Exam 3 Psy Music & Mind

Identity

A person's sense of self across time and situations; includes beliefs, values, roles, group memberships, and personal characteristics that organize concepts of self, guide behavior, and provide continuity

Identity in Music (IIM)

The identity of a person IN music — defined by their relationship to music; shapes musical preferences, behaviors, skill development, and peer groups (e.g., music teacher, rock musician, band geek)

Music in Identity (MII)

How music is a PART of a person's identity; creates continuity with cultural traditions, narratives about the self through music, and connection with culture

Performative Aspect of Musical Identity

The active expression of one's self through music — instrumental performance, singing, dancing; involves social signaling aligned with one's culture or preferences

Social Aspect of Musical Identity

How people connect based on common musical interests; involves group belonging such as singing in a choir, attending a concert, or listening to music together

Discourse (music)

Language and communication that is never neutral; identities revealed through discourse are claimed, resisted, reworked, or oriented toward some social outcome

Social Identity Theory (Tajfel)

Being a member of a group imparts a social identity; being positively regarded by that group maintains self-esteem; in young people, musical preference is often a significant part of social identity

Nesdale's Phase 1: Undifferentiated (2-3 yrs)

Child does not find racial cues salient; responds to whatever catches their attention

Nesdale's Phase 2: Ethnic Awareness (3-4 yrs)

Children become aware of their ethnicity and in-group; form ethnic self-identification — realizing they belong to a particular group

Nesdale's Phase 3: Ethnic Preference (4-7 yrs)

Child develops a preference for the in-group over the out-group; self-identification as a member of the dominant social group becomes part of identity

Nesdale's Phase 4: Ethnic Prejudice (7+ yrs)

Ethnic preferences crystallize into prejudiced beliefs that favor the in-group above the out-group

Gee's Nature Identity

Individual states arising from "biology" — examples: gender, physical ability, race, disposition

Gee's Institutional Identity

Formal labels issued by officials — examples: immigrant, officer, supervisor, education major

Gee's Discourse Identity

Conversations one has with others and the content of that dialogue — examples: skilled at Standard Vernacular English, uses a great deal of slang

Gee's Affinity Identity

Aligning with a specific set of practices — examples: fan of a sports team, enthusiast for the arts, craftsperson with a certain hobby

Chickering's Seven Vectors of Identity Development

A model of college student identity development with seven vectors: Developing Competence, Managing Emotions, Moving Through Autonomy Toward Interdependence, Developing Mature Interpersonal Relationships, Establishing Identity, Developing Purpose, and Developing Integrity

Janet Helms's Theory of Black Women's Identity Development

Women of color develop identity from external to internal through five stages: Conformity, Dissonance, Immersion/Emersion, Internalization, and Integrative Awareness

Helms: Conformity

Acceptance of racial characteristics and external self-definition; may feel uncomfortable around people of color

Helms: Dissonance

Confusion about one's connection to groups of people of color and Whites

Helms: Immersion/Emersion

Idealizing one's own racial group while devaluing what is perceived as White and resisting oppressive external forces

Helms: Internalization

Capacity to use internal criteria for self-definition and the ability to objectively respond to Whites

Helms: Integrative Awareness

Valuing one's collective identities and recognizing and appreciating similarities between oppressed people

WEIRD

An acronym critiquing research bias: Western, Educated, Industrialized, Rich, Democratic — most psychology research samples come from these populations

Openness to Experience

A personality trait that strongly predicts musical involvement; being involved in musical activities leads to higher likelihood of interracial interactions and positive outcomes like sense of belonging and persistence

STOMP (Short Test of Music Preference)

A tool by Rentfrow & Gosling (2003) that categorizes music into four types: Energetic/Rhythmic, Intense/Rebellious, Upbeat/Conventional, and Reflective/Complex

Energetic/Rhythmic (STOMP)

Music category including Dance, Rap, and Funk

Intense/Rebellious (STOMP)

Music category including Alternative, Metal, and Rock

Upbeat/Conventional (STOMP)

Music category including Pop, Country, and Soundtracks

Reflective/Complex (STOMP)

Music category including Blues, Jazz, Classical, and Folk

Gender Effects in STOMP

Males showed a negative correlation between self-liking and Reflective/Complex music; females showed a negative correlation between self-liking and Energetic/Rhythmic and Upbeat/Conventional music

Musical Possible Selves

Future selves related to music that can be aspirational or dreaded; shaped by formal, informal, and non-formal learning contexts

Possible Selves (general)

Ideas we might have of ourselves that are socially and culturally situated; forming musical possible selves involves: Discovering, Thinking, Imagining, Reflecting, Growing, and Performing

Situated Learning

A learning environment where music plays a role and can afford students transformative learning experiences; has three properties: Motivated Use, Expansion of Perception of the World, and Experienced Value

Recursive Relationship (Music & Culture)

Music determines and is determined by culture — social forces shape music and music shapes social forces in a continuous two-way cycle

Hip-Hop and Black Female Identity (Henry, West & Jackson, 2010)

Hip-hop culture has tended to have a negative effect on the identity development of Black female college students; while it can open discussions about racial injustice, it can also be misogynistic and demeaning toward women

Community of Practice (COP)

A nexus created when people interact together to perform as a unit; not a physical institution but a constellation of changing relationships, shared meanings, shared identities, and ways of belonging that develop around the performance of a practice

Three Dimensions of a COP

A Community of Practice has three dimensions: Mutual Engagement, Joint Enterprise, and Shared Repertoire

Mutual Engagement (COP)

The ongoing negotiation of meaning within the community; how a person's identity changes in relation to the organization and the role they play in the community's unfolding history

Imagination (COP)

How a person experiences their sense of place in the world and the community; a process of understanding and forming relationships between experiences, actions, and objects

Alignment (COP)

When a person takes steps to meet the explicit or imagined rules of the organization; can be achieved through agency, coercion, negotiation, inspiration, or new rules and boundaries

Artistic Personality Development

Develops between ages 13 and 23; during this time young musicians decide to become musicians or abandon the pursuit; later stages involve developing a musical self-concept shaped by teachers, parents, peers, and institutions

Participative Music

Music making where people actively engage with others through musical interaction such as singing groups or instrumental ensembles; adults are motivated to participate personally, musically, socially, or spiritually

Why Adults Pursue Participative Music

Adults pursue music to meet new people, be with friends, or have a sense of belonging; music-making can feel personal because it involves conflict and compromise, requiring strong social relationships

Benefits of Participative Music for Students

Feeling important/useful, making friends, building self-confidence, developing leadership skills, and gaining a sense of belonging — all of which are instrumental in success in higher education

Soto, Lum & Campbell (2009)

An 8-month ethnographic study pairing music education undergraduates with an elementary school on a reservation; children's reading scores improved despite less reading time; education students gained awareness of cultural and social struggles they previously knew nothing about

Outcomes of Interracial Musical Interactions

Positive outcomes include questioning prior beliefs, developing awareness of social problems, learning to function effectively in diverse teams, and relating well with people of different racial and cultural backgrounds

Harrop-Allin (2017) - South African Study

A community music outreach study in Limpopo, South Africa; music education students did service learning in villages; contributed to academic enhancement, personal growth, and civic engagement; education students benefited just as much as the children they taught

Community Music

Active and meaningful musical experiences outside of the formal educational structure of the classroom; focuses on benefiting the community

Formal Learning

Learning that has clear objectives, structure, and organization; learning is intentional and explicitly planned

Informal Learning

Learning that is never organized; usually the outcome of unintentional situations; results from experience rather than planned instruction

Non-Formal Learning

Exists between formal and informal learning; can be organized to varying degrees and may have objectives; learning can occur even when no formal objective is defined

Self-Directed Informal Learning

A type of informal learning that is intentional; the learner is aware they are learning as it happens (e.g., a toddler deliberately practicing putting on socks)

Incidental Learning

Occurs by accident; the learner had no intention of learning and only becomes aware of what they learned after the fact

Socialization Learning

A subtle form of informal learning with no intention; after the experience the learner is not aware of what they learned; examples include first language acquisition, internalized racism, and gender role socialization

Muhonen (2006) - Creative Songwriting in Finland

A classroom songwriting activity for ages 7-12 in Finland; teacher acted as a facilitator/coach; students had increased agency in the creative process using a scaffolding approach; fortified a sense of belonging

Peripheral Participation (Songwriting)

Students who did not write lyrics or compose songs; could feel either unheard or happy simply being part of the group and contributing by being present

Experimentation (Songwriting)

Students who saw songwriting as a new and fun experience; discovered they were capable of something they hadn't realized before

Deep Participation (Songwriting)

Students with prior music experience such as piano lessons; their sense of musical agency was reinforced by the group process and instructor facilitation

Scaffolding (Vygotsky, 1978)

An approach where a teacher expands on students' ideas to support their learning; the teacher acts as a helper or coach rather than a direct instructor, giving students more ownership over the creative process

Jaffurs (2004) - Garage Band Study

An ethnographic study on students in a rock band; the band had an egalitarian, democratic structure with no leader; members were self-motivated to imitate musicians and study recordings; they used both verbal and non-verbal communication to share knowledge

Social Constructivism

The idea that shared experiences create new meanings; knowledge is built through social interaction rather than individual study

Sule (2016) - Campus Hip-Hop Study

Students created a sense of belonging through campus hip-hop; hip-hop fostered intercultural competence, cross-racial interaction, and counter spaces against the dominant culture; also facilitated spirituality and emotional release

Belongingness Through Self-Expression

Belonging that comes from being able to show who you really are and feel accepted for it; creative outlets like hip-hop give students a space to be seen and understood

What is Memory?

The cognitive process responsible for storing, retrieving, and using information after it is no longer present

Encoding (Learning)

The process of storing information in memory by transforming it into a format that can be stored in the brain

Engram

The physiological representation of a memory in the brain created by networks of neurons activated during processing

Forgetting

The process in which previously encoded information is lost, becomes inaccessible, or cannot be retrieved

Recall

The process of retrieving information from memory storage and bringing it into conscious awareness

Recognition

The ability to identify previously encountered information when presented again, involving familiarity

Tempo

The speed or pace at which a piece of music is performed, measured in beats per minute (BPM)

Rhythm

The pattern of sounds and silences arranged in time based on duration and accents of notes and beats

Pitch

The perceived highness or lowness of a sound determined by frequency

Frequency

The number of wave cycles per second, measured in Hertz (Hz)

Amplitude

The maximum extent of a wave's displacement representing energy or intensity

Miller's Law

Short-term memory can hold about 5–9 items (7 ± 2)

The Magical Number Seven

The average number of items that can be stored in short-term memory

Chunking

A strategy of grouping information into meaningful units to reduce cognitive load and improve memory

Special Patient H.M.

Had temporal lobes removed to treat seizures and developed severe memory impairments

Anterograde Amnesia

Inability to form new long-term memories after an event

Retrograde Amnesia

Loss of some memories from before an event

Explicit Memory

Memory that can be consciously recalled

Implicit Memory

Memory not consciously accessible but still influences behavior

Modal Model of Memory

A model proposing memory consists of sensory store, short-term store, and long-term store

Sensory Store

A short-term memory store that holds information from the senses

Iconic Memory

The sensory memory store for vision

Iconic Memory Capacity

Large amount of visual information

Iconic Memory Duration

Lasts about 0.25–0.5 seconds

Sperling Iconic Memory Study

Used full and partial report methods showing iconic memory lasts about one-third of a second

Echoic Memory

The sensory memory store for auditory information

Echoic Memory Duration

Lasts about 2 seconds

Darwin, Turvey, and Crowder Study

Showed auditory location information can be remembered for about 2 seconds

Short-Term Store (STS)

A temporary store holding attended information for processing

STS Capacity

5–9 bits of information (7 ± 2)

STS Duration

Approximately 15–20 seconds

Working Memory

A system where information is actively processed rather than just temporarily stored

Baddeley and Hitch Contribution

Reconceptualized short-term memory as an active working memory system

Central Executive

Controls attention and decides what information is important and what processes to use

Phonological Loop

The auditory channel of working memory

Visuo-Spatial Sketchpad

The visual channel of working memory

Episodic Buffer

Integrates audio, visual, and situational information into a complete memory trace