How individuals use music listening to regulate their emotions to achieve optimal performance
Conference Contribution ResearchOnline@JCUAbstract
Background: Motivated music listening regulates emotions and optimises physical performance (Terry et al, 2020). In stressful situations, self-selected music regulates negative emotions by reduced distraction and rumination (Groarke et al., 2020). Less is known about emotion regulation strategies utilised by young adults via music listening to achieve a desired emotional state in typical performance situations. Aim(s) To investigate the frequency and perceived effectiveness of emotion regulation strategies executed by people aged 17-35 years via music listening in order to achieve a desired optimal emotional state prior to performance. Methods: Online survey studies were conducted with samples aged 17-35 years. Study 1 (pre-pandemic, n=304) assessed memories of music use prior to a recent performance such as an important oral presentation, exam, audition or sporting competition; how frequently they amplified, reappraised, talked with others, suppressed, distracted, mindfully accepted, or ruminated as an emotion regulation strategy; and the effectiveness of that strategy. Study 2 (peri-pandemic, n = 296) expanded the sequence of questions to specify the intention to increase positive or decrease negative emotions. Results: Both studies showed significant differences in emotion regulation strategies. Distraction was the primary emotion regulation strategy: study 1 - 27.8%; study 2 – to decrease negative emotions 41.9%, and to increase positive emotions 25.6%. Amplification and cognitive reappraisal were indicated less frequently. Analyses are continuing regarding strategy effectiveness. Discussion and Conclusion: Unlike extant literature, our results indicate that music listening exerts beneficial effects on emotion regulation for optimal performance primarily through distraction. This implies that prior to a performance people listen to music to distract from the performance and associated emotions, more than to amplify the experience of an emotion or change their perspective. Future work can interrogate the nuance in our findings to clarify relationships between listener mood, context, emotion goal, regulation strategy, and outcome.
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ESCOM 12: 12th Triennial Conference of the European Society for the Cognitive Sciences of Music
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2
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Melbourne, VIC, Australia
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European Society for the Cognitive Sciences of Music (ESCOM)
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York, UK
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