Integrating methods from experimental social psychology and music perception, we tested the hypothesis that when listeners personally like a musician, they will be more inclined to experience his or her music as both provoking movement and as subjectively pleasurable, the two core features of perceived groove. In Experiment 1, participants were exposed to a set of moderately-syncopated, high-groove drum-breaks which they were led to believe were either produced by a relatively likable or unlikable musician. In line with predictions, participants led to find the musician more versus less likable rated the same drum-breaks as more evocative of both the urge to move and of feelings of pleasure. When participants in a follow-up study (Experiment 2) were administered the exact same manipulation of likability, but exposed to highly-syncopated, low-groove drum-breaks, these effects were eradicated, suggesting that the results of Experiment 1 were not merely due to demand characteristics or response biases. Together, these findings support the notion that listeners are more responsive to “participating in the music” when they are relatively motivated to affiliate with the musician(s). Methodological limitations and directions for future research on the social psychological underpinnings of groove are discussed.

中文翻译：

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社会音乐

结合实验社会心理学和音乐感知的方法，我们检验了以下假设：当听众个人像音乐家一样，他们会更倾向于体验他或她的音乐，既激发动作又主观上愉悦，这是感知凹槽的两个核心特征。在实验1中，参与者被暴露于一组中等刻划，高凹槽的鼓声，他们被认为是由相对喜欢或不喜欢的音乐家制作的。与预测相符，参与者发现音乐家对乐曲的评价与对乐曲的评价相比，与对乐曲的评价不同，因为他们更喜欢动感和愉悦感。当对一项随访研究（实验2）的参与者进行完全相同的对喜好性的操作时，却受到高度晕厥的影响，低槽鼓断裂，这些效果被消除，这表明实验1的结果不仅仅是由于需求特征或响应偏差。总之，这些发现支持了这样的观点，即听众相对动机于与音乐家结盟时，他们对“参与音乐”的反应会更大。讨论了凹槽的社会心理基础的方法学局限性和未来研究的方向。