日常の音楽聴取における歌詞の役割についての研究 対人社会心理学研究. 10 P.131-P.137

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1 Title 日常の音楽聴取における歌詞の役割についての研究 Author(s) 森, 数馬 Citation 対人社会心理学研究. 10 P.131-P.137 Issue Date 2010 Text Version publisher URL DOI /9601 rights

2 , 10, 2010 () 131 Juslin & Laukka(2004) Rentfrow & Gosling(2003) STOMP : STOMP (Weber, 1921) Farnsworth(1954) The Social Psychology of Music (, 1999) North & Hargreaves(2008) The Social and Applied Psychology of Music (Kemp, 1997)(, 2007) (North & Hargreaves, 1997)(Tekman & Hortaçsu, 2002) Rentfrow & Gosling(2003) well-being North, Hargreaves, & Hargreaves(2004) (Rana & North, 2008) Kreutz, Schubert, & Mitchell(2008) E-S (Baron-Cohen, Knickmeyer, & Belmonte, 2005) (Empathizing) (Systemazing) (Bharucha, Curtis, & Paroo, 2006; Krumhansl, 2002) Juslin & Laukka(2004) Sloboda & O Neill(2001) Juslin, Lijeström, Västfjäll, Barrades, & Silva(2008) Experience sampling method Zentner, Grand- 131

3 , 10, 2010 jean, & Scherer(2008) Rentfrow & Gosling(2003) Rentfrow & Gosling(2003) STOMP(Short Test Of Music Preference) 4 ; Reflective & Complex (bluesclassicalfolkjazz ) Intense & Rebellious (rockalternativeheavy metal ) Upbeat & Conventional (country sound trackreligiouspop ) Energetic & Rhythmic (rap/hip-hopsoul/funkelectronic/dance ) Big Five (Rentfrow & Gosling, 2006; Rentfrow & Gosling, 2007; Zweigenhaft, 2008) BGM (Chamorro-Premuzic & Furnham, 2007; Chamorro-Premuzic, Swami, Furnham, & Maakip, 2009 ) (Clarke, 1952) (Anderson, Carnagey, & Eubanks, 2003; Hansen & Hansen, 1990; Ballard & Coates, 1995) (Rentfrow & Goslin, 2003) (4289) 1826 ( M = SD = 1.50) 7 (0 6: ) (1: 2: 3: 4: ) (e.g. ) (e.g. ) 2(Cook & Dibben, 2001) () () 4 (1: 2: 3: 4: )2 () () 4 (1: 2: 3: 4: ) Juslin & Laukka(2004) 4 Rentfrow & Gosling(2003) STOMP STOMP 14 / // 7 (1: 4: 7: ) 132

4 , 10, 2010 Rentfrow & Gosling(2003) religious religious ( M = 4.40, SD = 1.27) ( M = 3.06, SD = 0.84) ( M = 2.95, SD = 0.87) ( r (131) =.54, p <.001) ( r (131) =.12, p =.19) ( r (131) =.07, p =.40) 80.8: : N = 86 N = 111 Windows 133 MeCab0.97 MeCab (ex. ) 1 1 5(Table1) Table1 ////I //you ( 2 (4, N = 65) = 34.00, p <.001)1 2 ( 2 (4, N = 122) = 1.85, p =.76) 5 bigram (Figure 1) Table1 Figure1

5 , 10, (:, ) 4(:,,, ) 2 (Figure 2) Green-house-Geisser 2 ( F (2.81, 359.6) = 5.78, p <.001) (Fs (1, 128) = 22.17, 3.95, ps <.05) ( F (3, 126) = 7.17, p <.001Bonferroni ( p <.04) ( M = 2.98, SD = 0.78)( M = 2.86, SD = 0.67) (Table 2) p < Figure2 ) Table2 ( N = 129) STOMP 6 ( /) ( M = 34.57, SD = 8.28) 1 STOMP 4 Reflective & Complex ( N = 99, M = 4.76, SD = 1.30) Intense & Rebellious ( N = 111, M = 5.10, SD = 1.30) Upbeat & Conventional ( N = 131, M = 5.92, SD = 1.06) Energetic & Rhythmic / ( N = 101, M = 4.38, SD = 1.22) STOMP 4 ( r (99) =.24, p <.02)/ ( r (131) =.29, p <.01r (101) =.24, p <.02) / (rs (111) =.24,.20 ps <.04) 134

6 , 10, Juslin et al.(2008) (Laemmle, 2008) / STOMP Reflective & Complex Intense & Rebellious Upbeat & Conventional Energetic & Rhythmic STOMP 144 STOMP (Rentfrow & Gosling, 2007; Zweigenhaft, 2008)STOMP (Zweigenhaft, 2008) (Gabrielsson, 2006) (1999)., 5, Anderson, C. A., Carnagey, N. L., & Eubanks, J. (2003). Exposure to violent media: The effects of songs with violent lyrics on aggressive thoughts and feelings. Journal of Personality and Social Psychology, 84, Ballard, M. E., & Coates, S. (1995). The Immediate effects of homicidal, suicidal, and nonviolent heavy metal and rap songs on the moods of college students. Youth and Society, 27, Baron-Cohen, S., Knickmeyer, R. C., & Belmonte, M. K. 135

7 , 10, 2010 (2005). Sex differences in the brain: Implications for explaining autism. Science, 310, Bharucha, J. J., Curtis, M., & Paroo, K. (2006). Varieties of musical experience. Cognition, 100, Chamorro-Premuzic, T., & Furnham, A. (2007). Personality and music: Can traits explain how people use music in everyday life? British Journal of Psychology, 98, Chamorro-Premuzic, T., Swami, V., Furnham, A., & Maakip, I. (2009). The Big five personality traits and uses of music: A replication in Malaysia using structural equation modeling. Journal of Individual Differences, 30, Clarke, H. L. (1952). The basis of musical communication. The Journal of Aesthetics and Art Criticism, 10, Cook, N., & Dibben, N. (2001). Musicological approaches to emotion. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research. Oxford, England: Oxford University Press. pp Farnsworth, P. R. (1954). The Social Psychology of Music. Ames, Iowa: Iowa State University Press. Gabrielsson, A. (2006). Strong experiences elicited by music: What music? In P. Locher, C. Martindale, & L. Dorfman (Eds.), New directions in aesthetics, creativity, and the psychology of Art. Amityville, NY: Baywood Publishing Company. pp Hansen, C., & Hansen, R. (1990). Rock music videos and antisocial behavior. Basic and Applied Social Psychology, 11, Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33, Juslin, P. N., Lijeström, S., Västfjäll, D., Barrades, G., & Silva, A. (2008). Emotional reaction to music in everyday life: Music, listener, and situation. Emotion, 8, Kemp, A. E. (1997). Individual differences in musical behavior. In A. C. North & D. J. Hargreaves (Eds.), The Social Psychology of Music. New York: Oxford University Press. pp Kreutz, G., Schubert, E., & Mitchell, L. A. (2008). Cognitive Styles of music Listening. Music Perception, 26, Krumhansl, C. L. (2002). Music: A link between cognition and emotion. Current Directions in Psychological Science, 11, Laemmle, C. (2008). Problem music and subcultures. In A. C. North & D. J. Hargreaves (Eds.), The Social and Applied Psychology of Music. New York: Oxford University Press. pp North, A. C., Hargreaves, D. J., & Hargreaves, J. J. (2004). Uses of music in everyday life. Music Perception, 22, North, A. C., & Hargreaves, D. J. (2008). The Social and Applied Psychology of Music. New York: Oxford University Press. North, A. C., Hargreaves, D. J., & McKendrick, J. (1997, November 13). In-store music affects product choice. Nature, 390, 132. Rana, S. A., & North, A. C. (2008) The role of music in everyday life among Pakistanis. Music Perception, 25, Rentfrow, P. J., & Gosling, S. D. (2003). The do re mi s of everyday life: The structure and personality orrelates of music preferences. Journal of Personality and Social Psychology, 84, Rentfrow, P. J., & Gosling, S. D. (2006). Message in a ballad: The role of music preferences in interpersonal perception. Psychological Science, 17, Rentfrow, P. J., & Gosling, S. D (2007). The content and validity of music-genre stereotypes among college students. Psychology of Music, 35, Sloboda, J. A., & O Neill, S. A. (2001). Emotions in everyday listening to music. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research. Oxford, England: Oxford University Press. pp Tekman, H. G., & Hortaçsu, N. (2002). Music and social identity: Stylistic identification as a response to musical style. International Journal of Psychology, 37, Weber, M. (1921). Die rationale und soziologischen Grundlagen der Musik. Tübingen:Mohr. ( M. () (1962). ) (2007)., 15, Zentner, M. R., Grandjean. D., & Scherer, K. R. (2008). Emotions evoked by the sound of music: Characterization, classification, and measurement. Emotion, 8, Zweigenhaft, R. L. (2008). A do re mi encore: A closer look at the personality correlates of music preferences. Journal of Individual Differences, 29,

8 , 10, 2010 The function of lyrics on the everyday music listening Kazuma MORI(Graduate School of Human Sciences, Osaka University) In recent years, there has been an upsurge in interest in the social psychology of music. Most studies, however, pay insignificant attention to the function of music with lyrics accounted for the majority of our every day listening. This study, in contrast, focuses on the function of lyrics in everyday music listening. One hundred and thirty one male and female young adults completed a questionnaire. The questionnaire was made up items concerning the manner of music listening about lyrics, music and emotion based on Juslin & Laukka(2004) and music preference by STOMP(Rentfrow & Gosling, 2003). The research revealed that many participants felt that lyrics were very important because they can empathize into the lyrics. Furthermore, the results suggest that lyrics may play an important role in arousing emotion. Those with a preference for upbeat and rhythmic music particularly felt that lyrics were important. These results showed lyric is essential factor in everyday music listening. Keywords: music listening, lyric, emotional response, STOMP. 137