{"title":"RETRACTION NOTICE: Effect of Internet-mediated music therapy intervention on reduction in generalized anxiety disorder symptoms among displaced Nigerians of the Russia–Ukraine war","authors":"","doi":"10.1177/03057356241288765","DOIUrl":"https://doi.org/10.1177/03057356241288765","url":null,"abstract":"","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142596544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Episode model: The functional approach to emotional experiences of music","authors":"Tuomas Eerola, Connor Kirts, Suvi Saarikallio","doi":"10.1177/03057356241279763","DOIUrl":"https://doi.org/10.1177/03057356241279763","url":null,"abstract":"We present a novel framework for music and emotion research that addresses emotional experiences with music as functional episodes. This framework, called the Episode Model, places the situation and the function of the music for the individual at the centre of the experience and integrates acts of affective self-regulation to our understanding of music as emotional experiences. The model consists of a set of five common and functionally unique episodes of emotional experiences related to music, which are: (1) Enjoyment–Distraction–Relaxation (EDR), (2) Connection–Belonging (CB), (3) Focus–Motivation (FM), (4) Personal Emotional Processing (PEP), and (5) Aesthetic–Interest–Awe (AIA). Each episode type can be characterised by a distinct configuration of six descriptive schemes: (1) core affect and emotion qualia, (2) induction mechanisms, (3) listening modes and agency, (4) reward and exposure, (5) musical meanings, and (6) functional contexts. This framework of episodes and schemes places the functionality of emotions at the forefront of music and emotion research and explains how emotional experiences are situated and functionally constructed. In addition, we provide a set of assumptions and specific predictions to facilitate focussed empirical studies of emotional engagement with music.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142487678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Erika J. Knapp, James Brinkmann, Liza Calisesi Maidens
{"title":"“See me for who I am”: An exploratory study of undergraduate music major belonging","authors":"Erika J. Knapp, James Brinkmann, Liza Calisesi Maidens","doi":"10.1177/03057356241284614","DOIUrl":"https://doi.org/10.1177/03057356241284614","url":null,"abstract":"The purpose of this exploratory instrumental qualitative case study with nested mixed methods was to examine undergraduate music majors’ perceptions of their sense of belonging within one public university music program. We surveyed undergraduate music majors within a single music program and completed purposeful and targeted follow-up interviews of selected respondents who represented a diverse cross-section of the student body. Quantitative analysis included descriptive demographic statistics and linear multiple regression with belonging as the dependent factor. There was a statistically significant relationship between faculty interactions and student sense of belonging ( p < .001). Qualitative findings suggested that student–faculty interactions were a primary contributor to a student’s sense of belonging, as well as the importance of a network of friends and the overall school culture. Implications of these results may assist music administration and faculty members in developing a culture of belonging within their respective studios or departments.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142486712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Daniel Fiedler, Johannes Hasselhorn, A. Katrin Arens, Anne C. Frenzel, Walter P. Vispoel
{"title":"Validating scores from the short form of the Music Self-Perception Inventory (MUSPI-S) with seventh- to ninth-grade school students in Germany","authors":"Daniel Fiedler, Johannes Hasselhorn, A. Katrin Arens, Anne C. Frenzel, Walter P. Vispoel","doi":"10.1177/03057356241272999","DOIUrl":"https://doi.org/10.1177/03057356241272999","url":null,"abstract":"The Music Self-Perception Inventory-Short (MUSPI-S) is a theoretically based instrument consisting of 28 items with subscales that assess music self-concept globally and in six specific areas. The present study sought to validate a German translation of the MUSPI-S using a sample of 444 secondary school students. In addition to participants’ scores from the German translation of the MUSPI-S, associated data included demographic background variables, self-reported school grades in various subjects, and interest in the school subject of music. Confirmatory factor analyses supported the hypothesized factor structure and measurement model for MUSPI-S scores. Latent factor correlations among MUSPI-S subscale scores and correlations of these scores with school grades and interest in the school subject of music aligned well with theoretical expectations and previous research. Findings also provided evidence for strict measurement invariance of scores in the German MUSPI-S across subgroups of gender, school year (i.e., grade level), and musical activity. MUSPI-S subscale factor-level means did not reliably differ among seventh-, eighth-, and ninth-grade students but favored females over males and musically active over non-active students on nearly all subscales. Overall, this evidence supports the use of the German translation of the MUSPI-S in assessing a wide range of important self-perceived musical abilities for research and practical assessment purposes.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142451365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Renan Moreira Madeira, Regina Antunes Teixeira dos Santos
{"title":"Effects of two modalities of practice on the learning of piano pieces under the deprivation of auditory feedback","authors":"Renan Moreira Madeira, Regina Antunes Teixeira dos Santos","doi":"10.1177/03057356241270940","DOIUrl":"https://doi.org/10.1177/03057356241270940","url":null,"abstract":"Sixteen piano students learned four piano pieces under two different conditions that involved the deprivation of auditory and motor feedback. One condition required study away from the piano, thus implying the removal of auditory and kinaesthetic feedback (mental practice, MP). The other condition involved study on a digital piano that was turned off (motor practice, MoP), hence depriving the participant of auditory feedback. Data on the effects of the two different modalities of practice, which also excluded external sound references during the initial study of new piano pieces, were analysed in two different ways. First, video recordings of the participants’ practice sessions were analysed to identify behaviours exhibited during these sessions, quantified by number of incidences. Second, external referees assessed final performances (audio recordings on an acoustic piano) according to four proposed parameters related to piano performance. Data from semi-structured interviews were collected as well. The results showed differences between the two conditions, especially with respect to the utilisation of support activities and pauses during practice. The analysis indicated that procedures related to MP may yield better results when the musical material is approached as small portions one at a time. Finally, the modality of MP described in this article, which bears some relation to other forms of MP, could be a valid alternative for issues of fatigue and complexity related to MP, as has been traditionally described in the literature.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142440162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Embodiment of emotions in adolescents’ musical expression","authors":"Suvi Saarikallio, Birgitta Burger, Geoffrey Luck","doi":"10.1177/03057356241257426","DOIUrl":"https://doi.org/10.1177/03057356241257426","url":null,"abstract":"Music has been actively studied from the perspectives of emotional expression and body movement, but not during adolescence. The current study addressed music as a forum for adolescent embodied emotion expression. Based on prior research, we hypothesised that adolescents would be able to differentiate between emotions in their music-related expressive body movements based on valence and arousal characteristics. Participants ( N = 60, 17 male, mean age 14.72 years) played djembe to express five basic emotions (happiness, tenderness, sadness, anger, fear) while body movements were motion captured. Correlations of movement features with emotion-regulation tendencies, as measured by the Emotion Regulation Questionnaire (ERQ), were additionally explored. Adolescents demonstrated great capacity to use all measured movement features to express emotions: movement speed, variance, area and length all differed significantly between emotions. In particular, the results confirm the hypothesised connection of high arousal to high speed and acceleration and further suggest that positive valence relates to wider area and longer performance. In addition, adolescents scoring high on cognitive reappraisal gave faster and more stable performances. We discuss creative body movement as part of youth emotional development.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142386273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lyrics of longing: Exploring the role of music in the lived experience of homesickness among college students","authors":"Simran Gidwani, Veenashree Anchan, Nisha James","doi":"10.1177/03057356241271032","DOIUrl":"https://doi.org/10.1177/03057356241271032","url":null,"abstract":"The study investigates the multifaceted role of music during homesickness among first-year college students in India. As compared to other mental health outcomes, homesickness is a relatively understudied phenomenon, yet noteworthy due to its direct association with depression and anxiety. Although empirical evidence about music highlights its therapeutic potential for managing stress and anxiety, few studies have explored its role in connection with homesickness. The data for this study were collected through semi-structured interviews with 10 students about their perception of using music during homesickness. Through interpretative phenomenological analysis, the emerging themes pointed to a mixed influence, highlighting the bittersweet nature of music during homesickness. While music validates feelings and boosts confidence and motivation, it also triggers restorative nostalgia and serves as an escape from confronting homesickness. Moreover, native songs fostered an appreciation for one’s culture and helped students connect with their roots. The study contributes to understanding how music is a versatile tool for students dealing with homesickness, offering solace and potential challenges. It serves as a guide to future intervention studies that could explore music’s long-term influences. Recognising the diverse ways students perceive and respond to music provides valuable insights for developing tailored interventions and support systems.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142245937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Different voice part perceptions in polyphonic and homophonic musical textures","authors":"Kai Ishida, Hiroshi Nittono","doi":"10.1177/03057356241271027","DOIUrl":"https://doi.org/10.1177/03057356241271027","url":null,"abstract":"Separate voice part perception has been shown in polyphonic music. However, it remains unclear whether this segregation of voice parts is specific to polyphony or also occurs in homophonic music. This study compared voice part perceptions in polyphony and homophony using a redundant signals effect (RSE) paradigm. The RSE means that reaction times are shorter for two simultaneously presented signals than for one of these signals. At the final position of the four-voice homophonic and polyphonic sequences, notes in two voice parts were altered to out-of-key notes independently or simultaneously. Participants ( N = 208) responded to any deviant tones while withholding responses to non-deviant tones. All combinations of deviant voice parts (i.e., soprano–bass, tenor–bass, and alto–tenor) elicited RSEs in polyphonic and homophonic sequences, suggesting separate voice part perception, irrespective of musical texture. However, evidence of the coactivation of separate perceptual modules was obtained only for polyphonic sequences. Deviants in higher voice parts were detected faster and more accurately than those in lower voice parts in both musical textures. These results indicate that voice parts are perceived separately, with a bias toward higher voice parts in both musical textures, but voice parts are more segregated in polyphony.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142233328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conversations from Arendelle: Children’s understanding of musical affect in a narrative, multimedia context","authors":"Sara Beck, Daniel Allee","doi":"10.1177/03057356241261669","DOIUrl":"https://doi.org/10.1177/03057356241261669","url":null,"abstract":"Children’s verbatim memory for song lyrics has been broadly investigated in the psychological literature, but little is known about the developmental course of children’s ability to construct meaning from familiar multimedia songs containing both concrete and metaphorical language. The present study examined age-related change in children’s understanding of the hit song “Let It Go” using a brief comprehension measure and a semi-structured interview conducted over Zoom. Participants included 51 children from 3- to 10-year-olds whose parents reported that they were familiar with and enjoyed Frozen. Participants’ comprehension of the song was assessed using a visual comprehension measure. They then co-viewed the music video, with the researcher pausing at several time points in the song to ask how the child thought Elsa was feeling and how the child knew. A grounded analysis of participants’ responses yielded five categories that comprehensively captured the range of cues (song lyrics, non-lyrical musical elements, observable action on screen, character appearance, and non-observable narrative elements). A median split of the sample revealed that older children referenced more converging cues to explain their thinking on Elsa’s emotion during the song and that older children referenced musical cues (both lyrical and non-lyrical) significantly more than younger children.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142233329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Becoming singular: Musical identity construction and maintenance through the lens of identity process theory","authors":"Melissa Forbes, Jason Goopy, Amanda E Krause","doi":"10.1177/03057356241267863","DOIUrl":"https://doi.org/10.1177/03057356241267863","url":null,"abstract":"This study uses identity process theory to understand the social–psychological processes that motivate individuals to construct an identity in which music, singing, and singing teaching feature prominently. We conducted reflexive thematic analysis of semi-structured interviews with 10 Australian singing teachers (with an average age 60) to understand how they enacted identity principles that motivate identity construction and maintenance. Findings were captured in two themes: (1) ‘It has just been music’: Living a musical life is my destiny; (2) ‘I know my value’: Achieving goals in music and teaching is motivating. Participants’ consistent musical engagement across the lifespan satisfied the identity principles of continuity and positive distinctiveness. The identity principles of self-efficacy and self-esteem were satisfied through the social connections created with peers and through teaching singing; participants derived self-worth from celebrating and contributing to the success of others. Teaching singing was a way to become ‘singular’, that is, distinctive, and distinctively valued by the self and others. This article provides an example of how identity process theory can be applied in musical identities research to uncover new insights into the psychological processes of identity construction, with implications for understanding identity resilience and musical engagement across the lifespan.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142233332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}