Pub Date : 2024-12-24DOI: 10.1177/03057356241305937
Alican Gülle, Nezaket Bilge Uzun, Cenk Akay
This study aimed to develop a valid and reliable measurement tool measuring secondary school students’ resistance to school music. Construct and content validity studies based on expert reviews, principal component analysis, confirmatory factor analysis, convergent validity, divergent validity, and Horn’s parallel analysis were conducted to provide additional evidence within the scope of the study. For reliability studies, Cronbach’s alpha and composite reliability analysis techniques were employed. A 15-item construct consisting of two factors, and explaining 63% of the total variance with their factor loadings ranging between 0.588 and 0.859 was obtained by evaluating the analyses conducted concerning the factor structure and Horn’s parallel analysis. When the sub-factors beneath the factor structure were examined, there were 11 items in the first sub-factor and four items in the second. In the model tested with the confirmatory factor analysis, the results showed that the convergent and divergent validity criteria were satisfied. Finally, it is thought that this research will contribute to the field of music education as the resistance of secondary school students to school music can be determined with the developed scale.
{"title":"The development of a resistance to school music scale","authors":"Alican Gülle, Nezaket Bilge Uzun, Cenk Akay","doi":"10.1177/03057356241305937","DOIUrl":"https://doi.org/10.1177/03057356241305937","url":null,"abstract":"This study aimed to develop a valid and reliable measurement tool measuring secondary school students’ resistance to school music. Construct and content validity studies based on expert reviews, principal component analysis, confirmatory factor analysis, convergent validity, divergent validity, and Horn’s parallel analysis were conducted to provide additional evidence within the scope of the study. For reliability studies, Cronbach’s alpha and composite reliability analysis techniques were employed. A 15-item construct consisting of two factors, and explaining 63% of the total variance with their factor loadings ranging between 0.588 and 0.859 was obtained by evaluating the analyses conducted concerning the factor structure and Horn’s parallel analysis. When the sub-factors beneath the factor structure were examined, there were 11 items in the first sub-factor and four items in the second. In the model tested with the confirmatory factor analysis, the results showed that the convergent and divergent validity criteria were satisfied. Finally, it is thought that this research will contribute to the field of music education as the resistance of secondary school students to school music can be determined with the developed scale.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"41 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142879969","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 : 2024-12-24DOI: 10.1177/03057356241305154
Jonathan Tang
In the last decade, the construct of ‘culture’ was featured very prominently in music cognition research. However, researchers have adopted a narrow conceptualisation and a limited repertoire of methodologies when investigating ‘culture’. The purpose of this article is to expand on recommendations of Jacoby et al. and propose a novel approach to cross-cultural investigations of affective experiences with music. First, I critically examine how culture has been operationalised in previous studies and present a theoretical framework outlining aspects of culture within the music context. My proposed framework recognises that culture manifests in the individual, the music, and the environment and context, and that these components are continually and mutually constituting one another. Second, I argue that the self is constituted in relation to the cultures that one is part of and hypothesise ways that self-construal theory, as a way of operationalising the self, can enhance current understanding of how culture impacts affective experiences with music. The empirical evidence reviewed shows that self-construal influences motivation, cognition, and emotion outside of musical contexts, which may similarly impact music preferences, perceived emotions, and felt emotions with music. Finally, I reflect on the implications of this approach for future developments in music psychology theory and research. Self-construal, as a means of operationalising the self, can potentially elucidate similarities and differences in affective experiences with music both between and within cultural contexts. Examining the self can be a step-change to advance theory and cross-cultural understanding of affective experiences within music psychology.
{"title":"The important role of self in cross-cultural investigations of affective experiences with music","authors":"Jonathan Tang","doi":"10.1177/03057356241305154","DOIUrl":"https://doi.org/10.1177/03057356241305154","url":null,"abstract":"In the last decade, the construct of ‘culture’ was featured very prominently in music cognition research. However, researchers have adopted a narrow conceptualisation and a limited repertoire of methodologies when investigating ‘culture’. The purpose of this article is to expand on recommendations of Jacoby et al. and propose a novel approach to cross-cultural investigations of affective experiences with music. First, I critically examine how culture has been operationalised in previous studies and present a theoretical framework outlining aspects of culture within the music context. My proposed framework recognises that culture manifests in the individual, the music, and the environment and context, and that these components are continually and mutually constituting one another. Second, I argue that the self is constituted in relation to the cultures that one is part of and hypothesise ways that self-construal theory, as a way of operationalising the self, can enhance current understanding of how culture impacts affective experiences with music. The empirical evidence reviewed shows that self-construal influences motivation, cognition, and emotion outside of musical contexts, which may similarly impact music preferences, perceived emotions, and felt emotions with music. Finally, I reflect on the implications of this approach for future developments in music psychology theory and research. Self-construal, as a means of operationalising the self, can potentially elucidate similarities and differences in affective experiences with music both between and within cultural contexts. Examining the self can be a step-change to advance theory and cross-cultural understanding of affective experiences within music psychology.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"10 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142879972","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}
The growing prevalence of depression, a major global health problem, has led to the exploration of complementary treatments such as singing, which can provide emotional healing and psychological support. Singing interventions are known for their universal appeal and potential neurobiological and psychosocial benefits. This review analyzes 11 studies from 2013 to 2023, revealing singing’s efficacy in alleviating depressive symptoms, enhancing emotional well-being, and fostering social connections across diverse populations and backgrounds. The versatility of singing interventions is emphasized, with various formats including online sessions and person-centered therapy, addressing conditions like postpartum depression, geriatric depression with dementia, and depression in Parkinson’s disease patients. The article confirms the effectiveness of these interventions in multiple settings, underlining their adaptability and wide applicability as therapeutic tools. Singing interventions are presented as promising, non-invasive, and enjoyable options for managing depression, with immediate benefits and potential for long-term impact. The review calls for further research and integration of singing into mental health care, advocating for more standardized and flexible intervention strategies and a deeper exploration of singing’s lasting effects on depression.
{"title":"Singing interventions in depression: A scoping review","authors":"Yaming Wei, Wenjia Zheng, Qianqi Fan, Xiaomei Zhang","doi":"10.1177/03057356241305921","DOIUrl":"https://doi.org/10.1177/03057356241305921","url":null,"abstract":"The growing prevalence of depression, a major global health problem, has led to the exploration of complementary treatments such as singing, which can provide emotional healing and psychological support. Singing interventions are known for their universal appeal and potential neurobiological and psychosocial benefits. This review analyzes 11 studies from 2013 to 2023, revealing singing’s efficacy in alleviating depressive symptoms, enhancing emotional well-being, and fostering social connections across diverse populations and backgrounds. The versatility of singing interventions is emphasized, with various formats including online sessions and person-centered therapy, addressing conditions like postpartum depression, geriatric depression with dementia, and depression in Parkinson’s disease patients. The article confirms the effectiveness of these interventions in multiple settings, underlining their adaptability and wide applicability as therapeutic tools. Singing interventions are presented as promising, non-invasive, and enjoyable options for managing depression, with immediate benefits and potential for long-term impact. The review calls for further research and integration of singing into mental health care, advocating for more standardized and flexible intervention strategies and a deeper exploration of singing’s lasting effects on depression.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"48 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142869855","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 : 2024-12-18DOI: 10.1177/03057356241297302
Oliver Herdson, Matilda Minchin, Holly Parker, Selina Muller, Amir-Homayoun Javadi
Seemingly paradoxically, sad music has exhibited potential in improving mood in individuals, as well as being detrimental to mood and indicative of maladaptive behaviours concerning emotion regulation. Research suggests that different adaptive and maladaptive behaviours underlie sad music listening. Therefore, we explored if cognitive reappraisal (CR) was an effective tool for promoting mood enhancement. CR is a cognitive skill that focuses on the reframing and re-evaluation of negative events in a positive way. Across two studies, the combined effect of sad music and CR, in conjunction with events having a neutral or sad effect on mood, was explored. Data analyses revealed that CR significantly enhanced mood notably more than the control task. A three-way interaction effect revealed that higher levels of depression symptoms were associated with worse mood regulation across all but one condition; only happy music with the control task was associated with an increase in mood regulation for individuals with higher levels of depression. Therefore, CR was shown to be effective in improving one’s mood, though mood regulation typically decreased as depression symptoms increased. The discussion covered how these results fit into the existing literature and the relevant theoretical implications, with the most pronounced finding being that CR remained effect whether in the presence of happy or sad music.
{"title":"The effects of sad music: Moderating role of cognitive reappraisal","authors":"Oliver Herdson, Matilda Minchin, Holly Parker, Selina Muller, Amir-Homayoun Javadi","doi":"10.1177/03057356241297302","DOIUrl":"https://doi.org/10.1177/03057356241297302","url":null,"abstract":"Seemingly paradoxically, sad music has exhibited potential in improving mood in individuals, as well as being detrimental to mood and indicative of maladaptive behaviours concerning emotion regulation. Research suggests that different adaptive and maladaptive behaviours underlie sad music listening. Therefore, we explored if cognitive reappraisal (CR) was an effective tool for promoting mood enhancement. CR is a cognitive skill that focuses on the reframing and re-evaluation of negative events in a positive way. Across two studies, the combined effect of sad music and CR, in conjunction with events having a neutral or sad effect on mood, was explored. Data analyses revealed that CR significantly enhanced mood notably more than the control task. A three-way interaction effect revealed that higher levels of depression symptoms were associated with worse mood regulation across all but one condition; only happy music with the control task was associated with an increase in mood regulation for individuals with higher levels of depression. Therefore, CR was shown to be effective in improving one’s mood, though mood regulation typically decreased as depression symptoms increased. The discussion covered how these results fit into the existing literature and the relevant theoretical implications, with the most pronounced finding being that CR remained effect whether in the presence of happy or sad music.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"25 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142849550","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 : 2024-12-18DOI: 10.1177/03057356241300425
Callula Killingly, Daniel Bielinski, Philippe Lacherez
Having a song ‘stuck’ in the head – an earworm – is a curious cognitive phenomenon frequently experienced among the general population. The intrusive and involuntary nature of earworms has led to recent survey studies investigating their potential link with obsessive–compulsive (OC) traits. However, those higher in OC traits may tend to self-report more earworms and evaluate their episodes less positively, simply because they are more likely to notice and be disturbed by the experience. This study employed both experience sampling methodology (ESM) and a retrospective survey to investigate earworms in relation to OC traits. Participants ( n = 131) undertook online surveys assessing past experiences of earworms, OC traits, and musical experience, followed by 3 days of experience sampling probes. Results indicated that OC traits moderated the relationship between the two measures of earworm frequency, such that consistency between the two measures became weaker at higher levels of OC traits. Ratings of earworm unpleasantness were highly correlated between retrospective and ESM measures, yet OC traits did not moderate this relationship. These findings indicate that individual differences should be considered in choosing a methodology to measure earworm experiences and that ESM may provide a more sensitive measure of earworm frequency.
{"title":"An investigation of earworms and obsessive–compulsive traits using experience sampling and retrospective methods","authors":"Callula Killingly, Daniel Bielinski, Philippe Lacherez","doi":"10.1177/03057356241300425","DOIUrl":"https://doi.org/10.1177/03057356241300425","url":null,"abstract":"Having a song ‘stuck’ in the head – an earworm – is a curious cognitive phenomenon frequently experienced among the general population. The intrusive and involuntary nature of earworms has led to recent survey studies investigating their potential link with obsessive–compulsive (OC) traits. However, those higher in OC traits may tend to self-report more earworms and evaluate their episodes less positively, simply because they are more likely to notice and be disturbed by the experience. This study employed both experience sampling methodology (ESM) and a retrospective survey to investigate earworms in relation to OC traits. Participants ( n = 131) undertook online surveys assessing past experiences of earworms, OC traits, and musical experience, followed by 3 days of experience sampling probes. Results indicated that OC traits moderated the relationship between the two measures of earworm frequency, such that consistency between the two measures became weaker at higher levels of OC traits. Ratings of earworm unpleasantness were highly correlated between retrospective and ESM measures, yet OC traits did not moderate this relationship. These findings indicate that individual differences should be considered in choosing a methodology to measure earworm experiences and that ESM may provide a more sensitive measure of earworm frequency.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"23 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142849545","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 : 2024-12-17DOI: 10.1177/03057356241302809
Patrik N Juslin, Laszlo Harmat, Gonçalo Barradas, Gustaf Omstedt, Veronica Redtzer
Several researchers have hypothesized that a musical rhythm can influence a listener’s heart rate through a process of entrainment and that this mechanism can influence the emotional feelings of the listener also. However, previous research has yielded mixed results, perhaps due to methodological problems. In this study, we independently manipulated the tempo of pieces of ambient instrumental music with a salient rhythm to influence the heart rate of 36 listeners with varying musical backgrounds, who also reported felt arousal and valence and subjective impressions of various induction mechanisms. Using a 2 × 2 × 2 factorial design, we manipulated direction (up vs. down) and magnitude (±3% vs. ±30%) of tempo change and extent of listener movement (finger tapping vs. still listening). For each trial, the tempo was manipulated in reference to the present heart rate of the individual listener. The results showed little evidence of entrainment. In general, listeners’ heart rate did not align with the target tempo (i.e., entrainment proper) nor did it change in the direction of the target tempo (i.e., entrainment tendencies). Instead, regardless of direction and size of tempo change, we observed a similar small increase in heart rate and arousal. The results are consistent with a general arousal effect of musical rhythm.
{"title":"Rhythmic entrainment of heart rate as a mechanism for musical emotion induction: A plausible hypothesis in need of evidence?","authors":"Patrik N Juslin, Laszlo Harmat, Gonçalo Barradas, Gustaf Omstedt, Veronica Redtzer","doi":"10.1177/03057356241302809","DOIUrl":"https://doi.org/10.1177/03057356241302809","url":null,"abstract":"Several researchers have hypothesized that a musical rhythm can influence a listener’s heart rate through a process of entrainment and that this mechanism can influence the emotional feelings of the listener also. However, previous research has yielded mixed results, perhaps due to methodological problems. In this study, we independently manipulated the tempo of pieces of ambient instrumental music with a salient rhythm to influence the heart rate of 36 listeners with varying musical backgrounds, who also reported felt arousal and valence and subjective impressions of various induction mechanisms. Using a 2 × 2 × 2 factorial design, we manipulated direction (up vs. down) and magnitude (±3% vs. ±30%) of tempo change and extent of listener movement (finger tapping vs. still listening). For each trial, the tempo was manipulated in reference to the present heart rate of the individual listener. The results showed little evidence of entrainment. In general, listeners’ heart rate did not align with the target tempo (i.e., entrainment proper) nor did it change in the direction of the target tempo (i.e., entrainment tendencies). Instead, regardless of direction and size of tempo change, we observed a similar small increase in heart rate and arousal. The results are consistent with a general arousal effect of musical rhythm.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"79 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142841948","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 : 2024-12-17DOI: 10.1177/03057356241300533
B. Göktürk Gök, Özden Yalçınkaya-Alkar
Music performance anxiety (MPA) is an age-old phenomenon well known to musicians. It is a feeling of unease and apprehension that can manifest itself in various forms – from mild discomfort to intense anxiety – when musicians are preparing to perform or are actively performing. MPA can arise from many different sources, including perfectionism and fear of negative evaluation (FNE). Drawing upon a sample of 144 musicians, this research explores the mediating (cross-sectional) and moderating roles of FNE in the relationship between perfectionism and MPA. We found that the indirect effect of perfectionism on MPA through FNE is significant. This result suggests that the influence of perfectionism on MPA is, at least partially, transmitted through heightened FNE. However, the moderating role of FNE in the relationship between perfectionism and MPA was not found to be significant. This implies that while FNE might not exacerbate or attenuate the effects of perfectionism on MPA, it nonetheless acts as a significant intermediary mechanism through which perfectionism exerts its influence on MPA. Implications for both theory and practice are discussed, and potential avenues for interventions aimed at alleviating MPA are suggested.
{"title":"Standing in the spotlight: The interplay of music performance anxiety, perfectionism, and fear of negative evaluation in conservatory musicians","authors":"B. Göktürk Gök, Özden Yalçınkaya-Alkar","doi":"10.1177/03057356241300533","DOIUrl":"https://doi.org/10.1177/03057356241300533","url":null,"abstract":"Music performance anxiety (MPA) is an age-old phenomenon well known to musicians. It is a feeling of unease and apprehension that can manifest itself in various forms – from mild discomfort to intense anxiety – when musicians are preparing to perform or are actively performing. MPA can arise from many different sources, including perfectionism and fear of negative evaluation (FNE). Drawing upon a sample of 144 musicians, this research explores the mediating (cross-sectional) and moderating roles of FNE in the relationship between perfectionism and MPA. We found that the indirect effect of perfectionism on MPA through FNE is significant. This result suggests that the influence of perfectionism on MPA is, at least partially, transmitted through heightened FNE. However, the moderating role of FNE in the relationship between perfectionism and MPA was not found to be significant. This implies that while FNE might not exacerbate or attenuate the effects of perfectionism on MPA, it nonetheless acts as a significant intermediary mechanism through which perfectionism exerts its influence on MPA. Implications for both theory and practice are discussed, and potential avenues for interventions aimed at alleviating MPA are suggested.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"43 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142831911","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 : 2024-12-05DOI: 10.1177/03057356241284965
Claire Arthur
In this article, the impact of three experimental parameters in a harmonic expectancy study are evaluated: stimulus duration (specifically the lead-in time prior to an unexpected event), ecological validity of the stimulus (original recording vs. piano only), and familiarity. This article also presents a novel experimental paradigm for detecting expectancy violations in a real-time listening context with increased ecological validity, as well as a novel quasi-blind stimulus-selection procedure. Results suggest that the importance of the ecological validity of the stimulus may depend on the population of the study (i.e., musicians or non-musicians), and that the role of familiarity ought to be more rigorously examined. Specifically, it appears that the ability to notice a harmonic expectancy violation may be modulated by the degree of prior familiarity with the stimulus. In addition, stimuli with longer lead-in times lead to an increase in the probability of marking a harmonically surprising event. Implications for expectancy-violation theory, computational modeling, prediction error theory, and general stimulus-selection procedures in music perception and cognition research are discussed.
{"title":"Harmonic expectancy violations: Testing the effects of familiarity, lead-in time, and ecological validity","authors":"Claire Arthur","doi":"10.1177/03057356241284965","DOIUrl":"https://doi.org/10.1177/03057356241284965","url":null,"abstract":"In this article, the impact of three experimental parameters in a harmonic expectancy study are evaluated: stimulus duration (specifically the lead-in time prior to an unexpected event), ecological validity of the stimulus (original recording vs. piano only), and familiarity. This article also presents a novel experimental paradigm for detecting expectancy violations in a real-time listening context with increased ecological validity, as well as a novel quasi-blind stimulus-selection procedure. Results suggest that the importance of the ecological validity of the stimulus may depend on the population of the study (i.e., musicians or non-musicians), and that the role of familiarity ought to be more rigorously examined. Specifically, it appears that the ability to notice a harmonic expectancy violation may be modulated by the degree of prior familiarity with the stimulus. In addition, stimuli with longer lead-in times lead to an increase in the probability of marking a harmonically surprising event. Implications for expectancy-violation theory, computational modeling, prediction error theory, and general stimulus-selection procedures in music perception and cognition research are discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"37 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142789888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-11-30DOI: 10.1177/03057356241296109
Arielle Bonneville-Roussy, Paul Evans
Practice may be the single most important activity that musicians can use to improve their performance. Yet practice requires significant effort and can sometimes feel difficult or unenjoyable. For this reason, substantial motivational resources are required to sustain consistent, high-quality practice over long periods. In this study, we used self-determination theory to study the kinds of motivation that predict practice behavior and the potential influence that teachers might have on their students’ behaviors. A total of 213 university music students in the United Kingdom and Canada completed measures of practice time, practice quality, motivation, and their teacher’s teaching style. Hypothesized relationships between these variables were examined using structural equation modeling. Results supported the process model in which teacher autonomy supported predicted autonomous motivation, which in turn predicted practice time and practice quality. Teacher control predicted controlled motivation, but controlled motivation was not predictive of practice time or practice quality. Indirect effects suggested that motivation fully mediates the link between teaching style and practice behavior. The findings add clarity to research aiming to understand the kinds of social environments that lead students to develop forms of motivation that enable them to practice in a way that is enjoyable and productive.
{"title":"The support of autonomy, motivation, and music practice in university music students: A self-determination theory perspective","authors":"Arielle Bonneville-Roussy, Paul Evans","doi":"10.1177/03057356241296109","DOIUrl":"https://doi.org/10.1177/03057356241296109","url":null,"abstract":"Practice may be the single most important activity that musicians can use to improve their performance. Yet practice requires significant effort and can sometimes feel difficult or unenjoyable. For this reason, substantial motivational resources are required to sustain consistent, high-quality practice over long periods. In this study, we used self-determination theory to study the kinds of motivation that predict practice behavior and the potential influence that teachers might have on their students’ behaviors. A total of 213 university music students in the United Kingdom and Canada completed measures of practice time, practice quality, motivation, and their teacher’s teaching style. Hypothesized relationships between these variables were examined using structural equation modeling. Results supported the process model in which teacher autonomy supported predicted autonomous motivation, which in turn predicted practice time and practice quality. Teacher control predicted controlled motivation, but controlled motivation was not predictive of practice time or practice quality. Indirect effects suggested that motivation fully mediates the link between teaching style and practice behavior. The findings add clarity to research aiming to understand the kinds of social environments that lead students to develop forms of motivation that enable them to practice in a way that is enjoyable and productive.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"202 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142756096","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}
Context is one of the key parameters influencing music emotion perception in listeners. The current study systematically investigates the influence of immediate intrinsic musical context on the perception of music-evoked emotions. Four dominantly happy and four dominantly sad Hindustani classical music excerpts were chosen and rated for perceived emotions in two types of listening experiments. In the first experiment, baseline ratings of these excerpts were collected from general participants to establish the emotions perceived without any influence. In the second experiment, pairs of excerpts were presented in succession, without any breaks, and rated continuously for perceived emotions. The perceived emotion responses for the second excerpt in the pair were considered for possible influence by the preceding music excerpt. The baseline and influenced ratings were compared to understand the effect of immediate intrinsic musical context—the first excerpt in this case—on emotion perception. Significant differences in terms of intensity of perceived emotions were found between baseline and influenced conditions for both happy and sad excerpts, either in the form of changes in perceived dominant emotion or in perceived nuance, and this phenomenon was termed intra-contextual influence. The results reflect the importance of immediate intrinsic musical context on emotion perception of musical excerpts and might be used to understand music semantics better.
{"title":"Exploring intra-contextual influences in music emotion perception","authors":"Sanga Chaki, Priyadarshi Patnaik, Junmoni Borgohain, Raju Mullick, Gouri Karambelkar, Sourangshu Bhattacharya","doi":"10.1177/03057356241296529","DOIUrl":"https://doi.org/10.1177/03057356241296529","url":null,"abstract":"Context is one of the key parameters influencing music emotion perception in listeners. The current study systematically investigates the influence of immediate intrinsic musical context on the perception of music-evoked emotions. Four dominantly happy and four dominantly sad Hindustani classical music excerpts were chosen and rated for perceived emotions in two types of listening experiments. In the first experiment, baseline ratings of these excerpts were collected from general participants to establish the emotions perceived without any influence. In the second experiment, pairs of excerpts were presented in succession, without any breaks, and rated continuously for perceived emotions. The perceived emotion responses for the second excerpt in the pair were considered for possible influence by the preceding music excerpt. The baseline and influenced ratings were compared to understand the effect of immediate intrinsic musical context—the first excerpt in this case—on emotion perception. Significant differences in terms of intensity of perceived emotions were found between baseline and influenced conditions for both happy and sad excerpts, either in the form of changes in perceived dominant emotion or in perceived nuance, and this phenomenon was termed intra-contextual influence. The results reflect the importance of immediate intrinsic musical context on emotion perception of musical excerpts and might be used to understand music semantics better.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"11 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142756095","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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