
Contents
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3.1 The music 3.1 The music
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3.1.1 Experimental aesthetics 3.1.1 Experimental aesthetics
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3.1.2 Subjective complexity and repetition 3.1.2 Subjective complexity and repetition
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3.1.3 Preference for prototypes 3.1.3 Preference for prototypes
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3.2 The listening situation 3.2 The listening situation
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3.2.1 Konečni's arousal-based approach 3.2.1 Konečni's arousal-based approach
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3.2.2 Appropriateness, typicality, and arousal-based goals 3.2.2 Appropriateness, typicality, and arousal-based goals
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3.2.3 Compliance and prestige 3.2.3 Compliance and prestige
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3.3 The listener 3.3 The listener
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3.3.1 Social class, taste publics, and massification 3.3.1 Social class, taste publics, and massification
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3.3.2 Age 3.3.2 Age
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3.3.2.1 Adolescence 3.3.2.1 Adolescence
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3.3.2.2 Responses to music in early life 3.3.2.2 Responses to music in early life
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3.3.3 Sex 3.3.3 Sex
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3.3.4 Personality 3.3.4 Personality
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3.3.4.1 Listening strategies 3.3.4.1 Listening strategies
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3.3.4.2 Responses to music in non-humans 3.3.4.2 Responses to music in non-humans
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3.3.5 Musical training and ability 3.3.5 Musical training and ability
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3.4 The reciprocal response model 3.4 The reciprocal response model
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3.5 Emotional responses to music 3.5 Emotional responses to music
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3.5.1 The circumplex model 3.5.1 The circumplex model
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3.5.2 Intrinsic and extrinsic meaning 3.5.2 Intrinsic and extrinsic meaning
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3.5.2.1 Intrinsic musical meaning 3.5.2.1 Intrinsic musical meaning
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3.5.2.2 Extrinsic musical meaning 3.5.2.2 Extrinsic musical meaning
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3.5.3 Strong experiences of music 3.5.3 Strong experiences of music
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3.6 Music in everyday life 3.6 Music in everyday life
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3 Musical preference and taste
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Published:April 2008
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Abstract
Everyone's musical preference is vastly subjective. Some people like certain piece of music due to the emotion that the music brings to their mind, the memories and thoughts they have associated with it, their degree of sophistication, or they ‘simply like it’. This chapter describes some of the ways in which psychologists have attempted to explain people's more mundane, everyday musical likes and dislikes. The chapter organizes the influences on musical taste into factors relating to the music, the listening situation, and the listener. Then, the chapter provides a reciprocal response model of musical preference, discusses emotional responses to music, and considers a research that has directly investigated people's musical inclination as they go about their daily lives.
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