Abstract:
This study aimed to explore the lived experiences of expert performing musicians and the relationship between the flow and clutch optimal performance states. Five professional pianists were interviewed to gain an understanding of their experiences of optimal performance states during performance.
The study took a constructivist-interpretivist approach situated in the phenomenological paradigm. It made use of multiple case studies, and data were gathered through semi-structured interviews. The data were analysed through Interpretive Phenomenological Analysis (IPA), as proposed by Smith, Flower and Larkin (2009). Three superordinate themes were identified: Performance-related experiences of flow; The experience of clutch and choke during performance; and Coping skill and performance conditions, which were all discussed relative to ten subordinate themes.
It was found that flow and clutch experiences in a music context are predominantly similar to those found in other contexts such as sport. Flow and clutch experiences in a musical context were shown to be distinctive from other fields due to specific task completion requirements. By comparing findings to the proposed Integrated Model of Flow and Clutch by Swann et al. (2017b, 2017c), findings show that the model adequately represents flow as an antecedent of clutch in a music context, and the results provide detailed insights on the experience of optimal performance states in expert performing musicians.
The study concludes that clutch is a deeper element of flow, and these optimal performance states are experienced in many similar and distinctive ways compared to existing research in sport psychology. Various non-cognitive traits play a large role in an individual’s ability to obtain and successfully maintain flow and clutch performance states.
