In recent empirical research, the experience of groove (i.e., the pleasant sense of wanting to move along with the music) has come into focus. By developing the new Experience of Groove Questionnaire (EGQ), Senn et al. (2020) have provided a standardized and validated research instrument for future studies, consisting of the two correlated factors Urge to Move and Pleasure. The present study reports the translation of the English version into German and a validation with a German sample ( N = 455). The original version’s factor structure was confirmed by the German data. Test-retest reliability was found to be high ( r tt > .85) for both factors. To determine convergent validity, two other scales were included: The Drum Pattern Quality Scale ( Frühauf, Kopiez, & Platz, 2013 ) and the Aesthetic Emotions Scale ( Schindler et al., 2017 ) showed high correlations (.78 < r < .87) with the two factors of the EGQ and therefore indicated convergent validity. We conclude that the German version shows good psychometric properties and recommend its use for future research on the experience of groove.

Music often triggers a pleasurable urge in listeners to move their bodies in response to the rhythm. In music psychology, this experience is commonly referred to as groove . This study presents the Experience of Groove Questionnaire , a newly developed self-report questionnaire that enables respondents to subjectively assess how strongly they feel an urge to move and pleasure while listening to music. The development of the questionnaire was carried out in several stages: candidate questionnaire items were generated on the basis of the groove literature, and their suitability was judged by fifteen groove and rhythm research experts. Two listening experiments were carried out in order to reduce the number of items, to validate the instrument, and to estimate its reliability. The final questionnaire consists of two scales with three items each that reliably measure respondents’ urge to move (Cronbach’s α = .92) and their experience of pleasure ( α = .97) while listening to music. The two scales are highly correlated ( r = .80), which indicates a strong association between motor and emotional responses to music. The scales of the Experience of Groove Questionnaire can independently be applied in groove research and in a variety of other research contexts in which listeners’ subjective experience of music-induced movement and enjoyment need to be addressed: for example the study of the interaction between music and motivation in sports and research on therapeutic applications of music in people with neurological movement disorders.

In our study, two groups of participants ( n = 61 and n = 58) listened to nine pieces for solo violin and rated how they felt along an affect dimension and along the nine Geneva Emotional Music Scale dimensions. After each piece, they completed a 12-item questionnaire corresponding to subjective entrainment reports. A factorial analysis of this Musical Entrainment Questionnaire revealed a two-factor solution, with Visceral Entrainment (VE) corresponding to sensations of internal bodily entrainment and Motor Entrainment (ME) reflecting participants’ inclination to move to the beat. These findings represent, to the best of our knowledge, the first empirical evidence for the existence of two components underlying entrainment capable of predicting specific emotional responses to music. Indeed, although both factors predicted Affect, Joyful activation, Transcendence, Wonder, Power, and Tenderness dimensions, only VE predicted Nostalgia and Sadness. Moreover, Peacefulness was mostly predicted by ME, whereas Tension was mostly predicted by VE.

mood regulation has been shown to be among of the most important reasons for musical engagement, but there has been a lack of a concise measurement instrument for this behavior. The current study focused on developing and testing the Brief Music in Mood Regulation scale (B-MMR), a 21-item self-report instrument for assessing the use of seven different music-related mood-regulation strategies. Two survey studies ( N = 1515 and N = 526) were conducted to first develop and then test and validate the instrument. The newly constructed scale showed adequate internal consistency reliabilities and correlated expectedly with measures of general emotion regulation and musical engagement. As a concise and theoretically coherent measure, the B-MMR may prove to be highly applicable for future surveys and comparative studies.

active engagement with music has been associated with cognitive, emotional, and social benefits, although measures of musicianship are typically limited to music training. A self-report questionnaire was developed to assess both quality and quantity of different forms of music use, with eight music background items, and a further 124 items testing music engagement. Analysis of engagement items with an initial sample ( N = 210; mean age = 37.55 years, SD = 11.31) generated four reliable engagement styles (Cognitive and Emotional Regulation, Engaged Production, Social Connection, Dance and Physical Exercise). Analysis of an independent sample with a refined 50-item scale ( N = 124; mean age = 22.78 years, SD = 6.17) supported the findings, further differentiating between “Physical Exercise” and “Dance.” Taken together with the eight music background items, the Music USE (MUSE) questionnaire can be used as a 58-item, or in a reduced 32-item format. Validity was demonstrated in relationships between music background indices, styles of music engagement, demographics, the brief Music Experience Questionnaire (Werner, Swope, & Heide, 2006), and the Emotion Regulation Questionnaire (Gross & John, 2003). The MUSE offers researchers a sensitive approach to exploring benefits of music engagement, by encapsulating both quality and quantity dimensions of music use.