Liking for happy- and sad-sounding music: Effects of exposure

We examined liking for happy- and sad-sounding music as a function of exposure, which varied both in quantity (number of exposures) and in quality (focused or incidental listening). Liking ratings were higher for happy than for sad music after focused listening, but similar after incidental listening. In the incidental condition, liking ratings increased linearly as a function of exposure. In the focused condition, liking ratings were an inverted U-shaped function of exposure, with initial increases in liking (after 2 exposures) followed by decreases (after 8 or 32 exposures). The results documented that: (1) sad music is liked as much as happy music in some instances; (2) frequency of exposure causes both familiarity (positive) and over-familiarity (negative) effects; and (3) effects of exposure on liking differ for focused and incidental listening.     

Liking and memory for musical stimuli as a function of exposure

Three experiments examined changes in liking and memory for music as a function of number of previous exposures, the ecological validity of the music, and whether the exposure phase required focused or incidental listening. After incidental listening, liking ratings were higher for music heard more often in the exposure phase and this association was stronger as ecological validity increased. After focused listening, liking ratings followed an inverted U-shaped function of exposure for the most ecologically valid stimuli (initial increases followed by decreases), but this curvilinear function was attenuated or nonexistent for less valid stimuli. In general, recognition improved as a function of previous exposure for focused listeners, but the effect was attenuated or absent for incidental listeners.     

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.     

What's in an author's name? Differential evaluations of performance as a function of author's name

Three hundred college students (150 female, 150 male) were asked to evaluate an academic article in the field of politics, psychology of women, or education (judged masculine, feminine, and neutral, respectively) that was written by either a male, a female, or an author with a sexually ambiguous name. The results indicated that ratings of the articles were differentially perceived and evaluated according to the name of the author. An article written by a male was valued more positively than if the author was not male. Furthermore, subjects' bias against women was stronger when they believed that sexually neutral authors were female.We thank Brad Waite for his help in data collection.     

A Meta-Analysis of the Relationship Between Rater Liking and Performance Ratings

This meta-analysis reviewed the magnitude and moderators of the relationship between rater liking and performance ratings. The results revealed substantial overlap between rater liking and performance ratings (ρ = .77). Although this relationship is often interpreted as indicative of bias, we review studies that indicate that to some extent the relationship between liking and performance ratings potentially reflects “true” differences in ratee performance. Moderator analyses indicated that the relationship between liking and performance ratings was weaker for ratings of organizational citizenship behaviors, ratings made by peer raters, ratings in nonsales jobs, and ratings made for development; however, the relationship was strong across moderator levels, underscoring the robustness of this relationship. Implications for the interpretation of performance ratings are discussed.     

Interest and liking: Further sequential effects

This study was designed to investigate subjects’ interest and liking preferences for stimuli varying in type and level of familiarity. Subjects were presented with stimulus material in the form of slides, and were asked to view the slides firstly without instruction, and then twice more in order to rate the material for interest and liking. Half the subjects were asked to rate liking before interest, and half rated interest before liking. Results showed that interest ratings were relatively unaffected by the rating sequence, whereas ratings of liking were affected: when ratings of likingpreceded interest ratings, familiar items were preferred to less familiar items, but when ratings of liking were madeafter interest ratings, ratings of liking for less familiar items were preferred to more familiar items. This study forms part of the work of the Leicester Aesthetics Research Group. The work was supported by a grant from the Research Board, University of Leicester.     

Verbal and behavioral responses to familiar and unfamiliar music

Thirty adult subjects completed an Operant Music Listening Recorder (OMLR) task with two unfamiliar and two familiar music channels (one “popular” and one “classical” in each case), then rated the music on each channel on seven-point scales for liking, quality, and familiarity. The two familiar music channels received significantly higher ratings than the two unfamiliar channels on all three rating scales, and there were no significant main effects or interactions involving musical style. The predictions (a) that subjects would spend more time listening to the familiar channels on the OMLR task, and (b) that measures of listening time would display higher correlations with ratings of liking than with those of quality both received weak support from the direction of the results, but neither was confirmed by statistical significance tests. The results are discussed in terms of the fragmentation between the affective and evaluative components of attitudes toward music.     

Goldberg revisited: What's in an author's name

The present research was a replication and extension of Goldberg's 1968 study of performance evaluation. 360 college students (180 male; 180 female) were asked to evaluate an academic article in the fields of politics, psychology of women or education (judged masculine, feminine, and neutral, respectively) that was written either by a male, female, or an author whose name was initialized. Results indicated that the articles were differentially perceived and evaluated according to the name of the author. An article written by a male was evaluated more favorably than if the author was not male. Subjects' bias against women was stronger when they believed the author with the initialized name was female.     

When Sex Is on the Air: Impression Formation After Exposure to Sexual Music

The present study examines how young men and women, when primed with sexual cues in entertainment media, incorporate these cues into their first impressions of an unfamiliar target. Respondents (n = 188) were exposed to popular music either with or without sexual lyrics. Respondents in the sexual music condition recognized the sexual conveyance of that music. Respondents in the other condition rated the sexuality in their music as low. After exposure, respondents evaluated unknown targets—job applicants represented by their resumés. Sexual conveyance elevated ratings of sexual qualities attributed to the targets, suggesting sexual objectification of the targets. Sexual quality ratings then predicted evaluations of the targets’ merit, including knowledge and integrity. Although the association between sexual quality and overall merit ratings were positive for both men and women, men exhibited a significantly stronger association than women did. Findings support a postconscious automatic processing interpretation of media priming effects and corroborate prior observations that sexual media primes yield sexualized evaluations. Findings also suggest a need to measure initial affective responses to media primes, as different sexual depictions might trigger sexual thoughts with either a positive or negative connotation.     

How do location and control over the music influence listeners’ responses?

This study uses Mehrabian and Russell's ( 1974 ) Pleasure‐Arousal‐Dominance (PAD) model to consider how responses to both the music heard and overall in‐situ listening experience are influenced by the listener's degree of control over music selected for a particular listening episode and the location in which the listening takes place. Following recruitment via campus advertisements and a university research participation program, 216 individuals completed a background questionnaire and music listening task in a 3 (location) × 2 (experimenter‐ or participant‐selected music) design. After the listening task, participants completed a short questionnaire concerning the music they heard and the overall in‐situ listening experience. Results demonstrated that there was a positive relationship between control and liking for the music and episode, whether the former was considered in terms of: (1) whether the music was self‐selected or experimenter‐selected or (2) overt ratings of perceived control. Furthermore, the location and liking for the music were related to people's judgments of their enjoyment of the overall experience. This research indicates that the PAD model is a useful framework for understanding everyday music listening and supports the contention that, in a musical context, dominance may be operationalized as control over the music.     

The role of familiarity in episodic memory and metamemory for music

Participants heard music snippets of varying melodic and instrumental familiarity paired with animal-name titles. They then recalled the target when given either the melody or the title as a cue, or they gave name feeling-of-knowing (FOK) ratings. In general, recall for titles was better than it was for melodies, and recall was enhanced with increasing melodic familiarity of both the cues and the targets. Accuracy of FOK ratings, but not magnitude, also increased with increasing familiarity. Although similar ratings were given after melody and title cues, accuracy was better with title cues. Finally, knowledge of the real titles of the familiar music enhanced recall but had, by and large, no effect on the FOK ratings.     

Affective and evaluative responses to pop music

From reviews published in the “serious” pop music press, twenty recordings were selected which had received consistently favourable appraisals on affective and evaluative bases. A further twenty recordings were selected on the basis of high levels of chart performance but a lack of critical acclaim. Sixty-four subjects rated representative excerpts of these recordings on 11-point scales of either liking or artistic merit. The results indicated significantly lower liking and artistic merit ratings of critically praised excerpts; a positive liking-artistic merit correlation; and some “fragmentation” between affective and evaluative responses. The apparent discrepancy between the attitudes of the music press and subjects' ratings is discussed in terms of the availability and sophistication of evaluation cues.     

Affective and evaluative responses to pop music

From reviews published in the “serious” pop music press, twenty recordings were selected which had received consistently favourable appraisals on affective and evaluative bases. A further twenty recordings were selected on the basis of high levels of chart performance but a lack of critical acclaim. Sixty-four subjects rated representative excerpts of these recordings on 11-point scales of either liking or artistic merit. The results indicated significantly lower liking and artistic merit ratings of critically praised excerpts; a positive liking-artistic merit correlation; and some “fragmentation” between affective and evaluative responses. The apparent discrepancy between the attitudes of the music press and subjects' ratings is discussed in terms of the availability and sophistication of evaluation cues.     

Effects of Anticipated Interaction,Sex, and Homosexual Stereotypes on First Impressions1

The effects of anticipated interaction on liking were examined, with the person being evaluated sometimes being presented as a member of a negatively stereotyped group. The stereotype studied was that associated with male homosexuals. The standard effect of anticipated interaction causing increased liking was obtained when females rated either a homosexual or a non- homosexual male and when males rated a nonhomosexual male. When males anticipated interacting with a homosexual male, however, they rated him less favorably than did males who did not anticipate interacting with him. It was also found that both males and females liked the stimulus person less and attributed stereotypic traits to him more when he was homosexual than when he was not. These latter effects were stronger for males than for females.     

Musical preference, deviance, and attitudes towards music celebrities

Two studies investigated the relationship among British students between liking for ‘problem’ music, indices of deviance, and scores on a slightly modified version of the Celebrity Attitude Scale (CAS). Study 1 indicated a positive relationship between liking for ‘problem’ music styles and psychoticism scores. Study 2 indicated that fans of ‘problem’ music scored higher than non-fans on measures of psychoticism, reactive rebelliousness, and two specific problem behaviours; that liking for ‘problem’ music was related only to psychoticism when all the indices of deviance were considered together in a multiple regression; and that fans of ‘problem’ music did not score higher on CAS measures of identification with the participants’ favourite musicians. The present data indicate a relationship outside North America between ‘problem’ music and deviance, that this might be attributable primarily to elevated psychoticism scores among listeners to this music, but that liking for ‘problem’ music was not associated with a greater tendency for participants to identify closely with licentious behaviours carried out by pop musicians.     

Self produced and observed actions influence emotion: the roles of action fluency and eye gaze

Affective responses to objects can be influenced by cognitive processes such as perceptual fluency. Here we investigated whether the quality of motor interaction with an object influences affective response to the object. Participants grasped and moved objects using either a fluent action or a non-fluent action (avoiding an obstacle). Liking ratings were higher for objects in the fluent condition. Two further studies investigated whether the fluency of another person’s actions influences affective response. Observers watched movie clips of the motor actions described above, in conditions where the observed actor could be seen to be looking towards the grasped object, or where the actor’s head and gaze were not visible. Two results were observed: First, when the actor’s gaze cannot be seen, liking ratings of the objects are reduced. Second, action fluency of observed actions does influence liking ratings, but only when the actor’s gaze towards the object is visible. These findings provide supporting evidence for the important role of observed eye gaze in action simulation, and demonstrate that non-emotive actions can evoke empathic states in observers. This research was supported by Economic and Social Research Council grant RES-000-23-0429 awarded to S. P. Tipper and A. E. Hayes.     

The mere exposure effect and recognition memory

This investigation explores the relationship between liking ratings and recognition performance for obscure classical and Russian music melodies. Past studies have explored if awareness of stimulus presentation affects the mere exposure effect (MEE) (Bornstein, 1989; Bornstein & D'Agostino, 1992). We investigate if the type of awareness (i.e., "remembering" an actual occurrence of hearing the melody vs. "knowing" that one is familiar with the melody in a more general, less contextualised sense; Tulving, 1985) affects the MEE. In Experiment 1, we administered the liking test and the recognition test within the same test block and found that liking ratings for "remembered" melodies were on average higher than those for melodies that were merely "known". Although the recognition data replicate the findings of Gardiner, Kaminska, Dixon, and Java (1996) whereby remember and know responses to a given stimulus react differently to repetition from one to three trials, liking data did not vary with the degree of exposure. In addition, our adoption of the recognition category "guess" resulted in a pattern of results that is not only different from previous studies but illustrates the importance of judged, instead of true, old/new status in determining liking. The basic findings of Experiment 1 were replicated in Experiment 2 in which the liking test was conducted prior to the recognition test. Implications of these findings for theories of MEE are discussed.     

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.     

TOWARD A GENERAL THEORY OF HUMAN CREATIVITY

Abstract. The presence of a basic and general form of creativity in people is investigated through experiments with music. The results indicate that "generative" creativity—-the ability to spontaneously generate a music by varying a basic set of musical elements—is a basic human endowment, unlike "constructive" creativity—-the type of creativity exhibited by composers and other artists—-which is the result of training and the spehal development of faculties. Generative creativity's coming to the fore in contemporary people would contribute to the development of the personality and help bring about more fulfilled, better balanced people and societies.