Being in Control by Letting Go: Better Performance and Creativity 'In the Zone' and How the Brain Creates 'Flow'
In this edition of "Brain Notes," we take a look at a fascinating new study that examines the processes occurring in the brain during jazz improvisation. Of particular interest is how these processes differ based on musical expertise and the intensity of the flow state—a timeless state in which we fully immerse ourselves in our activity and tune out environmental distractions.
Key Facts & Learnings
Studie:
Creative flow as optimized processing: Evidence from brain oscillations during jazz improvisations by expert and non-expert musicians (Rosen et al. 2024)
Study Content:
Researchers recorded the brain's electrical activity while experienced and less experienced jazz guitarists repeatedly improvised over a given chord sequence.
The musicians reported the degree of "flow" experienced during improvisation using the Core Flow State Scale questionnaire.
Four jazz instructors, each with at least 25 years of professional experience (three of whom were university lecturers), evaluated the aesthetics, creativity, and technique of the improvisations.
Results:
A stronger "flow" state was associated with increased activity in auditory, visual, and sensorimotor regions.
Musicians with more performance experience had stronger flow experiences and overall lower activity in brain regions associated with "mind wandering." They also showed reduced activity in regions responsible for cognitive control (fronto-parietal control network, FPCN).
Improvisations during which musicians reported stronger flow states were rated higher compared to sessions with lower flow experiences.
Backgroung: Flow
The state of "Flow" was described by its discoverer Csikszentmihalyi as "a state in which people are so involved in an activity that nothing else seems to matter; the experience is so enjoyable that people will continue to do it even at great cost, for the sheer sake of doing it." Flow can occur in both creative activities (such as musical improvisation, performance, composition, etc.) and non-creative tasks (e.g., reading, mathematical problem-solving, etc.). It typically arises when the task is challenging and matches the individual's skills in a balanced manner. Additionally, the task should have a clear, immediate goal in the near future, and there should be immediate feedback available regarding progress toward that goal and performance.
While "Flow" is a mental state, "creativity" is a process that can sometimes occur in a flow state but may also occur in less focused states ("mind wandering").
Implications for Musicians
These study findings support the view that creative flow experiences correlate with better performance. Musicians are said to be 'in the flow' or 'in the zone' when they can relinquish cognitive control. This "letting go" is evidenced by reduced activity in the frontal part of the brain, specifically the frontal cortex. This region acts like a command center, often wanting to give us constant instructions and suggest corrections if it perceives something as inadequate.
However, completely letting go and letting thoughts wander aimlessly is not the solution either. Simultaneously, the individual must maintain a relaxed form of focused attention on the specific task (e.g., the musical goal, sensory perception). According to the study's authors, the 'flow' state contrasts with more passive, stimulus-driven activity during creative "mind wandering." In both cases, musical-technical expertise is a prerequisite.
The 'flow' state is typically described as mentally very positive and enjoyable (see items from the Core Flow State Scale below) and can therefore prevent or reduce tension on stage. Paradoxically, letting go of conscious, tense control during the flow state leads to a sense of immersion in the activity while simultaneously fostering a feeling of security ('I feel in control', 'It feels like everything clicks').
Practical Advice
Trying to relax and "let go" on command to quiet the frontal cortex and enter a flow state is about as effective as trying not to think about a pink elephant: not at all! However, other findings from the study suggest that it can be helpful to consciously focus on sensory experiences from visual, auditory, tactile information, and proprioception. Observing the connection of these sensations—especially proprioceptive ones—with the sound outcome continuously (i.e., without judgment) can lead to a state of relaxed yet focused concentration.
More stage experience and a larger repertoire of technical and musical material in the repertoire have long-term effects.
How often are you in a flow state while practicing or performing on stage?
Core Flow State Scale (Martin et al., 2008)
ITEM | Never/ Strongly Disagree | 2 | 3 | 4 | Always/ Strongly Agree |
|---|---|---|---|---|---|
I am ‘totally involved’ | |||||
It feels like 'everything clicks' | |||||
I am 'tuned in' to what I am doing | |||||
I am 'in the zone' | |||||
I feel 'in control' | |||||
I am 'switched on' | |||||
It feels like I am 'in the flow' of things | |||||
It feels like 'nothing else matters' | |||||
I am 'in the groove' | |||||
I am 'totally focussed' on what I am doing |
Sources
Rosen, D., Oh, Y., Chesebrough, C., Zhang, F. Z., & Kounios, J. (2024). Creative flow as optimized processing: Evidence from brain oscillations during jazz improvisations by expert and non-expert musicians. Neuropsychologia, 108824.
Csikszentmihalyi, M., & Csikzentmihaly, M. (1990). Flow: The psychology of optimal experience (Vol. 1990, p. 1). New York: Harper & Row.
Nakamura, J., & Csikszentmihalyi, M. (2002). The concept of flow. Handbook of positive psychology, 89, 105.
Martin, A. J., & Jackson, S. A. (2008). Brief approaches to assessing task absorption and enhanced subjective experience: Examining ‘short’and ‘core’flow in diverse performance domains. Motivation and Emotion, 32, 141-157.
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