Pub Date : 2024-01-22DOI: 10.1177/03057356231222290
Eli Somer
This study aimed to shed light on the role of music in maladaptive daydreaming (MD), a psychological condition characterized by excessive, immersive daydreaming that interferes with well-being and functioning. Forty-one individuals with probable MD participated in asynchronous in-depth email interviews. A thematic analysis yielded three themes describing the role of music in MD. Two homogeneous themes pertained to outlier experiences: Music necessary and Music not desired. The third theme, Music enhances the MD experience, encompassed most of the data retrieved in this study and was further divided into five subthemes: Music avoided in “low energy” daydreaming scenes, Music as white noise, Music enhances MD creativity, Music as an MD trigger compromises the sense of agency; and Music as a powerful immerser that sets MD’s emotional “soundtrack.” This study adds to the sparse knowledge of complex visual narratives and identifies the essential role of music in inducing and formatting MD. The results led to the conclusion that music might be instrumental in MD by distancing the person from the external reality, triggering complex visual storylines, deepening the altered state of consciousness, and intensifying the vividness of the daydreamed plot by invoking an emotional response. Furthermore, hypothesis-driven controlled research was recommended.
{"title":"Calling the tune in maladaptive daydreaming: The impact of music on the experience of compulsive fantasizing","authors":"Eli Somer","doi":"10.1177/03057356231222290","DOIUrl":"https://doi.org/10.1177/03057356231222290","url":null,"abstract":"This study aimed to shed light on the role of music in maladaptive daydreaming (MD), a psychological condition characterized by excessive, immersive daydreaming that interferes with well-being and functioning. Forty-one individuals with probable MD participated in asynchronous in-depth email interviews. A thematic analysis yielded three themes describing the role of music in MD. Two homogeneous themes pertained to outlier experiences: Music necessary and Music not desired. The third theme, Music enhances the MD experience, encompassed most of the data retrieved in this study and was further divided into five subthemes: Music avoided in “low energy” daydreaming scenes, Music as white noise, Music enhances MD creativity, Music as an MD trigger compromises the sense of agency; and Music as a powerful immerser that sets MD’s emotional “soundtrack.” This study adds to the sparse knowledge of complex visual narratives and identifies the essential role of music in inducing and formatting MD. The results led to the conclusion that music might be instrumental in MD by distancing the person from the external reality, triggering complex visual storylines, deepening the altered state of consciousness, and intensifying the vividness of the daydreamed plot by invoking an emotional response. Furthermore, hypothesis-driven controlled research was recommended.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139608307","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 : 2023-12-29DOI: 10.1177/03057356231218516
{"title":"Corrigendum to Goldsmiths Musical Sophistication Index (Gold-MSI): Portuguese version and associations with socio-demographic factors, personality and music preferences","authors":"","doi":"10.1177/03057356231218516","DOIUrl":"https://doi.org/10.1177/03057356231218516","url":null,"abstract":"","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139142848","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 : 2023-12-15DOI: 10.1177/03057356231216876
Sarah Chardonnens
In the context of instrumental teaching, developing student autonomy is a major goal of teachers in addition to transmitting knowledge and fostering musical learning. This research, which consists of two successive studies, focused on the development of student autonomy from the teacher’s perspective. In the first study, I conducted a qualitative analysis of 21 teachers’ beliefs and intentions with regard to the development of student autonomy and their roles in this process. The results showed that teachers considered themselves somewhat at the periphery of the process in which students attain autonomy. In the second study, I analyzed in depth the joint action of three teachers with their students during two successive lessons. My analysis of the film recordings revealed that teachers performed many pedagogical actions to develop student autonomy, albeit unconsciously and without verbalization. The results of this second study suggest that there are four possible teaching stances that make it possible to develop autonomy. Based on a synthesis of the two studies, I propose a model that helps teachers to develop student autonomy through the understanding and clarification of the four key phases of the self-regulation process.
{"title":"Music teachers’ stance in action to develop student autonomy","authors":"Sarah Chardonnens","doi":"10.1177/03057356231216876","DOIUrl":"https://doi.org/10.1177/03057356231216876","url":null,"abstract":"In the context of instrumental teaching, developing student autonomy is a major goal of teachers in addition to transmitting knowledge and fostering musical learning. This research, which consists of two successive studies, focused on the development of student autonomy from the teacher’s perspective. In the first study, I conducted a qualitative analysis of 21 teachers’ beliefs and intentions with regard to the development of student autonomy and their roles in this process. The results showed that teachers considered themselves somewhat at the periphery of the process in which students attain autonomy. In the second study, I analyzed in depth the joint action of three teachers with their students during two successive lessons. My analysis of the film recordings revealed that teachers performed many pedagogical actions to develop student autonomy, albeit unconsciously and without verbalization. The results of this second study suggest that there are four possible teaching stances that make it possible to develop autonomy. Based on a synthesis of the two studies, I propose a model that helps teachers to develop student autonomy through the understanding and clarification of the four key phases of the self-regulation process.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138998419","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}
Music plays a key role in our evolution and contributes to the promotion of interpersonal relationships as well as enhancement of group cohesiveness. In this study, 29 five- to six-year-old preschool children were examined to explore the influence of passive music listening and active music engagement on their helping and sharing behaviors, compared with coloring activities. The results revealed that children’s prosocial behaviors were significantly different under the three conditions, and as compared with passive listening and coloring conditions, children’s prosocial behavior (including helping behavior and sharing behavior) in the active music engagement condition was significantly enhanced. Our research revealed that even short-duration active music engagement can improve children’s prosocial behavior, and the potential benefit of active engagement musical training for the development of preschool children should be recognized.
{"title":"Influence of musical activities on the prosocial behaviors of preschool children","authors":"Xie Ma, Si-Qi Xiong, Xinyue Zhang, Qijun Hu, Shang Li, Ya-Chen Tao","doi":"10.1177/03057356231213800","DOIUrl":"https://doi.org/10.1177/03057356231213800","url":null,"abstract":"Music plays a key role in our evolution and contributes to the promotion of interpersonal relationships as well as enhancement of group cohesiveness. In this study, 29 five- to six-year-old preschool children were examined to explore the influence of passive music listening and active music engagement on their helping and sharing behaviors, compared with coloring activities. The results revealed that children’s prosocial behaviors were significantly different under the three conditions, and as compared with passive listening and coloring conditions, children’s prosocial behavior (including helping behavior and sharing behavior) in the active music engagement condition was significantly enhanced. Our research revealed that even short-duration active music engagement can improve children’s prosocial behavior, and the potential benefit of active engagement musical training for the development of preschool children should be recognized.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138972750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The ability to regulate one’s emotions is integral to well-being and recent studies have documented the relationship between music and emotion regulation strategies. The purpose of this meta-analysis was to examine the impact of musicking on emotion regulation. To achieve this objective, a systematic database search for randomized control trial (RCT) studies was conducted. Eight studies that met the inclusion criteria were selected, involving 441 participants, and employing a diversity of musicking intervention strategies including listening, playing, and creating. The overall effect size was d = 0.45; p < .01. Moderator analyses were conducted. The discussion focuses on perspectives for music education, prevention programs, and public policies for the general population and music as a potential resource contributing to well-being.
调节情绪的能力与幸福感密不可分，最近的研究记录了音乐与情绪调节策略之间的关系。本荟萃分析旨在研究音乐对情绪调节的影响。为了实现这一目标，我们对随机对照试验（RCT）研究进行了系统的数据库搜索。研究选取了八项符合纳入标准的研究，涉及 441 名参与者，采用了多种音乐干预策略，包括聆听、演奏和创作。总体效应大小为 d = 0.45; p < .01。进行了调节分析。讨论的重点是对音乐教育、预防计划和针对普通人群的公共政策的看法，以及音乐作为促进幸福的潜在资源。
{"title":"The impact of musicking on emotion regulation: A systematic review and meta-analysis","authors":"Valerie Peters, Josiane Bissonnette, Danielle Nadeau, Audrey Gauthier-Légaré, Marie-Audrey Noël","doi":"10.1177/03057356231212362","DOIUrl":"https://doi.org/10.1177/03057356231212362","url":null,"abstract":"The ability to regulate one’s emotions is integral to well-being and recent studies have documented the relationship between music and emotion regulation strategies. The purpose of this meta-analysis was to examine the impact of musicking on emotion regulation. To achieve this objective, a systematic database search for randomized control trial (RCT) studies was conducted. Eight studies that met the inclusion criteria were selected, involving 441 participants, and employing a diversity of musicking intervention strategies including listening, playing, and creating. The overall effect size was d = 0.45; p < .01. Moderator analyses were conducted. The discussion focuses on perspectives for music education, prevention programs, and public policies for the general population and music as a potential resource contributing to well-being.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003475","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 : 2023-12-12DOI: 10.1177/03057356231214499
Cameron R Siegal
Students’ perceived belonging in academic spaces has emerged as a critical nexus of overall academic achievement, social-emotional outcomes (e.g., self-concept and self-efficacy), and engagement in K–12 schools. Furthermore, researchers have documented inverse relations of belonging and psychological distress, alienation, and isolation. The purpose of this study was to investigate differences in participants’ levels of belonging in band ensembles and school outside of band ensembles. Participants of this quantitative study—suburban and rural high school band students in the Pacific Northwest region of the United States—responded to modified General Belongingness Scales and a Rosenberg Self-Esteem Scale to measure individuals’ perceived levels of belonging both in their band ensembles and in their schools outside of band ensembles. The data indicated that secondary music students experienced greater levels of belonging in band ensembles than in the school environment outside of band ensembles. These findings highlight the potential for band classes/ensembles to foster belonging and support social-emotional well-being for high school students and have the potential to inform secondary education policy.
{"title":"Situational belonging in high school band ensembles and high schools","authors":"Cameron R Siegal","doi":"10.1177/03057356231214499","DOIUrl":"https://doi.org/10.1177/03057356231214499","url":null,"abstract":"Students’ perceived belonging in academic spaces has emerged as a critical nexus of overall academic achievement, social-emotional outcomes (e.g., self-concept and self-efficacy), and engagement in K–12 schools. Furthermore, researchers have documented inverse relations of belonging and psychological distress, alienation, and isolation. The purpose of this study was to investigate differences in participants’ levels of belonging in band ensembles and school outside of band ensembles. Participants of this quantitative study—suburban and rural high school band students in the Pacific Northwest region of the United States—responded to modified General Belongingness Scales and a Rosenberg Self-Esteem Scale to measure individuals’ perceived levels of belonging both in their band ensembles and in their schools outside of band ensembles. The data indicated that secondary music students experienced greater levels of belonging in band ensembles than in the school environment outside of band ensembles. These findings highlight the potential for band classes/ensembles to foster belonging and support social-emotional well-being for high school students and have the potential to inform secondary education policy.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138977077","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 : 2023-12-06DOI: 10.1177/03057356231212401
Katrin Starcke, Finn Garret Lüders, Richard von Georgi
Recent research suggests that music listening elicits chills during intense moments. In addition, anticipative physiological and neural responses prior to the chills occur. Those responses can be interpreted as craving for the particularly intense moments. The concept of craving originates in addiction research and describes the urge to consume a substance or to execute a behavior. The current study aims to investigate craving for music and its psychological correlates. Participants’ craving for music was assessed via questionnaire before and after they listened to a song. In addition, earworms before and after music listening were assessed. Finally, personality traits were measured. The results indicated that craving for music significantly increased after listening to a song. The same was observed for earworms. Craving for music and earworms were significantly related, and baseline craving was also related to psychoticism and openness to experience. The results emphasize that craving reactions not only occur within a piece of music but also increase after listening to music. This is in line with the findings from addiction research. The relationship between craving for music with other psychological states and traits opens perspectives for future research.
{"title":"Craving for music increases after music listening and is related to earworms and personality","authors":"Katrin Starcke, Finn Garret Lüders, Richard von Georgi","doi":"10.1177/03057356231212401","DOIUrl":"https://doi.org/10.1177/03057356231212401","url":null,"abstract":"Recent research suggests that music listening elicits chills during intense moments. In addition, anticipative physiological and neural responses prior to the chills occur. Those responses can be interpreted as craving for the particularly intense moments. The concept of craving originates in addiction research and describes the urge to consume a substance or to execute a behavior. The current study aims to investigate craving for music and its psychological correlates. Participants’ craving for music was assessed via questionnaire before and after they listened to a song. In addition, earworms before and after music listening were assessed. Finally, personality traits were measured. The results indicated that craving for music significantly increased after listening to a song. The same was observed for earworms. Craving for music and earworms were significantly related, and baseline craving was also related to psychoticism and openness to experience. The results emphasize that craving reactions not only occur within a piece of music but also increase after listening to music. This is in line with the findings from addiction research. The relationship between craving for music with other psychological states and traits opens perspectives for future research.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138597421","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 : 2023-12-06DOI: 10.1177/03057356231212384
Jay Campisi, Alex Guy, Christa Foss, Feruth Kidane, Sara Greco, Whitney Szeliga, Allyson Spence
We examined the anticipatory stress response in musicians before a day of rehearsal and a concert and examined if experience levels modulated physiological and perception of stress responses. Twenty members of a professional orchestra had their heart rate (HR), blood pressure (BP), and galvanic skin response/conductance (GSR) measured as well as self-assessment of their anxiety surrounding their performance. HR was significantly elevated prior to a concert (87 bpm) compared with a rehearsal (80 bpm), whereas no differences were observed for BP. GSR responses prior to a concert were significantly elevated in less experienced musicians compared with their more experienced peers and a significant inverse correlation was also found between years of experience and GSR responses. Similarly, musicians with greater experience reported on average less perceived somatic anxiety during the concert and a significant inverse correlation was found between years of experience and perceived somatic anxiety. These results suggest that the type of performance and the experience level of the musician modulates anticipatory stress responses. Further understanding of the role of anticipatory stress in musicians could have a number of practical benefits.
{"title":"Experience and performance type modify anticipatory stress in musicians","authors":"Jay Campisi, Alex Guy, Christa Foss, Feruth Kidane, Sara Greco, Whitney Szeliga, Allyson Spence","doi":"10.1177/03057356231212384","DOIUrl":"https://doi.org/10.1177/03057356231212384","url":null,"abstract":"We examined the anticipatory stress response in musicians before a day of rehearsal and a concert and examined if experience levels modulated physiological and perception of stress responses. Twenty members of a professional orchestra had their heart rate (HR), blood pressure (BP), and galvanic skin response/conductance (GSR) measured as well as self-assessment of their anxiety surrounding their performance. HR was significantly elevated prior to a concert (87 bpm) compared with a rehearsal (80 bpm), whereas no differences were observed for BP. GSR responses prior to a concert were significantly elevated in less experienced musicians compared with their more experienced peers and a significant inverse correlation was also found between years of experience and GSR responses. Similarly, musicians with greater experience reported on average less perceived somatic anxiety during the concert and a significant inverse correlation was found between years of experience and perceived somatic anxiety. These results suggest that the type of performance and the experience level of the musician modulates anticipatory stress responses. Further understanding of the role of anticipatory stress in musicians could have a number of practical benefits.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138594956","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 : 2023-12-02DOI: 10.1177/03057356231212408
A. Schiavio, Tudor Popescu, Adrian Kempf, Renee Timmers
In a previous study, we found that musical learning of novices was equally accurate (in terms of playing the correct rhythms and pitches) when learning in a solo or duo setting. Intrigued by these findings, we conducted a follow-up experiment investigating whether the learning outcomes differed in subjective terms as perceived by listeners judging the performances. Here, expert musicians were asked to discern whether melodies learned under conditions of synchrony, turn-taking, or imitation were likely learned individually or with a partner. In addition, they evaluated the learners’ proficiency in playing the melodies, assessing expressiveness, the clarity of their articulation and phrasing, as well as the overall coherence of the performances. Listeners showed differential responses to both the learning condition and the pairing (solo or duo) in which the melodies were learned. Although the outcome did not yield salient-enough results for significant clusters of responses to emerge, our findings could inspire future research to delve into the question of discernible signatures between individual and group musical learning by adopting a longitudinal approach.
{"title":"Distinguishing between musical excerpts learned by novices individually or in pairs","authors":"A. Schiavio, Tudor Popescu, Adrian Kempf, Renee Timmers","doi":"10.1177/03057356231212408","DOIUrl":"https://doi.org/10.1177/03057356231212408","url":null,"abstract":"In a previous study, we found that musical learning of novices was equally accurate (in terms of playing the correct rhythms and pitches) when learning in a solo or duo setting. Intrigued by these findings, we conducted a follow-up experiment investigating whether the learning outcomes differed in subjective terms as perceived by listeners judging the performances. Here, expert musicians were asked to discern whether melodies learned under conditions of synchrony, turn-taking, or imitation were likely learned individually or with a partner. In addition, they evaluated the learners’ proficiency in playing the melodies, assessing expressiveness, the clarity of their articulation and phrasing, as well as the overall coherence of the performances. Listeners showed differential responses to both the learning condition and the pairing (solo or duo) in which the melodies were learned. Although the outcome did not yield salient-enough results for significant clusters of responses to emerge, our findings could inspire future research to delve into the question of discernible signatures between individual and group musical learning by adopting a longitudinal approach.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138606472","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 : 2023-12-01DOI: 10.1177/03057356231212350
Nicholas E. Roseth
The purpose of this study was to examine the effect of closed and opened setup conditions on students’ and teachers’ reported immediacy, affect, motivation, and group cohesion in band and orchestra classrooms. A secondary purpose was to explore relationships among students’ and teachers’ reported immediacy, affect, motivation, and group cohesion. Six teachers and 379 of their students participated in the study. In this within-subjects experiment, teachers were asked to teach with their classrooms arranged in closed and opened setup conditions. In the closed condition, teachers used a traditional setup of arcs and were not asked to change their use of space when teaching. In the opened condition, an aisle was added to the ensemble setup and teachers were provided with strategies to encourage movement toward and among students when teaching. At the end of each condition, teachers and students completed measures of constructs related to immediacy, affect, motivation, and group cohesion. Results indicate the effect of the intervention increased negative affect among students, teacher proximity was associated with negative affect among students, and students’ perceptions of their teacher’s immediacy was found to have positive relationships with student affect, motivation, and group cohesion.
{"title":"Immediacy, ensemble setup, and classroom space: A quasi-experimental study among secondary instrumental teachers and students","authors":"Nicholas E. Roseth","doi":"10.1177/03057356231212350","DOIUrl":"https://doi.org/10.1177/03057356231212350","url":null,"abstract":"The purpose of this study was to examine the effect of closed and opened setup conditions on students’ and teachers’ reported immediacy, affect, motivation, and group cohesion in band and orchestra classrooms. A secondary purpose was to explore relationships among students’ and teachers’ reported immediacy, affect, motivation, and group cohesion. Six teachers and 379 of their students participated in the study. In this within-subjects experiment, teachers were asked to teach with their classrooms arranged in closed and opened setup conditions. In the closed condition, teachers used a traditional setup of arcs and were not asked to change their use of space when teaching. In the opened condition, an aisle was added to the ensemble setup and teachers were provided with strategies to encourage movement toward and among students when teaching. At the end of each condition, teachers and students completed measures of constructs related to immediacy, affect, motivation, and group cohesion. Results indicate the effect of the intervention increased negative affect among students, teacher proximity was associated with negative affect among students, and students’ perceptions of their teacher’s immediacy was found to have positive relationships with student affect, motivation, and group cohesion.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138624796","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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