{"id":4825,"date":"2021-04-06T11:07:51","date_gmt":"2021-04-06T15:07:51","guid":{"rendered":"https:\/\/sites.music.mcgill.ca\/mpbs\/?page_id=4825"},"modified":"2021-04-20T10:54:27","modified_gmt":"2021-04-20T14:54:27","slug":"go-with-the-flow","status":"publish","type":"page","link":"https:\/\/sites.music.mcgill.ca\/mpbs\/stressed\/go-with-the-flow\/","title":{"rendered":"Go with the flow!"},"content":{"rendered":"
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Tomorrow is the big day: my graduation recital. I will get to play all these beautiful pieces I’ve been practicing so hard for the past year… What a joy to share music with the people I love!… Actually\u2026 I can’t wait to be done with this burden\u2026 I will finally be free\u2026! Hold on. I feel butterflies in my stomach. I think I will be sick… What if I cancel?!… No way… I love the pieces!\u2026 I have prepared for it. <\/em>Wait… The entire school should be there<\/em>… The other students from my studio will probably judge me. Oh no, I don\u2019t feel hungry at all!… I think I am skipping dinner… <\/em><\/p><\/blockquote>\n\n\n\n

(The day after\u2026)<\/strong><\/span><\/p>\n\n\n\n

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Ok… I am about to enter stage… Lights are off. The concert hall suddenly feels so cold\u2026 My hands are sweating! My heart is suddenly beating so strong! Wait\u2026 my mouth is so dry. I feel like I have a stone in my stomach… My energy level is so high.<\/em>.. I am breathing too fas<\/em>t! Deep inhale. Exhale. Focus. It\u2019s time. I got this<\/em>!<\/p><\/blockquote>\n\n\n\n

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STOP<\/span> – <\/span><\/strong><\/p>\n\n\n\n

Let\u2019s freeze in that story for a moment. <\/strong><\/p>\n\n\n\n

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As a musician, have you ever felt similarly before a performance?<\/p>\n\n\n\n

I am guessing you probably have\u2026 <\/p>\n\n\n\n

Also, you probably might have already experienced a Flow state <\/strong>when performing.<\/p>\n\n\n\n

Hold on\u2026 Flow?!?! Don\u2019t you mean Music Performance Anxiety???<\/span><\/em><\/p>\n\n\n\n

Well\u2026 I actually would like to discuss both. Music Performance Anxiety (MPA), sometimes called stage fright,<\/strong> is an exaggerated and incapacitating fear of performing in public. <\/p>\n\n\n\n

It afflicts individuals who are generally prone to anxiety, particularly in situations of high public exposure and competitive scrutiny, and so is best understood as a form of social phobia (a fear of humiliation).” (Wilson & Roland, 2002)<\/p><\/blockquote>\n\n\n\n

But you probably already know a lot about music performance anxiety (MPA)<\/strong>, as this is a very common problem among musicians… Because of that, I’d like to introduce you to the concept of flow<\/strong> on this blog post, which has been found to help transform MPA into a more positive energy. <\/p>\n\n\n

[toggle title=”<\/strong>WHAT IS FLOW?<\/strong>“]Flow is, at the same time, a relaxed but intensely focused state that has received attention as being among the indicators of an individual\u2019s well-being. Often described by sport athletes as \u201cbeing in the zone\u201d, there are three common elements usually present in the flow state: absorption (\u2018\u2018the total immersion in an activity\u2019\u2019), enjoyment, and intrinsic motivation.
\nIn order to experience flow during a performance, one needs to be deeply and actively involved in the task, with a high level of concentration and performing at the peak of their ability, which indicates a state of heightened arousal (De Manzano et al., 2010).
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Now, let me give you some good news:<\/h4>\n\n\n

Flow experiences<\/strong> are also very common among music performers. A previous study has shown that 95% of elite music students and 87% of amateur students reported experiencing flow frequently (Sinnamon et al., 2012).<\/p><\/blockquote>\n\n\n\n

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According to several studies, flow can also be perceived as positive stress (eustress)<\/strong>, which is usually the result of more manageable levels of stress.<\/p>\n\n\n\n

\u201cHold on\u2026 positive stress??? Isn\u2019t stress bad???\u201d<\/strong><\/em><\/p>\n\n\n\n

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Well… stress can be both very detrimental and beneficial! Stress by itself is not bad, but anxiety, chronic stress and not returning to a resting state (homeostasis) can be really detrimental to our health and general sense of well-being. In music specifically, stress can harm our performance abilities. But I am sure you probably know a lot about the detrimental aspects of distress<\/strong>.<\/p>\n\n\n\n

Now, let’s keep focusing on the good news.<\/p>\n\n\n\n

\u201cNow you are being very optimistic\u2026 is there anything positive about being stressed out?!?!\u201d<\/strong><\/em><\/p>\n\n\n\n

Well, if you are trying to achieve an optimal performance state<\/strong>, yes, there is!!! <\/p>\n\n\n\n

[toggle title=”BUT… IS FLOW A RELAXED STATE?<\/strong>“]According to previous studies, the experience of flow is associated to an increased level of arousal through a co-activation of the sympathetic<\/strong> and parasympathetic nervous system<\/strong> (de Manzano et al., 2010; Harmat et al., 2015).\"\"<\/a>Therefore, an increased arousal on both parasympathetic and sympathetic systems<\/strong> results in simultaneous relaxation and readiness for action. Flow is therefore described as a state of:<\/p>\n

effortless attention that can be experienced during task performance as a result of an interaction between emotional and attentional systems\u201d (Ull\u00e9n et al., 2010).<\/p><\/blockquote>\n

This helps us understand why increased arousal is beneficial and even necessary to music performance.
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[toggle title=”HOW DOES AROUSAL DURING MPA AND FLOW DIFFER?<\/strong>“]That\u2019s a good question. Research suggests that moderate physiological arousal should facilitate flow-experience, but excessive physiological arousal hinders flow and often causes MPA. The relation between arousal and level of performance follows an inverted U-curve as shown below:\"\"<\/a>
\nNow, let\u2019s go back to the initial story for a moment. Below are some of the symptoms mentioned by the narrator and the physiological explanation of why we often feel this way before a performance. <\/p>\n\n\n\n\n\n\n
Butterflies in the stomach; \u201cdon’t feel hungry\u201d<\/strong><\/td>\nDiversion of resources away from digestion in order to be ready to an emergency situation<\/strong><\/td>\n<\/tr>\n
Cold and sweaty hands<\/strong><\/td>\nActivation of the body\u2019s cooling system<\/strong><\/td>\n<\/tr>\n
Dry mouth<\/strong><\/td>\nRedirection of body fluids such as saliva into the bloodstream<\/strong><\/td>\n<\/tr>\n
“Heart beating so fast\u201d<\/strong><\/td>\nIncreased heart pumping<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Although often associated to MPA, these symptoms may also relate to a flow state, when the level of focus and concentration is high. Being aware of this may help musicians understand what is going on in their bodies when they are about to perform and demonstrate that these body reactions should not necessarily be perceived as negative and distressful.<\/p>\n

We can say flow and performance anxiety are antithetical states, which means that they are negatively related (Fullagar et al, 2013). The two can exist simultaneously but the presence of one minimizes the potential of the other.[\/toggle]<\/p>\n\n\n

[toggle title=”HOW DO WE DESCRIBE FLOW???<\/strong>“]Studies in Flow generally use nine specific dimensions to describe this state in performers, which are:<\/p>\n

1. Balance between perceived challenge and skill to overcome it.<\/strong><\/span>
\n2. Action-awareness merging (doing things spontaneously and automatically without having to think).<\/strong><\/span>
\n3. Clear goals (a strong sense of what to do).<\/strong><\/span>
\n4. Unambiguous feedback (a good perception of how well one is doing during the performance itself).<\/strong><\/span>
\n5. High concentration (being completely focused on the task).<\/strong><\/span>
\n6. Sense of control (having a feeling of total control over the performance).<\/strong><\/span>
\n7. Loss of self-consciousness (not worrying about what others may think if oneself).<\/strong><\/span>
\n8. Transformation of time (a sense that time passes in a way that is different from normal).<\/strong><\/span>
\n9. Autotelic experience (feeling the experience to be extremely rewarding).<\/strong><\/span><\/h4>\n

(Sinnamon et al., 2012)<\/strong>
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[toggle title=”FLOW AND PHYSIOLOGY<\/strong>“]Previous studies demonstrated that Flow has physiological effects on the performer and suggested that Electromyography (EMG)<\/strong>, cardiovascular<\/strong>, and respiratory measures<\/strong> are all significantly associated with the flow experience.
\nDe Manzano et al.,(2010) suggested that:<\/p>\n

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During a physically and cognitively demanding task, an increased activation of the sympathetic branch of the autonomic nervous system in combination with deep breathing and activation of the zygomaticus muscle might potentially be used as an indicator of effortless attention and flow.\u201d (De Manzano et al., 2010, p. 306)<\/h5>\n
“It is interesting to note that a concomitant increase in parasympathetic tone to counter sympathetic activation has also been found to occur during attention demanding meditative states that are characterized by a combination of restfulness and heightened concentration\u201d. (De Manzano et al., 2010, p. 306)
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HOW CAN I MANAGE MY STRESS TO AN OPTIMAL LEVEL IN ORDER TO FACILITATE FLOW?<\/strong> <\/span><\/h3>\n\n\n\n
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I don\u2019t think there is a magic formula for that (at least not yet!) but right now you are already on the right track and asking yourself the right question. Have you heard about Positive Psychology<\/strong> in music? (Yes\u2026 I still want to give you more positive insights in this blog post!)
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The positive psychology movement led by Dr. Seligman (2011) suggests that health is not only the absence of pathology or disease, but rather the presence of well-being. In this way, he suggests that methods to facilitate positive functioning need to be actively cultivated. Based on that, our target as musicians shouldn\u2019t be restricted to finding solutions to reduce MPA, rather we should focus on both facilitating flow as well as reducing MPA.<\/strong> This approach could be very beneficial and effective to achieve an optimal performance level.<\/p>\n\n\n\n

If such an intervention became a normative part of the music education process, musicians would be able to acquire the necessary performing skills to enable them to produce optimal performances, without suffering from stigmatized, debilitating MPA or needing to resort to pharmacological help.” (De Manzano Et al., 2012)<\/p><\/blockquote>\n\n\n\n

Ok, now that we have adopted a more positive approach, let\u2019s go back to the initial question:<\/p>\n\n\n\n

Many approaches exist and need to be chosen according to each individual’s needs.
Here are two strategies that should help musicians reach flow and provide support to educators who seek to foster optimal performance experiences with their students.<\/p>\n\n\n\n

[accordion multiopen=”true”]<\/p>\n\n\n

[toggle title=”CHALLENGE\/SKILL BALANCE<\/strong>“]Among the nine dimensions that can induce the flow state, challenge\/skill balance is the most dominant one and has a central role in understanding optimal performance.
\nThere are basically two components of this dimension that must be met to achieve a flow state:
\n1. The perceived challenges required to complete the task must match the perceived skills of the performer<\/strong><\/span> (Nakamura & Csikszentmihalyi, 2002);
\n2. Challenges and skills should be at a moderate to high level, so that the activity is challenging but at the same time doesn\u2019t overcome the skills.<\/strong><\/span>
\nFor example, if a music student is working on a piece that is too easy for their skills, they might get bored. On the other hand, if the repertoire is too challenging and overmatch the existing skills of the performer, they might easily enter the anxiety state. Check the following section for a challenge\/skill balance quick check up![\/toggle]<\/p>\n\n\n

[toggle title=”QUICK SELF CHECK UP<\/strong>:”]Let\u2019s do a quick challenge\/skill balance check up<\/strong><\/span>. Grab a piece of paper and write down your answers from 1 to 5: How often do you feel this way<\/strong>?<\/p>\n

“I feel too anxious and stressed when working on this repertoire. I don\u2019t feel motivated to practice.”<\/em><\/strong><\/span>
            1.Never      2.Rarely      3.Sometimes      4.Quite often      5.Always<\/strong><\/p>\n

“It feels like time passes so slowly when I am practicing. The repertoire I am playing seems boring and I often get trapped by other distractions such as my phone.”<\/em><\/strong><\/span>
           1.Never      2.Rarely      3.Sometimes      4.Quite often      5.Always<\/strong><\/p>\n

\u201cI am not sure exactly how to work on the technical aspects of this piece in order to perform it well.\u201d<\/em><\/strong><\/span>
           1.Never      2.Rarely      3.Sometimes      4.Quite often      5.Always<\/strong><\/p>\n

“I don\u2019t have a clear plan for my practice this week.\u201d<\/em><\/strong><\/span>
           1.Never      2.Rarely      3.Sometimes      4.Quite often      5.Always<\/strong><\/p>\n

“I have already overcome most of the challenges of this repertoire. It feels too easy and not engaging at<\/em><\/strong><\/span>
this point.”<\/em><\/strong><\/span>
           1.Never      2.Rarely      3.Sometimes      4.Quite often      5.Always<\/strong><\/p>\n

Now take some time to sum up all the points for your answers.<\/strong>
Depending on your total amount, here are some tips for you:<\/strong><\/p>\n

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[toggle title=”SETTING CLEAR PRACTICE GOALS<\/strong>“]This is very simple to understand: in order to perform, we need to practice and in order to achieve an optimal performance, we also need to prepare ourselves with an optimal practice session.<\/strong>
\nMany studies show that goal setting<\/span><\/strong> encourages the development of flow. Also, there is evidence that the parameter of setting clear goals is higher in sport athletes than in musicians when the two groups are compared. This is an expected result, since it is easier to set goals in sport where there is a better sense of control of the achievement, than in music, which is an artistic discipline and subject to individual interpretations (Habe et al, 2019).
\nSetting clear goals is a key element to build an optimal practice environment when one feels an intense concentration and clear internal feedback (Ara\u00fajo, 2019). Therefore, musicians should create optimal goals for each practice section, which are clear, proximal<\/span>, achievable<\/span> and challenging<\/span>.<\/strong> In the same way, teachers should also work on this with their student in order to help them setting practice goals.
\nWhen experiencing flow during practice, there is often a feeling that the session was a rewarding one and that the time has passed differently from the norm. (Ara\u00fajo, 2019).
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To conclude…<\/span><\/strong><\/h2>\n\n\n\n

Striving for an optimal practice is the first step to achieve an optimal performance. So\u2026 don\u2019t wait any longer! Before you start your practice session today, grab a piece of paper and ask yourself the following questions:<\/p>\n\n\n\n

  1. What are my practice goals for this session?<\/strong> Take some time to define and write down clear, challenging, achievable and proximal goals.<\/li><\/ol>\n\n\n\n
    1. Am I giving myself enough feedback about my own performances?<\/strong> <\/li><\/ol>\n\n\n\n