew before completing the
post-intervention questionnaire, resulting in a nal sample size of N = 76 for data analysis. The sample
consisted of participants aged 21 to 25, with an average age of 22 (Mean = 22.1; SD = 0.89). In phase 1,
36% were male, 63% were female, and 1% of participants preferred not to disclose their gender.
The experiment was conducted in university classrooms with the necessary permissions from relevant
department heads. The intervention was delivered across three equal-sized batches (B1, B2, B3) on the
same day to address logistical constraints. Each batch was exposed to consistent environmental condi-
tions: closed, air-conditioned classrooms with standardized lighting conditions and free from extraneous
noise distractions. The entire intervention lasted approximately 20–30 minutes per batch. In our study,
intervention refers to a music-listening session. Trained student facilitators (n = 2) administered the
intervention in all three batches to maintain session consistency and reduce any potential inuence of
researchers on the participants. To assess baseline state anxiety levels, participants completed the State-
Trait Anxiety Inventory – State version (STAI-S)
1
(Spielberger et al., 1983). After completing the ques-
tionnaire, participants were instructed to close their eyes and listen to pre-selected lo- music tracks
played through external speakers. Speaker audibility and volume were meticulously calibrated to
preclude potential interference from very loud or inaudible music.
Two lo- music tracks (Blooming Dales by Krynoze, Diiolme, and Beneath The Surface by Yasumu,
Nadav Cohen) were played consecutively for approximately ve minutes. The duration of the
intervention was based on prior studies (Corpuz et al., 2022; Daykin et al., 2017; Fiore, 2018) that
demonstrated the ecacy of short-duration music listening interventions (5–10 minutes). The sub-
genre of lo- hip-hop was chosen for this study based on its established presence within scholarly
literature exploring its various eects (Flores, 2021; Martin, 2022; Neal, 2022; Taber et al., 2019;
Thapaliya et al., 2021; J. Wang, 2020; Winston & Saywood, 2019). To further support this choice,
additional data from non-peer-reviewed sources (Johnson, 2020; Michel, 2021; Nemo, 2020;
Zarczynski, 2020) indicated lo- hip-hop’s popularity among young audiences. The internal char-
acteristics of the music used for this study are specied in Figure 2.
1
Copyright © 1968, 1977 by Charles D. Spielberger. All rights reserved in all media. Published by Mind Garden, Inc. www.
mindgarden.com.
6M. P. DSOUZA ET AL.
Figure 2. Internal characteristics of the intervention. Source: Author’s own
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 7
Immediately after the intervention, participants again lled in the STAI-S questionnaire (refer
footnote 1), followed by a debrieng session.
Measures and data analysis
The State-Trait Anxiety Inventory (Spielberger et al., 1983) (refer footnote 1) is a self-reported
measure of anxiety used in research and clinical settings. Of the two sub-scales within this measure,
phase 1 of the study employed the rst sub-scale, the State Anxiety Scale (STAI-S) or STAI Form Y-1
(refer footnote 1), which assesses the current state of anxiety of the participants. STAI-S is the most
widely used scale for assessing state anxiety (Harney et al., 2022). This 20-item scale evaluates the
intensity of anxiety experienced by participants at the time of testing. Participants rate the intensity
of their feelings in the present moment on a Likert scale ranging from (1) ‘not at all’ to (4) ‘very much
so (refer footnote 1).’ The scoring for anxiety-absent items on the scale is reversed (Julian, 2011). As
reported in recent work (Fernández-Castillo, 2021; Finnerty et al., 2021; Morales-Rodríguez & Pérez-
Mármol, 2019; Thomas & Cassady, 2021), the STAI-S scale has demonstrated strong reliability and
validity in university settings. The STAI-S score ranges from 20 to 80, with higher scores indicating
more severe anxiety levels. Anxiety levels are categorized as follows: ‘no or low anxiety’ (20–37),
‘moderate anxiety’ (38–44), and ‘high anxiety’ (45–80) (Kayikcioglu et al., 2017). The study used the
widely accepted cut-o point of 40 to indicate clinical levels of anxiety (Emons et al., 2019; Julian,
2011). These cut-o points provide a framework for identifying and classifying the severity of anxiety
in individuals participating in the study, allowing for a comprehensive analysis of the impact of lo-
music on anxiety levels among young adults.
Phase 1 data analysis was performed using Jamovi software (version 2.3.26.0; [Jamovi Project,
2023]). Descriptive statistics were computed for demographic variables (age, gender) and nal
questionnaire scores. Group dierences in anxiety level were assessed using the paired samples
t-test. Statistical signicance was determined at a threshold of p < 0.05. Additionally, scale score
categories and established cut-o points were used to further understand group dierences.
Qualitative phase (phase 2)
RQ 2: What are the experiences of the young adults exposed to the lo- music intervention?
Participants, setting, and procedures
Following the analysis of results from Phase 1, Phase 2 was initiated to delve into participants’ unique
experiences via unstructured follow-up interviews (Creswell et al., 2003). These interviews were
conducted between 1 to 4 months after the intervention. Participants were selected from the
Phase 1 study population using maximal variation purposive sampling (Creswell & Plano Clark,
2011; Fetters et al., 2013). Selection criteria were based on individual pre-post scores from Phase 1,
categorized into nine groups based on pre-intervention and post-intervention anxiety levels (as
presented in Figure 1). A nal sample of 27 individuals volunteered to participate in the Phase 2
interviews. This sample reected the gender distribution in phase 1 of the study (63% female, 37%
male). Participant characteristics are detailed in Figure 3.
After obtaining their voluntary informed consent, short telephonic interviews were conducted
and recorded through audio recordings and eld notes. All observations of tone and voice were also
recorded as eld notes. The interviews commenced with questions designed to establish rapport,
such as ‘How were you feeling around the time you participated in the study?’ Probing questions
were then employed to delve deeper into the intervention experience: ‘Could you walk me through
8M. P. DSOUZA ET AL.
Figure 3. Phase 2 participant characteristics. Source: Author’s own
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 9
your experience with the intervention?’ ‘How did listening to the music make you feel?’ The interview
was further tailored to explore participant behaviour following the intervention with questions like:
‘Did you nd yourself searching for lo- music after the intervention?’ ‘Did you continue listening to
lo- music?’ If participants continued listening, the context (studying, relaxing, etc.) in which they
chose to listen, and the perceived helpfulness of the music were explored. Each interview lasted for
about 20 to 30 minutes. To safeguard the participants’ anonymity during the data analysis and
reporting phases, each participant was assigned a unique alphanumeric code, presented in Figure 3.
Data analysis
In Phase 2, the procedure employed for analysing interview data was thematic analysis, as detailed
by Braun and Clarke (2006). A two-stage manual coding process was utilized.
Stage 1: Deductive Coding linked interview segments to pre-dened themes derived from
dimensions of state anxiety measured in Phase 1, providing insights into participant experiences
(Love & Corr, 2021).
Stage 2: Inductive Coding involved researchers approaching the data with an open mind, setting
aside prior knowledge from the quantitative phase to identify new, data-driven themes that
emerged organically from participant narratives. Strategies like short breaks within coding sessions
helped researchers maintain a fresh perspective during inductive analysis.
Researchers remained immersed in the data throughout the analysis for a comprehensive under-
standing of participant experiences and context: the analysis considered content, colloquial lan-
guage use, and intonation for richer interpretation. To ensure intercoder reliability, two researchers
(authors 1 and 5) independently coded the data, compared their codes, and resolved discrepancies,
achieving a nal intercoder agreement on the identied themes.
Integration of mixed methods (phases 3&4)
RQ 3a: How do the participants’ experiences help explain the reduction in state anxiety?
RQ 3b: What are the potential underlying mechanisms inherent in the music that could explain the
observed eects?
Quantitative and qualitative results were integrated and reported in a joint display table (Table 2),
following the recommendations of Fetters et al. (2013). The data analysis followed the seven-stage
mixed-method research framework: ‘data reduction, data display, data transformation, data correla-
tion, data consolidation, data comparison, and data integration’ (Onwuegbuzie & Teddlie, 2003). This
mixed methods approach achieved the purposes of triangulation, complementarity, and expansion
of knowledge (Greene, 2007).
Furthermore, this study employed retroduction, a method of inference aligned with critical
realism (Lawani, 2020; Wiltshire & Ronkainen, 2021), to analyse the combined quantitative and
qualitative data and music characteristics. Retroduction involves an iterative process of examining
observations within the data and relevant theoretical concepts from the literature (McEvoy &
Richards, 2006). This approach allowed us to explore potential causal mechanisms that explain the
observed eects of lo- music on state anxiety. Retroduction integrates inductive and deductive
reasoning with researcher insights to uncover the underlying generative mechanisms that make
these outcomes possible (Gilmore et al., 2019; The Rameses II Project, 2017). Following this critical
realist approach, we employed retroductive reasoning (Bygstad & Munkvold, 2011) to identify the
10 M. P. DSOUZA ET AL.
most plausible generative mechanisms innate in the features of the music that could explain its
preliminary observed eects on state anxiety.
To ensure the quality of this mixed methods research, we have adhered to the following
established frameworks and tools: the Good Reporting of A Mixed Methods Study (GRAMMS)
framework (O’Cathain et al., 2008), the Mixed Methods Appraisal Tool (MMMT), version 2018 -
categories 1, 4, and 5 (Archibald et al., 2021), and the Best Practices for Mixed Methods
Research in the Health Sciences (Creswell et al., 2011).
Results
Quantitative results
The results, presented in Table 1, revealed a statistically signicant decrease in state anxiety
levels from (Mean = 49.1, SD = 9.57) to (Mean = 42.1, SD = 10.30) post-intervention, with t (75) =
6.58, p < 0.001 (Figure 4). The average decrease in state anxiety level was found to be 6.349,
with a 95% condence interval ranging from 4.86 to 9.09. The intervention demonstrated
a substantial eect size of 0.75, indicating signicant practical implications in reducing state
anxiety.
The inuence of lo- music on state anxiety was further elucidated by interpreting the
results concerning score categories and cut-o points. As depicted in Figure 5, the analysis
revealed that most participants had state anxiety levels below the clinically signicant thresh-
old (score of 40) following the intervention. Specically, 47% of participants scored below the
state anxiety cut-o, in contrast to only 13% before the intervention, indicating a signicant
positive impact of the intervention in reducing state anxiety levels.
Figure 6 demonstrates that most individuals (54%) experienced low to moderate state anxiety
levels following the intervention.
Overall, these results oer preliminary evidence that the intervention was benecial in
reducing state anxiety, with a signicant proportion of participants experiencing anxiety
levels below the clinically signicant threshold. Hence supporting our hypothesis (H1).
Figure 4. Change in state anxiety level pre-and post-intervention.
Table 1. Change in state anxiety level pre-and post-intervention.
Mean SD Mean Difference
95% Confidence Interval
t-value Df Sig Value Cohen’s dLower Upper
Pre-Scores 49.1 9.57 6.349 4.86 9.09 6.58 75 <0.001 0.75
Post- Scores 42.1 10.30
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 11
Integration of Quantitative and Qualitative Data Analysis in a Joint Display Table
Table 2 presents the deductive themes alongside the integration of quantitative and qualitative
results.
Figure 5. Change in state anxiety level based on cut-off points.
Figure 6. Change in state anxiety levels based on score categories.
Table 2. Data analysis in a joint display table.
Deductive themes
from qualitative data
Quantitative Statistical Results
Inferences drawn (Difference between quantitative and
qualitative results)
Pre-test
mean
score
Post-test
mean
score
Significance
level
Calmness* 2.47 1.86 <.001*** Consistent quantitative and qualitative results. Most
participants shared that they felt calm while listening to the
music.
Security* 2.25 2.07 0.08 The participants did not express any feeling of security after
listening to the music. The quantitative and qualitative
results point towards a limited effect of listening to lo-fi
music on the sense of security.
Tension 2.72 2.14 <.001*** Qualitative results support the quantitative evidence of
a reduction in feelings of tension. One participant (P27)
noted, “We were very tense about the project submissions
and (job) placement interviews. Listening to this music made
me forget that tension for that time.”
Strain 2.59 2.13 <.001*** Quantitative and Qualitative results show that listening to lo-fi
music reduced strain on the participants, particularly amidst
pressure-inducing expectations.
Feelings of ease* 2.54 2.14 <.001*** Consistent quantitative and qualitative results. Participants
reported feeling at ease during the music-listening session.
Upsetness 2.34 2.03 0.025** Qualitative data support quantitative results. Many participants,
including those whose anxiety levels did not reduce, reported
feeling less upset, calmer, and more peaceful.
Present worry over
potential
adversities
2.76 2.36 0.006** Quantitative and qualitative results are in sync. Listening to lo-fi
music took the participants away from the worries of the near
future, especially thoughts about not performing well in their
(Continued)
12 M. P. DSOUZA ET AL.
Table 2. (Continued).
Deductive themes
from qualitative data
Quantitative Statistical Results
Inferences drawn (Difference between quantitative and
qualitative results)
Pre-test
mean
score
Post-test
mean
score
Significance
level
exams. At that moment, some participants had no thoughts,
some experienced pleasant mental imagery, and others,
particularly those with a background in music, were absorbed
in analysing the music.
Satisfaction* 2.49 2.05 <.001*** Consistent quantitative and qualitative results. The participants
interpreted feeling satisfied as feeling “good” and “nice” and
repeatedly used these words during the interview.
Fright 2.39 1.99 0.002** Qualitative themes support quantitative results in that some
participants experienced temporary relief from fear,
particularly about the future. One participant (P6) reported
feeling relaxed but anxious about returning to reality and
facing certain situations.
Discomfort 2.29 2.05 0.06 Qualitative and quantitative results are in harmony. Participants
shared that listening to lo-fi music made them feel
comfortable. There was a transition from a state of
restlessness to comfort. One Participant (P22) expressed, “It is
a music that I would like to play at the end of the day to just
sit back and relax.” However, the observed decrease in mean
values was not statistically significant.
Self-confidence* 2.16 2.08 0.501 Consistency is seen in the quantitative and qualitative results.
Participants noted that they felt the music-listening sessions
might have contributed to a slight increase in their
confidence, allowing them to approach their tasks with
better concentration. However, the observed decrease in
mean values was not statistically significant.
Nervousness 2.53 2.04 <.001*** Quantitative and qualitative results indicate participants feeling
temporarily less nervous after listening to the music.
Jittery feeling 2.51 2.14 0.003** The qualitative results are congruous with quantitative results.
Participants were able to move from a feeling of jittery to
relaxation.
Indecisiveness 2.43 2.04 0.002** Participants did not explicitly share any feelings of
empowerment in decision-making. Qualitative data needed
to be more comprehensive to advocate quantitative results.
Relaxation* 2.36 1.93 0.004** Quantitative and qualitative results align in confirming the
feelings of relaxation.
Contentment* 2.38 2.18 0.087 Evidence showing feelings of contentment may not be
generalisable. To feel content is described as feeling satisfied
and happy (Cambridge Dictionary, 2019). Participants
reported feeling happier. The results not being statistically
significant can be explained by the need for more clarity in
understanding the feeling of contentment while filling out
the questionnaire.
Worry 2.67 2.25 <.001*** Participants felt less worried, if not worry-free, at that moment,
as supported by quantitative and qualitative results.
Confusion 2.46 2.24 0.094 Participants did not report any presence or absence of
confusion. Lack of qualitative data to support the
quantitative evidence.
Steadiness* 2.38 2.34 0.763 There was no observable difference (decrease) in the mean
score. Lack of qualitative data to explain quantitative results.
Pleasantness* 2.34 2.04 0.014** Congruent quantitative and qualitative results. Participants
expressed feeling pleasant while listening to the music.
Note: ***Statistically significant at 1% (high significance); **Statistically significant at 5%; *A decrease in mean scores signifies
a positive outcome.
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 13
The inductive themes that emerged from the qualitative data are presented in Table 3.
After reviewing the feedback from the study participants, it appears that the intervention might
have achieved a greater impact if it had been longer. One participant noted, “I don’t feel it aected
me much because it was played for a short time” (P8). Based on these insights, it may be worth
considering an extension of the intervention’s duration to potentially enhance its eectiveness.
The study also included participants who reported no signicant change in their state anxiety
levels after listening to lo- music. These participants expressed their belief that music did not
immediately impact their mood. Some participants preferred other relaxation techniques, such as
conversing with a loved one or watching a movie. Additionally, some participants reported dierent
music preferences as a potential barrier to the eectiveness of lo- music in relieving their anxiety.
However, several participants in the study showed a keen interest in utilizing lo- music as
a relaxation method. Many of them continued to listen to the music and found that it helped
them cope with workplace stress and loneliness and manage their anxieties.
The qualitative ndings indicate that participants perceived the music’s simplicity, smoothness,
tune, and instrumental aspects to have a calming eect on their anxiety. They described the music as
having a unique quality that set it apart from other genres. One participant remarked, “It had beats
Table 3. Inductive themes from qualitative data analysis.
Inductive themes Few Quotations from qualitative data Explanation of quantitative results
Stress buster “Felt like the stress just went away.” (P9) According to the Cambridge Dictionary (2023),
a stress buster is an activity that alleviates great
worry triggered by a challenging situation.
Participants described lo-fi music as a stress buster.
It potentially led to a reduction in their worrisome
feelings.
Meditation “It took me into a meditative state.” (P6) Participant responses indicate that listening to lo-fi
music creates an environment conducive to
meditation. Different forms of meditation, like
mindfulness, are associated with decreased anxiety
levels.
Manifesting
biophilia
“It felt refreshing, like a calm breeze, in my mind
the scenery of waves and breeze.” (P25)
Biophilia refers to the tendency to seek a connection
with nature. Participants reported experiencing
pleasant visual mental imagery of natural elements
while listening to lo-fi music. Contact with natural
elements has a positive effect on reducing anxiety.
Sleep inducing “I cannot sleep no matter what I do, but this music
just managed to put me to sleep for a while. It
amazed me. . .” (P12)
One key finding was the music’s sleep-inducing
ability, even for a self-reported highly anxious
young adult.
Evoking an
altered state of
consciousness
“ . . . it felt like for a while we were just taken
outside to a different world.” (P11)
Lo-fi music may have the potential to evoke states of
consciousness. In this case, it is not the musical
trance state (Rouget & Biebuyck, 1985) but the
relaxing state (Tassi & Muzet, 2001) that may lower
state anxiety levels.
Break to
rejuvenate
“felt like a charging point in those busy days” (P3) Participants experienced a sense of rejuvenation after
briefly listening to lo-fi music.
Good vibes “gave me good vibes” (P17) Good vibes connote positive feelings emitted through
the music. The results suggest that the experience
of positive emotions may have a potential
therapeutic effect, as it was observed to reduce
state anxiety levels in the participants.
Reduced
boredom
“ . . . it reduced my boredness (referring to
boredom).” (P24)
Symptoms of boredom, like restlessness, may be
alleviated by listening to this music.
Not a regular
choice, but as
therapy
“I will want to listen to it as a medicine when I am
extremely stressed, not on a daily basis.” (P4)
One of the most significant findings is that many
participants found that listening to lo-fi music
helped improve their mental health when
experiencing difficulties, regardless of whether it
was their preferred genre for regular listening.
More than simply adding it to their daily playlist,
they would prefer to add it to their “medicine box”.
14 M. P. DSOUZA ET AL.
and at the same time was soft and soothing” (P6). Some participants recounted a sense of nostalgia
despite having no prior exposure to the specic music.
These integrated results of our mixed methods pilot study highlight the potential of lo- music as
a non-pharmacological intervention for state anxiety management and emphasize the importance
of further exploration of its therapeutic potential.
Discussion
The current study used a mixed methods approach to investigate the preliminary eectiveness of lo-
music listening in reducing state anxiety among young adults pursuing postgraduate education.
The ndings of the pre-post experiment (phase 1) support our hypothesis (H1), showing a signicant
decrease in state anxiety following lo- music exposure. Phase 2 interviews corroborated this, with
participants attributing their reduced anxiety to feelings of calmness, comfort, positivity, peace-
fulness, meditativeness, a connection to nature, and a worry-free mind induced by the music. The
study further identies unique characteristics in lo- music as the potential underlying mechanism
for its perceived anxiolytic eects.
Expanding upon prior research establishing the ecacy of music listening in reducing state
anxiety among young adults (Deka et al., 2022; Harney et al., 2022; Malakoutikhah et al., 2020;
Pedersen et al., 2023; Scheuer et al., 2020), the present study specically investigated lo- music and
found it to signicantly reduce self-reported state anxiety in young adults, showing feasibility for
future studies testing ecacy. Notably, the observed eect size exceeded those reported in meta-
analyses of music interventions for non-clinical anxiety samples (Panteleeva et al., 2017), highlighting
the potential of lo- music as a promising yet underexplored avenue for anxiety management.
We observed between-individual variability in terms of change in state anxiety levels, with several
participants reporting small changes and some an increase in score. Upon interviewing these
participants, we uncovered discrepancies between their quantitative and qualitative responses.
While self-reported anxiety scores indicated an increase, participants expressed experiencing calm-
ness, relaxation, and even sleep during the listening period. This discordance highlights the value of
mixed methods approaches in capturing the nuanced eects of music on anxiety, accounting for
individual variability and potential confounding factors.
While a quantitative analysis indicated a signicant decline in state anxiety post-intervention,
qualitative and integrative data analysis provided further insights into potential mechanisms under-
lying this eect, as discussed below:
Tranquillity and relaxation
A prominent theme emerged from the participants’ narratives, resonating with observations in past
studies (e.g. Strugaru, 2021; Zheng, 2023): a pervasive experience of tranquillity and relaxation upon
listening to lo- music. Calmness and relaxation play a central role in mitigating state anxiety (Daykin
et al., 2017; Elliott et al., 2011; Harney et al., 2022; Malakoutikhah et al., 2020; Scheuer et al., 2020;
Smith, 2008). We propose that the observed calming eect stems from the inherent characteristics of
lo- music, including its tonality, form, and lyric-free melodies. The genre’s ambient sounds and
relaxed feel could promote relaxation (Huang et al., 2021; Pedersen et al., 2023). Our analysis
indicates that the chosen lo- tracks (Figure 2) possess characteristics associated with music’s ability
to induce relaxation (Elliott et al., 2011; Hernandez-Ruiz et al., 2018; Liu et al., 2023; Tan et al., 2012),
strengthening the link between musical characteristics and observed eects. Interestingly, contrary
to the ndings by Elliott et al. (2011), the minor scale employed in lo- music did not elicit sadness in
our participants. Instead, the consistent chord progressions throughout the tracks created a gentle
and predictable soundscape, deviating from the expected association between minor scales and
negative emotions.
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 15
We further expand on existing literature by highlighting the contribution of additional elements
beyond piano and strings, traditionally associated with relaxation music (Elliott et al., 2011; Tan et al.,
2012). Our ndings suggest that lo- music’s incorporation of drumbeats, synthesizers, and ambient
sounds also contributes to its calming eect. In addition, the simple texture of the music, fostering
a focus on crucial elements and allowing listeners to relax to the beat, emerged as a novel
contributor to the overall positive experience. Our data adds to prior research by identifying
participants’ appreciation for lo- music’s inherent simplicity and its association with tranquillity.
Our qualitative data further aligns with Strugaru’s (2021) and Taber et al.’s (2019) ndings in
describing participants’ perception of lo- music as ‘neutral,’ echoing past research suggesting
reduced state anxiety in response to neutral music due to its balanced nature and decreased arousal
(Huang et al., 2021). Participants described the music as ‘smooth’ and ‘soothing,’ mainly due to the
interplay between beats and calming melodies. This supports Gadberry’s (2011) nding that steady
beats can alleviate state anxiety, contradicting Tan et al.’s (2012) argument that relaxing music lacks
a steady and pulsating beat.
Moreover, participants’ feelings of peacefulness could be explained by rhythmic entrainment
(Thaut et al., 2015; Trost & Vuilleumier, 2013). Lo- music’s tempo aligns with ideal blood pressure
and pulse rate, potentially calming the body and reducing physiological anxiety symptoms. The
rhythm’s longer patterns with gaps may encourage deeper breaths and relaxation. This supports
previous research emphasizing the importance of slow tempo and dynamics for intervention ecacy
(De Witte et al., 2020; Nilsson, 2008).
Comfort, ease, sleep-inducing, stress relieving, and self-condence boosting
Participants associated lo- with comfort, ease, and stress relief, attributing these feelings to the
music’s distinct background sounds. This points towards the unique soundscape of lo-, potentially
acting as a novel mechanism for its anxiety-reducing eect. Furthermore, anecdotal evidence in our
data supported the sleep-promoting eects observed by Kobale (2022) and J. Wang (2020), attribu-
table to the minimal texture, soft dynamics, and stable tempo of the music tracks. The limited
number of layers in the tracks minimizes overstimulation, creating a sonic environment conducive to
relaxation and potentially promoting sleep. In addition, the rejuvenation eect experienced by
participants might explain the increase in self-condence to return to reality, countering self-
doubt associated with state anxiety.
Emotion and mood regulation
The stability in lo- music’s dynamics potentially contributes to mood stability, further aiding anxiety
management. Past studies (Pelletier, 2004; Smith, 2008) have established that mood plays
a mediating role in music’s eectiveness in reducing anxiety. Listening to music can be mood-
uplifting (Daykin et al., 2017) and consequentially reduce boredom, a theme that emerged from our
qualitative data. This nding is consistent with previous literature (Strugaru, 2021; Zheng, 2023)
presenting lo- music as an emotion regulator. Additionally, feeling positive emotions was another
theme arising from the data, what young participants also call ‘good vibes’, corroborating with past
evidence (Groarke et al., 2022; Ryczkowska, 2022), showing a positive link between music and
positive feelings.
Worry control, fear control, and positive mental imagery
Participant experiences showed that listening to lo- music can completely block or divert
the worrisome thoughts that trigger state anxiety responses. Several indicated a complete
absence of these thoughts, replacing them with either positive thoughts, analysis of the
music, or no thoughts at all, consequentially impacting anticipatory anxiety, a signicant
16 M. P. DSOUZA ET AL.
aspect of state anxiety (Ping et al., 2008), and keeping the overgeneralized fear response
associated with state anxiety (Lincoln et al., 2010; Xu et al., 2016) in control. Building on prior
evidence on the eectiveness of distraction on anxiety management (Wu et al., 2022) and
music as a distractor from unpleasant stimuli (Chen et al., 2021), this study suggests that lo-
music could be used as a positive distractor in worry control. The data indicates that for
musically inclined individuals, analysing the composition and intricacies of lo- music could
act as a form of cognitive distraction, shifting attention away from anxiety-provoking
thoughts. This nding is consistent with recent research indicating that engaging with
music, particularly analysing and composing it, can reduce anxiety (Liu et al., 2023).
Some participants also reported experiencing pleasant mental imagery, often associated with
nature, while listening to lo- music. This aligns with previous research suggesting calming music
can evoke positive mental imagery and potentially reduce anxiety (Borgohain et al., 2023).
Furthermore, our study builds upon research conducted by Murahari and Pinard (2022) and Taber
et al. (2019), indicating that the incorporation of nature sounds and gentle melodies characteristic of
lo- music may help create a soothing mental environment, leading to listener relaxation and
a reduction in anxiety.
Meditative ability and biophilia
Findings suggest that lo- music’s eectiveness in reducing state anxiety may stem from its
perceived meditative qualities and biophilic elements. This could be attributed to the music’s
optimal stimulation level, achieved by its distinct sonic characteristics. Lo- music often includes
sounds of nature and the everyday environment, ubiquitous across cultures worldwide. Integrating
nature sounds taps into our inherent connection to nature (biophilia), thereby contributing to its
perceived eectiveness. Another unique feature of lo- music is that it incorporates multiple musical
cultures, making it easy to identify and relate to as a ‘non-cultural sound’ with no language barrier
(Strugaru, 2021).
Additionally, participant’s reported feelings of ‘familiarity without recognition’ resonates with
research suggesting lo-’s ability to evoke an ‘imagined nostalgia’ (Winston & Saywood, 2019) and
positive nostalgia (Harper, 2014; Neal, 2022; Strugaru, 2021), which could impact state anxiety. This
aligns with Smith’s (2008) work on the inuence of music familiarity on intervention eectiveness.
Furthermore, our ndings support Liu et al.’s (2023) concept of music-guided imagination for
exploring consciousness. The reported calming eects of lo- music may help induce mindful states.
However, participants’ descriptions of nostalgia, consistent with Strugaru’s (2021) work and the idea
of ‘escaping into a dierent world,’ raise questions about the nature of the induced state. Although
nostalgia can evoke positive emotions, true mindfulness emphasizes being present in the moment
and avoiding dwelling on past experiences.
Other key observations
Our study suggests that lo- music may positively impact workplace productivity and well-being,
aligning with Jhuang et al. (2022) and prior research showing music’s eectiveness in reducing work-
related stress (Smith, 2008). Participants reported increased productivity after listening to lo- music,
attributing this to improved focus, calmness, renewed vigour and condence, reduced loneliness,
and lower work-related stress.
Intriguingly, participants viewed lo- music as an ‘anxiety-reducing pill’ rather than just another
song on their playlist. However, it is worth noting that despite the intervention resulting in reduced
anxiety levels, some participants expressed anxiety upon the thought of returning to reality after
music cessation, suggesting a potential limitation. Interestingly, those who beneted from the music
sought it out specically during times of anxiety, which contradicts Strugaru’s (2021) ndings. This
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 17
suggests self-administered interventions like lo- music might be more eective for specic demo-
graphics like young adults, aligning with Eyüboğlu et al. (2020).
This study exhibits quantitative and qualitative data t through conrmation and expansion (Fetters
et al., 2013). The perceived neutrality, simplicity, calming ambience, and unique internal characteristics
of lo- music emerged as potential key contributors to its anxiolytic eect, enriching our under-
standing of the signicant positive results of the intervention and paving the way for further investiga-
tion to test ecacy. Our ndings provide initial empirical evidence supporting anecdotal observations
in prior literature that indicate the benets of this music genre in managing state anxiety.
Implications, limitations, future research directions
This study presents preliminary empirical evidence supporting the potential use of lo- music in
managing state anxiety among young adults and the marketing claim of lo- music as ‘beats to chill/
relax’. It provides insights into how young adults pursuing postgraduate education experience lo-
music listening, oering plausible explanations of the underlying mechanisms through retroductive
reasoning. The ndings indicate a promising initial impact and demonstrate the feasibility of testing
this study for ecacy in the future.
The study sheds light on potential internal characteristics of lo- music that may contribute to its
perceived eectiveness in reducing anxiety. These ndings can inform future research on music
interventions and guide the selection of lo- music for further investigation. By identifying distinctive
attributes of lo- music associated with perceived benets for young adults’ mental well-being, this
research contributes to a deeper understanding of this genre’s potential impact. Specically, the
ndings highlight the possible role of blending piano, strings, and beats in creating a relaxing
soundscape. Additionally, the study raises questions about the commonly held association between
minor scales and negative emotions in music interpretation. Future research can explore this link in
greater detail within the context of lo- music.
This pilot study serves as a springboard for further research exploring the use of lo- music in music
therapy and meditation practices. It suggests potential benets for therapeutic contexts, self-guided or
therapist-guided meditation, and mindfulness interventions. Within the domain of the wellness indus-
try and the branding of lo- music, these initial ndings oer preliminary insights. While our research
suggests potential benets for incorporating lo- music listening sessions within educational and
professional settings, further investigation is necessary to establish robust evidence-based practices.
Selected as an introductory foray, it is imperative to acknowledge the intrinsic limitations inherent to
the study design. In Phase 1 of our study, we employed a pre-experimental design, which was valuable
for preliminary investigation. However, the absence of a control group and potential confounds like
time, genre preference and socio-demographic variables limited our ability to isolate the eect of lo-
music on state anxiety denitively. Furthermore, post-intervention interviews in Phase 2 may introduce
memory bias, and self-reported data is susceptible to social desirability bias. Pre-existing beliefs and
ideas may have also inuenced participants’ sharing of experiences. While conducting face-to-face
interviews would have allowed for easier rapport-building and observation of body language, tele-
phone interviews had to be undertaken due to the unavailability of participants in person. Finally, the
short intervention duration and same-day evaluation could have impacted outcomes.
Future research should address these limitations by employing larger, randomized controlled
trials to test the ecacy of lo- music as an anxiety intervention among young adults as well as
across diverse populations and disorders. Examining individual dierences in susceptibility and
incorporating a variety of quantitative measures alongside qualitative data can provide a more
comprehensive picture. Investigating the neurophysiological mechanisms underlying lo- music’s
impact and exploring the role of ‘imagined nostalgia’ in anxiety reduction are promising avenues.
Additionally, research should explore optimal usage patterns, personalization strategies, and inte-
gration with other interventions to maximize lo-’s eectiveness. Further studies are needed to
investigate its potential for inducing sleep and positive emotions, as well as its ecacy across diverse
18 M. P. DSOUZA ET AL.
cultural contexts and potential addiction in youth. Finally, longer intervention durations and long-
itudinal studies are necessary to ascertain the eect of lo- music on anxiety and well-being. By
addressing these limitations and pursuing these future directions, we can gain a deeper under-
standing of lo- music’s potential as a tool for managing anxiety and develop evidence-based
recommendations for its use.
Conclusion
This mixed-methods pilot study provides initial evidence that lo- music listening reduces state
anxiety in young adults while promoting tranquillity, relaxation, and stress relief. Quantitative data
revealed signicant reductions in state anxiety scores, while qualitative data oered insights into the
‘how’ through participant experiences. Analysis through a critical realist lens highlighted distinctive
musical features of the genre, like calming melodies with beats, natural sounds, and perceived
simplicity as potential underlying mechanisms (the ‘why’). The ndings suggest lo- music’s feasi-
bility and a preliminary eect for managing anxiety. Further research using rigorous designs is
warranted to explore ecacy and integration with existing mental health resources.
Acknowledgments
The authors would like to thank Dr. Teddy Andrews J. and Dr. Johnson Jament for their invaluable feedback on the
research work. The authors also gratefully acknowledge the nancial assistance received from the University Grants
Commission, Government of India and the resources and funding by MAHE, Manipal. A special thanks to the
anonymous reviewers for their invaluable contribution in enhancing our manuscript.
Disclosure statement
No potential conict of interest was reported by the author(s).
Funding
This work was supported by Manipal Academy of Higher Education, Manipal.
ORCID
Melanie Pius Dsouza http://orcid.org/0000-0002-9570-1816
Ankitha Shetty http://orcid.org/0000-0002-1314-7322
Shwetha TS http://orcid.org/0000-0002-3823-9071
Pooja Damodar http://orcid.org/0000-0001-6320-5984
Asha Albuquerque Pai http://orcid.org/0000-0001-6493-0205
Rebecca Joyline Mathias http://orcid.org/0009-0009-5198-8796
Sara D’Souza http://orcid.org/0009-0008-7631-7035
Neha Tanya Lewis http://orcid.org/0009-0004-7822-5119
Authors contribution
Melanie Pius Dsouza: Conceptualization, study design, execution, acquisition of data, analysis and interpretation and
writing and revision of manuscript.
Ankitha Shetty: Conceptualization, study design, supervision, critical review of manuscript.
Shwetha TS: Conceptualization, study design, data analysis and interpretation, supervision, critical review of manuscript.
Pooja Damodar: Study design, data analysis and interpretation and writing of the initial manuscript.
Asha Albuquerque Pai: Dataanalysis and interpretation and writing of the initial manuscript.
Rebecca Joyline Mathias: Execution, acquisition of data and writing onitial manuscript.
Sarah D’Souza: Data interpretation and writing of the initial manuscript.
Neha Tanya Lewis: Acquisition of data and writing of the initialmanuscript.
INTERNATIONAL JOURNAL OF ADOLESCENCE AND YOUTH 19
Ethics statement
This pilot study is part of a broader PhD study that received approval from the KH Ethics Committee (Number IEC1: 206/
2022) and has been conducted in accordance with the principles stated in the Declaration of Helsinki.
Informed consent
Informed written consent was obtained from all participants following a detailed explanation of the study procedures,
including the voluntary nature of the study.
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