Abstract
Most of the existing studies on musical practice are concerned with instrumentalists only. Since singers are seldom considered in research, the present study is based on an online-sample of amateur vocal students (N = 120; 92 female, 28 male). The study investigated the correlations between personality traits, flow-experience and several aspects of practice characteristics. Personality was represented by the three personality dimensions extraversion, neuroticism and psychoticism, assessed by Eysenck’s Personality Profiler as well as the trait form of the Positive and Negative Affect Schedule. ‘Flow-experience,’ ‘self-congruence’ and ‘fear of losing control over concentration,’ assessed by the Practice Flow Inventory, served as variables for flow-experience. The practice motivation was measured by the Practice Motivation Questionnaire in four categories (‘self,’ ‘group,’ ‘audience,’ ‘teacher’). In addition, the Practice Behavior Questionnaire was used to provide an insight into the practice situation and behavior of singing students. The results show significant correlations: participants with high extraversion-scores experience significantly more flow than less extraverted persons, whereas lesser flow-experience seems to be related to high neuroticism-scores. Nevertheless, there is no influence in flow-experience concerning singing style (‘classical’ or ‘popular’). The longer the practicing time, the more likely students are to achieve flow-experience. However, older singers tend to have less flow-experience. Consequently, singers seem to differ in their personality and practice behavior compared to other musicians. Most of the findings show that having control over one’s instrument is decisive for achieving a performance of high quality, especially for singers. On the other hand, certainty in handling an instrument is essential to arouse a flow-feeling. However, flow-experience seems to be common mainly with amateur singers. In conclusion, this offers a starting point for new research on the psychology of vocalists in greater depth.
Highlights
Practice behavior has been looked into regarding instrumentalists and with focus on practice strategies, but the personality traits of musicians and their flow-feeling were seldom taken into account
Especially singers tend to begin their formal training later than instrumentalists (Kopiez, 1998) and are often said to neglect practicing: in a study by Jørgensen (1997) vocal students showed the lowest amount of weekly practice time compared with instrumental students
The study was conducted in full accordance with the Ethical Guidelines of the German Association of Psychologists (DGPs) and the German Association of Psychologists (BDP) as well as the Ethical Principles of Psychologists and Code of Conduct of the American Psychological Association (APA)
Summary
Practice behavior has been looked into regarding instrumentalists and with focus on practice strategies, but the personality traits of musicians and their flow-feeling were seldom taken into account. Non-singers even regard a good singing voice as a natural capacity: you have it or you have it not. This might be connected to the fact that the ‘voice’ as musical instrument comprises the whole person: almost all parts of the body have to be coordinated to express ideas and feelings through verbal and musical means. The voice is an essential element of self-identity: “It helps to define who we are and how other people experience us. It conveys our inner feeling states, both to ourselves and to others” An individual allows third parties an intimate look at his or hers innermost part, which can make him or her feel naked and strongly vulnerable
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