Exploring engagement with music in everyday life using experience sampling methodology

TLDR

Prior qualitative studies have shown that music‑listening patterns vary with individuals’ level of musical involvement, but these findings rely largely on retrospective reports, whereas experience sampling methodology (ESM) offers a more immediate, context‑rich approach to studying music in everyday life. This study used ESM to examine how people with low, moderate, or high engagement with music differ in their everyday music‑engagement behaviors. Over seven days, 25 young adults recorded what they were doing while hearing music and the functions of music, followed by post‑study interviews with 23 participants that provided retrospective accounts of specific musical experiences. Analysis identified two listener types: less engaged listeners (≈12 h/week, less self‑chosen music, used music to pass time or feel less alone) and highly engaged listeners (≈21 h/week, more self‑chosen music, used music to evoke moods, create atmosphere, or enhance activities), confirming ESM’s usefulness and underscoring the need to consider context and individual engagement levels in future research.

Abstract

Recent qualitative research has highlighted differences in people’s music-listening behaviour according to their level of involvement with and interest in music, yet these findings are mainly based on retrospective accounts of patterns of behaviour ( Greasley, 2008 ; Greasley & Lamont, 2006 ; Lonie, 2009 ). Experience sampling methodology (ESM) is a valuable tool for studying music in everyday contexts, and it has been shown to increase people’s conscious awareness of the role of music in their lives ( Sloboda, O’Neill, & Ivaldi, 2001 ). Using ESM, the present study explored differences in people’s everyday engagement with music by recruiting three different types of listener: those identified as having low, moderate, or high engagement with music. Over seven days, quantitative and qualitative data were collected from 25 young adults (aged 18–30) on what they were doing while hearing music (e.g., activities) and the functions/effects of music (e.g., reasons influencing choices). Post-study interviews with 23 participants then generated retrospective accounts about specific musical experiences. Analysis revealed two broad types of listener: the less engaged, who listened for fewer hours a week (min = 3 hours, mean = 12 hours), were less likely to be hearing self-chosen music, and were more likely to listen to music to pass time, out of habit or to help them feel less alone; and the highly engaged, who listened for a greater number of hours per week (mean = 21 hours, max = 40 hours), were more likely to be hearing self-chosen music, and were more likely to use music to evoke specific moods, create an atmosphere, or enhance an activity. The study confirmed the usefulness of ESM for investigating the complex (and interacting) factors involved in people’s daily musical choices, and highlighted ways in which music can fulfil different functions concurrently. Findings show that future research on everyday musical behaviour should continue to account for the context of music listening in shaping responses to and uses of music; and account for individual differences in people’s levels of engagement with music.