Character Strengths Profiles of Musicians and Non-Musicians

Authors

  • Angelika Güsewell Research Department, Haute Ecole de Musique de Lausanne
  • Willibald Ruch Section on Personality and Assessment, Department of Psychology, University of Zurich

DOI:

https://doi.org/10.18533/journal.v4i6.734

Keywords:

Personality of musicians, stereotypes, positive psychology, character strengths, sensitivity to beauty and goodness

Abstract

In the 1980s and 1990s a series of studies investigated musicians’ personalities using Cattell’s 16 personality factors, Eysenck’s PEN super factors, and Costa and McCrae’s Big Five. The findings hinted at some traits most musicians seemed to share, and highlighted differences between the personality traits of brass and string players. However, results were inconclusive and sometimes contradictory. The main aim of this study was to further investigate the topic using novel theoretical frameworks: Peterson and Seligman’s (2004) VIA classification, and Güsewell and Ruch’s (2012) responsiveness to the beautiful and good model. The character strengths and responsiveness to the beautiful and good profiles of classical and non-classical (i.e. jazz, rock, and pop) professional musicians, amateur musicians, and non-musicians were compared. In total, 324 participants equally distributed among these three subgroups completed the Values in Action Inventory of Strengths (VIA-IS; Peterson, Park, & Seligman, 2005), the Engagement with Beauty Scale (EBS; Diessner, Solom, Frost, Parsons, & Davidson, 2008), and the Appreciation of Beauty and Excellence Test (ABET; Güsewell & Ruch, 2012). Professional musicians scored significantly higher than non-musicians on self-regulation, appreciation of beauty and excellence, and responsiveness to artistic beauty; they scored significantly lower than amateurs on judgement and perspective, and lower than both amateurs and non-musicians on teamwork, fairness, and leadership. Professional classical musicians scored significantly higher than professional non-classical musicians on prudence. The latter, in turn, displayed significantly higher scores on creativity, bravery, and honesty. The two groups did not differ with respect to any of the responsiveness dimensions.

References

Arbuckle, J. L. (2007). Amos ™18 user’s guide. Crawfordville, FL: Amos Development Corporation.

Bell, C. R., & Cresswell, A. (1984). Personality differences among musical instrumentalists. Psychology of Music, 12(2), 83-93. doi:10.1177/0305735684122002.

Builione, R. S., & Lipton, J. P. (1983). Stereotypes and personality of classical musicians. Psychomusicology, 3(1), 36-43. doi:10.1037/h0094257.

Cattell, R. B., & Cattell, M. D. (1975). Handbook for the junior and senior school personality questionnaire. Champaign, IL: Institute for Personality and Ability Testing.

Cattell, R. B., Eber, H. W., & Tatsuoka, M. M. (1970). Handbook for the sixteen personality factor questionnaire (16PF). Champaign, IL: Institute for Personality and Ability Testing.

Cohen, J. (1988). Statistical power analysis for behavioral sciences (2nd ed.). Hillsdale, NJ: Lawrence Erlbaum Associates.

Costa, P. T., & McCrae, R. R. (1992). The revised NEO personality inventory (NEO-PI-R) and NEO five factor inventory (NEO-FFI) professional manual. Odessa, FL: Psychological Assessment Resources.

Cribb, C., & Gregory, A. H. (1999). Stereotypes and personalities of musicians. The Journal of Psychology, 133(1), 104-114. doi:10.1080/00223989909599725.

Davies, J. (1976). Orchestral discord. New Society, 35, 46-47.

Diessner, R., Solom, R., Frost, N. K., Parsons, L., & Davidson, J. (2008). Engagement with beauty: Appreciating natural, artistic, and moral beauty. The Journal of Psychology: Interdisciplinary and Applied, 142(3), 303-329. doi:10.3200/JRLP.142.3.303-332.

Dubreuil, P., Forest, J., & Courcy, F. (2013). Miser sur les forces au travail: une approche gagnante. In C. Martin-Krumm, C. Tarquinio, & M.-J. Shaar (Eds.), Psychologie positive en environnement professionnel (pp. 131-147). Bruxelles, Belgium: De Boeck.

Dyce, J. A., & O'Connor, B. P. (1994). The personalities of popular musicians. Psychology of Music, 22(2), 168-173. doi:10.1177/0305735694222006.

Eggimann, N., & Schneider, A. (2008). Positive Psychologie und Arbeitszufriedenheit: Eine vergleichende Studie mit Berufsoffizieren und Orchestermusikern [Positive psychology and job satisfaction: A comparative study with career officers and orchestra musicians]. (Unpublished Master’s thesis). University of Zurich, Switzerland.

Eysenck, H. J., & Eysenck, S. B. G. (1964). Manual of the Eysenck Personality Inventory. London, England: University of London Press.

Eysenck, H. J., & Eysenck, S. B. G. (1975). Manual of the Eysenck Personality Questionnaire (adult and junior). London, England: Hodder & Stoughton.

Gillespie, W., & Myors, B. (2000). Personality of rock musicians. Psychology of Music, 28(2), 154-165. doi:10.1177/0305735600282004.

Güsewell, A., & Ruch, W. (2012). Are there multiple channels through which we connect with beauty and excellence? Journal of Positive Psychology, 7(6), 516-529. doi:10.1080/17439760.2012.726636.

Güsewell, A. & Ruch. W. (2013). Are musicians particularly sensitive to beauty and goodness? Psychology of Aesthetics, Creativity, and the Arts, 8(1), 96-103. doi:10.1037/a0035217.

Haidt, J., & Keltner, D. (2004). Appreciation of beauty and excellence [awe, wonder, elevation]. In C. Peterson, & M. E. P. Seligman (Eds.), Character strengths and virtues (pp. 537-551). New York, NY: Oxford University Press.

Hair, J. F., Anderson, R. E., Tatham, R. L., & Black, W. (2006). Multivariate data analysis. Upper Saddle River, NJ: Prentice Hall.

Harzer, C., & Ruch, W. (2012a). The application of signature character strengths and positive experiences at work. Journal of Happiness Studies, 14(3), 965-983. doi:10.1007/s10902-012-9364-0.

Harzer, C., & Ruch, W. (2012b). When the job is a calling: The role of applying one’s signature strengths at work. The Journal of Positive Psychology, 7(5), 362-371. doi:10.1080/17439760.2012.702784.

Hu, L., & Bentler, P. M. (1998). Fit indices in covariance structure modelling: Sensitivity to underparametrized model misspecification. Psychological Methods, 3(4), 424-453. doi:10.1037/1082-989X.3.4.424.

Jónsdóttir, H. (2004). The VIA Inventory of Strengths (VIA-IS): Psychometric properties of a Dutch translation. (Unpublished master's thesis). University of Amsterdam, Amsterdam.

Keillor, G. (1989). We are still married. New York, NY: Viking Penguin.

Kemp, A. (1981a). The personality structure of the musician: I. Identifying a profile of traits for the performer. Psychology of Music, 9(1), 3-14. doi:10.1177/03057356810090010201.

Kemp, A. (1981b). The personality structure of the musician: IV. Incorporating group profiles into a comprehensive model. Psychology of Music, 10(2), 3-6. doi:10.1177/0305735682102001.

Kemp, A. (1981c). Personality differences between the players of string, woodwind, brass and keyboard instruments, and singers. Bulletin of the Council for Research in Music Education, 66–67, 33-38.

Kemp, A. (1996). The musical temperament: Psychology and personality of musicians. Oxford, England: Oxford University Press.

Langendörfer, F. (2008). Personality differences among orchestra instrumental groups: Just a stereotype? Personality and Individual Differences, 44(3), 610-620. doi:10.1016/j.paid.2007.09.027

Lindsay, M. (1958). Teach yourself jazz. London, England: English Universities Press.

Lipton, J. P. (1987). Stereotypes concerning musicians within symphony orchestras. The Journal of Psychology, 121(1), 85-93. doi:10.1080/00223980.1987.9712647.

Littman-Ovadia, H., & Davidovitch, N. (2010). Effects of congruence and character-strength deployment on work adjustment and well-being. International Journal of Business and Social Science, 1(3), 138-146.

Littman-Ovadia, H., & Lavy, S. (2012). Hebrew adaptation of the VIA Inventory of Strengths. European Journal of Psychological Assessment, 28(1), 41-50. doi:10.1027/1015-5759/a000089.

Marsalis, W. (1994). Sweet swing blues on the road: A year with Wynton Marsalis and his septet. New York, NY: Norton.

Martin, P. J. (1976). Appreciation of music in relation to personality factors. (Unpublished doctoral dissertation). University of Glasgow, Scotland.

McCullough, M. E., & Snyder, C. R. (2000). Classical source of human strength: Revisiting an old home and building a new one. Journal of Social and Clinical Psychology, 19(1), 1-10. doi:10.1521/jscp.2000.19.1.1

Park, N., Peterson, C., & Seligman, M. E. P. (2004). Strengths of character and well-being. Journal of Social and Clinical Psychology, 23(5), 603-619. doi:10.1521/jscp.23.5.603.50748.

Peterson, C., Park, N., & Seligman, M. E. P. (2005). Assessment of character strengths. In G. P. Koocher, J. C. Norcross, & S. S. Hill III (Eds.), Psychologists’ desk reference (Vol. 3, pp. 93-98). New York, NY: Oxford University Press.

Peterson, C., & Seligman, M. E. P. (2004). Character strengths and virtues. New York, NY: Oxford University Press.

Peterson, C., Park, N., Hall, N., & Seligman, M.E. P. (2009). Zest and work. Journal of Organizational Behavior, 30(2), 161–172. doi:10.1002/job.584.

Peterson, C., Stephens, J. P., Park, N., Lee, F., & Seligman, M. E. P. (2010). Strengths of character and work. In P. A. Linley, S. Harrington, & N. Garcea, N. (Eds.), Oxford handbook of positive psychology and work (pp. 221-231). New York, NY: Oxford University Press.

Rentfrow, P. J., & Gosling, S. D. (2007). The content and validity of music-genre stereotypes among college students. Psychology of Music, 35(2), 306-326. doi:10.1177/0305735607070382.

Ruch, W. (2008). Positive Psychologie und das Values in Action Inventory of Strengths (VIA-IS). [Positive Psychology and the Values in Action Inventory of Strengths (VIA-IS)]. In D. Jungo, W. Ruch, & R. Zihlmann (Eds), Das VIA-IS in der Laufbahnberatung [The VIA-IS in career counselling] (pp. 9-23). Bern, Switzerland: SDBB Verlag.

Ruch, W., Proyer, R. T., Harzer, C, Park, N., Peterson, C., & Seligman, M. E. P. (2010). Values in Action Inventory of Strengths (VIA-IS): Adaptation and validation of the German version and the development of a peer-rating form. Journal of Individual Differences, 31(3), 138-149. doi:10.1027/1614-0001/a000022.

Seligman, M. E. P., & Csikszentmihalyi, M. (2000). Positive psychology: An introduction. American Psychologist, 55(1), 5-14. doi:10.1037/0003-066X.55.1.5.

Trapnell, P. D., & Wiggins, J. S. (1990). Extension of the interpersonal adjective scales to include the big five dimensions of personality. Journal of Personality and Social Psychology, 59(4), 781-790. doi:10.1037/0022-3514.59.4.781.

West, N. M. (2006). The relationship among personality traits, character strengths, and life satisfaction in college students. (Unpublished doctoral dissertation). Knoxville, TN: University of Tennessee.

Wills, G. I. (1984). A personality study of musicians working in the popular field. Personality and Individual Differences, 5(3), 359-360. doi:10.1016/0191-8869(84)90075-8.

Woody, R. H. (1999). The musician’s personality. Creativity Research Journal, 12(4), 241-250. doi: 10.1207/s15326934crj1204_2.

Downloads

Published

2015-06-18

Issue

Section

Article

Similar Articles

1-10 of 153

You may also start an advanced similarity search for this article.