Durgesh Kr. Upadhyay

Exploring the nature of music engagement and its relation to personality among young adults

Abstract This study examined the relationship between music preferences (MP), listening styles (LS), functions of music (FoM), perceived rasa (music) and personality traits (PT – Big Five Factors). A sample of 77 young adults (M = 39; F = 38; M = 22.7 years) completed measures of the above constructs and data were analysed via correlations, one-way ANOVA, post hoc tests, and T-tests. Significant correlations were found between LS and PT; MP and PT; FoM and PT; FoM and emotion; and LS and FoM. Findings indicated stronger preferences for genres namely Romantic songs, Soft songs and Filmy (Sad) songs. Gender difference existed in terms of MP, perceived emotions and LS. Music listening mainly served as a ‘source of pleasure and enjoyment’ and which ‘calms, motivates, or reminds of past events’. Musical genres inducing santoṣa rasa were perceived significantly higher in female participants. Based on the findings, a ‘music engagement model for Young Adults’ describing their music behaviour, have been proposed.

Learners' Perspectives on Music Training in Institutions of North India.

This study explores learners’ perspectives on the prevalent pedagogy being followed in an institutionalized setup in teaching Hindustani music; their preferences for learning (one to one, one to many, etc.) and the importance of riāz to them; the dynamics of teacher–student relationship; and the factors contributing to their creative music making. One hundred music students (from four music institutions) receiving training in Hindustani music at different academic career levels in an institutionalized setup, completed a survey on the above-mentioned themes. Students reported that teachers across all the institutions generally followed the prescribed syllabus but that some of them tried to manage the syllabus as per the students’ potential. At higher levels of training, findings indicated that teachers started giving training in their own style or in their guru’s style. During the initial years of training, according to the students, teachers emphasized imitation. Results show that over the years, students developed preferences in terms of mode of music learning and method of music practice. As they progressed through training, students became more open to teachers’ critical evaluations and comments. Despite the fact that institutions do follow a rigid curriculum for music education, which is contrary to guru–shishya tradition, it appeared that institutionalized music training is not exclusively a typical learning system.