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Dive into the research topics where Amanda E. Krause is active.

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Featured researches published by Amanda E. Krause.


Psychology of Music | 2015

Music-listening in everyday life: Devices and choice:

Amanda E. Krause; Adrian C. North; Lauren Y. Hewitt

Utilizing the Experience Sampling Method, this research investigated how individuals encounter music in everyday life. Responding to two text messages sent at random times between 8:00 and 23:00 daily for one week, 177 participants completed self-reports online regarding their experience with any music heard within a two-hour period prior to receipt of the message. Overall, the radio, mobile MP3 players, and computers featured prominently. Detailed analyses revealed significant patterns in device usage based on time of day; ratings of the music in terms of choice, liking, arousal, and attention; mood; and the perceived consequences of the music. While feeling lethargic associated with recorded music broadcasted in public, in contrast personal music collections promoted contentment. Similarly, devices allowing for personal input were met with positive consequences, like motivation. The current findings imply that the greater control that technology affords leads to complex patterns of everyday music usage, and that listeners are active consumers rather than passive listeners.


Journal of Broadcasting & Electronic Media | 2014

Music Selection Behaviors in Everyday Listening

Amanda E. Krause; Adrian C. North; Lauren Y. Hewitt

Data on everyday music listening obtained via the Experience Sampling Method indicated that selection method was related to liking for and emotional response to the music, attention paid to the music, and perceived consequences of hearing the music. Individual listeners characteristics (e.g., age and level of engagement with music) were associated with selection behaviors. Negative effects resulted when individuals perceived they did not have control over music selection. In contrast, possessing control led to positive consequences such as enjoyment and motivation. These results indicate that control is an important aspect of ones everyday music experiences.


Psychology of Music | 2013

myTunes: Digital music library users and their self-images

Amanda E. Krause; David J. Hargreaves

This investigation explored the relationships between individuals’ self-images and their interactions with their digital music collections via the commercially predominant program iTunes. Sixty-nine university students completed an internet-based Musical Self-Images Questionnaire (MSIQ) along with a series of questions concerning their iTunes collections. The majority of participants were highly engaged with music, regardless of their varied musical backgrounds. Factor analysis of the MSIQ data revealed two distinct self-image groups, which we label as ‘musical practitioner’ (linking ‘overall musician’, ‘performer’, ‘composer’, ‘teacher’, and ‘listener’) and ‘music consumer’ (linking ‘listener’, ‘fan’, and ‘technology user’). Participants used an average of seven attributes to categorize their music, and most consistently used one in particular to sort their collections. Those who rated themselves as higher level performers and fans used the playlist function (which involves compiling sequences of selected tracks) more often than those with lower self-ratings on those scales.


Psychology of Music | 2017

Pleasure, arousal, dominance, and judgments about music in everyday life

Amanda E. Krause; Adrian C. North

The aim of the present research was to consider what particular features are significant predictors of whether music is present in a given situation, as well as what factors influence a person’s judgments about the music. Applying Mehrabian and Russell’s (1974) Pleasure-Arousal-Dominance model to everyday experiences of music, 569 people reported on their activity for the previous day via the Day Reconstruction Method (Kahneman, Krueger, Schkade, Schwarz, & Stone, 2004). Data concerning each event included the activity and location, and characterization of the experience using the Pleasure–Arousal–Dominance measure. Moreover, for those events where music was present, participants also indicated how they heard the music and made four judgments about the music. Results indicated that the location, activity, and the person’s perception of dominance were significant predictors of the presence of music during everyday activities and that person’s judgments about the music. Contrary to prior research that has considered predominantly situational pleasure and arousal variables, the present results demonstrate that dominance is arguably the important variable in contextualized music listening.


Psychology of Music | 2016

Music listening in everyday life: Devices, selection methods, and digital technology

Amanda E. Krause; Adrian C. North

Two studies considered whether psychological variables could predict everyday music listening practices more than those demographic and technology-related variables studied predominantly hitherto. Study 1 focused on music-listening devices, while Study 2 focused on music selection strategies (e.g. playlists). Study 1 indicated the existence of a one-dimensional identity based on music technology. Further, psychological variables (such as innovativeness and self-efficacy) predicted whether individuals possess such an identity. Moreover, while psychological variables predicted whether individuals preferred ‘familiarized’ advantages inherent to listening devices, a preference for ‘progressive’ advantages was predicted by technological behaviors. Study 2 supported the first study in terms of identity, and demonstrated that a different pattern of variables predicted playlist listening from listening to music via shuffle. More generally, the findings suggest the utility of applying constructs from consumer psychology to everyday music-listening behaviors.


Research Studies in Music Education | 2017

The PERMA well-being model and music facilitation practice: Preliminary documentation for well-being through music provision in Australian schools

Juyoung Lee; Amanda E. Krause; Jane W. Davidson

The aim of this study was to consider how we can invest in music-making to promote well-being in school contexts. Web-based data collection was conducted where researchers identified 17 case studies that describe successful music programs in schools in Australia. The researchers aligned content from these case studies into the five categories of the PERMA well-being model: Positive emotions, Engagement, Relationships, Meaning, and Accomplishment, in order to understand how each well-being element was realised through the music programs. The results indicate that the element of the PERMA well-being model that relates to relationships was described most often. Collaboration and partnership between students, teachers, and staff in schools, and local people in the community such as parents, local entrepreneurs, and musicians were repeatedly identified as a highly significant contributing factor in the success of the music program. The school leaders’ roles in providing opportunities for students to experience musical participation and related activities (engagement) and valuing these experiences (meaning) were also crucial in the facilitation of the music programs. The findings of this study indicate that tailored music and relationship-centred music programs in schools not only increase skills and abilities of the students, but also improve the psychosocial well-being of the students and the community.


Empirical Studies of The Arts | 2017

Energy, Typicality, and Music Sales: A Computerized Analysis of 143,353 Pieces

Adrian C. North; Amanda E. Krause; Lorraine Sheridan; David Ritchie

Research on musical preference has been dominated by two approaches emphasizing, respectively, the arousal-evoking qualities of a piece or its typicality of the individual’s overall musical experience. There is a dearth of evidence concerning whether either can explain preference in conditions of high ecological validity. To address this, the present research investigated the association between sales of 143,353 pieces of music, representing all the music that has enjoyed any degree of commercial success in the United Kingdom, and measures of both the energy of each piece (as a proxy for arousal) and the extent to which each piece was typical of the corpus. The relationship concerning popularity and energy was U-shaped, which can be reconciled with earlier findings, and there was a positive relationship between the typicality of the pieces and the amount of time they featured on sales charts. The population-level popularity of an entire corpus of music across several decades can be predicted by existing aesthetic theories, albeit with modifications to account for market conditions.


Psychology of Music | 2018

United Kingdom “top 5” pop music lyrics

Adrian C. North; Amanda E. Krause; Robert Kane; Lorraine Sheridan

The present research conducted a computerised analysis of the content of all lyrics from the United Kingdom’s weekly top 5 singles sales charts (Study 1, 1962–2011), and considered their macroeconomic correlates (Study 2, 1960–2011). Study 1 showed that coverage of interpersonal relationships consistently reflected a self-centred and unsophisticated approach; coverage of violence featured predominantly anti-authoritarian denial rather than overt depictions; and more recent lyrics were more stimulating. Study 2 showed no evidence that variations in lyrical optimism predicted future variations in economic optimism and subsequently Gross Domestic Product; but, consistent with the environmental security hypothesis, economic turbulence (defined as volatility in the closing price of the London Stock Exchange) was associated with the later popularity of lyrics concerning certainty and succour. These findings are discussed in terms of the advantages and limitations of computerised coding of lyrics.


Music, Health and Wellbeing | 2018

Social and Applied Psychological Explorations of Music, Health and Well-Being

Jane W. Davidson; Amanda E. Krause

This chapter explores the specific well-being benefits that diverse forms of musical engagement can promote from the particular perspective of the social and applied psychology of music. It surveys recent social-psychological literature broadly, and the authors also draw from their own research offering case studies to highlight research evidence concerning health and well-being benefits when applying a social-psychological lens to music research. It explores the influence of newer, digital technologies for promoting self-regulation, such as mood management via playlists; points to the range of benefits across types of well-being from music participation; and considers the role of music facilitators and educators with respect to promoting well-being. Relevant influences range from micro- to meso-level determinants interacting across the levels to influence our experiences every day.


Music & Science | 2018

Musician interaction via social networking sites: Celebrity attitudes, attachment, and their correlates

Amanda E. Krause; Adrian C. North

Social network sites (SNS) allow for interaction between musicians and fans, including parasocial relationships. The present research approaches the topic from the perspective of psychology and particularly previous research concerning attachment styles, celebrity interest, and their correlates. Using an online survey (N = 464), we considered whether psychological variables could predict whether individuals interact with musicians on SNS, and their opinions about doing so. Findings demonstrate that users’ celebrity attitudes and relationship attachment styles are important in predicting the extent to which they utilize SNS to interact with musicians. Therefore, it seems that SNS music fan behaviors have an overtly psychological component, such that further research might adopt a psychological rather than technological approach in predicting commercial usage.

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Juyoung Lee

University of Melbourne

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