The Personal Characteristics and Environmental Circumstances of Successful Women Musicians

Stremikis, Barbara A.

doi:10.1207/s15326934crj1401_7

Cited by 15 publications

(8 citation statements)

References 5 publications

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“…For many years, psychologists have been interested in the personalities of highly creative people, including, of course, musicians (e.g., Barron, 1968Barron, , 1969. Researchers have studied the personalities of music majors (e.g., Bourke & Francis, 2000, Shuter, 2000, those who play certain instruments (e.g., Ciuffardi and Noemi, 2000), professional women musicians (e.g., Stremikis, 2002), and Australian rock and pop musicians (Gillespie & Myors, 2000).…”

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confidence: 99%

A Do Re Mi Encore

Zweigenhaft

2008

Journal of Individual Differences

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Abstract. Through the development of the Short Test of Musical Preferences (STOMP) and a larger theory of music preferences, Rentfrow and Gosling (2003 , 2006 ) have helped guide the way toward understanding the role of music in people's lives, and the relationship between music preferences and personality. The four music dimensions they established in their 2003 study provide a broad-brush look at some of the relationships between music preferences and personality. This study of 83 undergraduates at Guilford College in Greensboro, NC, used the NEO-PI, rather than the Big Five Inventory, which allowed us to examine the six facets that make up each of the Big Five traits as well as those traits themselves, and it looked separately at the music genres that make up the four music dimensions identified by Rentfrow and Gosling (2003) . The findings provide general support for Rentfrow and Gosling's work, but they also demonstrate that the personality patterns for the specific music genres differ considerably from one another, even those that fall within the same broad music dimensions. The Openness trait was by far the most robust of the Big Five traits assessed by the NEO-PI, and preferences for some music genres (e.g., folk, international music, and rap/hip-hop) were far more revealing of personality than others (e.g., classical, rock, and electronic).

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confidence: 99%

A Do Re Mi Encore

Zweigenhaft

2008

Journal of Individual Differences

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“…Creative people were viewed as outsiders of, and perhaps troublemakers for, people engaged in institutionalized, standardized work. For example, in the 1950s and 1960s, commitment was studied sociologically, based on field observations of occupations considered marginal to mainstream society, such as jazz musicians and artists (Becker, 1963), artistic college students (Keniston, 1960), and, later, women artists (McCall, 1978;Stremekis, 2002). Such studies considered commitment as the force that keeps creative people doing their own thing despite pressure from the status quo; commitment keeps them from selling out to the mainstream society.…”

Section: Prior Creativity Studiesmentioning

confidence: 99%

What Role Does Commitment Play Among Writers With Different Levels of Creativity?

Moran

2009

Creativity Research Journal

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Commitment involves how a person invests resources in a work role over long periods of time. Creativity is a novel, appropriate variation that is embraced by a field of gatekeepers and transforms the symbolic domain. This qualitative analysis (Cohen's kappas of .62, .86, .68 across three coders) addresses the different roles that commitment plays in the careers of 36 writers, depending on what level of creative influence the literary field has attributed to the writer's work. The sample was segmented into genre conformers who played by established literary rules (M ¼ 0.15, SD ¼ 0.18), experimentalists whose innovations have not yet caught on widely (M ¼ 0.80, SD ¼ 0.17), and domain transformers who changed the canon (M ¼ 1.32, SD ¼ 0.27). For genre conformers, commitment compensates. They invest technique in the craft of writing to improve their social standing among other writers, editors, and critics within the field. For experimentalists, commitment defies. They translate their selves into words by twisting traditions and supports to yield new meanings, which gains them an emotional rush plus increased control over their self-expression. For domain transformers, commitment impassions. They trust some beloved aspect of literature, such as a character or poetic form, to convert new minds to the latent possibilities of the domain.

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“…Stremikis (2002) noted that late in Margaret Hillis's (1921Hillis's ( -1998 career as conductor of the Chicago Symphony Chorus, she fulfilled her childhood wish to orchestra conduct. In 1977, due to George Solti's unexpected accident, she substituted for him on short notice and led the Chicago Symphony Orchestra in Mahler's Eighth Symphony at Carnegie Hall, thereby becoming the first woman ever to conduct there.…”

Section: A Difficult Social Contextmentioning

confidence: 99%

“…Recently, addressing a little explored area in the creativity literature, Stremikis (2002) studied the personal and environmental characteristics of 121 successful U.S. and European women composers and orchestra conductors from 18 geographical areas in the United States. Participants included two survey groups (60 professional musicians vs. 61 nonprofessionals who rejected a music career after 5 years or more of training).…”

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confidence: 99%

Serendipity and Pseudoserendipity in Career Paths of Successful Women: Orchestra Conductors

Chumaceiro¹

2004

Creativity Research Journal

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The Personal Characteristics and Environmental Circumstances of Successful Women Musicians

Cited by 15 publications

References 5 publications

A Do Re Mi Encore

A Do Re Mi Encore

What Role Does Commitment Play Among Writers With Different Levels of Creativity?

Serendipity and Pseudoserendipity in Career Paths of Successful Women: Orchestra Conductors

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