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The role of music in adolescent development: Much more than the same old song
International Journal of Adolescence and Youth
Abstract
There is an increasingly robust literature of recent research findings that support the developmental importance of music in adolescence. However, this intriguing literature is not familiar to many developmental psychologists, possibly due to a lack of communication among researchers and because of publication trends in developmental journals. This review aims at informing on current knowledge of how music listening can play a role in the psychosocial development of adolescents. To this end, three arguments are discussed in light of recent empirical research: music influences important aspects of adolescent development; music can represent a protective and a risk factor; and music can serve as an adjunct component in prevention and intervention. Therefore, it is proposed how music is a developmental resource in adolescence. It is argued that research on the developmental role of music can create a window to the everyday psychological, social, and cultural needs of contemporary adolescents.
... Music can significantly affect adolescents' emotional wellbeing, social interactions, and identity formation. Research has shown that young people use music to fulfil specific roles such as mood and emotion regulation, stress management, enhancing social functioning, and creating meaningful memories (Beckmann, 2013;Groarke & Hogan, 2018;Miranda, 2013;Schäfer et al., 2013;Upadhyay et al., 2017). Further insights into the nature of these listening habits, particularly in relation to mood and emotion regulation, reveal that young people are highly aware of the impact their music preferences have on their mood. ...
... Furthermore, music can play a pivotal role in the social lives and identity formation of adolescents. According to Miranda (2013), music provides a social medium through which young people connect, share experiences, and express themselves, often helping to forge and reinforce group identities and peer relationships. Music is not only a form of entertainment but also deeply intertwined with cultural and social contexts. ...
... Consistent with previous research on the meaning of music in adolescents' lives, our findings corroborate that adolescents are aware of the influence of their musical choices. They purposefully use it to fulfil various important roles, such as mood and emotion regulation, creating inner worlds as a form of escapism, and shaping their perceptions of themselves and their environment (Beckmann, 2013;Groarke & Hogan, 2018;Miranda, 2013;Schäfer et al., 2013;Stewart et al., 2019;Upadhyay et al., 2017). The findings also raise questions about the perceived risks associated with music listening, particularly in relation to the enjoyment of loud music. ...
Purpose
To explore the role and meaning of music in adolescents’ lives and the adolescents’ ways of understanding how music listening can impact hearing-health.
Methods
Open-ended interviews and Interpretative Phenomenological Analysis (IPA). The analysis involves both individual and more generalized investigations based on the contributions from seven participants.
Findings
The findings show that music is an integrated and habitual aspect of the adolescents’ daily lives, used as a tool for emotion regulation, cognitive enhancement, and creating personal space where one can be free from outside criticisms and distractions. There is a preference for music listening in headphones which creates a more intense and private experience. There are varying levels of awareness of the potential hearing-health risks, but the profound meaning of music for their well-being often overshadows any concerns.
Conclusions
Despite awareness of potential hearing-health risks, the adolescents prioritize the immediate emotional and cognitive benefits of music. Technological advancements and increased social media interactions contribute to a trend towards more personalized music listening. These insights call for more complex intervention strategies and models for health promotion which account for the positive aspects of music listening, instead of merely focusing on the potential risks of loud music.
... Furthermore, music plays an important role in adolescent tasks such as identity formation, and adolescent needs such as a need for belonging and peer relationships, and for emotional regulation. Music is thought to be particularly relevant for adolescents, and music encountered during adolescence-a stressful period marked by change and emotional turbulence-is especially resonant and influential (Laiho, 2004;Miranda, 2013;Wasserbauer, 2021). Laiho (2004) described music as helping to regulate and legitimise emotions, and providing a refuge for practising difficult emotions that can later be openly expressed (see also Miranda, 2013). ...
... Music is thought to be particularly relevant for adolescents, and music encountered during adolescence-a stressful period marked by change and emotional turbulence-is especially resonant and influential (Laiho, 2004;Miranda, 2013;Wasserbauer, 2021). Laiho (2004) described music as helping to regulate and legitimise emotions, and providing a refuge for practising difficult emotions that can later be openly expressed (see also Miranda, 2013). With regard to identity, "music is a means to explore, define, and celebrate our sense of self, and to make us feel more fully ourselves" (p. ...
... With regard to identity, "music is a means to explore, define, and celebrate our sense of self, and to make us feel more fully ourselves" (p. 54; see also Miranda, 2013). By closing a bedroom door or wearing headphones, music listening can create a private space for exploring the "fragile concept" (p. ...
Research shows that music holds great importance to the LGBTQ+ community. However, only a handful of studies have explored personal and private music consumption and particularly its role in individual identity formation and the coming out process – typically, with a focus on gay men and lesbians. This experiential qualitative study explored the role of music in LGBTQ+ identities before, during and after the coming out process. Data were collected from 30 participants who identified as LGBTQ+ and/or in the process of coming out using an online qualitative survey; four of these participants also took part in follow-up interviews. Data were analysed using reflexive thematic analysis, generating three themes: 1) Music to come out to; 2) Queer artists promoting individual authenticity, pride and empowerment; and 3) Queer music for community and belonging. The findings can inform the work of music therapists, music educators and community musicians working with LGBTQ+ individuals and communities. AcknowledgementsWe would like to thank all the participants for their contributions in this research and for taking the time to openly share their experiences. Funding: There was no funding for this research.
... Beyond self-regulation, adolescents also utilize music to enhance their social experiences. Music acts as a facilitator for social interactions, allowing adolescents to explore their identities within groups, practice social roles, observe peers, and express themselves to the outside world through music (Miranda, 2013;North et al., 2000). By leveraging the social aspects of music, adolescents connect with like-minded individuals, form friendships, and establish their sense of belonging within a group, ultimately aiding in the development of their psychological, social, and cultural needs. ...
... By leveraging the social aspects of music, adolescents connect with like-minded individuals, form friendships, and establish their sense of belonging within a group, ultimately aiding in the development of their psychological, social, and cultural needs. Music serves as a platform for adolescents to fulfill aesthetic, identity, socialization, personality, and gender-related needs, playing a crucial role in their overall growth process (Miranda, 2013). ...
... Chinese scholars have recognized the significant impact of music on the development of Chinese adolescents and have delved into various dimensions of the relationship between adolescents and music. As Miranda (2013) found, music had a great influence on the development of adolescents, especially in the areas of social interaction, emotional regulation, personality, motivation, and positive development. Understanding the role of music in the development of adolescents can help music educators to better optimize their teaching and curriculum, including broadening students' musical tastes, improving preferences, raising the level of musical abilities, and cultivating positive attitudes towards music, so as to meet the music needs of young people in their long-term development (Droe, 2006). ...
The purpose of this literature review was to explore the role of music in the development of Chinese adolescents. Gaining this insight is crucial for music educators to effectively engage with an increasingly multicultural music teaching environment, as well as to address the underrepresentation of Chinese studies in English literature. By using the literature visualization tool VOS viewer 1.6.20, I generated a network visualization based on 3,176 studies selected from the China National Knowledge Infrastructure (CNKI). This visualization helped highlight the scope and themes of research on ‘music and adolescents’ in the Chinese literature. After a selection process from four clusters involving content analysis that focused on the credibility, utility, and authenticity of literature content, this review highlighted four key aspects of what Chinese adolescents derive from music. In response to the challenges adolescents face, I put forward suggestions for music educators and recommendations for further research.
... In the mobile, media-socializing, and multi-tasking digital life, adolescents, as digital natives, have turned music listening into a media behavior without limitations of time and space (Brown & Bobkowski, 2011). Thus, the significantly increased time adolescents spend on music listening makes them expert listeners in the digital age (Miranda, 2013). Erikson (1968) identified the core psychological task of adolescence as the formation of self-identity, and late adolescence is a critical period for doing so. ...
... They prefer music linked to their sense of inner self, which can express their mental states (Levitin, 2006). Studies found that music opens a window for the completion of psychological tasks in adolescence, which can also influence adolescent development, including identity, aesthetic experience, socialization, gender roles, emotion regulation, positive youth development, and personality and motivation (Miranda, 2013). Thus, this study targets digital music consumers of late adolescence and explores the performance, characteristics, and psychosocial factors influencing their music consumption behavior: RQ1: What are the characteristics of late adolescents' music consumption behaviors? ...
... Their music consumption is a marker of their identity, related to their inner sense of self, and influences how they represent themselves to others (Turner & Tollison, 2021). In addition to searching for themselves, many people search for songs and musical artists that align with or may challenge their personal identities and the social identities they present to others (Miranda, 2013). ...
This study conducts qualitative research on late adolescent digital music users aged 17–19 to explore their emotional resonance and identities in digital music consumption. The findings indicate that late adolescents are highly dependent on music, with it playing a significant role in their lives, particularly in meeting emotional needs and shaping identities. Late-adolescent digital music users seek to assert themselves through unique and unconventional music tastes. The study also uncovers the coexistence of personalization and socialization in their music-listening behaviors, dividing them into “music-experienced” and “music-socialized” groups. Regarding emotional motivation, the music-experienced group listens to music for personal empathy, while the music-socialized group seeks interpersonal emotional resonance through music-based social interaction. From a practical perspective, this study suggests that the digital music industry should focus on the emotional value generated by music and balance users’ personalization and socialization needs.
... This is not completely surprising, given people's uses of music as a technology of the self (DeNora, 2002), and the links between musical participation during adolescence and socioemotional development and wellbeing (Saarikallio et al., 2014). Adolescents not only listen to more music than any other age group (Bonneville-Roussy et al., 2013), but also develop identities around musical practices and preferences (North and Hargreaves, 1999;Campbell et al., 2007;Miranda, 2013). Pre-pandemic studies suggest a central role of music and arts programs-in and out of schools-in anxiety and depression reduction (Hedemann and Frazier, 2017), and in the promotion of resilience and wellbeing (Zarobe and Bungay, 2017) in young people. ...
... This is not surprising, given earlier research that links extracurricular activities to student positive experiences in schools (e.g., Eccles and Barber, 1999;Romer and Hansen, 2021). Music liking also predicted scores on SC, which could possibly be explained by student emotional regulation through music listening (Saarikallio and Erkkila, 2007;McFerran et al., 2019) and identity work (North and Hargreaves, 1999;DeNora, 2002;Miranda, 2013;Lamont and Hargreaves, 2018). Music has been defined as a "badge of identity" in adolescence (North and Hargreaves, 1999), with musical preferences playing significant roles in friend selection and group affiliation (Franken et al., 2017). ...
... It is possible that through the expression of their eclectic musical preferences (as seen in Figure 1), our participants found ways to express and regulate their emotions, and developed intrapersonal skills during the challenging years of middle school. That is, music may have served as a protective factor (see Miranda, 2013), helping to strengthen student confidence and connections with their schools. While this explanation is in line with earlier research (Eerola and Eerola, 2014), it could be further explored. ...
Introduction
Music is central in the lives of adolescents. While listening is usually the most common form of engagement, many adolescents also learn music formally by participating in school-based and extracurricular programs. This study examined positive youth development (PYD), school connectedness (SC), and hopeful future expectations (HFE) in middle school students (N = 120) with four levels of musical participation in school-based and extracurricular music programs. Levels of participation were based on students’ engagement in different music programs, including the Virtual Middle School Music Enrichment (VMSME), a tuition-free, extracurricular program that focuses on popular music education and virtual learning. We also investigated student listening preferences, musical tuition, and daily instrumental practicing.
Method
Study participants completed an anonymous, online survey that contained five self-report measures including the very-brief form of the PYD questionnaire, a scale of school connectedness, and a scale of HFE.
Results
Findings revealed significant differences in PYD scores by grade and gender, and associations between levels of musical participation and competence, a PYD component. Liking music and participation in extracurricular activities predicted scores on SC, and starting formal music education before age 8 predicted scores in HFE. We also found VMSME students to stem from neighborhoods with lower HDI than students in the other study groups, which points to issues of access to formal music education.
Discussion
Findings are discussed in light of earlier research on PYD, extracurricular activities in adolescence, the ubiquity and functions of music in adolescence, and deficit thinking in education.
... In this review, we position music learning as a distinctive wellbeing strategy to amplify the life-enhancing benefits of music. Given the importance of music in teenagers' everyday lives (Laiho, 2004;Lonsdale & North, 2011;Miranda, 2013;Saarikallio et al., 2020) and the widespread delivery of music education in schools and communities globally, there is a need to more deeply understand how learning music can be harnessed to support youth to flourish in highly engaging and nonmedical ways. This PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) scoping review (PRISMA-ScR) uses a systematic approach to map existing literature and direct future research on music learning in schools and the community and the wellbeing of school-aged children and adolescents. ...
... The role of music listening on young people's emotions has gained much attention and has been found to affect wellbeing factors, such as psychosocial development (Miranda, 2013), mood regulation (Saarikallio, 2008), building relationships, modifying emotions and cognition, and emotional immersion (Papinczak et al., 2015), consolation (ter Bogt et al., 2017), andprotection (Stepanović Ilić, 2024). Purposeful use of music can elevate wellbeing, relieve mental distress, and promote positive mental health (Chin & Rickard, 2014). ...
There is compelling evidence that music can support young people’s wellbeing, particularly through music listening to and making. In this article we report a systematic review of music learning and wellbeing literature to offer a new perspective on learning music as a wellbeing strategy. In this review, we investigated (a) what definitions and theories of wellbeing have been used; (b) what methodologies have been employed, particularly measurement tools; (c) what learning contexts and participant demographics have been examined; and (d) what is known about music learning and the wellbeing of school-aged children and adolescents. This review was conducted using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) extension for scoping reviews (PRISMA-ScR) and a protocol was registered. Four hundred and twenty-three sources were retrieved from nine databases, and 30 sources were analyzed after screening. Findings identified that most sources did not adopt a clear definition or theory of wellbeing. Qualitative methods overwhelmingly inform existing knowledge and studies were predominantly situated in Australia and the United Kingdom. All but one source reported that music learning supported wellbeing. Wellbeing outcomes were summarized into three themes (individual, social, and educational) and characteristics of these music programs and approaches were also identified. The review concludes with clear recommendations to direct future research. These include a need for music education scholars to adopt an interdisciplinary approach informed by existing wellbeing knowledge. The field would benefit from developing a quantitative instrument to measure music learning and wellbeing outcomes for use in large-scale studies, including in schools. Future research must closely interrogate the wellbeing outcomes and characteristics of specific music learning activities, how learning music can be a form of wellbeing literacy, and how wellbeing strategies can be integrated into music education.
... Particular music preferences are associated with different developmental outcomes and those related to mental health. Amongst other aspects, music influences social identity construction, emotional regulation, and socialisation (Abrams, 2009;Hargreaves et al., 2015;Lonsdale, 2021;Miranda, 2013;Miranda et al., 2015;North & Hargreaves, 1999;Saarikallio & Erkkilä, 2007). Miranda and Gaudreau (2011) have found higher scores on well-being scales and better psychological adaptation in adolescents who experience stronger positive emotions while listening to music. ...
... It is likely, however, that music preferences influence the value system itself in adolescence. Musicians are often adolescents' role models ( Miranda, 2013;Stepanović, Pavlović Babić, & Krnjaić, 2009;Stepanović Ilić et al., 2017), so one can expect that they might easily adopt the lifestyles and values associated with their favourite genres and authors. ...
Psychology of Music is a flourishing area of research in the Western Balkans. However, much of its findings and insights have remained relatively unknown outside the region. Psychological Perspectives on Musical Experiences and Skills features recent research from the Western Balkans, foregrounding its specific topics, methods, and influences, and bringing it into productive conversation with complementary research from Western Europe and further afield.
The essays in this collection investigate the psychology of listening and performance and their relevance to music practice. Employing a range of research methodologies, they address divergent themes, from a cross-cultural understanding of aesthetic experiences and innovations to attract new audiences, to developmental perspectives on musical growth and the challenges of mastering performance skills. Authors reflect independently and collaboratively on how these psychological processes are shaped by the different traditions and geopolitical conditions inside and outside the Western Balkans. The result is a volume that emphasizes how musical experiences and practices happen not in isolation but in socio-cultural environments that contribute to their definition. This work will appeal to musicians, music educators, students, researchers, and psychologists with an interest in the psychology of music and exemplify ways forward in decolonizing academia.
... Particularly in late adolescence, when individuals face numerous developmental challenges, mechanisms for effective coping with mental health issues and for promoting psychological well-being are of a great importance (Frydenberg, 2018). The use of music as a facilitator of well-being is therefore especially relevant (Miranda, 2013;McFerran et al., 2019;Krause et al., 2021), because adolescents consume a significant amount of music (Bonneville-Roussy et al., 2013;Dingle et al., 2018) and "The meaning and importance of music to young people seems to be tied to their psychosocial development" (Laiho, 2004, p. 48). Lipson and Eisenberg (2018) state, that late adolescence is the period when psychological challenges are most likely to manifest. ...
... The most frequent functions of music in younger adults are affect management and social connection Hogan, 2015, 2019;McFerran et al., 2019). Song lyrics play a significant role in achieving the two aforementioned dominant functions of music (Miranda, 2013). Teenagers can strongly relate to music since the lyrics of their favorite songs typically deal with topics that are significant to them (such as their values, self-perception, relationship challenges, rebellion against parents and other authorities, obtaining independence, etc.). ...
Late adolescences, as a developmentally challenging transitional period between childhood and adulthood, provides a number of pressures that impact well-being of youth. Among approaches for facilitating well-being, music is reported to be one of the most effective ones, which was especially proven during Covid-19 pandemic. Given the significance of music and music listening in late adolescence, our study sought to examine the relationship between psychological well-being and music listening among university students (N = 603; Nfemale = 356, Nmale = 247) with a focus on the social, intrapersonal, and sociocultural context of music listening. The RESPECT music scale, the SPWB, and the PANAS were used to measure positive and negative affect as well as the six components of psychological well-being. The findings revealed that, while there were no gender differences in the sociocultural setting, females reported to listen to music more frequently than males in intrapersonal and social contexts. In two areas, female students rated their psychological well-being higher than male students: personal growth and positive relationships with others. They also reported experiencing positive and negative affect more frequently than men. Regression analyses revealed that the functions of music explained only a small amount of the variance in psychological well-being. Specifically, music listening in a social and sociocultural context significantly explained two aspects of psychological well-being: personal growth and positive relations with others. The intrapersonal context of music listening predicted a positive affect, while the social context predicted a negative affect. Our study highlights several implications of music listening in youth regarding gender either in everyday activities or in educational and clinical setting.
... In this view, studies have documented an association between music messages and behavioral outcomes, such as substance use (Franken et al., 2017), street gang involvement (Miranda & Claes, 2004), delinquency (Mulder et al., 2007), and aggression (Coyne & Padilla-Walker, 2015). This literature suggests that music messages can be internalized and mimicked in real-life behaviors (Miranda, 2013). ...
... Behavioral versus belief effects are recommended to not be mixed when comparing adolescents and adults. From a developmental perspective, adolescence is a period of intense changes and beliefs are known to be especially fluid in this period (Miranda, 2013). To better understand the role of developmental phases in music literature, future studies may benefit from using theoretical frameworks that have been specifically developed to study adolescents, such as the adolescents' media practice model (Steele & Brown, 1995) or the music marker theory (Ter Bogt et al., 2013) and to more explicitly combine the study of certain effects (e.g., behaviors, beliefs) with the characteristics of the population of interest (e.g., adults, young adults, adolescents). ...
Much research documented the influence of music on various behaviors, including substance use and delinquency. Yet, less is known about its influences on dimensions that are crucial for behavioral outcomes, namely beliefs and attitudes. In this study, we reviewed and meta-analyzed the literature about music effects on beliefs (n = 82, published 1972–2021) by mapping the theoretical and methodological features of this literature, focusing on the effect size of various characteristics (e.g., age, design) and on open scientific practices. Results indicate a relationship between exposure to music and music-consistent beliefs, with heterogeneity related to the type of beliefs, modality of exposure, designs, and sample characteristics. We conclude by evaluating this literature and reflecting upon future opportunities in this area of research.
... Considerations were made, such as whether individual or community health goals are more appropriate for people living in conflict zones, or whether the consensus model of music therapy perpetuates neocolonialism on conflict survivors and decentralizes resilience (Ansdell, 2002;Comte, 2016;Maratos, 2002;O'Grady & McFerran, 2007). The literature inquiry offered some practical directions for music therapists and community musicians, such as: the benefit of mindfulness and imagery-based interventions (Jordanger, 2015); drumming as a stabilizing and culturally relevant experience (Baker & Jones, 2005); the development of deep listening and dialogue skills, and how they translate into shared musical experiences (Gottesman, 2016;Junkin, 2017); and the importance of developmental considerations when working with adolescents in vulnerable spaces (Miranda, 2013;Moscardino et. al., 2010). ...
... As North et al., (2000) stated, teen music choices affect the way they see themselves in relation to others, who they associate with, and how they view their own emotional state. Research suggests music choice builds a sense of political, racial, and gender identity in teens (Miranda, 2013;Tanner et al., 2008). While being conscious of this may not have prevented the blowout described in Vignette D, it may have at least prepared me for the potential of such a blowout, so that I may have been better equipped to manage the needs of all parties. ...
Community Music Therapy (COMT) is a development increasingly referenced and often nebulous in the field of music therapy. Depending on its description in the literature, COMT seems to be situated between an aspiration to stretch beyond boundaries of the ‘consensus model’ and serve atypical populations, and a working practical approach with clear guidelines. Curiosity around this phenomenon inspired an initial inquiry by the author into potential theoretical underpinnings to provide context and definition for its aims, namely critical theory. Through identifying the links between CoMT, critical theory/psychology, and conflict transformation–the approach utilized in modern peacekeeping–the author hoped to inspire more intentional efforts by music therapists working at the convergence of those ideas. This research culminated in the author’s master’s thesis, a critical review and attempted integration of these topics, in 2018. This article aspires to build upon that research by remapping the knowledge gained onto the experiences that catalyzed the inquiry. Through vignettes and commentary, the author uses a reflexive, critical lens to examine his tenure as a music counselor at Seeds of Peace Camp, a conflict transformation camp. By re-examining trial-by-fire moments and their aftermath, the author identifies relevant research in the aforementioned fields that may have enhanced or explained participant responses. This serves to broaden the collective understanding of the overlapping goals and practices of CoMT, critical theory/psychology and conflict transformation.
... On the other hand, music has been recognized as an effective tool for reducing anxiety among foreign language learners (Dolean, 2016;Dolean & Dolean, 2014;Horwitz et al., 1986). Moreover, EFL learners typically exhibit high motivation to engage with authentic songs both inside and outside the classroom (Miranda, 2013;Summer, 2010). ...
This research addresses lexical deficits among EFL learners by
investigating the pedagogical potential of vocal training with
authentic pop songs for multi-word unit acquisition. Drawing on
cognitive neuroscience, the study builds on evidence that music
enhances brain plasticity and that musical and linguistic syntax
share neural processing regions (Patel, 2011). The intervention
involved vocal training and was evaluated using paired t-tests and
ANCOVA. Results showed significant vocabulary gains, with a large
effect size in the t-test and a medium main effect in the ANCOVA.
Additionally, statistically significant gender differences were
observed at both the pre-test (T0) and post-test (T1), highlighting
the differentiated impact of the music-based approach on boys and
girls.
... (Khoiriyah et al., 2019) The findings of this systematic review confirm that using musical covers as a pedagogical strategy contributes significantly to improving oral expression in second-year students. Miranda (2013) stated that music can impact significant elements of adolescent development. This supports the view that music is not only an object of study but a language that articulates speeches and facilitates the construction of identity and community, key elements for communicative development in adolescents. ...
La práctica de la expresión oral en la lengua inglesa constituye un tema de especial interés que preocupa tanto a estudiantes como a profesores de lenguas extranjeras. El presente estado del arte tiene como objetivo ofrecer a través de una breve, representativa y no exhaustiva revisión bibliográfica en relación con la grabación de versiones musicales y su influencia en la consolidación y desarrollo de la expresión oral en estudiantes de segundo año de secundaria. La habilidad oral se ha convertido en la habilidad comunicativa más compleja de entrenar debido principalmente a su componente práctico. Este artículo proporciona argumentos teóricos en relación con el uso y aplicación de versiones musicales de canciones en inglés. Además, se revelan seis indicadores de la efectividad de las versiones musicales: (1) ejercitación de la memoria, la adquisición de vocabulario, la pronunciación y la fluidez, (2) potenciar la confianza de los estudiantes al hablar el idioma, (3) aumentar la motivación de los estudiantes para aprender, (4) reducir los niveles de ansiedad en los alumnos, (5) fomentar la autonomía, la autoexpresión y el bienestar, (6) desarrollar el aprendizaje interdisciplinario. Los hallazgos de este estudio pueden servir como referencia para realizar investigaciones adicionales sobre el uso de grabaciones de versiones musicales en videos para mejorar las habilidades orales de los estudiantes.
... The contemporary scientific view of child development emphasizes the importance of an emotionally safe, experientially calm (predictable, stable), yet rich (diverse and lively environment for the holistic development of the child's brain (Siegel, 2011). It is becoming increasingly clear that a child's direct contact with nature, its rhythm, art, free play, and improvisation, all within an emotionally rich and safe contact with an adult and peers, is essential for holistic and healthy development (Miranda, 2013). Contact with art and creativity is one of the areas that can provide indispensable experiences that help shape both mental and other cognitive abilities that would otherwise be impaired (Siegel, 2023). ...
... The potential of music to provide developmentally informed care is immense, and although there is more literature to indicate the benefit in the paediatric population (see Kaka et al.), there is a growing body of literature in both adolescents (Miranda, 2012;Stegemann et al., 2019) and young adults (McFerran, 2020) that demonstrates the benefits of developmentally appropriate music-based interventions. Music-making can provide AYAs with a temporary diversion from life challenges and can play a pivotal role in coping (Bennett, 2001;Laiho, 2004;McFerran, 2010McFerran, , 2020. ...
The COVID-19 pandemic has heightened the unique emotional and social needs expressed by adolescents and young adults (AYAs) with cancer. To help address this, we adapted an in-person developmentally tailored group music therapy intervention to an online format. The purpose of this study was to gain preliminary data to explore the acceptability of the online version of the group. A qualitative descriptive approach was chosen to understand the experiences of program participants, who were patients at a tertiary cancer centre in Toronto, Canada. One-to-one semi-structured interviews were conducted with participants, and data was analysed using thematic analysis. A total of six interviews were completed, with five participants identifying as women. Ages ranged from 24-35, and various cancer types were represented. Overall, participants felt the online version of the program was beneficial. However, interviews pinpoint advantages and disadvantages with the online format. Delivering the program online enhanced accessibility but also created issues of disrupted/impaired “connectivity” between participants and the music. Online group psychosocial interventions, including music therapy, may continue to be offered long after the pandemic. These lessons could inform how other online music therapy interventions are delivered to AYAs between 18-39 years of age and beyond.
... This shift in the importance of peer relationships intensifies adolescents' social sensitivity, or the attention, salience and emotional response directed towards processing information related to social evaluations and social standing (Somerville, 2013). At the same time, adolescents report listening to music in social contexts more often than older age groups (Bonneville-Roussy et al., 2013) and even establish friendships according to musical preferences (Franken et al., 2017;Kistler et al., 2010;Miranda, 2013;North and Hargreaves, 1999;Selfhout et al., 2009;ter Bogt et al., 2017). Here, we review key neurocognitive developmental changes in the social brain, specifically in the reward system, during adolescence, and interpret them in light of the existing literature on adolescent music usage and consumption. ...
Music listening is enjoyed across the lifespan and around the world. This has spurred many theories on the evolutionary purpose of music. The Music for Social Bonding hypothesis posits that the human capacity to make music evolved for the purpose of creating and preserving relationships between one another. Considering different time periods of music use across the lifespan, adolescence is especially a period of social reorientation away from family towards peers, characterized by new social bonds and increased prosocial behavior. This shift is accompanied by notable structural and functional changes in brain networks supporting reward processing and prosocial behavior. Reviewing the extant literature on developmental cognitive neuroscience and adolescent music use, we propose that neurocognitive changes in the reward system make adolescence an ideal developmental time window for investigating interactions between prosocial behavior and reward processing, as adolescence constitutes a time of relative increase in music reward valuation. Testing this hypothesis may clarify our understanding of developmental trajectories in music reward valuation, and offer insights into why music from adults’ adolescence holds a great deal of personal significance.
... Music may be an ideal context for the study of such interconnection, as young people and adolescents spend a lot of time listening to music, either at home or at concerts (Fine et al., 1990). They choose to do so at emotionally very diverse times, e.g., when feeling excited or when needing to face a problem, which gives proof of it as a resource for adolescent development (Hargreaves, 1986, Miranda, 2013. However, while the consideration of the importance of music for adolescents is shared by various social sciences, only since the 1990s and especially since 2000 has it been the subject of more research in psychology. ...
This study explores functions of music listening in relation to emotion regulation and identity development in mid-adolescence. Semi-structured interviews were conducted with 17 adolescents (15-16 years old), using a personally selected piece of music as a starting point. Analysis of the interviews focused on descriptions of emotional and identity related functions of their self-chosen music, complexity level of meaning making in participants' autobiographical narratives that emerged in relation to the music they had chosen, and the relation between functions and meaning making level. The results revealed two types of engagement with music entailing a connection between emotional and identity related functions. The first type involves a more basic form of interaction which is focused on influencing one's mood, and related to feelings of identification with the lively rhythm of the upbeat music they had selected. The second 146
... Primary school children are those who need assistance to reach their full potential. Musical activities can stimulate IQ, EQ, and SQ, which are also capital for awakening creativity and imagination (Cross, 2014;François et al., 2013;Kraus et al., 2014;Miranda, 2013). These capabilities boil down to language skills. ...
This study investigates how elementary school teachers without musical backgrounds create educational songs to support thematic learning under Indonesia's Kurikulum Merdeka. Thematic learning aims to integrate various subjects into cohesive themes, fostering student-centered learning (SCL) and emphasizing active engagement and critical thinking. Although the government provided the guiding textbooks, teachers face challenges in implementing SCL. Eventually, they often revert to conventional, teacher-centered methods. Previous research indicates that songs can serve as effective educational tools, but there is still a lack of thematic songs that align with the curriculum's specific themes. Using a case study approach, this research involved classroom observations, document analysis, and interviews with two first-grade teachers who developed songs for an environmental theme. The study found that teachers could create educational songs by deriving lyrics from teaching materials and improvising melodies, although they needed formal musical notation skills. Teachers and students then used these songs in classroom instruction, engaging in singing and physical activities. Despite inconsistencies in musical performance, the findings indicated that students were enthusiastic and better understood the material through these songs. The study highlights teachers' adaptive nature in leveraging available resources to meet educational objectives and emphasizes the importance of integrating arts, particularly music, into educational practices. The research contributes to the broader discourse on educational innovation, suggesting that even teachers without musical training can effectively create and use educational songs to enhance learning. Empowering teachers with resources and training in songwriting could further enrich thematic learning, fostering creativity, critical thinking, and collaboration among students. This approach aligns with the goals of the Kurikulum Merdeka, supporting holistic educational reforms and improving learning outcomes in Indonesian elementary education.
... "Music can influence key aspects of adolescent development -for instance, aesthetics; identity; socialization; emotion regulation and coping; personality and motivation; gender roles; and positive youth development." [1] Music provides teenagers with enjoyment, as well as improvements in emotional mood, social relationships, and overall well-being. Listening to music also allows teenagers to portray an "image" to the outside world, strengthening their cognitive abilities [2,3]. ...
To examine the effects of different music genres on adolescents' long-term memory. Thirty participants were recruited to take part in the study. First, they were given a list of random letter combinations to memorize while listening to a soothing song or fast-paced rap music. After learning for five minutes, they were given some randomly generated arithmetic questions to complete within two minutes. Then, they did a recognition test on the previously memorized words. Results show that the memory-recalling abilities of the participants while listening to rap or soft music are significantly different. Most participants scored higher in tests with soft music than with rap music. The researcher conclude that it would be beneficial for students to do memorization tasks with relaxing background music because soft music could facilitate the process of information encoding and keep them motivated to study for longer, reducing their stress and anxiety. Students should avoid listening to music with a fast, rhythmic beat while memorizing since this type of music appears distractive. Future research could be conducted with a larger sample size.
... Efforts should be directed toward the development of standardized tools and rehabilitation programs that integrate emotion perception components to aid CI users in addressing their potential difficulties in emotion perception effectively. Although speech perception will likely remain a core priority for patients, vocal emotion perception abilities should also be evaluated postimplantation (stimuli: Belin et al., 2008;test: Nagels et al., 2020) in all CI users and potentially even musical emotion perception (stimuli: Paquette et al., 2013) for its many social uses and functions in everyday life (North & Hargreaves, 2008), especially by adolescents (Miranda, 2013;Morinville et al., 2013). When an emotion perception deficit is identified, emotion perception training modules (in the clinic or as online resources) should be integrated into the rehabilitation program to help CI users recognize and interpret emotional cues present in verbal as well as nonverbal communication (e.g., facial expressions and body language). ...
Purpose
Postoperative rehabilitation programs for cochlear implant (CI) recipients primarily emphasize enhancing speech perception. However, effective communication in everyday social interactions necessitates consideration of diverse verbal social cues to facilitate language comprehension. Failure to discern emotional expressions may lead to maladjusted social behavior, underscoring the importance of integrating social cues perception into rehabilitation initiatives to enhance CI users' well-being. After conventional rehabilitation, CI users demonstrate varying levels of emotion perception abilities. This disparity notably impacts young CI users, whose emotion perception deficit can extend to social functioning, encompassing coping strategies and social competence, even when relying on nonauditory cues such as facial expressions. Knowing that emotion perception abilities generally decrease with age, acknowledging emotion perception impairments in aging CI users is crucial, especially since a direct correlation between quality-of-life scores and vocal emotion recognition abilities has been observed in adult CI users. After briefly reviewing the scope of CI rehabilitation programs and summarizing the mounting evidence on CI users' emotion perception deficits and their impact, we will present our recommendations for embedding emotional training as part of enriched and standardized evaluation/rehabilitation programs that can improve CI users' social integration and quality of life.
Conclusions
Evaluating all aspects, including emotion perception, in CI rehabilitation programs is crucial because it ensures a comprehensive approach that enhances speech comprehension and the emotional dimension of communication, potentially improving CI users' social interaction and overall well-being. The development of emotion perception training holds promises for CI users and individuals grappling with various forms of hearing loss and sensory deficits. Ultimately, adopting such a comprehensive approach has the potential to significantly elevate the overall quality of life for a broad spectrum of patients.
... Music may be an ideal context for the study of such interconnection, as young people and adolescents spend a lot of time listening to music, either at home or at concerts (Fine et al., 1990). They choose to do so at emotionally very diverse times, e.g., when feeling excited or when needing to face a problem, which gives proof of it as a resource for adolescent development (Hargreaves, 1986, Miranda, 2013. However, while the consideration of the importance of music for adolescents is shared by various social sciences, only since the 1990s and especially since 2000 has it been the subject of more research in psychology. ...
Este estudio explora las funciones de escuchar música relacionados con la regulación emocional y el desarrollo de la identidad en la adolescencia media. Se realizaron entrevistas semi-estructuradas con 17 adolescentes (15-16 años) a partir de una pieza de música elegida por cada participante. El análisis de las entrevistas se centró en las descripciones de las funciones, tanto emocionales como relacionadas con la identidad, el nivel de complejidad del significado que muestran los relatos autobiográficos de los participantes que surgieron relacionados con su música elegida, y la relación entre funciones y el nivel de elaboración de significado. Los resultados mostraron dos perfiles de uso de la música que suponen una conexión entre las funciones emocionales y de identidad. El primero es una forma más básica de interacción orientada a influir en el ánimo de uno mismo, ligada al hecho de sentirse identificado con el ritmo alegre de la música animada elegida. El segundo engloba una regulación emocional más compleja, además de una reflexión sobre uno/a mismo/a y su historia personal, facilitada por el contenido o la melodía. Los adolescentes con niveles superiores de elaboración de significado en sus relatos ligados a la música elegida, mostraron este uso más complejo de escuchar música. Se sugiere que escuchar música juega un papel importante en la interacción entre la regulación emocional y la construcción de la identidad en la adolescencia media. This study explores functions of music listening in relation to emotion regulation and identity development in mid-adolescence. Semi-structured interviews were conducted with 17 adolescents (15-16 years old), using a personally selected piece of music as a starting point. Analysis of the interviews focused on descriptions of emotional and identity related functions of their self-chosen music, complexity level of meaning making in participants’ autobiographical narratives that emerged in relation to the music they had chosen, and the relation between functions and meaning making level. The results revealed two types of engagement with music entailing a connection between emotional and identity-related functions. The first type involves a more basic form of interaction which is focused on influencing one’s mood, and related to feelings of identification with the lively rhythm of the upbeat music they had selected. The second encompasses a more complex emotional regulation, as well as a reflection about the self and their personal history, facilitated by the lyrics or the melody. Adolescents with higher levels of narrative meaning making showed this more complex use of music listening. It is suggested that music listening plays an important role in the interplay between emotional regulation and identity development in mid-adolescence.
... The findings from the first objective suggest that music is a prominent medium through which individuals are exposed to alcohol-related content which may play a role in affecting the perceptions, attitudes, and behaviors of listeners toward alcohol drinking (Miranda, 2013). Previous studies have found that frequent exposure to alcohol references in digital media contributes to the normalization of alcohol drinking (e.g., social norms theory (Kelly & Davis, 2018)), particularly among adolescents and younger groups of the population who are high consumers of music (Grube & Waiters, 2005;Mulder et al., 2010). ...
Understanding the prevalence of alcohol references in music and their impact on alcohol drinking behavior is important given the increased accessibility to daily music listening with the proliferation of smart devices. In this review, we estimate the pooled prevalence of alcohol references in music and its association with drinking behavior. Systematic searches were conducted across four major databases (MEDLINE, PsycINFO, EMBASE, and CINHAL). Articles were selected following duplicate checking, title and abstract screening, and full‐text review. Studies reporting the prevalence of alcohol‐referencing music and/or investigating its association with drinking behavior were included. Pooled prevalence with 95% confidence intervals (CIs) were computed using a random effects model. Of 1007 articles identified, 26 met inclusion criteria and 23 studies comprising 12,224 songs were eligible for meta‐analysis. The overall pooled prevalence of alcohol references in music (including lyrics and videos) was 24.0% (95% CI: 19.0%–29.0%). The pooled prevalence was 22.0% (95% CI: 16.0%–29.0%) for only lyrics, 25.0% (95% CI: 18.0%–33.0%) for only the visual elements of music videos, and 29.0% (95% CI: 21.0%–38.0%) for both the lyrical content and the visual components. Only three studies assessed the relationship between listening to music with alcohol references and drinking behavior, and all three reported a positive association. Whereas almost a quarter of all songs included references to alcohol, public health preventive measures are needed to reduce alcohol exposure from music. Future research is needed to understand fully the effect of music with alcohol references on drinking behavior.
... The most admired type of role models from 256 PSIHOLOŠKA ISTRAŽIVANJA VOL. XXVI (2) show business in both generations of adolescents are musicians, in line with our previous findings (Stepanović Ilić et al., 2017), as well as scholars, highlighting the importance of music in adolescence (Lonsdale, 2020;Miranda, 2013;North et al., 2000). ...
In the process of identity formation and individuation from parents, media personalities can serve as role models for adolescents. This may be the case even more so for today's adolescents (i.e., Generation Z), since they have been immersed in the new media from birth. This study examines the ways in which two generations of adolescents differ regarding the media figures they identify as role models, as well as the reasons for their admiration. The data were obtained by surveying the Millennial (n = 1283) and Generation Z (n = 1358) adolescents a decade apart. Public figures served as role models for every other Millennial, compared to three out of four Generation Z adolescents. Crosstabs analysis shows that both generations admire media celebrities most, followed by athletes, with all other types of public figures being far less represented. According to the obtained models of logistic regression, the patterns of admiration reasons are similar in both generations, with celebrities being admired for their cheerfulness, communicativeness, physical appearance, fame, and popularity. The growing influence of the new media is evident from the rising number of media figures that Generation Z identifies as role models compared to the Millennials (431 public figures named as idols by Generation Z, and 277 by the Millennials) and the emergence of microcelebrities, e.g., YouTubers and influencers. The Generation Z adolescents who admired microcelebrities were found to have professional aspirations in this domain.
... The potential of music therapy seems especially significant when considering work with children and adolescents, for whom verbal therapies might be challenging. In the teenage years the meaning and role of music becomes very important (Miranda, 2013). As Miranda concludes, "research on music opens up a scientific window to the psychological, social, and cultural needs of contemporary adolescents" (p. ...
The main reasons for placing a child in foster care system in Poland is neglect and abuse, experienced in their family environments. These conditions might result in trauma, which strongly influences functioning of these young people. Currently, concepts like trauma-informed and resilience-oriented practice receive more and more attention both in the practitioners and researchers, in search of the framework of care-services and therapies. The current paper explores these approaches and connects them to music therapy. It provides with rationale on potential of this form of therapy in the context of work within foster care system with young people. The case vignettes illustrate the theoretical considerations.
... Through oral songs, children learn about their cultural heritage, including the myths, legends, and historical events that have configured their communities (Swall et al., 2020). Children also learn important social and moral values, such as honor for senior members of the community, cooperation, and kindness, which are often ingrained in the lyrics and themes of oral songs (Miranda, 2013). Additionally, oral songs provide a way for children to learn about and connect with their community and cultural ancestry. ...
It is incontrovertible that African, and in particular, isiXhosa children's oral songs play a significant role in the educational and instructional facets given their propensity to contribute to children's cognitive development when used and applied meticulously. Bearing that in mind, this article aimed to unravel two selected children's oral isiXhosa songs in respect of their didactic and pedagogical components. The principal objective, among others, was to determine their latent interplaying meanings. The sociocultural theory of learning was deployed to examine the two songs while the songs themselves served as a primary source of data subsumed under qualitative research methodology. The examination and discussions maintained that isiXhosa children's oral songs contain educational and instructional dimensions that may not be privy to everyone, and as such, it is consequential that they continue to be probed. The closing remarks underlined the deficit in the evaluation of isiXhosa children's songs concerning their didactic and pedagogical facets.
... Lyrics are easily memorized and effectively stored in the brain, which enables easy application in future communication. Certain lyrics, such as "It never rains in Southern California" or "We almost have it all," aid second language learners in retaining useful sentence structures and grammatical knowledge, such as the position of adverbs [6] . One challenge for students learning a second language is the lack of opportunities for exposure to the target language outside the classroom. ...
This literature review is aimed at how music affects language acquisition throughout the long term music training process or music therapy sessions. We discussed, analyzed and summarized several experiment’s results about music’s effects on both physiological(brain, natural system…) and psychological side of people in different life stages. We found the obvious similarity and differences of music and language and their mutual effect. Also, we developed music as a therapeutic tool to improve language acquisition. All in all, we come to the conclusion that specific attention will be paid to the influence of music on the language learner, as well as the implications of incorporating music into the language learning curriculum.
... In fact, music appears to be important to adolescents and is a significant part of their lifestyles. Miranda [5] indicated that music influences important aspects of adolescent development and can be portrayed as a developmental tool during adolescence. Papinczak and Dingle [6] argued that listening to music is adolescents' favorite leisure activity and has an effect on social well-being. ...
The aim of this study was to investigate whether playing music during PE lessons had an impact on the intrinsic motivation of high school students, including enjoyment, competency, freedom of choice and stress. Using a mixed method approach, intrinsic motivation of 40 students (25 girls, 15 boys) was surveyed. The Intrinsic Motivation Inventory was combined with a focus group discussion to collect pupils’ and teacher’s perceptions. Data analysis showed motivation scores to be significantly better during PE with music than PE without music. This difference was also reflected for joy or interest, with pupils experiencing more joy during PE with music. Students reported feeling more enthusiastic with music, which gave them more energy; they participated with higher motivation and had more fun. In addition, the combination of increased concentration and self-confidence resulted in higher competence scores during PE with music. No significant differences were found for freedom of choice and stress in either condition. It can be concluded that playing music during PE positively influences students’ intrinsic motivation. More specifically, the influence of music is mainly found in increased students’ perception of enjoyment, interest and sense of competence. The findings of this study should be the impetus for PE teachers to implement music more often.
... La música ocupa un lugar muy importante en la vida de los adolescentes debido a las múltiples funciones que en ella desempeña, como modificar el estado de ánimo, o conformar aspectos relacionados con su identidad personal y social (Miranda, 2013;Oriola y Gustems, 2015). En la última década, los estilos musicales que más han influido entre los jóvenes de nuestro país han sido el rap, el hip hop y el reguetón (Soares-Quadros y Lorenzo, 2010; Herrera y otros, 2010; Faure-Carvallo, Gustems y Navarro, 2020). ...
... La música ocupa un lugar muy importante en la vida de los adolescentes debido a las múltiples funciones que en ella desempeña, como modificar el estado de ánimo, o conformar aspectos relacionados con su identidad personal y social (Miranda, 2013). En la última década, los estilos musicales que más influido entre los jóvenes de nuestro país han sido el rap, el hip hop y el reggaetón (Soares-Quadros y Lorenzo, 2010; Herrera et al., 2010;Faure, Calderón y Gustems (2020). ...
... Finally, adolescents may simply listen to music most during this time of their life, resulting in repeated rehearsal and resampling of any episodic information bound with the music they listen to (Bonneville-Roussy, Rentfrow, Xu, & Potter, 2013;Miranda, 2013). Though cross-sectional comparisons of MEAM-related reminiscence bumps indicate that young adults also report increased autobiographical salience in response to music from adolescence (Jakubowski et al., 2020), it is possible that these effects are exaggerated in the present study cohort (for instance, listening to popular music on the radio might have been less common during this population's childhood). ...
Music-evoked autobiographical memories (MEAMs) are typically elicited by music that listeners have heard before. However, recent evidence indicates that even music that is unfamiliar to the listener can still cue autobiographical memory. Here we examined how perceived familiarity, music-evoked affect, and developmental timing of music release (childhood, adolescence, young adulthood) were associated with evoked memories in older adults (N=75, ages 65-80) who listened to familiar and unfamiliar music in a pre-registered study. More positive music-evoked affect was related to higher MEAM likelihood for both familiar and unfamiliar music. Higher perceived familiarity was associated with the occurrence of MEAMs in response to familiar, but not unfamiliar, music. We also replicated “reminiscence bump” effects for familiar music such that participants reported more MEAMs in response to music released during their adolescence (14-18) than young adulthood (20-25); however, our results indicate that this bump may begin earlier (i.e., middle childhood). Together, our results suggest different mechanisms underlying MEAMs for familiar and unfamiliar music: music-evoked affect may facilitate MEAMs regardless of previous exposure, but perceived familiarity supports MEAMs only for familiar music.
... In these schools, as early as elementary school, students can join a band, orchestra, or chorus. Some of these programs were implemented with the idea to not only expose children to different types of music, but also improve certain aspects of development [Mir13]. ...
... Previous scholars have argued that the unique connection that young people have with music reflects its contribution to key developmental tasks (e.g. identity and agency, emotional regulation, social connectedness; Laiho, 2004;Miranda, 2013;Schwartz & Fouts, 2003). ...
While music listening on mobile phones can serve many affect-regulatory goals, success in reaching these goals is yet to be empirically assessed. This study aimed to determine how frequently listeners successfully reach their affect-regulatory goals, and the predictors of this success. Data were collected using the experience sampling app MuPsych, from 293 Finnish participants. Goals were successfully reached in less than half of cases, with adults more successful than adolescents. Success was determined largely within contexts, and strongly predicted by an initial low-valenced emotional state of the listener, suggesting that music listening is particularly useful for those in negative states.
... Musical culture plays a significant role in the lives of young people, both on an individual and social level, therefore teenagers may view indigenous African music as old-fashioned (Miranda, 2013). Western music theory, history, and literacy have been ingrained in music educators, but all of it comes "with a set of cultural meanings that do not necessarily correspond with African practices" (Carver, 2003, p. 66). ...
Internationally, popular music is developing at an ever-increasing pace and, even though there have been some advances regarding education in popular music in South Africa, these programmes remain the exception at primary, secondary, and tertiary levels of institutionalised music education. South African universities are based on a western model of organisation and remain largely Eurocentric. Although eleven South African universities offer music as a specialised degree option, the music departments predominantly focus on classical music and to a lesser degree, jazz, both music styles offering limited career opportunities. As popular music is the most dominant form of music worldwide with relevancy to the largest audience, this study aimed at obtaining a deeper understanding of the needs in South Africa regarding a tertiary degree offering in popular music.
I identified relevant stakeholders who would benefit from a tertiary degree in popular music. These included learners who selected music as a subject in the FET phase; students studying music at tertiary level; secondary school music educators presenting music at FET level; music lecturers in popular music at South African tertiary institutions; and professional musicians from the music industry. Using a mixed methods investigation, I discovered the general needs of music learners in secondary schools regarding options to study popular music at tertiary level, and the specific needs of qualitative stakeholders to answer the research questions posed in this study.
The theoretical framework underpinning the study is authentic learning. This theory suggests that learning connects concepts and theory to real-life complexities and events, encouraging students to absorb and merge knowledge through realistic and genuine situations. Informal learning practices are a vital part of popular music; at its core is authentic music-making. Authentic learning facilitates musical identity development and provides students with the tools to function effectively within the wider popular music community. Internationally, there has been a push in tertiary curricula for more student-centred courses with pedagogy and curricula that include vocational skills development. An authentic learning approach could aid the successful development and implementation of a tertiary degree in popular music.
This study identified an urgent need for a specialised degree programme in popular music in South Africa. The development of such a degree may attract more students; increase the economic viability of music departments at universities; address issues of decolonisation; meet the needs of the local music industry as a whole; and deliver employable graduates that can effectively manage a portfolio career in a diverse and ever-changing environment.
... * Daniel E. Gustavson daniel.gustavson@colorado.edu 1 personal and cultural identity, and mood regulation (Miranda 2013;Miranda and Claes 2009;North et al. 2000;Saarikallio and Erkkilä 2007;Selfhout et al. 2009). Twin studies in adults have suggested that prior music experiences are influenced by a combination of genetic and environmental factors (e.g., heritability range: 41-69%) Wesseldijk et al. 2021), with slightly lower estimates for older adolescents (26-38%) (Hambrick and Tucker-Drob 2015). ...
Music engagement is a powerful, influential experience that often begins early in life. Music engagement is moderately heritable in adults (~ 41–69%), but fewer studies have examined genetic influences on childhood music engagement, including their association with language and executive functions. Here we explored genetic and environmental influences on music listening and instrument playing (including singing) in the baseline assessment of the Adolescent Brain Cognitive Development study. Parents reported on their 9–10-year-old children’s music experiences (N = 11,876 children; N = 1543 from twin pairs). Both music measures were explained primarily by shared environmental influences. Instrument exposure (but not frequency of instrument engagement) was associated with language skills (r = .27) and executive functions (r = .15–0.17), and these associations with instrument engagement were stronger than those for music listening, visual art, or soccer engagement. These findings highlight the role of shared environmental influences between early music experiences, language, and executive function, during a formative time in development.
... Music plays an important role in people's lives fulfilling a number of functions and being present throughout life in different ways. Music is considered especially important during adolescence and young adulthood (Miranda, 2013;Reić Ercegovac et al., 2017) because it can evoke as well as regulate listeners' emotional states (Eerola & Vuoskoski, 2013;Gabrielsson, 1991;Saarikallio & Erkkilä, 2007). Furthermore, mood regulation is often seen as one of the most important reasons for listening to music (Baltazar & Saarikallio, 2016Laiho, 2004). ...
The aim of this research was to determine the relationship between mindfulness, absorption in music, and emotion regulation through music in people who have different tastes in music. The research started from the assumption that absorption in music means the possibility of deep “absorption” in musical experience and thus a greater possibility of emotion regulation through music. In contrast to absorption, mindfulness as full awareness of the current moment or a state of consciousness in which attention is intentionally focused on one’s own experiences (bodily sensations, senses, thoughts, or emotions) could make it difficult to indulge in a musical experience. In order to test these assumptions, a study was conducted on 252 participants in late adolescence and young adulthood age who, in addition to using instruments designed to examine absorption in music, mindfulness, and emotion regulation through music, assessed their musical taste. The results showed a positive correlation between the preferences for different music styles and absorption in music, as well as between absorption in music and different strategies for regulating emotions through music. Mindfulness, on the other hand, proved to be negatively correlated with both absorption in music and most strategies for regulating mood through music. Conducted regression analyses showed that in addition to controlling musical taste, absorption in music is a positive predictor of all emotion regulation strategies, while mindfulness is a negative predictor of discharging negative emotions and forgetting unwanted thoughts and feelings through music.
... Engagement with music is a fundamental aspect of human behavior with wide-ranging impacts on development (e.g., socialization), personality (e.g., personal/cultural identity), and health (e.g., mood regulation and well-being). [1][2][3][4][5] The construct of musicality is used to encompass all aspects of human interaction with music, 6 including music perception and production abilities (e.g., rhythm and pitch) and music engagement (e.g., singing, instrument playing, and music listening). There has recently been a surge in interest to uncover the molecular basis of individual differences in musicality 7 as our current understanding of its genetic and environmental underpinnings has been driven by twin studies. ...
Uncovering the genetic underpinnings of musical ability and engagement is a foundational step for exploring their wide‐ranging associations with cognition, health, and neurodevelopment. Prior studies have focused on using twin and family designs, demonstrating moderate heritability of musical phenotypes. The current study used genome‐wide complex trait analysis and polygenic score (PGS) approaches utilizing genotype data to examine genetic influences on two musicality traits (rhythmic perception and music engagement) in N = 1792 unrelated adults in the Vanderbilt Online Musicality Study. Meta‐analyzed heritability estimates (including a replication sample of Swedish individuals) were 31% for rhythmic perception and 12% for self‐reported music engagement. A PGS derived from a recent study on beat synchronization ability predicted both rhythmic perception (β = 0.11) and music engagement (β = 0.19) in our sample, suggesting that genetic influences underlying self‐reported beat synchronization ability also influence individuals’ rhythmic discrimination aptitude and the degree to which they engage in music. Cross‐trait analyses revealed a modest contribution of PGSs from several nonmusical traits (from the cognitive, personality, and circadian chronotype domains) to individual differences in musicality (β = −0.06 to 0.07). This work sheds light on the complex relationship between the genetic architecture of musical rhythm processing, beat synchronization, music engagement, and other nonmusical traits.
In recent years, a surge in the popularity of trap music among adolescents has prompted concerns about its potential influence on youth behavior and educational outcomes. In this study, we develop a novel compartmental model using a system of differential equations to explore the relationship between exposure to trap music and school dropout rates among Costa Rican adolescents aged 13 to 17. The model divides the population into distinct compartments representing susceptible individuals, casual listeners, active participants, those exhibiting risk-associated behaviors, and ultimately, school dropouts. Key parameters, including transmission via peer influence, progression rates between exposure stages, and recovery dynamics, capture the complex interplay between cultural diffusion and behavioral change. Analytical investigation of the basic reproductive number, , and both trap-free and endemic equilibrium states provide insight into the conditions under which the influence of trap music proliferates. Numerical simulations, implemented in MATLAB, further illustrate how parameter variations, especially the potential for recovery, affect the system's dynamics. Our results suggest that although exposure to trap music is widespread, the progression to adverse behavioral outcomes leading to school dropout is highly sensitive to intervention strategies, offering valuable implications for educational policy and targeted preventive measures.
English language teachers have long recognised pop songs' potential for engaging students and establishing positive classroom environments conducive to language learning. Educational publishers increasingly incorporate music into their coursebooks, including specially commissioned 'ELT songs', whose lyrics feature aspects of target language. This Element explores the phenomenon of ELT songs from the authors' insider perspective as songwriters. It considers the relationship between music and lyrics in songs, what this means for using songs in the language classroom, the historical developments through which ELT songs emerged, and the contexts in which they are written, listened to, and made. Through literature review and reflection, the authors derive a framework of twelve criteria and ten dilemmas to guide ELT songwriting, before applying it in an analysis of their songs and songwriting process. The final section proposes a model for multidisciplinary collaboration between songwriters and non-musician collaborators including authors, teachers, and publishers.
Available at: https://www.cambridge.org/core/elements/abs/more-than-words/76260B8E36E3F8D322443D7C12139AF0
Keywords: English Language Teaching; ELT; EFL; L2; Songwriting; Children's Music; TESOL; Songs; Music Education
Rap music has long been a powerful medium of expression, often reflecting social realities, cultural narratives, and personal experiences. However, its influence on adolescent attitudes and behaviors has been a subject of extensive debate. Critics argue that certain themes in rap music, such as violence, substance use, and defiance of authority, may reinforce delinquent tendencies among impressionable youth. Conversely, proponents suggest that rap provides a creative outlet for self-expression and fosters resilience by addressing socio-economic struggles. This study examines the relationship between rap music consumption and the development of delinquent attitudes among adolescents, aiming to identify whether exposure to specific lyrical content has a measurable impact on their behaviors and outlooks.
Aesthetic preferences can be crucial for any brand that considers consumer favorites as essential. Form and shape are the most fundamental design elements concerned for all kinds of products and services. Gender and age differences were the main explanatory variables of interest in this study. The perceptions of two forms comprising representation and geometry associated with two contrary shapes involving solid versus airy, were examined. One hundred and eighty respondents participated by using convenience sampling method. Data collection was obtained through an online questionnaire survey and analyzed by ANOVA statistics. The findings suggested that the representational form is recommended for all ages. All genders appreciate it when it combines with solid shape. In addition, the design of geometric form with airy shape is suggested for LGBTQ and younger clients. The implications in this research offer the insight design guidelines for the use of gender and age differences concerned businesses.
The introductory chapter introduces The Adolescentia Project and situates its theoretical approaches within the existing literature on music, identity, and memory. It then explains its autoethnographic methodological approach to advancing understanding of the connection between these elements. Further, it offers a brief overview of each section of the book taking the reader through the 1980s, 1990s, and 2000s. Finally, it introduces the essays that comprise each decade’s section along with the main themes they address including but not limited to class, race, gender, and sexuality.
Monografija »Sodobne raziskave o poučevanju glasbe v Sloveniji« v 15 poglavjih celovito obravnava različne vidike poučevanja glasbe na različnih ravneh vzgoje in izobraževanja. Poudarja pomen glasbeno-didaktičnih iger za razvoj glasbenih sposobnosti predšolskih otrok, učinke glasbenih dejavnosti na socialne interakcije v zgodnjem otroštvu in izzive vključevanja glasbeno-plesnih dejavnosti v vrtcih s programom montessori. Raziskuje medpredmetno povezovanje glasbe in likovne umetnosti, izzive načrtovanja glasbene umetnosti, glasbeno ustvarjalnost v osnovni šoli in vključevanje elementov glasbene terapije. Analizira zastopanost glasbenih zvrsti v mladinskih romanih, vlogo učiteljev pri razvoju talenta, uporabo interaktivnih učnih gradiv in tehnologije v glasbenem pouku, optimalno motivacijsko okolje v glasbenih šolah, oblikovanje glasbene samopodobe in specifike glasbenega izobraževanja na območju Slovenske Istre. Izsledki predstavljenih raziskav prispevajo k razvoju področja didaktike glasbe in predstavljajo temelj za izboljšanje »glasbenih« praks v slovenskem izobraževalnem sistemu.
Objective: Universal access to personal music listening devices has attracted many adolescents to listen to music. However, risky music listening behavior can lead to music-induced hearing loss, becoming a major social and public health problem. We aimed to investigate music listening habits in three groups of adolescents based on age, learn the differences in music listening habits among the groups, if any, and assess their knowledge regarding loud music-induced hearing loss. Materials and method: A total of 300 adolescents aged 13-20 years studying in various schools and colleges of a South Indian city completed a questionnaire to understand music listening habits and knowledge regarding loud music-induced hearing loss. Based on age and education level, they were divided into three groups of 100 each [high school(HS): 13-16 years, pre-university(PU): 16-17 years, and undergraduate(UG) level: 18-20 years]. Results: Duration and frequency of music listening, usage of the device, and accessory were similar among the three groups. However, across the age, there is a difference in the loudness in music listening (younger HS and PU groups frequently used loud volume) and the awareness about the damage caused to hearing due to loud music (younger HS group was least aware). A reduced hearing was reported by 17% of the UG group as opposed to 4% of the HS group. Conclusion: With the use of earphones and loud volume, younger adolescents are at greater risk for music-induced hearing loss than older adolescents. This group, if educated, is ready to accept modifications in listening behaviors that are hearing protective. Bangladesh Journal of Medical Science Vol. 22 No. 04 October’23 Page : 882-894
Music is young people's own playground for social–emotional development. Music listening is a medium that is easily available for the whole age group, and music psychology research has identified a range of developmentally relevant needs and functions that music serves in the lives of the young. Music serves as a means for identity construction, social expression of identity, and peer group identification. It offers possibilities for training self‐determination and gaining a sense of agency. And it is the soundtrack of adolescent emotionality, offering access to experiences that range from embodied enjoyment to self‐reflective affect regulation through mental contemplation. This entry discusses music as a part of adolescents' social–emotional development, summarizing recent literature and current trends in studying how music functions as a meaningful, health‐relevant aspect of broader social–emotional development.
Pop songs have been claimed to provide a noteworthy source of second language (L2) input. While listening to songs in English is one of the most commonly reported out-of-class activities among EFL learners, little research exists as to how different teaching approaches to the use of songs in the EFL class can enhance students’ vocabulary learning. The present study aims to investigate two different instructional approaches to the use of songs in the L2 class in order to learn how to maximise vocabulary learning through this input source. Two groups of grade 8 Italian EFL learners followed a short treatment that used English pop songs in different conditions, which differed in instructional focus (explicit vs. implicit). The results of the study suggest that although vocabulary significantly improved in both conditions, the explicit approach led to more durable gains.
G. S. Hall's (1904) view that adolescence is a period of heightened “storm and stress” is reconsidered in light of contemporary research. The author provides a brief history of the storm-and-stress view and examines 3 key aspects of this view: conflict with parents, mood disruptions, and risk behavior. In all 3 areas, evidence supports a modified storm-and-stress view that takes into account individual differences and cultural variations. Not all adolescents experience storm and stress, but storm and stress is more likely during adolescence than at other ages. Adolescent storm and stress tends to be lower in traditional cultures than in the West but may increase as globalization increases individualism. Similar issues apply to minority cultures in American society. Finally, although the general public is sometimes portrayed by scholars as having a stereotypical view of adolescent storm and stress, both scholars and the general public appear to support a modified storm-and-stress view.
This chapter focuses on the role of music listening in psychopathology, which here refers to 'patterns of behaviours, cognitions, and emotions that are abnormal, disruptive, or distressing either to the person or others around the person. First, it offers a conceptual framework arguing that music listening may have influences on internalizing psychopathology because: music can involve emotion regulation and coping; songs may have social cognitive influences; and music can have psychotherapeutic effects. Second, it presents a review of the empirical literature according to seven basic methodological strategies (models) that can also be used to design future studies: risk factors, compensatory factors, common causes, mediators, moderators, protective factors, and precipitating factors.
This study replicates and extends a recent study on personality, intelligence and uses of music [Chamorro-Premuzic, T., & Furnham, A. (2007). Personality and music: Can traits explain how people use music in everyday life? British Journal of Psychology, 98, 175–185] using Spanish participants and structural equation modeling. Data from 245 university students showed that, in line with our hypotheses, individuals higher in Neuroticism were more likely to use music for emotional regulation (influencing their mood states), those higher in Extraversion were more likely to use music as background to other activities, and those higher in Openness were more likely to experience music in a cognitive or intellectual way. As predicted, self-estimates of intelligence were also linked to cognitive use of music, though not when individual differences were considered. On other hand, contrasting with initial predictions, Extraversion was positively rather than negatively linked to emotional use of music. Small incremental effects of gender (over personality) were also found on the emotional use of music. Results are discussed in regards to previous findings on personality traits as determinants of uses of music. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Research suggests that young people use music to express themselves and to make claims about their identities. The current work considered the possible consequences of using music in this way. Using a sample of 80 British young adults, we aimed to replicate and extend previous research on the stereotypes that young people have about fans of various musical genres. It was hypothesized that individuals attribute similar psychological characteristics and social categories to fans of certain styles of music and that those distinct associations are generalizable. Results indicated that judges agreed on both the psychological (personality, personal qualities and values) and social (ethnicity and social class) characteristics of music fans, that the content of the music-genre stereotypes varied between genres, and that the stereotypes are geographically robust. The implications of this work for group processes and intergroup relations are discussed.
THE ORIGINS and adaptive significance of music, long an elusive target, are now active topics of empirical study, with many interesting developments over the past few years. This article reviews research in anthropology, ethnomusicology, developmental and comparative psychology, neuropsychology, and neurophysiology that bears on questions concerning the origins and evolution of music. We focus on the hypothesis that music perception is constrained by innate, possibly human- and music-specific principles of organization, as these are candidates for evolutionary explanations. We begin by discussing the distinct roles of different fields of inquiry in constraining claims about innateness and adaptation, and then proceed to review the available evidence. Although research on many of these topics is still in its infancy, at present there is converging evidence that a few basic features of music (relative pitch, the importance of the octave, intervals with simple ratios, tonality, and perhaps elementary musical preferences) are determined in part by innate constraints. At present, it is unclear how many of these constraints are uniquely human and specific to music. Many, however, are unlikely to be adaptations for music, but rather are probably side effects of more general-purpose mechanisms. We conclude by reiterating the significance of identifying processes that are innate, unique to humans, and specific to music, and highlight several possible directions for future research.
This chapter examines claims about non-musical consequences of exposure to music. Over the past ten years, the possibility that music makes one smarter has sparked the imagination of researchers, the popular press, and the general public. But is there any truth to this idea? If so, what is the evidence? The goal here is to answer these questions as well as possible by reviewing the relevant scholarly literature. Accordingly, the first section of this chapter examines consequences of music listening. The second section examines consequences of music lessons and performing.
This chapter identifies the most robust conclusions and ideas about adolescent development and psychological functioning that have emerged since Petersen's 1988 review. We begin with a discussion of topics that have dominated recent research, including adolescent problem behavior, parent-adolescent
relations, puberty, the development of the self, and peer relations. We then identify and examine what seem to us to be the most important new directions that have come to the fore in the last decade, including research on diverse populations, contextual influences on development, behavioral
genetics, and siblings. We conclude with a series of recommendations for future research on adolescence.
It is important to understand distinctive developmental specificities of coping in adolescence and how these can relate to personality development. Adolescents can actively use music listening as a coping resource to maintain emotional stability and this is likely to influence their personality development. The aim of this study was to examine if interactions between 3 styles of coping by music listening (emotion oriented, problem oriented, and avoidance/disengagement oriented) could predict changes in adolescent neuroticism. This 2-wave longitudinal study followed 336 adolescent girls and boys over a 6-month period. In adolescents combining high neuroticism (baseline) and low avoidance-oriented coping, problem-oriented coping predicted lower neuroticism. In adolescents combining high neuroticism (baseline) with high avoidance-oriented coping, problem-oriented coping predicted higher neuroticism. In adolescent girls presenting high avoidance-oriented coping, emotion-oriented coping predicted higher neuroticism. Overall, avoidance/disengagement coping by music listening may represent a short-term risk/precipitating factor of increasing neuroticism in adolescence. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
In this chapter we look for regularities in the complex and ever-changing pattern of individual preferences, with a particular focus on age changes from early childhood through to adolescence. These questions are of vital concern to musicians, teachers, and audiences: and in this chapter, we approach them from our own perspective as psychologists. If any such developmental patterns can be identified, it is our job as psychologists to try to explain rather than merely to describe them. We will review the nebulous and scattered literature on the development of taste and preference, and try to explain the main findings in terms of three main theoretical approaches: experimental aesthetics, developmental approaches, and social identity theory (SIT). The rest of the chapter is organized around the main theoretical approaches mentioned above. First, we review research in the field of experimental aesthetics, which has traditionally focused on the characteristics of the musical stimulus itself, and on how these affect different types of response in the listener. The third major theoretical approach, that of SIT (Tajfel & Turner, 1979) proposes that we all categorize ourselves as members of certain social groups (ingroups), that we correspondingly define other social groups as outgroups, and that we use the distinction between the two as a basis for self-evaluation. This approach is used in explaining childhood and adolescent identity issues, and the importance of music to adolescents has stimulated some of our own studies on the social functions of musical preference and taste in adolescence. In this part of the chapter we review some empirical research on social comparison and musical taste in adolescence, and also consider areas in which a social identity perspective can be fruitfully employed in the future. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This volume brings together a collection of international authorities--from the fields of music, neuroscience, psychology, and neurology--to describe the advances being made in understanding the complex relationship between music and the brain. Aimed at psychologists and neuroscientists, this is a book that will lay the foundations for a cognitive neuroscience of music. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Using social cognitive theory and structural regression modeling, we examined pathways between early adolescents' music media consumption, involvement with music media, and 3 domains of self-concept (physical appearance, romantic appeal, and global self-worth; N=124). A mediational model was supported for 2 domains of self-concept. Music media consumption was positively associated with adolescents' involvement with media focusing on music personae. Higher involvement was associated with perceiving the self as less physically attractive and having lower overall self-worth. Music media consumption was directly related to adolescents' evaluations of their own romantic appeal. Results suggest that through involvement processes with music media characters, adolescents may use music media as a venue for social comparison against which they evaluate their own physical attractiveness and self-worth. Music media consumption may also provide social modeling for normative expectations about romantic relationships regardless of the level of involvement. Gender differences were nonsignificant in the mediational model.
A B S T R AC T The aim of this study was the exploration and theoretical clarification of the role of music in adolescents' mood regulation. The phenomenon was approached through an inductive theory construction. The data were gathered from eight adolescents by means of group interviews and follow-up forms, and were then analysed using constructive grounded theory methods. The analysis resulted in a theoretical model, which describes mood regulation by music as a process of satisfying personal mood-related goals through various musical activities. The general nature of the mood regulation is described, the goals and strategies of mood regulation are examined, and finally the specific role of music in mood regulation is discussed. K E Y W O R D S : adolescence, emotion regulation, grounded theory, mood, mood regulation, music Aim and approach of the study Affective experiences are shown to be central reasons for music consumption and musical activities (DeNora, 1999; Laiho, 2004; North et al., 2000; Roe, 1985; Sloboda and O'Neill, 2001; Wells and Hakanen, 1991; Zillmann and Gan, 1997). However, the study of emotion has not been central to music psychology. Despite the recent growth of interest in the area, our under-standing of the psychological functions of the emotional experiences of music is still conceptually diverse and theoretically unstructured. Researchers have engaged in investigating emotional functions of music in everyday life but there is a serious lack of theoretical grounding of the empirical results. Sloboda and Juslin (2001) argue that theoretical development on emotional experiences of music has been hindered by the complexity of the phe-nomenon, and the reluctance of music psychologists to turn to emotion psychology for theoretical guidance. sempre :
A B S T R AC T The aim of this study was the exploration and theoretical clarification of the role of music in adolescents' mood regulation. The phenomenon was approached through an inductive theory construction. The data were gathered from eight adolescents by means of group interviews and follow-up forms, and were then analysed using constructive grounded theory methods. The analysis resulted in a theoretical model, which describes mood regulation by music as a process of satisfying personal mood-related goals through various musical activities. The general nature of the mood regulation is described, the goals and strategies of mood regulation are examined, and finally the specific role of music in mood regulation is discussed. K E Y W O R D S : adolescence, emotion regulation, grounded theory, mood, mood regulation, music Aim and approach of the study Affective experiences are shown to be central reasons for music consumption and musical activities (DeNora, 1999; Laiho, 2004; North et al., 2000; Roe, 1985; Sloboda and O'Neill, 2001; Wells and Hakanen, 1991; Zillmann and Gan, 1997). However, the study of emotion has not been central to music psychology. Despite the recent growth of interest in the area, our under-standing of the psychological functions of the emotional experiences of music is still conceptually diverse and theoretically unstructured. Researchers have engaged in investigating emotional functions of music in everyday life but there is a serious lack of theoretical grounding of the empirical results. Sloboda and Juslin (2001) argue that theoretical development on emotional experiences of music has been hindered by the complexity of the phe-nomenon, and the reluctance of music psychologists to turn to emotion psychology for theoretical guidance. sempre :
Theories of Parent–Adolescent Relationships and Their Influence
Interpersonal Processes And Relationship Perceptions
The Role of Parent–Child Relationships in Adolescent Adjustment
The Interplay of Context and Relationship Processes and Outcomes
Conclusion
Keywords:
parenting;
support;
conflict;
influence;
family
The present study examines moods in which individuals are most likely to utilize various forms of entertainment media and the emotion regulation tendencies that are associated with such preferences. Results of a questionnaire study (n = 229) show that mood specific media use may be captured by three factors: turning to media in a positive mood, in a negative mood or in a bored mood. Findings also show that various forms of difficulty regulating emotion (e.g., feeling out of control when upset) predict media use in negative or bored moods only. More specific analyses show that music use in negative moods is predicted by both positive indices (e.g., reflection tendencies) and negative indices of emotion regulation (e.g., rumination tendencies), while television use in negative moods is only predicted by negative indices of emotion regulation. Results are discussed in light of the psychological needs that selective media use may serve.
The social contexts in which people create, perform, perceive, understand and react to music have been neglected by psychologists. This book provides a comprehensive and up-to-date account of the social contexts in which people create, perform, perceive, understand, and react to music. It represents the first attempt to define the field since Farnsworth's book of the same title published in 1969, including the newer areas of medicine, marketing, and education in which the social psychology of music has direct applications in the real world. After an opening review chapter, the remaining 14 chapters are divided into six sections: individual differences; social groups and situations; social and cultural influences; developmental issues; musicianship; real world applications. Several of these chapters are ground-breaking reviews published for the first time. Aside from psychologists and music educators, The Social Psychology of Music will appeal to musicians, communications researchers, broadcasters, and commercial companies.
The social contexts in which people create, perform, perceive, understand and react to music have been neglected by psychologists. This book provides a comprehensive and up-to-date account of the social contexts in which people create, perform, perceive, understand, and react to music. It represents the first attempt to define the field since Farnsworth's book of the same title published in 1969, including the newer areas of medicine, marketing, and education in which the social psychology of music has direct applications in the real world. After an opening review chapter, the remaining 14 chapters are divided into six sections: individual differences; social groups and situations; social and cultural influences; developmental issues; musicianship; real world applications. Several of these chapters are ground-breaking reviews published for the first time. Aside from psychologists and music educators, The Social Psychology of Music will appeal to musicians, communications researchers, broadcasters, and commercial companies.
The social contexts in which people create, perform, perceive, understand and react to music have been neglected by psychologists. This book provides a comprehensive and up-to-date account of the social contexts in which people create, perform, perceive, understand, and react to music. It represents the first attempt to define the field since Farnsworth's book of the same title published in 1969, including the newer areas of medicine, marketing, and education in which the social psychology of music has direct applications in the real world. After an opening review chapter, the remaining 14 chapters are divided into six sections: individual differences; social groups and situations; social and cultural influences; developmental issues; musicianship; real world applications. Several of these chapters are ground-breaking reviews published for the first time. Aside from psychologists and music educators, The Social Psychology of Music will appeal to musicians, communications researchers, broadcasters, and commercial companies.
This book sets out the psychological basis of musical development in children and adults. The study has two major objectives: to review the research findings, theories and methodologies relevant to the developmental study of music; and to offer a framework within which these can be organised so as to pave the way for future research. It describes the relationship between thinking and music, and discusses the relationship between thinking and music in pre-schoolers and schoolchildren in areas such as singing, aesthetic appreciation, rhythmic and melodic development, and the acquisition of harmony and tonality. The book describes the development of musical taste, and discusses the questions of musical creativity, and of the social psychology of musical taste and fashion. As a comprehensive study of the links between developmental psychology and music education, Hargreaves' work demonstrates the practical and theoretical importance of psychological research on the process underlying children's musical perception, cognition and performance.
This book is a handbook of musical development from conception to late adolescence. Within twenty-four chapters it celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. Arranged in five sections, the first section examines the critical months and years from conception to the end of infancy. It looks at how the musical brain develops, ways of understanding musical development, and the nature of musicality. Section two scrutinizes claims about the non-musical benefit of exposure to music, for example that music makes you smarter. Section three focuses on those issues that help explain and identify individual differences. It includes chapters examining how children develop their motivation to study music, and two chapters on children with special needs. Section four covers skills that can develop as a result of exposure to music. The final section of the book discusses five different contexts and includes: a chapter on historical perspectives providing information for making comparisons between how children have learned and developed their musical capacities in the past, with current opportunities; two additional chapters that focus on children's involvement in music in non-Western cultures; and two final chapters focusing on youth musical engagement and the transition from child to adult.
The study of and interest in adolescence in the field of psychology and related fields continues to grow, necessitating an expanded revision of this seminal work. This multidisciplinary handbook, edited by the premier scholars in the field, Richard Lerner and Laurence Steinberg, and with contributions from the leading researchers, reflects the latest empirical work and growth in the field.
Although an extensive literature exists on creativity and music, there is a lack of published research investigating possible links between musical creativity and Csikszentmihalyi's concept of flow or optimal experience. This article examines a group composition task to study the relationships between creativity, flow and the quality of the compositions produced. First-year university students (n = 45) worked on a group composition task during three meetings. Each time the students met, they completed a detailed questionnaire that assessed aspects of each student's experience of the group compositional process using an ‘experience sampling form’ based on Csikszentmihalyi's previous work. Completed compositions were recorded and rated for quality and creativity by the participants and by a group of music education specialists (n= 24). Results indicated a number of ways in which the specialists’ assessments of quality related to the students’ assessments of creativity and flow. The study provides an example of a research method that can be used to further our understanding of the processes and outcomes of group music composition tasks. The discussion also considers a number of important ways that the concept of flow can be utilized within a music education context.
Resenha de The child as musician: A handbook of musical development (New York, Oxford University Press, 2006, 501 páginas) editado por Gary E. McPherson Grupo de Pesquisa PROFCEM/UFPR/CNPq
Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book, Motion and Emotion (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since the publication of that book, empirical research in this area has blossomed, and the successor to Music and Emotion reflects the considerable activity in this area. The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth. The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically-oriented chapters on the measurement of emotions via different channels (e.g., self report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behavior, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, as well as propose future directions for the field. The only book of its kind, the Handbook of Music and Emotion will fascinate music psychologists, musicologists, music educators, philosophers, and others with an interest in music and emotion (e.g. in marketing, health, engineering, film, and the game industry). It will be a valuable resource for established researchers in the field, a developmental aid for early-career researchers and postgraduate research students, and a compendium to assist students at various levels. In addition, as with its predecessor, it will also interest from practicing musicians and lay readers fascinated by music and emotion.
The purpose of this study was to examine the personality characteristics and developmental issues of 3 groups of adolescent music listeners: those preferring light qualities of music, those preferring heavy qualities of music, and those who had eclectic preferences for music qualities. One hundred sixty-four adolescents completed an age-appropriate personality inventory and a systematic measure of music listening preference. The findings indicate that each of the 3 music preference groups is inclined to demonstrate a unique profile of personality dimensions and developmental issues. Those preferring heavy or light music qualities indicated at least moderate difficulty in negotiating several distinct domains of personality and/or developmental issues; those with more eclectic music preferences did not indicate similar difficulty. Thus, there was considerable support for the general hypothesis that adolescents prefer listening to music that reflects specific personalities and the developmental issues with which they are dealing.
Music is universal. As a successor to the book The Social Psychology of Music, this book aims to provide social psychological answers to the numerous questions concerning music. Given the prominence music plays in our lives, it is still however imperilled by modern culture. Forewarning an imminent danger to music, it was warned in the previous book that the digital revolution would pave the way for legal and illegal online music stores and computer applications that would completely change the way people accessed music. With its ubiquity, music has been downgraded as insignificant or 'cheap'. This book deems that the best way to safeguard music is to comprehend the rightful place it occupies in our everyday modern life, and those more complex factors that rationalize our most profound experiences of music. The chapters in this book argue that the social and applied psychology approach to music can tackle issues such as: why some pieces elicit strong emotional reactions; what makes a good musician, or why some composers are forgotten easily; whether music can boost retailers' profits; whether there is a link between musical subculture and suicide; and whether music can be used to help sick patients. Using social and applied psychology to understand some questions about music helps to safeguard it by allowing people to make effective arguments concerning 'music as a manifestation of the human spirit'; against modern-day pressures such as neo-conservative protesters, accountants, and the digital revolution by demonstrating its social and financial value.
In the current resurgence of interest in the biological basis of animal behavior and social organization, the ideas and questions pursued by Charles Darwin remain fresh and insightful. This is especially true of The Descent of Man and Selection in Relation to Sex, Darwin's second most important work. This edition is a facsimile reprint of the first printing of the first edition (1871), not previously available in paperback. The work is divided into two parts. Part One marshals behavioral and morphological evidence to argue that humans evolved from other animals. Darwin shoes that human mental and emotional capacities, far from making human beings unique, are evidence of an animal origin and evolutionary development. Part Two is an extended discussion of the differences between the sexes of many species and how they arose as a result of selection. Here Darwin lays the foundation for much contemporary research by arguing that many characteristics of animals have evolved not in response to the selective pressures exerted by their physical and biological environment, but rather to confer an advantage in sexual competition. These two themes are drawn together in two final chapters on the role of sexual selection in humans. In their Introduction, Professors Bonner and May discuss the place of The Descent in its own time and relation to current work in biology and other disciplines.
This study was conducted with 418 French-Canadian adolescents from Montreal (Canada) and had three objectives: (1) to find empirical evidence that music listening in adolescence can lead to peer affiliation based upon music preferences; (2) to find out whether three styles of coping by music listening (original self-report scale: emotion-oriented, problem-oriented, and avoidance/disengagement) are related to depression levels in adolescence (French version of the Beck Depression Inventory: Bourque & Beaudette, 1982); (3) to examine whether peers' depression levels and coping by music listening are moderators of the relation between Metal music preference and depression levels in adolescent girls. The results of a peer nomination procedure indicated that music preferences and depression levels of participants are related to those of their peers. In girls, problem-oriented coping by music listening is linked to lower depression levels, whereas avoidance/disengagement coping by music listening is linked to higher depression levels. In boys. emotion-oriented coping by music listening is linked to higher depression levels. Finally, Metal music listening is related to higher depression levels in girls only if they affiliate with peers that are more depressed. The implications of the research regarding the music listening and psychosocial development and adjustment in adolescence are discussed.
In two samples of Finland-Swedish comprehensive school pupils tage 12-14), some pupils made private preference ratings of items representing traditional (i.e. classical and folk) and rock music, while others rated the items publicly in front of their classmates. Analyses of covariance showed the results to agree with the assumption that the pupils would tend towardls lower preference ratings for the traditional types of music when announcinlg their ratings publicly than when making them privately. The assumption that publicly made preference ratings of rock music would exceed private ratings was not confirmed. Considering some earlier research and some secondary explorative data of the current study, it could be hypothesised that the pupils' public preference behaviour is influenced both by their beliefs about the typical preference level in the peer group and by the extent to whicth preference for a certain music is related to social status. poptolarits, Mud similar socio-psychological variables.
The principal aim of this study was to determine if different profiles (types) of emotional reactions following music listening (happiness and sadness) characterized different levels of emotional well-being (i.e., positive and negative affects) in adolescence. The secondary aim was to examine relationships between social congruence in music tastes with friends or parents (i.e., sharing similar music tastes and having fewer conflicts about music) and emotional well-being in adolescence. This study's sample was composed of 316 adolescents (M=15.32 and S.D.=0.90 years of age; 172 girls and 144 boys). Cluster analysis identified three profiles: (1) ‘emotionally-negative listeners’ (medium happiness and higher sadness); (2) ‘emotionally-limited listeners’ (lower happiness and lower sadness); (3) ‘emotionally-positive listeners’ (higher happiness and lower sadness). Results indicated that ‘emotionally-negative listeners’ had less emotional well-being, that ‘emotionally-positive listeners’ had more emotional well-being, and that social congruence in music tastes with both friends and parents were related to more emotional well-being.
What can a music teacher do, when confronted with 99 percent immigrant students? How does he or she interpret guidelines in national governing documents and, at the same time, listen to the needs of the students? This article opens the doors to two music classrooms in Malmö, a Swedish town with 27 percent of the population born abroad. The project `Social Inclusion in Music education'(SIM), described here, sought to give voice to both teachers and students who work and live in multicultural areas. It was conducted as a collaborative project by a music teacher and a university lecturer-researcher in music education. The results show that the teacher and students involved all stress the importance of student engagement. In the observed classrooms, this engagement is encouraged by taking the music of the youth culture as a starting point.
Aesthetic development, having cognitive, social, and emotional aspects, is both complex and under-researched. To extend recent qualitative studies, the present paper reports a systematic and quantitative examination of age- and education-related differences in responses to a range of popular pictorial art. A total of 100 participants, ranging in age from 4 to 25 years, were asked to comment on examples of each of five genres: abstract, fine, modern, humorous, and cartoon art. Nine categories of response were identified; although most responses fell into the four categories of colour, subject matter, expression, and medium. The substantial age-related differences found in participants’ responses to art were similar across all genres, and only art students responded in substantially different ways to different art genres. Analysis of the correlations among these age- and educationrelated differences suggests that development of aesthetic understanding is branching and multidirectional rather than stage-like, and heavily determined by individual interests and experience.
This study investigated the degree to which English and American adolescents report similar reasons for listening to music. A questionnaire was completed by 245 participants (mean age = 15 27 years), on which they indicated how much each of 11 potential reasons for listening to music applied to them. Factor analysis revealed three factors which accounted for 60.3% of the variance in responses. These factors were interpreted as listening to music for reasons of "selfactualisation", to "fulfil emotional needs", and to "fulfil social needs". Whilst analysis of the factor scores did reveal some individual differences between responses of participants in each culture, overall there were no significant multivariate or univariate main effects of nationality. This suggests that the English and American adolescents' reasons for listening to music may similarly be explained by the same factors. © 2000 by the Society for Research in Psychology of Music and Music Education.
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258 titles are reviewed under the headings: tonal attributes; musical rhythm; consonance and interval; melody, scale, and key; musical emotion, listening and appreciation; learning; singing; music tests; psychology of the musician. These studies are experimental for the most part, but also include theoretical, biographical, bibliographical, and a few on general testing. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This six-month longitudinal study was conducted with 311 adolescents and verifies: (1) if music preferences can predict depression; (2) if personality traits can predict music preferences; (3) if music listening can represent a protective factor against depression. Results indicate that Soul music listening (e.g., hip hop, R&B) is a predictor of lower depression levels in adolescent girls. Personality dimensions from the Big Five reveal various predictive relations with music preferences, for instance Openness predicts music eclecticism. Soul music listening is a moderator of the predictive relationship between Neuroticism and depression levels in adolescent girls, thus pointing to a possible protective effect. Research paths for studies on music and adolescent development, personality traits, and evolutionary psychology are succinctly discussed. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
The past decade's research on the use and effects of older (television, music, movies, magazines) and newer media (the Internet, cell phones, social networking) on adolescents' health and well-being is reviewed. A portrait of patterns of use of the media is provided and then the predictors and effects of those patterns on adolescents' mental health is discussed. Research on the effects of exposure to specific kinds of content on adolescents' aggressive behavior, gender roles, sexual relationships, body image disturbances, obesity, and substance use also are reviewed. Finally, media literacy as a promising strategy for enhancing adolescents' use of the media in the future is considered.