In two samples of Finland-Swedish comprehensive school pupils tage 12-14), some pupils made private preference ratings of items representing traditional (i.e. classical and folk) and rock music, while others rated the items publicly in front of their classmates. Analyses of covariance showed the results to agree with the assumption that the pupils would tend towardls lower preference ratings for the traditional types of music when announcinlg their ratings publicly than when making them privately. The assumption that publicly made preference ratings of rock music would exceed private ratings was not confirmed. Considering some earlier research and some secondary explorative data of the current study, it could be hypothesised that the pupils' public preference behaviour is influenced both by their beliefs about the typical preference level in the peer group and by the extent to whicth preference for a certain music is related to social status. poptolarits, Mud similar socio-psychological variables.
This article reviews research regarding the question whether presenting music live, audio-visually or only aurally makes any difference for listeners' experiences. Most factors that characterise live performance could be supposed to enhance listeners' cognitive, affective and evaluative experiences. However, it is often hard to predict the exact influence of the visual stimuli that relate to audio-visual, and mostly also to live musical presentation. Many studies show that live music has positive effects on listeners' experience. However, there is little systematic research that compares live music with other modes of presentation. Studies comparing the effects of audio-visual and aural presentation have yielded rather mixed results. There is an obvious need for well-controlled studies on the effects of live music and on audio-visual music presentation based mainly on musico-psychological rather than visual-artistic principles. The research needs to take account of the variables that are crucial for understanding the effects of different modes of presentation.
Finnish upper level primary school pupils preference for different kinds of music ware compared with their estimates of their peers preference for the same kinds of mUsic. The results indicate fairly consistent trends of overestimating the peers preference for music of the tough, wild, protesting, loud and rock-oriented kind, and of underestimating their preference for classical music and music of a more "quiet kind. The tendency to overestimate others preference for the former kinds of music was more pronounced when judging the taste of a larger and more nroryros peer group, than when judging the taste' of one's own classmates. The teenagers false beliefs about each others musical taste may have SOme non-desirable consequences, and it could be seen as a task for the school to prevent and correct the misconceptions.
Fifteen-sixteen years old Fenno–Swedish compulsory school pupils' written descriptions of ‘strong’ experiences were used for comparing (a) the frequency of experiences related to music and to other aesthetic areas (literature, drama etc.) and (b) the frequencies of music experiences related to different basic modes of confronting music: receptively (listening to live or technically reproduced music) or by productive activities (performing etc). In at least moderately urbanised regions, music was the art area most frequently evoking experiences. The ‘non-art’ area of nature was also important especially in some female and rural subgroups. Most music experiences related to listening, but a fifth involved performance activities. Among other things, attention was directed to the role of the school in preparing its pupils for music experiences, to the importance of productive activities, and to some problems regarding the efficiency of audiovisual media to evoke music experiences.
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