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Differences in Myers-Briggs Personality Types Among High School Band,

Orchestra, and Choir Members
Christin Reardon MacLellan
Journal of Research in Music Education 2011 59: 85 originally published online 7
February 2011
DOI: 10.1177/0022429410395579

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 Journal of Research in Music Education

Differences in Myers-Briggs
59(1) 85100
2011 MENC: The National
Association for Music Education
Personality Types Reprints and permission:
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Among High School DOI: 10.1177/0022429410395579
http://jrme.sagepub.com

Band, Orchestra,
and Choir Members

Christin Reardon MacLellan1

Abstract
The purpose of this study was to explore personality type differences among high
school band, string orchestra, and choir students according to ensemble membership.
Participants (N = 355) were high school students who had participated in their
schools band, orchestra, or choir for 1 year or more. The author administered
the Myers-Briggs Type Indicator (MBTI) to determine the personality type for each
participant. Personality types were compared among the three ensembles as well
as with published MBTI high school norms. Results indicated that personality type
differences existed among the ensembles and that there were significant differences
in the comparisons with MBTI norms. A significant personality type difference was
found between orchestra and choir students along the Extraversion-Introversion
dichotomy, indicating that choir students were more likely to be Extraverted when
compared to orchestra students. There were no significant differences among the
ensembles on the Sensing-Intuition, Thinking-Feeling, or Judging-Perceiving scales.
Compared to high school norms, the students in each ensemble were significantly
more likely to be Intuitive and Feeling. The band students were significantly more
likely to be Perceiving, and the choir students were significantly more likely to be
Extraverted.

Keywords
personality, band, orchestra, choir, ensembles

1
Indiana University, Bloomington, USA

Corresponding Author:
Christin Reardon MacLellan, 2623 E. 2nd Street #2, Bloomington, IN 47401
Email: cmreardo@indiana.edu

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86 Journal of Research in Music Education 59(1)

The study of personality has an expansive and diverse history in the field of psychol-
ogy, with an abundance of theoretical traditions. The major personality theories and
their primary theorists include trait (Allport, Cattell, Eysenck), psychoanalytic (Freud),
neo-psychoanalytic (Jung, Adler), phenomenological or humanistic (Ellis, Rogers),
behaviorist (Watson, Skinner), biological (Sheldon, Wilson, Eysenck), and socio-
cognitive (Bandura, Ellis, Neisser; Ellis, Abrams, & Abrams, 2009).
Although the field of personality theory has been well developed, divergence of
thought among researchers and theorists about the essence of personality still exists.
The behaviorist theory suggests that personality is a collection of learned behaviors,
whereas the psychoanalytic approach defines personality as a function of dynamic and
unconscious forces that control behavior and thought. Biological theory takes a more
genetic view, suggesting that personality is based on inborn characteristics; however,
cognitivists believe that individuals control their own thoughts and are self-regulating
rather than reactive in nature. Humanists claim that personality develops based on free
will and individual experiences through the process of self-actualization, and trait theory
posits that various components or characteristics combine and interact to form each
persons unique personality. Trait theory is focused on identifying and measuring indi-
vidual personality characteristics. Finally, Adlers neo-psychoanalytic theory suggests
that individuals are shaped by social factors, and these factors influence ones behavior
in the social world. The neo-psychoanalytic theory of Jung posits that people possess
unconscious archetypes, which are predispositions to respond to the world in certain
ways (Ellis et al., 2009).
The Myers-Briggs Type Indicator (MBTI) is a personality measure based on the
theory of Carl G. Jung. Possessing many similarities to and differences from the major
personality theories, MBTI type theory seeks to sort individuals into opposite catego-
ries based on their predisposed preferences for attitudes and mental functions. Unlike
trait theory, the MBTI does not attempt to measure personality variation along a con-
tinuum but seeks to identify a persons status on one side or the other of opposite
personality categories (Myers, McCaulley, Quenk, & Hammer, 1998).
The personality of musicians has long been a topic of interest for researchers. The
notion that personality factors are related to music participation and instrument choice
stems from research findings that indicate distinctive personality factors among creative
persons in general. Researchers have examined groups of artists (Cross, Cattell, &
Butcher, 1967; Csikszentmihalyi & Getzels, 1973; Drevdahl & Cattell, 1958; Roe,
1946), writers (Drevdahl & Cattell, 1958), scientists (Csikszentmihalyi & Getzels,
1973), and architects (Hall & MacKinnon, 1969). Results of these studies indicated
that creative persons possessed personality traits that were distinctive from the general
population; they were generally more introverted, intelligent, and self-sufficient.
Personality differences also have been found to exist among groups of performing
artists such as musicians, actors, and dancers (Belnap, 1973; Marchant-Haycox &
Wilson, 1992). Research findings on the personality of musicians indicated that musi-
cians possessed distinctive personality traits that differentiated them from the normal
population and from one another. Kemp (1981a, 1981b, 1981c, 1982a, 1982c, 1996)

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Reardon MacLellan 87

established a central trait profile for the musician including traits such as introversion,
pathemia, intelligence, personal control, and anxiety. Using the MBTI, Gibbons (1990)
determined that musicians clustered within the INFP (Introvert-Intuitive-Feeling-
Perceiving) type and therefore approached life based on their inner ideals and personal
values. Lanning (1990) found that undergraduate male music majors clustered within
the ENFP (Extravert-Intuitive-Feeling-Perceiving) type and female music majors pre-
ferred ENFJ (Extravert-Intuitive-Feeling-Judging).
There is a substantial amount of evidence that personality is related to instrument
choice (Bell & Cresswell, 1984; Builione & Lipton, 1983; Buttsworth & Smith, 1995;
Davies, 1978; Hudson, 2004; Hyden, 1979; Kaplan, 1961; Kemp, 1981c; Lipton,
2001; Sherman, 1984). However, Cutietta and McAllister (1997), Cribb and Gregory
(1999), and Langendrfer (2008) revealed no relationship between personality and
instrument choice or suggested the consideration of other factors that might explain
personality similarities among musicians.
Kemp (1981b), using the 16 Personality Factor Questionnaire (16PF) of Cattell, found
that string players, especially cellists, were characterized by aloofness. Woodwind play-
ers displayed shyness and self-sufficiency (traits associated with introversion), and brass
players scored lower on the 16PF factors of intelligence and sensitivity. Singers were
more extraverted than the other groups and demonstrated high levels of sensitivity. Bell
and Cresswell (1984), also using the 16PF, found that among secondary school instru-
mentalists, woodwind players demonstrated significantly more tough-minded realism
and were more taciturn than brass or string players. Woodwind players also showed
greater conscientiousness and persistence than brass players. A particular point of interest
in this study is that little evidence was found to support personality differences between
players of specific instruments (e.g., flute, trumpet, violin). The significant results focused
on differences between groups of instruments (brass, woodwinds, strings).
Cribb and Gregory (1999) suggested the importance of considering ensemble mem-
bership as well as instrument classification when studying personality of musicians.
They examined whether the stereotypes and personality characteristics found for
orchestral brass and string players were consistent for brass and string players who
were not in a symphony orchestra. Findings indicated that, while there were personal-
ity differences between the groups of instrumentalists, the differences were not neces-
sarily related to the instrument played. The researchers suggested that the differences and
stereotypes might have been attributed to the group to which the participants belonged.
Woody (1999) also pointed out the neglect of existing personality research to examine
potential relationships between musicians personality and factors associated with the
venue or context in which performance occurs, as well as the genre of music per-
formed. These factors, which might involve the social aspect of music making, may
have an effect on musicians personality.
It is possible that students with certain personality types might be attracted to
the social characteristics of different ensembles. Researchers who have examined the
sociology and inter-group dynamics of performing groups have attempted to provide
insights as to why students choose to participate in a certain music ensemble. Adderley,

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88 Journal of Research in Music Education 59(1)

Kennedy, and Berz (2003) found that there were many motivations for students to
join ensembles, including family, enjoyment of music, balance within the school cur-
riculum, and social benefits. Kennedy (2002) and Hylton (1981) examined the high
school choral experience and indicated that the meanings of choral experiences were
multidimensional. Being part of the choir helped students discover their identity
(Hylton, 1981). Choir students valued friendships, field trips, and being part of the
group (Kennedy, 2002). In a study of non-music majors who participate in college
marching bands, Young (2001) found that the band was their major social organiza-
tion. He suggested that knowledge of students personality types might help directors
predict persistence in the band and design activities suited to certain personality types.
Although researchers in this area have examined student reasons for participation and
meaning derived from participation, reasons that students might choose to be in one
ensemble rather than another have not been identified. Further research is needed to
answer this question: Do students join a certain ensemble because of their personality,
or does their personality tend to adapt to the dynamics and culture of the ensemble in
which they participate? Before this question can be answered, more information is
needed about the personality of ensemble students.
There is a lack of research dealing with personality types of high school musicians
who choose to participate in band, orchestra, and choir, and whether personality type
differences exist based on the ensemble in which they perform, rather than on the spe-
cific instrument (or instrument family) they play. As Kemp (1996) pointed out, a deeper
understanding of musicality and the nature of music involvement can be afforded by
incorporating the study of personality. There may be differences in the musical and
social experiences that students have as members of the band, orchestra, or choir. These
differences, which include types of ensembles, styles of music, age at which students
begin music study, teacher characteristics, and visibility of the ensemble within the
school and community, may attract students with different personality types. Knowledge
of personality types may be an essential component of music educators efforts to foster
the academic and musical growth of their students (Myers et al., 1998). Understanding
students personality types can help teachers motivate students by embracing students
preferences and interests. This knowledge also may inform instructional practice and
assessment strategies through an understanding of how students with certain personali-
ties are likely to behave individually and as members of a group.
The purpose of this study was to determine if MBTI personality type differences
exist among high school band, orchestra, and choir members, identified by the ensem-
ble in which they participated, rather than by the instrument they played. The term
orchestra used in this study refers to a strings-only ensemble. The following questions
were examined: (1) What are the personality type differences, if any, in Extraversion-
Introversion, Sensing-Intuition, Thinking-Feeling, and Judging-Perceiving among
high school band, orchestra, and choir members? (2) How do the personality types of
high school band, orchestra, and choir members compare with the published high
school norms for the Myers-Briggs Type Indicator?

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Reardon MacLellan 89

Table 1. High School and Music Ensemble Enrollment

High School A High School B
School enrollment 1,622 1,733
Target population
Band enrollment 150 70
Orchestra enrollment 56 77
Choir enrollment 77 75
Sample
Band (total; males; females) 96; 60; 35 47; 19; 28
Orchestra (total; males; females) 44; 14; 30 55; 12; 39
Choir (total; males; females) 40; 7; 33 67; 29; 38
Four orchestra students from School B and one band student from School A did not indicate their gender.

Method
Participants
The sample for this study was selected from the population of all band, orchestra, and
choir members (N = 505) at two Midwestern high schools. Together, the high schools
serve a large town and its surrounding areas, with a population of 105,474 people.
Enrollment data of the high schools and music ensembles are presented in Table 1.
Seventy percent of the population (N = 355) completed consent forms and were eli-
gible to participate. All participants were in grades 9 through 12 and had participated
in band, orchestra, or choir for 1 year or more. Music ensemble students from both
schools were able to participate in more than one ensemble simultaneously; however,
less than 2% of the population was enrolled in more than one ensemble at the time of
the study. Twenty-four percent of the sample for this study reported either current or
previous enrollment in another ensemble. To maintain independence of groups, any
student who was enrolled in more than one type of ensemble at the time of the study
was eliminated as a participant, resulting in a sample of 349 students: 143 in band,
99 in orchestra, and 107 in choir.

Measures and Procedures

The Myers-Briggs Type Indicator Form M was used to measure personality types of
the band, orchestra, and choir students. Form M is the most current (1998) and stan-
dard form of the MBTI. The MBTI was chosen for the current study for several rea-
sons: (1) The MBTI has been used in numerous studies of musicians personality
types (e.g., Gibbons, 1990; Lanning, 1990; Schmidt, 1989a, 1989b; Schmidt & Lewis,
1991; Wubbenhorst, 1991, 1994). (2) Because the MBTI is a self-report personality
measure, students responses to questions allow them to classify themselves into one

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90 Journal of Research in Music Education 59(1)

preference on each dichotomy over the other. This is appropriate since high school
music students make a personal choice to participate in band, orchestra, or choir, often
based on what they perceive the ensemble experience to be. (3) The MBTI is practi-
cally useful within organizations, such as music ensembles, because it enhances clar-
ity about members work styles, communication styles, and learning styles, as well as
behavior tendencies within relationships. The MBTI is easily understandable and use-
ful in everyday life. (4) The MBTI is a highly reliable and valid standardized measure
of personality types.
Based on Carl G. Jungs theory of psychological types, the MBTI focuses on
patterns of behavior and personality that individuals develop from inborn tenden-
cies to use their minds in different ways (Myers, 1998). The MBTI analyzes
the interaction of a persons four basic preferences. In MBTI terminology, a prefer-
ence is defined as what a person prefers when using his or her mind or focusing
attention. Preferences are determined by four separate dichotomies: Extraversion
(E) versus Introversion (I), Sensing (S) versus Intuition (N), Thinking (T) versus
Feeling (F), and Judging (J) versus Perceiving (P). Based on these dichotomies, a
person can be characterized as one of 16 four-letter types (e.g., ENFP, ISTJ, INTP;
Center for the Application of Psychological Type, 1998). While valuable informa-
tion can be obtained through four-letter whole types, several researchers (Belnap,
1973; Schmidt, 1989a, 1989b; Schmidt & Lewis, 1991; Wubbenhorst, 1991, 1994)
in music education have treated each dichotomy separately. Preference for one pole
over another on each of the four dichotomies reveals substantial information about
participants and aids in the ease of interpretation. Separate treatment of each
dichotomy also is supported by the MBTI Manual (Myers et al., 1998). Therefore,
in the present study, each dichotomy was treated separately. Although the MBTI
can be scored continuously (using values) or dichotomously, I used dichotomous
scores, based on the following statement from the MBTI Manual (Myers et al.,
1998): Using continuous scores for research is contradictory to the dichotomous
nature of the MBTI (p. 112).
The reliability of the MBTI has been examined in multiple ways. According to the
MBTI Manual (Myers et al., 1998), internal consistency of the four MBTI scales
(Extraversion-Introversion, Sensing-Intuition, Thinking-Feeling, Judging-Perceiving)
was determined using split-half and coefficient alpha. Split-half reliability for Form M
is high in all available samples, across all personality types, ranging from .90 to .94.
Coefficient alpha reliability coefficients ranged from .88 to .93 for gender and age
group. Coefficient alpha reliabilities for ethnic group were somewhat lower, ranging
from .80 to .96 across personality types. Form M, which was used in the present study,
is more reliable than the earlier Form G. Form M also demonstrates better testretest
reliabilities over Form G. Testretest reliabilities ranged from .83 to .97.
Validity of the MBTI has been examined with regard to the separate preference
scales and to whole types. The factor structure of MBTI item pools provides evi-
dence of the construct validity of the MBTI assessment tool. The whole type was not

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Reardon MacLellan 91

Table 2. 2 2 Independent-Samples Chi-Square for Choir and Orchestra by

Extraversion-Introversion
Choir (n = 107) Orchestra (n = 99)

n % n %
Extraversion 76 71 54 54
Introversion 31 29 45 46

2(1, n = 206) = 6.000 (p = .014).

statistically measured in this study and therefore its validity is not a concern. However,
it is well documented in the MBTI Manual (Myers et al., 1998).
Data collection for this study took place during February and March 2009. I admin-
istered the MBTI Form M in participants respective ensemble groups. Additionally,
participants completed a demographics sheet requesting information including gender,
years of participation in band, orchestra, or choir, and if they had ever been part of a
different ensemble. I scored the MBTI answer sheets using the scoring templates in
order to determine a personality type preference for each participant on each of the
four dichotomies (Extraversion-Introversion, Sensing-Intuition, Thinking-Feeling,
Judging-Perceiving).

Results
Personality Type Differences Among Ensembles

I calculated frequencies for each of the MBTI dichotomies. For each ensemble, there was
a greater number of participants who preferred Extraversion (E) over Introversion (I),
Intuition (N) over Sensing (S), Feeling (F) over Thinking (T), and Perceiving (P) over
Judging (J).
Statistical differences between personality type and type of music ensemble mem-
bership were examined using four 3 2 independent-samples chi-square tests. An
alpha of .05 was set for all tests. A significant ensemble difference was found for the
E-I dichotomy, 2(2, N = 349) = 6.386, p < .05, with 59% of band students, 54% of
orchestra students, and 71% of choir students preferring Extraversion (E). There were
no significant differences found for ensemble membership by SN, TF, and JP.
In order to reveal where the specific difference existed, a post hoc investigation was
conducted using 2 2 independent-samples chi-square tests with Yates correction for
the E-I dichotomy for each ensemble. To reduce the chance of a Type I error, the
Bonferroni correction was used. The .05 level of significance was divided by 3 (the num-
ber of 2 2 chi-square tests conducted) to create a more rigorous alpha level of .017
(Huck & Cormier, 1996). As reported in Table 2, results indicated a significant differ-
ence between orchestra and choir membership along the E-I dichotomy, 2(1, n = 206) =
6.00, p = .014. Choir students (71%) were more likely to be Extraverts than were
orchestra students (54%), and orchestra students (46%) were more likely to be Introverts

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92 Journal of Research in Music Education 59(1)

Table 3. Chi-Square Goodness-of-Fit Analysis for Ensembles and Norms by Sensing-Intuition

Band Orchestra Choir
Observed Expected Observed Expected Observed Expected
Sensing 33 73.8 26 51.1 30 55.2
Intuition 110 69.2 73 47.9 77 51.8
Band: 2(2, N = 143) = 46.650 (p < .001).
Orchestra: 2(2, N = 99) = 25.489 (p < .001).
Choir: 2(2, N = 107) = 23.828 (p < .001).

Table 4. Chi-Square Goodness-of-Fit Analysis for Ensembles and Norms by Thinking-Feeling

Band (N = 143) Orchestra (N = 99) Choir (N = 107)
Observed Expected Observed Expected Observed Expected
Thinking 41 59 29 40.9 22 44.2
Feeling 102 84 70 58.1 85 62.8
Band: 2(2, N = 143) = 9.365 (p < .005).
Orchestra: 2(2, N = 99) = 5.859 (p < .05).
Choir: 2(2, N = 107) = 18.933 (p < .001).

Table 5. Chi-Square Goodness-of-Fit Analyses: Band Students Compared to Norms for

Judging-Perceiving; Choir Students Compared to Norms for Extraversion-Introversion
Band (n = 143) Choir (n = 107)

Observed Expected Observed Expected

Judging 41 57.4 Extraversion 76 61
Perceiving 102 85.6 Introversion 31 46
Band: 2(2, N = 143) = 7.854 (p = .005).
Choir: 2(2, N = 107) = 8.603 (p = .003).

than were choir students (29%). No significant differences were found between band
and orchestra members or between band and choir members.

Differences Between Ensemble Musicians and Norms

I used chi-square goodness-of-fit tests to compare the individual ensemble samples to
MBTI norms for high school students. MBTI norms for high school students indicate
the following data for each dichotomous preference: Extraversion (E): 56.99%;
Introversion (I): 43.01%; Sensing (S): 51.62%; Intuition (N): 48.38%; Thinking (T):
41.27%; Feeling (F): 58.73%; Judging (J): 40.16%; Perceiving (P): 59.84%. Chi-square
goodness-of-fit tests for each individual ensemble revealed that in comparison with

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Reardon MacLellan 93

Table 6. 2 2 Independent-Samples Chi-Square Analysis for Male-Female by Thinking-Feeling

Male (n = 141) Female (n = 203)
n % n %

Thinking 49 35 41 20
Feeling 92 65 162 80
2(1, n = 344) = 9.124 (p < .005).

Table 7. 2 2 Independent-Samples Chi-Square Analysis for Male-Female by Judging-Perceiving

Male (n = 141) Female (n = 203)
n % n %

Judging 33 23 73 36
Perceiving 108 77 130 64

2(1, n = 344) = 6.153 (p < .05).

MBTI norms for high school students, band students were significantly more
Intuitive (N), Feeling (F), and Perceiving (P); orchestra students were significantly
more Intuitive (N) and Feeling (F); and choir students were significantly more
Extraverted (E), Intuitive (N), and Feeling (F; see Tables 35).

Personality Type and Ensemble Differences Based

on Gender and Participation in Multiple Ensembles
In light of the results of a study by Lanning (1990), gender differences among
personality types were evaluated. Four 2 2 independent-samples chi-square tests
were performed (one for each MBTI dichotomy). Results indicated a significant
difference for gender on the Thinking-Feeling (T-F) dichotomy and Judging-Perceiving
(J-P) dichotomy. As reported in Tables 6 and 7, the females in this sample were
significantly more likely to prefer Feeling (F), 2(1, n = 344) = 9.124, p < .005, and
the males were significantly more likely to prefer Perceiving (P), 2(1, n = 344) =
6.153, p < .05.
Because a large number of students (n = 85) reported previous or current member-
ship in more than one ensemble, I decided to evaluate whether personality type differ-
ences existed between these students and students who were not previously or currently
part of a different ensemble. Results of 2 2 independent-samples chi-square tests on
each MBTI dichotomy revealed no significant personality type differences among stu-
dents based on current or previous participation in a different ensemble, E-I: 2(1,
n = 355) = .005, p = .943; S-N: 2(1, n = 355) = .902, p = .342; T-F: 2(1, n = 355) = .411,

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94 Journal of Research in Music Education 59(1)

p = .521; J-P: 2(1, n = 355) = .395, p = .529). Another point of interest was whether
students previously involved in different ensembles currently gravitated toward one
ensemble typology. A 3 2 independent-samples chi-square test revealed no signifi-
cant differences in current ensemble choice for students previously involved in a dif-
ferent ensemble, 2(2, n = 355) = 2.00, p = .368.

Discussion
The results of this study both contributed to and broadened the research on the per-
sonality types of musicians in interesting ways. It is the only study known to examine
personality type differences according to high school ensemble membership, rather
than specific instrument played. It also is the only study known to have used the MBTI
to explore high school ensemble group personality type differences.

Personality Type Differences Among Ensembles

The results of this study confirmed that group differences existed on the Extraversion-
Introversion (E-I) scale. The trend toward Extraversion apparent in singers confirms
the findings of Kemp (1981b) and Lanning (1990), as well as Hylton (1981), who
found that choir students derived meaning from reaching out to others, meeting new
people, and group interaction. Kennedy (2002) also suggested that choir students val-
ued social activities, friendships, and being part of the group. According to MBTI
theory, people who prefer Extraversion are oriented to the outer world, focus on
people and communication, and learn best by doing and discussing. They are out-
going, sociable, and have broad interests (Myers, 1998).
The trend toward Introversion in orchestra members when compared to choir mem-
bers supports the results of Buttsworth and Smith (1995) and Kemp (1981b), who
found that college string players were more introverted than singers. Buttsworth and
Smith (1995) and Lipton (2001) also found that professional and college string players
were introverted; however, these researchers did not compare string players to singers.
Introverts are drawn to their inner world, learn best by reflection, are private and con-
tained, and focus on their interests (Myers, 1998).
No other significant differences were found between singers and instrumental-
ists for any of the MBTI dichotomies. Also, there was no significant personality
type difference identified between band and orchestra students. This supports the
findings of Cutietta and McAllister (1997) and Langendrfer (2008), who found
no significant personality differences for middle school, high school, and profes-
sional instrumentalists according to instrument played. However, this result con-
trasts with the result obtained by Bell and Cresswell (1984), who found differences
among instrumentalists, labeling string players as more conservative (suggesting
Sensing) and emotionally sensitive (suggesting Feeling) than woodwind or brass
players. The findings of several researchers (Builione & Lipton, 1983; Davies,
1978; Lipton, 2001) distinguishing string players from players of band

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Reardon MacLellan 95

instruments were not confirmed by the findings of this study and may not exist at
the high school level.
It is possible that individuals with certain personality types are drawn to particular
ensembles because of the social characteristics of the ensemble (Adderley et al., 2003;
Hylton, 1981; Kennedy, 2002; Young, 2001). The personality type differences among
ensemble members in this study for the Extraversion-Introversion (E-I) dichotomy sug-
gest that students may be drawn to a particular ensemble if the ensembles social climate
fosters Extraversion or Introversion. On the other hand, the lack of personality type dif-
ferences on Intuition (N), Feeling (F), and Perceiving (P) among the ensemble students
suggests that music ensemble participation in general might be attracting students with
certain personality types. It may be informative to look beyond personality to investigate
other factors that affect student decisions to participate in one ensemble rather than
another. Perhaps group dynamics play a role in a students decision to participate in a
certain ensemble or explain why a difference between these ensembles is often per-
ceived. The personality types of ensemble directors also may be a critical component of
musical and social experiences that distinguish ensemble membership.

Differences Between Ensemble Musicians and Norms

The sample of high school music students in each ensemble displayed significantly
different personality types from the MBTI published high school norms. The musi-
cians in all three ensembles were significantly more likely to be Intuitive (N) and
Feeling (F) than the norms. Similar results were found for Intuition (N) by Kemp
(1981a), and for Feeling (F) by Buttsworth and Smith (1995) and Kemp (1981a). It
seems clear that traits associated with Intuition and Feeling are descriptive of high
school band, orchestra, and choir members in general.
According to MBTI theory (Myers, 1998), people (and in this study, high school
musicians) who prefer Intuition (N) pay attention to patterns and possibilities that exist
in information they receive. They tend to look beneath the surface for deeper meanings
and are imaginative and verbally creative. People who prefer Feeling (F) tend to value
warmth in relationships and reason based on what is important to them and others.
They are empathetic and compassionate.
The Judging-Perceiving (J-P) dichotomy describes how a person lives his or her
outer life, or the behaviors others tend to see. The band students preference for
Perceiving (P), when compared to the high school norms, implies that these
musicians appear to prefer a flexible, more spontaneous lifestyle. They seem
casual, keep planning to a minimum, and work in bursts of energy (Myers, 1998).
It is likely that the large number of males in the band, in comparison to the other
ensembles, caused the significant result for Perceiving (P) in the band sample,
because males were found to be significantly more likely than females to prefer
Perceiving (P).
For the Extraversion-Introversion (E-I) dichotomy, there was a significant person-
ality type difference between the choir students and the high school norms. This

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96 Journal of Research in Music Education 59(1)

finding contrasts with those of Kemp (1981a), who reported that high school perform-
ing musicians were more Introverted than the normal population.
The findings of this study suggest implications for music ensemble directors in the
areas of instructional practice, assessment strategies, and relationships with and among
students. The finding that the students in each ensemble are significantly more likely
to be Intuitive (N) and Feeling (F) than high school norms indicates that these music
students are a unique group of individuals who should be treated as such. Teachers
should encourage the abstract thinking that comes naturally for Intuitive (N) students
and plan lessons and activities that allow students to be creative and imaginative. The
arts, especially music, might serve as an outstanding medium to allow Intuitive (N)
students to express themselves and follow their natural tendencies.
To embrace the students preference for Feeling (F), teachers should strive to foster
positive relationships between students as well as between students and teachers.
Meaningful relationships that students can build as part of an ensemble may be an
important part of their lives. Perhaps the concern for others feelings apparent within
these musicians is contradictory to the competitive nature of some ensembles. A pref-
erence for Feeling (F) indicates that ensemble students might feel more comfortable in
nurturing learning environments.
Because band students are significantly more likely than the normal population to
prefer Perceiving (P), certain implications are suggested for band directors. An inspi-
rational teacher who is able to incorporate surprising, spur-of-the-moment ideas could
be especially successful with Perceiving (P) students. Band rehearsals can be struc-
tured so that intensity varies throughout the rehearsal period. Blocks of high-energy
time and low-energy time can alternate successfully so that students maintain inter-
est and direction. On the other hand, due to their spontaneous and flexible nature,
Perceiving (P) students might need additional reminders about deadlines and expecta-
tions. This extra guidance from the teacher might help students participate in an ensem-
ble to the best of their ability.
The preference for Intuition (N) and Feeling (F) within this sample of ensemble
students indicates that the students have personality types similar to music educators
examined in previous studies (Kemp, 1982c; Wubbenhorst, 1991, 1994). Teachers and
students of similar personality types may interact effectively and naturally. Teachers
might have a better understanding of how students, who are similar to them, will learn
and contribute to an ensemble. Teachers can benefit from knowledge about their own
personality types and how these types interact with other types.
While there are many personality type similarities among high school music students,
there are also significant differences that suggest additional implications for teachers.
Choir directors should consider the Extraverted nature of singers when planning
lessons and activities. Perhaps an emphasis on group work, allowing students to be
actively involved in rehearsals, and giving them the freedom to discuss concepts and
techniques will foster their natural preference for Extraversion. It appears that activities
often undertaken by choir students, such as participating in musicals and show choir,

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Reardon MacLellan 97

are suitable for this preference for Extraversion. These activities allow students to inter-
act with others and express themselves while being in the spotlight.
Although orchestra students were more likely to prefer Introversion than choir stu-
dents, the sample of orchestra students was fairly evenly distributed between Extraversion
(54%) and Introversion (46%). Therefore, it is critical that orchestra directors use instruc-
tional techniques that accommodate both Extraverts and Introverts. Some orchestra stu-
dents (the Extraverts) will prefer large group activities and being in the spotlight, while
others (the Introverts) may not enjoy these activities as much. Differing preferences for
Extraversion-Introversion (E-I) also may be a consideration when assessing students.
Introverted students might prefer individual, private assessment strategies, while Extraverts
might not mind being assessed in front of or along with their peers.
The lack of a significant personality type difference between band and orchestra
students implies that teachers may be able to use a similar ensemble instructional
approach with these two groups, although the technical approaches to band and string
instruments will likely remain different. The stereotypes that have been perceived
separating players of band instruments and string players (Builione & Lipton, 1983;
Davies, 1978; Lipton, 2001) were not supported in this study. Perhaps the similarity
that exists between band and orchestra students can be attributed to the nature of
instrumental music (Wubbenhorst, 1994). It might benefit band and orchestra pro-
grams to collaborate on projects and performances.
Teachers also must consider ways to meet the needs of students who do not possess
the common personality types of these ensembles. While Sensing (S), Thinking (T),
and Judging (J) are not common types for ensemble students, an understanding of
these types will allow teachers to inspire and meet the needs of all of their students,
thereby potentially increasing the size of music programs.
While knowledge of the MBTI types of music ensemble students can be very use-
ful to teachers, it is critical that personality types are not used to stereotype or to
select/reject students. Ideally, type should be used as a resource by which teachers
can help students use their natural tendencies and preferences to develop as musicians
and as people.

Acknowledgments
Permission to administer the test for research purposes was granted to me by the publisher,
Consulting Psychologists Press.

Declaration of Conflicting Interests

The author declared no potential conflicts of interests with respect to the authorship and/or
publication of this article.

Funding
The author received no financial support for the research and/or authorship of this article.

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98 Journal of Research in Music Education 59(1)

Authors Note

This article is based on the authors masters thesis, Differences in Myers-Briggs Personality
Types Among High School Band, Orchestra, and Choir Members, completed at Indiana
University, Bloomington, in 2009.

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Bio
Christin Reardon MacLellan, MME, is a doctoral student in music education and associate
instructor at the Indiana University Jacobs School of Music. Her research interests include person-
ality and identity of musicians, music perception and cognition, and music teacher education.

Submitted October 2, 2009; accepted September 30, 2010.

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