Despite the ubiquity of music and its importance to one’s identity, there has been limited research on individual differences in music preferences. The aim of this dissertation was to examine how music preferences vary across individual differences in stable traits (e.g., gender, personality) and states (e.g., mood) over three studies. The focus of Study 1 was on the influence of the listener’s mood on emotion-based music preferences. The typical preference for happy- over sad-sounding music was found to be mood-dependent, evident after happy and neutral but not sad mood inductions. When the music was emotionally ambiguous (i.e., with cues to both happiness and sadness), happy listeners liked the music more than other listeners, whereas sad listeners perceived it to be more sad-sounding. Study 2 examined how emotion-based music preferences develop. Adults and children 5, 8, and 11 years of age listened to short pieces expressing emotions that varied in arousal and valence: happiness (high, positive), scariness (high, negative), peacefulness (low, positive), or sadness (low, negative). Adults preferred pieces with a positive valence (happy and peaceful), whereas children preferred excerpts depicting high-arousal emotions (happy and scary). Identification accuracy was predictive of a positive-valence bias among 5- and 8-year-olds. A number of other findings related to accuracy and gender differences were also evident. Study 3 examined whether personality differences affect the influence of exposure on liking. Undergraduates completed the Big Five Inventory and provided liking ratings for novel music excerpts as well as for excerpts they heard 2, 8, or 32 times. Higher scores on Openness-to-Experience were related to greater liking for novel excerpts and more rapid satiation. In sum, these three studies highlight that music preferences vary as a function of individual differences and the listening context.

Despite the ubiquity of music and its importance to one’s identity, there has been limited research on individual differences in music preferences. The aim of this dissertation was to examine how music preferences vary across individual differences in stable traits (e.g., gender, personality) and states (e.g., mood) over three studies. The focus of Study 1 was on the influence of the listener’s mood on emotion-based music preferences. The typical preference for happy- over sad-sounding music was found to be mood-dependent, evident after happy and neutral but not sad mood inductions. When the music was emotionally ambiguous (i.e., with cues to both happiness and sadness), happy listeners liked the music more than other listeners, whereas sad listeners perceived it to be more sad-sounding. Study 2 examined how emotion-based music preferences develop. Adults and children 5, 8, and 11 years of age listened to short pieces expressing emotions that varied in arousal and valence: happiness (high, positive), scariness (high, negative), peacefulness (low, positive), or sadness (low, negative). Adults preferred pieces with a positive valence (happy and peaceful), whereas children preferred excerpts depicting high-arousal emotions (happy and scary). Identification accuracy was predictive of a positive-valence bias among 5- and 8-year-olds. A number of other findings related to accuracy and gender differences were also evident. Study 3 examined whether personality differences affect the influence of exposure on liking. Undergraduates completed the Big Five Inventory and provided liking ratings for novel music excerpts as well as for excerpts they heard 2, 8, or 32 times. Higher scores on Openness-to-Experience were related to greater liking for novel excerpts and more rapid satiation. In sum, these three studies highlight that music preferences vary as a function of individual differences and the listening context.