The Sohum Approach

I consider myself a tour guide of sorts for artists. We'll explore what is most important to you! My goal is to assist the artist with connecting their conscious space to their creative output. This may be approached in multiple ways based on consultation between the artist and me, Val. Your comfort zone is considered for an approach tailored to you.

At Sohum Studio, a contemporary mindful approach to artistic pedagogy is used to enhance your practice, performance, and/or technical skills. This may manifest in different ways depending on the artist and their goals. You may experience guided meditations specific to your music goals effective for music learning (Czajkowski & Greasley, 2015; Sarath, 2017). You may also apply techniques that strengthen the connection between your mind and body with a quality of awareness both productive and enjoyable. Recent research has provided ways to apply an everyday approach to mindfulness while actually doing activities such as music, active mindfulness (Auerbach & Delport, 2018; Flamini, 2020; Langer, 1989). There is evidence that utilizing mindfulness as a tool for productive and enjoyable music experiences may assist with Music Performance Anxiety, bodily awareness, focus, and creativity (Csikszentmihalyi, 1996; Diaz, 2018; Diaz et al., 2020; Farnsworth-Grodd, 2012; Khoury et al., 2017; Sarath, 2015; Zabelina, 2020). I have personally experienced these benefits and have witnessed the evidence from my students and research participants. In addition, I have authored research investigating connections between music, mindfulness, and the conscious state of flow (Csikszentmihalyi, 1975). My research in both informal and formal music settings suggests conscious awareness may lead to productive, enjoyable music making (Flamini, 2020).

Contemporary Mindfulness

A “contemporary” approach to mindfulness is not associated with any particular religion. Such an approach may use common threads derived from multiple denominations of Buddhism (Anālayo, 2019; Dunne, 2015; Young, 2016), however, contemporary mindfulness practices are based on a foundation of research associated with health outcomes (Brown & Ryan, 2003; Creswell et al., 2016; Goleman, & Davidson, 2017; Kabat-Zinn, 2003, 2011).

I aim to approach mindfulness from a broad perspective. All are welcome at Sohum regardless of beliefs, ethnicity, or cultural background. There is no seed religion from which I operate music sessions. You are encouraged to bring your own perspective and belief system into the studio. You may find it useful to bridge specific beliefs with artistic expression. I encourage you to do so! I will act as your facilitator, providing tools for transformation so you might actualize the musician you aim to be. This will be an empowering experience you will carry into your future music endeavors.

I believe we have the ability to design our reality through conscious awareness. A gift resides in you at every moment! The benefits of mindfulness may be found through meditation or while involved in activities such as music making. I have observed and experienced conscious states of heightened awareness while actively involved in music making. Please enjoy accounts of such experiences described in the following vignettes:

Example One

I feel the lyrics pass through me as individual sensations, each part of the words and whole phrases riding on my breath. Tones emanating from deep inside unfold seamlessly, effortlessly, outward into a dreamy space. It hardly feels like I am the one singing; it is just happening through me. Air moves in time with the music- breathe in, sing out, breathe in, sing out- while the body rises and falls fluidly with a rhythmic pulse. The music’s pulse is felt throughout my body and in concert with other singers surrounding me. We rock in unison, forming a spontaneous dance of breath, body, and sound. We are encompassed in a surreal bubble as the ebb and flow of our bodies synchronize with the music. Nothing else exists but this moment of musicking. Time has been left behind. Worries and distractions hold no place in my mind. Only music making is clear as all else is forgotten in the background. Lyrics carry with them intention as I deliver the meaning of each phrase with effortless eloquence. This is it, exactly how I hoped it would be. I should be ecstatic. Instead, I feel calm and completely sure how to deliver the song every step of the way. The song ends, my body is still, I hold my breath and savor the moment in wonderment. My fellow choir members and I look at one another with wide eyes and growing smiles for affirmation that something extraordinary really did happen. Did I imagine it? I felt something mystical. A feeling I want to feel again and again. (Flamini, 2020)

Example Two

I was filled by an enormous warmth and heat. I really swallowed all the notes that were streaming out in the air, not a single note, effect or sequence missed my hungry ears. The music became so distinct. I was captivated by each of the instruments and what they had to offer me. Nothing else existed! I was dancing, whirling and really gave myself up to the music and the rhythms, overjoyed—laughing. Tears came into my eyes—however strange that may seem—and it was as a further sign, some kind of liberation. The music set me free from my sober everyday life. (Gabrielsson, 2010)

I hope you will take advantage of the Sohum approach to music. Consider this an invitation to connect to your inner self, nourish your spirit, and enhance your music experiences!

Sources

Anālayo, B. (2019). Adding historical depth to definitions of mindfulness. Current Opinion in Psychology, 28, 11-14. 10.1016/j.copsyc.2018.09.013

Auerbach, C., & Delport, A. C. (2018). Developing mindfulness in children through participation in music activities. South African Journal of Childhood Education, 8(1), e1-e7. 10.4102/sajce.v8i1.519

Brown, K. W., & Ryan, R. M. (2003). The benefits of being present: Mindfulness and its role in psychological well-being. Journal of Personality and Social Psychology, 84(4), 822-848. 10.1037/0022-3514.84.4.822

Creswell, J. D., Taren, A. A., Lindsay, E. K., Greco, C. M., Gianaros, P. J., Fairgrieve, A., ... Ferris, J. L. (2016). Alterations in resting-state functional connectivity link mindfulness meditation with reduced interleukin-6: A randomized controlled trial. Biological Psychiatry, 80(1), 53-61. 10.1016/j.biopsych.2016.01.008

Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. Harper Collins.

Csikszentmihalyi, M. (2014a). The systems model of creativity: The collected works of Mihaly Csikszentmihalyi (Vol. 1). Springer. 10.1007/978-94-017-9085-7

Csikszentmihalyi, M. (2014b). Flow and the foundations of positive psychology: The collected works of Mihaly Csikszentmihalyi (Vol. 2). Springer. 10.1007/978-94-017-9088-8

Csikszentmihalyi, M. (2014c). Applications of flow in human development and education: The collected works of Mihaly Csikszentmihalyi (Vol. 3). Springer. 10.1007/978-94-017-9094-9

Czajkowski, A., & Greasley, A. (2015). Mindfulness for singers: The effects of a targeted mindfulness course on learning vocal technique. British Journal of Music Education, 32(2), 211-233. http://ezaccess.libraries.psu.edu/login?url=https://search-proquest-com.ezaccess.libraries.psu.edu/docview/1862306365?accountid=13158

Diaz, F. M. (2018). Relationships among meditation, perfectionism, mindfulness, and performance anxiety among collegiate music students. Journal of Research in Music Education, 66(2), 150-167. 10.1177/0022429418765447

Diaz, F. M., Silveira, J. M., & Strand, K. (2020). A neurophenomenological investigation of mindfulness among collegiate musicians. Journal of Research in Music Education, 68(3), 351-374. 10.1177/0022429420921184

Dunne, J. D. (2015). Buddhist styles of mindfulness: A heuristic approach. In B. Ostafin, M. Robinson, B. Meier (Eds.), Handbook of mindfulness and self-regulation (pp. 251-270). Springer. 10.1007/978-1-4939-2263-5_18

Farnsworth-Grodd, V. A. (2012). Mindfulness and the self-regulation of music performance anxiety [Unpublished doctoral dissertation]. University of Auckland. http://hdl.handle.net/2292/19993

Flamini, V. (2020). Fostering flow: Investigating flow experiences in vocal and choral music education [Doctoral dissertation, The Pennsylvania State University]. Penn State University Libraries. 22496 (psu.edu)

Gabrielsson, A. (2010). Strong experiences with music. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 547–604). Oxford, UK: Oxford University Press. 10.1093/acprof:oso/9780199230143.003.0020

Goleman, D., & Davidson, R. J. (2017). Altered traits: Science reveals how meditation changes your mind, brain, and body. Avery.

Kabat-Zinn, J. (2003). Mindfulness-based interventions in context: Past, present and future. Clinical Psychology: Science and Practice, 10, 144-156. 10.1093/clipsy/bpg016

Kabat-Zinn, J. (2011). Some reflections on the origins of MBSR, skillful means, and the trouble with maps. Contemporary Buddhism, 12(1), 281–306. 10.1080/14639947.2011.564844

Khoury, B., Knäuper, B., Pagnini, F., Trent, N., Chiesa, A., & Carrière, K. (2017). Embodied mindfulness. Mindfulness, 8(5), 1160-1171. 10.1007/s12671-017-0700-7

Langer, E. J. (1989). Mindfulness. Addison-Wesley Publishing Company.

Sarath, E. (2015). Improvisation and meditation in the academy: Parallel ordeals, insights, and openings. Journal of Philosophy of Education, (49)2, 311-327. 10.1111/1467-9752.12143

Sarath, E. (2017). Navigating the manifesto and the waves of paradigmatic change: Creativity, diversity, and integration reconceived. In E.W. Sarath, D.E. Myers, & P.S. Campbell (Eds.), Redefining music studies in an age of change: Cretivity, diversity, and integration (pp. 86-105). Routledge.

Yaden, D. B., Haidt, J., Hood Jr, R. W., Vago, D. R., & Newberg, A. B. (2017). The varieties of self-transcendent experience. Review of General Psychology, 21(2), 143-160. 10.1037/gpr0000102

Young S. (2016) What is mindfulness? A contemplative perspective. In K. Schonert-Reichl & R. Roeser (Eds.), Handbook of mindfulness in education: Integrating theory and research into practice (pp. 29-45). Springer. 10.1007/978-1-4939-3506-2_3

Zabelina, D. L., White, R. A., Tobin, A., & Thompson, L. (2020). The role of mindfulness in viewing and making art in children and adults. Mindfulness, 11(11), 2604-2612. 10.1007/s12671-020-01474-8