Musical preferences of Brazilian high school students

Music is considered a vital element in young people’s lives. It functions as an important means for expressing the emotions and feelings they experience in a daily basis. As such, this study explores the music preferences of high school Brazilian students (N = 940), 530 female (56.9%) and 410 male (43.1%) participants between 14 and 20 years old (M = 16.14 years old, SD = 1.22). The main instrument for data collection was the Questionnaire on Musical Style Preferences, which was adapted to the Brazilian context and encompassed 33 different music styles. A principal component analysis resulted in five dimensions representing different musical styles: (1) Intense, (2) Unique, (3) Sophisticated, (4) Contemporary, and (5) Mellow. The results of this study reinforced theory of the five-factor model of musical preference. Results also suggest that Mellow music was the most preferred while Sophisticated music was the least preferred among participants. Regarding gender, male participants showed a greater preference towards Contemporary, Intense, and Sophisticated music, whereas women generally preferred Mellow and Unique. Regarding age, participants under 20 years old showed a greater preference towards Mellow musical styles as compared to older participants. On the one hand, regression analyses showed that preferences towards Intense music decrease with age. On the other hand, gender was a better predictor for music preferences than age. Although the results of this study correspond to those of previous studies, more research studies are necessary to further explain musical preferences within the Brazilian contex

"Help! I Need Somebody": Music as a Global Resource for Obtaining Wellbeing Goals in Times of Crisis.

Music can reduce stress and anxiety, enhance positive mood, and facilitate social bonding. However, little is known about the role of music and related personal or cultural (individualistic vs. collectivistic) variables in maintaining wellbeing during times of stress and social isolation as imposed by the COVID-19 crisis. In an online questionnaire, administered in 11 countries (Argentina, Brazil, China, Colombia, Italy, Mexico, the Netherlands, Norway, Spain, the UK, and USA, N = 5,619), participants rated the relevance of wellbeing goals during the pandemic, and the effectiveness of different activities in obtaining these goals. Music was found to be the most effective activity for three out of five wellbeing goals: enjoyment, venting negative emotions, and self-connection. For diversion, music was equally good as entertainment, while it was second best to create a sense of togetherness, after socialization. This result was evident across different countries and gender, with minor effects of age on specific goals, and a clear effect of the importance of music in people's lives. Cultural effects were generally small and surfaced mainly in the use of music to obtain a sense of togetherness. Interestingly, culture moderated the use of negatively valenced and nostalgic music for those higher in distress

"Help! I Need Somebody": Music as a Global Resource for Obtaining Wellbeing Goals in Times of Crisis

Music can reduce stress and anxiety, enhance positive mood, and facilitate social bonding. However, little is known about the role of music and related personal or cultural (individualistic vs. collectivistic) variables in maintaining wellbeing during times of stress and social isolation as imposed by the COVID-19 crisis. In an online questionnaire, administered in 11 countries (Argentina, Brazil, China, Colombia, Italy, Mexico, the Netherlands, Norway, Spain, the UK, and USA, N = 5,619), participants rated the relevance of wellbeing goals during the pandemic, and the effectiveness of different activities in obtaining these goals. Music was found to be the most effective activity for three out of five wellbeing goals: enjoyment, venting negative emotions, and self-connection. For diversion, music was equally good as entertainment, while it was second best to create a sense of togetherness, after socialization. This result was evident across different countries and gender, with minor effects of age on specific goals, and a clear effect of the importance of music in people's lives. Cultural effects were generally small and surfaced mainly in the use of music to obtain a sense of togetherness. Interestingly, culture moderated the use of negatively valenced and nostalgic music for those higher in distress.Laboratorio para el Estudio de la Experiencia Musica

Correction: Musical preferences of Brazilian high school students.

[This corrects the article DOI: 10.1371/journal.pone.0239891.]

"Help! I Need Somebody": Music as a Global Resource for Obtaining Wellbeing Goals in Times of Crisis.

Music can reduce stress and anxiety, enhance positive mood, and facilitate social bonding. However, little is known about the role of music and related personal or cultural (individualistic vs. collectivistic) variables in maintaining wellbeing during times of stress and social isolation as imposed by the COVID-19 crisis. In an online questionnaire, administered in 11 countries (Argentina, Brazil, China, Colombia, Italy, Mexico, the Netherlands, Norway, Spain, the UK, and USA, N = 5,619), participants rated the relevance of wellbeing goals during the pandemic, and the effectiveness of different activities in obtaining these goals. Music was found to be the most effective activity for three out of five wellbeing goals: enjoyment, venting negative emotions, and self-connection. For diversion, music was equally good as entertainment, while it was second best to create a sense of togetherness, after socialization. This result was evident across different countries and gender, with minor effects of age on specific goals, and a clear effect of the importance of music in people's lives. Cultural effects were generally small and surfaced mainly in the use of music to obtain a sense of togetherness. Interestingly, culture moderated the use of negatively valenced and nostalgic music for those higher in distress

La revisión documental en investigación musical : algunas experiencias.

Explorar en el pasado, indagar en los asuntos que otros produjeron en otros tiempos, identificar, examinar, analizar, descubrir cómo transmitieron, compartieron, provocaron emociones, sentimientos, evocaciones, crearon cohesiones, convocaron, concitaron el sonido, la magia de aparatos sonoros que coordinados suenan, con sus formas, brillos, cuerdas, parches, todo un espectáculo, la banda, la orquesta, el grupo, el coro o todos a la vez, la celebración, el ritual, la escena, la iglesia, el auditorio, el concierto, el programa, la ceremonia, los atuendos, el uniforme, la capa, las partituras, los maestros, las autoridades, al fondo un barullo de sonidos simultáneos, se repasan los pasajes arriesgados, la agitación previa con uno que otro sobresalto, afanes y carreras, todos listos, ordenados, irrumpen los aplausos y en sus puestos con el instrumento listo, al gesto de batuta, cabezazo o señal… ¡la música vive…! Acudir desde la memoria, con el peso del tiempo transcurrido, el acumulado del abandono y la desidia, y retomar las evidencias de esos momentos célebres que dejaron huellas imborrables que marcaron vidas, es el trabajo que nos expone La revisión documental en investigación musical desde algunas experiencias. Recuperar no solo los objetos, sino esencialmente el sentido de la memoria en un presente que reclama su existencia, para un futuro que merece su lugar. Ese es el desafío de la revisión documental de la música, hacer y construir conocimiento, con nuevos cargamentos de conocimiento y saber, aportando renovados elementos, valoraciones y juicios críticos al reconocer y redescubrir el sentido de sus orígenes, y el valor de su existencia en el presente. Es inevitable incidir, provocar tensiones, reacciones e impulsos hacia uno u otro enfoque de pensamiento, interpretación o categoría de análisis; ni los documentos, ni sus interpelaciones, son imparciales ni inermes. La música, por excelencia, es una expresión y práctica que se nutre de la creación, del disfrute, de los elementos que identifican, evocan, abstraen y proyectan todas las motivaciones que le dan sentido al existir. Reconocer, recuperar, caracterizar, organizar, transcribir, conservar, socializar la información y el contenido, implican ética y estéticamente a quienes intervienen los fondos documentales de la música, desde la perspectiva del compositor, el intérprete, las audiencias, las dimensiones de la historia, los contextos sociales y culturales, los proyectos musicales, la institucionalidad de la música, las ciudadanías y el desarrollo humano