Psychology of Music最新文献

{"title":"Thoughtscapes in music: An examination of thought types occurring during music listening across 17 genres","authors":"Hazel A van der Walle, Wei Wu, Elizabeth H Margulis, Kelly Jakubowski","doi":"10.1177/03057356251346654","DOIUrl":"https://doi.org/10.1177/03057356251346654","url":null,"abstract":"Music listening can evoke a wide range of thought types, including autobiographical memories, fictional stories, visual imagery, and mind-wandering. Previous studies have typically examined these thought types individually, which precludes investigation of why certain music evokes certain thought types over others. This study investigates the impact of musical genre, familiarity, enjoyment, contrast, and emotional expression on the occurrence of different thought types during music listening across 17 genres targeted towards UK and US listeners. We systematically selected 356 music excerpts and collected data from 701 participants from the United Kingdom and the United States, analysing the frequency of thoughts occurring during these excerpts and various excerpt ratings (e.g., familiarity, emotional expression). We found significant genre-specific effects on thought types, such as Film music primarily evoking media memories and fictional imaginings. Familiarity, contrast, enjoyment, valence, and arousal ratings all significantly influenced certain thought types, suggesting that both compositional features and one’s previous experiences of music affect listeners’ inner mental worlds. This study extends previous research by exploring a broader range of genres and musical features, offering new insights into the mental landscape of thoughts occurring during music listening.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"27 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144565677","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":"Inside the piano studio: What teachers say about performance training, perfectionism, and performance anxiety","authors":"Charlene Ryan, Jessica Tsang, Diana Dumlavwalla","doi":"10.1177/03057356251334568","DOIUrl":"https://doi.org/10.1177/03057356251334568","url":null,"abstract":"Music performance anxiety (MPA) is a common experience among musicians of all ages. However, young pianists have indicated receiving limited performance training or effective MPA support from their teachers. As these findings do not reflect teacher perspectives, this study was designed to provide a fuller picture of piano training. Two hundred thirty-seven piano teachers from across Canada and the United States participated in an online survey, comprising both open- and closed-ended questions, to gauge their pedagogy regarding performance training, perfectionism, and MPA. While the majority of participants reported that students have expressed MPA concerns to them, many noted that they only discuss the issue when students raise it. Virtually all teachers reported that they teach students what to do on stage and how to address performance challenges—in particular memory lapses. Most believe there is a distinction between teaching to play and teaching to perform, yet only 58% said they offer studio classes and 37% hold dress rehearsals. Participants noted a focus on excellence, not perfection, in their pedagogy, but many acknowledged that perfection is an expectation within the field. Comparisons with previous findings on piano students and implications for educators are discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"90 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144479297","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":"Feel flows: Language use patterns in the lyrics of Brian Wilson of the Beach Boys","authors":"Valeria A Pfeifer, Ava G Naffah, Matthias R Mehl","doi":"10.1177/03057356251342808","DOIUrl":"https://doi.org/10.1177/03057356251342808","url":null,"abstract":"Brian Wilson of The Beach Boys is considered one of the most prolific artists of the 20th century. At the same time, he is also known for his persisting struggles with mental health. Considering that most of his 60+-year career consists of published songs and lyrics, he makes an interesting case study to understand the dynamics of language use in relation to psychological experiences over the course of an individual’s life and career. We identified song lyrics for which he is credited as (co-)writer and analyzed their lyrics ( <jats:italic>N</jats:italic> = 250) using the Linguistic Inquiry and Word Count (LIWC) program. Considering features previously associated with mental health (I-talk, Emotional Tone, Analytic language and Cognitive Processes words) over time, we found that I-talk and Cognitive Processes showed an initial increase, followed by a plateau (in 1967), while Emotional Tone showed a cubic relationship with time, being sensitive to changes in Brian Wilson’s life. Analytic language was highly variable and did not show any patterns. Our data suggest that even carefully crafted language, such as song lyrics, can carry information about the writer’s mental health and that considering language use over the course of an individual’s lifespan can provide crucial insights into psychological processes.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"36 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144319665","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":"Risks and protective factors for injury among musicians: The impact of motivation, self-efficacy and rumination","authors":"Roberta Antonini Philippe, Marine Tâche, Chloé Jaunin, Jean-François Arcier, Benjamin Caumeil","doi":"10.1177/03057356251344952","DOIUrl":"https://doi.org/10.1177/03057356251344952","url":null,"abstract":"Musical performances require significant physical effort and musculoskeletal injuries are an integral part of musicians’ careers. The physical strains of performances are often accompanied by psychological stresses that can accelerate the development of particular physical injuries. This study aimed to understand the protective or deleterious effects of motivation, self-efficacy and rumination. We conducted a cross-sectional study of data collected retrospectively from 121 musical artists. Participants completed sociodemographic, medical, and psychological questionnaires. The artists were divided into previously injured ( <jats:italic>n</jats:italic> = 66, 54.5%) and not previously injured ( <jats:italic>n</jats:italic> = 55, 45.5%) groups. Significant inter-group differences were found for age ( <jats:italic>p</jats:italic> &lt; .05), years of performing ( <jats:italic>p</jats:italic> &lt; .01), and hours of practising ( <jats:italic>p</jats:italic> &lt; .001). No differences were found for sex and total musical practice. Overall, 74.1% of the periods lost to injury lasted under 30 days. Almost all injuries (98.4%) involved the upper limbs or trunk, most frequently hands (15.3%) and wrists (15.3%). Muscles (39.7%) and tendons (26.5%) were the usual tissues damaged. The previously injured and not previously injured groups showed no differences regarding the dimensions of motivation ( <jats:italic>p</jats:italic> &gt; .05), self-efficacy ( <jats:italic>p</jats:italic> <jats:italic>&gt;</jats:italic> <jats:italic>.05</jats:italic> ) or rumination. However, there were significant inter-group differences for the subdimensions of integrated motivation ( <jats:italic>p</jats:italic> &lt; .05), introjected motivation ( <jats:italic>p</jats:italic> &lt; .05), and the intrusiveness of repetitive negative thinking ( <jats:italic>p</jats:italic> &lt; .05). The present study’s epidemiological data highlighted the need to provide musicians with better support for their physical preparedness. Promoting more comprehensive care for this population and improving their biopsychosocial well-being could improve their ability to manage stress and injuries and implement effective coping strategies.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"179 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144290123","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":"The first cut is the deepest: Exploring the importance of early musical experiences in the development of musical identities","authors":"Christian Ferlaino, Raymond MacDonald","doi":"10.1177/03057356251336147","DOIUrl":"https://doi.org/10.1177/03057356251336147","url":null,"abstract":"This article investigates the role of early experiences in shaping the musical identities of 15 individuals with a diverse range of self-reported musical skills, ranging from none to professional level. Participant interviews were recorded, transcribed, and analysed for emerging and superordinate themes. Topics covered in the interviews included participants’ relationship with music, significant early musical memories, and experiences with music-making (particularly early experiences). Twelve of the 15 participants also attended a series of music workshops in either Italy (Calabria) or Scotland (Glasgow). The workshops were focused on integrating both musically experienced and inexperienced participants in collaborative musical activities. Analysis revealed 13 emergent themes that were grouped into three superordinate themes: early exposure and family influence; experiences with music education; participation and playfulness. These themes highlight how participants’ early experiences of music are remembered in detail and represent important moments in the participants’ lives. Early listening experiences were reported as positive and linked with family memories. Early musical education experiences were often reported as negative leading to lifelong self-beliefs of being ‘unmusical’. Results suggest that positive experience with musical engagement can overcome the debilitating effects of early negative experience of music, highlighting musical identities as dynamic (amenable to change) and situated (context-dependent).","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"30 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144290189","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":"Editorial: Welcome by the new Editors-in-Chief","authors":"Nikki Moran, Michelle Phillips","doi":"10.1177/03057356251340891","DOIUrl":"https://doi.org/10.1177/03057356251340891","url":null,"abstract":"","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"62 1","pages":"319-320"},"PeriodicalIF":1.7,"publicationDate":"2025-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144193185","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":"Concertmasters’ leading-tone intonation: Do they perform as they assess?","authors":"Sheng-Ying Isabella Weng, Erkki Huovinen, Sven Ahlbäck","doi":"10.1177/03057356251319220","DOIUrl":"https://doi.org/10.1177/03057356251319220","url":null,"abstract":"Melodic intonation is generally considered a central expressive means in musical performance. In Western classical music, relationships between intonation in perception and performance have shown to be less straightforward than one might expect. In this study, we investigated leading-tone intonation for solo violin, as perceived and performed by six accomplished violinists. We selected excerpts from classical violin repertoire, each of which included ascending semitone intervals leading up to tonally stable tones. Each violinist performed the excerpts and participated in a listening study and a semi-structured interview. Prior recordings of the excerpts, manipulated in terms of the pitch of the leading tones, were used in the listening study to obtain information about each participant’s accepted perceptual range of leading-tone intonation. The violinists’ preferred semitone sizes were between 80 and 90 cents, on average, both in their perceptual preferences and their performance practice. This group average appeared to approximate the “standard” of leading-tone intonation that the participants consistently mentioned in their verbal protocols. However, the perceptual preferences and the performance intonation also varied both within and between individuals. Given the overall sharp standard of leading-tone intonation, even an equal-tempered leading tone might sometimes represent an expressive gesture in the violinists’ artistic practice.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"9 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144165574","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":"Breaking with common practice: Exploring modernist musical emotion","authors":"Max Delle Grazie, Cameron J Anderson, Michael Schutz","doi":"10.1177/03057356241296852","DOIUrl":"https://doi.org/10.1177/03057356241296852","url":null,"abstract":"Experimental research on musical emotion has identified clear links between specific aspects of musical structure and emotional responses. However, growing recognition of changes in the affective meaning of specific cues over time raises intriguing questions about the degree to which these links hold across historical eras. In particular, the traditional focus on compositional principles from common-practice period music (ca. 1600–1900) might not capture how emotion is perceived in later compositions. Here we explore perceived emotion ratings in a set of 24 preludes by Dmitri Shostakovich (Op. 34), comparing the effects of cues in his preludes vs. those by Bach and Chopin. We find that prosodic cues (i.e., pitch height, timing) play a stronger role than mode in these pieces. Because music theorists widely recognize Shostakovich’s music as tonal, this result reflects not his abandonment of mode, but rather his decision to use it differently than his predecessors. This provides an important perspective complementing a growing body of research using score-based analyses to explore historical changes in the “meaning” of specific cues. Our findings illustrate how modern compositions can provide novel insight into cues’ historically changing roles in emotional communication.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"25 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144113539","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":"Treatments for performance anxiety in musicians across the lifespan: A systematic review and meta-analysis","authors":"Thomas J Nicholl, Maree J Abbott","doi":"10.1177/03057356251322655","DOIUrl":"https://doi.org/10.1177/03057356251322655","url":null,"abstract":"The availability of effective and timely interventions targeting the core features of debilitating performance anxiety (PA) is necessary to support musicians across the lifespan. The aim of this review was to provide an updated search of the research on treatments for PA in musicians and conduct a meta-analysis for available randomised controlled trials (RCTs). A systematic search identified 57 published articles on interventions targeting a reduction in PA symptoms in musicians. Results identified a range of intervention types, with cognitive-behavioural-based therapies most studied. Quality appraisal identified a low–moderate risk of bias, with a lack of detailed information on study design and participant awareness noted as contributors to studies falling in the moderate range. A total of 16 RCTs were included in the meta-analysis, which revealed treatment is more effective than control. Moderators of intervention delivery (individual or group) and age of participants (adolescents, college students, or a mixture of ages) were not significant. Future studies are recommended to be grounded in a theoretical model with the intervention targeting core contributing and maintaining factors, with a focus on greater methodological rigour. Comparing intervention types in future meta-analysis will aid in supporting one treatment above or equal to another.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"18 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144097083","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":"Major-minorness in tonal music: Evaluation of relative mode estimation using expert ratings and audio-based key-finding principles","authors":"Tuomas Eerola, Michael Schutz","doi":"10.1177/03057356251326065","DOIUrl":"https://doi.org/10.1177/03057356251326065","url":null,"abstract":"Mode is a foundational concept of Western music, serving as the basis for chords and harmonies, detecting and assessing cadences and form, and conveying musical emotion. Traditionally treated categorically, here we build upon recent work exploring this crucial musical construct on a continuum, an approach we refer to as ‘relative mode’. Specifically, we formulate and evaluate a computational model calculating this property from either symbolic or audio representations of music by adapting common key-finding techniques traditionally used to identify mode categorically. Here, we use them to infer the relative mode based on differences between the potential strength of major and minor key candidates. The model evaluation is based on a corpus of excerpts from Preludes by Bach, Chopin, and Shostakovich previously assessed by expert music analysts. Our results suggest that the model (using only audio files) is able to predict relative mode to a degree closely aligning with experts (using both audio and notated scores). A pragmatic set of parameters for the model is identified, and the shortcomings and the applicability of the model to other eras and genres are discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"33 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143945662","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}