Pub Date : 2024-11-18DOI: 10.1177/03057356241290961
Maria Papazachariou-Christoforou
This study investigates how a first-time Cypriot mother used music in caring for her infant during the COVID-19 pandemic. Limited research has been done about musical parenting during this time, highlighting the importance of this single case study. For 5 months, the mother-participant engaged in an online musical parenting program, which aimed to increase knowledge regarding the use of music and movement with infants and suggest ways for practical implications. Data included interviews, informal discussions, the participant’s digital journals and filmed videos, and researcher field notes taken during the teaching program. Thematic analysis revealed that even without prior formal or informal musical training, and in prolonged isolation with related stressors during the COVID-19 pandemic, the mother-participant engaged extensively in musical interaction with her infant. Musical activities provided a meaningful framework for the mother to cope with the daily demands of mothering and to manage the isolation due to COVID-19. Music engagement enhanced the bond between the mother and her infant, united family members, and promoted her perceived state of well-being. The findings support previous research on the significance of musical interaction between caregivers and infants, particularly during the COVID-19 outbreak.
{"title":"The use of music in the daily care of an infant: Exploring a mother’s experience during the COVID-19 pandemic","authors":"Maria Papazachariou-Christoforou","doi":"10.1177/03057356241290961","DOIUrl":"https://doi.org/10.1177/03057356241290961","url":null,"abstract":"This study investigates how a first-time Cypriot mother used music in caring for her infant during the COVID-19 pandemic. Limited research has been done about musical parenting during this time, highlighting the importance of this single case study. For 5 months, the mother-participant engaged in an online musical parenting program, which aimed to increase knowledge regarding the use of music and movement with infants and suggest ways for practical implications. Data included interviews, informal discussions, the participant’s digital journals and filmed videos, and researcher field notes taken during the teaching program. Thematic analysis revealed that even without prior formal or informal musical training, and in prolonged isolation with related stressors during the COVID-19 pandemic, the mother-participant engaged extensively in musical interaction with her infant. Musical activities provided a meaningful framework for the mother to cope with the daily demands of mothering and to manage the isolation due to COVID-19. Music engagement enhanced the bond between the mother and her infant, united family members, and promoted her perceived state of well-being. The findings support previous research on the significance of musical interaction between caregivers and infants, particularly during the COVID-19 outbreak.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"69 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142670854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-11-14DOI: 10.1177/03057356241296535
Weronika Molińska, Joanna Rajchert
This study investigates the impact of positive or negative performance evaluations on general self-efficacy and subsequent choice of a solo or group performance among professional musicians ( N = 53; women 58.2%, men 36.4%, non-binary 5.5%). Participants completed personality questionnaires, sight-read an unfamiliar musical piece, received computer-generated feedback, and reported post-manipulation self-efficacy. Results showed that positive evaluations, even computer-generated, increased self-efficacy and were associated with a higher likelihood of choosing solo/ a cappella performance. While self-efficacy correlated with a greater preference for solo/ a cappella performance, it did not mediate the relationship between evaluation and performance choice. Findings align with Bandura’s self-efficacy theory, emphasizing the influence of mastery experiences and external feedback on self-efficacy development.
{"title":"Positive musical performance feedback facilitates general self-efficacy and choice of solo performance","authors":"Weronika Molińska, Joanna Rajchert","doi":"10.1177/03057356241296535","DOIUrl":"https://doi.org/10.1177/03057356241296535","url":null,"abstract":"This study investigates the impact of positive or negative performance evaluations on general self-efficacy and subsequent choice of a solo or group performance among professional musicians ( N = 53; women 58.2%, men 36.4%, non-binary 5.5%). Participants completed personality questionnaires, sight-read an unfamiliar musical piece, received computer-generated feedback, and reported post-manipulation self-efficacy. Results showed that positive evaluations, even computer-generated, increased self-efficacy and were associated with a higher likelihood of choosing solo/ a cappella performance. While self-efficacy correlated with a greater preference for solo/ a cappella performance, it did not mediate the relationship between evaluation and performance choice. Findings align with Bandura’s self-efficacy theory, emphasizing the influence of mastery experiences and external feedback on self-efficacy development.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"69 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-11-12DOI: 10.1177/03057356241288551
Kayla Boileau, Nicole Stanson, Zhuo Fang, Kheana Barbeau, Umara Hansen, Gilles Comeau, Andra Smith
Many musicians live with music performance anxiety (MPA), which may affect their psychological and physiological functioning. Mindfulness, being aware in the present moment without judgment, has been found to help ease anxiety. Mindfulness may also help alleviate the negative effects of MPA, but what is the neurophysiological basis for this effect? Core components of mindfulness, including emotional processing and acceptance, are related to specific patterns of brain activity. In the current study, 20 musicians with MPA underwent a resting-state functional magnetic resonance imaging (MRI) scan (Time 1), a method to examine the communication between brain regions at rest. Notably, 10 musicians then underwent 2 weeks of mindfulness training, while 10 did not. The same scan sequence was repeated in all participants 2 weeks later (Time 2). Compared with Time 1, participants in the mindfulness group exhibited decreased resting-state functional connectivity between areas of the prefrontal cortex and the vermis-6 and crus-II at Time 2. These two areas of the cerebellum are related to emotional processing and acceptance. Changes in communication between these brain regions and the prefrontal cortex suggest the neurophysiological influences of mindfulness and how mindfulness can be used to strengthen emotion regulation networks in musicians with MPA.
{"title":"Examining how brief mindfulness training influences communication within the brain of musicians with music performance anxiety: A resting state fMRI study","authors":"Kayla Boileau, Nicole Stanson, Zhuo Fang, Kheana Barbeau, Umara Hansen, Gilles Comeau, Andra Smith","doi":"10.1177/03057356241288551","DOIUrl":"https://doi.org/10.1177/03057356241288551","url":null,"abstract":"Many musicians live with music performance anxiety (MPA), which may affect their psychological and physiological functioning. Mindfulness, being aware in the present moment without judgment, has been found to help ease anxiety. Mindfulness may also help alleviate the negative effects of MPA, but what is the neurophysiological basis for this effect? Core components of mindfulness, including emotional processing and acceptance, are related to specific patterns of brain activity. In the current study, 20 musicians with MPA underwent a resting-state functional magnetic resonance imaging (MRI) scan (Time 1), a method to examine the communication between brain regions at rest. Notably, 10 musicians then underwent 2 weeks of mindfulness training, while 10 did not. The same scan sequence was repeated in all participants 2 weeks later (Time 2). Compared with Time 1, participants in the mindfulness group exhibited decreased resting-state functional connectivity between areas of the prefrontal cortex and the vermis-6 and crus-II at Time 2. These two areas of the cerebellum are related to emotional processing and acceptance. Changes in communication between these brain regions and the prefrontal cortex suggest the neurophysiological influences of mindfulness and how mindfulness can be used to strengthen emotion regulation networks in musicians with MPA.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"69 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142601956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-11-07DOI: 10.1177/03057356241288765
{"title":"RETRACTION NOTICE: Effect of Internet-mediated music therapy intervention on reduction in generalized anxiety disorder symptoms among displaced Nigerians of the Russia–Ukraine war","authors":"","doi":"10.1177/03057356241288765","DOIUrl":"https://doi.org/10.1177/03057356241288765","url":null,"abstract":"","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"34 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142596544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-10-22DOI: 10.1177/03057356241279763
Tuomas Eerola, Connor Kirts, Suvi Saarikallio
We present a novel framework for music and emotion research that addresses emotional experiences with music as functional episodes. This framework, called the Episode Model, places the situation and the function of the music for the individual at the centre of the experience and integrates acts of affective self-regulation to our understanding of music as emotional experiences. The model consists of a set of five common and functionally unique episodes of emotional experiences related to music, which are: (1) Enjoyment–Distraction–Relaxation (EDR), (2) Connection–Belonging (CB), (3) Focus–Motivation (FM), (4) Personal Emotional Processing (PEP), and (5) Aesthetic–Interest–Awe (AIA). Each episode type can be characterised by a distinct configuration of six descriptive schemes: (1) core affect and emotion qualia, (2) induction mechanisms, (3) listening modes and agency, (4) reward and exposure, (5) musical meanings, and (6) functional contexts. This framework of episodes and schemes places the functionality of emotions at the forefront of music and emotion research and explains how emotional experiences are situated and functionally constructed. In addition, we provide a set of assumptions and specific predictions to facilitate focussed empirical studies of emotional engagement with music.
{"title":"Episode model: The functional approach to emotional experiences of music","authors":"Tuomas Eerola, Connor Kirts, Suvi Saarikallio","doi":"10.1177/03057356241279763","DOIUrl":"https://doi.org/10.1177/03057356241279763","url":null,"abstract":"We present a novel framework for music and emotion research that addresses emotional experiences with music as functional episodes. This framework, called the Episode Model, places the situation and the function of the music for the individual at the centre of the experience and integrates acts of affective self-regulation to our understanding of music as emotional experiences. The model consists of a set of five common and functionally unique episodes of emotional experiences related to music, which are: (1) Enjoyment–Distraction–Relaxation (EDR), (2) Connection–Belonging (CB), (3) Focus–Motivation (FM), (4) Personal Emotional Processing (PEP), and (5) Aesthetic–Interest–Awe (AIA). Each episode type can be characterised by a distinct configuration of six descriptive schemes: (1) core affect and emotion qualia, (2) induction mechanisms, (3) listening modes and agency, (4) reward and exposure, (5) musical meanings, and (6) functional contexts. This framework of episodes and schemes places the functionality of emotions at the forefront of music and emotion research and explains how emotional experiences are situated and functionally constructed. In addition, we provide a set of assumptions and specific predictions to facilitate focussed empirical studies of emotional engagement with music.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142487678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-10-21DOI: 10.1177/03057356241284614
Erika J. Knapp, James Brinkmann, Liza Calisesi Maidens
The purpose of this exploratory instrumental qualitative case study with nested mixed methods was to examine undergraduate music majors’ perceptions of their sense of belonging within one public university music program. We surveyed undergraduate music majors within a single music program and completed purposeful and targeted follow-up interviews of selected respondents who represented a diverse cross-section of the student body. Quantitative analysis included descriptive demographic statistics and linear multiple regression with belonging as the dependent factor. There was a statistically significant relationship between faculty interactions and student sense of belonging ( p < .001). Qualitative findings suggested that student–faculty interactions were a primary contributor to a student’s sense of belonging, as well as the importance of a network of friends and the overall school culture. Implications of these results may assist music administration and faculty members in developing a culture of belonging within their respective studios or departments.
{"title":"“See me for who I am”: An exploratory study of undergraduate music major belonging","authors":"Erika J. Knapp, James Brinkmann, Liza Calisesi Maidens","doi":"10.1177/03057356241284614","DOIUrl":"https://doi.org/10.1177/03057356241284614","url":null,"abstract":"The purpose of this exploratory instrumental qualitative case study with nested mixed methods was to examine undergraduate music majors’ perceptions of their sense of belonging within one public university music program. We surveyed undergraduate music majors within a single music program and completed purposeful and targeted follow-up interviews of selected respondents who represented a diverse cross-section of the student body. Quantitative analysis included descriptive demographic statistics and linear multiple regression with belonging as the dependent factor. There was a statistically significant relationship between faculty interactions and student sense of belonging ( p < .001). Qualitative findings suggested that student–faculty interactions were a primary contributor to a student’s sense of belonging, as well as the importance of a network of friends and the overall school culture. Implications of these results may assist music administration and faculty members in developing a culture of belonging within their respective studios or departments.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"79 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142486712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-10-18DOI: 10.1177/03057356241272999
Daniel Fiedler, Johannes Hasselhorn, A. Katrin Arens, Anne C. Frenzel, Walter P. Vispoel
The Music Self-Perception Inventory-Short (MUSPI-S) is a theoretically based instrument consisting of 28 items with subscales that assess music self-concept globally and in six specific areas. The present study sought to validate a German translation of the MUSPI-S using a sample of 444 secondary school students. In addition to participants’ scores from the German translation of the MUSPI-S, associated data included demographic background variables, self-reported school grades in various subjects, and interest in the school subject of music. Confirmatory factor analyses supported the hypothesized factor structure and measurement model for MUSPI-S scores. Latent factor correlations among MUSPI-S subscale scores and correlations of these scores with school grades and interest in the school subject of music aligned well with theoretical expectations and previous research. Findings also provided evidence for strict measurement invariance of scores in the German MUSPI-S across subgroups of gender, school year (i.e., grade level), and musical activity. MUSPI-S subscale factor-level means did not reliably differ among seventh-, eighth-, and ninth-grade students but favored females over males and musically active over non-active students on nearly all subscales. Overall, this evidence supports the use of the German translation of the MUSPI-S in assessing a wide range of important self-perceived musical abilities for research and practical assessment purposes.
{"title":"Validating scores from the short form of the Music Self-Perception Inventory (MUSPI-S) with seventh- to ninth-grade school students in Germany","authors":"Daniel Fiedler, Johannes Hasselhorn, A. Katrin Arens, Anne C. Frenzel, Walter P. Vispoel","doi":"10.1177/03057356241272999","DOIUrl":"https://doi.org/10.1177/03057356241272999","url":null,"abstract":"The Music Self-Perception Inventory-Short (MUSPI-S) is a theoretically based instrument consisting of 28 items with subscales that assess music self-concept globally and in six specific areas. The present study sought to validate a German translation of the MUSPI-S using a sample of 444 secondary school students. In addition to participants’ scores from the German translation of the MUSPI-S, associated data included demographic background variables, self-reported school grades in various subjects, and interest in the school subject of music. Confirmatory factor analyses supported the hypothesized factor structure and measurement model for MUSPI-S scores. Latent factor correlations among MUSPI-S subscale scores and correlations of these scores with school grades and interest in the school subject of music aligned well with theoretical expectations and previous research. Findings also provided evidence for strict measurement invariance of scores in the German MUSPI-S across subgroups of gender, school year (i.e., grade level), and musical activity. MUSPI-S subscale factor-level means did not reliably differ among seventh-, eighth-, and ninth-grade students but favored females over males and musically active over non-active students on nearly all subscales. Overall, this evidence supports the use of the German translation of the MUSPI-S in assessing a wide range of important self-perceived musical abilities for research and practical assessment purposes.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"11 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142451365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-10-15DOI: 10.1177/03057356241270940
Renan Moreira Madeira, Regina Antunes Teixeira dos Santos
Sixteen piano students learned four piano pieces under two different conditions that involved the deprivation of auditory and motor feedback. One condition required study away from the piano, thus implying the removal of auditory and kinaesthetic feedback (mental practice, MP). The other condition involved study on a digital piano that was turned off (motor practice, MoP), hence depriving the participant of auditory feedback. Data on the effects of the two different modalities of practice, which also excluded external sound references during the initial study of new piano pieces, were analysed in two different ways. First, video recordings of the participants’ practice sessions were analysed to identify behaviours exhibited during these sessions, quantified by number of incidences. Second, external referees assessed final performances (audio recordings on an acoustic piano) according to four proposed parameters related to piano performance. Data from semi-structured interviews were collected as well. The results showed differences between the two conditions, especially with respect to the utilisation of support activities and pauses during practice. The analysis indicated that procedures related to MP may yield better results when the musical material is approached as small portions one at a time. Finally, the modality of MP described in this article, which bears some relation to other forms of MP, could be a valid alternative for issues of fatigue and complexity related to MP, as has been traditionally described in the literature.
{"title":"Effects of two modalities of practice on the learning of piano pieces under the deprivation of auditory feedback","authors":"Renan Moreira Madeira, Regina Antunes Teixeira dos Santos","doi":"10.1177/03057356241270940","DOIUrl":"https://doi.org/10.1177/03057356241270940","url":null,"abstract":"Sixteen piano students learned four piano pieces under two different conditions that involved the deprivation of auditory and motor feedback. One condition required study away from the piano, thus implying the removal of auditory and kinaesthetic feedback (mental practice, MP). The other condition involved study on a digital piano that was turned off (motor practice, MoP), hence depriving the participant of auditory feedback. Data on the effects of the two different modalities of practice, which also excluded external sound references during the initial study of new piano pieces, were analysed in two different ways. First, video recordings of the participants’ practice sessions were analysed to identify behaviours exhibited during these sessions, quantified by number of incidences. Second, external referees assessed final performances (audio recordings on an acoustic piano) according to four proposed parameters related to piano performance. Data from semi-structured interviews were collected as well. The results showed differences between the two conditions, especially with respect to the utilisation of support activities and pauses during practice. The analysis indicated that procedures related to MP may yield better results when the musical material is approached as small portions one at a time. Finally, the modality of MP described in this article, which bears some relation to other forms of MP, could be a valid alternative for issues of fatigue and complexity related to MP, as has been traditionally described in the literature.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"193 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142440162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-10-08DOI: 10.1177/03057356241257426
Suvi Saarikallio, Birgitta Burger, Geoffrey Luck
Music has been actively studied from the perspectives of emotional expression and body movement, but not during adolescence. The current study addressed music as a forum for adolescent embodied emotion expression. Based on prior research, we hypothesised that adolescents would be able to differentiate between emotions in their music-related expressive body movements based on valence and arousal characteristics. Participants ( N = 60, 17 male, mean age 14.72 years) played djembe to express five basic emotions (happiness, tenderness, sadness, anger, fear) while body movements were motion captured. Correlations of movement features with emotion-regulation tendencies, as measured by the Emotion Regulation Questionnaire (ERQ), were additionally explored. Adolescents demonstrated great capacity to use all measured movement features to express emotions: movement speed, variance, area and length all differed significantly between emotions. In particular, the results confirm the hypothesised connection of high arousal to high speed and acceleration and further suggest that positive valence relates to wider area and longer performance. In addition, adolescents scoring high on cognitive reappraisal gave faster and more stable performances. We discuss creative body movement as part of youth emotional development.
{"title":"Embodiment of emotions in adolescents’ musical expression","authors":"Suvi Saarikallio, Birgitta Burger, Geoffrey Luck","doi":"10.1177/03057356241257426","DOIUrl":"https://doi.org/10.1177/03057356241257426","url":null,"abstract":"Music has been actively studied from the perspectives of emotional expression and body movement, but not during adolescence. The current study addressed music as a forum for adolescent embodied emotion expression. Based on prior research, we hypothesised that adolescents would be able to differentiate between emotions in their music-related expressive body movements based on valence and arousal characteristics. Participants ( N = 60, 17 male, mean age 14.72 years) played djembe to express five basic emotions (happiness, tenderness, sadness, anger, fear) while body movements were motion captured. Correlations of movement features with emotion-regulation tendencies, as measured by the Emotion Regulation Questionnaire (ERQ), were additionally explored. Adolescents demonstrated great capacity to use all measured movement features to express emotions: movement speed, variance, area and length all differed significantly between emotions. In particular, the results confirm the hypothesised connection of high arousal to high speed and acceleration and further suggest that positive valence relates to wider area and longer performance. In addition, adolescents scoring high on cognitive reappraisal gave faster and more stable performances. We discuss creative body movement as part of youth emotional development.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"14 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142386273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-19DOI: 10.1177/03057356241271032
Simran Gidwani, Veenashree Anchan, Nisha James
The study investigates the multifaceted role of music during homesickness among first-year college students in India. As compared to other mental health outcomes, homesickness is a relatively understudied phenomenon, yet noteworthy due to its direct association with depression and anxiety. Although empirical evidence about music highlights its therapeutic potential for managing stress and anxiety, few studies have explored its role in connection with homesickness. The data for this study were collected through semi-structured interviews with 10 students about their perception of using music during homesickness. Through interpretative phenomenological analysis, the emerging themes pointed to a mixed influence, highlighting the bittersweet nature of music during homesickness. While music validates feelings and boosts confidence and motivation, it also triggers restorative nostalgia and serves as an escape from confronting homesickness. Moreover, native songs fostered an appreciation for one’s culture and helped students connect with their roots. The study contributes to understanding how music is a versatile tool for students dealing with homesickness, offering solace and potential challenges. It serves as a guide to future intervention studies that could explore music’s long-term influences. Recognising the diverse ways students perceive and respond to music provides valuable insights for developing tailored interventions and support systems.
{"title":"Lyrics of longing: Exploring the role of music in the lived experience of homesickness among college students","authors":"Simran Gidwani, Veenashree Anchan, Nisha James","doi":"10.1177/03057356241271032","DOIUrl":"https://doi.org/10.1177/03057356241271032","url":null,"abstract":"The study investigates the multifaceted role of music during homesickness among first-year college students in India. As compared to other mental health outcomes, homesickness is a relatively understudied phenomenon, yet noteworthy due to its direct association with depression and anxiety. Although empirical evidence about music highlights its therapeutic potential for managing stress and anxiety, few studies have explored its role in connection with homesickness. The data for this study were collected through semi-structured interviews with 10 students about their perception of using music during homesickness. Through interpretative phenomenological analysis, the emerging themes pointed to a mixed influence, highlighting the bittersweet nature of music during homesickness. While music validates feelings and boosts confidence and motivation, it also triggers restorative nostalgia and serves as an escape from confronting homesickness. Moreover, native songs fostered an appreciation for one’s culture and helped students connect with their roots. The study contributes to understanding how music is a versatile tool for students dealing with homesickness, offering solace and potential challenges. It serves as a guide to future intervention studies that could explore music’s long-term influences. Recognising the diverse ways students perceive and respond to music provides valuable insights for developing tailored interventions and support systems.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"22 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142245937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：