Listening, Feeling, Growing
Supporting Emotional Development through Music Experiences in the Suzuki Studio
By Jacob Burk
Introduction: Why Emotional Development Matters
When I first started my Suzuki journey, I was drawn to the viola—a choice that was a bit unconventional, but somehow felt right. The viola’s mellow, often misunderstood voice resonated with me on a deeper level, reflecting how I often felt: a bit on the fringe, seeking to be understood.
In those early days, my focus was on achieving perfection—mastering each piece flawlessly before I felt ready to share it. But over time, I realized something crucial: you can’t find your voice if you’re waiting to be perfect. True growth comes from putting yourself out there, discovering who you are by learning who you aren’t, and embracing the journey of trial and error.
This realization became the foundation of my research project, “The Effects of Community-Based Creativity on Anxiety and Depression.” It’s about how music, creativity, and community help us not just to achieve, but to emotionally mature and find our authentic selves. In this article, I want to share how Suzuki teachers can foster that same emotional growth in their students through intentional listening and musical experiences, helping them become not only skilled musicians, but whole, resilient individuals.
Methodology
In my IRB approved research project, “The Effects of Community-Based Creativity on Anxiety and Depression,” I surveyed students aged 18–22 before and after a structured series of music-centered creative sessions. These sessions emphasized listening, reflection, and emotional exploration through group discussion and musical engagement. The aim was to examine how creativity, through any form, supports emotional regulation and student well-being.
The structure of this research project was designed to reflect the nurturing, holistic spirit of the Suzuki philosophy. Rather than isolate music as a skill or product, this protocol used music as a vehicle for emotional connection, identity development, and community support, which are all central themes in Suzuki teaching.
The project was conducted with twelve participants between the ages of 18 and 22, most of whom had musical backgrounds but varied widely in experience. These twelve participants were all enrolled in instrumental methods courses at the University of Delaware as a part of their degree in music education. Participants were invited into a structured 45–60-minute session that combined listening, emotional reflection, and creative response. This model emphasized process over product, inclusivity over perfection, and expression over performance.
Session Structure
1. Intentional Listening
The session commenced with a structured period of intentional listening, a core element outlined in the IRB-approved methodology for this study. Participants engaged in uninterrupted listening to curated live musical selections. For this specific phase, I performed the Sarabande from Bach’s Cello Suite no. 6 (arranged for solo viola) and followed it with “You Only Cross My Mind In Winter” from Sting’s album, If On a Winter’s Night. This juxtaposition offered a compelling contrast in timbre and key, allowing participants to reflect on the expressive character of two thematically similar, yet stylistically distinct works. This phase was not designed for musical analysis or critique; instead, its purpose was to cultivate emotional presence and awareness. Reflective prompts were provided to guide internal exploration, including: “What emotion does this bring up in you?” “Does this music remind you of a moment in your life?” and “What kind of sound would you create in response to this?” This process is rooted in pedagogical approaches inspired by the Suzuki Method, wherein listening is foundational—not only to the acquisition of musical style, but to the development of emotional sensitivity. In alignment with this framework, the session emphasized experience before expression, allowing participants to first internalize sound and feeling before articulating their responses.
2. Creative Response
Following this, participants entered a creative response segment, also detailed in the study’s protocol as a mode of expressive processing. In accordance with the flexible design approved by the IRB, individuals were offered multiple channels of engagement to support autonomy and accessibility. Participants could choose to draw or color representations of their emotional or sonic impressions, engage in free-writing exercises such as poetry, journaling, or memory-based narrative, or respond through subtle movement or embodied gesture. These modalities were selected based on evidence from arts-based therapeutic frameworks and designed to support participants in externalizing internal states in a safe, supportive environment.
As a second musical selection to follow the Bach, I performed a contemporary work by Kenji Bunch, Until Next Time. Without telling the participants the title of the composition, I had them listen and reflect, with a goal of naming the piece based on their emotional response. This segment aimed to reinforce the multisensory and holistic nature of musical engagement as a tool for emotional insight and regulation. This part of the session reflected the Suzuki belief that every child can, that there is no one right way to experience or communicate through music. Students were not asked to perform or be “right,” but to be authentic. This was especially meaningful for those who struggled to articulate feelings verbally.

  1. Community Reflection and Sharing
    The session concluded with an optional circle of sharing. Participants were invited to share their creative response or simply speak about what the music evoked for them. The tone was nonjudgmental, supportive, and exploratory. This mirrors the best of Suzuki group class: a communal learning space where emotional connection and mutual growth are prioritized over comparison or correction. By sharing in a circle, participants not only found resonance in others’ experiences but began to view music as a collective emotional language.

  2. Surveys and Tracking
    To measure the emotional and psychological effects of this process, participants completed a short pre- and post-survey. The surveys included questions on emotional well-being, beliefs about music and personality, openness to music therapy, and likelihood to use creative outlets for self-regulation. The data gathered (described in the following section) confirmed what Suzuki teachers often observe intuitively: music helps students feel more, express more, and connect more, both to themselves and to others.
    What the Research Shows: Creativity, Connection, and Healing
    Survey results showed the following:
    The number of students who said creative activities improve their mood “very often” or “always” rose from 83% to 92%.
    Belief that musical preferences reflect personality increased from 92% to a full 100%, reinforcing the deep personal connection students feel toward music.
    Students who said they would consider music therapy as an option before prescription medication rose from 58% to 75%.
    83% said they woulßd now recommend music therapy to others.

These findings suggest that even short-term, community-based creative interventions can positively affect how students understand and use music as a tool for well-being. For Suzuki teachers, this reinforces the potential of integrating intentional listening, reflection, and emotional dialogue within the studio, not as an “extra,” but as a core part of nurturing lifelong wellness in students.
Beyond the numerical outcomes within the pre- and post- surveys, the most powerful insights emerged in the emotional language students used to describe their experiences. There are insights that closely align with the Suzuki philosophy.
Emotional Regulation through Music: Feedback from the survey showed that participants who engaged in creative, music-based activities experienced a significant reduction in anxiety and an increase in emotional awareness. Effectiveness of music on emotional well-being was determined through survey questions such as “Do you believe music therapy is an effective treatment?” and “How likely are you to partake in a creative activity when upset?”
The Power of Community: Students who participated in group musical activities felt a stronger sense of belonging and support. This mirrors the Suzuki environment, where community experiences like group classes create bonds that foster both musical and emotional resilience.
Finding a Voice through Music: Many participants described discovering their emotional voice through the creative process. Similarly, the Suzuki approach helps students find not just technical mastery, but personal identity through music.

These findings reinforce that music education is about developing healthy, expressive human beings, not just accomplished performers.

Practical Applications for Suzuki Teachers
Drawing from both pedagogical insights and empirical observations, Suzuki teachers can foster emotional growth in their studios through a holistic framework that blends mindful listening, expressive response, interpretive depth, communal support, and modeled vulnerability. The foundation of this approach lies in intentional listening practices. By guiding students through focused listening exercises, separate from technical critique, teachers can help develop students’ emotional awareness and attentiveness to musical affect. These sessions prompt learners to consider the internal experiences elicited by the music, thereby cultivating mindfulness and a deeper personal connection to sound.
To translate these internal responses into outward expression, students engage in creative reflection activities following listening or performance. These may include drawing, journaling, or other artistic responses that allow students to explore and articulate emotional content. Such exercises act as a bridge between perception and expression, reinforcing the idea that music is not only heard but felt and communicated across multiple modalities.
Repertoire selection and interpretation are also reimagined within this framework. Rather than treating musical works as solely technical challenges, teachers present them as emotional narratives. Students are encouraged to explore the mood, character, and expressive arcs of each piece, analyzing how phrasing, dynamics, and tone shape the emotional storytelling. This fosters interpretive autonomy and allows students to engage with music more personally and meaningfully.
Creating a supportive studio culture is essential to sustaining this emotional work. Group activities, shared reflections, and opportunities for peer encouragement help students feel seen, heard, and valued. Such a community-oriented approach enhances psychological safety and encourages openness, which in turn promotes deeper artistic risk-taking and growth.
Finally, it is crucial that teachers themselves model vulnerability by sharing their own emotional connections to music. Speaking candidly about personal experiences with performance, repertoire, or practice challenges not only humanizes the instructor but also normalizes the emotional dimensions of musicianship. This transparency reinforces authenticity in the learning environment and empowers students to embrace their full emotional range within their musical journey.
Conclusion: Listening to Grow, Growing to Listen
Reflecting on my own journey, I feel fortunate to have had teachers who intuitively embraced these strategies. Through group activities, viola ensembles, and youth orchestras, I experienced firsthand how supportive musical communities build emotional strength. At its core, the Suzuki Method recognizes that music is a language of emotion. By supporting students in developing emotional fluency through music, we give them tools for not only artistic success, but for lifelong wellness—the kind of musical longevity that nurtures the whole person.