Conceptualizing Control in Everyday Music Listening: Defining Dominance

Abstract

Mehrabian and Russell’s Pleasure-Arousal-Dominance model states that people’s interactions and interpretation of their surroundings result from variations in three factors – pleasure, arousal, and dominance. Applied to music, pleasure has been operationalized as how much a person likes the music heard, arousal as how arousing the person considers the music to be, and dominance as the person’s control over the music heard. However, conceptualizing dominance broadly as control means that the construct is not well defined. This research aimed to define the elements related to a listener’s desire for control over music encountered in everyday life. Participants residing in Australia and USA ( N = 590) completed an online questionnaire. An exploratory factor analysis of the quantitative items identified five components defining control over music listening: “being personally in charge”, “selection by other people”, “contextual control”, “playback variety”, and “no need for control”. A thematic analysis of open-ended responses indicated additional facets of control including mood regulation, emotional investment, and identity. While the quantitative findings reaffirm previous research, the qualitative findings indicate previous conceptualizations of the control dimension have been limited. These results contribute to our understanding of the model’s dominance component with regard to explaining everyday music listening.

Associated Determinants and Music Genres in A Few Fitness Facilities

“…This may be related to the beneficial impacts that classical music has, particularly the psychological advantages. This is consistent with findings from research conducted by Silverman et al (2020) and Krause et al (2020), in which the researchers said that music has the ability to control one's mood and affect. In addition, this is consistent with the hypothesis that was presented by Chair et al (2021) on the neurophysiological responses to music.…”

“…There has been a lot of study done on how people utilize music in their daily lives. The primary use for it is in the management of affect and mood (Silverman et al, 2020;Krause et al, 2020). The primary focus of the research that has been done on the use of music as a motivating tool in athletics and physical activity has been to improve performance.…”

Uncovering the dimensions of servicescape using mixed method approach – A study of beauty salons

“…The level of adaptation could be toward attributes like sounds, music, light, aroma and many other concepts. It acts as a marketing tool to get aware of customers' expectations and enforce adaptation for it (Helson, 1964;Krause et al, 2020). Our results are also in line with the study of Black (2002) i.e.…”

Augmenting Function with Value: An Exploration of Reasons to Engage and Disengage from Music Listening

“…Much of the research that has examined people’s engagement with music has highlighted the important role of emotions in defining those experiences (e.g., Gabrielsson, 2010, 2011; Krause et al, 2020; Lamont & Loveday, 2020). While Lamont and Loveday (2020) acknowledged how listeners can adapt their listening choices to the context they find themselves in (often in relation to mood regulation), the current findings expand upon this in two ways.…”

“…People do not listen to music in a social vacuum North & Hargreaves, 1997), rather listening is firmly embedded into people's everyday routines (e.g., Krause et al, 2015;Krause et al, 2016). Moreover, music experiences can create meaningful, lasting memories (Krause et al, 2020;Lippman & Greenwood, 2012), with extensive findings detailing people's strong experiences with music, described as "the strongest, most intense experience of music that you have ever had" (Gabrielsson & Wik, 2003, p. 163, see also Gabrielsson, 2010Gabrielsson, , 2011 and additional research highlighting how music features in people's autobiographical memories (e.g., Baird et al, 2018;Janata, 2009). Given the prominence of music in people's lives, it is important to understand people's reasons for listening to music and their perceptions of the value of music in their lives.…”