Pub Date : 2024-11-27DOI: 10.1177/03057356241289076
Gregory D. Webster, Lysann Zander
Folk psychology posits that music artists’ first albums are considered their best, whereas later albums draw fewer accolades, and that artists’ second albums are considered worse than their first—a phenomenon called the “sophomore slump.” This work is the first large-scale multi-study attempt to test changes in album quality over time and whether a sophomore slump bias exists. Study 1 examined music critics, sampling all A, B, and C entries from The New Rolling Stone Record Guide (2,078 album reviews, 387 artists, 38 critics). Study 2 examined music fans, sampling crowdsourced Rate Your Music ratings of artists with at least one Rolling Stone top 500 album (4,030 album reviews, 254 artists). Using multilevel models, both studies showed significant linear declines in ratings of artists’ album quality over artists’ careers; however, the linear effects were qualified by significantly positive quadratic effects, suggesting slightly convex patterns where declines were steeper among earlier (vs later) albums. Controlling for these trends, a significant and substantial sophomore slump bias was observed for critics’ ratings, but not for fans’ ratings. We discuss theoretical perspectives that may contribute to the observed effects, including regression to the mean, cognitive biases and heuristics, and social psychological accounts.
民间心理学认为，音乐艺术家的第一张专辑被认为是他们最好的，而后来的专辑得到的赞誉较少，艺术家的第二张专辑被认为比第一张更差——这种现象被称为“大二萧条”。这项工作是第一次大规模的多研究尝试，以测试专辑质量随时间的变化，以及是否存在二年级低潮偏见。研究1调查了音乐评论家，从《新滚石唱片指南》（2078个专辑评论，387个艺术家，38个评论家）中抽取了所有A、B和C类条目。研究2调查了乐迷，对至少有一张《滚石》500强专辑的艺术家进行了众包Rate Your music评分（4030条专辑评论，254位艺术家）。使用多层模型，两项研究都显示了艺术家的专辑质量评分在艺术家的职业生涯中呈显著的线性下降；然而，线性效应被显著的正二次效应所限制，表明在早期（相对于后期）专辑中下降更陡峭的轻微凸模式。在这些趋势的控制下，我们观察到评论家的评分中存在显著的二年级低潮偏见，而粉丝的评分则没有。我们讨论了可能有助于观察到的效果的理论观点，包括回归均值，认知偏差和启发式，以及社会心理学解释。
{"title":"Burning out, fading away, and the sophomore slump: Critics’ versus fans’ ratings of music artists’ album quality over time","authors":"Gregory D. Webster, Lysann Zander","doi":"10.1177/03057356241289076","DOIUrl":"https://doi.org/10.1177/03057356241289076","url":null,"abstract":"Folk psychology posits that music artists’ first albums are considered their best, whereas later albums draw fewer accolades, and that artists’ second albums are considered worse than their first—a phenomenon called the “sophomore slump.” This work is the first large-scale multi-study attempt to test changes in album quality over time and whether a sophomore slump bias exists. Study 1 examined music critics, sampling all A, B, and C entries from The New Rolling Stone Record Guide (2,078 album reviews, 387 artists, 38 critics). Study 2 examined music fans, sampling crowdsourced Rate Your Music ratings of artists with at least one Rolling Stone top 500 album (4,030 album reviews, 254 artists). Using multilevel models, both studies showed significant linear declines in ratings of artists’ album quality over artists’ careers; however, the linear effects were qualified by significantly positive quadratic effects, suggesting slightly convex patterns where declines were steeper among earlier (vs later) albums. Controlling for these trends, a significant and substantial sophomore slump bias was observed for critics’ ratings, but not for fans’ ratings. We discuss theoretical perspectives that may contribute to the observed effects, including regression to the mean, cognitive biases and heuristics, and social psychological accounts.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"23 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142753175","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 : 2024-11-18DOI: 10.1177/03057356241290961
Maria Papazachariou-Christoforou
This study investigates how a first-time Cypriot mother used music in caring for her infant during the COVID-19 pandemic. Limited research has been done about musical parenting during this time, highlighting the importance of this single case study. For 5 months, the mother-participant engaged in an online musical parenting program, which aimed to increase knowledge regarding the use of music and movement with infants and suggest ways for practical implications. Data included interviews, informal discussions, the participant’s digital journals and filmed videos, and researcher field notes taken during the teaching program. Thematic analysis revealed that even without prior formal or informal musical training, and in prolonged isolation with related stressors during the COVID-19 pandemic, the mother-participant engaged extensively in musical interaction with her infant. Musical activities provided a meaningful framework for the mother to cope with the daily demands of mothering and to manage the isolation due to COVID-19. Music engagement enhanced the bond between the mother and her infant, united family members, and promoted her perceived state of well-being. The findings support previous research on the significance of musical interaction between caregivers and infants, particularly during the COVID-19 outbreak.
{"title":"The use of music in the daily care of an infant: Exploring a mother’s experience during the COVID-19 pandemic","authors":"Maria Papazachariou-Christoforou","doi":"10.1177/03057356241290961","DOIUrl":"https://doi.org/10.1177/03057356241290961","url":null,"abstract":"This study investigates how a first-time Cypriot mother used music in caring for her infant during the COVID-19 pandemic. Limited research has been done about musical parenting during this time, highlighting the importance of this single case study. For 5 months, the mother-participant engaged in an online musical parenting program, which aimed to increase knowledge regarding the use of music and movement with infants and suggest ways for practical implications. Data included interviews, informal discussions, the participant’s digital journals and filmed videos, and researcher field notes taken during the teaching program. Thematic analysis revealed that even without prior formal or informal musical training, and in prolonged isolation with related stressors during the COVID-19 pandemic, the mother-participant engaged extensively in musical interaction with her infant. Musical activities provided a meaningful framework for the mother to cope with the daily demands of mothering and to manage the isolation due to COVID-19. Music engagement enhanced the bond between the mother and her infant, united family members, and promoted her perceived state of well-being. The findings support previous research on the significance of musical interaction between caregivers and infants, particularly during the COVID-19 outbreak.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"69 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142670854","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 : 2024-11-14DOI: 10.1177/03057356241296535
Weronika Molińska, Joanna Rajchert
This study investigates the impact of positive or negative performance evaluations on general self-efficacy and subsequent choice of a solo or group performance among professional musicians ( N = 53; women 58.2%, men 36.4%, non-binary 5.5%). Participants completed personality questionnaires, sight-read an unfamiliar musical piece, received computer-generated feedback, and reported post-manipulation self-efficacy. Results showed that positive evaluations, even computer-generated, increased self-efficacy and were associated with a higher likelihood of choosing solo/ a cappella performance. While self-efficacy correlated with a greater preference for solo/ a cappella performance, it did not mediate the relationship between evaluation and performance choice. Findings align with Bandura’s self-efficacy theory, emphasizing the influence of mastery experiences and external feedback on self-efficacy development.
{"title":"Positive musical performance feedback facilitates general self-efficacy and choice of solo performance","authors":"Weronika Molińska, Joanna Rajchert","doi":"10.1177/03057356241296535","DOIUrl":"https://doi.org/10.1177/03057356241296535","url":null,"abstract":"This study investigates the impact of positive or negative performance evaluations on general self-efficacy and subsequent choice of a solo or group performance among professional musicians ( N = 53; women 58.2%, men 36.4%, non-binary 5.5%). Participants completed personality questionnaires, sight-read an unfamiliar musical piece, received computer-generated feedback, and reported post-manipulation self-efficacy. Results showed that positive evaluations, even computer-generated, increased self-efficacy and were associated with a higher likelihood of choosing solo/ a cappella performance. While self-efficacy correlated with a greater preference for solo/ a cappella performance, it did not mediate the relationship between evaluation and performance choice. Findings align with Bandura’s self-efficacy theory, emphasizing the influence of mastery experiences and external feedback on self-efficacy development.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"69 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637505","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 : 2024-11-12DOI: 10.1177/03057356241288551
Kayla Boileau, Nicole Stanson, Zhuo Fang, Kheana Barbeau, Umara Hansen, Gilles Comeau, Andra Smith
Many musicians live with music performance anxiety (MPA), which may affect their psychological and physiological functioning. Mindfulness, being aware in the present moment without judgment, has been found to help ease anxiety. Mindfulness may also help alleviate the negative effects of MPA, but what is the neurophysiological basis for this effect? Core components of mindfulness, including emotional processing and acceptance, are related to specific patterns of brain activity. In the current study, 20 musicians with MPA underwent a resting-state functional magnetic resonance imaging (MRI) scan (Time 1), a method to examine the communication between brain regions at rest. Notably, 10 musicians then underwent 2 weeks of mindfulness training, while 10 did not. The same scan sequence was repeated in all participants 2 weeks later (Time 2). Compared with Time 1, participants in the mindfulness group exhibited decreased resting-state functional connectivity between areas of the prefrontal cortex and the vermis-6 and crus-II at Time 2. These two areas of the cerebellum are related to emotional processing and acceptance. Changes in communication between these brain regions and the prefrontal cortex suggest the neurophysiological influences of mindfulness and how mindfulness can be used to strengthen emotion regulation networks in musicians with MPA.
{"title":"Examining how brief mindfulness training influences communication within the brain of musicians with music performance anxiety: A resting state fMRI study","authors":"Kayla Boileau, Nicole Stanson, Zhuo Fang, Kheana Barbeau, Umara Hansen, Gilles Comeau, Andra Smith","doi":"10.1177/03057356241288551","DOIUrl":"https://doi.org/10.1177/03057356241288551","url":null,"abstract":"Many musicians live with music performance anxiety (MPA), which may affect their psychological and physiological functioning. Mindfulness, being aware in the present moment without judgment, has been found to help ease anxiety. Mindfulness may also help alleviate the negative effects of MPA, but what is the neurophysiological basis for this effect? Core components of mindfulness, including emotional processing and acceptance, are related to specific patterns of brain activity. In the current study, 20 musicians with MPA underwent a resting-state functional magnetic resonance imaging (MRI) scan (Time 1), a method to examine the communication between brain regions at rest. Notably, 10 musicians then underwent 2 weeks of mindfulness training, while 10 did not. The same scan sequence was repeated in all participants 2 weeks later (Time 2). Compared with Time 1, participants in the mindfulness group exhibited decreased resting-state functional connectivity between areas of the prefrontal cortex and the vermis-6 and crus-II at Time 2. These two areas of the cerebellum are related to emotional processing and acceptance. Changes in communication between these brain regions and the prefrontal cortex suggest the neurophysiological influences of mindfulness and how mindfulness can be used to strengthen emotion regulation networks in musicians with MPA.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"69 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142601956","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 : 2024-11-07DOI: 10.1177/03057356241288765
{"title":"RETRACTION NOTICE: Effect of Internet-mediated music therapy intervention on reduction in generalized anxiety disorder symptoms among displaced Nigerians of the Russia–Ukraine war","authors":"","doi":"10.1177/03057356241288765","DOIUrl":"https://doi.org/10.1177/03057356241288765","url":null,"abstract":"","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"34 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142596544","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 : 2024-10-22DOI: 10.1177/03057356241279763
Tuomas Eerola, Connor Kirts, Suvi Saarikallio
We present a novel framework for music and emotion research that addresses emotional experiences with music as functional episodes. This framework, called the Episode Model, places the situation and the function of the music for the individual at the centre of the experience and integrates acts of affective self-regulation to our understanding of music as emotional experiences. The model consists of a set of five common and functionally unique episodes of emotional experiences related to music, which are: (1) Enjoyment–Distraction–Relaxation (EDR), (2) Connection–Belonging (CB), (3) Focus–Motivation (FM), (4) Personal Emotional Processing (PEP), and (5) Aesthetic–Interest–Awe (AIA). Each episode type can be characterised by a distinct configuration of six descriptive schemes: (1) core affect and emotion qualia, (2) induction mechanisms, (3) listening modes and agency, (4) reward and exposure, (5) musical meanings, and (6) functional contexts. This framework of episodes and schemes places the functionality of emotions at the forefront of music and emotion research and explains how emotional experiences are situated and functionally constructed. In addition, we provide a set of assumptions and specific predictions to facilitate focussed empirical studies of emotional engagement with music.
{"title":"Episode model: The functional approach to emotional experiences of music","authors":"Tuomas Eerola, Connor Kirts, Suvi Saarikallio","doi":"10.1177/03057356241279763","DOIUrl":"https://doi.org/10.1177/03057356241279763","url":null,"abstract":"We present a novel framework for music and emotion research that addresses emotional experiences with music as functional episodes. This framework, called the Episode Model, places the situation and the function of the music for the individual at the centre of the experience and integrates acts of affective self-regulation to our understanding of music as emotional experiences. The model consists of a set of five common and functionally unique episodes of emotional experiences related to music, which are: (1) Enjoyment–Distraction–Relaxation (EDR), (2) Connection–Belonging (CB), (3) Focus–Motivation (FM), (4) Personal Emotional Processing (PEP), and (5) Aesthetic–Interest–Awe (AIA). Each episode type can be characterised by a distinct configuration of six descriptive schemes: (1) core affect and emotion qualia, (2) induction mechanisms, (3) listening modes and agency, (4) reward and exposure, (5) musical meanings, and (6) functional contexts. This framework of episodes and schemes places the functionality of emotions at the forefront of music and emotion research and explains how emotional experiences are situated and functionally constructed. In addition, we provide a set of assumptions and specific predictions to facilitate focussed empirical studies of emotional engagement with music.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142487678","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 : 2024-10-21DOI: 10.1177/03057356241284614
Erika J. Knapp, James Brinkmann, Liza Calisesi Maidens
The purpose of this exploratory instrumental qualitative case study with nested mixed methods was to examine undergraduate music majors’ perceptions of their sense of belonging within one public university music program. We surveyed undergraduate music majors within a single music program and completed purposeful and targeted follow-up interviews of selected respondents who represented a diverse cross-section of the student body. Quantitative analysis included descriptive demographic statistics and linear multiple regression with belonging as the dependent factor. There was a statistically significant relationship between faculty interactions and student sense of belonging ( p < .001). Qualitative findings suggested that student–faculty interactions were a primary contributor to a student’s sense of belonging, as well as the importance of a network of friends and the overall school culture. Implications of these results may assist music administration and faculty members in developing a culture of belonging within their respective studios or departments.
{"title":"“See me for who I am”: An exploratory study of undergraduate music major belonging","authors":"Erika J. Knapp, James Brinkmann, Liza Calisesi Maidens","doi":"10.1177/03057356241284614","DOIUrl":"https://doi.org/10.1177/03057356241284614","url":null,"abstract":"The purpose of this exploratory instrumental qualitative case study with nested mixed methods was to examine undergraduate music majors’ perceptions of their sense of belonging within one public university music program. We surveyed undergraduate music majors within a single music program and completed purposeful and targeted follow-up interviews of selected respondents who represented a diverse cross-section of the student body. Quantitative analysis included descriptive demographic statistics and linear multiple regression with belonging as the dependent factor. There was a statistically significant relationship between faculty interactions and student sense of belonging ( p < .001). Qualitative findings suggested that student–faculty interactions were a primary contributor to a student’s sense of belonging, as well as the importance of a network of friends and the overall school culture. Implications of these results may assist music administration and faculty members in developing a culture of belonging within their respective studios or departments.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"79 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142486712","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 : 2024-10-18DOI: 10.1177/03057356241272999
Daniel Fiedler, Johannes Hasselhorn, A. Katrin Arens, Anne C. Frenzel, Walter P. Vispoel
The Music Self-Perception Inventory-Short (MUSPI-S) is a theoretically based instrument consisting of 28 items with subscales that assess music self-concept globally and in six specific areas. The present study sought to validate a German translation of the MUSPI-S using a sample of 444 secondary school students. In addition to participants’ scores from the German translation of the MUSPI-S, associated data included demographic background variables, self-reported school grades in various subjects, and interest in the school subject of music. Confirmatory factor analyses supported the hypothesized factor structure and measurement model for MUSPI-S scores. Latent factor correlations among MUSPI-S subscale scores and correlations of these scores with school grades and interest in the school subject of music aligned well with theoretical expectations and previous research. Findings also provided evidence for strict measurement invariance of scores in the German MUSPI-S across subgroups of gender, school year (i.e., grade level), and musical activity. MUSPI-S subscale factor-level means did not reliably differ among seventh-, eighth-, and ninth-grade students but favored females over males and musically active over non-active students on nearly all subscales. Overall, this evidence supports the use of the German translation of the MUSPI-S in assessing a wide range of important self-perceived musical abilities for research and practical assessment purposes.
{"title":"Validating scores from the short form of the Music Self-Perception Inventory (MUSPI-S) with seventh- to ninth-grade school students in Germany","authors":"Daniel Fiedler, Johannes Hasselhorn, A. Katrin Arens, Anne C. Frenzel, Walter P. Vispoel","doi":"10.1177/03057356241272999","DOIUrl":"https://doi.org/10.1177/03057356241272999","url":null,"abstract":"The Music Self-Perception Inventory-Short (MUSPI-S) is a theoretically based instrument consisting of 28 items with subscales that assess music self-concept globally and in six specific areas. The present study sought to validate a German translation of the MUSPI-S using a sample of 444 secondary school students. In addition to participants’ scores from the German translation of the MUSPI-S, associated data included demographic background variables, self-reported school grades in various subjects, and interest in the school subject of music. Confirmatory factor analyses supported the hypothesized factor structure and measurement model for MUSPI-S scores. Latent factor correlations among MUSPI-S subscale scores and correlations of these scores with school grades and interest in the school subject of music aligned well with theoretical expectations and previous research. Findings also provided evidence for strict measurement invariance of scores in the German MUSPI-S across subgroups of gender, school year (i.e., grade level), and musical activity. MUSPI-S subscale factor-level means did not reliably differ among seventh-, eighth-, and ninth-grade students but favored females over males and musically active over non-active students on nearly all subscales. Overall, this evidence supports the use of the German translation of the MUSPI-S in assessing a wide range of important self-perceived musical abilities for research and practical assessment purposes.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"11 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142451365","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 : 2024-10-15DOI: 10.1177/03057356241270940
Renan Moreira Madeira, Regina Antunes Teixeira dos Santos
Sixteen piano students learned four piano pieces under two different conditions that involved the deprivation of auditory and motor feedback. One condition required study away from the piano, thus implying the removal of auditory and kinaesthetic feedback (mental practice, MP). The other condition involved study on a digital piano that was turned off (motor practice, MoP), hence depriving the participant of auditory feedback. Data on the effects of the two different modalities of practice, which also excluded external sound references during the initial study of new piano pieces, were analysed in two different ways. First, video recordings of the participants’ practice sessions were analysed to identify behaviours exhibited during these sessions, quantified by number of incidences. Second, external referees assessed final performances (audio recordings on an acoustic piano) according to four proposed parameters related to piano performance. Data from semi-structured interviews were collected as well. The results showed differences between the two conditions, especially with respect to the utilisation of support activities and pauses during practice. The analysis indicated that procedures related to MP may yield better results when the musical material is approached as small portions one at a time. Finally, the modality of MP described in this article, which bears some relation to other forms of MP, could be a valid alternative for issues of fatigue and complexity related to MP, as has been traditionally described in the literature.
{"title":"Effects of two modalities of practice on the learning of piano pieces under the deprivation of auditory feedback","authors":"Renan Moreira Madeira, Regina Antunes Teixeira dos Santos","doi":"10.1177/03057356241270940","DOIUrl":"https://doi.org/10.1177/03057356241270940","url":null,"abstract":"Sixteen piano students learned four piano pieces under two different conditions that involved the deprivation of auditory and motor feedback. One condition required study away from the piano, thus implying the removal of auditory and kinaesthetic feedback (mental practice, MP). The other condition involved study on a digital piano that was turned off (motor practice, MoP), hence depriving the participant of auditory feedback. Data on the effects of the two different modalities of practice, which also excluded external sound references during the initial study of new piano pieces, were analysed in two different ways. First, video recordings of the participants’ practice sessions were analysed to identify behaviours exhibited during these sessions, quantified by number of incidences. Second, external referees assessed final performances (audio recordings on an acoustic piano) according to four proposed parameters related to piano performance. Data from semi-structured interviews were collected as well. The results showed differences between the two conditions, especially with respect to the utilisation of support activities and pauses during practice. The analysis indicated that procedures related to MP may yield better results when the musical material is approached as small portions one at a time. Finally, the modality of MP described in this article, which bears some relation to other forms of MP, could be a valid alternative for issues of fatigue and complexity related to MP, as has been traditionally described in the literature.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"193 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142440162","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 : 2024-10-08DOI: 10.1177/03057356241257426
Suvi Saarikallio, Birgitta Burger, Geoffrey Luck
Music has been actively studied from the perspectives of emotional expression and body movement, but not during adolescence. The current study addressed music as a forum for adolescent embodied emotion expression. Based on prior research, we hypothesised that adolescents would be able to differentiate between emotions in their music-related expressive body movements based on valence and arousal characteristics. Participants ( N = 60, 17 male, mean age 14.72 years) played djembe to express five basic emotions (happiness, tenderness, sadness, anger, fear) while body movements were motion captured. Correlations of movement features with emotion-regulation tendencies, as measured by the Emotion Regulation Questionnaire (ERQ), were additionally explored. Adolescents demonstrated great capacity to use all measured movement features to express emotions: movement speed, variance, area and length all differed significantly between emotions. In particular, the results confirm the hypothesised connection of high arousal to high speed and acceleration and further suggest that positive valence relates to wider area and longer performance. In addition, adolescents scoring high on cognitive reappraisal gave faster and more stable performances. We discuss creative body movement as part of youth emotional development.
{"title":"Embodiment of emotions in adolescents’ musical expression","authors":"Suvi Saarikallio, Birgitta Burger, Geoffrey Luck","doi":"10.1177/03057356241257426","DOIUrl":"https://doi.org/10.1177/03057356241257426","url":null,"abstract":"Music has been actively studied from the perspectives of emotional expression and body movement, but not during adolescence. The current study addressed music as a forum for adolescent embodied emotion expression. Based on prior research, we hypothesised that adolescents would be able to differentiate between emotions in their music-related expressive body movements based on valence and arousal characteristics. Participants ( N = 60, 17 male, mean age 14.72 years) played djembe to express five basic emotions (happiness, tenderness, sadness, anger, fear) while body movements were motion captured. Correlations of movement features with emotion-regulation tendencies, as measured by the Emotion Regulation Questionnaire (ERQ), were additionally explored. Adolescents demonstrated great capacity to use all measured movement features to express emotions: movement speed, variance, area and length all differed significantly between emotions. In particular, the results confirm the hypothesised connection of high arousal to high speed and acceleration and further suggest that positive valence relates to wider area and longer performance. In addition, adolescents scoring high on cognitive reappraisal gave faster and more stable performances. We discuss creative body movement as part of youth emotional development.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"14 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142386273","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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