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Television and Music: Contrasting Media in Adolescent Life

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... Specific purposes that lyrics may serve include providing support for ambivalence about growing up, providing group identification, learning sex roles, providing a focus for collective rebellion movements (such as civil rights and anti-war), and learning about love (Frith, 1988;Hansen & Hansen, 2000;Larson & Kubey, 1983;Lull, 1991). Rouner (1990) pointed out that the media orientation of the user (ncluding exposure, reliance, and involvement) are key factors in determining the impact of lyrical passages on cognitive and affective systems. ...
... The hook is usually repeated several times within a song" (Lull, 1991, p. 4). Logically, the potential for lyrics to influence attitudes, values or behaviors depends on how the listener interprets them (AAP, 1996;Larson & Kubey, 1983;Lull 1991;Rouner, 1990). Strasburger and Wilson (2002), claimed there are no studies documenting a cause-and-effect relationship between sexy or violent lyrics and adverse behavioral effects. ...
... When managing emotion, females are more likely to use music to lift their spirits, relieve feelings of loneliness, or deal with being upset. Males more consistently use music to increase their energy level and seek stimulation (Larson & Kubey, 1983;Roe, 1995;Wells, 1990). Therefore, the nature of the lyrics may also provide reason for differences in gender tastes. ...
... Desde su nacimiento, MTV ha preocupado al público y al ámbito científico por sus posibles efectos (negativos) en los jóvenes. Los primeros estudios se focalizaron principalmente en los efectos y en los contenidos de los videos musicales, en particular en los contenidos violentos, sexuales o relativos al consumo de drogas (Larson & Kubey, 1983;Baxter at al., 1985;Auferheide, 1986;Greeson & Williams, 1986;Sherman & Dominick, 1986;Burns & Thompson, 1987;Kalis & Neuendorf, 1989;Gow, 1990;Frith et al., 1993), aunque otros se centraron más en las razones de los jóvenes para ver MTV (Sun & Lull, 1985;Roe & Cammaer, 1993). Más adelante, la atención académica empezó a moverse también hacia otros campos y a centrarse en otras facetas de MTV, analizada como fenómeno social y cultural. ...
... Van der Rijt et al. (2000) mencionan varios motivos que animan los adolescentes a consumir televisión musical. En primer lugar, la música es una parte esencial de sus vidas y los géneros musicales pueden ser utilizados para construir sus identidades y estilos de vida, tanto a nivel individual como colectivo (los autores citan a: Sun & Lull, 1985;Roe & Cammaer, 1993;Hakanan & Wells, 1993;Larson & Kubey, 1983;van Bork & Jacobs, 1986;Campbell Robinson, 1986;Wallace & Kovacheva, 1996). Además, se han hallado motivos específicos para ver MTV: aspectos relativos a la música; entretenimiento; pasar el rato; poder hablar de ello con el grupo de pares; escuela de vida (Sun & Lull, 1985;Roe & Cammaer, 1993;van der Rijt et al., 2000). ...
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MTV se suele identificar con la globalización, el imperialismo cultural y mediático, que se han abierto camino gracias a los medios de comunicación globales. La misma MTV es un network global dirigido a un target juvenil global. Pero cada cadena del network, para llegar al éxito, ha tenido que adaptarse a los diferentes contextos locales, siguiendo la famosa fórmula de marketing "going global, acting local", fenómeno que en las teorías sociológicas se ha explicado a través de conceptos como el de "glocalización". A través del estudio de caso de MTV Italia, que tiene la peculiaridad de ser accesible gratuitamente en todo el país, se intenta dar cuenta del espíritu "glocal" de la cadena. Se presenta un estudio de la corporate identity de MTV Italia, realizado a través del análisis de la comunicación "360º", o comunicación global, puesta en marcha por la cadena italiana, en la transmisión de su identidad corporativa a la audiencia.
... Much has been written about the theoretical reasons for why adolescents listen to music which include identity formation and exploration (Arnett, 1995;Chapin, 2000;Christenson & Roberts, 1998;Farber, 2007;Frith, 1983;Kroger, 2004;Larson, 1995;Larson & Kubey, 1983;Lull, 1987;Sternheimer, 2003); entertainment (Arnett, 1995); exploring gender identity (Arnett, 2002;Brown & Hendee, 1989;Chapin, 2000;Frith, 1983;Steele & Brown, 1995); source of rebellion (Frith, 1983;Lull, 1987;Roe, 1999;Sternheimer, 2003); understanding relationships (Arnett, 2002;Bleich, Zillmann & Weaver, 1991;Gibson, Aust, Zillmann, 2000;North & Hargreaves, 2008;Scheff, 2001); emotional expression (North & Hargreaves, 2007;Gracyk, 2007); exploring independence from family (Larson, 1995, Roe, 1999 and coping with change (Arnett, 1995;Fine, Mortimer & Roberts, 1993;Larson, 1995). Many of these reasons speculated are related to issues of adolescent development. ...
... In this area of research, sample sizes ranged from under 100 subjects to over 5,000 adolescents. Studies that had fewer than 100 subjects included Larson and Kubey (1983) and Steele & Brown (1995). Research utilizing sample sizes that ranged from over 100 to 999 adolescents includes: Crowther & Durkin (1982); Denisoff & Levine (1972); Greer, Dorow & Randall (1974); Hargreaves, Comber & Colley (1995); Larson, Kubey & Colletti (1989); Raviv, Bar-Tal & Ben-Harin (1996); Schwartz & Fouts (2003); Tanner (1981). ...
... It is impossible to discuss media use without considering the context in which mediated content is consumed. In a study of high school students' use of television and music, Larson and Kubey (1985) found that television use usually took place in a common room in the home and often with family members present. In contrast, music listening was most often carried out while the student was alone and in a private space such as his or her bedroom. ...
... Music and print media resources available to teens have typically offered a much broader range of content than television, although this is changing with the recent and rapid growth of cable and satellite television and the myriad of channels that are now offered. If in fact adolescents seek out media messages that offer increasing levels of autonomy from the adult world (Larson & Kubey, 1985), increased levels of choice offered by the newer television technologies and the nearly infinite array of choice offered by the WWW may shift adolescent media use patterns in these directions. Research conducted by the Kaiser Family Foundation (1999) found that by early adolescence kids say that their peers find out "a lot" about issues like sex, drugs, and violence from: friends (64%), TV and the movies (61%), school (44%), the Internet (40%), and Mom (38%). ...
... The few occasions in which viewing is associated with flow is when individuals report watching an interesting or stimulating movie or sport matches (Delle Fave & Massimini, 1994). These occasions are often reported in the presence of other people, thus making them primarily social activities (Larson & Kubey, 1983;Larson, 1995). Only in a group of Italian blind people did we find "watching" TV as a predominant flow activity: Participants described it as a means of keeping into contact with the wider world and to retrieve information and keep oneself updated (see Chapter 14; Delle Fave & Maletto, 1992; Massimini, Delle Fave, & Borri Gaspardin, 1992). ...
... Besides watching TV, individuals daily engage in other medium-based activities, such as listening to music, navigating in Internet, chatting, and playing video games. ESM studies showed that listening to music is a passive activity like watching TV, and it presents a similar experiential profile characterized by above-average wish to do the activity, and by below-average values of goals and stakes (Larson & Kubey, 1983). However, listening to music is more frequently associated with optimal experience than watching TV, especially among youth (e.g., 14.2% vs. 7.5% in our sample of adolescents). ...
Article
Besides being complementary to work, free time activities are extremely varied. They include playing sports, practicing hobbies, idling, volunteering, interacting, watching TV, and playing videogames. Different conceptualizations and models have been proposed to account for such a variety of activities and for their contribution to individuals’ development and well-being. These models differentiate between active and passive leisure, or between structured and unstructured activities. From a broader perspective, free time has also been divided into serious and casual leisure, based on the constancy and duration of individuals’ engagement. Starting from these conceptualizations, this chapter primarily focuses on sports and hobbies and media use. It illustrates the quality of associated experience and their potential as flow opportunities, as well as the individual and cultural features that come into play in the promotion of optimal experience in leisure. The risks of free time as a potential source of disengagement and deviant behavior are also presented. The concluding section analyzes the role of leisure activities in individuals’ psychological selection.
... Likewise, people turned to radio listening or television viewing in response to daily hassles and stresses [41,42], though they did not always select mood-enhancing contents [43]. The act of media consumption itself suffices to generate remarkable benefits for well-being by producing positive effects, relaxation, or stress reduction [44][45][46]. Scholars have explained that netizens' Internet use promoted health and well-being by showcasing their autonomy to connected acquaintances [47,48]; by enhancing the retention of health-related knowledge [49]; or sometimes by gratifying their pressing needs for aids or for tensionrelease [50]. ...
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Practices oriented to digital technologies are being invented to change how people cope with crises. This study examines how Chinese netizens’ networked practices (e.g., liking, sharing, or commenting) with COVID-19 related duanzi (short online satires) influenced their psychological well-being, external social support, and issue knowledge during the pandemic. The role of social capital in moderating these relations is explored. Findings from the survey demonstrate that the act of “liking” a COVID-19 duanzi on WeChat has become a routine practice for Chinese netizens to kill time during the quarantine. However, the more bonding social capital one already had, the less they depended on duanzi “liking” to kill their boredom. Those less supported outside the family household, or less knowledgeable about the virus were also more likely to share a COVID-19 duanzi. Bonding social capital promotes one’s well-being, therefore, the positive psychological effect of duanzi sharing or commenting grows more pronounced for netizens with more bonding social capital. Bridging social capital brought external social support. Netizens with more bridging social capital obtained more external support and more COVID-19 knowledge from duanzi sharing. The theoretical and practical implications are elaborated in the conclusions.
... Desde un punto de vista evolutivo, las identidades son especialmente relevantes en la etapa de la adolescencia, momento en el que la música juega un papel fundamental en cuestiones como la construcción de su sexualidad, los roles de género o la ideología política (Kelly, Pomerantz y Currie, 2005;Künzler, 2011;Larson y Kubey, 1983;Westerlund et al., 2017). En esta etapa, las preferencias musicales de los individuos están formadas fundamentalmente por la música popular urbana (MPU) (Lamont, Hargreaves, Marshall y Tarrant, 2003;Marín-Liébana y Botella, 2020;Megías y Rodríguez, 2003), inclinación que comienza a aparecer alrededor de los 9 años (Grembis y Schellberg, 2003;Hargreaves, North y Tarrant, 2010). ...
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Durante los últimos años ha crecido el interés por el reconocimiento de las identidades musicales de los estudiantes en el sistema educativo. Diferentes desarrollos teóricos críticos sostienen la necesidad de darles voz e incluir sus preferencias musicales en los distintos niveles curriculares. El objetivo de este trabajo es analizar la representacion de las identidades y preferencias musicales de los estudiantes en el curriculum oficial de educación musical primaria durante las últimas tres décadas. Para ello, se ha utilizado el análisis de contenidos con el fin de estudiar el repertorio prescrito durante las tres reformas que han tenido lugar desde 1990. Se ha encontrado que el currículum presenta referencias directas e indirectas al repertorio. Las primeras estan formadas principalmente por música folklórico-tradicional y, en la actualidad, también por académica, aunque la mayor parte son referencias indeterminadas que dejan flexibilidad de elección a los docentes. En cuanto a las referencias indirectas, estas favorecen la música académica y su sistema de aprendizaje formal. Por su parte, las preferencias e identidades de los estudiantes son prácticamente inexistentes. Por tanto, se concluye que el currículum musical estudiado tiene un carácter academicista y que no refleja las propuestas de la educación musical crítica.
... El atractivo de la música para los adolescentes, particularmente la música popular urbana, parece estar relacionado con determinadas necesidades evolutivas (Tarrant, North, y Hargreaves, 2002). Por ejemplo, las letras de las canciones pueden servir como apoyo en la construcción de sus identidades sexuales y sus roles de género, en la comprensión de la transición entre la infancia y la vida adulta o en la identificación con distintas formas de rebelión (Larson y Kubey, 1983). De hecho, este repertorio es especialmente importante en la construcción de sus identidades y es el medio a través del cual se sitúan a favor o en contra de los discursos que les rodean (Westerlund et al., 2017). ...
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Resumen: El interés por el reconocimiento de las identidades musicales de los estudiantes en el ámbito educativo ha crecido durante los últimos años. No obstante, se trata de un concepto ambiguo y de difícil acotación terminológica, lo que dificulta su comprensión e identificación. Aquí se realiza una revisión bibliográfica de 79 trabajos, estudiando su desarrollo teórico, su aplicación en la música y su evolución a lo largo de las etapas que comprenden desde los primeros años hasta la adolescencia. Así, se ha encontrado que las identidades musicales son complejos constructos interseccionales, discursivos y performativos que se elaboran en torno a las tensiones entre individuo-sociedad y juegan un importante papel en el desarrollo psicosocial de los estudiantes. Finalmente, se elabora una serie de propuestas de intervención educativa. Palabras clave: Educación musical; educación primaria; educación secundaria; identidades; música. Abstract: The interest in the recognition of the musical identities of students in the educational field has grown in recent years. However, it is an ambiguous concept and it is difficult to define, which makes it difficult to understand and identify. A literature review of 79 works was carried out, studying their theoretical development, their application to music and their evolution throughout the stages that comprise from the early years to adolescence. Thus, it has been found that musical identities are complex intersectional, discursive and performative constructs that are elaborated around the tensions between individual-society and play an important role in the psychosocial development of students. Finally, a series of proposals for educational intervention are presented. Keywords: Music education; elementary education; secondary education; identities; music.
... One large segment of this time, however, is watching TV, accounting for 7-14% of the average adolescents' waking hours (Larson & Verma, 1999). Adolescents typically report high intrinsic motivation when watching TV, however, they do not report high concentration or challenge (Larson et al., 1989;Larson & Kubey, 1983), nor is it associated with effort over time. So it is hardly a context of initiative. ...
... Muzyka wywołuje różne emocje [15]. Słuchanie określonych utworów muzycznych może wywoływać lub podtrzymywać określone stany emocjonalne jednostki oraz umożliwiać jej nazywanie i wyrażanie emocji, czyli pełni ważną rolę w procesie regulacji emocji [16]. Z badań wynika, że ludzie słuchają muzyki, aby poprawić sobie nastrój lub podnieść poziom pobudzenia [17]. ...
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Introduction: Among adolescents, the importance of music reveals itself in their subjective experience (feelings), expression and emotional behaviors, as well as their physiological reactions. Music is of particular value because it is accepted and liked by young people, it stimulates imagination, provides many aesthetic impressions and has a significant impact onthe personal experience of the listeners. Adolescents have their own preferences regarding music, conditioned by their personality or situational factors.The primary purpose of this study is to determine the impact of different genres of music on experiencing emotions by young people.Materials and methods: In the project we assumed that the effect of music depends on many factors, such as its genre and the age or gender of the listener. We argue that listening topopular music causes changes in teenagers’ emotions, the music genre determines the nature of invoked emotions and that gender differentiates perception of emotions depending onthe kind of music one is listening to. We conducted a psychological experiment with a questionnaire to assess the participants’ initial mood, upon which they were presented with athree minute music video (hip-hop, pop, or heavy metal, depending on the group) and asked to evaluate 21 IAPS pictures (The International Affective Picture System), then they filled out a self-designed questionnaire including questions on demographic data, music preferences, or potential hearing problems. The study involved 388 second and third-grade secondary school students from Szczecin.Results: The experiment permitted identifying the cause and effect relationship between listening to music and emotions of the youth. It has been shown that in adolescents, listening to popular music evokes changes within emotions. These changes have more negative than positive effects on young people’s emotional reception of reality. In adolescents, gender has a differentiating function in the emotional reception of visual stimuli while listening to music.Conclusions: The experiment results show that listening to a specific music genre during the period of adolescence can have an important and specific role in development and socio-emotional functioning, and also indicates the need for further research on this issue.
... Music's capacity to evoke emotions is considered to be the main reason for active involvement in listening to it [13]. By listening to certain pieces, one can enter a specific emotional state or deepen it, as well as name and express emotions, which is an important function in the process of emotion regulation [14]. That, in turn, is an important process, in which a person decides what emotions they are experiencing, as well as when and how to express them [15]. ...
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Objectives: The role of music in everyone's, especially a young person's life is greatly important in their emotional perception of reality. The aim of this study was to determine the intermediary function of mood in the way music affects emotional reception of visual stimuli among adolescents. Methods: The experiment involved 388 adolescents (13-15 years old). We used a non-verbal tool to measure emotion and attention (The International Affective Picture System - IAPS), the Mood Chart and the Youth Questionnaire. Furthermore, we utilized recordings representing three various music genres (hip-hop, pop and heavy metal). Results: Our results indicate that the participants' mood determined their emotional reception of presented visual material. Good mood was linked to lower emotional arousal during exposure to neutral images (after listening to pop and heavy metal music), and induced greater pleasure from looking at positive and neutral pictures. Viewing negative images while experiencing average or good mood caused less pleasure than looking at them in low mood. Hip-hop music and low mood correlated with higher emotional arousal in response to neutral pictures. None of the results indicated a correlation between adolescents' listening to heavy metal or hip-hop music (while experiencing low mood) and positive reception of visual stimuli. Conclusions: The study was an attempt to describe the link between the intangible factors that are mood, music and emotional reception of visual images by adolescents. Despite the methodological difficulties, this relationship was determined.
... What distinguishes adolescents listening practice is that the vast majority of these actions are performed individually (cf. Larson, Kubey 1983;North, Hargreaves & Hargreaves 2004). What is more, it seems that such a form of participation suits them best. ...
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The article examines youth musical practices as a form of cultural practice characterised as aestheticisation of everyday life. The analyses are based on a study conducted among Warsaw's adolescents as a part of a research grant from the National Science Centre (agreement number DEC-2011/01/N/HS6/00972). Analyses of empirical material show that music is omnipresent in the everyday life of adolescents. Thanks to music devices they can stay in contact with music wherever and whenever they want. However, the musical practices of the respondents participating in the said research are dominated by music listening; that is why this kind of activity has to be treated as the main form of aestheticisation of everyday life. Moreover, using music to maintain biographical narratives turned out to be another important cultural practice in adolescents reflexive-self project. The conclusion reached is that in order to comprehensively present the practices observed here, it is essential to look at them in a broader socio-cultural context.
... One large segment of this time, however, is watching TV, accounting for 7-14% of the average adolescents' waking hours (Larson & Verma, 1999). Adolescents typically report high intrinsic motivation when watching TV, however, they do not report high concentration or challenge ( Larson et al., 1989;Larson & Kubey, 1983), nor is it associated with effort over time. So it is hardly a context of initiative. ...
... One large segment of this time, however, is watching TV, accounting for 7-14% of the average adolescents' waking hours (Larson & Verma, 1999). Adolescents typically report high intrinsic motivation when watching TV, however, they do not report high concentration or challenge (Larson et al., 1989;Larson & Kubey, 1983), nor is it associated with effort over time. So it is hardly a context of initiative. ...
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This article analyzes the development of initiative as an exemplar of one of many learning experiences that should be studied as part of positive youth development. The capacity for initiative is essential for adults in our society and will become more important in the 21st century, yet adolescents have few opportunities to learn it. Their typical experiences during schoolwork and unstructured leisure do not reflect conditions for learning initiative. The context best suited to the development of initiative appears to be that of structured voluntary activities, such as sports, arts, and participation in organizations, in which youths experience the rare combination of intrinsic motivation in combination with deep attention. An incomplete body of outcome research suggests that such activities are associated with positive development, but the developmental processes involved are only beginning to be understood. One promising approach has recorded language use and has found that adolescents participating in effective organizations acquire a new operating language that appears to correspond to the development of initiative.
... Indeed, empirical evidence shows that people turn to media in response to daily hassles and stress (Anderson, Collins, Schmitt, & Jacobvitz, 1996;Thayer, Newman, & McClain, 1994), though they may not always choose moodenhancing media fare (Oliver, 1993). Further, media research on enjoyment suggests media consumption may have benefits for well-being via positive affect and stress reduction/relaxation (Nabi & Krcmar, 2004; see also Csikszentmihalyi & Kubey, 1981;Larson & Kubey, 1983). ...
Article
This research explores whether media diet influences health, not through its effects on cognition and behavior but rather through its effects on biomarkers of stress, which are implicated in a host of acute and chronic illnesses. Two hundred and forty young adults completed assessments of their media consumption habits followed at least 2 days later by measures of the stress-related hormone cortisol. Results suggest that frequency of consuming different media and genres may decrease cortisol under certain conditions and increase them under others. Further, the patterns of results were wholly different from those found for perceived stress. The implications of these findings for health-related media effects and theoretical development are discussed.
... As music playback technology evolves, so does the way we consume music. The introduction of portable devices has made music listening in the late twentieth century increasingly solitary [35]. This trend has recently reversed, perhaps due to the proliferation of playback opportunities and online music sharing. ...
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We propose the notion of robotic experience companionship (REC): a person’s sense of sharing an experience with a robot. Does a robot’s presence and response to a situation affect a human’s understanding of the situation and of the robot, even without direct human–robot interaction? We present the first experimental assessment of REC, studying people’s experience of entertainment media as they share it with a robot. Both studies use an autonomous custom-designed desktop robot capable of performing gestures synchronized to the media. Study I (n=67), examining music listening companionship, finds that the robot’s dance-like response to music causes participants to feel that the robot is co-listening with them, and increases their liking of songs. The robot’s response also increases its perceived human character traits. We find REC to be moderated by music listening habits, such that social listeners were more affected by the robot’s response. Study II (n=91), examining video watching companionship supports these findings, demonstrating that social video viewers enjoy the experience more with the robot present, while habitually solitary viewers do not. Also in line with Study I, the robot’s response to the video clip causes people to attribute more positive human character traits to the robot. This has implications for robots as companions for digital media consumption, but also suggests design implications based on REC for other shared experiences with personal robots.
... Music is known to be important in the social and personal lives of adolescents and as such many researchers have examined the role music has played in satisfying particular emotional needs (strategies for coping), social needs (belonging and identity) and developmental needs (the socialisation 'journey') [See Arnett, 1995b;Larson et al, 1989;Larson and Kubey, 1983;Levy and Windahl, 1985;Lull, 1987Lull, , 1992Rubin 1994]. What perhaps is less obvious is an understanding of the contradictions teenagers often display relative to popular music consumption and the sometimes seeming inconsistency of their choice and use of music. ...
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There are significant problems with published work on youth and music which principally involve methodological approach and data collection. This paper seeks to explore and develop the concept of teenagers designing their own questions, collecting their own data and interpreting their findings to contribute to an understanding of adolescent music consumption. Findings indicate that using a teenage centric approach generates insight into actual behaviour of respondents thus reducing social desirability issues and that the teenage interviewers were able to distinguish differing responses from friends and members of their friendship group.
... [22]. Utwory młodzieżowe zawierają w sobie doświadczenia innych młodych ludzi, dzięki czemu zapewniają im świadomość zrozumienia, potwierdzają ich uczucia oraz łagodzą problemy natury emocjonalnej [23,24]. Muzyka może pełnić rolę mediatora pomiędzy światem dorosłych a światem młodzieży. ...
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Music plays an important role in everyone's life, especially the one of a young man. Adolescence is a time of significant developmental changes, identity and personality formation, that are especially intensely accompanied by music. The aim of this article is to review global studies on the relationship between the functioning of adolescents and preferred music genres. The results clearly indicate significant correlations between listening to certain types of music and normal or disordered behavior of young people. Disturbing from the social perspective is the fact that a large number of studies point to strong relationships between negative/inappropriate behaviors of adolescents and certain music genres (especially rap and metal). Among the positive aspects of music one emphasizes its role in getting to know oneself, building a sense of identity and belonging, as well as improving the overall mental health of adolescents. Still, there are no studies that describe the cause - effect relationship between the aforementioned factors. This is an important area to explore, as the knowledge of the relationship between various music genres and specific disorders in adolescents enables specialists to take accurate and effective measures, both preventive and intervention.
... The significance of popular music and the importance of it to people's everyday lives has received little attention among the marketing and consumer research academy (Holbrook, 1986;Holbrook and Schindler, 1989;Lacher & Mizerski, 1994) although researchers have more recently examined the role music has played in satisfying particular emotional needs (strategies for coping), social needs (belonging and identity) and developmental needs (the socialisation 'journey') of adolescents [See Arnett, 1995b;Larson et al, 1989;Larson and Kubey, 1983;Lull, 1987Lull, , 1992Rubin 1994]. ...
Article
This paper seeks to explore teenage use and consumption of music within families and to develop the concepts of 'connection' and autonomy seeking within families relative to popular music consumption. Social trends indicate that the composition of the family will continue to change and, as such, this research will also examine the impact of changing family structures on music use and consumption. This research involved 24 in-depth interviews with both early and late adolescents. The findings from this research sample suggest connection (bonding and building bridges) through music is most relevant for teenagers raised in step parent families. Evidence of affinity or autonomy seeking behaviour may also be ascribed to family type.
... Conversely, Larson (1995) found adolescents who are heavy television viewers to be more family oriented as watching television with families provided time for emotional bonding. The teens also spent much time with their families outside of watching television (Larson & Kubey, 1983). ...
... Seules les activites ou l'individu se sentirait libre et motive intrinsequement appartiendraient a la categorie des «loisirs purs». II a, d'autre part, eK» avance que ce n'etait pas toutes les activites de loisir qui menaient a des consequences positives (Csikszentmihalyi & Kubey, 1981;Csikszentmihalyi & Larson, 1987;Hormuth, 1986;Larson & Kubey, 1983;Larson, Mannell & Zuzanek, 1986;Mannell, Zuzanek & Larson, 1988;Neulinger, 1981). Globalement, seules les activites ou l'individu se sentirait libre ou motive intrinsequement meneraient a des etats psychologiques positifs (par ex.: emotions positives, concentration, faible niveau de tension, satisfaction personnelle). ...
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Studied interactions between motivations for leisure activities and psychological well-being to test the hypothesis that a high degree of motivational self-determination is associated with a high level of psychological functioning. 463 secondary school students (mean age 17 yrs) completed a questionnaire assessing their intrinsic and extrinsic motivation for different types of leisure activities. The types of motivation differed with regard to their levels of self-determination. Results were analyzed in relation to questionnaire data on psychological well-being. The Motivation for Leisure Scale (L. G. Pelletier et al, 1994) and the Index of Psychological Well-Being (Pelletier et al) were used. (English abstract) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
... They may shift their attention between music and those activities. Music was more often used as a secondary, than as a main, activity by adolescents and young adults (Larson and Kubey, 1983;Sloboda et al., 2001). ...
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This study investigated how children listen to music, by examining relationships between their different modes of listening and different contexts, home and school. It also looked at developmental and cultural perspectives, by comparing children from different age levels and nationalities. The 120 participants were British and Portuguese children aged 9-10 years, attending primary schools, and 13-14 years, attending secondary schools. Children responded to an individual interview with open-ended questions, concerning their modes of listening to music at home and at school. Findings showed that children's modes of listening imply various levels of attention and emotional involvement with music, and depend on the context, which may be related to different functions of music. At home, few children listened to music as a main activity. They preferred listening and performing (singing dancing), or accompanying a variety of non-musical activities (studying, playing games). At school, children listened to music often while doing musical activities (analysis, performing), moderately as a main activity, but rarely while doing non-musical activities. There were no relevant national differences, and age differences resulted mainly from specific teaching strategies at each school level.
... Viewership of TV, on the other hand, is an indoor, at-home experience (Clancey 1994). When they compared usage of radio and TV among teenagers, Larson and Kubey (1983) determined that the physical contexts (usage locations) and social contexts (alone or with others) differed according to the medium. Specifically, radio was more likely than TV to be used while alone and in a private area such as a bedroom. ...
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Despite the increasing popularity of online streaming television (OTV), there is little information regarding how perceptions of the new medium differ from traditional television (TV) viewership. The research employed online interviews among young adult viewers of OTV and traditional TV to determine whether young adult consumers (aged 18–34) regard advertising viewed within online TV programming differently than they regard advertising viewed within traditional TV programming. While advertising has long been accepted by American consumers as a necessary element of most mass communication, this research suggests that viewers of OTV programming do not regard advertising as a means to subsidize the cost of online content. Rather, young adults appear to regard advertising as an intruder in the OTV environment. Furthermore, the results indicate that Ducoffe's Advertising Value model (1995) does not predict attentiveness to advertising viewed within the OTV context. Therefore, while OTV advertising may be held to a higher creative standard than traditional TV advertising, there is no indication that entertainment value contributes to an improved attitude toward advertising in the OTV environment.
... His large scale survey of 2,950 high school students uncovered a positive relationship (r = 0.275) between listenership and drug use tendencies. Similarly, when contrasting uses of television and music in adolescent life, Larson and Kubey [42] surveyed students around the age of 16. They found a positive correlation (r = 0.31) between use of music and selected antisocial tendencies. ...
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For over a half century, the evolution of rock music has been marked by controversy over its social influence. Arguments by the pro- and anti-regulation/censorship camps echo those encountered in debates over the effects of media violence and pornography generally (1). The present study reviews empirical work on the content and effects of violence in rock music and music videos. In evaluating whether the research meets the high burden for regulatory intervention, we must first establish (1) whether the content of these popular arts is, in fact, providing an increasingly graphic content environment, and (2) whether such contents actually influence audience attitudes and behaviors. A narrative review of the literature suggests that critics of popular music have needed to "fill in the blanks" of their empirical arguments with selective citations to the voluminous literature on general media effects (e.g., with TV violence). The literature on popular music and music videos provides little in the way of longitudinal, externally valid findings that can establish a "smoking gun" with media influences as potent causal agents with human behavior. Implications for media regulation are discussed.
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Chapter
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Abstract Inthis study, we investigated the relationship between the different ways,children and teenagers can listen to music,not professionally, and the different contexts on which they listen, whereas the age, nationality and the ways of listening .We analyzed part of an interview, which was made with open questions, focusing some musical hearing cognitive subjects.
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Audience members "use" television in a variety of ways. The social environment in the family home is a major contributor to differential uses of the medium by individuals. Previous research on family communication patterns, for instance, has demonstrated that families which stress harmo nious social relations at home (socio orientation) differ in many attitudes, activities, and media habits from families which stress the independent expression of ideas (concept orientation). This survey research explores the ways in which socio-oriented and concept-oriented audience members differ in their uses of television as a resource for the accomplishment of interpersonal objectives at home. Differences were found for behaviors which range from structuring daily activities and talk patterns to more complex interpersonal goals such as communication facilitation, affilia tionlavoidance, social learning, and demonstration of competence/domi nance.
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This study suggests that the mass media serve as socializing agents by providing direct linkage to media and contents which are essential for the development of political values, and by contributing to the structuring of social contexts in which adolescents may exercise such value orientations and reinforce ties with primary socializing agents.
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This study was divided into two parts. The first part consisted of an investigation of the frequency of television viewing among a sample of 2302 15-year-olds in 12 comprehensive schools. Subjects were divided into two groups, high and low frequency viewers, according to their own estimate of viewing time. The general picture which emerged (with some overlap of scores) was that high frequency viewers tended to be more neurotic and introverted; less intelligent; had less favorable attitudes to school; were less likely to think sport was important; were more likely to be bored in their leisure time; and possessed different social attitudes than low frequency viewers. The second part of the study investigated the program preferences of a subsample of over 900 subjects drawn from the main study. Little difference was found in the program preferences of high and low frequency viewers, but clear differences of preference were found between the sexes.
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Twenty-five adolescents reported their daily activities and the quality of their experiences for a total of 753 times during a normal week, in response to random beeps transmitted by an electronic paging device. In this sample adolescents were found to spend most of their time either in conversation with peers or in watching television. Negative affects were prevalent in most activities involving socialization into adult roles. Television viewing appears to be an affectless state associated with deviant behavior and antisocial personality traits. The research suggests the importance of a systemic approach which studies persons' activities and experiences in an ecological context. The experiential sampling method described in this paper provides a tool for collecting such systemic data.
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This research uses a new time sampling method to compare adolescent and adult mood variability. Over 9000 self-reports from 182 people are used to evaluate the widespread theoretical assumption that adolescents experience greater mood variability as part of a syndrome of psychosocial disequilibrium. The findings confirm that adolescents experience wider and quicker mood swings, but do not show that this variability is related to stress, lack of personal control, psychological maladjustment, or social maladjustment within individual teenagers. Rather than representing turmoil, wide mood swings appear to be a natural part of an adolescent peer-oriented life style. However, there are indications that adolescent mood variability interferes with capacity for deep involvement, especially in school.
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The degree to which psychological involvement with television is associated with conventional values, attitudes, and behaviors among adolescent youth was investigated in two independent questionnaire studies of high school and college youth. The findings of both studies strongly suggest that involvement with television is associated with a syndrome of conventionality. These findings were consistent for younger and older adolescents, for males and females at both age levels, and for samples which differed markedly in a variety of other respects.
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One-hundred-four adult workers' affective and cognitive responses to television were studied via the recently developed Experience Sampling Method in which respondents are supplied with radio controlled electronic paging devices and signaled to report their mood states at random times over the course of a normal week. The activity of television viewing was examined within its typical social contexts (family versus solitary viewing) and in contrast to daily activities such as working, eating, and reading. Television viewing was found to be a relatively unchallenging activity requiring little cognitive investment and consistently tied to feelings of relaxation, passivity, and drowsiness.
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Presents data based on a 1968 field study of 1,300 families in 5 eastern Wisconsin cities. Information was obtained via an interview with 1 parent and 2 questionnaires completed by an adolescent from each family. Although "the modeling correlations based on comparisons within each family . . . are weak and not very supportive of a direct-influence modeling interpretation, it appears that families with similar parent-child communication structures indirectly produce characteristic media use patterns that are shared by parent and adolescent on the average." Implications for future research are briefly suggested. (16 ref.) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
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The survey included approximately 700 students in 3 secondary English schools. Ss completed 2 self-administered questionnaires, 1 dealing with pop music and communication behaviors, and 1 dealing with friendship patterns, attitudes toward school, and demographic variables. In predicting interest and involvement in pop music, sex proved most evident, with girls scoring higher on most indices. Data further suggest "that involvement in the teen culture is more a function of where youngsters are headed in the social structure than where they have come from in terms of parental status." (PsycINFO Database Record (c) 2012 APA, all rights reserved)
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REPORTS ON THE EVOLUTION OF THE STUDY OF CREATIVITY. BEGINNING WITH GALTON'S STUDIES ON THE IMPACT OF HEREDITY UPON GENIUS, GUILFORD POINTS OUT THAT RELATIVELY FEW PSYCHOLOGISTS HAVE TURNED THEIR ATTENTION TO THIS PROBLEM. ONLY THOSE WHO HAVE A PARTICULAR INTEREST IN THE MEASUREMENT OF INTELLECTUAL CAPACITY HAVE BEEN UNABLE TO AVOID CONTACT WITH THE CREATIVE ASPECT OF MAN BUT THE HISTORY OF THE INTELLIGENCE TEST MOVEMENT SHOWS THAT IN ITS EARLY DEVELOPMENT IT HAS BEEN SINGULARLY DEVOID OF CONTACT WITH MEASURES OF INGENUITY, INNOVATIVE CAPACITY, OR INVENTIVENESS. SOME NONPSYCHOLOGICAL ATTEMPTS AT ATTACKING THE PROBLEM OF CREATIVITY ARE DISCUSSED. SINCE 1950 EFFORTS TO ESTABLISH THE NATURE OF CREATIVITY HAVE BEEN SOMEWHAT MORE FRUITFUL AND THE PROMISE OF MORE EFFECTIVE BASIC RESEARCH ON CREATIVE THINKING IS DISCUSSED. (32 REF.) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
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  • GLICK, I.
The public and private meanings and uses of popular music for American adolescents
  • J Smothers