https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3138530/ – The Structure of Musical Preferences: A Five-Factor Model.

QUOTES:

1. “It was not until some 50 years later that research on individual differences in music preferences resurfaced. However, whereas Cattell and his colleagues assumed that music preferences reflected unconscious motives, urges, and desires (Cattell & Anderson, 1953; Cattell & Saunders, 1954), the contemporary view is that music preferences are manifestations of explicit psychological traits, possibly in interaction with specific situational experiences, needs, or constraints. More specifically, current research on music preferences draws from interactionist theories (e.g., Buss, 1987; Swann, Rentfrow, & Guinn, 2002) by hypothesizing that people seek musical environments that reinforce and reflect their personalities, attitudes, and emotions.”
2. “It seems reasonable to suppose that music preferences are shaped by psychological dispositions, social interactions as well as exposure to popular media and cultural trends. Thus, preferences for a particular style of music may vary as a function of personality traits, social class, ethnicity, country of residence, and cohort, as well as the culture-specific associations with that style of music. However, the reliance on genre-based preference measures makes it difficult to examine music preferences among people from different generations and cultures because their knowledge and familiarity with the genres will vary significantly. The present findings suggest that audio recordings of music can be used effectively to study music preferences. This finding should help pave the way for future research by enabling researchers to develop music-preference measures that are not language based and can therefore be administered to individuals of different age groups, social classes, and cultures. Audio-based music preference measures that include musical excerpts from a wide array of genres, time periods, and cultures will help researchers further explore the structure of music-preferences and ascertain whether the MUSIC model is universal.”
3. The social connotations of particular musical styles are shaped by culture and society, and those connotations change over time. For example, jazz music now means something very different than it did 100 years ago; whereas jazz is currently thought of as sophisticated and creative, earlier generations considered it uncivilized and lewd. This raises questions about the stability of the MUSIC model across generations. Are the factors cohort- and culture- specific, or do they transcend space and time?
4. The social connotations of particular musical styles are shaped by culture and society, and those connotations change over time. For example, jazz music now means something very different than it did 100 years ago; whereas jazz is currently thought of as sophisticated and creative, earlier generations considered it uncivilized and lewd. This raises questions about the stability of the MUSIC model across generations. Are the factors cohort- and culture- specific, or do they transcend space and time? One potentially fruitful direction would be to expand research on music attributes to focus more on the affective aspects of music preference

Exposure effects. Exposures shape our musical preferences. We tend to prefer the music that we are most familiar with. One explanation is that repeated exposures can be considered as a form of classical conditioning that can increase the liking of stimuli through a process of conditioning

SOUND / CLUB – RECONNECTION, GOING BACK TO THE ESSENCE