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Musical Preferences, Personality Traits and Spotify Features MUSICAL PREFERENCES, PERSONALITY TRAITS AND SPOTIFY FEATURES Sem Kaylee Dekkers 10555943 University of Amsterdam Master of Arts: Thesis 0 th 15 August J.A. Burgoyne Introduction I like to think I present an innocuous, well-socialized face to the world – nothing for anyone to worry about. But if you know that I like [alternative music] then you know a little something else about me. You've gotten a new data point. If you have all of my songs, the points coalesce to form a picture, an intimate one that doesn't quite match the public persona (Schwarz, 2004).1 Music is everywhere around us. If we walk into our local grocers, shops, gym, when we turn on our radio during a car ride, even when we pay a visit to our dentist. In short, music is a ubiquitous phenomenon. One common use of music in today's society is enjoyment and aesthetic appreciation (Kohut & Levarie, 1950). Music is also the center of many social activities, concerts, dancing, singing such as choirs, and even in most social gatherings. Music may not always be the primary focus, but it is certainly an essential component – for example, try to imagine Christmas Eve without Christmas carols. Another common use is music's ability to inspire dance and physical movement (Dwyer, 1995; Large, 2000; Ronström, 1999). Music also satisfys a number of needs beyond social context; a personal music selection can serve as a tool to shape their physical and social environments to reinforce their dispositions and self-views (Buss, 1987; Gosling, Ko, Mannarelli, & Morris, 2002; Snyder & Ickers, 1985; Swann, Rentfrow, & Guinn, 2002).2 For some, music is also used for mood regulation and enhancement (North & Hargreaves, 1996; Rentfrow & Gosling, 2003; Roe, 1985).3 In studies involving the uses of music, adolescents have reported that they use music for a distraction from troubles, as a means of mood regulation, for reducing loneliness, and as a badge of identity for inter- and intra-group self-definition (Bleich, Zillmann, & Weaver, 1991; Rentfrow & Gosling, 2006, 2007; Rentfrow, McDonald, & Oldmeadow, 2009; Zillmann & Gan, 1997). Additionally, music is also used to enhance concentration and cognitive function, to maintain alertness and vigilance (Emery, Hsiao, Hill, & Frid, 2003; Penn & Bootzin, 1990; Schellenberg, 2004), and increase worker productivity (Newman, Hunt, & Rhodes, 1966). The final use of music worth mentioning is its role in social and protest movements, where music is used for motivation, group cohesion, and focusing on common goals (Eyerman & Jamison, 1998), whereas therapists encourage patients to choose music to meet various therapeutic goals 1 Peter J. Rentfrow and Samual D. Gosling. 'Message in a Ballad: The Role of Music Preferences in Interpersonal Perception.' Psychological Science, Vol. 17, No. 3 (2006): 236. 2 Peter J. Rentfrow and Samual D. Gosling. 'The Do Re Mi's of Everyday Life: The Structure and Personality Correlates of Music Preferences'. Journal of Personality and Social Psychology, Vol. 84, No. 6 (2003): 1237. 3 Peter J. Rentfrow, Lewis R. Goldberg and Daniel J. Levitin. 'The Structure of Musical Preferences: A Five-Factor Model'. Journal of Personality and Social Psychology, Vol. 100, No. 6 (2011): 1139. 1 (Davis, Gfeller, & Thaut, 1999; Särkamö et al., 2008).4 Even though music can serve a wide variety of functions, this research aims to shed light on individual musical preferences. Individuals have preferences for different types of music, which undoubtedly will be influenced by psychological and social processes. Obviously, one person might have stronger feelings towards music than someone else, but what lies beneath these preferences? What determines one's music preferences? Is there a pattern that connects certain types of music to certain kind of people? Research suggests there are links between music preferences and personality (Arnett, 1992; Cattell & Anderson, 1953; Cattell & Saunders, 1954; Little & Zuckerman, 1986; McCown, Keiser, Mulhearn, & Williamson, 1997), physiological arousal (Gowensmith & Bloom, 1997; McCamara & Ballard, 1999; Oyama et al., 1983; Rider et al., 1985), and social identity (Crozier, 1998; North & Hargreaves, 1999; North, Hargreaves, & O'Neill, 2000; Tarrant, North, & Hargreaves, 2000).5 Previous research has provided the assumption that individuals seek musical environments that reinforce and reflect aspects of their personalities, attitudes, and emotions (Colley, 2008; Delsing, ter Bogt, Engels, & Meeus, 2008; George et al., 2007; Rentfrow & Gosling, 2003; Rentfrow & McDonald, 2009; Schäfer & Sedlmeier, 2009). Also, more than preferences for books, clothing, food, movies, and television shows; individuals consider their preferences for music more revealing of their personality than any of the previously mentioned (Rentfrow & Gosling, 2003). Young adults report significantly stronger preference ratings for music than older people, which might be an explanation for the emphasis on music. According to Rentfrow et al. (2012), much of the research in this area had examined the structure of musical preferences with the aim of developing a foundation on which to develop and test hypotheses about the role of music in everyday life.6 To dig a little deeper into this area, the aim of the present study is to broaden our understanding of the nature of musical preferences and attempt to gain insight into this matter. Nonetheless, we have to keep in mind that this research is an exploratory study. Toward that end, the current study is set out to investigate which aspects of music underlie individual differences in musical preferences. This work offers yet another insight into those aspects, specifically, musical features provided by the streaming service Spotify (https://www.spotify.com/). As Nave et al. (2018) mention: “With the proliferation of Internet-based services for sharing and streaming music 4 Peter J. Rentfrow, Lewis R. Goldberg and Daniel J. Levitin. 'The Structure of Musical Preferences: A Five-Factor Model'. Journal of Personality and Social Psychology, Vol. 100, No. 6 (2011): 1139. 5 Peter J. Rentfrow and Samual D. Gosling. 'The Do Re Mi's of Everyday Life: The Structure and Personality Correlates of Music Preferences'. Journal of Personality and Social Psychology, Vol. 84, No. 6 (2003): 1237. 6 Peter J. Rentfrow et al.. 'The Song Remains The Same: A Replication and Extension of the MUSIC Model'. Music Perception: An Interdisciplinary Journal, Vol. 30, No. 2 (2012): 162. 2 on demand, personalized music is becoming a more central and prominent fixture in many people’s lives. This increase coincides with a growing interest in understanding the psychological basis of musical preferences.”7 Incorporating Spotify's musical features in this study, resulting from individuals personal playlists, gives us an insight into a person’s musical preferences and listening behaviour of their everyday life. The Structure of Musical Preferences One of the first researchers who investigated individual differences in musical preferences where psychologists Cattell and Anderson (1953). They believed that preferences for certain types of music reveal information about unconscious aspects of personality that is overlooked by most personality inventories. Even though their beliefs in music preferences could open a window into one's unconscious, nowadays researchers view music preferences as a manifestation of more explicit personality traits. For instance, research has shown that sensation seeking appears to be positively related to preferences for rock, heavy metal, and punk music and negatively related to preferences for sound tracks and religious music. Also, personality traits as Extraversion and Psychoticism have been shown to predict preferences for music with exaggerated bass, such as rap and dance music.8 Research from North and Hargreaves (1999) provided evidence linking music preferences and personality. They found that people use music as a “badge” to communicate their values, attitudes, and self-views. However, this matter was moderated by participant's self-esteem. Participants with higher self-esteem perceived more similarity between themselves and the prototype music fan than participants with low self-esteem. Even in different populations, age groups, and cultures, similar results have been found for the notion that one's self-views and self- esteem influence music preferences.9 When it comes to the structure of music preferences, different researchers have begun to map this area with the aim of identifying this structure. For instance, Rentfrow and Gosling (2003) have created a four-factor model that was labelled reflective & complex (compromising classical, jazz, folk, and blues genres), intense & rebellious (rock, alternative, heavy metal), upbeat & conventional (country, pop, soundtracks, religious), and energetic & rhythmic (rap, soul, 7 Gideon Nave et al.. 'Musical Preferences Predict Personality: Evidence From Active Listening and Facebook Likes.' Psychological Science (2018): 1. 8 Peter J. Rentfrow and Samual D. Gosling. 'The Do Re Mi's of Everyday Life: The Structure and Personality Correlates of Music Preferences'. Journal of Personality and Social Psychology, Vol. 84, No. 6 (2003): 1237. 9 Cf. Idem. 3 electronica). Similar results stem from research from Delsing and others (2008), who also found four preferences factors, labelled: rock (compromising rock, heavy metal/hard rock, punk/hardcore/grunge, gothic) elite (classical, jazz, gospel) urban (hip-hop/rap, soul/R&B) pop (trance/techno, top40/charts)
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