Preferences of Different Age and Socio-Economic Groups in Unstructured Musical Situations

Fisher, Rhoda L.

doi:10.1080/00224545.1951.9921806

Cited by 8 publications

(3 citation statements)

References 4 publications

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“…In the present study, the music and the frequency of listening were predetermined, but each ME was played only once in each session and the participants could choose the place, the time of day, and their concurrent activities. Second, the Western art music used in many previous studies is likely to yield very low liking ratings due to its minimal exposure in society for several decades, and in particular to younger people in student populations (Fisher, 1951 ; Bartlett, 1973 ; Coppock, 1978 ; Conley, 1981 ; Hargreaves, 1984 ; Peery and Peery, 1986 ; Burke and Gridley, 1990 ). In the present study, real music was selected to concur with musical styles familiar to the participants.…”

Section: Discussionmentioning

confidence: 99%

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Repeated Listening Increases the Liking for Music Regardless of Its Complexity: Implications for the Appreciation and Aesthetics of Music

Madison

Schiölde

2017

Front. Neurosci.

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Psychological and aesthetic theories predict that music is appreciated at optimal, peak levels of familiarity and complexity, and that appreciation of music exhibits an inverted U-shaped relationship with familiarity as well as complexity. Because increased familiarity conceivably leads to improved processing and less perceived complexity, we test whether there is an interaction between familiarity and complexity. Specifically, increased familiarity should render the music subjectively less complex, and therefore move the apex of the U curve toward greater complexity. A naturalistic listening experiment was conducted, featuring 40 music examples (ME) divided by experts into 4 levels of complexity prior to the main experiment. The MEs were presented 28 times each across a period of approximately 4 weeks, and individual ratings were assessed throughout the experiment. Ratings of liking increased monotonically with repeated listening at all levels of complexity; both the simplest and the most complex MEs were liked more as a function of listening time, without any indication of a U-shaped relation. Although the MEs were previously unknown to the participants, the strongest predictor of liking was familiarity in terms of having listened to similar music before, i.e., familiarity with musical style. We conclude that familiarity is the single most important variable for explaining differences in liking among music, regardless of the complexity of the music.

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Section: Discussionmentioning

confidence: 99%

“…Finally, (6) MEs assumed to have been frequently played in broadcast media or to otherwise be widely known were also excluded to preclude as far as possible that the experts had previously heard them. This also decreased the risk that social conventions would affect ratings (Fisher, 1951 ; Crozier, 1997 ).…”

Section: Selection Of Music Examplesmentioning

confidence: 99%

Repeated Listening Increases the Liking for Music Regardless of Its Complexity: Implications for the Appreciation and Aesthetics of Music

Madison

Schiölde

2017

Front. Neurosci.

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“…Occupation has been found to affect certain musical aesthetic preferences, such as tempo and rhythm (Foley, 1940;Schuessler, 1948), and so have age, socioeconomic status, region, education, and urban vs. rural setting (Fisher, 1951;Peatman, 1944). Farnsworth (1969) calls these kinds of factors "cultural conditioning".…”

Section: ) the Personal Idiosyncrasies Biasmentioning

confidence: 99%

Decontaminating Taste: Minimizing Nona esthetic Biases in Aesthetic Appraisal

Lundy¹

2016

RAH

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Following work by scholars across academic disciplines and wide-ranging time periods, such as Hume, Kant, Burt, and Eysenck, this paper represents a review of theory and research on the nature of aesthetic appraisal, and ultimately theorizes about the tendencies that need to be avoided in order to become a better expert who can make defendable judgments of aesthetic works. Evidence exists that many biases commonly operate in aesthetic judgment, especially among laypersons, and these biases end up contaminating potentially valid appraisals of artworks, and ultimately the acclaim and success of artists in a society. In total, by identifying complementary concepts within social and cognitive psychology, philosophy, and sociology, eleven such biases are documented and discussed. There also appear to be parallels between the perceptual and cognitive heuristic processes that occur in more general human decision making and judgment, and those that can occur in biased art perception and evaluation. Especially notable are stereotyping and prejudiced tendencies that commonly exist in aesthetic judgments.

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Sex Differences in Aesthetic Preferences

Johnson

Knapp

1963

The Journal of Social Psychology

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Preferences of Different Age and Socio-Economic Groups in Unstructured Musical Situations

Cited by 8 publications

References 4 publications

Repeated Listening Increases the Liking for Music Regardless of Its Complexity: Implications for the Appreciation and Aesthetics of Music

Repeated Listening Increases the Liking for Music Regardless of Its Complexity: Implications for the Appreciation and Aesthetics of Music

Decontaminating Taste: Minimizing Nona esthetic Biases in Aesthetic Appraisal

Sex Differences in Aesthetic Preferences

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