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 https://doi.org/10.18910/9601 DOI 10.18910/9601 rights
, 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
, 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) 148 131(4289) 1826 ( M = 19.92 SD = 1.50) 7 (0 6: ) 3 11 4 (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
, 10, 2010 Rentfrow & Gosling(2003) religious religious ( M = 4.40, SD = 1.27)-0.93 3 ( 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: 19.2 71.2: 28.8 3 N = 86 N = 111 Windows 133 MeCab0.97 MeCab0.97 2 1 (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
, 10, 2010 2 2(:, ) 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 <.05 3.8 3.6 3.4 3.2 3.0 2.8 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
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, 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