FILIP
MAJ
PERSONALITY
DEVELOPMENT POTENTIALS AND CREATIVE PROFILES (ON THE EXAMPLE OF CELLISTS)
Contents
of Article: Introduction, Types of Personality: Psychomotor, Sensual,
Imaginational, Intellectual and Emotional; Young Musicians and Tadeusz
Kobierzycki’s “Multidimensional Personality Questionnaire”; Preliminary
Analysis of the Musicians’ Results according to Tadeusz Kobierzycki’s
“Multidimensional Personality Questionnaire”; The Quantitative Image of the
Developmental Potentials of the Study Group – Cellists; The Profiles of the
Developmental Potentials of the Cellist Group – Preliminary Analysis;
Stability and Dynamics; Conclusion; Notes; Bibliography.
INTRODUCTION
The article “Personality Development Potentials and Creative Profiles (On the
Example of Cellists)” was written
as part of a research project (1) lead by Tadeusz Kobierzycki on the basis of
the “Multidimensional Personality Questionnaire” he created.
The test was
conducted in public secondary schools in Warsaw of the following profiles –
music, fine arts, ballet and circus. The current text is the first attempt to
analyse the test carried out in 2005 in a group of pupils in the Z. Brzewski
Secondary Music School in Warsaw. It focuses on a group of cellists.
“The
Multidimensional Personality Questionnaire” elaborated by Tadeusz Kobierzycki
presupposes the possibility of a structural and projective examination of those
personality dimensions which show its profiled psychological development
potentials. The test is based on word stimuli. It describes and outlines the
respondents’ attitudes (negative, positive, repressed, exaggerated) to a set
of statements triggering positive or negative reactions.
The
responses to various test statements of the “Multidimensional Personality
Questionnaire” (MPQ) are set on a scale from 0 to 5 (zero means repression,
forgetting, suppression, inhibition, etc.) and mark the level of cognitive
resonance, a response to the statements read, in the range of – the emotions,
intellect, imagination, movement and the body, depending on the strength of
identification with them by the person tested. The test can be performed
individually or collectively, anonymously or in a personalized form.
The test is
divided into four periods: 1) childhood period (preschool), 2) school period (primary/gymnasium),
3) adolescence period – high school, 4) adult period – university/after
graduation, after 30 years of age). It examines statements characterizing the
five cognitive dimensions mentioned above, which I define as “potentials” or
“talents” and “interests”, as well as their expressions described here
as creative profiles of the personality.
Here, I am
going to present a fragmented research report, conducted in different artistic
schools in Warsaw. The report is differentiated by age, gender, choice of
instrument, and by the dynamics of particular periods of development.
The research
issues with which I am preoccupied here concern the compatibility of Kazimierz Dąbrowski’s
(1902-1980) insights with his hypotheses on creativity dynamics and its
connection with psychological types, which Tadeusz Kobierzycki has included in
his test in relation to the five different types or profiles of personality
development.
PERSONALITY
TYPES: PSYCHOMOTOR, SENSUAL, IMAGINATIONAL, INTELLECTUAL AND EMOTIONAL
The personality can be defined as a dynamic and stable or open and closed structure
of man, which despite its stable phylogenetic nature seeks an increasing of
variety in ontogenesis. Talents may be described as active factors of one or a second
level (phase), which dominate the whole personality and subordinate other
components and actions for its aims.
According to
Kazimierz Dabrowski’s theory, to which T. Kobierzycki’s creative potentials
test alludes (also referring to
psychoanalysis and depth psychology), the main forms of personality development
giftedness are the so-called emotional, imaginational and intellectual
overexcitabilities: “It stimulates the development of mental capabilities to a
broad insight into the many levels and dimensions of reality, the need for
prospection and retrospection, control and self-control. They are essential for
the mental development of the inner environment” (Dabrowski 1984, p.96).
The
psychomotor and sensual overexcitabilities are not able to “loosen up” or
“break down” the cohesive and integrated structure of the psychophysical
personality, unless a powerful psychophysical shock takes place (such as one’s
own injury, physical or mental damage). These overexcitabilities have primarily
defensive and adaptive functions, and serve to control the external environment.
The other three are used to differentiate the inner environment of the
personality.
K. Dąbrowski
writes: “Psychomotor overexcitability is characterised by restless mobility,
the need to be active and muscle tension. Neither of them (FM - the psychomotor
and the sensual overexcitability) leads to a definite engagement in psychical
development. The same concerns the sensual overexcitability, which is
characterised by a strong sensual extraversion, seeking for pleasure, comfort,
superficial beauty, frequent or constant being with others and no need for
solitude, reflection and permanent emotional relationships”(Dabrowski, 1984,
p. 95).
As it is
known many people who we describe as “creative personalities” have a strong
tendency to mental and physical movement, and they treat sensual pleasures as a
criterion for the quality of their lives. It is therefore expected that these
personality components at a particular stage of development may and even should
dominate over other overexcitabilities, over other life energies.
We often
observe that for “some reason” certain stimuli (internal and external) work
more intensively than others. Therefore, they are known as typical or atypical
for the general population. Some attract and others repel each other (the klisis
– eklisis relationship). Others work so that those continue to exist, to
strengthen or weaken. Over many years a specific group of factors forms a
complex of properties profiling the personality – i.e. one’s own “complex
of giftedness”.
Some
constellations of the mental and physical components cause the inhibition of the
entire psychophysical system, or part thereof, at various stages of one’s life.
They are connected to various modifications within the personality (crises,
diversions, contradictions, regressions, transgressions, destructions,
reparations, etc.). It seems that the various components of the personality, in
different periods of personal development, work “better”, whilst others “worse”.
The
childhood period is a phase for developing certain abilities, due to hereditary
and concrete experiences, which man has to take into account all his life, in
order to maintain a level that is satisfactory for him as a human being. In the
subsequent periods, changes take place that perpetuate or change the output
profile (type) of the personality, bringing joy and suffering, facilitating
adaptation, defence and development. They force one to treat one’s life goals
creatively.
It is
assumed that in some people, a reactive orientation dominates, whilst in others
a creative one. It is not clear what triggers these orientations. They are worth
examining using the possibilities offered by projection tests, which use
sentence structures based on stereotype recordings and stereotype responses of
persons surveyed. They include some kind of conviction that are predominant in
creativity theories, though they have not been sufficiently verified.
YOUNG
MUSICIANS AND TADEUSZ KOBIERZYCKI’S “MULTIDIMENSIONAL PERSONALITY
QUESTIONNAIRE”
In a test carried out at the Zenon Brzewski Secondary Music School in Warsaw,
26 people participated: 9 men and 17 women aged from 15 to 18 years. The
students wrote the test quickly and handed it back in the shortest time of all
the groups that took part in the project.
The study
group according to the type of instrument which they played: violin – 11
people (1 man, 10 women), b. piano – 8 people (5 men, 3 women), c. cello – 5
people (3 men, 2 women), d. flute – 1 woman, e. organ – 1 woman.
The maximum
number of points that can be obtained in the test is 375. The number of points
obtained in the study group ranged between 114 and 187 for the men, while
ranging between 96 and 191 for the women.
Number
of points obtained according to the type of instruments was as follows:
[Explanation:
(M) – man, (W) – woman]
a.
violin: minimum – 117 (W), 120 (W), 134 (M), 136 (W), 148 (W), 153 (W), 160
(W), 160 (W), 168 (W) , 186 (W), maximum – 191 (W);
b.
piano: minimum – 121 (M), 136 (M), 137 (W), 146 (W), 175 (M), 181 (M), 181
(W), maximum – 187 (M)
c.
cello: minimum – 108 (W), 114 (M), 168 (M), 168 (M), maximum – 185 (W)
d.
flute: 96 (W)
e.
organ: 132 (W)
A
detailed distribution of points, taking into account the development stage: I.
childhood, II. school , III. adolescence, was as follows:
[Note:
M – man, W – woman, I. – childhood, II. – school, III. – adolescence,
S. – the sum of three periods]
a.
violin:
M:
I. 49, II. 38, III. 47 – S. 134
W:
I. 45, II. 31, III. 41 – S. 117
W:
I. 47, II. 32, III. 41 – S. 120
W:
I. 52, II. 37, III. 47 – S. 136
W:
I. 53, II. 38, III. 57 – S. 148
W:
I. 61, II. 35, III. 57 – S. 153
W:
I. 52, II. 51, III. 57 – S. 160
W:
I. 44, II. 41, III. 75 – S. 160
W:
I. 56, II. 56, III. 56 – S. 168
W:
I. 71, II. 55, III. 60 – S. 186
W:
I. 62, II. 53, III. 76 – S. 191
b.
piano:
M:
I. 52, II. 27, III. 42 – S. 121
M:
I. 51, II. 42, III. 43 – S. 136
M:
I. 79, II. 45, III. 51 – S. 175
M:
I. 71, II. 57, III. 53 – S. 181
M:
I. 63, II. 65, III. 59 – S. 187
W:
I. 52, II. 33, III. 52 – S. 137
W:
I. 65, II. 36, III. 45 – S. 146
W:
I. 60, II. 54, III. 67 – S. 181
c.
cello:
M:
I. 51, II. 28, III. 35 – S. 114
M:
I. 72, II. 43, III. 53 – S. 168
M:
I. 56, II. 51, III. 61 – S. 168
W:
I. 69, II. 59, III. 57 – S. 185
W:
I. 26, II. 29, III. 53 – S. 108
d.
flute:
W:
I. 49, II. 19, III. 28 – S. 96
e
organ:
W:
I. 46, II. 43, III. 43 – S. 132
PRELIMINARY
ANALYSIS OF THE MUSICIANS’ RESULTS ACCORDING TO TADEUSZ KOBIERZYCKI’S
“MULTIDIMENSIONAL PERSONALITY QUESTIONNAIRE”
Men:
In the group of 9 men, a16 year old pianist, who had the highest score, lacked
0, 5 points (187 points) to achieve the mid-scale of the possible points (375)
in the test. The lowest score among men was achieved by an 18 year old cellist
(114 points).
The
distribution of points obtained in the MPQ – of the surveyed men:
a.
in 8 of them – the vast majority in the childhood period
b.
in 1 of them – the vast majority in the school period
Women:
One woman, an 18 year old violinist exceeded the mid-scale (187.5 points) by 3.5
points (obtaining 191 points). The lowest score was achieved by an 18 year old
flutist (96 points), and another low score was obtained by a 16 year old cellist
(108 points).
The
distribution of points obtained in the MPQ – of the surveyed women:
a.
in 1 – evenly distributed in all three periods
b.
in 10 – the vast majority in the childhood period
c.
in 6 – the vast majority in the adolescence period
The highest
results were achieved in the instrument group that was predominant for each
gender.
THE
QUANTITATIVE IMAGE OF THE DEVELOPMENTAL POTENTIALS OF THE STUDY GROUP –
CELLISTS
In a group of cellists, the overall distribution of the points and percentages
outlining their five basic profiles (potentials) of development was as follows
(2):
Division
of Periods I., II., III.
[Note:
S. – the sum of three periods, I – childhood, II. – school, III. –
adolescence]
A.
Men
Simon:
S. 114 – I. 51, II. 28, III. 35 = I. 45%, II. 24%, III. 31%
Martin:
S. 168 – I. 72, II. 43, III. 53 = I. 43%, II. 26%, III. 31%
Conrad:
S. 168 – I. 56, II. 51, III. 61 = I. 33%, II. 31%, III. 36%
B.
Women
Barbara:
S. 108 – I. 26, II. 29, III. 53 = I. 24%, II. 27%, III. 49%
Anne:
S. 185 – I. 69, II. 59, III. 57 = I. 37%, II. 32%, III. 31%
A.
MEN
Simon
– 18 years old
Id:
No. 16
30%
of the possible scale of potentials out of the three periods
I.
45%, II. 24%, III. 31%.
Average
Profile Score Out of All Three Periods [in%]:
Psychomotor
profile: 27%
Sensual
profile: 18%
Imaginational
profile: 11%
Intellectual
profile: 26%
Emotional
profile: 18%
Profile
Image According to Period [in %]:
Childhood
period
Psychomotor
profile: 18%
Sensual
profile: 37%
Imaginational
profile: 8%
Intellectual
profile: 37%
Emotional
profile: 0% (no response)
School
period
Psychomotor
profile: 21%
Sensual
profile: 7%
Imaginational
profile: 29%
Intellectual
profile: 11%
Emotional
profile: 32%
Adolescence
period
Psychomotor
profile: 43%
Sensual
profile: 0% (no response)
Imaginational
profile: 3%
Intellectual
profile: 23%
Emotional
profile: 31%
Preliminary
Analysis
Simon revealed the most responses to verbal stimuli during the childhood period
(45%), and almost half the amount during his school period (24%). During the
adolescence period his verbal responses to stimuli increased 31% (about a
quarter less than in the childhood period).
In the
average profile score, the strongest active elements of Simon’s personality
are first psychomotricity (27%) and intellectuality (26%), then emotionality and
sensuality (18%), and at the end the imagination (11%).
In the
childhood period, Simon has a strong reaction to verbal stimuli of the sensual
and intellectual sphere (each 37%), next to the psychomotor sphere (18%), and
much less to the imaginational sphere (8%). He shows a complete lack of response
to verbal stimuli of the emotional sphere (0%). This lack is very puzzling and
indicates that his emotions are strongly repressed. Thus, we have an indication
for further research in this sphere – it seems blocked due to an “emotional
shock” (cf. H. Rorschach).
In his
school period, a reversal of response occurs concerning verbal stimuli of the
sphere of sensuality (7%), and intellectuality (11%). There appears a strong
reaction to verbal stimuli of the emotional sphere (32%) and a strong reaction
to verbal stimuli of the imaginational sphere (29%). Responses to verbal stimuli
of the psychomotor sphere amount to 21%.
During his
adolescence period, there is a strong response to verbal stimuli of the
psychomotor sphere (43%), gathering nearly half of the personality’s “dynamisms”.
Response to verbal stimuli of the emotional sphere is maintained at 31%, to the
intellectual sphere – 23% (third place). Response to verbal stimuli of the
imaginational sphere equals 3%, and the verbal response to stimuli of the
sensual sphere is repressed (0%) (no answer).
Simon’s
remarks about his own creativity (3)
Simon discovered his creative interests “at his school [age – FM]”. When
asked whether his grandparents or parents have or did have a creative profession,
he answers “No”. As for brothers or sisters or other relatives involved in
creativity, he answers: “composing, poetry, writing, playwriting”. His
greatest creative achievements are: “winning a number of competitions, giving
others joy through my work”.
His biggest
creative failure is a “passive reaction of the audience”. What he lacks in
order to realize his abilities better, he answers – “hard work”. What he
would change to realize his abilities better – “manage time in a better way”.
Martin
– 17 years old
ID:
No. 8
45%
of the possible scale of potentials out of the three periods
I.
43%, II. 26%, III. 31%.
Average
Profile Score Out of All Three Periods [in%]:
Psychomotor
profile: 18%
Sensual
profile: 21%
Imaginational
profile: 16%
Intellectual
profile: 22%
Emotional
profile: 23%
Profile
Image According to Period [in %]:
Childhood
period
Psychomotor
profile: 19%
Sensual
profile: 25%
Imaginational
profile: 13%
Intellectual
profile: 22%
Emotional
profile: 21%
School
period
Psychomotor
profile: 7%
Sensual
profile: 23%
Imaginational
profile: 21%
Intellectual
profile: 19%
Emotional
profile: 30%
Adolescence
period
Psychomotor
profile: 25%
Sensual
profile: 13%
Imaginational
profile: 17%
Intellectual
profile: 26%
Emotional
profile: 19%
Preliminary
Analysis
Martin revealed the largest response to verbal stimuli related to the
childhood period – 43%. Then his response decreased by almost half of the
amount during the school period (26%), followed by an increase during
adolescence (31%).
In the
average profile score, his greatest response to verbal stimuli is associated
with the emotional sphere (23%), followed by the intellectual sphere (22%), and
next with the sensual sphere (21%). Of a lower percentage is his response
relating to verbal stimuli associated with the psychomotor sphere (18%) and his
lowest response concerns the imaginational sphere (16%).
In the
childhood period, his strongest response to verbal stimuli concerns the sensual
sphere (25%), followed by the intellectual sphere (22%), and then the emotional
sphere (21%) – in the reverse proportion to his overall (average) profile.
Response to verbal stimuli of the psychomotor sphere equals 19%, while the
lowest response concerns the imaginational sphere (13%).
During his
school period, a shift takes place in his internal activity towards the
emotional sphere (30%.) In second place is his response to verbal stimuli of the
sensual sphere (23%). A response to stimuli of the imaginational sphere is
activated (21%). Response to verbal stimuli of the intellectual sphere remains
at 19%. The biggest decline in his response to verbal stimuli in this period
concerns the expression of the psychomotor sphere (7%).
In his
adolescence period, what was inhibited in the school period – the reaction to
verbal stimuli of the psychomotor sphere – rises to 25% and ranks second after
the intellectual sphere (26%). A decrease takes place in his response to verbal
stimuli of the sphere of emotionality (19%) and sensuality (13%). The level of
response to verbal stimuli of the imaginational sphere also declines (17%).
Martin’s
remarks about his own creativity
Martin discovered his creative interest at the age of 10. He wrote: “Yes, both
my parents are musicians”, and as for his brothers, sisters and other
relatives “No, they do are not engaged [in any creative professions – FM]”.
His greatest creative achievements: “As such an achievement, I consider the
well played [entrance – FM] exam to the school I go to, and awards and prizes
at solo and chamber music competitions”.
His biggest
creative failure: “I am not able to give one example, although I am unhappy
with my dance and artistic abilities”. What he lacks: “I would like to have
more patience and self-perseverance in pursuing my aim”. What he would change:
“Sometimes I lack the concentration and patience to pursue my aim”.
Conrad
– 17 years old:
ID:
No. 7
45%
of the possible scale of potentials out of the three periods
I.
33%, II. 31%, III. 36%.
Average
Profile Score Out of All Three Periods [in%]:
Psychomotor
profile: 18%
Sensual
profile: 14%
Imaginational
profile: 14%
Intellectual
profile: 28%
Emotional
profile: 26%
Profile
Image According to Period [in %]:
Childhood
period
Psychomotor
profile: 18%
Sensual
profile: 18%
Imaginational
profile: 20%
Intellectual
profile: 25%
Emotional
profile: 20%
School
period
Psychomotor
profile: 18%
Sensual
profile: 12%
Imaginational
profile: 18%
Intellectual
profile: 22%
Emotional
profile: 31%
Adolescence
period
Psychomotor
profile: 20%
Sensual
profile: 13%
Imaginational
profile: 7%
Intellectual
profile: 33%
Emotional
profile: 28%
Preliminary
analysis
In his overall (average) profile, Conrad’s response to verbal stimuli is
“evenly divided” and amounts to 36% during his adolescence period, 33%
during his childhood period and 31% during his school period.
His
reactions to verbal stimuli are mostly located in the intellectual (28%) and
emotional sphere (26%), and next in the psychomotor sphere (18%). His weakest
response concerns the sensual and imaginational sphere (each 14%).
In the
childhood period, Conrad’s reaction to verbal stimuli was predominantly
distributed to the intellectual sphere (25%), but also to the emotional and
imaginational sphere (each 20%), and further to the sensual and psychomotor
sphere (each 18%).
In his
school period, there is a dominance of verbal response to stimuli of the
emotional sphere (31%). Response to the intellectual sphere takes second position
(22%). Whereas response to psychomotor and imaginational spheres balance each
other out (each 18%). His weakest reaction concerns the sensual sphere (12%).
During his
adolescence period, a major response reappears concerning verbal stimuli of the
intellectual sphere (33%) and in second position that of the emotional sphere
(28%). Response to stimuli of the psychomotor sphere reached 20%. Still low
(13%) was his response to verbal stimuli of the sensual sphere, while his
response to verbal stimuli of the imaginational sphere shrank the most (7%).
Conrad’s
remarks about his own creativity:
Conrad discovered his creative interests at the age of 11. His answer to the
question whether his grandparents or parents have creative professions was:
“Yes (but not purely professional): Mom: music, literature, dad: very high
consciousness of music, and of fine arts and architecture, literature”. When
asked whether his brothers or sisters or other relatives are involved in any
creative activities, he replied: “Yes: two younger brothers: piano, cello, two
older cousins: cello and composition”. When asked what his greatest creative
achievement was, he answered: “I guess the ability to practise, but I don’t
know exactly”.
When asked
what his greatest creative failure was, he wrote: “it’s difficult to treat
art as a success or lack thereof”. What he lacks in his creative realisations:
“peace and quiet, greater support from my family, and not obstacles (mom)”.
What he would change in order to realise his abilities: “Have the peace and
quiet from point 6 and extend and deepen my interests”.
B.
WOMEN:
Barbara
– 16 years old
ID:
No. 5
29%
of the possible scale of potentials out of the three periods
I.
24%, II. 27%, III. 49%.
Average
Profile Score Out of All Three Periods [in%]:
Psychomotor
profile: 13%
Sensual
profile: 17%
Imaginational
profile: 16%
Intellectual
profile: 30%
Emotional
profile: 24%
Profile
Image According to Period [in %]:
Childhood
period
Psychomotor
profile: 4%
Sensual
profile: 35%
Imaginational
profile: 19%
Intellectual
profile: 31%
Emotional
profile: 12%
School
period
Psychomotor
profile: 14%
Sensual
profile: 7%
Imaginational
profile: 17%
Intellectual
profile: 31%
Emotional
profile: 31%
Adolescence
period
Psychomotor
profile: 17%
Sensual
profile: 13%
Imaginational
profile: 13%
Intellectual
profile: 30%
Emotional
profile: 17%
Preliminary
analysis
In the overall (average) profile score Barbara’s major reactions to verbal
stimuli are located in the adolescence period (49%). The rest is spread over the
childhood (24%) and school (27%) periods almost equally.
Reactions to
verbal stimuli of the intellectual sphere dominate – 30%. In second place are
the reactions to verbal representations of the emotional sphere (24%). Responses
to verbal stimuli related to the sensual sphere amount to 17%, and that of the
imaginational sphere – 16%, while the psychomotor sphere – only 13%.
In her
childhood period there is as a strong complex of reactions to verbal stimuli
associated with the sensual sphere (35%), while the response level to verbal
stimuli of the psychomotor sphere is very low (4%). There is a second major
complex of reactions to verbal stimuli related to the intellectual sphere (31%),
and in third place to verbal stimuli of the imaginational sphere (19%). There is,
however, a weak response to verbal stimuli of the emotional sphere (12%).
During the
school period there is a dramatic shift in her response to verbal
representations of the sensual sphere (from 35% to 7%). There is a major
increase in the response level to verbal representations of the emotional sphere
(31%), while the response to that of the intellectual sphere is maintained (also
31%). Her response to verbal stimuli related to the psychomotor sphere increases
to 14%, and her response to verbal stimuli connected with the imaginational
sphere remains largely unchanged (17%).
Her
adolescence period is dominated by a strong response to verbal stimuli of the
intellectual sphere (30%). Response to verbal stimuli of the emotional sphere
falls (17%). Imaginational and sensual reactions to verbal stimuli of those
spheres level off to 13%.
Barbara’s
remarks about her own creativity
Barbara, in response to specific questions concerning creative interests, stated: “I discovered my true interest – when I was in
gymnasium”. She
answered the question – whether her grandparents or parents are or were
engaged in any creative professions: “Dad – philosophy, mother – fine arts
school (teaching)”.As for brothers or sisters or other relatives occupied with
creativity, she wrote: “My cousin – computer graphics, directing”.
Her greatest creative achievements are: “passing the exam of the Z. Brzewski
music school this year”. Her biggest creative failure is: “A badly played
concert”. What she lacks to pursue her abilities is: “better organization of
my work and a little bit better conditions”. What she would like to change to
realise her abilities better: “more work of my own [‘in me’ deleted – FM)],
better organization of time, so that I can e.g. learn to dance, money”.
Anne
– 17 years old
ID:
No. 11
49%
of the possible scale of potentials out of the three periods
I. 37%, II. 32%, III. 31%.
Average
Profile Score Out of All Three Periods [in%]:
Psychomotor
profile: 22%
Sensual
profile: 21%
Imaginational
profile: 14%
Intellectual
profile: 24%
Emotional
profile: 19%
Profile
Image According to Period [in %]:
Childhood
period
Psychomotor
profile: 12%
Sensual
profile: 25%
Imaginational
profile: 20%
Intellectual
profile: 29%
Emotional
profile: 14%
School
period
Psychomotor
profile: 29%
Sensual
profile: 22%
Imaginational
profile: 14%
Intellectual
profile: 14%
Emotional
profile: 22%
Adolescence
period
Psychomotor
profile: 26%
Sensual
profile: 16%
Imaginational
profile: 5%
Intellectual
profile: 30%
Emotional
profile: 23%
Preliminary
Analysis
In her overall (average) profile score, Anne revealed the greatest response to
verbal stimuli related to all the profile spheres in her childhood period –
37%. During the school period, her response to verbal stimuli drops to 32%. In
her adolescence period, another small decrease occurs – 31%.
Anne’s
dominating response concerns the verbal stimuli of the intellectual sphere
(24%). After that is her response to verbal stimuli of the psychomotor sphere
(22%), and then to the sensual sphere (21%). Response to verbal stimuli of the
emotional sphere is fourth in place (19%), and to the imaginational sphere in
fifth place (14%).
During the
childhood period, her strongest complex of reactions concerns verbal stimuli of
the intellectual sphere (29%), while in second place, verbal stimuli of the
sensual sphere (25%). Her lowest levels of response to verbal stimuli concern to
the psychomotor (12%) and emotional sphere (14%). In between them lies her
reactivity associated with the verbal stimuli of the imaginational sphere (20%).
During her
school period – there is a dominance of a response to verbal stimuli of the
psychomotor sphere (29% – a jump of 17%), while responses to verbal stimuli of
the emotional and sensual sphere take second place (22%). Her responses to
verbal stimuli of the imaginational and intellectual spheres both amount to 14%.
In this phase of development, a decrease occurred in reactivity in relation to
the sphere of intellectuality (by 15%), emotionality (by 8%) and the imagination
(by 6%). The smallest decrease concerns the sensual sphere (3%).
During the
adolescence period, her response to verbal stimuli of the intellectual sphere
increases (30%). Responses to verbal stimuli of the psychomotor sphere persist
with a small decrease (26%), followed by a small increase in her reactivity to
verbal stimuli of the emotional sphere (23%). Responses to verbal stimuli of the
sensual sphere declines to 16%, and the greatest decrease can be observed in her
reactions to verbal stimuli of the imaginational sphere (5%).
Anne’s
remarks about her own creativity
Anne discovered her creative interests when she was 12 years of age. When asked
– whether someone in her family is or was engaged in any creativity
professionally and non-professionally – she crossed out the whole answer field
with a continuous line. Her greatest artistic achievements are “first prize in
a competition of contemporary music, first prize at the National Competition in
Lódź, concerts with the orchestra, playing at a Competition in Germany (Dresden)”.
She sums it up with a phrase “for me it was a great and exciting experience”.
When asked
about her biggest creative failure – she crossed out the whole answer field
with a continuous line. What she lacks that could help her realise her abilities
better, she states: “perseverance, self-discipline, and sometimes poor
concentration”. As for the question – what she would change to realise her
abilities better, she writes: “better organization of time, regularity in work”.
THE
PROFILES OF THE DEVELOPMENTAL POTENTIALS OF THE CELLIST GROUP – A PRELIMINARY
ANALYSIS
In the group of cellists analysed with T. Kobierzycki’s test – Conrad,
Martin and Anne obtained the highest indices of developmental potentials – 45%,
45%, 49%, in the three periods of development.
Conrad and
Barbara presented a higher tension level of developmental potentials in their
adolescence (current) period. Whereas, that of Martin, Anne and Simon were
greater in the childhood period.
The most
balanced distribution of revealing developmental potentials in different periods
can be found in Conrad’s (I 33%, II. 31%, III. 36% – max. 5% fluctuation)
and Anne’s (I. 37%, II. 32%, III. 31% – max. 4 % fluctuation) profiles.
Conrad and
Anne along with Martin revealed the greatest dynamics of responses to verbal stimuli
in the five analysed ranges. But in Martin’s case, there is a greater difference
between the expression of potentials in the three phases of development,
especially in the childhood period (43%).
Barbara and
Conrad showed the strongest response to verbal stimuli of the intellectual
sphere (30% and 28%). It is linked with a similarly strong emotional reaction
induced by verbal stimuli of this sphere (28% and 26%).
In
Martin’s case, his “creative abilities” were more or less balanced –
emotional (23%), intellectual (22%) and sensual (21%).
Simon and
Anne have a similar level of intellectual and psychomotor response to verbal stimuli of
those spheres. Anne’s intellectual reaction (24%) slightly dominates the
psychomotor reaction (22%) and sensual reaction (21%). Simon’s psychomotor
reaction (27%) slightly dominates his intellectual reaction (26%).
All the
cellists analysed with T. Kobierzycki’s test in their overall (average)
profile score showed a surprisingly low level of response to verbal stimuli of
the imaginational sphere – all below 16%: Simon – 11%, Conrad and Anne –
14%, and Barbara and Martin – 16%.
STABILITY
AND DYNAMICS
[Note:
S. – the sum of three periods, I – childhood, II. – school, III. –
adolescence]
Men:
Simon
– 18 years old
S.
30% – I. 45%, II. 24%, III. 31%.
Profile:
psychomotor: 27%, intellectual: 26%, sensual: 18%, emotional: 18%, imaginational:
11%.
Martin
– 17 years old
S.
45% – I. 43%, II. 26%, III. 31%.
Profiles:
emotional 23% intellectual: 22%, sensual 21%, psychomotor: 18%, imaginational:
16%.
Conrad
– 17 years old
S.
45% – I. 33%, II. 31%, III. 36%.
Profiles:
intellectual: 28%, emotional 26%, psychomotor: 18%, sensual: 14%, imaginational:
14%.
All of Simon’s “personality” elements are dynamic, the most stable is
psychomotricity (I. 27%, II. 18%, III. 21%). Others show a great variation:
sensuality (I. 18%, II. 37%, III. 7%), imagination (I. 11%, II. 8%, III. 29%),
intellectuality (I. 26%, II. 37%, III. 11%), emotionality (I. 18%, II. 0%, III.
32%).
Martin’s
most stable “personality” element is the intellectual sphere (I. 22%, II.
19%, III. 26%). His psychomotor sphere (I. 19%, II. 7%, III.25%) has the most
fluctuating tendency (parabola). His imaginational (I. 13%, II. 21%, III. 17%)
and emotional (I. 21%, II. 30%, III. 19%) spheres also have a fluctuating
tendency (an inverted parabola). His sensual sphere is an average dynamic
element with a declining tendency (I. 25%, II. 23%, III. 13%).
Conrad has a
stable psychomotor sphere (I. 18%, II. 18%,
III. 20%). His intellectual (I. 25%, II. 22%, III. 33%) and emotional (I 20% II.
31%, III. 28%) spheres have an opposed dynamics to each other. His sensual sphere
(I. 18%, II. 12%, III.13%) has a downward tendency (minimally decreasing or
increasing). His imaginational sphere has a distinct decreasing tendency (I.
20%, II. 18%, III.7%).
Typical for
Conrad’s reactions is the tendency of a small decline (modification) and then
a huge jump, e.g., a rising modification for the intellectual sphere, and a
declining modification for the imaginational sphere. In the case of the
emotional sphere, it is the opposite, a big “jump” of increasing, and later
a modification (a small decrease). And in the case of the sensual sphere, a big
“jump” of decreasing, and later a modification (a small increase).
Women:
Barbara
– 16 years old
S.
29% – 24% I. II. 27% III. 49%
Profiles:
intellectual: 30%, emotional 24%, sensual 17%, imaginational: 16%, psychomotor:
13%
Anne
– 17 years old
S.
49% – 37% I. II. 32% III. 31%
Profiles:
intellectual: 24%, psychomotor: 22%, sensual 21%, emotional 19%, imaginational:
14%
Barbara’s greatest stability lies in the intellectual (I. 31%, II. 31%, III. 30)
and imaginational (I. 19%, II. 17%, III. 13%) spheres. The
greatest instability and dynamics can be seen in her sensual (I. 35%, II. 7%,
III. 13%), emotional (I. 12%, II. 31%, III. 17%) and psychomotor (I. 4%, II. 14%
III. 17%) spheres.
In Anne’s
case there is a dynamics in each profile. The greatest falling tendency is in
her imaginational profile (I. 20%, II. 14%, III. 5), especially between periods
II and III, and there is a gradual falling tendency in the sensual sphere (I.
25% II. 22%, III.16%). The emotional profile has an increasing tendency (I. 14%,
II. 22%, III.23%). The psychomotor (I. 12%, II. 29%, III.26%) and intellectual
spheres (I. 29%, II. 14%, III.30%) in the first period have an opposite tendency
towards each other, but in the adolescence period they co-exist, possibly at the
expense of imagination, which is very low then (5%).
FINAL
CONCLUSIONS
The analyses conducted with T. Kobierzycki’s test confirm the significance of the
increased psychic excitabilities (overexcitabilities) in the formation of
profiles of creative personalities, mentioned by K. Dąbrowski in his Theory of
Positive Disintegration.
In the five cases of the young cellists, the importance of the intellectual
factor in the shaping of the “creative personality” can be confirmed. This
allows one to expect a high performance in their musical profession.
However, in
K. Dabrowski’s theory of eminent persons, the emotional factor is the one that
should dominate in the personality structure, and thus it should be in first
place. In this study, only in Martin’s case did this occur, in a link with his
intellectual overexcitability.
In the other
cases, the emotional dynamics appeared as a second factor linked with the
intellectual dynamism (Barbara and Conrad). The three of these persons meet the
demands of the K. Dąbrowksi’s theory in relation to the role of emotions and
intellect in their specific forms of existence, in the case of creators (or
future creators).
The low
level of imaginative response indicates, perhaps, the dominance of reproductive
abilities over creative abilities. This however, requires further long-term and
comparative studies.
NOTES
(1)
The implementation of the research project began in 2005. Tests were conducted
in the artistic circle by Filip Maj, M.A. in Philosophy and Grażyna Draus,
M.A.(composer), in the medical circle by Dr Ewa Kilar and Dr Lech Krata, and in
the circle of clerics and theology students by Dr. Stanislava Pritrska (Trnavska
Univerzita, Faculty of Theology in Bratislava).
(2)
The transformation of the scores into percentages may result in a +/- 1%
difference.
(3)
Statements expressed by the study group have been kept in their original form.
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