May 22, 2024 • 13 mins
Have you ever had a song stuck in your head that you just can't shake? A few bars or lyrics that just keep looping all day long? Well, we have delved into the science behind 'earworms' with Dr Jacob Kingsbury Downs from the Faculty of Music.
A melodic mix of musical imagery, auditory neuroscience, memory and impressive compositions can leave a little ditty echoing in our minds long after the last note has played.
But what you really want to know is how to get rid of an earworm, right? Tune in to find out!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
>> Emily Elias (00:06):
Just a few well placed doot doot doots, and
baby Shark will be magically stuck in your head for
weeks. And just when you think it's gone, it's
back. So, on this episode of the Oxford
Sparks big Questions podcast, we are
asking, how do earworms
work?
(00:26):
Hello, I'm Emily Elias, and this is the show where
we seek out the brightest minds at the University of Oxford,
and we ask them the big
questions. And for this one, we have found a
researcher who not only loves music, but can
understand why it gets stuck in our brains.
>> Dr. Jacob Kingsbury Downs (00:44):
So I am, doctor Jacob Kingsbury Downs. I'm
departmental lecturer in music at the University of
Oxford.
>> Emily Elias (00:50):
Okay, thank you so much for joining us today. I know that
earworms aren't necessarily your specialty, but you're gonna give it a
go.
>> Dr. Jacob Kingsbury Downs (00:57):
Absolutely.
>> Emily Elias (00:58):
Okay, so let's start out by first defining our
terms. What is an earworm?
>> Dr. Jacob Kingsbury Downs (01:03):
So, we tend to use the word earworm to describe
the experience of having a short segment,
say, anywhere between five and
30 seconds of melody or even
speech, that seems to have been stuck in our
heads. And by stuck in our heads, we're
talking here about the peculiar and
sometimes highly irritating, experience
(01:25):
of having this catchy bit of sound occupying our
minds, sometimes long after we've last heard
it. And this word
stuck is quite important. And some people talk
about earworms in musical terms as sort of
sticky music in some way.
>> Emily Elias (01:41):
Do you have any examples of earworms that you have
suffered with in the past?
>> Dr. Jacob Kingsbury Downs (01:45):
Oh, I often get, bad
romance. Lady gaga, the rah rah,
that bitter.
>> Emily Elias (01:53):
I have, a football chance that gets stuck in my head. So
this one time, I was on a bus, and there was a little kid that
just kept singing, one nil to the
arsenal, one nil to the
arsenal. One nil to the arsenal. And it just
repeats over and over my head, probably until I
die.
>> Dr. Jacob Kingsbury Downs (02:10):
Incredible. I'm so sorry to hear
that.
>> Emily Elias (02:13):
Is there a reason that explains
this phenomenon of, like, why it
happens?
>> Dr. Jacob Kingsbury Downs (02:20):
Well, I mean, I suppose if you sort of start from
the most basic, sort of premise. One thing to
acknowledge is that earworms aren't explicitly
acoustic. That is, we're not actually
hearing the song or melody or football chant
on a loop, as we might a sort of sound or
piece of music in our environment. We're sort
of imagining it to some extent.
(02:43):
now, earworms are very real experiences, of course,
but in psychology, we sometimes refer
to things like earworms as auditory
images.
>> Emily Elias (02:53):
What does that mean? Auditory images?
>> Dr. Jacob Kingsbury Downs (02:55):
Yeah. I mean, you can sort of see the logic, I think, if you imagine
the connection between the word imagine and the
word image. So think about it. in this
way, we often talk about seeing something in our
mind's eye. So here we're sort of talking
about the mental faculty of
visualisation. It's not vision itself,
(03:16):
specific visible stimulus in our environments that we're
perceiving when we visualise. But we are able
to nonetheless sort of picture
something, whether it's kind of something completely imagined
or something that we've seen before. And so by
dragging this turn of phrase, this idea of the mind's eye, over to
another sense, we might talk about sort of hearing something in our
(03:36):
mind's ear. And if we
sort of intend to play something in our heads,
you know, for example, if we try to imagine a melody
or look at a musical score and try to hear that,
we might talk about that as being a form of voluntary
musical imagery. But earworms
tend to be called involuntary musical
(03:57):
imagery, which, again, I think, speaks a bit to the idea of
them being rather annoying.
>> Emily Elias (04:02):
They're annoying, but they are, as you say, catchy.
Is it a case that I'm being
manipulated into remembering
this tiny bit of melody or is
it just completely random,
a fluke?
>> Dr. Jacob Kingsbury Downs (04:17):
So I think there's sort of two interesting things to
think about there. One is sort of the psychological
basis and the other is more to do with sort of what
makes a, really good earworm. So if you. I mean,
there's a good amount of sort of empirical
research on earworms in the fields of music
psychology and auditory neuroscience.
And the most studies sort of suggest that a
(04:39):
piece of music should be, would be quite catchy. and
so if you hear someone humming a
tune or you catch a segment of a track on the
radio, that sometimes sort of gets stuck.
but one thing to note is that earworms aren't
always caused by sort of direct perception
of a sound in our present environment. So it
(05:00):
doesn't have to be a recent thing. They can also be caused
by other stimuli that ultimately trigger, what
we would call sort of involuntary memories.
So, for example, sometimes you could read a
word or go to a certain place or even
sort of just think about a certain person or
experience. And this could trigger, this kind of involuntary
memory of, a melody in some way.
(05:22):
And so thinking about this as well, we talk
sort of about things being on loops when we hear them as
earworms, a little bit just keeps going around in this
sort of cyclical sense. some of the
suggestion is, that this might have something to do with what we
call working memory in, psychology, which
is the sort of the capacity to hold some information in
(05:43):
our minds for a certain number of seconds.
some people refer to sort of the
contents of our, in the moment conscious
experience as being working memory. So if we
relate this idea of working memory to hearing and
listening, psychologists sometimes talk about a
phonological loop, which is.
>> Emily Elias (06:02):
Goodness, you're going to have to explain that.
>> Dr. Jacob Kingsbury Downs (06:04):
Yeah, it's a bit of a mouthful. it's essentially the kind of the part of
working memory that deals with auditory information. So
it's this kind of, I think we can kind of understand this sense
of it being on loop, you know,
in working memory.
>> Emily Elias (06:17):
So with you and bad romance with me and the
football chants, is there something that
we're seeing that is refreshing a memory
and that is causing us to be brought back into
this loop?
>> Dr. Jacob Kingsbury Downs (06:30):
Yeah, I think so. I mean, if you have a look, for
example, at some of the more
neuroscientific research, so stuff that's sort of got people in
mris and, triggered earworms in them.
>> Emily Elias (06:41):
Well, we love it when people shove people in mris to learn things.
>> Dr. Jacob Kingsbury Downs (06:45):
Yeah. So the danger of headphones in mris, I'm sure.
But, with earworms that, you know, I mean, I
should say with music, you know, music perception involves
quite widespread brain activation. You know, everything from
kind of motor, components, the brain that
help us deal with kind of motor,
actions and also, you know, everything in
between. So there's, as you might expect, earworms
(07:07):
do kind of light up the auditory cortex, this sort of
section of the temporal lobe that's very much involved in
sort of music and sound perception. And
also, as you might expect, some of the parts of the brain that we would
associate with the kind of encoding of
or retrieval of memories, are also
lit up. So these are also in that similar kind of area in
(07:27):
the temple temporal lobe, for example, the hippocampus,
this part of the brain. But I think to answer your
question, one of the interesting things that this seems to connect
these things, you might expect, you know, sound and
memory, these sorts of areas that we associate with
those in the brain. We also then
have, a connection with regions of the brain that govern
(07:47):
our emotional and affective responses, such
as, the amygdala, which deals more with sort of
negative emotions, and the ventral striatum, which
is sort of positive emotions. So what
that seems to suggest is that there's definitely a kind of
connection here with, some sense
of kind of emotional, you know,
whether it's a kind of visceral experience of hating the tune
(08:10):
or whether it's actually a kind of, drawing together
of the memory that we have of that melody, and
our ability to sort of have it stuck in our heads.
>> Emily Elias (08:19):
Cause, yeah, like, I'm definitely not going around
listening on, Spotify to football chants. Is it
a case that, like, an earworm has to be
something that I really, really love or I really,
really hate or gives me some form of extreme
reaction in order for it to get lodged in my brain on a
loop?
>> Dr. Jacob Kingsbury Downs (08:36):
It's a really, really interesting point. I mean,
when we think about what constitutes an
earworm, I mean, the most common thing that people talk
about is repetition. so,
repetitive patterns, usually where you have sort of the
same thing three times and then something different, what
you might refer to as a kind of aaab
structure. the perfect example there, I think, is
(08:59):
baby shark, which sort of does the same thing three times
and then something slightly different on the fourth. It's like a perfect
earworm, is what we sort of suggest. And then other studies are
suggesting this kind of up tempo music with a strong
beat, you know, kind of thing that you'd have in
clubs or sort of dance music situations.
and also sort of melodies which have sort of big
leaps in them, you know, jumps from kind of lower to
(09:22):
higher, pitches. These are all things that
you might associate dance music with something that you love or that you
hate. But either way, it's quite an intense experience
that you have of those sorts of things. but when it comes to
actually thinking about whether
familiarity or even pleasure is
at the basis of whether or not something is an earworm for
(09:42):
us, we might think, for example,
of that experience we often have of
when you fall in love with a song and you, you
just discovered it and you're playing it again and again,
potentially to the distaste of partners or
housemates. And there's a relationship between
the amount that we like the song or sort of take pleasure from listening
to it and then the amount of times that we've heard it.
(10:05):
So there's this kind of honeymoon
period, if you like, of repeated listening where it's really
pleasurable and we come to
love the song even more and we get loads of good feelings and
emotions from listening, to it lots. And
then suddenly we've over listened
to it and it's sort of, you know, we
(10:25):
start to hate it. And I wonder if this kind
of phenomenon speaks a little bit to
the irritating nature of some earworms. It's almost like
a kind of overexposure to the sounds
of the mind's ear, if you like. but I
mean, that doesn't necessarily make sense when you think about how
songs that we simply hate from the very first
(10:45):
listen can get stuck as earworm. So I
wouldn't say in the evidence, there's not a particularly
strong correlation between the sort of the pleasure, what we would
call the, ah, hedonic value of a piece of music
and our susceptibility to
becoming earwormed.
>> Emily Elias (11:00):
okay, so here's another really big question then. If there's no
rhyme or reason to it, is there a
cure?
>> Dr. Jacob Kingsbury Downs (11:07):
Oh, wouldn't it be wonderful if there were just a simple
cure? I mean, there are some theories
and, some of them are backed up with empirical
research. Always what we want. One of the key
theories really has to do with distraction, as you might
expect. So doing something else to take your
mind off this sticky bit of music, some
research suggests doing things like crosswords,
(11:29):
sudokus and other sorts of puzzles can help. there's
actually a really interesting study from the University of reading
about chewing gum as
a potential antidote to earworms. they think
it kind of might have something to do with blocking the
faculties of what we call sub vocalisation. This kind
of inner speech, inner monologue we
(11:50):
unconsciously use to make sense of auditory
stimuli. So in this sort of action of
chewing, we sort of stop these sub
vocalisations from happening. that's
a fun one. I mean, probably great news for the chewing gum
industry.
>> Emily Elias (12:04):
If you're in the big gum industry, you gotta be loving that.
>> Dr. Jacob Kingsbury Downs (12:09):
Is big gum the new big farmer, I wonder.
yeah, it's an interesting one. I mean, as I say
though, the unfortunate one is that the
easiest way of distracting yourself from an earworm is
to get another one stuck. So if you're totally
fed up of the earworm that you've had, you know, think
about, you know, baby shark.
>> Emily Elias (12:28):
Maybe we should just trade the age.
>> Dr. Jacob Kingsbury Downs (12:31):
Old problem of not being able to get in someone else's head, I suppose. But I'm sure
we could try.
>> Emily Elias (12:39):
This podcast was brought to you by Oxford Sparks
from the University of Oxford with music by John
Lyons and special thanks to doctor Jacob Kingsbury
Downs. Tell us what you think about this podcast. You can find us on
social media. We arexfordsparks. We also have
a website, oxfordsparks dot ox dot ac
dot Uk. I'm Emily Elias. Bye for now.
Just a few well placed doot doot doots, and
baby Shark will be magically stuck in your head for
weeks. And just when you think it's gone, it's
back. So, on this episode of the Oxford
Sparks big Questions podcast, we are
asking, how do earworms
work?
(00:26):
Hello, I'm Emily Elias, and this is the show where
we seek out the brightest minds at the University of Oxford,
and we ask them the big
questions. And for this one, we have found a
researcher who not only loves music, but can
understand why it gets stuck in our brains.
>> Dr. Jacob Kingsbury Downs (00:44):
So I am, doctor Jacob Kingsbury Downs. I'm
departmental lecturer in music at the University of
Oxford.
>> Emily Elias (00:50):
Okay, thank you so much for joining us today. I know that
earworms aren't necessarily your specialty, but you're gonna give it a
go.
>> Dr. Jacob Kingsbury Downs (00:57):
Absolutely.
>> Emily Elias (00:58):
Okay, so let's start out by first defining our
terms. What is an earworm?
>> Dr. Jacob Kingsbury Downs (01:03):
So, we tend to use the word earworm to describe
the experience of having a short segment,
say, anywhere between five and
30 seconds of melody or even
speech, that seems to have been stuck in our
heads. And by stuck in our heads, we're
talking here about the peculiar and
sometimes highly irritating, experience
(01:25):
of having this catchy bit of sound occupying our
minds, sometimes long after we've last heard
it. And this word
stuck is quite important. And some people talk
about earworms in musical terms as sort of
sticky music in some way.
>> Emily Elias (01:41):
Do you have any examples of earworms that you have
suffered with in the past?
>> Dr. Jacob Kingsbury Downs (01:45):
Oh, I often get, bad
romance. Lady gaga, the rah rah,
that bitter.
>> Emily Elias (01:53):
I have, a football chance that gets stuck in my head. So
this one time, I was on a bus, and there was a little kid that
just kept singing, one nil to the
arsenal, one nil to the
arsenal. One nil to the arsenal. And it just
repeats over and over my head, probably until I
die.
>> Dr. Jacob Kingsbury Downs (02:10):
Incredible. I'm so sorry to hear
that.
>> Emily Elias (02:13):
Is there a reason that explains
this phenomenon of, like, why it
happens?
>> Dr. Jacob Kingsbury Downs (02:20):
Well, I mean, I suppose if you sort of start from
the most basic, sort of premise. One thing to
acknowledge is that earworms aren't explicitly
acoustic. That is, we're not actually
hearing the song or melody or football chant
on a loop, as we might a sort of sound or
piece of music in our environment. We're sort
of imagining it to some extent.
(02:43):
now, earworms are very real experiences, of course,
but in psychology, we sometimes refer
to things like earworms as auditory
images.
>> Emily Elias (02:53):
What does that mean? Auditory images?
>> Dr. Jacob Kingsbury Downs (02:55):
Yeah. I mean, you can sort of see the logic, I think, if you imagine
the connection between the word imagine and the
word image. So think about it. in this
way, we often talk about seeing something in our
mind's eye. So here we're sort of talking
about the mental faculty of
visualisation. It's not vision itself,
(03:16):
specific visible stimulus in our environments that we're
perceiving when we visualise. But we are able
to nonetheless sort of picture
something, whether it's kind of something completely imagined
or something that we've seen before. And so by
dragging this turn of phrase, this idea of the mind's eye, over to
another sense, we might talk about sort of hearing something in our
(03:36):
mind's ear. And if we
sort of intend to play something in our heads,
you know, for example, if we try to imagine a melody
or look at a musical score and try to hear that,
we might talk about that as being a form of voluntary
musical imagery. But earworms
tend to be called involuntary musical
(03:57):
imagery, which, again, I think, speaks a bit to the idea of
them being rather annoying.
>> Emily Elias (04:02):
They're annoying, but they are, as you say, catchy.
Is it a case that I'm being
manipulated into remembering
this tiny bit of melody or is
it just completely random,
a fluke?
>> Dr. Jacob Kingsbury Downs (04:17):
So I think there's sort of two interesting things to
think about there. One is sort of the psychological
basis and the other is more to do with sort of what
makes a, really good earworm. So if you. I mean,
there's a good amount of sort of empirical
research on earworms in the fields of music
psychology and auditory neuroscience.
And the most studies sort of suggest that a
(04:39):
piece of music should be, would be quite catchy. and
so if you hear someone humming a
tune or you catch a segment of a track on the
radio, that sometimes sort of gets stuck.
but one thing to note is that earworms aren't
always caused by sort of direct perception
of a sound in our present environment. So it
(05:00):
doesn't have to be a recent thing. They can also be caused
by other stimuli that ultimately trigger, what
we would call sort of involuntary memories.
So, for example, sometimes you could read a
word or go to a certain place or even
sort of just think about a certain person or
experience. And this could trigger, this kind of involuntary
memory of, a melody in some way.
(05:22):
And so thinking about this as well, we talk
sort of about things being on loops when we hear them as
earworms, a little bit just keeps going around in this
sort of cyclical sense. some of the
suggestion is, that this might have something to do with what we
call working memory in, psychology, which
is the sort of the capacity to hold some information in
(05:43):
our minds for a certain number of seconds.
some people refer to sort of the
contents of our, in the moment conscious
experience as being working memory. So if we
relate this idea of working memory to hearing and
listening, psychologists sometimes talk about a
phonological loop, which is.
>> Emily Elias (06:02):
Goodness, you're going to have to explain that.
>> Dr. Jacob Kingsbury Downs (06:04):
Yeah, it's a bit of a mouthful. it's essentially the kind of the part of
working memory that deals with auditory information. So
it's this kind of, I think we can kind of understand this sense
of it being on loop, you know,
in working memory.
>> Emily Elias (06:17):
So with you and bad romance with me and the
football chants, is there something that
we're seeing that is refreshing a memory
and that is causing us to be brought back into
this loop?
>> Dr. Jacob Kingsbury Downs (06:30):
Yeah, I think so. I mean, if you have a look, for
example, at some of the more
neuroscientific research, so stuff that's sort of got people in
mris and, triggered earworms in them.
>> Emily Elias (06:41):
Well, we love it when people shove people in mris to learn things.
>> Dr. Jacob Kingsbury Downs (06:45):
Yeah. So the danger of headphones in mris, I'm sure.
But, with earworms that, you know, I mean, I
should say with music, you know, music perception involves
quite widespread brain activation. You know, everything from
kind of motor, components, the brain that
help us deal with kind of motor,
actions and also, you know, everything in
between. So there's, as you might expect, earworms
(07:07):
do kind of light up the auditory cortex, this sort of
section of the temporal lobe that's very much involved in
sort of music and sound perception. And
also, as you might expect, some of the parts of the brain that we would
associate with the kind of encoding of
or retrieval of memories, are also
lit up. So these are also in that similar kind of area in
(07:27):
the temple temporal lobe, for example, the hippocampus,
this part of the brain. But I think to answer your
question, one of the interesting things that this seems to connect
these things, you might expect, you know, sound and
memory, these sorts of areas that we associate with
those in the brain. We also then
have, a connection with regions of the brain that govern
(07:47):
our emotional and affective responses, such
as, the amygdala, which deals more with sort of
negative emotions, and the ventral striatum, which
is sort of positive emotions. So what
that seems to suggest is that there's definitely a kind of
connection here with, some sense
of kind of emotional, you know,
whether it's a kind of visceral experience of hating the tune
(08:10):
or whether it's actually a kind of, drawing together
of the memory that we have of that melody, and
our ability to sort of have it stuck in our heads.
>> Emily Elias (08:19):
Cause, yeah, like, I'm definitely not going around
listening on, Spotify to football chants. Is it
a case that, like, an earworm has to be
something that I really, really love or I really,
really hate or gives me some form of extreme
reaction in order for it to get lodged in my brain on a
loop?
>> Dr. Jacob Kingsbury Downs (08:36):
It's a really, really interesting point. I mean,
when we think about what constitutes an
earworm, I mean, the most common thing that people talk
about is repetition. so,
repetitive patterns, usually where you have sort of the
same thing three times and then something different, what
you might refer to as a kind of aaab
structure. the perfect example there, I think, is
(08:59):
baby shark, which sort of does the same thing three times
and then something slightly different on the fourth. It's like a perfect
earworm, is what we sort of suggest. And then other studies are
suggesting this kind of up tempo music with a strong
beat, you know, kind of thing that you'd have in
clubs or sort of dance music situations.
and also sort of melodies which have sort of big
leaps in them, you know, jumps from kind of lower to
(09:22):
higher, pitches. These are all things that
you might associate dance music with something that you love or that you
hate. But either way, it's quite an intense experience
that you have of those sorts of things. but when it comes to
actually thinking about whether
familiarity or even pleasure is
at the basis of whether or not something is an earworm for
(09:42):
us, we might think, for example,
of that experience we often have of
when you fall in love with a song and you, you
just discovered it and you're playing it again and again,
potentially to the distaste of partners or
housemates. And there's a relationship between
the amount that we like the song or sort of take pleasure from listening
to it and then the amount of times that we've heard it.
(10:05):
So there's this kind of honeymoon
period, if you like, of repeated listening where it's really
pleasurable and we come to
love the song even more and we get loads of good feelings and
emotions from listening, to it lots. And
then suddenly we've over listened
to it and it's sort of, you know, we
(10:25):
start to hate it. And I wonder if this kind
of phenomenon speaks a little bit to
the irritating nature of some earworms. It's almost like
a kind of overexposure to the sounds
of the mind's ear, if you like. but I
mean, that doesn't necessarily make sense when you think about how
songs that we simply hate from the very first
(10:45):
listen can get stuck as earworm. So I
wouldn't say in the evidence, there's not a particularly
strong correlation between the sort of the pleasure, what we would
call the, ah, hedonic value of a piece of music
and our susceptibility to
becoming earwormed.
>> Emily Elias (11:00):
okay, so here's another really big question then. If there's no
rhyme or reason to it, is there a
cure?
>> Dr. Jacob Kingsbury Downs (11:07):
Oh, wouldn't it be wonderful if there were just a simple
cure? I mean, there are some theories
and, some of them are backed up with empirical
research. Always what we want. One of the key
theories really has to do with distraction, as you might
expect. So doing something else to take your
mind off this sticky bit of music, some
research suggests doing things like crosswords,
(11:29):
sudokus and other sorts of puzzles can help. there's
actually a really interesting study from the University of reading
about chewing gum as
a potential antidote to earworms. they think
it kind of might have something to do with blocking the
faculties of what we call sub vocalisation. This kind
of inner speech, inner monologue we
(11:50):
unconsciously use to make sense of auditory
stimuli. So in this sort of action of
chewing, we sort of stop these sub
vocalisations from happening. that's
a fun one. I mean, probably great news for the chewing gum
industry.
>> Emily Elias (12:04):
If you're in the big gum industry, you gotta be loving that.
>> Dr. Jacob Kingsbury Downs (12:09):
Is big gum the new big farmer, I wonder.
yeah, it's an interesting one. I mean, as I say
though, the unfortunate one is that the
easiest way of distracting yourself from an earworm is
to get another one stuck. So if you're totally
fed up of the earworm that you've had, you know, think
about, you know, baby shark.
>> Emily Elias (12:28):
Maybe we should just trade the age.
>> Dr. Jacob Kingsbury Downs (12:31):
Old problem of not being able to get in someone else's head, I suppose. But I'm sure
we could try.
>> Emily Elias (12:39):
This podcast was brought to you by Oxford Sparks
from the University of Oxford with music by John
Lyons and special thanks to doctor Jacob Kingsbury
Downs. Tell us what you think about this podcast. You can find us on
social media. We arexfordsparks. We also have
a website, oxfordsparks dot ox dot ac
dot Uk. I'm Emily Elias. Bye for now.
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On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!