Page 125 - How to Shine on Stage

experience different symptoms: hyperventilation is common in wood-
wind players, sweating in brass players, cold hands in string instrument
players, and muscle tension in percussionists.
Classical musicians report the highest levels of MPA compared to
jazz and entertainment musicians (Leva Bukovnik, 2018; Murko Feguš,
2016; Papageorgi et al., 2011). While some studies find that MPA de-
creases with experience (Biasutti & Concina, 2014; Habe & Kržič, 2017),
others find that more experience entails more responsibility and thus a
higher MPA (Kirchner, 2003), probably as a consequence of increased 123
perfectionism (Kenny, 2011; Patston & Osborne, 2016). Numerous stud-
ies confirm a high level of perfectionism among professional musicians.
(Patston, 2010; 2014).

3.3.2 Flow
Flow is a multidimensional state of consciousness that occurs when one
feels that they have enough ability and control to perform an activity
which is important to them (Csikszentmihalyi, 1990). While experienc-
ing flow, one is fully engaged in the activity and focused on perform-
ing this enjoyable and satisfying activity (MacDonald et al., 2006). Flow
arises when an activity offers just the right challenge for the performer
to somewhat expand their own performance capacities (Chirico et al., Pre-Performance Excitement as the Main Stressor in Musicians
2015); the performer in this case is internally motivated by the quality of
the experience they are having.
Csikszentmihalyi (1990) defined the experience of flow in nine di-
mensions, the first of them being the balance between abilities and chal-
lenges mentioned in the previous chapter. The next dimension is one I
have already mentioned, namely the fusion with performance. This is
followed by clarity of goals, whereby one has clarity about what they
want to achieve by the activity and strategically plans to achieve it. The
next dimension is the unambiguity of feedback, which the musician
recognizes directly from their performance or from the audience’s re-
actions, which means that the feedback follows immediately after the
performance. Total focus on the task is another dimension, and one I
have previously addressed, as it involves complete engagement with the
here and now and the activity at hand. The next dimension is the sense
of control, which seems somewhat paradoxically at odds with the di-
mension of reduced level of self-awareness. In essence, a sense of control
emerges as a result of superb performance preparation, allowing the per-
former to completely surrender to the musical activity and thus, in a way,
lose self-awareness. It might be worth considering renaming this dimen-