Foundations for Flow: A Philosophical Model for Studio Instruction

Krista Riggs has written a provocative paper examining the relationship between psychology and pedagogy within the applied music studio. The source Riggs employs as the basis for her arguments reflect some of the most enduring voices in educational psychology and philosophy (including music), and performance practice/preparation in music. Riggs draws important connections between these occasionally disparate fields. I appreciate this opportunity to add to the discussion. As the foundation of this model, Riggs employs the study of optimal experience, known as "flow theory," as researched by Mihalyi Csikszentmihalyi over the past three decades. The flow experience is only possible when an individual's personal capacities are congruent with the opportunities and goals afforded by the environment. When coupled with the necessary congruency between challenges and skills inherent in the flow model, Riggs' analysis raises questions concerning the definition of success within applied studio instruction, the position of studio instruction within the totality of a student's experience, and the ways in which teachers and students negotiate learning within applied music instruction.