Choral Singers "In the Zone": Toward Flow Through Score Study and Analysis

Author(s): Christopher M. Walters

Source: The Choral Journal , December 2016, Vol. 57, No. 5 (December 2016), pp. 8-19
Published by: American Choral Directors Association

Stable URL: https://www.jstor.org/stable/24883821

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 Joward_FlowJhrough_Score
LTovyard_Flow_Thjpugh Study
Score Study and Analysis1
and Analysis
Christopher
ChristopherM.M.
Walters
Walters

Christopher M. Walters
Director of Choral Music
The Westminster Schools of Atlanta

chriswalters@westminster.net

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 The bell rings abruptly duringyour Concert Choir

rehearsal. One of the basses exclaims: "Class is over

already? That was fast!" Ton suddenly realize that

you andyour ensemble's intense concentration has been

snapped out of one ofyour best rehearsals of the year.

Tou immediately register that every chorister appeared

particularly engaged and productive, and that the collective

music making seemed to achieve an especially high level of

artistry, accuracy, andfocus. Indeed, an alto adds: "It's

like we were in the zone or something!"

To be sure, music has been dubbed a "quintessential

above scenario depicts what choral flow activity,"5 and flow is now an important and
Thoughmusicians
perhaps a experienced
have likely bit simplified,
at the relevant area of serious music education research.6
least once in their musical lives—a type of optimal For the astute choral conductor, then, this begs the
experience now codified in what is known as the following queries: What, if anything, can the choral
psychological construct flow.1 Flow has achieved conductor do to account for flow in rehearsals or

popular familiarity through how athletes com performances? Is it possible to intervene in such
monly describe such moments—namely, as being a manner as to essentially create flow among our
"in the zone"—and certainly represents the type singers? And if so, how might we do it?
of experience toward which we all strive as choral The purpose of this article is to assist with an
conductors. It is the heightened subjective state swering such questions by outlining one viable way
where we feel at once completely absorbed, highly in which to incorporate Csikszentmihalyi's flow
challenged, and decidedly capable in a given activ concept into the general perspective of the choral
ity; where a distinct period of ostensibly effortless conductor. In light of the current literature, conduc
action seems to stretch or even fly by; and upon tors can very likely set the conditions prone to foster
looking back at such experiencing, we process it as flow in choral singers. This can be accomplished by
among the best moments in our lives. way of applying the high challenge-skill balance "dimen
A term first coined in 1975 by the noted re sion" of flow to the conductor's essential task of

search psychologist Mihaly Csikszentmihalyi,2 score study, which results in the analytical necessity
flow3 has garnered significant scholarly at of identifying "salient potential challenges." This
tention over the past forty years, inform approach can serve as an example for other con
ing multiple areas of inquiry, including ductors to emulate and modify in their particular
psychology, sociology, education, sports and contexts so that our singers may indeed become
leisure, business, medicine, motivation theory, at so capably immersed in their music making that
tention theory, and the visual and performing arts.4 rehearsals seem to fly by.

CHORAL JOURNAL Volume 57 Number 5 9

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 The Flow Construct Summarized 1) High challenge-skill balan

2) Clear goals
Flow describes the phenomenological characteristics
individuals have used to document and describe the mo
3) Immediate feedback
ments that stand out as the best in their lives. In his 1994
4) Sense of control
keynote address at the Central ACDA Division Confer
ence, Csikszentmihalyi summarized: 5) Intense concentration

6) Merging of action and aw

There are many people—including choral musi
7) Loss of self-consciousness
cians—who devote themselves to doing things not
8) Distorted perception of ti
primarily for money or prestige or recognition,
but because what they do is so enjoyable that it is 9) A sense that the activity i
worth doing for its own sake. What came out of In Csikszentmihalyi's term
my early interviews with these types of folks, peo is perceived to be autotelic.
ple who devoted so much of their lives to activities
that seemed to be rewarding in themselves, was
the recognition that despite the great differences High Challenge-Skill B
between, for instance, a rock climber and a com "Universal Precondition" for Flow

poser, or a basketball player and a chess player, To achieve flow, an individual must perceive that cha
the phenomenology, the subjective experience, lenges are balanced with skills. According to Csikszentm
was very similar across these different activities.7 halyi: "The universal precondition for flow is that a person
should perceive that there is something for him or her to do
Fundamentally, flow is a "pan-human and univer and that he or she is capable of doing it.. .optimal exper
sal" phenomenon transcending both cultural context ence requires a balance between the challenges perceive
and class of activity.8 But because flow is based on in a given situation and the skills a person brings to it."1'
an individual's perception of experience, it cannot Later research clarified that the individual must perceiv
be assessed through objective measures. Instead, as this flow-inducing challenge-skill balance to be above th
sessment has taken place through diary entries, in average or "normal demands" of everyday living.1-'
terviews, and naturalistic behavior observations.9 It is crucial, therefore, to highlight that high challenge
As a result of thousands of individual subjective experience skill balance, as the fundamental aspect of the flow
reports, Csikszentmihalyi's so-called nine "dimensions" of model, is entirely phenomenological. Flow theory
flow are now standardized in the research literature.10
makes no place for definitive, quantifiable, or obje
Achieving all of these areas is not requisite to entering a tive measures of challenge or skill. What matters
flow state, but many respondents do report experiencing an individual's perception of a balance of abov
all nine dimensions:
average challenge and skills to meet that challenge.13
ilafRiiNaiiBB
What is above average for one individual is not so for
il limit
another.
!■■■■■■■■■■ ■

An up-to-date model of the flow state demonstrates the

■ ■■*«(>
■ ■ ■ ■ a potential relationships between an individual's perceptio
a a a a a a a a a a a
R B a a American CJaoral Directors Association of challenge and perception of skill to meet that challenge
aaaaaaa a a
a a a a a i a a a (Table l).14 The intensity of an individual's subjectiv
aaaaaaaaa
aaaaaaaiiaaaa experience is represented by the concentric circles as th
a aaaaaaaaaa a
aaaa distance beyond "average levels" of challenge and skill.
aaaa
aaaa
www.choralnet.org
>M*5< ■■■■■■■

10 CHORAL JOURNAL Volume 57 Number 5

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 Toward Flow Through Score Study and Analysis

Flow Theory in Current Music Research on how to incorporate flow into the philosophy and prac
Interest in flow in musical contexts is due, in large part, tice of the ensemble director.19 Three observations of this
to the work of Lori A. Custodero, the first researcher to research are particularly important to summarize.
operationalize flow experience in young children's music
learning.'3 Custodero has submitted that flow "provides 1) Musicians of all ages have experienced the nine dimen
both the requisite theoretical insight and methodological sions of flow in individual and group music activities
relevance to support the significance of musical experienc (including middle school and high school choral
es and to suggest effective practices in music education."16 ensembles).
Indeed, in emphasizing the superlative educational envi
ronment inherent to flow theory, Custodero has indicated 2) High challenge-skill balance serves as the most likely
that: determinate for musicians' experiences of flow.

Engagement in tasks whose challenges invite a 3) High challenge-skill balance, like all dimensions of
person's best efforts generates flow. To sustain this flow, is subjective; perceptions of "above average"
optimal experience, skills must improve to meet challenges and the skills to meet such challenges vary
new challenges, and in turn, challenges must im among individuals.
prove to continue attracting enhanced skills, thus
creating an ideal learning situation.17 Armed, then, with an understanding of these essential
aspects of flow, how might a choral conductor put this
Based on such observations, Custodero suggests that high research into practice? One answer is straightforward:
challenge-skill balance plays an essential role in optimal through score study and analysis. In fact, because "Csik
experiencing and flow in music and music education szentmihalyi has specifically outlined the relationship
contexts. between choral music and flow theory, and [because] re
More recent scholarship supports Custodero's founda
search in both music education and choral music supports
tional work, ranging from empirical studies investigating
the application of flow theory to the choral experience of
flow in rehearsal settings,18 to general recommendations
singers of all ages,"20 it is prudent to apply flow theory to
this foundational aspect of our work.

Table 1

Score Study as the "Universal Precondition"

for Choral Singers' Flow
Score study is one of the most important things we
do as choral conductors. To wit, successful rehearsals,
thoughtful interpretations, and inspiring musical perfor
mances are a direct result and outcome of the conductor's

intensive analytical work with, and study of, the printed

musical score. As Vance George has asserted, "structural
analysis is the basis of musicianship."21
Pivoting conceptually toward flow theory and high
challenge-skill balance, effective score study on the part
SKILLS of the choral conductor may likewise be seen as a type
of "universal precondition" for the optimal choral experi
Flow
FlowTheory
Theoryinin
Current
Current
Music
Music
Research
Research
ence. Jerry Blackstone intimates as much when he states:
Table
Table11adapted
adaptedfrom
from
Basic
Basic
Books
Books
and Oxford
and Oxford
University
University
Press. Press.
Reprinted
Reprintedwith
withpermission.
permission.
I am firmly convinced that what we do as con

CHORAL JOURNAL Volume 57 Number 5 11

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 (3Jvo/ia£ Si

ductors—how we shape rehearsals, what we our singers perceive them as such. Musical challenges are
stress in rehearsals, the pacing of our rehearsals, not inherent to, or objectively in, the written choral score.
the specific tools we use to transform the en What may be difficult about one piece of music for one
semble from beginners to artists, and the gestural particular chorus and conductor may not be so for an
language we use to rapidly communicate this other. It is in this sense that rehearsal technique comes
information—emanates from our score-based into play. The perception of musical challenges can be
22
imagination. profoundly influenced and governed by how rehearsals
are conducted, which is to say that musical challenges
Accordingly, the potential for flow and the artistry of a will only be so because of the structure mediating their
choral conductor hinge on an ability to bring deep knowl perception.
edge of the music and predetermination of its potential Gradually sequencing rehearsal objectives for a chorus
difficulties to every rehearsal and performance. in its preparation of a Bach motet— through "count
That said, in light of the fact that Csikszentmihalyi's singing," then text declamation, then all together, for
high challenge-skill balance dimension of flow theory es example—seems much more likely to foster the percep
pouses a specific category of experiencing—namely, "the tion of manageable musical challenges in singers, than
dynamic system composed of person and environment, would be repeated "run-throughs" of the piece with no
as well as the phenomenology of person-environment organized intervention. It is on this principle that some
interactions"23—a specific type of phenomenological per choral conductors, within reasonable parameters, are
spective is required of the choral conductor when studying likely to believe that they are capable of teaching just
scores. The analytical framework of identifying "salient about any piece of music to just about any ensemble,
potential challenges," presented below, achieves this end. unbound by traditional stereotypes of what is and what
is not difficult for a certain chorus to tackle. Such conduc

tors possess confidence in their own ability to effectively

Identifying Salient Potential Challenges plan and sequence rehearsal steps and objectives leading
When viewed through the experiential lens of flow toward a successful final performance—the very structure
theory, choral conductors emerge as stewards of their of consciousness in the choral context.

singer's (or singers') consciousness. Succinctly, choral In sum, through the lens of flow theory and high
conductors control the content of consciousness through challenge-skill balance, choral conductors base repertoire
repertoire selection and the structure of consciousness decisions on their best conjecture of the potential—but
through rehearsal technique.24 In other words, repertoire not objective or absolute—challenges in choral works rela
selection delineates the "stuff' of what will be brought tive to the skills of the singers in their ensembles. Then,
into awareness, that toward which will be directed one's through the calculated process of rehearsal, conductors
psychic energy, for both singer and conductor—the very put forth their best efforts at mediating such potential
content of consciousness in the choral context. Moreover, challenges, structuring rehearsal encounters so as to in
since the process of repertoire selection is acknowledged crease the chances that the singers will perceive their skills
to be an expression of the goals of the choral conductor as sufficient for the challenges being presented. Thus, a
relative to the prior skills of the ensemble, in view of conductor's analysis based on the application of the high
high challenge-skill balance, the most ideal repertoire challenge-skill balance dimension of flow strives to iden
choice will be attainable but slightly or moderately more tify potential challenges in works, while understanding
advanced than current skill levels. that such challenges can never be regarded as absolutes,
Yet despite our best efforts at identifying appropriatelyonly as propensities.
"scaffolded" repertoire choices, what ultimately remains Finally, "potential challenges" are practically infinite
inbuilt about musical challenges, through the lens of flow in number. Learning notes and rhythms, implementing
theory, is their subjective perception. In short, musicalcertain stylistic principles, negotiating issues of vocal tech
challenges are phenomenological—they are so becausenique, executing specific expressive devices, overcoming

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 Toward Flow Through Score Study and Analysis

negative environmental factors, and a whole host of other Joseph Haydn's Te Deum (Hob. XXIIIc: 2).26
considerations will factor into what may or may not be
perceived as challenging in any given choral context on Jean-Baptiste Weckerlin:
any given day Still, it remains seemingly possible to iden Mon coeur se recommande a vous

tify the salient potential challenges in repertoire—those few Though Mon coeur se recommande a vous is designated
characteristics, passages, or principles of a specific choral less-demanding choral work,2' it offers noteworthy
work, which, in the final analysis, are most likely to con tential challenges when viewed through the lens of h
sume the majority of our time and effort in rehearsal.2 ' challenge-skill balance (e.g., the French text or long
To identify such "pillars" of potential difficulty is the first prano phrases requiring substantive breath control).
and crucial step toward flow facilitation. the most salient potential challenge of this work may
that a significant portion of the tenor part is located in
troublesome segment of the tenor voice range. Consi
Salient Potential Challenges the first three phrases of the A section (Figure 1).
in Three Standard Choral Works
The particular difficulty here—not one of extrem
In concrete terms, what might it look like to identifythat the line sits almost exclusively within
range—is
salient potential challenges in choral scores? On a practi
tenor passaggio. As such, tenors inexperienced with t
cal level, it means digging into traditionally easyvocal
passages,
technique required to adequately execute such l
as well as decoding traditionally difficult ones,
withand pos
a well-produced tone might be particularly susc
sibly even calling into question the traditionaltible
grading or
to experiencing this type of difficulty as a high-le
classifying of pieces as this type or that. To illustrate, let Therefore, meeting and overcoming this po
challenge.
us briefly look at three standard choral works of varying
tial challenge of registration, through various rehear
stylistic periods, language, texture, accompaniment, and
interventions on the part of the conductor, offers the v
scope—Jean-Baptiste Weckerlin's Mon coeur se recommande a
real opportunity for experiencing flow state.
vous, Johannes Brahms's 0 schoneNacht (op. 92, no.Likewise,
1), and the repeated melodic motion from leadi
tone to tonic of this passage pres
ents potential intonation issues for
the tenor section certainly, and as a
result, potential harmonic intonation
challenges for the entire ensemble.28
Taking into consideration the real
ity that many choruses struggle with
the proper intonation of ascending
Figure
Figure1.1.Jean-Baptiste
Jean-BaptisteWeckerlin, Mon coeur
Weckerlin, Monsecoeur
recommande à vous,-9.mm.a
se recommande 1-9. scalar
vous, mm steps and that of repeated
Tenor part
pitches, such common difficulties
may intensify on account of the
already problematic nature of the
vocal registration requirements of
this excerpt. As a result, it could
prove difficult for the tenor section,
as a whole, to keep the harmonically
T
crucial repeated leading tones high
mar - ty pit
enough, the repeated F4s from fall
Figure2.2.Jean-Baptiste
Figure Jean-Baptiste Weckerlin,
Weckerlin, Mon
Mon coeur se coeur se recommande
recommande a vous, mm. à vous, mm. 1-9. -9. ing in pitch, and to do so all with a
Annotated
AnnotatedTenor
Tenor
partpart
well-produced and coordinated tone
(Figure 2).

CHORAL JOURNAL Volume 57 Number 5 13

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 In essence, then, vocal technique, registration, range/ Nacht as presenting "high" challenges. The most obvious
tessitura, tone quality, and intonation all interact in a dy example of this may be the principal thematic idea of the
namic and dependent way for the tenor section in these B section (mm. 54-58) in which paired voices announce
few measures of Mon coeur. Still, from the perspective of C Major diatonic triads in strict arpeggiation (Figure 3).
high challenge-skill balance and flow state facilitation, Nevertheless, the most salient potential challenge likely
the choral conductor must identify through score study to be encountered by singers in performance preparation
and analysis that such potential challenges may indeed of 0 schone Nacht may be the enharmonic modulation at
manifest in rehearsal in the first place. Only then may m. 61, which provides the structural and tonal pivot from
the troubleshooting of the potential rehearsal strategies C Major back to tonic E Major (Figure 4).
to lessen the perception of such challenges begin. Once This "harmonic recapitulation" occurs through en
accomplished, the likelihood of singers experiencing flow harmonic reinterpretation of a fully diminished seventh
under such circumstances may be increased. chord, which is simultaneously analyzed as a secondary
leading-tone sonority in both C Major (viio7/ii) and E
Johannes Brahms: O schone Nacht, op. 92, no. 1 Major (viio7/y in first inversion)—distantly related keys,
There are several potential difficulties for the choral though sharing chromatic mediant relationship.
conductor to identify in this work, including issues of Now, for the analytical appetite of the conductor, this
breath control in extended choral and soli phrases (e.g., is satisfying to identify. But from the perspective of the
mm. 4-8 for SATB, mm. 12-20 for Bass, and mm. 32-40 individual chorister, this means nothing unless it can be
for Alto), tone quality implications of the mezza voce mark made clear that harmonic implications have an impact on
ings at mm. 46 and 54, and rhythmic considerations in slight gradations of pitch—and that it falls upon choristers
conjunction with the melding of duple and triple subdivi to artistically negotiate the harmonic challenges surround
sions of the beat in mm. 20-27. ing this pivotal musical moment. Is the fully diminished
That said, the conductor might also conclude that
seventh sonority itself in tune? Are the troublesome me
0 schone Nacht raises only minimal potential challengeslodic intervals into and out of this chord sung accurately?
of pitch for singers when viewed through the lens ofDo the alto and bass achieve a pure octave tonic E in m.
63, even though their respective pitches are approached
high challenge-skill balance. This is because the melodic
by minor thirds in contrary motion? Is the G-sharp, the
content of the voice parts can be characterized as either
harmonic third of E Major, high enough relative to G
predominantly stepwise or as predominantly reliant on
triadic arpeggiation. Consequently, singers are unlikely to natural of the previous measure (ditto for the A-sharp and
subsequent B-natural)? These and similar questions of
perceive extended portions of the pitch content of 0 schone

| CM: | I V7 I IV I V7 I IV I

Figure
Figure3. Johannes3.
Brahms,
Johannes
O schöne Nacht, Opus
Brahms,
92, No. 1, mm. 54- O
58. schone Nacht, Opu
BB
section.
section.
Choral Parts/Diatonic
Choral Arpeggiation
Parts/Diatonic Arpeggiation

14 CHORAL JOURNAL Volume 57 Number 5

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 Toward Flow Through Score Study and Analysis

aural harmonic implication must be asked and answered manageable and suitable for a wide range of ensembles,
by both choral ensemble and conductor in each and every and can serve as an ideal primer to the preparation and
rehearsal and performance of 0 schone.Nadu at this precise performance of works with orchestral accompaniment.
moment. Besides, it presents the potential for being perceived as a
high challenge
So, challenges of pitch and intonation converge when due to its "masterwork" status. Due to the
considering the harmonic implications of m. 61 and itsdeclamatory style and relatively restrained
predominantly
harmonic
third beat in 0 schone JVacht. Whether through language
such re of the preceding material, the po
tential challenges
hearsal tasks as guided repetition, aural isolation, or sec of the Marie Therese Te Deum are likely
attending the successful performance of its concluding
tional drill, it remains that some level of communication
double
with singers regarding the decisive harmonic fugueof
function (mm. 141-183).
this chord is likely to trigger at least some levelRegarding
of "highthis double fugue, the first and most obvious
musical
challenge" perception, and idealistically upon characteristic to negotiate is the melismatic nature
overcoming
such challenges, flow state experiencing. of the first subject—even the sight of which for many
singers can elicit strong perceptions of a high-challenge
Joseph Haydn: Te Deum, Hob. XXIIc: 2
moment (Figure 5).
Haydn's so-called "Marie Therese" Te DeumTo
is negotiate
among the singing of such extended melismas
a limited cluster of choral-orchestral works deemed requires significant technical agility. Still, mediating such

|CM:j viio7/V 14 viio7/ii j

|EM:| I vii0s/V I
Figure
Figure4. Johannes
4. Brahms,
Johannes
O schöne Nacht,
Brahms,
Opus 92, No. 1,O
mm.schone
60-63. Nacht, Opus 92,
Enharmonic
EnharmonicRecapitulation,Recapitulation,
Harmonic Analysis Harmonic Analysis

In te Do - mi-ne spe - ra - - - - - - - - -vi

Figure
Figure5. Franz
5.Joseph
FranzHaydn,Joseph
Te Deum, Hob.Haydn,
XXIIIc:2, mm.Te
140-143.
Deum, Hob. XXIIIc:2,
Double
DoubleFugue, Fugue,
First Subject First Subject

CHORAL JOURNAL Volume 57 Number5 15

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 (3JLoSlti£ Si

technical challenges is possible, to a reasonable degree, fugal textures through what can be generally character
through rehearsal structure and sequence. For example, ized as "grading the counterpoint."30 Failing to engage
one intervention for scaffolding such melismatic passages the music-making process at this level of nuance runs the
could be to teach one's chorus a simplified version of the risk of performing contrapuntal textures as jumbled or
melodic figuration down to eighth-note motion. Under unrefined.

this type of modification, the first fugue subject is concep "Grading the counterpoint" is accomplished a number
tualized and rehearsed as presented in Figure 6. Once this of ways and is largely determined by the choral conduc
"shell" is mastered, the elaborated sixteenth-note motion tor's unique or specific interpretation of the score. As
may be hypothetically "filled-in" with only modest effort. one example, an idiomatic and stylistically appropriate
The second musical characteristic to negotiate in this interpretation of the second subject of the double fugue
concluding double fugue conceivably involves the specific in the Marie Therese Te Deum could be rendered as seen in

articulation required by the melodic nature of the sec Figure 8.

ond subject. The characteristic rhythmic interest of this When applied, such articulations give rise to strong
second subject—its "off-beat" entrance and appealing differentiation between the inherent melodic character

text-painting on the phrase "non confundar in aeternum" of both first and second fugue subjects, and the potential
("let me never be confounded")—is shown in Figure 7. for framing for singers the process of "grading the coun
While clearly the syncopation of this entrance warrants terpoint" as a class of endeavor involving high challenge
accentuation, analysis of this second subject seems to give and high-skill choral artistry.
rise to a more general requirement of contrapuntal tex In sum, to accomplish such particularizing work in
tures—that is, the imperative to make the formal design rehearsals would seem to go a long way toward achiev
clear to the listener. In brief, through the terracing of dy ing the conditions likely to foster the perception of high
namics, and through the varying of articulations, thematic challenge-skill balance and its concomitant flow state
and accompanimental passages can be differentiated in experience in this specific work.

140 Teaching Toward Flow

To close, one final clarifying question: upon
In te Do - mi - ne spe - ra - - - - vi identifying such "salient potential challenges"

Figure
Figure 6. Franz
6. Franz
Joseph Haydn,
JosephTe Deum,
Haydn,
Hob. XXIIlc:2,
Te Deum,mm. 140-143.
in a particular score, what specifically is the
Hob. XXIIlc:2, mm. 140-143.
Double
Double Fugue,
Fugue,
Simplified
Simplified
First Subject First Subject conductor to do in the choral rehearsal itself

to account for flow? To begin to teach toward flow,

the choral conductor must structure a rehearsal in which
140
singers perceive that they are highly and continually
challenged, and yet capable of meeting every challenge
Non con - fun - dar, non con - fun - dar in ae - ter - num.
being presented. In plain terms, choral conductors

Figure
Figure7.7.Franz
FranzJoseph
Joseph
Haydn,
Haydn,
Te Dewn,
Te Deum,
Hob. XXIiIc:2,
Hob. XXIllc:2,
mm. 140-141. must read or intuit their ensemble and respond
mm. 140-141.
Double
DoubleFugue,
Fugue,Second
Second
Subject
Subject in rehearsal accordingly. Keeping singers in
the high challenge-skill balance channel, as
much as is possible—where the perception
140
of challenge is high but where the perception
of skill to meet that challenge is also high—is
Non con - fun - dar, non con - fun - dar in ae - ter - num.
the universal pre-condition for flow in the
Figure
Figure 8. 8.
Franz
Franz
Joseph
Joseph
Haydn,
Haydn,
Te Deum,
TeHob.
Deum,
XXIIlc:2,
Hob. mm.
XXIIlc:2, choral
140-141. mm. context.
140-141. Through the use of rehearsal
Double
Double Fugue,
Fugue,
Second
Second
Subject
Subject
with modified
with modified
articulations
articulations
language and feedback, flow-minded choral
conductors may increase flow proneness for

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 Toward Flow Through Score Study and Analysis

their singers by encouraging them to see difficult passages likely to foster flow. But just as we cannot teach in a way
as attainable and yet also see "easy" passages as more that guarantees our students will find intrinsic motivation,
challenging than they might at first blush. How such work we cannot teach in a way that guarantees our students
might might be accomplished in any given context surely will find flow.31

varies by conductor, ensemble, piece of music, day of the Nevertheless, the choral conductor who is prepared to
week, barometric pressure, etc. suggest in rehearsal, as one set of examples, that the tenors
Again, we do well to remember that from the perspec "make the light adjustment" in certain passages of Mon
tive of flow, challenges are not inherently or objectively in coeur, or to suggest that the singers particularly focus on
choral scores. Concerning the particular phenomenology tuning the tritones on the third beat of m. 61 in 0 schone
of Csikszentmihalyi's flow concept, "trouble spots" are Nacht, or to suggest that the final contrapuntal material in
located in the perception of the singers. In a sense, then, Haydn's Marie Therese Te Deum requires a specific type of
flow dislodges our score-based assumptions and asks us melodic and rhythmic shaping, appears already closer to
to conceive of trouble spots as a phenomenon between the aspiration of successfully mediating those few char
chorus, conductor, and the written choral score. A par acteristics of a specific choral work perhaps most likely
ticular trouble spot for one chorus in a given score may to consume the majority of rehearsal time, such that
not be so for another chorus in that same score. As such, the singers feel challenged and yet capable to meet such
if flow experiencing among our singers is the goal, our challenges.
sole capability as conductors is to set the conditions most

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 «rr

Conclusion 33 Used
Usedinterchangeably
interchangeably
in thein
literature
the literature
with the with
flow the fl
experience,
experience,
Application of Mihaly Csikszentmihalyi's construct flow
flow
theory,
theory,
the flow
theconcept,
flow concept,
the flow model,
the flow mod

of flow to the choral music context has emerged flow

flowstate
state
as theory,
antheory,
etc. etc.
44 See,
See,for
important development in our field.32 For example, forexample:
someexample:Mihaly
Mihaly
Csikszentmihalyi
Csikszentmihalyi
and Isabella
and Isab
Selega
SelegaCsikszentmihalyi,
have recently put forward flow as a guiding constructCsikszentmihalyi,
in eds., Optimal
eds., Optimal
Experience:
Experienc
Psychological
Psychological
how conductors might most effectively select appropriate Studies
Studies
of Flow
of in
Flow
Consciousness
in Consciousness
(New York:(New Yo

repertoire for their ensembles.33 Additionally, Cambridge

though ad University Press, 1988); and Jeanne
mittedly more work needs to be done, fascinatingNakamura
evidenceand Mihaly Csikszentmihalyi, "The Concept
of "catch"
suggests that not only are music students prone to Flow," in Handbook of Positive Psychology, ed. C.R. Snyder

flow from their teacher34 but that group flow mayand be

Shane
anJ. Lopez (New York: Oxford University Press,
empirically observable phenomenon.35 2002), 89-105.
5 Lori
In response to such developments, it has A. Custodero,
been the "Seeking Challenge, Finding Skill: Flow

overarching purpose of this article to proposeExperience

one prac and Music Education," Arts Education Policy

tical way in which to incorporate flow into theReview 103, no. 3 (January/February 2002): 7.
general
perspective of the choral conductor, by way of applying Aidan Moran, and Michael O'Connell,
6 Sarah Sinnamon,
"Flowtheory
the high challenge-skill balance dimension of flow Among Musicians: Measuring Peak Experiences of
Student
to the essential task of score study and analysis. Performers," Journal of Research in Music Education
Through
60, no. this
the lens of identifying salient potential challenges, 1 (April 2012): 6-25.
7 Mihaly Csikszentmihalyi,
document has attempted to demonstrate the possibility of "Singing and the Self: Choral
Music
accounting for the subjectively perceived nature of as Active Leisure,'" Choral Journal 35, no. 2
chal
(February 1995): 13.
lenges and skills, as espoused by the most contemporary
conceptions of flow theory. 8 Ibid., 14.
9 Mihaly
The above analyses, though admittedly the Csikszentmihalyi and Reed Larson, "Validity and
products
Reliability of the Experience-Sampling Method," Journal
of an aspirational analytical framework, offer significant
of Nervous
potential gain for those singers in a position to benefitand Mental Disease 175, no. 9 (September 1987):
526-536.
directly from such an approach. Score study and analysis
10 gateway
through high challenge-skill balance, as a Csikszentmihalyi,
to Flow, 48-70. For a condensed treatment,
see Csikszentmihalyi's TEDTalk, October 2004. <http://
flow experiencing, provides for singers the aspirational
www.ted.com/talks/mihaly_csikszentmihalyi_on_flow.
potential for deep enjoyment, meaningful engagement,
html>
high-order musical artistry, and the conditions likely to
11 Csikszentmihalyi
foster a very unique form of intrinsic motivation. In short, and Csikszentmihalyi, Optimal Experience, 30.
for our singers to achieve flow would offer 12 Ibid., 266-287.
the very qual
13 Giovanni
ity of experience we all hope for as choral conductors. B. Moneta and Mihaly Csikszentmihalyi, "The
ESI
Effect of Perceived Challenges and Skills on the Quality
of Subjective Experience," Journal of Personality 64, no. 2
NOTES (June 1996): 279; and Nakamura and Csikszentmihalyi,
"Concept of Flow," 91.
14 Adapted
1 For the seminal texts, see: Mihaly Csikszentmihalyi, from Csikszentmihalyi, Finding Flow, 31; and
Flow:
Nakamura
The Psychology of Optimal Experience (New York: Harper and and Csikszentmihalyi, "Concept of Flow," 95.
Row, 1990); and Mihaly Csikszentmihalyi, Finding Flow: with permission.
Reproduced
15(New
The Psychology of Engagement with Everyday Lfe Lori York:
A. Custodero, "An Observational Study of Flow
Basic Books, 1997). Experience in Young Children's Music Learning" (DMA
2 Mihaly Csikszentmihalyi, Beyond Boredom and Anxiety:
1 diss., University of Southern California, 1997).
16 Custodero,
Experiencing Flow in Work and Play (San Francisco, Jossey "Seeking Challenge, Finding Skill," 3-4.
Bass, 1975). 17 Ibid., 4.

18 CHORAL JOURNAL Volume 57 Number 5

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 Toward Flow Through Score Study and Analysis

18 Constance
ConstanceAnn
AnnRybak,
Rybak,"Older
"Older
Adults
Adults
andand
'Flow':
'Flow': is my own.
Investigating
Investigating Optimal
OptimalExperience
Experiencein in
Selected
Selected
Music
Music 23
23 Patrick
PatrickFreer
Freerhashas
observed
observed
thatthat
this approach
this approach
resonates
resonates
Leisure
Leisure Activities"
Activities"(DMA
(DMAdiss.,
diss.,
Arizona
Arizona
State
State
University,
University, with
with the
theprinciples
principlesoutlined
outlined
in: Patrick
in: Patrick
K. Freer,
K. Freer,
"Beyond
"Beyond
1995);
1995); Patrick
PatrickK.K.Freer,
Freer,"Rehearsal
"RehearsalDiscourse
Discourse
of of
Choral
Choral Error
ErrorDetection:
Detection:A Cycle
A Cycle
of Pedagogical
of Pedagogical
Skills Skills
for Choral
for Choral
Conductors:
Conductors:Meeting
Meetingthe
theNeeds
Needsofof
Young
Young
Adolescents"
Adolescents" Conductors,"
Conductors,"Choral
ChoralJournal
Journal
50, no.
50, 3no.
(October
3 (October
2009): 34
2009): 34
(Ed.D.
(Ed.D. diss.,
diss.,Columbia
ColumbiaUniversity,
University,2003);
2003);
Barry
Barry
NealNeal 45.
45. Conversation
Conversation with
with
thethe
author,
author,
JulyJuly
15, 2014.
15, 2014.
Kraus,
Kraus, "Musicians
"MusiciansininFlow:
Flow:Optimal
OptimalExperience
Experience
in the
in the 26
2b For
Forthe
thecomplete
complete
analyses,
analyses,
see: Christopher
see: Christopher
M. Walters,
M. Walters,
Wind
Wind Ensemble
EnsembleRehearsal"
Rehearsal"(DMA
(DMA
diss.,
diss.,
Arizona
Arizona
State
State "A
"A Conductor's
Conductor's Analysis
Analysisof Standard
of Standard
Choral
Choral
WorksWorks
University,
University,2003);
2003);Patricia
PatriciaA.A.
St.St.
John,
John,
"A "A
Community
Community Applyingthe
Applying the High
Fligh Challenge-Skill
Challenge-Skill BalanceBalance Dimension
Dimension
of Learners:
Learners:An
AnInvestigation
Investigationofof
thethe
Relationship
Relationship of
of Flow
FlowTheory,"
Theory,"(DMA
(DMA
diss.,
diss.,
Boston
Boston
University,
University,
2014). 2014).
Between
Between Flow
FlowExperience
Experienceand
and
the
the
Role
Role
of of
Scaffolding
Scaffolding 27
27 Buchanan
Buchananand
and
Mehaffey,
Mehaffey,
Teaching
Teaching
MusicMusic
Through
Through
Performance,
Performance,
in aa Kindermusik
KindermusikClassroom"
Classroom"(EdD
(EdD
diss.,
diss.,
Columbia
Columbia 2:241.
2:241.

University, 2004); Marc David Jaros, "Optimal 28

28 As
Asobserved
observedin:in:
Buchanan
Buchanan
and Mehaffey,
and Mehaffey,
Teaching
Teaching
Music Music
Experience in the Choral Rehearsal: A Study of Flow Through
ThroughPerformance,
Performance,2:243.
2:243.

and Affect among Singers" (PhD diss., University of

2!l
2!l Harmonic
Harmonic analysis
analysis
in this
in this
Figure
Figure
assumes
assumes
each sonority
each sonority
in in
Minnesota, 2008); and Patrick K. Freer, "Boys' root
rootposition—actual
position—actualchordal
chordal
inversions
inversions
vary on
vary
account
on account
Descriptions of Their Experiences in Choral Music," of
of the
thepiano
pianoaccompaniment.
accompaniment.
30 Attributed
Research Studies in Music Education 31, no. 2 (December30 Attributed to to
AnnAnn Howard
Floward Jones.
Jones.
2009): 142-160. 31
31 Sinnamon,
Sinnamon,Moran,
Moran,andand
O'Connell,
O'Connell,
"Flow "Flow
AmongAmong
19 Colin Durrant, Choral Conducting: Philosophy and Practice (New Musicians,"
Musicians,"21.21.
York: Routledge, 2003); Michael Hopkins, "Programming 32
32 Patrick
PatrickFreer
Freer
deserves
deserves
mostmost
of the
ofcredit
the credit
for thisfor this
in the Zone: Repertoire Selection for the Large development.
development. See:
See:
Patrick
Patrick
K. Freer,
K. Freer,
"Response
"Response
to Krista
to Krista
Ensemble," Music Educators Journal 99, no. 4 June 2013): Riggs,
Riggs,'Foundations
'Foundations
forfor
Flow:
Flow:
A Philosophical
A Philosophical
Model for
Model for
69-74; and Rachel Schmeltzer, "Creating Flow in the Studio
StudioInstruction,'"
Instruction,'"Philosophy
Philosophy
of Music
of Music
Education
Education
Review Review
Junior High Choral Classroom," (MA thesis, University 14,
14, no.
no.2 2(FaU
(Fall
2006):
2006):
225-230;
225-230;
Patrick
Patrick
K. Freer,
K. Freer,
"The "The
of St. Thomas, 2013). Conductor's
Conductor'sVoice:
Voice:Flow
Flow
and and
the Choral
the Choral
Experience,"
Experience,"
20 Freer, "Boys' Descriptions," 144. Choral
ChoralJournal
Journal48,48,
no. no.
2 (August
2 (August
2007):2007):
9-19; Patrick
9-19; Patrick
K. K.
21 Vance George, "Choral Conducting," in The Cambridge Freer,
Freer,"Teacher
"TeacherInstructional
Instructional
Language
Language
and Student
and Student
Companion to Conducting, ed. José
Jose Antonio Bowen (New Experience
Experienceinin
Middle
Middle
School
School
Choral
Choral
Rehearsals,"
Rehearsals,"
Music Music
York: Cambridge University Press, 2003), 46. Education
EducationResearch
Research10, 10,
no. no.
1 (March
1 (March
2008): 2008):
107-124;
107-124;
and and
11 Jerry Blackstone, "The Conductor's Dream: Score-Based Patrick
PatrickK.K.Freer,
Freer,
"The
"The
Performance-Pedagogy
Performance-Pedagogy
ParadoxParadox
Imagination, Improvisation, and Inspiration," in Teaching in
in Choral
ChoralMusic
MusicTeaching,"
Teaching,"
Philosophy
Philosophy
of Music
of Education
Music Education
Music Through Performance in Choir, ed. Heather J. Buchanan Review
Review19,
19,no.
no.2 (Fall
2 (Fall
2011):
2011):
164-178.
164-178.
and Matthew W. Mehaffey (Chicago: CIA Publications, 33
33 Freer,
Freer,"Boys'
"Boys'
Descriptions,"
Descriptions,"
and Michael
and Michael
Hopkins,
Hopkins,
Inc., 2007), 2:83. "Programming
"Programming in in
thethe
Zone:
Zone:
Repertoire
Repertoire
Selection
Selection
for the for the
2j Nakamura and Csikszentmihalyi, "The Concept of Flow," Large
LargeEnsemble,"
Ensemble,"Music Educators
Music Journal
Educators 99, no.99,
Journal 4 June
no. 4 (June
90. 2013): 69-74.
24 The general idea of conceptually separating the content ,+ Arnold B. Bakker, "Flow Among Music Teachers and Their
and structure of consciousness is from Csikszentmihalyi, Students: The Crossover of Peak Experiences," Journal of
see: Mihaly Csikszentmihalyi and Rick E. Robinson, The Vocational Behavior 66 (2005): 26-44.
Art of Seeing: An Interpretation of the Aesthetic Encounter (Los 35 Raymond MacDonald, Charles Byrne, and Lana Carlton,
Angeles: The J. Paul Getty Museum, 1990), 177-188. The "Creativity and Flow in Musical Composition: An
specific interpretation of this idea—equating repertoire of Music
Empirical Investigation," Psychology of Music 34,
34, no.
no. 33 (July
July
selection and rehearsal technique in the choral context to 2006): 292-306.
the content and structure of consciousness, respectively—

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