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What’s Your Favorite Music? Music Preferences Cue Racial Identity
Abstract
Past research has shown that music preferences can provide meaningful personality and identity clues. However, no research has examined whether music preferences can convey meaningful information regarding racial identity. Across two studies, we find racial differences in music preferences and demonstrate that Black participants with lower racial centrality are more likely to prefer music associated with White Americans. In Study 1, we find that strangers can make somewhat accurate racial judgments based on music preferences alone. In Study 2, we demonstrate that people are aware of how their music preferences reflect their race. The results suggest that people have strong racial associations with certain music genres and thus may use music preferences to communicate about their racial identities.
... However, there are contrasting evidences about the anxiolytic and analgesic effect of music therapy for third molar surgery 2,5,7 . Of importance to this exploration among an African population is the established racial difference in pain perception 8 and music preferences 9 since most studies in the literature on this subject were conducted among the Caucasians. The literature search yielded a study that examined the effect of music therapy on haemodynamic balance without assessing its effect of pain and self-reported anxiety 4 . ...
... This is in contrast to earlier studies which demonstrated that non-surgical aspects of invasive dental treatment such as patients' behavioural modification and music intervention may be useful for achieving better clinico-emotional results for patients, and improve the quality of treatment by reducing pain and anxiety 2,15-19 . The opposing evidences was assumed to result from racial differences that exist in music preference and pain perception 8,9,20 . ...
Music therapy has been used with promising results to reduce pain and anxiety in surgical specialties. It is suggested to reduce anxiety and pain perception during dental surgeries and thereby improving clinical outcomes. Aim: The aim of this study is to determine whether listening to music during trans-alveolar mandibular third molar extraction reduces pain perception and anxiety. Methods: One hundred and forty-six adult participants were randomized into music and non-music groups, with each group comprising seventy-three participants. Each participant had trans-alveolar third molar extraction with or without music intervention depending on the group randomly assigned. Pain scores of participants were measured at one minute after consent, during and after administration of local anaesthetic, during osteotomy, after tooth delivery, and one minute after flap closure. Postoperative pain scores were recorded at one-hour, 3-hour, 6-hour, 24-hour and 48-hour after the last stitch. Pre- and post-operative anxiety scores were also recorded. Descriptive statistics was used to describe sociodemographic data. Student t-test was used to compare the mean of quantitative variables between the groups while chi-square test was used to compare proportions and to investigate association between categorical variables. The statistical significance was defined at p<0.05. Results: The study showed similar sociodemographic characteristics, baseline clinical features and duration of surgery between groups. Pain score peaked during local anaesthetic administration (p = 0.254) and at 3 hours after surgery (p = 0.170) but no statistically significant difference was observed in the mean pain score. The mean anxiety scores also revealed no statistically significant differences. Conclusion: Music was found to add no significant anxiolytic and adjunctive analgesic benefit to participants who underwent third molar surgeries in this study.
... Notably, targets arrived at the lab naïve about our request to photograph them and measure their music preferences, which allowed us to test whether people's daily, incidental appearance reflects their music preferences. Importantly, we digitally blurred any explicit music preference cues in clothing (e.g., a band logo) and statistically adjusted for targets' reported age, race, and gender (see Marshall & Naumann, 2018). We used photos of various body parts (including the full body, isolated body, head, hair, face, eyes, and mouth) to determine where music preference cues may lie. ...
... For instance, although race did not validly cue energetic/rhythmic genres here, we recognize that this likely results from recruiting an East Asian majority sample that reported enjoying upbeat/conventional music the most. Race may validly cue energetic/rhythmic music preferences in predominately White and Black target samples (Marshall & Naumann, 2018). Similarly, a predominantly White target sample that matched the demographic composition of the participants would lead to accurate detection of upbeat/conventional music preferences because they would have savvier mental representations of the fans. ...
Disclosing idiosyncratic preferences can help to broker new social interactions. For instance, strangers exchange music preferences to signal their identities, values, and preferences. Recognizing that people’s physical appearances guide their decisions about social engagement, we examined whether cues to people’s music preferences in their physical appearance and expressive poses help to guide social interaction. We found that perceivers could detect targets’ music preferences from photos of their bodies, heads, faces, eyes, and mouths (but not hair) and that the targets’ apparent traits (e.g., submissiveness, neatness) undergirded these judgments. Perceivers also desired to meet individuals who appeared to match their music preferences versus those who did not. Music preferences therefore seem to manifest in appearance, regulating interest in others and suggesting that one’s identity redundantly emerges across different types of cues. People may thus infer others’ music preferences to identify candidates for social bonding.
... As the research advances, more genres were being added to the theoretical framework as a response to the feedback given by respondents. Because of the vast number of genres, we have categorized them in 5 groups similar to the composite measure's method made by Marshal and Naumann (2018). ...
... To identify respondents' favorite genres of music, we have asked for 3 music bands that the subject listens to most of the time, similar to Marshal and Naumann (2018). Based on their responses we framed each band in a music genre using Spotify and Google Music search feature, resulting at least one to three music genres that we consider as "respondent's favorite". ...
The current paper addresses the population of youngsters that listen to
music labeled as “alternative”, analyzing a possible link between it and specific risk
behaviors such as: drug consumption and self-harm, also taking into consideration
aspects of their social life. Even if we assumed that there should be a correlation
between our respondents and some risk behaviors, we suspect that this connection is
in fact a consequence of the lifestyle they already have, rather than the music they
are listening to. In support to our hypothesis, a quantitative study was conducted
that addresses 171 respondents, all of them identified as “alternative music” listeners.
As expected, the results show that there is indeed a correlation between some of the
musical genres analyzed and specific risk behaviors, but we also discover various
problems in their social life, suggesting that music is not the only factor behind their
behavior.
... At the individual level, Huang et al. (2020) found that most Chinese college students preferred Chinese pop music because they shared the same cultural background. Similarly, Marshall and Naumann (2018) found that individuals identifying strongly with their race preferred music that was typically associated with that race (e.g., African Americans and rap music). These findings underscore the reciprocal relationship between the self and music. ...
In the last decade, the construct of ‘culture’ was featured very prominently in music cognition research. However, researchers have adopted a narrow conceptualisation and a limited repertoire of methodologies when investigating ‘culture’. The purpose of this article is to expand on recommendations of Jacoby et al. and propose a novel approach to cross-cultural investigations of affective experiences with music. First, I critically examine how culture has been operationalised in previous studies and present a theoretical framework outlining aspects of culture within the music context. My proposed framework recognises that culture manifests in the individual, the music, and the environment and context, and that these components are continually and mutually constituting one another. Second, I argue that the self is constituted in relation to the cultures that one is part of and hypothesise ways that self-construal theory, as a way of operationalising the self, can enhance current understanding of how culture impacts affective experiences with music. The empirical evidence reviewed shows that self-construal influences motivation, cognition, and emotion outside of musical contexts, which may similarly impact music preferences, perceived emotions, and felt emotions with music. Finally, I reflect on the implications of this approach for future developments in music psychology theory and research. Self-construal, as a means of operationalising the self, can potentially elucidate similarities and differences in affective experiences with music both between and within cultural contexts. Examining the self can be a step-change to advance theory and cross-cultural understanding of affective experiences within music psychology.
... Researchers have also recognized the importance of media-both traditional (e.g., television, magazines) and newer forms (e.g., social media, smartphones)-for young people's development (e.g., Craig & McInroy, 2014;Davis & Weinstein, 2017;Krcmar & Cingel, 2019;Slater, 2007;Valkenburg & Peter, 2013). However, much of the existing work examines digital media and identity content with speculations about identity development (e.g., Marshall & Naumann, 2018;Metcalfe & Llewellyn, 2020;Taylor et al., 2014), rather than examines identity development processes directly. Studies that have examined digital media use in relation to identity processes have also primarily focused on the personal identity domain (e.g., Agbaria & Bdier, 2021;Raiziene et al., 2022;. ...
Digital media is ubiquitous in adolescence and young adulthood. These are key developmental periods when people explore who they are and who they want to become. However, researchers have yet to fully understand digital media's role in shaping identity and its development. We build on prior work conceptualizing identity development as a contextually embedded process to describe how identity influences and is influenced by one's digital context. We propose a systematic framework for investigating the relationships between identity and digital environments (i.e., mediums and platforms, which vary according to their content and affordances) through four mechanisms: selection (i.e., choosing or avoiding digital environments), manipulation (i.e., intentionally altering or changing digital environments), evocation (i.e., unintentionally eliciting responses from digital environments), and application (i.e., integrating or applying experiences from digital environments). To conclude, we outline future directions for research that may clarify how identity development unfolds in the digital context.
... In Gökçen, Can, and Bağcı's (2021) study on the music listening habits of teachers, it is stated that one of the prominent music genres is Turkish Folk Music and it is an important factor that it reflects the core culture and cultural diversity in Turkey. In support of the findings, Marshall and Naumann (2018) state that people have strong identity relationships with certain types of music and therefore music preferences can be used to communicate about their cultural identity. In the light of these data, it can be said that especially students' music listening habits are an important factor in determining their attitudes towards intangible cultural heritage. ...
In this study, it was aimed to reveal the relationship between high school students’ music listening habits and their attitudes towards intangible cultural heritage elements. The research sample consists of 353 students studying at Isparta Süleyman Demirel Science High School. Research data were collected with a structured questionnaire. In the first part of the structured questionnaire consisting of three parts, there are questions to determine gender and grade, in the second part there are questions to determine the music listening habits of the students, and in the last part there is the Intangible Cultural Heritage Attitude Scale, the validity and reliability study of which was conducted by Gürel and Çetin (2019). The analyses within the scope of construct validity of the measurement tool were made and evaluated to be appropriate. In addition, as a result of the reliability analysis applied to the entire scale, Cronbach’s Alpha result was calculated as .871. Independent samples t-test and one-factor analysis of variance (ANOVA) were used to analyse the data obtained from the research. According to the results of the analyses, when the music listening habits of high school students and their attitudes towards intangible cultural heritage elements were examined, it was determined that there was no significant relationship according to gender, grade level, music listening tool, frequency of allocating special time for music listening and Turkish lyrics of music. In addition, it was determined that there was a significant difference between the type of music students listened to and their attitudes towards intangible cultural heritage elements.
... Different people usually have different preference for music. Through the mining of historical song records, we can get people's musical preference which can reveal their psychological tendency, personality traits, racial identity, esthetic value, religion, social activities and so on (Park et al. 2019;Júnior et al. 2019;Nave et al. 2018;Marshall and Naumann 2018;Gu et al. 2018). To obtain the music preference of a person, Fricke et al. (2018) used principal component analysis and Procrustes analysis to extract musical characteristics. ...
Online music communities reflect and influence people’s music tastes, providing a detailed digital record of individuals’ behavior. There have been extensive studies on human musical preference; however, the further questions of how the preferences correlate, how intensive and extensive a musical preference can spread in social networks and an individual’s preference is like his/her neighbors, and which factors are most relevant to the diversity of individual music preference are not well explored. In this paper, we analyze the music preference of users in a large online music community in China. We find that there exists obvious correlated musical preference for certain pairs of genres or languages. The preference locality leads to the decay of preference similarity between users and their neighbors with network distance, and the decay is asymmetric for fans and followees in terms of preference probability, preference distribution similarity and list similarity. Users’ musical preference well reflects their ethnic, cultural, and demographic features. We quantify preference diversity, reveal the factors which are significantly correlated with or can predict the diversity, and find that the mean diversity of users’ nearest fans can be the most important predictor. This study reveals the characteristics of users’ music preference, producing new sights on musical tastes, their diversity determinants, and their correlation with surrounding communities and cultures.
... This kind of music is arranged so that it is easy for tourists to digest popular sounds but still does not leave the Javanese identity as the locus that is being promoted. The musical style and modality of local wisdom need to be stated as the identity of the locus (Marshall and Naumann 2018). Table 1 is the lyrics of the song Kibar Benjor. ...
Beach tourism and seaside settlements are perennially popular. Nature's potential as well as the coast's characteristic hybrid art may always entice visitors. The settlements at the foot of the mountain, on the other hand, have their own unique environmental, gastronomic, and cultural identities. Bedugul village (Indonesia), Albarracin village (Spain), Reine village (Norway), Wengen village (Switzerland), Panglipuran village (Indonesia), Hallstatt village (Austria), Patiangan village (Indonesia), and Ora village (Indonesia) are some of the names given to the villages in Indonesia (Greece). They're all mountain communities that have successfully marketed themselves as tourist destinations at the foot of the mountain. The goal of this research is to come up with a viable approach for village branding at the foot of the mountain. This study is a hybrid of action research and development research, with a focus on tourism village acceleration. The Benjor village residents, Benjor village administrators, and a sample of potential visitors were polled for information. The community around Benjor village, the Malang Regency community, and persons outside the Malang Regency were all surveyed for potential visitors. Individual interviews or focus groups, environmental observations, and archives of village office records and Malang Regency government documents were used to gather data. The purpose of this study is to understand the tourism village process before and after therapy. Mining potential excavation yields eleven environmental assets in the form of waterfalls, five culinary assets in the form of chilli sauce, grilled rice, and other similar dishes, and three cultural assets in the form of hadrah, jaranan, and dancing. The development research yielded seven goods that Benjor villagers found to be the most effective in terms of branding. For mountain slope communities, the greatest method is to combine branded items that showcase their artistic, natural, and gastronomic potential.
... Music possesses a cultural identity that bilingual speakers embrace as their own and, although the idea of the Latino can provoke thoughts of only one culture or distort the idea of non-Hispanic speakers (Rivera-Rideau & Torres-Leschnik, 2019) it allows, in turn, the vindication of a community which has become the majority minority in the United States. In this sense, Marshall & Naumann (2018) state that musical preferences offer a closer view of personality than film, clothes, food, book, or television programme preferences do, and that these choices are appreciated as ways of communicating racial or cultural identities. In point 5.1, the difficulty which participants experienced in understanding music was discussed. ...
Music has multiple characteristics that make it an ideal tool for teaching and learning languages. Although some research has been done on this subject, there are still many areas to explore. This quantitative research presents survey data from 178 students of Spanish as a Foreign Language to better understand how adult learners use music and other media in their practice of Spanish. Non-parametric statistical tests were carried out. Data showed participants used music more frequently than other media as a means to practice Spanish outside of the classroom, despite having difficulties understanding the lyrics. Also, musical training was found to be an indicator of a higher level of lyrical comprehension. It was concluded that the growing popularity of Spanish language music, changes in music consumption, and the democratization of listening platforms— along with the ability that songs have to generate well-being and to create links, as well as to represent the target culture—were decisive factors in the use of songs in the learning of Spanish as a foreign language.
... A time series analysis of lyrical complexity in six decades of American popular music Music is a human universal (Dissanayacke, 2000;Mehr et al., 2019), and it is known to influence cognition, affect, and behavior (e.g., Anderson et al., 2003;Krumhansl, 2002;DeWall et al., 2011). Because songs-and particularly popular song lyrics-can be so rich in meaning (Cooper, 1985;Hayakawa, 1957), social scientists have long explored the ways that such lyrics intersect with some fundamental social processes, including identity formation and person perception (e.g., Hyden & McCandless, 1983;Marshall & Naumann, 2018;Reisman, 1957;Rentfrow & Gosling, 2003, 2006. ...
Song lyrics are rich in meaning. In recent years, the lyrical content of popular songs has been used as an index of culture’s shifting norms, affect, and values. One particular, newly uncovered, trend is that lyrics of popular songs have become increasingly simple over time. Why might this be? Here, we test the idea that increasing lyrical simplicity is accompanied by a widening array of novel song choices. We do so by using six decades (1958–2016) of popular music in the United States (N = 14,661 songs), controlling for multiple well-studied ecological and cultural factors plausibly linked to shifts in lyrical simplicity (e.g., resource availability, pathogen prevalence, rising individualism). In years when more novel song choices were produced, the average lyrical simplicity of the songs entering U.S. billboard charts was greater. This cross-temporal relationship was robust when controlling for a range of cultural and ecological factors and employing multiverse analyses to control for potentially confounding influence of temporal autocorrelation. Finally, simpler songs entering the charts were more successful, reaching higher chart positions, especially in years when more novel songs were produced. The present results suggest that cultural transmission depends on the amount of novel choices in the information landscape.
... Even the listener's occupation has an influence on tempo preferences (Foley, 1940). The trace of race exists in musical preferences; listeners with strong racial associations prefer to listen to music that communicates about their racial identities (Marshall & Naumann, 2018). ...
... Studies have shown that music preferences, inherent to musical genre, are dependent on three music attributes (Fricke et al., 2018;Greenberg et al., 2016): (1) arousal: tense and strong; (2) valence: amusing but not depressing; and (3) depth: complex, deep and intelligent. These music dimensions are, in its turn, related to personality traits, social connotation, race, cognitive abilities and self-views (Marshall & Naumann, 2018;Rentfrow, Goldberg & Levitin, 2011;Rentfrow & Gosling, 2003) ...
Background
As music listening is able to induce self-perceived and physiological signs of relaxation, it might be an interesting tool to induce muscle relaxation in patients with hypertonia. To this date effective non-pharmacological rehabilitation strategies to treat hypertonia in neurologically impaired patients are lacking. Therefore the aim is to investigate the effectiveness of music listening on muscle activity and relaxation.
Methodology
The search strategy was performed by the PRISMA guidelines and registered in the PROSPERO database (no. 42019128511). Seven databases were systematically searched until March 2019. Six of the 1,684 studies met the eligibility criteria and were included in this review. Risk of bias was assessed by the PEDro scale. In total 171 patients with a variety of neurological conditions were included assessing hypertonia with both clinicall and biomechanical measures.
Results
The analysis showed that there was a large treatment effect of music listening on muscle performance (SMD 0.96, 95% CI [0.29–1.63], I² = 10%, Z = 2.82, p = 0.005). Music can be used as either background music during rehabilitation (dual-task) or during rest (single-task) and musical preferences seem to play a major role in the observed treatment effect.
Conclusions
Although music listening is able to induce muscle relaxation, several gaps in the available literature were acknowledged. Future research is in need of an accurate and objective assessment of hypertonia.
... lyrics intersect with some fundamental social processes, including identity formation and person perception (e.g., Hyden & McCandless, 1983;Marshall & Naumann, 2018;Reisman, 1957;Rentfrow & Gosling, 2003, 2006, 2007. More recently, social psychologists have begun to view music as a cultural product and to examine the ways that popular music lyrics reflect important aspects of psychology at the cultural level; the content in popular lyrics indexes changing norms, affect, and values (e.g., Brand, Acerbi, & Mesoudi, 2019;DeWall, Pond, Campbell, & Twenge, 2011;Diamond, Bermudez, & Schensul, 2006;Eastman, Pettijohn, & Terry, 2015;Lambert et al., 2019;Pettijohn & Sacco, 2009a, 2009b. ...
Song lyrics are rich in meaning. In recent years, the lyrical content of popular songs has been used as an index of culture’s shifting norms, affect, and values. One particular, newly uncovered, trend is that lyrics of popular songs have become increasingly simple over time. Why might this be? Here, we test the idea that increasing lyrical simplicity is accompanied by a widening array of novel song choices. We do so by using six decades (1958-2016) of popular music in the United States (N = 14,661 songs), controlling for multiple well-studied ecological and cultural factors plausibly linked to shifts in lyrical simplicity (e.g., resource availability, pathogen prevalence, rising individualism). In years when more novel song choices were produced, the average lyrical simplicity of the songs entering U.S. billboard charts was greater. This cross-temporal relationship was robust when controlling for a range of cultural and ecological factors and employing multiverse analyses to control for potentially confounding influence of temporal autocorrelation. Finally, simpler songs entering the charts were more successful, reaching higher chart positions, especially in years when more novel songs were produced. The present results suggest that cultural transmission depends on the amount of novel choices in the information landscape.
... To address this concern, scholars have begun examining how rap lyrics activate stereotypes related to race more broadly, that is, beyond stereotypes of rap music. For example, studies have shown that people use music preferences to infer a person's race, which results in racially stereotypic judgments about that person (Dunbar & Kubrin, 2018;Fried, 2003;Marshall & Naumann, 2018;Rentfrow, McDonald, & Oldmeadow, 2009). Furthermore, exposure to rap music has been shown to increase the ease of associating Black people with negative traits like hostility, aggressiveness, and misogyny (Johnson et al., 2000;Rudman & Lee, 2002). ...
Scholars who study rap music have long expressed concerns that criticism of the genre is inextricably linked to stereotypes of young Black men in the United States. Yet minimal research has empirically examined how rap music is linked to race in ways that legitimize and maintain anti‐Black attitudes, particularly attitudes related to crime. This article reviews how scholars have typically challenged seemingly racialized concerns about rap music before surveying the handful of studies that empirically examine attitudes related to rap music, race, and crime. In so doing, this essay highlights a growing need for broader conceptualizations of race/ethnicity and social control.
... A growing body of research has been establishing connections between music preference and personality (for a review, see Rentfrow & McDonald, 2010). There also seem to be strong social associations between music preference and racial identity, notably in the sense that music preference is perceived as a criterion by which someone's race can be accurately judged (Marshall & Naumann, 2018). To some extent, such strong links could explain why criticism of our favourite music can be perceived as a personal insult. ...
This article will discuss how information and communication technologies (ICTs) are reshaping our soundscapes and, in the process, also ourselves. Streaming, as a self-directed experience of music listening, can be an important part of the construction of identity, and ICTs have been recognised as the most powerful ‘technologies of the self’. This article will argue that the ubiquitous presence of ICTs in the acoustic environment to which someone is exposed over the course of their lives is an important element in the construction of the self. In this process, ICTs operate by managing notifications, memories, and soundscaping. As hearing is a cultural construction, changes to the soundscape promoted by ICTs are discussed in terms of their role in the development of a ‘sonic self’. Muzak (background music), largely present in urban soundscapes as streaming music, plays an important role in this construction and is described from the point of view of its different uses and connotations. Finally, the sonic apprehension of the world and of our self is approached in light of the space-time shift promoted by the new digital environment created by ICTs.
In this article, we explore the concept of a “hidden curriculum” within generative AI, specifically Large Language Models (LLMs), and its intersection with the hidden curriculum in education. We highlight how AI, trained on biased human data, can perpetuate societal inequities and discriminatory practices despite appearing objective. We present a technology audit that examines how LLMs score and provide feedback on student writing samples paired with student descriptions. Findings reveal that LLMs exhibit implicit biases, such as assigning lower scores when students are said to attend an “inner-city school” or prefer rap music. In addition, the feedback text given to passages said to be written by Black and Hispanic students displayed higher levels of clout or authority, mirroring and legitimizing power dynamics of schooling. We conclude by discussing implications of these findings for teacher education, policy, and research, emphasizing the need to address AI’s hidden curriculum to avoid perpetuating educational inequality.
The sociological literature about music considers youth as a crucial period for the development of one’s music tastes and identity. Yet, scarce research has documented the taste profiles of adolescents and their composition in relation to identity characteristics, especially in the current streaming era. In this article, we integrate different strands of literature analyzing the role of music tastes in identity building to define and segment the composition of contemporary adolescents’ taste profiles. We employed data from a cross-sectional study among Belgian adolescents ( n = 533, M age (SD) = 15.3 (1.6), 61.1% girls, 83.2% Western European) and used latent class analysis to derive their taste profiles. Multinomial logistic regression subsequently segmented the socio-cognitive, social, and digital characteristics of these profiles. Our findings contextualize adult taste profiles among adolescents and the streaming landscape, shedding light on cultural tastes as gendered technologies of self-presentation.
In this study, we examined the associations between music preferences, uses of music and personality factors and facets. The sample included 449 participants (50% female, M = 23.59, SD = 2.14) who indicated preferences for international and regional music styles that were classified into Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, Energetic and Rhythmic, and Regional preferences, and filled in the Uses of Music Inventory and IPIP-300 questionnaire. After controlling for age, gender and uses of music, personality significantly added to the prediction of all music preferences, except Energetic and Rhythmic. Personality factors explained additionally from 9% to 21%, and facets from 18% to 34% of the music preference variance, respectively. Openness, as well as some openness facets, emerged as significant predictors for different music preferences. Our results indicate that when trying to explain preferences with personality traits, the personality traits should be measured at the facet level.
Glazba ima važnu ulogu za adolescente jer se u tom životnom razdoblju oblikuju osobni i društveni identiteti, ali izgrađuju i glazbene preferencije. U okviru ovoga rada provedeno je online anketiranje koje je obuhvatilo 200 sudionika, odnosno učenika osnovnih općeobrazovnih škola iz pet hrvatskih županija u dobi od 13 i 14 godina. Cilj istraživanja bio je doznati glazbene preferencije učenika te utječu li sociodemografske varijable i nastava glazbe na njihove preferencije. Djevojčice su iskazale nešto veću sklonost prema svim ponuđenim vrstama glazbe, a posebice prema popularnoj glazbi. Sudionici čiji se roditelji bave glazbom značajno su skloniji umjetničkoj i popularnoj glazbi. Kada je u pitanju mjesto življenja, značajne razlike uočene su kod sklonosti rock glazbi koja je značajno viša kod sudionika iz grada. Sudionici koji procjenjuju da postoji utjecaj nastave glazbe i oni koji kod kuće slušaju skladbe s nastave značajno češće izvještavaju o interesu za umjetničku glazbu. Rezultati istraživanja ukazuju na potrebu većeg angažmana učitelja glazbe i roditelja u stjecanju glazbenih preferencija djece, posebice prema kvalitetnoj glazbi.
Music plays an important role for adolescents since personal and social identities are formed during this period of life, but they also build musical preferences. Within this paper, an online survey was conducted, which included 200 respondents, i.e. primary school students from five Croatian counties aged 13 and 14. The aim of the research was to find out the musical preferences of students and whether sociodemographic variables and music teaching influence their preferences. The girls showed a slightly greater preference for all types of music offered, and especially for popular music. Respondents whose parents are involved in music are significantly more inclined to artistic and popular music. When it comes to place of residence, significant differences were observed in the preference for rock music, which is significantly higher among respondents from the city. Respondents who estimate that there is an impact of music teaching and those who listen to compositions from classes at home report an interest in art music significantly more often. The results of the research indicate the need for greater involvement of music teachers and parents in acquiring children’s musical preferences, especially towards quality music.
Objective: Two longitudinal studies examined whether effects of subjective norms on secondary cancer prevention behaviors were stronger and more likely to non-deliberative (i.e., partially independent of behavioral intentions) for African Americans (AAs) compared to European Americans (EAs), and whether the effects were moderated by racial identity. Design: Study 1 examined between-race differences in predictors of physician communication following receipt of notifications about breast density. Study 2 examined predictors of prostate cancer screening among AA men who had not been previously screened.Main Outcome Measures: Participants’ injunctive and descriptive normative perceptions; racial identity (Study 2); self-reported physician communication (Study 1) and PSA testing (Study 2) behaviors at follow up. Results: In Study 1, subjective norms were significantly associated with behaviors for AAs, but not for EAs. Moreover, there were significant non-deliberative effects of norms for AAs. In Study 2, there was further evidence of non-deliberative effects of subjective norms for AAs. Non-deliberative effects of descriptive norms were stronger for AAs who more strongly identified with their racial group. Conclusion: Subjective norms, effects of which are non-deliberative and heightened by racial identity, may be a uniquely robust predictor of secondary cancer prevention behaviors for AAs. Implications for targeted screening interventions are discussed.
The present study presents preliminary evidence regarding the reliability and validity of the Multidimensional Inventory of Black Identity (MIBI). The MIBI consists of 7 subscales representing 3 stable dimensions of African American racial identity (Centrality, Ideology, and Regard). Responses to the MIBI were collected from 474 African American college students from a predominantly African American university ( n = 185) and a predominantly White university ( n = 289). As the result of factor analysis, a revised 5 I-item scale was developed. Evidence was found for 6 subscales. The Public Regard subscale was dropped because of poor internal consistency. Interscale correlations suggest that the MIBI is internally valid. Relationships among the MIBI subscales and race-related behavior suggest that the instrument has external validity. Descriptive statistics for the revised MIBI are provided for the entire sample as well as by school. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Social identification denotes individuals' psychological bond with their ingroup. It is an indispensable construct in research on intragroup and intergroup dynamics. Today's understanding of social identification is firmly grounded in self-stereotyping principles (i.e., assimilation to the ingroup prototype). However, we argue for a more integrative approach to understand social identification, including a more prominent role for the personal self. We present the Integrative Model of Social Identification (IMSI) and postulate that there are two cognitive pathways to self-group overlap that can simultaneously yet distinctly explain social identification: self-stereotyping and self-anchoring (i.e., projection of personal self onto ingroup). We review different theoretical and methodological approaches to both processes and integrate them into one model. Subsequently, we empirically demonstrate the positive relationship between self-stereotyping, self-anchoring, and identification in various group contexts and individuals. In sum, our model highlights the dynamic interplay of personal and social self as cornerstones of social identification.
© 2015 by the Society for Personality and Social Psychology, Inc.
Previous research has drawn mixed conclusions regarding the relationship between White racial identity and attitudes toward diversity. We propose that identity form may help to disambiguate this relationship. In the present study, White participants wrote brief essays and were grouped based on their exhibition of one of three White identity forms: power-cognizant, prideful, or weakly identified. These groups were then compared on measures of White identification and attitudes toward diversity. A power-cognizant identity was associated with more pro-diversity attitudes than a prideful identity, despite equivalently high identification. A weakly identified form was associated with low identification and relatively neutral attitudes toward diversity. The findings suggest that, when predicting Whites' attitudes toward diversity, identity form matters.
Adolescents' understandings of their social identities and related personal experiences influence their adaptations and responses within domains in which those identities are salient. The authors explore associations of racial identity beliefs regarding how Blacks should act, think, and behave (racial ideologies) and racial discrimination experiences with academic engagement outcomes among 390 African American adolescents in Grades 7 to 10. Results indicate that youths' endorsement of ideological beliefs emphasizing being more like Whites (assimilation ideology) related to more fears of being viewed as high achievers by peers (public oppositional academic identification), lower academic persistence and curiosity, and more school behavioral problems. Emphasizing commonalties with Blacks and other oppressed groups (minority ideology) related to positive engagement outcomes. Youths reporting more racial discrimination showed lower school engagement. Finally, racial ideologies moderated the relationship between discrimination and academic outcomes, such that youths holding stronger assimilation views showed lower academic identification when reporting racial discrimination, relative to youth who endorsed those views less. Findings are discussed relative to their potential impact on ethnic minority achievement research and educational practice.
In four studies, effects of self-perceived or public-perceived threats to group status or group distinctiveness on self-stereotyping (defined as similarity to prototypical in-group members) were investigated for people with high or low in-group identification. The main prediction was that high and low identifiers will respond differentially when their group's status or distinctiveness is threatened such that self-stereotyping is reduced for low identifiers but enhanced for high identifiers. Although the four studies investigated different comparison groups and different kinds of group threat, the results of all studies provided support for the prediction, and this was confirmed by a meta-analysis. This supports the authors' argument that the initial level of group identification determines whether group members are likely to set themselves apart from the rest of their group or to show group solidarity when their identity as group members is threatened.
Several studies indicate that musical preferences provide a means of discriminating between social groups, and suggest indirectly that musical preferences should correlate with a variety of different lifestyle choices. In this study, 2532 participants responded to a questionnaire asking them to state their musical preference and also to provide data on various aspects of their lifestyle (namely interpersonal relationships, living arrangements, moral and political beliefs, and criminal behaviour). Numerous associations existed between musical preference and these aspects of participants' lifestyle. The nature of these associations was generally consistent with previous research concerning a putative liberal-conservative divide between differing groups of fans. It is concluded that participants' musical preferences provided a meaningful way of distinguishing different lifestyle choices. Copyright
The authors propose that cultural frame shifting—shifting between two culturally based interpretative lenses in response to cultural cues—is moderated by perceived compatibility (vs. opposition) between the two cultural orientations, or bicultural identity integration (BII). Three studies found that Chinese American biculturals who perceived their cultural identities as compatible (high BII) responded in culturally congruent ways to cultural cues: They made more external attributions (a characteristically Asian behavior) after being exposed to Chinese primes and more internal attributions (a characteristically Western behavior) after being exposed to American primes. However, Chinese American biculturals who perceived their cultural identities as oppositional (low BII) exhibited a reverse priming effect. This trend was not apparent for noncultural primes. The results show that individual differences in bicultural identity affect how cultural knowledge is used to interpret social events.
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.
Through the development of the Short Test of Musical Preferences (STOMP) and a larger theory of music preferences, Rentfrow and Gosling (2003, 2006) have helped guide the way toward understanding the role of music in people's lives, and the relationship between music preferences and personality. The four music dimensions they established in their 2003 study provide a broad-brush look at some of the relationships between music preferences and personality. This study of 83 undergraduates at Guilford College in Greensboro, NC, used the NEO-PI, rather than the Big Five Inventory, which allowed us to examine the six facets that make up each of the Big Five traits as well as those traits themselves, and it looked separately at the music genres that make up the four music dimensions identified by Rentfrow and Gosling (2003). The findings provide general support for Rentfrow and Gosling's work, but they also demonstrate that the personality patterns for the specific music genres differ considerably from one another, even those that fall within the same broad music dimensions. The Openness trait was by far the most robust of the Big Five traits assessed by the NEO-PI, and preferences for some music genres (e.g., folk, international music, and rap/hip-hop) were far more revealing of personality than others (e.g., classical, rock, and electronic). (PsycINFO Database Record (c) 2012 APA, all rights reserved)
The purpose of this investigation was to develop a conceptually grounded scale to assess cognitive aspects of color-blind racial attitudes. Five studies on the Color-Blind Racial Attitudes Scale (CoBRAS) with over 1,100 observations provide initial reliability and validity data. Specifically, results from an exploratory factor analysis suggest a 3-factor solution: Unawareness of Racial Privilege, Institutional Discrimination, and Blatant Racial Issues. A confirmatory factor analysis suggests that the 3-factor model is a good fit of the data and is the best of the competing models. The CoBRAS was positively related to other indexes of racial attitudes as well as 2 measures of belief in a just world, indicating that greater endorsement of color-blind racial attitudes was related to greater levels of racial prejudice and a belief that society is just and fair. Self-reported CoBRAS attitudes were sensitive to diversity training. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
The current study examines the stereotypes that people hold about fans of heavy metal and rap music. Based on pervious research, it was hypothesized that stereotypes of fans of heavy metal would focus on traits and behaviors that are self-destructive, while stereotypes of fans of rap music would focus on traits and behaviors that threaten to others. The results support the hypothesis. Heavy metal fans are seen as a threat to themselves while rap fans are seen as a threat to others. In addition, fans of rap music were more likely to be described in reference to race and demographic factors. The study is discussed in terms of public concern about the negative influences of popular music on teens.
GPOWER is a completely interactive, menu-driven program for IBM-compatible and Apple Macintosh personal computers. It performs
high-precision statistical power analyses for the most common statistical tests in behavioral research, that is,t tests,F tests, andχ
2 tests. GPOWER computes (1) power values for given sample sizes, effect sizes andα levels (post hoc power analyses); (2) sample sizes for given effect sizes,α levels, and power values (a priori power analyses); and (3)α andβ values for given sample sizes, effect sizes, andβ/α ratios (compromise power analyses). The program may be used to display graphically the relation between any two of the relevant
variables, and it offers the opportunity to compute the effect size measures from basic parameters defining the alternative
hypothesis. This article delineates reasons for the development of GPOWER and describes the program’s capabilities and handling.
Seven experts on personality measurement here discuss the viability of public-domain personality measures, focusing on the International Personality Item Pool (IPIP) as a prototype. Since its inception in 1996, the use of items and scales from the IPIP has increased dramatically. Items from the IPIP have been translated from English into more than 25 other languages. Currently over 80 publications using IPIP scales are listed at the IPIP Web site (http://ipip.ori.org), and the rate of IPIP-related publications has been increasing rapidly. The growing popularity of the IPIP can be attributed to five factors: (1) It is cost free; (2) its items can be obtained instantaneously via the Internet; (3) it includes over 2000 items, all easily available for inspection; (4) scoring keys for IPIP scales are provided; and (5) its items can be presented in any order, interspersed with other items, reworded, translated into other languages, and administered on the World Wide Web without asking permission of anyone. The unrestricted availability of the IPIP raises concerns about possible misuse by unqualified persons, and the freedom of researchers to use the IPIP in idiosyncratic ways raises the possibility of fragmentation rather than scientific unification in personality research.
The present work looks at the self-stereotyping process and reveals its underlying cognitive structure. When this process occurs, it is necessarily the result of an overlap between the representation of the ingroup and that of the self. Two studies measured this overlap and showed that it was higher on stereotype-relevant than on stereotype-irrelevant traits, it involved both positive and negative stereotypical traits, and it implied a deduction-to-the-self process of ingroup stereotypical dimensions. Moreover, the status of one's social group was found to be a key variable in this process, showing that self-stereotyping is limited to low-status group members. Indeed, results of Study 2 showed that the overlap between the self and the ingroup for high-status group members was the result of an induction-to-the-ingroup process of personal characteristics. Implications for research on people's self-construal are discussed.
The study focuses on the relationship between racial identity and academic achievement for African American college students. The Multidimensional Model of Racial Identity (MMRI) was used to assess the relationship between racial centrality, racial ideology, and academic performance. A total of 248 participants were recruitedfrom a predominantly Black college and a predominantly White college and were administered the Multidimensional Inventory of Black Identity (MIBI) to assess their racial ideology and racial centrality. Participants also were asked to report their cumulative grade point averages (GPAs). Consistent with the MMRI, racial centrality moderates the relationship between racial ideology and academic performance such that assimilation and nationalist ideologies were negatively associated with GPA and a minority ideology was positively associated with GPA for students who scored high on racial centrality. Racial ideology was not a significant predictor of GPA for participants who scored low on racial centrality. Peer Reviewed http://deepblue.lib.umich.edu/bitstream/2027.42/68124/2/10.1177_00957984980241002.pdf
We examined whether culture-relevant affirmations that focus on family (i.e., family affirmation) would enhance performance for Latino students compared to affirmations that focus on the individual (i.e., self-affirmation). In Study 1 (N = 82), Latino middle school students exposed to a family affirmation outperformed Latino students exposed to a self-affirmation. In Study 2 (N = 269), Latino college students exposed to a family affirmation outperformed Latino students exposed to a self-affirmation and outperformed European American students across conditions. European American students performed equally well across conditions. The findings suggest that culture provides a meaningful framework for developing effective classroom strategies.
Canadian progressive rock band Rush was the voice of the suburban middle class. In this book, Chris McDonald assesses the band's impact on popular music and its legacy for legions of fans. McDonald explores the ways in which Rush's critique of suburban life - and its strategies for escape - reflected middle-class aspirations and anxieties, while its performances manifested the dialectic in prog rock between discipline and austerity, and the desire for spectacle and excess. The band's reception reflected the internal struggles of the middle class over cultural status. Critics cavalierly dismissed, or apologetically praised, Rush's music for its middlebrow leanings. McDonald's wide-ranging musical and cultural analysis sheds light on one of the most successful and enduring rock bands of the 1970s and 1980s.
Part I. From There to Here - Theoretical Background: 1. From visiousness to viciousness: theories of intergroup relations 2. Social dominance theory as a new synthesis Part II. Oppression and its Psycho-Ideological Elements: 3. The psychology of group dominance: social dominance orientation 4. Let's both agree that you're really stupid: the power of consensual ideology Part III. The Circle of Oppression - The Myriad Expressions of Institutional Discrimination: 5. You stay in your part of town and I'll stay in mine: discrimination in the housing and retail markets 6. They're just too lazy to work: discrimination in the labor market 7. They're just mentally and physically unfit: discrimination in education and health care 8. The more of 'them' in prison, the better: institutional terror, social control and the dynamics of the criminal justice system Part IV. Oppression as a Cooperative Game: 9. Social hierarchy and asymmetrical group behavior: social hierarchy and group difference in behavior 10. Sex and power: the intersecting political psychologies of patriarchy and empty-set hierarchy 11. Epilogue.
This chapter presents an integrated understanding of various impression formation processes. The chapter introduces a model of impression formation that integrates social cognition research on stereotyping with traditional research on person perception. According to this model, people form impressions of others through a variety of processes that lie on a continuum reflecting the extent to that the perceiver utilizes a target's particular attributes. The continuum implies that the distinctions among these processes are matters of degree, rather than discrete shifts. The chapter examines the evidence for the five main premises of the model, it is helpful to discuss some related models that raise issues for additional consideration. The chapter discusses the research that supports each of the five basic premises, competing models, and hypotheses for further research. The chapter concludes that one of the model's fundamental purposes is to integrate diverse perspectives on impression formation, as indicated by the opening quotation. It is also designed to generate predictions about basic impression formation processes and to help generate interventions that can reduce the impact of stereotypes on impression formation.
I provide quantitative evidence of a cultural phenomenon. Using data on musical dislikes from the 1993 General Social Survey, I link literatures on taste, racism, and democratic liberalism by showing that people use cultural taste to reinforce symbolic boundaries between themselves and categories of people they dislike. Contrary to Bourdieu's (1984) prediction, musical exclusiveness decreases with education. Also, political tolerance is associated with musical tolerance, even controlling for educational attainment, and racism increases the probability of disliking genres whose fans are disproportionately non-White. Tolerant musical taste, however, is found to have a specific pattern of exclusiveness: Those genres whose fans have the least education - gospel, country, rap, and heavy metal - are also those most likely to be rejected by the musically tolerant. Broad familiarity with music genres is also significantly related to education. I suggest, therefore, that cultural tolerance constitutes multicultural capital as it is unevenly distributed in the population and evidences class-based exclusion.
First-generation students experience a cultural mismatch in university settings. ► This mismatch leads to an aversive state that affects biological functioning. ► Independent norms produced a social class gap in cortisol and negative emotions. ► Interdependent norms eliminated the social class gap in cortisol and negative emotions. American universities increasingly admit rst-generation students—students whose parents do not have four-year degrees. Once admitted, these students experience greater challenges adjusting to universities compared to continuing-generation students—students who have at least one parent with a four-year degree. This additional adversity is typically explained in terms of rst-generation students' relative lack of economic (e.g., money) or academic (e.g., preparation) resources. We propose that this adversity also stems from a cultural mismatch between the mostly middle-class, independent norms institutionalized in American uni-versities and the relatively interdependent norms that rst-generation students are socialized with in working-class contexts before college. As predicted, an experiment revealed that framing the university culture in terms of independent norms (cultural mismatch) led rst-generation students to show greater increases in cortisol and less positive/more negative emotions than continuing-generation students while giving a speech. However, reframing the university culture to include interdependent norms (cultural match) eliminated this gap.
This article explores the uneven gendered geographies of rap music. It argues that Black men's blocked access to culturally dominant masculinity, vis-à-vis access to public space – and the resulting containment of Black men within Black communities – has produced an overly compensatory form of masculinity, for which access to and control of the public domain within Black communities is essential for access to hegemonic masculinity. Rapidly declining economic opportunity has meant that young Black men thrown out of work put their talents, time, and energy into an emerging youth culture brewing in parks, on street corners, train stations, and viaducts in places such as the South Bronx. The early innovators of the hip-hop movement used this new art form to remake the public space of the abandoned, segregated, and spatially disempowered Black neighborhoods they lived in. It was in this context that the link between masculinity and rap music was established. I conclude by providing an example of how Black women have found ways to break the link between masculinity and the mic by creating spaces where they can confront and remake the uneven geography of hip-hop, restoring hip-hop's radical spatial potential.
The purpose of this research was to examine the relationship between musical preference, commitment to popular music and behavior problems of teenagers in an optional middle school.
This article examines adolescents' attitudes toward rap music, specifically racial differences in Black and White adolescents' perceptions of rap. Rap critics have long touted the allegedly deleterious effects of rap, but few researchers have asked fans themselves how rap has affected them. This study uses a survey of 51 adolescents in a Midwestern city to examine racial differences in preferences for and interpretations of rap music. Survey results indicate that racial differences in the popularity of rap music are limited. However, further questions reveal that African American youth are more committed to rap music and are more likely to see rap music as life affirming. Although both groups appear to have favorable opinions of rap, their commitment to it and its significance in their lives varies by race.
In the present research, we examined the hypothesis that cues of social connectedness to a member of another social group can spark interest in the group's culture, and that such interest, when freely enacted, contributes to reductions in intergroup prejudice. In two pilot studies and Experiment 1, we found that extant and desired cross-group friendships and cues of social connectedness to an out-group member predicted increased interest in the target group's culture. In Experiments 2 and 3, we manipulated cues of social connectedness between non-Latino American participants and a Latino American (i.e., Mexican American) peer and whether participants freely worked with this peer on a Mexican cultural task. This experience reduced the participants' implicit bias against Latinos, an effect that was mediated by increased cultural engagement, and, 6 months later in an unrelated context, improved intergroup outcomes (e.g., interest in interacting with Mexican Americans; Experiment 4). The Discussion section addresses the inter- and intragroup benefits of policies that encourage people to express and share diverse cultural interests in mainstream settings.
This study's purpose was to examine the effects of black and white listeners' and performers' race on music preferences. On a Likert-type rating scale, middle-school (n = 102) and university (n =119) listeners indicated how much they liked or disliked 20 taped music examples. On a second rating scale, the listeners selected a point closest to the racial identifier that they believed described the performer's race. A second measurement examined the participants' attitudes toward social encounters with blacks and whites.
Only the black listeners showed statistically significant differences in their music preferences for white and black performers (p < .01). These listeners gave stronger preference ratings when they identified the performer's race as black. White listeners' preference ratings, however, were virtually equal for the black and white performers. On the social-encounter measurement, both black and white respondents provided more positive responses to statements of encounters with members of their own race than with the other racial group.
The present research examined the content and validity of stereotypes about fans of 14 different music genres (e.g. country, rap, rock). In particular, we focused on stereotypes concerning fans' personalities (e.g. extraversion, emotional stability), personal qualities (e.g. political beliefs, athleticism), values (e.g. for peace, for wisdom), and alcohol and drug preferences (e.g. wine, hallucinogens). Previous research has shown that music is linked to a variety of psychological characteristics, that music is used to convey information about oneself to observers, and that observers can infer personality on the basis of music preferences. Guided by such research, we predicted and found that individuals have robust and clearly defined stereotypes about the fans of various music genres (Study 1), and that many of these music-genre stereotypes possess a kernel of truth (Study 2). Discussion focuses on the potential role of music-genre stereotypes in self-expression and impression formation. Copyright
Several studies indicate that musical preferences provide a means of discriminating between social groups, and suggest indirectly that musical preferences should correlate with a variety of different lifestyle choices. In this study, 2532 participants responded to a questionnaire asking them to state their musical preference and also to provide data on various aspects of their lifestyle (namely media preferences, leisure interests and music usage). Numerous associations existed between musical preference and these aspects of participants’ lifestyle. The nature of these associations was consistent in part with previous research on taste publics concerning the high-culture-low-culture divide, such that fans of ‘high-art’ and ‘low-art’ musical styles demonstrated a preference for other ‘high-art’ and ‘low-art’ media objects respectively, as reflected in reading, TV and radio preferences, and leisure activities.
This research investigated the stereotypes associated with rap music and hip-hop culture, and how those stereotypes may influence anti-Black attitudes and justifications for discrimination. In three studies—using a representative sample from America, as well as samples from two different countries—we found that negative stereotypes about rap are pervasive and have powerful consequences. In all three samples, negative attitudes toward rap were associated with various measures of negative stereotypes of Blacks that blamed Blacks for their economic plights (via stereotypes of laziness). Anti-rap attitudes were also associated with discrimination against Blacks, through both personal and political behaviors. In both American samples, the link between anti-rap attitudes and discrimination was partially or fully mediated by stereotypes that convey Blacks' responsibility. This legitimizing pattern was not found in the UK sample, suggesting that anti-rap attitudes are used to reinforce beliefs that Blacks do not deserve social benefits in American society, but may not be used as legitimizing beliefs in other cultures.
Several studies indicate that musical preferences provide a means of discriminating between social groups, and suggest indirectly that musical preferences should correlate with a variety of different lifestyle choices. In this study, 2532 participants responded to a questionnaire asking them to state their musical preference and also to provide data on various social class-related aspects of their lifestyle (namely travel, personal finances, education, employment, health, and drinking and smoking). Numerous associations existed between musical preference and these aspects of participants' lifestyle. The nature of these associations indicated that liking for `high-art' music was indicative of a lifestyle of the upper-middle and upper classes, whereas liking for `low-art' music was indicative of a lifestyle of the lower-middle and lower classes. Issues concerning causality are discussed with reference to the likely complex interaction of numerous factors.
impression formation processes are assumed to be bottom-up, or data-driven, with an integrated representation of the individual person as the final product / challenges this prevailing view of the person perception process by proposing an alternative model of social cognition that incorporates top down processing as well as data-driven constructions
differences between these two modes of impression formation are elaborated
implications for how and when social cognition differs from object perception are discussed
comparison of processing stages
identification / automatic processing
typing / structure and format of person categories
person types / words or images
impression formation as category matching
individuation / intracategory differentiation
personalization / formation of person-based impressions (PsycINFO Database Record (c) 2012 APA, all rights reserved)
begin with an overview, from the perspective of cross-cultural psychology, of the factors that may govern the relationship between acculturation and mental health in immigrant and refugee populations / a general description of the processes of acculturation and adaptation will be given first, followed by a review of what the general literature tells us about how individuals and groups can achieve a successful outcome / general principles will be applied to the special situation of immigrants and refugees
the concepts of acculturation and adaptation will be employed to describe and analyze this overall chain of events from initial contact to the eventual mental health consequences for the individual / acculturative stress (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This book presents a new theory of the social group which seeks to explain how individuals become unified into a group and capable of collective behaviour.
The book summarizes classic psychological theories of the group, describes and explains the important effects of group membership on social behaviour, outlines self-categorization theory in full and shows how the general perspective has been applied in research on group formation and cohesion, social influence, the polarization of social attitudes, crowd psychology and social stereotyping. The theory emerges as a fundamental new contribution to social psychology. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
The first part of this book has appeared previously (see Neyman, Jerzy. (Ed.) Berkeley symposium on mathematical statistics and probability. Berkeley: University of California Press, 1949). Part II branches out from 2 of the model experiments in Part I "… in which the level of complexity has reached the criterion of functionality, expanding their basic principles over other areas of perception." The topic of perceptual constancies is expanded (3 chaps.) and their relation to thinking investigated. Other topics include: social perception, a fully representative design with textural ecology, probabilistic cue learning, clinical applications, and theoretical considerations. 211-item bibliography. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Theories of Group Attachment2Appraisals of Intergroup Relations3From Prejudice to Emotions4Intergroup Behaviors5Challenges and Promises
Adolescence is a period when many youth are subjected to close scrutiny by peers. Acting white is one of the most negative
accusations one African American adolescent can hurl at another. The accusation has been documented as early as elementary
school; however, the research indicates it is most salient and first likely to occur during early adolescence. In this paper,
the assessment of adolescents’ experience of the acting white accusation is sought. A series of studies are presented that
explore both qualitative and quantitative approaches to assessing the acting white accusation wherein the qualitative data
and findings guide the formation of a quantitative assessment of the acting white accusation experience. Based on the results,
a mixed methods approach is recommended to facilitate further understanding of the accusation.
KeywordsActing white accusation-Mixed methods approach-Racial identity
The authors review their previous explanation of black students' underachievement. They now suggest the importance of considering black people's expressive responses to their historical status and experience in America. Fictive kinship is proposed as a framework for understanding how a sense of collective identity enters into the process of schooling and affects academic achievement. The authors support their argument with ethnographic data from a high school in Washington, D.C., showing how the fear of being accused of acting white causes a social and psychological situation which diminishes black students' academic effort and thus leads to underachievement. Policy and programmatic implications are discussed.
Administered a collective self-esteem scale (CSES) and measures of psychological well-being (personal self-esteem, life satisfaction, depression, and hopelessness) to 91 Black, 96 White, and 35 Asian college students. Correlations between the Public and Private subscales of the CSES were near zero for Blacks, moderate for Whites, and strong for Asians. The membership and private subscales of the general CSES were related to psychological well-being, even when the effects of personal self-esteem on well-being were partialed out. However, when the 3 groups were examined separately, the relation of CSE to well-being with personal self-esteem partialed out was nonsignificant for Whites, small for Blacks, and moderate to strong for Asians. General and race-specific CSE were correlated for all 3 groups, although the correlations were strongest for Asians. (PsycINFO Database Record (c) 2010 APA, all rights reserved)
When time is limited, researchers may be faced with the choice of using an extremely brief measure of the Big-Five personality dimensions or using no measure at all. To meet the need for a very brief measure, 5 and 10-item inventories were developed and evaluated. Although somewhat inferior to standard multi-item instruments, the instruments reached adequate levels in terms of: (a) convergence with widely used Big-Five measures in self, observer, and peer reports, (b) test–retest reliability, (c) patterns of predicted external correlates, and (d) convergence between self and observer ratings. On the basis of these tests, a 10-item measure of the Big-Five dimensions is offered for situations where very short measures are needed, personality is not the primary topic of interest, or researchers can tolerate the somewhat diminished psychometric properties associated with very brief measures.