Jump to ContentJump to Main Navigation
The Child as MusicianA handbook of musical development$
Users without a subscription are not able to see the full content.

Gary E. McPherson

Print publication date: 2015

Print ISBN-13: 9780198744443

Published to Oxford Scholarship Online: November 2015

DOI: 10.1093/acprof:oso/9780198744443.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see www.oxfordscholarship.com/page/privacy-policy).date: 10 December 2018

How and why do musical preferences change in childhood and adolescence?

How and why do musical preferences change in childhood and adolescence?

Chapter:
(p.303) Chapter 16 How and why do musical preferences change in childhood and adolescence?
Source:
The Child as Musician
Author(s):

David J. Hargreaves

Adrian C. North

Mark Tarrant

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198744443.003.0016

This chapter identifies patterns in the development of musical preferences, and tries to explain why they occur. Following some definitions of the various terms concerning musical preferences, and a brief description of their grounding in our own reciprocal-feedback model of musical preference, the chapter identifies and review four approaches to this topic. Two of these represent distinctive theoretical models, namely those of experimental aesthetics (which raises the issues of the arousal potential and prototypicality of musical events) and social identity theory (which involves discussion of the role of music in group formation and the reduction of intergroup conflict). The other two approaches are primarily driven by research methodologies, namely developmental approaches (both qualitative and quantitative), which raise the question of age-related developmental stages and “open-earedness,” and neuroscientific approaches, which involve the question of the identification of the neural basis of the distinction between cognitive and affective responses to music.

Keywords:   musical preference, development, aesthetics, neuroscience, open-earedness, cognitive, affective

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .