TY - JOUR
T1 - Comparison of music stimuli to support mindfulness meditation
AU - Dvorak, Abbey L.
AU - Hernandez-Ruiz, Eugenia
N1 - Funding Information:
https://orcid.org/0000-0003-0397-3310 Dvorak Abbey L 1 https://orcid.org/0000-0001-9133-7642 Hernandez-Ruiz Eugenia 2 1 Department of Music Education and Music Therapy, The University of Kansas, Lawrence, KS, USA 2 Arizona State University, Tempe, AZ, USA Abbey L Dvorak, Department of Music Education and Music Therapy, The University of Kansas, 1530 Naismith Drive, 448C Murphy Hall, Lawrence, KS 66045, USA. Email: dvorak@ku.edu 11 2019 0305735619878497 © The Author(s) 2019 2019 Society for Education, Music, and Psychology Research The purpose of this study was to compare the effectiveness of and preference for different auditory stimuli in supporting mindfulness meditation. Undergraduate non-musicians ( N = 57) listened to four different auditory stimuli guiding them in a mindfulness meditation: script only (i.e., Script), steady beat (i.e., Beat), beat and harmonic progression (i.e., Harmony), and beat, harmony, and melody (i.e., Melody). This study used a within-subjects repeated-measures design with the four conditions counterbalanced and randomized across participants. Participants rated responses using the Mindful Attention Awareness Scale (MAAS), completed the Absorption in Music Scale (AIMS), and ranked auditory stimuli according to preference and usefulness for mindfulness meditation. A repeated-measures analysis of covariance (ANCOVA) on the MAAS scores, using the AIMS as a covariate, indicated no statistically significant difference between auditory stimuli. However, with the AIMS removed, the analysis revealed significant differences between stimuli, indicating that levels of absorption in music may moderate participants’ responses to auditory stimuli for mindfulness meditation. Friedman analyses of variance (ANOVAs) and post hoc analyses indicated that participant rankings of usefulness and preference were significantly different among conditions, with the Melody and Harmony conditions ranked highest. music mindfulness complexity absorption in music university of kansas https://doi.org/10.13039/100007859 Center for Teaching Excellence, Center for Undergraduate Research edited-state corrected-proof The authors would like to thank Andrea Greenhoot and Judy Eddy from the University of Kansas Center for Teaching Excellence, Nikki Perry and John Augusto from the University of Kansas Center for Undergraduate Research, sound engineer Jim Barnes and the Lawrence Public Library Sound + Vision Studio, Mike Vitevitch for assistance with SONA, the music therapy and music education students who assisted as data collectors, and all of the non-musician undergraduate students who participated in the research study. Declaration of conflicting interests The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article. Funding The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: Funding for this study was provided by the University of Kansas Center for Teaching Excellence and the University of Kansas Center for Undergraduate Research. ORCID iDs Abbey L Dvorak https://orcid.org/0000-0003-0397-3310 Eugenia Hernandez-Ruiz https://orcid.org/0000-0001-9133-7642 a This script focuses on the mindfulness skill of observing and includes common mindfulness words, phrases, and images found in the literature ( Kabat-Zinn, 1990 ; Linehan, 2015 ; Rathus & Miller, 2015 ).
Funding Information:
The authors would like to thank Andrea Greenhoot and Judy Eddy from the University of Kansas Center for Teaching Excellence, Nikki Perry and John Augusto from the University of Kansas Center for Undergraduate Research, sound engineer Jim Barnes and the Lawrence Public Library Sound + Vision Studio, Mike Vitevitch for assistance with SONA, the music therapy and music education students who assisted as data collectors, and all of the non-musician undergraduate students who participated in the research study. The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: Funding for this study was provided by the University of Kansas Center for Teaching Excellence and the University of Kansas Center for Undergraduate Research.
Publisher Copyright:
© The Author(s) 2019.
PY - 2021/5
Y1 - 2021/5
N2 - The purpose of this study was to compare the effectiveness of and preference for different auditory stimuli in supporting mindfulness meditation. Undergraduate non-musicians (N = 57) listened to four different auditory stimuli guiding them in a mindfulness meditation: script only (i.e., Script), steady beat (i.e., Beat), beat and harmonic progression (i.e., Harmony), and beat, harmony, and melody (i.e., Melody). This study used a within-subjects repeated-measures design with the four conditions counterbalanced and randomized across participants. Participants rated responses using the Mindful Attention Awareness Scale (MAAS), completed the Absorption in Music Scale (AIMS), and ranked auditory stimuli according to preference and usefulness for mindfulness meditation. A repeated-measures analysis of covariance (ANCOVA) on the MAAS scores, using the AIMS as a covariate, indicated no statistically significant difference between auditory stimuli. However, with the AIMS removed, the analysis revealed significant differences between stimuli, indicating that levels of absorption in music may moderate participants’ responses to auditory stimuli for mindfulness meditation. Friedman analyses of variance (ANOVAs) and post hoc analyses indicated that participant rankings of usefulness and preference were significantly different among conditions, with the Melody and Harmony conditions ranked highest.
AB - The purpose of this study was to compare the effectiveness of and preference for different auditory stimuli in supporting mindfulness meditation. Undergraduate non-musicians (N = 57) listened to four different auditory stimuli guiding them in a mindfulness meditation: script only (i.e., Script), steady beat (i.e., Beat), beat and harmonic progression (i.e., Harmony), and beat, harmony, and melody (i.e., Melody). This study used a within-subjects repeated-measures design with the four conditions counterbalanced and randomized across participants. Participants rated responses using the Mindful Attention Awareness Scale (MAAS), completed the Absorption in Music Scale (AIMS), and ranked auditory stimuli according to preference and usefulness for mindfulness meditation. A repeated-measures analysis of covariance (ANCOVA) on the MAAS scores, using the AIMS as a covariate, indicated no statistically significant difference between auditory stimuli. However, with the AIMS removed, the analysis revealed significant differences between stimuli, indicating that levels of absorption in music may moderate participants’ responses to auditory stimuli for mindfulness meditation. Friedman analyses of variance (ANOVAs) and post hoc analyses indicated that participant rankings of usefulness and preference were significantly different among conditions, with the Melody and Harmony conditions ranked highest.
KW - absorption in music
KW - complexity
KW - mindfulness
KW - music
UR - http://www.scopus.com/inward/record.url?scp=85074978314&partnerID=8YFLogxK
UR - http://www.scopus.com/inward/citedby.url?scp=85074978314&partnerID=8YFLogxK
U2 - 10.1177/0305735619878497
DO - 10.1177/0305735619878497
M3 - Article
AN - SCOPUS:85074978314
SN - 0305-7356
VL - 49
SP - 498
EP - 512
JO - Psychology of Music
JF - Psychology of Music
IS - 3
ER -