Musical expertise and personality – differences related to occupational choice and instrument categories

Parental Social and Musical Characteristics, the Home Music Environment, and Child Language Development in Infancy

Parents use music, especially singing, to interact with their young children, supporting parent-child bonding and social communication. Little is known about the parental attributes that support musical interactions with their infants. In this exploratory study, we analyzed self-report data from 43 caregiver/infant dyads at up to four time points (9, 12, 15, and 18 months) to assess parent social motivation and musical training as predictors of the home music environment overall, parental singing, and parental beliefs in the benefits of music. We also investigated the home music environment as a predictor of language development longitudinally. Parent social motivation was a stronger predictor of the home music environment than musical training. Parents' social motivation was positively related to parental singing, beliefs, and overall music environment, while musical training was only related to their beliefs. Furthermore, parent singing and overall home music, but not parental beliefs, were associated with infants' vocabulary comprehension, production, and gestures. Results highlight that music engagement in early childhood is fundamentally a social experience and emphasize the importance of parents' active participation (vs. only their beliefs) in musical experiences with their infant. The social nature of music experiences in infancy may contribute to relationships between the home music environment and child language development.

Personality traits in musicians with different types of music performance anxiety

Introduction

This study investigated the relationship between personality traits and MPA in the course of a specific performance.

Methods

For this purpose, symptoms of MPA, functional coping with MPA and performance-related self-efficacy of a sample of 393 musicians including 23% professional, 49% non-professional orchestra musicians and 28% singers in amateur choirs were categorized and then used to analyze differences in the personality traits. The questionnaires used were the NEO-FFI and the PQM.

Results

The results showed that professional orchestra musicians had significantly higher openness and conscientiousness than non-professional orchestra musicians and amateur choir singers. Musicians who had few symptoms of MPA, positive coping with MPA and high self-efficacy across a specific performance (Type 1) have low neuroticism in their personality traits. Regarding MPA, the personality traits were correlated with all MPA scales after the performance but less with MPA scales before and during the performance.

Discussion

Results could indicate that personality traits play a particularly important role in the processing of performance experiences after the performance and suggest focusing on the situation after the performance in particular with professional orchestra musicians.

Individual characteristics in arts management careers: investigating the highly sensitive person scale on motivation to lead

Research on personality in leadership indicates that self-selection to leadership careers and artistic careers correlates with diverging personality profiles. People in leadership careers traditionally display lower neuroticism and higher conscientiousness than artistic individuals. In between, there are individuals entering arts management careers. To study these individuals directly, we collected Norwegian data from 91 musical theater students and 102 arts management students and compared with 109 business management students. As expected, conscientiousness and neuroticism predicted artistic careers against business management careers, aligned with the "arts for arts' sake" myth of artists. Interestingly, arts management careers were not different from artistic careers. They weren't more motivated to take on leadership roles than performing artists either. However, the Highly Sensitive Person Scale indicated that narrower traits of sensitivity predicted higher levels of motivation to lead in many artists. Some arts and arts management students seem to bring unique talents into forms of leadership particularly useful for artistic organizations. Our findings are discussed in terms of how leadership characteristics operate in the field of art, and the effect of domain-specific characteristics in this setting.

A correlation study of music training, adult attachment, and personality traits using a large-sample questionnaire

Introduction

Music training can provide benefits to psychological health and is strongly associated with adult attachment style and personality traits through bidirectional interactions.

Methods

A large sample including 10,191 Chinese musicians and non-musicians completed the Relationship Questionnaire and Big-Five Personality Inventory.

Results

Connections between music training, adult attachment, and personality were analyzed with the following results: (1) personality traits were correlated with attachment dimensions, with positive correlations between secure attachment and extroversion and between dismissing attachment and neuroticism; (2) music training was connected with the secure and fearful-avoidant attachment dimensions, which complemented the effect of educational level in the preoccupied and dismissing dimensions; (3) music training enhanced extroversion, openness, agreeableness, and conscientiousness, which interacted to affect extroversion and openness by gender; and (4) music training enhanced the regression of extroversion to preoccupied and secure attachments, and the regression of openness to preoccupied attachment.

Discussion

Conclusively, music training enhanced the connection between secure attachment and positive personality traits and regulated the correlation between insecure attachment and neuroticism. This analysis provides a large sample of statistical and practical evidence for the clinical practices of mental health and the educational and music training practices of co-cultivating cultural knowledge and artistic quality.

Individual differences in musical ability among adults with no music training

Good musical abilities are typically considered to be a consequence of music training, such that they are studied in samples of formally trained individuals. Here, we asked what predicts musical abilities in the absence of music training. Participants with no formal music training (N = 190) completed the Goldsmiths Musical Sophistication Index, measures of personality and cognitive ability, and the Musical Ear Test (MET). The MET is an objective test of musical abilities that provides a Total score and separate scores for its two subtests (Melody and Rhythm), which require listeners to determine whether standard and comparison auditory sequences are identical. MET scores had no associations with personality traits. They correlated positively, however, with informal musical experience and cognitive abilities. Informal musical experience was a better predictor of Melody than of Rhythm scores. Some participants (12%) had Total scores higher than the mean from a sample of musically trained individuals (⩾6 years of formal training), tested previously by Correia et al. Untrained participants with particularly good musical abilities (top 25%, n = 51) scored higher than trained participants on the Rhythm subtest and similarly on the Melody subtest. High-ability untrained participants were also similar to trained ones in cognitive ability, but lower in the personality trait openness-to-experience. These results imply that formal music training is not required to achieve musician-like performance on tests of musical and cognitive abilities. They also suggest that informal music practice and music-related predispositions should be considered in studies of musical expertise.

Exploring the genetics of rhythmic perception and musical engagement in the Vanderbilt Online Musicality Study

Uncovering the genetic underpinnings of musical ability and engagement is a foundational step for exploring their wide-ranging associations with cognition, health, and neurodevelopment. Prior studies have focused on using twin and family designs, demonstrating moderate heritability of musical phenotypes. The current study used genome-wide complex trait analysis and polygenic score (PGS) approaches utilizing genotype data to examine genetic influences on two musicality traits (rhythmic perception and music engagement) in N = 1792 unrelated adults in the Vanderbilt Online Musicality Study. Meta-analyzed heritability estimates (including a replication sample of Swedish individuals) were 31% for rhythmic perception and 12% for self-reported music engagement. A PGS derived from a recent study on beat synchronization ability predicted both rhythmic perception (β = 0.11) and music engagement (β = 0.19) in our sample, suggesting that genetic influences underlying self-reported beat synchronization ability also influence individuals' rhythmic discrimination aptitude and the degree to which they engage in music. Cross-trait analyses revealed a modest contribution of PGSs from several nonmusical traits (from the cognitive, personality, and circadian chronotype domains) to individual differences in musicality (β = -0.06 to 0.07). This work sheds light on the complex relationship between the genetic architecture of musical rhythm processing, beat synchronization, music engagement, and other nonmusical traits.

A comprehensive investigation into the genetic relationship between music engagement and mental health

While music engagement is often regarded as beneficial for mental health, some studies report higher risk for depression and anxiety among musicians. This study investigates whether shared underlying genetic influences (genetic pleiotropy) or gene-environment interaction could be at play in the music-mental health association using measured genotypes. In 5,648 Swedish twins with information on music and sport engagement, creative achievements, self-reported mental health and psychiatric diagnoses based on nationwide patient registries, we derived polygenic scores for major depression, bipolar disorder, schizophrenia, neuroticism, sensitivity to environmental stress, depressive symptoms and general musicality. In line with phenotypic associations, individuals with higher polygenic scores for major depression and bipolar disorder were more likely to play music, practice more music and reach higher levels of general artistic achievements, while a higher genetic propensity for general musicality was marginally associated with a higher risk for a depression diagnosis. Importantly, polygenic scores for major depression and bipolar remained associated with music engagement when excluding individuals who experienced psychiatric symptoms, just as a genetic propensity for general musicality predicted a depression diagnosis regardless of whether and how much individuals played music. In addition, we found no evidence for gene-environment interaction: the phenotypic association between music engagement and mental health outcomes did not differ for individuals with different genetic vulnerability for mental health problems. Altogether, our findings suggest that mental health problems observed in musically active individuals are partly explained by a pre-existing genetic risk for depression and bipolar disorder and likely reflect horizontal pleiotropy (when one gene influences multiple traits), rather than causal influences of mental health on music engagement, or vice versa (referred to as vertical pleiotropy).

Elements of musical and dance sophistication predict musical groove perception

Listening to groovy music is an enjoyable experience and a common human behavior in some cultures. Specifically, many listeners agree that songs they find to be more familiar and pleasurable are more likely to induce the experience of musical groove. While the pleasurable and dance-inducing effects of musical groove are omnipresent, we know less about how subjective feelings toward music, individual musical or dance experiences, or more objective musical perception abilities are correlated with the way we experience groove. Therefore, the present study aimed to evaluate how musical and dance sophistication relates to musical groove perception. One-hundred 24 participants completed an online study during which they rated 20 songs, considered high- or low-groove, and completed the Goldsmiths Musical Sophistication Index, the Goldsmiths Dance Sophistication Index, the Beat and Meter Sensitivity Task, and a modified short version of the Profile for Music Perception Skills. Our results reveal that measures of perceptual abilities, musical training, and social dancing predicted the difference in groove rating between high- and low-groove music. Overall, these findings support the notion that listeners' individual experiences and predispositions may shape their perception of musical groove, although other causal directions are also possible. This research helps elucidate the correlates and possible causes of musical groove perception in a wide range of listeners.

Can musical ability be tested online?

We sought to determine whether an objective test of musical ability could be successfully administered online. A sample of 754 participants was tested with an online version of the Musical Ear Test (MET), which had Melody and Rhythm subtests. Both subtests had 52 trials, each of which required participants to determine whether standard and comparison auditory sequences were identical. The testing session also included the Goldsmiths Musical Sophistication Index (Gold-MSI), a test of general cognitive ability, and self-report questionnaires that measured basic demographics (age, education, gender), mind-wandering, and personality. Approximately 20% of the participants were excluded for incomplete responding or failing to finish the testing session. For the final sample (N = 608), findings were similar to those from in-person testing in many respects: (1) the internal reliability of the MET was maintained, (2) construct validity was confirmed by strong associations with Gold-MSI scores, (3) correlations with other measures (e.g., openness to experience, cognitive ability, mind-wandering) were as predicted, (4) mean levels of performance were similar for individuals with no music training, and (5) musical sophistication was a better predictor of performance on the Melody than on the Rhythm subtest. In sum, online administration of the MET proved to be a reliable and valid way to measure musical ability.