No abstract

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

Volumes of research show that people in different geographic regions differ psychologically. Most of that work converges on the conclusion that there are geographic differences in personality and values, but little attention has been paid to developing an integrative account of how those differences emerge, persist, and become expressed at the geographic level. Drawing from research in psychology and other social sciences, we present a theoretical account of the mechanisms through which geographic variation in psychological characteristics emerge and persist within regions, and we propose a model for conceptualizing the processes through which such characteristics become expressed in geographic social indicators. The proposed processes were examined in the context of theory and research on personality traits. Hypotheses derived from the model were tested using personality data from over half a million U.S. residents. Results provided preliminary support for the model, revealing clear patterns of regional variation across the U.S. and strong relationships between state-level personality and geographic indicators of crime, social capital, religiosity, political values, employment, and health. Overall, this work highlights the potential insights generated by including macrolevel perspectives within psychology and suggests new routes to bridging theory and research across several disciplines in the social sciences.

Research and theorizing on gender and age differences in self-esteem have played a prominent role in psychology over the past 20 years. However, virtually all empirical research has been undertaken in the United States or other Western industrialized countries, providing a narrow empirical base from which to draw conclusions and develop theory. To broaden the empirical base, the present research uses a large Internet sample (N = 985,937) to provide the first large-scale systematic cross-cultural examination of gender and age differences in self-esteem. Across 48 nations, and consistent with previous research, we found age-related increases in self-esteem from late adolescence to middle adulthood and significant gender gaps, with males consistently reporting higher self-esteem than females. Despite these broad cross-cultural similarities, the cultures differed significantly in the magnitude of gender, age, and Gender × Age effects on self-esteem. These differences were associated with cultural differences in socioeconomic, sociodemographic, gender-equality, and cultural value indicators. Discussion focuses on the theoretical implications of cross-cultural research on self-esteem. (PsycINFO Database Record

Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. Here, we introduce a model of musical preferences based on listeners’ affective reactions to excerpts of music from a wide variety of musical genres. The findings from three independent studies converged to suggest that there exists a latent five-factor structure underlying music preferences that is genre-free, and reflects primarily emotional/affective responses to music. We have interpreted and labeled these factors as: 1) a Mellow factor comprising smooth and relaxing styles; 2) an Urban factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz; 3) a Sophisticated factor that includes classical, operatic, world, and jazz; 4) an Intense factor defined by loud, forceful, and energetic music; and 5) a Campestral factor comprising a variety of different styles of direct, and rootsy music such as is often found in country and singer-songwriter genres. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and auditory characteristics of the music.