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110PSYCHOLOGICAL SCIENCES
MUSIC TYPES' PREFERENCE CHARACTERISTIC IN MOOD REGULATION PROCESSING BY MUSIC
Kokowska M.,
Clinical psychologist and music psychologist Master specializations, Clinical music-therapy Post-master specialization Laboratory of Music-therapy, Institute of Psychiatry and Neurology, Warsaw, Poland
Polish Association of Music Therapists, Lublin, Poland
Dymnikowa M.
Music psychologist Master and Ph.D. specializations, Clinical neuropsychology and cognitive music-therapy Post-master specializations Laboratory of Music-therapy, Institute of Psychiatry and Neurology, Warsaw, Poland Association of Musical Psychologists and Psychotherapists, Moscow, Russia
Abstract
The article deals with the problems of empirical research, containing content from the field of psychology of music and music therapy for psychotherapy direction. The empirical research with groups of different education levels and with depression factor, concern an attempt to capture the interaction of human with the art of music in the context of conscious music usage, by referring to the specificities of musical preferences and mood regulation by music.
Keywords: regulatory musical, regulation by music, unipolar depression.
INTRODUCTION
Human contact with music concerns the interaction with artistic products and shaping conscious attitudes to use and enjoy musical art. At the same time, in recent years the number of people with morbidity and emotional balance disorders has increased, including the state of depression. For this purpose, a qualitative musical study was conducted to select the characteristics of preferences for musical genres and the use of mood regulation strategies among healthy and depressed people, including the specificity of gender and education (secondary, higher), with the selection of a random empirical sample of 100 people aged from 18 to 64 years old. Musical qualitative data was obtained through the use of musical questionnaire tools: STOMP (Music genre preference as Short Test of Music Preferences) with auditory presentation and MMR (Music utility functions in emotion and mood regulation strategy as Music Mood Regulation Questionnaire). The analysis of the results took into account the rates of the percentage of musical preferences in the empirical sample, taking into account group categories.
AESTHETIC SYMPTOMS OF MUSIC -CHARACTERISTICS OF MUSICAL SPECIES
Human attitudes towards contact with music determine its conscious use based on shaping sensitivity to the aesthetic manifestations of musical forms and preferences for selected musical genres. The term musical form used in the aspect of musical aesthetics means the dualism of the form-content relation, referring to the asemantic nature of music and the ambiguity of its content [18].
In traditional terms, the musical form is also treated as a genre determinant of music [7, 79]. In theoretical aspect, the musical form is defined in two senses:
a) as a general theoretical model (diagram) for the construction of specific types of compositions (e.g. a three-part structure of a sonata-allegro, i.e. a sonata form; a suite, a symphonic poem) or as a model containing a method of shaping the sound material (e.g. a canon, fugue, variation);
b) as a special, individual manifestation of the composer's oeuvre in a form containing regularities and preferred technical procedures creating an individual compositional style that highlights the typical features of the music of a given period or environment [19].
The utilitarian aspect indicates that the notion of musical form is a definition of the composing procedure and the result of this procedure, i.e. the construction of a musical work where all the elements of music interact (rhythm, meter, harmony, dynamics, agogic, and coloristic [32] subject to musical analysis.
Aesthetic manifestations of musical forms are included in the general classification, which takes the share of classical music and popular music [8] (more broadly known as entertainment) in the perception of given cultural goods based on the preferences of the recipient. The achievements of classical music in the area of the construction of universal aesthetic forms are primary concerning popular music, because they are the basis for the formation of its other forms, as products of the cultural industry serving for entertainment: containing standardization [3], allowing for ease of reception and availability as part of mass distribution for using media carriers.
Popular music contains trends that are distinguished and based on the preferences of the audience -it is perceived as a field of art, created to satisfy the tastes of a wide audience. Its artistic material consists of sounds, which are a compositional, melodic, and performance organization, the presentation of which takes
place instrumentally or with the participation of a human voice [26].
Musical genres are a component of the matter of music, defined in simplified terms as a certain structural type of composition [9] or an expressive style of music [50]. There are great complexity and dynamics in the socio-musical organization of categories known as genres.
Musical genres in a social context are considered possible descriptors of listeners' characteristics [61], which are now widely used in the music industry under the guise of various taxonomies [54] and exemplify the emergence of many forms and their evolution or disappearance [40]. The genre of music has a taxonomic meaning, as it concerns attempts to group the matter of music into a classification system performed in an arbitrary manner and combine it into hierarchical forms (e.g. instrumental, vocal music), including structural music genres and their subgroups (e.g. pop, rock, jazz). The genre classification tends to be formed on the basis of trends in the art of composition and the current needs and preferences of listeners regarding the aesthetic and structural attributes of music - maintaining, evolving, or changing over time.
Within the musical genres, the categories refer to broadly defined aspects of common musical compositions (e.g. musical instrumentation) or their specific use, ethnicity (e.g. pop, rock, punk rock). In the context of the matter of music, the notion of musical style refers to a coherent set of norms and rules of compositional technique and their abstract relations, which common to pieces created in a given epoch (e.g. baroque, classical). The hierarchy of this category refers to historical epochs or subordinating them to the musical direction (eg national style) in terms of compliance with the standard features of compositional technique standards of a given period and cultural norms - indicating that the work was shaped systemically or individually [33].
To the components of the matter of music with the attributes of an emoto-genic stimulus [23] for a given musical genre, one can add a concept related to the concept of musical preferences [61]. Musical genres, having a distinct musical style, define a potential relationship with the preferences of the audience. Musical preferences are described in music literature as giving priority to a given type of music and privileging it over others, which is conditioned by the evaluation on the axis "like - not like." Attitudes towards music are conditioned by cognitive and emotional predispositions, which are involved in the perception and understanding of certain musical genres in response to their sensory influence [13, 16].
When analyzing musical preferences, one usually aims to define a hierarchical structure of the musical choices of listeners, to look for features and values that enjoy the highest recognition, or to look for a variety of their personal conditions [42]. In reflecting on musical preferences, which remain relatively stable over time, he looks for relations linking them with the choices of certain ways of regulating mood [41, 53], also with the participation of music [66].
The network of these issues includes achievements of forms of artistic expression and among them
their components, i.e. musical genres with a socio-cultural background, which, in terms of the concept of musical preferences [61], include 14 subcategories: classical, blues, country, dance / electronica, folk, rap / hiphop, soul / funk, religious, alternative, jazz, rock, pop, heavy metal, soundtracks / theme songs. These types of music are included in the STOMP Musical Preferences Questionnaire, with a 7-point rating scale for each musical genre (where 1 is very low and 7 is very high).
The concept of the Short Test of Music Preferences tool (STOMP-14) is based on the musical preferences model, where assessments are made in terms of the structural attributes of music [61], which is confirmed in empirical research in the field of music psychology and musicology. The musical preferences model assumes the existence of four independent dimensions containing subcategories in the form of musical genres:
1) Upbeat and Conventional - defined musical genres such as Country, Religious, Pop, Soundtracks / Theme Songs.
2) Intense and Rebellious - defined musical genres such as Rock, Alternative rock, Heavy Metal.
3) Energetic and Rhythmic - defined musical genres such as Dance / Electronica, Rap / Hip-hop, Soul / Funk.
4) Reflective and Complex - defined musical genres such as Classical, Blues, Folk, Jazz.
The description of the individual 14 subcategories included in the above dimensions is as follows:
1. Classical Music. The Latin term classicus means: perfect, exemplary [57, 75]. In the aspect of European Western music, classical music includes music composed and performed by professional musicians. Classical music is characterized by the continuation of the works of its predecessors, that is, basing the composition on tradition and classical musical forms as well as principles established over the centuries [35]. The application of classical rules in the field of composing art is embedded in the aesthetics of bygone eras (e.g. classicism), recorded by musical notation.
Classical music is characterized by an instrumental ensemble recorded in the harmonic system, which includes the following instruments: string, pluck, wind and percussion. The features of the classical subcatego-ries are essential:
a) the synthesis of the balance of all elements of music, which are to be an example of the beauty and perfection of form - its transparency, clarity, symmetry, and balance [63].
b) for a fuller reception, the listener is required to have theoretical preparation, ie knowledge of styles, forms, and composers [8].
The basic properties of classical music are its attributes, focused around universal and timelessly recognized aesthetic values (e.g. W. A. Mozart's music), represented in higher culture through the prism of moderation, harmony, and balance [63]. Classical music combines the concept of classical style, which in music is characterized by the criterion of excellence in combining content and form concerning all works created in separate periods. The overriding goal for the classical style is the realization of the content of the word and
the selection of the appropriate form that is to best serve the presentation of content [19].
2. Blues. (English worries, dilemmas, sadness, despair) is characterized by the African-American genre of a solo song (Negro songs) developed since the last decade of the 19th century in the South of the USA, which contains a "call-answer" responsorial structure. The construction of classical blues is usually based on regular 12-bar sections with a constant harmonic scheme of the major-minor tonal system (tonic, dominant, subdominant), whose characteristic feature in the major scale melody are sounds lowered by about XA tones third, bloom, and seventh, called as blue notes [82].
Blues is an example of the Americanization of African music in the process of acculturation [15, 55]. The features of the blues subcategory are:
a) content focusing on social (e.g. work, freedom, race inequality) and personal (e.g. interpersonal relationships: love, loyalty, jealousy, loneliness).
b) the basic instruments for performing blues are: the harmonica, guitar, sometimes wind or piano and percussion instruments or the use of clapping hands.
c) opening up to the elements of improvisation of sung texts. Blues have developed styles and regional sub-genres, which include, among others: Chicago blues, country blues, classical blues, delta blues, harp / harmonica blues, electric blues, urban blues, rhythm, and blues [31]. Blues became the basis for the development of 20th-century music.
3. Country. This music, as a genre, comes from Appalachian folk music. It was established in the first decade of the 20th century in the south of the United States and western Canada. Originally, it was based on a 3-chord pattern and simple instruments: acoustic guitar, violin, percussion set, and harmonica. Over the years, it has acquired a more refined form, succumbing to the influence of other genres of popular music (e.g. rock, jazz, pop).
Country music is seen as traditional, with a fairly conservative belief system [14], promoting a simplified world view. It focuses on social issues and reflects traditional everyday events [25]. The topics are undertaken, allowing for identification with country songs, include, among others: interpersonal relations, family and work [10], stories about love, suffering, and family ties of middle-aged people [20]. The most important sub-genres are country rock, country punk, alternative country, bluegrass, contemporary country, country pop, honky-tonk, progressive country, neo-traditional country, and western swing.
4. Dance / Electronica. The term dance in a broad sense means all forms of dance music. In a narrower sense, this genre comes from Europe (e.g. Eurodance, dancefloor) at the turn of the 1980s and 1990s and the United States (Electronic Dance Music EDM). It is sometimes referred to as the dance style of pop music [69] or the style of club-dance music. EDM is identified with the sociological conception of black aesthetics. [83].
The dance / electronica genre is characterized by the pulsating, rhythmic course of the piece and the elec-
tronic sound of instruments related to commercial electronic dance music genres (e.g. disco, post-disco, house, electro, trance) [70].
Related genres: disco, EMD, house, pop, techno.
Sub-genres: anthem house, Eurodance, Italy disco, Eurobeat, epic house / trance, vocal trance, hard dance, vocal house.
Subgenres that can be combined with other styles: dance-pop, dance-rock, Latin-style, teen-pop.
5. Folk. The term folk music has an eclectic meaning but generally refers to folk music. It is a genre of popular music whose roots lie in European folk music orally transmitted by the communities concerned. Traditionally, folk was performed on readily available instruments (e.g. banjo, guitar, recorder, percussion, sometimes violin, or accordion), sometimes accompanied by singing. Folk songs were distinguished by a convivial character (coarse, jumpy) or ballad-like (melancholy).
The basic characteristics of this genre are based on unwritten rules that concerned:
a) giving the impression of authenticity.
b) describing a certain community.
c) the works were non-commercial (e.g. the value of free playing in Pete Seeger) and regional (America, Europe) and they were simple.
d) the subject matter sometimes allowed for the expression of rebellion, dissatisfaction (e.g. Bob Dylan) or the idea of idealism.
The type of folk music combines culture with politics. The popularity of folk music of certain cultures has been adapted as elements of folk music, thus creating a variety of styles determined by the culture of given societies (e.g. folk: Balkan, Celtic, Polish, Hungarian, Highlander, etc.). The oeuvre of sung poetry includes elements of folk music, inspired by the works of folk singers.
6. Rap / Hip-hop. It is a genre of pop music that has its roots in African music (rap) and was created in the 1970s in the United States. The term hip in American slang means "being aware", and the term hop -jumping on your feet, which means dance expression. Rap music is an element of hip-hop culture, the sources of which are present in reggae or dab music using the so-called sampling [80].
Rap / Hip-hop is characterized by the so-called rapping, i.e. a vocal technique consisting of rhythmic accentuation of the spoken text (melo-recitation) with the accompaniment of instruments. In the mid-1990s, hip-hop was a great-selling music genre, and after 2000, it was observed to come closer to the mainstream of pop music.
Sub-genres: alternative hip-hop, acid rap, Christian or comedy vs. conscious hip-hop, braggadocio, electro-hop, freestyle rap, G-funk, etc.
7. Soul / Funk. It is a genre of popular music that was created in the United States in the 1960s by combining it with ethnic music of African-American origin, i.e. soul, rhythm, and blues.
The features of the funk / soul subcategories are essential:
a) emphasizing the rhythm by the rhythm section at the expense of melody and harmony.
b) soul songs have greater harmonic variation and funk songs are based on greater simplicity in one chord
c) performed spontaneously and actively on instruments from the following categories: guitar (bass, electric), drums, keyboard, sometimes string and wind sections (saxophones, trumpets), a family of Cuban conga drums - originating from Africa.
d) bass lines and riffs are strongly accentuated (e.g. Klang technique, with a strong thumb stroke).
e) using funk with seventh and undecimal chords (such as in bebop).
Research indicates that preference for listening to soul music in adolescents is a protective factor against depression [47, 48].
Related genres: disco, hip-hop, boogie, electro, liquid funk, house.
Sub-genres: p-funk, deep funk, nu-funk.
Subgenres that arose from combining with another music style: e.g. free-funk, funk-metal, jazz-funk [49].
Representatives: R. Charles, S. Cooke, J. Brown, O. Redding, I. Hayes, A. Franklin, R. Flack, S. Wonder, et al.
Representatives of soul music, which comes from the mainstream of jazz music: Ch. Mingus, J. Conno-ball, Adderley, J. Griffin.
8. Religious. Religious music encompasses liturgical music and non-liturgical music. In the popular sense, music used in liturgical activities is considered religious music.
The basic criteria for recognizing music as purely religious, but not suitable for the liturgy, are:
a) in artistic music, composers use the liturgical text in a manner inconsistent with the accepted norms of the post-conciliar liturgy - e.g. Missa in B minor by J.S. Bach.
b) using the religious text of a non-liturgical nature - e.g. litanies, cantatas, oratorios, songs based on the Ave Maria prayer, religious songs.
c) instrumental music that does not use any text, but is related to religious themes by title or intention of the composer - e.g. organ works by Bach, Buxtehude, Franck, organ prelude by J. Podbielski from the so-called Warsaw organ tablature, M. Surzynski, etc. [58].
Apart from this general trend of religious music, there is a church, sacred and liturgical music. This type of music combines a variety of religious approaches. In Europe, in their manifestations of religion, musical styles and forms tend to focus on the following concepts: Catholic (e.g. Gregorian chant, organum, motet, polyphony, acapella choral style, oratorio, cantata), Lutheran (e.g. monophonic chant, based on counterpoint the nota contra not-am technique) or the Orthodox one (e.g. South Slavic chorale, recitation-psalmody style, polyphonic acapella choral singing).
9. Alternative rock. It is a group of rock music styles that originated in the early 1980s from the United States and Great Britain. The origins of this genre, appearing as a response to commercial rock [62], should be sought in punk music and its greatest popularity in the 90s during the success of grunge and brit-pop music.
The characteristic properties of alternative rock are, among others:
a) the noisy sound of guitars (bass, electric) and drums, inspired by rock;
b) abandoning punk music in search of new means of expression, which results in the creation of a group of musical styles (eg gothic rock, hardcore, new wave, post-punk) constituting the foundation of alternative rock.
Related genres: e.g. alternative metal, industrial rock, gothabilly, madchester.
Sub-genres: e.g. brit-pop, college rock, dream pop, gothic rock, grunge, noise pop, post-rock.
10. Jazz. It is a musical genre that originated in the south of the United States (New Orleans) at the beginning of the 20th century (around 1900). The traditional beginnings of jazz are a reference to the ingredients of West African and European-American music (blues, ragtime, folk, march). Jazz is characterized by a syncopated rhythm, it occurs in an even meter (4/4), as well as a tendency to improvise and freedom of interpretation and arrangement.
According to J. L. Collier, there are three main attributes of jazz:
a) swing - consists of dividing the bar into unequal, impossible to record musical rhythmic units and the occasional use of vibrato, diversifying the melodic line with rhythmic accents, changes in dynamics creating the effect of "speech" of instruments.
b) the ecstatic function of jazz, referring to the improvised rituals of dances (e.g. jam sessions).
c) the individual code of jazz, i.e. the multi-stage process of development and incorporation of music (African, American, and European), the separation of genres, and the crystallization of the mainstream [34].
Essential instruments: saxophone, trumpet, trombone, clarinet, bassoon, cello, violin, piano, guitar, double bass, drums, singing.
Subspecies: incl. avant-garde jazz, Asian-American jazz, bebop, big band, chamber jazz, cool jazz, Ska-jazz, free jazz, mini-jazz, modal jazz, orchestral jazz, swing, traditional jazz, vocals.
Subspecies resulting from the combination with a different musical style: incl. acid jazz, bluegrass, bossa nova, calypso jazz, jam band, jazz blues, jazz-funk, jazz fusion, reggae, soul-jazz, etc.
Representatives: incl. L. Amstrong, M. Davies, J. Coltrane, E. Fitzgerald, H. Hancock, The Cinematic Orchestra, in Poland, among others: Z. Karasinski, H. Wars, M. Trzaska, etc. Jazz, as a type of music, combines elements of folk, art, and entertainment music.
11. Rock. It is a genre of popular music that emerged in the United States in the mid-twentieth century, which is based on vocal-instrumental music combining elements of American musical folklore with blues. Characteristic features of rock are even meter, strongly and motoric-ally accentuated rhythm, the harmony of the major-minor system, repetition and uniformity of melodic-rhythmic figures, heavy and often aggressive sound. The main character of rock is a song, based on the structure of the verse and chorus with instrumental accompaniment or performed acapella.
The instruments are based on a rhythm section (bass guitar, drums) and a melodic section, consisting of electrically enhanced keyboards, synthesizers, and
wind instruments, and the performers' performances have a rich lighting setting (lasers, smoke effects) and acoustic-choreography (amplification of sounds, choirs, groups ballet, symphony orchestra in the background). This genre is associated with the formation of the youth subculture, and the subject of rock texts oscillates around social, psychedelic threads, and rebellion.
Related genres: alternative rock, heavy metal, post-rock, punk-rock.
12. Pop. It is a genre of popular music originating in the United States and Great Britain, which is equated with the sub-genre of rock music and an illustration and utility function for entertainment and ease of viewing. Pop music is characterized by the simplicity of the melodic and rhythmic structure, manifested in vocal-instrumental expression of a dance-like nature, maintained in major keys and intended for commercial purposes [37]. Pop is considered to be any type of light music that is a combination of mild variations of styles derived from light music (e.g. country, rock and roll, jazz, soul).
It has been suggested that pop music includes commercialized songs skillfully crafted to entertain many listeners, although it addresses topics related to development, interpersonal issues of young people (e.g. romantic relationships, friendship, and adaptation at school). Texts in pop music are preferred by less depressed teenagers, so they may express the possibility of reducing or keeping depressive symptoms at a low level [47, 48].
Basic instruments: (bass) guitar, drums, keyboards.
Subgenres: brit pop, twee pop, jangle pop, symphonic pop, noise pop, power pop.
Sub-genres that arose from a combination with a different musical style: dream pop, pop-rock, poppunk, country-pop.
13. Heavy Metal. It is a genre of popular music, the origin of which is associated with the genres: blues rock, psychedelic rock, hard rock (e.g. R. Zeplin, D. Purple), progressive rock. It was born in the 90s and 70s of the 20th century in Great Britain and the United States, being a derivative of rock music and being the basis for the development of the subculture of metal-heads growing on the wave of punk rock. It is characterized by the intensity of the rhythm section, the dynamic heavy sound of instrumentation (electric and bass guitars, drums, keyboards), and sharp singing, with a faster rhythm than in other rock genres.
One of the techniques of metal is the so-called cymbal choke, which consists of hitting the drum cymbal and immediately muting it. Sociologists suggest that metal played "live" at concerts is based on powerful sounds, timbre, and loudness [81], sensuality [5]. The themes of the texts concern the following topics: depressiveness, death motives (e.g. Black Sabbath syndrome) [74], sensuality, youthful fears and alienation, and referring to occultism.
Research shows that young listeners preferring heavy metal and rock show more risky behavior [6], and the content of music genres is considered rather harmful to health [17]. This opinion is opposed by the
suggestion that young heavy metal fans show fewer anxiety and depression symptoms [60].
Subspecies: incl. black metal, death metal, glam metal, gothic metal, power metal, symphonic metal, Viking metal, nu-metal, etc.
Sub-genres that are a combination with a different music style: e.g. alternative metal, Christian metal, crust punk, folk metal, grunge, metal-core, post-metal, progressive metal.
14. Soundtracks / Theme songs. This term refers to a soundtrack which is the soundtrack of a piece of music appearing in a movie or computer game, illustrating its content or appearing independently of it. It concerns a song with a text with a leading theme, which is used in film music as a form of independent or fully dependent on the film.
UTILITY FUNCTION OF MUSIC -REGULATION PROCESSES: EMOTIONS AND MOOD
Shaping conscious attitudes to use and enjoy musical art is conditioned by the functions of music on a psychological basis. In psychological research by M. Tramo [77] on the anatomy of music perception, specialization functions were identified at the empirical level. These include auditory analysis of musical sounds, visual perception of musical expression, psy-chomotor perception with motor activity, intellectual attitude to expect continuation with a content climax and ending a musical sentence, emotional activity and affect stimulation with an impact on the physiological sphere, conscious self-control with the projection and personality shaping and self-identity, associations with past events and people, activated in autobiographical memory under the influence of hearing music.
The function of emotional activity in the process of listening to music also applies to the processes of emotional and mood regulation by music. Emotion regulation is a process that initiates, modulates, and sustains the experience of emotions and cognitive operations and behaviors that relate to these experiences to help the individual achieve goals in the external environment. The process of regulating emotions concerns the levels in which the following occurs: e.g. the reception of information, the intrapsychic sphere, expression and content of emotions, physiological arousal, shifting attention due to the appearance of a stimulus, etc.
Possible ways of regulating emotions or mood are strategies that are undertaken in the short to long term and are preferred for a variety of motives (e.g. hedonistic, social, personal). Mood regulation is defined by issues related to processes aimed at changing or maintaining positive or negative moods, taking into account their duration and intensity [12, 28]. The variety of behaviors in response to human exposure to certain stimuli belongs to the colorful mosaic of forms used when trying to regulate mood.
Music with the mechanisms governing its influence on humans is one of such forms of interaction -studied in terms of structural features [38, 43], physiological responses to the emotional experience associated with it, and causing changes in the affective state [64, 65, 66]. The mechanisms of inducing emotions involving music as a regulatory component of affect - i.e.
mood is the subject that processes of learning and verification. A different effect of the influence of musical stimuli on listeners is related to the type of mental state and human experiences as well as preferences for a given type or genre of music [68].
The performance of music for the regulation of mood and emotions is included in the MMR (music mood regulation) questionnaire. The concept of this tool is based on a theoretical model selected and confirmed in empirical research in the field of music psychology. Research by Thayer, Newman, McClain [76], Saarikallio [51], Erkkila [66], Van Goethem [78], Juslin and Vastfjall [36] showed the effectiveness of listening to music as a method of changing the mood and emotional state in everyday life, in terms of conscious initiation of behavioral activities.
Mood regulation by music is defined as a form of general mood regulation that manifests itself in individual differences characteristic of individual social and cultural strata, including among people with disturbed mood and emotional functioning. Emotion and mood regulation include activities such as creating a pleasant atmosphere and feeling happy to shape a positive mood (entertainment), renewal and relaxation for energy in a state of stress or fatigue (regeneration), inducing and
stimulating the sensation of strong emotional experiences in enhancing activation mood (strong experiences), forgetting unwanted thoughts and feelings (detachment), releasing and getting rid of negative emotions and feelings (discharge), cognitive mental work as part of contemplative and meditative thinking to explain emotional worries through reflection (overworking feelings).
The given mechanisms of regulation of emotions and mood constitute the scientific basis for the approach of behavioral self-control, conscious shaping, and improvement of the emotional state and mood through the use of music [65]. They are structured in the MMR questionnaire with a 5-point question rating scale for each of the 6 musical strategies (where 1 is very low and 5 is very high).
EMPIRICAL RESULTS OF PSYCHOLOGICAL MUSICAL RESEARCH - LISTENER'S PREFERENCES FOR MUSICAL GENRES The ranking of preferences of musical genres based on the STOMP tool was selected on the basis of the analysis of their mean value indices in the entire sample, presented hierarchically in Table № 1.
Table 1
Hierarchical scheme of mean values for STOMP musical genres
fgenre's numer genre s name (mean value); lower *—[—• higherJ
12. Fop (3.37) — I. Classical (3. 74) — 14. Soundtracks / Theme songs (3. 78) |
i 8. Religious (4.55) —II. Rock (4 23) «- 4. Dance / Electrónica (4.05) 2 Blues (4 64) — 7. Soul / Funk (4 69) —• 10. Jazz (4 79) — 3. Country (4.89) i
13.Heavy metal (5.6«)—9.Alternative (J.Jty-Ó.Rap/Hip-hop (4 94)^S.Folk(J 9)
The prevailing preferences for musical genres among the research groups were selected based on the analysis of the indicators of their highest scores with the frequency intensity exceeding 20%. The entire research sample showed the prevailing preferences for three musical genres: the highest value for heavy metal (51%), similar values for rap / hip-hop (32%), and alternative rock (30%).
This tendency is also manifested in the tendency of their averages occupying the highest indicators compared to other musical genres. Their common structural feature is the advantage of fast, loud rhythmic structures over a high-melodic texture while maintaining a fairly fast musical pace. They characterize the group of music that is intense, rebellious, stimulating, energetic, and rhythmic.
The interest in heavy metal music among scholars concerns, among others. aspects of the music training of authors of this genre, wherein the transmission of texts, avoidance of involvement in the reality describing the structures of musical sounds as significant, in favor of social, subculture, political content [22]. Nevertheless, the approach to the elements of music is being discussed more and more often - harmony, rhythm, heavy metal form, but the most striking among them is the issue of the timbre developed in the instruments.
The generally taken context of shaping the musical experiences of listeners by the sound of electric guitars (e.g. riff in the form of pentatonic scales, in lower diameters) concerning the practice of the entertainment industry within the framework of instrument development, sheds light on the degree of sound distortions that may affect the recipient's motivation to listen to music. The color-specific approach of a group of music genres (e.g. heavy metal, rock / alternative) notes that traditional melody and harmony are increasingly difficult to perceive through pure music complexity or the extremes of octave registers.
Compared research towards the issue of the color of heavy metal, rock / alternative, and rap / hip-hop music may be beneficial from the point of view of learning about the dominant preferences and motivations of listeners (in health or illness), perceiving stylish, sharp-sounding sequences reflecting some conflict (e.g., personal, with the genre of music, e.g. pop), presenting virtuosity and the need for the realization of manifestations of rebelliousness, disintegration and the appearance of opposing forces of various nature. There are opinions that by listening to stronger sounds of heavy metal, listeners relax and forget about the small difficulties of everyday life, especially when it comes to musicians, performers, and musicians of this genre (of
whom about 60% suffer from depression or other mental problems) [1].
There are also suggestions indicating that the tendency to prefer rock and heavy metal, perceived as strong, unpleasant, and full of dissonant chords, is associated with psychoticism [59], ie a predictor of preferences for music with the intensity of low and bass sounds. Besides, the religious music genre received high preferences in two groups - healthy (30%) and with secondary education (22%), country music (32%) and rock (24%) received high preferences in the healthy group, and the music genre - jazz (32 %) obtained high preferences in the group of secondary education.
Moreover, it is shown that preferences towards stimulating music (heavy metal, alternative rap, and dance) positively correlate with the chronic level of arousal and the need to seek sensations [45]. Acquiring experiences related to music and liking it, and the knowledge of the musical language and anticipating musical expectations [46], through repetition and cultural adaptation, probably strengthens the listener's preferences for music genres, which requires empirical confirmation.
The factor analysis of the STOMP musical genres using the centroid method of extracting the main factors revealed the grouping of musical genres into 3 components according to the classification of the axiological triangle of music, with the model explained at the level of 62%. The first group consists of genres of classical music and its derivatives in the development of musical forms: classical, blues, country, folk, religious, and jazz. Independent verification of such a system was selected in the analysis of the relationship between stomp species on the entire research sample.
The second group consists of popular music genres and their derivatives: dance \ electronica, rap \ hiphop, soul / funk, rock alternative, rock, pop, heavy metal. The confirmation of this system was also found in the highest preferences of musical genres in the entire empirical sample in the mean indicators. The third factor turned out to be the musical genre "thematic songs" appearing independently, due to the advantage of the text and words over the sound texture of such music. The mean values for such STOMP thematic factors (including also for the MMR thematic factors) are presented in Graph № 1.
10,5 10,0 9,5 9,0 8,5 8,0 7,5 7,0 6,5 6,0
Graph No. 1. Factorial mean values of STOMP and MMR data
Depression group Females Midde education
Healthy group Males High education
MMR prevention role MMR compensation role STOMP classic STOMP rock STOMP theme songs
The study also showed that people with a low tendency to seek intense emotional experiences through music prefer listening to classical music, while among them healthy people also prefer to listen to jazz and blues music, which are reflective and complex. On the other hand, people with higher education and men with a low tendency to discharge their sadness and anger through music prefer listening to electronic music, rap, hip-hop, and energetic and rhythmic funk.
Against the background of such a structural system, in the entire empirical sample, the average values selected for the preferences of thematic songs (M = 7.56) are much lower concerning the preferences of classical music (M = 9.166) and entertainment music (M = 9.603), while people with secondary education they prefer popular music (M = 10.1) to people with
higher education (M = 9.1). Differentiating the type of education for musical preferences may be conditioned by aesthetic upbringing as well as the property of greater mental burden in higher education, whereby entertainment music may more often cause fatigue and distraction of the cognitive condition, which may result in a reduced level of its consumption.
Film soundtracks are less preferred by the audience in the study than classical and light music genres, which may be related to the incidence of this genre being presented among the culturally dominant entertainment music genres. Besides, lower preferences for the soundtrack may be associated with the need for a different type of stimulation and reflect the diverse need to experience music as the transmission of sensual,
more internal content and perceiving this genre of music as a more personal experience driven by words towards the image (e.g. in introverts), or on the contrary - as the need to experience music, carrying content focused on an interpersonal exchange (e.g. in extroverts), which requires additional research verification activities.
Higher preferences for the musical genre of thematic songs are associated with a higher preference for the compensatory use of music for the regulation of emotions and mood, identified in groups of women with depression and with secondary education, also with a lower preference for the prophylactic use of music for the regulation of emotions and mood selected in groups of healthy men and with secondary education. The obtained empirical data prove the musical properties of thematic songs favoring the repair of emotional well-being and mood, which is conditioned by their musical form and semantic and communicative content, which helps, through projection, to discharge the unfavorable emotional state in oneself while dealing with such music.
The population group of secondary education is a factor in the possibility of observing such a characteristic of musical preferences. At the same time, higher preferences for popular music genres are associated with lower preferences for the compensatory use of music for the regulation of emotions and mood emerging in the groups of men with depression and healthy women. Against the background of the highest preferences in the population, popular music becomes understandable to the fact that it is widely consumed, which gives preventive and functional properties to such musical genres.
Mutual relationships of musical genres were selected based on the analysis of their statistically significant indicators of dependence between individual genres in the entire study sample with the explanation of the variability of the relationship and with the frequency intensity above 20%. The entire research sample revealed structural relationships between three musical genres - Classical, Blues and Jazz with the relationship explanation indexes at the level of 10 to 16%, with the intensity of the frequency of results of the same value of the norm (1-below norm or 2-norm or 3-above norm) at the level of 35% for the entire sample, 28% for the depression group, 42% for the healthy group, 32% for the female group, 38.5% for the male group, 30% for the secondary education group and 40% for the higher education group.
The lower level of explanation of the relationship between the 3 music genres is due to the low preference classic observed in the study (the 2nd lowest mean in Table 2 with a value of 3.74). Their common structural feature is the predominance or balance of the melodic structure of musical compositions in relation to the rhythmic content of the music, with the tendency of a predominance of average tempo in the musical output of these genres. They characterize the group of reflective and complex music, also classified in the structure of the STOMP questionnaire tool.
These data prove the reliability and functionality of this group of types of music equally in the Polish
population and in data from foreign studies on culturally different populations. Thus, the structural features of these musical genres show the same preferential tendencies in different countries and the convergence of some elements of the structure of musical forms in the context of music theory.
Besides, statistically significant single relations between the systems of two musical genres - such as blues and folk (classified in the STOMP tool within 1 group of reflective and complex music), and 5 groups were identified:
1. pop and dance / electronica.
2. pop and soul / funk.
3. pop and rock.
4. rock alternative and jazz.
5. blues and country with relationship explanation rates of between 12 and 19%.
The last 5 groups of relations selected in the study do not fall into the 1st group of music in the STOMP tool, so they may constitute relational properties between musical genres characteristic of the Polish population, may be conditioned by the availability of this music on the Polish market and by educational traditions in the field of musical aesthetics. The aspect of popularizing a given type of music and its availability in the mass media over the above-mentioned period may be a factor influencing the shaping of the tastes of various social groups or individuals, which can be observed as part of their everyday life.
In issues related to musical prophylaxis addressed to healthy or depressed people, it may indirectly reflect the personal preferences of respondents qualified for music therapy - where the regulatory processes [21] (i.e. how do people regulate their mood?) priority given to particular musical genres or musical mood-regulating strategies that are embedded to some extent in personal and social experience.
It happens that the aspect of musical preferences among people with depression sometimes touches the suicidal issues, which, as research shows, may depend on social and personal conditions, affiliation to subcultures, and mental disorders (including mood) [73]. The influence of musical art, anchored in music genres, on the risk of suicide is a rare topic in research. It has been suggested that in terms of musical genres, they may be considered inappropriate due to the content and message of the music through the process of identifying the listener with it (e.g. Gloomy Sunday, the "Hungarian suicide song," Reszo Seress [27] - during the Great Depression of the 1930s in Great Britain, which had a real resonance in depressed moods, this song was banned from BBC radio until 2002).
There are public debates about developing a suicide tendency with music, but little research. One of them suggests that when controlling other predictors of the deliberate act of taking one's own life: the higher the strength of the heavy metal subculture, the higher the suicide tendency among adolescents [72]. In total, 19 studies [56] were conducted on the relationship between the presentation of suicide in music genres broadcast in the media and actual suicidal behavior. About 2/3 of them contain indirect evidence for this relationship [6, 17, 74] (e.g. sympathy for pop-rock in
men is a prediction of suicide), and some of them do not confirm this type of hypothesis [4, 60], which suggests that findings of this kind are inconsistent and require ongoing verification.
The comparative analysis revealed 6 relationships between the STOMP species characteristic for 4 empirical groups, presented in Table № 2, with an explanation of the variability of relationships > 25%, among
The obtained research data indicate the common properties of rock alternative, rap / hip-hop, heavy metal, rock, pop, and dance / electronica music genres - as an application of electronic sound, a developed rhythmic structure, and a tendency to a lively pace of music performance, which show mutual relations in different research groups.
The relationships presented above in four empirical groups, explaining their variability at a level above 25%, indicate that in popular music: for a pair of dance / electronica - pop music genres (30%), defining people with higher education, and classical - religious (29%) describing men - the indicator is overall the highest among those selected in the analysis. Concerning them, pairs of music genres such as rock alternative - rock (26%), observed in men, alternative rock - rap / hip-hop (25.5%), defining a depressed group, and rock-pop (25%), occurring among women as well as rap / hiphop - heavy metal (25%), observed in people with higher education - the data show values at a similar level.
Similar properties of the music genres compared in pairs are relatively higher among higher educated people for commercial dance forms of popular music (dance / electronica-pop), the attributes of which are the electronic sound of instruments, the pulse and rhythmic course of music or the simplicity of the melodic and
The prevailing preferences for individual strategies of using music in the regulation of emotions and mood among the research groups were selected based on the analysis of the indicators of their highest scores with the frequency intensity above 20%. The entire
them for the male group 2 relationships within the types of music (reflective and comprehensive for the relations ^ classical, intense and rebellious for the alternative rock ^ rock relationship) identified in foreign studies and 4 relationships specific to the Polish population (for the group of depression, women and higher education).
Table 2
rhythmic structure favoring easy reception - related sub-genres of dance and pop music [70], equated with the gentle message of rock.
It seems that the contemporary substitute for the achievements of ancient philosophy and aesthetics as well as spiritual ecstasy in the preferred relationships of the classical-religious genres does not leave a person completely defenseless against disharmonious rhythms and the intensified values of acoustics in the course of sounds. The value of tonal music devoid of irritating dissonances without solutions, its structural repetition, pulsation and similarity, the lower register of the intensity of sounds and balanced dynamics are known in the therapeutic interaction with stressful situations [11, 30, 44], taking into account the synchronization of sound structures with the organism and mental processes of the listener [24], although it requires further research.
EMPIRICAL RESULTS OF PSYCHOLOGICAL MUSICTHERAPY RESEARCH - MOOD'S REGULATION BY MUSICAL STRATEGIES' USAGE The ranking of the strategies for using music in the process of regulating emotions and mood on the basis of the MMR tool was selected on the basis of the analysis of their mean value indicators in the entire sample, presented hierarchically in Table № 3.
Table 3
study showed equal preferences in the use of music to regulate emotions and mood. In the comparative analysis, the depression group showed high preferences for the "entertainment" and "strong experiences" strategies (26% in total), while the higher education group showed high preferences for the "entertainment" and
List of characteristic relations of STOMP musical genres in groups
1- group's type, 2- STOMP genres' relations (1^2),
3 - level of the relationship's explanation (R2 determinacy index)
1 2 3
Depression Rock alternative ^ Rap / Hip-hop 25,5 %
Females Rock ^ Pop 25 %
Males Classical ^ Religious 29 %
Rock alternative ^ Rock 26 %
Higher education Dance / Electronica ^ Pop 30 %
Rap/Hip-hop ^ Heavy metal 25 %
Rap/Hip-hop ^ Heavy metal 25 %
Hierarchical scheme of mean values for MMR musical strategies
_[Strategy's name - mean value: lower higher]_
Discharge (12.3) ^ Regeneration (16.46) ^ Detachment (18.71) { Entertainment (21.39) ^ Strong experiences (21.31) ^ Overworking feelings (20.09)
"strong experiences" strategies and "overworking feelings" ( 32% in total).
The strategies for regulating emotions and mood by music related to shaping a pleasant atmosphere and feeling happy to create a positive mood ("entertainment"), as well as building the experience of strong emotions in enhancing mood concern the prevention of the emotional sphere in the context of balance and self-control. They are one of the most effective methods of preventing the appearance of prolonged states of negative and unpleasant moods, including those unfavorable to human health in the context of psychosomatic diseases. People suffering from depression are usually aware of their condition, its limitations, and the possibility of working on it to improve their emotional state and mood.
The process of acquiring higher education requires greater and conscious cognitive activity in everyday life, in the process of acquiring knowledge and professional competencies. The time of experiencing increased mental activity through formal higher education determines the development of habits of deeper mental work with the participation of various types of thinking. This state is conducive to the conscious shaping and development of contemplative and meditative thinking. They also condition the possibility of analyzing, assessing, and understanding difficulties and emotional deteriorations through reflection, which is part of the activity of working through feelings, which is also possible through music.
The dominance of three strategies for regulating mood with music ("Entertainment"; "Strong experiences"; "Overworking feelings"), observed among people with higher education (32%) or people with depression (26%: "Entertainment"; "Strong experiences") provokes a specific reflection. In the case of "Entertainment", the concept of S. Saarikallio and J. Erkillä is based on the assumption of: the presence of initial mood as neutral or slightly positive, music is listened to alone or sometimes in the company of other people usually as a background, and the goal of regulation is to maintain a positive mood or strengthening the spirit.
The "Strong experiences" strategy applies to people without a specific (initial) mood, referring to all types of musical activity and strong involvement in this activity, listening to music takes place alone or with others, and the purpose of using such a mood regulation strategy is to arouse intense sensations and focus on music and strong feelings about it.
The "Overworking feelings" strategy is the only one that deals with cognitive situations when people do have a need to rethink personal issues and conflicts, music is supposed to refer to listening alone or writing songs containing complex content, and the purpose of regulating the mood with music is to support the imagination and insight into one's own experiences and ex-
periences as well as specifying and explaining the biographical meanings of events in the direction of their re-evaluation.
In terms of the preferred ways of regulating mood in people with depression, the reflection is that music is perceived as a strongly emoto-genic stimulus [23] ("Strong experiences") and hedonistic, serving the philosophical and aesthetic experiences of the individual ("Entertainment"). However, it is less perceived in the cognitive sense ("Overworking feelings") when the auditory stimulus evokes the mental processing of a personal narrative, which is used for regulation purposes.
The matter of music allows reaching affective processes (emotions, mood, feelings) taking place at different levels of functioning: from physiological, through emotional, to complex cognitive processes [23].
Although aesthetic emotions do not reflect the biographical reality of an individual, but rather are a means to go beyond one's own experience - the basis of aesthetic experience, in addition to the pragmatic function of valence on the "like-not like" axis, contains an irrevocable response to the stimulus and the participation of reflective awareness.
Incorporating into the regulation of mood a strategy with the properties of music, using the control of consciousness in mental work during contemplation and / or songwriting ("Overworking feelings"), and combining it with the privileging of the emotional and hedonistic message of music (primary goal: the epicurean road to personal happiness or a utilitarian philosophy, putting the happiness of society) ("Strong experiences", "Entertainment") is present in the group of respondents with higher education (32%).
Concerning people suffering from depression, in the group of people with higher education, the ways of regulating mood with music referring to aesthetic values and emotionality are enriched with a cognitive aspect. It can be argued that the commercial popularity and growing availability of songs in the world [67] are gaining importance among more educated people when they make a conscious attempt to favorably change the mood by passively participating in an actively perceived song or active participation in the act of creating it.
Music takes on the function of a semantic carrier of information and meanings, which are necessary for the exploration of the interior of the individual and the emergence of the concept of catharsis (reacting to blocked tensions and suppressed emotions, thoughts, and ideas; purification by the essence and value of aesthetic experiences in art), occurring as an effect of involvement in deep therapeutic work.
The prevailing preferences for combinations of music strategies in the regulation of emotions and mood among the research groups were selected based on the correlation analysis with a determinacy index higher from 30%, are presented in Table № 4.
Table 4
List of characteristic preferences of MMR features' relations in empiric groups {mmr1 - mmr2^ MMR group of features: I ^ mmr1; II ^ mmr2; III ^ level of the % group's relationship's explanation (R2 determinacy index) mmr 1 = entertainment, mmr 2 = detachment, mmr 3 = regeneration, mmr 4 = discharge, mmr 5 = strong experiences, mmr 6 = overworking feelings.}
16 GROUPS I II III % I II III %
WHOLE 1 3 31
HEALTHY 1 2 30 1 5 34
1 3 54
FEMALES 1 3 44,5
HIGHER EDUCATION 1 3 48
MIDDLE EDUCATION 1 3 44
FEMALES WITH DEPRESSION 1 3 40 4 6 32
6 32
MALES WITH DEPRESSION 1 3 36 2 4 32
1 5 36
1 3 48 2 3 35
HEALTHY FEMALES 1 5 32 3 6 32
4 32
HEALTHY MALES 1 2 37 1 4 31,5
1 3 63 1 5 37
HIGHER EDUCATION WITH DEPRESSION 1 3 40,5 1 2 33
1 3 61 3 4 33
HEALTHY WITH HIGHER EDUCATION 1 5 33 3 5 33
3 33 4 6 33
4 33
HEALTHY WITH MIDDLE EDUCATION 1 2 31 1 5 34,5
1 3 50 3 6 31
FEMALES WITH HIGHER EDUCATION 1 3 52 1 5 40
FEMALES WITH MIDDLE EDUCATION 1 3 39 3 6 32
3 35,5
MALES WITH HIGHER EDUCATION 1 3 44 2 4 32
1 5 32
MALES WITH MIDDLE EDUCATION 1 3 53 1 5 42
1 2 31,5 4 6 31,5
Strategies "entertainment" (mmrl) and "regeneration" (mmr3) revealed a relation in all 16 empirical groups, while strategies "entertainment" (mmrl) and "strong experiences" (mmr5) revealed a relation in 9 empirical groups, what is defining the universal prophylactic and preventive direction for the regulation of mood and emotions.
The two trends in music therapy identified in the MMR tool are prophylaxis (i.e. preventive health use of music) and compensation (i.e. compensatory, i.e. compensatory and corrective use of music). According to the data from graph № 1 in the entire empirical sample, the selected mean values for the preferences of the preventive use of music, which serve to regulate emotions and mood (M = 9.46), are much higher than the preferences of the compensatory use of music for the regulation of emotions and mood (M = 6.9), which they prefer healthy people (M = 7.36) to people with depression (M = 6.45).
The advantage of prophylactic consumption of music may be conditioned by the commonness of communing with it and maintaining conscious attitudes of caring for own health through natural methods, which include music therapy. While the compensatory use of music to regulate emotions and mood is used in a state of persistent deterioration of well-being, in which healthy people are more sensitive and aware at the onset of such a health condition than people with depression - experiencing a more constant state of depressed mood and emotional well-being that becomes more common and accepted for them.
CONCLUSION
Summing up, the considerations on human interaction with the products of musical art dominated by commercialism in terms of its pro-health and therapeutic use are, on the example of healthy and depressed people, an indication of the nature of the issues related
to the context of musical preferences and mood regulation processes.
The health-promoting goal of music, which is a carrier of semantic meanings, a structural material composed of components, content, and acoustics, contains certain requirements and properties in relation to many factors relating to the internal and external world of the subject.
The acceptance of popular music for research as the context of the proposed concept of musical preferences and the idea of regulating the mood with music requires, for the sake of balance, the extension to examples of classical music, especially in the area of physiologically neutral therapeutic music.
It turned out that the most preferred musical genres revealed in the music research belong to music that has an adverse effect on human health in the light of gerontological medical research [84].
The observed preferential tendency requires further scientific research in order to explain the causality of its occurrence in the present conditions of contemporary consumption and use of musical art.
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SOCIALLY ORIENTED PROFESSIONALLY IMPORTANT QUALITIES OF THE PSYCHOLOGIST-
CONSULTANT
Tsilmak O.
Doctor of Juridical Sciences, Professor, Professor of the Department of Psychology National university «Odessa law academy», Odessa, Ukraine ORCID ID: https://orcid. org/0000-0001- 7348-48 76
СОЩАЛЬНОСПРЯМОВАШ ПРОФЕС1ЙНО ВАЖЛИВ1 ЯКОСТ1 ПСИХОЛОГА
КОНСУЛЬТАНТА
Цшьмак О.М.
доктор юридичних наук, професор, професор кафедри психологи Нацгонального унгверситету «Одеська юридична академ1я,
м. Одеса, Украша
Abstract
The article theoretically describes and empirically studies a group of socially oriented professionally important qualities - «altruism», «humanism» and «reliability». It is emphasized that in the general context, the reference level of development of socially oriented professionally important qualities of a psychologist-consultant should be as follows: a) the average level of development of a consultant should have such a quality as «altruism»; b) and «humanism» and «reliability» must have a high degree of development. It is emphasized that this group is a certain element of a complex scientifically-based structural-logical model of professionally important psychological characteristics of a psychologist-consultant.
Анотащя
