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. 2023 Aug 10;6:1206081. doi: 10.3389/fdata.2023.1206081

Table 1.

Thirty-one statements for the data-to-music user engagement scale (UES).

# Statement
1 I was so involved in my listening task that I lost track of time.
2 The time I spent listening just slipped away.
3 My sound experience was rewarding.
4 I felt interested in my listening task.
5 During this sound experience, I let myself go.
6 When I was listening, I lost track of the world around me.
7 These sounds appealed to my auditory senses.
8 I could not identify some of the things I needed to identify from these sounds.*
9 I liked the beats and rhythms used in these sounds.
10 If made available, I would continue to listen to these kinds of sounds out of curiosity.
11 I felt frustrated while listening to these sounds.*
12 The content of the sounds incited my curiosity.
13 I felt involved in this listening task.
14 Listening to these sounds was worthwhile.
15 I felt in control of my sound experience.
16 I found these sounds confusing to understand.*
17 This sound experience was fun.
18 I consider my sound experience a success.
19 These sounds were aesthetically appealing.
20 This sound experience did not work out the way I had expected.*
21 The sound layout of these sounds was auditorily pleasing.
22 I felt annoyed while listening to these sounds.*
23 I was absorbed in my listening task.
24 These sounds were attractive.
25 I lost myself in this sound experience.
26 I blocked out things around me when I was listening to the sound data.
27 This sound experience was demanding.*
28 I felt discouraged while listening to these sounds.*
29 I would recommend listening to these kinds of sounds to my friends and family.
30 I was really drawn into my listening task.
31 Understanding these sounds was mentally taxing.*

The UES statements are modified from the O'Brien and Toms study from 2010 (Figure A1) to address the context of auditory display. The item number indicates the order in which the statements were presented to the participants. The asterisks indicate that the item was reverse-coded in the same manner as the O'Brien and Toms (2010).