Absorption and Enjoyment of Music

Rhodes, Larry A.; David, Daniel; Combs, Allan

doi:10.2466/pms.1988.66.3.737

Cited by 31 publications

(19 citation statements)

References 5 publications

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“…Levels of absorption in conjunction with listening to music have frequently been measured in laboratory conditions (Kreutz, Ott, Teichmann, Osawa, & Vaitl, 2008;Rhodes, David, & Combs, 1988) using the Tellegen Absorption Scale (henceforth TAS, Tellegen & Atkinson, 1974).…”

Section: Problems In Labelling Experiencementioning

confidence: 99%

An empirical study of normative dissociation in musical and non-musical everyday life experiences

Herbert¹

2011

Psychology of Music

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Dissociative experiences involving music have received little research attention outside the field of ethnomusicology. This paper examines the psychological characteristics of normative dissociation (detachment) across musical and non-musical experiences in 'real world', everyday settings. It draws upon a subset of data arising from an empirical project designed to compare transformative shifts of consciousness, with and without music in daily life, and the ways in which use of music may facilitate the processes of dissociation and absorption. Twenty participants kept unstructured diaries for two weeks, recording free descriptions of involving experiences of any kind as soon as possible after their occurrence. All descriptions were subsequently subjected to Interpretative Phenomenological Analysis (IPA).Results suggest that dissociative experiences are a familiar occurrence in everyday life. Diary entries highlight an established practice of actively sought detachment from self, surroundings or activity, suggesting that, together with absorption, the processes of derealization (altered perception of surroundings) and depersonalization (detachment from self) constitute common means of selfregulation in daily life. Music emerges as a particularly versatile facilitator of dissociative experience because of its semantic ambiguity, portability, and the variety of ways in which it may mediate perception, so facilitating an altered relationship to self and environment.

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Section: Problems In Labelling Experiencementioning

confidence: 99%

An empirical study of normative dissociation in musical and non-musical everyday life experiences

Herbert¹

2011

Psychology of Music

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“…For example, trait absorption scores are correlated with liking complex (classical in comparison to rock) music [13], a finding that is consistent with the similar trait of openness to experience [4, 14, 15]. In reviewing the literature, however, Roche and McConkey [8] suggested that rather than complexity, the relationship between absorption and liking may be mediated by “personal involvement of a cognitive or an emotional kind with the attentional object” (p. 94).…”

Section: Introductionmentioning

confidence: 99%

The Role of Trait and State Absorption in the Enjoyment of Music

2016

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Little is known about the role of state versus trait characteristics on our enjoyment of music. The aim of this study was to investigate the influence of state and trait absorption upon preference for music, particularly preference for music that evokes negative emotions. The sample consisted of 128 participants who were asked to listen to two pieces of self-selected music and rate the music on variables including preference and felt and expressed emotions. Participants completed a brief measure of state absorption after listening to each piece, and a trait absorption inventory. State absorption was strongly positively correlated with music preference, whereas trait absorption was not. Trait absorption was related to preference for negative emotions in music, with chi-square analyses demonstrating greater enjoyment of negative emotions in music among individuals with high trait absorption. This is the first study to show that state and trait absorption have separable and distinct effects on a listener’s music experience, with state characteristics impacting music enjoyment in the moment, and trait characteristics influencing music preference based on its emotional content.

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“…For example, some swimmers used their stroke tempo to obtain feedback about their performance; hence, they were fully aware of the time factor. A final plausible explanation is that performing synchronously with the music may enhance flow, particularly if the participants enjoyed the music (see Karageorghis & Terry, 1999a;Rhodes, David, and Combs, 1988). There is evidence to suggest that music improves the stylistic elements of movement (Chen, 1985;Spilthoorn, 1986), increases alpha brain wave activity (Burk, 1989;Wales, 1986) and enhances mood state Terry, 1997, 1999b) all of which are precursors of both flow and successful performance (Catley and Duda, 1997;Collins, Powell, and Davies, 1991;Jackson, 1992;Jackson, 1995).…”

Section: Flow State Scale 16mentioning

confidence: 99%