Pub Date : 2024-04-11DOI: 10.1177/03057356241239337
Beate Elstad, Erik Døving, Dag Jansson
This study examines how cultural workers in the music sector coped with the COVID-19-induced lockdown, and how coping is associated with growth in personal strength during the pandemic. We conducted an online survey 1 year into the pandemic among members of Creo, Norway’s largest trade union in the music sector. Respondents ( N = 658) were to a large degree engaged in fight coping. Furthermore, seeking and giving social support, adopting new digital technologies, rotating job plans, as well as generating and maintaining professional skills were positively related to increased personal strength. We observed notable differences between occupational groups. Musicians chose skill nurturing, music educators engaged in technology adoption, and backstage workers reported flight coping to a larger degree than the other occupational groups. Surprisingly, self-employed and temporary employed workers reported a lower degree of innovation in terms of initiating and participating in new digital concepts and technology adoption compared to those with permanent employment. Finally, temporary or self-employed workers reported a higher degree of flight and freeze coping than permanently employed workers.
{"title":"Personal strength and coping during the COVID-19 pandemic: A study of cultural workers in the music sector","authors":"Beate Elstad, Erik Døving, Dag Jansson","doi":"10.1177/03057356241239337","DOIUrl":"https://doi.org/10.1177/03057356241239337","url":null,"abstract":"This study examines how cultural workers in the music sector coped with the COVID-19-induced lockdown, and how coping is associated with growth in personal strength during the pandemic. We conducted an online survey 1 year into the pandemic among members of Creo, Norway’s largest trade union in the music sector. Respondents ( N = 658) were to a large degree engaged in fight coping. Furthermore, seeking and giving social support, adopting new digital technologies, rotating job plans, as well as generating and maintaining professional skills were positively related to increased personal strength. We observed notable differences between occupational groups. Musicians chose skill nurturing, music educators engaged in technology adoption, and backstage workers reported flight coping to a larger degree than the other occupational groups. Surprisingly, self-employed and temporary employed workers reported a lower degree of innovation in terms of initiating and participating in new digital concepts and technology adoption compared to those with permanent employment. Finally, temporary or self-employed workers reported a higher degree of flight and freeze coping than permanently employed workers.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"41 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140551929","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 : 2024-04-10DOI: 10.1177/03057356241238004
Mei Hong, Dapeng Liang, Teng Lu
It has been demonstrated that exposure to music with prosocial lyrics can increase the accessibility of prosocial thoughts, leading to greater empathy and fostering helping behaviors. However, existing studies have largely neglected the intertemporal nature of altruism, limiting their scope of interpretation. The present research investigates the effects of attentively listening to music with prosocial lyrics (Study 1) and playing prosocial background music (Study 2) on intertemporal charitable donations. Both studies indicated that relative to neutral music, listening to songs with prosocial lyrics enhanced intertemporal donation behavior. Interpersonal empathy served a mediating role in this effect. These findings align with the General Learning Model, highlighting the significance of the empathy pathway in elucidating how media exposure impacts intertemporal altruism.
{"title":"Charity begins with prosocial music: Musical differences in intertemporal prosocial discounting and generosity","authors":"Mei Hong, Dapeng Liang, Teng Lu","doi":"10.1177/03057356241238004","DOIUrl":"https://doi.org/10.1177/03057356241238004","url":null,"abstract":"It has been demonstrated that exposure to music with prosocial lyrics can increase the accessibility of prosocial thoughts, leading to greater empathy and fostering helping behaviors. However, existing studies have largely neglected the intertemporal nature of altruism, limiting their scope of interpretation. The present research investigates the effects of attentively listening to music with prosocial lyrics (Study 1) and playing prosocial background music (Study 2) on intertemporal charitable donations. Both studies indicated that relative to neutral music, listening to songs with prosocial lyrics enhanced intertemporal donation behavior. Interpersonal empathy served a mediating role in this effect. These findings align with the General Learning Model, highlighting the significance of the empathy pathway in elucidating how media exposure impacts intertemporal altruism.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"29 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140545548","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 : 2024-04-05DOI: 10.1177/03057356241239336
Jonna K. Vuoskoski, Henna-Riikka Peltola
Strongly disliked music has the capacity to evoke strong negative emotions and physical sensations—at least in some listeners. Although previous (qualitative) studies on disliked music have provided valuable descriptions of listeners’ experiences, more generalizable approaches are needed for understanding individual differences in the intensity of music-evoked aversive experiences. This study set out to explore these individual differences by developing a standardized questionnaire to measure the intensity of aversive musical experiences, the Aversive Musical Experience Scale (AMES). Furthermore, we explored the hypothesized predictors and potential underlying mechanisms (such as emotional contagion and a general sensitivity to sounds) by measuring trait emotional contagion, misophonia, tendency to experience autonomous sensory meridian responses (ASMR) and frissons, and personality. Based on the results of exploratory and confirmatory factor analyses, a final 18-item version of AMES was constructed, comprising three subscales: Sensations, Social, and Features. Misophonia and emotional contagion emerged as the strongest predictors of global AMES and its subscales. Furthermore, the personality traits of neuroticism, agreeableness, and openness to experience, as well as age and musical expertise emerged as significant predictors of at least one of the scales. The implications and limitations of the findings are discussed with respect to sound-sensitivity, music-induced emotions, and personality theory.
{"title":"The Aversive Musical Experience Scale (AMES): Measuring individual differences in the intensity of music-evoked aversion","authors":"Jonna K. Vuoskoski, Henna-Riikka Peltola","doi":"10.1177/03057356241239336","DOIUrl":"https://doi.org/10.1177/03057356241239336","url":null,"abstract":"Strongly disliked music has the capacity to evoke strong negative emotions and physical sensations—at least in some listeners. Although previous (qualitative) studies on disliked music have provided valuable descriptions of listeners’ experiences, more generalizable approaches are needed for understanding individual differences in the intensity of music-evoked aversive experiences. This study set out to explore these individual differences by developing a standardized questionnaire to measure the intensity of aversive musical experiences, the Aversive Musical Experience Scale (AMES). Furthermore, we explored the hypothesized predictors and potential underlying mechanisms (such as emotional contagion and a general sensitivity to sounds) by measuring trait emotional contagion, misophonia, tendency to experience autonomous sensory meridian responses (ASMR) and frissons, and personality. Based on the results of exploratory and confirmatory factor analyses, a final 18-item version of AMES was constructed, comprising three subscales: Sensations, Social, and Features. Misophonia and emotional contagion emerged as the strongest predictors of global AMES and its subscales. Furthermore, the personality traits of neuroticism, agreeableness, and openness to experience, as well as age and musical expertise emerged as significant predictors of at least one of the scales. The implications and limitations of the findings are discussed with respect to sound-sensitivity, music-induced emotions, and personality theory.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"78 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140534134","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 : 2024-04-04DOI: 10.1177/03057356241239876
Berke Ankaç, Hakkı Cengiz Eren, Erkan Sülün
Mindfulness meditation practices have garnered a lot of popularity in recent years. Various psychological benefits of mindfulness meditation have been documented in a myriad of literature. In this pilot study, we evaluated the effectiveness of a short-term mindfulness training program on time-based musical perceptions of pre-service music teachers. Here, time-based perception entails the accurate perception of pattern, meter, and tempo. A one-group pretest–posttest design was implemented as a model. Pre-service music teachers ( n = 8) completed the rhythm, rhythm-to-melody, and tempo subscales of the modular-PROMS before and after undergoing an 8-week-long mindfulness training program. Whereas significant enhancements of rhythm and rhythm-to-melody perceptions were observed, a similar kind of enhancement was not detected with respect to tempo perception.
{"title":"The effects of a mindfulness meditation program on enhancing musical perception of time: A pilot study","authors":"Berke Ankaç, Hakkı Cengiz Eren, Erkan Sülün","doi":"10.1177/03057356241239876","DOIUrl":"https://doi.org/10.1177/03057356241239876","url":null,"abstract":"Mindfulness meditation practices have garnered a lot of popularity in recent years. Various psychological benefits of mindfulness meditation have been documented in a myriad of literature. In this pilot study, we evaluated the effectiveness of a short-term mindfulness training program on time-based musical perceptions of pre-service music teachers. Here, time-based perception entails the accurate perception of pattern, meter, and tempo. A one-group pretest–posttest design was implemented as a model. Pre-service music teachers ( n = 8) completed the rhythm, rhythm-to-melody, and tempo subscales of the modular-PROMS before and after undergoing an 8-week-long mindfulness training program. Whereas significant enhancements of rhythm and rhythm-to-melody perceptions were observed, a similar kind of enhancement was not detected with respect to tempo perception.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"127 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140533224","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 : 2024-03-20DOI: 10.1177/03057356241235645
Seth C Kalichman, Joshua M Smyth
Tom Petty’s songs are among the most recognized and influential in rock music. One aspect of Petty’s songs that contributes to his popularity is his use of language in his lyrics. The current study performed two sets of analyses: (a) to examine linguistic features of Petty’s song lyrics over the course of his songwriting career; and (b) to investigate similarities and differences between Petty’s lyrics and the earlier and contemporaneous lyrics of an artist widely assumed to have influenced him, Bob Dylan. Results of analyses using a standard textual program, Linguistic Inquiry Word Count (LIWC), showed that Petty reduced his references to social relations and reduced his focus on future time orientations over his songwriting career. There were also rises and declines in expressions of authenticity as well as increases in analytical thinking. In analyses comparing Petty to Dylan using a time-lagged approach, Petty’s songs remained shorter in number of words than Dylan’s songs and there was an increase in indicators of analytical thinking in Petty’s later work reaching levels that are characteristic of Dylan’s songs. Further research is needed to trace the influences on prolific songwriting and other aspects of music beyond lyrical expression.
{"title":"“There’s no one as honest as those in pain”: The language of Tom Petty’s song lyrics","authors":"Seth C Kalichman, Joshua M Smyth","doi":"10.1177/03057356241235645","DOIUrl":"https://doi.org/10.1177/03057356241235645","url":null,"abstract":"Tom Petty’s songs are among the most recognized and influential in rock music. One aspect of Petty’s songs that contributes to his popularity is his use of language in his lyrics. The current study performed two sets of analyses: (a) to examine linguistic features of Petty’s song lyrics over the course of his songwriting career; and (b) to investigate similarities and differences between Petty’s lyrics and the earlier and contemporaneous lyrics of an artist widely assumed to have influenced him, Bob Dylan. Results of analyses using a standard textual program, Linguistic Inquiry Word Count (LIWC), showed that Petty reduced his references to social relations and reduced his focus on future time orientations over his songwriting career. There were also rises and declines in expressions of authenticity as well as increases in analytical thinking. In analyses comparing Petty to Dylan using a time-lagged approach, Petty’s songs remained shorter in number of words than Dylan’s songs and there was an increase in indicators of analytical thinking in Petty’s later work reaching levels that are characteristic of Dylan’s songs. Further research is needed to trace the influences on prolific songwriting and other aspects of music beyond lyrical expression.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"21 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140205618","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 : 2024-03-20DOI: 10.1177/03057356241230442
Emily Murphy, Molly F McGillivray, Peter D MacIntyre
Music performance anxiety (MPA) is most often defined as a negative experience that is harmful to successful performance, but potential facilitating effects of MPA often are acknowledged. The distinction between facilitating and debilitating effects often is attributed to various cognitive frameworks based on the quantity of anxiety, where smaller amounts may be helpful and larger amounts harmful. The hypothesis underlying the present study holds that the difference between facilitating and debilitating MPA is more a matter of quality than quantity, specifically the qualities associated with the other positive and negative emotions that accompany MPA. A web survey recruited 114 musicians to test for differences in MPA and accompanying emotions by responding to descriptions of four specific musical contexts. Results show that between roughly one-quarter and one-half of the musicians in the study viewed MPA as facilitating, depending on context. Respondents endorsing the facilitating quality of MPA (compared with the debilitating group) showed significantly higher levels of positive emotion accompanied by lower levels of both MPA and negative emotion in three of four contexts. Results are interpreted as supporting the hypothesis that emotions accompanying MPA shape the quality of its effect on musical performance.
{"title":"Music performance anxiety can be facilitating or debilitating: Emotion accompaniment makes the difference","authors":"Emily Murphy, Molly F McGillivray, Peter D MacIntyre","doi":"10.1177/03057356241230442","DOIUrl":"https://doi.org/10.1177/03057356241230442","url":null,"abstract":"Music performance anxiety (MPA) is most often defined as a negative experience that is harmful to successful performance, but potential facilitating effects of MPA often are acknowledged. The distinction between facilitating and debilitating effects often is attributed to various cognitive frameworks based on the quantity of anxiety, where smaller amounts may be helpful and larger amounts harmful. The hypothesis underlying the present study holds that the difference between facilitating and debilitating MPA is more a matter of quality than quantity, specifically the qualities associated with the other positive and negative emotions that accompany MPA. A web survey recruited 114 musicians to test for differences in MPA and accompanying emotions by responding to descriptions of four specific musical contexts. Results show that between roughly one-quarter and one-half of the musicians in the study viewed MPA as facilitating, depending on context. Respondents endorsing the facilitating quality of MPA (compared with the debilitating group) showed significantly higher levels of positive emotion accompanied by lower levels of both MPA and negative emotion in three of four contexts. Results are interpreted as supporting the hypothesis that emotions accompanying MPA shape the quality of its effect on musical performance.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"32 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140205685","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 : 2024-03-14DOI: 10.1177/03057356241235665
Hugo Cogo-Moreira, Anders Nordahl-Hansen
This study aimed to explore whether music perception is correlated with the load of exposure to musical activities in daily life, such as attending musical events, playing an instrument, attending music classes (at school or for a social project), and the time children spend listening to music using a non-experimental design. We are reusing data from the studies by Barros et al. and Cogo-Moreira & Lamont, from a random school-based sample (multilevel design) including 1,006 children from first to fifth grade in 14 schools in São Paulo, Brazil. Data were collected using the “M-factor”, a new paradigm to assess music perception, and a questionnaire to track children’s self-reported musical activities related to their individual daily lives in different environments (home and school). At the within-participants level, self-reported exposure to music activity accounted for only 5.3% of the variance in music perception after adjusting for age and sex. Hence, the magnitude of the association between music exposure and music perception skills was small when both music exposure and music perception skills were evaluated under continuous scores and using a heterogeneous population.
{"title":"Very low association between multidimensional musical environment exposure and musical perception skills among children: Evidence from a large multilevel cross-sectional study","authors":"Hugo Cogo-Moreira, Anders Nordahl-Hansen","doi":"10.1177/03057356241235665","DOIUrl":"https://doi.org/10.1177/03057356241235665","url":null,"abstract":"This study aimed to explore whether music perception is correlated with the load of exposure to musical activities in daily life, such as attending musical events, playing an instrument, attending music classes (at school or for a social project), and the time children spend listening to music using a non-experimental design. We are reusing data from the studies by Barros et al. and Cogo-Moreira & Lamont, from a random school-based sample (multilevel design) including 1,006 children from first to fifth grade in 14 schools in São Paulo, Brazil. Data were collected using the “M-factor”, a new paradigm to assess music perception, and a questionnaire to track children’s self-reported musical activities related to their individual daily lives in different environments (home and school). At the within-participants level, self-reported exposure to music activity accounted for only 5.3% of the variance in music perception after adjusting for age and sex. Hence, the magnitude of the association between music exposure and music perception skills was small when both music exposure and music perception skills were evaluated under continuous scores and using a heterogeneous population.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"51 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140142182","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 : 2024-03-13DOI: 10.1177/03057356241235647
Yingjie Zheng, Hui Zhang
Online participatory music creation provided an opportunity to build the public’s psychological resilience during the COVID-19 lockdown measures that led to widespread negative emotions on a societal level. This study explored how online participation in music creation as a crisis response contributes to the public’s mental health. The study employed a qualitative method that combines network ethnography and multimodal performance discourse analysis to conduct participatory observation and content analysis of people’s activities related to the song “Wuhan Ya” (the Wuhan Kids) and its participatory creation. The results showed that “Wuhan Ya” and its creation process demonstrated a music phenomenon centered on local identity and characterized by collective participation. The study proposed a theoretical framework to explain how this music phenomenon promotes mental health. In the context of song creation and dissemination, the public’s psychological resilience to crises is bolstered by engaging in emotional contagion, behavioral responses, and social support processes.
{"title":"Participatory online music creation as a crisis response: A qualitative case study","authors":"Yingjie Zheng, Hui Zhang","doi":"10.1177/03057356241235647","DOIUrl":"https://doi.org/10.1177/03057356241235647","url":null,"abstract":"Online participatory music creation provided an opportunity to build the public’s psychological resilience during the COVID-19 lockdown measures that led to widespread negative emotions on a societal level. This study explored how online participation in music creation as a crisis response contributes to the public’s mental health. The study employed a qualitative method that combines network ethnography and multimodal performance discourse analysis to conduct participatory observation and content analysis of people’s activities related to the song “Wuhan Ya” (the Wuhan Kids) and its participatory creation. The results showed that “Wuhan Ya” and its creation process demonstrated a music phenomenon centered on local identity and characterized by collective participation. The study proposed a theoretical framework to explain how this music phenomenon promotes mental health. In the context of song creation and dissemination, the public’s psychological resilience to crises is bolstered by engaging in emotional contagion, behavioral responses, and social support processes.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"11 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130157","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 : 2024-03-13DOI: 10.1177/03057356241234052
Belinda Densley, Katrina Andrews, Trudi Flynn
Benefits of group singing participation have been well established and group singing through social prescription has attracted recent research attention. This study offers a unique participant perspective on the benefits of regular singing group engagement by exploring what happened when access was lost through COVID-19 lockdowns. Sixty adult singers, including five facilitators, who ceased singing during lockdown submitted responses to an online qualitative survey. The respondents had all participated regularly in group singing for at least 5 years. Multi-faceted experiences of loss associated with mood, emotional regulation, access to shared joy and social connection were described by participants. Dissatisfaction with online singing alternatives and challenges of navigating a face-to-face return to group singing were emphasized. The research also describes the specific experience of singing group facilitators who described feelings of anguish related to not being able to resource their groups with singing and negative impacts on their personal and professional identities. In exploring what is lost to facilitators and group members due to pandemic intervention, this study highlights the value and experience of group singing involvement outside of the COVID-19 context.
{"title":"How Australian singers experienced disruption to choir participation caused by pandemic lockdowns: A thematic analysis","authors":"Belinda Densley, Katrina Andrews, Trudi Flynn","doi":"10.1177/03057356241234052","DOIUrl":"https://doi.org/10.1177/03057356241234052","url":null,"abstract":"Benefits of group singing participation have been well established and group singing through social prescription has attracted recent research attention. This study offers a unique participant perspective on the benefits of regular singing group engagement by exploring what happened when access was lost through COVID-19 lockdowns. Sixty adult singers, including five facilitators, who ceased singing during lockdown submitted responses to an online qualitative survey. The respondents had all participated regularly in group singing for at least 5 years. Multi-faceted experiences of loss associated with mood, emotional regulation, access to shared joy and social connection were described by participants. Dissatisfaction with online singing alternatives and challenges of navigating a face-to-face return to group singing were emphasized. The research also describes the specific experience of singing group facilitators who described feelings of anguish related to not being able to resource their groups with singing and negative impacts on their personal and professional identities. In exploring what is lost to facilitators and group members due to pandemic intervention, this study highlights the value and experience of group singing involvement outside of the COVID-19 context.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"18 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130161","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 : 2024-03-13DOI: 10.1177/03057356241234071
Keegan Kok, Adrian C North, Takeshi Hamamura, Kongmeng Liew
This research investigates the relationship between music consumption and cultural dimensions within a Japanese context. Since Japan is the second largest music market globally, it is surprising that there is little focus on those factors often examined in cross-cultural research that might mean Western findings do not extrapolate well. A questionnaire using established measures of tightness–looseness, relational mobility, and ideal affect was used to test three main research questions. RQ1 was that there should be a relationship between cultural dimensions and musical taste, and this was fully supported. RQ2 was that cultural dimensions should relate to participants’ goals of music consumption, and this was largely supported. RQ3 was that there should be a relationship between socioeconomic status and musical taste, but this was not supported. The findings also supported several more specific research questions concerning how specific uses of music ought to relate to specific cultural dimensions. The findings of the study help us better understand the way music is consumed in relation to specific cultural dimensions in the context of Japan and beyond. It also extends the literature concerning music and cross-cultural psychology where prior research has not considered these dimensions within the context of music consumption.
{"title":"Music consumption and uses in Japan","authors":"Keegan Kok, Adrian C North, Takeshi Hamamura, Kongmeng Liew","doi":"10.1177/03057356241234071","DOIUrl":"https://doi.org/10.1177/03057356241234071","url":null,"abstract":"This research investigates the relationship between music consumption and cultural dimensions within a Japanese context. Since Japan is the second largest music market globally, it is surprising that there is little focus on those factors often examined in cross-cultural research that might mean Western findings do not extrapolate well. A questionnaire using established measures of tightness–looseness, relational mobility, and ideal affect was used to test three main research questions. RQ1 was that there should be a relationship between cultural dimensions and musical taste, and this was fully supported. RQ2 was that cultural dimensions should relate to participants’ goals of music consumption, and this was largely supported. RQ3 was that there should be a relationship between socioeconomic status and musical taste, but this was not supported. The findings also supported several more specific research questions concerning how specific uses of music ought to relate to specific cultural dimensions. The findings of the study help us better understand the way music is consumed in relation to specific cultural dimensions in the context of Japan and beyond. It also extends the literature concerning music and cross-cultural psychology where prior research has not considered these dimensions within the context of music consumption.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"44 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130164","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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