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Individual differences in granularity of the affective responses to music

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Kantor-Martynuska J., Bigand E.
Polish Psychological Bulletin
|
2013
|
vol. 44
|
issue 4
399-408
EN
The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity was found in musicians and high rumination scorers. Male musicians with above-median scores in rumination produced a larger number of clusters than the other male participants. Experiment 2 that engaged 23 participants demonstrated moderate consistency with which listeners grouped affects that they perceived in music and affects they experienced while listening to music. The study suggests that affective responses to music are subject to individual differences in musical expertise and rumination. Affects perceived in music and felt in response to it seem to be categorized with reference to the common principles. However, the cues that are used in such instances of categorization seem to be different. The paper encourages further research on the importance of listeners’ personal characteristics for the affective responses to music.
2
Publication available in full text mode
Content available

Individual differences in granularity of the affective responses to music

100%
Kantor-Martynuska J., Bigand E.
Polish Psychological Bulletin
|
2013
|
vol. 44
|
issue 4
399-408
EN
The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity was found in musicians and high rumination scorers. Male musicians with above-median scores in rumination produced a larger number of clusters than the other male participants. Experiment 2 that engaged 23 participants demonstrated moderate consistency with which listeners grouped affects that they perceived in music and affects they experienced while listening to music. The study suggests that affective responses to music are subject to individual differences in musical expertise and rumination. Affects perceived in music and felt in response to it seem to be categorized with reference to the common principles. However, the cues that are used in such instances of categorization seem to be different. The paper encourages further research on the importance of listeners’ personal characteristics for the affective responses to music.
3
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Psychometric properties of the "Kenny-Music Performance Anxiety Inventory" modified for general performance anxiety

100%
Kantor-Martynuska J., Kenny D. T.
Polish Psychological Bulletin
|
2018
|
vol. 49
|
issue 3
332-343
EN
The main objective of this study was to analyse the psychometric properties of the Polish adaptation of the Kenny Music Performance Anxiety Inventory – Revised (K-MPAI-R, Kenny, 2009) modified as the Kenny Performance Anxiety Inventory (K-PAI) for a general population of individuals with experience in public performance in fields other than music. Another aim was to test the factor structure of K-PAI on a Polish sample. We analysed the relationship between the scores on K-PAI and general anxiety, depression, attentional control, the scores on the Behavioural Inhibition Scale (BIS) and the Behavioural Activation Scale (BAS) and reward susceptibility. Participants (N = 586) completed the questionnaires in a wider online study. The scores on K-PAI revealed a moderate to strong positive association with different measures of anxiety, trait-anxiety in particular, and negative associations with attentional control and susceptibility to reward. K-PAI scores were strongly associated with depression, but displayed no relationship with the BAS or any of its sub-dimensions. These results generally replicated those obtained on the K-MPAI-R with Australian and Peruvian musicians, indicating the cross-cultural validity of the K-MPAI-R and K-PAI. It is suggested that performance anxiety develops on the basis of the biological predispositions and early negative experiences in performance contexts.
4
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Performance anxiety: the need for an integrative approach

100%
Kantor-Martynuska J., Domaradzka E.
Polish Psychological Bulletin
|
2018
|
vol. 49
|
issue 3
272-282
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