Dimensions of music preference: A factor analytic study

Deihl, E. Roderick; Schneider, Michael J.; Petress, Kenneth C.

doi:10.1080/03007768308591221

Cited by 17 publications

(4 citation statements)

References 4 publications

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“…Petress (1983) predated and projects to the Christenson findings (although fewer genres were identified by participants). Downloaded by [North Dakota State University] at 11:39 19 October 2014 Are Rap Videos More Violent?…”

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confidence: 86%

Are rap videos more violent? Style differences and the prevalence of sex and violence in the age of MTV

Jones

1997

Howard Journal of Communications

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confidence: 86%

Are rap videos more violent? Style differences and the prevalence of sex and violence in the age of MTV

Jones

1997

Howard Journal of Communications

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“…Classical music is often regarded as part of highbrow culture, less digestible to the general public (Deihl et al, 1983;Peterson and Kern, 1996), whereas electronic dance music (EDM) is seen as a more lowbrow and accessible genre by generating more active participation and immersion given its nature as dance music (Kruger et al, 2018). These dissimilar biases coming from the music genres can influence the music evaluation.…”

Section: Music Genre Schemamentioning

confidence: 99%

Are you ready for artificial Mozart and Skrillex? An experiment testing expectancy violation theory and AI music

Hong¹,

Peng²,

Williams³

2020

New Media & Society

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This study employs an experiment to test assessments of music composed by artificial intelligence. We examined the influence of (a) met or unmet expectations about artificial intelligence (AI)-composed music, (b) whether the music is better or worse than expected, and (c) the genre of the evaluation of music using a 2 (expectancy violation vs confirmation) × 2 (positive vs negative evaluation) × 2 (electronic dance music vs classical) design. The relationship between the belief about creative AI and the music evaluation was also analyzed. Participants ( n = 299) in an online survey listened to a randomly assigned music piece. The acceptance of creative AI was found to have a positive relationship with the assessment of AI-composed music. A two-way interaction between the expectancy violation and its valence, and a three-way interaction between the expectancy violation, its valence, and the genre of music were found. Implications for Expectancy Violation Theory and AI applications are discussed.

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“…Researchers have generally dealt with categorization of popular styles by supplying a wide, representative menu of styles (Deihl, Schneider, & Petress, 1983;LeBlanc, 1979) or by limiting the number of styles, emphasizing contrast (Greer, Dorow, & Randall, 1974;Hargreaves, Messerschmidt, & Rubert, 1980). Another process for selecting music stimuli appears to be as yet untapped.…”

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confidence: 97%

The Effect of Overtly Categorizing Music on Preference for Popular Music Styles

Brittin

1991

Journal of Research in Music Education

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This investigation was designed to examine the effect of overt listener categorization on pref erence for crossover excerpts (ie., instrumental selections of artists nominated for Grammy awards in more than one popular style per year). Results showed no significant differences in nonmusic majors' (n -534) preferential ratings subsequent to one of the following treatments: (a) stipulated categorization (pop, rock, jazz), (b) no overt categorization or (c) freeoperant categorization (any classification system). Subjects with musical experience responded significantly more positively than did the musically inexperienced, and females' ratings were significantly more positive than were males. The investigation's second component compared continuous versus static responses using a Continuous Response Digital Interface (CRDI) and Likerttype scales. Rsults showed that responses made across time were significantly moe positive compared to static responses. Musical experience and gender significantly affected preferences for pop and jazz, but not rock.Listener responses to various musical styles have been subject to inquiry, revealing that preferential responses are often based on stylistic perceptions and that "popular" genres are often the style of choice for certain populations. LeBlanc's research (1981) attributed 23% of variance in children's preference to style alone, 26% to style and tempo, and 28% to style, tempo, and performing medium. LeBlanc also noted the order of preference to be rock/pop, country, band, new jazz, old jazz, and art music, respectively, corroborating Greer, Dorow, and Randall's (1974) study that showed a growing preference for comparatively popular styles with advancing grade level. That listeners differentiate stylistically seems apparent; furthermore, such differentiation often seems to yield a preference for popular music as opposed to formal-tradition music. As Radocy and Boyle (1979) summarized, "preferences for popular music have not been assessed to the degree they deserve" (p. 229).One vein of research has focused on how music preferences may be altered. Musical experience appears consequential, as preference for formal tradition composers over popular composers increases with formal music training (Geringer, 1982; Price & Yarbrough, 1987). Adult and peer approval also seem to influence music preferences, although this impact seems to decline with advancFor copies of this article, contact Ruth V. Brittin,

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Dimensions of music preference: A factor analytic study

Cited by 17 publications

References 4 publications

Are rap videos more violent? Style differences and the prevalence of sex and violence in the age of MTV

Are rap videos more violent? Style differences and the prevalence of sex and violence in the age of MTV

Are you ready for artificial Mozart and Skrillex? An experiment testing expectancy violation theory and AI music

The Effect of Overtly Categorizing Music on Preference for Popular Music Styles

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