My OperaEducational Implications of Flow
Thursday, April 13, 2006 3:48:31 AM
Most people have experienced periods in their lives where they have lost track of time while completing a task or activity that is fulfilling and rewarding. However, as discussed at length in Flow: The Psychology of Optimal Experience (Csikszentmihalyi, 1990), there are a growing number of distractions in life that prevent us from entering such activities (e.g., television, media, and conflict) or such activities appropriately. An increasing number of people are prevented from focusing on the appropriate activity - by distractions and unfulfilling activities - that would allow them to enter a flow state. Flow, or optimal experience, is when a person becomes entirely absorbed in an enjoyable, fulfilling, and challenging activity where time flies by unnoticed. Csikszentmihalyi, the premiere researcher in
the field of flow or optimal experience explains, defends, and otherwise reported his research findings in Flow and enlightens readers on how to experience flow.
Csikszentmihalyi first identified those factors that people who regularly experience flow report contribute to their optimal experiences. The factors are detailed as essential steps:
-set an overall goal and sub-goals
-find ways of measuring progress in terms of achieving goals
-concentrate or focus on an activity and continually increase challenge
-develop skills necessary to complete activities or tasks
-continually increase challenge and stakes when an activity becomes boring
This basic approach aligns with those purported by researchers of self-regulation. Of particular note is the emphasis placed on goals and values. If a person begins an activity that does not parallel their goals and values, they are likely not to find it relevant, meaningful, or enjoyable. Ormrod (2004) for example suggested that self-regulated learning typically includes (a) goal setting, (b) planning, (c) self-motivation, (d) attention control, (e) application of learning strategies, (f) self-monitoring, (g) self-evaluation, and (h) self-reflection. When compared to Csikszentmihalyi’s steps above, we could hypothesize that self-regulated learners frequently experience flow.
The theory of flow, beyond those suggested in spiritual documents or self-regulation theory takes one more step: that challenge and skill must be balanced. Csikszentmihalyi presented a model suggesting that there is a relatively narrow area of flow. Activities or tasks presenting challenges beyond a person’s skill will prevent flow and the experience will not be enjoyable; activities that are trivial given a person’s skill level will result in boredom and will equally not be enjoyable. Therefore, included in Ormrod’s (2004) list of components in self-regulated learning or Csikszentmihalyi’s theory of optimal experience are the important elements of self-monitoring and continued adjustment of challenge. According to the latter researcher, this can be done by changing goals. Whereas some would say the journey is important – it is after all when flow occurs - according to the theory of flow it is the goal that is important. Csikszentmihalyi suggested that even a trivial activity such as walking can be rewarding and enjoyable if goals are incrementally modified to introduce a challenge.
Flow contains striking resemblances to many other books that have articulated how to create a rewarding life. In particular, philosophical and theological books bear significant similarities to the scientific foundations of Csikszentmihalyi’s theory. One book that particularly parallels the concepts behind optimal experience, albeit on a spiritual level, is The Seven Spiritual Laws of Success(Chopra, 1994). Chopra discussed how each person, in order to experience true success, must find the one thing that they were intended to do in their life. The concept is that based on a heavenly design, each person – due to their unique personalities, capabilities, and aptitudes – is best suited for one particular field of work or activity. When a person is matched with their appropriate career, for example, they will more likely experience success due to fulfillment and enjoyment. Chopra compounds his discussion with the necessity of silencing the mind, deemphasizing selfishness, and experiencing stillness in order to be in touch with one’s true self.
Chopra’s (1994) theory resembles many Eastern philsophies and religions, in particular Zen Buddhism (e.g., Kapleau, 1989), a religion that mandates meditation and exercises for the mind that contribute to complete focus, complete calming of the mind’s thoughts, and complete selflessness. While Csikszentmihalyi does allude to spirit and soul, the thesis of his book is not on a spiritual level but a psychological, scientific level. Despite a research based approach to the phenomenon studied, the intent is strikingly similar to those of the aforementioned spiritual writers: how can we more consistently enter those experiences that we can most enjoy and be rewarded by?
Implications for Music Educators
So what do all these theories have to do with music education? Research has suggested that it takes thousands of hours of purposeful, disciplined practice to become a professional musician (McPherson & Zimmerman, 2002; Barry & Hallam, 2002). It could be that people capable of amassing these cumulative hours of independent practice are more likely to become our best musicians and have a great capacity for self-directed learning. It helps if music performance (including practice and rehearsal) is an enjoyable, rewarding experience and this demands that we consider flow. In order to help our students experience flow frequently while performing on an instrument or voice, for example, educators need to (a) help students develop and adjust goals, (b) guide students in monitoring their progress, (c) introduce constantly evolving challenges, and most importantly (d) train students in skills necessary to consistently meet these evolving musically related challenges.
Csikszentmihalyi’s Flow (1990) is an important contribution to helping people, and musicians, experience a more rewarding life. Although the text contains many more suggestions and discussion than discussed in this paper, by attending to the suggestions will help students, and music educators themselves, align their goals and activities and apply proper thoughts to getting the most out of their experiences.
References
Barry, N. H., & Hallam, S. (2002) Practice. In R. Parncutt & G. E. McPherson (Eds.), The Science and Psychology of Music Performance (pp. 167-182). New York: Oxford University Press.
Chopra, D. (1994). The seven spiritual laws of success. San Rafael, CA: Amber – Allen Press.
Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York: Harper and Rowe.
McPherson, G. E., & Zimmerman, B. J. (2002). Self-regulation of musical learning: A social cognitive perspective. In R. Colwell & C. Richardson (Eds.), The New Handbook of Music Teaching and Learning, (pp. 327-347). New York: Oxford University Press.
Ormrod, J. E. (2004). Human Learning. Upper Saddle Back River, NJ: Pearson Merrill Prentice Hall.
Kapleau, R. P. (1989). The three pillars of zen. New York: Doubleday.
the field of flow or optimal experience explains, defends, and otherwise reported his research findings in Flow and enlightens readers on how to experience flow.
Csikszentmihalyi first identified those factors that people who regularly experience flow report contribute to their optimal experiences. The factors are detailed as essential steps:
-set an overall goal and sub-goals
-find ways of measuring progress in terms of achieving goals
-concentrate or focus on an activity and continually increase challenge
-develop skills necessary to complete activities or tasks
-continually increase challenge and stakes when an activity becomes boring
This basic approach aligns with those purported by researchers of self-regulation. Of particular note is the emphasis placed on goals and values. If a person begins an activity that does not parallel their goals and values, they are likely not to find it relevant, meaningful, or enjoyable. Ormrod (2004) for example suggested that self-regulated learning typically includes (a) goal setting, (b) planning, (c) self-motivation, (d) attention control, (e) application of learning strategies, (f) self-monitoring, (g) self-evaluation, and (h) self-reflection. When compared to Csikszentmihalyi’s steps above, we could hypothesize that self-regulated learners frequently experience flow.
The theory of flow, beyond those suggested in spiritual documents or self-regulation theory takes one more step: that challenge and skill must be balanced. Csikszentmihalyi presented a model suggesting that there is a relatively narrow area of flow. Activities or tasks presenting challenges beyond a person’s skill will prevent flow and the experience will not be enjoyable; activities that are trivial given a person’s skill level will result in boredom and will equally not be enjoyable. Therefore, included in Ormrod’s (2004) list of components in self-regulated learning or Csikszentmihalyi’s theory of optimal experience are the important elements of self-monitoring and continued adjustment of challenge. According to the latter researcher, this can be done by changing goals. Whereas some would say the journey is important – it is after all when flow occurs - according to the theory of flow it is the goal that is important. Csikszentmihalyi suggested that even a trivial activity such as walking can be rewarding and enjoyable if goals are incrementally modified to introduce a challenge.
Flow contains striking resemblances to many other books that have articulated how to create a rewarding life. In particular, philosophical and theological books bear significant similarities to the scientific foundations of Csikszentmihalyi’s theory. One book that particularly parallels the concepts behind optimal experience, albeit on a spiritual level, is The Seven Spiritual Laws of Success(Chopra, 1994). Chopra discussed how each person, in order to experience true success, must find the one thing that they were intended to do in their life. The concept is that based on a heavenly design, each person – due to their unique personalities, capabilities, and aptitudes – is best suited for one particular field of work or activity. When a person is matched with their appropriate career, for example, they will more likely experience success due to fulfillment and enjoyment. Chopra compounds his discussion with the necessity of silencing the mind, deemphasizing selfishness, and experiencing stillness in order to be in touch with one’s true self.
Chopra’s (1994) theory resembles many Eastern philsophies and religions, in particular Zen Buddhism (e.g., Kapleau, 1989), a religion that mandates meditation and exercises for the mind that contribute to complete focus, complete calming of the mind’s thoughts, and complete selflessness. While Csikszentmihalyi does allude to spirit and soul, the thesis of his book is not on a spiritual level but a psychological, scientific level. Despite a research based approach to the phenomenon studied, the intent is strikingly similar to those of the aforementioned spiritual writers: how can we more consistently enter those experiences that we can most enjoy and be rewarded by?
Implications for Music Educators
So what do all these theories have to do with music education? Research has suggested that it takes thousands of hours of purposeful, disciplined practice to become a professional musician (McPherson & Zimmerman, 2002; Barry & Hallam, 2002). It could be that people capable of amassing these cumulative hours of independent practice are more likely to become our best musicians and have a great capacity for self-directed learning. It helps if music performance (including practice and rehearsal) is an enjoyable, rewarding experience and this demands that we consider flow. In order to help our students experience flow frequently while performing on an instrument or voice, for example, educators need to (a) help students develop and adjust goals, (b) guide students in monitoring their progress, (c) introduce constantly evolving challenges, and most importantly (d) train students in skills necessary to consistently meet these evolving musically related challenges.
Csikszentmihalyi’s Flow (1990) is an important contribution to helping people, and musicians, experience a more rewarding life. Although the text contains many more suggestions and discussion than discussed in this paper, by attending to the suggestions will help students, and music educators themselves, align their goals and activities and apply proper thoughts to getting the most out of their experiences.
References
Barry, N. H., & Hallam, S. (2002) Practice. In R. Parncutt & G. E. McPherson (Eds.), The Science and Psychology of Music Performance (pp. 167-182). New York: Oxford University Press.
Chopra, D. (1994). The seven spiritual laws of success. San Rafael, CA: Amber – Allen Press.
Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York: Harper and Rowe.
McPherson, G. E., & Zimmerman, B. J. (2002). Self-regulation of musical learning: A social cognitive perspective. In R. Colwell & C. Richardson (Eds.), The New Handbook of Music Teaching and Learning, (pp. 327-347). New York: Oxford University Press.
Ormrod, J. E. (2004). Human Learning. Upper Saddle Back River, NJ: Pearson Merrill Prentice Hall.
Kapleau, R. P. (1989). The three pillars of zen. New York: Doubleday.
