Zielke Julia, Anglada-Tort Manuel, Berger Jonathan
Center for Computer Research in Music and Acoustics, Stanford University, Stanford, CA, United States.
Department of Psychology, Stanford University, Stanford, CA, United States.
Front Psychol. 2023 Jun 2;14:1187153. doi: 10.3389/fpsyg.2023.1187153. eCollection 2023.
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.
心流被定义为一种全身心投入某项活动的状态，包括专注的注意力、深度参与、自我意识的丧失以及自我感知的时间扭曲。音乐心流与表现的提升有关，但此前的大量研究都使用自我报告法来研究心流机制。因此，对于可能诱发或扰乱心流的精确音乐特征知之甚少。这项工作旨在从音乐表演的角度考虑心流体验，以研究这些特征，并介绍一种实时测量心流的方法。在研究1中，音乐家们回顾了一段自己表演的自选视频，首先记录在表演中他们回忆起“沉浸在音乐中”的位置，其次记录他们专注状态被打断的位置。对参与者心流体验的主题分析表明，心流的诱发和扰乱与时间、动态、音高和音色维度有关。在研究2中，音乐家们被带到实验室，在演奏自选音乐作品时进行录音。接下来，要求参与者估计他们表演的时长，并重新观看录音，标记出他们回忆起“瞬间沉浸其中”的位置。我们发现，在心流中花费的表演时间比例与自我报告的心流强度显著相关，这提供了一种心流的内在测量方法，并证实了我们捕捉音乐表演中心流状态方法的有效性。然后，我们分析了乐谱和参与者演奏的旋律。结果表明，级进、重复序列以及缺乏跳进是进入心流状态的常见特征，而跳进和切分音则是心流状态结束点的常见特征。总体而言，这些初步发现为未来的研究指明了方向，并且它们对于在音乐表演情境中利用心流具有启示意义。
