Liking music: Genres, contextual factors, and individual differences

Corrigall, Kathleen A.; Schellenberg, E. Glenn

doi:10.1093/acprof:oso/9780199670000.003.0013

Cited by 12 publications

(7 citation statements)

References 116 publications

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“…Indeed, we chose the keywords to reflect the universality of pleasure, without being too much rooted into either of the disciplines, such as beauty is rooted in neuroaesthetics, where it is used to describe the feelings an aesthetic experience can evoke, and also the perceptual features of an aesthetic object ( Bundgaard, 2015 ). Also, liking was seen here more or less as a synonym for preference, which is often in music studies related to genre specific studies dealing with background variables, such as self-esteem, age, sex and socio-economic variables, not necessarily related to the experiential features of enjoyment ( North, 2010 ; Corrigall and Schellenberg, 2015 ). Also, valence is an extremely frequently used standardized measure applied in many psychological studies.…”

Section: Introductionmentioning

confidence: 85%

Constituents of Music and Visual-Art Related Pleasure – A Critical Integrative Literature Review

et al. 2017

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The present literature review investigated how pleasure induced by music and visual-art has been conceptually understood in empirical research over the past 20 years. After an initial selection of abstracts from seven databases (keywords: pleasure, reward, enjoyment, and hedonic), twenty music and eleven visual-art papers were systematically compared. The following questions were addressed: (1) What is the role of the keyword in the research question? (2) Is pleasure considered a result of variation in the perceiver’s internal or external attributes? (3) What are the most commonly employed methods and main variables in empirical settings? Based on these questions, our critical integrative analysis aimed to identify which themes and processes emerged as key features for conceptualizing art-induced pleasure. The results demonstrated great variance in how pleasure has been approached: In the music studies pleasure was often a clear object of investigation, whereas in the visual-art studies the term was often embedded into the context of an aesthetic experience, or used otherwise in a descriptive, indirect sense. Music studies often targeted different emotions, their intensity or anhedonia. Biographical and background variables and personality traits of the perceiver were often measured. Next to behavioral methods, a common method was brain imaging which often targeted the reward circuitry of the brain in response to music. Visual-art pleasure was also frequently addressed using brain imaging methods, but the research focused on sensory cortices rather than the reward circuit alone. Compared with music research, visual-art research investigated more frequently pleasure in relation to conscious, cognitive processing, where the variations of stimulus features and the changing of viewing modes were regarded as explanatory factors of the derived experience. Despite valence being frequently applied in both domains, we conclude, that in empirical music research pleasure seems to be part of core affect and hedonic tone modulated by stable personality variables, whereas in visual-art research pleasure is a result of the so called conceptual act depending on a chosen strategy to approach art. We encourage an integration of music and visual-art into to a multi-modal framework to promote a more versatile understanding of pleasure in response to aesthetic artifacts.

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Section: Introductionmentioning

confidence: 85%

Constituents of Music and Visual-Art Related Pleasure – A Critical Integrative Literature Review

et al. 2017

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“…Besides complexity, factors such as familiarity, emotional valence, music genre (which also relates to complexity), etc. have been known as important modulators of music preferences (for a review see Corrigall and Schellenberg, 2015). In fact, recently Madison and Schiölde (2017) showed that familiarity increases liking independent of the complexity of the music excerpts.…”

Section: Introductionmentioning

confidence: 99%

Decomposing Complexity Preferences for Music

Güçlütürk

Lier

2019

Front. Psychol.

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Recently, we demonstrated complexity as a major factor for explaining individual differences in visual preferences for abstract digital art. We have shown that participants could best be separated into two groups based on their liking ratings for abstract digital art comprising geometric patterns: one group with a preference for complex visual patterns and another group with a preference for simple visual patterns. In the present study, building up on these results, we extended our investigations for complexity preferences from highly controlled visual stimuli to ecologically valid stimuli in the auditory modality. Similar to visual preferences, we showed that music preferences are highly influenced by stimulus complexity. We demonstrated this by clustering a large number of participants based on their liking ratings for song excerpts from various musical genres. Our results show that, based on their liking ratings, participants can best be separated into two groups: one group with a preference for more complex songs and another group with a preference for simpler songs. Finally, we considered various demographic and personal characteristics to explore differences between the groups, and reported that at least for the current data set age and gender to be significant factors separating the two groups.

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“…MECs are often mentioned in the literature on music and emotion, but at the time of writing, there are only three short reviews entirely dedicated to MECs (Grewe et al, 2009b; Harrison & Loui, 2014; Mori & Iwanaga, 2014a), one review about MECs and the autonomous sensory meridian response (del Campo & Kehle, 2016), one review about MECs and music therapy (Tihanyi, 2016), one philosophical essay about MECs and musical esthetics (Levinson, 2006), two book chapters discussing MECs within the context of musical expectation (Huron & Margulis, 2010) and of the evolutionary basis of music (Altenmüller et al, 2013), and book chapters on music and emotion which contain subsections on MECs (e.g., Corrigall & Schellenberg, 2013, 2015; Hodges, 2016, Hunter & Schellenberg, 2010; Juslin, 2019; McDermott, 2012; Sachs et al, 2018; Stark et al, 2018; Vuust & Kringelbach, 2010).…”

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confidence: 99%

Chills in music: A systematic review.

Fleurian¹,

Pearce²

2021

Psychological Bulletin

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Chills are a psychophysiological response which can be experienced when listening to music. They have been of particular interest in scientific research on music because of their association with emotion and pleasure. However, with the literature doubling in size since the last review on the subject, it has become increasingly difficult to gain a broad and integrated understanding of the empirical and theoretical research on musicevoked chills (MECs). Notably, crucial questions remain about the criteria that are necessary and sufficient to characterise MECs. In this article, we systematically review the literature on MECs in order to reconcile diverging opinions and empirical findings on their psychological nature, and to develop a preliminary model that provides a robust framework for future hypothesis-driven research. We explore the context behind current research on MECs, discuss how they relate to emotional and aesthetic responses, assess current empirical measures and paradigms, summarise their physiological and neural correlates, categorise their possible stimulusdriven elicitors, examine how they are affected by individual differences, and evaluate theoretical perspectives about their potential evolutionary causes. We conclude by providing a preliminary model of MECs that suggests different pathways for the experience of MECs, a dataset listing pieces of music reported to elicit MECs in the reviewed literature, and a set of open issues, hypotheses, and recommended approaches for future research.

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Liking music: Genres, contextual factors, and individual differences

Cited by 12 publications

References 116 publications

Constituents of Music and Visual-Art Related Pleasure – A Critical Integrative Literature Review

Constituents of Music and Visual-Art Related Pleasure – A Critical Integrative Literature Review

Decomposing Complexity Preferences for Music

Chills in music: A systematic review.

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