From the Function of Music to Music Preference Dissertation

Psychology of Music

http://pom.sagepub.com/ From the functions of music to music preference Jones Schäfer and Peter Sedlmeier Psychology of Music 2009 37: 279 originally printed online 15 March 2009 DOI: twelve. 1177/0305735608097247 The web version of this article can be found at: http://pom.sagepub.com/content/37/3/279

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A RT I actually C L E

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Psychology of Music Mindset of Music Copyright © 2009 World for Education, Music, and Psychology Exploration vol 37(3): 279–300 [0305-7356 (200907) 37: several; 279–300] 10. 1177/0305735608097247 http://pom.sagepub.com

From the functions of music to music inclination

THOMAS SCHÄFER AND PETER SEDLMEIER

C H Elizabeth M And I Capital t Z U N My spouse and i V Elizabeth R S I To Y U F Big t E C H In O T O G Y, G E 3rd there�s r M A N Sumado a

A W S To R AIR CONDITIONING UNIT T

Currently, not much is known about how the functions of music correspond with music desire. This article looks at the basic hypothesis that the strength of choice for a provided kind of music depends on the level to which that kind of music serves the needs with the listener; that may be, how well the individual functions of music will be fulfilled. Analyze 1, a pilot examine, identified the best-known music styles of the participants, containing 25 variations that were regarded by at least 10 percent of them. Study 2 employed these twenty-five styles and located that rock and roll, pop and classical music were enjoyed most. A factor analysis produced six distinctive dimensions of music desire. People showed great deviation in the durability of choice for their favourite music. This is certainly explained by the effect of different capabilities of music. The potential of music to express householder's identity and values and bring them with each other was the majority of closely associated with the strength of preference. However , the reasons for liking a particular style are not consonant with the capabilities that people assign, to their most liked music in general. A assumptive model of the development of music preferences is suggested. types, musical preference, styles, uses and gratification approach

KEYWORDS:

Knowing even more about music preference is vital ‘for the music culture, for the society, [and] intended for the personal development of the individual' (Finnäs, 1989, p. 43). The investigation of music preference involves two central questions. Initially, why does one person like a specific type of music (e. g., classical music) while another prefers a completely different type of music? And, second, for what reason do people differ within their degree or strength of music desire, which can vary considerably? Good answers to both inquiries are necessary pertaining to building a audio theoretical model of the origin and development of music preferences. Nevertheless , to date, the second question has brought little attention. Let us to begin with how tastes for a offered type of music can be designed. In his report on the literary works on the matter, Finnäs (1989) concluded that there are numerous causal elements that can have an impact on music preference: certain characteristics of the music (tempo, rhythm, message, etc . ), familiarity and repeated being attentive, the listener's affective activities while hearing music and social impacts. Other researchers have provided further evidence for the effect of cultural influences (Adler, 1985; Salganik, Dodds, & Watts, 2006) and affective experiences (e. g., Blood & Zatorre,

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sempre

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Psychology of Music 37(3)...

Citations: http://pom.sagepub.com/content/37/3/279. refs. code

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KEYWORDS:

Being aware of more about music choice is essential ‘for the music lifestyle, for the society, [and] for the personal development of the individual' (Finnäs, 1989, g

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sempre

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Schäfer and Sedlmeier: From the capabilities of music to music preference

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282

Psychology of Music 37(3)

1988; Tekman & Hortacsu, 2002)

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Schäfer and Sedlmeier: From the capabilities of music to music preference

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