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Sensation seeking and music preference

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Abstract

A Musical Preference Scale was devised from factor analyses of preference ratings for established categories of music based on divisions in the recording industry in the U.S.A. The scales of the Sensation Seeking Scale form V were correlated with rated likings of each of the categories derived from the factor analysis. Total Sensation Seeking correlated positively with liking for all types of rock music and negatively with liking for bland, soundtrack music. In addition to a liking of rock music, those having high scores of the Thrill and Adventure Seeking and Experience Seeking subscales liked folk and classical music. High scorers on the Disinhibition subscale liked rock and disliked religious and soundtrack music. The results are consistent with the theory that high sensation seekers have a high optimal level of stimulation and thus tolerate and like high intensity and/or complexity in music, and stimulation in general.

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... Traditionally, researchers have been particularly interested in what personality factors draw adolescents to rebellious or even "defiant" musical genres such as heavy metal, hard rock, grunge and punk, because preferences for these types of music were assumed to be associated with problem behaviors and psychological issues (Litle and Zuckerman, 1986). Preferences for these genres are linked with a personality characteristic such as sensation seeking (Arnett, 1991). ...
... Sensation seeking, which is assumed to have a biological base, refers to the tendency to search out and savor novel and intense sensory stimulation. Listeners needing psychophysiological stimulation seek music that is characterized by arousing elements such as loud and distorted voices or instruments (e.g., Litle and Zuckerman, 1986). ...
... It has long been known in the scientific literature that (part of) the association between loud music and problem behavior can be explained by the personality characteristics of its listeners, that is, sensation seeking, rebelliousness or disinhibition (Litle and Zuckerman, 1986). Yet in most research that controls personality characteristics, the effects of music preference remain. ...
... All five publications included in Table 3 were quantitative studies that examined the relationship between sensation-seeking and musical preference in different areas, aside from one, which examined other sensory processes, such as resting arousal (McNamara & Ballard, 1999). The literature included studies that aimed to replicate findings from previous studies that reported positive correlations between sensation-seeking and musical preference (Litle & Zuckerman, 1986). Other studies specified that there were significant differences between men and women in sensation-seeking and musical preference (Heydari, Mohammadi, & Rostami, 2013;McNamara & Ballard, 1999) or the preferences of people with conservative attitudes (Glasgow, Cartier, & Wilson, 1985). ...
... The results point to two types of associations: between music and the sensory system and between sensation-seeking and musical aspects. Some studies reported a positive correlation between sensation-seeking and a preference for rhythmic music such as rock, hip-hop, and the like (Litle & Zuckerman, 1986), which could have mainly been driven by higher boredom susceptibility ( Vuust et al., 2010). This link was suggested to be stronger ...
... Whether focusing on musical training ( Kuchenbuch et al., 2014;Landry & Champoux, 2017), active music making (Perry, 2015), or passive listening (Esteves et al., 2009;Hall & Case-Smith, 2007;Kantono et al., 2016;Schoen et al., 2015), the studies reviewed here also suggest that both playing or listening to music had a significant influence on the sensory system. Both children and adults manifesting arousal through sensation-seeking showed specific musical preferences ( Glasgow et al., 1985;Heydari et al., 2013;Litle & Zuckerman, 1986;McNamara & Ballard, 1999;Nater et al., 2005) which may also affect musical career choice (Vuust et al., 2010). All of the above is indicative of the influence of the sensory system on musical factors. ...
Article
Sensory processing disorder (SPD) is a disruption in the organization of sensory input that affects appropriate responses to the demands of the environment. The consequences of SPD in children may include a developmental lag as well as behavioral and emotional problems. Music therapy is particularly suitable for children with a sensory processing disorder because music and the sensory system are both linked to the nervous system. This suggests there is a need to better understand the relationship between the sensory system and the characteristics of music. An integrative review method was chosen here, given the small number of published articles on music and SPD. This integrative review covers 17 articles published between 1985 and 2017. A search was carried out in five major databases, eight music therapy journals, and grey literature. To assess the quality of a study, the Cochrane Collaboration tool for assessing risk of bias was used when possible. The results point to two types of associations: between music and the sensory system, and between sensation-seeking and features of music. Studies have also shown that therapeutic listening programs improved the sensory profiles of children with SPD. These findings lead to the practical conclusion that music is a suitable therapy for children with SPD. The benefits include improvement in the plasticity of the sensory system, motivation, self-confidence, communication and social skills.
... Finally, high levels of neuroticism are linked to a preference for calming media content with low arousal potential: erotic, thriller, and action movies are typically rejected (Burst, 1999;Weaver, 1991). Sensation seeking (denoting a need for varied, new, and complex impressions paired with a willingness for risk-taking; Litle & Zuckerman, 1986) has also been linked to a preference for stimulating media content such as thriller, horror, and rock music (Burst, 1999;Litle & Zuckerman, 1986;Weisskirch & Murphy, 2004). Sensation seekers require greater arousals to reach their optimal arousal potential. ...
... Finally, high levels of neuroticism are linked to a preference for calming media content with low arousal potential: erotic, thriller, and action movies are typically rejected (Burst, 1999;Weaver, 1991). Sensation seeking (denoting a need for varied, new, and complex impressions paired with a willingness for risk-taking; Litle & Zuckerman, 1986) has also been linked to a preference for stimulating media content such as thriller, horror, and rock music (Burst, 1999;Litle & Zuckerman, 1986;Weisskirch & Murphy, 2004). Sensation seekers require greater arousals to reach their optimal arousal potential. ...
Article
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What distinguishes our aesthetic experience of Middle Earth from Tarantino’s hybrid genre settings? To what extent does individual temporal orientation influence whether we prefer fast action or epic fantasy movies? Because film genres share stylistic and narrative elements, this study aimed to provide a categorization based on the features that genres share in unique ways. Furthermore, meaningful dimensions underlying these categories were investigated. Then, interrelations with individual temporal orientation were assessed. Participants completed a test of fictional film preferences, the Zimbardo Time Perspective Inventory, and the Individual Time Span Scales. Multidimensional scaling revealed three latent dimensions: social, conflict, and narrative setting. Principal component analysis revealed seven components of fictional film preferences: fantastic, communal, action, doomed, thrilling, unconventional, and historical. The current findings suggest that mood management processes are less influential in the development of more stable genre preferences than social phenomena. Regarding individual temporal orientation, findings were in line with life history theory for individual time span orientation. Time perspective was less related to film genre preferences. Here, gender appeared to be the main influence.
... Concerten van Ariana Grande, Bruce Springsteen, The Afghan Whigs, Underworld, The Unthanks en Metallica 'trekken' ander publiek. De vraag is of de verschillen tussen deze publieksgroepen alleen van doen hebben met leeftijd en inkomen of dat muziekvoorkeuren ook samenhangen met nog andere aspecten zoals leefstijl (Litle & Zuckerman, 1986;North & Hargreaves, 2007a/b/c;Schäfer, 2008). ...
... De resultaten waren echter niet reproduceerbaar en betrouwbaar (Langmeyer, Guglhör-Rudan & Tarnai, 2012). Litle & Zuckerman (1986) ontwikkelde de MPS (Music Preference Scale) om de relatie van muziekvoorkeuren met sensation seeking te onderzoeken. De MPS vraagt naar voorkeuren voor 60 muziekgenres op een Likert-type schaal van 'dislike' tot 'like very much'. ...
Book
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Glastonbury, het theaterfestival in Avignon, North Sea Jazz, Sensation White, de Duitse oktoberfeesten, het carnaval in Rio en Venetië of de Mardi Gras in New Orleans, de lancering van de nieuwste smartphone of gameconsole, de Fiesta in Pamplona, plaatselijke talentenjachten, de May Day Cooper’s Hill Cheese Rolling and Wake, waarbij het de bedoeling is om van een steile heuvel achter een rollende Gloucester kaas aan te rennen... Het kost tegenwoordig aanzienlijke moeite om op een vrije dag niet ondergedompeld te worden in allerlei festiviteiten en evenementen. Festivals zijn hierin prominent aanwezig. Maar wat is een festival eigenlijk? Deze studie formuleert hier een antwoord op door het rijke landschap van festivals te schetsen en hoe dit te ontleden is in motivaties voor bezoek, de specifieke bouwstenen van een festival, het festivalDNA, en de plek waar het allemaal gebeurt: de festivalscape. Ondanks dat de laatste decennia het onderzoek naar festivals aanzienlijk is toegenomen is de bezoekersbeleving van festivals een onderwerp waar relatief weinig onderzoekers zich diepgaand mee bezig hebben gehouden. In het tweede gedeelte van dit boek staat beleving centraal, waarbij emotietheorieën worden besproken en allerhande belevingsmodellen en meet- methoden de revue zullen passeren om de weg vrij te maken voor een gerichte en onderbouwde analyse van de bezoekersbeleving, zoals de beleving van sfeer.
... Concerts by Ariana Grande, Bruce Springsteen, The Afghan Whigs, Underworld, The Unthanks and Metallica draw different audiences. The question is whether the differences between these audiences are only related to age and income or whether music preferences are also related to other aspects such as lifestyle (Litle & Zuckerman, 1986;North & Hargreaves, 2007a/b/c;Schäfer, 2008). ...
... However, the results were not replicable and reliable (Langmeyer, Guglhör-Rudan & Tarnai, 2012). Litle & Zuckerman (1986) developed the Music Preference Scale (MPS) to investigate the relationship between music preferences and sensation seeking. The MPS asks for preferences for 60 music genres on a Likert-type scale ranging from "dislike" to "like very much". ...
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Why do people go to festivals? That is an important question. The answer enables event organizers to tailor their festivals to what visitors want and expect. This increases the likelihood that visitors will enjoy the festival, give the festival a positive rating, talk about it in positive terms with others and possibly attend the festival again. During the past 30 years, various scientific studies have addressed the topic of the motivations of festival visitors. These studies are discussed and analyzed in this chapter. This is necessary because these studies are often treated only superficially in handbooks on events, such as in that of Berridge (2007). As far as the analysis is concerned, it is important to know that the research on festival motivations stems from, and is embedded in, the broader field of research on events and tourism. The latter field focuses on research questions such as why people go on holiday and how they arrive at a choice of destination. Festivals are seen as a way to enhance the attractiveness of a holiday location. However, festivals have now become an important field of research of their own within the general field of event studies, with a substantial body of literature (see, for example, Getz, 2010). As an introduction, this chapter begins with two studies into the motivations of visitors to events and festivals (3.1). After that, international research into festival motivations is introduced, from which a number of generic motivations are derived (3.2). The problems that arose in this process are explained. A specific problem concerns the theoretical interpretation of these motivations, which has led to some confusion in recent years (3.3). This confusion can be removed by making a distinction between motivations as the internal drivers of people and the specific focus that these motivations are given by certain festival characteristics, such as the program and location. These festival characteristics, which I refer to as the ‘FestivalDNA’, are discussed in the next chapter. Festival visitors bring more to the festival than just their motivations. These additional aspects include demographic variables, 'festigraphic' variables (3.4) and lifestyles (3.5). Because music festivals are by far the most common type of festival, at least in the Netherlands (see Chapter 2), specific attention is paid to the relationship between music preferences and lifestyle (3.6). Finally, other relevant characteristics of festival visitors are briefly mentioned and explained (3.7).
... Groundbreaking work by Rentfrow and Gosling (2003) and subsequent analyses by Rentfrow, Goldberg, and Levitin (2011) suggest that musical preferences can be analyzed using a five-dimension model: Mellow (e.g., pop, soft rock, and soul/R&B); Unpretentious (e.g., country and singer-songwriter); Sophisticated (e.g., classical, jazz, and world); Intense (e.g., heavy metal, punk, and rock); and Contemporary (e.g., rap and electronica music). Music listeners also tend to prefer songs that correspond to their emotional state (Rentfrow & Gosling, 2003 other arousing music tend to have higher resting arousal (e.g., resting heart rate and blood pressure), tend to be more sensation seeking, and are more likely to have antisocial personality traits (Litle & Zuckerman, 1986;McNamara & Ballard, 1999). Similarly, when listening to heavy metal, fans of this genre show increasing arousal levels beyond those of country music fans (Gowensmith & Bloom, 1997). ...
... Rentfrow et al. (2011);Rentfrow and Gosling (2003);Litle and Zuckerman (1986);McCown et al. (1997);McNamara and Ballard (1999);Vuoskoski et al. (2012) ...
Chapter
The Oxford Handbook of Music and Advertising assembles an array of forty-two pathbreaking chapters on the production, texts, and reception of advertising through music. Uniquely interdisciplinary, the collection’s tripartite structure leads the reader through these stages in the communication of the advertising message as presented by Chris Wharton (2015). The chapters on production study the factors, activities, and people behind the music for the marketing pitch, both past and present. Prominent throughlines in the section include factors influencing the selection of music (and musicians) for advertising, the role of music in corporate branding strategies, the creative forces behind the soundscape of advertising, and industry practices that undergird all aspects of music in commercial contexts. The section on Text focuses on analytic and historical approaches to ads in various media, and includes commentaries on musical genres in ads ranging from Western European art music to American popular genre. Also covered in this section is ad music as used in different ad genres, such as political ads, public service announcements, and television commercials. The analyses used in this section draws from traditional music theory, semiotics, and hermeneutic analysis. Finally, the last section addressing “Reception”—with contributions by researchers in psychology, marketing, and other fields—involves the formulation of models and theories, and implementation of research methods to examine how the presence of music may influence peoples’ attitudes, emotions, thoughts, and behaviors in the context of advertisements and within service environments such as stores, restaurants, and banks. The editors and chapter contributors of this book bring a diversity of perspectives to the topic but share a united aim: to illuminate music’s vital contribution to the advertising message.
... In this context, we also note a number of studies which show that the apparent relationships between musical taste and various undesirable outcomes are also modified by personality factors, particularly sensation-seeking. Litle and Zuckerman (1986) argued that high sensation-seekers have an elevated optimal level of arousal and thus seek high intensity and/or complexity via their behaviours, experiences, and preferences. As such, it is unsurprising that several studies should show that sensation- seeking correlates positively with various indices of recklessness and liking for music that is dynamic and sensational (see review by North & Hargreaves, 2008;and Litle & Zuckerman, 1986;Zuckerman & Kuhlman, 2000). ...
... Litle and Zuckerman (1986) argued that high sensation-seekers have an elevated optimal level of arousal and thus seek high intensity and/or complexity via their behaviours, experiences, and preferences. As such, it is unsurprising that several studies should show that sensation- seeking correlates positively with various indices of recklessness and liking for music that is dynamic and sensational (see review by North & Hargreaves, 2008;and Litle & Zuckerman, 1986;Zuckerman & Kuhlman, 2000). For instance, Arnett (1992) found that sensation-seeking mediated the relationship between liking for anti-authoritarian music and reckless behaviour. ...
Article
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While previous research has established relationships between perceived parenting styles and children’s deviant behaviours, and links between these behaviours and liking for intense and rebellious music, no research has explored the associations between perceived parenting styles and children’s liking for different music styles. Whereas previous research has considered musical taste by looking at a small number of individual difference variables in isolation from one another, the present research used a cross-sectional correlational design to investigate whether parenting styles, the big five personality traits, sensation-seeking, age, and gender were associated with liking for different music styles. Three hundred and thirty-six Australians completed an online, self-report questionnaire. Analyses demonstrated that there were relationships between five of the six parenting style variables and five of the music styles considered. This indicates that various parenting styles were associated with musical taste, and that the nature of these associations extends well beyond those concerning rebellious music and neglectful parenting that have been identified by previous research.
... Grewe et al. (2007b) examined whether different personality characters are related to the experience of chills. It was observed that high chill-responders score lower on the personality trait sensation seeking (Litle & Zuckermann, 1986). In addition, the high chill-responders were stronger reward-dependent (Cloninger, Przybeck, Svrakic, & Wetzel, 1999) compared with the participants experiencing fewer chills. ...
... Schäfer & Sedlmeier, 2009;Rentfrow & McDonald, 2010;Rentfrow, Goldberg, & Levitin, 2011;Dunn, de Ruyter, & Bouwhuis, 2012; Bonneville-Roussy, Rentfrow, Xu, & Potter, 2013;Schäfer & Mehlhorn, 2017;Herrera, Soares-Quadros, & Lorenzo, 2018;Soares-Quadros, Lorenzo, Herrera, & Araújo, 2019;Bansal, Flannery, & Woolhouse, 2021;Clark, & Lonsdale, 2022;Santos et al., 2022;Greenberg et al., 2022). Studies have so far focused on variables such as: introversion and extraversion (Payne, 1980;Daoussis & McKelvie, 1986;Dollinger, 1993;Crawford & Strapp, 1994;Rawlings & Ciancarelli, 1997;Furnham & Bradley, 1997;Furnham, Trew, & Sneade, 1999;Furnham, & Strbac, 2002;Pearson & Dollinger, 2004), sensation seeking (Daoussis & McKelvie, 1986;Litle & Zuckerman, 1986;Dollinger, 1993;Gowensmith & Bloom, 1997;McNamara & Ballard, 1999). The available research shows a clear association between music preferences and Big Five factors: a) openness to experiences (Dollinger, 1993;Rawlings & Ciancarelli, 1997;Rawlings, Barrantes i Vidal, & Furnham, 2000;Zweigenhaft, 2008;Cleridou & Furnham, 2014;Vella & Mills, 2017), b) agreeableness (Delsing, ter Bogt, Engels, & Meeus, 2008;Greenberg et al., 2022), c) conscientiousness (Rentfrow & Gosling, 2003;Delsing et al., 2008;Langmeyer, Guglhör-Rudan, & Tarnai, 2012), d) neuroticism (Payne, 1967;Weaver, 1991;Chamorro-Premuzic & Furnham, 2007), e) psychoticism (Weaver, 1991;Bleich, Zillmann & Weaver, 1991;Rawlings, Hodge, Sherr, & Dempsey, 1995;Robinson, Weaver & Zillmann, 1996;McCown et al., 1997;Dillman-Carpentier, Knobloch, & Zillmann, 2003). ...
Article
Music preferences are molded with numerous personality variables, yet, this relation, as assumed in the study, may be mediated by functions of music expressing the psychological needs of the listener. Not many studies are devoted to the music preferences of listeners with personality disorders, whereas, none investigate this topic among people with Borderline Personality Disorder (BPD). A correlational study that was conducted among 549 individuals (274 displayed BPD symptoms). The main goal was to examine the extent to which the severity of BPD symptoms directly interacts with the following: (a) music preferences and (b) music function formation, and whether the functions of music can explain the mechanism through which BPD symptoms interact with music preference formation. Using structural equation modeling (SEM), we demonstrated that the severity of BPD-spectrum symptoms is closely related to types of music preferred. In addition, BPD symptoms severity is substantially linked to the perception of the social relatedness and self-awareness functions of music, whereas emotional function seems to be independent of the BPD symptoms aggravation. Finally, the functions of music can partly act as a mediator in shaping the mechanism of forming music preferences based on personality predispositions. Further music preference analyses among individuals with BPD is highly warranted.
... Participants were first asked to select a musical style they strongly disliked from a list of 15 styles. The styles were derived from the interview study (i.e., fitting the German sample) in accordance with existing musical taste inventories (Litle & Zuckerman, 1986;Rentfrow & Gosling, 2003) and consisted of blues, country, electronic dance music (EDM), techno, house, jazz, classical music, heavy metal, pop, rap/hip hop, rock, German schlager, non-European music, traditional German music, and reggae. Participants were also informed that they should select the most suitable style which would also cover disliked sub-styles or genres. ...
Article
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The current study explored the structure of rationales for musical dislikes. In an online survey, participants (N = 627) evaluated self-selected styles and artists in a slight and strong degree of dislike condition with respect to 41 reasons for musical dislikes distilled from a previous interview study. After constructing nine subscales of reasons, a latent profile analysis identified two profiles of explanatory strategies for disliked music. The highbrow profile included reasons such as the music being Too Simple, or Not Authentic, having No Impact on the listener, and a perceived Social Incongruence, and was mainly associated with a dislike of German schlager, traditional music, and pop. The lowbrow profile included reasons such as the music being Too Niche and Too Complex and was associated with a dislike of jazz, classical music, heavy metal, and techno. A correlational network revealed that Displeasure can occur in relation to Social Incongruence, or in relation to Too Niche music. No Impact occurs in response to music regarded as Too Simple or Not Authentic. A strong dislike is consistently characterized by higher Displeasure, while Social Incongruence and Not Authentic were reasons to strongly dislike artists from mainstream styles. Hence, investigating fundamental musical value judgments, the current study shows that musical dislikes are a complex, multidimensional component of musical taste. The results have implications for the psychology and sociology of music, widening our understanding of people's attitudes toward music and its role in everyday life.
... A common line of argument is that patterns of music preference are reflective of certain psychological desires or needs that individuals would like to have fulfilled: whether in terms of reward and gratification, modulating arousal, or maintaining certain mood states (Bonneville-Roussy et al., 2013;Delsing et al., 2008;Litle & Zuckerman, 1986;Zillmann, 2000). Key findings from this line of research are that people who need, and value, intellectual stimulation tend to be drawn to complex and novel musical styles, whereas more sociable people tend to be drawn to energetic and lively styles (Carpentier et al., 2003;Dunn et al., 2012;Hansen & Hansen, 1991;Rawlings & Ciancarelli, 1997). ...
Article
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Over two studies, we examined the extent to which individual differences in the experience and expression of curiosity are reflected in patterns of music preferences and appreciation. In Study 1, we investigated whether differences in trait curiosity profiles are associated with distinct patterns of preferences for commonly heard music genres, while in Study 2, we asked whether curiosity profiles predict the degree of enjoyment of, and interest in, music from non-Western cultures. We were able to produce clusters similar to the four curiosity profile subgroups previously reported in the literature and show that the subgroup lowest in the experience and expression of curiosity (referred to as the Avoiders) displayed the least appreciation of music, regardless of genre dimension and cultural origin. In contrast, we showed that two subgroups, characterized by relatively high levels of social curiosity and deprivation sensitivity displayed the greatest liking of commonly heard music genres, whereas the subgroup highest in acceptance of novelty-related stress and uncertainty (referred to as the Fascinated) demonstrated the greatest appreciation for non-Western music. Taken together, our findings extend previous work that explores links between personality and music preferences, by showing the relevance of considering individual differences in information-seeking traits. Our work also demonstrates how the study of music listening behaviors may be used to enrich research into curiosity and information-seeking. We recommend that future studies seek to include additional ecologically valid measures of music preferences (e.g., patterns of music streaming activity) in any attempts to corroborate and/or extend these findings.
... Thus, after this piece of information has been revealed, the researchers have started taking more interest into finding the linkage between personality and music preferences. Likewise, other researchers, Little and Zuckerman (1986) conducted a study and they found that there is a positive relationship between music preference specially rock, heavy metal and punk music and sensation seeking. However, with personality traits like extraversion and psychoticism; rap and dance music is preferred (McCown, Keiser, Mulhearn, & Williamson, 1997). ...
Article
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Music is a universal phenomenon however, despite its unified properties, the taste and preference of music may still vary as a function of ethnicity and culture. So, the present study aimed to adapt and validate the short test of music preference scale for music and non-music Pakistani students. In Phase I, the cultural adaption of the scale was carried out while the content validity index (Lawshe, 1975) was also established. However, in phase II, the Short test of Music Scale (STOMP) was validated, yielding confirmatory factor analysis. For the empirical evaluation, a sample of 561 students, including both 286 music and 275 non-music students of undergraduate level with the age range of 18-26 years were recruited. The psychometric evolution of STOMP turned into excellent validity and reliability estimates for first-order constructs. Moreover, strict measurement invariance was established for STOMP across music and non-music students. The validation of this scale would be a little effort to pave the way for music psychology to make research available to measure the construct indigenously.
... Kabul görmüş tek bir tanım olmamasına rağmen, çoğu teori (psikanalitik yaklaşım, ayırıcı özellik yaklaşımı, insancıl yaklaşım, davranışsal yaklaşım, bilişsel yaklaşım vb.) kişiliğin motivasyon ve çevreyle olan psikolojik etkileşimleri üzerine odaklanmaktadır (Burger, 2006, s.23 (Chamorro-Premuzic ve Furnham, 2007;Furnham ve Allass, 1999;Schellenberg ve ark., 2008). Yine bazı çalışma bulgularında, heyecan arayışı yüksek ve dışadönük bireylerin tercihi caz ve hard-rock ile olumlu ilişkilenirken, soundtrack ve dini müzikle olumsuz ilişkilenmiştir (Dollinger, 1993;Little ve Zuckerman, 1986). Benzer şekilde dışadönük bireylerin iyimser-geleneksel ve enerjik-ritmik müziği daha çok dinleme eğilimindeyken, deneyime açık bireylerin karmaşık-komplex ve şiddetli-yoğun-asi müzikleri daha fazla tercih ettiğini saptayan araştırmalar mevcuttur (Rentfrow ve Gosling, 2003;Vella ve Mills, 2017). ...
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The present study is the second extended version of a previous study conducted between 2017 and 2018. The present study aimed to assess the daily music-listening habits and subsequent emotional reactions of young adults (N = 1457) studying at various universities in Turkey according to their immediate mood and introvert (n = 247) or extrovert (n = 282) personality traits according to certain variables. The study group was composed of 794 women (54.5%) and 663 men (45.5%), with a mean age of 22.33 (SD = 2.54, range = 17–35) years. The study was carried out online. To assess the natural tendencies and reactions with reference to the relationship among mood, music, and emotion, participants were asked to use their smartphones at a time when they felt the need to listen to music during their daily living. Music classifications were categorized under the MUSIC model developed by Rentfrow, Goldberg, and Levitin. As regards gender, women preferred the mellow and energetic music category more than men, and men preferred the intense music category more than women. By contrast, the sense of tension felt by men after listening to music was higher than that of women. While introverts preferred both the mellow and energetic music less than extroverts, they preferred the intense music category more. Extroverts are more oriented toward energetic and conventional types than introverts. When the music categories preferred depending on their positive and negative moods before listening to music were compared, the positive emotion scores of those who preferred sophisticated music were higher than those who preferred mellow and unpretentious ones. All findings indicate that mood was one of the determining factors of music preferences of introverts and extroverts, and data discussed were within the framework of music psychology literature.
... It can therefore be contrasted with rock/pop music, as music that is close to informal youth culture (Vogt, Heß, & Brenk, 2014). Apart from these culture-related aspects, music preferences may surely also differ depending on personality traits (Litle & Zuckerman, 1986;McCown, Keiser, Mulhearn, & Williamson, 1997;Rentfrow & Gosling, 2003;Schwartz & Fouts, 2003) and positive or negative momentary affects (Getz, Chamorro-Premuzic, Roy, & Devroop, 2012). ...
Article
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There is a discrepancy between a high inherent value of extracurricular music classes and a low proportion of low-socioeconomic status (SES) male participants. However, evidence on how to match out-of-school music classes to students’ preferences is lacking. Thus, we assessed the attractiveness of different versions of such classes via an experimental video vignette study featuring a 2 × 2-factor (setting × music; each with high vs. low proximity to informal youth culture) between-subjects design with N = 244 students (Grade 5–10). We assessed the intention to participate as criterion, and gender, age, and SES (highest International Socio-Economic Index [HISEI] quartile) as control variables. A hierarchical regression showed a positive effect of music associated with youth culture on intention and no effect of the setting. Female (and older) students displayed higher intention than male (and younger) students. The single effect involving HISEI was a significant interaction of music and SES, which resulted from high-SES adolescents being especially motivated for classes with music associated with youth culture. Thus, to motivate boys and older students in particular, special consideration should be given to the appropriate design and marketing of music classes. However, music close to youth culture might be especially beneficial for adolescents with high rather than low SES.
... La música es una de las herramientas que utilizan los individuos para establecer sus posiciones sociales, contribuyendo a la definición de una identidad. Varios estudios sobre la relación entre las preferencias musicales de los jóvenes y su personalidad muestran que eligen estilos musicales que refuerzan y reflejan rasgos de su personalidad, expresando su identidad personal o social (Little and Zuckerman, 1986;McCown et al., 1997;McNamara and Ballard, 1999;DeNora, 2000;Tarrant, Hargreaves et al., 2001;Tarrant et al., 2002;Rentfrow y Gosling, 2003). Para DeNora (2000), los temas musicales, las imágenes que evocan o las emociones que producen determinados estilos musicales son importantes para los individuos en la medida que estos se encuentren representados por ellos (Alaminos-Fernández, 2014). ...
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Las producciones audiovisuales, como las series televisivas, utilizan estereotipos juveniles que reflejan tanto la realidad como la construyen difundiendo modelos simplificados que son usados como herramientas de etiquetado social. Los personajes son caracterizados con un conjunto de rasgos personales, ambiente social, vestuario, estilo de vida, forma de expresarse, etc. En la caracterización de los personajes se ha estudiado en menor medida el uso de recursos musicales. La serie Stranger Things destacó especialmente por la utilización de música diegética y extradiegética tanto en la ambientación de época como en la caracterización de personajes. En la caracterización de personajes, ha sido pionera en el empleo de recursos transmedia que los humaniza e intensifica la conexión emocional con las audiencias. Netflix y Spotify diseñaron y publicaron playlists de sus personajes atribuyéndoles gustos musicales. Analizamos aquí las playlists de los adolescentes y jóvenes en Strange Things explorando, mediante análisis de correspondencias, qué estilos los caracterizaban y a qué tipo de adolescente y joven describen. El análisis triangula operativamente la caracterización audiovisual con la musical. Las tipologías de jóvenes se articulan en dos cleavages: la primera es la raza (define dos tipos) y la segunda el grado de ajuste social (define cuatro tipos de joven adolescente).
... Për shumë studiues (Little dhe Zuckerman 1986, McCown et al. 1997, Gowensmith dhe Bloom 1997, McNamara dhe Ballard 1999) muzika është jo vetëm e lidhur ngushtë me personalitetin e atyre që e dëgjojnë, por edhe një formë shprehjeje e identitetit social. "Kjo lidhje e muzikës me identitetin është përkrahur edhe më tej nga Knobloch-i dhe Mundorf-i (2003) që nënvizojnë se preferencat muzikore janë në fakt një mjet për të komunikuar dhe shprehur identitetin." ...
Article
Gjuhësia e korpuseve dhe Analiza Kritike e Diskursit (së këndejmi AKD) kanë nisur të konsiderohen si dy disiplina të cilat mund të ndërthuren më së miri, për të analizuar varietete të ndryshme gjuhësore. Nga njëra anë korpusi shërben si "një përmbledhje tekstesh gjuhësore, të përzgjedhura për të karakterizuar një gjendje ose një varietet të një gjuhe" (Sinclair 1991), ndërsa nga ana tjetër, për AKD-në çdo varietet gjuhësor "është historik dhe mund të kuptohet vetëm në lidhje me kontekstin, ndaj AKD-ja iu drejtohet koncepteve jashtëgjuhësore si kultura, shoqëria dhe ideologjia." (Wodak, Meyer 2002) Ky studim synon të hetojë gjurmët e ideologjisë në tekstet e këngëve të dashurisë, të shkruara e kënduara në dy kohë e në dy realitete të ndryshme sociale e politike. Për mbledhjen e të dhënave u ndërtuan dy korpuse, njëri prej të cilit me tekste këngësh dashurie, të paraqitura në Festivalin e Këngës në RTSH, gjatë periudhës së komunizmit në Shqipëri dhe tjetri, me tekste këngësh dashurie të post-komunizmit, të paraqitura në Festivalin "Kënga Magjike". Të dhënat sasiore që vijnë nga krahasimi i frekuencave të fjalëve në dy korpuset e lartpërmendura tregojnë qartësisht se ndonëse këngët e dashurisë i referohen të njëjtit realitet ndjesor, i cili në thelb është i pandryshueshëm, për sa kohë ndjenjat dhe përjetimi i tyre janë universale, prapëseprapë tekstet e këngëve të dashurisë bartin gjurmë të ideologjisë së kohës kur janë kënduar. Për AKD-në ideologjia e diskursi janë ngushtësisht të lidhur (Fowler et al., etj.) dhe të gjitha diskurset janë të formësuara nën ndikimin e ideologjisë. Ky argument na shpie në hullinë e pohimit determinist se "gjuha e bën njeriun", duke i ofruar atij një prerje të caktuar realiteti, këtu nën ndikimin e ideologjisë dhe se ndonëse realiteti i ndjenjave si dashuria, në mos "objektiv", është realitet universal, ai gjuhësohet ndryshe në dy kohë e dy kontekste politiko-shoqërore të ndryshme.
... Zweigenhaft (2008) required subjects to complete the NEO-PI and a version of the Short Test of Music Preferences (STOMP; Rentfrow & Gosling, 2003), which were then correlated with one another. In Dollinger (1993), subjects completed the NEO-PI (Costa & McCrae, 1985) and a musical-preference scale developed by Litle and Zuckerman (1986); similarly to Zweigenhaft (2008), these measures were then correlated. Zweigenhaft investigated the degree to which all Big Five personality factors correlated with preference for certain genres, whereas Dollinger focused solely upon extraversion and openness. ...
Article
Studies reveal consistent relationships between personality and preferred musical genre. This article explores these relationships using a novel methodology: genre dispersion among people’s mobile-phone music collections. By analyzing the download behavior of genre-based user subgroups, we investigated the following questions: (1) do genre-based subgroups exhibit different levels of genre exclusivity; and (2) does genre exclusivity relate to Big Five personality factors? We hypothesized that genre-based subgroups would vary in genre exclusivity, and that their degree of exclusivity would be associated with the personality factor of openness (if people have open personalities, they should be open to different musical styles). Consistent with our hypothesis, results showed that greater genre inclusivity, that is, many genres in people’s music collections, positively correlated with openness and (unexpectedly) agreeableness, suggesting that individuals with high openness and agreeableness have wider musical tastes than those with low openness and agreeableness. By demonstrating an association between personality and patterns of music consumption, this research serves to corroborate previous work linking genre preference and personality. The practical implications of this research may be useful in the implementation of music-recommendation systems.
... The present study has provided insight into the intersections of contemporary youth music and youth behaviour within the Nigerian environment. The allure of sexual and violent contents is however not strange, since young people have always been fascinated by songs with such themes (Litle and Zuckerman 1986). Interestingly, various moralistic dimensions have shaped responses to these realisations. ...
Article
Most linguistic studies on Nigerian hip hop (NHH) are textual in orientation, focusing on language use in lyrics. However, the social manifestations of the genre have mainly been discussed from the sociological perspective, ignoring the linguistic influences on the youthful audience. With a focus on violence and sexuality, the present study combines qualitative and quantitative research methods in fulfilling its objectives. This involves the analysis of the linguistic presentation of violence and sexuality in 20 selected lyrics. In addition, a structured questionnaire and focus group discussions administered to students from a Nigerian university supplement the examination of the interactivity of Nigerian hip hop on communicative practices. Sexual and violent slang, expressions, and their graphic representations are rife in NHH and are also reflected in students’ communicative practises. While the relationship between NHH and youth linguistic behaviour may not be causal—revealing instead the democratisation of expressions within the Nigerian environment—it is observed that NHH is still influential in the linguistic expression of sexuality and violence among Nigerian university students.
... They have even been dubbed pejoratively "problem music" (Bodner & Bensimon, 2015), particularly when the lyrics include messages of hate or violence. Intense/rebellious music preferences have been linked to psychoticism (North, Desborough, & Skarstein, 2005), sensation seeking (Litle & Zuckerman, 1986), low conscientiousness, extraversion, and emotional stability (George, Stickle, Rachid, & Wopnford, 2007), and antisocial behavior (e.g., North & Hargreaves, 2007). Thus, intense/rebellious music and violent/horror visual media preferences appear to have similar nomological links to maladaptive personality. ...
Article
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We link modern conceptualizations of maladaptive personality and psychopathy dimensions to music and movie genre preferences. Participants, N = 379, completed the Personality Inventory for DSM-5 (PID-5), Triarchic Psychopathy Measure (TriPM), and music and movie preferences questionnaires. The structure of some, but not all, music preferences factors aligned with previous reports. Overall, maladaptive traits had meaningful, albeit modest links to entertainment media preferences, but not to the kinds of intense or rebellious music genres sometimes labeled as “problem” entertainment in prior literature. Support emerged for several a priori hypotheses, but some predictions based on the three- and five-factor normal personality trait and entertainment preferences literature did not generalize to a five-factor formulation of maladaptive personality. We discuss the findings’ implications and several likely sources of inconsistencies in the literature on music and movie preferences and personality.
... Rentfrow et al. [4] concluded that people used preferred music to convey their personalities to others. Little and Zuckerman [5] noted that preferred music style of people could reinforce and reflect their personalities. In addition, Rentfrow et al., [6] claimed that music preference was also related to a wide variety of personality aspects, self-views (e.g., political orientation), and cognitive abilities (e.g., verbal IQ). ...
Preprint
With the booming development and popularity of mobile applications, different verticals accumulate abundant data of user information and social behavior, which are spontaneous, genuine and diversified. However, each platform describes user's portraits in only certain aspect, resulting in difficult combination of those internet footprints together. In our research, we proposed a modeling approach to analyze user's online behavior across different social media platforms. Structured and unstructured data of same users shared by NetEase Music and Sina Weibo have been collected for cross-platform analysis of correlations between music preference and other users' characteristics. Based on music tags of genre and mood, genre cluster of five groups and mood cluster of four groups have been formed by computing their collected song lists with K-means method. Moreover, with the help of user data of Weibo, correlations between music preference (i.e. genre, mood) and Big Five personalities (BFPs) and basic information (e.g. gender, resident region, tags) have been comprehensively studied, building up full-scale user portraits with finer grain. Our findings indicate that people's music preference could be linked with their real social activities. For instance, people living in mountainous areas generally prefer folk music, while those in urban areas like pop music more. Interestingly, dog lovers could love sad music more than cat lovers. Moreover, our proposed cross-platform modeling approach could be adapted to other verticals, providing an online automatic way for profiling users in a more precise and comprehensive way.
... Furthermore, adjusting states of excitation belongs in this category. People use music as a stimulus to excitation or relaxation or as a damper for excitation, i.e" to help work off frustration or to relax (Gembris, 1985;Flath-Becker, 1987;Flath-Becker & Koneni, 1984;Hafen, 1997;Karrer, 1999;Litle & Zuckerman, 1986). Particularly for young people and iµ the context of parties and discos, music plays a big role activating individuals (Ebbecke & Lüschper, 1987). ...
... Finally, there are a number of scales that focus a priori on specific functions of music listening, such as affect regulation (Saarikallio, 2008;Hewston, Lane, Karageorghis, 2009;, specific musical experiences such as absorption (Sandstrom & Russo, 2013), or related facets of the music listening experience like musical sophistication (Müllensiefen, Gingras, Musil, & Stewart, 2014) and preferences (Litle & Zuckerman, 1986). Existing sensory-motor behaviour, mood regulation, musical seeking, social reward, and musical memory). ...
Thesis
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The current thesis involves three studies employing qualitative, quantitative and experimental methods to examine the relationship between music listening and wellbeing. Study 1 used the collective intelligence methodology, Interactive Management (IM), to identify the functions of music listening (FML). Four IM sessions were conducted, two with younger adults (N = 24, 18-29 years, M = 22.49, SD = 2.25, 8 males) and two with older adults (N = 19, 60-75 years, M = 65.86, SD = 4.47, 10 males). Participants generated, clarified, and structured FML they believed were most significant for enhancing wellbeing. Four structural models were generated highlighting potential interdependencies between FML in the context of wellbeing enhancement. Age differences emerged in the FML considered adaptive, with younger adults highlighting social connection and affect regulation and older adults highlighting more eudaimonic functions of music (e.g., transcendence and personal growth). Study 2 reports on the development of a new measure of music listening functions: The Adaptive Functions of Music Listening Scale. In a sample of 1191 participants (17-66 years, M = 22.04, SD = 6.23, 326 males) tests of dimensionality revealed a 46-item scale with 11 factors. Namely, Stress Regulation, Anxiety Regulation, Anger Regulation, Loneliness Regulation, Rumination, Reminiscence, Strong Emotional Experiences, Awe and Appreciation, Cognitive Regulation, Identity, and Sleep FML. Reliability of the scale and its subscales was high. Consistent with the view that adaptive FML are positively related to wellbeing, a number of factors were significantly positively correlated with subjective, psychological, and social wellbeing measures. Study 3 evaluated the efficacy of self-chosen music listening for the function of affect regulation with a sample of both younger and older adults. Forty younger (18-30 years, M = 19.75, SD = 2.57, 14 males) and forty older (60-81 years, M = 68.48, SD = 6.07, 21 males) adults visited the laboratory and were randomised to either the intervention (10 minutes of listening to self-chosen music) or the active control condition (10 minutes of listening to a radio documentary). Negative affect (NA) was induced in all participants using the Trier Social Stress Test, followed by the intervention/control condition. Measures of self-reported affect were taken at baseline, post-induction and post-intervention. Examining reduction in induced NA as the dependent variable: a 2 (group: control, intervention) x 2 (age: younger, older adult) ANCOVA controlling for baseline affect and reactivity to the NA induction found significant main effects of group, with the music listening group experiencing greater reductions in NA across a range of discrete measures including Stress Regulation, Nervous Regulation, Upset Regulation, Sadness Regulation and Depressed Affect Regulation. Analyses also found significant main effects for age, with older adults experiencing greater reductions of NA than younger adults, regardless of condition. Together these studies suggest a positive role for music listening in wellbeing enhancement, particularly with regard to the regulation of affective experiences.
... This is in line with recent research that suggests older adults prefer reflective and complex music, while younger adults prefer intense and rebellious music (Clark & Giacomantonio, 2015). In contrast to a previous study that suggests that people who score higher in impulsivity/sensation-seeking prefer music that is more stimulating (Litle & Zuckerman, 1986), we found no relationship between impulsivity/sensation-seeking scores and a preference for stressful music. ...
Article
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Research suggests that person-based dispositional factors, as well as properties of the music, influence a person's musical taste. In this study, we examined the possibility that the interaction between the stressfulness of the music and a listener's capacity for handling stress contributes to that listener's musical preferences. The key prediction relating fitness to musical preference is that the stressfulness of the music should tend to reflect the person's capacity for handling stress, including his or her physical fitness. The study method made use of an online questionnaire to assess physical fitness, impulsivity and sensation-seeking tendencies, and musical preferences. To create an independent index for estimating musical stressfulness, a parallel study was conducted, where an independent group of judges assessed the stressfulness of the music identified by participants in the main study. The stressfulness of the music was predicted using the survey-based dispositional factors in two regression models, where sex, current age, education, current fitness, and age at the time of musical preference were found to predict the stressfulness of the preferred music. The results suggest that males, younger participants, people with fewer years of education, and those who are more physically fit tend to prefer more stressful music.
... Preferred music is associated with the problem of the development and verification of one's social and personal identity (Tarrant, North & Hargreaves, 2004), differences in the styles of music perception (Hargreaves & Colman, 1981, Smith, 1987, social influence factors (Inglefield, 1972;Hargreaves 1986). In addition, much attention has been paid to the relationship between music preferences and perceived adequacy of music listened to, depending on situational context (Koneĉni, 1982), but also on emotional needs (Roe, 1985;Little & Zuckerman, 1986;Behne, 1997). The term "music preferences" denotes such reactions to music which show the degree of liking or not liking certain songs or types of music, and these reactions are not necessarily based on the cognitive analysis of music being the object of a personal disposition (Finnäs, 1989). ...
Conference Paper
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To emphasize the substantial impact of both cognitive and emotional processes on the development of music preferences, such definitions are formed which define preferences as a set of emotional-rational attitudes, which in turn affect the perception of a piece of music. It can be assumed that music preferences are dependent on the current situational and emotional aspects. Accepting this assumption, the absolute stability of the preferences of particular musical genres will be relatively low. As an alternative to the above reasoning, it can be assumed that the high temporal stability of the musical genres preferences may indicate deeper than, for instance, related to the current mood determinants of music preferences. The current study analyzed the temporal stability of musical preferences as measured with the Short Test of Music Preferences (Rentfrow, Gosling, 2003), which was tested within five months in a group of 88 people aged 20 to 58 years. Studies have shown that the Short Test of Music Preferences (STOMP) allows for a relatively stable measurement of music preferences in a period of 5 months. The analyzes revealed that the stability of the results of music preferences is high and constant. With the awareness of the limitations of the method to research the stability of results over time, you can assume with some caution that the high temporal stability of the music factors preferences may indicate deeper conditionings of music preferences than, for example, those connected to the current mood or situation.
Thesis
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Innerhalb der modernen heutigen Medienlandschaft kommen Rezipienten über traditionelle Medien wie Print, Film, Fernsehen aber auch über relativ junge Medien wie dem Internet mit Repräsentationen von Musikern in Kontakt. Die jeweilige mediale Repräsentation einzelner Musiker oder Musikern nach Genre-Typen prägt das jeweilige Image einzelner Musiker oder Musikern bestimmter Genre-Gattungen. Hiervon ausgehend werden Musikern*innen bestimmte Stereotypen und Persönlichkeitsmerkmale zugeschrieben, die einen Einfluss auf das bestehende Selbstbild ausüben können und so in einem Zusammenhang mit Stress, Gesundheit und Belastbarkeit stehen. Allerdings sind quantitative Forschungsarbeiten zu den möglichen Stereotypen bisher kaum vorhanden, so dass deren Bedeutsamkeit für unterschiedliche Bereiche bisher nicht abgeschätzt werden kann. Hiervon ausgehend soll untersucht werden, ob sich genrespezifische Merkmalszuschreibungen quantitativ nachweisen lassen und in wie fern anhand dieser Variablen Musiker*innen unterschiedlicher Genre eine Unterscheidung ermöglichen. Im Mittelpunkt steht die folgende Hyppothese: Wenn Stereotypenzuschreibungen für Musiker*innen unterschiedlichen Genres existieren, dann lassen sich Musiker*innen anhand dieser Variablen unterscheiden. Des Weiteren soll explorativ untersucht werden, welche zusätzlichen Variablen mit den jeweiligen Stereotypen einhergehen. In Anlehnung an eine bereits existierende Studie (Friedrich et al., 2018) und entsprechenden Variablen (u.a. Persönlichkeit, allgemeine Eigenschaften und Einstellungen etc.) sollen die bestehenden Ergebnisse durch eine Online-Studie zum einen repliziert und um wichtige Konstruktbereiche ergänzt werden und zum anderen, soweit zeitlich möglich, im Rahmen eines Online-Experimentes weiter untermauert werden. Hierbei sollen mittels Faktorenanalysen die möglichen genrespezifischen Typen nachgewiesen werden. Mittels Diskriminanz-, Regressions und Varianzanalysen sollen die Unterschiede zwischen diesen Typen und weiteren Merkmalen (z.B. Geschlecht, Alter) geprüft werden. Die Irrtumswahrscheinlichkeit wird hierbei auf Alpha>=0.05 gesetzt. Die Ergebnisse geben einen wichtigen Hinweis auf das Vorhandensein von genrespezifischen Zuschreibungen und deren Existenz. Für die Grundlagenforschung bedeutet dieses, dass nicht nur die Messbarkeit von Stereotypen von Musiker*innen-spezifische ermöglicht wird, sondern auch eine Bewertung deren qualitativer Ausprägungen über den Typenansatz. Für die Praxis lassen die möglichen Ergebnisse eine Diskussion über die Bedeutung der Auswirkungen einer möglichen Selbst-Fremdbild-Problematik im Zusammenhang mit Stress und Gesundheit zu.
Article
Individuals evidently have different tastes in and preferences for music. The purpose of this study was to develop two scales for measuring music preference based on genres (text-based) and excerpts (clip-based), using a Chinese sample to explore the relationship between music preference and personality. Specifically, we collected measures of people’s self-reported preferences for a wide range of music genres for further analysis in Study 1. In Study 2, we developed two music preference scales based on the genres identified in Study 1, one text- and the other clip-based. The results of two principal component analyses suggest three-dimensional psychological structures of music preference using both versions of the scale: (1) Traditional and Retro, (2) Exotic and Complex, and (3) Intense and Rebellious. Correlation and regression analyses of music preferences and personality also indicated that music preference is a relatively stable construct that reflects personality traits. Moreover, the three factors identified from the results of studying music preferences in a Chinese sample differ from those identified in studies of music preference in Western countries, suggesting that music preference is influenced by culture. The two scales yielded similar but slightly different outcomes reflecting their discrete emphases and characteristics; they can be used separately or together, depending on the research topic and question. In this study we verified the structure of music preference among a Chinese sample. It provides a reference point for theoretical research on music preference and personality and has practical applications.
Chapter
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In den Medien wird immer wieder eine schädliche Wirkung von bestimmten Musikgenres postuliert. Ferner liegen empirische Studien vor, die solche medialen Stereotypen über vermeintlich negative Auswirkungen von spezifischen Musikgenres zu bestätigen scheinen. Vor allem ältere Arbeiten verweisen auf deutliche Zusammenhänge zwischen einzelnen übergeordneten Musikpräferenzen und Variablen der psychischen und körperlichen Gesundheit, insbesondere von Jugendlichen. Hierbei werden vorwiegend Metal, Rock, Alternative, aber in der neueren Zeit auch Rap und Hip-Hop als kritisch bewertet, Verhaltensauffälligkeiten und psychosomatische Probleme bei Heranwachsenden zu verursachen. Der vorliegende Beitrag untersucht die Belastbarkeit dieser Annahme. Eigene Untersuchungen liefern dabei keine Hinweise auf schädigende Wirkungen der infrage gestellten Musikgenres für Jugendliche. Stattdessen zeigen die Ergebnisse, dass neben Persönlichkeitsmerkmalen vor allem die Musikrezeption resp. die Anwendung von Musik im Alltag zur Emotionsmodulation in diesem Kontext sehr bedeutsam wird. Im Rahmen der hier vorgenommenen Untersuchungen wird zudem gezeigt, dass die Befunde bestehender Studien aufgrund möglicher Stichproben- und Generationseffekte kritisch hinterfragt werden müssen.
Chapter
This handbook provides a strong collection of communication- and psychology-based theories and models on media entertainment, which can be used as a knowledge resource for any academic and applied purpose. Its 41 chapters offer explanations of entertainment that audiences find in any kind of ‘old’ and ‘new’ media, from classic novels to VR video games, from fictional stories to mediated sports. As becomes clear in this handbook, the history of entertainment research teaches us not to forget that even if a field is converging to a seemingly dominant perspective, paradigm, and methodology, there are more views, alternative approaches, and different yet equally illuminative ways of thinking about the field. Young scholars may find here innovative ways to reconcile empirical-theoretical approaches to the experience of entertainment with such alternative views. And there are numerous entertainment-related phenomena in contemporary societies that still fit the „bread and circuses-“ perspective of the initial Frankfurt School thinking. So while the mission of the present handbook is to compile and advance current theories about media entertainment, scholars active or interested in the topic are invited to also consider the historic roots of the field and the great diversity it has featured over the past nearly 100 years. Many lessons can be learned from this history, and future innovations in entertainment theory may just as likely emerge from refining those approaches compiled in the present handbook as from building on neglected, forgotten, or marginalized streams of scholarship.
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Music plays a significant developmental role in the life of adolescents and has different functions in the life of an individual. Listening to music is one of the most important activities of adolescents, while their music preferences reflect their values, conflicts, and developmental problems they are faced with in everyday life. It is important to understand how adolescents use and experience music on a daily basis and what factors impact their use of music. The power of preference for a specific kind of music depends on the degree to which that type of music fulfills certain functions because the level of functionality and the power of music preference are correlated. While identity formation, peer socialization, and social perception remain important functions of music throughout one's life, they are especially important in the period of adolescence. To understand better the strong links between music preferences and the functions of music in an individual's life, it is important to include the personality factor that provides practical and relevant information about what makes us who we are. Music education can influence the music preferences of young people because listening to music is an important activity in their leisure time. The paper presents theoretical models of music preferences, characteristics of music, contexts of listening to music, correlation between music preferences and personality traits, as well as the functions of music that are most relevant in the life of adolescents.
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Human musicality exhibits the necessary hallmarks for biological adaptations. Evolutionary explanations focus on recurrent adaptive problems that human musicality possibly solved in ancestral environments, such as mate selection and competition, social bonding/cohesion and social grooming, perceptual and motor skill development, conflict reduction, safe time-passing, transgenerational communication, mood regulation and synchronization, and credible signaling of coalition and territorial/predator defense. Although not mutually exclusive, these different hypotheses are still not conceptually integrated nor clearly derived from independent principles. I propose The Nocturnal Evolution of Human Musicality and Performativity Theory in which the night-time is the missing piece of the adaptationist puzzle of human musicality and performing arts. The expansion of nocturnal activities throughout human evolution, which is tied to tree-to-ground sleep transition and habitual use of fire, might help (i) explain the evolution of musicality from independent principles, (ii) explain various seemingly unrelated music features and functions, and (iii) integrate many ancestral adaptive values proposed. The expansion into the nocturnal niche posed recurrent ancestral adaptive challenges/opportunities: lack of luminosity, regrouping to cook before sleep, imminent dangerousness, low temperatures, peak tiredness, and concealment of identity. These crucial night-time features might have selected evening-oriented individuals who were prone to acoustic communication, more alert and imaginative, gregarious, risk-taking and novelty-seeking, prone to anxiety modulation, hedonistic, promiscuous, and disinhibited. Those night-time selected dispositions may have converged and enhanced protomusicality into human musicality by facilitating it to assume many survival- and reproduction-enhancing roles (social cohesion and coordination, signaling of coalitions, territorial defense, antipredatorial defense, knowledge transference, safe passage of time, children lullabies, and sexual selection) that are correspondent to the co-occurring night-time adaptive challenges/opportunities. The nocturnal dynamic may help explain musical features (sound, loudness, repetitiveness, call and response, song, elaboration/virtuosity, and duetting/chorusing). Across vertebrates, acoustic communication mostly occurs in nocturnal species. The eveningness chronotype is common among musicians and composers. Adolescents, who are the most evening-oriented humans, enjoy more music. Contemporary tribal nocturnal activities around the campfire involve eating, singing/dancing, storytelling, and rituals. I discuss the nocturnal integration of musicality’s many roles and conclude that musicality is probably a multifunctional mental adaptation that evolved along with the night-time adaptive landscape.
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The experiment was designed to establish the relationship between the Sensation Seeking Scales (SSS) and cortical augmenting-reducing. Forty-nine male undergraduate Ss were used. Ss were presented with five intensities of light flashes in randomly presented blocks of trials at each intensity. Averaged evoked response (AER) amplitudes were measured at each intensity of light. Augmenting-reducing was measured for each S as the slope of the relationship between stimulus intensity and amplitude of response. This slope measure correlated very significantly (r= .59) with the Disinhibition subscale of the SSS and positively, but not significantly, with other subscales. Comparing the low and high scorers on the Disinhibition scale, a significant interaction between groups and stimulus intensities was found but no main effects of stimulus intensity or groups were found. The high Disinhibitors did not differ from the lows at the low stimulus intensities but did differ significantly at the highest intensity where the lows showed a marked reducing tendency. The results show an interesting convergence between the Disinhibition type of sensation seeking, manic tendencies, and the AER.
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Preservation Hall Jazz Band) Big band.Swtnp (Glenn \ltller
  • Dixieland
Dixieland (Preservation Hall Jazz Band) Big band.Swtnp (Glenn \ltller. Duke Ellington).
Progressive jazz (Mtles Daws Herbie Hancock) West coast style (Buddy Rtch. Don Ellis) East coast style (Urbie Gwen. Grover Washington) Btg band jazz, pop (&la)nard Ferpuson
  • Charlie Bebop
  • Parker
Bebop (Charlie Parker). Progressive jazz (Mtles Daws. Herbie Hancock). West coast style (Buddy Rtch. Don Ellis). East coast style (Urbie Gwen. Grover Washington). Btg band jazz, pop (&la)nard Ferpuson. Lou Rawls) 44. Soul or rhythm & blues tn perteral J5. Rhythm &-blues (Manhattans. James Brown).
Auditory augmenters are sensation seekers if they attend the stimuli
  • Mullins