Getting into the musical zone: trait emotional intelligence and amount of practice predict flow in pianists

A framework for neurophysiological experiments on flow states

Csikszentmihalyi's concept of the "flow state" was initially discovered in experts deeply engaged in self-rewarding activities. However, recent neurophysiology research often measures flow in constrained and unfamiliar activities. In this perspective article, we address the challenging yet necessary considerations for studying flow state's neurophysiology. We aggregate an activity-autonomy framework with several testable hypotheses to induce flow, expanding the traditional "challenge skill balance" paradigm. Further, we review and synthesise the best methodological practices from neurophysiological flow studies into a practical 24-item checklist. This checklist offers detailed guidelines for ensuring consistent reporting, personalising and testing isolated challenge types, factoring in participant skills, motivation, and individual differences, and processing self-report data. We argue for a cohesive approach in neurophysiological studies to capture a consistent representation of flow states.

Flow and performance: a quantitative study of elicitation modeling in a piano performance perspective

Introduction

Flow, defined as a heightened state of consciousness characterized by intense concentration during an activity, is influenced primarily by the perceived challenge and the dynamic equilibrium of skills. This investigation focuses on the patterns of flow state attainment and its elicitation mechanisms within the context of piano performance among Chinese music college students.

Methods

Our study establishes a framework for accessing flow, utilizing quantitative data from music ontology to gauge the level of challenge and the level of music acquisition to assess skills. Additionally, we integrate external factors such as music culture heterogeneity and demographic variables to elucidate the causes and moderating effects of flow on piano performance.

Results

The findings reveal a positive correlation between flow and performance, with the model of challenge and skill induction partially explaining these results. Notably, melodic Shannon Entropy emerges as a potential indicator of challenge, suggesting its relevance in future studies on flow.

Discussion

This research provides multidimensional insights into the interplay between performance and flow in piano performance, guiding future investigations to explore the musical quantitative perspective more deeply.

Inducing and disrupting flow during music performance

Flow is defined as a state of total absorption in an activity, involving focused attention, deep engagement, loss of self-conscious awareness, and self-perceived temporal distortion. Musical flow has been associated with enhanced performance, but the bulk of previous research has investigated flow mechanisms using self-report methodology. Thus, little is known about the precise musical features that may induce or disrupt flow. This work aims to consider the experience of flow from a music performance perspective in order to investigate these features and introduces a method of measuring flow in real time. In Study 1, musicians reviewed a self-selected video of themselves performing, noting first, where in the performance they recalled "losing themselves" in the music, and second, where their focused state was interrupted. Thematic analysis of participant flow experiences suggests temporal, dynamic, pitch and timbral dimensions associated with the induction and disruption of flow. In Study 2, musicians were brought into the lab and recorded while performing a self-selected musical composition. Next, participants were asked to estimate the duration of their performance, and to rewatch their recordings to mark those places in which they recalled "losing themselves in the moment." We found that the proportion of performance time spent in flow significantly correlated with self-reported flow intensity, providing an intrinsic measure of flow and confirming the validity of our method to capture flow states in music performance. We then analyzed the music scores and participants' performed melodies. The results showed that stepwise motion, repeated sequence, and a lack of disjunct motion are common to flow state entry points, whereas disjunct motion and syncopation are common to flow state exit points. Overall, such initial findings suggest directions that warrant future study and, altogether, they have implications regarding utilizing flow in music performance contexts.

How audience and general music performance anxiety affect classical music students’ flow experience: A close look at its dimensions

Flow describes a state of intense experiential involvement in an activity that is defined in terms of nine dimensions. Despite increased interest in understanding the flow experience of musicians in recent years, knowledge of how characteristics of the musician and of the music performance context affect the flow experience at the dimension level is lacking. In this study, we aimed to investigate how musicians’ general music performance anxiety (MPA) level (i.e., the general tendency to experience anxiety during solo music performances) and the presence of an audience influence the nine flow dimensions. The participants were 121 university music students who performed solo a music piece once by themselves (private performance) and once in front of an audience (public performance). Their general MPA level was measured with an adapted version of the STAI and ranged from 27 (very low MPA) to 76 (very high MPA). The level of the nine flow dimensions was assessed with the Flow State Scale-2 after each performance. The levels of “concentration on task at hand,” “sense of control,” and “autotelic experience” decreased significantly with increasing general MPA level. The levels of “unambiguous feedback” and “loss of self-consciousness” decreased significantly with increasing general MPA level during the public performance only. The level of “sense of control” was significantly lower during the public performance than the private performance across participants. The level of “unambiguous feedback” was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 47. The level of “loss of self-consciousness” was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 32. In contrast, the general MPA level and the audience did not significantly affect the levels of “challenge-skill balance,” “clear goals,” and “action-awareness merging.” These results show that the effects of general MPA level and audience vary greatly across flow state dimensions. We conclude that musicians’ flow state should be analyzed at the dimension level rather than as a global score. We discuss how our findings could inform the development and implementation of interventions.

English as a Foreign Language Teacher Flow: How Do Personality and Emotional Intelligence Factor in?

Teaching is one of the professions that creates opportunities for individuals to experience flow, a state of complete absorption in an activity. However, very few studies have examined ESL/EFL teachers' flow states inside or outside the classroom. As such, this study aimed to explore the quality of experience of 75 EFL teachers in flow and also examine the relationships between their emotional intelligence, the Big Five personality traits and the flow state. To this end, the teachers filled out recurrent flow surveys for a week, and also completed emotional intelligence and the Big Five personality questionnaires. It was found that reading was the major flow trigger outside the classroom and teaching and delivering lessons was the most significant flow-inducing activity for the teachers inside the classroom. Furthermore, correlations and independent samples t-tests indicated that all emotional intelligence and personality traits had significant relationships with flow except agreeableness. Finally, multiple regression analysis showed that two personality traits, conscientiousness and openness to experience were the strongest predictors of the flow state. The implications for future flow-related research in the field of applied linguistics are discussed.

Development of Flow State Self-Regulation Skills and Coping With Musical Performance Anxiety: Design and Evaluation of an Electronically Implemented Psychological Program

Positive Psychology has turned its attention to the study of emotions in a scientific and rigorous way. Particularly, to how emotions influence people's health, performance, or their overall life satisfaction. Within this trend, Flow theory has established a theoretical framework that helps to promote the Flow experience. Flow state, or optimal experience, is a mental state of high concentration and enjoyment that, due to its characteristics, has been considered desirable for the development of the performing activity of performing musicians. Musicians are a population prone to health problems, both psychological and physical, owing to different stressors of their training and professional activity. One of the most common problems is Musical Performance Anxiety. In this investigation, an electronic intervention program was carried out for the development of psychological self-regulation skills whose main objective was to trigger the Flow response in performing musicians and the coping mechanism for Musical Performance Anxiety. A quasi-experimental design was used with a control group in which pre- and post-measures of Flow State, Musical Performance Anxiety and, also, Social Skills were taken. Sixty-two performing musicians from different music colleges in Spain participated in the program. Results indicated that the intervention significantly improved Flow State (t = -2.41, p = 0.02, d = 0.36), and Sense of Control (t = -2.48, p = 0.02, d = 0.47), and decreased Music Performance Anxiety (t = 2.64, p = 0.01, d = 0.24), and self-consciousness (t = -3.66, p = 0.00, d = 0.70) of the participants in the EG but not CG. The changes in the EG after the program showed the inverse relationship between Flow and Anxiety. Two important theoretical factors of both variables (especially in situations of performance and public exposure), such as worry and the feeling of lack of control, could be involved. The results are under discussion and future lines of research are proposed.

Being at work improves stress, craving, and mood for people with opioid use disorder: Ecological momentary assessment during a randomized trial of experimental employment in a contingency-management-based therapeutic workplace

Employment problems are common among people with substance use disorders (SUDs), and improving vocational functioning is an important aspect of SUD treatment. More detailed understanding of the psychosocial benefits of employment may help refine vocational interventions for people with SUDs. Here, we used ecological momentary assessment to measure possible affective improvements associated with work. Participants (n = 161) with opioid use disorder were randomized to work (job-skills training) in a contingency-management-based Therapeutic Workplace either immediately or after a waitlist delay. Throughout, participants responded via smartphone to randomly scheduled questionnaires. In linear mixed models comparing responses made at work vs. all other locations, being at work was associated with: less stress, less craving for opioids and cocaine, less negative mood, more positive mood, and more flow-like states. Some of these differences were also observed on workdays vs. non-workdays outside of work hours. These results indicate that benefits associated with work may not be restricted to being actually in the workplace; however, randomization did not reveal clear changes coinciding with the onset of work access. Overall, in contrast to work-associated negative moods measured by experience-sampling in the general population, Therapeutic Workplace participants experienced several types of affective improvements associated with work.

A Scoping Review of Flow Research

Flow is a gratifying state of deep involvement and absorption that individuals report when facing a challenging activity and they perceive adequate abilities to cope with it (EFRN, 2014). The flow concept was introduced by Csikszentmihalyi in 1975, and interest in flow research is growing. However, to our best knowledge, no scoping review exists that takes a systematic look at studies on flow which were published between the years 2000 and 2016. Overall, 252 studies have been included in this review. Our review (1) provides a framework to cluster flow research, (2) gives a systematic overview about existing studies and their findings, and (3) provides an overview about implications for future research. The provided framework consists of three levels of flow research. In the first “Individual” level are the categories for personality, motivation, physiology, emotion, cognition, and behavior. The second “Contextual” level contains the categories for contextual and interindividual factors and the third “Cultural” level contains cultural factors that relate to flow. Using our framework, we systematically present the findings for each category. While flow research has made progress in understanding flow, in the future, more experimental and longitudinal studies are needed to gain deeper insights into the causal structure of flow and its antecedents and consequences.

Flow in contemporary musicians: Individual differences in flow proneness, anxiety, and emotional intelligence

Flow is a highly focussed state of consciousness that is rewarding, fulfilling, and sought after by many, especially musicians. It is characterised by exceptional levels of concentration, loss of self-consciousness, and competent control over one's actions. Several personality and non-cognitive traits have been positively linked with flow proneness, such as emotional intelligence; however, anxiety is thought to be the antithesis of flow, yet the relationship between trait anxiety and flow proneness in musicians is not adequately characterised. This study investigated the individual differences in flow proneness in contemporary musicians (N = 664), focusing on the interaction of trait anxiety and emotional intelligence. We identified a significant negative correlation between trait anxiety and flow. Emotional intelligence was positively correlated with flow proneness and negatively with trait anxiety. Moderation analysis revealed a difference in the relationship between trait anxiety and flow depending on the level of emotional intelligence; there was no correlation in those with low emotional intelligence, whereas a strong negative relationship was found in those with high emotional intelligence. Finally, hierarchical regression indicated that musical training was the most substantial predictor of all the tested variables and that trait anxiety did not add any predictive power on top of the known predictors. Altogether, this study provided new insights into the possible disruption of flow proneness linked to high anxiety and low emotional intelligence in contemporary musicians.

Live Music Performance: The Relationship Between Flow and Music Performance Anxiety

Most studies exploring the relation between flow and Music Performance Anxiety (MPA) have focused on the disposition of generally experiencing flow and the occurrence of MPA. Little is known about the connection between experiencing flow and MPA as it relates to a specific performance. In this study, flow and MPA have been investigated in 363 orchestral musicians in relation to a particular live music performance. The musicians were asked to fill out a questionnaire immediately after a concert. Flow experience during the performance was measured using the Flow Short Scale. The Performance-specific Questionnaire on MPA (PQM) was used for MPA. The PQM addresses particular aspects of MPA and refers retrospectively to the time before and during the performance as well as to the moment of filling out the questionnaire after the performance. Using three scales, the functional coping, the perceived symptoms of MPA and self-efficacy were determined for each time point of the performance. The results showed that experiencing flow was on average higher among orchestral musicians compared to a sample of the general population. However, there were differences between the professional and non-professional musicians. All PQM scales showed significant correlations with the global flow scale. Regression analysis on the global flow score found that regarding the time before the performance the PQM scale symptoms of MPA were diametrically connected with the flow experience. The PQM scale functional coping was shown to be positively related to the flow during the performance. Moreover, high self-efficacy was found to be closely related with stronger flow experience. Furthermore, flow seems to have positive effects on functionally coping with MPA and the self-efficacy after the performance. These findings confirm the negative relationship between flow and symptoms of MPA, offering further approaches in understanding the relationship especially for live music performances.

What Makes Musical Prodigies?

Musical prodigies reach exceptionally high levels of achievement before adolescence. Despite longstanding interest and fascination in musical prodigies, little is known about their psychological profile. Here we assess to what extent practice, intelligence, and personality make musical prodigies a distinct category of musician. Nineteen former or current musical prodigies (aged 12–34) were compared to 35 musicians (aged 14–37) with either an early (mean age 6) or late (mean age 10) start but similar amount of musical training, and 16 non-musicians (aged 14–34). All completed a Wechsler IQ test, the Big Five Inventory, the Autism Spectrum Quotient, the Barcelona Music Reward Questionnaire, the Dispositional Flow Scale, and a detailed history of their lifetime music practice. None of the psychological traits distinguished musical prodigies from control musicians or non-musicians except their propensity to report flow during practice. The other aspects that differentiated musical prodigies from their peers were the intensity of their practice before adolescence, and the source of their motivation when they began to play. Thus practice, by itself, does not make a prodigy. The results are compatible with multifactorial models of expertise, with prodigies lying at the high end of the continuum. In summary, prodigies are expected to present brain predispositions facilitating their success in learning an instrument, which could be amplified by their early and intense practice happening at a moment when brain plasticity is heightened.

Why Adolescents Participate in a Music Contest and Why They Practice - The Influence of Incentives, Flow, and Volition on Practice Time

Music contests are a means of discovering talents and promoting musical abilities. Participation in a contest is usually preceded by many years of practice requiring a high level of motivation and a supportive environment, especially regarding family. Despite the importance participation in music contests may have for musical development, there is a considerable research deficit. The annual music contest “Jugend musiziert” (youth making music) is the most important musical competition for highly gifted young musicians in Germany. There has been comprehensive research on the participants of “Jugend musiziert” by Hans Günther Bastian in the 1980s and 1990s, but since then, only very little research has been published. In 2017, we started a large-scale study on the participants at the national level, covering a broad range of topics, including sociocultural background, development and learning, performance practice, personality traits, motivation, and musical performance anxiety. A standardized paper-pencil questionnaire was administered to approximately 2,260 participants and a total of 1,143 valid questionnaires was returned (age 9–24 years; M = 15; SD = 2.1, female = 62%). Using principal component, variance, correlation, and linear discriminant analyses, interdependencies between practice time and motivational factors were analyzed in this paper. Concerning practice time, major differences between participants of different contest categories became clear, with classical musicians practicing the most. Practice time, as well as parental support and supervision, correlated with age: Older participants spent, on average, more hours practicing and received less support and supervision. Challenge was the most important incentive for all participants, but more decisive for participants in the classical solo contest than in the ensemble category. Female participants were more prone to fear incentives than males. Participants who practiced a lot scored higher on general flow than the participants with a smaller amount of practice and also showed significantly more perseverance. Moreover, participants of the pop solo contest experienced more general flow than all other participants; ensemble players showed more social focus than participants in the classical solo contest. All in all, participants of different contest categories could be discerned by practice time and prototypical motivational aspects.

EEG dynamics and neural generators of psychological flow during one tightrope performance

Psychological “flow” emerges from a goal requiring action, and a match between skills and challenge. Using high-density electroencephalographic (EEG) recording, we quantified the neural generators characterizing psychological “flow” compared to a mindful “stress” state during a professional tightrope performance. Applying swLORETA based on self-reported mental states revealed the right superior temporal gyrus (BA38), right globus pallidus, and putamen as generators of delta, alpha, and beta oscillations, respectively, when comparing “flow” versus “stress”. Comparison of “stress” versus “flow” identified the middle temporal gyrus (BA39) as the delta generator, and the medial frontal gyrus (BA10) as the alpha and beta generator. These results support that “flow” emergence required transient hypo-frontality. Applying swLORETA on the motor command represented by the tibialis anterior EMG burst identified the ipsilateral cerebellum and contralateral sensorimotor cortex in association with on-line control exerted during both “flow” and “stress”, while the basal ganglia was identified only during “flow”.

Investigating the "Flow" Experience: Key Conceptual and Operational Issues

The “flow” experience (Csikszentmihalyi, 1975) has been the focus of a large body of empirical work spanning more than four decades. Nevertheless, advancement in understanding – beyond what Csikszentmihalyi uncovered during his initial breakthrough in 1975 – has been modest. In this conceptual analysis, it is argued that progress within the field has been impeded by a lack of consistency in how flow is operationalized, and that this inconsistency in part reflects an underlying confusion regarding what flow is. Flow operationalizations from papers published within the past 5 years are reviewed. Across the 42 reviewed studies, flow was operationalized in 24 distinct ways. Three specific points of inconsistency are then highlighted: (1) inconsistences in operationalizing flow as a continuous versus discrete construct, (2) inconsistencies in operationalizing flow as inherently enjoyable (i.e., “autotelic”) or not, and (3) inconsistencies in operationalizing flow as dependent on versus distinct from the task characteristics proposed to elicit it (i.e., the conditions/antecedents). After tracing the origins of these discrepancies, the author argues that, in the interest of conceptual intelligibility, flow should be conceptualized and operationalized exclusively as a discrete, highly enjoyable, “optimal” state of consciousness, and that this state should be clearly distinguished from the conditions proposed to elicit it. He suggests that more mundane instances of goal-directed engagement are better conceived and operationalized as variations in task involvement rather than variations in flow. Additional ways to achieve greater conceptual and operational consistency within the field are suggested.

Flow and Satisfaction With Life in Elite Musicians and Top Athletes

Although flow has been studied extensively in music and sport, there is a lack of research comparing these two domains. With the aim of filling this gap, elite musicians and top athletes in Slovenia were contrasted in the current study. Differences for flow and satisfaction with life between elite musicians and top athletes were explored. Individual versus group performance setting and gender differences were considered. 452 participants; 114 elite Slovenian musicians (mean age 23.46 years) and 338 top Slovenian athletes (mean age 22.40 years) answered questions about flow and satisfaction with life measures. The results show differences between elite musicians and top athletes in four flow dimensions: transformation of time and autotelic experience were higher in musicians while clear goals and unambiguous feedback were higher in athletes. However, differences in global flow were not confirmed. Elite musicians and top athletes experienced flow more often in group than in individual performance settings and surprisingly it was experienced more in male than in female top performers. Satisfaction with life has a positive correlation with all nine dimensions of flow, but only challenge-skill balance was a significant predictor for satisfaction with life.

State anxiety disorganizes finger movements during musical performance

Skilled performance, in many situations, exposes an individual to psychological stress and fear, thus triggering state anxiety and compromising motor dexterity. Suboptimal skill execution in people under pressure affects the future career prospects of trained individuals, such as athletes, clinicians, and musicians. However, it has not been elucidated in what manner state anxiety affects multijoint movements and thereby degrades fine motor control. Using principal component analysis of hand kinematics recorded by a data glove during piano performances, we tested whether state anxiety affects the organization of movements of multiple joints or merely constrains the amplitude of the individual joints without affecting joint movement coordination. The result demonstrated changes in the coordination of movements across joints in piano performances by experts under psychological stress. Overall, the change was characterized by reduction of synergistic movements between the finger responsible for the keypress and its adjacent fingers. A regression analysis further identified that the attenuation of the movement covariation between the fingers was associated with an increase in temporal error during performance under pressure. In contrast, neither the maximum nor minimum angles of the individual joints of the hand were susceptible to induced anxiety. These results suggest that degradation of fine motor control under pressure is mediated by incoordination of movements between the fingers in skilled piano performances. NEW & NOTEWORTHY A key issue in neuromuscular control of coordinated movements is how the nervous system organizes multiple degrees of freedom for production of skillful motor behaviors. We found that state anxiety disorchestrates the organization of finger movements so as to decrease synergistic motions between the fingers in musical performance, which degrades fine motor control. The findings are important to shed light on mechanisms underlying loss of motor dexterity under pressure.

SSAT Presidential Address 2017 "Passion and the GI Surgeon"

Gastrointestinal (GI) surgery is a dynamic, exciting field that has dramatically evolved over the past three decades. According to a survey of leaders in GI surgery, the development of minimally invasive surgery has been the most significant advance during this period of time. The author traces his pursuit of minimally invasive surgery and its impact on his career satisfaction. Discovering one's passion within surgery and developing "flow" during operative procedures is important to help prevent burnout. Surgical educators must transmit this sense of passion to their trainees such that they can understand the true meaning of the surgical vocation.

The Relationship Between Personality Traits, Flow-Experience, and Different Aspects of Practice Behavior of Amateur Vocal Students

Most of the existing studies on musical practice are concerned with instrumentalists only. Since singers are seldom considered in research, the present study is based on an online-sample of amateur vocal students (N = 120; 92 female, 28 male). The study investigated the correlations between personality traits, flow-experience and several aspects of practice characteristics. Personality was represented by the three personality dimensions extraversion, neuroticism and psychoticism, assessed by Eysenck's Personality Profiler as well as the trait form of the Positive and Negative Affect Schedule. 'Flow-experience,' 'self-congruence' and 'fear of losing control over concentration,' assessed by the Practice Flow Inventory, served as variables for flow-experience. The practice motivation was measured by the Practice Motivation Questionnaire in four categories ('self,' 'group,' 'audience,' 'teacher'). In addition, the Practice Behavior Questionnaire was used to provide an insight into the practice situation and behavior of singing students. The results show significant correlations: participants with high extraversion-scores experience significantly more flow than less extraverted persons, whereas lesser flow-experience seems to be related to high neuroticism-scores. Nevertheless, there is no influence in flow-experience concerning singing style ('classical' or 'popular'). The longer the practicing time, the more likely students are to achieve flow-experience. However, older singers tend to have less flow-experience. Consequently, singers seem to differ in their personality and practice behavior compared to other musicians. Most of the findings show that having control over one's instrument is decisive for achieving a performance of high quality, especially for singers. On the other hand, certainty in handling an instrument is essential to arouse a flow-feeling. However, flow-experience seems to be common mainly with amateur singers. In conclusion, this offers a starting point for new research on the psychology of vocalists in greater depth.

When music "flows". State and trait in musical performance, composition and listening: a systematic review

It is not unusual to experience a sense of total absorption, concentration, action-awareness, distortion of time and intrinsic enjoyment during an activity that involves music. Indeed, it is noted that there is a special relationship between these two aspects (i.e., music and flow experience). In order to deeply explore flow in the musical domain, it is crucial to consider the complexity of the flow experience—both as a “state” and as a “trait.” Secondly, since music is a multifaceted domain, it is necessary to concentrate on specific music settings, such as (i) musical composition; (ii) listening; and (iii) musical performance. To address these issues, the current review aims to outline flow experience as a “trait” and as a “state” in the three above-mentioned musical domains. Clear and useful guidelines to distinguish between flow as a “state” and as a “trait” are provided by literature concerning flow assessment. For this purpose, three aspects of the selected studies are discussed and analyzed: (i) the characteristics of the flow assessments used; (ii) the experimental design; (iii) the results; and (iv) the interrelations between the three domains. Results showed that the dispositional approach is predominant in the above-mentioned settings, mainly regarding music performance. Several aspects concerning musical contexts still need to be deeply analyzed. Future challenges could include the role of a group level of analysis, overcoming a frequency approach toward dispositional flow, and integrating both state and dispositional flow perspectives in order to deepen comprehension of how flow takes place in musical contexts. Finally, to explain the complex relationship between these two phenomena, we suggest that music and flow could be seen as an emergent embodied system.

A spiral model of musical decision-making

This paper describes a model of how musicians make decisions about performing notated music. The model builds on psychological theories of decision-making and was developed from empirical studies of Western art music performance that aimed to identify intuitive and deliberate processes of decision-making, a distinction consistent with dual-process theories of cognition. The model proposes that the proportion of intuitive (Type 1) and deliberate (Type 2) decision-making processes changes with increasing expertise and conceptualizes this change as movement along a continually narrowing upward spiral where the primary axis signifies principal decision-making type and the vertical axis marks level of expertise. The model is intended to have implications for the development of expertise as described in two main phases. The first is movement from a primarily intuitive approach in the early stages of learning toward greater deliberation as analytical techniques are applied during practice. The second phase occurs as deliberate decisions gradually become automatic (procedural), increasing the role of intuitive processes. As a performer examines more issues or reconsiders decisions, the spiral motion toward the deliberate side and back to the intuitive is repeated indefinitely. With increasing expertise, the spiral tightens to signify greater control over decision type selection. The model draws on existing theories, particularly Evans’ (2011) Intervention Model of dual-process theories, Cognitive Continuum Theory Hammond et al. (1987), Hammond (2007), Baylor’s (2001) U-shaped model for the development of intuition by level of expertise. By theorizing how musical decision-making operates over time and with increasing expertise, this model could be used as a framework for future research in music performance studies and performance science more generally.