19.06.2025

Crafting Songs That Don't Bore Your Audience

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Let's start by understanding what an "interesting song" means. Neuroscientists have been studying the impact of music on listeners' brains, and in recent years they've uncovered some fascinating insights. In short, music somehow triggers a significant release of dopamine and endorphins in people — something that amazes researchers.

Here's the catch: typically, our brain's so-called "reward system" releases these chemicals for what's considered "good biological behavior." Got yourself some tasty, calorie-dense food? Good job, here's your dose of endorphins. Managed to score some sex? Great work, here are your endorphins and dopamine. These responses are tied to very basic, animalistic stimuli. Music, however, is an abstract stimulus, far removed from any kind of biological activity. In theory, the reward system shouldn't be rewarding us this lavishly just for listening to some harmonious sounds.

But facts speak for themselves. Back in the 2010s, a team led by Valorie Salimpoor at Canada’s McGill University found out how powerfully dopamine gets released when subjects listen to music they enjoy. Specifically, using positron emission tomography, the researchers were “spying” on what happens inside listeners’ brains as they experience those characteristic musical chills or “goosebumps.” By the way, neuroscientists refer to it with the French term "frisson," but there's also a more colloquial and sensual expression—eargasm.

The study notably revealed that after about 15 minutes of listening to their favorite tunes, participants' brains were literally "flooded" with dopamine.

And then, in 2025, Finnish scientists used PET scans and fMRI imaging to discover that listening to beloved music activates opioid receptors in humans—notably, across no fewer than six (!) different regions of the brain. Interestingly enough, this effect was measured particularly during moments of experiencing those delightful goosebumps, aka frisson. The findings were published in the European Journal of Nuclear Medicine and Molecular Imaging. Although only women participated in the study, it's likely that men experience similar effects too.

In short, listening to really enjoyable music prompts the release of what could be called "legal internal drugs" within the brain. And nature rewards us—somehow—for engaging with one of the most abstract forms of art there is. A mystery? Not quite.

The Brain Loves Expected Yet Unexpected Transitions in Music

It seems that our brain, among other things, is essentially a "prediction machine" that never stops working. We consciously—but mostly unconsciously—constantly predict how events will unfold in every life situation. Based on studies of music perception conducted by neuroscientists, we can infer that the brain predicts future events even when receiving abstract stimuli like music.

Many experts believe that the "reward system," also known as the "internal reinforcement system," kicks into action not only under specific circumstances but especially when someone acquires new valuable experiences. For this system, novelty translates into non-monotonous, unconventional, and varied input.

Through her experiments, Valorie Salimpoor's research group discovered that goosebumps usually begin when there's a clear yet relatively sudden change in the music—a moment that's both unexpected and anticipated. This might include the onset of singing, abrupt shifts in harmony, or an explosive chorus following a quiet passage. What's interesting is that participants experienced this "eargasm" regardless of genre. Some listened to classical pieces, others enjoyed jazz, pop, rock, or electronic tracks.

We can speculate why goosebumps occur specifically during changes in music. Dopamine isn't merely a pleasure-rewarding neurotransmitter—it primarily motivates you throughout the process. It's dopamine that creates that feeling of anticipation right before the chorus hits, while other neurotransmitters contribute to peak enjoyment during the musical climax.

Salimpoor and her colleagues experimentally confirmed that the peak production of dopamine occurs in the few seconds leading up to a musical climax. They also determined that the longer (within reasonable limits) the music teases the listener while building anticipation for the main "hit," the stronger the dopamine surge and the sharper the pleasure becomes.

After reaching its climax and achieving maximum dopamine release, the part of the brain known as the striatum—or striped body—seemingly sighs contentedly. That's when goosebumps run down your skin.

A similar effect takes place in the human brain when anticipating and obtaining desired outcomes in gambling games. The same phenomenon occurs in smokers who've had to abstain for several hours and finally light up a cigarette.

The Brain Loves Predicting Musical Events, But If It Gets Everything Right, It's Bored

To put it briefly, the brain forecasts beforehand how much pleasure it'll derive from listening to music—even if it's completely unfamiliar. And if it hears something beyond its prediction, it basks in a flood of dopamine.

While the phenomenon hasn't been fully explored yet, another experiment conducted by Valorie Salimpoor and her colleagues provided additional insight. Using MRI technology, the researchers tracked brain activity in participants who listened to the first 30 seconds of 60 previously unknown songs. Afterwards, participants were given the opportunity to purchase their preferred tracks using real money through a special program designed as an auction format where bids ranged from $0 to $2 per track.

Using MRI, the area commonly referred to as the "pleasure center" was scanned. As a result, connections between this region and various other parts of the brain were observed. During both listening sessions and the auction phase, areas such as the amygdala (processing emotions), hippocampus (responsible for learning and memory), and ventromedial prefrontal cortex (involved in decision-making processes) became active.

As Dr. Salimpoor explains, participants' choices and bid amounts depended heavily on their prior musical experiences: "Whether you're aware of it or not, each time you hear music, established patterns in your brain become activated."

"The pleasure center," utilizing these patterns, predicts the reward you'll receive from listening to music. Its predictions are based on past exposure to melodies you've heard before.

If new music exceeds the predicted level of satisfaction, the listener feels pleasurable excitement. However, if new music falls below expectations, the brain finds itself bored and disappointed.

Eureka! Here's what we, as songwriters, should do to captivate our audience:

1. Tease them with hints of upcoming changes in the track.

2. Deliver a genuine explosion teaser.

3. Make sure this explosion defies conventional expectations.

As we've learned from the aforementioned 2025 study, the "reward" for enjoying good, non-conventional music includes not only dopamine but also endorphins, which activate opiate receptors. Needless to say, this reward is incredibly powerful and beneficial for both the body and nervous system.

Overall, the pleasure derived from music involves dopamine, endorphins, oxytocin (not definitively proven; subject to debate), and serotonin. Quite a killer cocktail indeed. However, the brain serves it up only when we're exposed to truly pattern-breaking compositions. Paradoxically, though these pieces must be full of novelty, they're best presented in somewhat familiar formats. People develop a sort of musical "vocabulary" in their brains, even without knowing anything about music theory.

The Brain Interprets Music as Emotional Words Telling a Story

This statement remains partly speculative since neurobiological studies exploring music perception are still rather scarce—we want more! Nonetheless, centuries of musical evolution have prompted composers and musicologists to identify certain recurring patterns. For instance:

- In minor keys, the use of the sixth degree, without resolving to the fifth, evokes a sense of "sharp dissatisfaction"; upon resolution, it depicts a "flash of pain."

- In major keys, the sixth behaves differently. When left unresolved, it produces an impression of "prolonged pleasant expectation"; upon resolution, it expresses the effect of a flash of "sweet desire." — Deryck Cooke, British musicologist.

Even the brain of a person who has never studied music distinguishes phrases, individual words, and even letters in music. For example, in music theory, there are concepts such as consonance and dissonance. Simply put, these terms describe pleasing and unpleasant intervals (two notes) and chords (three or more notes).

From a physics perspective, these combinations represent air vibrations with complex frequencies. Individual sound frequencies overlap and relate to each other either simply—say, in a ratio of 2:3 ("pleasant")—or complexly, such as 8:9 ("unpleasant").

Scientists investigated the brain's response to these combinations using positron-emission tomography. Consonant chords activated the orbitofrontal cortex, which is part of the internal reinforcement system in the right hemisphere. Additionally, activation occurred in a region beneath the corpus callosum.

Dissonant chords triggered activation in the right parahippocampal gyrus, an area involved in the limbic system responsible for instincts, emotional behavior, and many other functions. Dissonant chords presumably elicit instinctive anxiety and tension.

Music alternates between creating tension and releasing it ("resolution" in music theory) by moving from dissonances to consonances, effectively telling stories. Naturally, listeners prefer narratives that give them emotional ups and downs.

A song composed solely of sweet major chords and melodies doesn't engage listeners. It takes true compositional mastery to craft a compelling story using only these elements of the "musical vocabulary." The same applies to monotonously sad minor keys and standard minor melodies. Humans worldwide have already heard all of this countless times. Even subconsciously, their brains accurately predict exactly how such songs will progress—and thus find them dull!

 So, What Should Authors, Composers, and Music Producers Do About All This?

Of course, there's no universal recipe for cooking up a super hit song. Another challenge lies in discussing songwriting theory because only 18% of musicians globally have formal music education. Most are self-taught or semi-self-taught.

However, over generations, musicians have identified and summarized certain general principles for writing engaging songs. Here’s a brief overview:

  • Monotony is forbidden. The track needs to build momentum—from soft or moderate sound pressure to louder levels. From simple arrangement techniques to more intricate ones. A great narrative can't consist of tedious muttering without emotional peaks.
  • Contrasts are our bread and butter. Throughout the song, you need to lead toward explosions multiple times, promising them, foreshadowing them, slightly delaying the entrance of the chorus or, as it's now popularly termed, the "drop." The final chorus should be richer, louder, brighter than the first. Ideally, it should tear everything apart. But this isn’t a rigid rule. There are cases where reverse contrast—a sudden shift from preparing for a climax to an extremely quiet, intimate rendition of the last chorus—can provoke intense emotion. To sum up, contrasts matter, but the sequence of low points and drops varies greatly.
  • Constant functional residence of a song strictly in one key, exclusively minor or major, raises a red flag. Listeners (and musicians) worldwide know these modes and harmonies by heart. Give them a major subdominant (fourth chord) in a minor piece, offer them a minor chord on the sixth step in a minor context. Occasionally return to the minor tonic abruptly switching to major. Apply analogous alterations in major pieces, almost like inversions from major to minor on various chords.
  • Avoid constructing melodies on primary chord steps (stable scale degrees)—it's excruciatingly boring, having grown tiresome back in the 18th century. Incorporate less common scale degrees like the ninth, eleventh, thirteenth into your melodies. Sometimes dubbed "upper extensions," these create subtle tension against the underlying harmony and generally resolve (providing mental satisfaction to the listener). Try prolonging the tension by stringing two or three upper extensions together in a melodic phrase. The resulting sense of resolution will feel more satisfying.
  • Deviate from the primary key. For instance, temporarily make the subdominant function as the tonic. Or assign the dominant role as the temporary tonic. Plan how you'll gracefully return to the original key, perhaps in the chorus. Alternatively, prepare a logical transition to a different key towards the end of a verse. Let your drop arrive outside the main key. As noted earlier, the brain loves this twist.
  • Employ chords rarely heard in your chosen genre. For instance, musician Chris Dalla Riva from New Jersey, USA, recently discovered in his extensive research that sus and dim chords are absent in modern rap. This oversight deprives rap producers of two expressive musical colors.
  • Don't start verses or choruses with the tonic chord—that's what everyone else does. Allow the listener to remain uncertain about the key for a bit; this adds freshness to the music.
  • Use chords in your harmony that don't belong to the main key—they act as micro-deviations. Such combinations may seem illogical, but there's a handy trick to avoid issues. Suppose you want to introduce an F-sharp major chord after a tonic triad in the key of C Major. You can seamlessly achieve this transition as follows: after playing the tonic triad "C-E-G," play a transitional chord "C-E-F#," followed immediately by the F-sharp major chord. Magic? No, this technique is called "sliding harmonies." It allows introducing unusual harmonic combinations smoothly. The principle relies on including one tone from the future "out-of-key" chord in the intermediate chord, thereby priming the listener's brain for the transition (which it enjoys!).
  • Experiment with composing melodies entirely without harmonic accompaniment. Strive to make them expressive by incorporating "upper extensions" or raised/lowered scale degrees. Melodies with distinct character independent of harmony often serve as hooks in themselves. Consider, for example, John Williams' iconic theme from Harry Potter films, "Hedwig's Theme," instantly recognizable even played in complete isolation. Moreover, such melodies inherently suggest ways to harmonize them. Want a pop music example? Try playing the verse melody of Nirvana's "Smells Like Teen Spirit" solo to friends—they'll recognize it instantly. That's how it works…

It's impossible to cover all methods for making songs engaging in one article. That would require an entire textbook developed collaboratively by seasoned composers, producers, pop artists, and music theorists. Nevertheless, now you understand where to dig deeper and what kinds of experiments to initiate to achieve massive musical chills first for yourself and subsequently for your audience.

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