Pub Date : 2024-09-14DOI: 10.1177/03057356241271027
Kai Ishida, Hiroshi Nittono
Separate voice part perception has been shown in polyphonic music. However, it remains unclear whether this segregation of voice parts is specific to polyphony or also occurs in homophonic music. This study compared voice part perceptions in polyphony and homophony using a redundant signals effect (RSE) paradigm. The RSE means that reaction times are shorter for two simultaneously presented signals than for one of these signals. At the final position of the four-voice homophonic and polyphonic sequences, notes in two voice parts were altered to out-of-key notes independently or simultaneously. Participants ( N = 208) responded to any deviant tones while withholding responses to non-deviant tones. All combinations of deviant voice parts (i.e., soprano–bass, tenor–bass, and alto–tenor) elicited RSEs in polyphonic and homophonic sequences, suggesting separate voice part perception, irrespective of musical texture. However, evidence of the coactivation of separate perceptual modules was obtained only for polyphonic sequences. Deviants in higher voice parts were detected faster and more accurately than those in lower voice parts in both musical textures. These results indicate that voice parts are perceived separately, with a bias toward higher voice parts in both musical textures, but voice parts are more segregated in polyphony.
{"title":"Different voice part perceptions in polyphonic and homophonic musical textures","authors":"Kai Ishida, Hiroshi Nittono","doi":"10.1177/03057356241271027","DOIUrl":"https://doi.org/10.1177/03057356241271027","url":null,"abstract":"Separate voice part perception has been shown in polyphonic music. However, it remains unclear whether this segregation of voice parts is specific to polyphony or also occurs in homophonic music. This study compared voice part perceptions in polyphony and homophony using a redundant signals effect (RSE) paradigm. The RSE means that reaction times are shorter for two simultaneously presented signals than for one of these signals. At the final position of the four-voice homophonic and polyphonic sequences, notes in two voice parts were altered to out-of-key notes independently or simultaneously. Participants ( N = 208) responded to any deviant tones while withholding responses to non-deviant tones. All combinations of deviant voice parts (i.e., soprano–bass, tenor–bass, and alto–tenor) elicited RSEs in polyphonic and homophonic sequences, suggesting separate voice part perception, irrespective of musical texture. However, evidence of the coactivation of separate perceptual modules was obtained only for polyphonic sequences. Deviants in higher voice parts were detected faster and more accurately than those in lower voice parts in both musical textures. These results indicate that voice parts are perceived separately, with a bias toward higher voice parts in both musical textures, but voice parts are more segregated in polyphony.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"12 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142233328","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 : 2024-09-14DOI: 10.1177/03057356241261669
Sara Beck, Daniel Allee
Children’s verbatim memory for song lyrics has been broadly investigated in the psychological literature, but little is known about the developmental course of children’s ability to construct meaning from familiar multimedia songs containing both concrete and metaphorical language. The present study examined age-related change in children’s understanding of the hit song “Let It Go” using a brief comprehension measure and a semi-structured interview conducted over Zoom. Participants included 51 children from 3- to 10-year-olds whose parents reported that they were familiar with and enjoyed Frozen. Participants’ comprehension of the song was assessed using a visual comprehension measure. They then co-viewed the music video, with the researcher pausing at several time points in the song to ask how the child thought Elsa was feeling and how the child knew. A grounded analysis of participants’ responses yielded five categories that comprehensively captured the range of cues (song lyrics, non-lyrical musical elements, observable action on screen, character appearance, and non-observable narrative elements). A median split of the sample revealed that older children referenced more converging cues to explain their thinking on Elsa’s emotion during the song and that older children referenced musical cues (both lyrical and non-lyrical) significantly more than younger children.
心理学文献对儿童对歌词的逐字记忆进行了广泛的研究，但对儿童从包含具体和隐喻语言的熟悉多媒体歌曲中建构意义的能力的发展过程却知之甚少。本研究采用简短的理解测量法和半结构化访谈法，考察了儿童对热门歌曲《Let It Go》的理解与年龄有关的变化。研究对象包括 51 名 3 至 10 岁的儿童，他们的父母称他们熟悉并喜欢《冰雪奇缘》。我们使用视觉理解测量法评估了参与者对歌曲的理解能力。然后，他们共同观看了音乐视频，研究人员在歌曲的几个时间点暂停，询问孩子认为艾尔莎的感受以及孩子是如何知道的。研究人员对参与者的回答进行了基础分析，得出了五个类别（歌词、非抒情音乐元素、屏幕上可观察到的动作、人物外貌和不可观察到的叙事元素），这些类别全面反映了线索的范围。对样本进行中位数分割后发现，年龄较大的儿童在解释他们对歌曲中艾尔莎的情绪的想法时，引用了更多的趋同线索，而且年龄较大的儿童引用音乐线索（包括歌词和非抒情音乐）的次数明显多于年龄较小的儿童。
{"title":"Conversations from Arendelle: Children’s understanding of musical affect in a narrative, multimedia context","authors":"Sara Beck, Daniel Allee","doi":"10.1177/03057356241261669","DOIUrl":"https://doi.org/10.1177/03057356241261669","url":null,"abstract":"Children’s verbatim memory for song lyrics has been broadly investigated in the psychological literature, but little is known about the developmental course of children’s ability to construct meaning from familiar multimedia songs containing both concrete and metaphorical language. The present study examined age-related change in children’s understanding of the hit song “Let It Go” using a brief comprehension measure and a semi-structured interview conducted over Zoom. Participants included 51 children from 3- to 10-year-olds whose parents reported that they were familiar with and enjoyed Frozen. Participants’ comprehension of the song was assessed using a visual comprehension measure. They then co-viewed the music video, with the researcher pausing at several time points in the song to ask how the child thought Elsa was feeling and how the child knew. A grounded analysis of participants’ responses yielded five categories that comprehensively captured the range of cues (song lyrics, non-lyrical musical elements, observable action on screen, character appearance, and non-observable narrative elements). A median split of the sample revealed that older children referenced more converging cues to explain their thinking on Elsa’s emotion during the song and that older children referenced musical cues (both lyrical and non-lyrical) significantly more than younger children.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"15 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142233329","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 : 2024-09-14DOI: 10.1177/03057356241267863
Melissa Forbes, Jason Goopy, Amanda E Krause
This study uses identity process theory to understand the social–psychological processes that motivate individuals to construct an identity in which music, singing, and singing teaching feature prominently. We conducted reflexive thematic analysis of semi-structured interviews with 10 Australian singing teachers (with an average age 60) to understand how they enacted identity principles that motivate identity construction and maintenance. Findings were captured in two themes: (1) ‘It has just been music’: Living a musical life is my destiny; (2) ‘I know my value’: Achieving goals in music and teaching is motivating. Participants’ consistent musical engagement across the lifespan satisfied the identity principles of continuity and positive distinctiveness. The identity principles of self-efficacy and self-esteem were satisfied through the social connections created with peers and through teaching singing; participants derived self-worth from celebrating and contributing to the success of others. Teaching singing was a way to become ‘singular’, that is, distinctive, and distinctively valued by the self and others. This article provides an example of how identity process theory can be applied in musical identities research to uncover new insights into the psychological processes of identity construction, with implications for understanding identity resilience and musical engagement across the lifespan.
{"title":"Becoming singular: Musical identity construction and maintenance through the lens of identity process theory","authors":"Melissa Forbes, Jason Goopy, Amanda E Krause","doi":"10.1177/03057356241267863","DOIUrl":"https://doi.org/10.1177/03057356241267863","url":null,"abstract":"This study uses identity process theory to understand the social–psychological processes that motivate individuals to construct an identity in which music, singing, and singing teaching feature prominently. We conducted reflexive thematic analysis of semi-structured interviews with 10 Australian singing teachers (with an average age 60) to understand how they enacted identity principles that motivate identity construction and maintenance. Findings were captured in two themes: (1) ‘It has just been music’: Living a musical life is my destiny; (2) ‘I know my value’: Achieving goals in music and teaching is motivating. Participants’ consistent musical engagement across the lifespan satisfied the identity principles of continuity and positive distinctiveness. The identity principles of self-efficacy and self-esteem were satisfied through the social connections created with peers and through teaching singing; participants derived self-worth from celebrating and contributing to the success of others. Teaching singing was a way to become ‘singular’, that is, distinctive, and distinctively valued by the self and others. This article provides an example of how identity process theory can be applied in musical identities research to uncover new insights into the psychological processes of identity construction, with implications for understanding identity resilience and musical engagement across the lifespan.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"46 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142233332","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 : 2024-07-31DOI: 10.1177/03057356241259119
D Gregory Springer, Rachel A Sorenson
The act of performing without a musical score is common and expected in many contexts. The purpose of this study was to examine the effects of performing with and without a musical score on listeners’ evaluations of solo pianists. We also investigated whether the effects of score use differed according to the perceived expertise of the performer. Participants ( N = 69) were collegiate music students who observed two video recordings of a pianist performing an excerpt from Schubert’s Impromptu Op. 90, No. 2. In one of the videos, the pianist used a musical score and in the other video the pianist did not use a score. One group of participants was informed at the outset that the pianist was an expert performer and the other group was told that the pianist was a student auditioning for a graduate program as a piano major. Participants rated each performance and indicated which recording they preferred. Results indicated no significant difference in ratings by performance condition overall, but significant interaction effects indicated that the effect of performance condition was dependent upon both the perceived expertise of the performer and presentation order. Chi-square results indicated no significant differences in participants’ preferences between conditions.
{"title":"Evaluations of solo piano performances: The role of performing with and without a musical score","authors":"D Gregory Springer, Rachel A Sorenson","doi":"10.1177/03057356241259119","DOIUrl":"https://doi.org/10.1177/03057356241259119","url":null,"abstract":"The act of performing without a musical score is common and expected in many contexts. The purpose of this study was to examine the effects of performing with and without a musical score on listeners’ evaluations of solo pianists. We also investigated whether the effects of score use differed according to the perceived expertise of the performer. Participants ( N = 69) were collegiate music students who observed two video recordings of a pianist performing an excerpt from Schubert’s Impromptu Op. 90, No. 2. In one of the videos, the pianist used a musical score and in the other video the pianist did not use a score. One group of participants was informed at the outset that the pianist was an expert performer and the other group was told that the pianist was a student auditioning for a graduate program as a piano major. Participants rated each performance and indicated which recording they preferred. Results indicated no significant difference in ratings by performance condition overall, but significant interaction effects indicated that the effect of performance condition was dependent upon both the perceived expertise of the performer and presentation order. Chi-square results indicated no significant differences in participants’ preferences between conditions.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"44 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141862096","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 : 2024-07-31DOI: 10.1177/03057356241256958
Katrina M Rivera, Lillian Smyth, Georgia Pike-Rowney, Susan West
Adverse experiences toward making music can be found in both musicians (music performance anxiety) and non-musicians (avoidance of participating in musical experiences). Both anxiety and avoidance are driven by perceptions and attributions about particular stimuli, based on schemas developed via direct and indirect experiences. Most research within music psychology focuses on the views of professional or student musicians. However, little is known about music avoidance in the general population, or their perceptions of music and performance. This article proposes to address this gap by comparing Australian adults’ perceptions toward music making and performance. A total of 116 participants self-identified as musical/non-musical, a musician/non-musician, and a performer/non-performer, then defined various terms and phrases related to music making and performance. Logistic regressions indicated that those with exposure to the music education system were significantly more likely to self-identify as musical, a musician, and a performer. Tests of independence reveal a relationship between self-identification and perceptions of music making, performance, anxiety, and willingness to engage. Possible mechanisms underlying the results of this study are discussed and a conceptual expansion related to music performance anxiety (MPA) and music making is proposed.
{"title":"Are we all anxious about the same thing? A comparison of lay definitions of music making and performance in the context of music participation","authors":"Katrina M Rivera, Lillian Smyth, Georgia Pike-Rowney, Susan West","doi":"10.1177/03057356241256958","DOIUrl":"https://doi.org/10.1177/03057356241256958","url":null,"abstract":"Adverse experiences toward making music can be found in both musicians (music performance anxiety) and non-musicians (avoidance of participating in musical experiences). Both anxiety and avoidance are driven by perceptions and attributions about particular stimuli, based on schemas developed via direct and indirect experiences. Most research within music psychology focuses on the views of professional or student musicians. However, little is known about music avoidance in the general population, or their perceptions of music and performance. This article proposes to address this gap by comparing Australian adults’ perceptions toward music making and performance. A total of 116 participants self-identified as musical/non-musical, a musician/non-musician, and a performer/non-performer, then defined various terms and phrases related to music making and performance. Logistic regressions indicated that those with exposure to the music education system were significantly more likely to self-identify as musical, a musician, and a performer. Tests of independence reveal a relationship between self-identification and perceptions of music making, performance, anxiety, and willingness to engage. Possible mechanisms underlying the results of this study are discussed and a conceptual expansion related to music performance anxiety (MPA) and music making is proposed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"167 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141862095","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 : 2024-07-31DOI: 10.1177/03057356241257425
Nádia Moura, Pedro Fonseca, Jorge Graça, Philippe Trovão, Márcio Goethel, João Paulo Vilas-Boas, Sofia Serra
The study of gestures in music performance provides valuable insights for instrumental learning. However, gestural vocabularies vary depending on the instrument being played, according to its postural and technical specificities. The goals of this study were twofold: first, to create a gesture categorization system for saxophone players, and second, to analyse their gestural behaviour across contrasting musical excerpts. A criteria-based observational analysis was conducted, considering the type and frequency of gestures identified in a database of 100 video and motion recordings. The categorization system, including 15 gesture types applicable to the case of saxophone playing, was further validated by 2 expert raters. A descriptive appendix is provided for the identification of each gesture type. Results revealed that: (1) knee and trunk flexion, feet elevation, mediolateral sway and flap were the most recurrent gestures among saxophone players; (2) energetic, fast-tempo excerpts led to higher movement frequency; and (3) impulsive gestures (head nods) were idiosyncratic of the excerpt containing repeated accentuated notes. These results present a definition of the gestural behaviour of saxophone players, which constitutes relevant knowledge for the development of future studies in the fields of injury prevention, body expression and historically informed performance.
{"title":"Video-based categorization system and frequency analysis of gestures in saxophone playing","authors":"Nádia Moura, Pedro Fonseca, Jorge Graça, Philippe Trovão, Márcio Goethel, João Paulo Vilas-Boas, Sofia Serra","doi":"10.1177/03057356241257425","DOIUrl":"https://doi.org/10.1177/03057356241257425","url":null,"abstract":"The study of gestures in music performance provides valuable insights for instrumental learning. However, gestural vocabularies vary depending on the instrument being played, according to its postural and technical specificities. The goals of this study were twofold: first, to create a gesture categorization system for saxophone players, and second, to analyse their gestural behaviour across contrasting musical excerpts. A criteria-based observational analysis was conducted, considering the type and frequency of gestures identified in a database of 100 video and motion recordings. The categorization system, including 15 gesture types applicable to the case of saxophone playing, was further validated by 2 expert raters. A descriptive appendix is provided for the identification of each gesture type. Results revealed that: (1) knee and trunk flexion, feet elevation, mediolateral sway and flap were the most recurrent gestures among saxophone players; (2) energetic, fast-tempo excerpts led to higher movement frequency; and (3) impulsive gestures (head nods) were idiosyncratic of the excerpt containing repeated accentuated notes. These results present a definition of the gestural behaviour of saxophone players, which constitutes relevant knowledge for the development of future studies in the fields of injury prevention, body expression and historically informed performance.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"74 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141862094","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 : 2024-07-29DOI: 10.1177/03057356241261371
Yang Li, Jinxin Ji, Xinxian Zhao, Xiaohu Yang
This study aimed to investigate the effects of amateur choir experience on “forced-attention” dichotic listening performance in older adults. Twenty older adults with choir experience and 20 without such experience were recruited, along with a group of 20 younger adults as the baseline. Participants were instructed to complete the dichotic listening task based on consonant-vowel (CV) syllables in four attentional conditions, that is, non-forced, forced-left, forced-right, and divided attention conditions. The results showed that choir experience may offset age-related deficits in temporal processing, inhibitory control, and divided attention in the non-forced, forced-left, and divided attention conditions, respectively. But in the forced-right condition where the orienting process was required, two groups of older adults performed similarly, comparable with the younger group. Our findings support the OPERA-e hypothesis and underscore the effects of amateur musical activities against declines in temporal processing, inhibitory control, and divided attention in aging populations.
{"title":"Effects of amateur choir experience on forced-attention dichotic listening in older adults","authors":"Yang Li, Jinxin Ji, Xinxian Zhao, Xiaohu Yang","doi":"10.1177/03057356241261371","DOIUrl":"https://doi.org/10.1177/03057356241261371","url":null,"abstract":"This study aimed to investigate the effects of amateur choir experience on “forced-attention” dichotic listening performance in older adults. Twenty older adults with choir experience and 20 without such experience were recruited, along with a group of 20 younger adults as the baseline. Participants were instructed to complete the dichotic listening task based on consonant-vowel (CV) syllables in four attentional conditions, that is, non-forced, forced-left, forced-right, and divided attention conditions. The results showed that choir experience may offset age-related deficits in temporal processing, inhibitory control, and divided attention in the non-forced, forced-left, and divided attention conditions, respectively. But in the forced-right condition where the orienting process was required, two groups of older adults performed similarly, comparable with the younger group. Our findings support the OPERA-e hypothesis and underscore the effects of amateur musical activities against declines in temporal processing, inhibitory control, and divided attention in aging populations.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"19 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794904","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 : 2024-07-27DOI: 10.1177/03057356241261674
Michael Bonshor
{"title":"Book Review: Aaron Williamon, Jane Ginsborg, Rosie Perkins and George Waddell, Performing Music Research: Methods in Music Education, Psychology, and Performance Science","authors":"Michael Bonshor","doi":"10.1177/03057356241261674","DOIUrl":"https://doi.org/10.1177/03057356241261674","url":null,"abstract":"","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"179 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794901","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 : 2024-07-27DOI: 10.1177/03057356241258959
Jeffrey H Kahn, Kaylee C Enevold, Destiny Feltner-Williams, Kendall Ladd
People use music to regulate their emotions in a variety of ways. Whereas some of these strategies are conceptually and empirically distinct from one another, other strategies are not wholly distinguishable. We examined the distinctiveness among strategies used to regulate emotions via music listening. College students ( N = 274) completed an online questionnaire with closed-ended and open-ended items designed to measure their use of music to regulate emotions and other music- and emotion-related measures. Confirmatory factor analyses suggested that some of the strategies in Saarikallio’s taxonomy are not completely distinct from one another, yet correlations between these strategies and other functions of music listening and absorption in music suggested a fair amount of empirical similarity among most of these functions. Qualitative analysis suggested that, in addition to strategies described by Saarikallio, people use music to remember, to feel calm, and to match their mood. This mixed-methods research therefore suggests that both constricting and expanding prior taxonomies of strategies to regulate emotions via music could be warranted.
{"title":"Using music to feel better: Are different emotion-regulation strategies truly distinct?","authors":"Jeffrey H Kahn, Kaylee C Enevold, Destiny Feltner-Williams, Kendall Ladd","doi":"10.1177/03057356241258959","DOIUrl":"https://doi.org/10.1177/03057356241258959","url":null,"abstract":"People use music to regulate their emotions in a variety of ways. Whereas some of these strategies are conceptually and empirically distinct from one another, other strategies are not wholly distinguishable. We examined the distinctiveness among strategies used to regulate emotions via music listening. College students ( N = 274) completed an online questionnaire with closed-ended and open-ended items designed to measure their use of music to regulate emotions and other music- and emotion-related measures. Confirmatory factor analyses suggested that some of the strategies in Saarikallio’s taxonomy are not completely distinct from one another, yet correlations between these strategies and other functions of music listening and absorption in music suggested a fair amount of empirical similarity among most of these functions. Qualitative analysis suggested that, in addition to strategies described by Saarikallio, people use music to remember, to feel calm, and to match their mood. This mixed-methods research therefore suggests that both constricting and expanding prior taxonomies of strategies to regulate emotions via music could be warranted.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"48 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794903","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}
Pregnancy-related anxiety commonly occurs among first-time pregnant women, carrying an increased risk of harmful effects to both mother and the growing fetus or newborns. This study aims to assess the effectiveness of a Comprehensive Health-literacy And Relaxing Music (CHARM) intervention compared with two other stand-alone interventions (relaxing music–only intervention, comprehensive health literacy–only intervention) and a standard care group on pregnancy-related anxiety. We conducted an open-label, parallel four-arms, randomized controlled trial among 128 low-risk primigravid women, who were randomly allocated to one of the four groups (1:1:1:1). Women were assigned with a separate web-based link for the three interventions, which were provided for 4 weeks. The pregnancy-related anxiety was measured using the Pregnancy-Related Anxiety Questionnaire-Revised (PRAQ-R) assessed at baseline and post-intervention. After the 4-week intervention, a repeated-measures analysis of variance showed significant mean changes, and interaction effect between the groups on pregnancy-related anxiety levels ( F(3,124) = 5.6, p = .001, ηp2 = .12); CHARM intervention significantly reduced pregnancy-related anxiety levels in comparison with other three groups including the standard care group. The CHARM intervention was thus found to be effective in reducing pregnancy-related anxiety levels, and may be recommended for pregnant women for promoting their perinatal mental well-being.
{"title":"Effectiveness of Comprehensive Health-literacy And Relaxing Music (CHARM) intervention on pregnancy-related anxiety among low-risk primigravid women: A randomized controlled trial","authors":"Meena Konsam, Samir Kumar Praharaj, Jyothi Shetty, Sunita Panda, Vani Lakshmi R, Asha Kamath, Sonia RB D’Souza","doi":"10.1177/03057356241258958","DOIUrl":"https://doi.org/10.1177/03057356241258958","url":null,"abstract":"Pregnancy-related anxiety commonly occurs among first-time pregnant women, carrying an increased risk of harmful effects to both mother and the growing fetus or newborns. This study aims to assess the effectiveness of a Comprehensive Health-literacy And Relaxing Music (CHARM) intervention compared with two other stand-alone interventions (relaxing music–only intervention, comprehensive health literacy–only intervention) and a standard care group on pregnancy-related anxiety. We conducted an open-label, parallel four-arms, randomized controlled trial among 128 low-risk primigravid women, who were randomly allocated to one of the four groups (1:1:1:1). Women were assigned with a separate web-based link for the three interventions, which were provided for 4 weeks. The pregnancy-related anxiety was measured using the Pregnancy-Related Anxiety Questionnaire-Revised (PRAQ-R) assessed at baseline and post-intervention. After the 4-week intervention, a repeated-measures analysis of variance showed significant mean changes, and interaction effect between the groups on pregnancy-related anxiety levels ( F(3,124) = 5.6, p = .001, η<jats:sub>p</jats:sub><jats:sup>2</jats:sup> = .12); CHARM intervention significantly reduced pregnancy-related anxiety levels in comparison with other three groups including the standard care group. The CHARM intervention was thus found to be effective in reducing pregnancy-related anxiety levels, and may be recommended for pregnant women for promoting their perinatal mental well-being.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"144 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794951","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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