The psychology of music in Poland: Theoretical considerations and current directions in empirical research

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

Abstracts

EN

The psychology of music has a long tradition and continues to develop both in Poland and abroad. The current issue of Roczniki Psychologiczne [Annals of Psychology] is devoted to topics related to the scientific study of music, addressed by Polish scholars from different research units. In the current introductory article we aim to describe the context in which the psychological study of music develops. Assuming that the psychology of music is a science dealing relationships between music and human listeners, performers, or composers, we explain the meaning of that notion, presenting the characteristics of such relations. We also describe the beginnings and development of the psychology of music in Poland and abroad, introducing the main goals of this multidisciplinary and integrative science. Finally, we present the contents of the current issue of Roczniki Psychologiczne [Annals of Psychology].

Keywords

EN

psychology of music; scientific discipline; theory; research

• Publisher: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
• Journal: Roczniki Psychologiczne
• Year: 2019
• Volume: 22
• Issue: 2
• Pages: 103-120

Contributors

author

Rafał Lawendowski

• University of Gdańsk, Institute of Psychology

author

Zofia Mazur

• The John Paul II Catholic University of Lublin, Institute of Psychology

References

• Aalbers, S., Fusar-Poli, L., Freeman, R. E., Spreen, M., Ket, J. C., Vink, A. C., . . . Gold, C. (2017). Music therapy for depression. Cochrane Database of Systematic Reviews, 11, CD004517. https://doi.org/10.1002/14651858.CD004517.pub3
• 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. doi: 10.18290/rpsych.2019.22.2-5
• 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. doi: 10.18290/rpsych.2019.22.2-3
• Cameron, D. J., & Grahn, J. A. (2016). The neuroscience of rhythm. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 357–368). Oxford: Oxford University Press.
• Cattell, R. B., & Saunders, D. R. (1954). Musical preferences and personality diagnosis: I. A factorization of one hundred and twenty themes. The Journal of Social Psychology, 39(1), 3–24. https://doi.org/10.1080/00224545.1954.9919099
• Chełkowska-Zacharewicz, M. (2018). Program i streszczenia [Program and abstracts]. Retrieved June 29, 2019, from the website of PsychoMuzy 2018. International Music Psychology Conference in Katowice. Retrieved from http://www.psychomuzy.us.edu.pl/program/
• Chełkowska-Zacharewicz, M., & Paliga, M. (2019). Music emotions and associations in film music listening: The example of leitmotifs from The Lord of the Rings movies. Roczniki Psychologiczne [Annals of Psychology], 22(2), 151–175. doi: 10.18290/rpsych.2019.22.2-4
• Chmurzyńska, M. (2014). Style nauczania i kompetencje psychopedagogiczne nauczycieli instrumentu ze szkół muzycznych I stopnia [Teaching styles and psychopedagogical competences of instrumental teachers from elementary music schools]. In R. Lawendowski & J. Kaleńska-Rodzaj (Eds.), Psychologia muzyki. Współczesne konteksty zastosowań [The psychology of music. Current contexts of application] (pp. 93–109). Gdańsk: Harmonia Universalis.
• Chmurzyńska, M., & Kamińska, B. (2006). Ocenianie wykonań muzycznych [The evaluation of music performances]. Warsaw: The Fryderyk Chopin Academy of Music.
• Conard, N. J., Malina, M., & Münzel, S. C. (2009). New flutes document the earliest musical tradition in southwestern Germany. Nature, 460(7256), 737–740. https://doi.org/10.1038/nature08169
• d’Errico, F., Henshilwood, C., Lawson, G., Vanhaeren, M., Tillier, A.-M., Soressi, M., . . . Julien, M. (2003). Archaeological evidence for the emergence of language, symbolism, and mu-sic—an alternative multidisciplinary perspective. Journal of World Prehistory, 17(1), 1–70. https://doi.org/10.1023/A:1023980201043
• ESCOM. (2019). European Society for the Cognitive Science of Music [website]. Retrieved from https://www.escom.org/
• Fancourt, D. (2016). An introduction to the psychoneuroimmunology of music: History, future collaboration and a research agenda. Psychology of Music, 44(2), 168–182. https://doi.org/10.1177/0305735614558901
• Gabrielsson, A. (2001). Emotions in strong experiences with music. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 431–449). New York, NY, US: Oxford University Press.
• Galińska, E. (2015). Music therapy in neurological rehabilitation settings. Psychiatria Polska, 49(4), 835–846.
• Galińska, E., & Aranowska, E. (2004). Metodologiczne podstawy analizy stylu komunikacji muzycznej [Methodological basis for the analysis of musical communication style]. Przegląd Psychologiczny, 47(4), 327–344.
• Gembris, H., & Davidson, J. W. (2002). Environmental influences. In R. Parncutt & G. E. McPherson (Eds.), The science and psychology of music performance. Creative strategies for teaching and learning (pp. 17–30). Oxford: Oxford University Press.
• Hallam, S. (2009). The role of psychology in music education. The Psychologist, 22, 1016–1017.
• Hallam, S. (2016). Motivation to learn. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 479–492). Oxford: Oxford University Press.
• Hargreaves, D. J., & North, A. C. (Eds.) (1997). The social psychology of music. Oxford: Oxford University Press.
• Higham, T., Basell, L., Jacobi, R., Wood, R., Ramsey, C. B., & Conard, N. J. (2012). Τesting models for the beginnings of the Aurignacian and the advent of figurative art and music: The radiocarbon chronology of Geißenklösterle. Journal of Human Evolution, 62(6), 664–676. https://doi.org/10.1016/j.jhevol.2012.03.003
• Hodges, D. A. (2003). Music psychology and music education: What’s the connection? Research Studies in Music Education, 21(1), 31–44. https://doi.org/10.1177/1321103X030210010301
• IFPI. (2018). Music consumer insight report 2018. Retrieved from https://www.ifpi.org/downloads/Music-Consumer-Insight-Report-2018.pdf
• IFPI. (2019). IFPI global music report. Retrieved from https://www.ifpi.org/downloads/GMR2019.pdf
• Jankowski, W. (2011). Relacje psychologii muzyki z edukacją muzyczną w dorobku i zadaniach Katedry Psychologii Muzyki UMFC w Warszawie [The relations between the psychology of music and music education in the heritage and tasks of the Department of the Psychology of Music at FCUM in Warsaw]. Retrieved from http://docplayer.pl/13532186-Relacje-psychologii-muzyki-z-edukacja-muzyczna-w-dorobku-i-zadaniach-katedry-psychologii-muzyki-umfc-w-warszawie.html
• Kamińska, B. (1997). Kompetencje wokalne dzieci i młodzieży—ich poziom, rozwój i uwarunkowania [Vocal competences of children and adolescents—their level, development, and determinants]. Warsaw: The Fryderyk Chopin Academy of Music.
• Kantor Martynuska, J. (2009). The listener’s temperament and perceived tempo and loudness of music. European Journal of Personality, 23(8), 655–673. https://doi.org/10.1002/per.734
• Kemp, A. E. (1997). Individual differences in musical behaviour. In D. J. Hargreaves & A. C. North (Eds.), The social psychology of music (pp. 25–45). Oxford: Oxford University Press.
• Kemp, A. E., & Mills, J. (2002). Musical potential. In R. Parncutt & G. E. McPherson (Eds.), The science and psychology of music performance: Creative strategies for teaching and learning (pp. 3–16). Oxford: Oxford University Press.
• Kepinska-Welbel, J. (1991). Psychological counseling in music schools in Poland. European Journal of High Ability, 2(1), 86–90.
• Klimas-Kuchtowa, E. (1993). Creative thinking as a predictor of achievement in music. European Journal of High Ability, 4(1), 6–10.
• Klimas-Kuchtowa, E., & Chudzikiewicz, I. (2013). Autonomia czy integralność zdolności muzycznych na tle innych funkcji poznawczych [Autonomy or integrity of musical abilities in the light of other cognitive functions]. Zeszyty Psychologiczno-Pedagogiczne Centrum Edukacji Artystycznej, 1, 45.
• Kopacz, M. (2005). Personality and music preferences: The influence of personality traits on preferences regarding musical elements. Journal of Music Therapy, 42(3), 216–239. https://doi.org/10.1093/jmt/42.3.216
• Lawendowski, R. (2011). Osobowościowe uwarunkowania preferencji muzycznych w zależności od wieku [Personality determinants of music preferences according to age]. Kraków: Oficyna Wydawnicza “Impuls.”
• Lawendowski, R., & Besta, T. (2018). Is participation in music festivals a self-expansion opportunity? Identity, self-perception, and the importance of music’s functions. Musicae Scientiae, online first, 1–21. https://doi.org//10.1177/1029864918792593
• Lewandowska, B., Lewandowska, K., & Sołowiej, J. (1985). Techniki stymulacyjne i terapeutyczne dla dzieci i młodzieży [Technics of stimulation and therapy for children and adolescents]. Gdańsk: Uniwersytet Gdański.
• Lewandowska, K. (1978). Rozwój zdolności muzycznych u dzieci w wieku szkolnym [The development of musical abilities in school-aged children]. Warsaw: Wydawnictwa Szkolne i Pedagogiczne.
• Lewandowska, K. (2007). Muzykoterapia dziecięca: Zbiór rozpraw z psychologii muzycznej dziecka i muzykoterapii dziecięcej (3rd ed.) [Music therapy for children: Collection of issues from child psychology of music and music therapy for children]. Gdańsk: Kinga Lewandowska.
• Litle, P., & Zuckerman, M. (1986). Sensation seeking and music preferences. Personality and Individual Differences, 7(4), 575–578. https://doi.org/10.1016/0191-8869(86)90136-4
• Loeb, D., Reed, J., Golinkoff, R. M., & Hirsh-Pasek, K. (2019). Tuned in: Musical rhythm and social skills in adults. Psychology of Music, 0305735619850880. https://doi.org/10.1177/0305735619850880
• Manturzewska, M. (1968). Z badań nad ocenami wykonawstwa muzycznego wydawanymi przez ekspertów muzycznych [Research on the evaluation of music performance by musical experts]. Zeszyty Naukowe. Warszawa: PWSM, (4), 113–116.
• Manturzewska, M. (1990a). A biographical study of the life-span development of professional musicians. Psychology of Music, 18(2), 112–139. https://doi.org/10.1177/0305735690182002
• Manturzewska, M. (1990b). 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.
• Manturzewska, M. (2014). Psychologiczne wyznaczniki powodzenia w studiach muzycznych [Psychological determinants of success in musical studies] (2nd ed.). Warsaw: Centre for Artistic Education, The Fryderyk Chopin University of Music.
• Manturzewska, M. (n.d.). Psychology of music as a scientific discipline [Unpublished manuscript].
• Manturzewska, M., & Kotarska, H. (1990). Wybrane zagadnienia z psychologii muzyki [Selected issues in the psychology of music]. Warsaw: Wydawnictwa Szkolne i Pedagogiczne.
• Mazur, Z., & Łaguna, 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
• McDermott, J., & Hauser, M. (2005). The origins of music: Innateness, uniqueness, and evolution. Music Perception: An Interdisciplinary Journal, 23(1), 29–59. https://doi.org/10.1525/mp.2005.23.1.29
• McPherson, G., & McCormick, J. (2006). Self-efficacy and music performance. Psychology of Music, 34(3), 322–336. https://doi.org/10.1177/0305735606064841
• McPherson, G. E. (2005). From child to musician: Skill development during the beginning stages of learning an instrument. Psychology of Music, 33(1), 5–35. https://doi.org/10.1177/0305735605048012
• Mensink, M. C., & Dodge, L. (2014). Music and memory: Effects of listening to music while studying in college students. Retrieved from https://minds.wisconsin.edu/handle/1793/77348
• Miklaszewski, K. (1989). A case study of a pianist preparing a musical performance. Psychology of Music, 17(2), 95–109. https://doi.org/10.1177/0305735689172001
• Miklaszewski, K. (2006). Koncepcja kryteriów oceny wykonawstwa muzycznego [The conception of criteria for music performance evaluation]. In M. Chmurzyńska & B. Kamińska (Eds.), Ocenianie wykonań muzycznych [The evaluation of music performances] (pp. 77–93). Warsaw: The Fryderyk Chopin Academy of Music.
• North, A. C., & Hargreaves, D. J. (1999). Can music move people?: The effects of musical complexity and silence on waiting time. Environment and Behavior, 31(1), 136–149. https://doi.org/10.1177/00139169921972038
• North, A. C., & Hargreaves, D. (2008). The social and applied psychology of music. New York: Oxford University Press.
• North, A. C., Sheridan, L. P., & Areni, C. S. (2016). Music congruity effects on product memory, perception, and choice. Journal of Retailing, 92(1), 83–95. https://doi.org/10.1016/j.jretai.2015.06.001
• 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
• O’Neill, S., & McPherson, G. E. (2002). Motivation. In R. Parncutt & G. E. McPherson (Eds.), The science and psychology of music performance. Creative strategies for teaching and learning (pp. 31–46). Oxford: Oxford University Press.
• Parker, O. G. (2000). Music cognition: The relationship of psychology and music. Presented at the International Conference on Music Perception and Cognition, Keele, UK. Retrieved from https://www.escom.org/proceedings/ICMPC2000/poster3/Parker.htm
• 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. doi: 10.18290/rpsych.2019.22.2-2
• Psychology of Music. (2019). Journal aim and scope. Retrieved from https://uk.sagepub.com/en-gb/eur/journal/psychology-music#aims-and-scope
• Rakowski, A. (1990). Intonation variants of musical intervals in isolation and in musical contexts. Psychology of Music, 18(1), 60–72. https://doi.org/10.1177/0305735690181005
• Rakowski, A. (2001). What is music? Musicae Scientiae, 5(2_suppl), 125–130. https://doi.org/10.1177/10298649010050S217
• Rakowski, A., & Rogowski, P. (2011). Absolute pitch and its frequency range. Archives of Acoustics, 36(2), 251–266. https://doi.org/10.2478/v10168-011-0020-1
• Rentfrow, P. J., & Gosling, S. D. (2003). The do re mi’s of everyday life: The structure and personality correlates of music preferences. Journal of Personality and Social Psychology, 84(6), 1236–1256. https://doi.org/10.1037/0022-3514.84.6.1236
• Schäfer, K., & Eerola, T. (2018). How listening to music and engagement with other media provide a sense of belonging: An exploratory study of social surrogacy. Psychology of Music. https://doi.org/10.1177/0305735618795036
• Schäfer, T., Sedlmeier, P., Städtler, C., & Huron, D. (2013). The psychological functions of music listening. Frontiers in Psychology, 4. https://doi.org/10.3389/fpsyg.2013.00511
• Schellenberg, E. G. (2006). Exposure to music: The truth about the consequences. In G. E. McPherson (Ed.), The child as musician: A handbook of musical development (pp. 111–134). Oxford: Oxford University Press.
• Schlaug, G. (2008). Music, musicians, and brain plasticity. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology. Oxford: Oxford University Press.
• Sloboda, J. A. (2002). Umysł muzyczny: Poznawcza psychologia muzyki [The musical mind. The cognitive psychology of music]. Warsaw: The Fryderyk Chopin Academy of Music.
• Swaminathan, S., & Schellenberg, E. G. (2015). Current emotion research in music psychology. Emotion Review, 7(2), 189–197. https://doi.org/10.1177/1754073914558282
• Thaut, M. (2016). History and research. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology (2nd ed., pp. 893–904). Oxford: Oxford University Press.
• The Really Useful Group. (2016). Facts and figures. The Phantom of the Opera. Retrieved June 28, 2019, from The Phantom of the Opera website: https://www.thephantomoftheopera.com/facts-figures/
• Wertheimer, M. (2012). A brief history of psychology (5th ed.). New York: Psychology Press Taylor & Francis Group.
• Zielinska, H., & Miklaszewski, K. (1992). Memorising two melodies of different style. Psychology of Music, 20(2), 95–111. https://doi.org/10.1177/0305735692202001

Identifiers

DOI

10.18290/rpsych.2019.22.2-1