In a groundbreaking exploration of how music intertwines with memory, researchers from Goldsmiths University of London have unveiled compelling evidence linking the auditory properties of songs to the emotional and phenomenological qualities of the autobiographical memories they evoke. This pioneering study, authored by Safiyyah Nawaz and Diana Omigie, delves deeply into the intricate relationship between specific musical features—such as acousticness, tempo, and energy—and the nature of the personal memories that resurface when these songs are heard. Published in the open-access journal PLOS One on August 20, 2025, this research offers fresh insights into the cognitive processes underpinning music-evoked remembrance, a phenomenon familiar to many but rarely dissected with such nuance and precision.
The experience of being transported back in time by a mere few seconds of music is profoundly universal. Whether it’s a childhood birthday party, an intimate walk through a long-forgotten neighborhood, or the faint echoes of a first love, music wields an unmatched power to conjure vivid autobiographical memories. Prior psychological research has established that these music-evoked memories are not just emotional anecdotes but are integral to shaping one’s identity and contributing to self-development. However, the underlying question that Nawaz and Omigie sought to answer was more granular: do the specific acoustic qualities of music dictate the emotional tone and clarity of the memories they stir?
To probe this question, the researchers employed an online survey method, reaching 233 participants who were asked to reflect on personal memories elicited by a combination of self-chosen songs and excerpts from popular songs spanning their childhood and early adulthood. Crucially, this approach harnessed a broad spectrum of musical selections and demographics, enabling the analysis of over 1,400 distinct musical memories. This robust dataset was subjected to advanced statistical techniques including principal components analysis and linear mixed-effects modeling, which jointly facilitated the identification of meaningful correlations between musical features and memory characteristics.
A central finding of this study is the dichotomous nature of music in evoking memories with distinctive emotional profiles and perceptual qualities. Songs characterized by higher acousticness and lower energy—think of Debussy’s tranquil Clair de Lune—tended to summon memories steeped in calmness, aesthetic appreciation, romance, and sadness. These memories were notably vivid, unique, and important to participants, yet simultaneously less social, indicating a deeply personal resonance. Conversely, songs with lower acousticness but higher energy levels, such as Fetty Wap’s upbeat Trap Queen, triggered memories filled with amusement, excitement, and vibrant social energy, which were recalled more rapidly.
The connection between the acoustic dimension of music and the memory it evokes suggests an underlying neurological and psychological mechanism whereby sensory inputs condition emotional and cognitive recall. Acousticness—a measure commonly used in audio signal processing denoting the degree to which a track is acoustic versus electronic or synthesized—may influence not only the affective hue of the memory but also the vividness and uniqueness with which it is experienced. This phenomenon may arise because acoustic music often contains subtle nuances and complexities that engage deeper cognitive processing or emotional reflection, thereby engendering richer and more differentiated memories.
Importantly, the study also highlighted differences in the memory qualities evoked by self-selected versus externally imposed music. Self-selected songs evoked memories that were consistently more specific, vivid, positive, arousing, unique, and important compared to those evoked by popular songs chosen by the researchers. This reveals not only the subjective nature of music and memory but also underscores how personal preference and familiarity mediate the depth and emotional intensity of autobiographical recollections.
The implications of these insights ripple beyond theoretical neuroscience and cognitive psychology, hinting at novel therapeutic applications. For instance, reminiscence therapy—a technique used widely in treating patients with Alzheimer’s disease and other memory impairments—could harness tailored playlists optimized by acoustic and energetic qualities to better stimulate memories linked to positive and meaningful experiences. By strategically selecting music with particular auditory features, caregivers may enhance emotional well-being and cognitive engagement in vulnerable populations.
Safiyyah Nawaz eloquently summarized the essence of the findings by reflecting on the shared human experience of music-driven time travel through memory. She emphasized that beyond emotional resonance, “the properties of the music itself—characteristics like acousticness, loudness, and energy—relate to the emotional and phenomenological qualities of the same musical memories.” This dual relationship reinforces how music, as an auditory stimulus, acts as a catalyst that merges sensory perception with autobiographical context.
The research journey was equally inspiring for the authors, especially given the scale of data collection and analysis involved. Nawaz noted the humbling realization that every song carries as many life moments as there are listeners, suggesting an infinite multiplicity of memory-song connections that defy simple categorization. This perspective expands the understanding of music not merely as entertainment but as a timeless repository of human experience and identity.
To foster broader engagement with these unique findings, the research team has initiated the creation of an online archive of musical memories accessible to the public at https://memoryrecords.xyz/. This resource, enriched by participant-contributed narratives, offers a rare glimpse into the tapestry of musical recollections and aims to build a global repository extending beyond predominantly Western-centric psychology samples, thereby embracing cultural diversity and subjective variance in musical memory.
Diana Omigie further highlighted the complexity of musical memory formation by pointing out that it is not merely the objective musical features that matter but also individual factors such as song liking and familiarity. The interplay between these personal and musical elements shapes the vividness, emotional depth, and meaningfulness of recalled memories, suggesting exciting avenues for future research exploring these dynamic interactions in everyday life.
This pioneering work situates music squarely at the intersection of auditory neuroscience, emotional psychology, and memory research, providing a nuanced framework for understanding how the brain processes complex stimuli to evoke deeply personal recollections. The identification of acousticness and energy as key features influencing the emotional tone and phenomenology of memories offers fertile ground for subsequent investigations, including neuroimaging studies and therapeutic interventions tailored to individual auditory profiles.
Beyond its scientific contribution, this study resonates with a wide audience, inviting all listeners to contemplate the songs that define their lives and the memories encoded within them. As music continues to permeate daily life—via streaming platforms, social gatherings, and personal moments—it remains a uniquely powerful medium for accessing the past and forging connections between emotion and cognition. This research highlights not only why certain songs feel “timeless” but also how their inherent qualities sculpt the mosaic of our remembered lives.
In sum, the findings of Nawaz and Omigie chart a compelling trajectory for understanding the subjective experience of music-evoked autobiographical memory grounded in quantifiable auditory properties. Their work significantly advances the scientific discourse while offering tangible benefits for clinical practice and cultural appreciation. The study reveals that the minute acoustic fingerprints etched into songs travel beyond auditory perception, embedding themselves into the emotional and cognitive contours of memory, thus deepening the appreciation of music’s profound role in human life.
Subject of Research: Not applicable
Article Title: Qualities of music-evoked autobiographical memories are associated with auditory features of the memory-evoking music
News Publication Date: 20-Aug-2025
Web References:
References:
Nawaz S, Omigie D (2025) Qualities of music-evoked autobiographical memories are associated with auditory features of the memory-evoking music. PLoS One 20(8): e0329072.
Image Credits: Swapnil Sharma, Pexels, CC0
Keywords: music-evoked autobiographical memory, acousticness, energy, emotional memory, reminiscence therapy, autobiographical memory, music psychology, auditory features, cognitive neuroscience, self-development, identity, memory recall
