See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/388186098

Mindful Music Instruction as a Strategy for Music Listening

Article in Journal of Health Research and Society · January 2025

DOI: 10.34002/jhrs.v3i2.56

CITATIONS READS
0 236

1 author:

John Roger Alcantara Obja-an

Don Bosco Academy - Bacolor
4 PUBLICATIONS 0 CITATIONS

SEE PROFILE

All content following this page was uploaded by John Roger Alcantara Obja-an on 21 January 2025.

The user has requested enhancement of the downloaded file.

JHRS, Vol. 3 (2), 2024
DOI: 10.34002/jhrs.v3i2.56

Mindful Music Instruction as a Strategy for Music Listening

John Roger A. Obja-an
Assumption College – San Lorenzo, Makati City, Philippines 1223
[email protected]

Abstract

Mindful music instruction is a concept that involves employing mindfulness constructs through direct
instructional approaches to enhance the listener's engagement. This study aims to explore the effectiveness of
mindful music instruction strategy in assessing music listening skills and fostering an understanding and
appreciation of Western classical. Music selections include classical and Romantic compositions. The study
was conducted with a cohort of nineteen (n=19) ninth-grade high school girls in the capital city of the
Philippines. Quantitative and qualitative descriptive research methods were used. Music responses were
evaluated using the Creative Music Listening Response framework. Results indicate that students provided
clear descriptions of the music, encompassing images, emotions, and stories, supported by comprehensive
explanations through use of music elements. While these descriptions were well-supported with explanations
of musical elements, attention was directed toward enhancing accuracy and consistency of musical
terminology. The summary of scores revealed that seven students demonstrated a proficient level of music
listening response, while twelve achieved an advanced level. To validate the findings, student self-assessment
checklists, self-reflections, and interviews were conducted. Recommendations are provided for the extended
application of mindful music instruction in music education across diverse settings and levels.

Keywords: music listening, music education, mindfulness, music education strategy

Introduction meditational practice, Anderson (2016) and Langer

(2016) demonstrate that mindfulness can extend to
Music listening stands as a foundational external stimuli, such as music, through
and crucial aspect of music education. The instructional guidance.
Philippine Department of Education stresses the This study aims to explore the
importance of music listening in the ninth-grade effectiveness of mindful music instruction as a
junior high school music curriculum by strategy in assessing music listening skills and
emphasizing competencies such as 'perceptive fostering an understanding and appreciation of
listening to selected Romantic period music' and Western classical through content of verbal and
'describing musical elements of given Romantic written responses to music. This study is guided by
period pieces' (Department of Education, 2016). Kratus's (2017) Creative Music Listening Response
Furthermore, music listening is inherently framework. This study involved nineteen (19)
covert. Listening takes place in the person’s head, ninth-grade girls during the school year 2017-2018
which is not observable. This inherent covert in the heart of the city-capital of the Philippines.
nature poses a significant challenge for educators These participants had diverse experiences in
in assessing music listening. To overcome this music training and listening habits.
challenge, observable behaviors such as words,
movement, and drawings are employed to assess Relevant Literature
mindful listening. Guiding the assessment of music The philosophical foundation of mindful
listening toward an authentic and creative listening in music education can be traced back to
experience is crucial, as advocated by Kratus Emile Jacques Dalcroze’s eurythmics
(2017). phenomenology. Juntunen (2004) interpreted the
Mindfulness allows the mind to have a close relationship between the Dalcroze’s
particular orientation on one’s experiences to eurhythmics method and Maurice Merleau-Ponty’s
regulate its thinking process. Jon Kabat-Zinn phenomenological philosophy of embodiment.
(1994) characterizes mindfulness as a meditational Embodiment emphasizes being-in-the-musical-
practice involving purposeful, non-judgmental world through the body. Both Merleau-Ponty and
attention to the present moment. While typically a Dalcroze share ideas on “becoming fully aware”

16
 JHRS, Vol. 3 (2), 2024
and “being in the sound” to create images and initial studies, its application to instructional
reflect. This philosophy of becoming fully aware planning, especially in general music classrooms,
goes with the operational definition of mindfulness should be considered. Skatelum (2011), Woody
by Bishop et.al. (2004). Bishop et al state that (2004), and Martinez (2015) outlined in their
self-regulation and being-in-the-musical-world studies that integrating musical elements and
make us aware of the sound that facilitate musical concepts to extra-musical associations should be
understanding. made explicit and well-communicated. Thus,
Mindfulness was first used in meditation. sound application of mindful music listening to
Through the use of soft music, it aids focus on self, instructional planning will only be evident if
heightened attention, and decreased anxiety. proper repertoire selection and assessment are
Beauchemin et.al. (2018); Wilson and Dixon, used.
(2010), Diaz, (2010). Anderson (2016), Langer
(2016), and Langer et.al. (2009) employed Conceptual Framework
mindfulness as music instructions in their studies. Music listening is a highly creative
Results showed that mindful instruction yields process. Peterson (2006) states that an individual
higher music sensitivity and enjoyment. Students constructs mental objects from the auditory events
became more competent and creative in playing. presented by a performance. These cognitive
Performers became more expressive and aware in representations legitimately differ from one person
their musicality. to another, and vary based on the listeners’ skills,
Review of Music listening literatures background knowledge, attitudes and goals of
emphasizes active listening as devoting full listening. Dura (2006) explores more on this
attention to music itself (De Santis, 2015; Stuart process by giving proof that music listening is a
and White, 1999). They stressed that listening with phenomenological process. He argues that music
full attention increases musical perception and listening is a complex and multi-faceted
enables the listener to organize thoughts and phenomenon, in which the human is immersed in
reconstruct different layers of sound (De Santis, organized sound. Music listening is seen as a
2015). Skatelum (2011) conducted a research on product of circumstance, with the characteristics of
verbal music responses on adults. Analysis of the individual listener and the particular situation,
responses showed poor on information but high on which have bearing on the overall quality of the
personal investment. She concluded that verbal music experience.
descriptors can be useful in making extra-musical Therefore, there is a need to direct the
associations more explicit. focus of the students when listening to music so
Woody (2004) reinforces Skatelum’s that attention and awareness can be sustained.
findings. He emphasizes the role of music in Directing the students’ focus in listening to music
classroom teaching to be more aware of certain allows them to create a more focused mental space
emotional appeal when listening to music. Active and be more aware of the musical elements
listening was used by Martinez (2015) in his present. Bundra (2006) recommended that “giving
classroom in teaching the elements of music. instruction appears to have an effect on how to
Results showed that students are more focus and listen to music.” Listeners can be taught to listen to
attentive in class when they have better music more carefully with increased focus and
understanding of musical elements and concepts. attention to the music piece.
In this study, the selection of repertoire is The researcher used mindfulness as a
based on the purpose of music education. It strategy and is guided by Jon Kabat-Zinn’s (1994,
emphasizes process instead of product, which pp. 4-5) definition, which is as follows:
allows students to create meaning (Kirchoff, 2010). “Mindfulness means paying attention in a
Appropriate scaffolding zone of proximal particular way: on purpose, in the present moment,
development was used as students become more and non-judgmentally. This kind of attention
adept to a certain skill (Firestone, n.d.). Written nurtures greater awareness, clarity, and
outputs were used as well to assess music acceptance of present-moment reality. It wakes us
description writing (Brookhart, 2013; Whitcomb, up to the fact that our lives unfold only in moments.
1999). Williams (2017), affirmed that writing If we are not fully present for many of those
reflective journal is an essential tool in music class. moments, we may not only miss what is most
Rubrics were used in assessing both performances valuable in our lives but also fail to realize the
and learning in music classes. richness and the depth of our possibilities for
Thus, mindfulness is a viable tool to direct growth and transformation.”
music listening as advocated by Anderson (2016), Mindfulness as a strategy for instruction is
Langer (2016), and Langer et.al. (2009). While the guided by Langer and Moldoveanu (2000), who
value of mindful music instruction is evident in the believe that mindfulness can be a possible solution

17
JHRS, Vol. 3 (2), 2024
to certain issues in education. It consist of “paying Speculative Learning Sequence for Music
more attention” and “presenting information from Listening. This sequence includes: First, aural
different perspectives.” Langer further states that recognition, where two excerpts are compared if
this practice of mindfulness can be done inside the they are same or different; Second, aural
classroom by giving instruction that will direct the identification, where verbal descriptor is given and
focus of student’s attention. It is called “mindful students select the excerpt which matches the
music instruction.” (Anderson, 2016) descriptor; and Third, verbal identification, where
To assess the effectiveness of mindful students provide verbal descriptors in an excerpt
music instruction, the nature of the music listening being listened to.
responses must also be described. John Kratus For divergent responses, Bundra (2006)
(2017) stated in his article “Music listening is recommends the use of verbal protocol analysis as
Creative that successful assessment of music a viable tool. Verbal protocol analysis provides
listening contains both convergent and divergent music researchers to address “the principal
music responses. Convergent music responses are problem facing the students’ listening processes.”
definite. These include the elements of music such The aim is “to find a valid way of tapping the
as melody, tempo, timbre and dynamics. moment-to- moment history of mental
Divergent music responses, on the other involvement with the music.” Verbal protocol also
hand, are varied, and are dependent on the musical taps on “perceptual elements” of music listening,
background of the listener. Divergent thinking which include extra-musical references and
includes extra-musical references and affective affective elements.
elements attributed to music. Kratus (2017) stated Figure 1 presents the conceptual
that divergent music response is the most authentic framework of the mindful music listening process.
and natural response of music listeners. Mindfulness, as a construct, is a means of directing
To develop the student’s skills in writing covert behavior. Thus, directing attention to listen
convergent responses, Thompson (2010) suggested actively begins by verbally instructing students to
a sequence of assessing the elements known as the listen to the music mindfully. This mindful music

Figure 1

Conceptual Framework of the Mindful Music Listening

Process (Obja-an, 2018)

18
 JHRS, Vol. 3 (2), 2024
instruction was based on Kabat-Zinn’s (1994) mixed response is the most successful form of
definition cited by Yeganeh and Kolb (2009, musical response, according to Kratus (2017).
pp. 10-11). The mindful instruction is as follows: The next step of the process was the
“When two people listen to music, they assessment of music listening responses. The
listen to it differently because music is a creative teacher, with the used of rubrics, analyzed the
process of making meaning. The way we listen to divergent and convergent music responses of the
music is based on one’s previous musical students, and gave them written feedback. The
background and experience. As you listen to the written feedback helped the students to develop
music, be aware and attentive of what you are their awareness and sensitivity in writing music
listening to. Take note of the specific musical listening responses.
element being described or you want to describe, The final step of the process is where
Acknowledge the musical element that makes you students become deep music listeners. Constant use
create that story. Make sure that you notice the of the mindful instruction strategy allows the
changes thoroughly from the beginning, middle students to become active music listeners. As a
and end of the piece or excerpt.” result, they practice being mindful constantly and
After giving the mindful music instruction, consciously. Thus, it is important that we continue
the students listen to a musical excerpt. The music to practice the said strategy to develop a long-term
listening tracks can be of any style, genre, or impact in the use of the conscious music
culture. For this research, the music pieces were instruction. Documentation and analysis through a
taken from the 18th and 19th century European art survey form and students’ focus group discussion
music, which are more commonly known as was done at the end of this study.
classical and romantic period. These tracks were
purposefully chosen based on the following Methods
reasons: (1) as part of the ninth-grade music
curriculum, (2) to elucidate specific musical Research Design
nuances and features found in romantic music and This study utilized a naturalistic non-
compare it with the previous era of classical music, experimental research design. Independent variable
highlighting the importance of process over the were not manipulated. Mindful music instruction
product (Kirchoff, 2010), and (3) romantic music is was given to focus one’s attention to music
known for its significant use of expressive listening. The subjects were observed and recorded
elements that would allow students to apply extra- in the natural setting (Wells, 2010). Naturalistic
musical and affective applications clearly (Bundra, non-experimental research design was deemed fit
2006). The tracks played were short, just the for this study because mindful music instruction
opening theme and not longer than one and a half will be used in a conventional classroom setting.
minutes to keep the students’ span of attention. The Students wrote meaningful music descriptions after
music track was listened to twice: the first time, listening to music instruction. These were assessed
without title and program notes, and a second time, and developed with continuous intervention of the
with title and program notes. This process allowed teacher.
the students to describe other musical elements that
they did not hear in the first listening, so that they Subjects of the Study
can tie these elements to the intended meaning of The subjects of the study include nineteen
the composer as cited in the program notes. (n=19) ninth grade students taking music 9 classes
The next step in the process is the writing at the heart of the Metro Manila capital. The
of responses as a result of their instructed mindful subjects are all females ranging from ages 13 to 15
listening task. The students were required to years old. All the subjects have varying
classify their responses into convergent and experiences and background in music.
divergent music responses (Kratus, 2017). They
may be scaffolded using speculative learning Instrumentation
sequence (Thompson, 2010) and verbal protocol Data from results of the music instruction
analysis (Bundra, 2006), based on the students’ were obtained from assessment rubrics, focus
ability. In this study, concurrent music response group discussions, and survey forms describing
includes the elements of tempo, dynamics, melody differences in how they have perceived and wrote
and timbre, while divergent music responses cover music descriptions. At the end of the nine lessons,
the listeners’ personal image/emotion/story. As the the students were given a self-assessment
students could be more articulate in their questionnaire about their understanding and
responses, the two music responses were appreciation of music listening. This self-
combined, and the divergent music must be assessment questionnaire contains ten (10)
explained using convergent music response. This questions about ways of improving music listening

19
JHRS, Vol. 3 (2), 2024
responses after undergoing mindful music some constructs of mindfulness. These rubrics vary
instruction. The researcher wrote the ten items, and in every lesson, based on the specific concept or
were duly validated by a music education performance activity, maintaining the criteria for
professor, who had been teaching music education convergent and divergent responses. Aside from
students in a private music school in Manila for the rubric, the teacher provided the respondents
twenty years. Students responded to the survey with written feedback to ensure guidance in the
using a five-point agreement Likert scale. students’ development of music listening response.
To supplement the quantitative data, a Qualitative data were analyzed using content
focus group discussion was also done with seven analysis technique.
(7) students in the class to gather their perceptions
after doing the mindful music instruction strategy. Results and Discussion
The purpose was to provide explanations for their
personal experiences in music mindful listening The results and findings are discussed in
activity. The researcher constructed questions that parts according to the lesson presented and the
focused on describing their experience of the transition of how the responses become more
lessons and how they can help the instructor crea- tive. Data is presented in percentages for a
enhance the use of mindful music instruction. total of nineteen (19) respondents. However, on the
These same questions were validated by the same ninth and tenth days, only (18) respondents
music education professor above. The researcher participated.
also provided observations as he conducted the
study. Researcher’s Narrative on Mindful Music
Instruction
Data Collection and Analysis On the first three days of the
Nine (9) lessons that span for implementation, the lesson focused on
10-45-minute session per day were designed by the differentiating classical from romantic
researcher. In each lesson, the teacher asked the compositions. The compositions used were Eine
students to listen to a certain musical selection. Kleine Nachtmusik by W.A. Mozart, a classical
Before playing the said selection in each lesson, composition, and Hungarian Dance No. 5 by
the teacher read mindful music instruction Johannes Brahms, a romantic composition. These
verbatim. Afterward, the excerpt is played twice, compositions where chosen to juxtapose musical
depending on the lesson’s goal. Students write their differences in tempo and dynamics. Convergent
music descriptions, which must show convergent responses were measured via a gradual increase of
and divergent music listening responses as sequence in Thompson’s speculative music
prescribed by Kratus (2017) creative music listening response. Convergent and divergent
listening response. responses were varied. In Brahms’ composition,
The teacher graded the written assessment more than three fourths of the students (78.95%)
using a rubric. An example of a rubric is presented gave clear divergent reactions. On the other hand,
in Figure 2. The rubric contain criteria for Mozart’s composition was given higher convergent
assessing convergent and divergent responses and responses (47.37%), which included aural

Figure 2

Sample Music Listening Response Rubric for Day 1

20
 JHRS, Vol. 3 (2), 2024
identification, tempo recognition and dynamics as emphasis while gradually incorporating convergent
compared to Brahms’ (26.32%). responses in their explanations. All musical
On the second day, the composition selections listened to on these three days were
“Symphony No. 5” by L.V. Beethoven and the romantic instrumental compositions. These
composition “Nacht und Traume” by Franz compositions were played twice, the first time,
Schubert were used. L. V. Beethoven was without the title and program notes, and a second
considered the composer who bridged classical and time with the title and program notes of the
romantic music. Symphony No. 5 highlights composition.
distinct nuances of tempo and dynamics. “Nacht Day six used the compositions “Nocturne
und Traume” was specifically used to teach the in Eb Op. 9 No. 2” by Frideric Chopin and “In the
Romantic style. Verbal identification was Hall of the Mountain King” by Edvard Grieg.
introduced for tempo and dynamics. Findings These two compositions were explicitly chosen to
showed that more than half of the students gave compare a sentimental piano piece as opposed to a
divergent reactions: 52.63% for tempo and 57.85% bombastic orchestral composition, a musical
for dynamics respectively, on both compositions. development that happened in the Romantic era.
Students gave their clear and thorough Results of the assessment show that on both
explanations. In relation to convergent reactions, compositions, divergent responses are relatively
verbal identification of tempo and dynamics were high, both before and after the program notes were
varied. Significantly, Beethoven’s composition presented (68.42% - 89.47%). Their explanations
received a very high aural recognition, 89.43; and using convergent responses were relatively below
timbre identification, 94.97 respectively. On the the divergent reactions (57.89% - 73.69%). High
other hand, Schubert’s composition got more than accuracy of convergent response on timbre was
half (57.89) on aural recognition of melodic seen both on aural recognition (72.22%) and aural
nuances. identification (94.44%). Though this is the case,
On the third day, a formal assessment was only verbal identification of tempo, dynamics and
given on the romantic art song “Die Erlking” by melody was below majority (44.44%)
Franz Schubert. “Die Erlking” features distinctly On the seventh day, the students were
romantic music articulations such as sudden instructed to consciously articulate expressive
changes in tempo and dynamics, use of vocal changes of musical timbre, tempo, dynamics, and
technique, and incorporation of emotional and articulations that have developed from the previous
expressive literary texts in a musical manner. The lessons. Students were assessed by writing
formal assessment revealed very clear descriptions divergent and convergent responses in paragraph
of divergent responses (94.44%). Some (88.89%) form, although they were presented in two different
students described specific elements; and some questions. Same format that was done in day six,
(89.47%) thoroughly explain it. Convergent which was listening to “Violin Concerto in D
responses showed high (94.44) aural identification major” by P.I. Tchaikovsky, an example of
of melody, and high (94.44) verbal identification of absolute music. Results showed that both before
dynamics; and also high (94.44) verbal and after the title and program notes were given,
identification of tempo. the respondents’ divergent reactions were clear and
The fourth day was spent on rehearsing the thorough (68.42% and 63.16%, respectively). Their
students’ performance task, which was to sing convergent responses are at a lower percentage
“Nacht und Traume” by Franz Schubert. On the (52.63% and 63.16%). These results showed that
fifth day, they evaluated their performance by majority (68.42% and 63.16%) can give clear and
watching the video of their performance. In this thorough images/emotions/stories to the music, but
assessment, students were asked verbally to still, clear and correct use of the musical elements
identify their strengths and areas for improvement needs to be evaluated further.
citing evidence on the four musical elements. The On day eight, the assessment was similar
purpose was for them to consciously exercise their to day seven. Still, the composition used was the
use of convergent music responses in explaining fourth movement of “A New World Symphony” by
their divergent reactions. Results showed that the Antonin Dvorak, an example of program music.
majority (73.68%) accurately identified their This composition was used to continuously
strength on musical elements; and majority develop the students’ ability to express elements
(84.21%) were able to identify their areas for while contrasting program music from absolute
improvement. Majority (78.94%) gave music. Results showed a significant increase from
explanations that using divergent responses the previous day. Clear and thorough divergent
affected their showmanship. responses, both before (84.21%) and after
On the sixth through eighth days, (78.95%) the title and program notes were
assessment of divergent responses was given presented. Convergent responses were also

21
JHRS, Vol. 3 (2), 2024
significantly higher (84.21% and 78.95% although attention must be given to the use of
respectively), compared to day seven. These results accurate and precise musical terminology.
show that mindful music instruction takes time and Figure 3 shows the summary of assessment
requires constant feedback from the teacher. per student. It shows the total scores for all
On the ninth and tenth days, the students assessments from day one to ten of the
were given time to accomplish their performance implementation of the study. The horizontal axis
task to create an audio e-book of a British/ shows the scores, and the vertical axis shows the
American Literary piece with romantic music name of the students. The total score of all the
incidental scoring. This assessment also served as assessments was one hundred thirty-seven (137).
the students’ final performance task, a culmination Each color in the graph shows the total score of the
in writing music listening descriptions. The goal students in each assessment per day. The following
was to justify their use of musical composition, code is used to interpret the result: 0 – 27.4 for
which they will use in the musical scoring of the developing proficiency, 27.5 – 54.8 for beginning
literary piece. Thus, responses for their justification proficiency, 54.9 – 82.2 for approaching
include combined divergent and convergent music proficiency, 82.3 to 109.6 for proficiency, and
responses. Seventeen (94.44%) out of eighteen 109.6 to 137 for advanced proficiency.
compositions had clear and thorough divergent The results show that twelve (12) (63.18%)
reactions. Almost all compositions were supported of the students show a score above 109.7, which
by three out of four musical elements (94.44%). A means that they have advanced proficiency (above
high (88.89%) accuracy and precision of musical 80% of total score), while seven (7) (36.84%) of
elements were also seen. This result shows the sig- the students show proficient music response (above
nificant development of music listening responses, 60% of total score). These results show that more

Figure 3

Summary of Assessment Results per student

22
 JHRS, Vol. 3 (2), 2024

Table 1

Pre and Post Self-Assessment Student Checklist Result

Note. n=19; Strongly Agree = 4.00 – 5.00, Agree = 3.01 – 4.00, Neither Agree nor
Disagree = 2.01 – 3.00, Disagree = 1.01 – 2.00, Strongly Disagree = 0.01 – 1.00

than fifty percent of the students were able to give on accurate description of tempo (4.63 to 4.53),
advanced music assessment responses to music dynamics (4.63 to 4.47) and understanding and
listening with mindful music instruction. appreciating Western classical music (4.42 to
Table 1 shows the results of the pre and 4.26).
post assessment administered by the researcher A paired t-test was run to differentiate the
before and after the using mindful music means of each of the ten-item survey scores, both
instruction. Questions in the assessment include in the pre-test and post-test. Results show that
their attention to music listening and appreciation means of the pre-test (4.44±.208) and the post-test
of western art music in general. The students rated (4.48±.150), may not be statistically significant as
each statement using an agreement Likert scale, the p-value = .3.57. This result is may be due to the
with five being strongly agree and 1 being strongly varying musical preferences of students. This result
disagree. For each item, the mean was computed is also supported by Dura (2006), which states that
for all nineteen (n=19) respondents. music listening is seen as a product of
As seen in the result, all items for both in circumstance, with the characteristics of the
the pre and post-assessment show a range of individual listener and the particular situation with
“Strongly Agree.” The change between pre and bearing in the overall quality of the music
post assessment results was minimal. One experience.
statement had no significant change, specifically These results of self-assessment show that
on being “fully aware” of emotions while listening students’ perception on the use of mindful music
to music. There is a change, most especially, in instruction vary. What was very evident is the
analyzing the timbre of the music comprehensively increase in number of students who acknowledge
from 4.32 to 4.58, and describing the melody using the image/stories they create in music and being
musical terms from 4.05 to 4.26. The number of able to recognize these image/stories/emotions
students who strongly agree in creating images/ successfully using musical elements. This result
stories to music changed from fourteen (14) to supports Kratus’ (2017) literature on creating
sixteen (16) (73.86% to 84.21%). On the other creative music responses that combine both
hand, there was a decrease in the rating of students descriptions.

23
JHRS, Vol. 3 (2), 2024
Qualitative Analysis of Teachers’ and Students’ they use divergent and convergent responses
Experiences and Insights properly. The teacher also noticed that the students
Students Focus Group Discussion (SFGD) frequently use the music terms. This strategy will
After the ten lessons, seven (7) students be helpful to the students in utilizing correct
were asked to describe the way they listened to musical terms in describing music.
Western classical music through oral interview and Inside the classroom, mindful music
written feedback. This SFGD was done to instruction was engaging in the first few days of its
supplement quantitative data from the student implementation. But after some days, the teacher
survey checklist. Majority of the students said that noticed that some students became bored and tired
they develop the habit of going “deeper” into the of sitting. The teacher created interactive methods
music by analyzing, interpreting and making such as standing up and going to other parts of the
stories or describing emotion. Majority also said room to share their responses. It is also important
that they were able to use music terms to explain for the teacher to remember that students are
their image/emotion/story that they create. Around dynamic learners. Thus, we can postulate that
a fourth (26.32%) of students said that they became being fully aware of the present moment and own
more sensitive, aware and attentive to what they context can be addressed to by mindful instruction.
listen to, and two (2) people said that they could Still, some engagement must be done to sustain
create meaning to it. Students also described attention. Being aware of the music from the
becoming more mindful of what they are listening beginning, middle, and end of the excerpt, as
to and a change of habit in listening to music, not postulated in Yeganeh and Kolb’s (2009)
just a passive experience, but being in the music mindfulness constructs, also means keeping the
and changing their attention. students’ attention. Therefore, interaction and
The majority (73.68%) of the remaining movement are recommended for students to be
students said that they understood and appreciated more engaged.
Western classical music “a little.” Seven (7) The teacher also observed that mindful
students said that the lessons allowed them to have music instruction can be rephrased or can be
a deeper understanding and interpretation of instructed in creative ways. It could be done as
classical music. Two (2) students acknowledged long as it contains the following: (1) the three main
the effort it takes to write classical pieces, the theoretical constructs, and (2) the instruction
significance of writing such classical pieces, and before a musical composition is played. These two
the ability to appreciate each style. At least one (1) steps are needed because students have the
student acknowledged that she had fun listening to tendency to get bored when the instruction
classical compositions. Another student, a pianist becomes repetitive.
herself, said that she found purpose in practicing The teacher also noticed that ample time is
piano as it takes a lot of deeper understanding to a crucial factor. Having a 45-minute class was very
her practices. Another student also acknowledged short, and the total time of giving mindful music
how a lot of effort is given in the creation of the instruction, playing the selection and writing down
compositions and they were able to recognize this responses takes a lot of time. It is suggested that
in their analysis of the program notes. proper planning should take place. Feedback was
The students also suggested feedback on seen as a very crucial factor to improve students’
how to improve the music lessons. While most of musical response. Therefore, constant formative
the students did not cite specific feedback, at least feedback is necessary for every assessment given.
two (2) students indicated that the lessons should Giving Feedback would give the students with
be more interactive to sustain their attention. At pertinent information on successful
least one (1) student said to have some variety in music responses. Giving an exemplar response is
the assessments. Listening to many compositions also deemed very important as it will serve as the
and writing feedbacks to different composers will students’ model in guiding their music
immerse them more to several kinds of music. It descriptions.
should be noted, that one (1) student during the Lastly, the teacher also tried to include the
interview said that the assessments are effective constructs of mindfulness in the assessment
because they increase her curiosity about the rubrics. The construct “life as an emergent process
compositions she has listened to. of change” instructs the listener to listen from
beginning, middle and end. This construct,
Teacher’s Observations therefore makes their music response more
At the onset, the teacher noticed that thorough and accurate. Although this is the case,
successful music response was evident with the teacher spent a lot of time checking the
mindful music instruction. In recitations, the stu- assessments as they are all written essays. The
dents become creative in their explanations, and teacher recommends the of use the constructs of

24
 JHRS, Vol. 3 (2), 2024
mindfulness and other forms to have variety of actual intention of the composer; and (3) caution
assessments. should be exercised not to invalidate images,
stories, and most especially emotions, as divergent
Discussion and Future Research Directions responses to the composition. It is important to
This research provides evidence that remember that each listener has a different musical
mindful music instruction, as proposed by background and may relate to the music differently
Anderson (2016) and Langer (2016), may be an in one way or another. It is, therefore necessary,
effective strategy for music listening. The for teachers to be cautious of the words they use
instruction encourages the listeners to become when giving constructive feedback.
active rather than passive listeners to music. It also Further research on mindful music
supports literature provided by Woody (2004) and instruction should be done in different settings
Martinez (2015), whereby active listening is across different levels of music education to ensure
augmented by proper use of technical music its effectiveness. It should include one-on-one
terminology. In turn, students acquire a deep private tutorials for any music instrument, to group
understanding and connection with the music, workshops on music performance and theatre from
reflected in their divergent and convergent toddlers to adults. Mindful music instruction
responses. As proposed by Kratus (2017), this deep alongside other visual and bodily kinesthetic
understanding and connection with music will activities and music repertoires across different
allow listeners to develop their musicianship music cultures and styles will allow for a more
intrinsically, making them more creative music stylized and contextualized development of the
listeners and musicians. However, data show that mindful music instruction strategy.
mindful music instruction may not necessarily
make students appreciate certain genres or styles of References
music, as seen in the varied responses of the
students in self-assessment and student reflections. Anderson, W.T. (2016). Mindful music listening
This case is due to the covert process of mindful instruction increases listening sensitivity and
music instruction and varying preferences of enjoyment. Update: Applications of
students towards certain music styles and genres. Research in Music Education, 34(3), 48-55.
Moreover, there are other factors, such as the https:// doi.org/10.1177/8755123314567905
respondents’ age and specific musical preference,
which were not investigated and discussed in this Beauchemin, J., Patterson, E., & Hutchins, T.L.
paper, It is recommended that a more in depth (2008). Mindfulness meditation may lessen
analysis on student vocabulary for both convergent anxiety, promote social skills, and improve
and divergent responses, through a longitudinal academic erformance among adolescents
study be done. Another interesting note is the with learning disabilities. Complementary
inclusion of other aural or visual stimulus, Health Practice Review 13(34), 34-46.
alongside mindful music instruction. It is also https://doi.or g/10.1177/1533210107311624
important to note that the setting of this study’s
responses may vary given the cultural and Bishop, S.R., Lau, M., Shapiro, S., Carlson, L.,
educational context. Anderson N.D., Carmody, J., and Devins, G.
The researcher recommends the following (2004). Mindfulness: A proposed operational
considerations in using mindful music instruction: definition. Clinical Psychology: Science and
(1) It is necessary for teachers to provide Practice 11(3), 230-241. https://doi.org/10.
immediate feedback to the students musical 1093/clipsy/bph077
responses. Given the varied results on convergent
responses, the teacher should take note of erratic Brookhart, S.M. (2013). How to create and use
use of musical terms and recommend ways of rubrics for formative assessment and
improving their responses. Giving an exemplar is grading. Alexandria, VA: ASCD.
also highly recommended to inform the students
what is expected of a successful music response. Bundra, J.I. (2006). A community of scholars
Using handout of music terms will also be helpful investigates music listening. Arts Education
for students to use the correct musical terms; (2) Policy Review 107(3), 5-13. https://doi.org/
Since students become active listeners because of 10.3200/aepr.107.3.5-13
the mindful music instruction, students might tend
to “over-listen” than the intended interpretation of DeSantis, D. (2015). Making Music: 74 creative
the composer. Therefore, the teacher should strategies for electronic music producers.
provide accurate program notes that are appropriate Berlin, Germany: Ableton AG.
for the students so they can clearly describe the

25
 JHRS, Vol. 3 (2), 2024
Diaz, F. M. (2010). A preliminary investigation Martinez, L. (2015). Active listening as a core
into the effects of a brief mindfulness method in teaching the elements of music.
induction on perceptions of attention, Alipato: A Journal of Basic Education 6, 9-
aesthetic response, and flow during music 30.
listening (Doctoral dis- sertation). Florida
State University. https:// diginole.lib.fsu.edu/ Moran, D. (2000). Introduction to phenomenology
islandora/object/fsu:168909/datastream/PDF/ (Reprint ed.). London, United Kingdom:
view Routledge.

Dixon, M.R. & Wilson, A.N. (2010). A Peterson, E. (2006). Creativity in music listening.
mindfulness approach to improving Arts Education Policy Review 107(3), 15-21.
classroom attention. Journal of Behavioral https://doi.org/10.3200/aepr.107.3.15-21
Health and Medicine 1(2), 137-142. https://
doi.org/10. 1037/h0100547 Philippines. Department of Education (2016). K to
12 Curriculum: Music. Pasig: DepEd.
Dura, M. (2006). The phenomenology of the music
-listening experience. Arts Education Policy Skatelum, M. (2011). An analysis of verbal
Review 107(3), 25-32. https:// responses to music in a group of adult
doi.org/10.3200/ aepr.107.3.25-32 non- specialists. Music Education Research
13(2), 173-197. https://
Firestone, M.(n.d.). Zone of proximal development doi.org/10.1080/14613808.2011.577770
and scaffolding in the classroom. Study.com.
https://study.com/academy/lesson/zone-of-pr Stuart, D. & White, G., (1999). Music in our
oximal-development-and-scaffolding-in-the- world: An active-listening approach. New
classroom.html. York: McGraw-Hill

Juntunen, M.L. (2004). Embodiment in Dalcroze Thompson, K. (2010). Teacher-made tools for
eurhythmics (Doctoral Dissertation). assessing music listening. In Brophy T.S.
University of Oulu. http://jultika.oulu.fi/files/ (Ed.), The practice of assessment in music
isbn951427402 4.pdf. edu- cation: Frameworks, models and
designs (pp. 121-134). Chicago, IL: GIA
Kabat-Zinn, J. (1994). Wherever you go there you Publications.
are: Mindfulness meditation in everyday life.
New York: Hachette Books. Wells, B. (Ed.) (2010). Encyclopedia of research
design. (Vols. 1). SAGE Publications.
Kirchhoff, C. (2010). Selecting repertoire: A https:// doi.org/10.4135/9781412961288.
matter of conscience, a personal viewpoint.
Canadian Winds: The Journal of the Whitcomb, R. (1999). Writing rubrics for the
Canadian Band Association, 3(1), 45. music classroom. Music Educators Journal,
85 (6), 26-32. https://doi.org/10.2307/
Kratus, J. (2017). Music listening is creative. 3399518
"Music Educators Journal 103(3), 46-51.
https://doi.org/10.1177/0027432116686843 Williams, N. (n.d.). Reflective journal writing as an
alternative assessment. Otterbein University.
Langer, E (2016). The power of mindful leaning www.otterbein.edu/Files/pdf/Education/JTI
(Reprint ed.). Cambridge, MA: Da Capo R/Vol umeIII/williams.pdf.
Lifelong Books. https://doi.org/10.1177/0305
735607086053 Woody, R. H. (2004). Reality-based music
listening in the classroom: Considering
Langer, E., Russel, T. & Eisenkraft, N. (2009). students' natural responses to music. General
Orchestral performance and the footprint of Music Today 17(2), 32-39. https://doi.org/1
mindfulness. Psychology of Music 37(2), 125 0.1177/10483713040170020106
-136. https://doi.org/10.1111/0022-4537.001
48 Yeganeh, B, & Kolb, D. (2009). Mindfulness and
experiential learning. OD Practitioner, 41(3),
Langer, E. & Moldoveanu, M. (2009). The 8-14.
construct of mindfulness. Journal of Social
Sciences 56(1), 1–9.

26

View publication stats