Sage Journals: Discover world-class research

Abstract

In this study, I explored the effect of three specific dimensions of preparatory set—(1) self I perception of musicality, (2) attitude toward generalized style concepts and attitude as valuing of music experiences, and (3) beliefs and expectations of the music listening experience—on the cognitive-affective response to music. Results demonstrated that: (a) self-perception of musicality affected response, with greater musicality corresponding with a more cognitive response; (b) general attitude toward music activity had a major effect on response; (c) attitude toward the concept of “classical” music differentiated between high and low attitude level groups, with the subjects having the more positive attitude demonstrating a more cognitive response to all styles; (d) a difference in attitude toward jazz was related to a difference in response to all three styles (the response to music in general was more cognitive for the subjects with the more positive attitude toward jazz); (e) the group having a more positive attitude toward country music differed significantly in response from the group with a less favorable attitude; and (f) of the five expectation variables examined, only expectation of popular music had an effect on response. Both the low-expectation and medium-expectation groups differed from the high-expectation group. The high-expectation group indicated expectation of a more intellectual experience with music.

Get full access to this article

View all access options for this article.

References

Bartel, L. R. (1988). A study of the cognitive-affective response to music. Unpublished doctoral dissertation, University of Illinois at Urbana-Champaign.

Beardsley, M. C. (1966). Aesthetics from classical Greece to the present: A short history. New York: Macmillan.

Beardsley, M. C. (1973). Twentieth century aesthetics. In M. Lipman (Ed.), Contemporary aesthetics (pp. 44–50). Boston: Allyn and Bacon.

Beardsley, M. C. (1982). The aesthetic point of view: Selected essays. M.J. Wreen & D. M. Callen (Eds.). Ithaca, NY: Cornell University Press.

Broudy, H. S. (1958). A realistic philosophy of music education. In N. B. Henry (Ed.), Basic concepts in music education: Fifty-seventh yearbook of the National Society for the Study of Education, Part I (pp. 63–87). Chicago: University of Chicago Press.

Broudy, H. S. (1972). Enlightened cherishing: An essay on aesthetic education. Urbana: University of Illinois Press.

Bullock, W.J. (1971). Construction and evaluation of a test of musico-aesthetic attitude. Unpublished doctoral dissertation, Florida State University.

Bullough, E. (1921). Recent work in experimental aesthetics. British Journal of Psychology, 12, 76–99.

Buss, A. R. (1971). The development and investigation of a semantic differential instrument for use with music. Unpublished doctoral dissertation, Michigan State University.

10.

Butler, J. H. (1968). Personality factors as correlates of receptivity to electronic music. Unpublished doctoral dissertation, University of Georgia.

11.

Darling, D. L. (1982). The construction of a semantic differential scale designed to measure attitude toward selected styles of music. Unpublished doctoral dissertation, University of Illinois at Urbana-Champaign.

12.

Dewey, J. (1934). Art as experience. New York: G. P. Putnam's Sons.

13.

Dewey, J. (1938). Experience and education. New York: Macmillan.

14.

Dorow, L. G. (1973). The effect of teacher approval/disapproval ratios on student music selection behavior and concert attention. Unpublished doctoral dissertation, Columbia University, New York.

15.

Erneston, N. (1961). A study to determine the effect of musical experience and mental ability on the formulation of taste. Unpublished doctoral dissertation, Florida State University.

16.

Goeke, R. W. (1981). Musical aptitude, personality traits, and perception of musical elements. Unpublished doctoral dissertation, University of Illinois at Urbana-Champaign.

17.

Glass, G. , & Hopkins, K. D. (1984). Statistical methods in education and psychology. Englewood Cliffs, NJ: Prentice-Hall.

18.

Hahn, M. E. (1954). A proposed technique for investigating the relationship between musical preferences and personality structure. Unpublished doctoral dissertation, University of Kansas.

19.

Hare, F. G. (1975). The identification of dimensions underlying verbal and exploratory responses to music through multidimensional scaling. Unpublished doctoral dissertation, University of Toronto.

20.

Hargreaves, D. J. , & Colman, A. M. (1981). The dimensions of aesthetic reactions to music. Psychology of Music, 9 (1), 15–21.

21.

Hargreaves, D.J. (1986). The developmental psychology of music. Cambridge, England: Cambridge University Press.

22.

Horn yak, R. R. (1965). An analysis of student attitudes towards contemporary American music. Cooperative Research Project No. S-390–65. University of Cincinnati.

23.

Hughes, K. J. (1980). The effect of adult and peer modeling and approval on the music selection behavior of high school students. Unpublished doctoral dissertation, Columbia University Teachers College, New York.

24.

Kivy, P. (1980). The corded shell: Reflections on musical expression. Princeton, NJ: Princeton University Press.

25.

Konecni, V.J. (1982). Social interaction and musical preference. In D. Deutsch (Ed.), The psychobgy of music (pp. 497–516). New York: Academic Press.

26.

Kuhn, T. L. (1972). The effect of teacher approval and disapproval on attentiveness, musical achievement, and attitude of fifth-grade students. Unpublished doctoral dissertation, Florida State University.

27.

LeBlanc, A. (1980). Outline of a proposed model of sources of variation in musical taste. Bulletin of the Council for Research in Music Education, no. 61, 29–34.

28.

Leonhard, C. , & House, R. (1972). Foundations and principles of music education. New York: McGraw-Hill.

29.

Machotka, P. (1982). Esthetic judgement warm and cool: Cognitive and affective determinants. Journal of Personality and Social Psychology, 42, 100–107.

30.

Meyer, L. B. (1956). Emotion and meaning in music. Chicago: The University of Chicago Press.

31.

Meyer, L. B. (1967). Music, the arts, and ideas. Chicago: The University of Chicago Press.

32.

Miller, R. F. (1979). An analysis of music perception through multidimensional scaling. Unpublished doctoral dissertation, University of Illinois at Urbana-Champaign.

33.

Mowrer, O. H. (1941). Preparatory set expectancy: Further evidence of its central locus. Journal of Experimental Psychology, 28, 6–133.

34.

Ralston, J. S. (1973). A three-phase approach to measuring responses to creative expressiveness. Unpublished doctoral dissertation, University of Kansas.

35.

Wapnick, J. (1976). A review of research on attitude and preference. Bulletin of the Council for Research in Music Education, no. 48, 1–20.

36.

Wermuth, R. F. (1971). Relationship of musical aptitude to family and student activity in music, student interest in music, socio-economic status, and intelligence among Caucasian and Negro middle school students. Unpublished doctoral dissertation, Ohio State University.

37.

Wilkinson, L. (1986). SYSTAT: The system for statistics. Evanston, IL: SYSTAT, Inc.

The Effect of Preparatory Set on Musical Response in College Students

Abstract

Get full access to this article

References