Pub Date : 2025-11-30DOI: 10.1177/03057356251386030
Carli D’Alebout, Liesl van der Merwe
This interpretative phenomenological analysis (IPA) study explores how five professional violinists, who teach and perform in South Africa, make sense of their lived flow experiences during solo and chamber music performances, and to what extent flow theory explains the inhibiting and promoting conditions of flow for the participants. Data were collected by conducting in-depth, semi-structured online video interviews. Rigorous data analysis followed a structured seven-step process. Eight group experiential themes emerged from the data. These themes are (1) the importance of preparation; (2) awareness and managing thoughts and attention; (3) emotion, intention, and the message of the music; (4) interactive musical relationships; (5) the audience’s role in the performer’s flow experience; (6) the influence of past experiences; (7) unique interpretations of flow; and (8) the outcomes of having experienced or not experienced flow. This study is the first of its kind, as it highlights professional performing violinists’ unique flow experiences during solo and chamber music performances. The study contributes to the improvement of practice by creating increased awareness of the conditions that promote and inhibit flow experiences for professional, amateur, and student performers as well as music teachers.
{"title":"Exploring five professional violinists’ flow experiences during solo and chamber music performances: An interpretative phenomenological analysis","authors":"Carli D’Alebout, Liesl van der Merwe","doi":"10.1177/03057356251386030","DOIUrl":"https://doi.org/10.1177/03057356251386030","url":null,"abstract":"This interpretative phenomenological analysis (IPA) study explores how five professional violinists, who teach and perform in South Africa, make sense of their lived flow experiences during solo and chamber music performances, and to what extent flow theory explains the inhibiting and promoting conditions of flow for the participants. Data were collected by conducting in-depth, semi-structured online video interviews. Rigorous data analysis followed a structured seven-step process. Eight group experiential themes emerged from the data. These themes are (1) the importance of preparation; (2) awareness and managing thoughts and attention; (3) emotion, intention, and the message of the music; (4) interactive musical relationships; (5) the audience’s role in the performer’s flow experience; (6) the influence of past experiences; (7) unique interpretations of flow; and (8) the outcomes of having experienced or not experienced flow. This study is the first of its kind, as it highlights professional performing violinists’ unique flow experiences during solo and chamber music performances. The study contributes to the improvement of practice by creating increased awareness of the conditions that promote and inhibit flow experiences for professional, amateur, and student performers as well as music teachers.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"368 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145619590","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 : 2025-11-29DOI: 10.1177/03057356251388978
Erin Foy, Laura Bottei, Elizabeth M Wakefield
Gestures are hand movements that co-occur with speech and express information through their form and movement trajectory. Previous work suggests gesture is widely employed by voice teachers and that when used in the context of singing, both self-produced and observed gesture can promote vocal change. The current mixed methods study was conducted to expand our understanding of how and why choral conductors employ gesture. Eighteen choral conductors completed a survey and semi-structured interview that included questions about the functions of singer-observed gesture (gestures produced by conductors) and singer-produced gesture. Interestingly, conductors indicated that singer-produced gesture is more beneficial than singer-observed gesture and especially powerful for younger or amateur singers. However, participants reported using their own gesture more frequently than singer-produced gesture in rehearsals. Qualitative content analysis was used to identify common themes in interviews. Results indicate singer-observed and singer-produced gesture support visualization and communication whereas singer-produced gesture uniquely promotes kinesthetic engagement. These results suggest that conductors’ intuitions about the function of gesture align with functions identified in the gesture-for-learning literature. In light of these results, ideas for how gesture could be better utilized in rehearsal are discussed.
{"title":"Functions of produced and observed gesture in choral singing","authors":"Erin Foy, Laura Bottei, Elizabeth M Wakefield","doi":"10.1177/03057356251388978","DOIUrl":"https://doi.org/10.1177/03057356251388978","url":null,"abstract":"Gestures are hand movements that co-occur with speech and express information through their form and movement trajectory. Previous work suggests gesture is widely employed by voice teachers and that when used in the context of singing, both self-produced and observed gesture can promote vocal change. The current mixed methods study was conducted to expand our understanding of how and why choral conductors employ gesture. Eighteen choral conductors completed a survey and semi-structured interview that included questions about the functions of singer-observed gesture (gestures produced by conductors) and singer-produced gesture. Interestingly, conductors indicated that singer-produced gesture is more beneficial than singer-observed gesture and especially powerful for younger or amateur singers. However, participants reported using their own gesture more frequently than singer-produced gesture in rehearsals. Qualitative content analysis was used to identify common themes in interviews. Results indicate singer-observed and singer-produced gesture support visualization and communication whereas singer-produced gesture uniquely promotes kinesthetic engagement. These results suggest that conductors’ intuitions about the function of gesture align with functions identified in the gesture-for-learning literature. In light of these results, ideas for how gesture could be better utilized in rehearsal are discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145614127","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}
This study investigates the relationship between the lexical typicality of song lyrics and song popularity in the UK Official Singles Chart from 1999 to 2013. Drawing on natural language processing (NLP) techniques, we develop a multidimensional measure of lyrics’ typicality that captures lexical repetition, complexity, thematic content, and emotional tone, addressing methodological limitations in previous research that relied heavily on static word dictionaries. By analysing 1,457 songs that reached the top five chart positions, we demonstrate that lyrics’ typicality significantly predicts the duration a song remains in the top five but does not affect the peak chart position or the trajectory of popularity (skewness and kurtosis). Our findings suggest that while typical lyrics may contribute to a song’s longevity within a given canon, they do not necessarily guarantee chart-topping success. This research contributes a replicable, dictionary-free methodology for assessing lyrics’ typicality and offers insights into the nuanced role of lyrics in shaping musical preferences.
{"title":"The effect of the typicality of song lyrics on song popularity: A natural language processing analysis of the British top singles chart","authors":"Khaoula Chehbouni, Florian Carichon, Adrien Simonnot-Lanciaux, Gilles Caporossi, Danilo C. Dantas","doi":"10.1177/03057356251384301","DOIUrl":"https://doi.org/10.1177/03057356251384301","url":null,"abstract":"This study investigates the relationship between the lexical typicality of song lyrics and song popularity in the UK Official Singles Chart from 1999 to 2013. Drawing on natural language processing (NLP) techniques, we develop a multidimensional measure of lyrics’ typicality that captures lexical repetition, complexity, thematic content, and emotional tone, addressing methodological limitations in previous research that relied heavily on static word dictionaries. By analysing 1,457 songs that reached the top five chart positions, we demonstrate that lyrics’ typicality significantly predicts the duration a song remains in the top five but does not affect the peak chart position or the trajectory of popularity (skewness and kurtosis). Our findings suggest that while typical lyrics may contribute to a song’s longevity within a given canon, they do not necessarily guarantee chart-topping success. This research contributes a replicable, dictionary-free methodology for assessing lyrics’ typicality and offers insights into the nuanced role of lyrics in shaping musical preferences.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"113 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145582994","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 : 2025-11-05DOI: 10.1177/03057356251381818
Sabrina M McKenzie, Amanda E Krause, Solange Glasser, Margaret S Osborne
Music listening can impact emotional well-being. However, self-compassion, an aspect strongly related to emotional well-being, is rarely discussed in music listening literature. Therefore, this study explored self-compassionate and uncompassionate music listening experiences within the context of the COVID-19 pandemic. Two hundred and ninety-six Australian university students ( M age = 19.32) completed a mixed-methods music listening and self-compassion questionnaire. The questionnaire included the Self-Compassion Short Form Scale along with an author-adapted version exploring the influence of music listening. Additional, open-ended questions probed self-compassionate and uncompassionate music listening experiences. Most participants (81.76%) reported self-compassionate experiences through listening to music during the pandemic. Template analysis examining people’s self-compassionate and uncompassionate music listening experiences resulted in an overlap of themes including emotional experience, connection , and music styles . Distinct patterns were found, such as positive outcomes in self-compassionate responses and negative outcomes in uncompassionate experiences. The inclusion of emotional release within uncompassionate responses demonstrates the complexity of the relationship between music listening and self-compassion. These findings highlight the need for further exploration into music listening and self-compassion, particularly in an everyday context beyond the pandemic.
{"title":"Exploring the role of music listening in cultivating self-compassion","authors":"Sabrina M McKenzie, Amanda E Krause, Solange Glasser, Margaret S Osborne","doi":"10.1177/03057356251381818","DOIUrl":"https://doi.org/10.1177/03057356251381818","url":null,"abstract":"Music listening can impact emotional well-being. However, self-compassion, an aspect strongly related to emotional well-being, is rarely discussed in music listening literature. Therefore, this study explored self-compassionate and uncompassionate music listening experiences within the context of the COVID-19 pandemic. Two hundred and ninety-six Australian university students ( <jats:italic toggle=\"yes\"> M <jats:sub>age</jats:sub> </jats:italic> = 19.32) completed a mixed-methods music listening and self-compassion questionnaire. The questionnaire included the Self-Compassion Short Form Scale along with an author-adapted version exploring the influence of music listening. Additional, open-ended questions probed self-compassionate and uncompassionate music listening experiences. Most participants (81.76%) reported self-compassionate experiences through listening to music during the pandemic. Template analysis examining people’s self-compassionate and uncompassionate music listening experiences resulted in an overlap of themes including <jats:italic toggle=\"yes\">emotional experience, connection</jats:italic> , and <jats:italic toggle=\"yes\">music styles</jats:italic> . Distinct patterns were found, such as positive outcomes in self-compassionate responses and negative outcomes in uncompassionate experiences. The inclusion of emotional release within uncompassionate responses demonstrates the complexity of the relationship between music listening and self-compassion. These findings highlight the need for further exploration into music listening and self-compassion, particularly in an everyday context beyond the pandemic.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"91 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145441162","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 : 2025-10-28DOI: 10.1177/03057356251383805
Scott Bannister, Emily Payne
Musical chills, a subjective emotional experience associated with goosebumps, shivers, and/or tingling sensations, have recently been linked to experiences of social bonding. Thus, there is some rationale for expecting music performance to afford chills, as performance can involve strong emotional responses and social bonding experiences. However, almost all musical chills research focuses on listening contexts. This study explores experiences of musical chills while performing music. Data for the study were collected through a questionnaire survey with 218 musicians about their chills experiences. Results show that chills are experienced by musicians during performance and that they are largely positive experiences. Important factors for chills in performance include various musical features, performance qualities, interpersonal connections between performers, and personal associations with the music and performance context. Findings align with links between chills and social bonding, although further research is required to understand underlying psychological mechanisms of the phenomenon. Finally, various characteristics of chills in music performance suggest that the experience may be linked to psychological wellbeing, posing a novel route for continued research.
{"title":"A survey of musical chills experiences while performing music","authors":"Scott Bannister, Emily Payne","doi":"10.1177/03057356251383805","DOIUrl":"https://doi.org/10.1177/03057356251383805","url":null,"abstract":"Musical chills, a subjective emotional experience associated with goosebumps, shivers, and/or tingling sensations, have recently been linked to experiences of social bonding. Thus, there is some rationale for expecting music performance to afford chills, as performance can involve strong emotional responses and social bonding experiences. However, almost all musical chills research focuses on listening contexts. This study explores experiences of musical chills while performing music. Data for the study were collected through a questionnaire survey with 218 musicians about their chills experiences. Results show that chills are experienced by musicians during performance and that they are largely positive experiences. Important factors for chills in performance include various musical features, performance qualities, interpersonal connections between performers, and personal associations with the music and performance context. Findings align with links between chills and social bonding, although further research is required to understand underlying psychological mechanisms of the phenomenon. Finally, various characteristics of chills in music performance suggest that the experience may be linked to psychological wellbeing, posing a novel route for continued research.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"5 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145397343","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 : 2025-10-16DOI: 10.1177/03057356251377999
Isabella L Ramirez, Laura M Getz
Mnemonic devices paired with a musical melody have long been used as memory aids. Although this perceived phenomenon has been recognized in previous studies, research is mixed on the effectiveness of utilizing music to improve learning and memory. In this study, we tested the effects of unfamiliar and familiar melodies on the memorization of unrelated word lists compared with a spoken control condition. Participants heard word lists with two-syllable words of mixed positive, negative, and neutral valence either spoken, sung to a familiar melody (e.g. Yankee Doodle ), or sung to an unfamiliar melody. After hearing each list, they were asked to freely recall the words in any order and were then asked to complete an old–new recognition task. In two experiments, we found spoken text to outperform (Experiment 1 recall and recognition, Experiment 2 recognition) or equal (Experiment 2 recall) the various sung text conditions. These results indicate that regardless of familiarity, melodies may be more distracting on initial presentation, due to working memory capacity limits. Our results thus suggest that at least for short-term recall of unrelated word lists, the colloquial belief of music aiding memory does not hold true.
{"title":"Melodies are not a useful mnemonic cue for immediate word recall regardless of familiarity","authors":"Isabella L Ramirez, Laura M Getz","doi":"10.1177/03057356251377999","DOIUrl":"https://doi.org/10.1177/03057356251377999","url":null,"abstract":"Mnemonic devices paired with a musical melody have long been used as memory aids. Although this perceived phenomenon has been recognized in previous studies, research is mixed on the effectiveness of utilizing music to improve learning and memory. In this study, we tested the effects of unfamiliar and familiar melodies on the memorization of unrelated word lists compared with a spoken control condition. Participants heard word lists with two-syllable words of mixed positive, negative, and neutral valence either spoken, sung to a familiar melody (e.g. <jats:italic toggle=\"yes\">Yankee Doodle</jats:italic> ), or sung to an unfamiliar melody. After hearing each list, they were asked to freely recall the words in any order and were then asked to complete an old–new recognition task. In two experiments, we found spoken text to outperform (Experiment 1 recall and recognition, Experiment 2 recognition) or equal (Experiment 2 recall) the various sung text conditions. These results indicate that regardless of familiarity, melodies may be more distracting on initial presentation, due to working memory capacity limits. Our results thus suggest that at least for short-term recall of unrelated word lists, the colloquial belief of music aiding memory does not hold true.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"123 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145295550","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 : 2025-10-16DOI: 10.1177/03057356251374175
Peter Miksza, Andrew Goldman, Christina Herman, Jessica MacLean
The purpose of this study was to investigate whether groove could enhance motor control when playing multi-limb rhythmic patterns on the drum set. In a within-subjects experimental design, 20 collegiate music majors performed rhythms using the left hand/snare drum and right foot/bass drum on an electronic drum set in three conditions: Isochronous Mmetronome, High-groove, and Low-groove accompaniments—which were 16 beat excerpts of popular songs drawn from an empirically-derived list ranked according to “grooviness.” The rhythms were performed with each accompaniment with Foot, Hand, and Foot and Hand together. Participants also rated their familiarity, enjoyment, perceptions of grooviness, and degree to which they felt “in the groove” after playing with each accompaniment. Analyses revealed that performance accuracy varied as a function of groove condition and effector condition, such that (a) Hand-only and Hand and Foot trials were very close to synchrony, whereas Foot-only trials were early, and (b) High-Groove and Metronome trials were close to the beat, whereas Low-Groove trials were late. Analyses also indicated that performance consistency varied as a function of Effector condition such that Hand-only trials had the least variability in onset asynchronies.
{"title":"The effect of musical groove on drum set performance accuracy","authors":"Peter Miksza, Andrew Goldman, Christina Herman, Jessica MacLean","doi":"10.1177/03057356251374175","DOIUrl":"https://doi.org/10.1177/03057356251374175","url":null,"abstract":"The purpose of this study was to investigate whether groove could enhance motor control when playing multi-limb rhythmic patterns on the drum set. In a within-subjects experimental design, 20 collegiate music majors performed rhythms using the left hand/snare drum and right foot/bass drum on an electronic drum set in three conditions: Isochronous Mmetronome, High-groove, and Low-groove accompaniments—which were 16 beat excerpts of popular songs drawn from an empirically-derived list ranked according to “grooviness.” The rhythms were performed with each accompaniment with Foot, Hand, and Foot and Hand together. Participants also rated their familiarity, enjoyment, perceptions of grooviness, and degree to which they felt “in the groove” after playing with each accompaniment. Analyses revealed that performance accuracy varied as a function of groove condition and effector condition, such that (a) Hand-only and Hand and Foot trials were very close to synchrony, whereas Foot-only trials were early, and (b) High-Groove and Metronome trials were close to the beat, whereas Low-Groove trials were late. Analyses also indicated that performance consistency varied as a function of Effector condition such that Hand-only trials had the least variability in onset asynchronies.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145295577","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 : 2025-10-16DOI: 10.1177/03057356251371055
Raluca Matei, Giulia Ripani, Keith Phillips, Jane Ginsborg
Efforts aimed at measuring health literacy among musicians are very recent. A better understanding of musicians’ health literacy can help educators, health professionals, organisations and relevant specialists address the needs of musicians more specifically. The aim was to assess scale reliability and model fit of the Health Literacy Questionnaire (HLQ) on a sample of UK-based musicians. We conducted a confirmatory factor analysis (CFA) to test the model and calculated Cronbach’s alpha scores for internal consistency and mean scores for the nine scales. Demographic information was obtained from 471 respondents aged 19–78 years ( M = 34, SD = 14). Subsequent to some slight amendments, a modified 8-factor model showed an improved and acceptable fit. This is the first study to investigate musicians’ health literacy using an already existing tool.
{"title":"Validity testing of the Health Literacy Questionnaire on a sample of musicians in the United Kingdom","authors":"Raluca Matei, Giulia Ripani, Keith Phillips, Jane Ginsborg","doi":"10.1177/03057356251371055","DOIUrl":"https://doi.org/10.1177/03057356251371055","url":null,"abstract":"Efforts aimed at measuring health literacy among musicians are very recent. A better understanding of musicians’ health literacy can help educators, health professionals, organisations and relevant specialists address the needs of musicians more specifically. The aim was to assess scale reliability and model fit of the Health Literacy Questionnaire (HLQ) on a sample of UK-based musicians. We conducted a confirmatory factor analysis (CFA) to test the model and calculated Cronbach’s alpha scores for internal consistency and mean scores for the nine scales. Demographic information was obtained from 471 respondents aged 19–78 years ( <jats:italic toggle=\"yes\">M</jats:italic> = 34, <jats:italic toggle=\"yes\">SD</jats:italic> = 14). Subsequent to some slight amendments, a modified 8-factor model showed an improved and acceptable fit. This is the first study to investigate musicians’ health literacy using an already existing tool.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"11 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145295549","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 : 2025-09-25DOI: 10.1177/03057356251368303
Belinda Densley, Virginia Dickson-Swift
In this review, we mapped the existing academic literature on facilitation factors in community-based, non-professional adult singing groups who gather for fun and well-being. Group singing is an effective community-based intervention offering participants therapeutic benefits. Social prescription to group singing is gaining popularity however little is known about those people who undertake the facilitation role. This review was conducted in accordance with Joanna Briggs Institute (JBI) methodology for scoping reviews and reported in line with the Preferred Reporting Items for Systematic Reviews and Meta-Analyses extension for Scoping Reviews (PRISMA-ScR) guidelines. Nineteen articles published across 14 peer reviewed journals and six countries since 2014 were included in the review. Results have been presented in a descriptive manner, supported by tables and Supplementary Material. A gap in role definition was established from the available literature. Key factors of facilitation were presented under the themes of musicality, identity, and facilitation approaches each with subthemes. The accumulated research recommendations found in eight of the included studies have been reported. The findings of this review can therefore inform future research questions and support facilitation practice in extant and developing community-based singing programmes.
{"title":"Facilitator factors in community-based group singing: A scoping review","authors":"Belinda Densley, Virginia Dickson-Swift","doi":"10.1177/03057356251368303","DOIUrl":"https://doi.org/10.1177/03057356251368303","url":null,"abstract":"In this review, we mapped the existing academic literature on facilitation factors in community-based, non-professional adult singing groups who gather for fun and well-being. Group singing is an effective community-based intervention offering participants therapeutic benefits. Social prescription to group singing is gaining popularity however little is known about those people who undertake the facilitation role. This review was conducted in accordance with Joanna Briggs Institute (JBI) methodology for scoping reviews and reported in line with the Preferred Reporting Items for Systematic Reviews and Meta-Analyses extension for Scoping Reviews (PRISMA-ScR) guidelines. Nineteen articles published across 14 peer reviewed journals and six countries since 2014 were included in the review. Results have been presented in a descriptive manner, supported by tables and Supplementary Material. A gap in role definition was established from the available literature. Key factors of facilitation were presented under the themes of musicality, identity, and facilitation approaches each with subthemes. The accumulated research recommendations found in eight of the included studies have been reported. The findings of this review can therefore inform future research questions and support facilitation practice in extant and developing community-based singing programmes.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"28 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145141454","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 : 2025-09-15DOI: 10.1177/03057356251361754
Xavier Mínguez-Alcaide, Magdalena Bobowik
Research on the relationship between identification factors and musical preference show contradictory results. Some studies do not find relationship between these, while others show that social identification predicts stronger music preference. The present study further delves into that controversy in the understudied context of Electronic Dance Music (EDM). Furthermore, we examine the role of two categories of emotions, namely, vitality (representing energy, joy, and power) and sublimity (representing feelings of transcendence, tranquility, or nostalgia) in the relationship between identification factors and EDM preference. To test these ideas, we conducted two studies, including a correlational survey study with a sample of 222 EDM fans in the Basque Country and a qualitative study using a focus group methodology with 25 members of the same community. Results show that stronger musical identification is associated with preference for EDM only indirectly via vitality emotions and to a lesser degree, sublimity emotions. In contrast, the more negative (and not positive) musical collective self-esteem, the stronger was the preference for EDM, and again this link was explained via mostly vitality emotions. The qualitative study corroborated the existence and acceptance of negative collective self-esteem among EDM fans, an aspect related to the strong stigma generated by the Basque society.
{"title":"Social identity, collective self-esteem, and musical preferences in electronic dance music culture: The role of emotions","authors":"Xavier Mínguez-Alcaide, Magdalena Bobowik","doi":"10.1177/03057356251361754","DOIUrl":"https://doi.org/10.1177/03057356251361754","url":null,"abstract":"Research on the relationship between identification factors and musical preference show contradictory results. Some studies do not find relationship between these, while others show that social identification predicts stronger music preference. The present study further delves into that controversy in the understudied context of Electronic Dance Music (EDM). Furthermore, we examine the role of two categories of emotions, namely, vitality (representing energy, joy, and power) and sublimity (representing feelings of transcendence, tranquility, or nostalgia) in the relationship between identification factors and EDM preference. To test these ideas, we conducted two studies, including a correlational survey study with a sample of 222 EDM fans in the Basque Country and a qualitative study using a focus group methodology with 25 members of the same community. Results show that stronger musical identification is associated with preference for EDM only indirectly via vitality emotions and to a lesser degree, sublimity emotions. In contrast, the more negative (and not positive) musical collective self-esteem, the stronger was the preference for EDM, and again this link was explained via mostly vitality emotions. The qualitative study corroborated the existence and acceptance of negative collective self-esteem among EDM fans, an aspect related to the strong stigma generated by the Basque society.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"82 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145072502","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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