Inducing and disrupting flow during music performance

Julia Zielke; Manuel Anglada-Tort; Jonathan Berger

doi:10.3389/fpsyg.2023.1187153

Inducing and disrupting flow during music performance

Front Psychol. 2023 Jun 2:14:1187153. doi: 10.3389/fpsyg.2023.1187153. eCollection 2023.

Authors

Julia Zielke^{1

2}, Manuel Anglada-Tort³, Jonathan Berger¹

Affiliations

¹ Center for Computer Research in Music and Acoustics, Stanford University, Stanford, CA, United States.
² Department of Psychology, Stanford University, Stanford, CA, United States.
³ Faculty of Music, University of Oxford, Oxford, United Kingdom.

Abstract

Flow is defined as a state of total absorption in an activity, involving focused attention, deep engagement, loss of self-conscious awareness, and self-perceived temporal distortion. Musical flow has been associated with enhanced performance, but the bulk of previous research has investigated flow mechanisms using self-report methodology. Thus, little is known about the precise musical features that may induce or disrupt flow. This work aims to consider the experience of flow from a music performance perspective in order to investigate these features and introduces a method of measuring flow in real time. In Study 1, musicians reviewed a self-selected video of themselves performing, noting first, where in the performance they recalled "losing themselves" in the music, and second, where their focused state was interrupted. Thematic analysis of participant flow experiences suggests temporal, dynamic, pitch and timbral dimensions associated with the induction and disruption of flow. In Study 2, musicians were brought into the lab and recorded while performing a self-selected musical composition. Next, participants were asked to estimate the duration of their performance, and to rewatch their recordings to mark those places in which they recalled "losing themselves in the moment." We found that the proportion of performance time spent in flow significantly correlated with self-reported flow intensity, providing an intrinsic measure of flow and confirming the validity of our method to capture flow states in music performance. We then analyzed the music scores and participants' performed melodies. The results showed that stepwise motion, repeated sequence, and a lack of disjunct motion are common to flow state entry points, whereas disjunct motion and syncopation are common to flow state exit points. Overall, such initial findings suggest directions that warrant future study and, altogether, they have implications regarding utilizing flow in music performance contexts.

Keywords: attention; expectation; flow; music; performance.