Table 1.
Results from WAS, SPSRQ, BIS/BAS, & BAASTA for control and musical anhedonia sample.
Fig 1.
Example of the musical notation of a stimulus with a medium rhythmic complexity (son clave) and a medium harmonic complexity (four-note (major) chords with extensions).
The upper bar denotes the hi-hat. Figure originated from Matthews et al., 2019. Additional musical notation examples of other stimuli can be found in S1 & S2 Figs.
Fig 2.
The effect of rhythmic and harmonic complexity on groove response for the full control sample.
The y-axis represents pleasure or wanting to move ratings on a 5-point Likert scale. The x-axis represents the rhythmic complexity of the musical samples. Colours indicates the level of harmonic complexity of the musical sample. Dots represent means derived from raw values.
Fig 3.
The effect of rhythmic and harmonic complexity on groove response for the musical anhedonia.
The musical anhedonia sample values were adjusted by 0.2 on the x and y- axes for graphical representation. The y-axis represents pleasure or wanting to move ratings on a 5-point Likert scale. The x-axis represents the metric complexity of the musical samples. Colours indicates the level of harmonic complexity of the musical sample. Shapes and line type indicates if it is either the musical anhedonia sample, or the matched control sample. Dots represent means derived from raw values.
Table 2.
Linear mixed effect model results for the musical anhedonia and matched control sample.
Table 3.
Contrast analyses for the musical anhedonia and matched control sample.
Table 4.
Contrast analyses for the mediation analysis for the musical anhedonia and matched control samples.