A mixed methods investigation of flow experience in the middle school instrumental music classroom

Abstract

Although flow theory is one way of measuring the quality of a student's experience in a music ensemble, the majority of flow research utilizes samples of high school or collegiate level musicians thus causing us to generalize findings to young adolescent (middle school) populations. Using a convergent parallel mixed methods design, the purpose of this study was to examine factors that may contribute to flow experiences of students in a middle school band. Quantitative data (surveys that included the Experience Sampling Method) and qualitative data (case study of an eighth grade band) were analyzed separately before being merged into a final analysis. Results provide evidence to support that flow is an individualized experience even though students were not in flow based on self-perceived ratings of challenge and skill. Mixed methods results also suggest that young adolescent students may not conceptualize flow in the same manner as older adolescents, thus erroneously suggesting that flow did not occur. Recommendations for future research include exploring alternative vocabulary for flow characteristics for use in Experience Sampling Method surveys, expanding the sample to include music programs at multiple middle schools to create additional regression model predictor variables, and longitudinal explorations of flow over time within large ensembles.

An Exploratory Study of Music Teachers’ Flow Experiences Between Performing and Teaching Music

“…We can also diversify research methods in future studies. The current study adopted self-reporting methods via rating scales and open-ended descriptions, but some scholars also recommend a context-based approach to capture the occurrence of flow in musical settings (Clementson, 2019; Custodero, 2005). Prolonged engagement with research participants and the observation of authentic flow indicators within music teaching settings could help to identify the domain-specific components of flow.…”

Musical interpretative practices as a way to improve the relationship between the flow theory and musical performance

“…Recently, there has been growing interest in the concept of flow, a subjective psychological state often associated with peak performance (Chirico et al, 2015; Clementson, 2018). Flow is generally considered to have nine dimensions, three of which are defined as the preconditions for flow: perceived skill balance, clear goals, and immediate feedback.…”

“…Subjective perception refers specifically to interpretation, which involves a subjective view of musical compositions (Holmes & Holmes, 2013). To this end, the authors draw on advances in qualitative theory across a range of disciplines, including philosophical thinking, social studies, music education, and the flow theory (Clementson, 2018). Support for the flow theory is discussed as a form of philosophical inquiry, implying the opportunities to address the qualitative methods of influence and practices of interpretation that have been proven effective in music performance research (Holmes & Holmes, 2013).…”

Mastery Goals and Intrinsic Motivation in Instrumental Ensembles

“…Flow theory involves other components, but it may be challenging for teachers and researchers to ascertain the levels of students' states of flow. 13 In spite of this difficulty, music educators can glean helpful insights from the challenge aspect of flow theory, especially when considered in light of selfdetermination and attribution theories.…”