The Effect of Overtly Categorizing Music on Preference for Popular Music Styles

Abstract

This investigation was designed to examine the effect of overt listener categorization on pref erence for crossover excerpts (ie., instrumental selections of artists nominated for Grammy awards in more than one popular style per year). Results showed no significant differences in nonmusic majors' (n -534) preferential ratings subsequent to one of the following treatments: (a) stipulated categorization (pop, rock, jazz), (b) no overt categorization or (c) freeoperant categorization (any classification system). Subjects with musical experience responded significantly more positively than did the musically inexperienced, and females' ratings were significantly more positive than were males. The investigation's second component compared continuous versus static responses using a Continuous Response Digital Interface (CRDI) and Likerttype scales. Rsults showed that responses made across time were significantly moe positive compared to static responses. Musical experience and gender significantly affected preferences for pop and jazz, but not rock.Listener responses to various musical styles have been subject to inquiry, revealing that preferential responses are often based on stylistic perceptions and that "popular" genres are often the style of choice for certain populations. LeBlanc's research (1981) attributed 23% of variance in children's preference to style alone, 26% to style and tempo, and 28% to style, tempo, and performing medium. LeBlanc also noted the order of preference to be rock/pop, country, band, new jazz, old jazz, and art music, respectively, corroborating Greer, Dorow, and Randall's (1974) study that showed a growing preference for comparatively popular styles with advancing grade level. That listeners differentiate stylistically seems apparent; furthermore, such differentiation often seems to yield a preference for popular music as opposed to formal-tradition music. As Radocy and Boyle (1979) summarized, "preferences for popular music have not been assessed to the degree they deserve" (p. 229).One vein of research has focused on how music preferences may be altered. Musical experience appears consequential, as preference for formal tradition composers over popular composers increases with formal music training (Geringer, 1982; Price & Yarbrough, 1987). Adult and peer approval also seem to influence music preferences, although this impact seems to decline with advancFor copies of this article, contact Ruth V. Brittin,

Musical preference and music education: Musical preferences of Turkish university students and their levels in genre identification

“…Another interesting finding was that, contrary to other studies (Brittin, 1991;Fung, 1996;Ginocchio, 2009;Morrison & Cheung, 1999), those without music training had higher mean scores for music preferences than did music students. The courses may have caused musicology students to consider music listening as an obligation to be discussed rather than a joy.…”

An Empirical Method for Measuring the Aesthetic Experience to Music

“…The combination of a microcomputer system and Continuous Response Digital Interface (CRDI) provides this temporal assessment by letting listeners react to musical stimuli in any number of ways while the music is being heard (Brittin, 1991;Gregory, 1989;Madsen, 1990;Madsen & Geringer, 1990;Rentz, 1992;Robinson, 1988). This device has been shown to be a reliable tool in the collection of listener response data.…”

Elementary, Middle, and High School Student Perceptions of Tension in Music

“…The CRDI has been used to measure responses in a variety of areas, including focus of attention during music listening (Madsen & Geringer, 1990), music preferences of children (Edenfield, 1989) and adults (Brittin, 1991;Brittin & Sheldon, 1995;Gregory, 1994), changes in tempo (Sheldon, 1994) and loudness (Geringer, 1995), good versus bad intonation (Madsen, Geringer, & Heller, 1991), and use of rubato in musical performance (Johnson, 1996). Of particular importance in the present study is the ability of younger populations to use the CRDI to record their observations in musical situations.…”