Pub Date : 2025-08-13DOI: 10.1177/03057356251351778
Yiting Cheah, William M Randall, Eduardo Coutinho
Previous research showed that the impact of background music (BgM) on cognitive performance is influenced by various task-, music-, and listener-specific factors. However, it remains unclear whether these impacts are mirrored in real-life music listening contexts, and past research has revealed various inconsistencies. In this research, we explored university students’ music-listening habits while studying, combining retrospective surveys with a mobile experience sampling methodology to obtain more context-based information about their behaviours, and tried to explore previous contradictory findings. Our results indicate that (a) the likelihood of studying with BgM decreases with age; (b) while studying (compared to other contexts), students listen more to instrumental, softer, slower, and lower energy and valence music; (c) students listen to music while performing (self-perceived) difficult study tasks, in which the music’s energy level decreases with increased perceived task difficulty; and (d) students use BgM to balance between the affective and cognitive impact of music on their study outcome. We conclude by suggesting that to better understand BgM’s role in the interplay between affective and cognitive goals, and the ways they may favour or hinder cognitive performance, future research should explore music-listening habits over longer durations of cognitive engagement.
{"title":"Help me study! Music listening habits while studying","authors":"Yiting Cheah, William M Randall, Eduardo Coutinho","doi":"10.1177/03057356251351778","DOIUrl":"https://doi.org/10.1177/03057356251351778","url":null,"abstract":"Previous research showed that the impact of background music (BgM) on cognitive performance is influenced by various task-, music-, and listener-specific factors. However, it remains unclear whether these impacts are mirrored in real-life music listening contexts, and past research has revealed various inconsistencies. In this research, we explored university students’ music-listening habits while studying, combining retrospective surveys with a mobile experience sampling methodology to obtain more context-based information about their behaviours, and tried to explore previous contradictory findings. Our results indicate that (a) the likelihood of studying with BgM decreases with age; (b) while studying (compared to other contexts), students listen more to instrumental, softer, slower, and lower energy and valence music; (c) students listen to music while performing (self-perceived) difficult study tasks, in which the music’s energy level decreases with increased perceived task difficulty; and (d) students use BgM to balance between the affective and cognitive impact of music on their study outcome. We conclude by suggesting that to better understand BgM’s role in the interplay between affective and cognitive goals, and the ways they may favour or hinder cognitive performance, future research should explore music-listening habits over longer durations of cognitive engagement.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"14 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144898976","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 : 2025-08-12DOI: 10.1177/03057356251344844
Prathiba Batley, Michael A Alsop, Hannah K Heitz, Marion Hambrick, Jason Immekus, Meera Alagaraja
The impacts of cultural engagement on individuals’ health and wellbeing have been well documented. Researchers have highlighted positive effects on various psychological, physiological, and social outcomes as a result of participation in cultural events such as attending concerts, theater, museums, and art exhibits. The purposes of this study were to create an instrument to measure wellbeing constructs (e.g., cultural, emotional, social, physical) and explore the relationships among them. A sample of 358 participants attending concerts performed by a civic orchestra in the southeastern United States completed a questionnaire designed to measure eight wellbeing constructs. Split half exploratory confirmatory factor analyses resulted in the retention of four wellbeing constructs: general, emotional, financial, and cultural. Structural equation modeling showed statistically significant relationships between cultural wellbeing and the other wellbeing constructs. In addition to the indirect effect of financial wellbeing on emotional and general wellbeing through cultural wellbeing, there were also direct statistically significant relationships. These results highlight the relationship between cultural wellbeing on emotional and general wellbeing and the importance of removing financial barriers to cultural engagement. In addition, the retained cultural wellbeing items focused primarily on community features, indicating the value of community-based cultural engagement opportunities.
{"title":"Relationships between financial, cultural, emotional, and general wellbeing: A structural equation modeling study","authors":"Prathiba Batley, Michael A Alsop, Hannah K Heitz, Marion Hambrick, Jason Immekus, Meera Alagaraja","doi":"10.1177/03057356251344844","DOIUrl":"https://doi.org/10.1177/03057356251344844","url":null,"abstract":"The impacts of cultural engagement on individuals’ health and wellbeing have been well documented. Researchers have highlighted positive effects on various psychological, physiological, and social outcomes as a result of participation in cultural events such as attending concerts, theater, museums, and art exhibits. The purposes of this study were to create an instrument to measure wellbeing constructs (e.g., cultural, emotional, social, physical) and explore the relationships among them. A sample of 358 participants attending concerts performed by a civic orchestra in the southeastern United States completed a questionnaire designed to measure eight wellbeing constructs. Split half exploratory confirmatory factor analyses resulted in the retention of four wellbeing constructs: general, emotional, financial, and cultural. Structural equation modeling showed statistically significant relationships between cultural wellbeing and the other wellbeing constructs. In addition to the indirect effect of financial wellbeing on emotional and general wellbeing through cultural wellbeing, there were also direct statistically significant relationships. These results highlight the relationship between cultural wellbeing on emotional and general wellbeing and the importance of removing financial barriers to cultural engagement. In addition, the retained cultural wellbeing items focused primarily on community features, indicating the value of community-based cultural engagement opportunities.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"29 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144898978","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 : 2025-07-24DOI: 10.1177/03057356251348414
Dora Utermohl de Queiroz, Clarissa Foletto, Guadalupe López-Íñiguez
This scoping review addresses empirical work on pedagogical approaches to promoting self-regulated learning (SRL) in musical instrument learning. This work sought to investigate (1) the types of approaches that were considered by studies to be SRL promoters, (2) how they were applied, and (3) the effects of each type of approach on student learning and performance. Following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses for Scoping Reviews (PRISMA-ScR), we searched four databases and 30 specialised journals. This process returned 934 records. After analysing these records, we selected 17 studies that met our inclusion criteria. The results show a variety of pedagogical approaches to developing SRL skills. Teaching practices ranged from self-regulation instructions to tools such as practice journals and digital tools (e.g., electronic portfolios, software applications). Most of the selected studies demonstrated the beneficial effect of SRL teaching approaches on students’ outcomes. Thus, the findings suggest that both pedagogical approaches (self-regulation instruction and tools) can foster SRL. Furthermore, the findings indicate a gap in research on self-regulation pedagogical approaches in different contexts beyond face-to-face teaching, including online and hybrid environments. In addition, the effects of long-term interventions utilising these approaches on students’ learning remain underexplored.
{"title":"Pedagogical approaches to promote self-regulation in musical instrument learning: A PRISMA scoping review","authors":"Dora Utermohl de Queiroz, Clarissa Foletto, Guadalupe López-Íñiguez","doi":"10.1177/03057356251348414","DOIUrl":"https://doi.org/10.1177/03057356251348414","url":null,"abstract":"This scoping review addresses empirical work on pedagogical approaches to promoting self-regulated learning (SRL) in musical instrument learning. This work sought to investigate (1) the types of approaches that were considered by studies to be SRL promoters, (2) how they were applied, and (3) the effects of each type of approach on student learning and performance. Following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses for Scoping Reviews (PRISMA-ScR), we searched four databases and 30 specialised journals. This process returned 934 records. After analysing these records, we selected 17 studies that met our inclusion criteria. The results show a variety of pedagogical approaches to developing SRL skills. Teaching practices ranged from self-regulation instructions to tools such as practice journals and digital tools (e.g., electronic portfolios, software applications). Most of the selected studies demonstrated the beneficial effect of SRL teaching approaches on students’ outcomes. Thus, the findings suggest that both pedagogical approaches (self-regulation instruction and tools) can foster SRL. Furthermore, the findings indicate a gap in research on self-regulation pedagogical approaches in different contexts beyond face-to-face teaching, including online and hybrid environments. In addition, the effects of long-term interventions utilising these approaches on students’ learning remain underexplored.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"12 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144701888","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 : 2025-07-05DOI: 10.1177/03057356251346654
Hazel A van der Walle, Wei Wu, Elizabeth H Margulis, Kelly Jakubowski
Music listening can evoke a wide range of thought types, including autobiographical memories, fictional stories, visual imagery, and mind-wandering. Previous studies have typically examined these thought types individually, which precludes investigation of why certain music evokes certain thought types over others. This study investigates the impact of musical genre, familiarity, enjoyment, contrast, and emotional expression on the occurrence of different thought types during music listening across 17 genres targeted towards UK and US listeners. We systematically selected 356 music excerpts and collected data from 701 participants from the United Kingdom and the United States, analysing the frequency of thoughts occurring during these excerpts and various excerpt ratings (e.g., familiarity, emotional expression). We found significant genre-specific effects on thought types, such as Film music primarily evoking media memories and fictional imaginings. Familiarity, contrast, enjoyment, valence, and arousal ratings all significantly influenced certain thought types, suggesting that both compositional features and one’s previous experiences of music affect listeners’ inner mental worlds. This study extends previous research by exploring a broader range of genres and musical features, offering new insights into the mental landscape of thoughts occurring during music listening.
{"title":"Thoughtscapes in music: An examination of thought types occurring during music listening across 17 genres","authors":"Hazel A van der Walle, Wei Wu, Elizabeth H Margulis, Kelly Jakubowski","doi":"10.1177/03057356251346654","DOIUrl":"https://doi.org/10.1177/03057356251346654","url":null,"abstract":"Music listening can evoke a wide range of thought types, including autobiographical memories, fictional stories, visual imagery, and mind-wandering. Previous studies have typically examined these thought types individually, which precludes investigation of why certain music evokes certain thought types over others. This study investigates the impact of musical genre, familiarity, enjoyment, contrast, and emotional expression on the occurrence of different thought types during music listening across 17 genres targeted towards UK and US listeners. We systematically selected 356 music excerpts and collected data from 701 participants from the United Kingdom and the United States, analysing the frequency of thoughts occurring during these excerpts and various excerpt ratings (e.g., familiarity, emotional expression). We found significant genre-specific effects on thought types, such as Film music primarily evoking media memories and fictional imaginings. Familiarity, contrast, enjoyment, valence, and arousal ratings all significantly influenced certain thought types, suggesting that both compositional features and one’s previous experiences of music affect listeners’ inner mental worlds. This study extends previous research by exploring a broader range of genres and musical features, offering new insights into the mental landscape of thoughts occurring during music listening.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"27 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144565677","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 : 2025-06-25DOI: 10.1177/03057356251334568
Charlene Ryan, Jessica Tsang, Diana Dumlavwalla
Music performance anxiety (MPA) is a common experience among musicians of all ages. However, young pianists have indicated receiving limited performance training or effective MPA support from their teachers. As these findings do not reflect teacher perspectives, this study was designed to provide a fuller picture of piano training. Two hundred thirty-seven piano teachers from across Canada and the United States participated in an online survey, comprising both open- and closed-ended questions, to gauge their pedagogy regarding performance training, perfectionism, and MPA. While the majority of participants reported that students have expressed MPA concerns to them, many noted that they only discuss the issue when students raise it. Virtually all teachers reported that they teach students what to do on stage and how to address performance challenges—in particular memory lapses. Most believe there is a distinction between teaching to play and teaching to perform, yet only 58% said they offer studio classes and 37% hold dress rehearsals. Participants noted a focus on excellence, not perfection, in their pedagogy, but many acknowledged that perfection is an expectation within the field. Comparisons with previous findings on piano students and implications for educators are discussed.
{"title":"Inside the piano studio: What teachers say about performance training, perfectionism, and performance anxiety","authors":"Charlene Ryan, Jessica Tsang, Diana Dumlavwalla","doi":"10.1177/03057356251334568","DOIUrl":"https://doi.org/10.1177/03057356251334568","url":null,"abstract":"Music performance anxiety (MPA) is a common experience among musicians of all ages. However, young pianists have indicated receiving limited performance training or effective MPA support from their teachers. As these findings do not reflect teacher perspectives, this study was designed to provide a fuller picture of piano training. Two hundred thirty-seven piano teachers from across Canada and the United States participated in an online survey, comprising both open- and closed-ended questions, to gauge their pedagogy regarding performance training, perfectionism, and MPA. While the majority of participants reported that students have expressed MPA concerns to them, many noted that they only discuss the issue when students raise it. Virtually all teachers reported that they teach students what to do on stage and how to address performance challenges—in particular memory lapses. Most believe there is a distinction between teaching to play and teaching to perform, yet only 58% said they offer studio classes and 37% hold dress rehearsals. Participants noted a focus on excellence, not perfection, in their pedagogy, but many acknowledged that perfection is an expectation within the field. Comparisons with previous findings on piano students and implications for educators are discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"90 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144479297","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 : 2025-06-19DOI: 10.1177/03057356251342808
Valeria A Pfeifer, Ava G Naffah, Matthias R Mehl
Brian Wilson of The Beach Boys is considered one of the most prolific artists of the 20th century. At the same time, he is also known for his persisting struggles with mental health. Considering that most of his 60+-year career consists of published songs and lyrics, he makes an interesting case study to understand the dynamics of language use in relation to psychological experiences over the course of an individual’s life and career. We identified song lyrics for which he is credited as (co-)writer and analyzed their lyrics ( N = 250) using the Linguistic Inquiry and Word Count (LIWC) program. Considering features previously associated with mental health (I-talk, Emotional Tone, Analytic language and Cognitive Processes words) over time, we found that I-talk and Cognitive Processes showed an initial increase, followed by a plateau (in 1967), while Emotional Tone showed a cubic relationship with time, being sensitive to changes in Brian Wilson’s life. Analytic language was highly variable and did not show any patterns. Our data suggest that even carefully crafted language, such as song lyrics, can carry information about the writer’s mental health and that considering language use over the course of an individual’s lifespan can provide crucial insights into psychological processes.
沙滩男孩乐队的布莱恩·威尔逊被认为是20世纪最多产的艺术家之一。与此同时，他也因与心理健康的持续斗争而闻名。考虑到他60多年的职业生涯中大部分时间都是由发表的歌曲和歌词组成的，他做了一个有趣的案例研究，以了解语言使用的动态与个人生活和职业生涯中心理体验的关系。我们确定了他被认为是（共同）作者的歌词，并使用语言调查和单词计数（LIWC）程序分析了他们的歌词（N = 250）。考虑到以前与心理健康相关的特征（I-talk, Emotional Tone, analytical language and Cognitive Processes words）随着时间的推移，我们发现I-talk和Cognitive Processes表现出最初的增加，随后是一个平台期（1967年），而Emotional Tone表现出与时间的立方关系，对Brian Wilson的生活变化很敏感。分析语言是高度可变的，不显示任何模式。我们的数据表明，即使是精心设计的语言，比如歌词，也能传递出作者心理健康状况的信息，考虑到一个人一生中的语言使用情况，可以为心理过程提供至关重要的见解。
{"title":"Feel flows: Language use patterns in the lyrics of Brian Wilson of the Beach Boys","authors":"Valeria A Pfeifer, Ava G Naffah, Matthias R Mehl","doi":"10.1177/03057356251342808","DOIUrl":"https://doi.org/10.1177/03057356251342808","url":null,"abstract":"Brian Wilson of The Beach Boys is considered one of the most prolific artists of the 20th century. At the same time, he is also known for his persisting struggles with mental health. Considering that most of his 60+-year career consists of published songs and lyrics, he makes an interesting case study to understand the dynamics of language use in relation to psychological experiences over the course of an individual’s life and career. We identified song lyrics for which he is credited as (co-)writer and analyzed their lyrics ( <jats:italic>N</jats:italic> = 250) using the Linguistic Inquiry and Word Count (LIWC) program. Considering features previously associated with mental health (I-talk, Emotional Tone, Analytic language and Cognitive Processes words) over time, we found that I-talk and Cognitive Processes showed an initial increase, followed by a plateau (in 1967), while Emotional Tone showed a cubic relationship with time, being sensitive to changes in Brian Wilson’s life. Analytic language was highly variable and did not show any patterns. Our data suggest that even carefully crafted language, such as song lyrics, can carry information about the writer’s mental health and that considering language use over the course of an individual’s lifespan can provide crucial insights into psychological processes.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"36 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144319665","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 : 2025-06-15DOI: 10.1177/03057356251344952
Roberta Antonini Philippe, Marine Tâche, Chloé Jaunin, Jean-François Arcier, Benjamin Caumeil
Musical performances require significant physical effort and musculoskeletal injuries are an integral part of musicians’ careers. The physical strains of performances are often accompanied by psychological stresses that can accelerate the development of particular physical injuries. This study aimed to understand the protective or deleterious effects of motivation, self-efficacy and rumination. We conducted a cross-sectional study of data collected retrospectively from 121 musical artists. Participants completed sociodemographic, medical, and psychological questionnaires. The artists were divided into previously injured ( n = 66, 54.5%) and not previously injured ( n = 55, 45.5%) groups. Significant inter-group differences were found for age ( p < .05), years of performing ( p < .01), and hours of practising ( p < .001). No differences were found for sex and total musical practice. Overall, 74.1% of the periods lost to injury lasted under 30 days. Almost all injuries (98.4%) involved the upper limbs or trunk, most frequently hands (15.3%) and wrists (15.3%). Muscles (39.7%) and tendons (26.5%) were the usual tissues damaged. The previously injured and not previously injured groups showed no differences regarding the dimensions of motivation ( p > .05), self-efficacy ( p>.05 ) or rumination. However, there were significant inter-group differences for the subdimensions of integrated motivation ( p < .05), introjected motivation ( p < .05), and the intrusiveness of repetitive negative thinking ( p < .05). The present study’s epidemiological data highlighted the need to provide musicians with better support for their physical preparedness. Promoting more comprehensive care for this population and improving their biopsychosocial well-being could improve their ability to manage stress and injuries and implement effective coping strategies.
{"title":"Risks and protective factors for injury among musicians: The impact of motivation, self-efficacy and rumination","authors":"Roberta Antonini Philippe, Marine Tâche, Chloé Jaunin, Jean-François Arcier, Benjamin Caumeil","doi":"10.1177/03057356251344952","DOIUrl":"https://doi.org/10.1177/03057356251344952","url":null,"abstract":"Musical performances require significant physical effort and musculoskeletal injuries are an integral part of musicians’ careers. The physical strains of performances are often accompanied by psychological stresses that can accelerate the development of particular physical injuries. This study aimed to understand the protective or deleterious effects of motivation, self-efficacy and rumination. We conducted a cross-sectional study of data collected retrospectively from 121 musical artists. Participants completed sociodemographic, medical, and psychological questionnaires. The artists were divided into previously injured ( <jats:italic>n</jats:italic> = 66, 54.5%) and not previously injured ( <jats:italic>n</jats:italic> = 55, 45.5%) groups. Significant inter-group differences were found for age ( <jats:italic>p</jats:italic> < .05), years of performing ( <jats:italic>p</jats:italic> < .01), and hours of practising ( <jats:italic>p</jats:italic> < .001). No differences were found for sex and total musical practice. Overall, 74.1% of the periods lost to injury lasted under 30 days. Almost all injuries (98.4%) involved the upper limbs or trunk, most frequently hands (15.3%) and wrists (15.3%). Muscles (39.7%) and tendons (26.5%) were the usual tissues damaged. The previously injured and not previously injured groups showed no differences regarding the dimensions of motivation ( <jats:italic>p</jats:italic> > .05), self-efficacy ( <jats:italic>p</jats:italic> <jats:italic>></jats:italic> <jats:italic>.05</jats:italic> ) or rumination. However, there were significant inter-group differences for the subdimensions of integrated motivation ( <jats:italic>p</jats:italic> < .05), introjected motivation ( <jats:italic>p</jats:italic> < .05), and the intrusiveness of repetitive negative thinking ( <jats:italic>p</jats:italic> < .05). The present study’s epidemiological data highlighted the need to provide musicians with better support for their physical preparedness. Promoting more comprehensive care for this population and improving their biopsychosocial well-being could improve their ability to manage stress and injuries and implement effective coping strategies.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"179 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144290123","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 : 2025-06-12DOI: 10.1177/03057356251336147
Christian Ferlaino, Raymond MacDonald
This article investigates the role of early experiences in shaping the musical identities of 15 individuals with a diverse range of self-reported musical skills, ranging from none to professional level. Participant interviews were recorded, transcribed, and analysed for emerging and superordinate themes. Topics covered in the interviews included participants’ relationship with music, significant early musical memories, and experiences with music-making (particularly early experiences). Twelve of the 15 participants also attended a series of music workshops in either Italy (Calabria) or Scotland (Glasgow). The workshops were focused on integrating both musically experienced and inexperienced participants in collaborative musical activities. Analysis revealed 13 emergent themes that were grouped into three superordinate themes: early exposure and family influence; experiences with music education; participation and playfulness. These themes highlight how participants’ early experiences of music are remembered in detail and represent important moments in the participants’ lives. Early listening experiences were reported as positive and linked with family memories. Early musical education experiences were often reported as negative leading to lifelong self-beliefs of being ‘unmusical’. Results suggest that positive experience with musical engagement can overcome the debilitating effects of early negative experience of music, highlighting musical identities as dynamic (amenable to change) and situated (context-dependent).
{"title":"The first cut is the deepest: Exploring the importance of early musical experiences in the development of musical identities","authors":"Christian Ferlaino, Raymond MacDonald","doi":"10.1177/03057356251336147","DOIUrl":"https://doi.org/10.1177/03057356251336147","url":null,"abstract":"This article investigates the role of early experiences in shaping the musical identities of 15 individuals with a diverse range of self-reported musical skills, ranging from none to professional level. Participant interviews were recorded, transcribed, and analysed for emerging and superordinate themes. Topics covered in the interviews included participants’ relationship with music, significant early musical memories, and experiences with music-making (particularly early experiences). Twelve of the 15 participants also attended a series of music workshops in either Italy (Calabria) or Scotland (Glasgow). The workshops were focused on integrating both musically experienced and inexperienced participants in collaborative musical activities. Analysis revealed 13 emergent themes that were grouped into three superordinate themes: early exposure and family influence; experiences with music education; participation and playfulness. These themes highlight how participants’ early experiences of music are remembered in detail and represent important moments in the participants’ lives. Early listening experiences were reported as positive and linked with family memories. Early musical education experiences were often reported as negative leading to lifelong self-beliefs of being ‘unmusical’. Results suggest that positive experience with musical engagement can overcome the debilitating effects of early negative experience of music, highlighting musical identities as dynamic (amenable to change) and situated (context-dependent).","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"30 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144290189","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 : 2025-05-29DOI: 10.1177/03057356251340891
Nikki Moran, Michelle Phillips
{"title":"Editorial: Welcome by the new Editors-in-Chief","authors":"Nikki Moran, Michelle Phillips","doi":"10.1177/03057356251340891","DOIUrl":"https://doi.org/10.1177/03057356251340891","url":null,"abstract":"","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"62 1","pages":"319-320"},"PeriodicalIF":1.7,"publicationDate":"2025-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144193185","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 : 2025-05-28DOI: 10.1177/03057356251319220
Sheng-Ying Isabella Weng, Erkki Huovinen, Sven Ahlbäck
Melodic intonation is generally considered a central expressive means in musical performance. In Western classical music, relationships between intonation in perception and performance have shown to be less straightforward than one might expect. In this study, we investigated leading-tone intonation for solo violin, as perceived and performed by six accomplished violinists. We selected excerpts from classical violin repertoire, each of which included ascending semitone intervals leading up to tonally stable tones. Each violinist performed the excerpts and participated in a listening study and a semi-structured interview. Prior recordings of the excerpts, manipulated in terms of the pitch of the leading tones, were used in the listening study to obtain information about each participant’s accepted perceptual range of leading-tone intonation. The violinists’ preferred semitone sizes were between 80 and 90 cents, on average, both in their perceptual preferences and their performance practice. This group average appeared to approximate the “standard” of leading-tone intonation that the participants consistently mentioned in their verbal protocols. However, the perceptual preferences and the performance intonation also varied both within and between individuals. Given the overall sharp standard of leading-tone intonation, even an equal-tempered leading tone might sometimes represent an expressive gesture in the violinists’ artistic practice.
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