24 APRIL/MAY 2005 In recent decades, an increasing number of researchers––most notably Mihaly Csikszentmihalyi 1 ––have exam- ined peoples’ ability to become totally and effortlessly absorbed in activities that stand out in their lives. Csikszentmihalyi coined the term “flow” to refer to a state of focused absorption––a merging of action and awareness––where consciousness, mind and body become harmoniously directed, without indecision or anxiety. Analogous terms for flow include attaining a “state of chi,” 2 as well as being in “the zone” (athletics), being in “ecstasy” (religious mysticism) and being in “aesthetic rapture” (artists and musicians). In the current study, we sought to identify some important elements that may promote flow states among instrumental musicians. As long- standing musicians, we were particu- larly interested in discovering why some musicians regularly experience flow, while others rarely do. With one of the authors being a piano teacher, we also were interested in exploring how characteristics associated with the flow state can be identified. If intrinsic enjoyment of playing music is indeed an important predictor of prolonged music study, 3 then we believe it is important to find ways of making the flow experience more attainable for music students. We specifically wanted to draw attention to things musicians might do to get into flow more often, Facilitating Among Musicians Arvid J. Bloom, Ph.D., is a profes- sor of psychology who has spent sev- eral years research- ing practical ways to promote flow experiences. He also is an accomplished violinist with forty-four years of experience spanning classical, bluegrass and improvisational styles. Paula Skutnick- Henley, M.Ed., a licensed psycholo- gist and award- winning ragtime pianist, has taught piano and compo- sition independent- ly since 1976. She is an adjunct professor of psychology at West Chester University, and she plays keyboard and sings in a blues band and has composed several musical theater works. Have you ever been… ■ So totally absorbed in playing your musical instrument that you lost track of time? ■ So engrossed in your music that you felt transformed or “in the zone”? ■ Surprised by playing better than you thought you could? Flow Experiences by Arvid J. Bloom and Paula Skutnick-Henley