Music consumption is widely recognized as an important facet of everyday life, and the use of algorithms by online streaming services to suggest songs has aroused a growing scientific interest in how musical preferences are structured. However, existing studies have failed to include Latin genres of music. Therefore, the aim of this study was to develop and validate a measure to assess the musical preferences of Spanish-speaking teenagers and adults. To do this, two independent studies were developed (N1 = 312 Spanish teenagers; N2 = 345 Spanish-speaking adults) using an instrument based on a theoretical structure consisting of 20 musical genres, which reflects the MUSIC model. The results indicated the exclusion of reggaetón for both groups, and confirmed the proposed theory of five dimensions of musical preferences: (a) Intense: emphasis on low sounds and use of electronic instruments; (b) Sophisticated: complex musical structure, dissonant harmonies, and melodies that explore unconventional patterns and diversified rhythms; (c) Contemporary: striking rhythm, emphasis on percussion and electronic instruments, versatility in the prosodic construction of lyrics, and often linked to themes such as inequality and social injustice; (d) Moving: strong connection to dance, especially partner dances, with strong potential for socialization; (e) Unpretentious: music with strong cultural roots specific to the research context. In conclusion, the Scale for Musical Preferences Assessment proved to be an effective instrument for assessing the musical preferences of teenagers and adults, presenting a standard structure for both groups, although there were differences in their perception of musical genres.
AbengózarM. C. (2007). Epitomising the modern Spanish nation through popular music: Coplas from la Caramba to Concha Piquer, 1750–1990. Gender & History, 19(3), 419–440. https://doi.org/10.1111@j.1468-0424.2007.00494.x
2.
Álvarez-GonzálezJ. (2010). Structural characteristics of the 50 highest-rated television shows broadcast by Univision and Telemundo network for the Hispanic markets in the United States and Puerto Rico. Journal of Spanish Language Media, 3, 92–122.
BarberoM. I.VilaE.SuárezJ. C. (2006). Psicometría [Psychometry]. UNED.
5.
BarreraF. (2015). De la copla flamenca a la canción indie: Intertextualidad y relaciones sociales a través del análisis de distintos modelos de adaptación musical. Ethnomusicology Review, 20, 1–18.
6.
BauerC.SchedlM. (2019). Global and country-specific mainstreaminess measures: Definitions, analysis, and usage for improving personalized music recommendation systems. PLOS One, 14(6), 1–36. https://doi.org/10.1371/journal.pone.0217389
7.
BoerD.FischerR.TekmanH. G.AbubakarA.NjengaJ.ZengerM. (2012). Young people’s topography of musical functions: Personal, social and cultural experiences with music across genders and six societies. International Journal of Psychology, 47(5), 355–369. https://doi.org/10.1080/00207594.2012.656128
8.
Bonneville-RoussyA.RentfrowP.XuM.PotterJ. (2013). Music through the ages: Trends in musical engagement and preferences from adolescence through middle adulthood. Journal of Personality and Social Psychology, 105(4), 703–717. https://doi.org/10.1037/a0033770
9.
Bonneville-RoussyA.RustJ. (2018). Age trends in musical preferences in adulthood: 2. Sources of social influences as determinants of preferences. Musicae Scientiae, 22(2), 175–195. https://doi.org/10.177/1029864917704016
10.
Bonneville-RoussyA.StillwellD.KosinskiM.RustJ. (2017). Age trends in musical preferences in adulthood: 1. Conceptualization and empirical investigation. Musicae Scientiae, 21(4), 369–389. https://doi.org/10.1177/1029864917691571
11.
BourdieuP. (2010). Distinction: A social critique of the judgement of taste. Routledge.
ChenF. F. (2007). Sensitivity of goodness of fit indexes to lack of measurement invariance. Structural Equation Modeling, 14, 464–504. https://doi.org/10.1080/10705510701301834
14.
ClarkI. M.BakerF. A.TaylorN. F. (2016). Older adults’ music listening preferences to support physical activity following cardiac rehabilitation. Journal of Music Therapy, 53(4), 364–397. https://doi.org/10.1093/jmt/thw011
15.
ClarkS.GiacomantonioS. G. (2013). Musical preferences and empathy: Toward predicting prosocial behavior. Psychomusicology, 23(3), 177–186. https://doi.org/10.1037/a0034882
16.
ColleyA. (2008). Young people’s musical taste: Relationship with gender and gender-related traits. Journal of Applied Social Psychology, 38(8), 2039–2055. https://doi.org/10.1111/j.1559-1816.2008.00379.
17.
CremadesR.Lorenzo-QuilesO.HerreraL. (2010). Musical tastes of secondary school students with different cultural backgrounds: A study in the Spanish North African city of Melilla. Musicae Scientiae, 14(1), 121–141. https://doi.org/10.1177/102986491001400105
18.
DelsingM. J.ter BogtT. F.EngelsR. C.MeeusW. H. (2008). Teenagers’ musical preferences and personality characteristics. European Journal of Personality, 22(2), 109–130. https://doi.org/10.1002/per.665
19.
DobrotaS.ErcegovacI. R. (2019). Gender differences in musical taste: The mediating role of functions of music. Društvena Istraživanja, 28, 567–586. https://doi.org/10.5559/di.28.4.01
20.
FerwerdaB.YangE.SchedlM.TkalcicM. (2019). Personality and taxonomy preferences, and the influence of category choice on the user experience for music streaming services. Multimedia Tools Applications, 78, 20157–20190. https://doi.org/10.1007/s11042-019-7336-7
21.
FrickeK. R.HerzbergP. Y. (2017). Personality and self-reported preference for music genres and attributes in a German-speaking sample. Journal of Research in Personality, 68, 114–123. https://doi.org/10.1016/j.jrp.2017.01.001
22.
GarridoS. (2014). A systematic review of the measurement of mood and emotion in music studies. Psychomusicology, 24(4), 316–327. https://doi.org/10.1037/pmu0000072
23.
GeorgeD.StickleK.RachidF.WopnfordA. (2007). The association between types of music enjoyed and cognitive, behavioral, and personality factors of those who listen. Psychomusicology, 19, 32–56. https://doi.org/10.1037/h0094035
24.
GonzálezM. (2016). Social trend of hip hop dance: As identity and cultural practices in youth. American International Journal of Social Science, 5(2), 61–71.
25.
GouveiaV.PimentelC.SantanaN.ChavesW.ParaíbaC. (2008). Escala abreviada de preferência musical (STOMP): Evidências de sua validade fatorial e consistência interna [Short test of music preference (STOMP): Evidences of its factor validity and reliability]. Psico, 39(2), 201–210.
GreenbergD.MatzS.SchwartzH.FrickeK. (2020). The self-congruity effect of music. Journal of Personality and Social Psychology. Advance online publication. https://doi.org/10.1037/pspp0000293
28.
GriecoM. S. (1982). Family structure and industrial employment: The role of information and migration. Journal of Marriage and Family, 44(3), 701–707. https://doi.org/10.2307/351590
HargreavesD. J.NorthA.TarrantM. (2015). How and why do musical preferences change in childhood and adolescence? In McPhersonG. E. (Ed.), The child as musician: A handbook of musical development (pp. 303–322). Oxford University Press.
31.
HarterS. (2003). The development of self-representations during childhood and adolescence. In LearyM.TangneyJ. (Eds.), Handbook of self and identity (pp. 610–642). Guilford Press.
32.
HerreraL.Soares-QuadrosJ. F.Jr.Lorenzo-QuilesO. (2018). Music preferences and personality in Brazilians. Frontiers of Psychology, 9(1488), 1–12. https://doi.org/10.3389/fpsyg.2018.01488.
JuslinP. (2013). From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions. Physics of Life Reviews, 10(3), 235–266. https://doi.org/10.1016/j.plrev.2013.05.008
LangmeyerA.Guglhör-RudanA.TarnaiC. (2012). What do musical preferences reveal about personality? A cross-cultural replication using self-ratings and ratings of music samples. Journal of Individual Differences, 33, 119–130. https://doi.org/10.1027/1614-0001/a000082
38.
LeppinkJ. (2019). Statistical methods for experimental research in education and psychology. Springer.
39.
Lorenzo-QuilesO.GarridoA.Soares-QuadrosJ. F.Jr. (2014). Estudo sobre preferências de estilo musical em estudantes espanhóis de ensino superior do real conservatório superior de música “victoria eugenia” [Study about the preferences of musical style of Spanish students of higher education at the Conservatory of Music]. Música Hodie, 14(1), 211–222. https://doi.org/10.5216/mh.v14i1.32979
40.
Lorenzo-QuilesO.Soares-QuadrosJ. F.Jr.AbrilJ. E. (2020). Musical preferences of Brazilian high school students. PLOS One, 15(9), e0239891. https://doi.org/10.1371/journal.pone.0239891
41.
LouvenC. (2016). Hargreaves’ “open-earedness”: A critical discussion and new approach on the concept of musical tolerance and curiosity. Music Scientiae, 20(2), 235–247. https://doi.org/10.1177/1029864916633264
42.
MalefytT. D. (1998). “Inside” and “outside” Spanish flamenco: Gender constructions in Andalusian concepts of flamenco tradition. Anthropological Quarterly, 71(2), 63–73.
43.
MarocoJ. (2014). Análise de equações estruturais: Fundamentos teóricos, smoothware e aplicações. ReportNumber.
MartínT. (2020). Transnational flamenco: Exchange and the individual in British and Spanish flamenco culture. Palgrave Macmillan.
46.
McFerranK. S.GarridoS.O’GradyL.GrockeD.SawyerS. M. (2015). Examining the relationship between self-reported mood management and musical preferences of Australian teenagers. Nordic Journal of Music Therapy, 24(3), 187–203. https://doi.org/10.1080/08098131.2014.908942
47.
MehlM. R.PennebakerJ. W. (2003). The sounds of social life: A psychometric analysis of students’ daily social environments and natural conversations. Journal of Personality and Social Psychology, 84, 857–870. https://doi.org/10.1037/0022-3514.84.4.857
48.
MolinaJ.Soares-QuadrosJ. F.Jr. (2019). Preferencias musicales, factores de influencia y medios de consumo musical en estudiantes de música. In Soares-QuadrosJ.Jr. (Ed.), Música, Cultura e Educação (pp. 277–312). EDIFMA.
49.
MyersD. (1995). Lifelong learning: An emerging research agenda for music education. Research Studies in Music Education, 4(1), 21–27. https://doi.org/10.1177/1321103X9500400104
50.
NaveG.MinxhaJ.GreenbergD. M.KosinskiM.StillwellD.RentfrowJ. (2018). Musical preferences predict personality: Evidence from active listening and Facebook likes. Psychological Science, 29(7), 1145–1158. https://doi.org/10.1177/0956797618761659
NorthA.HargreavesD. (2008). The social and applied psychology of music. Oxford University Press.
53.
PaisJ. (2008). Culturas de grupo. In LagesM.MatosA. (Coord.), Recursos de Interculturalidade. Contextos e Dinâmicas (pp. 207–255). Alto-Comissário para a Imigração e Diálogo Intercultural.
54.
ReaC.MacDonaldP.CarnesG. (2012). Listening to classical, pop, and metal music: An investigation of mood. Emporia State Research Studies, 46(1), 1–3.
55.
RentfrowP. J.GoldbergL. R.LevitinD. J. (2011). The structure of musical preferences: A five-factor model. Journal of Personality and Social Psychology, 100, 1139–1157. https://doi.org/10.1037/a0022406
56.
RentfrowP. J.GoldbergL. R.StillwellD. J.KosinskiM.GoslingS. D.LevitinD. J. (2012). The song remains the same: A replication and extension of the MUSIC model. Music Perception, 30, 161–186. https://doi.org/10.1525/mp.2012.30.2.161
57.
RentfrowP. J.GoslingS. D. (2003). The do re mi’s of everyday life: The structure and personality correlates of musical preferences. Journal of Personality and Social Psychology, 84, 1236–1256. https://doi.org/10.1037/0022-3514.84.6.1236
58.
Restrepo BetancurL. F.Ocampo QuicenoM. F. (enero-abril, 2020). Géneros musicales preferidos por universitarios de la ciudad de Medellín, Colombia [Preferred musical genres by university students from the city of Medellin, Colombia]. Revista Virtual Universidad Católica del Norte, 59, 150–165. https://doi.org/10.35575/rvucn.n59a9
59.
SchäferT.MehlhornC. (2017). Can personality traits predict musical style preferences? A meta-analysis. Personality and Individual Differences, 116, 265–273. https://doi.org/10.1016/j.paid.2017.04.061
SelfhoutM. H.BranjeS. J.ter BogtT. F.MeeusW. H. (2009). The role of musical preferences in early teenagers’ friendship formation and stability. Journal of Adolescence, 32, 95–107. https://doi.org/10.1016/j.adolescence.2007.11.004
Terrazas-BañalesF.Lorenzo-QuilesO.González-MorenoP. (2013). Consumo musical de estudiantes universitarios de México. Una comparación entre alumnos de distintas facultades de una universidad Mexicana [Music consumption of Mexican university students: A comparison between students from different faculties]. Revista Electrónica de Leeme, 32, 121–134.
65.
VellaE.MillsG. (2016). Personality, uses of music, and musical preference: The influence of openness to experience and extraversion. Psychology of Music, 45, 1–17. https://doi.org/10.1177/0305735616658957
66.
WernerA. (2019). What does gender have to do with music, anyway? Mapping the relation between music and gender. Per Musi, 39, 1–11. https://doi.org/10.35699/2317-6377.2019.5266
67.
ZweigenhaftR. L. (2008). A do re mi encore: A closer look at the personality correlates of musical preferences. Journal of Individual Differences, 29, 45–55. https://doi.org/10.1027/1614-0001.29.1.45
Supplementary Material
Please find the following supplemental material available below.
For Open Access articles published under a Creative Commons License, all supplemental material carries the same license as the article it is associated with.
For non-Open Access articles published, all supplemental material carries a non-exclusive license, and permission requests for re-use of supplemental material or any part of supplemental material shall be sent directly to the copyright owner as specified in the copyright notice associated with the article.
