CALL FOR PAPERS: Biennial Meeting of the Society for Music Perception and Cognition

SMPC

 

The biennial meeting of the Society for Music Perception and Cognition will be held at Vanderbilt University in Nashville, Tennessee, on August 1-5, 2015.

Submissions are welcome from a broad range of disciplines, including (but not limited) to Psychology, Neuroscience, Medicine, Education, Engineering, and Musicology. Abstracts for presentations should be no longer than 300 words and should describe the motivation, methodology, results, and implications to the degree that this information is available at the time of submission.  Empirical contributions should refer to the stimuli/corpus, methodology, and data collected.  Theoretical contributions are also welcome, provided that the connection to music perception and cognition is underscored through discussion of aims, methods, and/or results. Abstracts for proposed symposia are welcome and should include individual abstracts as well as a brief description of the theme.

Abstracts can now be submitted as follows:

  1. Prepare your abstract using this template smpc2015abstracttemplate. Formatting requirements are here:http://smpc2015.weebly.com/submitting-an-abstract.html
  1. Register as a new User and Create a CMT account for SMPC conference here:https://cmt.research.microsoft.com/SMPC2015
  1. Go to the drop-down menu “Select Your Role” and choose “Author”. Then click on “Create a new Paper submission” in the Author Console.
  1. Enter in the required information and upload formatted abstract.

Deadline for submissions is 11 pm CDT on February 2, 2015.

Chill-inducing music enhances altruism in humans

Chill-inducing music enhances altruism in humans                                                                                                                                       Frontiers in Psychology, published online October 2014

Fukui H, Toyoshima
Faculty of Education, Nara University of Education, Nara, Japan

Music is a universal feature of human cultures, and it has both fascinated and troubled many researchers. In this paper we show through the dictator game (DG) that an individual’s listening to preferred “chill-inducing” music may promote altruistic behavior that extends beyond the bounds of kin selection or reciprocal altruism. Participants were 22 undergraduate and postgraduate students who were divided into two groups, the in-group and the out-group, and they acted as dictators. The dictators listened to their own preferred “chill-inducing” music, to music they disliked, or to silence, and then played the DG. In this hypothetical experiment, the dictators were given real money (which they did not keep) and were asked to distribute it to the recipients, who were presented as stylized images of men and women displayed on a computer screen. The dictators played the DG both before and after listening to the music. Both male and female dictators gave more money after listening to their preferred music and less after listening to the music they disliked, whereas silence had no effect on the allocated amounts. The group to which the recipient belonged did not influence these trends. The results suggest that listening to preferred “chill-inducing” music promotes altruistic behavior.

T1

Table 1 – Mean allocation of each stimuli.

And for our Italian friends:

La musica è una caratteristica universale tra gli esseri umani, che da anni affascina e intriga i ricercatori. In questo studio i ricercatori dimostrano, attraverso il gioco del dittatore (DG), che quando un individuo ascolta la sua musica preferita, quella che induce i brividi, viene spinto verso comportamenti altruistici che vanno al di là del clan di appartenenza o dell’altruismo reciproco. Hanno partecipato allo studio 22 giovani tra studenti e laureati divisi in due gruppi, il gruppo “interno” e il gruppo “esterno”, e agivano da dittatori. I dittatori ascoltavano musica di loro gradimento o musica che non gradivano, oppure silenzio, prima di agire da dittatori. In questo esperimento ai dittatori veniva dato denaro reale che non potevano però tenere, ma che dovevano distribuire ai riceventi, presentati come immagini stilizzate di uomini e donne sullo schermo di un computer. I dittatori giocavano al DG sia prima sia dopo avere ascolto la musica. Sia i dittatori uomini che donne elargivano più denaro dopo avere ascoltato la loro musica preferita e meno dopo avere ascoltato musica sgradita, mentre il silenzio non aveva alcun effetto sulle somme che venivano allocate. Il gruppo al quale il ricevente apparteneva non influenzava questo trend. Gli Autori concludono che l’ascolto della musica preferita incoraggia comportamenti altruistici.

Fukui, H., & Toyoshima, K. (2014). Chill-inducing music enhances altruism in humans. Frontiers in Psychology, 5, 1215. doi:10.3389/fpsyg.2014.01215

For complete article, please see Frontiers in Psychology.

Editorial note: The views of the following statement contained in the full article, As is widely known, music has the ability to strongly affect a person’s emotions and sometimes even control them (Juslin and Sloboda, 2010),” does not necessarily represent the views of Pathways in Music.

Personal preferred ‘chill-inducing’ moment, in total recollection, occurs in the following piece, 3:32

Hope through Community in Music: Introducing Superbands

Introducing Superbands, a non-profit movement dedicated to helping those who struggle with depression, self-harm, eating disorders, thoughts of suicide, and other mental illnesses. Through the shared love of music, Superbands aims to encourage hope and positivity, and to remind people that they are not alone.

I’d love to share with you the words of my friend and founder of Superbands Jessica Villa, whose similar vision has been a significant encouragement in my own journey in music and suicide prevention advocacy.

Even at twenty two years olda recent college graduateI still feel like life is so quickly whirling around that I can barely keep up. While things are constantly changing around me (which can be quite overwhelming) one thing that has never changed is my passion for music. From a young age, I learned that music can heal the broken and give people a means of escaping their troubles, realizing that they are not alone. As I learned to battle my own inner demons growing up, I developed a vision to create a community of people all over the world who believe in the power of music. A community of hope. Thats where Superbands was born: a nonprofit movement dedicated to helping those struggling with depression, self-harm, other mental illnesses, or simply feeling lost. Through the shared love for music, we aim to encourage hope and positivity, and to remind people that they are not alone.

If you looked time back to 2006, you would likely find fourteen-year old me screaming at the top of my lungs at a dimly-lit Jonas Brothers concert, wearing a tour t-shirt plastered with the faces of the three brothers. In the midst of being an awkward pre-teen with an obsession with music, I was struggling with being bullied at school; the taunts of my peers echoing through the halls on a daily basis. This verbal abuse led to depression, self-loathing, and downright disgust every morning when I saw myself in the mirror. Struggling with self-hate for years, there were multiple days where life got so difficult that I considered attempting suicide.

It was around this time that I spent all my free time listening to my favorite songs on a hand-me-down CD player, miserably held together with medical tape from my mom’s cabinet. I awaited the final bell to echo through the school hallways so I could drown out everything around me just by putting on my headphones. The stress of schoolwork, the taunts of bullies, the loneliness I felt after moving to a new town, the perils of growing upit all disappeared. Nothing else mattered except the music. I refused to take my own life and give up. I wanted to go to more concerts, listen to my favorite songs, and meet my musical idols. Because of this, I firmly believe that these songs and these bandsthough they did not know my name or my facesaved my life.

While most kids my age played sports or got involved in after-school clubs, the fear of being further tormented by my peers kept me at home everyday. Buried underneath the covers with my CD player, I felt alone, like no one understood me or my passion for music. Concerts were the only place where I truly felt happiness. Why did I feel so at home in these dark venues, surrounded by these complete strangers?

It was because we were united, connected by the music.

It was something that is nearly impossible to explain in words. Hundreds, thousands, of people singing along to songs that I sang along with in my bedroom alone. People’s eyes twinkled with hope as they sang, faces glimmering with amazement. We were in the same vicinity as our favorite musical artists, who jumped around on stage and played these songs just for us. Here we all were, people with the same passion for music, swaying to melodies that once only radiated from our headphones. It was like an island of misfit toys, with everyone finally finding a place where they belonged. We formed bonds, friendships that thrived on new albums and tour dates. We were a family of music loverssomething I had yearned to find for so long.

Today, there are so many ways to reach out to others thanks to social media. From Instagram to Twitter to Facebook to Tumblr, these different social media platforms allow us to interact with people worlds away, regardless of culture, religion, language, or sexual orientation. Barriers are breaking because of music. This is something that we could not do until now – sharing our favorite band photos on Twitter and Instagram, posting our most memorable concert experiences on Tumblr, talking to people about our favorite bands’ upcoming tour dates on Facebook. It’s surreal how much technology has grown in such a short amount of time.

Superbands was an idea that had been swirling around in my head for as long as I could remember. It wasn’t until I came back from college and saw my younger sister Jenna’s passion for music that I got flashbacks from my own awkward teenage years. My own passion for music never faded, but instead grew stronger. I wanted to create the network that I once longed for, somewhere that music lovers could find a place they belonged. Music inspires so many people to keep fighting to overcome obstacles, no matter how difficult their lives become. This passion for music is something that people shouldn’t be ashamed of; it should be something in which we we find comfort. It should be what breaks down those barriers to unite us.

And that’s what I wanted to do with Superbands. I want to connect us, so we can continue breaking down barriers.

For more information on Superbands, please visit http://www.superbands.org

Photo of band After Our Juliet 

CALL FOR PROPOSALS: Learning and Teaching Music in the Twenty-First Century: The Contribution of Science and Technology

Submission deadline: December 15 2014.

Learning and Teaching Music in the Twenty-First Century:
The Contribution of Science and Technology
International Symposium
LTM21/AEM21
November 5 – 7, 2015
www.ltm21aem21.wix.com/colloque2015

Schulich School of Music, McGill University, and
Department of Music, Université du Québec à Montréal, Québec, Canada

The aim of this bilingual (English-French) conference is to bring together researchers from instrumental and music pedagogy as well as those from performance,  science performance and music practices to discuss the contribution of scientific research and technological advancements in music learning and teaching contexts in the twenty-first century.

We welcome submissions on any topic relating to learning and teaching of music cross-themed with science and technology, including (but not limited to):

Learning and teaching music – individual and collective settings – all levels/formal and informal settings
Instrumental practice
Control parameters – physiology, physics and psychology of instrumental practice
Traditional and augmented/hyper instruments
Performance and creativity
Learning and technologies
Music, health and well-being
The musician’s health and well-being
The benefits of music on health and well-being

The conference will include scientific presentations (talks, posters and discussion panels) from international researchers in Canada’s two official languages, English and French. This conference seeks to gather researchers, teachers and practitioners from across disciplines (music performance, collective and individual instrumental teaching, science of performance, musicians’ health, music learning and technology, etc.) to foster interdisciplinary collaboration and the development of evidence-based music pedagogy.

Three types of proposals associated with the topics listed above are welcome:
1.       Oral scientific communication;
2.       Scientific poster;
3.       Panel discussion.

For detailed guidelines, please see www.ltm21aem21.wix.com/colloque2015

Keynote speakers
Aaron Williamon, Director, Centre for Performance Science. Royal College of Music, London, UK.
Marc Leman, Director, Institute for Psychoacoustics and Electronic Music,  Ghent University, Belgium.
Wendy E. Mackay, Research Team Director IN|SITU at INRIA, Paris France

The Paradox of Music-Evoked Sadness: A Survey of Personality and Reward

The paradox of music-evoked sadness: an online survey

Taruffi L, Koelsch S – Published October 20, 2014

Department of Educational Sciences & Psychology and Cluster of Excellence, “Languages of Emotion”, Freie Universität Berlin, Berlin, Germany

This study explores listeners’ experience of music-evoked sadness. Sadness is typically assumed to be undesirable and is therefore usually avoided in everyday life. Yet the question remains: Why do people seek and appreciate sadness in music? We present findings from an online survey with both Western and Eastern participants (N?=?772). The survey investigates the rewarding aspects of music-evoked sadness, as well as the relative contribution of listener characteristics and situational factors to the appreciation of sad music. The survey also examines the different principles through which sadness is evoked by music, and their interaction with personality traits.

Results show 4 different rewards of music-evoked sadness: reward of imagination, emotion regulation, empathy, and no “real-life” implications. Moreover, appreciation of sad music follows a mood-congruent fashion and is greater among individuals with high empathy and low emotional stability. Surprisingly, nostalgia rather than sadness is the most frequent emotion evoked by sad music. Correspondingly, memory was rated as the most important principle through which sadness is evoked. Finally, the trait empathy contributes to the evocation of sadness via contagion, appraisal, and by engaging social functions.

The present findings indicate that emotional responses to sad music are multifaceted, are modulated by empathy, and are linked with a multidimensional experience of pleasure. These results were corroborated by a follow-up survey on happy music, which indicated differences between the emotional experiences resulting from listening to sad versus happy music. This is the first comprehensive survey of music-evoked sadness, revealing that listening to sad music can lead to beneficial emotional effects such as regulation of negative emotion and mood as well as consolation. Such beneficial emotional effects constitute the prime motivations for engaging with sad music in everyday life.

TABLE 2: Summary of the situations in which participants engage with sad music, and functions of listening to sad music in those circumstances.

TABLE 2: Summary of the situations in which participants engage with sad music, and functions of listening to sad music in those circumstances.

TABLE 6: Summary of the situations in which participants engage with happy music and functions of listening to happy music in those circumstances.

TABLE 6: Summary of the situations in which participants engage with happy music and functions of listening to happy music in those circumstances.

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And for our Italian friends:

Questo studio esplora l’esperienza della tristezza indotta dall’ascolto della musica. La tristezza è comunemente considerata un’emozione negativa e pertanto evitata nella vita quotidiana. Rimane una questione aperta: perché quindi le persone apprezzano la musica triste? Gli Autori presentano i risultati di uno studio condotto online che ha coinvolto 722 partecipanti occidentali e orientali. Lo studio indaga gli effetti gratificanti delle emozioni tristi evocate dalla musica, nonché l’apporto relativo alle caratteristiche dell’ascoltatore e alle situazioni che contribuiscono all’apprezzamento della musica triste. Lo studio esamina inoltre i differenti principi attraverso i quali la tristezza viene evocata dalla musica e la sua interazione con i tratti della personalità.

I risultati mostrano quattro diversi aspetti gratificanti della musica triste: l’effetto dell’immaginazione, la regolazione delle emozioni, l’empatia e l’assenza di implicazioni nella vita reale. Inoltre, l’apprezzamento della musica triste segue una modalità congruente con l’umore ed è più grande tra gli individui con maggiore empatia e minore stabilità emotiva. Sorprendentemente la nostalgia piuttosto che la tristezza è l’emozione più frequente evocata dalla musica triste. Di conseguenza, la memoria è stata valutata come il principio più importante attraverso il quale l’emozione viene evocata dalla musica triste. Infine, il tratto di empatia contribuisce all’evocazione della tristezza attraverso il contagio, l’apprezzamento e il coinvolgimento delle funzioni sociali. I presenti risultati indicano che la risposta emotiva alla musica triste è sfaccettata, modulata dall’empatia e collegata a una esperienza multidimensionale del piacere.

Questi risultati sono stati corroborati da una ricerca successiva sulla musica allegra, che mostra differenze tra le esperienze emotive nell’ascolto di musica felice o triste. Questo è il primo studio comprensivo sulla tristezza evocata dalla musica, e rivela che l’ascolto della musica triste può portare benefici emotivi come la regolazione delle emozioni negative e dell’umore, oltre che della consolazione. Questi benefici emozionali costituiscono una ragione per ascoltare la musica triste durante la vita quotidiana.

Information provided by abstract – full study may be found here.

doi:10.1371/journal.pone.0110490.t002

(My favorite ‘sad’ video of all time below).

Call for Papers – Harvard Graduate Music Forum Conference 2015

poster-draft

 

Call for Proposals

 This interdisciplinary conference takes as its premise that  music is inseparable from the economic conditions of its production and consumption. Through presentations, lecture-recitals and composers’ colloquia,  we seek to explore the intersections of music and economics from a diverse array of perspectives including labor, practice, material culture, and capital.

Questions include but are not limited to:

  • How do musicians and their employers understand musical labor, and how does this  impinge on issues of amateurism, professionalism, and institutionalization?
  • How have shifting economic systems — for instance, from patronage to mass consumption, or from liberalism to neoliberalism — altered the place of music in society?
  • How have issues such as postcolonialism, the North-South economic divide, and globalization, intersected with various musical practices to forge divergent models of economies of music?
  • Where does music succeed and where does it fail in transforming economic relations?
  • What are the economic consequences of the material means of musics’ dissemination, such as manuscripts, published scores, phonograph recordings, streaming and live performance?
  • How do questions of cultural and economic capital combine in appraisals and contestations of musical value?
  • How has music symbolically represented economics and status? What is music’s role in this endeavour today?

Submissions

We welcome submissions from current graduate students on these and related topics. We seek proposals on all repertoires, musical practices and historical periods, and representing a broad set of methodologies. Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composer colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to relevant sound recordings and/or scores or supplementary documentation.

Deadline for proposals: 5 December 2014

Please e-mail submissions to: harvardgmf2015@gmail.com

There Is Always Hope: How Music Saved My Life

A couple of months ago, I was asked by To Write Love On Her Arms to do a post on my experience with depression, music, and being a suicide survivor.

This is my story.

photo

For as long as I can remember, my greatest aspiration has been to study psychological resilience and music. Having begun touring as a singer from age three, my furthermost joy and identity were formed in creating and performing music. As I attempt to place these thoughts in tangible form, I’d like to explain where the past year of my life has taken me, and how this hope has finally come to be realized. I’d like to tell you how music saved my life.

       On July 9, 2013, I grabbed sushi with a dear friend from college. It had been at least a year since we’d seen one another due to his relocation to another state. We had a wonderful dinner, his charisma weaving grandiose patterns of laughter and jokes to make up for lost time. To this day, he remains the only friend who could ever get away with his hysterical manner of picking me up and spinning me around. It was simply his way of saying “Hello.”

       The following afternoon, as I was on my way to Stanford University to cover a behavioral science and creativity conference, I received an urgent phone call from the Los Angeles Police Department. After an inundation of bewildering questions and the request that I be sitting down, I was alerted that my friend had sustained a perplexing and potentially fatal injury. The following two months would consist of a blur of countless ER, ICU and eventually hospice visits, and even more fatigued phone calls from detectives, friends, and families in attempt to speculate every detail as to my friend’s condition. After failing to regain consciousness, my friend died on August 21, 2013 of a self-inflicted gunshot wound to the head. He was twenty seven.

        In the months following my friend’s suicide, the protracted plagues of devastation, anxiety and sheer panic made it painfully clear that I was suffering from severe depression. I had battled fear before, but the danger of self-harm from my perceived terror of abandonment now hit an all-time high. Something about being the last person to see my friend before he took his life had finally made my very existence seemingly unbearable. I simply couldn’t imagine a reality where I would ever feel whole again. Somewhere along the way, however, something began to penetrate the walls I had built. Maybe it was that night of such unbearable emptiness, resulting in my frantic request of a trusted friend, “Why can’t you just tell me it’s going to be okay?” I’ll never forget his response: “Because it’s going to be okay whether I say so or not.”

       For possibly the first time, I realized that no matter how much people love and cherish you, sometimes, they can’t be there. It was not until this year – twenty eight years into my life – that I was truly faced with the chief insecurity of uncovering and confronting my own sense of self. It hit me then: I had built my entire value solely upon the affirmation of others. How would I ever afford unconditional love and hope if I did not possess it for myself?  It took more correspondence with prudent souls, more star-filled nights, more floods of tears and more compassionate, tough love from friends than I ever thought possible, but eventually, I began to understand that a lifetime’s lacking of my own self worth had been, in fact, the greatest torment of all. Slowly, with the help of my music and a lot of blind faith, I decidedly began the harrowing task of turning inward to face a past that had hidden profoundly in the dark for far too long.

       As I discovered that in music could be found the tools for defense, it quickly became all but Pavlovian. With each resurfacing memory of the loss of my father, of my friend, or even the type of violations that I as a young woman should never have had to endure, it began to feel like there was no margin in what could be taken from me, save my headphones screaming louder than any external threat or captor. I recalled that when at age eighteen I witnessed a childhood crush lose his longstanding battle with cancer, a piano, and occasionally present kindred spirit, taught me that three keys struck within a proper distance could form a chord. Those chords at once revealed the earliest potential of more than an escape – they provided the will to keep going.  It was within the process of witnessing my own hopelessness slain by the dogged determination playing before me like a vivid, striking film sequence that I cemented an acute desire to help others through their pain.

Steinway

        It was not quite until really digging in to the psychology of music that I found the possibility of a way not to dull the pain, but utilize it for courage. When my collapsed sense of self risked self-harm, gentle souls appeared to remind me of what I’d already overcome. When the radiant pangs of feeling alone threatened to overtake me, I discovered mercy and anticipation in composing. When I found myself paralyzed by the searing agony of depression, exterior melodies stepped in to share my burden. This award of music had not only provided oxygen for my lungs; it had yielded a powerful breed of strength and beauty within me – the will to struggle, and the will to survive.

       While covering a music industry event in Hollywood this Spring, I had the pleasure of speaking to Benjamin Weinman of The Dillinger Escape Plan. As a friend had alerted me of Ben’s advocacy for youth suicide prevention (The You Rock Foundation in particular), I took the opportunity to ask him what it was about the process of creating music that had helped him in overcoming adversity.

“When I was growing up, I had a lot of difficulties in school. I had certain learning disabilities that made it difficult for me to process information in the way it was presented by a typical school curriculum. My experiences left me feeling extremely isolated and insecure. When I started playing music, I realized that intelligence had nothing to do with one’s ability to excel in the classroom environment. It gave me passion. It gave me confidence. I was able to make friends and also figure out new ways of learning. Creating give me purpose every day and will for the rest of my life… Music saved my life.”

The Dillinger Escape Plan live at Porter’s Pub, San Diego, 2014. Photo by Diana Hereld.

       Like Ben, I never cease to be amazed at music’s capacity to bring about a mental resilience. I know music to be a healing tool, because we are living attestations. It is utterly apparent that the pleasure of simply working in music sustained me through my more anguished, desperate moments. In The Problem of Pain, C.S. Lewis stated “No one ever told me grief felt so like fear.” In Orthodoxy, G.K. Chesterton said “The only courage worth calling courage must necessarily mean that the soul passes a breaking point and does not break.” I have felt this terror, and desperation – but I have also perceived the call of this courage.

˜

       A little over a year ago, I got the call about my friend. Over three hundred and sixty five days have passed since the night I thankfully had the cheek to gleefully yelp “Love you, buddy!” after my friend as he walked away; one hand in the air like an old fashioned movie star. Over the past twelve months, I have been granted more exposure to trauma, mental illness and mercy than I’d ever imagined possible. I have been made aware of more triggers in my subconscious than I felt I could handle, and I have been forced to confront them head on.  I’ve loved and lost more deeply, and written more music than ever before. I’ve applied to, and received a full fellowship to attend my top choice grad school for music and psychological resilience beginning this month. My friends have become my family; my songs that rare blend of confidant and hope. Though I have feared the dangers of losing emotional jurisdiction over my own life the most, I have realized that sometimes, it’s okay to let go, and press on – even when the route is unclear. As Bukowski famously quoted “As the spirit wanes, the form appears.”

       Not a day goes by that I don’t think of my friend. He touched the lives of so many, and I can only pray that I will one day repay him by giving back the selfless love he radiated to everyone around him, and by furthering the cause to ease the hearts of those struggling to find hope.

sunset

       I want to tell you, dear reader, that regardless of the tactless tragedies or inconsolable madness you may be undergoing, there are others. It’s not just that you are not alone – of course you’re not. You are surrounded by a cloud of witnesses, a humanity of enduring creatures, and an enclave of people who not only want to understand, but do understand. As unimaginable as it might sound at times, there is so much love to be found. If you’re standing on the beach at sunset, savor it while it lasts. If you’re going through hell, keep going. The impermanence and temporal nature of existence only contribute to its need to be treasured. For me, it has been my faith in God, and the self-awareness, hope and love I have found and tried to share though music. In the end, it is very possible that only we can save ourselves, but it is often the intrinsic beauty of life and dear ones surrounding that offer the priceless reminder that we can, and should. In the profound words of author Jennifer Hect, “We are indebted to one another and that debt is a kind of faith — a beautiful, difficult, strange faith. We believe each other into being.” Please stay, and please keep going. You will make it though, and it will be more radiant and precious than anything you can possibly imagine.

Diana Hereld, UCSD, Fall 2014

To those who have sustained me through the darkest and brightest of times:

As I continue to research the neurology of self-destructive behaviors and the psychological interventions that might be employed via music, I can only convey my infinite gratitude for whatever role, small or gargantuan; you have played in my life. I love you all. And thank you for the music.

˜

If you or someone you know is struggling with depression or suicidal thoughts, please visit the Suicide Prevention Lifeline or call 1-800-273-TALK (8255).

For more information on what The You Rock Foundation is doing to help youth overcome depression, follow them on FB and stay tuned for their official launch at http://www.yourockfoundation.org . Follow them on social media here -

twitter.com/YouRockFND
instagram.com/yourockfnd
youtube.com/yourockfnd

For more information on Benjamin Weinman and The Dillinger Escape Plan, visit here and here.