This paper summarises the approach, empirical methodologies, and part of the results of an empiri... more This paper summarises the approach, empirical methodologies, and part of the results of an empirical study that was conducted in early 2004, when musical TV talent shows reached their peak popularity among young media audiences in Germany. Our primary research interest was in the similarities and differences that the adolescent target group of this TV format might perceive between contestants in TV talent shows and real or ordinary pop music stars. Shows in this TV format all seem to assume that adolescent TV viewers eventually appreciate suc- cessful contestants as music stars just as their favourite pop music artists. And record sales and media ubiquity of the shows’ finalists rivalled that of other successful pop stars at least during a certain period. But does this really prove that talent shows actually achieve their ultimate marketing goal, which presumably consists in constructing a real pop music star in the short course of one TV show season? Do adolescent viewers really bu...
0 0 1 278 1796 Universitat Bremen 24 4 2070 14.0 96 Normal 0 21 false false false DE JA X-NONE /*... more 0 0 1 278 1796 Universitat Bremen 24 4 2070 14.0 96 Normal 0 21 false false false DE JA X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Normale Tabelle"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} Die vorliegende Studie diskutiert motivationale Faktoren nicht-professioneller musikalischer Betatigung anhand empirischer Befunde aus quantitativen Daten. In einem explorativen Ansatz wurden Motivations- und Involvementprofile in verschiedenen Ensembleformen (Chor, Orchester) ermittelt und hinsichtlich moglicher Einflussvariablen (Alter, Geschlecht, Affektivitat) gepruft. Ziel ist die Erschliesung inhaltlicher Dimensionen zur Entwicklung eines Messinstruments und zur Ableitung weiterfuhrender For...
Until recently, there has been a lack of replication studies conducted in the field of music psyc... more Until recently, there has been a lack of replication studies conducted in the field of music psychology. A highly-cited paper in the field by Juslin and Gabrielsson (1996) reported that performer’s intended emotional expressions were decoded by listeners with a high degree of accuracy. While there have been related studies published on this topic, there has yet to be a direct replication of this paper. The present experiment joins the recent replication effort by producing a multi-lab replication using the original methodology of Juslin and Gabrielsson. Expressive performances of various emotions (e.g., happy, sad, angry, etc.) by professional musicians were recorded using the same melodies from the original study and are subsequently being presented to participants for emotional decoding (i.e., participants will rate the emotional quality of each excerpt using a 0-10 scale). The same instruments from the original study have been used (i.e., violin, voice, and flute), with the addit...
When analysing human long term memory for musical pitch, relational memory is commonly distinguis... more When analysing human long term memory for musical pitch, relational memory is commonly distinguished from absolute memory. The ability of most musicians and non-musicians to recognize tunes even when presented in a different key suggests the existence of relational music memory. However, findings by Levitin (1994) point towards the additional existence of absolute music memory. In his sample, the majority of non absolute pitch possessors could produce pitch at an absolute level when the task was to recall a very familiar pop song recording. Up to now, no replication of this study has been published. The aim of this paper is to present the results of a replication project across six different European labs. All labs used the same methodology, carefully replicating the experimental conditions of Levitin’s study. In each lab, between 40 and 60 participants (primarily university students with different majors, musicians and non-musicians) were tested. Participants recalled a pop song th...
Jazz improvisation has mostly been analysed on a micro level identifying tonal formulas either ma... more Jazz improvisation has mostly been analysed on a micro level identifying tonal formulas either manually with classical methods, statistically on a single-note level (see Pfleiderer & Frieler, 2010 for an overview) or by means of qualitative case studies highlighting creative processes (Sawyer, 1992; Seddon, 2005; Noorgard, 2008). Experimental approaches shed light on the influence of musical parameters (Hargreaves, Cork & Setton, 1991), but they are lacking ecological validity in providing just simple chord changes instead of truely musical forms as well as accompaniment by backing groups. Moreover, the scope is narrowed due to the applied conventional methods of musical analysis, hence the perspective on creative processes appears shortened. Though detailed models of cognitive processes in musical improvisation are at hand (Pressing, 1988) empirical evidence is rare, and unlike in musical composition (e.g. Collins, 2005) little is known about basic ideational pathways taken in impr...
Background Over the last years, the reliability and validity of findings in (general) psychology ... more Background Over the last years, the reliability and validity of findings in (general) psychology have been seriously questioned (Schooler, 2011). Often used arguments are, among others, the (now) well-known publication bias, the ritual of statistical significance testing, the so-called 'decline effect', and, last but not least, the lack of replication studies (Ioannidis, 2005). Especially the last point is a serious issue in music psychology, because most studies never get replicated, probably due to the rather small size of the field. This raises the serious question, which findings in music psychology a really trustful and resilient - besides the merely trivial ones. Therefore, we conducted comparative replication studies of the ‘Levitin Effect’ in five laboratories as an initial contribution to a methodological discussion about future needs in empirical music research that hopefully will start to spread across our scientific community: When analysing human long term memor...
Die vorliegende Untersuchung folgt der Pilotstudie zu subjektiven Handlungskompetenzen von Musiks... more Die vorliegende Untersuchung folgt der Pilotstudie zu subjektiven Handlungskompetenzen von Musikstudierenden und zielt auf eine Differenzierung der darin vorgelegten empirischen Befunde und eine Validierung der dort faktorenanalytisch gebildeten Skalen (Inventar zur Erfassung der Berufs- und Studiumsorientierung in der musikpadagogischen Ausbildung, IBSO) an einer erweiterten Stichprobe. In der Pilotstudie wurde eine erste Konstruktion messbarer subjektiver Kompetenz" und Motivationskonstrukte vorgenommen. Hierbei resultierten sieben Skalen. Die Interkorrelationen der IBSOSkalen zeigten, dass diese zum Teil eine Personlichkeitsabhangigkeit aufwiesen. So kovariierte u. a. die Skala Resistenz deutlich mit einer geringen emotionalen Labilitat, wahrend die Skala Stabilitat vermehrt mit einer positiven Selbstinstruktion in Stresssituationen einherging. Um einen Hinweis auf die Unterschiede zwischen verschiedenartigen Ausbildungsstatten zu bekommen, wurde damals unterschieden, ob die...
Concepts of creativity in music usually focus on explicit theoretical assumptions based on models... more Concepts of creativity in music usually focus on explicit theoretical assumptions based on models from psychology research. In recent years, the fields of psychology and education have become increasingly interested in research on laypersons’ attitudes and assumptions about creativity. These implicit theories may complement or even contradict scholarly conceptualisations of creativity and its domain specificity. As a conceptual replication of the work by Runco and Bahleda (1986), this study aims to explore the dimensionality of subjective conceptions of creativity in different domains (arts, science, everyday life, music) by means of an open-ended questionnaire in an online survey ( N = 106). A content analysis of the data yielded 27 meta-categories; a correspondence analysis of their distribution across domains revealed differences between domain-specific conceptions. This indicates stereotypical structures regarding creativity in different domains, as expressed in the associations...
With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gab... more With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson (1996) presented evidence supporting performers' abilities to communicate, with high accuracy, their intended emotional expressions in music to listeners. Though there have been related studies published on this topic, there has yet to be a direct replication of this paper. A replication is warranted given the paper's influence in the field and the implications of its results. The present experiment joins the recent replication effort by producing a five-lab replication using the original methodology. Expressive performances of seven emotions (e.g., happy, sad, angry, etc.) by professional musicians were recorded using the same three melodies from the original study. Participants (N = 319) were presented with recordings and rated how well each emotion matched the emotional quality using a 0-10 scale. The same instruments from the original study (i.e., violin, voice, and flute) were used, with the addition of piano. In an effort to increase the accessibility of the experiment and allow for a more ecologically-valid environment, the recordings were presented using an internet-based survey platform. As an extension to the original study, this experiment investigated how musicality, emotional intelligence, and emotional contagion might explain individual differences in the decoding process. Results found overall high decoding accuracy (57%) when using emotion ratings aggregated for the sample of participants, similar to the method of analysis from the original study. However, when decoding accuracy was scored for each participant individually the average accuracy was much lower (31%). Unlike in the original study, the voice was found to be the most expressive instrument. Generalized Linear Mixed Effects Regression modelling revealed that musical training and emotional engagement with music positively influences emotion decoding accuracy.
This paper summarises the approach, empirical methodologies, and part of the results of an empiri... more This paper summarises the approach, empirical methodologies, and part of the results of an empirical study that was conducted in early 2004, when musical TV talent shows reached their peak popularity among young media audiences in Germany. Our primary research interest was in the similarities and differences that the adolescent target group of this TV format might perceive between contestants in TV talent shows and real or ordinary pop music stars. Shows in this TV format all seem to assume that adolescent TV viewers eventually appreciate suc- cessful contestants as music stars just as their favourite pop music artists. And record sales and media ubiquity of the shows’ finalists rivalled that of other successful pop stars at least during a certain period. But does this really prove that talent shows actually achieve their ultimate marketing goal, which presumably consists in constructing a real pop music star in the short course of one TV show season? Do adolescent viewers really bu...
0 0 1 278 1796 Universitat Bremen 24 4 2070 14.0 96 Normal 0 21 false false false DE JA X-NONE /*... more 0 0 1 278 1796 Universitat Bremen 24 4 2070 14.0 96 Normal 0 21 false false false DE JA X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Normale Tabelle"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} Die vorliegende Studie diskutiert motivationale Faktoren nicht-professioneller musikalischer Betatigung anhand empirischer Befunde aus quantitativen Daten. In einem explorativen Ansatz wurden Motivations- und Involvementprofile in verschiedenen Ensembleformen (Chor, Orchester) ermittelt und hinsichtlich moglicher Einflussvariablen (Alter, Geschlecht, Affektivitat) gepruft. Ziel ist die Erschliesung inhaltlicher Dimensionen zur Entwicklung eines Messinstruments und zur Ableitung weiterfuhrender For...
Until recently, there has been a lack of replication studies conducted in the field of music psyc... more Until recently, there has been a lack of replication studies conducted in the field of music psychology. A highly-cited paper in the field by Juslin and Gabrielsson (1996) reported that performer’s intended emotional expressions were decoded by listeners with a high degree of accuracy. While there have been related studies published on this topic, there has yet to be a direct replication of this paper. The present experiment joins the recent replication effort by producing a multi-lab replication using the original methodology of Juslin and Gabrielsson. Expressive performances of various emotions (e.g., happy, sad, angry, etc.) by professional musicians were recorded using the same melodies from the original study and are subsequently being presented to participants for emotional decoding (i.e., participants will rate the emotional quality of each excerpt using a 0-10 scale). The same instruments from the original study have been used (i.e., violin, voice, and flute), with the addit...
When analysing human long term memory for musical pitch, relational memory is commonly distinguis... more When analysing human long term memory for musical pitch, relational memory is commonly distinguished from absolute memory. The ability of most musicians and non-musicians to recognize tunes even when presented in a different key suggests the existence of relational music memory. However, findings by Levitin (1994) point towards the additional existence of absolute music memory. In his sample, the majority of non absolute pitch possessors could produce pitch at an absolute level when the task was to recall a very familiar pop song recording. Up to now, no replication of this study has been published. The aim of this paper is to present the results of a replication project across six different European labs. All labs used the same methodology, carefully replicating the experimental conditions of Levitin’s study. In each lab, between 40 and 60 participants (primarily university students with different majors, musicians and non-musicians) were tested. Participants recalled a pop song th...
Jazz improvisation has mostly been analysed on a micro level identifying tonal formulas either ma... more Jazz improvisation has mostly been analysed on a micro level identifying tonal formulas either manually with classical methods, statistically on a single-note level (see Pfleiderer & Frieler, 2010 for an overview) or by means of qualitative case studies highlighting creative processes (Sawyer, 1992; Seddon, 2005; Noorgard, 2008). Experimental approaches shed light on the influence of musical parameters (Hargreaves, Cork & Setton, 1991), but they are lacking ecological validity in providing just simple chord changes instead of truely musical forms as well as accompaniment by backing groups. Moreover, the scope is narrowed due to the applied conventional methods of musical analysis, hence the perspective on creative processes appears shortened. Though detailed models of cognitive processes in musical improvisation are at hand (Pressing, 1988) empirical evidence is rare, and unlike in musical composition (e.g. Collins, 2005) little is known about basic ideational pathways taken in impr...
Background Over the last years, the reliability and validity of findings in (general) psychology ... more Background Over the last years, the reliability and validity of findings in (general) psychology have been seriously questioned (Schooler, 2011). Often used arguments are, among others, the (now) well-known publication bias, the ritual of statistical significance testing, the so-called 'decline effect', and, last but not least, the lack of replication studies (Ioannidis, 2005). Especially the last point is a serious issue in music psychology, because most studies never get replicated, probably due to the rather small size of the field. This raises the serious question, which findings in music psychology a really trustful and resilient - besides the merely trivial ones. Therefore, we conducted comparative replication studies of the ‘Levitin Effect’ in five laboratories as an initial contribution to a methodological discussion about future needs in empirical music research that hopefully will start to spread across our scientific community: When analysing human long term memor...
Die vorliegende Untersuchung folgt der Pilotstudie zu subjektiven Handlungskompetenzen von Musiks... more Die vorliegende Untersuchung folgt der Pilotstudie zu subjektiven Handlungskompetenzen von Musikstudierenden und zielt auf eine Differenzierung der darin vorgelegten empirischen Befunde und eine Validierung der dort faktorenanalytisch gebildeten Skalen (Inventar zur Erfassung der Berufs- und Studiumsorientierung in der musikpadagogischen Ausbildung, IBSO) an einer erweiterten Stichprobe. In der Pilotstudie wurde eine erste Konstruktion messbarer subjektiver Kompetenz" und Motivationskonstrukte vorgenommen. Hierbei resultierten sieben Skalen. Die Interkorrelationen der IBSOSkalen zeigten, dass diese zum Teil eine Personlichkeitsabhangigkeit aufwiesen. So kovariierte u. a. die Skala Resistenz deutlich mit einer geringen emotionalen Labilitat, wahrend die Skala Stabilitat vermehrt mit einer positiven Selbstinstruktion in Stresssituationen einherging. Um einen Hinweis auf die Unterschiede zwischen verschiedenartigen Ausbildungsstatten zu bekommen, wurde damals unterschieden, ob die...
Concepts of creativity in music usually focus on explicit theoretical assumptions based on models... more Concepts of creativity in music usually focus on explicit theoretical assumptions based on models from psychology research. In recent years, the fields of psychology and education have become increasingly interested in research on laypersons’ attitudes and assumptions about creativity. These implicit theories may complement or even contradict scholarly conceptualisations of creativity and its domain specificity. As a conceptual replication of the work by Runco and Bahleda (1986), this study aims to explore the dimensionality of subjective conceptions of creativity in different domains (arts, science, everyday life, music) by means of an open-ended questionnaire in an online survey ( N = 106). A content analysis of the data yielded 27 meta-categories; a correspondence analysis of their distribution across domains revealed differences between domain-specific conceptions. This indicates stereotypical structures regarding creativity in different domains, as expressed in the associations...
With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gab... more With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson (1996) presented evidence supporting performers' abilities to communicate, with high accuracy, their intended emotional expressions in music to listeners. Though there have been related studies published on this topic, there has yet to be a direct replication of this paper. A replication is warranted given the paper's influence in the field and the implications of its results. The present experiment joins the recent replication effort by producing a five-lab replication using the original methodology. Expressive performances of seven emotions (e.g., happy, sad, angry, etc.) by professional musicians were recorded using the same three melodies from the original study. Participants (N = 319) were presented with recordings and rated how well each emotion matched the emotional quality using a 0-10 scale. The same instruments from the original study (i.e., violin, voice, and flute) were used, with the addition of piano. In an effort to increase the accessibility of the experiment and allow for a more ecologically-valid environment, the recordings were presented using an internet-based survey platform. As an extension to the original study, this experiment investigated how musicality, emotional intelligence, and emotional contagion might explain individual differences in the decoding process. Results found overall high decoding accuracy (57%) when using emotion ratings aggregated for the sample of participants, similar to the method of analysis from the original study. However, when decoding accuracy was scored for each participant individually the average accuracy was much lower (31%). Unlike in the original study, the voice was found to be the most expressive instrument. Generalized Linear Mixed Effects Regression modelling revealed that musical training and emotional engagement with music positively influences emotion decoding accuracy.
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