Predicting Music Appreciation with Past Emotional Responses to Music
Identifieur interne : 000221 ( Main/Corpus ); précédent : 000220; suivant : 000222Predicting Music Appreciation with Past Emotional Responses to Music
Auteurs : Robert H. Woody ; Kimberly J. BurnsSource :
- Journal of research in music education [ 0022-4294 ] ; 2001-04.
English descriptors
- Teeft :
- Accurate awareness, Assistant professor, Background factors, Classical music, Classroom teachers, Cognitive bases, College students, Component variables, Emotion words, Emotional expression, Emotional response, Emotional response ratings, Emotional responses, Empirical studies, Excerpt, Expression words, Expressive expectations, Expressive qualities, Favorable regard, Favorite style, General agreement, Hargreaves, Likert scale, Little agreement, Mood management, Mozart, Music appreciation, Music appreciation instruction, Music education, Music educators, Musical communication, Musical excerpts, Musical expression, Musical preferences, Musical styles, Past exposure, Past research, Past response, Popular music styles, Present study, Psychologyof music, Researchin, Researchin music education, Sloboda, Tchaikovsky, Various styles, Vivaldi, Young adults.
Abstract
This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.
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DOI: 10.2307/3345810
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ISTEX:E5040159F30A8AA173BD52A202486A409E488727Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Predicting Music Appreciation with Past Emotional Responses to Music</title><author wicri:is="90%"><name sortKey="Woody, Robert H" sort="Woody, Robert H" uniqKey="Woody R" first="Robert H." last="Woody">Robert H. Woody</name><affiliation><mods:affiliation>Ball State University</mods:affiliation></affiliation></author><author wicri:is="90%"><name sortKey="Burns, Kimberly J" sort="Burns, Kimberly J" uniqKey="Burns K" first="Kimberly J." last="Burns">Kimberly J. 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Burns</name><affiliation><mods:affiliation>Ball State University</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Journal of research in music education</title><idno type="ISSN">0022-4294</idno><idno type="eISSN"></idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="2001-04">2001-04</date><biblScope unit="volume">49</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="57">57</biblScope><biblScope unit="page" to="70">70</biblScope></imprint><idno type="ISSN">0022-4294</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0022-4294</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Accurate awareness</term><term>Assistant professor</term><term>Background factors</term><term>Classical music</term><term>Classroom teachers</term><term>Cognitive bases</term><term>College students</term><term>Component variables</term><term>Emotion words</term><term>Emotional expression</term><term>Emotional response</term><term>Emotional response ratings</term><term>Emotional responses</term><term>Empirical studies</term><term>Excerpt</term><term>Expression words</term><term>Expressive expectations</term><term>Expressive qualities</term><term>Favorable regard</term><term>Favorite style</term><term>General agreement</term><term>Hargreaves</term><term>Likert scale</term><term>Little agreement</term><term>Mood management</term><term>Mozart</term><term>Music appreciation</term><term>Music appreciation instruction</term><term>Music education</term><term>Music educators</term><term>Musical communication</term><term>Musical excerpts</term><term>Musical expression</term><term>Musical preferences</term><term>Musical styles</term><term>Past exposure</term><term>Past research</term><term>Past response</term><term>Popular music styles</term><term>Present study</term><term>Psychologyof music</term><term>Researchin</term><term>Researchin music education</term><term>Sloboda</term><term>Tchaikovsky</term><term>Various styles</term><term>Vivaldi</term><term>Young adults</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. 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Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. 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(1992)</json:string><json:string>Shaffer, 1992</json:string><json:string>Baumgartner, 1992</json:string><json:string>Zalanowski (1986)</json:string><json:string>Price and Swanson (1990)</json:string><json:string>Madsen, 1997a</json:string><json:string>LeBlanc, Sims, Siivola, & Obert, 1996</json:string><json:string>Finnas, 1989</json:string><json:string>Schwartz and Fouts, 1999, p. 6</json:string><json:string>Peery & Peery, 1986</json:string><json:string>North & Hargreaves, 1997</json:string><json:string>Hargreaves, 1984</json:string><json:string>Madsen (1997b)</json:string><json:string>Schwartz and Fouts (1999)</json:string><json:string>Repp, 1992</json:string><json:string>Mann, 1999</json:string><json:string>Cutietta, 1992</json:string><json:string>Zillman & Gan, 1997</json:string><json:string>Stratton & Zalanowski, 1994</json:string><json:string>Zillmann, 1988</json:string><json:string>Price & Swanson, 1990</json:string><json:string>Gabrielsson & Juslin, 1996</json:string><json:string>Sloboda, 1990</json:string><json:string>LeBlanc, Sims, Malin, & Sherrill, 1992</json:string><json:string>Gregory & Varney, 1996</json:string><json:string>LeBlanc et al., 1996</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-WP98QTJB-9</json:string></ark><categories><wos></wos><scienceMetrix><json:string>1 - arts & humanities</json:string><json:string>2 - visual & performing arts</json:string><json:string>3 - music</json:string></scienceMetrix><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Music</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Social Sciences</json:string><json:string>3 - Education</json:string></scopus><inist><json:string>1 - sciences humaines et sociales</json:string></inist></categories><publicationDate>2001</publicationDate><copyrightDate>2001</copyrightDate><doi><json:string>10.2307/3345810</json:string></doi><id>E5040159F30A8AA173BD52A202486A409E488727</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/E5040159F30A8AA173BD52A202486A409E488727/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/E5040159F30A8AA173BD52A202486A409E488727/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/E5040159F30A8AA173BD52A202486A409E488727/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Predicting Music Appreciation with Past Emotional Responses to Music</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>2001</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Predicting Music Appreciation with Past Emotional Responses to Music</title><author xml:id="author-0000"><persName><forename type="first">Robert H.</forename><surname>Woody</surname></persName><affiliation>Ball State University</affiliation></author><author xml:id="author-0001"><persName><forename type="first">Kimberly J.</forename><surname>Burns</surname></persName><affiliation>Ball State University</affiliation></author><idno type="istex">E5040159F30A8AA173BD52A202486A409E488727</idno><idno type="ark">ark:/67375/M70-WP98QTJB-9</idno><idno type="DOI">10.2307/3345810</idno><idno type="article-id">10.2307_3345810</idno></analytic><monogr><title level="j">Journal of research in music education</title><idno type="pISSN">0022-4294</idno><idno type="eISSN"></idno><idno type="publisher-id">JRM</idno><idno type="PublisherID-hwp">spjrm</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="2001-04"></date><biblScope unit="volume">49</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="57">57</biblScope><biblScope unit="page" to="70">70</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2001</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.</p></abstract></profileDesc><revisionDesc><change when="2001-04">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/E5040159F30A8AA173BD52A202486A409E488727/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spjrm</journal-id><journal-id journal-id-type="publisher-id">JRM</journal-id><journal-title>Journal of Research in Music Education</journal-title><issn pub-type="ppub">0022-4294</issn><publisher>
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<pub-date pub-type="ppub"><month>4</month><year>2001</year></pub-date><volume>49</volume><issue>1</issue><fpage>57</fpage><lpage>70</lpage><abstract><p>This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.</p></abstract><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>Spring 2001</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> 57-70 49, 1, JRME2001, VOLUME NUMBER PAGES 57 This study is an exploration of the musical backgroundsand beliefsof nonmusicians and the relationship of these variables to music appreciationfactors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefsand then heard and respondedto four highly expressive classical music excerpts.Data analyses indicated significant relationships betweencertain musical background factors and responsivenessto classical music. More specifically, past emotional experiencewith classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches teaching classical music to nonmusicians, for including increasedfocus on expressivequalities in music listening experiences. Robert H. Woody and Kimberly J. Burns Ball State University Predicting Music Appreciation with Past Emotional Responses to Music One of the recognized goals of music education is to expose students to styles of music that they might not hear through their in popular culture. Accordingly, music educators often involvement introduce students to “classical” music with the hope that students for this style that manifests will ultimately acquire an appreciation itself as attending concerts and listening to this music on their own time. Past research, however, suggests that music education is not the preferences often successful in influencing of students toward classical music (Finnas, 1989). The basic belief underlying the objectives of music appreciation is that increased exposure to classical music will ultimately result in increased of or preference for this musical style. appreciation Robert H. Woody is an assistant professor of music education in the School of Music, Ball State University, Muncie, IN 47306; e-mail rwoody@gw.bsu.edu. Kimberly J. Burns is an assistant professor of music education at the same institution. Copyright ? 2001 by MENC-The National Association for Music Education. 58 WOODY/BURNS Research generally affirms that exposure and formal training contribute to preference for certain styles of music (Cutietta, 1992). Few would argue that long-term exposure to classical music throughout one's childhood often produces appreciation for this musical genre. What remains uncertain, however, is whether a semester's worth of exposure to classical music can influence nonmusicians' appreciation. Research studies looking at this type of short-term exposure have yielded largely inconclusive results with students of all ages (Hargreaves, 1984; Peery & Peery, 1986; Price & Swanson, 1990). In fact, certain types of music exposure in formal educational settings may foster negative attitudes about music (Sloboda, 1990). A common approach to teaching music appreciation involves instruction about basic elements of music and historical review of Western music. In this approach, students are introduced to terminology for basic musical elements (e.g., rhythm, pitch, timbre) and then learn to identify the different uses of these elements while listening to classical music. Especially with regard to the college level, this approach has been the center of considerable debate (Mann, 1999), in part because little research attests to its value. On the contrary, Zalanowski (1986) found that “concrete analytical” instruction did not improve classical music appreciation among nonmusic majors. Similarly, the instruction carried out by Price and Swanson (1990) resulted in increased knowledge of classical music pieces, but not in more positive opinions of the works. Critics of this traditional approach contend that it fails to offer a holistic music experience to listeners. As the result of their research, Lewis and Schmidt (1991) suggested that “overemphasis on such intellectualization may make music listening a clinical rather than an aesthetic experience” and that students instead could be encouraged to respond to the music's emotional content (pp. 318-319). This implies an alternative approach that focuses on the expressive qualities of classical music and allows students to draw upon their existing ability to respond subjectively to music (Hargreaves & Colman, 1991). Similarly, Mann (1999) recommended that teachers of music appreciation start with students' immediate affective responses, “to begin with what our students bring us!” (p. 104). In fact, there is considerable research on the musical tastes and beliefs that adolescents and young adults may bring with them to a formal music instructional setting (see Zillmann & Gan, 1997, for overview). In a study of junior and senior high school students, Schwartz and Fouts (1999) reported that, among adolescents, the most common motives for listening to music were to relieve boredom and to entertain themselves. Also frequently mentioned, however, were motives that the researchers categorized as emotional attunement, such as “to feel better, ” “to keep me in the mood I am in, ” and “to help me get into a particular mood” (Schwartz and Fouts, 1999, p. 6). These results corroborate the theory of mood management, which maintains that people choose sensory materials in order to regulate their affective experiences and mood states in desirable ways JRME 59 (Zillmann, 1988). Along these lines, Sloboda (1992a) argued that “music does not create or change emotion; rather it allows a person access to the experience of emotions that are somehow already ‘on the agenda’ for that person, but not fully apprehended or dealt with” (p. 35). Musical mood management can be seen when some young people choose popular music styles for the expression of emotion-related ideas, such as romance or defiance (Zillman & Gan, 1997). If mood or emotional expression of music is consequential in all of their music choices, it is possible that many young people do not appreciate classical music because they believe it is incapable of expressing the emotions or moods that they experience in life. One factor may be that lyrics, absent in much classical music, can be more powerful in affecting the moods of young adult listeners than other purely musical elements (Stratton & Zalanowski, 1994). Of course, formally trained musicians would attest to classical music's capacity for expressive communication. Research has documented that performing musicians intend to convey moods and emotions in their music and that listeners tend to perceive them, often with considerable agreement (Gabrielsson & Juslin, 1996; Shaffer, 1992). Madsen (1997b) found that this kind of emotional response to classical music is largely accomplished through attention to melodic and dynamic elements. Research has suggested that adolescents and young adults are of an optimal age for expansion of their musical preferences (Le Blanc, Sims, Malin, & Sherrill, 1992; Le Blanc, Sims, Siivola, & Obert, 1996). “Open-earedness, ” or the tolerance of a variety of musical styles, tends to decline as children enter adolescence but then rebounds as they mature to young adulthood (Le Blanc et al., 1996). The present study explored the musical backgrounds and beliefs of nonmusician young adults (college students), with the primary focus being on emotion-related factors. Subjects' preferences for various musical styles were examined, but special attention was paid to their attitudes and reported behaviors related to classical music in particular. This study addressed the following general research questions: 1. What are the characteristics of nonmusicians (e.g., musical preferences and beliefs about emotion and music) that may influence their appreciation of music styles? 2. How do nonmusicians respond to pieces of classical music that are considered highly expressive among musically sophisticated listeners? 3. Can music appreciation among nonmusicians be predicted by past emotional responses to music? METHOD The subjects in the study were 533 undergraduate nonmusic majors enrolled in 17 sections of courses in Music Appreciation and 60 WOODY/BURNS Music for Classroom Teachers offered at the researchers' university. The project was carried out during class time in the first week of the semester (i.e., before students received instruction related to musical expression or other topics relevant to the study). The number of students in individual classes ranged from 22 to 40. Of the total sample, 56% were women and 44% were men. Subjects first completed a two-page survey questionnaire. The questionnaire consisted of multiple choice and Likert-scale rating items that asked subjects about their personal music preferences and listening habits, their history of emotional responses to various styles of music, and their beliefs about the emotionality of various styles of music. Additionally, subjects' past exposure to classical music was measured through responses to seven yes/no questions: (a) “Did you grow up with classical music sometimes playing in your home?” (b) “Have you played or sung classical music in a school music group?” (c) “Did you grow up hearing classical music in church sometimes?” (d) “Have you played or sung classical music in a church music group?” (e) “Have you ever purchased a recording of classical music?” (f) “Were you ever in a class that included listening to classical music?” and (g) “Have you ever been to a live performance of classical music, such as a concert by an orchestra, symphonic band, or choir?” On questionnaire items involving various styles of music, six broad categories were used: Classical, Country, Gospel/ Contemporary Christian, Jazz/Blues, Pop/Rock, and Rap/R&B. Selection of musical style categories, a well-established challenge of this type of research, was accomplished by referring to the work of Zillmann and Gan (1997, pp. 164-165). After completing the questionnaire, subjects then participated in the study's music listening task. Subjects heard four brief excerpts of classical music and after each responded to four questions. Table 1 lists the four excerpts used in the study. Selection of the Beethoven, Mozart, and Tchaikovsky excerpts was based on the research of Sloboda (1992b), who specified classical music compositions to which musicians reported having strong emotional responses in past listening experiences. Sloboda also linked particular compositional devices within the pieces of music (e.g., melodic appogiaturas, sudden dynamic changes, repeated syncopation) with physical effects of intense emotional response, such as tears and shivers. The excerpts of the three pieces used in the present study included as many of Sloboda's identified devices as possible within approximately 2 minutes of music. Inclusion of the Vivaldi piece was based on the work of Waterman (1996), who similarly documented specific locations in the music that frequently elicited emotional responses in listeners. The musical excerpts were played from compact discs through wall-mounted speakers in music appreciation or music education classrooms. The presentation order of the four excerpts was varied among the groups of subjects, as drawn randomly from all possible orders. After hearing each excerpt, subjects were asked to respond to four written questions (included at the end of the questionnaire). JRME 61 Table 1 Musical Excerpts Usedin the Study Work Excerpt Duration Recording Information Cleveland Orchestra, Leon Fleisher, pianist, George Szell, conductor. Sony Classical, 1992. Bavarian Radio Symphony Orchestra and Chorus, Sir Colin Davis, conductor. RCA Victor, 1991. Philharmonia Orchestra, Carlo Maria Giulini, conductor. EMI, 1987. Saint Paul Chamber Orchestra, Pinchas Zukerman, violinist and conductor. CBS 1981. Masterworks, Composer Beethoven Excerpt Concerto for Piano Rondo 2.25 and Orchestra (3rd mvmt.), no. 4 in G Major, mm. 329-499 op. 58 Mozart K Requiem, 626 “Dies Irae” 1:45 Tchaikovsky Love theme, 2.17 Romeo and Juliet (Fantasy Overture) mm. 200-266 Vivaldi “Winter” [L'inverno], Concerto in F Minor, op. 8, no. 4 Allegro non molto (Ist mvmt.), mm. 1-38 2:16 at Note. The specificrecordingsused in the studywere those found in the library Ball State Muncie, Indiana. University, The first question asked subjects whether they knew the piece of music. The second question requested that they select from the following list the word that best described the expression in the excerpt: anger, joy, neutral, peacefulness, or sadness. The four emotions were based on established two-dimensional models of emotion that combine a positive-negative dimension and arousal (or active-passive) dimension (Baumgartner, 1992; North & Hargreaves, 1997). The third question directed subjects to rate the intensity of their response to the excerpt's expression using a 5-point Likert scale (i.e., 1 = very weak, 5 = very strong). The final question asked, “If you were given a 62 WOODY/BURNS copy of this piece of music, would you listen to it at home?“ Subjects' responses to the questions for the four listening examples served as indicators of their appreciation for classical music. Inasmuch as appreciation of something is defined by accurate awareness and favorable regard for it, this study considered music appreciation through the component variables of subjects' chosen emotion words, intensity of emotional response ratings, and whether they would listen to the pieces of music at home. Accurate awareness of the pieces of music was reflected in the appropriateness of chosen emotion words and the intensity of emotional response to these excerpts (noted for their strong emotional content). Favorable regard for the classical music excerpts was reflected in the subjects' willingness to listen to the pieces of music on their own time. RESULTS Emotion-Related Musical Beliefs and Other Musical Background Factors On the questionnaire's first item, subjects selected a statement to describe their general feelings about music. Not a single subject reported dislike for music, and less than 1% of the sample indicated neutral feelings about music. Virtually the entire sample indicated that they either liked music (35%) or loved music (64%). The results for favorite style of music were (from most popular to least): Country-10%, Jazz/Blues Rap/R&B-20%, Pop/Rock-60%, 5%, Gospel/Contemporary Christian-4%, and Classical–%. Subjects also selected a statement related to mood to explain how they choose the music they listen to. Approximately 10% of the sample indicated that they choose their music for reasons other than mood. Of the remaining subjects, nearly two-thirds (63%) responded that they choose music to match their mood; 37% of subjects indicated that they choose music to change their mood (e.g., happy music to cheer up, relaxing music to relieve stress). Subjects also indicated with which styles of music they had experienced emotional responses in the past: Pop/Rock-87%, Country-68%, Chris Classical-63%, Gospel/Contemporary Rap/R&B-63%, Although classical music was the tian-57%, and Jazz/Blues-52%. favorite style of only 1% of the sample, a more substantial 63% reported having an emotional response to it in the past. Data analysis revealed a relationship between exposure to classical music and emotion-related musical beliefs and experiences. Results of a Pearson correlation indicated that subjects with more exposure to classical music tended to rate the general emotionality of classical music higher, r = .356, p < .001. Also, they were more likely to report having past emotional responses to classical music, as determined by a lambda statistic (X = .852, p < .001). The group means for classical music exposure, based on the 0 to 7 scale, were M = 3.96 for those reporting a past emotional response and M = 2.47 for those not. JRME 63 Table 2 Data for Subjects' to Responses the Excerpts Summary Excerpt Beethoven Recognized the piece Word choice for expression: Anger Joy Neutral Peacefulness Sadness Mean response to excerpt's expressiona Would listen to the piece at homeb a Used 4% 55% 22% 16% 3% 54% 16% 23% 1% 6% 1% 11% 7% 69% 12% 27% 19% 29% 5% 20% 8% Mozart 12% Tchaikovsky 74% Vivaldi 23% 2.77 2.69 2.88 3.05 44% 25% 51% 51% differences(p < .01) 5-point Likertscale, 1 = veryweakto 5 = verystrong;significant as betweenmeansfor all excerpts, except indicatedby the underline, in pairedsamplest-tests. b as Significantdifferences(p < .01) betweenresponsesfor all excerpts, except indicatedby tests. the underline, in Mc Nemar Finally, supporting the general thrust of Sloboda (1992b), subjects with greater exposure to classical music tended to be more responsive to the expression of the study's listening examples: Beethoven, r = .261, p < .01; Mozart, r= .247, p < .01; Tchaikovsky, r= .303, p < .01; and Vivaldi, r= .325, p < .01. Emotional Response to Classical Music Excerpts Table 2 is a summary of subjects' responses to the listening examples used in the study. Several features of these data should be noted. First, many subjects (74%) seemed to recognize the excerpt from Tchaikovsky's Romeo and Juliet (perhaps through its use in television 64 WOODY/BURNS commercials and movies). Also, there was general agreement on the expression of three of the four excerpts: joy in the Beethoven, anger in the Mozart, and peacefulness in the Tchaikovsky. Interestingly, the Vivaldi elicited the strongest emotional response from subjects (M = 3.05), but with little agreement about the word that best described its expression. In fact, neutral was the most frequent word choice. Finally, Mozart's “Dies Irae” was not well received by the sample. Its expression yielded the weakest response from listeners (M = 2.69); subjects also were least willing to listening to the Mozart excerpt at home. Predicting Music Appreciation with Past Emotional Experience with Music As previously mentioned, music appreciation was analyzed through the component variables of subject's chosen emotion words, intensity of emotional response ratings, and reported willingness to listen to the pieces of music at home. The final series of analyses examined responses to the listening examples by dividing the sample into two groups: subjects who reported experiencing past emotional responses to classical music (n = 333) and those who did not (n = 200). Table 3 shows percentages of subjects' choices of words that best described the expression of the four musical excerpts. With all excerpts, the neutral label was more frequently chosen by subjects with no past emotional experience with classical music. These subjects also less frequently chose expression words that match the composer's likely intent, such as anger for the Mozart (“Dies Irae” translates “Day of Wrath, ” describing the Day of Judgment) and joy for the Beethoven (Kolodin, 1975, p. 13). Chi-square tests of the response patterns across the five expression word choices yielded a significant difference between the two groups of subjects for all excerpts: Beethoven, X2(1, N= 529) = 18.00, p < .01; Mozart, X2(1, N= 532) = 12.27, p< .05; Tchaikovsky, X2(1, N= 531) = 14.57, p< .01; and Vivaldi, X2(1, N= 527) = 14.03, p < .01. Subjects' responsiveness to musical expression was examined by comparing the two groups' mean intensity of emotional response to each of the four listening examples (measured on a 5-point Likert scale). With all excerpts, means were higher for subjects reporting past emotional responses to classical music compared to subjects reporting no such experiences: 3.01 to 2.38 for the Beethoven, 2.96 to 2.24 for the Mozart, 3.11 to 2.49 for the Tchaikovsky, and 3.41 to 2.44 for the Vivaldi. Computation of t-tests verified these differences, suggesting that subjects with past emotional responses to classical music were significantly more responsive to the expression of the excerpts: Beethoven, t (531) =-7.41, p < .001; Mozart, t (531) =-7.23, p < .001; Tchaikovsky, t (531) =-7.52, p < .001; and Vivaldi, t (531) =-10.31, p < .001. A final analysis considered subjects' responses to the question of whether they would listen to the piece at home if given a recording; JRME 65 Table 3 Choices Words Describe Expression the Excerpts to the and Their of of Percentages Subjects' of at Willingnessto Listen to the Excerpts Home Word Chosen to Describe Expression of Excerpt Excerpt Beethoven No past responsea Past responseb Mozart No past response Past response Tchaikovsky No past response Past response Vivaldi No past response Past response a No Anger 3.5 4.0 Joy 45.0 62.3 Neutral Peacefulness Sadness Willing to listen at home 29.5 17.6 18.0 14.3 4.0 1.8 20.0 58.7 46.0 59.3 16.5 15.1 29.5 18.4 2.0 0.9 6.0 6.3 8.5 35.4 1.0 0.3 11.5 10.0 11.5 3.9 62.5 74.0 13.5 11.8 29.0 64.0 21.4 31.1 18.9 19.0 37.2 23.6 5.6 4.5 16.8 21.8 27.0 64.6 music. past emotionalresponseto classical b Pastemotionalresponseto classical music. differentbetweengroupsfor all excerptsin chi Note. of Patterns responsesweresignificantly squaretests. this was perhaps the single best indicator of subjects' music appreciof affirmative responses are shown in the rightation. Percentages hand column of Table 3. Results of chi-square tests showed that subjects with past emotional responses to classical music were significantly more willing to listen to the pieces at home: Beethoven, X2(1, N= 532) = 75.94, p < .001; Mozart, X2(1, N= 533) = 47.93, p < .001; Tchaikovsky, X2(1, N= 533) = 61.12, p < .001; and Vivaldi, X2(1, N= 533) = 70.54, p < .001. DISCUSSION The results of this study affirm several commonly held beliefs about music and young adults. First, virtually everybody likes music (keeping in mind that the subjects in this study chose to enroll in 66 WOODY/BURNS music appreciation courses). In the present study, only a tiny fraction of the sample did not express a fondness for music, with a majority of subjects saying they “love” music. Second, classical music is not a preferred style of music among this age-group. Very few subjects reported classical music as their favorite style. Although this finding may be disappointing to some musicians and music educators, it can hardly be considered surprising. Finally, and perhaps more encouraging to the music profession, a majority of subjects reported having past emotional responses to all the musical styles presented in the study. This includes the classical style, to which emotional responses were reported by nearly two-thirds of the sample. Although this study focused on the role of past emotional response in appreciation of classical music, it must be noted that mere exposure to classical music remains a potentially confounding variable. Because past exposure to classical music was correlated with factors (e.g., having a past emotional other emotion-related it alone could serve as a predictor of music appreciation. response), It is possible that extensive involvement with classical music as a young person may yield an appreciation for the style as an adult, even without any marked sensitivity to its expressive qualities. It is perhaps more likely that exposure to classical music contributes to the development of expectations (including expressive expectations) used in listening to this style (e.g., Repp, 1992). Such expectations may make listeners more perceptive of the expressive qualities of classical music, and ultimately result in greater appreciation for the style. It remains uncertain, however, whether formal music appreciation instruction can effectively build expressive expectations in students through attention to basic musical elements (e.g., how articulation and tempo are used to make music expressive) and aspects of music history (e.g., the use of terrace dynamics in music of the Baroque style period). It is, in fact, questionable whether even long-term formal music training necessarily produces appreciable differences in listeners' emotional responses to music (Madsen, 1997a). A primary purpose of this study was to test the viability of a theory that young adults do not appreciate classical music because they believe it does not address the emotions and moods that they experience in life. The results of this study offer provisional support for this theory. The majority of the subjects indicated that in their own lives they choose music to match the mood they are in. Subjects reporting no past emotional experience with classical music generally showed less appreciation for the classical music listening examples, as measured by their choice of expression words, the intensity of their response to the excerpts, and their willingness to listen to the pieces of music at home. Considering that the excerpts in this study are documented for their emotional effects, it is important to note that subjects without past emotional responses to classical music more frequently selected the word “neutral” to describe the expression of excerpts. The excerpts used in this study were chosen for their strong JRME 67 expressive content. In choosing musical examples for music appreciation instruction, teachers may wish to similarly consider a work's potential for eliciting emotional responses in students, in addition to its historical and music-theory-related merits. The results of this study also suggest that familiarity may be an important consideration in selecting music that will be well-received by a music appreciation class; recall that the Tchaikovsky and Vivaldi excerpts were somewhat recognizable to subjects and also elicited favorable responses from an appreciation standpoint (Table 2). Finally, research by Le Blanc et al. (1992) suggests that humorous musical selections may foster receptiveness for unfamiliar styles of music. With three of the excerpts in this study, there was general agreement as to the emotion word that best described the expression, supporting the findings of Gabrielsson and Juslin (1996). However, one of the more interesting findings of this study related to the Vivaldi excerpt. Although it elicited significantly more intense emotional responses than the other excerpts, it also was the only excerpt with little agreement among subjects on the expression word choice. In fact, “neutral” was the most chosen word. It is possible that subjects chose the word “neutral” not because they thought the Vivaldi was devoid of expression (the mean intensity of response indicates otherwise), but because none of the provided emotion words seemed to them to fit quite right. This result may point to the ineffability of music, an idea proposed by many music philosophers (e.g., Addis, 1999, Ch. 6; Reimer, 1989, Ch. 3). That is, the expressive qualities of music can represent emotions and moods that language can only imprecisely characterize. The results of this study suggest that young adults who have had past emotional experience with classical music are more responsive to the expressive qualities of classical music and are more willing to listen to this style of music on their own time. In light of these findings, one might theorize that an integral part of music appreciation instruction is the opportunity for students to experience first-time emotional responses to classical music. Past research has offered some initial insights into how this might be accomplished. The findings of Sloboda (1990) indicate that students must perceive a nonthreatening environment in order to be comfortable enough to respond emotionally to music. Fostering this would seemingly begin by considering students' cultural backgrounds, including musical preferences, which can influence emotional response to music (Gregory & Varney, 1996). Given adolescents' and young adults' fondness for popular music styles such as rock and rap, it would seem unwise for an instructor to disparage these styles of music to students. More generally, Price and Swanson (1990) concluded that instructors aiming to encourage more enjoyable listening experiences “must consider an approach that is different than the typical lecmodel that predominates in the music educature/demonstrationtion profession” (p. 45). 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</ref-list></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Predicting Music Appreciation with Past Emotional Responses to Music</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Predicting Music Appreciation with Past Emotional Responses to Music</title></titleInfo><name type="personal"><namePart type="given">Robert H.</namePart><namePart type="family">Woody</namePart><affiliation>Ball State University</affiliation></name><name type="personal"><namePart type="given">Kimberly J.</namePart><namePart type="family">Burns</namePart><affiliation>Ball State University</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">2001-04</dateIssued><copyrightDate encoding="w3cdtf">2001</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract lang="en">This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More specifically, past emotional experience with classical music was a reliable predictor of music appreciation, as measured by appropriate recognition of expression and willingness to listen to classical music on one's own time. Implications are drawn regarding approaches for teaching classical music to nonmusicians, including increased focus on expressive qualities in music listening experiences.</abstract><relatedItem type="host"><titleInfo><title>Journal of research in music education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0022-4294</identifier><identifier type="eISSN"></identifier><identifier type="PublisherID">JRM</identifier><identifier type="PublisherID-hwp">spjrm</identifier><part><date>2001</date><detail type="volume"><caption>vol.</caption><number>49</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>57</start><end>70</end></extent></part></relatedItem><identifier type="istex">E5040159F30A8AA173BD52A202486A409E488727</identifier><identifier type="ark">ark:/67375/M70-WP98QTJB-9</identifier><identifier type="DOI">10.2307/3345810</identifier><identifier type="ArticleID">10.2307_3345810</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/E5040159F30A8AA173BD52A202486A409E488727/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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