Musebaq

Abstract

MUSIC ENGAGEMENT IS COMPLEX AND IS INFLUENCEDby music training, capacity, preferences, and motivations. A multi-modular self-report instrument (the Music Use and Background Questionnaire, or MUSEBAQ) was developed to measure a diverse set of music engagement constructs. Based on earlier work, a hybrid approach of exploratory and confirmatory analyses was conducted across a series of three independent studies to establish reliability and validity of the modular tool. Module 1 (Musicianship) provides a brief assessment of formal and informal music knowledge and practice. Module 2 (Musical capacity) measures emotional sensitivity to music, listening sophistication, music memory and imagery, and personal commitment to music. Module 3 (Music preferences) captures preferences from six broad genres and utilizes adaptive reasoning to selectively expand subgenres when administered online. Module 4 (Motivations for music use) assesses musical transcendence, emotion regulation, social, and musical identity and expression. The MUSEBAQ offers researchers and practitioners a comprehensive, modular instrument that can be used in whole, or by module as required to capture an individual's level of engagement with music and to serve as a background questionnaire to measure and interpret the effects of dispositional differences in emotional reactions to music.

The Edinburgh Lifetime Musical Experience Questionnaire (ELMEQ): Responses and non-musical correlates in the Lothian Birth Cohort 1936

“…These self-report measures quantify extent of musical training and experience, often by including questions about years of formal training, hours of practice, number of instruments played, and performance level reached. Some questionnaires define musical training as musical instrument training only [15,16], whereas others additionally include singing in this category [17][18][19]. In addition to quantity of musical training and experience, questionnaires can assess the characteristics of that training, including the age an individual first started learning (onset of musical training); which period(s) in their life they engaged in regular practice and performance; whether they played, rehearsed or performed regularly as part of a group, ensemble or band; and the instrument(s) they played.…”

“…Self-report questionnaires of musical training and experience can additionally assess other relevant domains of musical experience including music listening [15][16][17][18][19] and self-reported musical ability [15,18,19]. The latter category assesses an individual's self-reported ability to perceive features of music such as rhythm, pitch, and melody, and/or their production abilities (e.g.…”

The German Music@Home: Validation of a questionnaire measuring at home musical exposure and interaction of young children

“…In recent years a few questionnaires have been developed in order to evaluate musicality not only as a reflection of individuals' formal musical training, but as a multifaceted and comprehensive construct in adult populations such as the Goldsmiths Musical Sophistication Index (Gold-MSI, [21]) and the Music Use and Background Questionnaire (MUSEBAQ, [22]). These questionnaires typically have a multi-dimensional structure with several subscales and an overall score.…”

Development and Psychometric Validation of the Music Receptivity Scale

“…This tool had five domains, namely empowerment, usefulness, success, interest, and caring (Jones and Skaggs, 2016). A modular tool for music research to assess musicianship, musical capacity, music preferences, and motivations for music use was developed (Chin et al, 2018). The Barcelona Music Reward Questionnaire (BMRQ) was developed to assess the variations in how listeners experience reward in any music-related activities (Mas-Herrero et al, 2013).…”