Using a large dataset of digital music downloads, this thesis examines the extent to which cognitive-psychology research can generate and predict user behaviours relevant to the distinct fields of computer science and music perception. Three distinct topics are explored. Topic one describes the current difficulties with using large digital music resources for cognitive research and provides a solution by linking metadata through a complex validation process. Topic two uses this enriched information to explore the extent to which extracted acoustic features influence genre preferences considering personality, and mood research; analysis suggests acoustic features which are pronounced in an individual's preferred genre influence choice when selecting less-preferred genres. Topic three examines whether metrics of music listening behaviour can be derived and validated by social psychological research; results support the notion that user behaviours can be derived and validated using an informed psychological background, and may be more useful than acoustic features for a variety of computational music tasks. A primary motivation for this thesis was to approach interdisciplinary music research in two ways: (1) utilize a shared understanding of statistical learning as a theoretical framework underpinning for prediction and interpretation; and (2) by providing resources, and approaches to analysis of "big data" which are experimentally valid, and psychologically useful. The unique strengths of this interdisciplinary approach, and the weaknesses that remain, are then addressed by discussing refined analyses and future directions. / Thesis / Master of Science (MSc) / This thesis examines whether research from cognitive psychology can be used to inform and predict behaviours germane to computational music analysis including genre choice, music feature preference, and consumption patterns from data provided by digital-music platforms. Specific topics of focus include: information integrity and consistency of large datasets, whether signal processing algorithms can be used to assess music preference across multiple genres, and the degree to which consumption behaviours can be derived and validated using more traditional experimental paradigms. Results suggest that psychologically motivated research can provide useful insights and metrics in the computationally focused area of global music consumption behaviour and digital music analysis. Limitations that remain within this interdisciplinary approach are addressed by providing refined analysis techniques for future work.

This study was conducted in order to examine two questions: 1) Does free movement while listening to classical music influence a preschooler's preference for the music?; and 2) Does free movement while listening to classical music influence a preschooler's ability to answer recognition questions relative to the music? Subjects (N = 34) were 4- to 5-year-old students from two intact classrooms at the BYU Child and Family Studies Laboratory Preschool. After being involved in six lessons utilizing two different classical pieces, each identified by a prominent instrument and experienced either Actively (with free movement) or Passively (while sitting or lying down), the students were interviewed relative to their music preferences and recognition. To strengthen the results, the process was repeated (termed Wave 1 and Wave 2) with different pieces in different experience orders. Results of a Chi-Squared test of independence indicated no effect for Active or Passive exposure on piece preference in either wave. However, in Wave 1, pieces experienced Passively were significantly preferred to those experienced Actively, while the reverse was true in Wave 2. The Active exposure had no significant effect on the overall accuracy of recognition responses. Observational data is also included, which corroborates and extends statistical results.

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The purposes of this 3-phase study were 1) to identify salient individual variabilities and music characteristics associated with music therapy interventions for pain management, 2) to explore current pain management practices of music therapists, 3) to delineate any differences in general musical taste (trait) and context-specific music preference (state), as well as preferred music characteristics in healthy adults and cancer patients, 4) to investigate the contributions of individual variabilities, personality, behavioral coping styles, and pain levels in predicting changes from trait to state preferences and preferred music characteristics under various pain conditions, and 5) to investigate any differences in music preference patterns between healthy adults and cancer patients. In Phase I, 97 music therapists completed an online questionnaire to provide quantitative and qualitative data regarding the saliency of individual variabilities and music characteristics in determining the choice of music for pain management interventions, as well as their current practices with adult populations in clinical settings. In Phase II, 50 healthy adults (33 females, 17 males) ranging in age from 40 to 70 years (M = 57.04 ± 7.99) completed a battery of tests and questionnaires, including a Participant Intake Form (demographic information, music background, listening habits), an adapted Short Test of Music Preference – Revised (STOMP-R-A), a Music Characteristics Test, the Miller Behavioral Style Scale – abbreviated (MBSS-abbreviated), and the NEO Five-Factor Inventory-3 (NEO-FFI-3). The STOMP-R-A measured the participants’ trait and state preferences for 23 music genres. The Music Characteristics Test involved a music listening portion for participants to rate their preferences for various music characteristics. The MBSS-abbreviated measured behavioral coping styles and the NEO-FFI-3 measured the five dimensions of personality. In Phase III, 35 cancer patients (24 females, 11 males) ranging in age from 42 to 70 years (M = 57.71 ± 7.07) completed the same measurement tools as the ones used in Phase II, as well as the Short-Form McGill Pain Questionnaire–2 (SF-MPQ-2), which measured ratings for chronic, acute, and neuropathic pain. A one-way analysis of variance was used to test for response bias amongst the music therapists in Phase I. No response bias was found. Responses were reported as sums and converted to percentages of respondents for each selected response. Qualitative responses were analyzed using open coding and thematic development techniques. An intercoder was recruited to authenticate reliability for the qualitative findings. Music therapists identified age, ethnicity, culture, and religious preferences as important individual variabilities, and tempo, rhythmic complexity, and dynamics as salient music characteristics in their ratings. The results from Phase I informed the methodology for the next two phases of this study. Participants in Phases II and III were tested individually. The paired t-test was used to determine differences between trait and state music preferences across all 23 genres. The results indicated significant decreases from trait to state music preferences across music genres in both healthy adult and cancer patient groups. Calculations of the chi-square statistic and the McNemar’s test were used to detect differences between trait music preference and state music preference specific to each of the 23 genres. Multiple logistic regression analysis was used to examine the contributions of demographic factors, personality, behavioral coping style, and pain to changes from trait to state preferences and preferred music characteristics under four pain conditions. In Phase II, age, gender, and neuroticism predicted changes in trait-state preference for music genres; and gender and behavioral coping styles predicted changes in preferences for music characteristics under low-acute, high-acute, low-chronic, and high-chronic pain conditions. In Phase III, neuroticism predicted changes in trait-state preference for music genres; and age predicted changes in preferences for music characteristics under the four pain conditions. The independent t-test was used to determine differences between healthy adults’ and cancer patients’ ratings of the importance of music, music background, and music listening habits. No significant differences were found between the two groups. Healthy adults and cancer patients were most familiar with country music and rated oldies and rock as their most preferred music genres. Healthy adults reported familiarity with and preferences for greater number of genres compared to cancer patients. In general, both groups indicated decreased preferences for music under pain conditions. The findings from this study emphasized the importance of considerations for the interactions of trait-state music preferences, individual variabilities, and music characteristics as a paradigm for context-specific pain management in adult clinical settings.

abstract: ABSTRACT Individuals receiving hospice care at the end of life have a unique set of needs, requiring interdisciplinary assessment and treatment to meet their multidimensional circumstances and create a supportive and comfortable experience. Music therapy is often an integral component of hospice care utilized to treat the whole person. While there are published music therapy assessment tools for use with the hospice population, there is no assessment tool specifically aimed at understanding the role of music preference in the context of the hospice patient’s multidimensional musical ecosystem identity. The purpose of this thesis was to create an assessment tool to understand and document the individualized connections between a hospice patient’s familiar and preferred music and their musical identity, in order to increase cultural awareness and to utilize music selection with purpose while supporting and empowering the patient. The proposed music preference assessment tool utilizes an ecomap structure and combines theories and philosophies from the fields of music therapy and social work. The needs of the hospice population are identified and music therapy is discussed as a treatment modality in hospice. Existing music therapy and social work assessments are identified and examined and elements of each are utilized in the creation of the proposed music preference assessment tool. A template and example assessment tool are provided with considerations for clinical implications and uses. / Dissertation/Thesis / Masters Thesis Music Therapy 2020

The purpose of this study was to investigate the formation of music preference in an effort to identify specific ages when preferred music is likely to be discovered. One hundred one individuals participated in an online survey, answering questions about their listening habits, music preferences, and the social elements that contributed most to those preferences. Participants were asked to identify their current, second, and third favorite music at the time of the study and whether their preferences had changed over time. According to findings, males were likely to discover their current favorite music at the age of 12.46 years, and females were likely to discover their current favorite music at the age of 13.23 years. Parents, friends, and the radio were shown to be the most common influences towards preference discovery. Of those surveyed, 69.3 % of participants acknowledged that their preferences had changed over time. However, the current methodology lacked the specificity to determine the scope of that change, leaving room for future study. The results hold implications for not only the field of music therapy, but also for any other fields utilizing preferred music to achieve a specific result.

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Small groups of friends—or peer groups—are a central feature of adolescence that contribute to the development of social identity and feelings of self-worth for group members. Additionally, adolescents value music highly and view it as a vital part of their lives. The purpose of this study was to examine and clarify the extent to which adolescents use music as an identity resource in small peer groups. Using Tajfel and Turner’s Social Identity Theory as a framework, I conducted a collective case study to understand (a) the ways in which adolescents use music to form and maintain a peer group, (b) the extent to which peer groups use music for the social categorization and stereotyping of other groups of adolescents, (c) the ways by which adolescents use music associated with their peer group to maintain a positive self-concept, and (d) how the peer group influences members’ enjoyment of music and music participation. I conducted group interviews with three adolescent peer groups that contained 5–8 seventh- and eighth-grade students. The peer group members shared experiences of bonding and socializing as a part of a peer group, and described time spent in their music classes. During the discussions, group members explained the role that music plays in their lives. The group members explained their peer group in the context of the school, describing instances of social categorization and stereotyping, in-group and out-group distinction, and self-concept maintenance made from comparisons to the out-groups. The participants discussed their views on school music courses, advocating for the implementation of new classes that included non-traditional instruments and the inclusion of more popular styles of music. Keywords: social identity, adolescent peer groups, in-group, out-group, social categorization, self-concept, stereotyping, adolescence music preference, positive distinctness

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