Preliminaries to a Psychological Model of Musical Groove

Senn, Olivier; Rose, Dawn; Bechtold, Toni; Kilchenmann, Lorenz; Hoesl, Florian; Jerjen, Rafael; Baldassarre, Antonio; Alessandri, Elena

doi:10.3389/fpsyg.2019.01228

Cited by 41 publications

(64 citation statements)

References 61 publications

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“…The Mahler stimulus seems to trigger this kind of reaction most strongly among the eight musical excerpts presented in this study. This interpretation of the relationship of pleasure and urge to move agrees with Matthews et al 2019and Senn, Rose, et al (2019), who suggest that pleasure is a mediator for the urge to move. However, further corroboration is necessary, as this observation might be an artefact of a failure to select stimuli that truly inhabit the high urge to move/low pleasure quadrant of Figure 4 (top left).…”

Section: Discussionsupporting

confidence: 88%

“…Third, groove models will grow more complicated in the near future, and they will move beyond regression models that simply estimate the direct effects of independent variables on groove response variables. Senn, Rose, et al (2019) drafted a groove model that places the urge to move within a greater context of mental and bodily processes. These kinds of models can be studied using a structural equation modelling framework.…”

Section: Discussionmentioning

confidence: 99%

“…The Experience of Groove Questionnaire has primarily been designed as a basic measurement tool for psychological groove research. The urge to move and pleasure scales can be used as response variables in studies that aim to model the intensity of listeners' experience of groove depending on musical, personal, situational or other factors (Senn, Rose, et al, 2019).…”

Section: Discussionmentioning

confidence: 99%

“…Factors linked to the person of the listener have also been investigated; for example, listeners' taste, musical expertise, and background. Finally, the concrete listening situation (such as live vs. recorded music) and the interaction of auditory, visual, and tactile modalities have also been studied (for a recent overview, see Eaves et al, 2019;Hove, Martinez, & Stupacher, 2020;Matthews et al 2019;Senn, Rose, et al, 2019, Swarbrick et al, 2019.…”

Section: T He Term Musical Groove Was Originallymentioning

confidence: 99%

“…The consistent application of validated measures makes it possible to compare results across groove studies. Multi-item scales are not only more reliable than single-item scales (Diamantopoulos, Sarstedt, Fuchs, Wilczynski, & Kaiser, 2012), they also open a path to complex models of groove that involve mediation, moderation, and indirect effects (see the model proposed by Senn, Rose, et al, 2019).…”

Section: T He Term Musical Groove Was Originallymentioning

confidence: 99%

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Experience of Groove Questionnaire

et al. 2020

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Music often triggers a pleasurable urge in listeners to move their bodies in response to the rhythm. In music psychology, this experience is commonly referred to as groove. This study presents the Experience of Groove Questionnaire, a newly developed self-report questionnaire that enables respondents to subjectively assess how strongly they feel an urge to move and pleasure while listening to music. The development of the questionnaire was carried out in several stages: candidate questionnaire items were generated on the basis of the groove literature, and their suitability was judged by fifteen groove and rhythm research experts. Two listening experiments were carried out in order to reduce the number of items, to validate the instrument, and to estimate its reliability. The final questionnaire consists of two scales with three items each that reliably measure respondents’ urge to move (Cronbach’s α = .92) and their experience of pleasure (α = .97) while listening to music. The two scales are highly correlated (r = .80), which indicates a strong association between motor and emotional responses to music. The scales of the Experience of Groove Questionnaire can independently be applied in groove research and in a variety of other research contexts in which listeners’ subjective experience of music-induced movement and enjoyment need to be addressed: for example the study of the interaction between music and motivation in sports and research on therapeutic applications of music in people with neurological movement disorders.

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Section: Discussionsupporting

confidence: 88%

Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Section: T He Term Musical Groove Was Originallymentioning

confidence: 99%

Section: T He Term Musical Groove Was Originallymentioning

confidence: 99%

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Experience of Groove Questionnaire

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Is happier music groovier? The influence of emotional characteristics of musical chord progressions on groove

Kawase

2023

Psychological Research

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Specific rhythmic patterns in music have been reported to induce an urge to move with feelings of pleasure or enjoyment, called “groove.” However, it is unclear how the emotional characteristics of music (e.g., happiness or sadness) affect groove. To address this issue I investigated the effects of the emotional characteristics of music on groove by altering the chord progressions accompanying drum breaks composed by a professional composer while manipulating independent tempo and rhythmic patterns. An online listening experiment was conducted using pieces composed by a professional composer but comprising different types of chord progressions that lead to happiness or sadness. Participants evaluated the nine items on a 7-point scale, including urge to move (i.e., groove), felt emotions, nori, and liking. The experiment found that: (1) chord progressions that evoke happiness were more likely to induce groove, (2) emotional characteristics did not interact with tempi and syncopation in terms of groove ratings, and (3) the accompaniment of drum breaks enhanced groove in both happy and sad chord progressions. Musical pieces with chord progressions that induce happiness were more likely to evoke groove, namely the urge to move. This implies that considering the emotional characteristics of musical pieces and rhythms is crucial when creating music for movement during rehabilitation, therapy, or dance.

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