How do location and control over the music influence listeners’ responses?

Krause, Amanda E.; North, Adrian C.

doi:10.1111/sjop.12352

Cited by 12 publications

(14 citation statements)

References 41 publications

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“…The exploratory factor analysis of the quantitative item responses revealed five dimensions to the construct of control (labeled as being personally in charge, selection by other people, contextual control, playback variety, and no need for control). Elements of these five dimensions support previous research, in that items loading onto them pertain to the ideas of presence of others, context, device, and selection method (Greasley & Lamont, 2011; Juslin et al, 2008; Krause & North, 2016a, 2017a, 2017b; Krause et al, 2014, 2015, 2016). However, the individual dimensions do not reflect these ideas as distinct constructs.…”

Section: Discussionsupporting

confidence: 72%

Conceptualizing Control in Everyday Music Listening: Defining Dominance

et al. 2020

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Mehrabian and Russell’s Pleasure-Arousal-Dominance model states that people’s interactions and interpretation of their surroundings result from variations in three factors – pleasure, arousal, and dominance. Applied to music, pleasure has been operationalized as how much a person likes the music heard, arousal as how arousing the person considers the music to be, and dominance as the person’s control over the music heard. However, conceptualizing dominance broadly as control means that the construct is not well defined. This research aimed to define the elements related to a listener’s desire for control over music encountered in everyday life. Participants residing in Australia and USA ( N = 590) completed an online questionnaire. An exploratory factor analysis of the quantitative items identified five components defining control over music listening: “being personally in charge”, “selection by other people”, “contextual control”, “playback variety”, and “no need for control”. A thematic analysis of open-ended responses indicated additional facets of control including mood regulation, emotional investment, and identity. While the quantitative findings reaffirm previous research, the qualitative findings indicate previous conceptualizations of the control dimension have been limited. These results contribute to our understanding of the model’s dominance component with regard to explaining everyday music listening.

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Section: Discussionsupporting

confidence: 72%

Conceptualizing Control in Everyday Music Listening: Defining Dominance

et al. 2020

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“…Complementary research investigating situational influences on music listening addresses questions such as where people listen to music (e.g., Sloboda et al, 2001; North et al, 2004), why people listen to music in everyday life (e.g., North et al, 2004; Randall and Rickard, 2017b), with whom they listen to music (e.g., North et al, 2004; Liljestrom et al, 2013), when they listen to music (North et al, 2004; Krause et al, 2016), during which activity people listen to music (North et al, 2004; Juslin et al, 2008), and how these situational factors influence the selection, judgement, or experience of the music (North et al, 2004; Juslin et al, 2008; Greasley and Lamont, 2011; Krause et al, 2016; Krause and North, 2017a,b; Randall and Rickard, 2017b).…”

Section: Introductionmentioning

confidence: 99%

Modeling Music-Selection Behavior in Everyday Life: A Multilevel Statistical Learning Approach and Mediation Analysis of Experience Sampling Data

2019

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Music listening has become a highly individualized activity with smartphones and music streaming services providing listeners with absolute freedom to listen to any kind of music in any situation. Until now, little has been written about the processes underlying the selection of music in daily life. The present study aimed to disentangle some of the complex processes among the listener, situation, and functions of music listening involved in music selection. Utilizing the experience sampling method, data were collected from 119 participants using a smartphone application. For 10 consecutive days, participants received 14 prompts using stratified-random sampling throughout the day and reported on their music-listening behavior. Statistical learning procedures on multilevel regression models and multilevel structural equation modeling were used to determine the most important predictors and analyze mediation processes between person, situation, functions of listening, and music selection. Results revealed that the features of music selected in daily life were predominantly determined by situational characteristics, whereas consistent individual differences were of minor importance. Functions of music listening were found to act as a mediator between characteristics of the situation and music-selection behavior. We further observed several significant random effects, which indicated that individuals differed in how situational variables affected their music selection behavior. Our findings suggest a need to shift the focus of music-listening research from individual differences to situational influences, including potential person-situation interactions.

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“…Elsewhere, it has been proposed that those technologies which provide opportunities for control are likely to experience enhanced feelings of psychological ownership (Kirk, Swain, & Gaskin, 2015) as well as more positive listening experiences (e.g., Krause & North, 2017a;Krause & North, 2017b). The present study suggests that elements related to user control feature in the functional utility, flexibility, and playback diversity uses and gratifications dimensions.…”

Section: Discussionmentioning

confidence: 60%

A uses and gratifications approach to considering the music formats that people use most often

Krause

Brown

2019

Psychology of Music

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With many ways for consumers to access and consume music, little is known about why people choose to listen to music via one format over another. Using a uses and gratifications approach, the present research used an online questionnaire ( N = 396) to examine people’s format use, concerning six particular formats. The results suggest that eight dimensions, namely, usability and intention to use, discovery, functional utility, flexibility, connection, social norms, value for money, and playback diversity, define the uses and gratifications that particular formats serve. When considering whether format use was related to broader music engagement behaviors, results indicated different associations between music engagement variables and format use suggesting that different formats allow listeners to engage with music in unique ways. Findings have implications for future research that examines how and why people engage with music listening in everyday life, elaborating further our understanding of how selection of particular formats can lead to different listening experiences.

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How do location and control over the music influence listeners’ responses?

Cited by 12 publications

References 41 publications

Conceptualizing Control in Everyday Music Listening: Defining Dominance

Conceptualizing Control in Everyday Music Listening: Defining Dominance

Modeling Music-Selection Behavior in Everyday Life: A Multilevel Statistical Learning Approach and Mediation Analysis of Experience Sampling Data

A uses and gratifications approach to considering the music formats that people use most often

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