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

Chen, Kai

doi:10.1177/03057356221135667

Cited by 3 publications

(2 citation statements)

References 44 publications

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“…This helped the students concentrate on music, and they experienced greater satisfaction in performance. Chen (2023) implemented a six-month experiment in which 150 conservatory students took classes specifically on musical interpretation to investigate whether a focus on interpretation promotes the experience of flow in performance. In classes, the students were exposed to different genres of music, and they analyzed and arranged classical music pieces as well as composed their own pieces.…”

Section: Interpretive Autonomy Learning Behavior and Well-beingmentioning

confidence: 99%

Autonomous or controlled interpreters? Model of Werktreue internalization for classical musicians

Fujimoto,

Uesaka

2024

Front. Psychol.

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Self-regulated learning—a cyclical process in which a learner sets a goal, monitors, and self-reflects on one’s learning to set the next goal—is vital in instrumental learning. However, many conservatory students fail to initiate self-regulated learning; they take lessons passively, practice ineffectively, and fail to give satisfactory performance. These learning experiences could harm students’ well-being, and physical and mental health problems are widespread among students. Nevertheless, factors contributing to self-regulated learning remain unknown. We hypothesized that musicians’ autonomy in musical interpretation, which we refer to as interpretive autonomy, plays a pivotal role in self-regulated learning. Without developing interpretation, musicians fail to set personal goals, monitor, and self-evaluate their performances in terms of musicality. Although previous studies imply that interpretation plays a significant role in self-regulated learning, this has not been clearly demonstrated. Studies on interpretive autonomy are scarce due to a complicated discourse surrounding performers’ freedom in interpretation. The ideology of Werktreue underpins the classical music field, and classical music performances are evaluated based on how faithfully a performer interpreted the composer’s intention. Yet musicians hold various beliefs regarding the meaning of faithful interpretation, thus the degree of interpretive autonomy cannot be assessed unless its clear definition is provided. In addition, the mechanisms that promote or hinder interpretive autonomy in learning remain unexplained. To address these issues, we proposed a model of Werktreue internalization by applying self-determination theory. The model defines interpretive autonomy based on internalization types, identifies its effects on musicians’ learning behavior and well-being, and reveals the mechanisms that promote or hinder interpretive autonomy in learning experiences. This model allows researchers and educators to assess the degree of interpretive autonomy, attribute impaired learning behavior and well-being to a lack of interpretive autonomy, and promote interpretive autonomy by supporting students’ psychological needs in interpretation.

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Section: Interpretive Autonomy Learning Behavior and Well-beingmentioning

confidence: 99%

Autonomous or controlled interpreters? Model of Werktreue internalization for classical musicians

Fujimoto,

Uesaka

2024

Front. Psychol.

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“…Music performance requires deep involvement in the task: while performing, musicians are entirely focused on the music (Chen, 2022). This state, thus, produces empathy and identification with the music piece that overcome the musicians profoundly (Antonini Philippe, Kosirnik, et al, 2022;Antonini Philippe, Singer, et al, 2022).…”

Section: Flow and Music Performancementioning

confidence: 99%

Flow in Music Performance

Habe

Biasutti

2023

Psihol. teme (Online)

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Flow is a specific state of consciousness when people are completely immersed and concentrated on a task, that they lose the sense of time, and feel as if doing things unconsciously. This article aims to provide a brief overview of the flow in music, focused on music performance, and shed light on aspects such as psychological correlates, occurrence and educational applications. Our objective is to build a bridge between theory and practice examining the implications of flow for improving the musical practice. Several studies analyse flow in various musical activities, including improvisation/composition, listening and performance. Music improvisation is considered one of the most crucial pedagogical tools for promoting flow from the early years of music education on. Flow in music performance is the most extensively studied, and practical implications to facilitate optimal experience and flow conditions could be developed. In the final part of the article, educational strategies for inducing flow are proposed based on the nine characteristics of flow (Csikszentmihalyi, 1990).

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Classical music education in China: The effectiveness of the WeChat social media platform and its impact on the communicative and cognitive skills of music students

Chen

2024

Educ Inf Technol

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

Cited by 3 publications

References 44 publications

Autonomous or controlled interpreters? Model of Werktreue internalization for classical musicians

Autonomous or controlled interpreters? Model of Werktreue internalization for classical musicians

Flow in Music Performance

Classical music education in China: The effectiveness of the WeChat social media platform and its impact on the communicative and cognitive skills of music students

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