Anneli B. Haake
I work with evaluating the impact of music in various settings: workplaces, hospitals, care homes, etc.
- Consultancy on the impact of music in workplaces
- Evaluating music and well-being projects, music therapy projects and community music projects
- Documenting arts and health projects
- Report/article writing
- Talks and workshops
- Project development
- Research design
- Research instrument development (surveys, intervention studies, interviews)
- Quantitative data collection and analysis
- Qualitative data collection and analysis
I have a PhD in music psychology, and my doctoral research investigated the impact of music listening in offices.
http://annelihaake.com/
Supervisors: Nicola Dibben
- Consultancy on the impact of music in workplaces
- Evaluating music and well-being projects, music therapy projects and community music projects
- Documenting arts and health projects
- Report/article writing
- Talks and workshops
- Project development
- Research design
- Research instrument development (surveys, intervention studies, interviews)
- Quantitative data collection and analysis
- Qualitative data collection and analysis
I have a PhD in music psychology, and my doctoral research investigated the impact of music listening in offices.
http://annelihaake.com/
Supervisors: Nicola Dibben
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Papers by Anneli B. Haake
Adopting a multi-disciplinary approach and utilising mixed methods, three empirical studies were carried out, with a sample of over 300 employees. A survey investigated current listening practices, a field experiment examined the effects of a listening intervention on work appreciation, and semi-structured interviews were used to explore contextual aspects influencing the listening experience at work.
Music listening in offices is characterised by employees balancing internal needs (motivations for listening) and external requirements (situation-specific considerations). When employees consider these two aspects, they practice “responsible listening”. Listening practices were coloured by desires to control the auditory environment and to influence subjective well-being, inspiration and concentration. Music selections were varied, often made at random and derived from home. No main effect of music on work performance and well-being was found; music had positive as well as negative effects for different individuals in different situations. Employees avoided imposing music onto others or listening in an unsuitable way by modifying their listening behaviour (through listening technology, music styles and volume). No specific policies on music listening were found, and music was often conceptualised as a “grey area”. Music in offices can be considered as blurring the boundaries between private and public, and as a way to bring private habits into work for the purpose of regulating personal wellbeing in public spaces."
Reports by Anneli B. Haake
that previously would not have been possible.
Based on Dr Anneli Haake's PhD research at the University of Sheffield, totaljobs created ‘The Sound of Productivity’, a tool meant to encourage people to discover if music could boost their productivity at work. After assessing their personality, taste and work environment through the tool, users learn whether listening to music could help or hinder their productivity and what factors have an impact on their focus.
The findings demonstrate that the majority of people (79%) would benefit from listening to music at work, and that some workspaces tend to hinder people’s productivity.
However, not all professions and sectors allow for music listening. The Foo Fighters, Drake and Kendrick Lamar were
among the top artists users listen to at work. People born in the 1990s-2000s require more demanding music
to focus than people born in the 1950s-1980s (45% vs 29%). 99% of people working in open-plan spaces would
benefit from listening to music at work. 84% of those who said that they cannot listen to music at work would benefit from it.
Insurance, Banking, Accountancy and Customer
service are the least music-friendly industries (57% on
average are not allowed music). Computer programming,
Data analytics, Advertising and Marketing are the most
music-friendly industries (67% on average are allowed to listen to and choose their own music). Those working in Marketing are interrupted by surrounding noise more than other sectors (40% vs 20% on average).
It is hoped that the findings will encourage debate on what
makes people not only more productive, but also happier
in the workplace.
environment by providing entertainment, relaxation and help bringing a level of normality and everyday life into the hospital wards.
Rhythmix, Wishing Well programme, who are providing a live music-making
programme in healthcare settings in South East England. Evaluations that the musicians provided during their work at The Royal Alexandra Children’s hospital in 2015-2016 were summarised and analysed.
The results suggest that:
● this music-making programme has positive effects for patients, families and caregivers
● building and strengthening the relationships with staff seems helpful for these types of music-making programmes
● a balance is needed between welcoming staff’s assistance in prioritising which patients should take part in the music activities and allowing the musicians to use their expertise when approaching patients, in order to achieve the most positive outcome for patients
● opportunities for musicians to practice self-care are necessary in order to avoid ‘burn out’ and emotional trauma.
Each group of young musicians was partnered with a care setting within their local community, where informal music making was shared with older people – residents or service users – as well as care staff and visitors, exploring mutual benefits to participants’ wellbeing. The project offered older people in care settings an opportunity to listen to and share music, to communicate and interact with young musicians with the aim of enjoyment, relaxation, stimulation and self-expression.
Taking the Lead was an Arts Derbyshire project, supported by Derbyshire County Council and a grant from leading UK charity Youth Music.
Videos by Anneli B. Haake
Posters by Anneli B. Haake
Talks by Anneli B. Haake
OPUS Music Community Interest Company (OPUS), a professional musician group, have played music weekly in the Nottingham, Leicester, Derby and Mansfield Children’s Hospitals over the last 1,5 years under charitable funding (mainly Youth Music). The aim of this study is to evaluate this project to decide further funding and expanding to other children’s units.
Quantitative and qualitative data were collected with consent on 9 occasions in Nottingham and Leicester during 2013. Interviews and observations assessed the impact on paediatric patients, their family and the hospital staff. Photos and video clips with signed parent consent were also captured.
Semi-structured interviews showed positive responses of children with chronic illness and prolonged admissions. Parents reported their child smiling again (“It was a great feeling to see my child come out of pain and stayed happy during the activity”). Interactions with the musicians such as the child playing the instruments were important as well as hearing the music. Short video clips illustrate such interactions between OPUS musicians, patients, families and healthcare staff.
Positive benefits were found in this music intervention study from the three perspectives: the children, families and staff. Music can create a space for children in hospital to interact and ease their anxiety and stress.
References:
Preti, C., & Welch, G.F. (2004). Music in a hospital setting: A multifaceted experience. British Journal of Music Education, 21:3, pp 329-345
Preti, C., & Schubert, E. (2011). Sonification of Emotions II: Live music in a pediatric hospital. Paper presented at The 17th International Conference on Auditory Display, June 20-24, Budapest, Hungary
"
Previous research into music at work has mainly focused on investigating music’s impact on fatigue, boredom and productivity (Antrim 1943, Uhbrock 1961, Fox 1972). This type of research has rarely explored employees’ experiences of self-selected music. However, self-selected listening to music is a ubiquitous presence in the Western workplace today, due to increased availability of mobile and computer-based listening devices. The small number of studies that have investigated self-selected music listening at work indicate that music listening can influence mood, task performance, satisfaction and other work-related responses (Lesiuk 2005, Oldham et al 1995). This is congruent with research showing that group music listening can enhance productivity and morale, and that people use music listening to manage their well-being in daily life (Batt-Rawden & DeNora 2005; North, Hargreaves & Hargreaves 2004; Sloboda, O'Neill & Ivaldi 2001).
Aims
This paper presents the findings of three studies that aimed to further the understanding of the role of music listening in UK offices today. The studies also aimed to explore how employees experience music listening at work, and whether there are any situation-specific constraints relating to music listening in this particular context.
Method
Three empirical “in situ” studies were carried out: a survey, an interview study and a field experiment. A multi-disciplinary, exploratory approach was taken to the collection and analysis of data.
Results
The results shed light on the situation-specific conditions surrounding music experiences at work and how they relate to both social and individual experiences and practices of music listening at work. Furthermore, the data reveals social issues and difficulties concerning music listening in the workplace - including a negotiation process in which employees balanced their own needs with the greater welfare of their colleagues and their organization. Finally, a “Google Map Model” is presented as a way to conceptualize the topic and to preserve the many interacting themes that emerged through the analysis.
Implications
This study extends the understanding of music’s role in contemporary life by focusing on one context in depth, and it also highlights the importance of studying music experiences in the ’real world’.
Adopting a multi-disciplinary approach and utilising mixed methods, three empirical studies were carried out, with a sample of over 300 employees. A survey investigated current listening practices, a field experiment examined the effects of a listening intervention on work appreciation, and semi-structured interviews were used to explore contextual aspects influencing the listening experience at work.
Music listening in offices is characterised by employees balancing internal needs (motivations for listening) and external requirements (situation-specific considerations). When employees consider these two aspects, they practice “responsible listening”. Listening practices were coloured by desires to control the auditory environment and to influence subjective well-being, inspiration and concentration. Music selections were varied, often made at random and derived from home. No main effect of music on work performance and well-being was found; music had positive as well as negative effects for different individuals in different situations. Employees avoided imposing music onto others or listening in an unsuitable way by modifying their listening behaviour (through listening technology, music styles and volume). No specific policies on music listening were found, and music was often conceptualised as a “grey area”. Music in offices can be considered as blurring the boundaries between private and public, and as a way to bring private habits into work for the purpose of regulating personal wellbeing in public spaces."
that previously would not have been possible.
Based on Dr Anneli Haake's PhD research at the University of Sheffield, totaljobs created ‘The Sound of Productivity’, a tool meant to encourage people to discover if music could boost their productivity at work. After assessing their personality, taste and work environment through the tool, users learn whether listening to music could help or hinder their productivity and what factors have an impact on their focus.
The findings demonstrate that the majority of people (79%) would benefit from listening to music at work, and that some workspaces tend to hinder people’s productivity.
However, not all professions and sectors allow for music listening. The Foo Fighters, Drake and Kendrick Lamar were
among the top artists users listen to at work. People born in the 1990s-2000s require more demanding music
to focus than people born in the 1950s-1980s (45% vs 29%). 99% of people working in open-plan spaces would
benefit from listening to music at work. 84% of those who said that they cannot listen to music at work would benefit from it.
Insurance, Banking, Accountancy and Customer
service are the least music-friendly industries (57% on
average are not allowed music). Computer programming,
Data analytics, Advertising and Marketing are the most
music-friendly industries (67% on average are allowed to listen to and choose their own music). Those working in Marketing are interrupted by surrounding noise more than other sectors (40% vs 20% on average).
It is hoped that the findings will encourage debate on what
makes people not only more productive, but also happier
in the workplace.
environment by providing entertainment, relaxation and help bringing a level of normality and everyday life into the hospital wards.
Rhythmix, Wishing Well programme, who are providing a live music-making
programme in healthcare settings in South East England. Evaluations that the musicians provided during their work at The Royal Alexandra Children’s hospital in 2015-2016 were summarised and analysed.
The results suggest that:
● this music-making programme has positive effects for patients, families and caregivers
● building and strengthening the relationships with staff seems helpful for these types of music-making programmes
● a balance is needed between welcoming staff’s assistance in prioritising which patients should take part in the music activities and allowing the musicians to use their expertise when approaching patients, in order to achieve the most positive outcome for patients
● opportunities for musicians to practice self-care are necessary in order to avoid ‘burn out’ and emotional trauma.
Each group of young musicians was partnered with a care setting within their local community, where informal music making was shared with older people – residents or service users – as well as care staff and visitors, exploring mutual benefits to participants’ wellbeing. The project offered older people in care settings an opportunity to listen to and share music, to communicate and interact with young musicians with the aim of enjoyment, relaxation, stimulation and self-expression.
Taking the Lead was an Arts Derbyshire project, supported by Derbyshire County Council and a grant from leading UK charity Youth Music.
OPUS Music Community Interest Company (OPUS), a professional musician group, have played music weekly in the Nottingham, Leicester, Derby and Mansfield Children’s Hospitals over the last 1,5 years under charitable funding (mainly Youth Music). The aim of this study is to evaluate this project to decide further funding and expanding to other children’s units.
Quantitative and qualitative data were collected with consent on 9 occasions in Nottingham and Leicester during 2013. Interviews and observations assessed the impact on paediatric patients, their family and the hospital staff. Photos and video clips with signed parent consent were also captured.
Semi-structured interviews showed positive responses of children with chronic illness and prolonged admissions. Parents reported their child smiling again (“It was a great feeling to see my child come out of pain and stayed happy during the activity”). Interactions with the musicians such as the child playing the instruments were important as well as hearing the music. Short video clips illustrate such interactions between OPUS musicians, patients, families and healthcare staff.
Positive benefits were found in this music intervention study from the three perspectives: the children, families and staff. Music can create a space for children in hospital to interact and ease their anxiety and stress.
References:
Preti, C., & Welch, G.F. (2004). Music in a hospital setting: A multifaceted experience. British Journal of Music Education, 21:3, pp 329-345
Preti, C., & Schubert, E. (2011). Sonification of Emotions II: Live music in a pediatric hospital. Paper presented at The 17th International Conference on Auditory Display, June 20-24, Budapest, Hungary
"
Previous research into music at work has mainly focused on investigating music’s impact on fatigue, boredom and productivity (Antrim 1943, Uhbrock 1961, Fox 1972). This type of research has rarely explored employees’ experiences of self-selected music. However, self-selected listening to music is a ubiquitous presence in the Western workplace today, due to increased availability of mobile and computer-based listening devices. The small number of studies that have investigated self-selected music listening at work indicate that music listening can influence mood, task performance, satisfaction and other work-related responses (Lesiuk 2005, Oldham et al 1995). This is congruent with research showing that group music listening can enhance productivity and morale, and that people use music listening to manage their well-being in daily life (Batt-Rawden & DeNora 2005; North, Hargreaves & Hargreaves 2004; Sloboda, O'Neill & Ivaldi 2001).
Aims
This paper presents the findings of three studies that aimed to further the understanding of the role of music listening in UK offices today. The studies also aimed to explore how employees experience music listening at work, and whether there are any situation-specific constraints relating to music listening in this particular context.
Method
Three empirical “in situ” studies were carried out: a survey, an interview study and a field experiment. A multi-disciplinary, exploratory approach was taken to the collection and analysis of data.
Results
The results shed light on the situation-specific conditions surrounding music experiences at work and how they relate to both social and individual experiences and practices of music listening at work. Furthermore, the data reveals social issues and difficulties concerning music listening in the workplace - including a negotiation process in which employees balanced their own needs with the greater welfare of their colleagues and their organization. Finally, a “Google Map Model” is presented as a way to conceptualize the topic and to preserve the many interacting themes that emerged through the analysis.
Implications
This study extends the understanding of music’s role in contemporary life by focusing on one context in depth, and it also highlights the importance of studying music experiences in the ’real world’.
Studies of music in everyday life have shown that people often experience positive affect while listening to self-selected music (DeNora 2000, Sloboda & O’Neill 2001). Two areas of research can be used to understand how music can impact on well-being at work. Firstly, frequency of positive emotions is of primary importance for an increased sense of well-being (Diener & Lucas 2000). Positive emotions can also enhance the ability to cope with stress through "finding positive meaning", which in turn predicts increases in well-being (Frederickson & Joiner 2002). Secondly, office noise and distractions can lead to increased stress at work (North & Hargreaves 2008, Oldham et al 1995). The current state of understanding of well-being and office noise therefore suggests that music listening at work can be a resource for well-being, through a combination of experiencing positive affect and reducing office noise and distractions.
Aims
This paper presents the findings of a study that aimed to explore the role of music listening in UK offices today and its relationship to well-being in this particular context.
Method
Semi-structured interviews were carried out “in situ” with 11 employees from two different organizations: an architect practice and a geological research centre. The interviews were analysed using a Grounded Theory approach.
Results
The emerging themes revealed that positive emotions accompanied listening practices at work. These practices were employed to enhance mood but also to reflect current mood. Employees also described ways of using music to “block out” distracting noises at work, although this practice was often negotiated by a need to “remain aware” of the surroundings. Furthermore, it was found that music itself can be a source of distraction. However, employees stated they were often in control of this kind of distraction, except in cases of “forced listening”.
Implications
The result sheds light on the situation-specific conditions surrounding music experiences at work. It also illuminates a negotiation process, in which employees balanced their own needs with the greater welfare of their colleagues. This research is a step towards understanding how well-being in the workplace can be maintained and enhanced through the use of self-selected music.
But these ideas are not new. Previous studies of the effects of music at work have taken place within many different academic disciplines, but the main aspects that have been investigated are often related to work performance or mood. Most studies have carried out quantitative research, and very few have enquired into the experiences of music at work. Much psychological research have taken place in laboratories, so it is lacking in ecological validity. The majority of the experiments that have taken place in workplaces – mainly factories – have played music chosen by the researcher.
In this paper we consider how space might be re-configured through the use of self-selected music in offices.
Three empirical studies have been carried out to further the understanding of the role of music listening in offices; a survey, an interview study and a field experiment. In these empirical studies, a multi-disciplinary approach was taken to the collection of data. Disciplinces included music psychology, work psychology, musicology, sociology and architecture. Instead of using a theoretical model for constructing hypotheses, the process involved an exploratory approach and the use of many different theories from the various disciplines above.
This paper will present the design of three empirical studies on this topic, and the rationale for each empirical approach. It will examine advantages and disavdantages of each approach, and also discuss some of the particular issues surrounding the study of music in the ’real world’.
An empirical study was conducted with the aim to provide data on the effects on subjective well-being and self-reported work performance, and to explore relationships between musically induced affect states and attitudes to the organisation, job role and work colleagues.
A field experiment with 20 participants was conducted to gather quantitative and qualitative data on perceived workplace “stress” and work-related anxiety, affect and subjective well-being, self-reported work performance, job satisfaction, organisational satisfaction, co-worker satisfaction, and environmental interferences. Music listening was carried out in three conditions; listening whilst working, listening in breaks and no listening.
This research sheds light on the effects of music implementations in offices, whether music can be utilised as a source of well-being maintenance, and whether and how musically induced affect and well-being affect attitudes towards the organisation and colleagues. This research is a step towards understanding how well-being in the workplace can be maintained and enhanced through the use of self-selected music.