Emotional use of music by African American adolescents

Hakanen, Ernest A.

doi:10.1080/10646179509361664

Cited by 23 publications

(28 citation statements)

References 12 publications

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“…This function is somewhat universal, given that similar results were found across different groups and populations (Boer & Fischer, 2012;Hakanen, 1995;Laukka & Quick, 2013).…”

Section: Stance I: Focus Of Studymentioning

confidence: 84%

“…Two of the mechanisms that were more commonly present in recent research (even if not identified as such) included music genre (e.g., Hakanen, 1995) and musical preferences (e.g., Getz et al, 2012). Although the concept of mechanisms is supported by the model of emotion induction through music (Juslin & Västfjäll, 2008), the relationship between these two types of affective processes (induction and regulation) has not been explored empirically.…”

Section: Stance Iii: Research Results Related To the Gstm Frameworkmentioning

confidence: 99%

“…Regarding the emotion of music, preferences for higher or lower levels of energy and joy depended on participants' moods (Knobloch & Zillmann, 2002); furthermore, the choice of music usually followed the principle of affect congruency (Thoma, Ryf, et al, 2012). The genre of music can also make a difference in regard to affect regulation processes, given that certain associations between genres, emotions and goals have been found (Hakanen, 1995). In general, however, the associations that individuals make between genres and emotions depend on their preferences.…”

Section: Music Use Is a Rich Tactic That Is Frequently Utilized Van mentioning

confidence: 99%

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Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review

Baltazar

Saarikallio

2016

Psychology of Music

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Research on the affective phenomena involved in music has grown exponentially over the last 20 years. One particular topic is the use of music for affect self-regulation (i.e., the process of creating, changing, or maintaining affective states). Being a recent field of research, knowledge remains scattered and heterogeneous. An integrative literature review was conducted to present the results from recent research and critically analyse its overall conceptual state. A systematic search of online databases focusing on publications from January 1994 to June 2014 was completed. An extensive screening resulted in the selection of 34 publications, which were analysed with regard to their focus, conceptual clarity, and the results obtained concerning the following levels: goals (G), strategies (S), tactics (T), and mechanisms (M). The findings show that the GSTM levels have not been studied with equal weight and precision. Moreover, additional relevant dimensions of analysis have also emerged. A considerable degree of inconsistency in the use of terms and conceptual imprecision was found across the publications, and the lack of a model aggravated the situation. The main components of affect regulation through music were identified. A compilation of definitions of affective terms and recommendations for future research are presented.

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“…This function is somewhat universal, given that similar results were found across different groups and populations (Boer & Fischer, 2012;Hakanen, 1995;Laukka & Quick, 2013).…”

Section: Stance I: Focus Of Studymentioning

confidence: 84%

Section: Stance Iii: Research Results Related To the Gstm Frameworkmentioning

confidence: 99%

Section: Music Use Is a Rich Tactic That Is Frequently Utilized Van mentioning

confidence: 99%

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Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review

Baltazar

Saarikallio

2016

Psychology of Music

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“…(i) Cultural connotation(s) for the style/genre -Different musical genres convey different musical cues for similar emotional expression, such as sadness, (e.g., Saari & Eerola, 2015), and there are sociocultural meanings maintained and conveyed via these musical conventions (see also Hakanen, 1995). Since all the music tracks represented more or less different musical genres, the focus of the discussions varied considerably in accordance with the style of the music.…”

Section: Interpreting the Musicmentioning

confidence: 99%

“…Cultural differences in how and what emotions are associated with music have been previously investigated (e.g., Hakanen, 1995;Hakanen, Ying, & Wells, 1999) but I suggest that the intersubjective aspects of both emotions and music listening need to be included in the investigation, if musical emotions are Sharing experienced sadness: Negotiating meanings of self-defined sad music within a group interview session 3 to be more comprehensively understood. This is due to the fact that both experience of emotion and expression of emotion are processes that are shaped by an interactional context (e.g., Salovey, 2003;Sorjonen & Peräkylä, 2012).…”

mentioning

confidence: 99%

Sharing experienced sadness: Negotiating meanings of self-defined sad music within a group interview session

Peltola

2016

Psychology of Music

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Sadness induced by music listening has been a popular research focus in music and emotion research. Despite the wide consensus in affective sciences that emotional experiences are social processes, previous studies have only concentrated on individuals. Thus, the intersubjective dimension of musical experience – how music and music-related emotions are experienced between individuals – has not been investigated. In order to tap into shared emotional experiences, group discussions about experiences evoked by sad music were facilitated. Interpretative phenomenological analysis revealed four levels of discourses in the sharing of experiences evoked by joint music listening: (1) describing the emotional experience, (2) describing the music, (3) interpreting the music, and (4) describing autobiographical associations. Negotiated meanings of musical expression and emotional content were present. When exposed to different types of music and musical expression, the informants distinguished various kinds of sadness with distinct meanings. Shared experiences were affected by expectations of the musical style, structure, and performance, as well as expectations of the emotional content of music. Additionally, social norms and cultural conventions played important roles in the negotiations.

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Are music listening strategies associated with reduced food consumption following negative mood inductions; a series of three exploratory experimental studies

et al. 2022

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Emotional use of music by African American adolescents

Cited by 23 publications

References 12 publications

Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review

Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review

Sharing experienced sadness: Negotiating meanings of self-defined sad music within a group interview session

Are music listening strategies associated with reduced food consumption following negative mood inductions; a series of three exploratory experimental studies

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