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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
Pub Date : 2023-02-07DOI: 10.1177/03057356221146814
Sonia Bourdaghs, Michael J. Silverman
Despite evidence linking social connectedness (SC) and substance use disorders (SUD) treatment outcomes, there remains a gap in the literature about how people with SUD experience SC during music therapy. The purpose of this study was to understand how adults with SUD on an inpatient detoxification unit experienced SC during group-based songwriting. Participants were 12 adults with SUD who attended a single-group recovery-oriented songwriting session. After four sessions, we conducted individual semi-structured interviews with participants and used an inductive approach to thematic analysis to analyze interviews. Five themes emerged. The first two themes addressed how the songwriting session influenced SC: (1) songwriting facilitated participation and recognition of shared experiences with peers and (2) collaboratively creating a musical product was a positive experience that facilitated peer connections. Although not specific to the songwriting intervention, the final three themes described how social relationships, addiction, and recovery interacted and influenced each other more broadly: (3) addiction is associated with damaged relationships and isolation, (4) relationships and social support can aid or hinder recovery, and (5) reluctance to form relationships in treatment. Implications for clinical practice, limitations, and suggestions for future research are provided.
{"title":"An exploratory interpretivist study of how adults with substance use disorders experience peer social connectedness during recovery-oriented songwriting","authors":"Sonia Bourdaghs, Michael J. Silverman","doi":"10.1177/03057356221146814","DOIUrl":"https://doi.org/10.1177/03057356221146814","url":null,"abstract":"Despite evidence linking social connectedness (SC) and substance use disorders (SUD) treatment outcomes, there remains a gap in the literature about how people with SUD experience SC during music therapy. The purpose of this study was to understand how adults with SUD on an inpatient detoxification unit experienced SC during group-based songwriting. Participants were 12 adults with SUD who attended a single-group recovery-oriented songwriting session. After four sessions, we conducted individual semi-structured interviews with participants and used an inductive approach to thematic analysis to analyze interviews. Five themes emerged. The first two themes addressed how the songwriting session influenced SC: (1) songwriting facilitated participation and recognition of shared experiences with peers and (2) collaboratively creating a musical product was a positive experience that facilitated peer connections. Although not specific to the songwriting intervention, the final three themes described how social relationships, addiction, and recovery interacted and influenced each other more broadly: (3) addiction is associated with damaged relationships and isolation, (4) relationships and social support can aid or hinder recovery, and (5) reluctance to form relationships in treatment. Implications for clinical practice, limitations, and suggestions for future research are provided.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47744380","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 : 2023-02-01DOI: 10.1177/03057356221146813
Mª del Coral Morales-Villar, C. Sáez-Zea, R. Fernández-Pascual, Francisco José Comino-Crespo, Mercedes Vélez-Toral
Describing the qualities of a singer’s voice is a challenging task, even for experts. Voice pedagogues usually evaluate vocal qualities through auditions, after which they make subjective judgments. As a means of communication, language has limitations in expressing concrete sound sensations, and sometimes such a description can be abstract for the singer. Our work aims to design and validate a new educational approach for vocal assessment and training, using the Mental Images for Singing Education (MISE Method). In addition, we analyze whether this pedagogical methodology favors the improvement of vocal technique and the learning of concepts according to the level of experience of the students and their executive performance. Our results show that the introduction of mental imagery produces beneficial effects in the teaching and learning of vocal techniques, regardless of the initial performance level. This makes the MISE Method an effective assessment and training tool, allowing the formalization of a communication language hitherto used intuitively in the singing classroom. However, our results were inconclusive at the cognitive level, so future research is needed to expand the study of executive processes according to the type of mental images used.
{"title":"The MISE method: A new communicative approach for evaluating and training singing through mental imagery—Executive implications","authors":"Mª del Coral Morales-Villar, C. Sáez-Zea, R. Fernández-Pascual, Francisco José Comino-Crespo, Mercedes Vélez-Toral","doi":"10.1177/03057356221146813","DOIUrl":"https://doi.org/10.1177/03057356221146813","url":null,"abstract":"Describing the qualities of a singer’s voice is a challenging task, even for experts. Voice pedagogues usually evaluate vocal qualities through auditions, after which they make subjective judgments. As a means of communication, language has limitations in expressing concrete sound sensations, and sometimes such a description can be abstract for the singer. Our work aims to design and validate a new educational approach for vocal assessment and training, using the Mental Images for Singing Education (MISE Method). In addition, we analyze whether this pedagogical methodology favors the improvement of vocal technique and the learning of concepts according to the level of experience of the students and their executive performance. Our results show that the introduction of mental imagery produces beneficial effects in the teaching and learning of vocal techniques, regardless of the initial performance level. This makes the MISE Method an effective assessment and training tool, allowing the formalization of a communication language hitherto used intuitively in the singing classroom. However, our results were inconclusive at the cognitive level, so future research is needed to expand the study of executive processes according to the type of mental images used.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47089385","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}
If music connects to our most resonant emotional strings, why have not we used it to assess emotions? Our goal was to develop and validate the Measure of Emotions by Music (MEM). A total of 280 participants were randomly assigned to MEM Condition 1 (excerpts) or MEM Condition 2 (excerpts and adjectives). All participants responded to the PANAS-X. The internal consistency (α) of the MEM subscales (Happy, Sad, Scary, Peaceful) was in acceptable-to-strong range and similar to the PANAS-X. Construct validity of the MEM illustrated cohesive convergence to the PANAS-X. Confirmatory factor analysis confirmed the validity of a four-factor solution, as intended in the MEM. Split-half reliability shows good fidelity. A total of 69% of the respondents mentioned a preference for the MEM. The MEM demonstrates very good psychometric characteristics, seems to be an appreciated way to measure emotional states and may represent an interesting alternative for clinical groups having difficulties to identify their emotion with words.
{"title":"Validation of the Measure of Emotions by Music (MEM)","authors":"Éric Hanigan, Arielle Bonneville-Roussy, Gilles Dupuis, Christophe Fortin","doi":"10.1177/03057356221146811","DOIUrl":"https://doi.org/10.1177/03057356221146811","url":null,"abstract":"If music connects to our most resonant emotional strings, why have not we used it to assess emotions? Our goal was to develop and validate the Measure of Emotions by Music (MEM). A total of 280 participants were randomly assigned to MEM Condition 1 (excerpts) or MEM Condition 2 (excerpts and adjectives). All participants responded to the PANAS-X. The internal consistency (α) of the MEM subscales (Happy, Sad, Scary, Peaceful) was in acceptable-to-strong range and similar to the PANAS-X. Construct validity of the MEM illustrated cohesive convergence to the PANAS-X. Confirmatory factor analysis confirmed the validity of a four-factor solution, as intended in the MEM. Split-half reliability shows good fidelity. A total of 69% of the respondents mentioned a preference for the MEM. The MEM demonstrates very good psychometric characteristics, seems to be an appreciated way to measure emotional states and may represent an interesting alternative for clinical groups having difficulties to identify their emotion with words.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42841099","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 : 2023-01-22DOI: 10.1177/03057356221144645
Alexandra L Bruder, Clayton D Rothwell, Suzanne A Baillargeon, Matthew S Shotwell, Judy R Edworthy, Joseph J Schlesinger
In high-risk industries, responding accurately and promptly to spoken commands is crucial to ensure safety and productivity. When simultaneous sounds occur, it increases the difficulty of respondin...
{"title":"The impact of formal musical training on speech intelligibility performance: Implications for music pedagogy in high-consequence industries","authors":"Alexandra L Bruder, Clayton D Rothwell, Suzanne A Baillargeon, Matthew S Shotwell, Judy R Edworthy, Joseph J Schlesinger","doi":"10.1177/03057356221144645","DOIUrl":"https://doi.org/10.1177/03057356221144645","url":null,"abstract":"In high-risk industries, responding accurately and promptly to spoken commands is crucial to ensure safety and productivity. When simultaneous sounds occur, it increases the difficulty of respondin...","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167701","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 : 2023-01-18DOI: 10.1177/03057356221145960
Yang Wang, Tik-Sze Carrey Siu, H. Cheung
That music elicits motor signals has been suggested as the key to understanding how emotion may be experienced from it. While previous studies have demonstrated that music both induces movement and affects ongoing motor activities, little is known about the effect of its emotional content on neural-motor representation and how such an effect may be modified by concurrent movement. To fill this gap, we asked participants to tap their right index finger following flashes of a dot (movement) or just to count the flashes silently (no-movement) while listening to happy versus emotionally neutral music, when EEG was recorded. Results showed that happy music induced greater mu (8–13 Hz) suppression than neutral music in the no-movement but not the movement condition. For beta oscillations (16–24 Hz), happy music induced greater suppression than neutral music irrespective of concurrent movement. These findings suggest a close association between music emotion and motor representation at a neural level, supporting theories stipulating that emotion in music is experienced through motor representation, such as embodied music cognition and the Shared Affective Motion Experience model.
{"title":"Effect of music emotion on mu and beta oscillations","authors":"Yang Wang, Tik-Sze Carrey Siu, H. Cheung","doi":"10.1177/03057356221145960","DOIUrl":"https://doi.org/10.1177/03057356221145960","url":null,"abstract":"That music elicits motor signals has been suggested as the key to understanding how emotion may be experienced from it. While previous studies have demonstrated that music both induces movement and affects ongoing motor activities, little is known about the effect of its emotional content on neural-motor representation and how such an effect may be modified by concurrent movement. To fill this gap, we asked participants to tap their right index finger following flashes of a dot (movement) or just to count the flashes silently (no-movement) while listening to happy versus emotionally neutral music, when EEG was recorded. Results showed that happy music induced greater mu (8–13 Hz) suppression than neutral music in the no-movement but not the movement condition. For beta oscillations (16–24 Hz), happy music induced greater suppression than neutral music irrespective of concurrent movement. These findings suggest a close association between music emotion and motor representation at a neural level, supporting theories stipulating that emotion in music is experienced through motor representation, such as embodied music cognition and the Shared Affective Motion Experience model.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45064198","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 : 2023-01-11DOI: 10.1177/03057356221135346
Nicolas Ruth, E. Tsigeman, M. Likhanov, Y. Kovas, Daniel Müllensiefen
People who engage in musical activities may, on average, share certain personality features. For example, performing music in front of audiences may require greater extraversion. In contrast, long and solitary practice sessions may require greater introversion and conscientiousness. Research has established some links between dimensions of personality and indicators of engagement with music, for example, specific personality profiles for musicians/non-musicians. For example, openness is usually linked to musical involvement. However, research in the area is scarce and it remains unclear which specific aspects of musical engagement are linked to personality; how these links establish in the course of development; and whether these links are affected by culture. This article reports data collected with several measures of personality (Big Five personality scales) and a comprehensive measure of engagement with music—the musical sophistication index (Gold-MSI) in three countries: Germany (N = 1,114), Russia (N = 346), and the United Kingdom (N = 751). We applied a graphical network modeling approach to investigate the patterns of association among the measures. Our results found a number of consistent musical sophistication-personality associations across the three samples, with the strongest link being between the Gold-MSI emotions subscale and the personality trait openness, which was found in all three samples.
{"title":"Personality and engagement with music: Results from network modeling in three adolescent samples","authors":"Nicolas Ruth, E. Tsigeman, M. Likhanov, Y. Kovas, Daniel Müllensiefen","doi":"10.1177/03057356221135346","DOIUrl":"https://doi.org/10.1177/03057356221135346","url":null,"abstract":"People who engage in musical activities may, on average, share certain personality features. For example, performing music in front of audiences may require greater extraversion. In contrast, long and solitary practice sessions may require greater introversion and conscientiousness. Research has established some links between dimensions of personality and indicators of engagement with music, for example, specific personality profiles for musicians/non-musicians. For example, openness is usually linked to musical involvement. However, research in the area is scarce and it remains unclear which specific aspects of musical engagement are linked to personality; how these links establish in the course of development; and whether these links are affected by culture. This article reports data collected with several measures of personality (Big Five personality scales) and a comprehensive measure of engagement with music—the musical sophistication index (Gold-MSI) in three countries: Germany (N = 1,114), Russia (N = 346), and the United Kingdom (N = 751). We applied a graphical network modeling approach to investigate the patterns of association among the measures. Our results found a number of consistent musical sophistication-personality associations across the three samples, with the strongest link being between the Gold-MSI emotions subscale and the personality trait openness, which was found in all three samples.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47492166","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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