Music absorption and hypnotizability
The present study investigated differences between high (N = 15), medium (N = 20), and low (N = 16) hypnotizable Ss' involvement in imaginative versus nonimaginative music. Ss were first screened for hypnotizability with the Harvard Group Scale of Hypnotic Susceptibility, Form A (Shor & E. Orne, 1962). In a second session presented as a study of music appreciation, Ss listened to classical music of high and low rated music imaginativeness. Ss' involvement was indexed by absorption, imagery elaboration reported in open-ended essays, and reaction time to a pure tone. High hypnotizable Ss reported more absorption than low hypnotizable Ss, regardless of the imaginativeness level of the music. Ss reported more imagery elaboration in the imaginative than in the low imaginative passages. High hypnotizable Ss tended to differ in their imagery elaboration in response to the imaginative passages but not in response to the nonimaginative passages. Reaction time results were nonsignificant. No sex differences were found. Medium hypnotizable Ss were indistinguishable from both high and low hypnotizable Ss. The findings are generally compatible with J. R. Hilgard's (1970, 1974) construct of imaginative involvement.
Available from: Ruth Herbert
- "Rhodes et al. (1988) argued that pronounced experiential involvement when listening to music correlated with high levels of trait absorption, and that such a relationship was strongest in the case of classical music (listeners heard four styles of music). As part of a study exploring correlations between degree of imaginative absorption and hypnotic susceptibility, Snodgrass and Lynn (1989) invited participants to listen to preselected excerpts of classical music, concluding that music involvement could be definitely included " as part of the domain of imaginative involvement related to hypnotizability " (p. 50). "
[Show abstract] [Hide abstract]
ABSTRACT: The construct of absorption (effortless engagement) has been the subject of a small number of discipline-specific studies of involvement, including music. This paper reports the results of an empirical project that compared psychological qualities of absorption in everyday music listening scenarios with characteristics of non-music-related involvement. Absorption was located in “real-world” settings, and experiences across different activities in a variety of contexts were tapped as soon as possible after they occurred. The inquiry was designed to test two assumptions that have underpinned previous absorption research: first, that certain activities are inherently particularly absorbing; second, that absorption is best conceptualized primarily as a trait as opposed to a state. Twenty participants kept diaries for two weeks, recording descriptions of involving experiences of any kind. Eight weeks after submitting descriptive reports they completed the Modified Tellegen Absorption Scale (Jamieson, 2005). Diaries indicated that different activities shared a subset of involving features, and confirmed the importance of multi-sensory perception and the imaginative faculty to absorbed experiences. Music may be a particularly effective agent in the facilitation of absorption because it affords multiple potential entry points to involvement (acoustic attributes, source specification, entrainment, emotion, fusion of modalities) and because its semantic malleability makes it adaptable to a variety of circumstances. The MODTAS provided insufficient evidence for establishing correlations between state and trait absorption. It is argued that state and trait divisions are constructs that are inherently problematic.
Available from: Jörg Fachner
- "Listening to music as a sensual, aesthetic experience can completely absorb people and completely cut off other sensory input, but absorption seems to be linked to music preference, imagery, and hypnotizability. Snodgrass and Lynn (1989) looked for correlations between persons with high, medium, and low susceptibility to hypnosis (measured with the Harvard Group Scale of Hypnotic Susceptibility, Form A) and their degree of imaginative absorption while listening to highly and less imaginative music (imaginativeness of 12 pieces of classical music rated by 49 participants on a 7-point scale). Irrespective of imaginative qualities, highly hypnotizable persons reported markedly more absorption than persons with low susceptibility to hypnosis. "
[Show abstract] [Hide abstract]
ABSTRACT: Music and consciousness are things we do. . . . Achieving consciousness, from the Latin con (with) and scire (to know), is the central activity of human knowledge. At the heart of the word is a concept of mutuality, knowing with others. Our consciousness is a mutual activity; it is performed. (Aldridge, 2006, p. 10)
Available from: Gunter Kreutz
- "In one of these studies, Snodgrass and Lynn (1989) found different response patterns to music listening in participants characterized as highly hypnotizable as compared "
[Show abstract] [Hide abstract]
ABSTRACT: The present research addresses the induction of emotion during music listening in adults using categorical and dimensional theories of emotion as background. It further explores the influences of musical preference and absorption trait on induced emotion. Twenty-five excerpts of classical music representing 'happiness', 'sadness', 'fear', 'anger' and 'peace' were presented individually to 99 adult participants. Participants rated the intensity of felt emotions as well as the pleasantness and arousal induced by each excerpt. Mean intensity ratings of target emotions were highest for 20 out of 25 excerpts. Pleasantness and arousal ratings led to three main clusters within the two-dimensional circumplex space. Preference for classical music significantly influenced specificity and intensity ratings across categories. Absorption trait significantly correlated with arousal ratings only. In sum, instrumental music appears effective for the induction of basic emotions in adult listeners. However, careful screening of participants in terms of their musical preferences should be mandatory. Copyright
Data provided are for informational purposes only. Although carefully collected, accuracy cannot be guaranteed. The impact factor represents a rough estimation of the journal's impact factor and does not reflect the actual current impact factor. Publisher conditions are provided by RoMEO. Differing provisions from the publisher's actual policy or licence agreement may be applicable.