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":"23 8","pages":""},"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":"59 7","pages":""},"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":"61 16","pages":""},"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":"68 12","pages":""},"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":"31 7","pages":""},"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}
Pub Date : 2023-12-01DOI: 10.1177/03057356231211810
Miriam Napadow, László Harmat
A central part of singing includes learning new pieces of vocal music. Learning a new song is a complex task that involves several functions and modalities, such as memory functions, language and motor skills, and auditory and visual perception. Memory functions are a well-studied area, but it is unknown how memory theories apply to a multimodal activity such as singing. In this study, an attempt is made to translate the theories to the applied field of singing. This study aims to investigate the effectiveness of three types of learning formats for learning new song lyrics: auditory learning with image support (AI), auditory learning with text support (AT), and auditory learning only (A). Ninety-five participants were randomly assigned to one of the three experimental conditions. A univariate analysis of variance revealed a significant effect of condition on the lyric recall score and post-hoc tests showed that participants performed significantly better in the AI condition in comparison to both the AT and the A condition. No significant difference was found between AT and A. This study sheds light on how memory processes might work in learning song lyrics. Practical implications for practitioners such as music educators, conductors, and choir singers are discussed.
{"title":"Memorizing song lyrics: Comparing the effectiveness of three learning formats","authors":"Miriam Napadow, László Harmat","doi":"10.1177/03057356231211810","DOIUrl":"https://doi.org/10.1177/03057356231211810","url":null,"abstract":"A central part of singing includes learning new pieces of vocal music. Learning a new song is a complex task that involves several functions and modalities, such as memory functions, language and motor skills, and auditory and visual perception. Memory functions are a well-studied area, but it is unknown how memory theories apply to a multimodal activity such as singing. In this study, an attempt is made to translate the theories to the applied field of singing. This study aims to investigate the effectiveness of three types of learning formats for learning new song lyrics: auditory learning with image support (AI), auditory learning with text support (AT), and auditory learning only (A). Ninety-five participants were randomly assigned to one of the three experimental conditions. A univariate analysis of variance revealed a significant effect of condition on the lyric recall score and post-hoc tests showed that participants performed significantly better in the AI condition in comparison to both the AT and the A condition. No significant difference was found between AT and A. This study sheds light on how memory processes might work in learning song lyrics. Practical implications for practitioners such as music educators, conductors, and choir singers are discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"115 41","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138608117","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: 10.1177/03057356231211824
LY Hooi, KW Tan
Divergent thinking (DT) enables flexible thinking and the generation of a wider range of original ideas that form the basis of creativity. Although personality traits and music listening have been found to be positively correlated with DT performance, the association remains inconclusive. Furthermore, there is a debate regarding whether originality should be included as an index to measure DT. The present study examines the association between DT, personality, and classical music listening. There were 162 Malaysian adults who participated in this experiment. Participants were randomly allocated to either happy, sad classical music (i.e., listen to a repeated clip of happy or sad music), or silent conditions (i.e., no music was played). DT and personality were assessed with Figural and Realistic DT Tests and 44-item personality model with five broad factors, respectively. Positive intercorrelations were found between fluency, flexibility, originality, and DT total score. A weak positive correlation was revealed between DT total score and openness trait. However, there was no significant difference between happy, sad music, and silent conditions on DT performance. The findings support the notion that fluency, flexibility, and originality are the essential indices in measuring DT performance. The results suggest that open-minded people have better DT performance.
发散思维(DT)使灵活的思维和产生更广泛的原创思想，形成创造力的基础。虽然人格特质和音乐聆听与DT表现呈正相关，但这种关联仍不确定。此外，关于是否应该将独创性作为衡量DT的指标存在争议。本研究考察了DT、个性和古典音乐听之间的关系。共有162名马来西亚成年人参与了这项实验。参与者被随机分配到快乐或悲伤的古典音乐(即，反复听快乐或悲伤的音乐片段)，或安静的环境(即，没有音乐播放)。分别采用figure and Realistic DT test和44-item personality model(包含5个广义因子)对DT和人格进行评估。流畅性、灵活性、独创性与DT总分呈显著正相关。DT总分与开放性性状呈弱正相关。然而，在快乐、悲伤和沉默的条件下，对DT的表现没有显著差异。研究结果支持流畅性、灵活性和独创性是衡量DT表现的基本指标的观点。结果表明，思想开放的人有更好的DT表现。
{"title":"The association between divergent thinking, personality, and listening to classical music","authors":"LY Hooi, KW Tan","doi":"10.1177/03057356231211824","DOIUrl":"https://doi.org/10.1177/03057356231211824","url":null,"abstract":"Divergent thinking (DT) enables flexible thinking and the generation of a wider range of original ideas that form the basis of creativity. Although personality traits and music listening have been found to be positively correlated with DT performance, the association remains inconclusive. Furthermore, there is a debate regarding whether originality should be included as an index to measure DT. The present study examines the association between DT, personality, and classical music listening. There were 162 Malaysian adults who participated in this experiment. Participants were randomly allocated to either happy, sad classical music (i.e., listen to a repeated clip of happy or sad music), or silent conditions (i.e., no music was played). DT and personality were assessed with Figural and Realistic DT Tests and 44-item personality model with five broad factors, respectively. Positive intercorrelations were found between fluency, flexibility, originality, and DT total score. A weak positive correlation was revealed between DT total score and openness trait. However, there was no significant difference between happy, sad music, and silent conditions on DT performance. The findings support the notion that fluency, flexibility, and originality are the essential indices in measuring DT performance. The results suggest that open-minded people have better DT performance.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"217 S708","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138621092","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 : 2023-11-23DOI: 10.1177/03057356231207049
Deimantė Kavaliauskaitė, T. Gulrez, Warren Mansell
Evidence to date suggests there may be a link between interpersonal synchronization and sense of connectedness to others in both music and non-music tasks. However, earlier studies have used a fixed tempo, thereby ruling out the study of spontaneous synchronization that might emerge from a group of agents. This design is essential to test theories that implicate intrinsic systems governing rhythm within individuals as the source of interpersonal synchronization, coordination, and shared positive affect. The current study used an impromptu music-making task to study the relationship between spontaneous synchronization and sense of connectedness. A total of 49 participants were recruited in dyads or triads and were asked to play percussion sounds on MIDI keyboards for a period of 10 min. Every minute they gave a rating of how connected they felt with the other group members. Participants who showed longer periods of spontaneous synchronization during the joint music-making task reported greater average connectedness with the group members during the task, and a greater increase in connectedness over the duration of the task. Within-individual correlations between synchronization and connectedness revealed a tight coupling in around a third of the participants. We discuss the theoretical implication that the collective control of perceptual variables—such as tempo—may achieve and maintain a sense of connectedness to others.
{"title":"What is the relationship between spontaneous interpersonal synchronization and feeling of connectedness? A study of small groups of students using MIDI percussion instruments","authors":"Deimantė Kavaliauskaitė, T. Gulrez, Warren Mansell","doi":"10.1177/03057356231207049","DOIUrl":"https://doi.org/10.1177/03057356231207049","url":null,"abstract":"Evidence to date suggests there may be a link between interpersonal synchronization and sense of connectedness to others in both music and non-music tasks. However, earlier studies have used a fixed tempo, thereby ruling out the study of spontaneous synchronization that might emerge from a group of agents. This design is essential to test theories that implicate intrinsic systems governing rhythm within individuals as the source of interpersonal synchronization, coordination, and shared positive affect. The current study used an impromptu music-making task to study the relationship between spontaneous synchronization and sense of connectedness. A total of 49 participants were recruited in dyads or triads and were asked to play percussion sounds on MIDI keyboards for a period of 10 min. Every minute they gave a rating of how connected they felt with the other group members. Participants who showed longer periods of spontaneous synchronization during the joint music-making task reported greater average connectedness with the group members during the task, and a greater increase in connectedness over the duration of the task. Within-individual correlations between synchronization and connectedness revealed a tight coupling in around a third of the participants. We discuss the theoretical implication that the collective control of perceptual variables—such as tempo—may achieve and maintain a sense of connectedness to others.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139244842","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 : 2023-11-13DOI: 10.1177/03057356231204855
Michela Santangelo, Valentina Persici, Luca Caricati, Paola Corsano, Reyna L. Gordon, Marinella Majorano
The Goldsmiths Musical Sophistication Index (Gold-MSI) measures a wide range of self-reported musical abilities and behaviors in the Western adult general population, regardless of musical expertise. This instrument has been validated in various languages, but an Italian version is lacking. The present study describes the Italian validation and adaptation of the Gold-MSI (Gold-MSI-IT) and investigates the effects of socio-demographic variables on scores of musical sophistication. Analyses of factor structure and internal reliability on an Italian sample ( N = 429, mean age = 31.08, SD = 11.68, 75.5% female) and analyses of test–retest reliability on a smaller sample ( N = 57, mean age = 34.68, SD = 10.80, 75% female) show that the Gold-MSI-IT conforms to a bifactor model, similarly to the original version, including an underlying General Musical Sophistication factor and five subfactors, and that our instrument has good internal consistency and good test–retest reliability. Additional tests showed gender differences in musical sophistication and that musical sophistication correlated with education but not with age. The study provides a reliable and stable tool to investigate individual differences in the Italian context and adds to our knowledge of musicality in the general population across countries.
{"title":"The adaptation and validation of the Goldsmiths Musical Sophistication Index (Gold-MSI) in Italian: The Gold-MSI-IT","authors":"Michela Santangelo, Valentina Persici, Luca Caricati, Paola Corsano, Reyna L. Gordon, Marinella Majorano","doi":"10.1177/03057356231204855","DOIUrl":"https://doi.org/10.1177/03057356231204855","url":null,"abstract":"The Goldsmiths Musical Sophistication Index (Gold-MSI) measures a wide range of self-reported musical abilities and behaviors in the Western adult general population, regardless of musical expertise. This instrument has been validated in various languages, but an Italian version is lacking. The present study describes the Italian validation and adaptation of the Gold-MSI (Gold-MSI-IT) and investigates the effects of socio-demographic variables on scores of musical sophistication. Analyses of factor structure and internal reliability on an Italian sample ( N = 429, mean age = 31.08, SD = 11.68, 75.5% female) and analyses of test–retest reliability on a smaller sample ( N = 57, mean age = 34.68, SD = 10.80, 75% female) show that the Gold-MSI-IT conforms to a bifactor model, similarly to the original version, including an underlying General Musical Sophistication factor and five subfactors, and that our instrument has good internal consistency and good test–retest reliability. Additional tests showed gender differences in musical sophistication and that musical sophistication correlated with education but not with age. The study provides a reliable and stable tool to investigate individual differences in the Italian context and adds to our knowledge of musicality in the general population across countries.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"57 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136346817","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}
Despite recent reviews of the effects of arts therapies and music therapy on people with intellectual disabilities (IDs), significant knowledge gaps remain in this field, notably concerning informal music activities and the role that young participants play in music interventions. A scoping review was conducted in January 2021 to explore music interventions implemented in youth with ID and their effects. In total, 74 studies were retained, including 12 reviews and 62 empirical studies. We apply a bibliometric analysis to identify the evolution of publications and research trends in the field. We then attempt to answer the question: “What is the state of knowledge on music education for youth with ID?”. To do so, we describe the music interventions examined in the research to date and the main measured effects. Overall, the findings show that music interventions in youth with ID facilitate overall development in terms of a range of functional skills, that technology-assisted music training has excellent educational promise, and that learner voice merits greater attention in the music research. Nevertheless, studies have largely neglected to consider self-determination and creativity, qualities that are likely to foster youth engagement, and in the longer term, promote social participation.
{"title":"Music and young people with intellectual disability: A scoping review","authors":"Jean-Philippe Després, Francine Julien-Gauthier, Flavie Bédard-Bruyère, Marie-Claude Mathieu","doi":"10.1177/03057356231203697","DOIUrl":"https://doi.org/10.1177/03057356231203697","url":null,"abstract":"Despite recent reviews of the effects of arts therapies and music therapy on people with intellectual disabilities (IDs), significant knowledge gaps remain in this field, notably concerning informal music activities and the role that young participants play in music interventions. A scoping review was conducted in January 2021 to explore music interventions implemented in youth with ID and their effects. In total, 74 studies were retained, including 12 reviews and 62 empirical studies. We apply a bibliometric analysis to identify the evolution of publications and research trends in the field. We then attempt to answer the question: “What is the state of knowledge on music education for youth with ID?”. To do so, we describe the music interventions examined in the research to date and the main measured effects. Overall, the findings show that music interventions in youth with ID facilitate overall development in terms of a range of functional skills, that technology-assisted music training has excellent educational promise, and that learner voice merits greater attention in the music research. Nevertheless, studies have largely neglected to consider self-determination and creativity, qualities that are likely to foster youth engagement, and in the longer term, promote social participation.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"138 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135342503","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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