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Page 1: QUIZ 3: PAGE 97...Eamous songs in minor keys include "Disturbia," by Rihanna, and "Losing My Religion," by REM. Karageorghis recommends choosing fitness tunes with a "positive harmonic
Page 2: QUIZ 3: PAGE 97...Eamous songs in minor keys include "Disturbia," by Rihanna, and "Losing My Religion," by REM. Karageorghis recommends choosing fitness tunes with a "positive harmonic

approved'QUIZ 3: PAGE 97

Research shows that theright mix of tunes inspiresparticipants and is a boonto programming.

ScienceUncoversthe PerfectPlaylist

^ ^ hw Monaby Megan Senger

Thirty years ago, Fred Hoffman, MEd, 2007 IDEA FitnessInstructor of the Year, taught with a light heart and a heavy bagof vinyl records. "I brought a stack of albums with me to class,"he recalls. "I changed the music after each song, [switching] theLP each time. There was no such thing as mixed music!"

Soon, bulky LPs gave way to cassettes, which yielded to CDsand finally to MP3 player^ and digital music. Today's instructorcan choose from a dizzying selection of song-related technologyfor sampling, mixing and playing motivational tracks. And thatis very exciting—because when it comes to getting a good sweat,music really matters.

This article looks at research on how and why music is soimportant to exercise participants and to a fitness professional'scareer. It also examines practical ways to make programmingshine, with experts offering tips on how to take the research andcreate the perfect playlist for both group exercise and personaltraining modalities. >>

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The Science ofMovement and MusicExercising with music has numerous proven benefits, rang-ing from psychological to psychophysical. For example, manypeople know how time can sometimes fly by during a workout.Athletes refer to this minimally conscious experience of exer-cising on internal autopilot as being "in the zone." The scien-tific term, coined by Mihaly Csikszentmihalyi, PhD, is being in"a flow state" (1990). As it turns out, self-assessed fiow ratingsstrongly correlate with musical enjoyment in group exerciseclasses (Karageorghis 1999).

Indeed, studies comprehensively show that music dis-tracts exercisers from discomfort and enhances mood at bothmedium and high levels of exercise intensity. Since many peoplesay that discomfort is a barrier to exercise, this is welcome news.Participants report less pain and fatigue, and lower ratings ofperceived exertion, when working out with music. They arealso likely to work harder and for longer than they would withno music (Karageorghis & Terry 1997), enabling them to reapmany positive health outcomes.

A 2012 review of 32 music-and-exercise studies exam-ined the ergogenic (performance-enhancing) effects of music.Twenty-four (75%) of the studies reported that physical per-formance improved when music was played (Karageorghis &Priest 2012).

Music's effects may also be measured in physiological terms.One study compared data from fit men in their mid-20s whoran on a treadmill with music and then with no music (controlprotocol), 3 days apart (Szmedra & Bacharach 1998). Both trialswere completed at 70% of maximal oxygen consumption. Thewith-music trial yielded lower exercise heart rate, lower bloodpressure and lower levels of plasma lactate (a blood-borne wastebyproduct of exercise) compared with the no-music trial.

BACKGROUND MUSIC MATTERSDo you need to be a trained musician and perfectly craft a cho-reographed routine to help clients get in the zone? Not neces-sarily.

Music is described as "synchronous" when your clients moveto the beat, as in a step or Zumba' class. It is "asynchronous"when played without a conscious attempt to follow the beat; forexample, when you play background music in the weight roomor during a circuit class. Each variation has been studied on itsown merits. The results?

There isn't much research that directly compares the effectsof synchronous music with those of asynchronous music(Karageorghis & Priest 2012). When individually examined,however, both have been shown to benefit exercise partici-pants (Karageorghis & Terry 1997; Pates et al. 2003). Each typeprovides both psychological and ergogenic benefits (BASES2012). Yet, while both provide equal psychophysical benefits,synchronous music appears to have a greater ergogenic effect(Karageorghis & Priest 2012).

"It is logical to infer that, when movements are synchro-nized to music, additional benefits are obtained both in termsof dissociation (through having to focus on keeping time) andin terms of energy efficiency in repetitive endurance activi-ties and those with a marked rhythmic component (e.g., cal-listhenic-type exercises)," says music and exercise researcherCostas Karageorghis, PhD, coauthor oí Inside Sport Psychology(Human Kinetics 2011) and deputy head of research at theSchool of Sport and Education at Brunei University in London.

PERSONAL PREFERENCE COUNTSYou will always have some participants who are less than keenon your exact song selections. But there's good news: Even ifa participant doesn't love every track, his or her performance

50 I IDEA Fitness Journal September 2013

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will still be enhanced, and perceived exertion decreased, withactivity-appropriate music.

Using 30-minute bench-stepping bouts as the workout, a2000 study compared the effects of asynchronous, traditionalJapanese folk music with the eflects of synchronous dance musicand those of a metronome (Hayakawa et al. 2000). Researchersfound that both types of music trials elicited fewer feelings offatigue than the metronome trial, and that the task-appropriatedance music, in particular, increased feelings of vigor relative tothe asynchronous folk music.

Of course, using music that is both task-appropriate andloved by your clients is ideal. Research has consistently demon-strated that "well-chosen" music—tracks selected with partici-pant preferences and task characteristics in mind—creates moremeasurable physical benefits than "neutral" or "oudeterous"(neither motiving nor demotivating) music (Karageorghis &Priest 2012; Terry et al. 2012). However, self-selected music isonly best "when the participants make appropriate choices forthe given task and situation," notes Karageorghis.

TEMPO IMPACTS MOTIVATIONFast, upbeat tunes create a stimulative effect for listeners, whileslow, soft songs produce a calming (sedative) efl̂ ect (Terry et al.2012). Music intended to relax participants—during a cool-downor yoga class, for example—should therefore have nondominantpercussive and rhythmical characteristics and a tempo of lessthan 80 beats per minute. The inverse is true of music intended tostimulate; it should have a strong beat and a tempo exceeding 120bpm (Karageorghis & Priest 2012). Additionally—personal train-ers take note—it pays to boost the beat to correlate with desiredwork intensity. Why? Exercise participants' preferences for fast-tempo music appear to increase as exercise intensity increases(Karageorghis et al. 2011).

FITNESS LEVELS MAY MATTERHow fitness level affects music's impact on individuals is not yetwell understood. While it appears that untrained participantsare likely to glean more advantage than trained (fit) subjects, itis unclear exactly why.

"Tentative findings that require more detailed investigationare that untrained participants tend to derive greater benefitfrom music, while those who are highly trained prefer to 'lis-ten to their bodies,'" says Karageorghis. "My experiences inresearch and applied practice lead me to suggest that it is therecreationally active [versus the highly trained] who stand togain most from music-related interventions."

MUSIC HELPS SPECIAL POPULATIONSPairing music with movement has also been shown to help spe-cial populations. In a 25-week study, rhythmic music boostedexercise participation among patients with dementia; research-ers found that patients were more motivated to move whenbackground music was played (Mathews, Clair & Kosloski2001).

In a 2005 study, music also benefited performance in patientswith chronic obstructive pulmonary disease. Upper-extremityfunctional performance on physical tasks completed regularlyover a 4-week period improved overall in the music-listeninggroup, but not in the no-music group (Bauldofi'et al. 2005).

Directions for Future ResearchMuch about the relationship between music and exerciseremains unconfirmed, scientifically speaking. For example, itis unclear whether music played during exercise has the sameimpact on seniors as it does on the young, fit populations fre-quently used as research subjects. Other ongoing questionsinclude how listeners' personality type(s) impact the effect(s) of

September 2013 IDEA Fitness Journal I 51

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Finding New Tunes and iVIusical PicksWhat's the best way to discover new, exciting tracks? Here's some advice from our experts,followed by sample playlists:

"i listen to what other instructors are using. I also subscribe to newsiet-ters from several industry music companies so I see what they are using

and promoting, and then I can go and listen to some of those songsonline to see if they work for me." —Fred Hoffman, 2007 IDEA Fitness

Instructor of the Year and author of Going Global: An Expert's Guideto Working Abroad in the International Fitness industry

"I've jumped feet-first into the online music source Spotify®and its social networking feature. I also look at the iTunesTop 100 songs every week to make sure I'm staying current.I appreciate the custom mix features of some fitness musiccompanies; [with these features,] I can find two or threehigh-energy indoor cycling songs and blend them togetherinto a singie stage with tempo changes [before making apurchase]. This reaily adds to the power of my music in thisgenre." —Juiz Arney, education programs director and leadmaster trainer for Schwinn" Cycling

Rob Glick's Musical PicksGeneral Workout Tracks"Sexy and I Know It," by LMFAO"#thatPOWER," by wiil.i.am"Feel This Moment," by Pitbull and Christina Aguilera

Cycling Tracks"Titanium," by David Guetta"Sandstorm," by Darude"Blow (Cirkut Remix)," by Ke$ha

Yoga Tracks"For What It's Worth (India Dub)," by DJ Drez"Awake My Soul," by Mumford and Sons"Diamonds in the Sun," by Girish

Juiz Arney's Musicai PicksDance-Style Tracks"Fuego," by Pitbull"Supersonic," by J.J. Fad

Cycling Tracks"I'm Still Hot," by Luciana"One Way or Another," by One Direction

Yoga Tracks"Love and Happiness," by AI Green"Come on Get Higher," by Matt Nathanson

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music; what happens to musical influence beyond the anaerobicthreshold; and the role of gender and other personality vari-ables on ideal song selection (Karageorghis & Priest 2012). Allof these areas are interesting subjects for potential research andmay directly apply to exercise programming.

Music MappingIt's clear that research supports the marriage of music andmovement, which is something fitness professionals alreadyknew. However, if you're tone-deaf or otherwise not musicallyinclined, what can you do to help participants and clients gainthe most from their workouts? Ask one of the world's preem-inent music-and-movement researchers about perfect songsfor sweating and you'll get an answer remarkably similar to theone you'd expect from a world-class instructor: Use beat-heavy,upbeat, mid-to-high-tempo tunes.

Karageorghis has invested two decades of research and writ-ten over 150 scholarly articles on the matter. He cites Elo Rida's"Let It Roll" as ideal music to get you moving. Dance expertturned group-cycling guru Julz Arney, the education programsdirector and lead master trainer for Schwinn Cycling who livesin Laguna Beach, California, says almost the same thing. Sheloves "anything by Pitbull or Elo Rida" for her classes.

Can you engineer the perfect workout song? Here's whatscience says you need.

Play prominent percussion. Choose tracks with a strong,repetitive beat, such as "I Like to Move It," by Reel 2 Real. "Therhythm helps listeners optimize activation levels during a work-out," says Karageorghis.

Hop to happy harmonies. Music uses either "major" or"minor" harmonies, both of which give a song its emotional"color." In Western musical traditions, major chords are associ-ated with happy and positive feelings, and minor chords conveya sense of melancholy or foreboding. Well-known major-keyhits include Aqua's "Barbie Girl" and ABBA's "Dancing Oueen."Eamous songs in minor keys include "Disturbia," by Rihanna,and "Losing My Religion," by REM. Karageorghis recommendschoosing fitness tunes with a "positive harmonic blend with apredominance of major harmonies" to keep the mood upbeat.

Prefer positive lyrics. Choose songs with buoyant lyrics("Reach for the sky!") or movement-related words ("Workyour body!") What is Karageorghis's lyrical pick? "Beat It," byMichael Jackson. "Affirmations in the lyrics are important," henotes, "and more so at low-to-moderate intensities, when theycan be better processed."

Foster personal and cnltural connections. The songs youselect must be compatible with clients' sociocultural back-grounds and demographics (BASES 2012). Eor example, con-sider the song "Gonna Ely Now," from the film Rocky. This song

motivates, but only if your participants are the right age andhave the right background to retain an emotional connectionto the film.

Reach for repetitive rhythms. The same urge that compelsyou to tap your toe to a tune is what makes participants pedalto the beat of the music. So choose tempos that approximate thecadences of the activities you instruct (BASES 2012). This maycorrespond to one movement for every beat (such as 120 bpmfor step) or one for every second beat (such as a 160 bpm songthat matches a cycling cadence of 80 revolutions per minute).

When in doubt, use music in the range of 125-140 bpm formost repetitive cardiovascular activities (BASES 2012). Selectslower music for warm-ups and cool-downs. Eor high-intensityexercise (e.g., hard running above one's ventilatory threshold),Karageorghis recommends high-tempo music (135-140 bpm).Of course, always ensure participants can move safely at thetempo you choose.

In the early stages of your workout, Karageorghis advises,tempo should match working heart rate. "The optimal beatsper minute are about 5% above your working heart rate. Whenthe heart rate gets above 140 bpm, there is a ceiling effect," heexplains, "and increasing the tempo of the music in a corre-sponding fashion does not lead to any additional benefit."

Eor synchronous music, determine your work rate per min-ute by asking a friend to film you (running, for example), saysKarageorghis. Then find music that ties in with this measuredwork rate and the rhythm of your movement, and match thebpm to your natural cadence. Alternatively, to use music as anergogenic aid, choose a tune that is 1-2 bpm above your naturalcadence, Karageorghis adds.

Creating the Perfect PlaylistOnce you've selected great songs, how can you compile the per-fect playlist? Top industry experts weigh in.

KNOW YOUR TUNESListen to an entire song before putting it on your playlist, saysArney. Pay attention to the transitions between songs. Are theytoo abrupt? Is there an energy lull? "Not being familiar enoughwith a song—and therefore missing critical energy changes—canhave a big impact on how hard your class works," Arney says.

START STRONGThe first tune of the class sets the tone, so make it count, saysArney. "I like to kick off my group cycling classes with what Icall a 'party song' to set the mood," she says. "This grabs stu-dents' attention and sends the message that this class is going tobe high energy and not boring, even if the modality (pedaling)can be a bit monotonous." »

September 2013 IDEA Fitness Journal I 53

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MATCH WORK AND RECOVERY CYCLESSome classes (think cycling, circuits or boot camp) benefitfrom changes in energy between songs, advises Rob Glick, anaward-winning instructor and longtime industry presenter wholives in Orange County, California. "If it's a recovery portion ofclass but the music doesn't change in energy, [the tune] will justfade into the background and not assist in delivering the correctenergy at the right time," he says.

Crafting a soundtrack with a variety of song lengths andmusical peaks and valleys supports the training profile of awork-and-recovery-based class while making the time fly by,adds Arney.

GET PAST YOUR PREFERENCESNovice instructors often take a lot of time to create a playlist, butonly with their own musical preferences in mind, says Hoffman,who lives in Paris and is the author of Going Global: An Expert'sGuide to Working Abroad in the International Fitness Industry(Healthy Learning 2011). But "if a teacher uses music from justone genre (only rock, only dubstep or only club music), he or

she alienates students who don't like that style of music," notesClick.

The trick is to strike a balance, choosing music that moti-vates you as a teacher and pleases the majority of your partici-pants, says Hoffman. "I often ask my students what they thinkof a certain CD or playlist. If I'm the only who likes it, I'm notgoing to be successful!"

LISTEN TO THE LYRICSSelect songs with upbeat lyrics that are appropriate for yourclass demographics, says Hoffman. He notes that some lyricsmight offend people of different generations, genders, ethnicgroups or religious beliefs. When in doubt, leave a song out.

PLAY THE DJImagine standing in front of the volume control and mixingboard like a DJ, ready to adjust your tunes at a moment's notice.With today's technology, that is possible. Arney recommendsusing a long iPod connector cord or a wireless Bluetooth* routerso you can have your iPod, smartphone or MP3 player in yourhand throughout class. "Now you are hands-free all over theroom and you have your music in the palm of your hand. Youcan change volume and tracks seamlessly and make the experi-ence feel even more magical for your students."

Arney also recommends downloading apps for in-classmusical tweaks. Options range from pitch control programs(e.g.. Tempo Magic Pro) to apps that select songs from yourlibrary based on cadence (e.g.. Cruise Control).

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sic Licensinally play music in a public foru

ackground or workout music at a fitness studio—you areequired to obtain a music license. In the United States, "mjc performance licenses" are granted by various "perforg

"organizations" that each represent and help compifferent musical talents. In America, there are three; ASCAP, BMI and SESAC.nusic license is typically required for all forms of p

.jic transmission; these include using Internet radio ch„..-nels and playing songs you legally purchase from iTunes andtransfer to your iPod or a CD. Fitness centers are responsiblefor purchasing license agreements to cover the music playedin their businesses. Licenses may be obtained through indi-vidual PROs; costs vary depending on factors such as facilitysize and attendance.

Alternatively, some music delivery services include licens-ing costs In their subscription fees. This is true of Sirius®radio's business-use agreement, and of online music providerPandora®'s service when (and only when!) the music is playedusing a DMX media player package. These PRO conditionsapply within the United States; other licensing arrangementsvary from country to country.

Of special note: Recent legal rulings in Canada andAustralia increased licensing fees for fitness businesses, butat lower rates than musical artist groups had originally lob-bied for—a promising sign for instructors worldwide who wishto play great music publicly at an affordable rate.

KEEP IT FRESHOnce you have the perfect playlist, how frequently should youuse it? It depends on how often participants attend a specificclass, says Ken Alan, established fitness instructor, and a lec-turer in the department of kinesiology at California StateUniversity, EuUerton.

"If most participants attend my classes three times weekly,I have three playlists, one for each class," he explains. "Eachplaylist has different tracks, and none are repeated. So the mosta person will hear a song is once a week."

Musical Masteryfor Personal TrainersMusic is also important outside of the group exercise studio,whether in the background of a weight room or during one-on-one training sessions. Personal trainers who work solely in

September 2013 IDEA Fitness Journal I 55

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Take the Quizwww.ideafit.conn/september-2013-quizzes

or mail the quiz on page 97.

Science is now proving whatinstructors have intuited for decades:

Clients and participants get a betterworkout and have more fun when

moving to some tunes.a studio environment should spend time crafting a motivatingmusical experience for their customers, says Rick Mayo, ownerof North Point Fitness training studio in Atlanta. Mayo, whohas licensed his performance facility concept to over 75 gymsworldwide, believes that "music is part of the overall personaltraining customer's experience." He continues: "We facilitatethis by simply creating a playlist of 25-30 songs that will play[in our boot camps and large-group training sessions] for anentire month."

In North Point's "more coaching-intensive" private orsmall-group/semiprivate personal training programs. Mayoplays upbeat background music from Pandora, a "personalizedInternet radio service." Trainers lower the volume relative tothe boot camp experience to facilitate more intimate and spe-cific communications between instructors and trainees.

It's a good idea for trainers to invest in their musicality. Ifyou're new to group instruction and must teach a circuit or bootcamp class, "consider attending a course on the use of music in

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56 I IDEA Fitness Journal September 2013

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small-group exercise [sessions] to learnand understand how music is com-posed and to be able to actually 'use' themusic to enhance the workout," advisesHoffman.

The Beat Goes OnScience is now proving what instruc-tors have intuited for decades: Clientsand participants get a better workoutand have more fun when moving tosome tunes. "The key role of music inrecreational exercise is one of loweringperceptions of exertion and therebyincreasing the amount of work per-formed without the shift toward neg-ative feeling states typically associatedwith more intense exercise," summarizesKarageorghis.

"Music is a huge part of how weinspire those we teach and how westay inspired to teach," Arney says.What's important is to have passionfor the tracks you choose, says Glick."Instructors need to be connected totheir music so they can pull the studentsin and get more out of them." And whatbetter reason is there to get moving tothe beat? •

The author wishes to thank CostasKarageorghis, PhD, for his assistance inpreparing this article.

Megan Senger is a writer and fitness con-sultant based in North Carolina. She isthrilled that working out to classic Queenanthems and cheesy 1980s hits is nowsupported by science, if not by her imme-diate family. Reach her at www.megansenger.com.

ReferencesBASES (British Association of Sport and Exercise

Sciences). 2012. The BASES Expert Statement on theuse of music in exercise. Journal of Sports Science, 30(9), 953-56. First published in The Sport and ExerciseScientist (2011; [28], 18-19.)

Bauldoff, G., et al. 2005. Feasibility of distractive audi-tory stimuli on upper extremity training in personswith chronic obstructive pulmonary disease. Journalof Cardiopulmonary Rehabilitation, 25 (1), 50-53.

Csikszentmihalyi, M. 1990. Flow: The Psychology ofOptimal Experience. New York: Harper & Row.

Hayakawa, Y., et al. 2000. Effects of music on moodduring bench stepping exercise. Perceptual & MotorSkills, 90(1), 307-14.

Karageorghis, C. 1999. Music in sport and exercise:Theory and practice. The Sport Journal, www.thesportjournal.org/article/music-sport-and-exercise-theory and-practice; retrieved May, 2013.

Karageorghis, C, et al. 2011. Revisiting the relationshipbetween exercise heart rate and music tempo prefer-ence. Research Quarterly for Exercise and Sport, 82

(2), 274-84.Karageorghis, C, & Priest, D. 2012. Music in the

exercise domain: A review and synthesis (part II).International Review of Sport and Exercise Psychology,5(1), 67-84.

Karageorghis, C, & Terry, P. 1997. The psychophysi-cal effects of music in sport and exercise: A review.Journal of Sport Behavior, 20 (1), 54-68.

Mathews, R., Clair, A., & Kosloski, K. 2001. Keeping thebeat: Use of rhythmic music during exercise activi-ties for the elderly with dementia. American Journalof Alzheimers Disease and Other Dementias, 16 (6),377-80.

Pates, J., et al. 2003. Effects of asynchronous music onflow states and shooting performance among net-ball players. Psychology of Sport and Exercise, 4 (4),415-27.

Szmedra, L., & Bacharach, D. 1998. Effect of music onperceived exertion, plasma lactate, norepinephrineand cardiovascular hemodynamics during treadmillrunning. International Journal of Sports Medicine, ¡9(1), 32-37.

Terry, P., et al. 2012. Effects of synchronous music ontreadmill running among elite triathletes. Journal ofScience and Medicine in Sport, Í5 (1), 52-57.

Music and Audio ResourcesDynamix Music, www.dynamixmusic.comFitness Audio, www.fitnessaudiodistributors.comPower Music*, www.powermusic.comSpecial Projects Audio, www.specialprojectsaudio.comSupreme Audio", www.supreme-audio.comYes!* Fitness Music, www.yesfitnessmusic.com

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September 2013 IDEA Fitness Journal I 57

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