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Abstract
The purpose of this study was two-fold: (1) to examine the relationship between personality type and ensemble choice and (2) to examine the differences in personality across age and music experience in young adults. Participants (N = 137; 68 instrumentalists, 69 vocalists) completed a demographic survey and the Big Five Personality Inventory. Results of a multivariate analysis of covariance show significantly higher levels of Extroversion by vocalists compared to instrumentalists, F(135) = 5.71, p = .02, d = 0.44. However, mean personality scores by section show high levels of Extroversion in percussionists, similar to vocalists, suggesting that extroverted individuals may be more likely to choose percussion or voice as their primary instrument. These data have many implications for structuring curriculum, establishing learning environments, and facilitating teacher-student communications.
Musicians and creative individuals share unique personality traits that are of considerable interest to researchers and educators who seek to identify relationships associated with music behaviors. Knowledge of personality traits may assist music educators in structuring curriculum, establishing learning environments, and facilitating positive teacher–student communications. Since personality traits have been associated with genre preference, conductors at all levels may benefit from this information with regard to repertoire selection (Delsing, Ter Bogt, Engels, & Meeus, 2008; Greenberg et al., 2016; Kemp, 1996).
While many have examined personality differences in young children, high school, and professional musicians compared to the general population (Bell & Cresswell, 1984; Buttsworth, & Smith, 1995; Cameron, Duffy, & Glenwright, 2015; Chang, 2007; Corrigall, Schellenberg, & Misura, 2013; Cutietta & McAllister, 1997; Kemp, 1981a, 1981b, 1981c, 1982b, 1982c; Langendörfer, 2008), few studies have examined the personality traits associated with continued music engagement through the collegiate level. Thus, there is need for additional information on the personality traits associated with ensemble participants at the collegiate level. Many young adults at this age are music majors or nonmusic majors who continue to pursue music rigorously. The purpose of our research was to examine differences of personality traits of instrumentalists as compared to vocalists. We hypothesized that vocalists would be more extroverted than instrumentalists and that instrumentalists would demonstrate higher levels of Openness to Experience than vocalists.
Measures of Personality
There are many inventories available to assess personality. Some inventories are strictly for measuring personality type for job placement and recruitment, while others are used in determining psychopathy. A number of measures have been used to examine personality factors relevant to individuals with music training. Some measures are quite lengthy such as the Meyers-Briggs Temperament Inventory (MBTI), which consists of 93 to 222 items depending on the form, and the California Psychological Inventory, which contains 434 true or false items. Other inventories, such as Minnesota Multiphasic Personality Inventory, measure adult pathology in addition to personality traits and takes up to 35 minutes for administration. The Sixteen Personality Factor Inventory (16PF) has been used frequently in personality studies of musicians (Bell & Cresswell, 1984; Hyden, 1979; Kemp, 1981a, 1981b, 1981c, 1982a, 1982b, 1982c). While this inventory has been used with much success, researchers used oblique rotation in the factor analysis, creating correlations between personality dimensions. In contrast to this analysis, researchers analyzed the Big Five International Personality Item Pool (IPIP) with an orthogonal rotation analysis, which restricts these correlations, thus simplifying factors for analysis.
The Big Five IPIP (Goldberg, 1992) is based on the five-factor model, which is an “empirical generalization about the covariation of personality traits” (McCrae & Costa, 2008, p. 159). The five factors, Agreeableness (A), Conscientiousness (C), Extroversion (E), Neuroticism (N), and Openness to Experience (O), represent personality from a broad perspective. Each dimension is condensed from a larger, more specific pool of personality characteristics. People who score high on Agreeableness tend to be unselfish, have a sympathetic personality, are eager to help, and respect others beliefs. Those who score low on Agreeableness often speak their mind more freely without thought of the consequences and lack interpersonal skills. People with high Conscientiousness scores generally set concise goals and work diligently toward them. They are also reliable and trustworthy. On the contrary, those who score low on Conscientiousness are often disorganized in their work and live for the moment. People who score high in Extroversion tend to be outgoing, sociable, and self-confident and work well with others. Those scoring low on Extroversion often prefer to work alone and can appear to be unsociable to others. People with high scores in Neuroticism are often emotionally unstable, are often easily upset, and have low self-esteem. Low scorers would be described as patient, optimistic, relaxed, and calm. Those who score high on Openness to Experience tend to have an active imagination, are independent thinkers, and are less conservative. Low scorers tend to think in simple terms, are practical, and are down to earth.
Other studies have used shorter nonstandardized measures such as a six-item personality questionnaire to examine personality traits in adolescent musicians (Builione & Lipton, 1983). Interestingly, Builione and Lipton’s findings are in contrast to other research studies, as brass players scored the highest on Extroversion followed by woodwind players. Previous work has shown that percussionists are more Extroverted than woodwind players (Kemp, 1981c; Wills, 1984). Thus, standardized measures that demonstrate good psychometric properties are necessary to evaluate personality traits in musicians. One such standardized measure that contains good psychometric with a relatively short administration time of 7 minutes is the Big Five IPIP.
Personality Traits and Musicians
The personality traits of musicians have long been a topic of interest for researchers, however, only a handful of studies have evaluated personality traits in collegiate musicians (Gibbons, 1990; Kemp, 1981a, 1981b, 1981c, 1982a, 1982b, 1982c; Lanning, 1990; Steele & Young, 2011; Young, 2001). Kemp’s (1981a, 1981b, 1981c, 1982a, 1982b, 1982c) series of studies examined personality differences in high school, collegiate, and professional musicians. The participants for the college portion of the study were full-time music students (N = 688), ages 18 to 25 years, recruited from 20 British conservatories and universities. A comparison sample of 120 college students was chosen by age, socioeconomic status, and educational level. All participants completed Cattell’s 16PF Forms A and B. Results showed that collegiate musicians scored high on introversion, pathemia, anxiety, intelligence, and good upbringing. Introversion, pathemia, and intelligence were personality traits that were common across all three samples of high school musicians, college musicians, and professional musicians (Kemp, 1981c).
Other studies found similar results using other personality measures. For example, Lanning’s (1990) study of music majors (N = 607) from seven Oklahoma universities used the MBTI to examine personality differences between vocalists and instrumentalists, concentrations within music (i.e., music education, music business, performance, etc.), and differences in personality by gender. Results showed that male and female collegiate vocalists preferred ESFJ (Extrovert, Sensing, Feeling, Judging), whereas female instrumentalists preferred INFJ (Introversion, Intuitive, Feeling, Judging) and male instrumentalists preferred INTP (Introversion, Intuitive, Thinking, Perceiving). Characteristics varied by degree concentration and by gender (e.g., females in pursuit of a bachelor of music degree clustered within ENFJ and males clustered within INFJ). All music education majors scored higher in Extroversion. This was also consistent with Kemp’s (1982a) and Wubbenhorst’s (1994) findings.
Additional research in adolescent high school musicians has revealed common traits including Intuitive/Feeling (N–F) dichotomies as measured by the MBTI (MacLellan, 2011; Steele & Young, 2011; Wubbenhorst, 1994). For instance, research has shown that ensemble members enrolled in band, chorus, and orchestra exhibited higher scores in Intuitive and Feeling than high school norms. These findings suggest that adolescents and young adults who participate in music ensembles are more likely to be Intuitive (N), Feeling (F), and Perceiving (P). As stated in MBTI theory, people who favor NF tend to value warmth in relationships, are imaginative, pay attention to patterns, look for deeper meaning, and are verbally creative (Meyers, 1998).
Musicians may not differ in personality only among ensemble members or groups by developmental status. Differences in personality traits may also be present with instrument of choice and gender influences. For instance, some instruments are viewed as gender-specific. The flute and violin are perceived as instruments for females; the trumpet and drums are viewed as choices for males. Other instruments, such as the cello and saxophone, are considered androgynous (Builione & Lipton, 1983). When personality is factored as a variable, these assumptions may not hold true. Studies have shown relationships between personality traits and preference for timbres. These preferences along with gender have been shown to influence instrument choice. Research has suggested positive correlations between gender and personality traits for flute, clarinet, trombone, baritone, horn, and tuba players (Hallam, Rogers, & Creech, 2008; Payne, 2009; Wych, 2012).
The purpose of this study was to explore the relationships between personality type, music ensemble choice, and music experience in young adults. Our research focused on the following questions: (a) What is the relationship between personality type and ensemble choice? (b) How do personalities differ across age and music experience?
Method
Participants
Subjects (N = 137, 64 males, 73 females) were college students (18–40 years) enrolled in band, chorus, and orchestra at a large research university in the southeastern United States. The sample included undergraduate and graduate students participating in the ensembles. Sixty-eight instrumentalists with an average age of 22.60 years (SD = 6.50) and 69 vocalists with an average age of 22.50 years (SD = 6.80) were recruited during their regularly scheduled rehearsal time and via social media. Instrumentalists consisted of strings (n = 7), woodwinds (n = 34), brass (n = 15), piano (n = 5), percussion (n = 7), and voice (n = 69). Vocalists consisted of sopranos (n = 24), altos (n = 12), tenors (n = 13), and basses (n = 20). A brief explanation of the study was given to the ensemble. Mode of distribution was based on the ensemble conductor’s preference. Those subjects who agreed to participate in the paper and pencil study were given a copy of the informed consent form, demographic survey, and the Big Five Personality Inventory to complete during their regularly scheduled rehearsal time.
Subjects enrolled in more than one ensemble were asked to select a preferred ensemble to answer the questions on ensemble participation. The final sample was represented by the following ensembles: wind ensemble, symphonic band, marching band, jazz band, orchestra, chamber singers, early music ensemble, university chorus, and a cappella ensemble.
Measures
Ten demographic questions and the Big Five Personality Inventory (Goldberg’s IPIP), which is based on the five-factor theory, were administered to participants.
Demographic Questionnaire
Each participant completed a demographic questionnaire that included information related to the current age, gender, instrument/voice part, race, ethnicity, age formal training commenced, years playing the instrument, other instruments played, duration of ensemble participation, and listing of currently enrolled ensemble(s).
Big Five Personality Inventory
The Big Five IPIP consists of 50 items measuring the personality dimensions of Openness to Experience, Conscientiousness, Extroversion, Agreeableness, and Neuroticism. Each trait is measure by 10 statements. Each statement has a Likert-type scale of 1 to 5 (1 = strongly disagree, 2 = somewhat agree, 3 = neutral, 4 = somewhat agree, and 5 = strongly agree). Openness to Experience refers to artistic sensitivity, originality, and imagination. Conscientiousness refers to traits such as dependability, acting responsibly, and being organized. Extroversion traits are interpreted as excitement seeking, gregariousness, and warm. Agreeableness refers to traits of likability, such as being good-natured, forgiving, and trustworthy. Neuroticism measures levels of anxiety, self-consciousness, and depression.
The mean reliability of internal consistency was .84 and was comparable in validity to other forms (.93; John, Naumann, & Soto, 2008). The Big Five Inventory was chosen for its reliability and validity and usage in previous music training studies (Benedek, Borovnjak, Neubauer, & Kruse-Weber, 2014; Bonneville-Roussy, Rentfrow, Xu, & Potter, 2013; Corrigall et al., 2013).
Results
One hundred thirty-seven participants (68 instrumentalists, 69 vocalists) completed demographic questions and the Big Five Personality Inventory. An independent samples t test on demographic variables indicated no significant group differences in age and years of ensemble enrollment (Table 1). However, there was a significant difference in the number of years of music training, t(132) = 5.16, p < .01, and the age music training commenced, t(120) = −4.65, p < .001. Years of music training and age at which participants began training were used as covariates in all analyses. Choral members reported significantly less formal music training than those enrolled in instrumental ensembles and began their training later than most instrumentalists.
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Table 1. Demographics.
Our research sought to examine differences of personality traits of instrumentalists as compared to vocalists. A multivariate analysis of covariance on all five personality factors by group reveal significantly higher levels of Extroversion (Figure 1A) by vocalists compared to instrumentalists, F(131) = 5.710, p = .02, d = 0.44. However, no significant differences were found between groups in Agreeableness, F(131) = .65, p = .42, Neuroticism, F(131) = .06, p = .80, Openness to Experience, F(131) = .05, p = .83, and Conscientiousness, F(131) = 1.29, p = .26.
Results of a multivariate analysis of covariance by instrument section (Figure 1B) across all personality factors show significantly higher Extroversion in vocalists and percussionists compared to other instrument sections, F(131) = 2.68, p = .02. No significant interactions were found by section for any other personality factors.
Correlations were conducted to examine relationships between personality, age, and music experience (Table 2). There was a significant correlation between age and gender, as well as years of music training and age that music training commenced. There was a significant positive correlation between Neuroticism and Extroversion (r = 0.18), and Extroversion and Openness to Experience. There was a significant negative correlation between Conscientiousness and Neuroticism, as well as Agreeableness and Conscientiousness.
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Table 2. Correlations Between Independent Personality Traits.
Discussion
The aim of this research was to explore personality traits characterized by collegiate ensemble musicians. The results confirmed our hypothesis and previous findings that vocalists tend to be more extroverted than instrumentalists (Kemp, 1981c; Lanning, 1990; MacLellan, 2011; Wubbenhorst, 1994). The development of instrumental skills often requires solitary practice potentially increasing the likelihood of introversion. In contrast, vocalists are socially engrained in the ensemble and often more self-conscious.
Although our main research questions focused on differences between instrumentalists and vocalists, it is worthy to note that both groups demonstrated high levels of Openness to Experience. This is in contrast to our initial hypothesis, which implied that instrumentalists may score higher on Openness to Experience than vocalists. People who score high on Openness to Experience enjoy learning new things, look for invigorating activities as a change of routine, perform better on creativity tests, and are successful in artistic jobs (John et al., 2008). Taken collectively, these findings and those from previous studies suggest that collegiate musicians may be more open to new creative opportunities than their younger counterparts at the high school level (MacLellan, 2011).
Furthermore, musicians in general exhibited similar characteristics in Conscientiousness and Neuroticism. These data are consistent with previous data indicating Conscientiousness as an important trait for musicians (Corrigall et al., 2013). People who score high on Conscientiousness tend to think before acting, double-check work, and follow rules. They are also self-disciplined, orderly, and achievement driven, which are important characteristics in a musician (John et al., 2008).
Data in the current study are consistent with those collected via standardized personality measures, such as the MBTI. For instance, MacLellan’s (2011) study found the most common personality across all ensembles to be ENFP. Individuals preferring ENFP can be correlated with Big Five dimensions of high Extroversion, Openness to Experience, and Conscientiousness. Individuals with this personality are outgoing, social, original, independent, creative, looking for possibilities, and abstract thinkers. Future research with one specific constant standardized measure would enable the ability to compare findings across studies and examine personality traits longitudinally.
Limitations and Potential Explanations
A limitation of this study stems from data collected at one university in the United States. Future research with an international sample would broaden our understanding of personality traits common to collegiate musicians. While our sample was quite large, additional participants would have allowed for independent instrumental or voice part personality comparisons. Additionally, five participants in the sample may have been enrolled in multiple ensembles, although these individuals were instructed to list one preferred ensemble with their primary instrument.
There are a number of implications that can be drawn from this research for music educators and educational researchers. Personality influences ensemble enrollment and instrument selection as well as levels of music participation. For example, research found a correlation between personality type and music preference (Langmeyer, Guglhör-Rudan & Tarnai, 2015). Music preference could be a deciding factor in ensemble enrollment. Benedek et al. (2014) found that collegiate folk musicians were more Extroverted than collegiate jazz and classical musicians, and that collegiate classical musicians showed less Openness to Experience than collegiate jazz and folk musicians. Future data will be necessary to examine potential differences between different types of music ensembles, such as orchestras, steel bands, and vocal jazz ensembles. Longitudinal research is necessary to examine personality traits of continued participation in music ensembles beyond the collegiate years.
Personality traits can influence music behaviors such as practice habits and music experience, which may contribute to continued music participation (Butkovic, Ullén, & Mosing, 2015; Corrigall et al., 2013; Hudson, 2004; Payne, 2009). For example, long hours of solitary practice are necessary for acquiring proficiency on any musical instrument. An introverted individual would not find issue with this situation, as they tend to look for energy from within. An extremely extroverted individual would most likely have to break up long practice sessions into shorter segments to communicate with others, as they tend to look outwardly for energy.
Research has also found that personality may affect instrument selection. One such study by Payne (2009) suggests that certain personalities prefer certain timbres. This research in secondary ensembles found that individuals scoring high in Openness to Experience tended to prefer woodwind instruments over brass instruments, and individuals scoring high in Extroversion tended to prefer brass instruments over woodwinds. This knowledge of personality and timbre relationship may be useful for instrumental directors in helping students with instrument selection.
Differences in personality may also affect learning tendencies and outcomes. Recent research suggests that differences in personalities are related to factors such as socioeconomic status, education level, previous music experiences, and life events (Roberts, Wood, & Caspi, 2008). Exploration of these variables in the context of the music ensemble experience will provide further information on relationships contributing to music behaviors. According to Zhukov (2007), a multidimensional approach of factors may contribute to learning, which includes knowledge of personality traits, learning styles, and the learning environment. Knowledge of student personality types could assist directors in customized lesson planning, preparation, music selection, and teaching behaviors.
Conscientiousness and Openness to Experience are related to learning achievement and academic success (Corrigall et al., 2013; Komarraju, Karau, Schmeck, & Avdic, 2011). For instance, high school instrumentalists demonstrated greater intelligence and were able to acquire new skills faster than the normative population (Bell & Cresswell, 1984), which could be attributed to high Conscientiousness and Openness to Experience scores. Additional research showed that child and undergraduate musicians tend to score higher in Openness to Experience. This trait corresponds to enhanced practice habits linked to persistence and retention in ensembles (Butkovic et al., 2015; Corrigall et al., 2013).
Openness to Experience and Consciousness are also thought to contribute to the probability of children’s enrollment in music lessons and the likelihood of continuation (Corrigall et al., 2013). Researchers concluded that adults with higher intelligence, parental education, and high Openness to Experience scores continued music training longer in childhood and adolescence. Age, school performance, socioeconomic status, and duration of time spent in nonmusic extracurricular activities, combined with traits of Openness to Experience and Conscientiousness also influenced continued participation in children ages 10 to 12 years. Personality traits such as these may lead to more disciplined study, intellectual curiosity, and creative experiences (Clark & Schroth, 2010; Csikszentmihalyi & Getzels, 1973; Hazrati-Viari, Rad, & Torabi, 2012).
Personality research may assist music educators and conductors in understanding the traits of ensemble members. It is not meant to be used as a means to discourage or select musicians based on personality and/or stereotype. The intention of this study is to help ensemble directors recognize personality differences and to gain a better understanding of personality traits in collegiate musicians.
Declaration of Conflicting Interests
The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author(s) received no financial support for the research, authorship, and/or publication of this article.
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