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By Elina Hytönen-Ng

The time period 'flow' refers to reports the place the musician strikes right into a attention during which time appears to be like suspended and notion of fact is blurred through subconscious forces. an important a part of the jazz culture, which regularly serves because the origin of the musician's id, circulation is known in the larger jazz group as a severe think about comprehensive musicianship. circulate as an idea is so deeply embedded within the scene that those stories are usually not normally mentioned. It contributes to the musicians' paintings motivation, supplying an essential point of pride and accomplishment. the ability of the adventure, consciously or unconsciously, has given upward push to the construction of heroic photographs, during which jazz musicians are visible as being daring, but weak, robust and masculine, yet nonetheless in a position to expressing feelings. during this discourse, musicians are pictured as humans continually placing themselves at the line, exposing themselves and their hearts to each other in addition to to the viewers. Heroic profiles are richly built in the jazz scene, and their incorporation into narratives of stream means that such photographs are inseparable from jazz. it's therefore doubtful how a ways the musicians are easily reporting own event in place of unconsciously perpetuating a profoundly internalised mythology. Drawing on eighteen interviews carried out with expert jazz musicians from all over the world, Elina Hytonen examines the basics of the phenomenon of circulation in jazz that has ended in this genre's acceptance. moreover, she attracts on how move reports are seen and developed by means of jazz musicians, the meanings they connect to it, and the standard of tune that it conjures up.

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In addition to how peak experiences motivated the musicians, there is a further theme that forms an intermittent undercurrent in the study. Consciously or unconsciously, the musicians seemed to assimilate the discourses of flow into the creation of heroic images, in which jazz musicians were, at the same time, bold and vulnerable, strong and sensitive, masculine and able to express emotions. Musicians were pictured as constantly putting themselves on the line, exposing themselves, their passions and hearts to one another as well as to the audience.

Another respondent explained that openness meant that he no longer played the things he had played before. The musician used new approaches while he was liberated from the old patterns. Openness is considered important in the creation of flow. According to one interviewee, musicians had to believe in the existence of flow, that it would come if they were open enough. Thus openness implies a readiness to seize opportunities to express new ideas, although it involved a touch of humility: the musician must be prepared for the flow, but cannot force it.

49; Csikszentmihalyi, Flow: The Classic Work, pp. 52, 74. 19 20 Experiencing ‘Flow’ in Jazz Performance 14 According to Csikszentmihalyi, the flow experience has several consequences. The person’s quality of life was improved, and the individual was likely to be more creative and productive. These experiences encouraged the development of talents and peak performances. More importantly people who experience flow reported higher self-esteem and feelings of success. 24 Discussions of Csikszentmihalyi’s work have pointed out that he was originally influenced by Maslow.

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