Observable indicators of flow experience: a developmental perspective on musical engagement in young children from infancy to school age

Custodero, Lori A.

doi:10.1080/14613800500169431

Cited by 140 publications

(123 citation statements)

References 28 publications

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“…Thus, in this study, the observational indicators of flow experience introduced by Custodero (1997Custodero ( , 2005 were used as the research instrument. They include six affective and four behavioral items for use in musical contents.…”

Section: Methodsmentioning

confidence: 99%

“…Researchers found that these indicators were valid tools to predict flow experience in a sample of eleven 4-5 year old children (Custodero, 1997), twenty-nine children within the ages of 25 months to 8 years (Custodero, 2005) and twelve 4-5 year old children (St-Jone, 2004). …”

Section: Validity and Reliability Of The Research Instrumentmentioning

confidence: 99%

“…To validate the observational indicators of flow experience introduced by Costodero(1997), some researchers investigated their ability to predict flow among children from 8 months to 8 years of age (Custodero, 1997(Custodero, , 2005St-Joun, 2004). Researchers found that these indicators were valid tools to predict flow experience in a sample of eleven 4-5 year old children (Custodero, 1997), twenty-nine children within the ages of 25 months to 8 years (Custodero, 2005) and twelve 4-5 year old children (St-Jone, 2004).…”

Section: Validity and Reliability Of The Research Instrumentmentioning

confidence: 99%

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Facilitating Flow Experience in People with Intellectual Disability Using a Music Intervention Program

Soltani¹,

Roslan²,

Abdullah³

et al. 2011

IJPS

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Flow is an internal state defined as a condition whereby a person is intensively involved in an activity and ignores the time spent and the place that he/she is in. The purpose of this paper is to empirically support strategies that are assumed to facilitate flow experiences among people with intellectual disability using a music intervention program. For this purpose, thirty adolescents and young adults with mild to moderate intellectual disability were randomly selected to participate in a within subject experimental design with four conditions. The results of one way repeated measure ANOVA and its following comparisons in pairs revealed that the participants were unable to sustain flow experience when no optimal challenge was provided for them. However, providing successful optimally challenging musical experiences for these people or stimulating them to look for new challenges by involving them in innovative behaviors are effective strategies to facilitate their flow experiences.

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Section: Methodsmentioning

confidence: 99%

Section: Validity and Reliability Of The Research Instrumentmentioning

confidence: 99%

Section: Validity and Reliability Of The Research Instrumentmentioning

confidence: 99%

See 1 more Smart Citation

Facilitating Flow Experience in People with Intellectual Disability Using a Music Intervention Program

Soltani¹,

Roslan²,

Abdullah³

et al. 2011

IJPS

View full text Add to dashboard Cite

show abstract

“…This response in which learners are simultaneously present to themselves, the music, the space and others is seen particularly in Plastique Animée-type exercises. It is this integrated experience 'in the moment' that may be one of the reasons why learners sometimes report 'flow' experiences in DE (Csikszentmihalyi and Custodero 2002;Custodero 2005;Habron et al 2012), which in turn are often associated with joy. Joy has been called the most characteristic Dalcrozian quality (Bachmann 1991).…”

Section: Developing a Quality Of Presencementioning

confidence: 99%

The touch of sound: Dalcroze Eurhythmics as a somatic practice

Greenhead

Habron

2015

Journal of Dance &Amp; Somatic Practices

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Dalcroze Eurhythmics is a rich and multifaceted, living practice that has developed a wide range of applications and pedagogical approaches during more than a century of endeavour.Most researchers have situated this work within music education, dance and theatre history and therapy of various kinds. In this article we argue that it may also be considered a somatic practice owing to the ways in which movement, space, sensation, presence, touch and improvisation are central to the method. While recognizing that not all somatic practices include touch and improvisation, we focus on these aspects to explore the notion of the haptic nature of vision and sound, as they are manifest in the Dalcroze class. Drawing on practical examples of widespread practice within the Dalcroze community as well as personal experiences, we assert that the touch-like nature of sound not only makes contact with the body, inciting physical and emotional movement, but also develops awareness of self, others and environment due to the social nature of musical participation in general and of the rhythmics class in particular. I am seated at the piano at one end of a dance studio. I look at the group of students filling the space. They are dressed for a movement class. The fingers of my left hand trail over the piano keys, cool, black and white. They choose a low G. Quietly, slowly and smoothly they trace a line that rises up to the D, then G above. As they do so the group starts to move into the space, gathering speed as my phrase passes into my right hand, gaining momentum and intensity. The left hand joins the right and as music spreads out over the whole keyboard, the class spreads out in the room. Responding to my sound the students start to travel with the triplets I am now playing, each student moving in a unique and personal way: we are all 'tripletting' together. They look as if they are flying. As I shape my music towards a cadence they start to look for a partner. KeywordsAs I bring my music to rest they draw together and touch hands. I withdraw my fingers from the keys. Silence. They laugh. 3We do not hold hands but my hand rests firmly on hers.We run and glide, dip and turn.(This is the nearest I've ever been to feeling what a bird must feel.)The choir intones and the saxophone spins out its line.Other sensations quickly fade.My whole being is concentrated in that single point of contact: hand on hand.I want nothing; all is trust and movement.I am aware of the space of the entire room, Right up to the corners beyond my reach.It seems as if this point of contact -the ever-renewing beginning point of the phrasecan travel anywhere.As we turn I feel the sun on my face.As we soar forward my mouth drops open.

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“…The social dimension of collective music-making has been explored in a variety of contexts ranging from playgrounds (Campbell, 1998;Marsh, 2008) to early childhood settings (e.g. Custodero, 2005); from culturespecific rituals (Blacking, 1995) to child-specific friendships (St John, 2003. Previous research (e.g.…”

Section: Pa St Johnmentioning

confidence: 99%

Growing up and growing old: communities in counterpoint

John

2009

Early Child Development and Care

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Observable indicators of flow experience: a developmental perspective on musical engagement in young children from infancy to school age

Cited by 140 publications

References 28 publications

Facilitating Flow Experience in People with Intellectual Disability Using a Music Intervention Program

Facilitating Flow Experience in People with Intellectual Disability Using a Music Intervention Program

The touch of sound: Dalcroze Eurhythmics as a somatic practice

Growing up and growing old: communities in counterpoint

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