In this proof-of-principle study, a convenience sample of 55 dyadic psychotherapy sessions conducted by one therapist was analyzed. The electrocardiograms and respiration behavior of both therapist and client were monitored simultaneously. Four clients were included, and session outcome was documented by session reports in two clients. From electrocardiograms, heart rate and heart rate variability were derived in consecutive 15-second intervals throughout sessions. Entire sessions (average duration, 51 minutes) were assessed for physiological synchrony of therapist's and client's respiration, electrocardiogram, heart rate, and heart rate variability. Two methods of synchrony computation were applied to the time series: windowed cross-correlation and correlation of local slopes (concordance). Both methods included surrogate controls using segment-wise shuffling. Significant synchrony of three measures, but not of electrocardiograms, was present in this dataset. In regression models, we found associations between synchronies and alliance ratings, and further selfreport variables. Results support the existence of physiological synchrony in this collection of psychotherapy sessions, which speaks for the sympathetic and parasympathetic coupling between this therapist and her client and its link with ratings of therapy process. The feasibility of deriving signatures of synchrony of physiological signals with the described methodology was corroborated. The findings now await generalization by further research.

The degree to which romantic partners' autonomic responses are coordinated, represented by their pattern of physiological synchrony, seems to capture important aspects of the reciprocal influence and co‐regulation between spouses. In this study, we analyzed couple's cardiac synchrony as measured by heart rate (HR) and heart rate variability (HRV). A sample of 27 couples (N = 54) performed a structured interaction task in the lab where they discussed positive and negative aspects of the relationship. During the interaction, their cardiac measures (HR and HRV) were recorded using the BIOPAC System. Additional assessment, prior to the lab interaction task, included self‐report measures of empathy (Interpersonal Reactivity Index and Interpersonal Reactivity Index for Couples) and relationship satisfaction (Revised Dyadic Adjustment Scale). Synchrony computation was based on the windowed cross‐correlation of both partner's HR and HRV time series. In order to control for random synchrony, surrogate controls were created using segment‐wise shuffling. Our results confirmed the presence of cardiac synchrony during the couple's interaction when compared to surrogate testing. Specifically, we found evidence for negative (antiphase) synchrony of couple's HRV and positive (in‐phase) synchrony of HR. Further, both HRV and HR synchronies were associated with several dimensions of self‐report data. This study suggests that cardiac synchrony, particularly, the direction of the covariation in the partners' physiological time series, may have an important relational meaning in the context of marital interactions.

Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold this theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert.