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The personality of the contracted studio muscian: An investigation using the Guilford-Zimmerman Temperament Survey
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The personality of the contracted studio muscian: An investigation using the Guilford-Zimmerman Temperament Survey
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THE PERSONALITY OF THE CONTRACTED STUDIO MUSICIAN: AN INVESTIGATION USING THE GUILFORD-ZIMMERMAN TEMPERAMENT SURVEY A Thesis i Presented to 1 the Faculty of the School of Education | The University of Southern California In Partial Fulfillment of the Requirements for the Degree Master of Science in Education by Roger Vernon Burton August.1955____ UMI Number: EP55613 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissartation PyfelisMng UMI EP55613 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Ed ' S i , This thesis, written under the direction of the Chairman of the candidate's Guidance Committee and approved by all members of the Committee, has been presented to and accepted by the Faculty of the School of Education of the University of Southern California in partial fulfillment of the requirements for the degree of M aster of Science in Education. 3^ 19. 55, Dean Guidance Committee Chairman TABLE OF CONTENTS CHAPTER PAGE I. DESCRIPTION OF THE STUDY . ............... 1 Introduction.............................. 1 The Problem............................... 2 Statement of the problem............... 2 Purpose of this investigation........... 3 Guidance.............................. 3 Criteria for success ................. 5 Significance and practical value . • • • 6 Hypotheses tested . 7 Definitions of terms ................... 8 Personality ....................... 9 Factor . . . * ......................... 10 Trait.................................... 10 Temperament.............................. 11 Contracted studio musician ............. 12 Organization of the remainder of the thesis 12 II. REVIEW OF THE LITERATURE................... 14 Studies of Adult Groups ................... 15 Studies of Student Groups................. 17 Studies with special reference to Musical Groups.................................. 22 Summary of previous studies ............... 28 Ill CHAPTER PAGE III. INSTRUMENT AND PROCEDURE................... 30 30 30 32 32 34 Construction of personality measures Factor theory ..................... Guilford-Zimmerman Temperament Survey Description of the instrument . . . Reliability and validity ..... Reviews and criticisms of the Survey . . 36 Interpretations of the traits and hypotheses pertaining to each ..... 36 G— General activity............... 37 R— Restraint ................... 38 A— Ascendance.............. 38 S~Sociability ........ .. . 39 E— Emotional stability........... 39 0— Ob j activity ............... 40 F-^Fr iendl Ine s s ................... 40 T— Thoughtfulness................. 4l P~Personal relations............ 4l Mi--Masculinity....................... 42 Subjects ....................... .. . 42 Procedure....................... 46 Method,^................................ 49 IV. FINDINGS AND COMPARISONS............... 50 CHAPTER Comparisons of the results with the norms for the survey and with the original hypotheses for this study............ . Q— General activity............... . . R— ^Restraint........................... « A— Ascendance......................... .. S— Sociability................... . . . E— Emotional stability ............... . 0— Objectivity ........... P— Fr i endline s s ......................... T— Thoughtfulness....................... P— Personal relations ................... M— -Masculinity . . . . . . . . . . Comparisons of the instrumental sections. . Woodwinds and brass . . . . . . . . . . Woodwinds and strings................... Brass and strings . ................... Comparisons with musical interest groups. . Comparisons with dance musicians ........ V. SUMMARY A m CONCLUSIONS ........ .. Summary ............................. Conclusions ................................ iv PAGE 50 50 51 51 51 52 52 54 54 54 55 55 55 55 56 56 58 59 59 63 CHAPTER PAGE Suggestions for further research BIBLIOGRAPHY LIST OP TABLES ‘ I TABLE PAGE I. Data on Reliability of the Scores ..... 35 II. Means and Standard Deviations of the Trait Scores . . . . . . . . . . . . . . . . . 35 III. Instrumentation of the Subjects.......... 45 IV. Comparison of the Means and Standard Deviations between the Studio Musicians and the Norms for the Survey............. 53 CHAPTER I ' I I ; DESCRIPTION OP THE STUDY I I. INTRODUCTION I i ! I ' ; In the study of personality, psychologists are en- | I ! : gaged in the attempt to discover basic and distinct traits I I : i common to all men. Numerous methods have been tried to | i ■ discover these traits. One of the most successful ap« ; I proaches has been through factor analysis combined with | ! I ! the psychological understanding of a highly trained and I competent person in this field. In this respect Cattell I has said that "the development of a foundation for person ality description and measurement has passed from the I stage of clinical, experiential assessment in terms of I syndromes and types to more sensitive and exactly quanti*^ tative methods, based on correlation and aiming ultimately at measurement in terms of clusters and factors." (44) After certain factors have been isolated and determined as psychologically significant traits, a test or survey can ! I be constructed to measure the degree to which an individual I possesses each of them. From the results of such a test, I a unique personality profile of the individual might be ! drawn, I Many psychologists have become increasingly 2 interested in the relationships of personality character istics, interests, behavior, adjustment patterns, and attitudes with vocational success. It has been hypothe sized that if homogeneous groups of individuals were tested a pattern of traits might be found for each group to distinguish it from the others. In her research, Guilford has even suggested that "eventually, all humanity might be classified into a relatively small number of these unique patterns," (86) Suggesting the possibility of vocational patterns, Jones has stated that studies of specific vocational groups "should help to correct or support popular stereotypy regarding vocational ’types.’ If there are significant patterns of temperament which correlate with certain Interests, there is good reason to give credence to the belief that there are vocational temperament types." (90) The point of view for this study is that more validity would be given to such vocational "types" if the traits of successful members of a specific occupation are studied and found to form a significant pattern rather than correlate vocational interests of persons not yet in the occupation with such traits. II. THE PROBLEM Statement of the problem. This investigation is ! an attempt to determine whether or not there are distinct I and measurable personality traits characteristic of con- I tracted studio musicians. Many people accept as valid I certain stereotyped pictures of musicians, stereotypes I which have been popularized by motion pictures, novels, I and much-publicized behavior of a few individuals. The I writer was amused recently when a man whom he had met a few hours before turned to a mutual friend and said, "Are I I you sure these two fellows are musicians? They seem too ! I Standard to be musicians." The other young man was a I contracted studio musician. I To give a more valid personality pattern of the I really successful musician, this study will attempt to I test some hypotheses concerning the temperament traits of the contracted studio musician. This select group of musicians has been chosen for study because of the desirability of a studio contract in the field of pro fessional music today. Also members of this group rep resent backgrounds in almost all other fields of pro- i i fessional music; symphony, dance band, radio, concert ’ stage, and free lance. i I Purpose of this investigation. Guidance. The purpose of this investigation is to aid the public school I music teacher in the guidance of the outstandingly I talented Instrumental music student who may desire to make I music his profession. The music teacher in the public school is mostly concerned with nurturing the musical | : I I growth of his students in order to make their lives more * enjoyable and meaningful. He knows that there will be | ' very few students who possess the ability and interests ; necessary to make music a profession. Today, because of the decreasing opportunities in the music business, only | a few of the students who learn to play an instrument will ever become successful professional musicians. Often the teacher knows about the professional world from having earned his way through college by playing and perhaps by ; continuing to perform with professional groups during | i I summer vacations and after his teaching hours. Because I he knows of many of his friends * disappointments in not j I being able to achieve professional success and might have j I I i experienced some such feeling himself, he may tend to I I discourage his students if they should be considering ! music as a career. But, if the teacher believes that it is his duty to provide for the needs of each individual | ! student, he cannot allow himself to reject the possibility | I that a few of his students may have the ability, Interests,j and personality to achieve success and happiness as a ; I professional musician. i : ’ ' " " 5~: Î I I Criteria for success. How might the teacher recog- I ; nize the factors which will contribute to or hinder succesSj in music? Certainly the most obvious prerequisite is ability. The student should evidence unusual talent before considering music as a possible vocational choice. Another prime consideration is the student's interest. If there should be any indications that he may become bored I I with music or that he may not be able to sustain his ; interest, perhaps another profession would offer him more happiness. j As the teacher considers what are contributing ! factors for professional success, he comes to some which I seem less tangible and more difficult to recognize and I explain. The teacher may know of a number of musicians I who do not have really outstanding ability and yet are ; quite successful. Nepotism, support of an influential friend, and a few other unusual circumstances may be responsible for the success of a small portion, but different causes seem to underlie the success of the re- I mainder. Also, he may know of some very talented students I i who were unable to find success in music as a vocation. I It is the belief of some psychologists that the answers I I for this success and failure may be found in the study of I personality traits. Perhaps this is true of almost any 61 vocation which involves social contact. In the oft- | alluded-to study by Thurstone, it was found that the most ! frequent cause of lost jobs was "the inability to get ; along with other people", (?4) indicating that an Individ- I ual's personality may have as much influence, sometimes ■ ; ■ possibly more, in his vocational success than does his ; i ; ability. j \ I i I Significance and practical value. There have been j : ! I numerous investigations of musical talent and its re- i ! I I 1ationship8 with interests, intelligence, academic achieve-; I i I ment, and social and psychological adjustment. Most of j I these studies have been done with student groups. There | ; have been a few studies of adult musician groups, but a | , review of the literature indicates no other investigation I dealing with studio musicians. This select group has j ! ■ i : been chosen for this study because it represents a very | successful class of professional musician. The contracted ; musician is able to live a comfortable life. Ke has I i j good working conditions, rather consistent hours, oppor- I ! I tunity to establish a home, and earns a good salary. He j I has leisure time to pursue his own activities and hobbies. : I I : He has the opportunity and time to join with other ! ! musicians in small groups to perform music which he | ! enjoys. It is reasonable, therefore, to assume that many | I 7] j of the students considering music as a vocation will be j I interested in the factors related to success in securing j I i i a contract. This study will attempt to provide the music | I teacher and the vocational counselor with a more scientific; ! and valid basis for aiding the talented student to evaluate ' himself in the chances for a successful musical career# ! i ! Also, a more valid concept of the average studio j musician will be found from an analysis of the test data i and a comparison with the following hypotheses. I I i Hypotheses tested. The following hypotheses were | j the guide lines for this study: | i ! 1. The contracted studio musician is significantly ; I ( I different in personality traits from the norms i I I I for the test. ; i 2. The studio musician is well-balanced emotionally. 3. He is capable in the social skills of getting j I : along well with people. I 4. The emotional expressiveness demanded in music I ■ and the interests in artistic fields will be : I I indicated by a low score on the Masculinity | ! scale. I I I 5* He is neither too dominating nor too submissive 1 in his contacts with other people indicated by a score close to the norm in the Ascendance 1 scale. i I 6. The necessity for serious, persistent practice j and a serious-iaindedness about music is balanced; by a general carefreeness in other things. j There was a belief among many of the musicians with ! I whom the author consulted before beginning this study ; that the answers would be in the affirmative. Of course these hypotheses were not discussed with the subjects before they took the Survey. After having taken the | Survey, many of the subjects wanted to discuss it and to know what it was measuring. They thought also that the i answers would be in the affirmative when the norms were computed but that there would be few if any individuals I whose scores would all correspond positively. | ! In Chapter III there is a discussion of each of the ten traits which the Survey measures with a hypothesis ! for each trait. 1 III. DEFINITIONS OF TERMS | I Because there are some terms used in the above j discussion which have controversial meanings, there is a * need to define them as they are used for this paper. : There are five terms which require definition: 1. per sonality; 2. factor; 3, trait; 4, temperament; ! ~ y I I and 5* contracted studio musician. The definitions of I the ten traits which are measured by the Survey are given I in chapter III. I 1. Personality. Allport has listed 53 concepts I I I I of personality under a discussion of the etymology and j ; early history of "Persona," Preceding his survey, he ' i ! ! states: I There is no single correct definition of "Personality"; usage has sanctioned too many. Some of the meanings j are psychological, some are not. The first task is j I to distinguish between them. The second is to select | I from among available psychological definitions one | I that best fits the phenomenon dealt with in this volume, (1) i i ■ I i For this study the definition by Cattell seems i I I I suitable: | i I Personality is concerned with and derived from all | I the behavior relations between the organism and j * its environment. It is that which predicts be- | j havior, given the situation." (3) This concept emphasizes the constant interaction of the individual human being with his environment. Guilford j I emphasizes the differences between individuals and the necessity of viewing each person as a whole when he i defines personality as "an integrated pattern of traits." j (14) I As used in this study, personality refers primarily ! to the behavior traits associated with temperament and I 10 adjustment to the environment. I 2. Factor. Some confusion may arise due to the use of different terms for the same meanings. The terms I"vector" and "factor" are often interchanged with the term ' "trait" in the literature. Allport has defined "trait" as a "tendency to reaction which when measured with re liability demonstrates an independence of other variables (an independent statistical variable)," (29) This defi— 1nition would apply to "factor" also. The isolation of a ifactor is accomplished by an analysis of the intercor- irelations of the test items. I 3. Trait. This terra is essential for the complete understanding of the above definitions. A factor may or : may not be psychologically significant even though it is I isolated through the intercorrelations of factor analysis. : Dr. Guilford, in a conversation with the author, stated I ! that a trait can be considered an isolated factor which I is psychologically significant and has been named and described. ; Cattell has said that a trait is "a collection of ! reactions or responses bound by some kind of unity." (3) I 1 In a review of Cattell's book, Guilford suggests that it ' would be better "not to identify a trait with the reactions ; ... I themselves, but to regard it as something inferred from i i reactions," (12) This view obviates the generalization | I that there are no consistent traits but only specific j i ^ I i habits which are determined by the immediate situation and > I j I affirms instead that there are consistent traits under- I ! lying specific behavior. In another source, Guilford says ' that "a trait is any common way in which one person can I differ from another. By 'common way' we mean a way of I differing found among people at large; not an isolated j peculiarity belonging to one person and to him alone," I (14) 4, Temperament, According to Guilford the term j temperament is properly "used to include all of an in- j dividual's emotional traits." (14) This definition seems ! I Similar to that of Thurstone: "Our interest here is in I those non-intellectlve traits of personality which are I relatively stable, the temperamental types, and which are j not often markedly changed in social experience. Hence I we refer to this problem as the dimensions of temperament j rather than the much larger domain that is called person- I ality.” (75) In an earlier publication, Thurstons had I contrasted the domain of mental endowment with the domain I I of personality and stated: "The more stable character- I isties of personality, including conative and emotional 12 ; traits, are called temperament to distinguish them from the more changeable personality traits." (77) In an élabora- | tlon of this concept, Baehr deduces that a "temperament j trait is regarded as composed of those related behavior characteristics which are relatively permanent for the individual." She continues, "Personality Is regarded as the resultant of the interaction of these temperament traits with the environmental conditions to which they are exposed," In summary, she states: "Temperament Is the raw material from which personality is fashioned; and personality is thus the medium through which tempera ment traits manifest themselves." (34) 5. Contracted studio musician. The subjects for this study were limited to those musicians who were under contract to a motlon-plcture studio. Although there are some studio musicians who make good salaries as "free lance" players, they were not included in this study in order to obtain a more controlled group. Besides, it was felt that if a good sampling of contracted studio musicians were obtained, all fields of the instrumental music world would be represented because of the varied background of each musician. IV, ORGANIZATION OF THE REMAINDER OF THE THESIS ; I The remaining chapters are arranged in the follow- ' Ing manner: Chapter II reviews some of the literature I I of personality studies dealing with student groups, I I various occupational groups, and studies specific to j musicians and musical interest groups ; Chapter III I describes the construction of personality measures, the ; Quilford-Zimmerman Temperament Survey, and the procedure; I Chapter IV presents the results of the study; and j Chapter V summarizes the thesis, offers conclusions, and recommends suggestions for further research. CHAPTER II. i I i REVIEM OP THE LITERATURE I I I This chapter will review a few selected studies ' ; representative of the work which has been done in person- I i i ality measurement. The literature pertaining to person- I ; ality studies of occupational groups indicates an ; i ! appreciable amount of such investigations. But the great ' number of these studies has been done with student groups ^ ; • i ! rather than with adults actively engaged in the occupations! Î ; involved. ! i i I It is the belief of the author that studies to 1 ' determine personality profiles of specific occupations | should be done using adult members of that occupation as subjects rather than students as subjects. This theory is supported by Porer who has found that emotionally dis turbed persons often tend to choose fields of study for ! which they are least likely to succeed. He has found that ! such persons: ; i tend to reject the kinds of occupations in which they are likely to be able to function and succeed economically at least on a marginal level: mechanical,; computational, and clerical, as well as scientific activities. Essentially they appear to dislike routine activities or activities calling for specified duties and compliance to standards set by others. They tend to prefer occupations allowing freedom for uncontrolled self-expression, even though the likelihood of success is low: literary, persuasive. i 15 > I I and musical activities. (57) j ! j I Berg's conclusion would encourage the study of ; I adults in specialized activities within large professional I fields. His belief is that the individual's personality I I structure has greater significance in relationship to ^ his choice of the specialized branch than it does to the j initial choice of the larger professional field. (36) I 1 I. STUDIES OP ADULT GROUPS I I Some of the very early studies of specific occupa- I tions were done by Conovan (4, 5> 6 ), Jackson (22), and I Anderson (2). These studies were mainly sociological j ! studies with a description of personality based on the ) j authors' observations. Since these studies were done, ^ attempts have been made to use scientifically constructed i i measuring instruments in order to obtain more objective results. Using his own test. Dodge found that the most I successful clerks were less self-sufficient and more I dependent upon others than the less successful workers. ! j The less successful clerks had scores similar to sales- I I personality scores whereas the successful clerks had ! scores below the average for salespeople. (48) ! Verniaud administered the Minnesota Multiphasic ; 16 Personality Inventory to 97 women workers: 40 clerical i I workers, 27 department store saleswomen, and 30 optical I workers. She found that "occupational differences in I personality, although slight, may be measurable and sig- 1 nificant" and that "there are group differences in the i personality of successful workers corresponding to gross differences in job requirements." (78) In an early study, Dashiell attempted to determine I the importance of traits for the different professions. I He had college teachers rate 12 "traits" in rank order ; of importance and then correlated the results. He found ! that there was as much agreement among teachers of dif ferent professions, such as Law, Medicine, Commerce, etc,, I as among teachers of the same profession. (47) I In one of her studies, Roe tested 20 male artists I using the Rorschach Projective Technique. She found that i ! the only distinguishing trait for the group was that they were decidedly more "feminine" than "masculine" according to the norms for men. (70) Studying the residents of the Washington, D. C. suburb, Greenbelt, Form concentrated on a comparison of attitudes between manual workers and white collar workers. He found that there were definite differences in attitudes on many subjects, indicating that there is a difference 17 ! between occupational groups. (52) i j II. STUDIES OP STUDENT GROUPS i I Conclusions drawn from studies of records at I : Veterans Advisement and Guidance Center by Harmon and 1 I Wiener indicate that the Minnesota Multiphasic Personality i I j : Inventory aids greatly in vocational advisement. Their j i : I report cites specific clinical cases and the kind of ' ! j advice given to the subjects. (59) | I Using their own Questionnaire in conjunction with I i i I the ThurStone Interest Schedule, Lentz and Nickel con- | i eluded from their data that "vocational preference is a ! ! ! function of one's character and hence useful for character ; ! I measurement." (66) ; i I j Anderson found in her study of computational and j I * ' ! clerical interests groups that there was no correlation I between interest and ability. (33) j In a review of many of the studies up to 1943, I Berdie reaches a similar conclusion: there is little I relationship between ability and interests. He adds, j < however, that "studies of measured vocational interests ■ have shown them to be associated with other personality dimensions in a systematic fashion." (35) ! ! At the University of Minnesota Carroll administered 18 I I the Me 1er-Se ashore Art Judgment Test, the McAdory Art | I Tests, the Bathurst Diagnostic Temperament Test, and the | ! i ; Bernreuter Personality Inventory to 218 students. The 1 ■ data indicated that there were no significant correlations ; I i I between artistic ability and emotional adjustment. (40) The Strong Vocational Interest Blank and the Bell i Adjustment Inventory were used by Barley to study the i i * relationships between interests and personality adjust- I ; ment of male college students. He found that men with I Verbal or Social Service A (Minister, Musician, Teacher, ] etc.) interests had no significant correlations to set ! i i \ them apart from men with other primary interest patterns | ! I ' although they did tend toward the less masculine end of ' I the Strong Scale. (46) , Using the Bernreuter Personality Inventory, the I I Stenquest Mechanical Aptitude, and the Thurstone Vocational Interest tests, Reed found that there were no significant correlations between the personality scores and scores of vocational interest. "The conclusion is reached that the ; Bernreuter scores seem not to furnish a sufficient basis ! for giving advice in regard to the selection of courses , or vocations." (68, 69) ' In her thesis study of four groups of college women studying Medicine, Law, Education, and Library 19 i i Science, Wood found that "of the traits measured, no signi-4 ficant conformity of personality traits seems to exist | among the groups analyzed" and "differences in individual j traits, rather than differences in conformity, or patterns| of traits, are indicated." She used the Strong Vocational{ I Interest Blank and the Bernreuter Personality Inventory ' 1 I : on 230 women students. (95) 1 Nelson and Nelson studied 3,757 students to deter- j mine the relationships between attitudes and vocational j I choices. Their findings were: 1. There were relation- I ! j I ships between student vocational choices and student j i attitudes indicated in each of the six attitude-areas ! ! i I Studied; 2. Students in banking, dentistry, music, and ) • 1 I government service were more conservative, whereas those 1 i ! I in journalism, social work, law, and agriculture had the I more liberal attitudes; 3. The most religious attitudes j were found among those having chosen the ministry, home- j making, medicine, music, and teaching. Among those in I aviation, journalism, law, and commerce were found the j less religious attitudes. (6?) ' In a study of the relation of interests, values, ! and personality to the choice of curriculum, Sternberg j used the Kuder Preference Record, the Allport-Vernon Study of Values, and the Minnesota Multiphasic Personality I ; 20 I I Inventory. He administered these tests to nine groups of | I i j 30 students, each group representing a different curri- ! I ■ i I culum. His findings indicated that "scales dealing with i ! j aesthetic interests and attitudes showed significant j I I i positive correlations with each other and with most Multi- I I I ! phasic scales, but correlated negatively with science- | related scales." In his factor analysis, he found three | I * new factors, two related to artistic groups: "Factor II contrasted preference for business contact and prestige ! activities with tendencies toward maladjustment related to artistic interests." "Factor VII was made up of scientific attitudes at one pole and religious, artistic I ; and mechanical attitudes and preferences at the other." j : He concluded that "groups of college students majoring | i I , in different subjects were significantly different from I I I I each other in interests, values, and personality, as well | ' j I as in patterns of attributes (factor scores). (94) ; ! I I Using the Guilford-Zimmerman Temperament Survey, I ; : Shearain reaches a similar conclusion. He studied 254 ; ! college students in four groups: pre-medicine, engineering, 1 ' business administration, and general majors. His data ; * indicated that students enrolled in a specific curriculum ' have personality patterns different from those of students 1 in other curricula. (93) 21 Evans studied I90 women students at Indiana Univer sity using the Minnesota Personality Test, the Kuder j Preference Record, and the Minnesota T-S-E Inventory. The I j results were analyzed for relationships of social adjust- | I ment and vocational interests of extroverts and introvertsJ I The conclusions significant to this study were that the | I Thinking Introverts ranked lower in Persuasive, Mechanical,| I I ! and Clerical interests, and higher in Artistic, Compute- j i I tional. Musical, and Scientific interests than did the , I I I Thinking Extroverts. (50) * I In a study of the interests and personality traits ( of engineering and liberal arts students, Goodman used the Bernreuter Personality Inventory on 403 male students. I The scores indicated that the engineering students were ■ more stable and self-sufficient than the liberal arts students. No significant difference in dominance was found. (54) The Bernreuter Personality Inventory was also used by Johnson in a study of seminarians and salesmen. Sales men presented a pattern "of greater emotional maturity I ! and interest in working with others." Seminarians showed i I high scores on dominance and self-sufficiency with average ■ scores on neurotic tendency and introversion, interpreted I by Johnson to indicate a lack of cooperativeness. (62) 22 i III. STUDIES WITH SPECIAL REFERENCE TO MUSICAL GROUPS I ! The Institute for Research bulletin about popular ! I I I music has much information about the field of popular j i music. As there have been many changes in the field of | ! professional music since this booklet was compiled, much ! I of the information is obsolescent. (39) | j Gross and Seashore compared the ten best students j and the ten worst students in composition as rated by | ; their teachers, with ten well-known composers. They used I : ! I the Seashore-Erickson Recognition Test of General English I Î ; i Vocabulary, the Humm-Wadsworth Temperament Scale, the Seashore Measures of Musical Talent, and the Kwalwasser- j ; ; ! Dykema Battery. They found "fairly consistent differences , ' between more and less proficient composers on certain ' aspects of each type of variable studied, superiority in ' ; composition being associated with high scores in general 1 j intelligence, the 'cycloid' component of temperament, auditory discriminations, informal and formal training, and work methods of composition." This study seemed weak i . because of the small number sampled. (55) * I Sunderman attempted to study the long term effect I . of music on the physiology of an individual. His subjects ; were 248 University of Minnesota women students majoring 23 or minoring in music and 24? non-musician women, matched with the musical group in weight, height, age, school year, and nationality. The musicians tended to have lower readings in blood pressure, particularly in sys tolic pressure, but there seemed to be no significant findings. (73) In his dissertation Cooley investigated the "feasibility of using a psychometric approach to the study j of musicality and to determine, in a college situation, i the relation of certain psychological measurements ! (standardized test scores ) to general musicality and to j functional musical abilities, determined by ratings j I made by professionally qualified people." He administered| four tests to 180 undergraduate music students at Michigani I State College: 1. AEC Psychological Examination; 2. * Cooperative Reading Comprehension Test; 3* Bernreuter Personality Inventory; and 4. Seashore Measures of | Musical Talent. Ratings of Musicality, Sight-Reading j Ability, and Performance Ability were made by the 51 | I members of the music faculty at M. S. C. Included in the | t I ! i I data were the applied music grades of the students. "The i j test performance of these groups was interpreted as } I . ! indicating that high intelligence, reading ability, and j Seashore test scores go with musicality. . . • Significant! 24 differences were found for the means of the Neuroticism, Introversion, Confidence, and Sociability scores. . . * Coefficient correlations between these personality scores and ratings of Musicality, Sight-Reading, Performance, j and applied music grades were low." (8l) | Bryan and Perl compared women students in the Pratt | I Art School, the New York Institute of Musical Arts, and | the New College (teacher training) of Columbia University ; from data resulting from the AEC Psychological Examination; three tests of rote memory, a test of motor speed, and the' Bernreuter Personality Inventory, scored for neurotic \ tendency. They found that the art and music students were * more neurotic than the average college woman. It is in- ! teresting that they also found that "in all three schools,I third and fourth year groups show less neurotic tendency \ than the first year groups." (38) . The stability of the Kuder Preference Record was j surveyed by Herzberg, Bouton, and Steiner. These in vestigators found that the Musical scale had a significant^ ly lower stability than the other scales, with the except* tion of the Social Service scale. (6l) The Kuder Preference Record has also been used by ' Steinberg in his study of the relation of vocational preference to emotional adjustment. He found that high | 25 : ! musical Interest on this inventory might indicate malad justment if there is no other evidence to support the validity of this Interest. (72) In contrast to this kind of reasoning and to that | of Porer (57) discussed at the beginning of this chapter, | Jones concludes his study with this suggestion for coun- j selors: "Clients with personality profiles which show | many undesirable characteristics are possibly good pros- i pects for the indirect self-expressive art of music." He bases this advice on his findings that: men with strong interests in musical work are charac- ; terized by their wide fluctuations in mood and strong emotional reactions, their submissive nature, their tendency toward, femininity of interests, their marked feelings of inadequacy or inferiority, and their ner- i vous disposition or proneness to easy irritation. All of these tendencies, except that of submissiveness, which is significant on the 5 per cent level, are significant at the 1 per cent level. It is interesting, although the r*s are statistically insignifleant, that j every relationship of temperament factors is nega- ! tive or tends in the undesirable direction. There | are also indications, which seem worth mentioning, ! that this group may be inclined to be socially | introvertive, thinking introvertive or introspective, ; and suffers, somewhat, from emotional inhibition. ‘ . . , The results for the Musical Interest Group | show that these persons are definitely 'maladjusted* | and show strong emotional fluctuations. ! i ! His subjects were 3OO veterans who had gone to the ! ; ! Veterans' Guidance Center in Los Angeles and had taken ; I ; I the Kuder Preference Record, the Guilford Inventory of ' Factors STDCR, and--the~-Gu41ford'«^Mart-in—fevent'ory^-of^ | 26 I I 'P‘ HCl7ors--'“ 8T©6S“ , and the Guilford-Martin Inventory of Factors I GAMIN. (90) I I A somewhat similar study was made by Manzano. His i ! I Î subjects were 325 veterans who had also been tested at the ! I Veterans* Guidance Center in Los Angeles. Also used were ! I the Kuder Preference Record, the Guilford Inventory of j I I Factors STDCR, and the Guilford-Martin Inventory of | ' Factors GAMIN, plus the Minnesota Multiphasic Personality | . Inventory, and the Guilford-Martin Personnel Inventory I I I (OAgCo). His findings were much like those of Jones; | I The subjects who were strongly interested in j I musical work were temperamentally feminine and ! • showed abnormal concern about their bodily j : functions according to the Multiphasic. ; ^ I i With the Guilford and the Guilford-Martin In- I ventories, those strongly interested in musical ; i pursuits were chronically depressed, and flighty * I and unstable in their thinking, and showed lack I of confidence, feelings of inadequacy and in- ; feriority. They were tolerant and willing to accept people and things as they are. But in his "Implications for Guidance", Manzano seems j closer to the reasoning of Steinberg (72) than to Jones i 1 (90): "The results of this investigation should aid a j I . : : counselor to develop a clinical feeling toward the proba- ! ! * . : bility that maladjusted individuals may enter or apply for I j admission to certain fields of study." (92) ! I I In her sympathetic study of the dance band musician,, I I I Hepner used the California Test of Personality-Adult Form AL i 27 . She tested 100 musicians and 100 non-musicians. The I I musicians were tested twice, once under standard ins true- ; tions and then with instructions to answer the questions i "as though they were the sort of person they would most i like to be." Her results indicated that the dance band i musician tended toward emotional and social maladjustment. I . By comparing the scores on the retest with the first test, I it was interesting to note that the dance musician seemed I aware of his maladjustment but seemed satisfied to be anti-social and did not wish to conform to the generally ; ; : accepted social standards. Hepner emphasizes the in fluence of the environmental forces on the development I ; I of his personality in her conclusion: j I ^ ' The most unique attributes of the dance-band-music occupation are its predominant interest in dance— music alone, its highly unstable emotional character, ; its nomadic pattern of existence, and its irregularity and insecurity. Since these occupational character- ^ istics very closely approximate the personal character istics of the Dance Musicians measured in this in- ^ vestigation, it is concluded that these personality 1 attributes, which so significantly differentiate I the Dance-Band Musician from the general population, j I are developed by the nature of his work. (88) 1 < I i j A study of the danc e-band musician was also made by ; i Lastrucci. His findings indicated that the dance musician ; I i I is "typically an unhappy, maladjusted individual" and is ! ; "plagued by insecurity." In summary Lastrucci reaches ; : j ! these conclusions: 1. Dance musicians are distinctly ' 28 I different from other occupational groups, even from other j musicians; 2. "This differentiation is largely a result I of occupational specialization, rarely of occupational ; selection"; and 3. "This group type of social deviation I is a result of the various factors and forces which are an I inherent part of the work situation itself." (65) j I IV. SUMMARY OP PREVIOUS STUDIES i The literature indicates, although there is some I disagreement, that there are differences in personality | i j I profiles between different occupational groups. There are { I some doubts expressed as to the validity of relying too 1 i ' i ; much on interest scales for guidance because of the low ; I ; , correlations sometimes found between interest and ability I ' ! ! to succeed in specific occupations. Evidence has accumu- I i ' lated indicating the value of using temperament in- ! ! ventories in occupational guidance. | Several studies indicate that persons with high I musical interest scores tend to be emotionally unstable j and measure toward the feminine end of the masculine- i I i feminine continuum. Such groups are characterized by ; ' feelings of inadequacy and inferiority and have a generally I I ■ neurotic profile. Such traits have also been found to ■ j describe the dance musician. It has been suggested that \ I 29 I in his case the nature of the work has influenced his ; neurotic tendencies more than did his original tempera- j ment al t endenc ies. I CHAPTER III INSTRUMENT AND PROCEDURE I I. CONSTRUCTION OP PERSONALITY MEASURES ! I The paper-and-pencil self-Inventory tests are open ; to much criticism because of the intrinsic weaknesses of ! I some, the lack of adequate criteria for validation, the possibility that scores are results of chance, and the ! I j I possibility that the subject may not really understand j I himself or that he may lie about himself if he wants to I I I j obtain a certain score. Ellis has summarized the objec- j I tions to the use of the personality questionnaire and also I I ! j gives reasons for its use. (49) Despite the many adverse i ! criticisms, the self-inventory type test is preferred to i ' ' 1 other personality measuring instruments because it can be I I scored objectively, is economically administered, and in | spite of its weaknesses is the best instrument for this | purpose yet devised. | I Factor theory. One of the most important methods ' of constructing personality tests is that of factor < analysis in which the psychologist attempts to isolate purej I and primary traits through an "analysis of the inter correlations of the variables." (21) 3 1 i Molfle testifies to the value of factor analysis j when he writes that through factorial methods "we shall Î arrive sooner at a systematic and orderly description of j human personality." (79) In writing about the premises and manifestations j of factor analysis, Carrol adds: j The controversies about method of factor analysis stem largely from the fact that mathematically an infinite number of ways of doing this are possible; but if it is remembered that the basic objective of factor analysis is to identify nonoverlapping (or at least, linearly independent) clusters of variables, and that the achievement of this ob jective may necessitate series of factor analytic experiments, many of the controversial points can be resolved. (4l) In a discussion of this method of test construction, Guilford gives an excellent summation: Factor theory conceives of human personality (in more operational terms, individual differences) as being economically describable by reference to a limited number of distinguishable dimensions. These fundamental variables are not readily ob servable by ordinary procedures because of their intricate and varied manifestations in human be havior, including that part of behavior seen under more standardized conditions, the psychological test. Tests correlate with one another to the extent that they measure in common one or more of the underlying variables or factors. From the high, low, and moderate degrees with which tests intercorrelate, the common factors can be de tected by statistical operations. The attachment of psychological meaning to a factor depends upon the apparent common features of the behaviors that are symtomatic of it and upon the insight of the investigator. Several methods have been proposed for the factoring of a correlation matrix (inter correlations among a collection of tests). 32 Experiences of the AAP psychologists led to the ' adoption of the Thurstone centroid method of ex tracting factors, followed by the rotation of reference axes into a positive manifold and simple structure as being the most fruitful procedure. Intelligibility and reproducibility of factors and of factor loadings in tests were thus best achieved. (56) Despite the difficulty of determining the psycho logical significance of the isolated factors, the person* ality test which is composed of "factorially pure or unique" traits seems to be the most promising instrument for scientifically measuring in a precise, simple, and objective manner the complexities of human personality. (92) II. GUILFORD-ZIMMERMAN TEMPERAMENT SURVEY Description of the instrument. This is an inventory! type questionnaire designed to measure ten independent | traits: (G) General Activity, (R) Restraint, (A) Ascend- | ance, (S) Sociability, (E) Emotional Stability, (0) Ob- | I jectivity, (F) Friendliness, (T) Thoughtfulness, (P) Per- j i sonal Relations, and (M) Masculinity. These traits had ; I been isolated in earlier inventories by Guilford: Nebraska | Personality Inventory (SEM) (19), Inventory of Factors j STDCR (17), Guilford-Martin Inventory of Factors GAMIN (15); Guilford-Martin Personnel Inventory I (OAgCo) (I6). i The last three of these inventories comprise a , 33: i I i I series which has been used to obtain reliable and compre- | I hensive profiles of individual personalities. Because of I the cost and time involved in administering and scoring j them, there was a "need for a single inventory which I would provide a similarly comprehensive coverage in a ! ' more economical manner." (18) Wherever intercorrelations I . ' I of the thirteen trait scores measured by these inventories I I seemed sufficiently high to warrant practical consolida- : tion and omission, such traits were combined. I Each of the ten traits is measured by 30 items j which make 3OO total. This number was chosen because it i I makes possible an adequate sampling in a single booklet, i ; with a single answer sheet, and with a simplified method I : of scoring by having each trait in a single column on the ; answer sheet• j Items are affirmative statements with the second- I I person pronoun to which the subject answers "Yes," " j or "No." The use of the second person pronoun rather than i the first person pronoun is based on the assumption that | I • ! , the subject will be less resistant because it seems less , I ; ! like a personal confession. The use of three alternative , i I answers with the inclusion of the "?" is based on an | I ’ I unpublished study in which it was found that such choices | I encouraged cooperation and honest answers from the subjects L_( 18) ___ j 34 i Scoring is simplified by two overlay keys for hand- ; I I ! scoring on IBM score sheets. Answers to each item are j I I I weighted 0 or 1 so that only one answer is keyed making j j 30 the maximum score for each trait. Interpretation is j simplified by provision of profile charts for men and women and by a detailed discussion in the manual 'of the clinical interpretations of each trait. Reliability and validity. As shown in Table I, the I trait-score reliabilities range from .75 to .87 with the i standard errors of an obtained score ranging from 2.2 to j 2.6. These coefficients are based upon samples of 523 ' male and 3^9 female college students, Kuder-Richardson , formulas were applied to the data for men and women separately and combined, A random sample of 100 men was : used to obtain odd-even and first-half-second-half cor- : relations. Reliability estimates are very similar for ; either sex except for trait M in which there is a sig- i I nifleant difference in mean scores, I The internal validity of the Survey is based on I factor analysis "plus the successive item-analysis directed I toward internal consistency and uniqueness. " (18) Since I there has been much use of the other inventories upon which I ; this Survey is based, there has accumulated sufficient evidence of practical validity. Such validity comes from M H M S O Ü D] ■P •H O Ü k B (D P O O Q g •H "ë •H > Q ) Q »§ p CO Tj C Q Q ) S CQ d o p f: NO ON O s ] NO c \ ] 00 NO O O VA © © p -d- 00 00 VA o P o ON o O OJ - p o # # « • « « « • # p s > m -d- NO NO VA VA -d- VA NO ON © © A s i d o en €M CA NO A- ON o 00 C s ] +5 "d m OJ (N- VA CA {N- CA A- A- 00 P ON 8 • « « # # « ' « # 00 rd © o -d- VA NO VA VA -d- -d* -d- CA Ü g © -d- -d- -d- C^ VA 00 P VA A- i p d NO ON 00 ON P ON o P O ON CA 03 © • # « « « # # O s ] u s \A -d- VA NO NO -4- VA VA VA CA VA o (H S i O -4- O 00 CA -4- NO C \ ] P P C V J © VA -p « C \ ] d CM o (N- NO VA 00 NO A- -d- 00 A- NO P O A P P P p p P P 1 —! P P ON O nj © d © g © d O 00 NO VA 00 A- P NO 00 •P © © • • • • • « • • « ON ft * * s a (N- 'O CA ON VA NO VA 00 A- O 00 ©NO o P p P p P P P p P p CA O CA % P © O ON ON Ç N ] ON ON 00 -d- A- o^ • s d • • # • # # • • • # CA PNO © [N. NO VA 00 NO A- CA 00 NO ON OJ 1 —! I —1 s P p P p P P P p P p VA © P p d © p n O d © * ft © a O A <3* 03 M O B P4 s * ^ H i CQ © S h O Ü C/3 J P O N p •§ • H ■S « g © "S A ÎH »d o © M c ü P © tê^ © ü *d d V3 p «M 03 o >)P p d p © iH *H "H ü fû P © 4 - 1 P «M P © © O « O VA CM VA NO VA CM CM CA O s ] O s ] O s ] CM O s ] CM CM CM O s ] O s ] ON (N- O 00 N 00 & C Î J ffî «*î 03 w O 00 O 00 P4 r ' “■ ■ ■ 36] ! studies based upon correlation with practical criteria of | ! I I adjustment, especially from the successful use of the | I ! I Survey in the selection of supervisory and administrative | I personnel. ! I I I Reviews and criticisms of the Survey. In his re- I I view of the Survey, Stephenson attests to its value: I I I As one would expect from Professor Guilford's Laboratory, the Survey, its data and supporting ! norms are all adequate, thorough, and factually 1 oriented. For the purposes for which these | I inventories are used it is probably better than j I most. (24) I ! i Also writing in the Fourth Mental Measurements \ \ . ■ I I Yearbook. Von Steenberg considers the Survey "a well : I ; rounded, carefully worked out method of evaluating an im- I portant portion of the total personality." (28) : ; A most unreserved complimentary evaluation is found ' i in Shaffer * s remarks : ! As the outstanding omnibus instrument based primarily i on factor analyses, the Survey will have usefulness j for screening, rapid evaluation and research. (?l) j From these comments it seems that the Guilford- | ! Zimmerman Temperament Survey is highly regarded by test | ! authorities and promises to be a very valuable tool for I ! 1 I use in vocational and educational selection and guidance, I 1 Interpretations of the traits and hypotheses per- 1 i j taining to each. The following clinical interpretations i 37 ' of each of the ten traits are found in the Guilford- I Zimmerman Temperament Survey Manual of Instructions and i Interpretation and are given here with a specific hypoth- ; esis in order to give a clearer understanding of the I rationale involved in the original hypotheses: , G— General Activity. A high score indicates strong drive, energy, and activity. If coupled with the right kinds of other qualities, this is good. If coupled with the wrong kinds, it may be bad. High activity has the general effect of exaggerating the appearance of other qualities. In many ways, it may be regarded as a kind of catalyzer. If an individual is inclined to be domineering, his high status on G will make his domineering more obvious and overt. If he is high on T (reflectively in clined), his high G status should make his thought fulness and planning more effective in overt action. His high G status should prevent his high T quality from becoming withdrawn, useless, or futile philoso phizing, A low G status may intensify low S, low A, or high F. A very high G score may indicate manic behavior, in which there is usually much random behavior and wasted effort. A very low G score, on the other hand, may represent a hypothyroid condition, anemia, or other physical causes of inactivity. In a young person this would thus indicate the possible need for a medical examina tion. Hypothesis for. G. Because of the great competition j for the relatively few contracts available, it would seem i . j that the contracted studio musician would necessarily be I I active and energetic enough to be sure that he is known I and recognized by the contractors, musical directors, and I I other influential musicians. It was thought that he would measure above the norm for this trait. i 38 I R— Restraint. The results show that the happy-go- ! lucky, carefree, impulsive individual (low score) I is not well suited to positions of responsibility, I such as supervision. The other extreme, of the I over-restrained, over-serious individual is also j less promising, though the optimal position for I a score on this trait is on the latter side of I the average. It is possible that a great deal of I restraint coupled with a very high score on G 1 (activity) would mean internal conflict and I consequent danger to mental health. It is also ! possible that too much restraint combined with a I low G score would mean very low output. Hypothesis for R. The studio musician works under ! a great amount of mental pressure because of the nature ! of recording. A mistake may necessitate a "retake" and I can evoke a very unfavorable look and possibly a some- j what disparaging remark from the conductor or contractor. I ' If the musician allowed himself to become too concerned I over such action, he would probably make more mistakes I and call more unfavorable attention to himself. Therefore I it was thought that the musician would be somewhat care- I free so that he could withstand the criticism of having made a mistake. A-Ascendance. Too high a score in A might become unfavorable if coupled with a low score on F (agreeableness). In such a person, there may be a tendency to ride rough-shod over others. It is important that a very high A score be balanced with favorable scores on T, R, M, and P. Hypothesis for A. In order to secure a contract, the studio musician must meet the right people and let 39| i I them know that he is interested. If he were too submissive; j it seems doubtful that he would be successful in making j j enough of an impression on the contractor to compete with | I ! I the other musicians interested in a contract. On the other! I I I hand, too much social boldness might offend some of his j I i i fellow musicians unless combined with high P, P, T, and R | , scores. It was concluded that he would probably have an average A score. i S— Sociability. This score should be useful in i I vocational and personnel counseling wherever the | ! trait of social participation is a consideration. | I The high and low scores indicate the contrast | between the person who is at ease with others, ! enjoys their company and readily establishes ; intimate rapport, versus the withdrawn, reserved I person who is hard to get to know. j Hypothesis for S. As it is very desirable for the musician to be at ease when with people, especially if he is playing in a new group, it was considered probable that he would have a high S score. Perhaps this hypothesis' would be more importait for the musician who is trying to get a contract than for one already contracted, E— Emotional Stability. A high score indicates optimism and cheerfulness, on the one hand, and emotional stability on the other. A score here that is very high, however, if coupled with a low G score, may indicate a sluggish, phlegmatic, or lazy individual. A very low score is a sign of ' poor mental health in general ; in other words, ; a neurotic tendency* , - - - - i Hypothesis for E. Because of the mental tension I involved in recording, it is probable that anyone who measured toward the extreme neurotic end of this trait would find playing in a studio orchestra tended to in crease his feeling of insecurity or anxiety. Therefore it was hypothesized that the contracted studio musician would have at least a C-score of 5 and probably a score above the norm. 0_— Objectivity. High scores mean less egoism; low scores mean touchiness or hypersensitivity. It would appear that a person could be too objective for effective performance, as well as too subjective. A too high score might mean that the person is so insensitive himself that he cannot appreciate the other fellow's possible sensitiveness. He may, consequently, hurt the other fellow unwittingly. A high 0 score should be balanced by a high T score. Although such a person may not feel sympathetic with the other fellow, he can be a sufficiently good observer to know the right thing to do and say in personal relationships. If low on A or G or P as well as on 0, the person may suffer in silence. If low on 0 and P and high on A and G, there is likely to be trouble. Hypothesis for 0. It would seem that a fine musician would be neither insensitive to others nor so sensitive that he would be hurt if given a suggestion or | j told to play something differently, A C-score of 5 seemed ! ! i : probable and somewhat desirable. j P— Friendliness. A high score may mean lack of ! fighting tendencies to the point of pacifism, or it may mean a healthy, realistic handling of 41 frustrations and. injuries. It may also mean an urge to please others; a desire to be liked, A low score means hostility in one form or another. At best, it means a fighting attitude. If kept under good control, in many situations this can be a favorable quality. Hypothesis for P, A C-score above the average was hypothesized for this trait as it was thought that friend liness, agreeableness, and respect for others would be necessary to secure and to keep a contract. T— Thoughtfulness♦ The extravert of this type is so busy interacting with his social environment that he is a poor observer of people and of himself. He is probably not subtle and may be lacking in tact. He dislikes reflection and planning. Hypothesis for T, As there seemed to be no great advantage for the musician one way or the other for this trait, it was hypothesized that there would be a high range of scores and that the profile score would be about the same as the norm for the test. P— Personal Relations. Of all the scores, this one has consistently correlated highest with all cri teria involving human relations. It seems to represent the core of "getting along with others” whether on the same or on a different level of organizational hierarchy, A high score means tolerance and understanding of other people and their human weaknesses, A low score indicates faultfinding and criticalness of other people and of institutions generally. The low-scoring person is not likely to "get along with others," Hypothesis for P. It was considered probable that ” ■ ' ' - • - - - - - - — : the average score for the studio musician would be above I the norm for the test because of the necessity for him to I "get along" with the other members of the orchestra, the I different conductors, and the contractor. I I M— Masculinity, On the positive side, a high raw I score in this trait means that the person behaves in ways characteristic of men and that he Is ! likely therefore to be better understood by men and to be more acceptable to them. If the M score is very high, it may mean that the person is somewhat unsympathetic and callous. He may, I on the other hand, be attempting to compensate I for some feminine tendencies or for feelings of i weakness in traits other than M, The best super- ; visors are probably those who have their genuine i ) masculine tendencies tempered with refinements j ' and with just enough "motherly" attributes to give | them feelings of responsibility toward those in ) their charge. Women who score toward the mascu- I ; 1 ini zing experiences through long association with | I the opposite sex or they may be rebelling against ! I the female role and attempting to play the male 1 role, ! I I ! ; I Hypothesis for M. As interest and engagement in ! I art, music, and literature are considered feminine ac- | tivities and vocations, and also considered feminine j tendencies are sympathy toward other creatures, emotional I ! expressiveness, and being easily disgusted, it seemed I I ! I quite probable and even desirable that musicians would | I I measure low on this trait, I i ! I i III. SUBJECTS j ) j I The 104 subjects tested were contracted motion- 1 ! 43! I I picture studio musicians living in the Los Angeles area , I ' I I with only four exceptions. The scores of these four non- | ! • I contracted musicians have been included in the data as i i . I I each of these men had been doing studio work for more than i I ! I five years and seemed to have scores similar to the others i I with no extremely high or low scores. | I The 100 contracted subjects represent almost one- ; third of the 303 total contracted studio musicians in the | Los Angeles area. All seven of the motion-picture studios | : which contracted musicians were represented by the testees.i ; i ; The sectional groups were proportionate to their i percentages in the 303 total: 50^ strings, 22^ woodwinds, | I 21^ brasses, and 7^ percussion. There were only six I I female subjects. Although not enough for a statistical sampling, this number approximated the percentage of women under contract. A complete breakdown of the subjects: / I is found in Table III* | The subjects were very cooperative and willing to 1 help once they understood that it was for a valid study, ! Only five persons who were asked did not fill out the j inventory. There was one who refused on the initial ; contact; but when others who had already taken it in- ! formed him that it was interesting and did not take much time, he did complete it. The five who did refuse to do , 44 I I the Survey were either suspicious of answering any ques- . tions of opinion or said that they were too busy. One I remarked that he had had a contract for several years and j that he felt that the reason for having had it for so | I long was that he never openly expressed an opinion on | ’ I i anything. i I Six motion-picture studios contract their musicians , ! for 520 hours for the year. The contracted musician re- ! : ceives his full salary even if he does not work the full ' I ' 520 hours. On the other hand, if he works more than this I : i * amount of time, he is paid on an hourly basis for the , overage, I There is one studio which has a special contract : i for 320 hours of work per man and is based on a corre- : spondingly lower pay scale. This contract does allow the j i i musician to accept one outside studio call each week. i : Otherwise, it is the same as the other contracts. | I In addition to his regular studio work, a contracted j man is able to do recordings and transcriptions which are I paid„Qn an hourly basis. Also he is able to accept I "casual" engagements which are based on special hourly I rates. Although he is allowed to work these extra jobs, I I the average contracted man derives most of his salary ! from his own studio. There are a few well-known "first 45 : TABLE III Instrumentation of the Subjects WOODWINDS Flute Oboe, English Horn Clarinet, Bass Clarinet Saxophone, Clarinet, Flute Bassoon, Contra Bassoon BRASSES French Horn Trumpet Trombone Tuba, String Bass PERCUSSION Percussion Harp Piano STRINGS Violin Viola Cello String Bass 23 3 4 3 9 4 23 7 7 8 1 7 5 1 1 51 33 8 7 N=104 (2 P. L.*) (1 P. L.) (3 (1 (2 P.**)! P. ) : P.) : (1 P.L.) *Pree Lance or non-contracteel musicians **Pemale musicians i 4 6 i : chair" men who do a great deal of extra work, but they are j I the exceptions, j I ; I The subjects had musical backgrounds representing s I many fields of professional music. There were those who I I had studied from a very early age to be concert artists 'and had concertized for many years before coming to the ! studios. The outstanding dance band performer and the jformer member of a famous concert trio or quartet were ; found in the same studio. There was a great range in the I number of years of intensive, formal study; some had : studied 15 years or longer and a few had never studied ; f ormally. The ages of the subjects range from 26 to ?4 with a mean age of 42.18 with a standard deviation of 8.24. ;The mean for the number of years under contract was 10,16 years with a standard deviation of 5 #64 and a range from jl to 26 years. I I IV. PROCEDURE I I The original plan of procedure was to attempt to gather small groups of the subjects together when they ^would have about an hour to discuss the study and to fill *out the Survey. It was soon learned that this plan would [ Ihave to be revised. First, it was very difficult to i ^7 I I "capture" a group of studio musicians together when they I would be in the mood to do such a thing. Second, when I I the first group of four was tested, it was observed that ! in spite of instructions to work quietly and quickly and I not to talk the testees discussed certain questions which I they thought were humorous, asked one another how they I answered question "X", and suggested to each other how ; each should answer specific questions. It was then de- ! cided to administer the test individually in order to I I secure a better testing environment. I The remaining 100 subjects were first contacted I by telephone or by musicians who had already taken the j Survey. An appointment was made to meet the subject and ! i to discuss the purpose of the Survey. Usually, these ; meetings were in the subject’s home. Honest answers were I encouraged by informing the subject that his score would ! not be told to any one else, that he did not have to sign his name, and that nothing that was asked on the ! Survey would or could be used against him in his job. I Some of the testees filled out the Survey immediately. I Most of them, however, were unable to fill it out right • then, so that the Survey was left and called for a day or i ' two later. In such cases, the subject was instructed to pace himself so that he would finish the whole Survey in 48 ! 30 to 45 minutes. Also instructions were given to try to I do it without interruptions and without asking any help I from friends or family, and to try to mark all items "Yes": I ! I or "No." No information about the Survey as to the traits I that it measures was given to the subject until after he ! had completed it. Then he was asked not to tell this : information to other possible subjects in order to prevent I ! unintentional biasing or cheating. If a subject wanted I to know the results of his profile, he was given his , scores when the answer sheet and booklet were picked up. i A few subjects were asked to change some Î I answers to "Yes" or "No" if there were more than three : answers for any one trait. There were very few ^ answers for the final data, ' For a few of the subjects, the writer read the items and had the subject mark the answers. Sometimes, the meaning of the words in the item had to be explained. i A careful attempt was made not to influence the subject’s response by such explanations. This technique was used , only when it was thought that the subject might not under- ' stand the items or might take too long answering them, I In such instance^, the subjects usually spoke and read ; another language as their native tongue. L . . _ 49 V . METHOD I i j The means and standard deviations of the ten traits I were computed for the total group and for the woodwind, j brass, and string sections separately. In order to deter- i mine whether or not there were significant differences i between the contracted studio musicians and the norms for i j the Survey, the difference of the means on each trait and i the statistical significance or critical ratio (^-ratio) I were computed. As suggested by Garrett (11) and Guilford ! (13)1 it was considered that a t-ratio of I.96 and 2.58 I would be interpreted as being significant and very sig- ! nificant at the 5 per cent and 1 per cent levels, respec- Î tively. Critical ratios were also computed between the woodwind, brass, and string sections. The percussion I I section was not used for comparison because of the small size of the sampling. CHAPTER IV j i FINDINGS AND COMPARISONS ! I This chapter will be divided into four sections: | 1# comparisons of the results of this investigation with j the norms for the Survey and with the original hypotheses j for this study; 2. comparisons between the instrumental j sections; 3# comparisons with studies of musical in— | terest groups ; and 4. comparisons with studies of pro- j I fessional dance musicians. | ! I I I. COMPARISONS OF THE RESULTS WITH THE NORMS FOR : I \ ; THE SURVEY AND WITH THE ORIGINAL HYPOTHESES î I ; FOR THIS STUDY j ! i This section will compare the results for each trait* ; i ■ separately. Table IV provides the means, standard devi- ! ! j at ions, and ^-ratios for a comparison between the musicians: I I and the norms for the Survey. ! i i * G--General Activity. The raw scores for the mu- i I — I ' j I sicians ranged from 5 to 29 on this trait. The mean was ; ! ^ I j 16.2, a C-score of 5» with a standard deviation (SD) of ! I 6.3. The t-ratio was -1.25 which was considered insig- i nificant. | It was found that the original hypothesis for this ■ ! 51 i I trait was not supported by the findings. The average I studio musician seems to conform to the norm for drive, I energy, and activity. I j R— Restraint. The mean score was 18.6, C-score I of 6.0, with an SD of 4.5. The range of the raw scores I was from 7 to 27. A t-ratio of 43#39 was considered I significant past the .5 per cent level. ! i The original hypothesis that the musician would I score toward the carefree end of this trait was certainly I i I not supported. On the contrary, the indications are that ! the studio musician tends toward the more serious end of 1 I I i the continuum but not to an extreme. ! I i j A— Ascendance. There was a wide range of raw j ' scores on this trait from 3 to 30. The mean of 12.3, * ; I ; C-score of 4, with an SD of 6.3 was 3.6 points below the ! ! I I norm for the test. The t-ratio of -5.40 was considered j ' i I significant past the .5 per cent level. It would seem that the studio musician tends some- ‘ what toward submissiveness. The original hypothesis that i he would have about the same mean as the Survey was not [ supported. j g^^Soclability. The musicians had a mean score of | 17.4, C-score of 4, with an SD of 6.1. Their scores ranged j from 4 to 29. The difference between the means of .8 I 52 I resulted in a t-ratio of -1.22 which was considered in- 1 j significant. } The results indicate that the studio musician is Î ; average or below in his social participation. The I hypothesis that he would have a high score in this trait ; was not supported. I I E— Emotional Stability. The difference between the ' mean for the musicians and for the test was found to be I I insignificant. The mean for the musicians was l6.2 with i an SD of 6.8, The raw scores ranged from 1 to 29, The ! t-ratio was -1.02. I The hypothesis for this trait was supported by the i ‘ findings. The studio musicians were found to range from ' the very stable to the very unstable, but the average i musician tended to have a C-score of 5# I i 0— Objectivity. The range of the raw scores was I from 5 to 29* The C-score of 5 was derived from a mean score of I7.8 with an SD of 5.6. The mean was almost the same as that of the norm, resulting in an insignificant t-ratio of -.11. The hypothesis for this trait was substantiated in the results. It seems quite probable that the average I studio musician is a balance between sensitivity and j objectivity. ! > g (D n 0 rQ i * r 4 *ë • H > 0 Q I -P cn M +3 (M o § 0 •H g § • O o e t a -p I g +3 fd "d 0 Ü • H 0 ë o • H »d -p CO 0 -P 0 * o * n - t ON O CM CM -p CM CM O cd • • • iH cn rH 1 —1 1 1 • * 1 I 1 +3 CO 0 s : { • o EH •H -P N - = 3 - [N- vn • H I 1 VO ON 00 ON rH > • 0 C Î 3 vrv cn VO VO A T) 0 0 H fd 0 Ai •H 0 O -P •H cn VO cn cn cn CO 0 cn H CO 0 VO VO VO VO • 54 • CM o ON ON CM ON 1 • • IV VO vrv 00 VO C Î 5 1 —1 1 —1 1 —1 rH H 0 d * s 0 \r\ VO ' — ' — ' — ' — •H Ü • H CM VO cn CM 0 d VO 00 CM IV VO 1 —1 1 —1 1 —1 H H -p •H 0 S h EH O AÎ < a j CO M O t * * CO VTv 4 * ^ O CO \o C M 00 o\ o rH iH S' vrv O VO vrv vTv o\ D- 00 On ON 00 [N- H I —I 00 H V O r4 XTv VO VO VO 00 VO O- H VO I —I ON iH CO iH » * 0? T [N. On vr\ \rs VT\ S! O n O N H cn CM H o 53 I —I 0 > 0 iH I Ü ?H 0 A • 0 0 4 ^ > s § u Ü o • r 4 <M «M •H P» ÎH hb 0 •H 0 Ü >s 0 Ah rH 0 •H > O 0 u 0 Ah 0 o A *H 4 : ) -P 0 AÎ Ah O I -Pi »d 0 0 0 S i 0 +3 A -P 0 0 0 s S h -P o Ü 0 0 0 : 43 o 0 Ü 0 * H u »d 0 0 • H 0 0 0 0 * H S i S 54 54 * * * I 54 I F«— Fr1endlIness. A very significant t-ratio of I I 44.58 was found for this trait. The mean score was found I to be 16.5 with an SD of 5.6. This score still is only a i C-score of 6. The raw scores ranged from 5 to 26. I The hypothesis that the average studio musician I ; would be above the average score on this trait was sup- i ported by the findings, T— Thoughtfulness. The mean score of 19.6, C-score I of 6, with an SD of 4.79 was found to have an insignificant I jb-ratio of 41.84 when compared to the standardized mean I score. The range of raw scores was from 2 to 27. I The original hypothesis stated for this trait, that I the final mean score would be average, was correct. Also j there was a wide range of scores which also supported the .original assumption. Î P— Personal Relation^. The indications are that ! the studio musician differs significantly from the norm I for the Survey on this trait. The ;t-ratio of 42.60 was I considered significant at the 1 per cent level. The mean I ! score was 18.1, C-score of 6, with an SD of 5.0 and had a ■range from 3 to 30. I The findings supported the hypothesis that the 'musician would be more inclined to "get along with people" I than the average person. ! 55 i M— Masculinity. . This trait was the most distin- I guishing trait according to the ^-ratio of -5.85 which was I considered significant past the .5 per cent level. The I scores ranged from 6 to 27 and had a mean of 17*2, C-score I of 3, with an SD of 4.4. I The original hypothesis was supported. The studio I jmusician would seem to have the characteristics of being I sympathetic, interested in cultural pursuits, and emotion*- ,ally expressive, i i II, COMPARISONS OP THE INSTRUMENTAL SECTIONS I i Woodwinds and brass. There were no significant i jjb-ratios between the means of these two sections. The I following t-ratios were computed and all were considered I to have no significance: G, -.85; R, 41.57; A,-.72; jS, -1.95; E, -.21; 0, 0.0;. P, 4.06; T, 4.07; P, 4.64; |M, -.43. i Woodwinds and strings. There were two traits on I j the Survey which seemed to distinguish the average wood- i ■wind studio musician from the average string studio i jmusician. The t-ratios of -2.41 on G and 42.81 on P were ; considered significant and very significant, past the 5 I per cent and 1 per cent levels, respectively. The other ! traits had insignificant differences: R, -.64; A, -1,93; 56 's, -.60; E, 4.65; 0, -.09: F, 4.8?; T, -1.27; and I ; M, *f*93* It would seem, therefore, that the woodwind I player tends to be less active and more cooperative and i I tolerant than the string player, I Brass and strings. The three traits of P, R, and S ^ differentiate between these two sections. The t-ratios I of 43.2? and -2.63 on P and R, respectively, were consid- ' ered to be significant past the .5 per cent level. Trait . S had a significant t,-ratio past the 5 per cent level of i 142.22. Prom these findings, it appears that the string I player would characteristically be more critical and fault finding, more restrained and serious, and more seclusive j than the brass man. I I III. COMPARISONS WITH MUSICAL INTEREST GROUPS I i The two previously discussed studies by Jones (90) ! and Manzano (92) which had discussions of musical interest I groups had very similar findings. These findings have I been summarized by Manzano thusly: These findings might be taken to mean that men strongly inclined to musical interests tend to have a chronically depressed mood including feelings of unworthiness and guilt. They might exhibit cycloid tendencies as shown in strong emotional reactions, fluctuations in mood, and a disposition toward flightiness and instability. They might also be inclined to meditative thinking r ^ ‘ 5 ? i ! j philosophizing. Lack of confidence and feelings j of inadequacy and inferiority might also characterize j these people. They tend to take everything personally I and subjectively and to be hypersensitive. These j traits are difficult to reconcile with a willingness I to accept things and people as they are, a tolerant j attitude, and a tendency to be calm and relaxed. On the other hand, those who are strongly inclined to I musical interests are likely to exhibit the opposite I personality traits. (92) i I He also found a very significant coefficient of correlation I of 4.45 between the Kuder Musical Interest group and the I 1 Masculinity-Femininity syndrome of the Multiphasic In- ! ventory, Jones found high critical ratios on Cycloid dis- I iposition, Masculinity, Inferiority, Nervous tendency, to I the 1 per cent level, and on Ascendency to the 5 per cent I level, (90) I The findings of the present investigation indicate ■ that the generally neurotic tendencies of the musical ' interest groups studied by these previous investigators ’ are not representative of the really successful musician, j at least not of the contracted studio musician. The I contracted musician seems to differ from the musical in- j terest group by being more serious and restrained, more i emotionally stable and even in mood and disposition, and less subjective and sensitive. These findings are strongly ■ opposed to the general conclusions by Jones for the I Musical Interest Group; "The results. , . show that these I j persons are definitely ’maladjusted’ and show strong 58 emotional fluctuations," (90) The findings do indicate I that the contracted studio musicians are similar to the I musical interest groups in the traits of Submissiveness ! and Masculinity-Femininity. I j IV. COMPARISONS WITH DANCE MUSICIANS I i The results of this study when compared with the i I results of Hepner (88) and Lastrucci (65) indicate that I there is a distinct difference between the contracted jstudio musician and the dance musician in their emotional land social adjustments. It might be that the theory of !these two investigators that the differences of the dance I musician are due to occupational specialization and en- jvironmental conditions is supported by the findings of j Ithis present study. This is suggested because many of the jmusicians studied as contracted studio men were formerly dance band musicians. The conditions of their environment are now quits different from what they were when they did not have a home, lived a nomadic life with a traveling band, and had very irregular working hours and conditions, 'Such employment influences might have a significant effect upon the musician’s temperament. I CHAPTER V I I SUMMARY AND CONCLUSIONS I I. SUMMARY . i This investigation was an attempt to determine ! whether or not there are distinct, measurable, and signifi— I cant differences between the temperament traits of the I contracted motion-picture studio musician in the Los Angeles area and the norms for the Guilford-2immerman I Temperament Survey, the measuring instrument employed. I The purpose of the study was to provide the music teacher : and vocational counselor with a more scientific and valid , basis for helping the talented instrumental music student I to evaluate himself in his chances for a successful I musical career. j Examples of previous personality investigations ^ were reviewed. There was special emphasis on investiga tions dealing with musical interest groups and with professional dance musicians. These related studies were later used for comparison with the results of this inves tigation. Six general hypotheses were assumed before the investigation began. In reviewing the Survey, specific hypotheses were suggested for each of the ten traits which 60 j are measured by the Inventory. | The Survey was administered, mainly individually, | I to 104 musicians. The data were used to compute means | I and standard deviations for each of the ten traits for the j j total group and then for the woodwind, brass, and string I sections separately. These scores were compared with the norms for the Survey. Standard errors of the means were used to compute Jb-ratios comparing all of the musicians I with the norms, and then comparing the three instrumental : I I sections. ] I * i The results indicate that the studio musician is I ! I I distinguished from the norms for the Survey on five traits*! I I I These five traits with respective Jb-ratios are Restraint | (43.39)» Ascendance (-5.40), Friendliness (4^K58), Personal ; Relations (42.60), and Masculinity (-5.85). These t-ratios| ( I I were all considered to be significant at the 1 per cent | i I level. The t—ratios on the other traits were considered j to be insignificant; General Activity (—1.25), Social | Interest (-1.22), Emotional Stability (-1,02), Objectivity ■ (-.11), and Thoughtfulness (41.84). The C-scores of the ^ means were: G, 5; R, 6; A, 4; S, 4; E, 5; 0, 5; ; F, 6; T, 6; P, 6; and M, 3. j The contracted studio musician seems to be a fairly | "standard citizen," The trait which seems to distinguish ; 61 ■ him most from the norms for the Survey is Masculinity. I He tends toward the feminine end of this trait in his I j sympathetic responses, his interests in cultural ac- I tivities such as music, literature, and art, and his’ emotional expressiveness. Many of the subjects expressed ; the attitude that for many of the items regarding vo- I ; cations they had no interest in either choice. Since a i I forced choice was desirable, they then usually chose ! that which was considered feminine. ! He seems to be average in his general activity, I I emotional stability, and objectivity. This would seem to I j indicate that the stereotype of the musician’s being i "temperamental," subject to sudden emotional outbursts, I and somewhat emotionally unstable is not true of the I j contracted musician. Credence for such sterectopy has I been given by studies of musical interest groups. It would seem that such groups are not representative of successful professional musicians. The studio musician might tend to be socially intro# vertive. He is possibly characterized by having a few selected friends and, due to shyness, may avoid many social activities. In his social contacts, he may tend to avoid the limelight. As the mean score for S was only .8 away from the norm and had an insignificant Jb-ratio, I 62 I this interpretation is very tentative. When combined with I the significant indications that he tends toward reflec- I tiveness, interest in thinking and philosophizing, seri- ! ous-mindedness, and submissiveness, the indications that I he is socially introvertive are strengthened. I j I A somewhat opposite interpretation might be made j I from observing him at work than was found from the Survey, j I ! This is suggested because many of the first-chair men * I : who had very low scores on Ascendance said that they had | ! no trouble in asserting their leadership when it came to | ! music. But in most other activities they considered j I themselves submissive. | ! : , The contracted musician is probably friendly and I i I "easy to get along with." He seems to have tolerance of | ' people and faith in social institutions. These traits I ! indicate that he is well-adapted socially in spite of the i indications that he may tend toward being socially intro- ! I vertive. j In contrast to the findings of previous studies j t of dance musicians and of musical interest groups com- ; posed of veteran students, the results of which indicated | i that these subjects were characteristically maladjusted | both socially and emotionally, the contracted musician > '"seems well-adjusted and emotionally stable. Whereas the j 63 dance musicians and student groups were "atypical,» the studio musicians seem to he a somewhat "standard" group. II. CONCLUSIONS The guide lines for this investigation were the original six hypotheses. This section will re-examine them for support or rejection by the results of this | i investigation, ; 1. The contracted studio musician is significantly! I different in personality traits from the norms j ! for the test. I j This hypothesis seems to be supported by the results which | I indicate that there are very significant differences on | I traits R, A, P, P, and M. ! I ! 2, The studio musician is well-balanced emotionally. This hypothesis is supported by the insignificant dif ferences between the musicians* and the Survey’s mean scores on traits E and 0. 3. He is capable in the social skills of getting along well with people. The scores above the norms on traits F and P tend to support this hypothesis. 64 I I 4. The emotional expressiveness demanded in music . and the interests in artistic fields will be ^ I indicated by a low score on the Masculinity j scale. I As the score for this trait was the most significant of I all scores, this hypothesis seems well founded. I 5* He is neither too dominating nor too submissive! in his contacts with other people, as in- I dicated by a score close to the norm for the j Ascendance scale. This hypothesis is rejected by the results of a low score on the A scale combined with high scores on the P and P traits. 6. The necessity for serious, persistent practice and a serious-mindedness about music is : balanced by a general carefreeness in other i things. ; The score above the norm for trait R indicated that the : I studio musician, tends to be generally serious-minded. Therefore, the results reject this hypothesis. , From these findings it is concluded that the con- , tracted studio musician tends to be below the norms on | Masculinity, Ascendance, and Sociability, average on i General Activity, Emotional Stability, and Objectivity, 65! and above the norms on Restraint, Friendliness, Thought- ' I fulness, and Personal Relations. j I i I III. SUGGESTIONS FOR FURTHER RESEARCH | I It seems from this study that there may be distinctj I 1 I differences between the temperament traits of members of j very specialized groups within large professional fields. | As suggested by Berg (36), an individual’s personality make-up may be more significant in relation to the choice of a specialized field within the broad area than it is to the original choice of an occupation. Studies which compared specialists within a general field would shed interesting light on this theory. Because of the differences between the dance musicians and the studio musicians, an investigation into the causal relationships of personality traits seems worthy. As the student groups indicating high musical interest were characterized by emotional instability I I whereas the successful studio musicians were found to be I I emotionally stable, a study of the relationship of I emotional stability to success in professional music might prove worthwhile. Also, the scales of musical interest might be investigated to determine their indication of 66 emotional maladjustment if high scores on such scales were not supported by indications of musical talent. . I b i b l i o g r a p h y BIBLIOGRAPHY , A. BOOKS j I 1. Allport, Gordon M., Personality; A Psychological ! Interpretation. New York: Henry Holt and Company , i 1937. 388 pp. I 2. Anderson, Nels, The Hobo. Chicago: The University of j Chicago Press, 1923. 302 pp. 3. Cattell, Raymond B., Description and Measurement of j Personality. Yonkers-on-Hudson, New York: World ! Book Company, 19^6. 602 pp. i 4. Conovan, Prances R., The - Saleslady. Chicago: The i University of Chicago Press, 1929. 26? PP. | 5. . The Schoolma^am. New York: Frederick A. | Stokes Company, 1938* 355 PP. 1 6. ________, , The Woman Who Waits. Boston: R. G, Badger, Î 1920. 228 pp. : : 7* Eysenck, H. 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Nickel, "Opinionnaire Cor relates of Vocational Preference Factors, II," J ournal of Applied Psychology. 25:514-23, 1941, 67. Nelson, Erland, and Naida Nelson, "Student Attitudes and Vocational Choices," Journal of Abnormal and Social Psychology, 35:279-82, April, 1940, 68. Reed, Homer B., "The Place of the Bernreuter Person ality, Stenquist Mechanical Aptitude, and Thurstone Vocational Interest Tests in College Entrance Tests," J ournal of Applied Psychology. 25:528-34, October^ 1941, 69. _______, "The Relation of Bernreuter Personality and Thurstone Vocational Interest Scores to Each Other and to Scholastic and Mechanical Achievement," Psychological Bulletin. 37:449-50, 1940, 70. Roe, Anne, "The Personality of Artists," Educational and Psychological Measurement. 6:401, June, 1946, 71. Shaffer, Laurence P., Journal of Consulting Psychology. 14:162, April, 1950. 72. Steinberg, Arthur, "The Relation of Vocational 74 Preference to Emotional Adjustment," Educational and P8ychoiogical Measurement. 12:96-104, 1952. 73* Sunderman, Lloyd Frederick, "A Study of Some Physio logical Differences Between Musicians and Non- Musicians. 1. Blood Pressure," J ournal of Social Psychology. 23:205-15, May, 1946. 74. Thurstone, L. L., "Development of Personality Traits as an Object of College Instruction," The Journal of Business of the University of Chicago. 4:24, July, 1931. 75._________, "The Dimensions of Temperament," Psycho metrika. 16:11-20, March, 1951. 76. _______, "The Effects of Selection in Factor Analysis," Psychometrika. 10:165-98, 1945. 77.__ ________, "The Factorial Description of Temperament," Science. 111:454-5, 1950. 78. Verniaud, Willie Maude, "Occupational Differences in the Minnesota Multiphasic Personality Inventory," Journal of Applied Psychology. 30:604-13, December, 19461 79. Wolfle, Dael, "Factor Analysis in the Study of Personality," Journal of Abnormal and Social Psychology, 37:393-7, July, 1942. C. UNPUBLISHED MATERIAL 80, Barnes, Charles Adams, "A Study of Certain Psycho analytic Concepts of Personality Development." Unpublished Doctor’s Dissertation, The University of Southern California, Los Angeles, 1949. 174 pp 81, Cooley, John Christopher, "A Study of the Relation Between Certain Mental and Personality Traits and Ratings of Musical Abilities." Unpublished Doctor’s Dissertation, Michigan State College, ' East Lansing, 1953. 82, Holley, Jasper Wilson, "The Isolation of Personality 75 Traits in the Domain of Military Leadership." The University of Southern California, Los Angeles, I951. 83. Dingman, Harvey F., "A Factor Analysis of Some Tests of Disposition Rigidity." Unpublished Master’s thesis, The University of Southern California, Los Angeles, I952. 84. Frick, James William, "The Prediction of Academic Achievement in a College Population from a Test of Aptitude and a Standardized Personality In ventory." Unpublished Master’s thesis. The University of Southern California, Los Angeles, 1953. 85. Goedinghaus, Carl H., "A Study of the Relationship Between Temperament and Academic Achievement." Unpublished Master’s thesis. The University of Southern California, Los Angeles, 1954, 86. Guilford, Joan Sheridan, "The Relative Value of Fourteen Test Variables for Predicting Success in Executive and Supervisory Positions." Un published Master’s thesis. The University of Southern California, 1951* 87. Hansen, Alice Viola, "An Experimental Study of the Ability to Simulate Humm-Wadsworth Temperament Performance." Unpublished Master’s thesis. The University of Southern California, Los Angeles, 1942. 88. Hepner, Ethel Marion, "An Experimental Investigation of the Personality of Successful Professional Dance Band Musicians." Unpublished Master’s thesis. The University of Southern California, 1947* 89. Hertzka, Alfred Felix, "An Investigation of Scores Designed to Measure Variability of Temperament Traits in Individuals." Unpublished Master’s thesis. The University of Southern California, 1950. 90. Jones, Charles E., "Relationship Between Vocational Interests and Personality Factors." Unpublished 76 Master’s thesis, The University of Southern California, 1949. 91. Kimber, Morris, "The Insight of College Students into the Items of a Personality Test." Unpublished Doctor’s Dissertation, The University of Southern California, Los Angeles, 1945. 92. Manzano, Iluminado Billarinia, "The Relation of Personality Adjustment to Occupational Interests." Unpublished Doctor's Dissertation, The University of Southern California, Los Angeles, 1951. 93. Sheamin, Max, "A Study of Personality Factors in Relation to Academic Achievement." Unpublished Doctor’s Dissertation, The University of Southern California, Los Angeles, 1953. 94. Sternberg, Carl, "The Relation of Interests, Values, and Personality to the Major Field of Study in College." Unpublished Doctor’s Dissertation, New York University, New York, 1953. 95* Wood, Gertrude, "The Degree of Conformity of Certain Personality Traits with Vocational Choice." Unpublished Master's thesis. The University of Southern California, Los Angeles, 1943. University of S o u th e rn California Library
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Asset Metadata
Creator
Burton, Roger Vernon
(author)
Core Title
The personality of the contracted studio muscian: An investigation using the Guilford-Zimmerman Temperament Survey
School
School of Education
Degree
Master of Science
Degree Program
Education
Degree Conferral Date
1955-08
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
communication and the arts,OAI-PMH Harvest,psychology
Format
application/pdf
(imt)
Language
English
Contributor
Digitized by ProQuest
(provenance)
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c37-315760
Unique identifier
UC11649663
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EP55613.pdf (filename),usctheses-c37-315760 (legacy record id)
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EP55613.pdf
Dmrecord
315760
Document Type
Thesis
Format
application/pdf (imt)
Rights
Burton, Roger Vernon
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...
Repository Name
University of Southern California Digital Library
Repository Location
USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA
Tags
communication and the arts
psychology