Music misuse: A review of the personal and collective roles of “problem music”

Literature on musical preferences and their influence on behavior and ideation has primarily focused on specific musical preferences and linked certain music genres with psychological vulnerability and social deviance. The aim of this review was to: (a) gather information about musical preferences and their influence on behavior and thoughts in order to determine both positive and negative influences of each music genre on listeners; (b) present the main literature about genres that have negative influence on listeners; and (c) provide theoretical explanations for the psychological and sociological functions of those genres. A systematic review of the literature identified the following genres as having negative influence on listeners: alternative rock, hard rock, heavy metal, hip-hop/rap, punk rock, rock and trance/house/electronic/techno. Research showed that those genres were associated with substance and alcohol abuse, opposing authority and rebelliousness, impulsive and antisocial traits, violent behavior, and delinquency. Of the few studies that investigated positive aspects of the above genres, some focused on the role of those genres in regulating negative feelings and constructing personal and social identity, while other studies stressed the importance of those genres in constructing group and cultural identity and educating listeners.     

The structure of musical preferences: a five-factor model

Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. Here, we introduce a model of musical preferences based on listeners' affective reactions to excerpts of music from a wide variety of musical genres. The findings from 3 independent studies converged to suggest that there exists a latent 5-factor structure underlying music preferences that is genre free and reflects primarily emotional/affective responses to music. We have interpreted and labeled these factors as (a) a Mellow factor comprising smooth and relaxing styles; (b) an Unpretentious factor comprising a variety of different styles of sincere and rootsy music such as is often found in country and singer-songwriter genres; (c) a Sophisticated factor that includes classical, operatic, world, and jazz; (d) an Intense factor defined by loud, forceful, and energetic music; and (e) a Contemporary factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and the auditory characteristics of the music.     

Young People's Musical Taste: Relationship With Gender and Gender‐Related Traits1

The present study extended previous findings of gender differences in young people's musical taste by examining whether identification with gender‐related expressive or instrumental traits contributes to these differences, and by examining the underlying structure of musical taste by gender. The results confirmed greater liking of heavier contemporary music among men and of chart pop music among women. Gender was a stronger predictor of taste for gender‐stereotyped styles than identification with gender‐related traits. The structure of style preferences in dimensions relating to mainstream styles varied by gender. Men and participants with higher scores on expressiveness gave higher ratings to more styles. The findings are discussed in relation to gender differences in the use of music and gender‐role socialization.     

Transracial adoptees bridging heritage and national cultures: Parental socialisation,ethnic identity and self‐esteem

Transracial adoptees represent a specific group of immigrants who experience unique immigration processes that bring them face‐to‐face with two cultural backgrounds: that of their heritage culture on one hand and that of their national culture on the other hand. However, there is a scarcity of studies focused on the way these processes unfold within adoptive families. This study was aimed at exploring how transracial adoptees cope with the construction of their ethnic identity. Administering a self‐report questionnaire to 127 transracial adoptees and their mothers, for a total of 254 participants, we first investigated the association between mothers' cultural socialisation (enculturation and preparation for bias strategies) and adoptees' ethnic identity (i.e. ethnic identity exploration and ethnic identity affirmation dimensions). We then investigated whether ethnic identity affects self‐esteem by testing the hypothesis that national identity moderates the relationship between ethnic identity and self‐esteem. Results revealed that mothers' enculturation (but not their preparation for bias) supported adoptees' ethnic identity exploration, which in turn was positively associated with ethnic identity affirmation. Moreover, we confirmed the moderation effect: ethnic identity affirmation enhanced the level of self‐esteem, but only for those adoptees who perceived a higher degree of national identity affirmation.     

Musical taste,employment, education,and global region

Sociologists have argued that musical taste should vary between social groups, but have not considered whether the effect extends beyond taste into uses of music and also emotional reactions to music. Moreover, previous research has ignored the culture in which participants are located. The present research employed a large sample from five post‐industrial global regions and showed that musical taste differed between regions but not according to education and employment; and that there were three‐way interactions between education, employment, and region in the uses to which participants put music and also their typical emotional reactions. In addition to providing partial support for existing sociological theory, the findings highlight the potential of culture as a variable in future quantitative research on taste.     

Music preferences and personality among Japanese university students

Little research has been conducted outside of the European-North American cultural area concerning the personality-based determinants of musical genre preferences The present research investigated the personality profiles and general music genre preferences of 268 Japanese college students. Six dimensions and 24 facets of personality, and 12 music genres, were assessed. Results indicated that, consistent with much previous research, openness (to experience) and particularly the facet of "aesthetic appreciation" were associated with a preference for "reflective" music (jazz, classical, opera, gospel, enka), while one extraversion facet (sociability) was associated with the preference for pop music. Other personality dimensions were less consistently associated with musical preferences, pointing to cultural differences and the need to assess both personality and music genres at more specific levels.     

Young people's topography of musical functions: Personal, social and cultural experiences with music across genders and six societies

How can we understand the uses of music in daily life? Music is a universal phenomenon but with significant interindividual and cultural variability. Listeners’ gender and cultural background may influence how and why music is used in daily life. This paper reports the first investigation of a holistic framework and a new measure of music functions (RESPECT‐music) across genders and six diverse cultural samples (students from Germany, Kenya, Mexico, New Zealand, Philippines, and Turkey). Two dimensions underlie the mental representation of music functions. First, music can be used for contemplation or affective functions. Second, music can serve intrapersonal, social, and sociocultural functions. Results reveal that gender differences occur for affective functions, indicating that female listeners use music more for affective functions, i.e., emotional expression, dancing, and cultural identity. Country differences are moderate for social functions (values, social bonding, dancing) and strongest for sociocultural function (cultural identity, family bonding, political attitudes). Cultural values, such as individualism–collectivism and secularism–traditionalism, can help explain cross‐cultural differences in the uses of music. Listeners from more collectivistic cultures use music more frequently for expressing values and cultural identity. Listeners from more secular and individualistic cultures like to dance more. Listeners from more traditional cultures use music more for expressing values and cultural identity, and they bond more frequently with their families over music. The two dimensions of musical functions seem systematically underpinned by listeners’ gender and cultural background. We discuss the uses of music as behavioral expressions of affective and contemplative as well as personal, social, and sociocultural aspects in terms of affect proneness and cultural values.     

音乐知觉期待的特征研究

音乐知觉期待是音乐存在的奉质特征,主要的表现是：知觉期待是构成音乐基本元素的心理基础,知觉期待是影响音乐记忆的薅要原因,音乐知觉的心理机制是由“传输激活”引起的期待,知觉期待影响音乐时间操作的心理过程。     

Can music bring people together? Effects of shared musical preference on intergroup bias in adolescence

Recent research has successfully applied social identity theory to demonstrate how individuals use music as a basis for intergroup differentiation. The current study investigated how music might also be used to encourage the development of positive intergroup attitudes. Participants (N = 97) were allocated to one of two experimentally created social groups and then led to believe that the groups had similar or different musical preferences. They then evaluated each group and reported their perceptions concerning how they expected their own group to be evaluated by the other group. Participants who believed the groups had similar musical preferences reported more positive intergroup attitudes relative to a control group; they also expected to be evaluated more positively by members of the other group. However, positive intergroup perceptions were also reported by those who believed the two groups had different musical preferences. The implications of these findings for theory and practice are discussed.     

Shared musical knowledge in 11‐month‐old infants

Five‐month‐old infants selectively attend to novel people who sing melodies originally learned from a parent, but not melodies learned from a musical toy or from an unfamiliar singing adult, suggesting that music conveys social information to infant listeners. Here, we test this interpretation further in older infants with a more direct measure of social preferences. We randomly assigned 64 11‐month‐old infants to 1–2 weeks’ exposure to one of two novel play songs that a parent either sang or produced by activating a recording inside a toy. Infants then viewed videos of two new people, each singing one song. When the people, now silent, each presented the infant with an object, infants in both conditions preferentially chose the object endorsed by the singer of the familiar song. Nevertheless, infants’ visual attention to that object was predicted by the degree of song exposure only for infants who learned from the singing of a parent. Eleven‐month‐olds thus garner social information from songs, whether learned from singing people or from social play with musical toys, but parental singing has distinctive effects on infants’ responses to new singers. Both findings support the hypothesis that infants endow music with social meaning. These findings raise questions concerning the types of music and behavioral contexts that elicit infants’ social responses to those who share music with them, and they support suggestions concerning the psychological functions of music both in contemporary environments and in the environments in which humans evolved.     

Social categorization, self-esteem, and the estimated musical preferences of male adolescents.

The authors investigated the intergroup processes of male adolescents within the context of social identity theory (SIT; H. Tajfel, 1978; H. Tajfel & J. C. Turner, 1979). The participants were English male adolescents (age = 14-15 years). They estimated in-group and out-group musical preferences and evaluated the in-group and out-group along a series of scales. The results showed in-group favoritism effects along the musical preference and evaluative dimensions. The participants reported greater liking for the in-group. Compared with the out-group, they associated the in-group more with positively stereotyped music and less with negatively stereotyped music. Compared with the out-group, they rated the in-group as more fun, more masculine, more sporty, less boring, less snobbish, and less weird. The participants with lower levels of self-esteem showed greater differentiation between groups and greater derogation of the out-group. The results supported the predictions of SIT and demonstrated the applicability of SIT for the study of adolescent behavior.     

The wish for annihilation in ‘love–death’ as collapse of the need for recognition,in Wagner's Tristan und Isolde

Wagner's Tristan und Isolde holds a central position in Western music and culture. It is shown to demonstrate consequences of interruption of developmental processes involving the need for recognition of subjectivity, resulting in the collapse of this need into the wish for annihilation of self and other through ‘love–death’ [Liebestod]. A close reading of the musical language of the opera reveals how this interruption is demonstrated, and the consequent location of identity outside of language, particularly suitable for expression in music. Isolde's dynamics are presented as distinct from that of Tristan, and in contrast to other interpretations of Tristan and Isolde's love as an attack on the Oedipal order, or as a regressive wish for pre‐Oedipal union. Isolde's Act I narrative locates the origin of her desire in the protagonists' mutual gaze at a traumatic moment. In this moment powerful and contrasting emotions converge, evoking thwarted developmental needs, and arousing the fantasy of redemption in love–death. By removing the magical elements, Wagner enables a deeper understanding of the characters' positions in relation to each other, each with his or her own needs for recognition and traumatic experiences. These positions invite mutual identifications resulting in rising tension between affirmation of identity and annihilation, with actual death as the only possible psychic solution. The dynamics described in the opera demonstrate the function of music and opera in conveying meaning which is not verbally expressible.     

共情与中国民族音乐情绪识别的关系：来自ERP的证据

音乐情绪识别能力是利用音乐开展情绪调节的基本条件。传统的以五声音阶为基础的具有独特韵味的中国民族音乐反映了中国人独有的情感和价值观念, 在情绪调节和音乐治疗方面具有积极的作用, 是研究音乐情绪识别的有效音乐刺激。本研究采用跨通道情绪启动范式, 通过人际反应指针问卷筛选出高、低共情组被试各36人参加脑电实验, 考察共情能力对中国民族音乐情绪识别的影响。脑电数据显示, 在进行中国民族音乐情绪内隐识别时, 将宫调和羽调音乐作为启动刺激, 诱发了中期的P2、N400以及晚期正成分LPC (Late Positive Component)。低共情组P2和N400成分的波幅大于高共情组, 高共情组LPC成分的波幅大于低共情组。本研究第一次从电生理层面考察了不同共情能力的个体在进行中国民族音乐情绪识别时的神经反应差异。高低共情组在中国民族音乐情绪识别不同阶段的注意投入可能影响了其对音乐刺激的感受, 进而影响音乐情绪识别。     

Effects of Kindermusik training on infants’ rhythmic enculturation

Phillips‐Silver and Trainor (2005) demonstrated a link between movement and the metrical interpretation of rhythm patterns in 7‐month‐old infants. Infants bounced on every second beat of a rhythmic pattern with no auditory accents later preferred to listen to an accented version of the pattern with accents every second beat (duple or march meter), whereas infants bounced on every third beat of the same rhythmic pattern preferred to listen to a version with accents every third beat (triple or waltz meter). The present study compared infants participating in Kindermusik classes with infants not participating in music classes. In Kindermusik classes infants receive enriched experience moving to music. Following Western musical norms, the majority of the music samples in the classes are in duple meter. During the preference test, Kindermusik infants listened longer overall, indicating heightened interest in musical rhythms. Both groups listened longer to the accented version that matched how they had been bounced, but only the Kindermusik group showed a stronger preference in the case of duple bouncing than in the case of triple bouncing. We conclude that musical classes for infants can accelerate the development of culture‐specific metrical perception.     

The Relationship Between Creative Potential,Aesthetic Response to Music,and Musical Preferences

Previous studies have shown that creative individuals tend to prefer complex stimuli. This study examined the relationship between creative potential, aesthetic response to music, and musical preferences. Seventy-four participants completed two creative potential tests. They listened to three repertoire pieces of different complexity, and rated them on perceived complexity, liking, and interest. Finally, they completed a musical preference questionnaire. Results suggest the relationship between complexity, on the one hand, and liking and interest, on the other, differs between the pieces. Creative potential was found to be related to preference for the more complex musical pieces. Moreover, musical preferences were found to be related both to creative potential and to ratings of the three musical pieces.     

Rhythm and pitch in music cognition

Rhythm and pitch are the 2 primary dimensions of music. They are interesting psychologically because simple, well-defined units combine to form highly complex and varied patterns. This article brings together the major developments in research on how these dimensions are perceived and remembered, beginning with psychophysical results on time and pitch perception. Progressively larger units are considered, moving from basic psychological categories of temporal and frequency ratios, to pulse and scale, to metrical and tonal hierarchies, to the formation of musical rhythms and melodies, and finally to the cognitive representation of large-scale musical form. Interactions between the dimensions are considered, and major theoretical proposals are described. The article identifies various links between musical structure and perceptual and cognitive processes, suggesting psychological influences on how sounds are patterned in music.     

Specific previous experience affects perception of harmony and meter

Prior knowledge shapes our experiences, but which prior knowledge shapes which experiences? This question is addressed in the domain of music perception. Three experiments were used to determine whether listeners activate specific musical memories during music listening. Each experiment provided listeners with one of two musical contexts that was presented simultaneously with a melody. After a listener was familiarized with melodies embedded in contexts, the listener heard melodies in isolation and judged the fit of a final harmonic or metrical probe event. The probe event matched either the familiar (but absent) context or an unfamiliar context. For both harmonic (Experiments 1 and 3) and metrical (Experiment 2) information, exposure to context shifted listeners' preferences toward a probe matching the context that they had been familiarized with. This suggests that listeners rapidly form specific musical memories without explicit instruction, which are then activated during music listening. These data pose an interesting challenge for models of music perception which implicitly assume that the listener's knowledge base is predominantly schematic or abstract.     

Waving the Flag: National Symbolism,Social Identity,and Political Engagement*

This research examined the psychological underpinnings of concern for national symbols and ritualistic‐ceremonial activities or “symbolic involvement.” We propose and test a distinction between symbolic and “instrumental” involvement or concern for the functionality of national institutions and their capability to provide instrumental benefits to citizens. Items comprising the two constructs were found to be empirically distinct, evidenced by statistically reliable and orthogonal dimensions in exploratory factor analysis. Moreover, evidence based on divergent patterns of relations with various forms of national membership indicates that symbolic and instrumental involvement are rooted in distinct motivational concerns related to identity expression and object appraisal, respectively. These findings suggest that national symbolism evokes a psychological attachment to the nation as an abstracted social entity, but not as a concrete functional system.