The structure of musical preferences: A five-factor model.

Rentfrow, Peter J.; Goldberg, Lewis R.; Levitin, Daniel J.

doi:10.1037/a0022406

Cited by 293 publications

(397 citation statements)

References 53 publications

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“…No participant reported any serious hearing impairment. Each participant chose two preferred musical genres as an open question-from these responses it was observed that the participants had diverse preferences, as the categories proposed by [28] were represented (mellow, unpretentious, sophisticated, intense, and contemporary). The overall test duration varied by participant, with median duration of 38 minutes, ranging from 22 to 69 minutes.…”

Section: Test Panelmentioning

confidence: 99%

Perception of Audio Quality in Productions of Popular Music

Wilson¹,

Fazenda²

2016

J. Audio Eng. Soc.

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The quality of recorded music is often highly disputed. To gain insight into the dimensions of quality perception, subjective and objective evaluation of musical program material, extracted from commercial CDs, was undertaken. It was observed that perception of audio quality and liking of the music can be affected by separate factors. Familiarity with stimuli affected like ratings while quality ratings were most associated with signal features related to perceived loudness and dynamic range compression. The effect of listener expertise was small. Additionally, the sonic attributes describing quality ratings were gathered and indicate a diverse lexicon relating to timbre, space, defects, and other concepts. The results also suggest that while the perceived quality of popular music may have decreased over recent years, like ratings were unaffected. INTRODUCTIONIn the context of recorded sound there is great debate over which parameters influence the perception of quality or how quality should be defined. In the context of product development, sound quality has been defined as the "result of an assessment of the perceived auditory nature of a sound with respect to its desired nature" [1]. In order to assess the audio quality of a recording, the requirements for quality must be identified as well as the inherent characteristics of the audio signal. These characteristics must then be measured and used to estimate quality, which is then optimized subject to various constraints, e.g., the available budget, human resources, and projected time-to-market. This paper details the findings of a study into the perception of quality in commercial music productions, attempting to ascertain which objective and subjective parameters are involved as well as the relative importance of these parameters. ASSESSMENT OF QUALITYA variety of theories and methodologies exist for the assessment of quality in many different fields. A number of these can be applied to reproduced sound. In this context, quality judgments can be considered to be based on technical properties of the signal, such as bandwidth or distortion, or based on hedonic preference, which might be influenced by personal aspects of familiarity.International standards exist regarding the measurement of audio quality based on determining the level of degradation from a reference [2]. These procedures are formulated under the assumption that a reference item exists, which can be used as an example of greatest quality, and test items are then compared against this reference. This usually applies to systems where the reference is formed from the original version of the program material and the test samples under evaluation are copies that have undergone some form of processing. The evaluation of systems such as audio codecs [3] is a good example of this type of approach. In these circumstances, it is not strictly the inherent quality of the program material that is being measured but rather the perceived degradation in quality of the signal, after being subject to destructive pr...

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Section: Test Panelmentioning

confidence: 99%

Perception of Audio Quality in Productions of Popular Music

Wilson¹,

Fazenda²

2016

J. Audio Eng. Soc.

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“…Many people seek out music for their own listening purposes, and, taken together with background music, this can add up to more than a quarter of a Western individual's day; especially adolescents (Rentfrow, Goldberg, & Levitin, 2011;Huron, 2001;Levitin, 2006;McCormick, 2009;Roberts, Henriksen, & Foehr, 2004). The importance of music is also reflected in the billions of dollars spent each year on: (a) music's consumption, and (b) music's construction by industry (Geter & Streisand, 1995).…”

Section: Why Investigate Music Preferences?mentioning

confidence: 99%

“…their music preference) has received relatively little attention in mainstream social, and developmental psychology, recent investigations have begun to examine individual differences in music preferences (for a review, see Rentfrow, McDonald, & Oldmeadow, 2009). However, additional research that validates music preferences as a measure of developmental accomplishments and issues is needed (Rentfrow, Goldberg, & Levitin, 2011). Exposing individuals to a specific variety or genre of music may promote greater self-exploration, validation, and normalization of their psychosocial, psychological, and developmental issues, thus enhancing their social development (Schwartz & Fouts, 2003).…”

Section: Why Investigate Music Preferences?mentioning

confidence: 99%

Toward Predicting Prosocial Behavior: Music Preference and Empathy Differences Between Adolescents and Adults

Clark

Giacomantonio

2015

EMR

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Empathy plays a role in social competence and intelligence, and can serve as a buffer against antisocial tendencies. Numerous studies highlight the relationship between empathy, prosocial behaviors, and the predictive utility of music preferences. This study examined participant differences in music preferences and empathy as a function of age, and whether preferred music genre predicted empathy (as a correlate to prosocial behavior). A new measure was devised to assess music preferences more accurately (i.e. with better face/construct validity) than existing measures. The Basic Empathy Scale measured empathy as a multidimensional construct. Younger participants exhibited greater empathy than older ones. Each music preference factor contributed uniquely to empathy variance in multiple regression models. Younger and older participants differed on music preferences (arguably associated with age-related sociocultural influences). Conclusions were drawn regarding the age differences in empathy and music preferences, the systematically greater influences of music preferences on cognitive compared to affective empathy, and the greater associations with empathy of specific music preferences. Limitations and implications for government policy and further research are considered.

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“…And just as musical preferences appear to be, in part, manifestations of personality traits and values, it is reasonable to expect that given the emotionally communicative nature of music, people's preferences may be driven by their empathy levels. These varying levels of empathy are likely to impact the types of music that people choose to listen to, not only in the long-term, but also in the short-term, depending on temporary fluctuations in empathy.Rentfrow and colleagues provided evidence that people's musical preferences can be organized into five robust dimensions defined as the MUSIC music-preference model (Rentfrow et al, 2011. By using musical excerpts, these researchers overcame limitations presented by genre-labels[4] with the benefit of observing the specific sonic and psychological attributes in the music that participants preferred.…”

mentioning

confidence: 99%

Can Music Increase Empathy? Interpreting Musical Experience Through the Empathizing–Systemizing (E-S) Theory: Implications for Autism

Greenberg

Rentfrow

Baron‐Cohen

2015

EMR

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Recent research has provided evidence that musical interaction can promote empathy. Yet little is known about the underlying intrapersonal and social psychological processes that are involved when this occurs. For example, which types of music increase empathy and which types decrease it; what role, if any, does empathy play in determining individual differences in musical preference, perception, and performance; or, how do these psychological underpinnings help explain the musical experiences of people with autism spectrum conditions (ASC). To address these questions we employ the Empathizing-Systemizing (E-S) theory as a fruitful framework in which to understand these music-related phenomena. Specifically, we explore how individual differences in musical preference, perception, and performance can be explained by E-S theory. We provide examples from open-ended descriptions of strong musical experiences to demonstrate the ways in which empathy and music inter-relate. Importantly, we discuss the implications for the study of autism, and for how music therapists and clinicians can use music as a tool in their work with individuals diagnosed with ASC.Submitted 2014 April 29; accepted 2014 June 29. KEYWORDS: empathy, autism, musical preference, perception, performance EMPATHY is a fundamental feature of human interaction. It requires both cognitive (Dennett, 1989;Baron-Cohen, 1995) and affective (Davis, 1994) components that enable people to recognize the emotional and mental states of others, and to respond to these with appropriate emotions (Harris, Johnson, Hutton, Andrews, & Cooke, 1989;Baron-Cohen & Wheelwright, 2004). Empathy allows for the perception of another's thoughts and feelings, and allows one to predict how they will behave (Whiten, 1991). Music listening and performance, which is a universal feature of human behavior (Blacking, 1995), also requires components of cognitive and affective processing. We listen and are exposed to music for hours each day (Motion Picture Association of America, Inc, 2007;Rentfrow, 2012), during which time we perceive the emotional and psychological content in music; interpret the thoughts, feelings, and proficiency of the musicians from auditory and visual cues (Thompson, Russo, & Quinto, 2008;Tsay, 2013); respond emotively to the music and the musician (Juslin, & Västfjäll, 2008;Zentner, Grandjean, & Scherer, 2008), and can predict the direction of a melodic phrase or narrative. Empathy is thus connected with the perception, interpretation, and emotional reactions to music.However, only recently have researchers in the field of music, personality, and social psychology begun to focus on how music and empathy are linked. For example, Wöllner (2012) showed that people with higher levels of empathy are able to perceive and identify a musician's intentions with greater accuracy than those with lower levels, and Egermann and McAdams (2013) demonstrated that perceived and induced emotion from music is moderated by empathy. Further, not only does empathy influenc...

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The structure of musical preferences: A five-factor model.

Cited by 293 publications

References 53 publications

Perception of Audio Quality in Productions of Popular Music

Perception of Audio Quality in Productions of Popular Music

Toward Predicting Prosocial Behavior: Music Preference and Empathy Differences Between Adolescents and Adults

Can Music Increase Empathy? Interpreting Musical Experience Through the Empathizing–Systemizing (E-S) Theory: Implications for Autism

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