Creating, practicing, and reacting to music: A content analysis of research

• Authors: Zofia Mazur , Rafał Lawendowski
• Languages of publication: EN

Abstracts

EN

Psychology of music, a science of the relations between humans and sound structures, is continuously developing. Given the growing number of publications in this domain, reviews of the literature are of value, as they integrate knowledge, informing and guiding future research endeavors. This article presents the results of a 47-year (1973–2019) content analysis of research on creating, practicing, and responding to music featured in The Psychology of Music journal. The purpose of our study was to identify and describe the themes in research on creating, practicing, and responding to music, indicating which study topics were the most often present in publications. We identified 17 categories of research topics and found that the largest number of publications dealt with predictors of music creating, self-regulated practice, or affective responses to music. Suggestions for developing and bolstering research and practice are provided.

Keywords

EN

creating music; musical practice; reactions to music; literature review; content analysis; psychology of music

• Publisher: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
• Journal: Roczniki Psychologiczne
• Year: 2019
• Volume: 22
• Issue: 4
• Pages: 299-323

Contributors

author

Zofia Mazur

• Katolicki Uniwersytet Lubelski Jana Pawła II, Wydział Nauk Społecznych

author

Rafał Lawendowski

• Uniwersytet Gdański

References

• Allen, R. (2013). Free improvisation and performance anxiety among piano students. Psychology of Music, 41(1), 75–88. https://doi.org/10.1177/0305735611415750
• Allen, S. E. (2012). Memory stabilization and enhancement following music practice. Psychology of Music, 41(6), 794–803. https://doi.org/10.1177/0305735612463947
• Araújo, M. V. (2015). Measuring self-regulated practice behaviours in highly skilled musicians. Psychology of Music, 44(2), 278–292. https://doi.org/10.1177/0305735614567554
• Asmus, E. P. (1985). The development of a multidimensional instrument for the measurement of affective responses to music. Psychology of Music, 13(1), 19–30. https://doi.org/10.1177/0305735685131002
• Atroszko, P. A., Wróbel, W. K., Bereznowski, P., & Lawendowski, R. (2019). The relationship between study addiction and examination stress among students of music academies. Roczniki Psychologiczne [Annals of Psychology], 22(2), 177–192. https://doi: 10.18290/rpsych.2019.22.2-5
• Austin, J. R., & Berg, M. H. (2006). Exploring music practice among sixth-grade band and orchestra students. Psychology of Music, 34(4), 535–558. https://doi.org/10.1177/0305735606067170
• Baas, M., De Dreu, C. K. W., & Nijstad, B. A. (2008). A meta-analysis of 25 years of mood—creativity research: Hedonic tone, activation, or regulatory focus? Psychological Bulletin, 134(6), 779–806. https://doi.org/10.1037/a0012815
• Baker, F. A. (2013). What about the music? Music therapists’ perspectives on the role of music in the therapeutic songwriting process. Psychology of Music, 43(1), 122–139. https://doi.org/10.1177/0305735613498919
• Barrett, M. (2006). ‘Creative collaboration’: An ‘eminence’ study of teaching and learning in music composition. Psychology of Music, 34(2), 195–218. https://doi.org/10.1177/0305735606061852
• Barrett, M. S. (2010). Musical narratives: A study of a young child’s identity work in and through music-making. Psychology of Music, 39(4), 403–423. https://doi.org/10.1177/0305735610373054
• Barrett, M. S., & Gromko, J. E. (2007). Provoking the muse: A case study of teaching and learning in music composition. Psychology of Music, 35(2), 213–230. https://doi.org/10.1177/0305735607070305
• Barry, N. H. (1992). The effects of practice strategies, individual differences in cognitive style, and gender upon technical accuracy and musicality of student instrumental performance. Psychology of Music, 20(2), 112–123. https://doi.org/10.1177/0305735692202002
• Barry, N. H., & McArthur, V. (1994). Teaching practice strategies in the music studio: A survey of applied music teachers. Psychology of Music, 22(1), 44–55. https://doi.org/10.1177/0305735694221004
• Bennett, D., & Ginsborg, J. (2018). Audience reactions to the program notes of unfamiliar music. Psychology of Music, 46(4), 588–605. https://doi.org/10.1177/0305735617721339
• Bieleninik, Ł., & Ghetti, C. M. (2019). Music therapy for preterm infants and their parents: A path forward for research in Poland. Roczniki Psychologiczne [Annals of Psychology], 22(2), 135-150. https://doi.org/10.18290/rpsych.2019.22.2-3
• Block, L. (1983). Comparative tone-colour responses of college music majors with absolute pitch and good relative pitch. Psychology of Music, 11(2), 59–66. https://doi.org/10.1177/0305735683112001
• Bonneville-Roussy, A., & Bouffard, T. (2015). When quantity is not enough: Disentangling the roles of practice time, self-regulation and deliberate practice in musical achievement. Psychology of Music, 43(5), 687–704. https://doi.org/10.1177/0305735614534910
• Booth, A., Sutton, A., & Papaioannou, D. (2012). Systematic approaches to a successful literature review. London, UK: Sage.
• Boucher, M., Creech, A., & Dubé, F. (2019). Video feedback and the self-evaluation of college-level guitarists during individual practice. Psychology of Music. https://doi.org/10.1177/0305735619842374
• Burnard, P. (1999). Bodily intention in children’s improvisation and composition. Psychology of Music, 27(2), 159–174. https://doi.org/10.1177/0305735699272007
• Caravaglios, G., Castro, G., Crivelli, D., De Filippis, D., Muscoso, E. G., Di Maria, G., … Balconi, M. (2019). Musical expertise: Evidence from a pilot study on reaction times and time/frequency oscillatory responses. Psychology of Music. Advanced online publication. https://doi.org/10.1177/0305735619839141
• Chaffin, R., & Imreh, G. (2001). A comparison of practice and self-report as sources of information about the goals of expert practice. Psychology of Music, 29(1), 39–69. https://doi.org/10.1177/0305735601291004
• Chełkowska-Zacharewicz, M., & Paliga, M. (2019). Music emotions and associations in film music listening: An example of leitmotifs from The Lord of the Rings movies. Roczniki Psychologiczne [Annals of Psychology], 22(2), 151–175. https://doi.org/10.18290/rpsych.2019.22.2-4
• Colley, A., Banton, L., Down, J., & Pither, A. (1992). An expert–novice comparison in musical composition. Psychology of Music, 20(2), 124–137. https://doi.org/10.1177/0305735692202003
• Collins, D. (2005). A synthesis process model of creative thinking in music composition. Psychology of Music, 33(2), 193–216. https://doi.org/10.1177/0305735605050651
• Copeland, N. (2019). Spontaneous creativity: An overview of theories crucial to musical idea generation. Roczniki Psychologiczne [Annals of Psychology], 22(4), 325–336. http://dx.doi. org/10.18290/rpsych.2019.22.4-2
• Crozier, J. B. (1997). Absolute pitch: Practice makes perfect, the earlier the better. Psychology of Music, 25(2), 110–119. https://doi.org/10.1177/0305735697252002
• Daynes, H. (2010). Listeners’ perceptual and emotional responses to tonal and atonal music. Psychology of Music, 39(4), 468–502. https://doi.org/10.1177/0305735610378182
• De Vries, B. (1991). Assessment of the affective response to music with Clynes’s sentograph. Psychology of Music, 19(1), 46–64. https://doi.org/10.1177/0305735691191004
• Dean, R. T., & Bailes, F. (2015). Using time series analysis to evaluate skin conductance during movement in piano improvisation. Psychology of Music, 43(1), 3–23. https://doi.org/10.1177/0305735613489917
• Durkin, K., & Townsend, J. (1997). Influence of linguistic factors on young school children’s responses to musical pitch tests: A preliminary test. Psychology of Music, 25(2), 186–191. https://doi.org/10.1177/0305735697252007
• Ericsson, K., Krampe, R., & Tesch-Roemer, C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100(3), 363–406.
• Ersozlu, Z. N., & Miksza, P. (2014). A Turkish adaptation of a Self-Regulated Practice Behavior Scale for collegiate music students. Psychology of Music, 43(6), 855–869. https://doi.org/10.1177/0305735614543283
• Eskine, K. E., Anderson, A. E., Sullivan, M., & Golob, E. J. (2018). Effects of music listening on creative cognition and semantic memory retrieval. Psychology of Music. Advanced online publication. https://doi.org/10.1177/0305735618810792
• Evans, P., & Bonneville-Roussy, A. (2016). Self-determined motivation for practice in university music students. Psychology of Music, 44(5), 1095-1110. https://doi.org/10.1177/0305735615610926
• Evans, P., & McPherson, G. E. (2014). Identity and practice: The motivational benefits of a long-term musical identity. Psychology of Music, 43(3), 407–422. https://doi.org/10.1177/0305735613514471
• Fachner, J. (2014). Communicating change—meaningful moments, situated cognition and music therapy: A response to North (2014). Psychology of Music, 42(6), 791–799. https://doi.org/10.1177/0305735614547665
• Fredrickson, B. L. (2001). The role of positive emotions in positive psychology. The American Psychologist, 56(3), 218–226.
• Fredrickson, W. E. (1995). A comparison of perceived musical tension and aesthetic response. Psychology of Music, 23(1), 81–87. https://doi.org/10.1177/0305735695231006
• Gfeller, K., Asmus, E., & Eckert, M. (1991). An investigation of emotional response to music and text. Psychology of Music, 19(2), 128–141. https://doi.org/10.1177/0305735691192004
• Ginsborg, J., Chaffin, R., & Nicholson, G. (2006). Shared performance cues in singing and conducting: A content analysis of talk during practice. Psychology of Music, 34(2), 167–194. https://doi.org/10.1177/0305735606061851
• Goncy, E. A., & Waehler, C. A. (2006). An empirical investigation of creativity and musical experience. Psychology of Music, 34(3), 307–321. https://doi.org/10.1177/0305735606064839
• Gregory, A. H., & Varney, N. (1996). Cross-cultural comparisons in the affective response to music. Psychology of Music, 24(1), 47–52. https://doi.org/10.1177/0305735696241005
• Gupta, U., & Gupta, B. S. (2014). Psychophysiological reactions to music in male coronary patients and healthy controls. Psychology of Music, 43(5), 736–755. https://doi.org/10.1177/0305735614536754
• Hallam, S., Rinta, T., Varvarigou, M., Creech, A., Papageorgi, I., Gomes, T., & Lanipekun, J. (2012). The development of practising strategies in young people. Psychology of Music, 40(5), 652–680. https://doi.org/10.1177/0305735612443868
• Hallam, S., Creech, A., Varvarigou, M., & Papageorgi, I. (2019). Are there differences in practice depending on the instrument played? Psychology of Music. Advanced online publication. https://doi.org/10.1177/0305735618816370
• Hallam, S., Papageorgi, I., Varvarigou, M., & Creech, A. (2018). Relationships between practice, motivation, and examination outcomes. Psychology of Music. Advanced online publication. https://doi.org/10.1177/0305735618816168
• Hallam, S., Varvarigou, M., Creech, A., Papageorgi, I., Gomes, T., Lanipekun, J., & Rinta, T. (2016). Are there gender differences in instrumental music practice? Psychology of Music, 45(1), 116–130. https://doi.org/10.1177/0305735616650994
• Hargreaves, D. J., & Colman, A. M. (1981). The dimensions of aesthetic reactions to music. Psychology of Music, 9(1), 15–20. https://doi.org/10.1177/03057356810090010301
• Hart, E., & Di Blasi, Z. (2013). Combined flow in musical jam sessions: A pilot qualitative study. Psychology of Music, 43(2), 275–290. https://doi.org/10.1177/0305735613502374
• Hass, R. W., Weisberg, R. W., & Choi, J. (2010). Quantitative case-studies in musical composition: The development of creativity in popular-songwriting teams. Psychology of Music, 38(4), 463–479. https://doi.org/10.1177/0305735609352035
• Hekiert, D., & Igras-Cybulska, M. (2019). Capturing emotions in voice: A comparative analysis of methodologies in psychology and digital signal processing. Roczniki Psychologiczne [Annals of Psychology], 22(1), 15–34. https://doi.org/dx.doi.org/10.18290/rpsych.2019.22.1-2
• Hill, M., Hill, B., & Walsh, R. (2017). Conflict in collaborative musical composition: A case study. Psychology of Music, 46(2), 192–207. https://doi.org/10.1177/0305735617704712
• Holbrook, M. B., & Anand, P. (1990). Effects of tempo and situational arousal on the listener’s perceptual and affective responses to music. Psychology of Music, 18(2), 150–162. https://doi.org/10.1177/0305735690182004
• Imbir, K., & Gołąb, M. (2017). Affective reactions to music: Norms for 120 excerpts of modern and classical music. Psychology of Music, 45(3), 432–449. https://doi.org/10.1177/0305735616671587
• Iskra, J. (1998). Stopień otwartości na doświadczenie a obraz siebie młodzieży artystycznie uzdolnionej [Degree of openness to experience and self-image among artistically talented adolescents]. Roczniki Psychologiczne [Annals of Psychology], 1, 57–71.
• Janowski, M., & Chełkowska-Zacharewicz, M. (2019). What do we actually measure as music--induced emotions? Roczniki Psychologiczne [Annals of Psychology], 22(4), 373–403. http://dx.doi.org/10.18290/rpsych.2019.22.4-5
• Johansen, G. G. (2017). Explorational instrumental practice: An expansive approach to the development of improvisation competence. Psychology of Music, 46(1), 49–65. https://doi.org/10.1177/0305735617695657
• Juslin, P. N. (2016). Emotional reactions to music. In S Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 197–214). Oxford, UK: Oxford University Press.
• Kaczmarek, S. (2019). Mental practice of musically gifted adolescents. Roczniki Psychologiczne [Annals of Psychology], 22(4), 353–372. http://dx.doi.org/10.18290/rpsych.2019.22.4-4
• Kanellopoulos, P. A. (1999). Children’s conception and practice of musical improvisation. Psychology of Music, 27(2), 175–191. https://doi.org/10.1177/0305735699272008
• Keller, P. E., Weber, A., & Engel, A. (2011). Practice makes too perfect: Fluctuations in loudness indicate spontaneity in musical improvisation. Music Perception: An Interdisciplinary Journal, 29(1), 109–114. https://doi.org/10.1525/mp.2011.29.1.109
• Kozbelt, A. (2007). A quantitative analysis of Beethoven as self-critic: Implications for psychological theories of musical creativity. Psychology of Music, 35(1), 144–168. https://doi.org/10.1177/0305735607068892
• Krahé, C., Hahn, U., & Whitney, K. (2015). Is seeing (musical) believing? The eye versus the ear in emotional responses to music. Psychology of Music, 43(1), 140–148. https://doi.org/10.1177/0305735613498920
• Larson, S. (2005). Composition versus improvisation? Journal of Music Theory, 49(2), 241–275.
• Lawendowski, R., Kierzkowski, M., & Karasiewicz, K. (2016). Percepcja elementów muzycznych przez uczniów dyslektycznych [Perception of musical elements in students with dyslexia]. Psychologia Wychowawcza [Educational Psychology], 51(9), 26–43. https://doi.org/10.5604/00332860.1211479
• Lehmann, A. C. (1997). Research note: Affective responses to everyday life events and music listening. Psychology of Music, 25(1), 84–90. https://doi.org/10.1177/0305735697251007
• Liljeström, S., Juslin, P. N., & Västfjäll, D. (2012). Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music. Psychology of Music, 41(5), 579–599. https://doi.org/10.1177/0305735612440615
• Love, K. G., & Barrett, M. S. (2015). A case study of teaching and learning strategies in an orchestral composition masterclass. Psychology of Music, 44(4), 830–846. https://doi.org/10.1177/0305735615594490
• Love, K. G., & Barrett, M. S. (2018). Signature pedagogies for musical practice: A case study of creativity development in an orchestral composers’ workshop. Psychology of Music, 47(4), 551–567. https://doi.org/10.1177/0305735618765317
• Luck, G., Toiviainen, P., Erkkilä, J., Lartillot, O., Riikkilä, K., Mäkelä, A., … Värri, J. (2007). Modelling the relationships between emotional responses to, and musical content of, music therapy improvisations. Psychology of Music, 36(1), 25–45. https://doi.org/10.1177/0305735607079714
• Lundqvist, L. O., Carlsson, F., Hilmersson, P., & Juslin, P. N. (2008). Emotional responses to music: Experience, expression, and physiology. Psychology of Music, 37(1), 61–90. https://doi.org/10.1177/0305735607086048
• MacDonald, R., Byrne, C., & Carlton, L. (2016). Creativity and flow in musical composition: An empirical investigation. Psychology of Music, 34(2), 292-306. https://doi.org/10.1177/0305735606064838
• MacIntyre, P. D., & Potter, G. K. (2013). Music motivation and the effect of writing music: A comparison of pianists and guitarists. Psychology of Music, 42(3), 403–419. https://doi.org/10.1177/0305735613477180
• Madeira, L. R. B., Araújo, M. V., Hein, C. F., & Marinho, H. (2017). Adaptation of a Self-Regulated Practice Behaviour Scale for Portuguese music students. Psychology of Music, 46(6), 795–812. https://doi.org/10.1177/0305735617724884
• Maher, T. F., & Berlyne, D. E. (1982). Verbal and exploratory responses to melodic musical intervals. Psychology of Music, 10(1), 11–27. https://doi.org/10.1177/0305735682101002
• Manturzewska, M. (1990). Psychologia muzyki—kierunki i etapy rozwoju [The psychology of music—directions and stages of development]. In M. Manturzewska & H. Kotarska (Eds.), Wybrane zagadnienia z psychologii muzyki [Selected issues in the psychology of music] (pp. 11–24). Warsaw: Wydawnictwa Szkolne i Pedagogiczne.
• Mawang, L. L., Kigen, E. M., & Mutweleli, S. M. (2018). Achievement goal motivation and cognitive strategies as predictors of musical creativity among secondary school music students. Psychology of Music. Advanced online publication. https://doi.org/10.1177/0305735618805837
• Mazur, Z., & Laguna, M. (2019). The role of affect in practicing a musical instrument: A systematic review of the literature. Psychology of Music, 47(6), 848–863. https://doi.org/10.1177/0305735619861831
• McPherson, G. E., Osborne, M. S., Evans, P., & Miksza, P. (2017). Applying self-regulated learning microanalysis to study musicians’ practice. Psychology of Music, 47(1), 18–32. https://doi.org/10.1177/0305735617731614
• Mielke, S. (2016). Mental practice in music performance: A literature-based glossary and taxonomy. School of Music Faculty of Arts University of Ottawa, Canada.
• Miksza, P. (2010). Relationships among achievement goal motivation, impulsivity, and the music practice of collegiate brass and woodwind players. Psychology of Music, 39(1), 50–67. https://doi.org/10.1177/0305735610361996
• Miksza, P. (2013). The effect of self-regulation instruction on the performance achievement, musical self-efficacy, and practicing of advanced wind players. Psychology of Music, 43(2), 219–243. https://doi.org/10.1177/0305735613500832
• Nielsen, S. (1999). Regulation of learning strategies during practice: A case study of a single church organ student preparing a particular work for a concert performance. Psychology of Music, 27(2), 218–229. https://doi.org/10.1177/0305735699272015
• Nielsen, S. G. (2004). Strategies and self-efficacy beliefs in instrumental and vocal individual practice: A study of students in higher music education. Psychology of Music, 32(4), 418–431. https://doi.org/10.1177/0305735604046099
• Nogaj, A. A., Czarnecka, I., & Ossowski, R. (2019). Differences in stress coping styles and social skills between classical and jazz musicians. Roczniki Psychologiczne [Annals of Psychology], 22(4), 337–352. http://dx.doi.org/10.18290/rpsych.2019.22.4-3
• Odendaal, A. (2015). (Mis)matching perceptual learning styles and practicing behavior in tertiary level Western Classical instrumentalists. Psychology of Music, 44(3), 353–368. https://doi.org/10.1177/0305735614567933
• Ockelford, A. (2016). Beyond music psychology. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed.). Oxford: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780198722946.013.52
• Perkins, R., & Williamon, A. (2013). Learning to make music in older adulthood: A mixed--methods exploration of impacts on wellbeing. Psychology of Music, 42(4), 550–567. https://doi.org/10.1177/0305735613483668
• Pike, P. D. (2017). Self-regulation of teenaged pianists during at-home practice. Psychology of Music, 45(5), 739–751. https://doi.org/10.1177/0305735617690245
• Podlipniak, P. (2019). The neo-Pythagorean view of musical structure in the light of music psychology. Roczniki Psychologiczne [Annals of Psychology], 22(2), 121–134. https://doi.org/ 10.18290/rpsych.2019.22.2-2
• PoM: Psychology of Music. (2019). Journal Info. Aims and scope. https://journals.sagepub.com/aims-scope/POM
• Priest, T. (2006). Self-evaluation, creativity, and musical achievement. Psychology of Music, 34(1), 47–61. https://doi.org/10.1177/0305735606059104
• Rakowski, A. (2001). What is music? Musicae Scientiae, 5(2_suppl.), 125-130. https://doi.org/10.1177/10298649010050S217
• Rawlings, D., & Leow, S. H. (2008). Investigating the role of psychoticism and sensation seeking in predicting emotional reactions to music. Psychology of Music, 36(3), 269–287. https://doi.org/10.1177/0305735607086042
• Rickard, N. S. (2004). Intense emotional responses to music: A test of the physiological arousal hypothesis. Psychology of Music, 32(4), 371–388. https://doi.org/10.1177/0305735604046096
• Rosemann, S., Altenmüller, E., & Fahle, M. (2015). The art of sight-reading: Influence of practice, playing tempo, complexity and cognitive skills on the eye–hand span in pianists. Psychology of Music, 44(4), 658–673. https://doi.org/10.1177/0305735615585398
• Ryan, T. G., & Brown, K. (2012). Musical creativity: Measures and learning. Journal of Elementary Education, 22(2), 105–120.
• Saiz-Clar, E., & Reales, J. M. (2017). Predicting emotional response to music through a compound neural network. Psychology of Music, 46(2), 222–237. https://doi.org/10.1177/0305735617705452
• Sakakibara, A. (2012). A longitudinal study of the process of acquiring absolute pitch: A practical report of training with the ‘chord identification method.’ Psychology of Music, 42(1), 86–111. https://doi.org/10.1177/0305735612463948
• Sakka, L. S., & Juslin, P. N. (2017). Emotional reactions to music in depressed individuals. Psychology of Music, 46(6), 862–880. https://doi.org/10.1177/0305735617730425
• Sandgren, M. (2018). How modes of instrumental practice are distributed in three musical genres and among vocalists and instrumentalists at music colleges. Psychology of Music, 47(5), 767–778. https://doi.org/10.1177/0305735618765299
• Sandstrom, G. M., & Russo, F. A. (2011). Absorption in music: Development of a scale to identify individuals with strong emotional responses to music. Psychology of Music, 41(2), 216–228. https://doi.org/10.1177/0305735611422508
• Sawyer, R. K. (2006). Group creativity: Musical performance and collaboration. Psychology of Music, 34(2), 148–165. https://doi.org/10.1177/0305735606061850
• Schatt, M. D. (2017). Middle school band students’ self-determination to practice. Psychology of Music, 46(2), 208–221. https://doi.org/10.1177/0305735617705008
• Schäfer, T., Sedlmeier, P., Städtler, C., & Huron, D. (2013). The psychological functions of music listening. Frontiers in Psychology, 4, 511. https://doi.org/10.3389/fpsyg.2013.00511
• Seddon, F. A., & O’Neill, S. A. (2001). An evaluation study of computer-based compositions by children with and without prior experience of formal instrumental music tuition. Psychology of Music, 29(1), 4–19. https://doi.org/10.1177/0305735601291002
• Seddon, F. A., & O’Neill, S. A. (2006). How does formal instrumental music tuition (FIMT) impact on self- and teacher-evaluations of adolescents’ computer-based compositions? Psychology of Music, 34(1), 27–45. https://doi.org/10.1177/0305735606059103
• Simonton, D. K. (1994). Computer content analysis of melodic structure: Classical composers and their compositions. Psychology of Music, 22(1), 31–43. https://doi.org/10.1177/0305735694221003
• Sims, W. L. (1988). Movement responses of pre-school children, primary grade children, and pre-service classroom teachers to characteristics of musical phrases. Psychology of Music, 16(2), 110–127. https://doi.org/10.1177/0305735688162002
• Sloboda, J. A., Davidson, J. W., Howe, M. J. A., & Moore, D. G. (1996). The role of practice in the development of performing musicians. British Journal of Psychology, 87, 287–309.
• Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings. Psychology of Music, 19(2), 110–120. https://doi.org/10.1177/0305735691192002
• Smith, B. P. (2005). Goal orientation, implicit theory of ability, and collegiate instrumental music practice. Psychology of Music, 33(1), 36–57. https://doi.org/10.1177/0305735605048013
• Sovansky, E. E., Wieth, M. B., Francis, A. P., & McIlhagga, S. D. (2014). Not all musicians are creative: Creativity requires more than simply playing music. Psychology of Music, 44(1), 25–36. https://doi.org/10.1177/0305735614551088
• Stambaugh, L. A. (2012). Differential effects of cognitive load on university wind students’ practice. Psychology of Music, 41(6), 749–763. https://doi.org/10.1177/0305735612449505
• Susino, M., & Schubert, E. (2018). Cultural stereotyping of emotional responses to music genre. Psychology of Music, 47(3), 342–357. https://doi.org/10.1177/0305735618755886
• Swanwick, K. (1973). Musical cognition and aesthetic response. Psychology of Music, 1(2), 7–13. https://doi.org/10.1177/030573567312001
• Valenzuela, R., Codina, N., & Pestana, J. V. (2017). Self-determination theory applied to flow in conservatoire music practice: The roles of perceived autonomy and competence, and autonomous and controlled motivation. Psychology of Music, 46(1), 33–48. https://doi.org/10.1177/0305735617694502
• Waterman, M. (1996). Emotional responses to music: Implicit and explicit effects in listeners and performers. Psychology of Music, 24(1), 53–67. https://doi.org/10.1177/0305735696241006
• Wen, Y. C., & Tsai, C.-G. (2016). The effect of harmonization on cortical magnetic responses evoked by music of rapidly changing tonalities. Psychology of Music, 45(1), 22–35. https://doi.org/10.1177/0305735616639386
• Williams, D., Kirke, A., Miranda, E. R., Roesch, E., Daly, I., & Nasuto, S. (2014). Investigating affect in algorithmic composition systems. Psychology of Music, 43(6), 831–854. https://doi.org/10.1177/0305735614543282
• Wilson, G. B., & MacDonald, R. A. R. (2012). The sign of silence: Negotiating musical identities in an improvising ensemble. Psychology of Music, 40(5), 558–573. https://doi.org/10.1177/0305735612449506
• Yinger, O. S., & Springer, D. G. (2018). Using psycholinguistic inquiry to measure emotional response to music: A feasibility study. Psychology of Music, 47(4), 606–614. https://doi.org/10.1177/0305735618765292
• Zimmerman, B. J. (2002). Becoming a self-regulated learner: An overview. Theory into Practice, 41(2), 64–70.

Identifiers

DOI

10.18290/rpsych.2019.22.4-1