Music feels like moods feel

Goffin, Kris

doi:10.3389/fpsyg.2014.00327

Cited by 5 publications

(5 citation statements)

References 13 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The absence of significant relationships between MECmood and the other study variables, despite the strong positive correlation between MECbody and MECmood and the absence of problems with multi-collinearity, may be explained by understanding music performance as an intense, visceral, physical activity in which changes in mood may well be the consequences of the physical bodily responses elicited by the music (Goffin, 2014). This approach has much in common with ideas from the developing field of Embodied Music Cognition (Leman, 2008), in which the human body is considered to be the natural mediator between the musicians' mind and the physical environment containing musical sound.…”

Section: Discussionmentioning

confidence: 90%

The relationship between flow and music performance anxiety amongst professional classical orchestral musicians

Cohen

Bodner

2018

Psychology of Music

View full text Add to dashboard Cite

Research investigating methods of facilitating classical music performance has tended to focus on treating the debilitating effects of Music Performance Anxiety (MPA). It has been suggested that flow and MPA may be antithetical experiences and that fostering techniques for facilitating flow may provide a powerful tool for helping to alleviate MPA. However, there is a scarcity of data exploring professional classical musicians’ experiences of flow, and little empirical evidence supporting a relationship between flow and MPA. The current study examined the flow experiences and the relationship between flow and MPA amongst 202 professional classical orchestral musicians in Israel. Results showed that the majority of participants regularly experience flow. Hierarchical regression analysis provided evidence of a strong, negative relationship between flow and MPA, supporting the suggestion that facilitating flow may provide a helpful approach for alleviating MPA. An additional exploratory investigation was made into performers’ experiences of Musical Emotional Contagion (MEC), the influence of the emotional contents of the music on the performer. Results showed that the majority of participants reported experiences of MEC and there was evidence of significant associations between MEC, flow and MPA. The clinical implications of the findings are discussed.

show abstract

Section: Discussionmentioning

confidence: 90%

The relationship between flow and music performance anxiety amongst professional classical orchestral musicians

Cohen

Bodner

2018

Psychology of Music

View full text Add to dashboard Cite

show abstract

“…For example, Juslin (2013 , p. 240) developed a model regarding music-evoked emotions in which the psychophysiological dimension was also considered. In a broad perspective, Goffin (2014) showed that music evokes bodily feelings that can be clustered into specific moods and can influence the esthetic appreciation of music.…”

Section: Conclusion: the Relationship Between Flow And Musicmentioning

confidence: 99%

“…Among the selected studies, only Pates et al (2003) attempted to focus also on music in these terms, while other researches concentrated only on emotional components of flow. This approach could be useful in building an embodied vision of flow in music, allowing all the main components characterizing this process to be considered together ( Goffin, 2014 ; Harrison and Loui, 2014 ).…”

Section: Conclusion: the Relationship Between Flow And Musicmentioning

confidence: 99%

When music “flows”. State and trait in musical performance, composition and listening: a systematic review

et al. 2015

View full text Add to dashboard Cite

It is not unusual to experience a sense of total absorption, concentration, action-awareness, distortion of time and intrinsic enjoyment during an activity that involves music. Indeed, it is noted that there is a special relationship between these two aspects (i.e., music and flow experience). In order to deeply explore flow in the musical domain, it is crucial to consider the complexity of the flow experience—both as a “state” and as a “trait.” Secondly, since music is a multifaceted domain, it is necessary to concentrate on specific music settings, such as (i) musical composition; (ii) listening; and (iii) musical performance. To address these issues, the current review aims to outline flow experience as a “trait” and as a “state” in the three above-mentioned musical domains. Clear and useful guidelines to distinguish between flow as a “state” and as a “trait” are provided by literature concerning flow assessment. For this purpose, three aspects of the selected studies are discussed and analyzed: (i) the characteristics of the flow assessments used; (ii) the experimental design; (iii) the results; and (iv) the interrelations between the three domains. Results showed that the dispositional approach is predominant in the above-mentioned settings, mainly regarding music performance. Several aspects concerning musical contexts still need to be deeply analyzed. Future challenges could include the role of a group level of analysis, overcoming a frequency approach toward dispositional flow, and integrating both state and dispositional flow perspectives in order to deepen comprehension of how flow takes place in musical contexts. Finally, to explain the complex relationship between these two phenomena, we suggest that music and flow could be seen as an emergent embodied system.

show abstract

“…Even though these moods may be variable and subjective, they can be linked to a specific emotion, as music listening deliberately aligns feelings to a particular set of emotions. This implies a cumulative effect leading to experiencing higher-order mind–body experiences ( Goffin, 2014 ).…”

Section: Discussionmentioning

confidence: 99%

Development and Psychometric Validation of the Music Receptivity Scale

George

Ilavarasu

2021

Front. Psychol.

View full text Add to dashboard Cite

A new construct, termed music receptivity, is introduced and discussed in this work. Music receptivity can be defined as a measure of the extent of internalization that an individual has, to a given piece of music, as measured at the point of listening. Through three studies, we demonstrate the psychometric properties of the construct—the Music Receptivity Scale (MRS). Exploratory factor analysis on a sample of 313 revealed good psychometric validity, with a four-factor solution (emotional experience, interest, attention, and hurdles), with a Cronbach’s alpha of 0.89, and a two-factor solution (emotion experience and attention), with a Cronbach’s alpha of 0.87. The tool also had a good test–retest reliability (r = 0.87 for a 15 day interval and r = 0.91 for 1 month interval). Overall, the tool had 20 items in the long form and 12 items in the short version. The MRS could distinguish musicians and non-musicians supporting its discriminant validity. We have also discussed the implication of the MRS in the field of music psychology.

show abstract

Music feels like moods feel

Cited by 5 publications

References 13 publications

The relationship between flow and music performance anxiety amongst professional classical orchestral musicians

The relationship between flow and music performance anxiety amongst professional classical orchestral musicians

When music “flows”. State and trait in musical performance, composition and listening: a systematic review

Development and Psychometric Validation of the Music Receptivity Scale

Contact Info

Product

Resources

About