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(2008) tested the Short Flow Scale (9-item scale on a 7-point answer scale) specifically in a live musical context and in relation to motivation and engagement. They considered a heterogeneous target [violin (20% of respondents), piano (19%), clarinet (9%), flute (8%), cello (6%), voice (6%), trumpet (5%), and 5% other instruments]. They found a confirmation for the nine-item model in musical contexts also from a dispositional perspective (Chi-square: 45.11; df = 27). The same results were reached by Sinnamon et al. (2012), who validated another flow assessment instrument, the dispositional Flow Scale-2 (Jackson and Eklund, 2002, 2004; Jackson et al., 2008), in a musical context. Participants were distinguished on the basis of their musical experiences (i.e., amateurs vs. elite students). DFS-2 showed high reliability according to both amateurs and elite students (amateur students: 0.89; elite students: 0.92). The nine-dimension model showed a good fit, while some sub-dimensions were less related to global flow than others (0.46; p indicated that pianists (mean = 3.93, SD = 0.49) had a lower flow score relative to brass (mean = 4.36, SD = 0.55) and string players (mean = 4.22, SD = 0.56). Therefore, they concentrated on pianists and discovered that their daily amount of practice and trait emotional intelligence predicted flow (adjusted R2 = 0.27). Further, amount of practice is closely related to high BI 6727 cost performance levels, while, according to (Pates et al., 2003), flow did not correlate with performance and emotive dimensions, and emotive dimensions emerged as closely related to flow. Similar results were reached by (Butkovic et al., 2015), who focused on the relationship between dispositional flow and music practice using an ad hoc questionnaire to assess flow proneness (Swedish Flow Proneness Questionnaire��SFPQ��(Ull��n et al., 2012).