Music Preferences and Personality - Research Paper Example

Music Preferences and Personality Music Preferences and Personality Introduction In the findings of a research conducted by Adrian North, a professor at Heriot-Watt University, showed that there is a positive correlation between music preferences and personality. The study, which was carried out over a period of three years and which featured more than 36,000 respondents in over 60 countries, linked specific music genres to certain personality types. Prior to the publishing of these findings, researchers had always postulated that music had a major influence on personality (Deutsch, 2012). However, North’s study was perhaps the most comprehensive and conclusive since researchers started probing the relationship between the two concepts. Since the jury still seems to be out on this subject, this paper aims to contribute to the discussion by interrogating previous inquiries and presenting new views that could mold future discourses on the topic. The relationship between music preferences and personality offers one of the most insightful perspectives on human essence. Music is as old as mankind and forms one of the few universal aspects of human development. Music appeals to people in different ways. However, it is clear that no single individual has a unique music taste. This is because there are usually similarities between the music preferences of millions of people. This is justified by the fact that music genres are limited yet there are billions of people who feel compelled to gravitate towards specific types of music (Fiske & Shrout, 2014). To understand the relationship between music preferences and personality, it is necessary to explore the stereotypes that are propagated by music. Generalized viewpoints reveal the foundations upon which individual preferences are built. People tend to associate certain music styles with specific behavioral tendencies that manifest as stereotypes (Deutsch, 2012). For example, rock and hard metal music fans are often linked to violence, drug use, and over-aggression. Hip-hop fans, on the other hand, are also considered to be overly aggressive but sensitive. People who listen to mellow music (country, blues, jazz, etc.) are perceived to be refined, intelligent, and civil. While these are typecasts which do not apply to everyone they are directed at, they are of huge significance to the study of the relationship between personality and music preferences (Loersch & Arbuckle, 2013). Since some types of music are associated with certain races or social classes, it would be unscholarly to ignore the effect of this on personality. This is because as much as individual orientation plays a role in defining personality, society and backgrounds are equally influential in shaping personality as well as musical preferences (Deaux & Snyder, 2012). For example, many successful musicians have cited their childhood musical backgrounds as the inspirations behind their musical orientation. Other people have also attributed their liking for some music genres to exposure to those types of music at some point in their lives. This implies that there is a positive correlation between music preferences and backgrounds. This paper, therefore, is more relevant to individuals who favor certain music genres because of personal attributes than external factors (e.g., family and friends). Research has shown that the messages in music have the biggest impacts on an individual’s personality. It has been proven that people interpret lyrics and rhythmic units (beats) differently. The contrasts in interpretation show that musical preferences are shaped by personality. For example, people listening to a hip-hop song could have completely different understandings of the lyrics and meaning of the song. One might, for instance, consider it to be abrasive, intrusive, and meaningless (Loersch & Arbuckle, 2013). Another might find it motivating, relieving, and soothing. Such differences reveal more about the listener’s personality than the song’s meaning. An aggressive and outgoing individual will automatically gravitate towards music that enhances these attributes. While it is normal to listen to music genres that are out of sync with such traits, genres that complement individual traits are more likely to be listened to on a regular basis. In reality, such behavior is an inevitability of humanity. This is because the human psyche is naturally built to maximize pleasure and minimize displeasure. Pleasure, including its definition, depends on the individual disposition (Radocy & Boyle, 2012). Two siblings might enjoy entirely different indulgences because their understandings of pleasure and displeasure markedly contrast. Music is intrinsically linked to pleasure and displeasure, which explains why some people find some genres irritating while others find them enjoyable. Ultimately, personality is the only common denominator when trying to explain the differences and similarities in musical genres. This perspective is reinforced by the fact that people with similar personalities are inclined to have similar music tastes. The ability of music to influence moods is believed to be vital to explaining its relationship to personality. Although moods are usually short-term phenomena, they can be used to rationalize personality. For example, people who lash out at others and isolate themselves when they fail at anything are understood to have high self-esteems and highly competitive mentalities. When using music to influence moods, people opt for different genres, usually based on their personalities (Seel, 2012). That is why, in professional sport, people use different types of music to motivate themselves and get themselves “in the mood” to compete. One of the most interesting aspects of the music preference-personality relationship is the manner in which either factor changes with the other. For example, as people grow older, and some features of their personalities change, their music preferences are also likely to evolve. A sexagenarian might have an attachment to the music she loved as an outgoing teenager (hard rock, hip-hop, etc.) but, as her outgoing character mellows, she will prefer to listen, more regularly, to softer music like blues and soul. Since music preferences change according to personality, it follows that there is a positive correlation between the two aspects (Steinberg, 2012). For some people, life-changing experiences that have definitive impacts on their personalities can inspire a change in music preference. For example, after overcoming difficult challenges, some individuals choose to listen to listen to different types of music in order to accommodate their newfound traits. Research Questions 1. Is there a link between music preferences and personality? 2. Can personality and music preference be modified to suit each other? Literature Review According to Steinberg (2012), individuals tend to “define themselves through music.” North also argues that individuals use music to influence their relationships with others. This has been observed in the fact that people who share the same music preferences have more intimate relationships than those who have different music tastes (Tuber, 2012). The defining element does not lie in music preferences but personality, because music and personality influence each other. The table below shows a summary of the results obtained in North’s study. Music Genre Personality Traits(s) Blues High self-esteem, outgoing, creative, polite, relaxed. Jazz High self-esteem, outgoing, creative, relaxed. Classical High self-esteem, introverted, creative, relaxed. Rap (Hip-Hop) Outgoing, high self-esteem. Opera High self-esteem, creative, polite. Bollywood Creative, outgoing. Dance Outgoing, creative, aggressive. Soul High self-esteem, outgoing, creative, polite, relaxed. Country and western Outgoing, hardworking. Indie Low self-esteem, creative, not hardworking, ‘rough.’ Chart Pop Uncreative, aggressive, polite, high self-esteem, hardworking, outgoing. Reggae High self-esteem, not hardworking, relaxed, polite, creative, outgoing. Rock/heavy metal fans Polite, relaxed, creative, not outgoing, low self-esteem, and not hardworking. People can influence their musical preferences through their style of dressing, social lifestyles, language, etc. As a result, it is hardly surprising that there is a relationship between personality and musical orientation. The findings in the table explain why people become defensive about their musical inclination because they are convinced that it is a reflection of their approach to life. Also, the findings show the tribal aspect of musical preferences that rationalizes why individuals usually find common ground in music (Steinberg, 2012). Rock and classical music appeal to listeners with congruent personalities but different ages. Younger individuals prefer heavy metal while older people favor classical. In spite of such differences, both categories share one fundamental motivation: theatrical and dramatic music and adoration for the grandiose. Although heavy metal fans are often stereotyped as suicidal, depressive, and masochistic, they are sensitive. This is evident in the fact that their personality matches that of individuals who prefer classical music. Thus far, two radically different views have been put forward to explain the connection between musical preferences and personality. The first is that musical orientations are entirely coincidental (Steinberg, 2012). This includes the notion that random subjective ordeals can push an individual to like or dislike some genres. The second standpoint is that people’s musical choices symbolize fundamental attributes of their personality. Musical choices reveal an individual’s deepest feelings and thoughts. This is because music performs three crucial mental functions. Empirical research has shown that individuals listen to music so that they can: (i) define their emotional states with the intention of attaining a preferred mood (excitement, happiness, melancholy, etc.); (ii) stir their intellectual inquisitiveness (by focusing and deciphering the music they listen to); and (iii) enhance their performance in specific activities (music helps people to fight boredom and realize maximum levels of attention while performing routine tasks like driving, working, studying, etc.) (Williamson, 2014). Considering that there is a close relationship between mood states and personality and people employ music in controlling their emotions, a scientific comprehension of musical orientations should provide valuable insights on a person’s character and soul (Rentfrow, 2012). Despite this, few sound relationships between musical choices and personality have so far established. As a matter of fact, some results could not be further from counterintuitive. For example, North’s study dismissed the stereotypes associated with certain genres of music (e.g., rock fans are aggressive, classical and jazz fans are intelligent, and rebellious individuals prefer Rock and Hip-Hop. This shows that one does not have to be an expert in personality to comprehend the psychology of music. Any person can informally profile another simply by looking at his favorite playlist, and the results will be almost as accurate as a scientific experiment. In fact, a majority of people already do this. At the first visit of someone’s dorm room or house, most people profile that person’s personality with respect to his or her music-related belongings (CD, DVD, book collections, memorabilia, etc.). Although they are based on observations, typecasts, and impressions, they are often relatively accurate (Dolan & Sharot, 2012). This leads many scholars to question why common sense is not inferior to the science of musical choices. This is because virtually all studies carried out to date have profiled musical choices based on mainstream musical genres. Surprisingly, such profiles are totally devoid of psychological value. Realistically, musical genres should define music instead of people. With respect to this discussion, three vital points must be taken into account. The first is that a majority of people subscribe to a variety of musical genres, especially with the high levels of accessibility necessitated by technological advancement (video sharing, cheap and fast downloads, free streaming, etc.) and more flexibility in intellectual property rights. The second noteworthy point is that preference for a specific music genre is primarily determined by an individual’s social identity (Kaye, 2014). For example, people who consider themselves to be intellectuals will have a liking for classical or jazz music. On the other hand, individuals who view themselves as anti-establishment or rebels will prefer heavy metal or rock music although the genre is currently more popular among middle-aged IT professionals than rebellious youth. Future intellectuals may as well listen to rap music and chart pop (Neill, 2012). When it comes to rationalizing genre-based choices, age, gender, and socioeconomic status are more suitable compared to personality. Finally, the last point is that music’s role is largely emotional. Psychologists have not yet assimilated the links between different types of music and different moods. This is a huge task, especially because of the amount of available music. In summary, there are still many unexplored areas in the study of the relationship between music choices and personality (Dunn, Ruyter, & Bouwhuis, 2012). This has been complicated by the increasingly volatile and evolutionary nature of music since various subgenres frequently emerge and introduce new dimensions on the subject. This means that in future it might be more difficult to profile people based on their musical preferences without expert knowledge. However, the evolution of music is set to be countered by rapid developments in the field of psychology, especially behavioral and cognitive psychology. Method This study will be based on a qualitative research design. A qualitative research design is the best option for this investigation because the study involves exploring the relationships between phenomena rather than collecting a significant amount of data and using statistical methods to analyze that data (Bryant & Vorderer, 2013). A qualitative method is also suitable for this study because it has a more sound theoretical background compared to a quantitative method, which is more focused on data collection and analysis. This research will employ interviews and questionnaires as the main data collection methods. The interviews and questionnaires will be administered first-hand and virtually (Liljestrom, Juslin, & Vastfjall, 2013). This means that respondents will be required to answer questions in face-to-face meetings, or the questions will be formulated and availed to them via email, post, or mobile phone. The study questions will be both open-ended and close-ended. This will allow the respondents to express themselves more freely and also facilitate the objectives of the research by asking respondents to provide direct and specific feedback. In formulating the questions, variety and balance will be observed so that all aspects of the study are addressed. Respondents will be drawn from different backgrounds to avoid bias and enhance the credibility of the research. The general public, professionals in the music industry, psychologists, stakeholders in affiliate industries, musicians, and researchers will form the core of respondents who will participate in the research. Simple random sampling will be used to select the number of respondents required. For this study, the appropriate number of respondents should be 200. The locus of the study will be wide to make the research more comprehensive and credible. The study will be conducted in July 2015 in the United States and will be funded by the lead researchers as well as other entities that have an interest in the subject. On matters of ethics, the researchers are aware of the risk of compromising the credibility of the research by falling short of the expected ethical standards. As such, respondents will be treated with confidentiality. The personal details of the respondents will not be disclosed to the public, and the respondents will not be coerced into providing personal information that they do not feel secure giving out. The privacy of respondents will be respected by avoiding the temptation of intruding into their personal space. The researchers will also seek consent from relevant authorities before conducting the study; this will reduce the likelihood of the research being bogged down by bureaucratic and legal challenges (Dolan & Sharot, 2012). All questionnaires and interviews will be administered and conducted in secure, comfortable, and convenient locations that make it easy for respondents to divulge information required in the study. This will include providing assurances on security and respect of the necessary rights and freedoms. Finally, this study will be conducted in a transparent manner by avoiding bias. The researchers will employ all the relevant techniques to ensure that internal and external validity are maintained. References Bryant, J., & Vorderer, P. (2013). Psychology of entertainment. Mahway, N.J.: Routledge. Deaux, K., & Snyder, M. (2012). The Oxford handbook of personality and social psychology (Illustrated ed.). New York: Oxford University Press. Deutsch, D. (Ed.). (2012). The Psychology of music (3rd ed.). New York: Academic Press. Dolan, R., & Sharot, T. (2012). Neuroscience of preference and choice cognitive and neural mechanisms. London: Elsevier/Academic Press. Dunn, P., Ruyter, B., & Bouwhuis, D. (2012). Toward a better understanding of the relation between music preference, listening behavior, and personality. Psychology of Music, 40(4), 411-428. doi:10.1177/0305735610388897 Fiske, S., & Shrout, P. (2014). Personality research, methods, and theory: A festschrift honoring Donald W. Fiske. Hillsdale, N.J.: Psychology Press. Kaye, M. (2014). Do you know who you are?: Discover the real you (A. Singer, Ed.). London: DK Publishing. Liljestrom, S., Juslin, P., & Vastfjall, D. (2013). Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music. Psychology of Music, 41(5), 579-599. doi:10.1177/0305735612440615 Loersch, C., & Arbuckle, N. (2013). Unraveling the mystery of music: Music as an evolved group process. Journal of Personality and Social Psychology, 105(5), 777-798. doi:10.1037/a0033691 Neill, S. (Ed.). (2012). Personhood and music learning: Connecting perspectives and narratives. Waterloo, Ont.: Canadian Music Educators Association. Radocy, R., & Boyle, J. (2012). Psychological foundations of musical behavior (Revised ed.). Springfield, Ill.: Charles C. Thomas. Rentfrow, P. (2012). The Role of Music in Everyday Life: Current Directions in the Social Psychology of Music. Social and Personality Psychology Compass, 6(5), 402-416. doi:10.1111/j.1751-9004.2012.00434.x Seel, N. (Ed.). (2012). Encyclopedia of the sciences of learning (Illustrated ed.). New York: Springer. Steinberg, R. (Ed.). (2012). Music and the mind machine: The psychophysiology and psychopathology of the sense of music. Berlin: Springer-Verlag. Tuber, S. (2012). Understanding personality through projective testing. Lanham, Md.: Jason Aronson. Williamson, V. (2014). You are the music: How music reveals what it means to be human. New York: Icon Books. Read More