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.     

Music fan personality stereotyping in a sample of South African young adults

This study aimed to elicit stereotypes about personality characteristics of young adults residing in South Africa, based solely on music genres. Participants were 941 undergraduate students at a South African university. They responded to a number of surveys about music genre preferences and personality traits. Data were analysed for trends and patterns in personality attributions based on music genre preferences. The results indicated that participants hold distinct stereotypes about the personality traits, so that those with who preferred Classical, Blues and Jazz music were seen to display higher openness to experience than comparison groups with other music genre preferences. Those with Rap, Reggae and Folk music genre preferences were stereotyped as artistic and unconventional. Young South African adults appear to use musical preference to define personality.     

Music,identity, and musical ethnocentrism of young people in six Asian,Latin American,and Western cultures

Ethnomusicologists and sociologists have extensively discussed the symbolic role of music in the creation, maintenance, and expression of cultural and national identity, while the underlying social psychological processes remain unexplored. We elaborate psychological mechanisms of identity construction and identity expression through culture‐specific music preferences. We propose and test a model linking music preferences to national identity via musical ethnocentrism in six student samples from Brazil, Germany, Hong Kong, Mexico, New Zealand, and the Philippines. In each context, culture‐specific music styles were related to national identity of its listeners and musical ethnocentrism mediated these effects. This paper bridges culture‐specific and universal perspectives on music and identity by examining the underlying psychological processes in Asian, Latin, and Western cultures.     

The Role of Music in Everyday Life: Current Directions in the Social Psychology of Music

Music is a crucial element of everyday life. People spend hours listening to it and billions of dollars buying it. Yet despite the pervasiveness of music, mainstream social‐personality psychology has hardly given any attention to this universal social phenomenon. Why is music important to people? What role does music play in everyday life? This article reviews research in fields outside mainstream psychology concerned with the social and psychological factors that influence how people experience and use music in their daily lives. The research in this area shows that music can have considerable effects on cognition, emotion, and behavior. It also indicates that people use music to serve various functions, from emotion regulation to self‐expression to social bonding. Research in this emerging field reveals how social‐personality psychology can inform our understanding of music, and in doing so it highlights the real‐world relevance of mainstream theory and research.     

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.     

Music to the inner ears: Exploring individual differences in musical imagery

In two studies, we explored the frequency and phenomenology of musical imagery. Study 1 used retrospective reports of musical imagery to assess the contribution of individual differences to imagery characteristics. Study 2 used an experience sampling design to assess the phenomenology of musical imagery over the course of one week in a sample of musicians and non-musicians. Both studies found episodes of musical imagery to be common and positive: people rarely wanted such experiences to end and often heard music that was personally meaningful. Several variables predicted musical imagery, including personality, musical preferences, and positive mood. Musicians tended to hear musical imagery more often, but they reported less frequent episodes of deliberately-generated imagery. Taken together, the present research provides new insights into individual differences in musical imagery, and it supports the emerging view that such experiences are common, positive, and more voluntary than previously recognized.     

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.     

Message in a ballad: the role of music preferences in interpersonal perception

How is information about people conveyed through their preferences for certain kinds of music? Here we show that individuals use their music preferences to communicate information about their personalities to observers, and that observers can use such information to form impressions of others. Study 1 revealed that music was the most common topic in conversations among strangers given the task of getting acquainted. Why was talk about music so prevalent? Study 2 showed that (a) observers were able to form consensual and accurate impressions on the basis of targets' music preferences, (b) music preferences were related to targets' personalities, (c) the specific cues that observers used tended to be the ones that were valid, and (d) music preferences reveal information that is different from that obtained in other zero-acquaintance contexts. Discussion focuses on the mechanisms that may underlie the links between personality and music preferences.     

The do re mi's of everyday life: the structure and personality correlates of music preferences

The present research examined individual differences in music preferences. A series of 6 studies investigated lay beliefs about music, the structure underlying music preferences, and the links between music preferences and personality. The data indicated that people consider music an important aspect of their lives and listening to music an activity they engaged in frequently. Using multiple samples, methods, and geographic regions, analyses of the music preferences of over 3,500 individuals converged to reveal 4 music-preference dimensions: Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, and Energetic and Rhythmic. Preferences for these music dimensions were related to a wide array of personality dimensions (e.g., Openness), self-views (e.g., political orientation), and cognitive abilities (e.g., verbal IQ).     

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.     

人格特质及脑功能连接对社交网络的影响

采用网络分析的方法, 本研究从个体受欢迎程度和个体间亲密程度两方面探究了人格特质对社交网络的影响, 并在此基础上进一步探究了个体间大脑静息态功能连接相似性和社交网络的关系。结果发现：(1)高尽责性的个体在需要“值得信任”特质的社交网络中更受欢迎, 高宜人性的个体在需要“共享时光”的社交网络中更受欢迎; (2)在需要“相同兴趣”特质的社交网络中, 个体间人格相似性和社会距离呈显著负相关关系; (3)同样在需要“相同兴趣”特质的社交网络中, 个体间部分功能连接相似性与社会距离呈显著负相关关系, 这些功能连接主要集中在额顶控制网络以及背侧注意网络; 同时, 部分节点功能连接相似性与社会距离呈显著正相关关系, 这些功能连接主要集中在默认网络。研究结果揭示了人格特质对不同社交网络结构的影响, 以及个体间人格特质相似性和静息态脑网络相似性与社会距离的关系。本研究对理解社交网络的结构, 形成规律以及其中的信息传播规律有着重要启示意义。     

Music is awesome: Influences of emotion,personality, and preference on experienced awe

Awe is a complex, cognitive–conceptual emotion associated with transcendence and wonder. Music has the power to create this kind of transcendence. Can music evoke awe? Previous research demonstrates that awe is associated with individual differences in personality such as openness. This study examined whether different kinds of music across a wide variety of genres can evoke awe and whether the experience of awe depends on individual differences. The study further investigated the relationship of awe to patterns of emotional responses to different dimensions of musical genre. Study 1 demonstrated that high need for cognition and low cognitive closure predicted awe for reflective and complex music, that felt happiness predicted awe for all kinds of music, and that perceived happiness and sadness predicted awe only for reflective and complex music. Study 2 replicated the finding that perceived sadness can evoke awe in reflective and complex music and further demonstrated that experienced musical awe correlates with individual differences in the tendency to experience awe more generally. These results are of interest to advertisers interested in evoking awe with music and marketers interested in segmenting to target the appropriate populations for this purpose.     

The functions of music and their relationship to music preference in India and Germany

Is the use of music in everyday life a culturally universal phenomenon? And do the functions served by music contribute to the development of music preferences regardless of the listener's cultural background? The present study explored similarities and dissimilarities in the functions of music listening and their relationship to music preferences in two countries with different cultural backgrounds: India as an example of a collectivistic society and Germany as an example of an individualistic society. Respondents were asked to what degree their favorite music serves several functions in their life. The functions were summarized in seven main groups: background entertainment, prompt for memories, diversion, emotion regulation, self‐regulation, self‐reflection, and social bonding. Results indicate a strong similarity of the functions of people's favorite music for Indian and German listeners. Among the Indians, all of the seven functions were rated as meaningful; among the Germans, this was the case for all functions except emotion regulation. However, a pronounced dissimilarity was found in the predictive power of the functions of music for the strength of music preference, which was much stronger for Germans than for Indians. In India, the functions of music most predictive for music preference were diversion, self‐reflection, and social bonding. In Germany, the most predictive functions were emotion regulation, diversion, self‐reflection, prompt for memories, and social bonding. It is concluded that potential cultural differences hardly apply to the functional use of music in everyday life, but they do so with respect to the impact of the functions on the development of music preference. The present results are consistent with the assumption that members of a collectivistic society tend to set a higher value on their social and societal integration and their connectedness to each other than do members of individualistic societies.     

Aesthetic activities and aesthetic attitudes: Influences of education,background and personality on interest and involvement in the arts

There have been few studies of why some people are frequently involved in aesthetic activities such as going to the theatre, reading or playing musical instruments, whereas others are less involved. This study assesses the broad roles of education, personality and demographic factors such as social class, age and sex. More aesthetic activity was associated with music and art education, whereas science education had a substantial negative relationship with aesthetic activity, both directly and also indirectly via reduced art education. More aesthetic activity was particularly related to higher scores on the personality factor of openness, and also to lower scores on agreeableness and conscientiousness. Higher parental social class was also associated with more aesthetic activity, as also was lower age. Sex had no relationship to aesthetic activity, as neither did masculinity?femininity. Positive aesthetic attitudes were also related moderately to aesthetic activity, but were particularly strongly related to openness to experience, and somewhat less to extraversion. Class, age and sex had no direct relationship to aesthetic attitudes.     

Solidarity and Reciprocity Between People With and Without Disabilities

Governments of contemporary welfare states call upon citizens to care for people with psychiatric or intellectual disabilities. This is deemed sensible and morally just. However, social–psychological theory suggests that stereotyping may stand in the way of engaging into contact. Sociological theory suggests that the giving of help is based on either balanced or generalized reciprocity. Balanced reciprocity depends on one's ability to ‘pay back’, which people with disabilities may have trouble doing. Generalized reciprocity depends on close social bonds, while people with disabilities often have fewer social bonds than other citizens. The current study aimed to find out whether citizens—despite socio‐psychological and sociological theories expecting otherwise—enter into supporting relationships with people with intellectual or psychiatric disabilities. Although we found socio‐psychological and sociological theory to be largely correct, we also found people to be more creative than theory assumes. A smile can be experienced as a return gift, thus including people with intellectual disabilities in the web of balanced reciprocity. Some people create new social bonds to include people with disabilities: they feel close to them because they had a job in the healthcare sector or because they had a family member with a disability. In disadvantaged neighbourhoods, recognition of each other's problems can create feelings of similarity and concomitant reciprocity. Copyright © 2016 John Wiley & Sons, Ltd.     

Organization Personality Perceptions and Attraction: The role of social identity consciousness

The current study explores the theory of symbolic attraction. The theory suggests that social identity consciousness moderates the relationship between symbolic inferences between organizations and attraction to those organizations. The study explored the two dimensions of social identity consciousness (i.e., social adjustment concern and value expression concern) as moderators of the relationship between organization personality perceptions (i.e., boy scout, innovativeness, dominance, style, and thrift) and organization attraction. The results of the study suggest that value expression concern moderates the relationships between boy scout, innovativeness, style, and thrift perceptions and attraction such that the relationships between these variables are stronger among those high on value expression concern. There was no support for social adjustment concern as a moderator of these relationships.     

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.     

Adolescents' music preferences and personality characteristics

The present paper examined the structure of Dutch adolescents' music preferences, the stability of music preferences and the relations between Big‐Five personality characteristics and (changes in) music preferences. Exploratory and confirmatory factor analyses of music‐preference data from 2334 adolescents aged 12–19 revealed four clearly interpretable music‐preference dimensions: Rock, Elite, Urban and Pop/Dance. One thousand and forty‐four randomly selected adolescents from the original sample filled out questionnaires on music preferences and personality at three follow‐up measurements. In addition to being relatively stable over 1, 2 and 3‐year intervals, music preferences were found to be consistently related to personality characteristics, generally confirming prior research in the United States. Personality characteristics were also found to predict changes in music preferences over a 3‐year interval. Copyright © 2007 John Wiley & Sons, Ltd.     

Sequence Memory in Music Performance

Abstract— How do people remember and produce complex sequences like music or speech? Music provides an example of excellent sequence memory under fast performance conditions; novices as well as skilled musicians can perform memorized music rapidly, without making mistakes. In addition, musical pitches repeat often within a melodic sequence in different orders, yet people do not confuse the sequential ordering; temporal properties of musical pitches aid sequence memory. I describe a contextual model of sequence memory that is sensitive to the rate at which musical sequences are produced and to individual differences among performers. Age and musical experience differentiate adults' and children's memory for musical sequences during performance. Performers' memory for the sequential structure of one melody transfers or generalizes to other melodies in terms of the sequence of pitch events, their temporal properties, and their movements. Motion-analysis techniques provide further views of the time course of the cognitive processes that make sequence memory for music so accurate.