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Music often triggers a pleasurable urge in listeners to move their bodies in response to the rhythm. In music psychology, this experience is commonly referred to as groove. This study presents the Experience of Groove Questionnaire, a newly developed self-report questionnaire that enables respondents to subjectively assess how strongly they feel an urge to move and pleasure while listening to music. The development of the questionnaire was carried out in several stages: candidate questionnaire items were generated on the basis of the groove literature, and their suitability was judged by fifteen groove and rhythm research experts. Two listening experiments were carried out in order to reduce the number of items, to validate the instrument, and to estimate its reliability. The final questionnaire consists of two scales with three items each that reliably measure respondents’ urge to move (Cronbach’s α = .92) and their experience of pleasure (α = .97) while listening to music. The two scales are highly correlated (r = .80), which indicates a strong association between motor and emotional responses to music. The scales of the Experience of Groove Questionnaire can independently be applied in groove research and in a variety of other research contexts in which listeners’ subjective experience of music-induced movement and enjoyment need to be addressed: for example the study of the interaction between music and motivation in sports and research on therapeutic applications of music in people with neurological movement disorders.

In the Western classical tradition music criticism represents one of the most complex and influential forms of performance assessment and evaluation. However, in the age of peer opinion sharing and quick communication channels it is not clear what place music critics’ judgments still hold in the classical music market. This article presents expert music critics’ view on their role, function, and influence. It is based on semi-structured interviews with 14 native English- and German-speaking critics who had an average of 32 years professional activity in classical music review. We present the first visual model to summarize music critics’ descriptions of their role and responsibilities, writing processes, and their influences (on the market and on artists). The model distinguishes six roles (hats): consumer adviser, teacher, judge, writer, stakeholder, and artist advocate. It identifies core principles governing critical writing for music as well as challenges that arise from balancing the above six responsibilities whilst remaining true to an implicit code of conduct. Finally, it highlights the factors that inform critics’ writing in terms of the topics they discuss and the discursive tools they employ. We show that music critics self-identify as highly skilled mediators between artists, producers and consumers, and justify their roles as judge and teacher based on a wealth of experience as against the influx of pervasive amateur reviews. Our research approach also offers occupation-based insights into professional music review standards, including the challenges of maintaining objectivity and resisting commercial pressures. This article offers a new viewpoint on music critics’ judgments and recommendations that helps to explain their expectations and reflections.

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Music criticism has a long tradition as a leading agent in the classical music discourse. However, some people question its function in the contemporary music market. We explored the topicality of classical music critique by asking: Who reads professional reviews today? And what do readers expect from review? Through an online survey (English/German), we profiled the listening habits of classical music listeners ( N = 1200) and their engagement with professional reviews. Our participants were more actively engaged with music, but contrary to the ‘highbrow’ stereotype, not more highly musically trained than the general population. They consumed music and opinion sources in a variety of ways. Approximately two-thirds ( n = 741) of the participants had recently engaged with professional reviews, which were perceived as the most useful form of opinion, followed by short written commentaries and, lastly, ratings. A multiple logistic regression model suggested that the typical consumer of professional music critique was older with higher levels of musical engagement and education, had a higher inclination to purchase music and lower usage of streaming services, and had a preference for detailed reviews from traditional sources (e.g. newspapers). According to review readers, reviews should cover a variety of topics and offer evaluations underpinned with reasons. Reviewers should be constructive, open-minded, respectful, and well informed; their professional background was less relevant. Professional reviews should not necessarily provide a recommendation on what to buy, but rather guide listeners’ musical appreciation and understanding. Professional criticism still has an audience, although more so among older, musically educated listeners. Critics need to explore various channels in order to connect to a new generation of classical music listeners.