Creating, practicing, and reacting to music: A content analysis of research
Abstrakt
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.
Bibliografia
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.
Copyright (c) 2019 Roczniki Psychologiczne
Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa – Użycie niekomercyjne – Bez utworów zależnych 4.0 Międzynarodowe.
