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The Experience Sampling Method was used to explore emotions to music as they naturally occurred in everyday life, with a focus on the prevalence of different musical emotions and how such emotions are related to various factors in the listener, the music, and the situation. Thirty-two college students, 20 to 31 years old, carried a palmtop that emitted a sound signal seven times per day at random intervals for 2 weeks. When signaled, participants were required to complete a questionnaire on the palmtop. Results showed that music occurred in 37% of the episodes, and in 64% of the music episodes, the participants reported that the music affected how they felt. Comparisons showed that happiness-elation and nostalgia-longing were more frequent in episodes with musical emotions, whereas anger-irritation, boredom-indifference, and anxiety-fear were more frequent in episodes with nonmusical emotions. The prevalence of specific musical emotions correlated with personality measures and also varied depending on the situation (e.g., current activity, other people present), thus highlighting the need to use representative samples of situations to obtain valid estimates of prevalence.

Lets assume that listening to a certain amount of songs, new or old favourites, makes someone an enthusiast, and not a casual listener. Wouldnt excessive media consumption devalue it in the eyes of the enthusiast?

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With his second release Ozark Empire in 2005, Smith began his first "Tour of Homes". This consisted almost entirely of traveling from home to home around the United States (the European leg of the tour was titled the "European Tour of Homes") in a grassroots style of touring. The European leg consisted more of performing in standard live music venues as well as houses, coffee shops, art galleries and warehouses.[5] It was also during this period that Smith invited drummer Andrew Gibbens and guitarist Erik Olsen to join him on tour, thus starting the transition away from traditional hip-hop performances toward a live band format. Gibbens and Olsen remained until they departed the band in December 2006. Regardless of using the name Listener for his solo work, Smith decided to continue using the name as the project developed into a live band.[6]

It was during the Tour of Homes in 2005 that Smith met musician Christin Nelson at a house show in Las Vegas, Nevada. After finding out that Nelson played drums, Smith asked him to join the group in June 2007 and the band released the album Return to Struggleville.[1][7]

2. Seekers actively seek out music and are always adding to their collection. They may be into more underground and less popular genres. They may get recommendations from their friends, but often seek out music on their own.

A survey course covering traditional and modern music styles of the last 1,000 years. Learn how to listen to music, instruments, and musical forms. No prior music experience required. Offered on campus and through the Web.

Music for the Listener covers the development of music from the Middle Ages to the present. It includes many types of music including classical, jazz, movie music, popular, and world music. The course also provides a basic understanding of the language and literature of music in various cultural and historical contexts through active listening.

1. Basic information about music is provided to help you become familiar with music as an art form. Information about style periods, forms, vocabulary and other aspects of music are a part of this understanding.

2. Careful listening is emphasized because it is so important in developing the ability to perceive music intelligently and sensitively. Listening guides in your text and in the MindTap Active Listening Guides (including self-help quizzes) will greatly help you follow and understand what you have listened to. Each exam will include listening questions.

To recognize songs better, Now Playing collects some info, like the percentage of times Now Playing correctly recognizes music. Now Playing only collects this info if you have shared usage and diagnostics with Google. Learn how to update your usage & diagnostic settings.

Before starting the training phase, subjects acclimated themselves to the paradigm, the music volume, and the button box with eight practice trials. These were identical to the training trials, except they used different Hiragana characters and reward certainties (100 or 0%) instead of probabilities. The four images in the practice session each appeared twice, once on each side of the screen, in discrete pairings termed WX and YZ. When the practice session finished, the experimenter ensured that the subject understood the task and that the music intensity was comfortable, and offered to answer any questions about the paradigm. The training phase began when the participant was ready. Training was divided into three blocks of 54 stimulus pairs each with participant-paced rest breaks in between. With this design, subjects encountered each stimulus pair 18 times in each training block.

Test Condition by Group interaction on test accuracy. There was a significant Test Condition by Group interaction (p < 0.05). Subjects did not differ in approach (Choose A) accuracy during the test, but subjects who listened to neutral music during both training and testing (NN) avoided B less accurately than those who listened to neutral music during training and pleasurable music during testing (NP; adjusted p < 0.005) and those who listened to pleasurable music during training and neutral music during testing (NP; adjusted p < 0.05). Bars depict the mean accuracy for each Group in Choose A and Avoid B conditions, plus or minus the standard error of the mean. PP, subjects who listened to pleasurable music during both training and testing. *p < 0.05; **p < 0.005.

Playing Years by Musical Condition interaction on training accuracy. There was a significant Playing Years by Musical Condition interaction on training accuracy (p < 0.001). Subjects with more years of musical experience were significantly more accurate when they listened to neutral music (p < 0.05), and there was a trend effect of more musically experienced subjects performing less accurately with pleasurable music (p = 0.07). +p < 0.10; *p < 0.05.

Weekly Listening Hours by Group interaction on test reaction times. There was a significant Weekly Listening Hours by Group interaction on test reaction times (p < 0.0001). Subjects who listened to music more frequently responded faster when they trained with neutral music and tested with pleasurable music (NP; p < 0.01). There was also a trend correlation such that these subjects responded slower when they listened to neutral music during both training and testing (NN, p = 0.08). No other within-group correlations were significant (all ps > 0.37). PN: subjects who listened to pleasurable music during training and neutral music during testing; PP: subjects who listened to pleasurable music during both training and testing. N.S., not significant; +p < 0.10; **p < 0.01.

Reward prediction errors offer a potential mechanism for these findings. With less musical experience and analytical listening than others (Istk et al., 2009), musically inexperienced subjects could be less able to develop reasonable top-down, explicit expectations about the music and thus more susceptible to musically elicited prediction errors (Huron, 2006; Mller et al., 2010; Vuust and Kringelbach, 2010). These greater reward prediction errors would amplify the perceived value of the rewarded stimuli and the music for these subjects (Montague et al., 1996; Schultz, 2002), which would in turn promote approach behaviors (Frank et al., 2004; Cald et al., 2007; Frank et al., 2007b). Although there are other possible explanations for this result, this interpretation is consistent with recent evidence linking music enjoyment to the reward system and prediction errors (Menon and Levitin, 2005; Salimpoor et al., 2011, 2013).

As discussed above, the HIMAB results suggest more musically experienced subjects were more likely to focus on the music they enjoyed during the task. This was detrimental to their training performance during pleasurable music listening, but the same behavior could have had the opposite effect during the test. While learning about relative reward contingencies involves predictions, prediction errors, valuation, salience attribution, and working memory processes (Schultz, 2002; Jocham et al., 2011; Collins and Frank, 2013), performance on a test without feedback depends more on motivation and the management of previously learned values (Robinson and Berridge, 1993; Jocham et al., 2011; Shiner et al., 2012). In other words, expressing reinforced behaviors is considerably less cognitive than acquiring them (Doll et al., 2011). As such, devoting cognitive resources to music would not detract from performance on the mostly non-cognitive test in the same way that it detracted from training performance. This could explain why the test music had a greater influence on musically experienced subjects than the training music, and why the beneficial effect of pleasurable music on musically inexperienced subjects during training seemed to disappear when these subjects transferred their task knowledge to the test phase. With musically experienced subjects less cognitively engaged in the PS task during testing and thus suddenly more susceptible to the musical background, the behaviors of less musically experienced subjects were likely overshadowed by this dramatic shift. The contrasting results for more and less musically experienced subjects, then, could once again reflect their more and less cognitive listening strategies, respectively.

These factors greatly shaped learning, with musical experience, uses of music, music consumption, music-directed attention, music importance, listening frequencies, and subjective ratings from the listening test all influencing training accuracy or reaction times (Figures 8A,B, 9A,B) and background use of music, music consumption, music importance, active listening, and subjective ratings of the experimental music affecting test performance (Figures 8C,D9C,D). As discussed above, higher music importance and cognitive use of music scores were associated with both worse training accuracy and slower training reaction times, more emotional music listening corresponded to better training accuracy, more years of playing music were associated with faster training reaction times, more music engagement was correlated with better training accuracy, and greater music engagement scores corresponded to faster training responses. Notably, subjects who devoted more time to active music listening without any distractions tended to respond less accurately but more rapidly during training, suggesting that they probably tried to listen to the music actively during the PS task and devoted fewer cognitive resources to the PS task, perhaps responding impulsively due to lack of focus. Subjects who spent more time passively listening to music as one of many tasks also tended to be less accurate during learning, and those who used music for background purposes more were both less accurate and slower to respond. One possible interpretation for these counter-intuitive findings is that individuals who normally listen to music while doing non-cognitive tasks might have been distracted by the cognitive nature of the PS task's training phase. Another explanation could be that subjects who were more likely to listen to music passively and in the background, as opposed to actively and in the foreground, are also less likely to become invested in music and respond to it emotionally, using it instead simply to fill what would otherwise be silence. Neither of these interpretations conflicts with the finding that subjects with greater music consumption scores were both more accurate and quicker to respond, most likely due to their greater exposure to music. Finally, music distractibility, which measures the extent to which music diverts attention from a primary focus such as the PS task, also corresponded to decreased training accuracy and slower training reaction times. e24fc04721