Pub Date : 2025-04-12DOI: 10.1177/03057356251320975
Erica Pomini, Alessandra Pecunioso, Christian Agrillo
Several studies have reported an association between music training and enhanced visuo-spatial abilities—for example, musicians have been found to pay greater attention to local details of the visual scene. However, no studies have directly tested whether long-term music training impacts the global-to-local precedence commonly described in literature. We address this issue by comparing the performance of professional musicians and non-musicians in the traditional Navon test, in which it is required to identify large letters (global task) or the small letters composing the larger ones (local task). Our results did not support the idea of musicians having a different global-to-local precedence over non-musicians. However, musicians proved to be faster, without losing accuracy, than non-musicians in both global and local tasks. A control test showed that the two groups did not differ in motor response speed. In agreement with other studies describing an association between music expertise and enhanced cognitive abilities, our results point toward the idea that long-term music training may facilitate the performance in visuo-spatial tasks and, in particular, those tasks that require simultaneous processing of global and local information and inhibiting the irrelevant ones.
{"title":"Musicians are faster to process hierarchical Navon letters","authors":"Erica Pomini, Alessandra Pecunioso, Christian Agrillo","doi":"10.1177/03057356251320975","DOIUrl":"https://doi.org/10.1177/03057356251320975","url":null,"abstract":"Several studies have reported an association between music training and enhanced visuo-spatial abilities—for example, musicians have been found to pay greater attention to local details of the visual scene. However, no studies have directly tested whether long-term music training impacts the global-to-local precedence commonly described in literature. We address this issue by comparing the performance of professional musicians and non-musicians in the traditional Navon test, in which it is required to identify large letters (global task) or the small letters composing the larger ones (local task). Our results did not support the idea of musicians having a different global-to-local precedence over non-musicians. However, musicians proved to be faster, without losing accuracy, than non-musicians in both global and local tasks. A control test showed that the two groups did not differ in motor response speed. In agreement with other studies describing an association between music expertise and enhanced cognitive abilities, our results point toward the idea that long-term music training may facilitate the performance in visuo-spatial tasks and, in particular, those tasks that require simultaneous processing of global and local information and inhibiting the irrelevant ones.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143822660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-04-11DOI: 10.1177/03057356251320976
Leon de Bruin
Teacher identity is a complex and non-linear evolution involving knowledge, skill, formation, transformation, and scrutiny of what one is doing and who one can become. This phenomenological investigation studied the views of 12 early career instrumental music teachers working professionally in Melbourne, Australia. Utilising possible selves theory, interpretative phenomenological analysis revealed anxieties and stresses of novice teacher experiences, the measuring up and barrier breaking of professional models and relations, and evolving possible selves from past and present experiential encounters. Current identity perceptions shaped future goals that were crafted through an agentic reality in which music teachers reconciled their training, and apriori experiences with their existential positioning in the field. Participants oscillated between knowledge, values, attitudes, and learning experiences, reflecting on past and current experiential episodes and events and how these shape trajectories and provide a future vision of professional role and status. Findings suggest teacher identity as a dynamic, holistic interaction mediated across facets including prior experiences, schooling, ones’ teacher education experience, professional experience and current teaching contexts, and career plans and imagined trajectories. Implications are proposed for music teacher education, quality collaborations between school and employment destinations and teacher training that prepares for the complex secondary education field.
{"title":"Identity formation and possible selves of early career instrumental music teachers: A qualitative study","authors":"Leon de Bruin","doi":"10.1177/03057356251320976","DOIUrl":"https://doi.org/10.1177/03057356251320976","url":null,"abstract":"Teacher identity is a complex and non-linear evolution involving knowledge, skill, formation, transformation, and scrutiny of what one is doing and who one can become. This phenomenological investigation studied the views of 12 early career instrumental music teachers working professionally in Melbourne, Australia. Utilising possible selves theory, interpretative phenomenological analysis revealed anxieties and stresses of novice teacher experiences, the measuring up and barrier breaking of professional models and relations, and evolving possible selves from past and present experiential encounters. Current identity perceptions shaped future goals that were crafted through an agentic reality in which music teachers reconciled their training, and apriori experiences with their existential positioning in the field. Participants oscillated between knowledge, values, attitudes, and learning experiences, reflecting on past and current experiential episodes and events and how these shape trajectories and provide a future vision of professional role and status. Findings suggest teacher identity as a dynamic, holistic interaction mediated across facets including prior experiences, schooling, ones’ teacher education experience, professional experience and current teaching contexts, and career plans and imagined trajectories. Implications are proposed for music teacher education, quality collaborations between school and employment destinations and teacher training that prepares for the complex secondary education field.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"35 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143822662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-04-11DOI: 10.1177/03057356251322071
Friederike Koehler, Michael J Silverman, Amy Riegelman, Jessica M Abbazio, Suvi Saarikallio
Healthcare is often dependent on evidence derived from quantitative measurement. Music-based psychometric inventories are thus necessary to quantify health-related constructs. Despite an increase in the number of inventories, there is no systematic overview of the existing inventories, which may hinder dialogue across music disciplines (e.g., music psychology, music therapy). Therefore, the purpose of this scoping review was to identify and categorize psychometric inventories measuring music and health. This pre-registered review followed best practice and was reported following PRISMA guidelines. We extracted data and used a two-phase process to categorize inventories based on our operational definitions. After screening 904 titles and abstracts, we identified 56 psychometric inventories that met our inclusion criteria. Based on full-text reviews, we categorized the inventories into seven groups: Functions of music (16 inventories); Clinical assessment (9 inventories); Music-based intervention (8 inventories); Music engagement (7 inventories); Musicians’ health (7 inventories); Music processing (4 inventories); and Perception of self and others (5 inventories). The inventories captured a wide range of highly specified and diverse approaches to music and health. This overview and categorization may encourage researchers to use the inventories, apply them to a broader range of clinical contexts, and to inform the development of new inventories.
{"title":"A scoping review and categorization of music and health psychometric inventories","authors":"Friederike Koehler, Michael J Silverman, Amy Riegelman, Jessica M Abbazio, Suvi Saarikallio","doi":"10.1177/03057356251322071","DOIUrl":"https://doi.org/10.1177/03057356251322071","url":null,"abstract":"Healthcare is often dependent on evidence derived from quantitative measurement. Music-based psychometric inventories are thus necessary to quantify health-related constructs. Despite an increase in the number of inventories, there is no systematic overview of the existing inventories, which may hinder dialogue across music disciplines (e.g., music psychology, music therapy). Therefore, the purpose of this scoping review was to identify and categorize psychometric inventories measuring music and health. This pre-registered review followed best practice and was reported following PRISMA guidelines. We extracted data and used a two-phase process to categorize inventories based on our operational definitions. After screening 904 titles and abstracts, we identified 56 psychometric inventories that met our inclusion criteria. Based on full-text reviews, we categorized the inventories into seven groups: Functions of music (16 inventories); Clinical assessment (9 inventories); Music-based intervention (8 inventories); Music engagement (7 inventories); Musicians’ health (7 inventories); Music processing (4 inventories); and Perception of self and others (5 inventories). The inventories captured a wide range of highly specified and diverse approaches to music and health. This overview and categorization may encourage researchers to use the inventories, apply them to a broader range of clinical contexts, and to inform the development of new inventories.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"75 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143822661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-04-04DOI: 10.1177/03057356251325516
Elise Cournoyer Lemaire, Christine Loignon, Chelsea Grothe, Marie Jauffret-Roustide, André Lemaître, Karine Bertrand
Homeless young adults with problematic psychoactive substance (PS) use face multiple challenges that compromise their well-being. Despite these challenges, few of them access psychosocial services and rather rely on personal resources to promote their own well-being. However, literature has been largely centered on their difficulties, leaving their strengths and capacities unknown. Despite this lack of knowledge, literature suggests that music is very important in the lives of young adults, especially because it helps them meet multiple well-being needs. The objective of this study was to describe and understand the perspectives of homeless young adults who experience problematic PS use on the ways music contributes to their well-being. Fifteen participants took part in semi-directed qualitative interviews that covered their experiences regarding the role of music in well-being. We also performed an iterative thematic analysis. Results highlight the marked importance of music for participants. Our study also demonstrates participants’ capacity to adapt their use of music to address the emotional, psychological, and social challenges they face. This study contributes to a better understanding of young adults’ use of music in promoting their global well-being and to the development of adapted outreach interventions that account for their capacities and interests.
{"title":"How does music contribute to well-being? Perspectives from homeless young adults with problematic psychoactive substance use","authors":"Elise Cournoyer Lemaire, Christine Loignon, Chelsea Grothe, Marie Jauffret-Roustide, André Lemaître, Karine Bertrand","doi":"10.1177/03057356251325516","DOIUrl":"https://doi.org/10.1177/03057356251325516","url":null,"abstract":"Homeless young adults with problematic psychoactive substance (PS) use face multiple challenges that compromise their well-being. Despite these challenges, few of them access psychosocial services and rather rely on personal resources to promote their own well-being. However, literature has been largely centered on their difficulties, leaving their strengths and capacities unknown. Despite this lack of knowledge, literature suggests that music is very important in the lives of young adults, especially because it helps them meet multiple well-being needs. The objective of this study was to describe and understand the perspectives of homeless young adults who experience problematic PS use on the ways music contributes to their well-being. Fifteen participants took part in semi-directed qualitative interviews that covered their experiences regarding the role of music in well-being. We also performed an iterative thematic analysis. Results highlight the marked importance of music for participants. Our study also demonstrates participants’ capacity to adapt their use of music to address the emotional, psychological, and social challenges they face. This study contributes to a better understanding of young adults’ use of music in promoting their global well-being and to the development of adapted outreach interventions that account for their capacities and interests.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"34 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143782660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-04-04DOI: 10.1177/03057356251324825
Rachel G McClymont, Amanda E Krause
Many people do not seek mental health support due to self-stigma; however, music can assist people in seeking support. Therefore, the present study explored how attending a focused music listening event might promote self-compassion and mindfulness and, in turn, how experiencing these might promote mental health help-seeking intentions. This case study focused on the Indigo Project’s Listen Up event, in which participants engage with a curated music playlist (drawing on soundtrack, ambient and experimental music) along with oral guidance provided by a psychologist. After attending Listen Up , participants ( N = 270, 85.90% female, M age = 37.05) completed an online survey, including their attendance motivations and standardised measures of mindfulness, self-compassion, self-stigma of help-seeking, and help-seeking intentions. A subset of 18 participants were subsequently interviewed about their experience. Results indicated that attendees experienced feelings of mindfulness and self-compassion, processed challenging emotions during the event, and were prompted to practice self-care and connect with others following the event. Additionally, participants experiencing mindfulness during the event buffered the relationship between self-stigma of help-seeking and future help-seeking intentions. Study findings have implications for our understanding of the ways that music and mindfulness can be used in practices to promote mental health and well-being.
{"title":"The impact of a focused listening experience on self-compassion and mental health help-seeking","authors":"Rachel G McClymont, Amanda E Krause","doi":"10.1177/03057356251324825","DOIUrl":"https://doi.org/10.1177/03057356251324825","url":null,"abstract":"Many people do not seek mental health support due to self-stigma; however, music can assist people in seeking support. Therefore, the present study explored how attending a focused music listening event might promote self-compassion and mindfulness and, in turn, how experiencing these might promote mental health help-seeking intentions. This case study focused on the Indigo Project’s <jats:italic>Listen Up</jats:italic> event, in which participants engage with a curated music playlist (drawing on soundtrack, ambient and experimental music) along with oral guidance provided by a psychologist. After attending <jats:italic>Listen Up</jats:italic> , participants ( <jats:italic>N</jats:italic> = 270, 85.90% female, <jats:italic> M <jats:sub>age</jats:sub> </jats:italic> = 37.05) completed an online survey, including their attendance motivations and standardised measures of mindfulness, self-compassion, self-stigma of help-seeking, and help-seeking intentions. A subset of 18 participants were subsequently interviewed about their experience. Results indicated that attendees experienced feelings of mindfulness and self-compassion, processed challenging emotions during the event, and were prompted to practice self-care and connect with others following the event. Additionally, participants experiencing mindfulness during the event buffered the relationship between self-stigma of help-seeking and future help-seeking intentions. Study findings have implications for our understanding of the ways that music and mindfulness can be used in practices to promote mental health and well-being.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"65 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143782667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-04-04DOI: 10.1177/03057356251322077
Jon Baggaley
Absolute pitch (AP) enables its possessors to identify musical notes and keys by qualities of tone height and tone chroma. With advancing age, an unknown proportion of AP possessors perceives changes in these qualities, usually described as in the sharp direction and to the extent of a semitone or tone. The phenomenon is identified here as absolute pitch shift (APS). Using a cellphone-based tone generator, the writer conducted an N = 1 examination of the APS in his central musical range. The shift was greater at the centre of the range than at its extremes, causing him to perceive incoming tones as 1 to 4 semitones sharper than his recall of them in the A = 440 cps (concert pitch range). The report focusses on the comparative flatness of his AP memories of the tones, expressed with greater precision in cycles per second than by the names commonly given to their physical versions. The altered pitch perceptions are considered due to changes at the basilar membrane level in older individuals, and are labelled here as basilar AP. The internal pitch template’s role in memorising tone frequencies in the inner ear is labelled cortical AP. Implications are considered for further studies of AP and APS latency.
{"title":"Absolute pitch shift","authors":"Jon Baggaley","doi":"10.1177/03057356251322077","DOIUrl":"https://doi.org/10.1177/03057356251322077","url":null,"abstract":"Absolute pitch (AP) enables its possessors to identify musical notes and keys by qualities of tone height and tone chroma. With advancing age, an unknown proportion of AP possessors perceives changes in these qualities, usually described as in the sharp direction and to the extent of a semitone or tone. The phenomenon is identified here as absolute pitch shift (APS). Using a cellphone-based tone generator, the writer conducted an <jats:italic>N</jats:italic> = 1 examination of the APS in his central musical range. The shift was greater at the centre of the range than at its extremes, causing him to perceive incoming tones as 1 to 4 semitones sharper than his recall of them in the A = 440 cps (concert pitch range). The report focusses on the comparative flatness of his AP memories of the tones, expressed with greater precision in cycles per second than by the names commonly given to their physical versions. The altered pitch perceptions are considered due to changes at the basilar membrane level in older individuals, and are labelled here as basilar AP. The internal pitch template’s role in memorising tone frequencies in the inner ear is labelled cortical AP. Implications are considered for further studies of AP and APS latency.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"62 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143775326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-04-01DOI: 10.1177/03057356251319213
Phillip D Payne, Natalie Steele Royston
Given the rise in awareness of the mental health crisis, we set out to determine a baseline for mental wellness among current music educators. In a nationwide survey, music educators ( N = 695) responded to a series of questions focused on mental wellness, stress, and personality. Music educators shared that they struggle with mental wellness at a higher rate than the general population while data revealed personality traits we would expect in music educators from the literature. Participants represented a broad sample of music educators, comprising practitioners who indicated an average of 16.34 years of experience while remaining busy with requirements of the profession outside of the classroom. They also indicated higher than normal stress levels ( M = 19.09 with a normed range of 12–14.7). Music educators’ responses indicated qualities of anxiety and depression at higher rates as compared with the national averages as well. We share insights into how these data fit with previous studies, possible approaches to establishing effective coping strategies, and potential next steps for our profession.
{"title":"Checking in: Mental wellness and the music educator","authors":"Phillip D Payne, Natalie Steele Royston","doi":"10.1177/03057356251319213","DOIUrl":"https://doi.org/10.1177/03057356251319213","url":null,"abstract":"Given the rise in awareness of the mental health crisis, we set out to determine a baseline for mental wellness among current music educators. In a nationwide survey, music educators ( <jats:italic>N</jats:italic> = 695) responded to a series of questions focused on mental wellness, stress, and personality. Music educators shared that they struggle with mental wellness at a higher rate than the general population while data revealed personality traits we would expect in music educators from the literature. Participants represented a broad sample of music educators, comprising practitioners who indicated an average of 16.34 years of experience while remaining busy with requirements of the profession outside of the classroom. They also indicated higher than normal stress levels ( <jats:italic>M</jats:italic> = 19.09 with a normed range of 12–14.7). Music educators’ responses indicated qualities of anxiety and depression at higher rates as compared with the national averages as well. We share insights into how these data fit with previous studies, possible approaches to establishing effective coping strategies, and potential next steps for our profession.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"33 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143745159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-03-30DOI: 10.1177/03057356241300603
James Armitage, Tuomas Eerola
To date, there has been relatively little research on the relationship between anxiety and music. Trait anxiety (TA) is known to modulate responses to threat-related stimuli, but it is unclear whether this is driven by differences or biases related to attention, vigilance avoidance, or information processing. We evaluated competing predictions based on Attentional Control Theory (ACT), Vigilance Avoidance, and the Information Processing model. We performed two affective priming tasks with auditory primes and word targets, comparing results for participants high in TA with participants low in TA. Music primes elicited congruency effects—targets were evaluated faster when preceded by a prime that shared the same valence as the target. However, TA did not influence responses. In the second task, which used affective environmental sounds, high TA was associated with slower responses to positive targets following a negative prime, consistent with the impaired processing efficiency predicted by ACT. We discuss the results in the context of theoretical models of anxiety and suggest possible stimulus properties, such as arousal and concreteness, which could explain the differences in results.
{"title":"Auditory affective priming: The role of trait anxiety and stimulus type","authors":"James Armitage, Tuomas Eerola","doi":"10.1177/03057356241300603","DOIUrl":"https://doi.org/10.1177/03057356241300603","url":null,"abstract":"To date, there has been relatively little research on the relationship between anxiety and music. Trait anxiety (TA) is known to modulate responses to threat-related stimuli, but it is unclear whether this is driven by differences or biases related to attention, vigilance avoidance, or information processing. We evaluated competing predictions based on Attentional Control Theory (ACT), Vigilance Avoidance, and the Information Processing model. We performed two affective priming tasks with auditory primes and word targets, comparing results for participants high in TA with participants low in TA. Music primes elicited congruency effects—targets were evaluated faster when preceded by a prime that shared the same valence as the target. However, TA did not influence responses. In the second task, which used affective environmental sounds, high TA was associated with slower responses to positive targets following a negative prime, consistent with the impaired processing efficiency predicted by ACT. We discuss the results in the context of theoretical models of anxiety and suggest possible stimulus properties, such as arousal and concreteness, which could explain the differences in results.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"1 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143736592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-03-29DOI: 10.1177/03057356251320864
Olivia Urbaniak, Helen F. Mitchell
Expert performers understand the impact of sight and sound on the concert stage and project performativity to captivate their audiences. Early-career performers embarking on a professional performance career can benefit from experts’ strategies to develop their performance skills and enhance stagecraft. The aim of this study was to develop and trial a mock concert as experiential learning for professional stagecraft. Three early-career pianists performed in a mock concert for an audience of their peers. The audience noted their impressions of performances, and all engaged in a focus group discussion. Responses were transcribed and analyzed thematically. The audience articulated their visual impressions and appraised performers’ stagecraft and performativity. The audience was drawn to distinctive and memorable stage demeanour that complemented musical expressiveness. Performers revealed their strategies for performativity to enhance concert preparation, project confidence, and achieve professionalism. The mock concert was an effective way to decipher the sight and sound of stage mastery in a practical learning opportunity for early-career performers.
{"title":"The mock concert: How early-career performers decipher and develop stage mastery","authors":"Olivia Urbaniak, Helen F. Mitchell","doi":"10.1177/03057356251320864","DOIUrl":"https://doi.org/10.1177/03057356251320864","url":null,"abstract":"Expert performers understand the impact of sight and sound on the concert stage and project performativity to captivate their audiences. Early-career performers embarking on a professional performance career can benefit from experts’ strategies to develop their performance skills and enhance stagecraft. The aim of this study was to develop and trial a mock concert as experiential learning for professional stagecraft. Three early-career pianists performed in a mock concert for an audience of their peers. The audience noted their impressions of performances, and all engaged in a focus group discussion. Responses were transcribed and analyzed thematically. The audience articulated their visual impressions and appraised performers’ stagecraft and performativity. The audience was drawn to distinctive and memorable stage demeanour that complemented musical expressiveness. Performers revealed their strategies for performativity to enhance concert preparation, project confidence, and achieve professionalism. The mock concert was an effective way to decipher the sight and sound of stage mastery in a practical learning opportunity for early-career performers.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"217 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143733865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-02-17DOI: 10.1177/03057356251315690
Kexin Xu
The purpose of this study was to understand the relationships among self-efficacy, intrinsic motivation, and self-worth of adolescent singers, and how each construct functions in high school choir. The second purpose was to understand the degree to which these constructs predicted singing participation after high school graduation. Participants consisted of 215 high school students enrolled in choir from five public high schools in the United States. The majority of participants reported their self-identified gender as female (61.9%, n = 133), with 27.0% reporting as male ( n = 58), and 11.2% preferring to indicate other ( n = 24). IBM SPSS Statistics 28 and Lavaan were used for data analysis. Physiological states were the only significant predictor of singing self-efficacy, p < .05. A significant and positive relationship was found between self-efficacy and intrinsic motivation for singing. Structural equation modeling was used to examine the effect of self-worth on the relationship between self-efficacy and intrinsic motivation, revealing a significant and negative interaction effect in the model, p < .001. Furthermore, the moderation model was a significantly better fit than the direct effect model, p < .001. Participants’ plans to continue participating in singing were positively related to intrinsic motivation and mastery experiences.
{"title":"Examining the relationships among self-efficacy, intrinsic motivation, and self-worth of adolescent singers in structural equation modeling","authors":"Kexin Xu","doi":"10.1177/03057356251315690","DOIUrl":"https://doi.org/10.1177/03057356251315690","url":null,"abstract":"The purpose of this study was to understand the relationships among self-efficacy, intrinsic motivation, and self-worth of adolescent singers, and how each construct functions in high school choir. The second purpose was to understand the degree to which these constructs predicted singing participation after high school graduation. Participants consisted of 215 high school students enrolled in choir from five public high schools in the United States. The majority of participants reported their self-identified gender as female (61.9%, n = 133), with 27.0% reporting as male ( n = 58), and 11.2% preferring to indicate other ( n = 24). IBM SPSS Statistics 28 and Lavaan were used for data analysis. Physiological states were the only significant predictor of singing self-efficacy, p < .05. A significant and positive relationship was found between self-efficacy and intrinsic motivation for singing. Structural equation modeling was used to examine the effect of self-worth on the relationship between self-efficacy and intrinsic motivation, revealing a significant and negative interaction effect in the model, p < .001. Furthermore, the moderation model was a significantly better fit than the direct effect model, p < .001. Participants’ plans to continue participating in singing were positively related to intrinsic motivation and mastery experiences.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"19 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143435060","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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