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Negative Emotions in Music: What Is the Attraction? Sandra Garrido

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Negative Emotions in Music: What Is the Attraction? Sandra Garrido Negative Emotions in Music: What is the Attraction? Sandra Garrido A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree Doctor of Philosophy School of the Arts and Media Faculty of Arts and Social Sciences October 2012 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: GARRIDO First name: SANDRA Other name/s: MAXINE Abbreviation for degree as given in the University calendar: PhD MUSIC School: SCHOOL OF THE ARTS AND MEDIA Faculty: ARTS AND SOCIAL SCIENCES Title: NEGATIVE EMOTIONS IN MUSIC: WHAT IS THE ATTRACTION? Abstract 350 words maximum: (PLEASE TYPE) This thesis sought to investigate why people are attracted to music that makes them sad. In particular it was hypothesised that individual differences in several personality measures would be related to attraction to music evoking negative emotions. The research was conducted by means of three online surveys, and five case studies. Results supported the argument that absorption (a capacity to become deeply immersed in a task or activity) and dissociation (a disconnection from reality) make it possible for the emotional stimulation of sad music to be enjoyed without the displeasure usually associated with sadness. This appears to be the case particularly in the case of males. Other listeners may derive additional psychological benefits from listening to sad music. Reflectiveness (an adaptive trait involving an enjoyment of self-reflection and deep thinking), for example, appears to be implicated in the use of sad music for dealing with and processing negative emotions associated with life-events particularly in the case of females in a depressed mood. Maladaptive uses of sad music were also identified. Rumination (a maladaptive trait involving obsessive thinking about negative events or emotions) was correlated with the use of sad music although not necessarily the enjoyment of it. Results suggest that ruminators do not experience an improved mood from listening to sad music and in fact may derive greater benefit from listening to happy music than other listeners, indicating that their attraction to sad music is part of their generally maladaptive mood regulation strategies. The interdisciplinary approach of this thesis, drawing on literature in both philosophy/aesthetics, history and psychology has enhanced understanding of why people listen to sad music by examining individual differences and conducting empirical investigation into the topic. In addition to making a significant contribution to the philosophical debate which has been occurring for centuries on this topic, the research has implications for our understanding of the function of music in everyday life. It will also have application to music therapy in that it identifies both adaptive and maladaptive music listening habits. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. ii COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... iii Acknowledgements I would like to acknowledge the invaluable support and knowledgeable guidance of Associate Professor Emery Schubert who has both stimulated my interest in, and passion for the subject of this thesis. His confidence in my capabilities and his continual encouragement have helped me to stay focused despite the many unexpected events which occurred in my life throughout the duration of my PhD candidature. I am extremely grateful for all that I have learned along the way. I would also like to thank Dr. Alison Short whose expert input on the topic of qualitative research helped me with a significant portion of this thesis. My thanks also goes to all the people who participated in my studies. In particular I would like to thank Theme & Variations, Beyond Blue and the Meditation Sanctuary, for their assistance in promoting involvement in my studies to their members. Finally, my gratitude goes to my husband who has supported me tirelessly and without whom I would not have reached out for this most satisfying goal, and my little boy Alejandro, who has been in my arms keeping me quiet company as much of the work on this thesis proceeded. iv Table of Contents Page Originality Statement .......................................................................................... ii Copyright Statement ........................................................................................... iii Authenticity Statement ....................................................................................... iii Acknowledgements .............................................................................................. iv Table of Contents ................................................................................................. v List of Tables ........................................................................................................ viii List of Figures ...................................................................................................... ix Abstract ................................................................................................................ x Chapter 1 – Introduction ................................................................................ 1 1.1 The Paradox of Tragedy ............................................................ 2 1.2 A Historical Overview of the Study of Negative Emotions in Music .......................................................................................... 4 1.3 The Questions Remaining .......................................................... 5 1.4 The Aims of This Study ............................................................. 6 1.5 Limitations/Delimitations .......................................................... 6 1.6 Theoretical Framework of This Thesis ...................................... 7 1.7 Plan of Thesis ............................................................................. 9 Chapter 2 – Literature Review on the Study of Negative Emotions in Music 11 2.1 The Philosophical and Psychological Discussion ..................... 12 2.2 Individual Differences .............................................................. 34 2.3 Dissociation: A Mechanistic Explanation
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