15th International Conference on Music Perception ...

ICMPC15/ESCOM10, 23-28 July 2018, Graz, La Plata, Montreal, Sydney

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How to cite this booklet: Richard Parncutt and Sabrina Sattmann (Eds., 2018). ICMPC15/ESCOM10: Abstract book (electronic). Graz, Austria: Centre for Systematic Musicology, University of Graz. ICMPC15/ESCOM10, 23-28 July 2018, Graz, La Plata, Montreal, Sydney

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15th International Conference on Music Perception and Cognition 10th triennial conference of the European Society for the Cognitive Sciences of Music La Plata, Argentina Montreal, Canada Sydney, Australia Graz, Austria 23-28 July 2018

Abstracts Edited by Richard Parncutt and Sabrina Sattmann ICMPC15/ESCOM10, 23-28 July 2018, Graz, La Plata, Montreal, Sydney

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T7S: Short Talks 7 - Health Time: Thursday, 26/Jul/2018: 6:40 - 7:20 · Location: Sydney Session Chair: Kirk Nicholas Olsen

Listening to music to cope with everyday stressors Amanda E Krause1,2 1The University of Melbourne, Australia; 2Curtin University, Australia; [email protected] Background Everyday stressors—the stressful, irritating, and disturbing events that happen in the context of everyday life—are common. Due negative health outcomes associated with stress, people are increasingly interested in the possibility of using non-invasive approaches, such as music listening, to mediate stress (MacDonald, 2013). Although inconsistent results have been reported (Linnemann, Ditzen, Strahler, Doerr & Nater, 2015), experimental and laboratory-based research implicates that music can play a role in relieving stress (e.g., Beck, Hansen, & Gold, 2015; Radstaak, Geurts, Brosschot, & Kompier, 2014). However, little research has specifically considered the relationship between everyday stressors and everyday music listening. Aims The primary aim of this research was to consider how music listening is used as a coping mechanism for different types of everyday stressors. The relationship between the use of music listening to cope with everyday stressors and listener characteristics (including age, gender, country of residence, listening style, and device use) was also examined. Method Five hundred and fifty-three participants residing in Australia, USA, and Malaysia (Mage = 24.49; 69.30% female, 30.60% male, 0.20% non-binary) completed a quantitative questionnaire online. The questionnaire included demographic questions and measures concerning daily stressors (Kohn & MacDonald, 1992), music engagement (Greenberg & Rentfrow, 2015; Miranda & Claes, 2009), and music identity (Krause & Hargreaves, 2013). Results Firstly, a factor analysis identified five types of everyday stressors: “social”, “financial”, “performance responsibilities”, “work-related”, and “daily displeasures”. A one-way repeated measure ANOVA indicated that individuals were significantly less likely to use music to cope with financial everyday stressors than use music with regard to the other four stressor types, and individuals were significantly more likely to listen to cope with social and work-related stressors than to cope with performance responsibilities and daily displeasures. A Generalized Linear Mixed Model analysis indicated that younger individuals were more likely to use music to cope with daily stressors than older individuals and that US residents were more likely to listen to music to cope with stressors when compared to both Australian and Malaysian residents. Moreover, the results of a second Generalized Linear Mixed Model analysis revealed that individuals who listen to more hours of music daily on average and those who demonstrate a stronger affective listening style are more likely to listen to music in order to cope with everyday stressors. Conclusions Together, these results provide an in-depth understanding of everyday music listening behaviors with regard to how individuals use music to cope with stress. These results concern the use of music for therapeutic self-regulation and have implications for both individuals and health professionals. Further research will be able to consider the utility of music listening as a self-administered coping tool, relative to people’s intentions and its effectiveness, as well as develop specific intervention strategies to promote well-being.


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Constructing, delivering, and perceiving emotion in Passion, Lament, Glory, a staged pasticcio oratorio Jane W Davidson, Amanda E Krause The University of Melbourne, Australia; [email protected] Background The representation of Christ’s life, death, and resurrection in the form of a play or musical ‘Passion’ is a tradition which dates back a number of centuries, with the Baroque music settings by Bach being perhaps the most commonly known of these works that exists today (e.g., St. Matthew Passion). Passion, Lament, Glory draws on musical settings by influential Baroque composers Handel and Pergolesi and enacts music and text using art forms synonymous with opera including singing, acting and expressive movement. Passion, Lament, Glory was performed in St Paul’s Cathedral, Melbourne, Australia in March/April 2017. Aims The present research considered how enacted emotions were developed and delivered in the creative work of the directors and cast and how these were then realised by the performance and perceived by the audience. Method The research drew on three data sources in order to consider how emotion was constructed and enacted as well as how it was perceived through the performance. The artistic director provided a detailed and self-reflective account of the production and rehearsal process. Interviews with the cast addressed decisions concerning the means used to enact emotion, and audience members were invited to complete a post-performance survey providing their response. The audience response questionnaire included measures of emotional contagion (Doherty, 1997), emotional reaction (adapted from Trondle, Kirchberg & Tschacher, 2014), and responding to an open-ended question to describe their emotional reaction to the performance. Results The artistic director’s self-reflection indicated a purposeful historical and modern social justice agenda for the production: the Easter music and the historically-informed narrative of the Passion of Christ was purposely set within a religious site to explore racial and religious discrimination. The cast of 12 women, the artist playing Jesus and the director worked to understand loss and how this might feel in the historical setting of the work as well as in today’s social and political climate. Focus groups with cast members elucidated that while the cast members learned about their emotional embodiment during rehearsals, the performances in the cathedral brought about a different, and more intense, level of emotion. Many in the cast expressed how there was something special about this work and the performances. Analysis of the audience data indicates that the audience experienced a range of emotional responses to the work. Some displayed an awareness of the parallel between the historical religious persecution and modern-day conflicts, with some experiencing strong religious/spiritual emotions. Analyses indicated that many were moved to think, an indication of the complex emotional responses experienced—while the music was deemed beautiful and enjoyed, the play’s depiction of suffering stirred other emotions at the same time. Conclusions It was clear that the aim to create a highly emotive production influenced decisions and actions from the beginning to end. Indeed, the cast’s decisions about character portrayal and singing brought about their own emotional involvement, which then influenced the audience’s experience. The present study sets groundwork for future quantitative research that could specifically test mediation models based on these findings.


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S8G/S8S: Symposium 8 - Music listening, music preference, emotion and everyday life: exploring the effects of engaging with music Time: Friday, 27/Jul/2018: 8:30 - 10:30 · Location: Graz_1 Session Chair: Alexandra Lamont, Suvi Saarikallio

“I Want It All”: The Positive Associations of Enjoying a Wide Range of Music 1The

Steven Caldwell Brown1, Amanda Elizabeth Krause2 University of Strathclyde, United Kingdom; 2The University of Melbourne, Australia; [email protected]

Background In the past, access to a variety of cultural artefacts, including music, was reserved for individuals of a higher socioeconomic status. This is no longer the case. As a result of recent technological advancements, people are listening to more music than at any other time in human history, capable of listening to a variety of musical styles via leading music streaming services’ vast databases. Research finds that music preferences are capable of communicating information about one’s personality (Rentfrow & Gosling, 2006); however, such findings focus on preference for particular musical styles. Little is known about preference for a range of different musical styles. Aims This study aimed to establish if knowledge of a fictitious person indicating a preference for wide or narrow music preferences would impact on judgments made about that person. Specifically, the perceived personality of this fictitious person was of interest. Method Adopting mixed-methodology, the research included two studies. Experimentally, study one (n = 165) presented participants with a list of seven traits (i.e. travels regularly) describing a fictitious person, one of which either ‘listens to a wide range of music’ or ‘listens to a narrow range of music’ (depending on condition). Participants were asked to write a description of the person described based on the list of traits provided and to complete the Ten-Item Personality Inventory (Gosling, Rentfrow & Swann, 2003). Study two utilised a sub-set of 50 of the descriptions created by participants in study one. The descriptions (25 per condition) were presented randomly to a separate sample of participants (n = 57), who were asked to identify whether each description depicted someone who listens to a wide or narrow range of music. Results The results of study one revealed statistically significant differences on personality scores between conditions such that knowledge of someone’s preference for a wide range of musical styles led to them being thought of as being more extraverted, more agreeable, and more open. Qualitative analysis of the free-written descriptions is ongoing to better understand the impressions gained by participants. In study two, participants guessed if the descriptions were of someone who listens to a wide variety of music or a narrow variety of music and they did so to a level well beyond chance. Conclusions This study provides preliminary evidence that people make favourable assumptions about others based on knowledge of them enjoying a wide-range of musical styles. Furthermore, findings suggest that people are capable of inferring that someone enjoys a wide or narrow range of musical styles based on a brief description of that person. The collective findings inform future research that will consider associations between personality and omnivorous music behaviours. References Gosling, S.D., Rentfrow, P.J. and Swann, W.B., Jr. (2003). A Very Brief Measure of the Big Five Personality Domains. Journal of Research in Personality, 37, 6, 504–528. Rentfrow, P.J. and Gosling, S.D. (2006). Message in a ballad: the role of musical preferences in interpersonal perception. Psychological Science, 17, 3, 236–242.


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