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The Relationship Between Personality Traits Flow-Experience and Different Aspects of Practice Behavior of Amateur Vocal Students

机译：业余声乐学生人格特征流动经验与实践行为不同方面的关系

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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.
机译：现有的大多数关于音乐实践的研究都只涉及乐器演奏家。由于在研究中很少考虑歌手，因此本研究基于业余声乐学生的在线样本（N = 120； 92位女性，28位男性）。该研究调查了人格特质，流程经验与练习特征的多个方面之间的相关性。人格由外向性，神经质和精神病这三个人格维度代表，并由艾森克的“人格剖析器”以及“积极和消极情感时间表”的特征形式进行评估。根据“实践流程清单”评估，“流程经验”，“自我理解”和“害怕失去对集中力的控制”是流程经验的变量。练习动机问卷由“练习动机”问卷分为四个类别（“自我”，“小组”，“观众”，“老师”）进行了测量。此外，还使用了练习行为问卷来深入了解歌唱学生的练习情况和行为。结果显示出显着的相关性：外向得分高的参与者比外向少的人经历的血流明显多，而流向经验越少似乎与高神经质得分有关。但是，关于歌唱风格（“古典”或“流行”）的流音乐体验并没有影响。练习时间越长，学生获得流动体验的可能性就越大。但是，年长的歌手往往缺乏流动经验。因此，与其他音乐家相比，歌手的个性和实践行为似乎有所不同。大多数发现表明，控制个人乐器对于实现高质量演奏至关重要，特别是对于歌手而言。另一方面，操纵仪器的确定性对于引起流动感至关重要。但是，流动经验似乎主要是针对业余歌手。总之，这为更深入地研究声乐者心理学提供了起点。

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