The Impact of Foreign Music

to the students of
Dr. Pablo R. Olivarez
Chapter1
 INTRODUCTION

"Music has existed from time immemorial: archaeologists have unearthed traces of music
in the most ancient society, ethnomusicologists have found it in even the most primitive tribal
culture and scientists have claimed it present in space. Yet, no one has been able to established
precisely when, where, why or how music originated" (Mayol, 1990).

Though there is no specific date on when music started to emerge, its relevance is evident
from ancient times up to the present world orientation. Now and then, music has become a
language of human figure of communication.

According to Greeks in the 20th century, the beginning of music can be solved by thought
where ancient people make up chants of religion, war, love and death through direct organization
of words with the combination of body movements. Greek philosophers assumed that listening to
music based on certain modes in use at that time was beneficial to the enhancement of the young
persons character. And through the lenses of historical analysis, there is an observable fact that
music of the past has changed from native to modernized one. From universal music known
before and was used for chants and rituals, various musical forms were born. At present, there
are already many kinds of music known to be famous. One of these is the popular music. Popular
music pertains to a kind of music that is produced for a broader audience. This includes jazz,
rock, rap music and many more. Popular music has three of the most important elements and
these are language, beat and tune. This popular music originated in America in the year 1850-
1950. This particular music is being acknowledged in the present times and appreciated
worldwide including Philippines as well as other European countries (Yudkin,1996).

For such a long time, the dominant music in the country is foreign, declared Noel Ca
bangon, the president of Filipino Society of Composers, Authors and Publishers Inc. (Filscap).
Its bothersome because if foreign music dominates the industry, what does this teach the
Filipino society, especially the youth? Since music is a cultural expression, we need to instill,
enliven and embrace Filipino music in the country.

Cabangon explained that the aim of the summit was two-pronged: to contribute to the
economy through the promotion and expansion of the local music market and to push
stakeholders to make recommendations and commit to promoting and reviving OPM.

Besides the dominance of foreign music, another hurdle in the way of OPMs progress is
the tendency of local recording companies to play it safe by releasing revivals and album
compilations that appeal to the market bracket of 35-year-olds who still buy audio CDs.
 Recording companies have been producing much less albums the past decade than they
have in previous decades, said Ryan Cayabyab, executive director of the Philpop Foundation
who opened the summit with his talk on the State of the Philippine Music Industry. Foreign
labels have enough capital to continue launching new albums in this environment, and local
labels have also been more risk-averse in investing in new local artists, Cayabyab added. The
digital age has also affected the Philippine music market, as local and foreign songs are easily
promoted and accessible through the Internet. According to a Nielsen report, 37 percent of
Filipinos, especially within the 15- to 30-year-old age group, download or upload music files.
Stakeholders in the music industry also recognize that until now there has been no established
model in the Philippines that connects the artist or musical work with listeners (THE MANILA
TIMES, 2014)

Internationally speaking, the Billboard Top 100, some of the best selling songs and most
well- known artist are in this Era(pop culture). Like Katy Perry, Lady Gaga, Ke$ha, Rihanna,
Britney Spears, Justin Bieber and some bands like Black Eye Peas they hit the chart through the
use of electronic music. People are craving for pop music and they are satisfying the crave of the
mass by providing them the most modernized form of arranged sounds.

It has long appeared to many people that economics is the most successful of the social
science. It has assumed that people are motivated by money and by the possibility of making a
profit, and this has allowed it to construct formal, and often predictive, models of human
behaviour. This apparent success has led many other social scientists to cast envious eyes and its
direction. They have thought that if they could only follow the method of economics they could
achieve similar successes in their own studies. These sociologists and political scientist have
tried to build theorist around the idea that all action is fundamental 'rational' in character and that
people calculate the likely costs and benefits of any action before deciding what to do. This
approach to theory is known as rational choice theory and its application to social interaction
takes the form of exchange theory. (Understanding Contemporary Society Theories of the
Present by Browning, G. Halcli, A.Webster, F, 2000.)

The fact that people act rationally has, of course been recognized by many sociologists,
but they have seen rational action alongside other forms of action, seeing human action as
involving both rational and non-rational elements. Such views of action recognize traditional or
habitual action, emotional or affectual action, and various form of value oriented action
alongside the purely rational types of action. Webster (1920), for example, built an influential
typology of action around just such concepts. His ideas were taken up by the Talcott Parsons
(1937) and became a part of the sociological mainstream. In a similar way, the social
anthropologists Bronislaw Malinowski (1922) and Marcel Mauss (1925) look at how social
exchange was embedded in structure of reciprocity and social obligation. What distinguishes
rational choice theory from this other forms of theory is that is denies the existence of any kind
of action other than the purely rational and calculative. All social action, it is argued, can be seen
as rationally motivated, as instrumental action, however much it may appear to be irrational or
non-rational. (Understanding Contemporary Society Theories of the Present by Browning, G.
Halcli, A.Webster, F, 2000.)

On the otherhand, a theory of Psychological Foundations of Musical Behavior by 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. 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.

While the theory developed by Robert Walker (1980) 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. 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).

Walkers 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 individuals 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.

In the Philippine Senate, several bills are being pushed to protect OPM. Sen. Teofisto
TG Guingona 3rd who chairs the committee on culture and the arts pushed for tax exemptions
and subsidies for artists and labels that promote local music. Senate Bill 1707 filed by Sen. Lito
Lapid, meanwhile, endorses the creation of a musical industry development council. We are
also pushing for the inclusion of OPM in the National Development Plan. We recognize the
importance of music in the Filipino culture, which is the soul of the country, Guingona said.
Sen. Benigno Paolo Bam Aquino 4th who chairs the committee on trade business and
entrepreneurship reported that the government is compelling the Department of Education
(DepEd) to include music development in its K-to-12 curriculum to harness the youths
appreciation for local songs. Moreover, the senators promised to monitor the strict
implementation of Executive Order 255 signed by former President Corazon Aquino, which
requires radio stations to play at least four OPM songs every hour, and possibly even enacting
this into a law.
 According to Cabangon, who himself is a well-known singer-songwriter, we want to
make a paradigm shift, to move forward not in only in the traditional way, but to [make a]shift
especially in perspective to build a vibrant and sustainable music industry anchored on OPM.
On its part Filscap, together with various groups in the music industry, has pushed for the
legislation of the OPM Development Act of 2014 that encourages the development and
performance of OPM artists, while increasing the play list of Filipino music on radio. Its not
only the artists that are feeling the slump, but record labels as well. But we still ask them, do they
just want to be distributors of foreign music, or do they also want to promote and sell local
music? But it cannot just be the record labels acting on the problem. It must be a collective
effort of artists, companies and the government to revive the Philippine music industry,
Cabangon concluded.

Besides Filscap, the summit brought together the Philippine Association of Record
Industry Inc., the Organisasyon ng Pilipinong Mang-aawit, the Asosasyon ng Musikong Pili
pino Foundation, the Philpop MusicFest Foundation and other concerned agencies (THE
MANILA TIMES, 2014).

THEORETICAL FRAMEWORK

Psychological
afforda environment Foundations of
Profit bility Musical
RATIONAL People Behavior by
THE
CHOICE Rudolf E. Radocy,
THEORY DECLINING influen J. David Boyle
ORIGINAL ces
Pleasure Quality Robert
of PINOY Walkers
People Music
music MUSIC preference theory
actively (OPM)

Fig 1: Theoretical framework about the appropriateness and application of Rational Choice Theory, Psychological
Foundations of Musical Behavior by Rudolf E. Radocy, J. David Boyle andRobert Walkers theory
Rational Choice Theory has been recognized by many sociologists, but they have seen rational
action alongside other forms of action, seeing human action as involving both rational and non-rational
elements. Such views of action recognize traditional or habitual action, emotional or affectual action, and
various form of value oriented action alongside the purely rational types of action.

Psychological Foundations of Musical Behavior byRudolf Radocy and David Boyle (2003)
proposes 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.

While the theory developed by Robert Walker (1980) states that the individuals 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.
 CONCEPTUAL FRAMEWORK

Emotionall
y
ORIGINAL PINOY
FOREIGN MUSIC
Socially MUSIC

(OPM)
Cognitively

Fig 2: Conceptual framework about the influence of foreign and OPM songs to DPRO students in emotional, social and
cognitive aspects

STATEMENT OF THE PROBLEM

The Original Pinoy Music (OPM) continues to decline as of this day. According to Noel
Cabangon, the president of Filipino Society of Composers, Authors and Publishers Inc.
(FILSCAP), Its bothersome because if foreign music dominates the industry, what does this
teach the Filipino society, especially the youth? Since music is a cultural expression, we need to
instill, enliven and embrace Filipino music in the country. Moreover, media is also a factor of
why OPM declines. The lack of support and promotion from media creates boundaries to the
Filipino artists and their songs.

Researchers then aim to answer the following queries:

1. What are the factors that cause Original Pinoy Music (OPM) to decline?
2. What are the solutions for this rising problem of Philippine music industries?

SCOPE AND DELIMITATIONS

This study is exclusive only for Dr. Pablo R. Olivarez Senior High School (DPRO SHS)
students attending Grade 11 for batch 2016-2017. It will scope surveys and interviews regarding
the participants preference of music. And also the suggestions and recommendations from
Humanities and Social Sciences (HUMSS) professors.

However, the study is limited only to assess the factors that affect DPRO students with
their choice of music and how their inclination to such music impacts them. Moreover, the
limitation of having an interview with Filipino OPM artists affect the outcome of this study.

SIGNIFICANCE OF THE STUDY

This study is conducted for societal benefit. It will be a significant instrument in

revitalizing the Original Pilipino Music (OPM) in the lenses of Filipino youth, particularly the
students of Dr. Pablo R. Olivarez Senior High School. Through promoting OPM songwriters and
their songs, the findings of this study will be relevant in driving youth to shift from their old
paradigm of foreign music as more superior than Pinoy ones. It will help Filipino artists to be
more recognized in their homeland through the most influential and dominant nowadays, the
social media sites.

Moreover, this study will also voice out the need of unity in the Philippines that can only
be obtained when the government and its citizens synergize that in the process will lead the
nation to its success.
 DEFINITION OF TERMS

1. Music- an ordered arrangement of sounds and silences whose meaning

is presentative rather than denotative (Clifton, 1983)
Music, often an art/entertainment, is a total social fact whose definitions vary according
to era and culture (Molino, 1975)
2. FILSCAP- is the government-accredited collective management organization for music
creators and copyright owners whose primary mandate is to license and collect the
license fees for the public playing and broadcast of the compositions of its members and
the members of its affiliate societies abroad (Alciso, 2015.)
3. Traditional Pop- refers to post-big band and pre-rock & roll pop music. Traditional pop
drew from a repertoire of songs written by professional songwriters and were performed
by a vocalist that was supported by either an orchestra or a small combo. In traditional
pop, the song is the key -- although the singer is the focal point, this style of singing
doesn't rely on vocal improvisations like jazz singing does. Traditional pop can also refer
to the orchestra leaders and arrangers that provided the instrumental settings for vocalists(
ALL MUSIC, 2016).
4. Digital Music- (sometimes referred to as digital audio) is a method of representing sound
as numerical values. This differs from analog media such as magnetic tapes or vinyl
records for instance where the sound is stored in a physical form. In the case of cassette
tapes, this information is stored magnetically (Harris, 2016).
5. Rationality - means the recognition and acceptance of reason as one's only source of
knowledge, one's only judge of values and one's only guide to action. ... It means a
commitment to the principle that all of one's convictions, values, goals, desires and
actions must be based on, derived from, chosen and validated by a process of thought
(Ayn Rand,1961)

Rationality is the habit of acting by reason, which means in accordance with the facts of
reality (Landauer and Rowlands, 2001)
The Impact of Foreign Music
to the students of
Dr. Pablo R. Olivarez
Chapter2
 REVIEW OF RELATED LITERATURE

This chapter includes articles, completed thesis, generalizations and conclusions,

methodologies and books. This chapter helps in familiarizing information that are related and
relevant to the present study.

Related Literatures

Rational choice theory tries to explain why people make decisions with particular
outcomes (or take actions); how they do so; and to predict the decisions they will make given
certain circumstances. Rational choice theory is not unique to sociology and in fact has its
intellectual roots in classical economics and political theory. But its application by sociologists is
unique, because of the way the sociologists use rational choice theory to not only explain the
calculations of costs and benefits people make before they act, but also how these calculations
are made in the context of social interactions and how they contribute to a stable social order.
The concepts and terms of rational choice theory have developed into what is known as
exchange theory. Rational choice theory is used by criminologists to explain why would-be
offenders make decisions to engage in activities that have potentially criminal outcomes; and by
medical sociologists to explain why people make certain health related choices and not others.
However, rational choice theory has been criticized because,

It generally ignores the social determinants of decisions, choices and actions;

It over-rationalizes human thought and action; and

Rational choice theory may be a product of modernity insofar as it privileges an individualized

approach to explaining decision-making and action.
 Rational choice theory seeks to explain human behavior in terms of the decisions that
people make in order to maximize their aims, on the assumption that people make calculated
decisions about their lives (about money, relationships or actions) based on a given set of
constraints or feasible options.

The Rational Choice model developed from economic understandings of how prices and
the allocation of scarce resources can be explained by the way people rationally maximize utility
in relation to cost. Akers (2000) notes that rational choice theory borrows the "expected utility
principle" from economics, which states that people will order their behavior according to
rational decisions based on straightforward cost-benefit analyses. In sociology, rational choice
theory tends to be referred to as exchange theory and refers to a body of theory that attempts to
explain aspects of social life by the calculated actions of individuals, even those most unlikely to
be responsive to calculative action, such as intimate relationships. Over time, rational choice
theory has been linked to or integrated with other sociological traditions, notably within the
action frame of reference, network theory, and organization theory (Levi, Cook, O'Brien & Faye,
1990).

The best known example of rational choice theory is Adam Smith's theory of the division
of labor from the introduction to the Wealth of Nations (1776), in which the outcome of a free
market is that self-interested individuals are wise enough to promote the public good. That is,
people make choices in their (economic) self-interest that will have the effect of promoting the
public good. The key to understanding rational choice theory then, is the assumption that when
people make decisions, and act on those decisions, they do so in their own self-interest. That
does not necessarily mean that people are selfish, but they that they rationally calculate the best
possible course of action in terms of what it will cost them and the rewards they will reap. In
political sociology, rational choice theory tends to be applied to voting behavior, political
commitment, and collective organization (voluntary and coerced). Similarly in criminology,
rational choice theory is typically applied to cost-benefit calculations that would-be offenders
make; in medical sociology, rational choice theory has been used to explain why people make
certain health choices.
 Also key to understanding rational choice theory is the emphasis on rational action and
rationality, characteristics of modernity. For Max Weber, for example, modern Western
capitalism is rational. Moreover, rationality is the key characteristic of the age and pervades all
aspects of social life. Rationality is most apparent in bureaucratic forms of organization, in which
"rules, means, ends, and matter-of-factness dominate its bearing" (Gerth & Mills, 1991, p. 235).

Yet, rationality for Weber is not just about economic market conditions but also is an
attitude or sensibility associated with a particular kind of decision-making. Indeed, rationality so
pervades social and economic life in ways that are difficult to avoid or challenge: it becomes an
"iron cage." Moreover, rationalization marks the progression of modern industrial societies for
Weber, as does rational goal-oriented action. Thus, for Weber, it isn't only the behavior of
individuals that can be explained by rational choice theory but also the development and
characteristics of modern capitalist society.

As such, rational choice theory has developed as a model of human behavior that
assumes people are motivated by money and the possibility of making a profit (Scott, 2000).
However, although Weber and other theorists acknowledge that many forms of human action and
behavior are possible such as value-oriented action (Max Weber), habitual action (such as in the
work of Pierre Bourdieu), and emotional action (as in the work of Arlie Hochschild), rational
choice theory is unique in that it privileges calculation, rationality, and instrumentalism, even
when action may seem irrational (Scott, 2000).

While political economy assumes that money is the primary motivator for most people
and that the choices they make are motivated by maximizing the potential for accruing money,
sociology recognizes, first, that other kinds of rewards may motivate people and second, that
rational calculations are made through social interaction. Thus, though decisions and actions may
be rationally calculated to maximize benefits, such decisions and actions require a degree of
reciprocity, or social exchange.

Moreover, though the rewards that people seek may be material, they are as or more
likely to be social. Sociologists have found that resources such as time, prestige, and approval are
social rewards that motivate people to act in particular ways. In particular, through social
interaction, people reinforce or undermine certain behaviors through an exchange of rewards and
sanctions and in this way, sustain social order.

George Homans, a contemporary of Talcott Parsons at Harvard University, developed a

sociological model of rational choice theory based on a fusion of B. F. Skinner's behavioral
psychology with Homans's own adaptation of economics (see Waters, 1994 for an extended
discussion of Homans). Homans's framework privileged social interaction as the framework
through which choices are made and emphasized the importance of the mutually interactive
performances of individuals (when I act, my performance will be directly rewarded or punished
by another). Thus, for Homans, winning social approval was critical to understanding why
people made certain decisions.

He argued that social interaction produces benefits and costs (e.g. goods, money, praise,
approval, esteem) and people will act rationally to obtain them. When individuals act (make
choices), they calculate the cost to them in material and emotional terms of providing benefits for
others. They also calculate the profits from the benefits they receive. In making so-called rational
choices, people don't want to feel they are disadvantaged or that their actions will incur
disapproval. In other words, they look for an element of distributive justice as an outcome of
their rational choice (Waters, 1994).

In sum, the benefits received by an individual depend on the benefits the individual provides to
others. There is a process of exchange between individuals in which benefits are traded on the
basis of the information that people have (eNotes, 2016, Sociological Theory: Rational Choice
Theory)

What drives listeners to prefer some types of music rather than others? Kurdek (1987)
stated that listening to music was the way that adolescents, both male and female dealt with
anxiety. Many new forms of music in the past 10-20 years have entered the main stream such as
Hip-Hop and Heavy Metal. Particularly in the case of Heavy Metal, new darker forms of the
music, known as Death Metal, Screamo, and Hardcore among others, have evolved from once
fringe styles with underground followings into popular music often played on the radio. With
themes such as selfmutilation, murder and suicide, one may wonder, what drives listeners to
prefer this style of music? Are listeners angrier or do they experience more dysphoric mood than
non-listeners? What does this music do for the listeners? Is it cathartic, or does it make them
angry or sad?

Exposure studies have often found that repeated exposure to a stimulus originally rated as
neutral or positive causes increased positive association with repetitive exposure (Arnett 1991a).
Washburn et al. (1927) showed that repetitive exposure to classical music tended to cause
increased responses of pleasantness and initially more pleasant affect among listeners. Altschuler
(1948) found that depressed mood could be altered if a patient was initially exposed to music that
matched their original mood state. Later, Altschuler successfully changed the tone of the music
to alter the patients emotional state naming the theory behind this process the Iso-Moodic
principle Altschuler (1948). Similarly, the research of Brickman et al. (1972), suggested the
ability to manipulate specific aspects of music to influence musical preference and emotional
response.

Witvliet and Vrana (2007) hypothesized that similar responses would occur with music
designed to invoke high and low arousal affective responses and positive and negative affective
responses. Using a sample of 67 undergraduate psychology students ranging in age from 18-35,
participants were rated on self-report measures of music liking, pleasantness and arousal as well
as physiological responses including facial electromyography and heart rate.

According to self-report data, participants reported preference for positively valenced

music as compared to negative, and tended to like highly arousing music more than low arousal
music. Initial liking responses polarized with participants disliking negative music more over
time and liking positive music more over time. Research has shown that listening to preferred
music reduces anxiety levels in listeners, the possible reason for the polarizing responses of
listeners over time (Davis and Thaut 1989). Listeners to once fringe styles of music under the
Heavy Metal umbrella were not interviewed until Arnett (1991b) conducted a study of free
response interviews of actual adolescent Heavy Metal music listeners. This work is discussed
later on in this section.
 The mood management theory was proposed by Zillmann (1988a, 1988b, 2000, 2003).
This theory states that listeners will select media, in this case music, that promises to optimize
their mood state. According to this viewpoint, individuals would be more inclined to choose
media that is of more positive content than their current mood state in an effort to distract them
from their current negative mood (Carpenter et al., 2008).

According to Carpinter et al. (2008) arguably the most empirically supported finding with
regard to mood management has been that those experiencing positive moods will seek positive
media to maintain their current mood state (Biswas, Riffe and Zillman 1994). This is conversely
true of those experiencing negative mood states who tend to uplift their mood through media
conducive to positive thinking while at the same time avoiding media content with sad subject
matter (Meadowcroft and Zillamann 1987). Research has not always shown this to be the case,
however, whereby that individuals with negative affect often seek out negatively valenced media
(Mares and Cantor 1992). In many cases, this media seems to result in some form of gratifying
emotional response. (Nabi et al. 2006)

Carpinter et al. (2008) sought to explore media usage such as the usage of media and its
interaction with mood in depressed adolescents. The Carpinter et al. (2008) study consisted of 51
adolescent participants ranging in age from 7 to 17 years with and without depression. They
found that adolescents with major depressive disorder tended to use media such as music more
often than those without major depressive disorder. Moreover, those with lower positive mood at
one time were more likely to be using media subsequently.

Overall Carpinter et al. (2008) reported that both adolescents suffering from depression
and those without depression turned to media after feeling less positive emotionally.
Furthermore, adolescents did not seem to use media with sad qualities based on their previously
reported mood. Interestingly, more adolescents who were using any type of media were in
neutral mood states compared to those not using media at all. Furthermore, Carpinter et al.s
2008 findings indicated the higher the prior mood level of the subject, the more fun the
emotional quality of the media used in subsequent sessions.

Growing in popularity in the 1980s, Heavy Metal music had entered the main stream by
the early 1990s. From early on Heavy Metal music was not without its detractors; much of the
American public viewed heavy metal as distasteful. Governmental bodies even sought to ban
music with the often violent and negative themes found in Heavy Metal ranging from drug use to
suicide (Weinstein 2000).

Heavy Metal music is characterized by pounding rhythmic beats, extremely loud volume,
vocals screamed as much as sung, and heavily distorted guitar instrumentals (Arnett 1991b).
Heavy Metal and Hard Rock music distinguish themselves from other forms of rock music with
their more sexual, hedonistic and depressed themes (Arnett 1992). Hard rock and Heavy Metal
further distinguish themselves from one another with hard rock being more often played in major
keys, and Heavy Metal being played mostly in minor keys, with a more depressed emphasis.

Arnett (1991a) was one of the few studies that approached listeners who preferred Heavy
Metal music and directly questioned them about why they liked their music and what it did for
them. The sample for Arnett (1991a) was 17 subjects recruited from a Georgia music store who
were asked 28 open ended questions about Heavy Metal music and how it made them feel.
Forty-three percent of subjects indicated that they listened to Heavy Metal especially when they
were angry, indicating that it was not necessarily the music that caused their negative emotions,
rather, those with preexisting negative affect sought the music out themselves. One listener
indicated that the more angry or dysphoric his emotional state, the harder the metal he would
listen to. Very few listeners indicated that they listened to the music while happy or while
experiencing positive emotional states.

More interestingly two thirds of listeners who listened to Heavy Metal music while angry
stated that the music had a purgative or cathartic effect that reduced their negative emotions,
calmed them down, or provided a vicarious release or aggression. These findings and
statements are in line with the Jungian view of music in therapeutic contexts, as a channel to
release negative emotion whether conscious or unconscious (McClary 2007).

Furthermore, these findings are in line with aforementioned music therapy studies
displaying a reduction in anxiety for listeners under emotional stress (Longhi and Picket 2008).
Paradoxically, of the listeners interviewed, only two stated that the music actually produced more
aggression. Therefore only those two respondents in Arnetts study reflected the results of other
music studies theorizing that it is actually the inherent structural qualities of the music itself that
causes specific emotional reactions.

One reason for this discrepancy may be the emotional state of the adolescent listeners. A
number of subjects interviewed described smoldering conflict between them and their parents,
indicating the possibility of a tumultuous home life or psychological maladjustment of these
listeners (Arnett 1991b). Indeed if some listeners listen to Heavy Metal specifically when they
are angry and prefer Heavy Metal music in general, it is plausible to surmise that they in fact
have higher levels of anger and utilize Heavy Metal music as a means of emotional release.

In an unstructured and open ended study of middle school and high school students,
Wass et al. (1988) examined students who usually preferred songs, usually from Heavy Metal
bands containing themes of suicide, homicide and satanism to students who preferred other types
of rock music. Wass et al. (1988) determined that students who liked Heavy Metal music tended
to disagree that their preferred music would lead to behaviors that correspond with those stated
in the lyrical content. These findings are consistent with findings by Arnett (1991b). Together,
these results suggest Heavy Metal music, provides an emotional release, and does not necessarily
encourage or instigate aggressive behavior.

King (1988) examined adolescents hospitalized in a psychiatric unit and found that 59%
of those hospitalized for substance abuse specifically named Heavy Metal as their favorite
musical style. Additionally, Stack, Gundlach and Reeves (1994) found that the per capita
subscriptions to Heavy Metal magazines were associated with the overall youth suicide rate in
the United States. Lester and Whipple (1996) found that those who preferred Heavy Metal music
were more likely to have considered suicide in the past, implying a history of psychological
problems such as depression. Furthermore, Rubin et al. (2001) found that Heavy Metal listeners
displayed more negative attitudes towards women and held them in significantly lower regard
than did listeners of other surveyed musical styles.

In a study of adolescents between the ages of 16 and 19, Arnett (1991b) found that, boys
who listed a preference for Heavy Metal music reported significantly higher frequencies of
reckless behavior in the preceding one year period. Furthermore, Arnett (1991a) found that 87%
percent of adolescents who listened to Heavy Metal music had driven over 80 mph (in a state
with a 65mph speed limit) at least once in the past year and 87% percent of adolescent boys who
listened to Heavy Metal music had driven more than 20 mph over the speed limit (Arnett 1991a).
Furthermore, physical expression of emotional discontent can be seen with 61% of surveyed
Heavy Metal listeners listing a preference for Heavy Metal music having caused destruction or
damage to public property in the past year (Arnett 1991a).

Arnett (1992) delved deeper into the case of Heavy Metal and emotional and behavioral
responses in its listeners. In a study of 248 10th and 11th graders, Arnett addressed questions
pertaining to musical preference and behavioral and relationship dysphoria. More specifically,
Arnett addressed whether or not adolescents who preferred Heavy Metal music reported higher
rates of, low self-esteem, reckless and sensation seeking behavior, and poor relationship quality
at home, with the opposite sex and with peers.

Arnett (1992) found that adolescents who stated a preference for Heavy Metal or Hard Rock did
indeed report higher rates of reckless behavior such as unsafe and casual sex, use of illicit drugs
such as cocaine and marijuana, vandalism, shoplifting and other antisocial behaviors.
Furthermore, listeners to Heavy Metal music reported higher levels of sensation seeking.

Again, results indicated that those who stated a preference for Heavy Metal music
expressed having poor filial relationships, as indicated by complaints such as being perceived as
unimportant, or being disliked by their parents. Arnett (1992) hypothesized that it is possible
that the need for sensation seeking, and the potentially anti-social behavior exhibited by listeners
may be in direct response to a poor family situation. Adolescents therefore, as previously
mentioned, may use the music for some sort of purgative release to calm their anger, frustration
and discomfort stemming from an uncomfortable home life (Arnett 1992).

Female listeners, unlike male listeners of Heavy Metal music were found to have
significantly lower self-esteem than those who preferred other styles of music (Arnett 1992).
Arnett (1992) theorized that this may be a direct result of the misogynistic and objectifying
nature of many Heavy Metal songs of the early 1990s. Whether the music is lending itself to this
quality of low female self-esteem, girls with low self-esteem seek out Heavy Metal, or Heavy
Metal itself reinforces preexisting low self-esteem is currently unclear (Arnett 1992).
 The news for female listeners to Heavy Metal music is not all bad. Selfhout (2007)
examined externalizing behavior (reckless and antisocial behavior) among 931 Dutch
adolescents between the ages of 11 and 18 years of age. These adolescents were studied over a
period of 2 years. Externalizing behaviors, involving such behaviors as illicit drug use,
aggression and unsafe sexual practices was found to be significantly higher among males,
suggesting that females may be less vulnerable to the externalizing tendencies of male Heavy
Metal listeners.

As was previously mentioned, music does not appear to cause negative emotional
responses, and as mentioned in the case of Heavy Metal, may actually serve a positive cathartic
function (Arnett 1991a; Arnett, 1991b; and Arnett 1992). Again, these findings run counter,
however, to other studies that find that inherent structural foundations of music contribute
significantly to the emotional responses of the listener (Krumhansl 1997).

Based on current research, it is still unclear whether Heavy Metal listeners, with
apparently different psychological profiles respond differently to exposure to music compared
with those who listen to other styles. Furthermore, it may be difficult to tease out whether it is
the overall structure of the music, or the listeners past experiences, that create their sometimes
unique, sometimes similar emotional responses.

DISCUSSION: This paper reviewed the major studies and current scientific research as
to musics impact on emotion. The main goals of this paper were: (a) to review current thinking
on whether music directly induces emotion, (b) to explore the mechanisms of how music impacts
or induces emotion both physiologically and psychologically, and finally (c) to look at the role of
desired effect and musical preference to move towards a general conclusion of what drives
listeners to select specific types of music.

Music cross culturally has been used as a means of religious and social selfexpression.
On the topic of musics direct effect on the listener, music can be seen to have a direct effect on
the emotions of the listener (Krumhansl 1997). Espousing this position is the perspective of
emotivists who state that minor modes in musical pieces are most often associated with sad
emotional responses and major modes with happy emotional responses (Kivy 1990).
Furthermore, musics inherent quality to induce specific experiential reactions is indicated by the
well cited study Raucher et al. (1993) noting the higher special IQ scores of listeners when
exposed to music composed by Mozart.

On the topic of the mechanisms of how music impacts or induces emotion both
physiologically and psychologically, concepts such as the Mozart effect would seem to validate
the idea that inherent qualities of music affect the emotional response of the listener, and in the
case of the Mozart effect, even the intelligence of the listener. This concept would imply that
these emotional responses and intellectual capacities are within the temporary control of the
composer.

Since the days of silent film music has been used to augment the emotional impact of
cinema. As previously mentioned in this paper, Simonton (2007) stated that musical pieces are
specifically created as a means of further reinforcing a movies already present emotional quality.
The music is designed to amplify the films qualities of happiness, anger, sadness or fear. Movie
music may also create an unconscious priming effect on the listener allowing for increased
understanding of the film (Simonton 2007; Zander 2006).

Furthermore, Baumgartner et al. (2007) found that visual media, when not paired with
music of a complimentary emotional tone, did not have as much impact as the combined
complimentary media together. One possibility for future research on this subject may be to
examine whether this effect is also true of music and their music video counterparts. A study
could be designed where individuals rated the emotional quality of listening to a song alone, and
listening to the song paired with its music video.

It is plausible, however, to surmise that studies of music and its inherent emotional
properties similar to those of Krumhansl (1997) only skim the surface of an evaluation of music
and mood. Past research has shown that different individuals have different responses to different
types of music, as noted in the case of Heavy Metal. (Arnett 1991a; Arnett 1991b; Arnett 1992).

Indeed, the Krumhansl (1997) lab study may have failed to recognize the potential
difference between the controlled setting of an in-lab study and the real-world environments
where people choose to listen to music. Furthermore, the perceived emotional quality of a given
piece of music may not at all be in line with the actual emotional response evoked within the
listener by the music. These qualities of 16 Journal of Young Investigators November 2010
music and perceived emotional tone vs. music and felt emotion may therefore be two
independent processes.

On the topic of musical preference and desired effect, it is likely that very few listeners to
Heavy Metal music would doubt the angry emotional tone of their music of choice. However,
their reason for listening, (e.g. to achieve catharsis, to calm them down from an angry or agitated
emotional state) would run counter to the Krumhansl (1997) findings that suggest that listeners to
a type of music similar to Heavy Metal would only feel more angry or agitated upon listening.

This is similar in concept to the Mozart effect. As previously mentioned, the popular
perspective on Rauscher et al.s (1993) findings is that listening to classical music, namely that
of Mozart will increase ones intelligence (Thompson 2001). This may not in fact be the case as
the added benefit of Mozart music may be a physiological corollary of relaxation that aids in
arousal and therefore allows for added focus on intellectually challenging tasks. Therefore, it
may be fair to say that the impact of music on individuals may not always be as it seems.

Looking across naturalistic and labbased studies, it appears that musics effects on
emotion are not solely based on its inherent attributes. That is, there seem to be between-person
differences in the perceived emotional quality of a musical piece and the evoked experience by
the listener. Future research can directly examine this idea by duplicating Krumhansl (1997) in
lab and real world settings. This future study could ask participants to rate their perceived and
felt emotions when listening to music that varies in positive and negative emotional
characteristics and major and minor modal tones.

The Arnett studies of the early 1990s (e.g. Arnett 1991a, 1991b, 1992) made significant
contributions to the study of musical preference and emotional and behavioral response. These
studies indicated that those who listen to Heavy Metal music do not believe that the music
actually causes negative behavior, but rather it causes a purgative and cathartic effect for the
listener (Arnett 1991b). A limitation of Arnett (1991b) was that its interviews of Heavy Metal
listeners utilized open ended questions allowing listeners to state varying responses lasting from
between 20 minutes to 2 hours depending on the willingness of the participant to share
information. One possibility for future research would be to attempt a study in the style of Arnett
(1991b) with structured, multiple-choice questions that would allow for quantitative or musical
preference and effects.

Furthermore, Arnetts studies suggest that listeners who prefer Heavy Metal music suffer
from poor family relationships, engage in more reckless behavior, and rate much higher on levels
of sensation seeking. Additionally, in the case of female listeners, those who prefer Heavy Metal
music may have lower self-esteem than listeners of other types of music, possibly a reflection of
the misogynistic and objectifying nature of Heavy Metal songs (Arnett 1992).

One of the confounds of this study is that it did not explore the deeper emotional element
of its listeners. While Arnetts studies did look to a negative home life as a possible cause for the
dangerous risk taking behaviors and preference for Heavy Metal music, he did not explore
whether listeners to this music are more likely to suffer from personality disorders, depression or
anxiety. An interesting topic for future research may also be to examine those factors.

Another interesting possibility for future research is to examine what aspects of Heavy
Metal music are cathartically beneficial to listeners, (e.g. the distorted musical attributes, the
violent and angry subject matter the screamed lyrics or some combination?) Furthermore, if the
combination of these specific aspects of Heavy Metal music are beneficial, might the individual
components of this music such as screaming lyrics or distorted instrumentals serve different
purposes, or does this intense music serve to drown out negative emotions through some sort of
overloaded sensory experience? Answers to these questions would provide important insights
into musics effects.

Finally, as Heavy Metal music has increasingly entered mainstream, it has acquired
increasingly darker and more violent themes and styles such as Emo, Death Metal, and Hardcore.
It would be interesting to try to replicate Arnetts studies in light of current trends in Heavy
Metal music. Performing a study such as this one may be even more interesting in light of a
possible increase in Heavy Metal listeners due to the added popularity of these new forms of
Heavy Metal.

In light of the violent and disturbing trends of musical content, it is important to

understand this darker musics effects on emotion. Even in its most violent form, music may
serve a positive purgative function based on the psychological profile of the individual listener.
Further examination of this phenomenon will be important to better understand musical
preference. (Gavin Ryan Shafron,2010,The Science and Psychology Behind Music and Emotion)

From the data gathered, it can be suggested that more teenagers can hear less OPM and
more foreign music (English, K-Pop, J- Pop, etc.) from our local FM or AM radio stations. This
shows that local radio stations today do not play enough OPM or
Philippine music.

The data also shows that most teenagers dont listen more to OPM artists neither in
Spotify nor YouTube. Theres a great probability that the respondents listen more to foreign
artists.

The frequency of teenagers who buy albums or individual records either online or
through physical music stores is considerably low. The low frequency may mean ambiguously:
a) the respondents or participants may not also buy albums or
individual records by foreign artists either. They are likely listening through streaming platforms
like Spotify or through YouTube or they are apt to participate in file sharing/torrent
downloading/online piracy, or b) they are more apt to buying
foreign individual records or albums.

Moreover, most respondents conceive that the Philippine media is not effectively
glorifying OPM. This shows that teenagers are not satisfied with the efforts of the Philippine
media in showcasing OPM.

When inquired if OPM nowadays appeal very much to them, most of the respondents
responded with a no. This may mean that foreign music appeal more to them than OPM or this
might also mean that todays music (foreign or OPM) in general, do not
appeal to them at all.
 In the concluding question, when asked if they like todays OPM, the answer is generally
no. Most teenagers or members of the Philippine youth subculture surveyed generally are not
in favor of todays mainstream OPM.

I chose to carry out this survey after reading an article online titled, The life and death of
OPM written by Philippine Stars cultural critic, Don Jaucian. In the article, he criticizes the
status of todays OPM, claiming that OPMs death can be gleaned when yesteryears hits are
sung to death by variety show singers, while newer acts struggle to get their original material
released. Consequently, this article resulted into heated discussions in various social media, and
blogging platforms. On one hand, many bloggers and critics disagree, including Carlo Casas,
saying that, Ive been a part of the music scene since 2002, among my friends from the industry,
none of them think OPM is close to being dead. He added, You have the Internet. You all have
what all of your heroes of your teen angst years didnt: The world at your fingertips. Share your
music on social media. You have things like Soundcloud, Facebook and Twitter. Critic Rain
Contreras also added, You dont go to enough gigs of bands you dont know. Ive been witness
to three decades worth of Pinoy music. On the other hand, bloggers like Leloy Claudio agreed
with Jaucian and contradicted the argument of Casas, saying that, Take the argument to its
logical conclusion: if you dont make it, poor padawan, its nobodys fault but yours. Dont
criticize the man for making it tough on poor musicians. Rock was never about complaining
anyway. Stay happy. Surf the net. And if you lack support, its because you didnt tweet enough.
Try saying the same thing to novelists, painters, and other artists who dont receive enough
support in the Philippines. Its in this way that Casas and Jaucians other critics conjure away the
power of media conglomerates and distribution networks, while patronizing younger artists. Its
not like social media isnt awash with music from young musicians who put out their work for
free, or promos for gigs where you pay P150 for entrance, a beer, and five bands. The Casas
musicological theorem of internet + hard work = magic bullet to success is fiction.

This debate really piqued my curiosity, because I want to know if OPMs indeed, dead.
I found the opportunity to get immediate answers through this research survey project.
 Although my personal answers to the questions I made would be mostly No, I was still
hoping and even expecting that the respondents answers would be mostly Yes, because I
assumed that perhaps most young people today still find OPM appealing.

Summarizing the survey was a slightly depressing task, after discovering that most young
people I surveyed do not find OPM appealing and favorable over foreign music. On one hand,
the young people I surveyed do not necessarily represent the whole youth subculture. It was just
a small facet of it.

Is OPM, therefore, dead? It is not. Just like Casas said, there are still many rising music
groups, bands, and solo artists out there, waiting to be unveiled and to be given the opportunity
to showcase their talents.

One of the questions in the survey is Do you think the Philippine media is effectively
glorifying OPM? I included this question because I want to find validation with my perception
of the Philippine mainstream media, because, like the majority of the respondents answers, I
dont also think that the Philippine media is effectively glorifying OPM. I might not agree with
Jaucians blunt statement OPM is dead, but I agree with him that yesteryears hits are sung
to death by variety show singers, while newer acts struggle to get their original material
released. The mainstream media is a very powerful tool to disseminate culture. Whatever the
mainstream media produces, many people would unquestionably jump and ride along with it.
The sad truth is that, most producers in the Philippines nowadays are afraid to take risk. Most of
them would offer labels to famous actors, not musicians, because they think that popular
handsome actors would sell more. Unbeknownst to them, this is actually affecting the music
culture. They should mainstream the obscure but talented artists. Another structural factor that
affects the arts is government investment. In 1950s France, a disdain for American film and a
desire to promote cultural production outside Paris led the government to invest in directors like
Godard and Truffaut who would constitute the French New Wave. (This was a common pattern
in the social democratic milieu of postwar Europe.) In 1970s Philippines, the Marcos dictatorship
also poured money into the arts. Imelda Marcos spent a lot of money on pop festivals. The
government now, should do the same, not just in music, but also in all arts in the Philippines,
because these are in great need of a strong foundation. They are scraping the bottom of the
barrel.

Music and arts in general are very important facets of a country, because it reflects a lot
about the Filipino people and the Filipino culture. I want to hear a foreigner hear a Filipino song,
and then exclaim, Hey, I love that! Thats a Filipino song! instead of Hey, I love that, that
sounds Western!

The industry may now be too far away from its glory days like in the 60s or 90s, but it is
not dead. It just needs the unified support of the Filipino people. (J'emml,2016, The Status of
Original Pilipino Music (OPM) in the 21st Century Youth Subculture)

MANILA, Philippines - Original Pilipino Music (OPM) used to be a term that was
proudly worn on the sleeves of artists like the APO Hiking Society, Sampaguita, and Jose Mari
Chan. Its glory days saw a broad spectrum of original compositions, and pioneering genres and
subgenera, all born out of a sincere desire to make music. But today, in a world where giant
studio producers roam the streets, looking for the next products to sell to the masses, OPM as it
was has withered away. It has been thrown into some bargain bin, upstaged by Korean girlbands,
cover albums, and bossa nova.

Here then is the grave of Original Pilipino Music: a repository of yesteryears hits sung to
death by variety show singers. Young emerging artists have to struggle to get their original
material released. In an interview this year with MYX Magazine, pop duo Krissy and Ericka
revealed how their label, MCA Music, thinks: Doing revivals [is] the trend in the music
industry. The label told us releasing an original would be difficult for a radio to pick up.

Its a disheartening concept, that music companies believe that repackaging old tunes is
the best way to reach a bigger audience, thinking listeners only lap up whatevers familiar and
comfortable. But the punch in the nuts is that they may be right. This years biggest record-seller
is Daniel Padilla, ABS-CBNs Primetime TV Prince, whose self-titled cover album went
platinum in less than three months. Another top hit is the two-volume soundtrack to Walang
Hanggan, a TV series, buoyed by songs from ABS CBNs fossil roster, headlined by Martin
Nievera and Gary Valenciano. And in 2009, Noel Cabangon for all his stature, and despite
being a symbol for people who believe there is still a smidgen of original in OPM released
a cover album. It still occupies a place in the charts today.

Becoming a commercially viable artist now means doing something comfortable; doing
things that are expected. Risk is equated with career suicide, and stagnation is an acceptable
pond in which once-great artists can wallow to preserve their legacy. When notes are recycled for
the nth iteration, you wonder: Where are the composers and legitimate artists of the industry?
It wasnt that long ago when major music labels took a chance on artists like Eraserheads,
Sugarfree, Yano, and 90s-era Rivermaya artists that challenged the notions of rock and pop,
and pushed boundaries of how music should be and how it should affect communal shifts. These
were not meager blips in the radar. Eraserheadss Cutterpillow is still one of the bestselling
albums of all time, being certified platinum 11 times. With new wave interest on the band due to
a US reunion tour, Cutterpillow is that glorious monument of OPM, a vital reminder of
how market consumption once looked up to an artist that had energy (Jaucian (The Philippine
Star), 2012,The life and death of OPM)

.
The Impact of Foreign Music
to the students of
Dr. Pablo R. Olivarez
 Chapter 3: Research Methodology
This chapter includes the research methodology of the study. It explains the research design,
respondents of the study, population and sampling techniques, data gathering procedure and the
instrument of the study.

RESEARCH DESIGN
A phenomenon is a fact or situation that is observed to exist or happen. It is also the
object of a person's perception and what the senses or the mind notice.

The thesis phenomena is the declining of OPM songs in the country. It is a phenomena
being experienced by the society. The DPRO students are part of the said society and thus,
experiencing the given occurrence regarding the condition of music industry in the Philippines.
The goal of the phenomenological research design is to describe the event
experienced by the participants and determine how it impact them emotionally, cognitively and
socially through survey and interview.

RESPONDENTS OF THE STUDY

The research requires chosen respondents from Dr. Pablo r. Olivarez students of batch
2016-2017. These participants are students who patronize foreign music. The respondents are
related to the researchers with consideration to their music preference status. Moreover, the
survey strengthen that the participants are influenced by their reverence to foreign music
cognitively, emotionally, and socially.

POPULATION AND SAMPLING TECHNIQUES

RESPONDENTS (SHS DPRO STUDENTS) NO.

Male 20

Female 20
Total 40
 A purposive sample is a non-probability sample that is selected based on characteristics
of a population and the objective of the study. It is also known as judgmental, selective, or
subjective sampling.

This study is a homogeneous purposive sample because the respondents are selected for
having a shared characteristic or set of characteristics. This is a homogeneous purposive sample
created on the basis of music preference.

In this study, the researchers conduct survey to 40 DPRO students, 20 male and 20
female with similar characteristiclistening to foreign music more often than OPM songs.

DATA GATHERING AND PROCEDURE

The data are gathered through survey of the 70 chosen DPRO students. The survey form
created by the researchers of this study are only exclusive for the respondents. The survey is
comprised of 10 questions, which are related to the participants preference to music. The
researchers assure confidentiality of their survey sheets. The researchers also give people
involved, the option of being anonymous. Participants are given time to respond and then the
researchers collected the surveys the next day, so the respondents can have their time analyzing
the questions and comprehending their answers. There are no incentives offered for participating
in the research.

INSTRUMENT OF THE STUDY

Name (Optional): Age:

Gender:

Thank you for agreeing to participate in answering this questionnaire form regarding your
preference in music. This survey sheet is part of researchers study, The Impact of Foreign
Music to the Students of Dr. Pablo R. Olivarez. It will gain 4-5 minutes to complete.
However, the sheet will be taken the next day it was given to you so you can have enough
time to comprehend all the questions and your answers. Rest assured that all answers you
provide will be kept in the strictest confidentiality .

Please spare some of your valuable time answering this survey sheet.

1. What is the dominant music in your phone playlist?

OPM songs Foreign songs

2. What factors affect your preference to music?
availability artist

trend lyrics

Others (please specify): ____________________________________________

3. What music genre do you prefer most?

rock reggae

pop Rnb

Others (please specify): ____________________________________________

4. How many hours in a day do you spend listening to foreign music? How about in OPM
songs?
OPM songs: _________ Foreign songs _________

5. Among these ten music artists, who are your Top 5? Please put numbers 1 to 5 beside the
name of the artist.

Bruno Mars Gary Valenciano

Ed Sheeran Rey Valera

John Legend Sarah Geronimo

Katy Perry Regine Velasquez

Justin Bieber Angeline Quinto

Your Top 5 artists (if your Top 5 is not in the list, please specify)

_______________________________________________________________

6. In listening to dominant music, what is/are the advantage/s you gain from it?
Enhancement of vocabulary

Emotional expression

Becoming poetic

Others (please specify): ____________________________________________

7. Are/ is there negative effect/s in listening to foreign music? None

 If there are/ is, please specify:

8. Since you started dealing with music, do you become socially active?
Yes No
9. If you have any recommendations to Filipino artists on how they can make OPM songs
more quality, what are those?

10. If you have any message to Filipino audience on how they can support OPM songs, what
are those?