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The Music Student Impostor Phenomenon Scale (MSIPS): Development and Implementation
Purdon, Baker
Purdon, Baker
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Thesis/Dissertation
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2024-05
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Music Education
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http://dx.doi.org/10.34944/dspace/10194
Abstract
This study explored the impostor phenomenon (IP) experiences of secondary public school music students by addressing three primary research questions. The first question investigated the frequency and severity of impostor feelings using both the Clance Impostor Phenomenon Scale (CIPS) and the newly developed Music Student Impostor Phenomenon Scale (MSIPS). Results revealed high levels of impostor feelings among participants (N = 824) with the original CIPS generating higher scores (M = 74.02, SD = 15.19) compared to the MSIPS (M = 69.66, SD = 10.85). Subsequent analysis categorized participants into Few, Moderate, Frequent, and Intense response levels, indicating a substantial number experiencing frequent or intense impostor feelings. The second research question explored correlations between demographic variables and reported IP scores. Gender, age, NAfME region, race/ethnicity, school music experience, parent ensemble participation, and ensemble type were analyzed for potential associations with impostor feelings. While some weak correlations emerged, the overall trend indicated universality in impostor experiences across demographic categories. Notably, the MSIPS generated lower overall scores, prompting considerations on the scale’s domain-specificity.
The third research question evaluated the MSIPS’s validity and reliability. The study affirmed the scale’s reliability with Cronbach’s alpha of .876, while the content validity index (CVI) suggested its adequacy for measuring impostor feelings in a public school music context. However, challenges arose during factor analysis revealing an excessive number of factors, complicating interpretation. This study argues for reconsidering the necessity of domain-specific scales, advocating for a broader focus on universal self-perceptions contributing to the impostor phenomenon.
In conclusion, this study contributes insights into the impostor phenomenon among public school music students and emphasizes the widespread occurrence of IP, advocating for a broader approach to understanding and addressing impostor feelings. The findings invite further exploration into psychotherapeutic interventions and broader considerations of the self-perceptions contributing to the impostor phenomenon.
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