The goal of this thesis is to understand and ultimately prove that getting in the psychological state of flow in musical practice and performance could be achieved much earlier than usually expected.
It is an assumed thinking habit that the way we approach things plays a crucial role in every discipline in life. So how can musicians achieve the state of flow and use a brain capacity most efficiently?
I will try to explain and prove how clarity (I call it: focusing flow way) of thinking and thoughts affects the way we think and work today. Our subconscious can help to support or, it can neutralise even the most wanted dreams. (Csikszentmihalyi, M., Rathunde, K. R., & Whalen, S. 1993)
The premise that this research is based upon is that what seems to be a very complicated subconscious process is usually quite simple and reasonable. The most difficult thing is to find the way our subconscious is supporting our long- and short-term thinking processes and plans. Some people find it after a single session with a psychotherapist, for some it takes many years to reach this state. (Murphy & Mcmahan)
This blog (book -research paper) will also investigate how the way that we do things actually tells us a lot about how our subconscious works, and our flow abilities. The way every human being is programmed could be changed. We are able to adjust our consciousness a little or to a great extent. Everything depends on what needs to be done. This paper will also assess whether motivation and rewards are appropriate methods to adjust a person’s character.
Csikszentmihalyi’s seminal work, Flow: The Psychology of Optimal Experience (1990), proposes that optimal performance can be developed, and that the key aspect to flow is control.
In the flow-like state, we exercise control over the contents of our consciousness, rather than allowing ourselves to be passively controlled by external forces. Using secondary resources to outline existing knowledge about consciousness and other techniques, I will try to prove and explain how achieving a fine violin sound could be rewarding for the classical violinist and how this can motivate both the professional musician and the beginner student to improve and strengthen their thinking processes to achieve the state of flow. I will investigate the “flow” technique, or rather techniques, which may be often misinterpreted, not because of misunderstanding but due to the focusing on a less important aspect of this technique.
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