Music, identity, and musical ethnocentrism of young people in six<scp>A</scp>sian,<scp>L</scp>atin<scp>A</scp>merican, and<scp>W</scp>estern cultures

Boer, Diana; Fischer, Ronald; Atilano, Ma Luisa González; Hernández, Jimena de Garay; García, Luz Irene Moreno; Mendoza, Socorro; Gouveia, Valdiney Velôso; Lam, Jason; Lo, Eva

doi:10.1111/jasp.12185

Cited by 22 publications

(30 citation statements)

References 60 publications

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“…Furthermore, this notion is extended to daily life behaviors such as music listening as a marker of identity and a source of collective self‐esteem. Although previous research has shown that particularly young people do not like traditional local music styles very much (e.g., Tekman & Hortaçsu, 2002), traditional styles nevertheless express cultural identity across cultures (Boer et al., 2012). Furthermore, family functions of music adhere to the cultural value dimension traditionalism.…”

Section: Discussionmentioning

confidence: 96%

Young people's topography of musical functions: Personal, social and cultural experiences with music across genders and six societies

et al. 2012

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How can we understand the uses of music in daily life? Music is a universal phenomenon but with significant interindividual and cultural variability. Listeners' gender and cultural background may influence how and why music is used in daily life. This paper reports the first investigation of a holistic framework and a new measure of music functions (RESPECT-music) across genders and six diverse cultural samples (students from Germany, Kenya, Mexico, New Zealand, Philippines, and Turkey). Two dimensions underlie the mental representation of music functions. First, music can be used for contemplation or affective functions. Second, music can serve intrapersonal, social, and sociocultural functions. Results reveal that gender differences occur for affective functions, indicating that female listeners use music more for affective functions, i.e., emotional expression, dancing, and cultural identity. Country differences are moderate for social functions (values, social bonding, dancing) and strongest for sociocultural function (cultural identity, family bonding, political attitudes). Cultural values, such as individualism-collectivism and secularism-traditionalism, can help explain cross-cultural differences in the uses of music. Listeners from more collectivistic cultures use music more frequently for expressing values and cultural identity. Listeners from more secular and individualistic cultures like to dance more. Listeners from more traditional cultures use music more for expressing values and cultural identity, and they bond more frequently with their families over music. The two dimensions of musical functions seem systematically underpinned by listeners' gender and cultural background. We discuss the uses of music as behavioral expressions of affective and contemplative as well as personal, social, and sociocultural aspects in terms of affect proneness and cultural values.

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Section: Discussionmentioning

confidence: 96%

Young people's topography of musical functions: Personal, social and cultural experiences with music across genders and six societies

et al. 2012

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“…They offer the fundament for the joy of the dancers. This profoundly emotional type of embodied extra-verbal communication increases the group’s cohesion and the identification with the group ( Kirschner and Tomasello, 2009 , 2010 ; Boer et al, 2011 , 2012 , 2013 ; Davidson and Emberly, 2012 ; Boer and Abubakar, 2014 ; Kirschner and Ilari, 2014 ). Music and especially rhythm constitute a deeply rooted signaling system for extra-verbal communication evoking emotional reactions of other potentially cooperating individuals ( Bryant, 2013 ).…”

Section: Social Fitnessmentioning

confidence: 99%

“It Don’t Mean a Thing if It Ain’t Got that Swing”– an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings

Richter

Ostovar

2016

Front. Hum. Neurosci.

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The functions of dance and music in human evolution are a mystery. Current research on the evolution of music has mainly focused on its melodic attribute which would have evolved alongside (proto-)language. Instead, we propose an alternative conceptual framework which focuses on the co-evolution of rhythm and dance (R&D) as intertwined aspects of a multimodal phenomenon characterized by the unity of action and perception. Reviewing the current literature from this viewpoint we propose the hypothesis that R&D have co-evolved long before other musical attributes and (proto-)language. Our view is supported by increasing experimental evidence particularly in infants and children: beat is perceived and anticipated already by newborns and rhythm perception depends on body movement. Infants and toddlers spontaneously move to a rhythm irrespective of their cultural background. The impulse to dance may have been prepared by the susceptibility of infants to be soothed by rocking. Conceivable evolutionary functions of R&D include sexual attraction and transmission of mating signals. Social functions include bonding, synchronization of many individuals, appeasement of hostile individuals, and pre- and extra-verbal communication enabling embodied individual and collective memorizing. In many cultures R&D are used for entering trance, a base for shamanism and early religions. Individual benefits of R&D include improvement of body coordination, as well as painkilling, anti-depressive, and anti-boredom effects. Rhythm most likely paved the way for human speech as supported by studies confirming the overlaps between cognitive and neural resources recruited for language and rhythm. In addition, dance encompasses visual and gestural communication. In future studies attention should be paid to which attribute of music is focused on and that the close mutual relation between R&D is taken into account. The possible evolutionary functions of dance deserve more attention.

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“…People bond over musical activities and shared music references (Selfhout et al, 2009; Boer et al, 2011), and music contributes to the development of collective identities (Tarrant, 2002; Tarrant et al, 2002; Boer et al, 2013). The need to belong is a universal basic motivation (Maslow, 1970; Ryan and Deci, 2000).…”

Section: Introductionmentioning

confidence: 99%

“…Though the emotional aspects of music listening have been emphasized in the literature, music also serves strong social functions (Boer et al, 2011 , 2012 ; Boer and Fischer, 2012 ). People bond over musical activities and shared music references (Selfhout et al, 2009 ; Boer et al, 2011 ), and music contributes to the development of collective identities (Tarrant, 2002 ; Tarrant et al, 2002 ; Boer et al, 2013 ). The need to belong is a universal basic motivation (Maslow, 1970 ; Ryan and Deci, 2000 ).…”

Section: Introductionmentioning

confidence: 99%

Music listening in families and peer groups: benefits for young people's social cohesion and emotional well-being across four cultures

Boer

Abubakar

2014

Front. Psychol.

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Families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. However, empirical evidence of the positive effects of musical family rituals on social cohesion and emotional well-being is scarce. Furthermore, the role of culture in the shaping of musical family rituals and their psychological benefits has been neglected entirely. This paper investigates musical rituals in families and in peer groups (as an important secondary socialization context) in two traditional/collectivistic and two secular/individualistic cultures, and across two developmental stages (adolescence vs. young adulthood). Based on cross-sectional data from 760 young people in Kenya, the Philippines, New Zealand, and Germany, our study revealed that across cultures music listening in families and in peer groups contributes to family and peer cohesion, respectively. Furthermore, the direct contribution of music in peer groups on well-being appears across cultural contexts, whereas musical family rituals affect emotional well-being in more traditional/collectivistic contexts. Developmental analyses show that musical family rituals are consistently and strongly related to family cohesion across developmental stages, whereas musical rituals in peer groups appear more dependent on the developmental stage (in interaction with culture). Contributing to developmental as well as cross-cultural psychology, this research elucidated musical rituals and their positive effects on the emotional and social development of young people across cultures. The implications for future research and family interventions are discussed.

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Music, identity, and musical ethnocentrism of young people in sixAsian,LatinAmerican, andWestern cultures

Cited by 22 publications

References 60 publications

Young people's topography of musical functions: Personal, social and cultural experiences with music across genders and six societies

Young people's topography of musical functions: Personal, social and cultural experiences with music across genders and six societies

“It Don’t Mean a Thing if It Ain’t Got that Swing”– an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings

Music listening in families and peer groups: benefits for young people's social cohesion and emotional well-being across four cultures

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