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The effects of music on time perception and performance of a driving game
Author(s) -
CASSIDY G.G.,
MACDONALD R.A.R.
Publication year - 2010
Publication title -
scandinavian journal of psychology
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.743
H-Index - 72
eISSN - 1467-9450
pISSN - 0036-5564
DOI - 10.1111/j.1467-9450.2010.00830.x
Subject(s) - distraction , psychology , active listening , arousal , perception , time perception , meaning (existential) , cognitive psychology , silence , social psychology , communication , aesthetics , philosophy , neuroscience , psychotherapist
Cassidy, G.G. & MacDonald, R.A.R. (2010). The effects of music on time perception and performance of a driving game. Scandinavian Journal of Psychology 51 , 455–464. There is an established and growing body of evidence highlighting that music can influence behavior across a range of diverse domains (Miell, MacDonald, & Hargreaves 2005). One area of interest is the monitoring of “internal timing mechanisms”, with features such as tempo, liking, perceived affective nature and everyday listening contexts implicated as important (North & Hargreaves, 2008). The current study addresses these issues by comparing the effects of self‐selected and experimenter‐selected music (fast and slow) on actual and perceived performance of a driving game activity. Seventy participants completed three laps of a driving game in seven sound conditions: (1) silence; (2) car sounds; (3) car sounds with self‐selected music, and car sounds with experimenter‐selected music; (4) high‐arousal (70 bpm); (5) high‐arousal (130 bpm); (6) low‐arousal (70 bpm); and (7) low‐arousal (130 bpm) music. Six performance measures (time, accuracy, speed, and retrospective perception of these), and four experience measures (perceived distraction, liking, appropriateness and enjoyment) were taken. Exposure to self‐selected music resulted in overestimation of elapsed time and inaccuracy, while benefiting accuracy and experience. In contrast, exposure to experimenter‐selected music resulted in poorest performance and experience. Increasing the tempo of experimenter‐selected music resulted in faster performance and increased inaccuracy for high‐arousal music, but did not impact experience. It is suggested that personal meaning and subjective associations connected to self‐selected music promoted increased engagement with the activity, overriding detrimental effects attributed to unfamiliar, less liked and less appropriate experimenter‐selected music.