Getting into the musical zone: Trait emotional intelligence and amount of practice predict flow in pianists

Frontiers in Psychology

Volumn 4, Issue NOV, 2013, Pages

  Marin, Manuela M ^a   Bhattacharya, Joydeep ^b  

^a UNIVERSITY OF VIENNA   (Austria)

^b UNIVERSITY OF LONDON   (United Kingdom)

Author keywords

Altered states of consciousness; Autotelic personality; Emotion; Music performance; Optimal experience

Indexed keywords

EID: 84889659871     PISSN: None     EISSN: 16641078     Source Type: Journal    
DOI: 10.3389/fpsyg.2013.00853     Document Type: Article

References (104)

1. Asakawa, K. (2010). Flow experience, culture, and well-being: how do autotelic Japanese college students feel, behave, and think in their daily lives? J. Happiness Stud. 11, 205-223. doi: 10.1007/s10902-008-9132-3
2. Baker, F. A., and MacDonald, R. A. (2013). Flow, identity, achievement, satisfaction and ownership during therapeutic songwriting experiences with university students and retirees. Music Sci. 17, 197-229. doi: 10.1177/1029864913476287
3. Bakker, A. B. (2005). Flow among music teachers and their students: the crossover of peak experiences. J. Vocat. Behav. 66, 26-44. doi: 10.1016/j.jvb.2003.11.001
4. Bigand, E., Vielliard, S., Madurell, F., Marozeau, J., and Dacquet, A. (2005). Multidimensional scaling of emotional responses to music: the effect of musical expertise and of the duration of the excerpts. Cogn. Emot. 19, 1113-1139. doi: 10.1080/02699930500204250
5. Bloom, A. J., and Skutnick-Henley, P. (2005). Facilitating flow experiences among musicians. Am. Music Teacher 54, 24-28.
6. Busch, H., Hofer, J., Chasiotis, A., and Campos, D. (2013). The achievement flow motive as an element of the autotelic personality: predicting educational attainment in three cultures. Eur J. Psychol. Educ. 28, 239-254. doi: 10.1007/s10212-012-0112-y
7. Buttsworth, L. M., and Smith, G. A. (1995). Personality of Australian performing musicians by gender and by instrument. Pers. Indiv. Differ. 18, 595-603. doi: 10.1016/0191-8869(94)00201-3
8. Charyton, C., and Snelbecker, G. E. (2010). General, artistic, and scientific creativity attributes of engineering and music students. Creat. Res. J. 19, 213-225. doi: 10.1080/10400410701397271
9. Chmurzynska, M. (2012). "Personality conditions of pianists' achievements," in Proceedings of the 12th International Conference on Music Perception and Cognition and 8th Triennal Conference of the European Society of the Cognitive Sciences of Music, eds. E. Cambouropoulos, C. Tsougras, P. Mavromatis, and K. Pastiadis (Thessaloniki: Aristotle University of Thessaloniki), 214-221.
10. Clarke, S. G., and Haworth, J. T. (1994). Flow experience in the daily lives of sixth-form college students. Br. J. Psychol. 85, 511-523. doi: 10.1111/j.2044-8295.1994.tb02538.x
11. Cooper, C. L., and Wills, G. I. D. (1989). Popular musicians under pressure. Psychol. Music 17, 22-36. doi: 10.1177/0305735689171003
12. Cribb, C., and Gregory, A. H. (1999). Stereotypes and personalities of musicians. J. Psychol. Inter. Appl. 133, 104-114. doi: 10.1080/00223989909599725
13. Cronbach, L. J. (1951). Coefficient alpha and the internal structure of tests. Psychometrika 16, 297-334. doi: 10.1007/BF02310555
14. Crust, L., and Swann, C. (2013). The relationship between mental toughness and dispositional flow. Eur. J. Sport Sci. 13, 215-220. doi: 10.1080/17461391.2011.635698
15. Csikszentmihalyi, M. (1975). Beyond Boredom and Anxiety. San Francisco, CA: Jossey-Bass.
16. Csikszentmihalyi, M. (1990). Flow: The Psychology of Optimal Performance. New York, NY: Cambridge University Press.
17. Csikszentmihalyi, M. (2002). Flow: The Classic Work on How to Achieve Happiness. London: Rider.
18. Csikzentmihalyi, M., and Csikzentmihalyi, I. (eds.). (1988). Optimal Experience: Psychological Studies of Flow in Consciousness. Cambridge: Cambridge University Press. doi: 10.1017/CBO9780511621956
19. Csikszentmihalyi, M., and LeFevre, J. (1989). Optimal experience in work and leisure. J. Per. Soc. Psychol. 56, 815-822. doi: 10.1037/0022-3514.56.5.815
20. Custodero, L. (2002). Seeking challenge, finding skill: flow experience in music education. Arts Educ. Policy Rev. 103, 3-9. doi: 10.1080/10632910209600288
21. Custodero, L. (2005). Observable indicators of flow experience: a developmental perspective of musical engagement in young children from infancy to school age. Music Edu. Res. 7, 185-209. doi: 10.1080/14613800500169431
22. Custodero, L. (2012). "The call to create: flow experience in musical learning and teaching," in Musical Imaginations, eds D. Hargreaves, D. Miella, and R. MacDonald (Oxford: Oxford University Press), 369-384.
23. Dellacherie, D., Roy, M., Hugueville, L., Peretz, I., and Samson, S. (2011). The effect of musical experience on emotional self-reports and psychophysiological responses to dissonance. Psychophysiology 48, 337-349. doi: 10.1111/j.1469-8986.2010.01075.x
24. De Manzano, O., Cervenka, S., Jucaite, A., Hellenas, O., Farde, L., and Ullen, F. (2013). Individual differences in the proneness to have flow experiences are linked to dopamine D2-receptor availability in the dorsal striatum. Neuroimage 67, 1-6. doi: 10.1016/j.neuroimage.2012.10.072
25. De Manzano, O., Theorell, T., Harmat, L., and Ulle, F. (2010). The psychophysiology of flow during piano playing. Emotion 10, 301-311. doi: 10.1037/a0018432
26. DeNeve, K. M., and Cooper, H. (1998). The happy personality: a meta-analysis of 137 personality traits and subjective well-being. Psychol. Bull. 124, 197-229. doi: 10.1037/0033-2909.124.2.197
27. Diaz, F. M. (2011). Mindfulness, attention, and flow during music listening: an empirical investigation. Psychol. Music 41, 42-58. doi: 10.1177/0305735611415144
28. Eisenberger, R., Jones, J. R., Stinglhamber, F., Shanock, L., and Randall, A. T. (2005). Flow experiences at work: for high achievers alone? J. Organiz. Behav. 26, 755-775. doi: 10.1002/job.337
29. Ericsson, K. A. (2006). "The influence of experience and deliberate practice on the development of superior expert performance," in Cambridge Handbook of Expertise and Expert Performance, eds K. A. Ericsson, N. Charness, P. Feltovich, and R. R. Hoffman (Cambridge: Cambridge University Press), 685-706. doi: 10.1017/CBO9780511816796
30. Freer, P. (2009). Boys' descriptions of their experiences in choral music. Res. Stud. Music Educ. 31, 142-160. doi: 10.1177/1321103X09344382
31. Fritz, B. S., and Avsec, A. (2007). The experience of flow and subjective well-being of music students. Psiholoska Obzorja/Horizons Psychol. 16, 5-17.
32. Fullagar, C. J., Knight, P. A., and Sovern, H. S. (2013). Challenge/skill balance, flow, and performance anxiety. Appl. Psychol. Int. Rev. 62, 236-259. doi: 10.1111/j.1464-0597.2012.00494.x
33. Gabrielsson, A. (2002). Emotion perceived and emotion felt: same or different? Music Sci. Special issue 2011-2002, 123-147.
34. Gabrielsson, A. (2003). Music performance research that the millennium. Psychol. Music 31, 221-272. doi: 10.1177/03057356030313002
35. Gibson, C., Folley, B. S., and Park, S. (2009). Enhanced divergent thinking and creativity in musicians: a behavioural and near-infrared spectroscopy study. Brain Cogn. 69, 162-169. doi: 10.1016/j.bandc.2008.07.009
36. Goleman, D. (1995). Emotional Intelligence. New York, NY: Bantham Book.
37. Hallam, S. (1997). "What do we know about practising? Towards a model synthesising the research literature," in Does Practice Make Perfect? Current Theory and Research on Instrumental Music Performance, eds Jorgensen, H. and A. C. Lehmann (Oslo: Norwegian State Academy of Music), 179-231.
38. Hatfield, E., Cacioppo, J., and Rapson, R. L. (1994). Emotional Contagion. New York, NY: Cambridge University Press.
39. Hayes, A. F. (2012). PROCESS: A Versatile Computational Tool for Observed Variable Mediation, Moderation, and Conditional Process Modeling [White paper]. Available online at: http://www.afhayes.com/
40. Hernandez, D., Russo, S. A., and Schneider, B. (2009). The psychological profile of a rock band: using intellectual and personality measures with musicians. Med. Probl. Perform. Ar. 24, 71.
41. Holm, S. (1979). A simple sequentially rejective multiple test procedure. Scand. J. Stat. 6, 65-70.
42. Howell, D. C. (2002). Statistical Methods for Psychology. Pacific Grove, CA: Wadsworth.
43. Jackson, S. A. (1996). Toward a conceptual understanding of the flow experience in elite athletes. Res. Q. Exercise Sport 67, 76-90. doi: 10.1080/02701367.1996.10607928
44. Jackson, S. A. (1999). "Joy, fun, and flow state in sport," in Emotions in Sports, ed Y. L. Hannin (Illinois, IL: Human Kinetics), 135-156.
45. Jackson, S. A., and Eklund, R. C. (2002). Assessing flow in physical activity: the flow state scale-2 (FSS-2) and dispositional flow scale-2 (DFS-2). J. Sport Exerc. Psychol. 24, 133-150.
46. Jackson, S. A., and Eklund, R. C. (2004). The Flow Scales Manual. Morgantown, WV: Fitness Information Technology.
47. Jackson, S. A., and Marsh, H. W. (1996). Development and validation of a scale to measure optimal experience: the flow state scale. J. Sport Exerc. Psychol. 18, 17-35.
48. Jackson, S. A., Thomas, P. R., Marsh, H. W., and Smethurst, C. J. (2001). Relationships between flow, self-concept, psychological skills, and performance. J. Appl. Sport Psychol. 13, 154-178. doi: 10.1080/104132001753149865
49. Juslin, P. N., and Sloboda, J. A. (2010). Handbook of Music and Emotion. Oxford: Oxford University Press.
50. Kallinen, K. (2005). Emotional ratings of music excerpts in the western art music repertoire and their self-organization in the Kohonen neural network. Psychol. Music 33, 373-393. doi: 10.1177/0305735605056147
51. Keller, J., and Blomann, F. (2008). Locus of control and the flow experience: an experimental analysis. Eur. J. Pers. 22, 589-607. doi: 10.1002/per.692
52. Kemp, A. E. (1996). The Musical Temperament: Psychology and Personality of Musicians. New York, NY: Oxford University Press. doi: 10.1093/acprof:oso/9780198523628.001.0001
53. Kraus, B. N. (2003). Musicians in flow. Optimal experience in the wind ensemble rehearsal. Dissertation abstract international section A. Hum. Soc. Sci. 64, 839.
54. Kuhnle, C., Hofer, M., and Kilian, B. (2012). Self-control as predictor of school grades, life balance, and flow in adolescents. Br. J. Educ. Psychol. 82, 533-548. doi: 10.1111/j.2044-8279.2011.02042.x
55. Lamont, A. (2009). "Strong experiences of music in university students," in Proceedings of the 7th Triennial Conference of the European Society of the Cognitive Sciences of Music, eds J. Louhivuori, T. Eerola, S. Saarikallio, T. Himberg and P.-S. Eerola (Jyväskylä: University of Jyväskylä), 250-259.
56. Langendörfer, F. (2008). Personality differences among orchestra instrumental groups: Just a stereotype? Pers. Individ. Differ. 44, 610-620. doi: 10.1016/j.paid.2007.09.027
57. Larson, R. (1989). Is feeling "in control" related to happiness in daily life? Psychol. Rep. 64, 775-784. doi: 10.2466/pr0.1989.64.3.775
58. Laukka, P., and Quick, L. (2011). Emotional and motivational uses of music in sports and exercise: a questionnaire study among athletes. Psychol. Music 41, 198-215. doi: 10.1177/0305735611422507
59. Lefcourt, H. M. (1991). "Locus of control," in Measures of Personality and Social Psychological Attitudes, eds J. P. Robinson, P. R. Shaver, and L. S. Wrightman (San Diego, CA: Academic Press), 413-499.
60. Lehmann, A. C., and Ericsson, K. A. (1997). Research on expert performance and deliberate practice: Implications for the education of amateur musicians and music students. Psychomusicology 16, 40-58. doi: 10.1037/h0094068
61. Kenny, D. T., Davis, P., and Oates, J. (2004). Music performance anxiety and occupational stress among opera chorus artists and their relationship with state and trait anxiety and perfectionism. J. Anx. Disord. 18, 757-777. doi: 10.1016/j.janxdis.2003.09.004
62. Levenson, H. (1981). "Differentiating among internality, powerful others, and chance," in Research With the Locus of Control Construct, ed H. Lefcourt (New York, NY: Academic Press), 15-63.
63. Lima, C. F., and Castro, S. L. (2011). Speaking to the trained ear: musical expertise enhances the recognition of emotions in speech prosody. Emotion 11, 1021-1031. doi: 10.1037/a0024521
64. Logan, R. (1988). "Flow and solitary ordeals," in Optimal Experience: Psychological Studies of Flow in Consciousness, eds M. Csikszentmihalyi and I. Csikszentmihalyi (Cambridge: Cambridge University Press), 172-180. doi: 10.1017/CBO9780511621956.010
65. MacDonald, R., Byrne, C., and Carlton, L. (2006). Creativity and flow in musical composition: an empirical investigation. Psychol. Music 34, 292-306. doi: 10.1177/0305735606064838
66. Marchant-Haycox, S. E., and Wilson, G. D. (1992). Personality and stress in performing artists. Pers. Individ. Differ. 13, 1061-1068. doi: 10.1016/0191-8869(92)90021-G
67. Marin, M. M., Gingras, B., and Bhattacharya, J. (2012). Crossmodal transfer of arousal, but not pleasantness, from the musical to the visual domain. Emotion 12, 618-631. doi: 10.1037/a0025020
68. Martin, A. J., and Jackson, S. A. (2008). Brief approaches to assessing task absorption and enhanced subjective experience: examining 'short' and 'core' flow in diverse performance domains. Motiv. Emot. 32, 141-157. doi: 10.1007/s11031-008-9094-0
69. Maslow, A. (1968). Toward a Psychology Being. Oxford: D. Van Nostrand Reinhold Company.
70. Moneta, G. B. (2004). The flow experience across cultures. J. Happiness Stud. 5, 115-121. doi: 10.1023/B:JOHS.0000035913.65762.b5
71. Montag, C., Reuter, M., and Axmacher, N. (2011). How one's favorite song activates the reward circuitry of the brain. Personality matters! Behav. Brain Res. 225, 511-514. doi: 10.1016/j.bbr.2011.08.012
72. Mosing, M. A., Magnusson, P. K. E., Pedersen, N. L., Nakamura, J., Madison, G., and Ullen, F. (2012a). Heritability of proneness for psychological flow experiences. Pers. Individ. Differ. 53, 699-704. doi: 10.1016/j.paid.2012.05.035
73. Mosing, M. A., Pedersen, N. L., Cesarini, D., Johannesson, M., Magnusson, P. K. E., Nakamura, J., et al. (2012b). Genetic and environmental influences on the relationship between flow proneness, locus of control and behavioural inhibition. PLoS ONE 7:e47958. doi: 10.1371/journal.pone.0047958
74. Naditch, M. P., Gargan, M., and Michael, L. (1975). Denial, anxiety, locus of control, and the discrepancy between aspirations and achievements as components of depression. J. Abnorm. Psychol. 84, 1-9. doi: 10.1037/h0076254
75. Nakamura, J., and Csikszentmihalyi, M. (2009). "Flow theory and research," in Handbook of Positive Psychology, eds S. J. Lopez and C. R. Snyder (Oxford: Oxford University Press), 195-206.
76. Nunnally, J. C. (1978). Psychometric Theory, 2nd Edn. New York, NY: McGraw-Hill.
77. O'Neill, S. (1999). Flow theory and the development of musical performance skills. Bull. Coun. Res. Music. Educ. 141, 129-134.
78. Penhune, V. B. (2011). Sensitive periods in human development: evidence from musical training. Cortex 47, 1126-1137. doi: 10.1016/j.cortex.2011.05.010
79. Petrides, K. V. (2011). "Ability and trait emotional intelligence," in The Blackwell-Wiley Handbook of Individual Differences, eds T. Chamorro-Premuzic, A. Furnham, and S. von Stumm, S. (New York, NY: Wiley), 656-678.
80. Petrides, K. V., and Furnham, A. (2006). The role of trait emotional intelligence in a gender-specific model of organizational variables. J. Appl. Soc. Psychol. 36, 552-569. doi: 10.1111/j.0021-9029.2006.00019.x
81. Petrides, K. V., Niven, L., and Furnham, A. (2006). The trait emotional intelligence of ballet dancers and musicians. Psicothema 18(Suppl.), 101-107.
82. Presson, P. K., and Benassi, V. A. (1996). Locus of control orientation and depressive symptomatology: a meta-analysis. J. Soc. Behav. Pers. 11, 201-212.
83. Privette, G. (1983). Peak experience, peak performance and flow: a comparative analysis of positive human experiences. J. Pers. Soc. Psychol. 45, 1361-1368. doi: 10.1037/0022-3514.45.6.1361
84. Privette, G., and Bundrick, C. M. (1991). Peak experience, peak performance, and flow. J. Soc. Behav. Pers. 6, 169-188. doi: 10.1037/0022-3514.45.6.1361
85. Robinson, J. (2005). Emotion and its Role in Literature, Music, and Art. Oxford: Oxford University Press.
86. Rotter, J. B. (1966). Generalized expectancies for internal versus external control of reinforcement. Psychol. Monogr-Gen. A. 80, 1-28. doi: 10.1037/h0092976
87. Russell, J. A. (1980). A circumplex model of affect. J. Pers. Soc. Psychol. 39, 1161-1178. doi: 10.1037/h0077714
88. Salovey, P., Mayer, J. D., Caruso, D., and Yoo, S. H. (2009). "The positive psychology of emotional intelligence," in The Oxford Handbook of Positive Psychology, eds S. J. Lopez and C. R. Snyder (New York: Oxford University Press), 237-248.
89. Sawyer, R. K. (2006). Group creativity: musical performance and collaboration. Psychol. Music 34, 148-165. doi: 10.1177/0305735606061850
90. Seger, J., and Potts, R. (2012). Personality correlates of psychological flow states in videogame play. Curr. Psychol. 31, 103-121. doi: 10.1007/s12144-012-9134-5
91. Sinnamon, S., Moran, A., and O'Connell, M. (2012). Flow among musicians: measuring peak experiences of student performers. J. Res. Music Educ. 60, 6-25. doi: 10.1177/0022429411434931
92. Sloboda, J. A., Davidson, J. W., Howe, M. J. A., and Moore, D. M. (1996). The role of practice in the development of expert musical performance. Br. J. Psycho.87, 287-309. doi: 10.1111/j.2044-8295.1996.tb02591.x
93. Swann, C. Keegan, R. J. Piggott, D., and Crust, L. (2012). A systematic review of the experience, occurrence, and controllability of flow states in elite sport. Psych. Sport Exerc. 13, 807-819. doi: 10.1016/j.psychsport.2012.05.006
94. Tan, F. B., and Chou, J. P. C. (2010). Dimensions of autotelic personality and their effects on perceived playfulness in the context of mobile information and entertainment services. Australas. J. Info. Syst. 17, 5-22.
95. Teng, C. (2011). Who are likely to experience flow? Impact of temperament and character on flow. Pers. Individ. Differ. 50, 863-868. doi: 10.1016/j.paid.2011.01.012
96. Thompson, W. F., Marin, M. M., and Stewart, L. (2012). Reduced sensitivity to emotional prosody in congenital amusia rekindles the musical protolanguage hypothesis. Proc. Natl. Acad. Sci. U.S.A. 109, 19027-19032 doi: 10.1073/pnas.1210344109
97. Thompson, W. F., Schellenberg, E. G., and Husain, G. (2004). Decoding speech prosody: do music lessons help?. Emotion 4, 46-64. doi: 10.1037/1528-3542.4.1.46
98. Thomson, P., and Jaque, V. (2011). "Psychophysiological study: ambulatory measures of the ANS in performing artists," in Proceedings of International Symposium on Performance Science, eds A. Williamon, D. Edwards, and L. Bartel (Utrecht: European Association of Conservatoires (AEC)), 149-154.
99. Trimmer, C. G., and Cuddy, L. L. (2008). Emotional intelligence, not music training, predicts recognition of emotional speech prosody. Emotion 8, 838-849. doi: 10.1037/a0014080
100. Tsay, C.-J. (2013). Sight over sound in the judgment of music performance. Proc. Natl. Acad. Sci. U.S.A. 110, 14580-14585. doi: 10.1073/pnas.1221454110
101. Ullen, F., de Manzano, Ö, Almeida, R., Magnusson, P. K. E., Pedersen, N. L., Nakamura, J., et al. (2012). Proneness for psychological flow in everyday life: associations with personality and intelligence. Pers. Individ. Differ. 52, 167-172. doi: 10.1016/j.paid.2011.10.003
102. Vuust, P., Gebauer, L., Hansen, N. C., Jorgensen, S. R., Moller, A., and Linnet, J. (2010). Personality influences career choice: sensation seeking in professional musicians. Music Educ. Res. 12, 219-230. doi: 10.1080/14613801003746584
103. Watanabe, D., Savion-Lemieux, T., and Penhune, V. B. (2007). The effect of early musical training on adult motor performance: evidence for a sensitive period in motor learning. Exp. Brain Res. 176, 332-340. doi: 10.1007/s00221-006-0619-z
104. Wrigley, W. J., and Emmerson, S. B. (2013). The experience of the flow state in live music performance. Psychol. Music 41, 97-118. doi: 10.1177/0305735611418552