Foundations for Flow: A Philosophical Model for Studio Instruction

The need for a new approach to studio instruction becomes evident when the current state of the profession and the effects of typical teaching methods are considered. In a profession with relatively little demand for a large supply of candidates for professional employment, realistically very few undergraduate music performance majors will achieve success as either orchestral players or as soloists. Extreme competitiveness and the political hierarchy common in a typical music studio setting can squelch creativity and hinder a student's possibility to attain optimal experience in performance. Such an environment can pose a threat to a student's self-image and motivation, possibly becoming detrimental to the success of the student in any chosen occupation, whether ultimately within music or outside the profession.¹

As Roland Persson notes, studio teachers are generally hired primarily for their performance accomplishments and place in the historic lineage of their instrument's pedagogy without much regard for previous training in educational theories.² With a lack of training in instructional methods or developmental theories, college music teachers tend to conduct lessons in the manner in which they were taught. Thus, little attention may be paid to individual differences or developmental issues.³ Studio instruction has also traditionally been approached in a maestro-like, authoritarian manner with one-directional commands given as law from master teacher to seemingly subordinate students. Such a manner of teaching may contradict the tendency of creative individuals to show more deviant traits of critical and independent thought, possibly hindering the student's potential for artistic growth.⁴

Many music students tend to gain much of their concept of self-worth based on how they perceive their musical ability to be assessed by their studio instructor.⁵ A dependency for approval can lead to the pursuit of unachievable perfection that can be detrimental to the emotional development and self-confidence of the student.⁶ A common focus on a final product in instruction rather than on the creative process of personal and artistic growth can also contribute to the detrimental setting of unrealistic goals and resulting lack of self-esteem in the student. Evaluation of artistically, intellectually, and emotionally developing students against an unattainable perceived aesthetic ideal or in comparison to other students of differing strengths and levels of development can hinder motivation while increasing anxiety, extreme competition, and negative emotional response in the learning experience.⁷ In a more personalized curriculum that centers on individual strengths and weaknesses through a mentoring approach, each student may be guided to develop the intellectual, emotional, physical, and spiritual faculties leading to optimal experience. From creative flow and the peak experiences of self-actualization comes intrinsic motivation for students to pursue creativity as a way of life, with further motivation to find moments for artistic expression and personal satisfaction in all aspects of their being.⁸

A new model concerned with the development of the "whole" student as an individual can serve as a philosophical supplement to studio instructors who may not have received much training in developmental issues, educational theories, or related facets of the psychology of learning and performance. Although each aspect of the model can be considered separately, the potential of guiding a student toward the attainment of optimal experience is increased when all aspects are considered according to strengths and weaknesses present in the individual student. Incorporating the theories and ideas in studio instruction may help enhance a student's artistic and personal development while also strengthening a healthy mentoring relationship between teacher and student. While the model presents aspects of psychology alongside developmental and educational theories, the focus remains as a philosophical synthesis of diverse ideas into a unified system with flow at the center. Rather than aiming to deconstruct or refute opposing theories, the model synthesizes supporting ideas. As Estelle Jorgensen notes, the purpose of a synthesis-oriented or "synoptic" model is not so much to argue or refute contrasting views as it is to build upon the supporting theories and ideas of other writers. The "body of thought" serves an explanatory purpose of the "clarification of terms and exposition...