This investigation was designed to examine the effect of overt listener categorization on preference for “crossover” excerpts (i.e., instrumental selections of artists nominated for Grammy awards in more than one popular style per year). Results showed no significant differences in nonmusic majors' (n = 534) preferential ratings subsequent to one of the following treatments: (a) stipulated categorization (pop, rock, jazz), (b) no overt categorization, or (c) free-operant categorization (any classification system). Subjects with musical experience responded significantly more positively than did the musically inexperienced, and females' ratings were significantly more positive than were males‘. The investigation's second component compared continuous versus static responses using a Continuous Response Digital Interface (CRDI) and Likert-type scales. Results showed that responses made across time were significantly more positive compared to static responses. Musical experience and gender significantly affected preferences for pop and jazz, but not rock.
Get full access to this article
View all access options for this article.
References
1.
Abeles, H. F. (1980). Responses to music. In D. A. Hodges (Ed.), Handbook of music psychology (pp. 105–140). Lawrence, KS: National Association for Music Therapy.
2.
Alpert, J. I. (1982). The effect of disc jockey, peer, and music teacher approval of music on music selection and preference. Journal of Research in Music Education, 30, 175–186.
3.
Boyle, J. D., Hesterman, G. L., & Ramsey, D. S. (1981). Factors influencing pop music preferences of young people. Journal of Research in Music Education, 29, 47–56.
4.
Capperella, D. A. (1989). Reliability of the continuous response digital interface for data collection in the study of auditory perception. Southeastern Journal of Music Education, 1, 19–32.
5.
Cutietta, R. (1986). Rock music gets a label. Music Educators Journal, 72 (8), 36–38.
6.
Dallin, L. (1977). Listeners guide to musical understanding (4th ed.). Dubuque, LAWilliam C. Brown.
7.
Deihl, E. R., Schneider, M.J., & Petress, K. (1983). Dimensions of music preference: A factor analysis study. Popular Music and Society, 9 (3), 41–49.
8.
Dorow, L. G. (1977). The effect of teacher approval-disapproval ratios on student music selection and concert attentiveness. Journal of Research in Music Education, 25, 32–40.
9.
Furman, C. E., & Duke, R. A. (1988). Effect of majority consensus on preferences for recorded orchestral and popular music. Journal of Research in Music Education, 36, 220–231.
10.
Geringer, J. M. (1982). Verbal and operant music listening preferences in relationship to age and musical training. Psychology of Music [Special Issue], 47–50.
11.
Geringer, J., & Madsen, C. K. (1987). Pitch and tempo preferences in recorded popular music. In C. K. Madsen & C. A Prickett (Ed.), Applications of research in music behavior (pp. 204–212). Tuscaloosa: University of Alabama Press.
12.
Greer, R. D., Dorow, L. G., & Randall, A (1974). Music listening preferences of elementary school children. Journal of Research in Music Education, 22, 284–291.
13.
Gridley, M. C. (1983). Clarifying labels: Jazz, rock, funk, and jazz-rock. Popular Music and Society, 9 (2), 27–34.
14.
Hargreaves, D.J. (1981). The dimensions of aesthetic reactions to music. Psychology of Music, 9, 15–20.
15.
Hargreaves, D. J. (1984). The effects of repetition on liking for music. Journal of Research in Music Education, 32, 55–47.
16.
Hargreaves, D. J., Messerschmidt, P., & Rubert, C. (1980). Musical preference and evaluation. Psychology of Music, 8, 15–18.
17.
Inglefield, H. G. (1972). Conformity behavior reflected in the musical preference of adolescents. Contributions to Music Education, 1, 56–65.
18.
Jaret, C. (1982). Hits or just heartaches: Characteristics of successful and unsuccessful country music. Popular Music and Society, 8 (2), 115–124.
19.
Kuhn, T. L. (1980). Instrumentation for the measurement of music attitudes. Contributions to Music Education, 8, 2–58.
20.
LeBlanc, A. (1979). Generic style music preferences of fifth-grade students. Journal of Research in Music Education, 27, 255–270.
21.
LeBlanc, A. (1981). Effects of style, tempo and performing medium on children's music preference. Journal of Research in Music Education, 29, 145–156.
22.
LeBlanc, A., Colman, J., McCrary, J., Sherrill, C., & Malin, S. (1988). Tempo preferences of different age music listeners. Journal of Research in Music Education, 36, 156–168.
23.
Price, H. E. (1986). A proposed glossary for use in affective response literature in music. Journal of Research in Music Education, 34, 151–159.
24.
Price, H., & Yarbrough, C. (1987). Expressed opinions of composers, musical training, recording ownership, and their interrelationships. In C. K. Madsen & C. A. Prickett (Ed.), Applications of research in music behavior (pp. 252–245). Tuscaloosa: University of Alabama Press.
25.
Radocy, R., & Boyle, J. D. (1979). Psychological foundations of musical behavior.Springfield, IL: Charles C Thomas.
26.
Rentz, E. (1988). Differential aural perception of orchestral instrument families between musicians and nonmusicians using a continuous response digital interface (Doctoral dissertation, Florida State University). Dissertation Abstracts International, 49 (10), 2859.
27.
Robinson, C. R. (1988). Differentiated modes of choral performance evaluation using traditional procedures and a continuous response digital interface device (Doctoral dissertation, Florida State University). Dissertation Abstracts International, 49 (9), 2445.
28.
Russell, P. A. (1986). Experimental aesthetics of popular music recordings: Pleasingness, familiarity, and chart performance. Psychology of Music, 14 (1), 55–45.
29.
Russell, P. A. (1987). Effects of repetition on the familiarity and likeability of popular music recordings. Psychology of Music, 15 (2), 187–197.
30.
Wapnick, J. (1976). A review of research on attitude and preference. Bulletin of the Council for Research in Music Education, 48, 1–20.
