Comm 179 Final

Bebop Jazz, mid 50s

- African american art form being imported into british culture - A music subculture formed around that genre of music - Attracted a number of white youth into that subculture called Beatniks - white youths enthusiasm for this exotic american art form was often characterized as a threat to the mainstream culture o People who were outside this subculture regarded it as being vaguely exotic, foreign, menacing, dangerous, decadent o Kinda seen as a type of threat; as if you're leading these people astray o The way it was presented in pop culture was mainly unfavorable

Drew (2016): 4 functions of the 'mixer': 3. display

- Using the mix to say something you can't quite say yourself, displaying parts of your identity you may not otherwise present o If you don't know how to take relationship to the next level and don't know how to express a higher degree of romantic attraction, or to tell them something about yourself that's too intimate to share, can make a mixtape, this is a safer way to do that - Could be awkward for recipient if 'mixer' reveals emotions/intentions unwelcome for that point in the relationship

fidelity

- 'fidelity' refers to capturing, faithfully, to a live performance, but much pop music nowadays doesn't have a 'live in studio' origin like a jazz band may have - Audiophilia is related to this notion of faithfully capturing a live performance and creating an optimal sound stage. o Their goal is to achieve something that makes you feel as though you're there live in the studio; high fidelity - A lot of pop music, most hip hop and rap, doesn't really have the same kind of live in studio dynamic o Its synthesized and done on a computer more than a proper studio most of the time

Kim et al (2008)

- 10 very young autistic subjects were assigned to twelve half hour music improvisations vs joint play conditions o Randomly assigned half (5 kids) to 12 30 min music improvisation sessions where they are teamed up with other ppl and they're gonna be improving something vaguely musical o Other 5 kids randomly assigned to some kind of social environment where they're gonna be interacting with other kids but its just joint-play; just playing together and not creating anything musical together - Subjects in music improv condition scored higher on social coordination measures like turn taking, eye contact and joint attention - Researches suggest that improv music interventions provide context for addressing something that is difficult for autistic children; the balance between structure/predictability, and flexibility/spontaneity o Also builds skill of social contact and social communication in these children o Suggests that music improv intervention are effective in this way bc these are things that are necessary in a music improv environment; you have to be able to read other person, engage them non verbally, have to be engaged in joint attention where you and other person are focusing on the same thing (piece of improv music)

Hanser & Thompson (1994)

- 8 week program multi-pronged intervention including visualization, relaxation and energy/dance/rhythm (pic on pg 117) -Therapist helping them through this and helping extract the lessons from the music and making these connections that they want them to make that are inconsistent with depressive thoughts and dysfunctional thinking - Experiment found that depressed elderly subjects scored better on measures of depression (less depressed), self esteem, distress and mood if they were in the intervention condition o suggests there's some value to this - Resulted persisted for at least 9 months o Results persisted over long term o Suggests music and music programs could have some long term benefits on elderly

Costa-Giomi (1999/2000)

- Ambitious experiment that suggests that the learning of an instrument produces some meaningful social and intellectual advantages - 117 4th graders (with no previous musical experience) were randomly assigned to receive piano lessons for three years (approx age 9-12) - Self esteem: o Music condition increased significantly compared to control group that didn't learn an instrument across 3 year time frame o Other cognitive skills, spatial visualization skills, math, and general academic variables (GPA) showed improvement in music condition as well* + *mostly, though kind of evens out eventually, so all these effects may not persist well into the future in high school + But some effects seem to be more persistent; ppl who have played an instrument tend to have a better sense of spatial visualization skills and positive self esteem related things that are associated with learning an instrument

music therapy and autism

- Autism diagnoses continue to skyrocket; was 1 in 36 children in 2016 - Music therapy might be something that's particularly well suited to that population given the challenges autistic children face - Definitely some positive effects due to carefully implemented music therapy, but also true that the number of subjects are often comically tiny in these studies o Difficult to get lots of autistic subject pools o Research often involves unscientific post-hoc appraisals (what your opinion is after the fact, not carefully thought out experimental design and is somewhat limited there) - Most of the positive effects usually produced by those in the 'music therapy' business o This is an industry in and of itself; ppl who apply music therapy to certain populations and not surprisingly, if i'm in the business of promoting my music therapy service, of course i'm gonna say i've seen fantastic results associated with my music therapy product so you should hire me! o Not to say it doesn't work, but the research is disappointing and it usually comes from ppl who have a vested interest in telling you its effective

Cohen (2016 on GS) documents many findings consistent with his Congruence Association Model (CAM)

- CAM suggests that music and narratives can interact with one another in terms of structure and in terms of meaning o In terms of structure, the best ex is the "baby driver" movie. Very exciting movie about a teen named baby who is forced into being a getaway driver for criminals. Wall to wall action, visually dynamic, and music drives a good chunk of the excitement. Most of it is diegetic music, baby is usually playing music on car stereo or listening thru headphones and we are listening along with him. Movie is beautifully edited to the music, and it really effectively drives the structure, pacing and action of the film o Can also interact with a narrative in terms of meaning + cited Tan et al (2007) as evidence of this - Many studies find that music+narrative combined produce more engagement, emotion, and memory, than matched versions of just music, or just the narrative

Coyne & Padilla Walker (2015): Sexual attitudes/behaviors

- Content Analysis: o Majority of pop songs contain sex themes* o Lyrics becoming more and more sexual over time (love is turning into sex) + shifting focus from the generic romantic aspect of love to the physical congress of love/things that are more sexual in nature - Correlational Studies: o Many studies show diet of sex-rich music is associated with lax sexual attitudes and earlier sexual experimentation o Martino et al (2006) study used here - Experimental Studies: o Subjects exposed to sexy videos while waiting to do 'study' reported sexually 'irresponsible' scenarios to be more acceptable o Half the subjects were in a waiting room with sexually suggestive music videos playing and the other condition had non sexually suggestive videos o As part of the actual study, subjects were looking at scenarios and evaluating the situation in terms of how appropriate the behavior was, how sexual, how irresponsible it was o If they were in condition assigned to see sexually suggestive music videos beforehand, they were significantly more likely to evaluate the scenarios as being more acceptable and normative. It's almost like a descriptive norm is being established by the sexually suggestive music videos. Used that descriptive norm to evaluate appraisal of the sexual behavior presented in the scenarios o Their own results found that the more that teens listen to sexual content in their formative years, they have intercourse at a significantly earlier age and they also have significantly greater number of sexual partners + Suggests more permissive, lax, sexual attitudes -Found what most people suspected they would find that maybe was an actual effect of these kinds of lyrics

Rastogi & Silver (2014)

- Correlational study involving 700+ HS students and science tests - Had 3 variables: 1. Asked people what percent of the time when you're studying are you listening to music? 2. Indication of how much test anxiety do they exhibit? 3. Their actual performance on high school science tests - Their hypothesis was that the people who report listening to music a great deal frequently while they study would have a relaxing effect on them and would enable them to study longer. Consequently they will have less test anxiety because they think they're gonna do better on the test, and they will do better. o They found the exact opposite of their hypothesis. - Music listening while studying was associated with more test anxiety and lower test scores o Those who report listening to music a very high percentage of the time they're studying, they exhibited more test anxiety and did worse on the science test o Researchers didn't conclude that the music was distracting them - Authors posit 'distraction coping strategies' as explanation o Not saying that listening to music while you study is a bad thing Music being used to distract you from the anxiety you are feeling (a feeling of maybe not doing well on test) and what you find unconstructive and unpleasant (the content you are studying)

A similar study to Dillion by Furson (2012)

- Did the same thing, but different subject population - Found no effects on performance, just some reports of feeling more relaxed, but didn't affect the outcome of the test - Found no effects on performance but noted that: o These studies had small subjects which effects power. This always makes it hard to achieve significant findings - These studies involve 'normal distribution' of test anxiety- which might be different if we single out just the super-high test anxiety people o That is to say you're gonna have some ppl who worry a lot, a little, and not at all. And maybe if you just singled out the ppl who just have the crippling, paralyzing test anxiety and you only look at that population (as they are the population that really needs the help), maybe that's the population where you would see that it benefits their performance

Laukka (2007)

- Elderly subjects report music means more to them 'now' than it did at any other time in their lives (surprisingly because mullin thought it'd be in their teen years) - This highlights the emotional value of music as an emotional support system o They may need it more now than they did when they were teens, so it may mean more now - Subjects were assigned to two conditions o In one condition, residents were encouraged to engage in strategic music consumption practices + Strategic music consumption means it's not just music floating in the background, but instead encouraging them at certain times of the day to select music that they like and to pay attention to it, more involved process o In other condition (control group), ppl not encouraged to do so - They noticed that the ppl who were randomly assigned to participate in strategic music consumption showed less depression, higher indications of identity and agency. - Controlling for personality and well-being predictors like health, strategic music consumption practices amongst elderly shows positive association with well-being, particularly when the motivation is to establish 'identity and agency' o Seems as though there was some positive value to that therapeutic program - In this study, this was self selecting music with some purpose in mind

Audiophiles don't like losing any info regarding megabytes, and they will tell you they can hear the difference between the original wav form and something ripped at 120, so they often favor a format called FLAC

- FLAC takes that 80 megabyte wav form and reproduces it as an 80 megabyte FLAC format - FLAC just duplicates the wav file, it has some advantages o Idea is that you're not losing anything - Mp3 files, what most ppl listen to, are considered lossy bc somehow you're losing information - FLAC is considered lossless o If you're an audiophile, you might tolerate 320 kbps, but you might prefer FLAC - Add to that the fact that people are often listening to music on tinny speakers, and audiophiles are concerned we as a culture are losing our instinct to care about or appreciate sonic nuance

Barbour (2005)

- Finds even non-audiophiles can detect sonic richness variability as long as they are listening on decent equipment o But they don't necessarily care as much

Cohen and Marshall (1988)

- Found that when music and visuals are incongruent, the visual take precedence (as in the McGurk Effect), thus in our attempts to make meaning we are required to pay more attention to the visual when the music is not helping out o When the visual info contradicts our audio info, we rely more heavily on the visual. In a film sense, that forces us to focus more on narrative subtleties or at least engage the narrative that we otherwise hadn't been prepared to do so

'Hip hop therapy' invites at risk teens to make culturally meaningful music as a means of building trust and engagement in other programs

- Given tools (recording devices, assistance, musical instruments) to make hip hop - Designed to give them something creative and culturally meaningful to do - Making music to express themselves but also its kinda used as bait.. o These programs are always associated with counselors, and if im an at risk youth, i'm not gonna be enthusiastic about bonding with a social welfare counselor and i'm probably gonna avoid contact with that therapeutic counseling environment as much as i can o But getting to make hip hop is kinda fun, so in a way it's tricking kids into having contact with a social worker and counseling - However, no evidence at all or credible research that is actually does have the desired impact of deterrent/diversion value of antisocial behaviors in at risk teens , despite lots of enthusiasm for the possibility of such an effect and potential for taxpayer dollar o Tiny subject amounts and self selection bias pollutes this research , lots of 'may' and 'can' help with no research citation, and positive claims again made by those within program to sell but never provide evidence (similar to autism research) - There is a lot of evidence that suggests that hip hop therapy things could work where ppl are making music with one another

Choen and Siau (2008) and Constable and Therman (2013)

- Had subjects view scenes from films that either had the original music (which is prob congruent; seems to fit in terms of context of scene). For some subjects they saw the scene with no music, for some they saw incongruous music. - found subjects were more engaged by film if it was accompanied by original (congruous) music, versus incongruous music (which means it does not match the emotional scene)

CAM is all about congruence

- How visuals, music, narratives, staging and physical elements are more powerful if they reinforce each other (congruent means go in the same direction)

Can lyrics/music be used as a socio-cultural indicator?

- If you want to know what human culture was like in 2020, you look at the popular cultural products o Aka things that sell a lot of units; hit movies, tv shows, and the popular songs o Don't look at artistry, highly critically acclaimed songs bc that just looks at the elites of society (which isn't the greater majority at all), look at what the masses embrace o To look back on a culture, you look at what that culture rewarded in terms of it being popular within that community - Pop songs are a good example of this. If you wanted to trace the trajectory of a sociocultural indicator, you look at what sold a lot of units

Due to the many conveniences and sharing advantages associated with digitization/new techs, some say we live in a 'post-fidelity' musical landscape

- Meaning we have traded away a concern for sonic richness/fidelity in exchange for conveniences o Ex: it's the 90s, there's a song produced in a studio and the digital version of that song in a wav form, might be about 80 megabytes. It's a problem to have a song with 80 megabytes if you're trying to send a song across the internet, which was slower back then. o Earliest MP3 players only had a capacity of 32 megabytes.

'Audiophile' becomes part of self identity, and may contribute to self-esteem subculture

- Might think well of yourself bc this is something you do well, builds us up in terms of self esteem - There is kinda a subculture associated with audiophile community o They have their own rules, norms, and values

Ruth (2016)

- More evidence for pro-social effects of lyrics - Field study took place naturalistically in a cafe, over 8 days with either a pro-social playlist or neutral playlist playing for customers - Over 8 days, they manipulated the playlist in a starbucks. Customers are not told to pay attention to songs played, but these are curated playlists. -Manipulation: For some of those hours in the 8 days, they had a pro social playlist vs whatever they would be playing usually (neutral songs) - Two outcome measures (of prosocial behavior) o would the customers be more likely to give greater tips to the baristas and more generous? o And if they are buying bags of coffee, would they be more willing to purchase the more expensive fair trade coffee? - Found that the music playlists didn't cause customers to tip barista more, but they did find that customers were significantly more likely to buy more expensive 'Fair Trade' coffee in the prosocial music condition - Suggests there is some sort of bleedover; something about the positivity and prosocial aspect of the music is seeping into my attitudes and purchasing behaviors *pic of stats on pg 106

acute anxiety and music therapy

- Much music/anxiety research concerned people undergoing medical procedures and this research finds music to be a useful strategy (though not as effective as sedative drugs, but they often will use those two things in combination)

'Lo-fi' is a type of genre of music that means low fidelity

- Music that deliberately sounds like its low fidelity o Sounds a bit distant, like its recorded by an amateur in a garage o has a lot of reverb off the walls bc recording in a garage - some people do this on purpose for stylistic reasons o ex: Best Coast-- goes for the faithful, garage band type of vibe. Uses a lot of reverb. Sounds retro 60s bc that was when reverb was popular - In this world where some ppl are aiming for high fidelity, sometimes there's more authenticity associated with low fidelity bc if it sounds very highly faithful, it sounds like there's a lot of studio production assets, whereas this other band with low fidelity shows a rawness and authenticity o You can actually build in authenticity as a marketing device by aiming at a low fi production - "Guided by Voices" originally a lo-fi Band that became less hip once they employed polished production

Lilley et al (2014)

- Not really a relaxation effect they're looking for here, but it maps onto test performance - Subjects randomly assigned to listen to 'calm' or 'obnoxious' music while studying for a math test o Listening to music as you study for test, not as you take test o They didn't choose the music, the music was provided by the researchers, which makes a bit of a difference - The 'calm' condition had lower physiological stress during the test (as indicated by physiological indicators of stress such as HR, BP, etc) and in this case better scores compared to those who studied with obnoxious music o Seems maybe obnoxious music disrupted study effectiveness, so students did worse on test and this awareness made them stressed -Note that the nature of the task makes a difference here in these studies o If its a relatively easy task or test, you can probably tolerate all kinds of distractions, but if the upcoming task gets more hard or test is likely to be hard or you dont have as great a grasp on the material, you're subject to all kinds of distractions and some of those might be musical distractions. If its a hard test, im gonna listen to music that is less distracting to a constructive studying environment

Anderson (1998)

- Notes that incongruence forces viewer to reappraise narrative or emotional judgements that they might have otherwise made - Evolutionary psychology says we are hardwired to cross check things in our environments; incongruity makes cross modal validation more difficult o Double checking things helped out cavemen ancestors survive. If you hear noise in bushes, it's a good idea for you to look in bushes to see if it's an animal that could kill you. o You hear things, that gives you a heads up, and you follow up on it with another sense (smell or visual) o you cross check your environment with those two modalities - When film music is incongruent with the film narrative, it puts us in an awkward position o Makes us have to engage, thinking this isn't right; my eyes are telling me something different than my ears, so i have to engage maybe more intellectual energies to parse that out and come away with what the appropriate narrative conclusion is

Wilson and Fazenda (2013)

- Objective measures of sonic quality (including dynamic range) are related to subjective impressions, and also to emotional impact, subjects preferred less compressed versions of songs o Objective measures of sonic quality means they know, digitally speaking, they've reduced the dynamic range of a song. Same song, but a compressed and non compressed dynamic range o subjective impressions meaning it feels richer to people - When the music has a richer soundstage, a greater dynamic range, it might be more emotional for those people who can detect that o Not gonna be everyone, but this is why when audiophiles talk about this they use very emotional terms to describe the experience - With the loudness war, there's this idea that people love it when a song is compressed bc there's a lot of impact and it sounds loud o Well apparently not; subjects in this study liked it better in the fuller dynamic range as opposed to the compressed dynamic range

Music in advertising functions to:

- Orientate attention o Get ppl to pay attention to tv or the message that is about to occur - Cue appropriateness o ex: If the market they're trying to hit is younger and hip hop oriented, they're gonna play music to cue that market's attention to tell them this is the kind of product that is appropriate for them - Aid in heuristic processing o Ex: if ad is for something meant to be gentle, they will play gentle music - Serve as a mnemonic device o Musical phrase that helps you remember and recognize the brand going forward o Ex: like a good neighbor, state farm is there

studies find far more songs in minor key today than in 1960's

- Other study that came out at same time as Komarova et al (2018) didn't look at the lyrical content as it changed from 80s-present, but it looked at the musical modes as they changed from the 60s-present - Found that songs today are significantly more likely to be written and composed and performed in a minor key compared to the 60s, which would possibly suggest a sadder but danceable musical landscape

Audiophiles

- People who place a high value on sonic quality o they claim to be able to detect very subtle nuances in sonic richness, and they care about that difference o They probably can discern the differences they claim to hear, though they might exaggerate that a bit - Not only can they detect differences in sonic detail, but they care about it a lot - Can tell differences between a compressed version of a song vs one with more sonic richness compared to normal ppl o Even though its same song, they feel its a better song if they get a greater sense of sonic richness - Audiophiles are willing to pay more for the differences they claim to detect o In order to be a true audiophile, you have to spend tons of money on equipment to hear the best sonic quality - 'Audiophile' becomes part of self identity, and may contribute to self-esteem subculture

Music can alter brain functions because neural circuitry is highly adaptable to changes in the environment, a characteristic that is known as 'plasticity'

- Plasticity can account for changes that are observed in brain following music training, or effect of music therapy for patients with degenerative diseases like dementia - Plasticity is the idea that your brain can change by growing and adapting - Music is not gonna fix dementia or alzheimer's, but it can improve your quality of life and it can improve some cognitive functioning - It's not as though listening music is gonna necessarily fix damage from, for instance, a stroke, but plasticity is this idea that your neural circuitry can if not always repair itself, and it can adapt o if you have a stroke and part of your brain structure has been destroyed, your brain can find ways around that damaged area - The brain can grow and its neurological passages can adapt as needed, and music can help do that by changing the way your brain functions - Idea is that playing music and learning the intricacies of how to read, play, and performance music has neurological benefits

Dillon (2004)

- RA nursing students to take math tests with either relaxing music or no music o Not prior to test while they study, this was actually while they took the test - Those in relaxing music conditions indicated significantly less anxiety, but there were no differences in test performance o This finding is very common; they say they felt less relaxed and there's less physiological anxiety indications (HR), but it doesn't always translate to performance

Komarova et al (2018) found song lyrics are sadder (but more dance oriented) since 1980's

- Said happiness and brightness are going down and sadness are going up, but at the same time music is becoming more danceable and more party like - Public seems to prefer happy music even though more and more unhappy songs are being released each year o Musically happy, but lyrically unhappy o Doesn't mean pop music hasn't become more upbeat tempo wise; while it's become a more clear mirror of the social media dystopia we live in, pop music has become easier to dance to. Part is that due to influx of electronic music and the slow death of guitar-centric music - "People want to forget it all and dance"

Music in film can take various forms:

- Score (background music) o Soundtrack to movie o Can be orchestral, but doesn't have to be - Pop songs that appear on the soundtrack o Characters themselves don't hear it o Meaning we the audience hear the song and recognize the pop song that we have possibly heard before - Diegetic music o Characters in film are actually listening to it (like in their car stereo) o Music exists in their world o Ex: American Graffiti is all diegetic music, its wall to wall music, but everything you hear is music coming from car radios, etc and stuff that the characters are experiencing and stuff we are experiencing along with them ex 2: baby groot in opening scene of GOTG 2 movie

People buy more expensive wine with classical music; more holiday purchases with holiday music, seems like a 'mozart effect' or 'priming effect' at work

- Some studies find that people's actual shopping decisions can be influenced with music - Mozart effect: we associate classical music with elegance and refinement, and so if i'm listening to classical music (that i didn't put on myself) i think im elegant and refined bc im listening to this classical music, and an elegant person like me would spend more money on nice wine and not be cheap - Priming- playing french music stimulates french wine sales, and playing German music stimulates german wine sales (like in trader joes how they have their wines separated by where they are from) o Examples of consumer choice being manipulated by commercial setting

Ripping at 128kbps used to be the CD quality norm; now it might be 320kbps, for audiophiles, uncompressed forms like FLAC are preferred

- Standard in the 90s was 128 kbps - Argument was, if you're taking an 80 megabyte wav file and reducing it to a 4 megabyte mp3 ripped at 128kbps, it should sound exactly like it does on the CD you ripped it from o Not everyone believed that (prof didnt), so it was frustrating when that was the standard rip rate - with storage and internet speed not being an issue, now you don't worry about size of song files and it would never occur to you to think about that

Panskepp and Bernatzky (2002) stripped 'distress frequencies' from dramatic song and found stripped versions had less emotional impact

- There are distressed frequencies in the human vocal range. These are certain frequencies ranges associated with things like crying, shrieking, howling, moaning; they suggest emotion - Researchers took a Meatloaf song loaded with over the top emotion, and they had two versions of that song that were supposed to sound the same as far as subjects could tell o For one half of subjects, they listened to song with all the frequencies in the full range of vocal expression o For other subjects, there were some frequencies that were missing and had been stripped out. It's not gonna sound way different, but you're missing information that is particularly associated with emotions (the distress frequency) - They found that the stripped versions had less emotional impact o Making the case that things that have more of the information in tact might have more impact emotionally

Creating music, generally, in association with self-confidence, self-esteem, and teamwork oriented developmental goals

- There is a ton of research that shows creating music (learning to create music and playing in an ensemble/band) is generally associated with self confidence, self esteem (know you can do something that required a lot of work), and if you're in an ensemble, it develops many teamwork goals o All of these should be at play with hip-hop therapy - Costa-Giomi (1999/2000)

Third Person Effect

- Third person effect in a nutshell: we tend to think we are not particularly affected by content bc we are more durable human beings. We are concerned about those ppl in the great unknown - Not talking about effects of the lyrics per say, but our perception of effects - Similar to priming, it is a robust psych theory, we tend to think 'harmful media' affects other people more than it affects us - Basically says i myself am the first person (charles). You, comm 179 students, are the second person. We have some relationship. The third person is the amorphous glob of humanity outside there in the world, the vast unknown community of world citizens that i don't know anything about o Sense of social distance; i have a little bit of social distance between myself and 2nd person, but i have a lot of social distance between myself and the outside universe of the great unknown - We are less affected by people who are more socially distant from us - used media violence concern as ex - we aren't concerned about the negative impact of lyrics on ourselves, but we sometimes are concerned about the impact of those negative lyrics on other ppl particularly if these are ppl we know very little about (the 3rd person)

Meta Analysis by Gold et al (2006) reduced the whole universe of research on music therapy and autism to 3 usable studies with a grand total of 24 subjects (not a lot)

- Though limited, this review found that music therapy interventions were superior to 'placebo' treatments (aka a control group that does something that is not music therapy) in terms of verbal and gestural communication measures/skills - Autistic kids have a problem with communication skills and social interaction, so this is suggesting that music therapy (in the few studies that exist) can improve their performance in those dimensions

Audiophiles have their own internal opinions with vinyl versus CD battle (regarding science/technological ability to capture 'warmth')

- Vinyl albums are said to convey musically, warmth and emotion o They have some disadvantages though; gonna have service noise (hiss and crackling), distortion from needle o Back then in late 80s, if you played a song on a a vinyl and a CD, the vinyl had a greater sense of warm and emotion, and the CD sounded a bit more sterile o As CD and sampling tech improved, you didn't have such an obvious distinction - CD said to be revealing, less distortion o First generation of CDS in the late 80s, technology wasn't great. Next generation was much better, but in first gen people thought CD's didn't sound as good as Vinyls o Prof thinks with respect to CDS and digital things, the digital version is better than the vinyl version and if you want warmth and miss crackling and distortion, you can add it in the post production to give a retro feel

Music Therapy

- Well researched area as it maps onto important mental and physical health issues, findings are consistently positive across a diverse array of health and wellness domains o It's a bit difficult to tease out the actual effects bc for most of these things, you can use music therapeutically yourself where you are your own therapist, but here they are usually talking about professional therapists - These professionally guided programs aren't just music; usually music plus some kind of activity - If a program has positive effects, you don't necessarily know it was the music part. Can't get a clear picture of music's effects, but it seems to be rather positive as a whole

There has been a significant trend towards mixing with a deliberately narrow (compressed) range of frequencies because the ear hears that as louder (loudness war)

- another concern for audiophiles - Dynamic range is lows to highs, how much clarity, the size of your soundstage - Over time throughout 80s and 90s to now, theres been a tendency to try to fill up that soundstage - pic of song by michael jackson loudness increase over the years on pg 129 - audiophiles say loudness war is damaging the sound quality of modern CDS o New tracks are louder, which changes clarity and drum punch effects o Problem is not the loudness, but the overuse of dynamic compression o The solution is loudness management or normalization - Loudness normalization brings up quiet songs and brings down loud ones so no matter how much or little dynamic compression a song uses, it will sound at the right volume compared to everything else, the volume the listener chooses - Says loudness normalization will bring more choice of how much compression they want for the loudness to listeners, artists, and engineers alike

Coyne & Padilla Walker (2015)

- conducted a series of longitudinal studies examining the exposure, and later attitudes while controlling for initial attitudes (this helps address 'causality' issue) - Looking at three types of lyrical content: aggressive content, sexual content, and prosocial content (being nice to other ppl kinds of messages), and they're gonna see if that corresponds to behavioral outcomes: o to what extent does the aggressive content map onto aggressive behavior? To what extent does sexual content map to or predict age of earlier sexual experimentation and number of sexual partners? To what extent does the prosocial content indicate prosocial behavior? - There were 6 data points total. Subjects were observed over a several year period, which allows you to make observations about pre existing levels of aggression, attitudes towards sexuality, etc. then you can use preexisting data as a control variable. o Controlling for initial attitudes, which helps them make a stronger case for causality. Otherwise they could have had a directionality problem that would have been hard to get away from. - Had a lit review to establish a level of concern that may be reasonable to have.

Martino et al (2006)

- correlational study used in Coyne & Padilla Walker (2015) section on sexual attitudes and behaviors - degrading lyrics exposure is a very significant predictor of sexual attitudes and behaviors, even controlling for 18 other variables - Observed subjects over long period of time (2-3 yrs), measured pre existing behaviors of teens the first time they had contact with them and then tracked the kinds of music they listen to (asked fav artists, albums, songs), content analyzed the persons music (listening to music with a lot of sex content and vise versa) and looked for any correlations o Got a sex diet score, and looked at two outcome variables o Their dependent variable/outcome/measure was earlier sexual experimentation o They noticed that if you look at how much non degrading sexual lyrics these kids listen to, that is NOT related to earlier sexual experimentation o They made a distinction between degrading and regular, non degrading sexual lyrics - They noticed that the extent to which these teens listened to degrading sexual lyrics is extremely related to earlier sexual experimentation o This study is saying it's not just sexual lyrics per say, it's what the authors consider to be sexually degrading. - This study tracked them over a long enough time where you can control for pre-existing attitudes and behaviors, thus hinting more strongly that it's probably causal. But they also control for 18 other variables, all of which might be related to earlier sexual experimentation, and they take those variables out of the mix as well

Sub-Areas for Music Therapy

- elderly - autism - acute anxiety - "At Risk" youth music therapy inventions

Schoeffler & Herrer (2013, 2016)

- finds that subjects have a higher 'overall listening experience' measures if music has higher audio quality - They will play ppl various songs in one sitting, for some ppl they are gonna be ripped at 128 kbps and reduced in quality, and the other ppl are gonna listen to songs closer to the original format in its full FLAC or wav format o People describing that experience more favorably in conditions where the music is a bigger file; essentially more information to hear

Dixon and Linz (1997)

- found that subjects found sexually explicit lyrics more 'patently offensive' (legal term) if associated with rap than with rock - Subjects were given lyrics to listen to that were sexually explicit, and then they were asked to indicate how patently offensive are these lyrics - They found that those exact same lyrics were considered to be more patently offensive if they were told these lyrics were from a rap song, versus those same lyrics if they were told they were from a rock song - The heuristic processing aspect of that is if i think that i might have a negative association with rap, i might think that it an antisocial genre, so i'm more likely to regard the lyrics as being dangerously antisocial or harmful if they are in that genre rather than if the genre is described as being rock

Pond et al (2011): content analyzed lyrics changes over time to see how hit songs mapped onto perhaps changing socio cultural landscape

- graphs on pg 107 - Looking at popular songs that made it to top of charts, and used that to get a sense for how these lyrics map onto socio cultural changes that occurred across that timeframe - Consistent with hypothesis about socio cultural landscape changes since 1980. very significant trends were noted with respect to 'me' vs 'we' orientation, 'social' vs 'antisocial', and 'positive emotion' lyrics - Originally had pessimistic assumptions about the sociocultural landscape as it changed from 1980- early 2000s. Perceived that across that timeframe, we increasingly got more antisocial as a culture and more "me" oriented" as a opposed to "we oriented" - Declining frequency trend in positively associated emotion words like nice, love and sweet, increasing trend of frequency in antisocial associated words like hate, kill, and fork - For social processes, they started with the assumption with us becoming more me rather than we/us oriented, and they looked for words they considered to be we oriented. They saw these as declining in terms of thinking of the collective o 1st person singular words tended to increase; words like I, Me, Mine - Study uses lyrical content as some kind of indicator of a sociocultural change; not saying that the lyrics are causing that sociocultural change, rather they used lyrics across time frame as some kind of indicator of that change

Greitmeyer et al (2012) found exposure to pro women lyrics caused subjects to hold more positive attitudes on measures pertaining to sexual harassment, attitudes towards women, hiring females candidates, etc:

- in this study, while subjects in waiting room, they have music playing - For one condition, the lyrical content is explicitly pro women and female empowerment - For other condition, its not, just random other stuff - Dependent measure in this study is a variety of attitudes towards women that are gonna be measured: o Sexual harassment + If i've been listening to the pro women lyrics, im likely to be more sensitive to issues pertaining to sexual harassment. It's as though the lyrics subconsciously are causing me to be more pro women in that kinda attitudinal domain o attitudes towards women + Ones holistic evaluation towards women regarding their roles and capabilities o Hiring female candidates + How likely would i be to hire a female subconsciously? + More likely and enthusiastic to hire a female candidate if i've been listen to pro women lyrics - This is an example where prosocial lyrics seem to seem into someones personal attitudes and behaviors

Tan et al (2007)

- music can interact with a narrative in terms of meaning - Found judgements of neutral character emotions are significantly affected by music that comes either before or after the scene o They had scenes where there's a character and something going on, and the character has some sort of emotional response, but it's rather neutral and you can't read what that emotion is o The interpretation is ambiguous, and they found that subjects interpretations were significantly impacted by the kind of music that accompanied the scene - Listening for clues as to how to interpret the narrative, and music can provide some of those clues

Rentfrow and Gosling's (2003) 'STOMP' (short test of music preferences) model

- survey use to assess people's music preferences - Gives ppl a ton of genres and subgenres (over 60) -Those 60 sub genres clustered into 14 genres of music - Subjects come in, show them genres, ask "how much do you like of each of these" - If there's 5 genres (ABCDE) o If you find that the ppl who like A also tend to like B and C, and don't like D and E, and people who hate A also hate B and C and like D and E, you see a pattern o Ppl who like A also like B and C, ppl who hate A also hate B and C - Statistically, can take that info and it will derive for you a cluster/factor o If ppl who like A also like B and C, there must be some underlying dimension here that combines that as a cluster/genre - In their study, out of those 14 genres that ppl indicated preferences for, they found four dimensions o These 4 dimensions underlie the landscape of ppl's musical preferences o Important to note that this is gonna be different based on how different scholars choose to break it up, different by which country they're doing research in, etc. other studies carve things differently + ex: German's clustering Ska (precursor to reggae) with punk metal instead of with reggae

why are there so many great examples where incongruous music is highly effective in some films?

-Consumers get it and like it o We find it interesting and attractive even though it might run counter to the CAM - ex: Reservoir dogs, Clockwork orange, Moulin Rouge, Hamilton - Part of the appeal is irony, which, in our current postmodern cultural landscape, we often find interesting for its own sake o Means we as cultural consumers view pop culture in a certain way and we reward our creative artists for things we find amusing o We tend to find irony amusing, and we like it when things are in some ways discordant. It gets our attention, it's interesting, often illuminating. o We are attuned to these moments of discordance and we reward artists for giving us this kinda stuff - Anderson (1998)

Coyne & Padilla Walker (2015): violent/Aggressive behaviors

-Content Analysis: o At least 15% of music videos contain aggression, but twice that for rap and heavy metal videos o Nearly 25% of rap songs contain violence against women or misogynistic lyrics - Correlational Studies: o Listeners of lyrically aggressive music typically have more aggressive attitudes (higher level of trait aggression) o We don't know if the aggressive song lyrics caused them to adopt aggressive attitudes and behaviors or the other way around. That's a problem with correlational studies. - Experimental Studies: o Exposure to aggressive lyrics is associated with increased aggressive thoughts, even when controlling for aggressive texture of music (priming) + This would be priming bc you're looking at what thoughts are occurring to you as you listen to this o It is saying that something about the lyrics have an effect, it's not just a music texture effect - pic of findings in notes pg 102 -Their own findings on aggressive attitudes and behaviors: o Controlling for all kinds of other stuff, they found that the more adolescents listen to aggressive content, the more aggressive they are, and that's probably causal. Seems like there's a causal effect there. o They can say its prob casual bc they did such a good job controlling initial levels of aggression o Also, the more aggressive content they listen to, the less they engage in prosocial behavior

Music sampling/compression ('lossy') protocols reduce size of music file significantly: are you losing 'hearable; info in the process?

-Depends on how well you can hear - If capacity and storage is an issue and if transfer times on internet are an issue, you have huge incentive to get these files smaller o This is where mp3 protocols come in. - Mp3 is a sampling and compression technology that takes an 80 megabyte song and condenses it to maybe 4 megabytes o You have lost 76 megabytes of info somehow, but the idea is (and audiophiles don't believe this for a second) that the protocols are so adroint that they're getting rid of stuff you can't hear or don't need anyways o Taking a song, sampling the important parts on the wav form, and using that sampled info to guess at what info was possibly taken in the process. Your eyes fill in the rest and you don't notice what you've lost - Basically, to make the files download faster, the song is condensed into less megabytes, which makes you lose some of the sonic quality perhaps (companies don't think you need these extra megabytes-- lossy) o called lossy bc you've lost something, and the question is did you lose hearable info that you actually miss?

Creech et al (2013)

-Elderly subjects who participated in music-making activities (minimal, unsophicated music activities) scored better on o identity and agency variables + I'm comfortable with who i am,i know who i am and i can take take of myself, im in control of my own destiny o Social affirmation indicators of well-being (compared with others similar non-musical community activities like book club) + Meaning they felt more connected with other people and less of being a social isolate - Music making group was compared to a contrast group of other residents who did something social but it wasn't music oriented

Meta-analysis Garling & Owen (2006) of 32 studies on music and its impact on consumer behavior in stores and restaurants:

-Findings: o Familiarity with music, in addition to customer liking the music, has a positive effect on patronage o The mere presence of music in a store has a positive effect on patronage + We are more likely to go into a store and feel comfortable there if there is a musical backdrop to it o Slower tempo, lower volume and familiar music results in subjects staying longer at a venue (and spending more) as opposed to when the tempo or volume are high, or the music less familiar o When music is faster, volume is higher, or music is less familiar, you're more likely to move along. Not to say you're gonna have a bad shopping or dining experience, but you're not gonna linger as much o In some settings, they want you to stay and spend money, other times they want to move you along and open up tables

Ballard et al (1998)

-found something similar to Dixon and Linz; if source of lyrics was identified as rap or heavy metal, subjects were more likely to find it offensive - Combined different genres, same kinda lyrics as other study (offensive lyrics allegedly coming from various genres). - If it was rock or pop, it was deemed to be less offensive. If the genre was designed to be rap or heavy metal, it was perceived by the subjects as more offensive - Heuristic processing model is a short cut; its helping me figure out how offensive are these lyrics to me, and i'm using the genre's reputation as a way to formulate my opinion

Thompson (2013) on GS: 10 things about music therapy (receptive, or active) that make it well suited to well-being effects

1. Ubiquitous, thus customizable to oneself: - You can take it with you anywhere, can do it on your own without a doctor (car, phone, etc) 2. Emotional - Connected to a lot of important emotions that map onto wellness issues 3. Engages various mental and motor neural processes - Has a tendency to connect different aspects of your neurological self and connect them in a way that might be more coordinated, which might have benefits 4. Distracting: - With anxiety, can get your mind off what is causing the issue 5. Physical, requires coordination - Sometimes useful in conditions where ppl have physical diseases like Parkinson's that make it difficult for ppl to coordinate their walking. Built in rhythm of music exercise part of brain where motion is important 6. Ambiguous: - No necessarily right answer to what the music means, creatively interpretive and in that sense we can find a more personal connection 7. Social - Might do music with other ppl, listen with others or make music with others. Creates an imagined social relationship with singer as well 8. Communicative: - Helps us find better understanding of and channel emotions. brings out the communication in us and others 9. Manipulative: - Can control what we do, for instance, like in music in consumer settings like stores or malls produces consumer behaviors. Different kinds of music can produce different types of consumer behavior. Faster music makes you eat and move along faster. Sometimes they want you to linger, so in a store you lose track of time. Music can control behavior in ways that might be constructive 10. Personal - My musical world defines me and i'm gonna adapt the playlist of my life's journey to myself. Customizable to who we are, not a one size fits all experience

Guest Lecture: Brainwork and Music; How Music Affects Mental Activity

all info on pages 108-113

Dimensions used in Rentfrow and Gosling (2007) study on musical preferences and stereotypes

- 'Big Five' Personality index: o Extraversion: how outgoing are you, how much do you like to be around other ppl o Agreeableness: to what extent do you what to be in agreement w other people versus confrontational o Conscientiousness: how much do you adhere to various responsibilities and obligations o emotional stability: are you moody/not moody o Openness: how open minded you are about trying new things + Researchers used the big 5 personality test to ask subjects, ex: "consider heavy metal fans. How do they array on these 5 dimensions.." - Another dimension: personal qualities: Artistic, athletic, physically attractive, intelligent, religious and political orientation o Would ask subjects "imagine a typical classical music enthusiast. How athletic, physically attractive, intelligent, etc are they?" - Another dimension: drug preferences and usage o Ex: someone who goes to a lot of raves and listens to EDM probably likes to do ecstasy o Ex 2: ppl who like rock probably drink a lot of beer - Another dimension: Rokeach value systems: Ranking of 18 'terminal values' (desirable end states.. E.g., world peace) and 18 'instrumental values' (desirable behaviors for achieving end state.. E.g. imagination) o Terminal values: things you think are desirable end states (world would be a better place if we targeted these things, ranked) o Instrumental values: what are things you should do towards achieving some of these desirable end goals, ranked o Value system ranking suggests some ppl value things more than other things. Way to measure ppl's personality differences in terms of how they rank certain values

Fleischer (2015)

- Addresses the problem of abundance in digital world - Says abundance of something can be a problem in a way; creates a type of inflation - Idea is now that we we have an infinite amount of songs at our disposal at any point in time, it's possible that any one musical experience counts for a little bit less than it would have otherwise counted - Implications on the emotional meaning of music: it's possible that in the universe of plenty, any one song/album has a little less emotional impact that it might have had in a different era o a type of inflation

Collectivism

-you think you should be patted on the back for being open minded, but if you prefer all types of music equally, suggests you don't have a strong understanding of genre o Having no preference to music suggests you don't know a lot about music

the threat of commodification on subcultures

- Always a threat that all subcultures have to confront and deal with - For all subcultures, Initially there's gonna be some style requirements that might be hard to achieve, but then about a year later there's gonna be a shop at the mall selling punk/heavy metal/goth t shirts - At some point it gets too easy to join the subculture, and when that happens the subculture raises it's barriers and makes the style requirements more difficult to achieve so posers can't feel belonging to the subculture o Ex: some punks putting safety pin in their cheek, represents a significantly different level of commitment to the subculture

A Cultural Studies Approach to the Antecedents of punk music subculture (based on Hebdige, 1979

- Anecdotes of punk music subculture (based on a book by Hebdige, 1979) - Subcultures deal with the threat of heavy commodification o style requirements, etc - discusses history and implications of subcultures - each subculture lead to/influenced the following one o Beatniks o Teds o Mods o glam rock o punk

Larsson (2013): Heavy Metal subculture

- Authenticity in heavy metal subculture involves a certain irony, celebrating a refusal to conform to societal norms (as with all other subcultures) and yet a requirement that heavy metal fans conform to subcultural rules o Not purely nonconformist; you're just conforming to the subcultures rules as opposed to mainstream societal norms - Talks about the requirements to be apart of the heavy metal subculture o it's a package deal; buy the records, dress like a heavy metal fan, listen to the music, go to concerts, drink beer and have fun. Not just putting a Motorhead t-shirt on saturday nights - Very alert to 'posers' o Dont welcome posers into their subculture - Subcultures function in some ways as alternate 'families' and facilitate a path for personal growth/expression that may not be otherwise supported o These subcultural themes may well provide social support which have a certain sustained perseverance that you can draw upon later in life o never truly alone, can always count on your subculture

Optimal Distinctiveness Theory (Abrams reading)

- Based on evolutionary psychology; represents impulse to balance assimilation and distinctiveness needs o Says there's a certain amount of tension in our social identity world - Assimilation: On one hand we want to belong to a group/tribe, want to assimilate and be like ppl who are in our in-group, i might change my behaviors/attitudes to better fit in with my in-group - At the same time, we have an impulse to distinguish ourselves to show why we are unique and individuals o Social identities process involve of a balance of fitting in with a group but at the same time managing to establish some sense of idiosyncratic/individualism - People may change their behaviors to fit in People also try to distinguish themselves while still fitting in to maintain individual identity

Having a 'music' in your group legitimizes group vitality

- Charles explains a lesbian couple he knew had a lot of lesbian artists in their record collection and he said it suggested that the couple was looking for some group vitality (KD Lang, Dusty Springfield) o Collecting and supporting lesbian artists as a way to support their group's vitality - Ex 2: jewish culture having its own music supports jewish vitality

Kokal et al (2011) study

- College age subjects who drummed synchronously with other person showed more 'reward-oriented' neural activity during activity and more altruistic behavior (directed as partner) afterwards o Had a subject come to the lab and was paired up with a confederate. This subject was going to drum either synchronously or asynchronously with the confederate - Drumming synchronously was more associated with a reward neural activity, more pleasurable things (suggests brain is happy and being rewarded) - After the study, they had an opportunity to help the confederate to be altruistic.. More likely to be altruistic to the confederate if they had drummed synchronously than if they had drummed asynchronously

Subcultural capital

- Cultural knowledge and commodities acquired within subculture to elevate individual status, and emphasize differences/uniqueness as a group - This is basically anything that's gonna elevate your status within that subculture or fandom community o I have higher status in my subcultural community if i, for ex, have more knowledge of the subculture or if ive been an active member of that subculture for longer, or if i've acquired actual items that might be hard to obtain o EX: if you're a "Belieber" and you have a photo at a meet and greet with Justin taken backstage, you will gain some capital and elevate your status. if i know someone who knows someone who knows justin bieber, thats gonna elevate my status significantly within the belieber community

Emotional 'highs' (things that could possibly induce chills) we obtain from music translates to more 'altruistic' behaviors and attitudes to people who are around us and exposure to disliked music is associated with selfishness and less generous treatment of outgroups (Maher et al, 2013- ethnocentrism)

- Ex: concerts, people have emotional responses to concert experiences, which they extend that mood/feeling to other concert goers (that they don't even know) around them. Emotional experience creates a bond between you and the other ppl at the concert around you (friends, strangers, a date, etc). Can be quite powerful

some people read 'cultural piracy' into cross-cultural collaboration

- Exploitation or elevation? o If you have two cultures cooperating on a musical product, is it the case that 1 musical culture is exploiting the other? o Or is it elevating the other culture and providing it with greater exposure? -Ex 1: catherine Wallens impersonation of billie holiday; is she exploiting her legacy and lived experience or is she actually opening people's mind and eyes and ears to that type of music that they may not have otherwise had as much exposure to; refreshing and bringing it back in way o Elevating it to some extent? - ex 2: Paul simons collaboration with african and brazilian musicians simon was controversial, but very good for expanding Ladysmith Black Mambazo's reach o Students of Howard University (HBC) said he was stealing the music of the african band . Simon got a ton of backlash o So is he exploiting that culture and stealing it by repackaging it for his own commercial gain, or is there this harmonious hybrid of coming together of different cultures to create something diverse and beautiful?

differences between being apart of a fandom community (being a fan of something) and being apart of a subculture

- Fandom is more focused on a specific product or artist o Ex: harry potter, justin bieber (BelieBERS) o Quite common that a fandom community has a name for itself - subculture ID is more attached to important parts of ones socio-cultural identity (more broad range of things and more holistic experience) o If taking about music, it's talking about a genre of music as opposed to one artist

results pt 2 and graphs from Rentfrow and Gosling (2007) study on musical preferences

- Graphs show predictable stereotypes... but are they accurate? o For the 4 smaller groups, they take the one with the strongest stereotypes (ex for reflective and complex genres, classical music, .40 mean, intense and rebellious rock .33, upbeat and conventional it's religious .50, and energetic and rhythmic it's rap with .30 ) - Simplified it with only 4 groups to make the case that a lot of those stereotypes are predictable - Personality Chart: o extroversion: who are the most outgoing: rock and rap are the most extroverted, classical music ppl are the least extroverted. Religious are in the middle o Who is the least open to experience: religious music. Most open to experience: classical music (surprisingly) + shows that yes, there are certainly stereotypes we adhere to that seem to map on to our predicted sense to what ppl's musical preferences might map onto - Personal qualities chart: o Most perceived to be conservative: classical music and religious music ppl. o Least conservative: rock and rap o Most religious: religious music ppl o Who is least athletic: classical music o Most artistic: classical music ppl - Since subjects completed all items except 'drugs' and also indicated their own preferences, R&G can see how well 'stereotypes' match 'actual'. Not perfect, but decent match o Now assessing myself (subject), not imagining and rating a hypothetical other person o Assess own big 5, take Rokeach values, + They already know my musical prefs from earlier part of subjects, so now researchers are looking at how accurate the stereotypes are + Ex: im a huge heavy metal fan. They know how i score on big 5 and Rokeach values, can map the stereotype onto the reality - Findings not perfect (fewer significant findings than stereotype research) but accuracy is still not bad o Ex: stereotype of blues, classical, folk enthusiasts is pretty accurate - A few gaps, but on the whole still suggests the fact that we not only have stereotypes, but stereotypes tend to be tolerably accurate Rentfrow and Gosling (2007) demonstrate that music does contain some accurate 'impression formation' information o Found that stereotypes are not wrong by much - pic of graph on pg 47 of notes

Punk was set against against a backdrop of rotten economic circumstances at the time

- Had a ton of white and black kids in america and england who felt disenfranchised and considered themselves to be throwaway youth o That maps onto their subcultural identity and to their fashion. The thinking was that since you consider us as throwaway and garbage youth bc we have no real future with the economic circumstances being what they are, we are gonna dress like trash o Feeds directly into their look; idea that clothes and garments are gonna be cobbled together from various fabrics that are stitched together pretty awkwardly or stitched together with safety pins to look like they trash they consider society regards them as - Fashion statement maps directly onto the ideology that showcases their movement and socioeconomic conditions in which they live o it's very much a DIY ethos represented by the punk music explosion and subculture o DIY= do it yourself. We make our fashions and music ourselves. We can make our music ourselves in our garage, we don't have a studio, we don't need record labels or industry support o A self sustained identity; we are doing it all ourselves ideology

Zillman and Bhatia (1989): Experimentally manipulated music tastes of potential romantic target

- Had subjects (male and female). For all of them, gave them a hypothetical romantic target o Ex: Gretchen (hypothetical female target) and Steve (hypothetical male target) Gretchen is from Oregon, she plays violin, she's a foodie... and her favorite kind of music is _____ The music genre preference is different for each subject, everything else is the same. used same info for male romantic target (Steve) - Question: how does music preference impact ppl's romantic attractiveness?

Zillman and Bhatia (1989) study results

- Heavy metal preference increased women's attraction for men o If steve liked heavy metal, that increased women's attraction towards him even if those women didn't like heavy metal themselves o They like something about what heavy metal represents in terms of his masculinity o Not liking bc he likes music i like, women liking bc heavy metal represents something attractive as a boyfriend - Guys like girls who like classical music o Men more attracted to Gretchen if she liked classical music o Probably bc classical music= elegant and refined, something men look for in female companions - Men attracted to same-taste women.. Women less so o Men played a higher value on whether Grecthen liked the same kind of music they liked, women cared less about this + Indication that men care more about musical preferences in this context than do women - Country music preference decreased cross-sex attraction (but.. These were midwestern subjects) o If Steve was said to be a country music fan, he was less attractive to females. If Gretchen was said to be a country music fan, she was less attractive to male subjects o This study was conducted in Chicago, where country music isn't really popular. If you did this exact study in Texas, you would find very different results for that particular preference as its much more popular in southern states o Study isn't saying this music makes you less/more attractive; saying that some kinds of music depending on the culture and the context, might impact ppl's romantic attraction to you - Study suggests music preferences cue certain types of values, tendencies, and predispositions that impact romantic attractiveness

Interpersonal relationship formation and maintenance: Many 'listen together' and 'play together' factors

- Hormone of Oxytocin is released when listening to music; also powerfully related to human bonding o Listening to music that you like and that you find pleasurable, esp if it's emotionally latent (like that which might give you the chills), your brain releases oxytocin - Sexual experiences and breast feeding produces release of oxytocin o Music facilitates that same hormonally induced bonding experience

Music primes in-group favoritism and out-group disparagement

- If there's already gonna be in-group/out -group dynamics, they could be activated when there's a musical stimulus thrown into the mix o Ex: international soccer events: there is lots of in/out group hostility between fans. Trivialities map onto national identities and they become really big deals, violence often breaks out. Chants tend to proceed violence o You'll never walk alone for Liverpool, once their fans start chanting that song in unison, it ramps up the in/out group dynamics, then people start fighting in crowd - Often the formal, merely symbolic aspects of this function can translate into real-world harms (ex in soccer riots and rivalries)

Drew (2016): 4 functions of the 'mixer': 4. fantasy

- Mixers may facilitate idealistic imagination for creator; (ex; mix tapes you never give to the ostensible 'target' of the mixer) - Idea that you may have this romantic idea of someone you have a crush on, but never gonna go out with them, you might possibly create a mixtape that helps you imagine your relationship even though you're not gonna actually give the mixtape to that person - Same mixer given to different girlfriends suggest non-uniqueness relationship o Guy gave the same mixtape to 2 different girls, he thought they were both personalized and unique, but it was the same songs on both tapes. Suggested to the guy that he has a fantasy about the way things could/should be, but they're not really uniquely catered to one individual girl o There needs to be thought process; curation, you have to carefully think about what songs go on/don't go on to make a mixtape meaningful for another person. Need to seem like you labored over it to create the perfect mixtape just for them and your relationship with them (not just throwing 1000 songs, doesn't sound carefully curated)

Giles (2009) notes that people who are not experiencing positive outcomes from their group membership can do a few things: social competition

- Infusion of more overt socio-political overtones into music, lyrically or otherwise - Now this musical style is not just a musical style enjoyed by your group, but it maps directly onto whatever sociocultural experience is important to your groups o If there's lyrics to the music, they can emphasize to a greater extent overt socio political themes - In genres that typically don't have lyrics (i.e. jazz)... o Ex: miles davis album, only instrumental, but album artwork embraces african themes o Marketing of the product is drawing on african themes that the african american jazz community wants to emphasize o Ex 2: Miles davis album from 1973, example of social creativity. Has cartoonish african american stereotypes, seemed racist but it's his community's doing; deliberate way to reclaim stereotypes of in-group. Celebrating them instead o Ex 3: jazz artist keeping hair in afro to celebrate african culture - incorporating it into your look-- like bob marley with dreadlocks and red, green, and yellow flag o Got overtly political in 70s, reflected not just in lyrics but in his looks - Social competition: incorporating overt socio political themes into your marketing and your "look"

Vocals have 'human' timbre because they are produced by humans, and thus convey 'human' emotion

- Instrumentation that is closer to the human voice are more able to convey emotion - flutes and clarinets have a certain emotional capacity that other instruments maybe have less of - No instrument has more of a human timbre than the human voice o Again, telling us that there is a human here; maybe there's a sense of wanting to connect socially with that human as opposed to if that same melody was played with an electric guitar or sax o Maybe not the content of the lyrics, but more so the fact that they are sung by a human

Music can interact with social identity in various ways

- It can signal your non-musical social identity to others (ex: a countries national anthem and klezmer music-- traditional Jewish music) o Music can signal other parts of our social identity (i.e. our ethnicity/ religion) - Music can allow us to defend threatened social identity (maybe an ethnic group defending their social identity) o Ex: if i feel my community (i.e. my ethnic group) is threatened/ disrespected, i might gravitate to our music (the music that represents my group) in such a way to defend my social identity o Not just celebrate it, but to also bolster my allegiance to that cultural identity - Music can BE the social identity (ex- music subcultures)* o Ex: heavy metal fan, part of that subculture which is apart of my social identity - Music can be a unifying bridge across social identities o Sometimes you might have your in-group as a part of your social identity, then there's the outgroup (different social group that you're not apart of) who you erect barriers from your ingroup o But sometimes there can be a cross-cultural pollination where something about their musical context maps onto your musical context, and you have a bridge being formed between the in and out groups o Finding common ground as a consequence of some sort of musical hybridization

By the end of the 1960s. Mod movement had run out of steam and bifurcated (went in two directions) Downward led to skinhead subculture

- Late 60's -Inverted the mod movement from over hyper stylized back to the basics - Not just fashion for the sake of fashion, meaning behind the change in dress o Reclaiming their proletarian, working class identity - Doc marten boots and suspenders/dungarees o What factory workers would wear o Shaved hair very short - In a way, the mod movement was inverting upon itself. o Whatever we did in the past (conspicuous over adornment and hyper stylization), now we strip this sucker back down to basics o Notion that part of the mod subculture was heading in that proletarian direction - band to represent skinheads was Slade o We know this bc of the uniform they wear; suspenders, rolled up dungarees, doc martens boots,

glam rock subculture pt 2

- Leaders and heros of glam movement and subculture were david bowie and even more important to the movement at the time Mark Bowlin of the band T Rex o If you take those guys out of the mix, it's hard to imagine this subculture surviving - David Bowie - represents a different persona on all of his albums o This was a problem for glam rock subculture. it's difficult to sustain your subculture when you have these leaders who are always changing their identity - Both Mark Bowlin and David Bowie started out as mods but then became leaders of glam subcultures -Glam movement flame burnt brightly but pretty briefly in the early 70s - Glam rock was derided as 'escapist' o In particular, david bowie was projecting this other worldly image, wasn't interested in engaging real life circumstances but instead wanted to create this alternative personality o Almost encouraging glam rock community to do the same in not engaging your world socioculturally, but instead imagining yourself in this alternative, fantasy identity + Reason some cultural scholars consider glam rock subculture as being less authentic and less socioculturally important than previous subcultures like the mods, teds, or the punk movement - Seen as magical, outrageous behavior and fashion that "shocked the world" Intent to shock in glam rock - Part of the aesthetic impulse of the glam movement was to be a little bit outrageous, which is gonna lead into the punk story.......

Musicians playing together, particularly smaller ensembles and those involving improv (ex Jazz ensembles) rely on non verbal cues and mutual gaze (eye contact) to coordinate activity; this contributes to interpersonal attraction and mutual trust

- Lots of nonverbals, fosters a reliance on nonverbal cues, and in order to read someones nonverbal cues you have to know them very well - Ex: late Rock/classical musician, frank Zappata. In his ensembles, he used a ton of non verbals (ex raising eyebrows, cocking head, and others in band supposed to know what these mean) o Suggested not only turn taking behavior with regulators, nonverbals also actual communicated compositional information (ex: raising left shoulder meant for keyboardist to play a certain type of low note o Notion that smaller ensembles/bands are reliant of nonverbals of partners

Appeal of lyrics/vocals + music has to do with a variety of things:

- Lyrics cue themes; 'vocals as adage' (Harwood 2016), we seem to value parsimony -Vocals invite participation - Stories (including moral education); we are 'homo narrans'- a type of species that is super alert to storylines (Niles 1999) - Vocals have 'human' timbre bc they are produced by humans, and thus convey 'human' emotion - Vocals (when set against a musical landscape) have a rhythm that can interact interestingly and attractively with music's rhythm ('phrasing' is relevant here); music and lyrics may feel mutually despondent

apart from how music may convey a cohesiveness amongst a group of 'knowable' people (peer groups, friends), it also contributes to a 'special identity'...your sense of belonging to a group so large that you can't actually know everyone in that group

- Music can glue you together as a community of friends, but it also connects you to a group out there of like-minded people (who you're never gonna meet but you know they exist ) and you know you kinda belong to that community - Ex: as a heavy metal fan, many of my friends are prob as well, but i also know that there's also a community of heavy metal fans out there in the world and i'm kinda connected to that abstract group. Might become a part of my social identity. Heavy metal community is my in-group - Maybe not thinking about it all the time, but different parts of your social identity (ex being a heavy metal music fan) can be triggered and salient depending on the circumstances o Such as when a famous heavy metal artist dies, you feel that part of your social identity and you feel affected by this deeply and mourn with community of heavy metal fans; activates salience

Music that blends familiar and unfamiliar musical cultures increases willingness to accept and appreciate the unfamiliar (EX: Los Lobos-- rock and traditional mexican, also indian instrumentation in some 60s pop songs)

- Natural exposure to musical hybridization, not so much the forced interventions with kids o In the real natural world you might experience this sense of musical hybrids, which can give better understandings of others cultures o Ex: prof in LA in the 80s into the punk scene. Los Lobos were on the scene, mixed mexican music and sorta punk. Prof developed an appreciation over time of that music because they were on the fringe of the punk scene. Sometimes did mexican music, sometimes punk, sometimes hybridization of both. Prof was able to embrace it and their culture bc it was mixed in with the punk that he liked o Ex 2: in the 60s, some pop bands (beetles, rolling stones, kinks) would explore indian eastern instrumentation in some of their pop songs. Having exposure to that growing up, the prof has an interest in traditional indian music bc it was blended with pop music he grew up with; invited him into that culture

Heuristic Processing Models

- Not really related so much to what are the effects of certain types of lyrics, but how we understand possible effects - Heuristic means we are taking short cuts; we are using other little hints and guidelines in our head to make sense of some body of knowledge or possible set of relationships - One heuristic (hint) has to do with what reputation does a genre of music happen to have - Genres with negative reputations are more likely to elicit perceptions of harm compared with other genres o Ex- Heavy metal may be considered to be more antisocial than pop - Dixon and Linz (1997) study - Ballard et al (1998) - Heuristic processing model is a short cut; its helping me figure out how offensive are these lyrics to me, and i'm using the genre's reputation as a way to formulate my opinion

Witnessing cross-cultural collaboration has been shown to positively impact intergroup attitudes by a number of mechanisms: Provides a model for valuing diversity (Tropp and Bianchi 2006)

- Pop (the beetles) music incorporating indian music while prof grew up, created something you weren't gonna be able to create if the beetles only used the tools they had at hand in their cultural toolkit - Where diversity can be regarded as a plus

results pt 1 for Rentfrow and Gosling (2007) study on musical preferences and stereotypes

- Pretty good reliability for 'stereotypes' across rating categories o Inter-judge consensus (reliability): Researchers looking at reliability coefficients, which are statistical constructs indicating the extent to which ppl agree o Ex: if i ask " what does someone who like jazz like?"do ppl generally agree with respect to Big 5, personal qualities, Rokeach values, drug preferences o Overarching measure which cuts across the other impressions for a mean score - Almost all measure significant overall, overall mean, all significant - Says very loudly that we do tend to have reliable stereotypes for what people are like based on their musical preferences - We agree generally speaking about what someone who likes blues, country, (weird one is soundtracks, missing data), rap, etc - Rentfrow and Gosling (2007) demonstrate that music does contain some accurate 'impression formation' information (one discussed in music pref lecture 2) o Found that stereotypes are not wrong by much

Priming effects

- Priming effects are robustly supported in pretty much all contexts - Basis of priming theory is that your brain is kinda a store house of all kinds of things. Stored up in your gray matter you have thoughts. Almost as if you could take out your brain, you could locate where you have thoughts about specific things. Memories, thoughts, or beliefs that reside almost in a physical space of your brain. Thoughts, Feelings, behavioral responses, memories, etc all are sorta semantically (meaning related) linked in brain o used rattlesnake ex - priming only effects short term, but this could relate to things where people make impulse behavioral decisions based on music they just heard. - If i stimulate one 'node/thought' other, linked thoughts, are made particularly accessible/available for a little while - Issue with songs about suicide or killing may put the thought into peoples head when listening to it o Not gonna be suicidal their whole life bc of a song lyric they just heard, but that song lyric, for a short time thereafter, might make suicide be a possible lifechoice that comes relatively closer to mind

We tend to think of punk as a white youth phenomena, but this is not true

- Punk music subculture represented a lot of cross racial alliance and hybridization between black youth and white youth - More of a sense of inclusiveness -Had poor black and white youth living in the same poor neighborhoods, in other contexts thats gonna create a feeling of hostility and conflict and competition for resources, but in the punk subculture there was a sense of alliance -Sense of being apart of different races, but we are all suffering from the same economic circumstances - Ex: band The Clash is mixed racial, two black guys from a reggae band in the Clash. Sense of unification that existed as an undercurrent of punk movement

parallels between fandom and subculture

- Social engagement o know there are other fans and you relate to them and interact with them socially - Social support o interacting with other fans socially - Creative activities o ex: writing harry potter fan fiction - Social identity o ex: you consider your harry potter enthusiasm to be a very important part of your social identity. It's how you see yourself

By the end of the 1960s. Mod movement had run out of steam and bifurcated (went in two directions). part of it became absorbed into a broader fashion impulse (upward)

- Sociocultural, political, and economic aspects of the mod movement had become secondary to the fashion part of the movement o Whenever that happens and your subculture becomes regarded as a more a fashion statement more than something that is sociocultural significant, chances are that the subculture is on its way out

Giles (2009) notes that people who are not experiencing positive outcomes from their group membership can do a few things: Social creativity

- Reclaim possible negative aspects of group culture as positives o Social creativity: find ways to repair or alter your social identity in such a way that you find positives or possibly take negative aspects of your group culture, claim and own them, and recast them as positive - ...Or altering nature of in-group's relationships with out-group o Erecting subculture barriers: + Jazz deliberately became less accessible to mainstream in 1950s, but in 1960s became even harder to like (as if trying to keep out outsiders) + Was a very african american genre of music and was 'their thing' before becoming accessible to everyone, so they changed to a new type of jazz to try and keep their music exclusive in the 50s (BeeBop, less likable, couldn't dance to it. Couldn't find melody easily) + From a subcultural thing, it meant more to them to erect barrier to keep ppl out so only people in the in-group who understood the culture were welcome o A way to redefine your relationship with the out-group is by erecting barriers to keep the outsiders out +Subcultures manage their survival by erecting barriers if those barriers have become eroded

Rentfrow and Gosling (2007) demonstrate that music taste does contain some accurate "impression formation" information

- Rentfrow and Gosling (2007) demonstrate that music taste does contain some accurate "impression formation" information o Subjects reported preference for various genres, reduced to 14 broad categories (as in STOMP studies); they were also assigned one genre (varied) and asked to indicate qualities they associate with fans of that genre - Study was trying to examine 2 things: o Do ppl have reliable stereotypes for what someone is like based on their musical preferences (do we generally think we know what ppl are like if they have pref for classical music, heavy metal, etc) o How accurate are those stereotypes? + If we think heavy metal ppl are one way, are they actually that way? - First thing, subjects asked given list of genres and sub genres of music, then i say how much i like each of those. Getting a picture of my personal preferences hierarchy o Then they give subjects a genre. Pick one randomly out of 14, then ask subjects "think of someone whose preference is for rap music/classical/etc etc. What is that person like and on what dimensions?"

Rentfrow and Gosling's 2007 study and Interpersonal relationship formation and maintenance

- Rentfrow and Gosling's 2007 study found that we think music prefs tell us a lot about what we are like and what others are like - We think music is a better window to our soul and to other people's soul than TV preferences, literature preferences, and movie preferences, and scores a little lower than hobbies and activities o Suggests we think we can glean some important information about ppl and their preferences o Ex: I have a friend named Lee, do you want to hang out with him, would you like him? You get to ask one question about Lee to find out if you like him and about him. If you only have one question, best thing you could ask is political orientation, but apart from that "what kind of music does Lee like?" contains a lot of information about what that person is like + Hobbies and activities (even more than music) we think tell us a lot about people (graph in notes pg 43)

Ali et al 2008: Happy/Sad and Lyrics/Music manipulated in 2x2 design sometimes in contradiction; music was better predictor for affect than lyrics (so 'happy music' + sad lyrics = happy mood)

- Researchers examining what's more important to the emotional takeaway of a song: is it the lyrics or the musical component? - 2x2 design: had 4 cells (pic of cells on pg 86) - Researchers found that the better predictor of affect/mood was music o If you were in bottom left cell aka happy music, sad lyrics, your takeaway message from that might be happy. - Suggests that emotionally, we are more responsive to the musical component than we are to the lyrical component a good deal of the time - Lyrics on the surface can seem sad, but when you put it in the musical context plus in the context of the person who is singing it, it's a totally different message (Mourassey and the smith's music is prob an example of this)

Super Peer Theory

- Role models in the media are disproportionately influential o Idea is that we have peers that we try to fit in with. Whatever they do, we try to emulate that behavior so we fit in. we look to our peer group for guidance as to what is an appropriate course of behavior. - Some negative effects may come more from role model imitation than lyrics o For example, a lot of pop stars die from drugs/alcohol, and it may be perceived as an acceptable way to go and it is glorified because they are pop stars. They may have a disproportionate influence on our normative expectations. We may look up to them more than our friends and they may be more influential on our behaviors than our actual peers. They are super peers; they are powerful role models o Even if whitney houston is not singing about or glorifying drug use in her music and lyrics, fans may seek to emulate her lifestyle choices regarding drugs - Not so much about lyrics as it role modeling

Music with social identity implications might draw on the group's history; Rap/hip hop incorporates:

- Samples of previous African American artists that are important to the development of that thread of music culture (including early hip hop and rap tracks) o Ex: Kanye West's "Touch the Sky" samples from move on up by curtis mayfield from the 1970s (important black soul musician from the 70s - The rhythmic taunting/boasting of 'the dozens' o The dozens is a basic infrastructure of a lot of rap music, goes back to 1930s o in African american communities, it was common to playfully insult your peers and playfully boasting yourself o Putting other people down and boost yourself up in a playful taunting fashion. If you could do so in a rhythmic and rhyming way, it made you better at playing the dozens oPractice of the dozens filters pretty heavily into the basic infrastructure of a lot of rap music as it was developing + A lot of rhythmic rhyme taunting; some of it playful, some of it not

subcultures

- Seek minority style, interpret style choice as type of subversion or opposition of mainstream value o Subcultures consider themselves to be oppositional to mainstream culture - More alternative culture with their own rules, norms, and values o Some people often categorize mainstream culture as being threatened by subcultures bc subcultures are offering an alternative to the mainstream culture - Defined by 'visible elements' like fashion, manners, slang, and often by less visual ideologies (though often non-definitive, 'punks=hippies with mohawks') o Very importantly to subcultures is that they want to identify who is in the in group and who is in the out group. this is to keep in-group in and outsiders out. o Subcultures erect and defend the barriers of their subculture

Friendship formation, but not dissolution, Selfhout et al 2009

- Some research notes that similar music preferences are important for friendship formation (how you actually find other ppl who you might wanna be friends with), but not related to dissolution o If i'm friends with someone for whatever reason, then i find out they like a type of music that i hate, i dont drop them as a friend o Already formed friendship; we don't abandon friends bc we hate their musical taste, but musical prefs are a useful way to survey a community and say these are the kind of people i might be friendly with bc of shared experiences and probably shared values - Musical similarity is a pathway towards friendship formation, but fortunately doesn't seem to be a pathway towards friendship dissolution - Close friends have very similar music tastes o The closer/more intimate you are with certain friends, the closer their music tastes map onto yours o Suggests there might be shared values that are being communicated or represented by your musical taste

Meaning of lyrics often depends on context or outside knowledge

- Sometimes the meaning we ascribe to lyrics might be wholly self contained o Everything you need to know about the lyrics is contained within that song; that song is the unit of meaning - Other times, there needs to be a broader context or those lyrics are understood differently in a broader context o Maybe in the context of a whole album or maybe those lyrics are experienced differently if you can bring some outside knowledge to bear on that lyrical experience + used Adele and Alex Chilton songs as examples here - The meaning of lyrics often depend on a broader context thats not necessarily outside knowledge, but it could be o ex: the big star band

Sequencing

- Songs appear in a specific order to tell a type of story or narrative o Song don't appear in some random, hap-hazzard way or order; the producer of Big Star arranged the songs on the album to tell a type of story (pg 94 in notes explains big star band sequencing their final album)

study: Subjects were given the task to allocate government dollars to groups-- one of the potential allocations was an 'out-group' aka the 'nomads' in ireland. If the subject were listening to the 'discordant, unliked music' (by Venetian Sisters (Interstellar Narcotics), they would give less money to the outgroup (Nomads) than if they were listening to the neutral music

- Suggests the more im listening to this threatening, scary, unfamiliar music that's disorienting, the more i care more about my people and the less favorably i view/treat out-people (people from outside my tribe/group) - All in all, this suggests that listening to music can prime in-group and out group tendencies o Not thinking about in-group and out-group dynamics all the time, but music may prime my in-group and make me think about my in-group; make me see how i relate to my in-group as opposed to that out-group

Drew (2016): 4 functions of the 'mixer': 1. communion

- Sustaining a relationship challenged by distance/absence o If you're in a romantic relationship (but does not have to be romantic!!) and you're separated by distance, a mixtape is a way to bridge that geographic gulf - this may help distanced relationships when you can not physically be there with someone

In-Group vs Out-Group Dynamic: Teds (Rockers) vs Mods

- Teds and Mods hated one another o Huge ingroup vs outgroup disparagement/hostility that existed between these 2 groups - They represented two generations: one on the decline (teds) and one on the ascendency (mods) and they liked different types of music - Massive, infamous, Mods vs Rockers riots in Brighton, England is classic example of in-group vs outgroup disparagement/hostility o Would beat eachother up and destroy a bit of Brighton in the process, - mods vs teds riots are legendary, got a lots of media coverage o Both are legit cultural threats o Public generally would understand the music landscape at the time as being divided by the rocker (ted) tribe and the mod tribe

How well does music function as a bridge across cultures?

- There is not reliable research support for the idea that mere exposure to an alternative culture makes you more favorably disposed towards that culture - Sometimes the research in this area come from interventions applied in schools where they expose kids from one culture to the artistic products of another culture in hopes that the contact exposure will cause them to regard that other culture more favorably, sometimes its musical cultural products used in inventions o Results not reliably favorable o Simply being exposed to a culture doesn't mean you're gonna like that culture more or understand that culture more

Subcultures erect and defend the barriers of their subculture

- They typically do that by developing visual elements (having a certain type of clothing, hairstyle, makeup, manners, slang) - With slang, its useful to have lingo in a subculture that outsiders don't quite understand, but if you're in the in-group you do understand, and that keeps the outsiders out - Part of a maintaining a subculture is identifying (possibly visually) who is in the in group and who is in the out group and trying to keep the outsiders out o And not making it too easy on the outsiders to peer into your subculture. You don't want them to think they can get into your club very easily

Ample evidence that lyrics, even if we know them, have little or ambiguous semantic meaning

- This is kind of the appeal of music and song o It's not like a novel or a film where they're telling you all the specific things that they want you to know about the narrative; there's a little more spirit of poetry in lyrics that is unresolved and there's some room for interpretation - Room for interpretation for listeners o To some extent, even if I know all the words, it's never 100% clear (not most of the time) what message that singer or songwriter is exactly trying to express. They are giving me imagery and symbolism and snapshots of something, and I'm supposed to connect the dots in a way consistent with my own needs at the time, my own interests, my own perception and my own dispositions

Optimal Distinctiveness Theory (Abrams reading) study

- This study, in relation to music preferences: o Basically looking at what kinds of musical preferences are most important to your social ID/social engagement? + Subcultural engagement - Choices ranged from superordinate to non-rock o Choosing rock music doesn't tell a lot; too generic to engage me socially. Slightly more specifically is saying i like classic rock, but still lots of ppl like that. To get even more specific, choose 60s british classic rock. Now there's enough ppl who like it to where there's a group, but not like a million ppl fit into that club - Optimal distinctiveness theory says there's a sweet spot where your social identity might be more important to you and you're more socially engaged if there's a medium level of popularity. o If it's too popular, it's not much of an interesting club if everyone can get into that club. At the opposite end of the spectrum with super weird and not popular music where it's just me in the club, it's also not that interesting.

Problematic Lyrics

- Various panics over the years pertaining to things with lyrics about sex, satanic, suicice, misogynistic, racist, drugs, (see cannabis article on GS), alcohol, etc, related lyrics - Difficult to tease out 'causal relationship' (as always), but also important to distinguish between 'effect' and 'reinforcement' - To elaborate; does music about weed cause listeners to start smoking weed? Or do people who smoke weed seek out songs and music about weed. Hard to know what causes the other o Answer is typically a little bit of both o It could be a reinforcement effect to some extent. I might have had an interest in weed and been a likely user as a teen, but then maybe bc of that i tend to gravitate towards songs that glorify that lifestyle choice and maybe that solidifies my identity as a weed user, it becomes a bigger part of who i am and maybe i become a greater weed user o you can start off with one predisposition, it directs you towards a certain type of music/musical lyrics, and that reinforces and maybe enhances whatever disposition you started out with - Debate sometimes fails to appreciate consumers' appraisal, and also fails to appreciate potential for irony o So if you are in a subculture or community, for example, if a heavy metal band like Black Sabbath band praises Satan, are they serious, or is that schtick? o in a way, it's just schtick; it's just part of what comes with the heavy metal subculture, this kinda lyrical approach and some kind of iconography. Charles doesnt think a lot of heavy metal fans take it seriously. It's part of the show, but it may not necessarily mean literally worshipping the devil. + Example of how the lyrics may be taken out of context, context meaning the subculture or their intended audience - Critics from outside subculture community often fail to understand subcultural perspective o Lyrics may mean something different to the intended audience, who is an insider, then they would to someone who is an outsider who is trying to understand those lyrics on a more literal platform

We pay attention to music when there are lyrics, even though, lots of research (ex: Donnerstein, 1992) suggests that we (particularly kids) have a really poor understanding of lyrical content

- We all have songs that we have known for a long time but actually don't even know the lyrics - There's sorta an irony here; when there's music paired with lyrics, it gets our attention, but at the same time that's not to say that we fully understand or are paying close attention to those lyrics, we are just attracted by the fact that there are lyrics o We don't understand lyrics nearly as well as we think we do

Lyrics cue themes; 'vocals as adage' (Harwood 2016), we seem to value parsimony

- We don't pay tons of attention to lyrical content and we don't understand it all that well, but sometimes we understand just enough - Vocals as adage (adage means it's a shorthand; you understand a little bit and from there you extrapolate to something greater) o ex: song Ghost on a Canvas - Idea of vocals as adage: we may not know or understand the entirely of a vocal set, but we may understand a snippet, and we use what we understand to then fill in the gaps or connect the dots with the other lyrics - Ex 2: beatles song "all you need is love"; i don't really know all the lyrics, but pretty sure principle message of the song is in the title. Understanding a little bit might be enough, and we kinda value that o We don't necessarily want everything to be spelled out for us in explicit terms; we like the idea that theres a lack of resolution and ambiguity and it's up to us to come up with the message that we think is most suitable

Witnessing cross-cultural collaboration has been shown to positively impact intergroup attitudes by a number of mechanisms: Focusing on 'musician' group identity minimizes the salience of 'ethnic' (or whatever) cultural identity (Cross and Morley 2009)

- When you have in/out group dynamics at work, you're very focused on one social category (i.e. ethnicity), but if you see them performing, those social categories might become diminished somewhat and you see them in a different social category, which is simply that these are musical artists o Ethnicity dynamics and any in/out group dynamics associated with that becomes a background a little bit

Vocals invite participation

- When you hear a human voice, it's a heads up that we are invited to play along - Almost a social thing; if i hear someone singing a melody, I might not know the words to the song, but hearing a human voice cues my social participation, so i might be more likely to hum along, sing along a little, tap my foot - People may sing along o Vocals are telegraphing "hey, there's a human here"

Parsimony and Perona

- When you look at lyrics, they have to be understood with respect to the person expressing them and to what extent do you "know that person" o ex of this on pg 94 - parsimony= someone is trying to tell you a story with very few and efficient words - One's understanding of the lyrics is usually a function of not just the lyrics persay but how it maps onto the musical context and more importantly the persona of the person singing it o EX: Morrissy and his 'woe is me' persona. Created a character of himself over the years, so when you hear his songs you gotta consider the source

Bergh, 2011

- With school children, multicultural interventions are mocked by the students, or regarded as opportunities to get out of 'real' schoolwork o Kids happy bc they dont have to do math o Not a great track record for success in these intercultural musical hybridization interventions

Vocals (when set against a musical landscape) have a rhythm that can interact interestingly and attractively with music's rhythm ('phrasing' is relevant here); music and lyrics may feel mutually dependent

- With the music's rhythm= a cadence - Language has a cadence, music also has a cadence o It's interesting when these to two things map on one another in an interesting and engaging fashion - lyrical ex of this on pg 89 - Interesting ex of lyrical cadence: rap music o Cadence of the lyrics in this specific song was the glue that was holding the music together. Without that, mullin thought the instrumentation was sloppy, incoherent editing o Idea that lyrics can be important to certain types of musical contexts; they give you guidance and might be a type of glue for where you find your way through that musical experience Concept of entheme is useful here: + entheme= used in persuasion research. An enthememic approach is where i give you A and point C and tell you the conclusion is D, but you have to fill in point B. + We are psychologically hardwired to do that; if something is missing from a persuasive argument, we are motivated to fill in that gap. + When listening to instrumental version of the rap song, Mullin felt that same thing; he knew something that was supposed to be there was missing, which was the vocal cadence, he couldn't fill it in to his own satisfaction

Beatniks subculture

- based off 50's Bebop jazz - white british kids listening to african american jazz - Not favorably characterized, it's as if its some villainous cesspool o This is typical of what happens in some kinds of subcultures; outsiders don't seem to fully understand what goes on inside the subculture and they often vilify it and regard it as a threat that needs to be contained, controlled, or extinguished

Lonsdale and North (2009) study

- bring ppl to a lab. Subjects hooked up with 4 other ppl to do task together. I'm the only subject, the other 4 are confederates, but i don't know that. - The manipulation is that for some of these groups who are working together, there's gonna be a shared similar musical taste - Confederates ask subject what their fav music is, if it's rock for ex, the other 4 ppl say that's their fav too so all 5 ppl have shared musical preferences - In other groups, there is not a sense of shared musical preference o Some like rock, some like jazz - Not surprisingly, when study is done and they ask me about my experience and how much i liked the other ppl i worked with and how satisfied i was with my experience, i like the experience more, the other ppl more, feel there's a more cohesive dynamic if we had the shared musical preferences as opposed to having divergent musical preferences - This study is a good example of evaluating that group more favorably because we are an in-group; seem to be on the same team. Suggests the notion that something about musical preferences is feeding into my interpersonal and group dynamics

Rentfrow et al (2009; on GS)

- builds on previous study regarding music and impression formation info, but adds ethnicity and social class o Ex: looking at music prefs and social class, ppl tend to think that ppl who listen to classical music tend to be upper socioeconomic class, and ppl tend to stereotypically think that rap listeners tend to be lower socioeconomic class - Interesting question: are these stereotypes self-fulfilling? o When talking about music preferences and values, is the music shaping ppl's values or is the fact that they already have certain values is what draws them to that kind of music? o Ex: lots of ppl like country music bc it represents values that are traditional, family oriented, patriotic o Question is did they already start with those values and that's what contributed to their preference for country, or somehow is the reverse the case in that once i like country music for any other reasons, the lyrical content shaped those values + No answer, but both are probably true. My values are gonna direct me towards certain musical preferences, but also once i dive into that musical world for a certain amount of time, chances are the values represented by the lyrical content of the genre might filter into my personal identity and shape my values o A two way street; it's reciprocal

Social identity Theory (Tajfel): 4 ways people identify with a group (People engage in an in-group/out-group process):

- chart on page 63 of notes 1. Categorization - What are the important boxes/social categories people can be sorted into (i.e. race, gender, nationality, sports that you like) 2. Identification - You carve up the world in terms of what you regard as important social categories (above), then you see which one you identify with the most 3. social comparison - there's gonna be a spirit of social comparison - We are hardwired to do this; Innate part of our DNA due to evolutionary psychology -We are always on the lookout for how does my group compare to these other out groups 4. Distinctiveness -Refining borders; how is this group distinct from my own group? In what ways are we different? How do we maintain or get over those differences?

Kirschner and Tomasello (2010)

- children given task of waking up the frogs -March around the pond a little bit, tapping on a wood block and chanting o Chanting suggests singing, little percussions there, walking in rhythm (dance) - in one condition, kids doing these things synchronously (singing and dance) - In another condition, kids asked to again wake up the frogs, but not using the musical components in the other condition (no chanting, wood block, or walking in rhythm). Jumping around and shouting to wake frogs up - Post test: kids given an assignment to collect some colored ping pong balls, insert them into a tube, put a tube in something else. For some subjects, they got sabotaged so when they lift their tube all the balls fall out. Researchers looking to see if that kid's partner helps other kid put the balls back in the tube o Testing for altruistic behavior -Children who 'woke up frogs' by singing with another child were more altruistic than non-musical condition o If the kids did something musical together with the partner, they were more likely to help one another - Synchronized musical activity is enough to suggest that we have a certain bond here o Playing in a band could do even more than this over time

Stereotypes regarding country music

- didn't seem super important tbh but if he asks about it, its all on pages 51-54 of lecture notes - overall tho, Country music listeners enjoy country mostly because of the values behind it. People from southern/country places come to SB and see it's not as popular here, so country music becomes more of a thing that defines their social identity and their values. Becomes something they're more proud of, a louder part of their social identity Not just liking country, liking it for its values

Glam rock subculture pt 1

- early 1970s - Slade (originally a skinhead band) became a glam rock band - Cultural studies scholars sometimes disparage this movement as being inauthentic o Scholars don't see the glam rock sub subculture as representing any socio cultural themes they care about, such as social class, race, gender, etc in any interesting way o Cultural studies scholars see this movement as basically being a fashion event - was not attached to sociocultural themes and was led by 'artists' opposed to being led by young, also derided as 'escapist' o Scholars don't consider glam rock to be a true youth movement o Other subcultures we mentioned, for ex mods, were controlling their identity as participants. The popular subculture bands they listened to weren't considered the leaders of their movements. Subcultures and participants themselves are controlling their identity and movement. Didn't need specific bands to control their destiny and identity - With respect to the glam culture, there was a greater sense of hero worship o There was a small number of bands leading the movement, and once those bands moved on, then the movement has a difficult time surviving as a subculture

"Teds": Rockabilly Enthusiasts

-Different music subculture from the same time frame as Beatniks (mid 50's) - English youth who dress a certain way and have a certain hairstyle also often seem to be a threat, a street gang - Have a type of music that is also an american import, this being rockabilly music -Teds existed in an awkward time while england was at war through the time they began rebuilding o Represented the people who missed out on having a "teenage life" because of the war and the rebuilding phase - Were well in decline as a subculture by the end of the 50's and as a generation as well o Never had experience of being able to enjoy a robust teenage experience due to the economic hardships that england was enduring during the late 40's and early 50's - Look a little slouchy/sloppy, might not be the type of kid you would hire o Slightly ill mannered

Qualitative Study: William (2006) Value of subcultural participation for individuals

- focuses on straight edge, hard core punk sub subculture o No drugs, alcohol, or sex- sub-sub culture of hardcore punk o Difficult lifestyle to sustain -In online forums, discussions focus on authenticity (boundaries), particularly whether online-only lifestyle embracers are 'in group' or does authenticity require face-to-face club scene participation? - This study looks at online forums between members of straight edge community discussing the lifestyle and offering a certain amount of social support - One theme they focus on is authenticity o What does it take to really be a member of the straight edge community? - Some ppl are stay at home straight edgers; listen to the music and live the lifestyle, know all the right bands, and they think it makes them apart of the straight edge community - Other people say no you can't do that at home and imagining yourself to be apart of our community, this is a face to face actual social participation element; to really be apart of the community, you have to actually go to the clubs and interact face to face with other members of the community o Theres some discussion about what it actually takes to be apart of that sub subculture, and it does require actual face to face interaction with other members of the community. Not something you do by yourself at home; it is quintessentially a social endeavor

Music promotes in-group cohesiveness and trust; Wiltermuth and Heath (2009) study

- found that groups that did something musical together were more willing to contribute money to benefit their whole group, trusting that others in the group would do the same - Groups playing a prisoner's dilemma game. As part of the game, you're playing some betting game, and after each round you can win some tokens. Then you, the player, have the choice to either keep all your tokens or you can give all your winnings back to the group o The second strategy is good for you only if everyone else does it, so there's a certain amount of trust involved o If i don't think i can trust you to put your winnings back into the collective pot, i'm just gonna keep my winnings. If i trust you and we all agree to put our winnings in the pot, that's a sign of trust - The game is aiming at how much you trust the people in your group, and the manipulation is whether or not the groups did something musical together before playing the game or not - One group did nothing at all together, another group did a little bit of asynchronous music singing and dancing, another group did synchronous singing and moving, and the other did synchronized singing o We do things synchronously with people (i.e. singing and dancing) you trust them more -If they did sing together, it had the most trust o Moving didn't make any difference, only singing -If they did not sing together, the trust dwindled down o Typical finding in these prisoner's dilemma games: i trusted you at first, but i start to trust you less over time - study suggests music facilitates certain amount of trust - The benefits of in-group cohesion and favoritism are mirrored by processes of out-group disparagement o We are in-group we do something together

LaMarre et al (2012) found white subjects allocation of money resources was 'primed' by in/out group musical cues

- had a bunch of college students (all white subjects) and said "UCSB has 100,000$ to allocate to one of these student groups" and you are in the position of deciding who is getting these funds o You're given a description of 4 campus groups; they are themed around ethnic lines - Impact of Music Exposure on funds allocation across ethnic groups - 4 groups: o White american o African american o Arab american o Latino american - 2 Music Conditions: o Mainstream rock o Top 40 pop music - For a ⅓ of the subjects, as they are making decision about allocating the money, if they're listening to top 40 popular genetic music, all groups are getting 25%, same amount of money allocated to all 4 equally (nothing primed) - Authors considered mainstream rock to prime whiteness and possibly prime in group favoritism where white students were more generous to the white student group, and this is exactly what they observed o If listening to mainstream rock, the white subjects now give 35% of resources instead of 25% to white american group. Something about the music priming in group favoritism - Another ⅓ of subjects listening to radical white power rock, which primed even more promotion of in group favoritism

Same-taste (in-group) favoritism, out-group disparagement (Lonsdale and North, 2009;)

- higher for those subjects with lower self-esteem - We say nice things about ppl who like the same kind of music we like - We say more disparaging things about ppl who have a different set of music preferences - Just like any other in-group out-group dynamic: we always think more favorably about ppl who are in our in group compared to those outside group - this is especially true with ppl with lower self esteem o The lower your self esteem, the more ur gonna want to be apart of a community that can provide support, nervous about lacking support and want to cling to my group, less comfortable being evaluated outside my group o the lower your self esteem is, the more ur gonna adhere to a preference for an in-group identity

Stories (including moral education); we are 'homo narrans'- a type of species that is super alert to storylines (Niles 1999)

- homo narrans is not a true anthropological thing; it's just a term some scholar invented in the 90s - Idea is that primitive humans evolved beyond homo sapiens to become homo narrans, which means a type of species that is super alert to storylines o Bc that has evolutionary value; in order to survive and be a productive, successful human, you should always be learning and never miss an opportunity to learn something new o if i'm hearing a song or someone singing something, i may not fully understand what they're saying, but im gonna want to pay attention bc im hard wired to extract messages - We are hard wired to extract messages from songs and impose meaning o We are instinctually inclined to find stories; we are convinced there is something i can learn if i could only piece this together. Doesnt mean i am gonna piece it together but it means im motivated to do so

Maher et al. study: Betting on sporting events in Irish pubs: Betting on rugby match between Ireland and England (rival)

-For half of subjects, regular popular, neutral music playing o Under neutral conditions, 60% of irish bettors bet on ireland, 40% bet on outgroup (england) - For other half, there's this discordant, unliked, dissonant, unfamiliar music playing (Venetian Snares- Interstellar Narcotics song) o In that condition, you get significantly higher number of betters betting for ireland (90% betting for ireland, 10% for england) - Indication of ethnocentrism, and there's an evolutionary psych indication for this.. o If you're confronted with something confusing and discordant, it could be a threat. The more something is a threat to you, the more you want to cling to your tribe. These irish betters are confronted with threatening music, so the more they want to cling to their irish tribe, which is reflected by betting on ireland to a more significant extent

Mods

- replaced the Teds in the early 60s - British youth had more cash and opportunity now; fresh new youth subculture o Sometimes called absolute beginners, meaning we are beginning a new, new generation - Flamboyantly hyper stylized o Dressed like the person you would wanna hire; elegant, sophisticated, fashionable o Goes well beyond their personal garments, detailing their scooters as well - had more cash and career opportunities due to the times. o Reflected in the uniform they have chosen for themselves - Dressed really well.... Maybe too well o A bit of a curiosity of why they pay too much attention to detail o This is their uniform: it's more than just wanting to be well dressed. There's some kind of code being signified. And if you're not in the subculture, that's mystifying for you. If you're in it, you get it - The mod movement had their own 'music' (American soul/R&B), but also their own literature, film, fashion, art, etc (the film called "Blow Up" for example) (pop art for example is attached to the mod cultural experience) (Tainted Love by Gloria Jones is an example of their music, represented the musical heart of the mod movement of that period) o Had their own native england bands as well such as The High Numbers group literally wrote a song called "I'm the Face" describing what you need to do/wear to become a member of the mod subculture.. The High Numbers eventually became "The Who" o Talks about how mods wear zoot suit with side vents 5 in long, two toned robes o Talking about this weird fashion sense, and ludicrous attention to very specific details, and how it seems "wrong" which is kinda the point - "My Generation" by The Who was written by Pete Townsend and was the anthem of the mod generation - there was a mod revival in the late 70s thru early 80s while mullin was in college, and he was very much apart of that music subculture - movement ended around late 60s and bifurcated o Meaning some part of the movement became skinheads, and some part became absorbed into a broader fashion impulse (upward)

Boer et.al 2011 study

- research shows preferences map onto interpersonal issues - We are more attracted to people with similar music tastes because of perceived value similarity (e.g., Rokeach Values System) rather than perceived personality similarity o Because we feel that if we like the same music as someone else, we prob have the same values and we base our attraction on that perceived similarity of values - Music prefs suggest value similarity even if we aren't the same in terms of our values, we at least perceive ourselves to be so. o It's that perceived similarity in values that leads to social attraction

"No music day" and retro-cassette mixer movement are designed to remind us to refocus on importance of meaningful selection of music

- retro-cassette mixer movement: ppl who are probably hipsters still make 90 minute cassette mixtapes rather than trading musical digitally o To remind you of when music was a little more precious and you didn't have an infinite amount of time to play a playlist, it was only 90 minutes given to make whatever musically articulate statement that you could. When limits are placed upon you, you have to evaluate what you want/don't want to include, forces a certain amount of critical appraisal - No music day: day where they want you to not listen to music for a whole day to see what that feels like so when you go back to listening to music, you might appreciate it more with fresh ears bc you just denied yourself that experience for 24 hours, which makes you appreciate that pleasure more when you return to it

Giles (2009) notes that people who are not experiencing positive outcomes from their group membership can do a few things:

- social mobility - social creativity - social competition

Cultivation theory

- two kinds of norms we can draw parallels to here: 1. prescriptive norm o Prescriptive norm is when some authority figure is giving you advice to do or not do something. 2. descriptive norm o Descriptive norm is what people actually do - Cultivation theory is def something that pertains to descriptive norms o Cultivation theory often basically tells you what people do o If i am listening to a lot of song lyrics detailing and talking about casual and possibly irresponsible hookup sex, i might start to think this is the norm, everyone is doing this i guess, and i should do aspire to do it, particularly if i admire to these people as role models o Cultivating an expectation about what people elsewhere in your social universe maybe do

Text Painting

- when the music illustrates the lyrics; This is when the lyrical component of a song and the musical component work cooperatively to establish a theme or a message - Ex 1: suppose you have a song and the lyrical part is about some young guy who is all alone in paris, and he goes into a french cafe and he sees a beautiful young french girl and their eyes meet, and he wants to get to know her but they have a language barrier (romance, narrative set up) o If you wanted to augment that feeling of a guy being in a french cafe, you might decorate your song with some kind of traditional french instrumentation (accordion instrumentation). Helps establish a setting for the song and the mood and location of the song o The musical part helping out the lyrical part; working in combination - Ex 2: Beatles song (psychedelic period in music pop culture) about a circus; telling you the shows and attractions you might see o Also an analogy there on top of this; talking about the late 60s psychedelic music subculture, kinda like a circus, gonna see a lot of strange, bizarre, sometimes terrifying things at an actual circus, and can see the same things within the circus that is the music subculture of the late 60s o Lyrical tie-in to the subcultural context o One thing they are trying to convey is a colorful sense of musical chaos o If you're walking thru a carnival, there's a bunch of weird stuff going on all around you, so they tried to make the sonic backstory to this song to create this sense of dissonant musical chaos + Disorientation and novelty and weirdness is matched both in lyrics and music What the song was intending to convey lyrically + The music and the lyrics are helping eachother out to establish the story ex 3: beach Boys song "Cabin Essence", one year after Beatles song (in notes pg 91)

Playing music together implies sharing an honest and intimate experience; observers experience some of that positive emotion

- you feel that if you're a performer and a songwriter o Songwriting gives insider to your soul, intimacy built through creative activity with others - Observers get second hand experience of positive emotional bonding as well - Ex: Gram Parsons Tribute Concert at the universal amphitheatre; lot of love in that community for gram parsons (died around 1974). So influential that they wanted to show their love for him. Put together by his daughter. Feeling of warmth, love, and connectedness by the artists and being felt by viewers as well

Lots of evidence 'playing together' promotes solidarity, trust, liking

-Bands, orchestras, etc o Does Not have to be proper bands, can be very minimal -Lots of nonverbal communication, need to know what people are feeling and thinking which gets reflected in performance -Need to manage disagreements in creative collaborations -Relational dynamics that plays out during sense of musical collaboration

Music Preferences

-involves the idea that we think someone's musical preferences (the genres of music they like) provides us with important information about what that person is like, what their values are like, would we like them, are the similar to us o Having no preference to music suggests you don't know a lot about music

For some people, subculture participation provides a type of social support they might otherwise lack, function as 'alternative families and support systems

-For people who might feel they don't have adequate social support elsewhere (family, friends, etc), they get that social support and validations from their subcultural community - For many others, participating in a (maybe music) subculture might just be a mostly just a style adventure with social components that doesn't necessarily compensate for some social support you otherwise lack o EX: mullin was part of a subculture that was driven more by style and a sense of social connection rather than compensating for lack of social support. He had a great family life and friends

Punk subculture explosion 1976

-Incorporated some glam rock outrageousness, rejection of pop artifice in favor of return to raw energy and directness of earlier rock, DIY ethos, and very much predicated on the rotten economic circumstances at the time ('throwaway youth') - Explicit sense that punk music subculture was a threat - Explicitly rejected a lot of pop elements that had been built onto the populous roots of rock and roll o When rock and roll started in late 50s-early 60s, it was pretty simple and straightforward, raw energy to it o Over the 60s and 70s, lots of sophisticated production and arrangement added to rock and roll. Lots of virtuoso musicians + Lot of fantastic work created from that sophistication, but some people think something powerful and beautiful about the energy of original rock and roll got lost in the process - Part of the aesthetic message of punk scene at the time is that you don't really need sophisticated lyrical content to produce an interesting and important rock and roll experience o ex: The Ramones, "Judy is a Punk" their music is simple and easy to repeat. Only 3 chords + Song is about the punk subculture singing about the punk subculture, similar to the Mod song by the Who - Part of the aesthetic message of punk scene at the time is that you don't really need sophisticated lyrical content to produce an interesting and important rock and roll experience o Part of punk's manifesto is to return rock and roll to a simpler form from earlier days

Fleisher asserts Uber-Availability

-Means music means emotionally less, and that is why collective concert experiences gave increases interpersonal value in digital era (also 'live' is more important revenue stream nowadays) - Live music events and concerts are still something where it's an event, and there's a specialness to them in that you can't do that whenever you want. The rareness to them places a higher emotional value on them

Drew (2016): 4 functions of the 'mixer': 2. devotion

-Mixers are gifts you labored over; implies a sense of implicit emotional reciprocity; some amount of feedback is expected - Idea is that if i do something nice for you, you have an obligation to reciprocate o Feedback: Obligation to come back to you and tell you the songs they liked - A mixer is NOT making a tape with bands your partner has expressed outward interest to, in other words, you need to put some thought into what is on the tape o Not just asking your partner what they like, finding stuff you think they might like instead

The 'Mix Tape' and interpersonal relationships

-Says a lot about how you feel about a person -Gives a lot of self-disclosure; telling someone about yourself -Might tell the other person how you imagine your relationship with them -Might be strategic: make that persons musical tastes shaped up to be similar with yours in hopes that it will produce liking

Semantic ambiguity of music (floating intentionality) implies it lacks potential to cause conflict, and functions as a convenient relational 'testing ground'

-Semantic ambiguity to music: music in terms of being a tool for relational maintenance -If i meet someone and right away i want to talk about politics, not a very safe territory relationally -floating intentionality means it's kinda ambiguous, you're allowed to have different opinions, a safe thing to talk about - If i like a music that you don't like, doesnt mean youre gonna hate me, but having different political views might cause dislike - Talking about music could be a relational testing ground; some kind of common group you can talk about without having to worry about causing offense o Music relates to relationship formation. Easy thing to start talking about to see if you want to pursue the relationship further

Giles (2009) notes that people who are not experiencing positive outcomes from their group membership can do a few things: Social Mobility

-Shift to another group; re:music, embrace another group's music o Shift identity to another group that will provide them with more social support and positive outcomes o Embracing another groups music is a way to connect with another groups' ID and find ur way into membership to help you identity with this alternate social identity - Not uncommon for their to be situations where 'High status' groups embrace 'lower status' groups music as a badge of authenticity (ex: Brit embrace of Am R&B in 1960's, beatnik's embrace of jazz) o authenticity= a realness, not manufactured. If music has an authenticity to it, it means it derives from the internal creative impulse of that artist, not trying to sell records but trying to express something that's very real to them o Could also represent the lived experience of a community; the history of the community is embodied authentically in that musical form o Ex: in the 60s, british music overwhelmingly embraced american rhyme and blues from the 50s-60s. This was mostly african american music, and british youth was eating it up and almost every band started out as a blues band + African american blues embraced in england during that time bc it had a veneer of authenticity (other 2 examples of this from beatniks and cathryn wallen in notes pg 67)

inflation from Fleischer (2015)

-The value of something declines as it becomes more available - The idea is that since we have an infinite universe of music at our disposal, it is possible that musical experiences are dealing with inflation

Witnessing cross-cultural collaboration has been shown to positively impact intergroup attitudes by a number of mechanisms (Harwood et al 2016): Observation of cross-cultural performer cooperation, honesty, love and respect may extrapolate to broader sense of harmonious group relations

-When ppl witness cross cultural performer corporations (members of different cultures conspicuously mixing their musical styles into one cohesive whole) ur witnessing this harmous expression of honestly, cooperation, and love that can exist between these 2 musical cultures, this may extrapolate to a broader sense of harmonious group relations

curation from Fleischer (2015)

-applying some thought into the mix tape and finding specific songs, rather than how it is now where it takes 5 minutes to whip together a playlist - In other words, curation is what we are missing in today's world because it's so easy to find the tracks

4 dimensions from Rentfrow and Gosling's (2003) 'STOMP' (short test of music preferences) model:

1. Reflective and complex (classical, jazz, blues, folk) - Generally saying that ppl who like classical, tend to like jazz blues and folk - Therefore, those genres must be tapping into some underlying dimension they call reflective and complex 2. Intense and Rebellious (alternative, rock, heavy metal) 3. Upbeat and conventional (country, pop, religious, soundtracks) - Soundtrack kinda weird: can be a movie score (usually orchestral), a soundtrack to a movie, a broadway musical soundtrack, etc 4. Energetic and rhythmic (rap/hip-hop, soul/funk/, dance/electronica)

exposure to other musical cultures reminds us that these 'others' are neither: (from social contact theory perspective)

1. Robots (lacking emotions) 2. Animals (lacking civility, morality, artistic endeavor) - This means that when we tend to disparage another culture, it is convenient and natural for us to characterize persons of that other culture as being either robots (lack emotion) or as animals o It's easier to hate someone if you can first deny them their humanity - When you have some contact and exposure to that culture's musical heritage and style, you're reminded that they're not robots bc robots can't produce music and they're not animals bc animals don't typically produce things that you can call having a sense of human civility and artistic endeavor - Being exposed to someone else's music makes it harder to hate them and dismiss them as the others

Drew (2016)

4 functions of the 'mixer': 1. communion 2. devotion 3. display 4. fantasy