University students’ strong experiences of music
By A. Lamont. 2011
130 citations recorded by the source corpus.
Subfields: Cognitive Neuroscience, Music, Social Psychology
View Paper: https://www.semanticscholar.org/paper/8bc85bc9d736ed287c73f3221fdad6a70431b47f
How researchers see this paper
The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.
In Cognitive Neuroscience
- Patrik Juslin
- A. Lamont
- Adam M. Croom
- Daniel Västfjäll
- Simon Liljeström
- Michael J. Hogan
- J. Groarke
- Tayyab Rashid
In Music
- Patrik Juslin
- A. Lamont
- Simon Liljeström
- Daniel Västfjäll
- Adam M. Croom
- Tayyab Rashid
- Michael J. Hogan
- J. Groarke
In Social Psychology
- Patrik Juslin
- A. Lamont
- Adam M. Croom
- Tayyab Rashid
- Michael J. Hogan
- J. Groarke
- Daniel Västfjäll
- Simon Liljeström
Citations in the corpus
- Positive psychotherapy: A strength-based approach (2015, background): “…elements is neither exhaustive nor exclusive, but it has been shown that fulfillment in these elements and is associated with lower rates of depression and higher life satisfaction (Bertisch, Rath, Long, Ashman, & Rashid, 2014; Headey, Schupp, Tucci, & Wagner, 2010; Lamont, 2011; Sirgy & Wu, 2009).”
- Enhancing wellbeing: An emerging model of the adaptive functions of music listening (2016, background): “The potential for music to provide routes to wellbeing other than pleasure is supported by two recent qualitative studies (Lamont, 2011; Schafer, Smukalla, & Oelker, 2014), where it was found that, in addition to pleasure, both absorption and transcendence were commonly reported experiences in…”
- Emotion, engagement and meaning in strong experiences of music performance (2012, methodology): “The positive psychology framework has already been used to interpret and analyze data on the effects of music listening (see Lamont, 2011b).”
- Music practice and participation for psychological well-being: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment (2015, background): “In other recent research on the musical experiences of participants at live music events, Lamont (2011) reported from her study of participants (n = 46) that one “was linking his own sense of identity as an authentic music fan to a premeditated experience which evoked a state of euphoria, comparing…”
- Experimental evidence of the roles of music choice, social context, and listener personality in emotional reactions to music (2013, background): “In addition, Lamont (2011) found that a large percentage of ‘peak’ experiences with music of young people occurred during concerts.”