Yearbook Archive: Vol 26 (2016)
Vol 26 (2016): Musikpsychologie – Musik und Gesundheit / Music Psychology – Music and Health
Volume 26 was edited by Wolfgang Auhagen, Claudia Bullerjahn, and Richard von Georgi. Editorial Assistans were Isabel Bötsch, Hauke Egermann, Mirjam James, and Kathrin Schlemmer.
The printed volume was published by Hogrefe in 2016. The rights of use were reacquired by DGM and the contributions were republished here in 2020 as an OpenAccess publication for free, unrestricted use under the CC-BY 4.0 licence.
All contributions are available as searchable PDF files, have a DOI and are searchable in the PubPsych/PSYNDEX database. Contribution titles and abstracts are consistently given in German and English. Titles and abstracts marked with [*] have been automatically translated from the original language with www.deepl.com.
Research Reports on Thematic Focus
Neurowissenschaftliche Aspekte der Musiktherapie bei affektiven Störungen und bei Demenz Neuroscience aspects of music therapy for affective disorders and dementia [*]
Music Therapy in affective disorders and dementia reduces symptoms and modulates emotion and physiological processes. This is demonstrated in recent studies focusing on outcomes measures, physiological responses and emotion perception in depression and in arousal-regulation and learning abilities in dementia. Together with other neuroscientific perspectives arising from these studies the importance of frontotemporal activities in depression and comorbid anxiety, as well as functional compensation of non-degenerated brain regions in dementia are discussed. A central role in music therapy of affective disorders and dementia is treating negative valence of discrete emotions.
Singen und subjektives Wohlbefinden: Ein Vergleich von Musik- und Sportschwerpunktschulen Singing and subjective well-being: A comparison of music and sports schools [*]
The aim of this study was a comparison of students of gymnasiums (high schools) with different priority subjects. lt was investigated, if singing and sports have a positive effect on indicators of subjective well-being. Furthermore, it was exam ined whether any differences exist between both groups. The sample consists of 169 subjects of German gymnasiums with a special focus of activity (singing or sports) and a general gymnasium without any focus. The following psycholog ical constructs were measured by means of an online-survey: affectivity (PANAS), personality (NEO-FFI), coping styles (SVF), physical complaints (INKA) and flow experience (ÜFI). The results show that both groups with a priority subject in singing or sports exhibit a higher positive and a lower negative affectivity (PANAS), which may contribute to a general higher subjective well-being. However, significant differences were detected between those both groups relative to the control group: students with an emphasis in singing rath er use negative coping strategies (SVF) and have a lower flow experience, lower flow-orientated self-congruence and higher fear of loosing control of concentration (ÜFI). Extraversion or Neuroticism (NEO-FFI) did not have any impact. This study shows that different emphasises are related to different indicators of subjective well-being.
Music rehearsals and well-being: A comparison of choral singing, playing in a brass band, playing in a theater group and listening to music in a concert Musikproben und Wohlbefinden: Ein Vergleich von Chorgesang, Spielen in einer Blaskapelle, Spielen in einer Theatergruppe und Musik hören in einem Konzert [*]
Several studies have reported positive effects of (choral) singing on well-being (e.g. Beck et al., 2000), mostly by comparison to a listening condition. There is, however, a lack of literature addressing the comparison of choral singing with other active music-making conditions. This study compares the effect of choral singing, playing in a brass band, playing in a theater group, and listening to music in a concert on well-being. Participants (N=183) were three choirs (n = 58), two brass bands (n = 54), three theater groups (n = 34) and a group of concert-goers (n = 37). All participants completed the Positive Negative Affect Schedule (PANAS), the Perceived Stress Questionnaire (PSQ) and the State Trait-Anxiety-lnventory (STAI; state questionnaire only) before and after a 1.5- hour rehearsal/concert. They then answered a series of open questions in writing (e.g. lildng of the pieces; satisfaction with the rehearsal in general) after the session (or concert). Separate interviews were conducted with two to eight par ticipants of each group. Findings suggest that choral singing, playing in a theater group or listening to music in a concert influences well-being positively. Contrary to expectations, the brass bands lacked positive changes. This study also shows that satisfaction with the rehearsal in general and the liking of the piece(s) rehearsed play an important role in this context, which partly explains the lack of positive changes for the brass bands.
Der Einfluss des habituellen Chill-Erlebens auf die stressreduzierende Wirkung von Musik bei chronischen Schmerzpatientinnen The influence of the habitual chill experience on the stress-reducing effect of music in chronic pain patients [*]
We investigated whether chills are associated with more successful emotion regulation through music listening. In particular, we hypothesized that people who experience chills on a habitual basis (within the meaning of a trait) benefit to a greater extent from music listening for stress reduction purposes in daily life. Thirty female patients with fibromyalgia - a chronic pain syndrome - were examined for 14 consecutive days in their daily life. Participants rated their stress levels and music listening behavior, and provided a saliva sample for the analysis of biological stress markers five times per day. Additionally, the music preference questionnaire was completed; this instrument assesses the habitual experience of chills. The stress-reducing effect of music listening in daily life varied depending on the habitual experience of chills. Those participants who reported more frequent and more intense experiences of chills felt more activated after listening to music (explained variance .58 % - 3.29 %, x2>32.99, df=8, p <.001). Participants with less frequent experiences of music-induced chills reported less stress after having listened to music that was perceived as low in arousal. Participants with more frequent experiences of chills benefitted from music that was perceived as high in arousal for stress-reducing effects (explained variance 3.29 %, x2> 32.99, df= 8, p < .001). Music listening was associated with stress-reducing effects when considering relaxation as reason for music listening and the frequency of habitual experiences of chills: With increasing frequency of habitual chill experiences, the stress-reducing effect of music listening for the reason of relaxation decreased (explained variance .60 %, x2=24.16, df=6, p< .001). Consequently, music listening per se was not associated with a stress-reducing effect for participants with more frequent and more intense experiences of chills. However, the secretion of cortisol was lowest, when participants who habitually experience chills, reported listening to music for the reason of relaxation (explained variance .89 %, x2=38.17, df=7 , p < .001). However, the arousal of the music and reasons for music listening should be kept in mind when patients with fibromyalgia syndrome, who experience more frequent and more intensive chills, want to profit from music for stress reduction purposes in daily life.
Research Reports
Angenehmheit und Interessantheit als Dimensionen ästhetischer Urteile über Musik: Eine empirische Gegenüberstellung Pleasantness and interest as dimensions of aesthetic judgements about music: an empirical comparison [*]
Moving pieces of art often are both pleasant and interesting. Research from the new experimental aesthetics as well as aesthetic theories of emotion suggest that judgments about pleasantness and interestingness are decoupled. Yet, the cor relation between the two judgments has been found to be considerably high in many studies. The present article suggests a hitherto not addressed alternative by arguing that interestingness is required for pleasantness. An online survey using excerpts of everyday music was employed to test this hypothesis. The correlation between interestingness and pleasantness turned out to be higher than in previous studies (r=.87). Regression and path analyses revealed that (a) in terestingness significantly predicts pleasantness, (b) the two judgments are af fected by other music-related judgments to different degrees, and (c) the relation ship between complexity and pleasantness is almost completely mediated by interestingness.
Ein experimenteller Ansatz zur Messung der Offenohrigkeit nach von Georgi und Frieler (2014) - eine Replikationsstudie An experimental approach to measuring open-eardness according to von Georgi and Frieler (2014) - a replication study [*]
This study is a replication of the paradigm for measuring open-eardness by von Georgi and Frieler (2014). This experimental approach considers open-eardness as a personality trait which should be measured independent of valence and stimuli. The sample consists of 69 students (38 male, 31 female) of an integrated school in Brunswick, Germany, with a mean age of 13.99. The subjects should individually choose 15 out of 90 musical stimuli, which were sorted in ten gen res with three subgenres each. After every chosen stimulus, they should rate their valance. The results show that the derived coefficient Oewd could be replicated and validated via the Entropy by Shannon (1948). Furthermore, a correlation between the measured open-eardness and the traits openness and experience seeking could be found. In conclusion, this measurement of open-eardness could be understood as a paradigm shift.
Time for Talents? Eine Untersuchung von Erfolgsfaktoren bei Musikcastingshows Time for Talents? An investigation of success factors for music casting shows [*]
Music talent shows belong to the most popular German TV formats in the recent fifteen years and are highly regarded by the music industry. The latest format The Voice of Germany started a debate about quality of music talent shows. But do the young recipients even perceive differences between the formats? And which factors influence the success of the shows? We conducted an online based survey and asked 230 persons from the target group about their reception of the two most popular German formats The Voice of Germany and Deutschland sucht den Superstar. Factors like perceived authenticity and talent of the candidates as well as parasocial relationships between recipients and candidates will be investigated in order to explain the success of music talent shows. Our results show that there are differences in the reception. In this case The Voice of Germany is regarded throughout as the more authentic format in comparison to Deutschland sucht den Superstar, whereas both formats are successful in stimulating the recipients in buying talent show products the more often they watch the shows. We found that the crucial factor responsible for the consumer acceptance of the recipients for buying talent show products is the parasocial relationship.