Pub Date : 2023-03-29DOI: 10.1177/03057356231155970
Monica J Maghiar, Blake J. Lawrence, W. Mulders, Thomas C Moyle, Isabelle Livings, D. Jayakody
Musicians are at risk of developing music-induced hearing loss (MIHL) and also exhibit increased prevalence of depression, anxiety, and stress. However, the relationship between hearing loss and mental health issues in musicians has not yet been explored. This study conducted a cross-sectional analysis of 32 professional and 35 amateur musicians recruited from local bands and orchestras. KUDUwave software was used to obtain their overall hearing thresholds for both ears over three frequency ranges: 0.5 to 4, 6 to 8, and 9 to 16 kHz. Participants also completed a demographic questionnaire that contained questions related to musical exposure, type of music exposed, years of practice, and so on, and the DASS-21 questionnaire, which assesses the presence of depression, anxiety, and stress symptoms. Professional musicians had significantly greater music exposure compared with amateur musicians, but their hearing thresholds were not significantly different from amateur musicians in 0.5–4, 6–8, or 9–16 kHz frequency ranges. Professional musicians experienced greater symptoms of anxiety compared with amateur musicians, and this occurred independently of their hearing status. Further longitudinal studies are required to explore the causative factors resulting in increased mental health issues in professional musicians and what potential interventions may be implemented to address anxious symptomology in this population.
{"title":"Hearing loss and mental health issues in amateur and professional musicians","authors":"Monica J Maghiar, Blake J. Lawrence, W. Mulders, Thomas C Moyle, Isabelle Livings, D. Jayakody","doi":"10.1177/03057356231155970","DOIUrl":"https://doi.org/10.1177/03057356231155970","url":null,"abstract":"Musicians are at risk of developing music-induced hearing loss (MIHL) and also exhibit increased prevalence of depression, anxiety, and stress. However, the relationship between hearing loss and mental health issues in musicians has not yet been explored. This study conducted a cross-sectional analysis of 32 professional and 35 amateur musicians recruited from local bands and orchestras. KUDUwave software was used to obtain their overall hearing thresholds for both ears over three frequency ranges: 0.5 to 4, 6 to 8, and 9 to 16 kHz. Participants also completed a demographic questionnaire that contained questions related to musical exposure, type of music exposed, years of practice, and so on, and the DASS-21 questionnaire, which assesses the presence of depression, anxiety, and stress symptoms. Professional musicians had significantly greater music exposure compared with amateur musicians, but their hearing thresholds were not significantly different from amateur musicians in 0.5–4, 6–8, or 9–16 kHz frequency ranges. Professional musicians experienced greater symptoms of anxiety compared with amateur musicians, and this occurred independently of their hearing status. Further longitudinal studies are required to explore the causative factors resulting in increased mental health issues in professional musicians and what potential interventions may be implemented to address anxious symptomology in this population.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45778698","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 : 2023-03-29DOI: 10.1177/03057356231155968
S. Paese, Hauke Egermann
Music performance anxiety (MPA) affects numerous musicians, preventing them from performing to the full extent of their abilities. A variety of tools are used to cope with MPA among which is meditation. Although research conducted to date has made a distinction between the types of meditative techniques and their effects, this aspect is still not thoroughly investigated. The aim of this qualitative study is to investigate the experience of specialists in the field and identify the meditations employed for counteracting MPA. Sixteen semi-structured interviews were held with experts; recordings and transcripts were verified multiple times and imported into NVivo software. Thematic analysis was conducted, developing three main themes which illustrate how the experts describe MPA, the influencing factors for the effectiveness of meditation, the employed meditative techniques and how they reduce MPA. Within the last theme, body-centered meditations and breathing techniques, along with visualizations and Vipassana meditation, occupy a prominent place. Results show furthermore that affect-centered meditations offer interesting perspectives for counteracting perfectionism and self-criticism. The findings of this study may be of interest to educational institutions and musicians who want to acquire emotional awareness, self-regulation strategies for counteracting MPA, and improving performance skills.
{"title":"Meditation as a tool to counteract music performance anxiety from the experts’ perspective","authors":"S. Paese, Hauke Egermann","doi":"10.1177/03057356231155968","DOIUrl":"https://doi.org/10.1177/03057356231155968","url":null,"abstract":"Music performance anxiety (MPA) affects numerous musicians, preventing them from performing to the full extent of their abilities. A variety of tools are used to cope with MPA among which is meditation. Although research conducted to date has made a distinction between the types of meditative techniques and their effects, this aspect is still not thoroughly investigated. The aim of this qualitative study is to investigate the experience of specialists in the field and identify the meditations employed for counteracting MPA. Sixteen semi-structured interviews were held with experts; recordings and transcripts were verified multiple times and imported into NVivo software. Thematic analysis was conducted, developing three main themes which illustrate how the experts describe MPA, the influencing factors for the effectiveness of meditation, the employed meditative techniques and how they reduce MPA. Within the last theme, body-centered meditations and breathing techniques, along with visualizations and Vipassana meditation, occupy a prominent place. Results show furthermore that affect-centered meditations offer interesting perspectives for counteracting perfectionism and self-criticism. The findings of this study may be of interest to educational institutions and musicians who want to acquire emotional awareness, self-regulation strategies for counteracting MPA, and improving performance skills.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43415639","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 : 2023-03-24DOI: 10.1177/03057356231153062
J. Cespedes-Guevara, Maria A. G. Witek
The effect of moving along to music on induced affect was investigated by asking two groups of participants ( N = 76) to listen to rhythmic patterns while either foot tapping along to the beat or staying still, respectively. Stimuli consisted of drum-breaks with three levels of syncopation (low, intermediate, high). Participants reported levels of induced pleasantness, relaxation, and wakefulness. It was hypothesized that participants who tapped along would experience greater pleasantness, less relaxation, and more wakefulness than those who remained still. In addition, it was predicted that stimuli with intermediate syncopation would be associated with greater pleasantness, following an inverted U-shaped function, and that increasing levels of syncopation would be associated with decreased relaxation and increased wakefulness. Results showed no differences in affective state between participants who tapped along and participants who stayed still. While the predicted associations between syncopation, pleasantness, and relaxation were only partially supported by the data, we did find an inverted U-shaped relationship between syncopation and difficulty to tap along, or stay still. The findings suggest that moving along to music does not automatically lead to more intense affective responses, potentially because any positive change associated with movement is outweighed by the difficulty of the synchronization task.
{"title":"Syncopation levels, but not movement, are associated with pleasantness while listening to rhythmic music","authors":"J. Cespedes-Guevara, Maria A. G. Witek","doi":"10.1177/03057356231153062","DOIUrl":"https://doi.org/10.1177/03057356231153062","url":null,"abstract":"The effect of moving along to music on induced affect was investigated by asking two groups of participants ( N = 76) to listen to rhythmic patterns while either foot tapping along to the beat or staying still, respectively. Stimuli consisted of drum-breaks with three levels of syncopation (low, intermediate, high). Participants reported levels of induced pleasantness, relaxation, and wakefulness. It was hypothesized that participants who tapped along would experience greater pleasantness, less relaxation, and more wakefulness than those who remained still. In addition, it was predicted that stimuli with intermediate syncopation would be associated with greater pleasantness, following an inverted U-shaped function, and that increasing levels of syncopation would be associated with decreased relaxation and increased wakefulness. Results showed no differences in affective state between participants who tapped along and participants who stayed still. While the predicted associations between syncopation, pleasantness, and relaxation were only partially supported by the data, we did find an inverted U-shaped relationship between syncopation and difficulty to tap along, or stay still. The findings suggest that moving along to music does not automatically lead to more intense affective responses, potentially because any positive change associated with movement is outweighed by the difficulty of the synchronization task.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45937866","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 : 2023-03-23DOI: 10.1177/03057356231155654
A. Lohmeyer
The primary purpose of this study was to determine reading strategy differences in completing a notation memorization task between three ensemble music traditions: jazz, choral, and band. The secondary purpose of this study was to assess possible relationships between ensemble affiliation, memorization strategies, and participants’ memorization accuracy. Participants (N = 81) had 75 s to memorize short melody while studying silently, singing, or playing on a keyboard. Participants then notated the each melody using staff notation. After completion of the task, participants ranked reading strategies employed. A Kruskal–Wallis test revealed participants in the three ensemble groups approached the memorization task using significantly different cognitive strategies: the choral group used solfege labeling more than the jazz group, the choral group used whole repetition more than the band group, and the jazz group used harmonic analysis more than the choral group. A Spearman rank correlation revealed significant relationships between stated strategies and memorization accuracy. A significant positive relationship was found between identification of patterns and accuracy on the memorization task. Group differences reveal how the forms of music literacy constructed through different ensemble affiliations may create different approaches to understanding staff notation.
{"title":"Reading strategy differences between college choral, band, and jazz musicians: Evidence for musical multiliteracies","authors":"A. Lohmeyer","doi":"10.1177/03057356231155654","DOIUrl":"https://doi.org/10.1177/03057356231155654","url":null,"abstract":"The primary purpose of this study was to determine reading strategy differences in completing a notation memorization task between three ensemble music traditions: jazz, choral, and band. The secondary purpose of this study was to assess possible relationships between ensemble affiliation, memorization strategies, and participants’ memorization accuracy. Participants (N = 81) had 75 s to memorize short melody while studying silently, singing, or playing on a keyboard. Participants then notated the each melody using staff notation. After completion of the task, participants ranked reading strategies employed. A Kruskal–Wallis test revealed participants in the three ensemble groups approached the memorization task using significantly different cognitive strategies: the choral group used solfege labeling more than the jazz group, the choral group used whole repetition more than the band group, and the jazz group used harmonic analysis more than the choral group. A Spearman rank correlation revealed significant relationships between stated strategies and memorization accuracy. A significant positive relationship was found between identification of patterns and accuracy on the memorization task. Group differences reveal how the forms of music literacy constructed through different ensemble affiliations may create different approaches to understanding staff notation.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"51 1","pages":"1518 - 1533"},"PeriodicalIF":1.7,"publicationDate":"2023-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43784758","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 : 2023-03-23DOI: 10.1177/03057356231153070
Efrén de la Mora Velasco, Yuting Chen, Atsusi Hirumi, Haiyan Bai
This meta-analysis integrates outcomes of experimental and quasi-experimental studies to analyze the effects of background music (BM) on learning. Research articles, dissertations, and conference proceedings published in or before 2021 were examined. Seventy-one effect sizes from 47 studies were integrated using a random-effects model and subgroup analyses. Five key results were found: (a) a small and positive mean effect size ( d = 0.314) in favor of the BM condition, (b) a positive and medium effect size for studies that implemented BM before the learning assessment, (c) a positive and small effect size for factual knowledge retention, (d) a positive and small effect size for classical music compared with other music genres, and (e) individuals’ age can potentially moderate the impact of BM on learning. The results suggest a revised explanation of how the BM may affect learning, refuting existing cognitive load and multimedia learning theories that discourage the use of BM during instruction.
{"title":"The impact of background music on learners: A systematic review and meta-analysis","authors":"Efrén de la Mora Velasco, Yuting Chen, Atsusi Hirumi, Haiyan Bai","doi":"10.1177/03057356231153070","DOIUrl":"https://doi.org/10.1177/03057356231153070","url":null,"abstract":"This meta-analysis integrates outcomes of experimental and quasi-experimental studies to analyze the effects of background music (BM) on learning. Research articles, dissertations, and conference proceedings published in or before 2021 were examined. Seventy-one effect sizes from 47 studies were integrated using a random-effects model and subgroup analyses. Five key results were found: (a) a small and positive mean effect size ( d = 0.314) in favor of the BM condition, (b) a positive and medium effect size for studies that implemented BM before the learning assessment, (c) a positive and small effect size for factual knowledge retention, (d) a positive and small effect size for classical music compared with other music genres, and (e) individuals’ age can potentially moderate the impact of BM on learning. The results suggest a revised explanation of how the BM may affect learning, refuting existing cognitive load and multimedia learning theories that discourage the use of BM during instruction.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42320769","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 : 2023-03-23DOI: 10.1177/03057356231153071
Ori Grossman, Matti Rachamim
Coffee is a tremendously popular beverage throughout the world. According to recent studies, consumption of this caffeinated drink is influenced, inter alia, by variables related to store atmosphere, including background music. Findings in this regard, however, have been rather limited and ambiguous, and raise the question of whether music style, specifically classical versus pop, influences coffee purchase likelihood. In four studies, the authors sought to address this question, finding a positive correlation between music arousal level and coffee purchase likelihood, regardless of music style (classical or pop). In other words, an increase in music arousal level appears to enhance coffee purchase likelihood. The results, thereby, support the music congruity hypothesis. The article concludes with a discussion of research and managerial implications as well as directions for future research.
{"title":"Does classical versus pop music influence coffee purchase likelihood?","authors":"Ori Grossman, Matti Rachamim","doi":"10.1177/03057356231153071","DOIUrl":"https://doi.org/10.1177/03057356231153071","url":null,"abstract":"Coffee is a tremendously popular beverage throughout the world. According to recent studies, consumption of this caffeinated drink is influenced, inter alia, by variables related to store atmosphere, including background music. Findings in this regard, however, have been rather limited and ambiguous, and raise the question of whether music style, specifically classical versus pop, influences coffee purchase likelihood. In four studies, the authors sought to address this question, finding a positive correlation between music arousal level and coffee purchase likelihood, regardless of music style (classical or pop). In other words, an increase in music arousal level appears to enhance coffee purchase likelihood. The results, thereby, support the music congruity hypothesis. The article concludes with a discussion of research and managerial implications as well as directions for future research.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48765500","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 : 2023-03-23DOI: 10.1177/03057356231153064
Taina Lorenz, Steven J. Morrison
Ensemble musicians must navigate a complex sensory environment to produce cohesive performances. The purpose of this study was to examine pulse alignment among performers of different experience levels facing increasingly asynchronous auditory and visual information. Musicians (N = 51) who were current members of large instrumental ensembles watched a video of a conductor outlining a 4/4 pattern while hearing a multivoiced instrumental ensemble soundtrack and were asked to tap the pulse on a tablet-based pad. Each of nine examples was presented in one of three experimental formats: control (steady audio and video), audio (ensemble) accelerating/video (conductor beat pattern) decelerating, and video accelerating/audio decelerating. Rate of pulse change was ±7.5% with initial tempos of 108, 127, and 146 bpm. Data consisted of (1) deviations (ms) from a consistent IOI (steady pulse) and (2) mean deviations from audio (ensemble) or video (conductor) pulse. In the asynchronous conditions, participants broadly adhered to auditory or visual information rather than to a steady rate of pulse. There was no significant difference between information stream preference. Experience was a significant factor in audio information deviations; more experienced performers found audio information to be a more salient reference point, consistent with results reported for less contextualized timekeeping tasks.
{"title":"Focus of alignment and performance accuracy among wind band musicians in situations of audio-visual asynchrony","authors":"Taina Lorenz, Steven J. Morrison","doi":"10.1177/03057356231153064","DOIUrl":"https://doi.org/10.1177/03057356231153064","url":null,"abstract":"Ensemble musicians must navigate a complex sensory environment to produce cohesive performances. The purpose of this study was to examine pulse alignment among performers of different experience levels facing increasingly asynchronous auditory and visual information. Musicians (N = 51) who were current members of large instrumental ensembles watched a video of a conductor outlining a 4/4 pattern while hearing a multivoiced instrumental ensemble soundtrack and were asked to tap the pulse on a tablet-based pad. Each of nine examples was presented in one of three experimental formats: control (steady audio and video), audio (ensemble) accelerating/video (conductor beat pattern) decelerating, and video accelerating/audio decelerating. Rate of pulse change was ±7.5% with initial tempos of 108, 127, and 146 bpm. Data consisted of (1) deviations (ms) from a consistent IOI (steady pulse) and (2) mean deviations from audio (ensemble) or video (conductor) pulse. In the asynchronous conditions, participants broadly adhered to auditory or visual information rather than to a steady rate of pulse. There was no significant difference between information stream preference. Experience was a significant factor in audio information deviations; more experienced performers found audio information to be a more salient reference point, consistent with results reported for less contextualized timekeeping tasks.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"51 1","pages":"1457 - 1473"},"PeriodicalIF":1.7,"publicationDate":"2023-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47945170","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 : 2023-03-01DOI: 10.1177/03057356221098781
Joseph Steinhardt, Nikki McClaran
This study tests the effect to which narratives influence the enjoyment and appreciation of popular music. Two experiments tested how narratives about artists influenced listener perception of their songs. Experiment 1 found that narratives about artists influence how their music is appreciated and enjoyed. Experiment 2 found that this influence was due to narratives increasing how much listeners like the artist and desire to see them succeed. The increase in enjoyment and appreciation was stronger for songs that were not as well-liked to begin with. The results suggest that narratives about creators may influence the perception of their work.
{"title":"Separating the art from the artist: The role of narratives on music enjoyment and appreciation","authors":"Joseph Steinhardt, Nikki McClaran","doi":"10.1177/03057356221098781","DOIUrl":"https://doi.org/10.1177/03057356221098781","url":null,"abstract":"This study tests the effect to which narratives influence the enjoyment and appreciation of popular music. Two experiments tested how narratives about artists influenced listener perception of their songs. Experiment 1 found that narratives about artists influence how their music is appreciated and enjoyed. Experiment 2 found that this influence was due to narratives increasing how much listeners like the artist and desire to see them succeed. The increase in enjoyment and appreciation was stronger for songs that were not as well-liked to begin with. The results suggest that narratives about creators may influence the perception of their work.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"51 1","pages":"395 - 411"},"PeriodicalIF":1.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46209751","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 : 2023-02-20DOI: 10.1177/03057356231153068
Arni Nur Laila, Diajeng Retno Kinanti Putri, Mohamad Saripudin
{"title":"Book Review: Exploring High-Risk Offender Treatment and the Role of Music Therapy","authors":"Arni Nur Laila, Diajeng Retno Kinanti Putri, Mohamad Saripudin","doi":"10.1177/03057356231153068","DOIUrl":"https://doi.org/10.1177/03057356231153068","url":null,"abstract":"","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":" ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47259519","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 : 2023-02-11DOI: 10.1177/03057356231152286
F. Lã, Mauro B. Fiuza, A. M. Ramírez, Diego Ardura
This investigation aimed at developing and validating a scale measuring perceived self-efficacy in singing with respect to voice function, the Singing Voice Function Self-Efficacy Scale (Singing-VoSES). Voice experts validated an 18-item scale, subsequently administered online, targeting specifically professional and semi-professional female singers. These inclusion criteria were met by a total of 439 participants. Results of both exploratory and confirmatory factorial analysis suggest that Singing-VoSES is a valid scale, with items grouped into three self-efficacy dimensions: Higher Range and Transitions, Middle Range and Lower Range. Middle Range and Lower Range dimensions were both significantly higher than Higher Range and Transitions. Singing high notes and notes within transitional vocal ranges require a refined neuromotor control of the voice, and thus may be particularly challenging. Comparisons between pre and postmenopausal singers were made, as menopause has been associated with changes in voice function. Significantly lower self-efficacies for Higher Range and Transitions and Middle Range were found in post as compared to premenopausal singers. This result, together with the possible lack of coping strategies, may contribute to negative impacts on singers’ performances and, ultimately, lead to premature retirement from public performances. Thus, monitoring self-efficacy with respect to voice function seems relevant, particularly when assisting singers experiencing menopause-related voice difficulties.
{"title":"Development and validation of the Singing Voice Function Self-Efficacy Scale (Singing-VoSES)","authors":"F. Lã, Mauro B. Fiuza, A. M. Ramírez, Diego Ardura","doi":"10.1177/03057356231152286","DOIUrl":"https://doi.org/10.1177/03057356231152286","url":null,"abstract":"This investigation aimed at developing and validating a scale measuring perceived self-efficacy in singing with respect to voice function, the Singing Voice Function Self-Efficacy Scale (Singing-VoSES). Voice experts validated an 18-item scale, subsequently administered online, targeting specifically professional and semi-professional female singers. These inclusion criteria were met by a total of 439 participants. Results of both exploratory and confirmatory factorial analysis suggest that Singing-VoSES is a valid scale, with items grouped into three self-efficacy dimensions: Higher Range and Transitions, Middle Range and Lower Range. Middle Range and Lower Range dimensions were both significantly higher than Higher Range and Transitions. Singing high notes and notes within transitional vocal ranges require a refined neuromotor control of the voice, and thus may be particularly challenging. Comparisons between pre and postmenopausal singers were made, as menopause has been associated with changes in voice function. Significantly lower self-efficacies for Higher Range and Transitions and Middle Range were found in post as compared to premenopausal singers. This result, together with the possible lack of coping strategies, may contribute to negative impacts on singers’ performances and, ultimately, lead to premature retirement from public performances. Thus, monitoring self-efficacy with respect to voice function seems relevant, particularly when assisting singers experiencing menopause-related voice difficulties.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"51 1","pages":"1501 - 1517"},"PeriodicalIF":1.7,"publicationDate":"2023-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45755801","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}
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