mUSic or musIc?: Examining the role of self-construal in affective experiences with music across cultures

Building on previous recommendations for cross-cultural research in music cognition, this thesis introduces a novel approach to investigating affective experiences with music across cultures. Chapter One outlines the motivations for this doctoral study, defines key constructs, provides an overview of the thesis, and discusses its main contributions and implications. Chapter Two critically examines operationalisations of ‘culture’ in prior cross-cultural research and proposes a theoretical framework delineating key cultural dimensions within the music context. This framework posits that the self is shaped by the cultures to which one belongs, and I argue that self-construal theory provides valuable insights into how culture interacts with affective experiences of music. Chapters Three and Four report complementary studies investigating how self-construal influences emotional experiences with music. Using an online exploratory questionnaire and an in-person listening experiment, these studies found that interdependent self-construal was associated with socially engaging emotions, both perceived and felt in response to favourite music. Independent self-construal, however, was linked to socially disengaging emotions felt but not perceived in favourite music, highlighting nuanced cultural influences on emotional experiences. Chapter Five explores the relationship between self-construal and musical reward through an online questionnaire, revealing that interdependent self-construal was linked to social reward, while independent self-construal was associated with musical seeking reward across cultures. Chapter Six examines whether music can prime self-construal, and Chapter Seven re-evaluates the functions of music from a cross-cultural perspective, demonstrating music’s role in shaping self-perception and its diverse functions across cultures. Overall, this thesis provides empirical support for the significant role of self-construal in affective experiences with music and underscores the importance of articulating specific cultural variables in cross-cultural research. By fostering a more inclusive and culturally informed understanding of musical experiences, this work paves the way for future research exploring the intersections of music, culture, and the self.