Snježana Dobrota, Ina Reić Ercegovac, Katija Kalebić Jakupčević
This research explored students’ artistic preferences for musical and visual arts (paintings) from different world cultures, outside the dominant Western European and Anglo-Saxon art field. The main goal of the research was to examine the possibility of predicting these preferences based on multicultural personality traits, within the concept of multicultural effectiveness. A total of 427 participants took part in the study. The following instruments were used: General Data Questionnaire, Multicultural Personality Inventory, Musical Preferences Questionnaire, and Painting Preferences Questionnaire. The results indicated a significant correlation between age and musical preferences, as well as between artistic experience (attending theatre productions and art exhibitions) and musical/painting preferences. Among the multicultural personality traits, only open-mindedness and cultural empathy positively correlated with artistic preferences. Results of regression analysis in which preferences were used as criteria showed that, after demographics of participants and their artistic experience have been controlled for, open-mindedness positively predicted musical and painting preferences, while both open-mindedness and cultural empathy proved to be significant positive predictors of painting preferences. Other significant predictor for both preferences was attending art exhibitions. Musical preferences were related with older age, while vocational high school education predicted higher preferences for paintings. Although predictors explained relatively small amount of criterion variance, the obtained results confirmed that multicultural personality dispositions have little, but significant contribution to world artistic preferences.
{"title":"The Relationship between Multicultural Effectiveness and Artistic Preferences","authors":"Snježana Dobrota, Ina Reić Ercegovac, Katija Kalebić Jakupčević","doi":"10.31820/pt.32.1.8","DOIUrl":"https://doi.org/10.31820/pt.32.1.8","url":null,"abstract":"This research explored students’ artistic preferences for musical and visual arts (paintings) from different world cultures, outside the dominant Western European and Anglo-Saxon art field. The main goal of the research was to examine the possibility of predicting these preferences based on multicultural personality traits, within the concept of multicultural effectiveness. A total of 427 participants took part in the study. The following instruments were used: General Data Questionnaire, Multicultural Personality Inventory, Musical Preferences Questionnaire, and Painting Preferences Questionnaire. The results indicated a significant correlation between age and musical preferences, as well as between artistic experience (attending theatre productions and art exhibitions) and musical/painting preferences. Among the multicultural personality traits, only open-mindedness and cultural empathy positively correlated with artistic preferences. Results of regression analysis in which preferences were used as criteria showed that, after demographics of participants and their artistic experience have been controlled for, open-mindedness positively predicted musical and painting preferences, while both open-mindedness and cultural empathy proved to be significant positive predictors of painting preferences. Other significant predictor for both preferences was attending art exhibitions. Musical preferences were related with older age, while vocational high school education predicted higher preferences for paintings. Although predictors explained relatively small amount of criterion variance, the obtained results confirmed that multicultural personality dispositions have little, but significant contribution to world artistic preferences.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"3 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83361461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Flow is a specific state of consciousness when people are completely immersed and concentrated on a task, that they lose the sense of time, and feel as if doing things unconsciously. This article aims to provide a brief overview of the flow in music, focused on music performance, and shed light on aspects such as psychological correlates, occurrence and educational applications. Our objective is to build a bridge between theory and practice examining the implications of flow for improving the musical practice. Several studies analyse flow in various musical activities, including improvisation/composition, listening and performance. Music improvisation is considered one of the most crucial pedagogical tools for promoting flow from the early years of music education on. Flow in music performance is the most extensively studied, and practical implications to facilitate optimal experience and flow conditions could be developed. In the final part of the article, educational strategies for inducing flow are proposed based on the nine characteristics of flow (Csikszentmihalyi, 1990).
{"title":"Flow in Music Performance","authors":"Katarina Habe, M. Biasutti","doi":"10.31820/pt.32.1.10","DOIUrl":"https://doi.org/10.31820/pt.32.1.10","url":null,"abstract":"Flow is a specific state of consciousness when people are completely immersed and concentrated on a task, that they lose the sense of time, and feel as if doing things unconsciously. This article aims to provide a brief overview of the flow in music, focused on music performance, and shed light on aspects such as psychological correlates, occurrence and educational applications. Our objective is to build a bridge between theory and practice examining the implications of flow for improving the musical practice. Several studies analyse flow in various musical activities, including improvisation/composition, listening and performance. Music improvisation is considered one of the most crucial pedagogical tools for promoting flow from the early years of music education on. Flow in music performance is the most extensively studied, and practical implications to facilitate optimal experience and flow conditions could be developed. In the final part of the article, educational strategies for inducing flow are proposed based on the nine characteristics of flow (Csikszentmihalyi, 1990).","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"41 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85695003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Blanka Bogunović, Olja Jovanović, N. Šimić, Dejana Mutavdžin
Motivation is highly important for participation in musical activities and musical achievement. In the context of higher music education (HME) in Serbia, we sought to examine the relationship between students’ solo performance opportunities and two key components of the Self-Determination Theory (STD) – basic psychological needs (Competence, Relatedness and Autonomy) and motivational regulation styles (Amotivation, External, Introjected negative, Introjected positive, Identified, Intrinsic). The convenient sample of 197 HME students (performing modules; Mage = 23.88, SD = 3.4) completed two inventories: Basic Psychological Needs Satisfaction and Frustration Scale (BPNSFS; Chen et al., 2015) and Relative Autonomy Index Questionnaire (RAI-SRQ; Sheldon et al., 2017); they also provided data on the frequency of solo performances during HME. The results indicate that our participants’ basic psychological needs are highly met, with the need for Relatedness being significantly less satisfied and the need for Autonomy significantly more frustrated than the remaining two needs. The motivation for participation in music activities in our sample could be described as predominantly autonomous – Identified or Intrinsic. Fulfilment/frustration of basic psychological needs and motivational regulation styles predicted the likelihood of public solo performances, with Amotivation and External motivation being significant predictors. Our findings suggest that students with higher external motivation for participation in musical activities are more likely to have solo performances. In line with STD’s postulates, our findings are seen as a reflection of the dominant approaches to music education in Serbia, and are discussed as such.
动机对于参与音乐活动和取得音乐成就非常重要。在塞尔维亚高等音乐教育(HME)的背景下，我们试图研究学生独奏表演机会与自决理论(STD)的两个关键组成部分之间的关系-基本心理需求(能力，相关性和自主性)和动机调节风格(动机，外部，内向消极，内向积极，确定，内在)。方便样本:197名HME学生(执行模块;(男)= 23.88,SD = 3.4)完成了两个量表:基本心理需求满足和挫折量表(BPNSFS;Chen et al.， 2015)和相对自主指数问卷(RAI-SRQ;Sheldon et al.， 2017);他们还提供了HME期间个人表演频率的数据。结果表明，参与者的基本心理需求得到了高度满足，相关性需求显著低于相关性需求，自主性需求显著低于相关性需求。在我们的样本中，参与音乐活动的动机可以被描述为主要是自主-识别或内在的。基本心理需求的满足/挫败感和动机调节风格预测了公开独奏表演的可能性，动机和外部动机是显著的预测因素。我们的研究结果表明，参与音乐活动的外部动机较高的学生更有可能进行独奏表演。与STD的假设一致，我们的研究结果被视为塞尔维亚音乐教育的主要方法的反映，并就此进行了讨论。
{"title":"Self-Determination Theory Perspective on Motivation and Solo Performance among Students in Higher Music Education in Serbia","authors":"Blanka Bogunović, Olja Jovanović, N. Šimić, Dejana Mutavdžin","doi":"10.31820/pt.32.1.6","DOIUrl":"https://doi.org/10.31820/pt.32.1.6","url":null,"abstract":"Motivation is highly important for participation in musical activities and musical achievement. In the context of higher music education (HME) in Serbia, we sought to examine the relationship between students’ solo performance opportunities and two key components of the Self-Determination Theory (STD) – basic psychological needs (Competence, Relatedness and Autonomy) and motivational regulation styles (Amotivation, External, Introjected negative, Introjected positive, Identified, Intrinsic). The convenient sample of 197 HME students (performing modules; Mage = 23.88, SD = 3.4) completed two inventories: Basic Psychological Needs Satisfaction and Frustration Scale (BPNSFS; Chen et al., 2015) and Relative Autonomy Index Questionnaire (RAI-SRQ; Sheldon et al., 2017); they also provided data on the frequency of solo performances during HME. The results indicate that our participants’ basic psychological needs are highly met, with the need for Relatedness being significantly less satisfied and the need for Autonomy significantly more frustrated than the remaining two needs. The motivation for participation in music activities in our sample could be described as predominantly autonomous – Identified or Intrinsic. Fulfilment/frustration of basic psychological needs and motivational regulation styles predicted the likelihood of public solo performances, with Amotivation and External motivation being significant predictors. Our findings suggest that students with higher external motivation for participation in musical activities are more likely to have solo performances. In line with STD’s postulates, our findings are seen as a reflection of the dominant approaches to music education in Serbia, and are discussed as such.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"4 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90536671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The combination of music and the moving image is prevalent in our society, occurring in visual art forms and media such as movies, music videos, and commercials. The relationship between the two has received much interest in existing research, but the focus has mainly been on the influence that music may have on the experience of the moving image. The present study adopts the reverse approach, and examines the potential impact the moving image may have on emotions felt and perceived while listening to music. Sixty-six participants were presented with three music excerpts that were introduced either alone or paired with one of two videos aimed to elicit strong emotions (either awe or being moved). The music excerpts were played a second time (without visual accompaniment) to investigate whether a possible influence of previously presented visual information was persistent. The results revealed that the moving image did have an intensifying effect on emotions induced (both awe and being moved) while listening to music. A significant negative effect on perceived valence and enjoyment was found for the least congruent music & video pairing. Interestingly, this incongruent pairing had the most persistent influence, being the only significant carry-over effect during the second presentation of music alone.
{"title":"The Influence of the Moving Image on Music-Induced Emotions","authors":"Elias Gram-Nilsen, Jonna K. Vuoskoski","doi":"10.31820/pt.32.1.4","DOIUrl":"https://doi.org/10.31820/pt.32.1.4","url":null,"abstract":"The combination of music and the moving image is prevalent in our society, occurring in visual art forms and media such as movies, music videos, and commercials. The relationship between the two has received much interest in existing research, but the focus has mainly been on the influence that music may have on the experience of the moving image. The present study adopts the reverse approach, and examines the potential impact the moving image may have on emotions felt and perceived while listening to music. Sixty-six participants were presented with three music excerpts that were introduced either alone or paired with one of two videos aimed to elicit strong emotions (either awe or being moved). The music excerpts were played a second time (without visual accompaniment) to investigate whether a possible influence of previously presented visual information was persistent. The results revealed that the moving image did have an intensifying effect on emotions induced (both awe and being moved) while listening to music. A significant negative effect on perceived valence and enjoyment was found for the least congruent music & video pairing. Interestingly, this incongruent pairing had the most persistent influence, being the only significant carry-over effect during the second presentation of music alone.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"30 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77025382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A well agreed discourse in music perception research is that affective response can be generated by music when a tendency in the music is delayed or inhibited. There is a consensus that this tendency is statistically driven, derived from exposure to culturally situated musical idioms. By presenting a neural-network inspired spreading activation model (SAM) this paper argues that the nature of the tendency is worthy of further investigation. SAM organises the music stream perceived by the listener continuously into segments such that a match with an existing ‘mental representation’ (node) is found, which is then linked to the node for the previously segmented part of the music stream, with the link between these nodes strengthening and consolidating with exposure. The currently activated segment (the music being sounded) will prime the best matching (strongest linked) node available, generating expectancy. Expectancy is defined as the most strongly primed segment, and emerges dynamically through experience with environmental and musical contexts, rather than schematic or prototypical means. Expectancy is the specific exemplar instance that the activated (currently sounding) segment of music and contextual factors prime. This hypothesis of veridical dominance has implications for enduring aspects of music expectancy theory: (1) individual experiences matter in the formation of expectations; (2) expectations are a dynamic process, that change and are updated with experience; (3) context plays a critical role in expectancy; and (4) schema, prototypes and statistical accounts of expectation should be treated as convenient approximations of underlying cognitive processes.
{"title":"Unexpected Aspects of Expectancy in Music","authors":"Emery Schubert","doi":"10.31820/pt.32.1.3","DOIUrl":"https://doi.org/10.31820/pt.32.1.3","url":null,"abstract":"A well agreed discourse in music perception research is that affective response can be generated by music when a tendency in the music is delayed or inhibited. There is a consensus that this tendency is statistically driven, derived from exposure to culturally situated musical idioms. By presenting a neural-network inspired spreading activation model (SAM) this paper argues that the nature of the tendency is worthy of further investigation. SAM organises the music stream perceived by the listener continuously into segments such that a match with an existing ‘mental representation’ (node) is found, which is then linked to the node for the previously segmented part of the music stream, with the link between these nodes strengthening and consolidating with exposure. The currently activated segment (the music being sounded) will prime the best matching (strongest linked) node available, generating expectancy. Expectancy is defined as the most strongly primed segment, and emerges dynamically through experience with environmental and musical contexts, rather than schematic or prototypical means. Expectancy is the specific exemplar instance that the activated (currently sounding) segment of music and contextual factors prime. This hypothesis of veridical dominance has implications for enduring aspects of music expectancy theory: (1) individual experiences matter in the formation of expectations; (2) expectations are a dynamic process, that change and are updated with experience; (3) context plays a critical role in expectancy; and (4) schema, prototypes and statistical accounts of expectation should be treated as convenient approximations of underlying cognitive processes.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"86 6 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77300585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Waldie E. Hanser, Ruth E. Mark, Ad J. J. M. Vingerhoets
Music forms an integral and essential part of funeral rituals worldwide, but has to date received little systematic research attention. Recent investigations into funeral music used in the Netherlands showed that it is lower in tempo and valence, less energetic, and more acoustic than popular music. Funeral music is also often in a major mode. The present study sought to replicate these findings for a Dutch (NL) funeral music sample and to expand upon previous knowledge by investigating the audio features provided by Spotify, namely: valence, energy, tempo, acousticness, instrumentalness, mode, and danceability for funeral music samples from Croatia (HR) and the United Kingdom (UK). First, values of music characteristics for funeral music used in HR, N = 388 pieces, NL, N = 500 pieces, and UK, N = 439 pieces, were compared to values of popular control music from each country separately. Previous findings were replicated: for HR, NL, and UK, funeral music displayed a similar pattern as described above. Second, the values of Spotify audio features for funeral music were compared between countries. Analyses revealed significant differences between NL/UK and HR, namely lower valence and energy and higher acousticness (only HR-UK) and instrumentalness for NL/UK compared to HR. Effect sizes were, however, small and are likely due to differences in music selections. These results suggest that, even though there is much diversity in music pieces and songs, funeral music within and across these European countries is more alike than different in terms of its audio characteristics.
{"title":"A Comparison of Music Characteristics of Funeral Music from Croatia, the Netherlands, and the United Kingdom","authors":"Waldie E. Hanser, Ruth E. Mark, Ad J. J. M. Vingerhoets","doi":"10.31820/pt.32.1.12","DOIUrl":"https://doi.org/10.31820/pt.32.1.12","url":null,"abstract":"Music forms an integral and essential part of funeral rituals worldwide, but has to date received little systematic research attention. Recent investigations into funeral music used in the Netherlands showed that it is lower in tempo and valence, less energetic, and more acoustic than popular music. Funeral music is also often in a major mode. The present study sought to replicate these findings for a Dutch (NL) funeral music sample and to expand upon previous knowledge by investigating the audio features provided by Spotify, namely: valence, energy, tempo, acousticness, instrumentalness, mode, and danceability for funeral music samples from Croatia (HR) and the United Kingdom (UK). First, values of music characteristics for funeral music used in HR, N = 388 pieces, NL, N = 500 pieces, and UK, N = 439 pieces, were compared to values of popular control music from each country separately. Previous findings were replicated: for HR, NL, and UK, funeral music displayed a similar pattern as described above. Second, the values of Spotify audio features for funeral music were compared between countries. Analyses revealed significant differences between NL/UK and HR, namely lower valence and energy and higher acousticness (only HR-UK) and instrumentalness for NL/UK compared to HR. Effect sizes were, however, small and are likely due to differences in music selections. These results suggest that, even though there is much diversity in music pieces and songs, funeral music within and across these European countries is more alike than different in terms of its audio characteristics.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"239 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72855894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Valnea Žauhar, Sabina Vidulin, Marlena Plavšić, Igor Bajšanski
In this study, we examined differences in music-evoked emotions and music liking between two approaches to teaching ear-training in music school. Participants were 423 pupils (60% female; Mage = 10.55 years, SDage = 0.92) in the third grade. In two ear-training lessons prepared either by the standard (STA) or the multimodal and interdisciplinary cognitive-emotional approach (CEA), pupils listened to a 2-minute excerpt from the 4th movement (Allegro con fuoco) of the Symphony no. 9 in E minor, Op. 95 (“From the New World”) by Antonín Dvořák. The Geneva Emotional Music Scale (GEMS-9, Zentner et al., 2008) was translated and adapted to measure music-evoked emotions. Pupils also reported their music liking. In this study, the original three-factor structure of the GEMS-9 was not replicated, and instead a two-factor solution with factors labelled Activation and Calmness emerged. The results showed that in both groups the music evoked moderate to moderately high Activation and low Calmness. Pupils reported high music liking, however, those who participated in the CEA liked the music more than those who participated in the STA. The listening activities that enrich children’s experiences of classical music in the classroom are discussed.
在本研究中，我们考察了音乐学校两种听觉训练教学方法在音乐诱发情绪和喜爱音乐方面的差异。参与者为423名学生(60%为女生;法师= 10.55岁，年龄= 0.92岁)。在由标准(STA)和多模态和跨学科认知-情感方法(CEA)准备的两节耳朵训练课程中，学生们听了一段2分钟的《第五交响曲》第四乐章(轻快快板)节选。E小调9大调，作品95(“来自新世界”)，作者:Antonín Dvořák。日内瓦情感音乐量表(GEMS-9, Zentner et al.， 2008)被翻译并改编为测量音乐诱发的情绪。学生们还报告了他们的音乐喜好。在这项研究中，GEMS-9原来的三因子结构没有被复制，取而代之的是一个带有激活和平静因子的双因子解决方案。结果表明，在两组中，音乐都引起了中度至中度高的激活和低的平静。然而，参加CEA的学生比参加STA的学生更喜欢音乐。讨论了在课堂上丰富幼儿古典音乐体验的听力活动。
{"title":"The Effect of Ear-Training Approach on Music-Evoked Emotions and Music Liking","authors":"Valnea Žauhar, Sabina Vidulin, Marlena Plavšić, Igor Bajšanski","doi":"10.31820/pt.32.1.5","DOIUrl":"https://doi.org/10.31820/pt.32.1.5","url":null,"abstract":"In this study, we examined differences in music-evoked emotions and music liking between two approaches to teaching ear-training in music school. Participants were 423 pupils (60% female; Mage = 10.55 years, SDage = 0.92) in the third grade. In two ear-training lessons prepared either by the standard (STA) or the multimodal and interdisciplinary cognitive-emotional approach (CEA), pupils listened to a 2-minute excerpt from the 4th movement (Allegro con fuoco) of the Symphony no. 9 in E minor, Op. 95 (“From the New World”) by Antonín Dvořák. The Geneva Emotional Music Scale (GEMS-9, Zentner et al., 2008) was translated and adapted to measure music-evoked emotions. Pupils also reported their music liking. In this study, the original three-factor structure of the GEMS-9 was not replicated, and instead a two-factor solution with factors labelled Activation and Calmness emerged. The results showed that in both groups the music evoked moderate to moderately high Activation and low Calmness. Pupils reported high music liking, however, those who participated in the CEA liked the music more than those who participated in the STA. The listening activities that enrich children’s experiences of classical music in the classroom are discussed.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"204 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73621294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Previous studies have indicated that there are positive effects of music and singing on well-being in adults. The aim of our study was to examine the associations between singing characteristics and well-being indicators (positive affect, negative affect and life satisfaction). The study participants were 221 people (75.1% female) between 18 and 70 years (M = 31.94, SD = 12.89) who were at the time actively involved in any kind of singing activities. Singing characteristics, namely, frequency of singing, singing alone or with others and importance of singing were measured by a questionnaire designed for the purpose of this research. Croatian adaptation of the shortened form of The Positive and Negative Affect Schedule (PANAS; Watson & Clark, 1994) was used for measuring positive and negative affect, while The Satisfaction with Life Scale (SWLS; Diener et al., 1985) was used for general life satisfaction. We examined the associations between singing characteristics and well-being indicators using correlational and regression analyses. Results of both analyses showed that people who considered singing highly important had higher life satisfaction, and that singing with others was associated with less negative affect. However, these associations were small in size, explaining 2.7% and 6.3% of well-being variance after controlling for age. In line with previous research, when there are significant effects of singing on well-being, they are in direction that singing is associated with higher well-being.
{"title":"Singing and Well-Being Indicators","authors":"Marijan Jozić, A. Butković","doi":"10.31820/pt.32.1.11","DOIUrl":"https://doi.org/10.31820/pt.32.1.11","url":null,"abstract":"Previous studies have indicated that there are positive effects of music and singing on well-being in adults. The aim of our study was to examine the associations between singing characteristics and well-being indicators (positive affect, negative affect and life satisfaction). The study participants were 221 people (75.1% female) between 18 and 70 years (M = 31.94, SD = 12.89) who were at the time actively involved in any kind of singing activities. Singing characteristics, namely, frequency of singing, singing alone or with others and importance of singing were measured by a questionnaire designed for the purpose of this research. Croatian adaptation of the shortened form of The Positive and Negative Affect Schedule (PANAS; Watson & Clark, 1994) was used for measuring positive and negative affect, while The Satisfaction with Life Scale (SWLS; Diener et al., 1985) was used for general life satisfaction. We examined the associations between singing characteristics and well-being indicators using correlational and regression analyses. Results of both analyses showed that people who considered singing highly important had higher life satisfaction, and that singing with others was associated with less negative affect. However, these associations were small in size, explaining 2.7% and 6.3% of well-being variance after controlling for age. In line with previous research, when there are significant effects of singing on well-being, they are in direction that singing is associated with higher well-being.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"28 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72861652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present review summarizes the available evidence on musicality, or music-related abilities, in infants (birth to 3 years). In the early months of life, infants are responsive to the pitch and temporal patterns of music. Their perceptual skills are similar, in many respects, to those of adults, presumably because of the nature of the human auditory system. Adult-infant differences, where evident, are attributable to infants’ unfamiliarity with the musical conventions of their culture. Musical enculturation proceeds more rapidly for temporal than for pitch processing. Musical exposure, especially the singing of caregivers, is prevalent in infancy. Caregivers’ music-making for infants has consequences for their emotional and social regulation and for their subsequent self-regulation abilities. By the end of their first year, most infants have become music-makers as well as music listeners. They move spontaneously to music, and their patterns of “dancing” undergo considerable change in the subsequent months and years. Early dancing is influenced by the familiarity of the music, and later dancing may include aspects of caregivers’ dance movements. Although the onset of singing occurs considerably later than the onset of dance, early singing is remarkably accurate in terms of its pitch range, pitch contours, rhythmic patterning, and fluency, especially when infants sing in their familiar home environment.
{"title":"Musicality in Infancy","authors":"Sandra E. Trehub","doi":"10.31820/pt.32.1.1","DOIUrl":"https://doi.org/10.31820/pt.32.1.1","url":null,"abstract":"The present review summarizes the available evidence on musicality, or music-related abilities, in infants (birth to 3 years). In the early months of life, infants are responsive to the pitch and temporal patterns of music. Their perceptual skills are similar, in many respects, to those of adults, presumably because of the nature of the human auditory system. Adult-infant differences, where evident, are attributable to infants’ unfamiliarity with the musical conventions of their culture. Musical enculturation proceeds more rapidly for temporal than for pitch processing. Musical exposure, especially the singing of caregivers, is prevalent in infancy. Caregivers’ music-making for infants has consequences for their emotional and social regulation and for their subsequent self-regulation abilities. By the end of their first year, most infants have become music-makers as well as music listeners. They move spontaneously to music, and their patterns of “dancing” undergo considerable change in the subsequent months and years. Early dancing is influenced by the familiarity of the music, and later dancing may include aspects of caregivers’ dance movements. Although the onset of singing occurs considerably later than the onset of dance, early singing is remarkably accurate in terms of its pitch range, pitch contours, rhythmic patterning, and fluency, especially when infants sing in their familiar home environment.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"102 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85998052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent decades, research has shown that one set of individual factors contributing to creative self-beliefs are personality traits, with openness showing the strongest relationship. However, these associations have been studied at higher levels of the personality hierarchy and mostly in non-musician samples. The aim of this study was to examine the relationship between personality (measured at factor and facet levels) and two types of creative self-beliefs, trait-like creative self-efficacy (tCSE) and creative personal identity (CPI), in a sample of a cappella singers. A total of 128 individuals (64% women) participated in the study. Participants were members of 18 conveniently sampled traditional Croatian a cappella groups. Personality factors and facets were measured with the BFI-2 questionnaire (Soto & John, 2017), while creative self-beliefs were measured with the Short Scale of Creative Self (Karwowski et al., 2018). At the factor level, openness had the highest correlation with both tCSE and CPI. At the facet level, the highest correlations with tCSE were found for creative imagination, an openness facet, and energy level, an extraversion facet, while with CPI for all openness facets, creative imagination, aesthetic sensitivity and intellectual curiosity. In linear regression analyses, the only significant predictors of CPI were openness at the factor level and creative imagination at the facet level. Significant predictors of tCSE were openness and neuroticism at the factor level and creative imagination and sociability at the facet level. Personality facets explained more variance in both types of creative self-beliefs than factors.
近几十年来，研究表明，影响创造性自我信念的一组个人因素是性格特征，其中开放性表现出最强的关系。然而，这些关联已经在更高层次的人格层次上进行了研究，主要是在非音乐家的样本中进行的。本研究的目的是在无伴奏合唱歌手的样本中，研究人格(在因素和方面水平上测量)与两种类型的创造性自我信念，类特质创造性自我效能(tCSE)和创造性个人身份(CPI)之间的关系。共有128人(64%为女性)参与了这项研究。参与者是18个传统克罗地亚无伴奏合唱团体的成员。采用BFI-2问卷(Soto & John, 2017)测量人格因素和方面，采用创造性自我短量表(Karwowski et al.， 2018)测量创造性自我信念。在因子水平上，开放度与tCSE和CPI的相关性最高。在小面水平上，创造性想象力、开放性和能量水平与tCSE的相关性最高，而CPI与所有开放性、创造性想象力、审美敏感性和求知欲的相关性最高。在线性回归分析中，CPI的唯一显著预测因子是因子水平上的开放性和facet水平上的创造性想象力。因子水平的开放性和神经质性和facet水平的创造性想象力和社交性是tCSE的显著预测因子。性格方面比因素更能解释两种创造性自我信念的差异。
{"title":"The Relationship between Personality and Creative Self-Beliefs at Different Levels of Personality Hierarchy","authors":"M. Pavlič, Matea Kramarić, A. Butković","doi":"10.31820/pt.32.1.7","DOIUrl":"https://doi.org/10.31820/pt.32.1.7","url":null,"abstract":"In recent decades, research has shown that one set of individual factors contributing to creative self-beliefs are personality traits, with openness showing the strongest relationship. However, these associations have been studied at higher levels of the personality hierarchy and mostly in non-musician samples. The aim of this study was to examine the relationship between personality (measured at factor and facet levels) and two types of creative self-beliefs, trait-like creative self-efficacy (tCSE) and creative personal identity (CPI), in a sample of a cappella singers. A total of 128 individuals (64% women) participated in the study. Participants were members of 18 conveniently sampled traditional Croatian a cappella groups. Personality factors and facets were measured with the BFI-2 questionnaire (Soto & John, 2017), while creative self-beliefs were measured with the Short Scale of Creative Self (Karwowski et al., 2018). At the factor level, openness had the highest correlation with both tCSE and CPI. At the facet level, the highest correlations with tCSE were found for creative imagination, an openness facet, and energy level, an extraversion facet, while with CPI for all openness facets, creative imagination, aesthetic sensitivity and intellectual curiosity. In linear regression analyses, the only significant predictors of CPI were openness at the factor level and creative imagination at the facet level. Significant predictors of tCSE were openness and neuroticism at the factor level and creative imagination and sociability at the facet level. Personality facets explained more variance in both types of creative self-beliefs than factors.","PeriodicalId":20858,"journal":{"name":"Psihologijske teme","volume":"3 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74262881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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