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}
Pub Date : 2025-09-12DOI: 10.1177/03057356251369510
Brian A Silvey, Jessica Nápoles, D Gregory Springer, Mark Montemayor
Music students and music teachers are subject to a variety of stressors that can negatively affect their health and well-being. In the current study, we aimed to investigate the incidence of perfectionism and impostor phenomenon (IP) among undergraduate music education majors. A secondary purpose was to examine the degree to which perfectionist tendencies (self-oriented perfectionism, other-oriented perfectionism, and socially prescribed perfectionism) and selected demographic variables (gender identity, year in school, first-generation college student status, enrollment in a university honors program, and music education focus) predict IP. Participants ( N = 135) were a convenience sample of undergraduate music education majors in the United States who completed the Hewitt and Flett Multidimensional Perfectionism Scale and the Clance Impostor Phenomenon Scale. Results of descriptive and multiple regression analyses revealed that all three subscales of perfectionism and first-generation college student status significantly predicted IP scores. We interpret these findings based on prior literature on perfectionism and IP, and we offer recommendations for ways that university music faculty can support their students to reduce the negative effects associated with perfectionism and IP.
{"title":"Perfectionism and impostor phenomenon among undergraduate music education majors","authors":"Brian A Silvey, Jessica Nápoles, D Gregory Springer, Mark Montemayor","doi":"10.1177/03057356251369510","DOIUrl":"https://doi.org/10.1177/03057356251369510","url":null,"abstract":"Music students and music teachers are subject to a variety of stressors that can negatively affect their health and well-being. In the current study, we aimed to investigate the incidence of perfectionism and impostor phenomenon (IP) among undergraduate music education majors. A secondary purpose was to examine the degree to which perfectionist tendencies (self-oriented perfectionism, other-oriented perfectionism, and socially prescribed perfectionism) and selected demographic variables (gender identity, year in school, first-generation college student status, enrollment in a university honors program, and music education focus) predict IP. Participants ( <jats:italic>N</jats:italic> = 135) were a convenience sample of undergraduate music education majors in the United States who completed the Hewitt and Flett Multidimensional Perfectionism Scale and the Clance Impostor Phenomenon Scale. Results of descriptive and multiple regression analyses revealed that all three subscales of perfectionism and first-generation college student status significantly predicted IP scores. We interpret these findings based on prior literature on perfectionism and IP, and we offer recommendations for ways that university music faculty can support their students to reduce the negative effects associated with perfectionism and IP.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"52 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145072501","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 : 2025-08-28DOI: 10.1177/03057356251359079
Marco Costa, Alice Andreose, Francesco Barzetta, Alessia Beracci, Marco Fabbri, Raffaele Ferri, Valeria Gigli, Federica Giudetti, Martina Grimaldi, Monica Martoni, Vincenzo Natale, Nicola Prodi, Lorenzo Tonetti, Chiara Visentin, Miranda Occhionero
Previous literature on the effects of musical stimuli in facilitating sleep onset has produced mixed results. This study aimed to test the efficacy of very slow pentatonic melodic sequences in facilitating sleep onset compared with a silence control condition. Twenty-two participants slept for four nights in a sleep lab with polysomnographic recording. The four nights included a first adaptation night and three experimental nights. Two nights included musical stimulation with speed in the delta and sub-delta range (1 Hz and 0.2 Hz, respectively), and one night included silence (control). The two musical stimulations consisted of pentatonic melodic sequences. Music was played from lights off until the onset of the slow-wave sleep (SWS) stage. Sleep onset latency, N1 duration, N2 latency, first N2 duration, SWS latency, sleep architecture, and spectral power of the interval from lights off to sleep onset were assessed from polysomnographic recordings. The results showed shorter latencies for sleep onset, N2, and SWS latencies with 0.2 Hz pentatonic sequences. Spectral analysis of the electroencephalography (EEG) data from lights off to sleep onset showed a significant increase in delta EEG oscillations in both musical conditions. Very slow musical stimulation can facilitate sleep onset.
{"title":"Slow pentatonic sequences facilitate sleep onset","authors":"Marco Costa, Alice Andreose, Francesco Barzetta, Alessia Beracci, Marco Fabbri, Raffaele Ferri, Valeria Gigli, Federica Giudetti, Martina Grimaldi, Monica Martoni, Vincenzo Natale, Nicola Prodi, Lorenzo Tonetti, Chiara Visentin, Miranda Occhionero","doi":"10.1177/03057356251359079","DOIUrl":"https://doi.org/10.1177/03057356251359079","url":null,"abstract":"Previous literature on the effects of musical stimuli in facilitating sleep onset has produced mixed results. This study aimed to test the efficacy of very slow pentatonic melodic sequences in facilitating sleep onset compared with a silence control condition. Twenty-two participants slept for four nights in a sleep lab with polysomnographic recording. The four nights included a first adaptation night and three experimental nights. Two nights included musical stimulation with speed in the delta and sub-delta range (1 Hz and 0.2 Hz, respectively), and one night included silence (control). The two musical stimulations consisted of pentatonic melodic sequences. Music was played from lights off until the onset of the slow-wave sleep (SWS) stage. Sleep onset latency, N1 duration, N2 latency, first N2 duration, SWS latency, sleep architecture, and spectral power of the interval from lights off to sleep onset were assessed from polysomnographic recordings. The results showed shorter latencies for sleep onset, N2, and SWS latencies with 0.2 Hz pentatonic sequences. Spectral analysis of the electroencephalography (EEG) data from lights off to sleep onset showed a significant increase in delta EEG oscillations in both musical conditions. Very slow musical stimulation can facilitate sleep onset.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"139 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144915489","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 : 2025-08-28DOI: 10.1177/03057356251364857
D. Gregory Springer, Tyler J. Goehring
When performing music of earlier eras, musicians commonly perform on period instruments, yet there is limited empirical evidence regarding listeners’ perceptions of those instruments compared with modern instruments. In two experiments, we examined listeners’ preferences for Baroque violin music performed on period and modern instruments. In Experiment 1, collegiate musicians listened to an excerpt from Telemann’s Concerto à 4 Violini No. 1 performed both on period instruments and modern instruments and indicated which performance they preferred. Results revealed a small but nonsignificant preference for the period instruments and participants explained that their preferences were primarily due to elements related to tuning, intonation, and key. In Experiment 2, participants listened to both recordings and rated their enjoyment and perceived performance quality. However, participants heard one of the three types of framing information (congruent, incongruent, or none) regarding the instruments used in the recording (period vs. modern instruments). Participants provided significantly higher enjoyment ratings when they were told they were listening to period instrument recordings, whether or not they actually heard period instruments. However, significant condition by order interaction effects indicate that participants’ perceptions were further influenced by the order of recordings.
{"title":"Old instruments or new? Listeners’ preferences for Baroque violin music performed on period and modern instruments","authors":"D. Gregory Springer, Tyler J. Goehring","doi":"10.1177/03057356251364857","DOIUrl":"https://doi.org/10.1177/03057356251364857","url":null,"abstract":"When performing music of earlier eras, musicians commonly perform on period instruments, yet there is limited empirical evidence regarding listeners’ perceptions of those instruments compared with modern instruments. In two experiments, we examined listeners’ preferences for Baroque violin music performed on period and modern instruments. In Experiment 1, collegiate musicians listened to an excerpt from Telemann’s <jats:italic>Concerto à 4 Violini No. 1</jats:italic> performed both on period instruments and modern instruments and indicated which performance they preferred. Results revealed a small but nonsignificant preference for the period instruments and participants explained that their preferences were primarily due to elements related to tuning, intonation, and key. In Experiment 2, participants listened to both recordings and rated their enjoyment and perceived performance quality. However, participants heard one of the three types of framing information (congruent, incongruent, or none) regarding the instruments used in the recording (period vs. modern instruments). Participants provided significantly higher enjoyment ratings when they were told they were listening to period instrument recordings, whether or not they actually heard period instruments. However, significant condition by order interaction effects indicate that participants’ perceptions were further influenced by the order of recordings.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"164 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144915544","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 : 2025-08-26DOI: 10.1177/03057356251362191
Nicola J Baker, Clemence Due, John Baranoff, Luke W Dollman
Previous research suggests that making music together has a positive effect on wellbeing. In contrast, research focussed on professional musicians indicates they experience higher than general population average rates of anxiety and depression symptoms. In addition, despite the creative process of ensemble music-making being a joint endeavour, current approaches to addressing mental wellbeing largely focus on self-reported physical and psychological symptoms and suggest individual solutions. In response, the aim of this research is to understand how professional orchestral musicians themselves perceive mental wellbeing (both their own and that of other musicians they know), with a particular focus on relational aspects. Semi-structured interviews were conducted with 18 musicians from full-time professional orchestras across Australia and were analysed using reflexive thematic analysis. This study contributes to knowledge about wellbeing for professional orchestral musicians by demonstrating a range of relational issues and how they impact the individual wellbeing of musicians both positively and negatively. In particular, the interconnectedness of experience and the impact of close, longstanding work relationships are discussed, as well as the contrast between experiences of secrecy and open communication.
{"title":"Creating together: Musicians’ descriptions of relational aspects of their profession","authors":"Nicola J Baker, Clemence Due, John Baranoff, Luke W Dollman","doi":"10.1177/03057356251362191","DOIUrl":"https://doi.org/10.1177/03057356251362191","url":null,"abstract":"Previous research suggests that making music together has a positive effect on wellbeing. In contrast, research focussed on professional musicians indicates they experience higher than general population average rates of anxiety and depression symptoms. In addition, despite the creative process of ensemble music-making being a joint endeavour, current approaches to addressing mental wellbeing largely focus on self-reported physical and psychological symptoms and suggest individual solutions. In response, the aim of this research is to understand how professional orchestral musicians themselves perceive mental wellbeing (both their own and that of other musicians they know), with a particular focus on relational aspects. Semi-structured interviews were conducted with 18 musicians from full-time professional orchestras across Australia and were analysed using reflexive thematic analysis. This study contributes to knowledge about wellbeing for professional orchestral musicians by demonstrating a range of relational issues and how they impact the individual wellbeing of musicians both positively and negatively. In particular, the interconnectedness of experience and the impact of close, longstanding work relationships are discussed, as well as the contrast between experiences of secrecy and open communication.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"19 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144905769","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 : 2025-08-17DOI: 10.1177/03057356251350157
Johannes L Hatfield, Hallgeir Halvari, Aaron Williamon
Performance-related somatic symptoms may include pain, weakness, numbness, and tingling, and they are commonly experienced by students in higher music education . From a self-determination theory perspective, this study examines the relationship between basic psychological need satisfaction (BPNS) and frustration, somatic symptom burden, giving up, and life satisfaction among music performance students ( n = 281). Two theoretical models were tested hypothesizing that music students’ BPNS would be negatively associated with both students’ somatic symptoms and giving up and positively related to general life satisfaction. Basic psychological need frustration (BPNF) was anticipated to have the opposite relations. The two models were confirmed. Participants whose basic psychological needs were satisfied were unlikely to be burdened by somatic symptoms and giving up and simultaneously likely to experiencing high levels of general life satisfaction. Conversely, participants whose basic psychological needs were frustrated were more likely to be burdened by various somatic symptoms and to giving up facing adversity. Need-frustrated participants also reported low levels of life satisfaction. This study contributed to extending the application of self-determination theory to address somatic symptom burden in the context of music performance. Educational implications are discussed in the light of teaching and learning in higher music education.
{"title":"No pain, no gain? Satisfaction and frustration of basic psychological needs, somatic burden, giving up, and life satisfaction in music students","authors":"Johannes L Hatfield, Hallgeir Halvari, Aaron Williamon","doi":"10.1177/03057356251350157","DOIUrl":"https://doi.org/10.1177/03057356251350157","url":null,"abstract":"Performance-related somatic symptoms may include pain, weakness, numbness, and tingling, and they are commonly experienced by students in <jats:italic>higher music education</jats:italic> . From a self-determination theory perspective, this study examines the relationship between basic psychological need satisfaction (BPNS) and frustration, somatic symptom burden, giving up, and life satisfaction among music performance students ( <jats:italic>n</jats:italic> = 281). Two theoretical models were tested hypothesizing that music students’ BPNS would be negatively associated with both students’ somatic symptoms and giving up and positively related to general life satisfaction. Basic psychological need frustration (BPNF) was anticipated to have the opposite relations. The two models were confirmed. Participants whose basic psychological needs were satisfied were unlikely to be burdened by somatic symptoms and giving up and simultaneously likely to experiencing high levels of general life satisfaction. Conversely, participants whose basic psychological needs were frustrated were more likely to be burdened by various somatic symptoms and to giving up facing adversity. Need-frustrated participants also reported low levels of life satisfaction. This study contributed to extending the application of self-determination theory to address somatic symptom burden in the context of music performance. Educational implications are discussed in the light of teaching and learning in higher music education.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"9 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144901393","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：