Download Music Happy Day PORTABLE

"Happy" is a song written, produced, and performed by American musician Pharrell Williams, released as the only single from the soundtrack album for the film Despicable Me 2 (2013). The song was first released on November 21, 2013, alongside a long-form music video. The song was reissued on December 16, 2013, by Back Lot Music under exclusive license to Columbia Records, a division of Sony Music.[1] The song also served as the lead single from Williams's second studio album, Girl (2014).

The music video for "Happy" was nominated for Best Male Video and Video of the Year at the 2014 MTV Video Music Awards. It also won the Grammy Award for Best Music Video at the 57th Annual Grammy Awards.[7][8] The song was Billboard's number-one single for 2014.

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"Happy" is a mid-tempo soul and neo soul song.[20][21] According to music journalist Paul Tingen, "Happy" is "a mid-tempo ... song in a faux-Motown style, with an arrangement that is, by modern standards, very sparse: programmed drums, one bass and one keyboard part, and handclaps both programmed and played, all topped off by Williams's lead vocals and a whole posse of backing vocals".[20] Jody Rosen viewed the song as a "standout" with a "sprightly neosoul funk groove".[18]

A four-minute edit of the video was also released onto the iamOTHER and Pharrell's own YouTube channel on November 21, 2013, and January 8, 2014 respectively; both videos have received over 1 billion views as of January 2023.[55][56] It was nominated for Best Male Video and Video of the Year at the 2014 MTV Video Music Awards.[7][8] The 24-hour music video for "Happy" was also projected at the Buenos Aires International Festival of Independent Cinema in April 2014.[57]

In April 2014, the Embassy of the United States, Yerevan, Armenia released a video titled "Happy Yerevan", directed by Artyom Abovyan featuring US ambassador John A. Heffern and several Armenian celebrities, such as singers Andr, Emmy and Aram Mp3.[60][61] The same month artsmedia Albania produced a music video for the track featuring inhabitants of Tirana. The video soon became popular in Albania and caused controversy over the usage of images of Albanian First Secretary Enver Hoxha.[62]

In 2014, American musician "Weird Al" Yankovic parodied "Happy" as "Tacky" on his fourteenth studio album Mandatory Fun. The song mocks questionable style in fashion as well as activities considered gauche. Yankovic recorded the song as one of the last on Mandatory Fun, and received Williams' approval directly, through email. He remarked he was "honored" to have his work spoofed by Yankovic.[71] The song's one-shot music video parodies "Happy", and was the first in a series of eight videos released over eight days in promotion of Mandatory Fun. It features cameo appearances by Aisha Tyler, Margaret Cho, Eric Stonestreet, Kristen Schaal, and Jack Black, and was produced by Nerdist Industries.[72][73]

In the remaining part of the introduction we will put the study into context by providing theoretical background related to creativity, the effects of music listening on cognition, and on mood and creativity.

In the current study, we aim to extend the sparse literature on the potential association of music listening for optimizing creative cognition. This project is unique, as it is the first to experimentally test whether listening to specific types of music, as compared to a silence control condition, facilitates creative cognition. Additionally, we structurally manipulate valence and arousal of the music, and we expose participants to the music excerpt while performing the creativity task and not before performing the creativity task. Importantly, creativity is measured by both divergent and convergent creativity tasks. Based on previous research, we hypothesize that positive and activating (i.e., happy) music facilitates divergent thinking. Due to scarce and inconsistent research findings, no specific hypotheses were formulated for the effect of calm, sad and anxious music on divergent thinking, as well as for the effect of music on convergent thought.

A 2 x 5 mixed measures design was utilised with creative performance (divergent thinking, convergent thinking) as the within subjects variable and music condition (happy, sad, calm, anxious, silence) as the between-subjects variable.

To obtain data about pre-existing mood, participants were presented with 22 emotion-words that varied on mood and arousal (positive-activating, positive-deactivating, negative-activating, negative-deactivating; for example, happy, calm, angry, sad; see [33]) and had to indicate how much of each emotion they had experienced since they got up on the day of participating using a 5-point Likert scale ranging from 1 (not at all) to 5 (very much). Each of the 22 mood items were presented in English and accompanied with the term in Dutch.

First, participants completed the mood questionnaire. Thereafter, creative task performance was measured using the Alternative Uses Task, the Idea Selection Task, the Remote Associates Task, and Creative Insight Tasks, in that order. Each task was set to a total of 3 minutes, such that participants could spend up to three minutes on each task. If they completed the idea selection, RAT, or Creative Insight tasks in less than three minutes, they could proceed to the next section. After completing the four creativity tasks, participants completed the music and demographics questionnaires. At their completion of the study, participants were debriefed and awarded course credit or payment for their participation.

Our main hypothesis was that listening to happy music, as compared to a silence control condition, facilitates divergent thinking. An independent-samples t-test was conducted to compare the happy music condition with the silence control condition on overall divergent thinking (ODT). There was a significant difference on ODT between the happy music (M = 93.87, SD = 32.02) and silence (M = 76.10, SD = 32.62) conditions, t (57) = 2.110, p = .039, d = .550. The results suggest that listening to happy music increases performance on overall divergent thinking (Fig 1).

Mean of the Overall divergent thinking (ODT) score during the Alternative Uses Task in the happy music and silence control condition. Error bars represent Standard Error of the Mean. Significant differences between conditions at p < .05 are represented with *.

As mentioned earlier, we assume that the performance difference on the divergent and convergent creativity tasks in the happy music condition can be ascribed to difference in task demands of divergent (generating as many ideas as possible) and convergent (finding one correct answer) creativity. However, given that when performing the convergent creativity tasks, participants were exposed to the happy music for the second time, we cannot rule out habituation as an alternative explanation for the performance difference. In the current study, we compared the effect of four different types of music (high vs. low arousal, and positive vs. negative mood) on creative performance in a between-subject design, that is, participants were either assigned to one of the four music conditions or to the silence control condition. Given that we already employed 5 conditions, divergent and convergent creativity was used as a within-subject task, that is, each participant first performed the divergent creativity task while listening to the specific music excerpt (or, in the control condition, performed the task in silence) and, thereafter, performed the convergent creativity tasks while listening to the same music excerpt (or, in the control condition, performed the task in silence). As the convergent tasks can be frustrating if the tasks are not solved, and hereby influence subsequent task performance, the convergent tasks were always performed after the divergent task. Future research could employ only one type of music, happy music, and could include creativity task (divergent vs. convergent) as a between-subject factor. If, as we assume, task demands and not habituation account for the difference in findings between the divergent and convergent tasks, a beneficial effect of music listening should be observed for the divergent but not for the convergent creativity task.

As many people benefit from creative thinking, and we wish these results to have an as wide applicability as possible, our participants were primarily college age adults and not people already involved in creative work. However, the participant sample had a high education level and a relatively high proportion of females and westerners, which could limit the ecological validity of this study. Findings of a meta-analysis [12] suggest that creativity enhancement may be more effective in organizational than academic settings and may have greater effects on men than on women. Considering that this study relied on a population and setting for which the a priori chance of finding a stimulation effect was not high, the ecological validity and generalizability of the current findings may be enhanced. Nevertheless, it is still unknown what impact such training would have on eastern participants and on other age groups, for example, school-aged children and elderly people. Future research could examine the effect of music listening in eastern cultures and for other age groups. Moreover, follow-up research could study the moderating role of educational background, such as music experience. Given that even for those not genuinely interested in music an effect of music listening was found on creative thinking, we expect this effect to be even stronger for musicians.

It makes the social media rounds every Sept. 21, per the lyrics, but this disco-R&B groover is an instant mood enhancer no matter the time of year. Want an even greater blast of serotonin? Watch comedian Demi Adejuyigbe annual music videos set to the song.

Music is a ubiquitous phenomenon in human cultures, mostly due to its power to evoke and regulate emotions. However, effects of music evoking different emotional experiences such as sadness and happiness on cognition, and in particular on self-generated thought, are unknown. Here we use probe-caught thought sampling and functional magnetic resonance imaging (fMRI) to investigate the influence of sad and happy music on mind-wandering and its underlying neuronal mechanisms. In three experiments we found that sad music, compared with happy music, is associated with stronger mind-wandering (Experiments 1A and 1B) and greater centrality of the nodes of the Default Mode Network (DMN) (Experiment 2). Thus, our results demonstrate that, when listening to sad vs. happy music, people withdraw their attention inwards and engage in spontaneous, self-referential cognitive processes. Importantly, our results also underscore that DMN activity can be modulated as a function of sad and happy music. These findings call for a systematic investigation of the relation between music and thought, having broad implications for the use of music in education and clinical settings. e24fc04721