They begin to sing, and each of them seems to know exactly what to do and when to do it. Take Il Volo, the popular trio of Italian pop-opera singers, who won the top prize at the Sanremo Music Festival in 2015. Finally, to explain the complex relationship between these two phenomena, we suggest that music and flow could be seen as an emergent embodied system. Future challenges could include the role of a group level of analysis, overcoming a frequency approach toward dispositional flow, and integrating both state and dispositional flow perspectives in order to deepen comprehension of how flow takes place in musical contexts. Several aspects concerning musical contexts still need to be deeply analyzed. Results showed that the dispositional approach is predominant in the above-mentioned settings, mainly regarding music performance. For this purpose, three aspects of the selected studies are discussed and analyzed: (i) the characteristics of the flow assessments used (ii) the experimental design (iii) the results and (iv) the interrelations between the three domains. Clear and useful guidelines to distinguish between flow as a “state” and as a “trait” are provided by literature concerning flow assessment.
To address these issues, the current review aims to outline flow experience as a “trait” and as a “state” in the three above-mentioned musical domains. In order to deeply explore flow in the musical domain, it is crucial to consider the complexity of the flow experience-both as a “state” and as a “trait.” Secondly, since music is a multifaceted domain, it is necessary to concentrate on specific music settings, such as (i) musical composition (ii) listening and (iii) musical performance. Indeed, it is noted that there is a special relationship between these two aspects (i.e., music and flow experience). It is not unusual to experience a sense of total absorption, concentration, action-awareness, distortion of time and intrinsic enjoyment during an activity that involves music.
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