CHAPTER III

THEORETICAL FRAMEWORK

Several theories have been gathered and analyzed in this research study to help determine the factors causing an individual to affect his/her attitude due to the type of music he/she prefers.

A theory of Rudolf Radocy and David Boyle (2003) contends that musical preference is “more than an interaction of inherent musical characteristics and individual psychological and social variables” (p. 371). They cite the work of Abeles (1980) who, after a thorough review of the pertinent literature, concluded that personality factors and emotional states were related to preference, but not in a clear cut aspect. Moreover, Radocy and Boyle (2003) stress out that music preference might be influenced by the factors of environment such as institutions, experiences, group gatherings, self-concept, mass media and among other things.
Another theorist, Warren Prince (1972) developed a paradigm for music listening with a major premise that “a listener is capable of more than one response pattern and more than one type of listening experience” (p. 446). His paradigm is proposed as an initial effort to build “a framework based on crucial decisions on what variables and what relationships between variables are to be investigated” (p. 446). In addition, his paradigm gives a graphic representation of the variables in the listening process.

Prince’s paradigm has three categories; the listener variables, response patterns and a group of learning process variables. The variables in these three categories are interrelated indicating causal relationships. Below is the diagram interpreting his paradigm.

Figure 1.5

Figure 1.5 shows the flow of Prince’s Music Listening Paradigm with the (1) listener variables that are located at the top which are directed through the listener’s general state of attention, (2) response patterns at the center and the learning process variables are located at the bottom, and mostly has the function of feedback into the responses.

Moreover, the reason why the listener variable is located on the top is that, it determines its behavior according to the influence that the environment is causing it. From here, these listeners can be able to provide their own response patterns (e.g. music materials) from what they get from the environment’s influence. This then makes the learning process variables take place giving the outcome and effect from what the listeners prefer.

Another music listening preference theory was developed by Albert LeBlanc (1982). LeBlanc’s theory conceptualizes musical judgment as a hierarchical process. LeBlanc’s music listening preference theory covers a whole system of input information. He explains that a person’s decision on music listening preference must follow “unavoidable time sequence.” He asserts that music is differently processed at different levels, which one involves personality characteristics.

When Prince built his music listening theory, he considered his theory as an initial paradigm. He mentioned that “an initial paradigm represents theoretical considerations not yet confirmed even though they may be supported strongly by research evidence. “A later paradigm or theoretical schema may emerge as a result of many studies based on the initial paradigm.” (p. 446) LeBlanc (1991) stated that his model has a different focus (music listening preference) from that of Prince (music listening). However, LeBlanc’s music listening preference theory can be classified as a later paradigm of a more specifically developed theoretical model for music listening paradigm.

The theory developed by Robert Walker (1980) similarly characterizes musical preference as only indirectly related to personality and/or attitude factors. Walker asserts that liking is directly influence by musical complexity. He point out the idea that preference is modeled by a “bell-curve” which means that there is an “optimal level of complexity that is most enjoyable. Both very low complexity and very high complexity are less enjoyable” (p. 105). “Individuals have particular optimal complexity levels, with deviations in either direction decreasing liking. Simplistic music might produce boredom while overly complex music requires extensive processing that can decrease the likelihood that an individual will continue attending to the music.” (Perkins, p. 5)

Walker’s idea stresses out the fact and/or assertion that an individual, when introduced to a new kind of music will probably like and abandon the previous preference or he/she would have the same level of likeness to the both; previous and new kind of music. This, then leads to the point where the individual’s personality and/or attitude is greatly affected and influenced by the preference he/she chooses resulting to the creation of different views of the individual.

Below is the diagram of the Theoretical Framework:

Conceptual Framework:

Base on the ideas of the theories that were combined, the researcher came up with the above conceptualized framework. The music environment variables which include the institutions, experiences, group gatherings, self-concept and mass media are located at the top of the framework, followed by the second variable—students that become affected by the music environment.

From this, the second variable could experience the exposure of the third variable which is considered to be the various types of music materials and response patterns. Then, they can assess their response patterns by weighing the dominance of the dominant music which becomes the fourth variable in the framework. Upon weighing the dominance, the students will learn to choose and prefer the more dominant kind of music which then, formulates their views on it and the effect comes after.

The variables in this framework are considered the specified factors following the points and ideas from the theories mentioned. In addition, the framework’s flow is also based on the things that the theories pointed out.

Below is the diagram of the Conceptual Framework:

Operational Framework:

The variables featured on the operational framework as showed below are the most specified factors that become a background flow of the research study.

Home, UP Grounds, television, pals—variables found at the top of the framework are part of music environment which functions as the ones mainly influencing the second variable—the selected UP Female Students. This student variable now becomes the dependent variable in a way that its reactions depend on a certain situation due to the process that takes place in the music environment.

In reacting to the environment variable, students tend to enumerate in their minds the response patterns—KPOP’s beat, rhythm, composition, styles and performers—that they get from the influence of the music environment.

Having the response patterns settled, students will have a selection of one type of music leaving the other type. Appearing in the framework, the dominance of KPOP music on the preference of Pinoy Youth becomes the outcome gained from the response patterns.

The dominance of KPOP music can possibly be assessed that Pinoy Youth will end up selecting and/or preferring KPOP music over OPM (original Pilipino music), which is another variable based on the framework.

The effect of selecting Kpop over OPM by the Pinoy Youth will probably lead to the effect on their personality and/or attitude questioning now their sense of nationalism.

In accordance with these analyses, the specific flow of ideas showed in the framework is only based on the points pondered by several theories provided in the previous pages having the views of the theorists, respectively.

Below is the diagram of the Operational Framework: