Table 1.
Diversity of the musical phenotype and example assessment measures.
| Active engagement/Musical training | Emotional response to music | Social aspects | Dance/Music during physical activity | Musical seeking | Music for coping | Musical expression | Music-making ability | Tonal perception | Rhythmic production | Rhythmic perception | |
| Self-report | |||||||||||
| Goldsmiths Music Sophistication Index (Gold-MSI) | ✓ | ✓ | ✓ | ||||||||
| Music Engagement Questionnaire (MEQ) | ✓ | ✓ | ✓ | ||||||||
| Barcelona Music Reward Questionnaire | ✓ | ✓ | ✓ | ✓ | ✓ | ||||||
| Music Use Questionnaire (MUSE) | ✓ | ✓ | ✓ | ✓ | |||||||
| Adaptive Functions of Music Listening Scale | ✓ | ✓ | |||||||||
| Healthy-Unhealthy Music Scale (HUMS) | ✓ | ✓ | ✓ | ||||||||
| Emotion Regulation Strategies for Artistic Creative Achievement | ✓ | ✓ | |||||||||
| Motivation and Engagement Scale - Music (MES-M) | ✓ | ✓ | ✓ | ||||||||
| Informant-report | |||||||||||
| Beech Brook Music Therapy Assessment | ✓ | ✓ | ✓ | ✓ | |||||||
| Music Therapy Rating Scale | ✓ | ✓ | |||||||||
| Music Engagement Questionnaire (MusEQ)a | ✓ | ✓ | ✓ | ✓ | |||||||
| Objective measures | |||||||||||
| Battery for the Assessment of Auditory Sensorimotor and Timing Abilities (BAASTA) | ✓ | ✓ | |||||||||
| Montral Battery of Evaluation of Amusia (MBEA) | ✓ | ✓ | |||||||||
| Advanced Measures of Music Audiation (AMMA) | ✓ | ✓ | |||||||||
| AIRS Test Battery of Singing Skills (ATBSS) | ✓ | ✓ | |||||||||
| Profile of Music Perception Skills (PROMS) | ✓ | ✓ | ✓ | ||||||||
| Beat Alignment Test (BAT) | ✓ | ✓ | |||||||||
| Harvard Beat Assessment Test (H-BAT) | ✓ | ✓ | |||||||||
| Swedish Musical Discrimination Test (SMDT) | ✓ | ✓ | |||||||||
Active engagement/Music Training = music making for fun; singing, playing, or making music inside or outside of formal training/lessons; performing. Emotional response to music = music-evoked emotion, affective reactions to music. Social aspects = social connection via music, music as identity. Dance/Music during physical activity = dance experiences, music listening during physical activity. Musical seeking = music listening habits, motivation to engage in music. Music for coping = music listening for mood regulation or stress relief, meditation with music. Musical expression = ability to make music expressively, putting emotion into musical performance, communication using music. Music-making ability = singing ability, instrumental skill, vocal range. Tonal perception = melodic, pitch, or harmony discrimination. Rhythmic production = ability to tap to a beat, ability to repeat rhythms. Rhythmic perception = rhythmic discrimination, metrical perception.
aThe MusEQ can be either self-report or informant-report.