Listening is more than merely hearing words. Listening is an active process by which students receive, construct meaning from, and respond to spoken and or nonverbal messages (Emmert, 1994). As such, it forms an integral part of the communication process and should not be separated from the other language arts. Listening comprehension complements reading comprehension. Verbally clarifying the spoken message before, during, and after a presentation enhances listening comprehension. Writing, in turn, clarifies and documents the spoken message.
Teachers can help students become effective listeners by making them aware of the different kinds of listening, the different purposes for listening, and the qualities of good listeners. Wolvin and Coakley (1992) identify four different kinds of listening:
| Comprehensive (Informational) Listening--Students listen for the content of the message. | |
| Critical (Evaluative) Listening--Students judge the message. | |
| Appreciative (Aesthetic) Listening--Students listen for enjoyment. | |
| Therapeutic (Empathetic) Listening--Students listen to support others but not judge them (p. 7). |
Traditionally, secondary schools have concentrated on the comprehensive and critical kinds of listening. Teachers need to provide experiences in all four kinds. For example, listening to literature read, listening to radio plays, and watching films develop appreciative in addition to comprehensive and critical listening. When students provide supportive communication in collaborative groups, they are promoting therapeutic listening. For example, the listening behaviour can show understanding, acceptance, and trust, all of which facilitate communication. Students benefit from exposure to all four types of listening.
Listening is a general purpose in most learning situations. To be effective listeners, however, students need a more specific focus than just attending to what is said. See the following chart which contrasts effective and ineffective listening habits.
| Contrasting Effective and Ineffective Listening Habits | The Listening Process | Assessment of Listening | Informal Assessment | Formal Assessment |
| Effective Listeners | Ineffective Listeners | ||||||||||||||||||||||||||||||||
| Pre-listening | |||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
|
|
||||||||||||||||||||||||||||||||
| During Listening | |||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
|
|
||||||||||||||||||||||||||||||||
| After Listening | |||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
|
|
||||||||||||||||||||||||||||||||
Listening requires conscious mental effort and specific purpose. The purposes for listening relate to "types" of listening:
| Are you listening to receive information? | |
| Are you listening to follow instructions? | |
| Are you listening to evaluate information? | |
| Are you listening for pleasure? | |
| Are you listening to empathize? |
Students should be able to determine what their purpose should be in any given listening situation.

| Contrasting Effective and Ineffective Listening Habits | The Listening Process | Assessment of Listening | Informal Assessment | Formal Assessment |
... the act of listening requires not just hearing but thinking, as well as a good deal of interest and information which both speaker and listener must have in common. Speaking and listening entail ... three components: the speaker, the listener, and the meaning to be shared; speaker, listener, and meaning form a unique triangle.
(King, 1984, p. 177)
There are several strategies that students can use to prepare for a listening experience. They can:
| You have to be physically prepared for listening. You need to see and hear the speaker. If notes are to be taken, they should have paper and pencil at hand. | |
| You need to be attentive. In many cultures, though not all, it is expected that the listener look directly at the speaker and indicate attention and interest by body language. The listener should never talk when a speaker is talking. Listeners should put distractions and problems aside. | |
| "Listen to others as you would have them listen to you." |
| Am I listening to understand? You should approach the speech with an open mind. If you have strong personal opinions, you should be encouraged to recognize your own biases. | |
| Am I listening to remember? You should look for the main ideas and how the speech is organized. You can fill in the secondary details later. | |
| Am I listening to evaluate? You should ask yourselves if the speaker is qualified and if the message is legitimate. You should be alert to errors in the speaker's thinking processes, particularly bias, sweeping generalizations, propaganda devices, and charged words that may attempt to sway by prejudice or deceit rather than fact. | |
| Am I listening to be entertained? You should listen for those elements that make for an enjoyable experience (e.g., emotive language, imagery, mood, humor, presentation skills). | |
| Am I listening to support? You should listen closely to determine how other individuals are feeling and respond appropriately (e.g., clarify, paraphrase, sympathize, encourage). |
Before a speaker's presentation, you should formulate questions that you predict will be answered during the presentation. If the questions are not answered, you may pose the questions to the speaker. As well, you should be encouraged to jot down questions during listening.
An additional strategy is called TQLR. It consists of the following steps:
T -- Tune in
(The listener must tune in to the speaker and the subject, mentally calling up
everything known about the subject and shutting out all distractions.)
Q -- Question
(The listener should mentally formulate questions. What will this speaker say
about this topic? What is the speaker's background? I wonder if the speaker
will talk about...?)
L -- Listen
(The listener should organize the information as it is received, anticipating
what the speaker will say next and reacting mentally to everything heard.)
R -- Review
(The listener should go over what has been said, summarize, and evaluate
constantly. Main ideas should be separated from subordinate ones.)
| Situation: Speaker's name: Date: Occasion: | |
| What is the general subject of this talk? | |
| What is the main point or message of this talk? | |
| What is the speaker's organizational plan? | |
| What transitional expressions (e.g., firstly, secondly, in contrast, in conclusion) does the speaker use? | |
| Does the speaker digress from the main point? | |
| Write the speaker's main point in no more than three sentences. | |
| What is your personal reaction to the talk? (Based on Devine, 1982, p. 33) |
During Listening
You need to understand the implications of rate in the listening process. Nichols (1948) found that people listen and think at four times the normal conversation rate. You should use the "rate gap" to actively process the message. In order to use that extra time wisely, there are several things you can be encouraged to do:
They can run a mental commentary on it; they can doubt it, talk back to it, or extend it. They can rehearse it in order to remember it; that is, they repeat interesting points back to themselves. They can formulate questions to ask the speaker ... jot down key words or key phrases ... They can wonder if what they are listening to is true, or what motives the speaker has in saying it, or whether the speaker is revealing personal feelings rather than objective assessments.
(Temple and Gillet, 1989, p. 55)
This kind of mental activity is what effective listeners do during listening.
Effective listeners:
| connect: make connections with people, places, situations, and ideas they know | |
| find meaning: determine what the speaker is saying about people, places, and ideas | |
| question: pay attention to those words and ideas that are unclear | |
| make and confirm predictions: try to determine what will be said next | |
| make inferences: determine speaker's intent by "listening between the lines"; infer what the speaker does not actually say | |
| reflect and evaluate: respond to what has been heard and pass judgement. | |
| Sample Listening Guide
Name of student: ______________________________ Nature of spoken presentation: ___________________ Where heard: ________________________________ Name of speaker: _____________________________
|
"Comprehension is enormously improved when the speaker's schema or organizational pattern is perceived by the listener" (Devine, 1982, p. 22). There are various structures (e.g., short story, essay, poetry, play), organizational patterns (e.g., logical, chronological, spatial), and transitional devices. Effective listeners can follow spoken discourse when they recognize key signal expressions such as the following:
| Example words: for example, for instance, thus, in other words, as
an illustration
Usually found in: generalization plus example (but may be found in enumeration and argumentation)
| |
| Time word: first, second, third, meanwhile, next, finally, at last,
today, tomorrow, soon
Usually found in: narration, chronological patterns, directions (and whenever events or examples are presented in a time sequence)
| |
| Addition words: in addition, also, furthermore, moreover, another
example
Usually found in: Enumeration, description, and sometimes in generalization plus example
| |
| Result words: as a result, so, accordingly, therefore, thus
Usually found in: Cause and effect
| |
| Contrast words: however, but, in contrast, on the other hand,
nevertheless
Usually found in: comparison and contrast (and whenever speaker makes a comparison or contrast in another pattern)(Devine, 1982, p. 24). |
Palmatier (1973) suggests students can benefit from the Verbatim Split-page Procedure [VSPP]. Students divide their notebook paper so that 40% of each page lies to the left and 60% to the right. Students take brief notes on the left-hand side only. The right-hand side is used after listening for reorganizing and expanding on the scribbles to the left.
Sample VSPP
| 40% | 60% |
| Heroic
Superhuman Universal Enduring Typical of Time/Culture Recurring |
|
Critical thinking plays a major role in effective listening. Listening in order to analyze and evaluate requires students to evaluate a speaker's arguments and the value of the ideas, appropriateness of the evidence, and the persuasive techniques employed. Effective listeners apply the principles of sound thinking and reasoning to the messages they hear at home, in school, in the workplace, or in the media.
Planning and structuring classroom activities to model and encourage students to listen critically is important. Students should learn to:
| Analyze the message.
Critical listeners are concerned first with understanding accurately and completely what they hear (Brownell, 1996). Students should identify the speaker's topic, purpose, intended audience, and context. The most frequent critical listening context is persuasion. They should keep an open-minded and objective attitude as they strive to identify the main idea(s)/thesis/claim and the supporting arguments/points/anecdotes. They should ask relevant questions and restate perceptions to make sure they have understood correctly. Taking notes will enhance their listening. | |
| Analyze the speaker.
Critical listeners must understand the reliability of the speaker. Is the speaker credible? Trustworthy? An expert? Dynamic? | |
| Analyze the speaker's evidence.
Critical listeners must understand the nature and appropriateness of the evidence and reasoning. What evidence is used? Expert testimony? Facts? Statistics? Examples? Reasons? Opinions? Inappropriate evidence might include untrustworthy testimony; inadequate, incorrect, inappropriate, or irrelevant facts, statistics, or examples; or quotations out of context or incomplete. | |
| Analyze the speaker's reasoning.
Critical listeners must understand the logic and reasoning of the speaker. Is this evidence developed in logical arguments such as deductive, inductive, causal, or analogous? Faulty reasoning might include hasty or over-inclusive generalization, either-or argument, causal fallacy (therefore, because of this), non sequitur (confusion of cause and effect), reasoning in a circle, begging or ignoring the question, false analogy, attacking the person instead of the idea, or guilt by association. | |
| Analyze the speaker's emotional appeals.
Critical listeners must understand that persuaders often rely on emotional appeal as well as evidence and reasoning. Critical listeners, therefore, must recognize effective persuasive appeals and propaganda devices. A skilled critical listener identifies and discounts deceptive persuasive appeals such as powerful connotative (loaded) words, doublespeak, appeals to fears, prejudice, discontent, flattery, stereotype, or tradition. The listener must also identify and discount propaganda techniques such as bandwagon appeals, glittering generalities, inappropriate testimonials, pseudo-scientific evidence, card-stacking, and name-calling. |
By understanding and practicing the principles of objective thinking, students can prepare themselves to listen effectively in most situations.
Listening affects our ability to make good decisions, our appreciation of the world around us, and our personal relationships. Effective communication begins with listening and with listeners carrying 80 percent of the responsibility in the interaction (Brownell, 1996, pp. 6-7). Whether at home, in school, or in the workplace, effective listening is important for the development and maintenance of healthy relationships.
After Listening
You need to act upon what you have heard to clarify meaning and extend your thinking. Well-planned post-listening activities are just as important as those before and during. Some examples follow.
| To begin with, you can ask questions of yourselves and the speaker to clarify your understanding and confirm their assumptions. | |
| Hook and Evans (1982) suggest that the post-mortem is a very useful device. You should talk about what the speaker said, question statements of opinion, amplify certain remarks, and identify parallel incidents from life and literature. | |
| You can summarize a speaker's presentation orally, in writing, or as an outline. In addition to the traditional outline format, you could use time lines, flow charts, ladders, circles, diagrams, webs, or maps. | |
| You can review your notes and add information that you did not have an opportunity to record during the speech. | |
| You can analyze and evaluate critically what you have heard. | |
| You can be given opportunities to engage in activities that build on and develop concepts acquired during an oral presentation. These may include writing (e.g., response journal, learning log, or composition), reading (e.g., further research on a topic or a contradictory viewpoint), art or drama (e.g., designing a cover jacket after a book talk or developing a mock trial concerning the topic through drama in role). |
| Contrasting Effective and Ineffective Listening Habits | The Listening Process | Assessment of Listening | Informal Assessment | Formal Assessment |
Listening is one of the more difficult aspects of the language arts to assess. It cannot be easily observed and can be measured only through inference. However, there are both informal and formal strategies and instruments that teachers can use to help them in their assessments.
| Contrasting Effective and Ineffective Listening Habits | The Listening Process | Assessment of Listening | Informal Assessment | Formal Assessment |
The most effective assessment of listening may be teachers' observations and students' self-assessments. Students initially may not be aware of how well they listen and, therefore, need teacher guidance.
Self-assessments should be followed with one-on-one discussions about student progress. Teachers can also videotape students while they are listening and follow up with discussion.
The following forms can be used or adapted for informal assessments:
The following assessment forms are provided as examples. To be able to view and copy these files the user must have a viewing program such as Acrobat Reader. If you do not have such a program, click on the Acrobat Insignia provided below.
| Contrasting Effective and Ineffective Listening Habits | The Listening Process | Assessment of Listening | Informal Assessment | Formal Assessment |
More formal listening assessments can be prepared by teachers based on objectives and perceived needs. Some examples follow.
| Prepare a set of ten questions on the excerpt. | |
| Set a purpose for the listening activity (e.g., "Listen to determine the setting of the following passage."). | |
| Have students listen to the excerpt (pre-taped or teacher-read). | |
| Have students respond in writing to the prepared questions. | |
| A score of 70% or better on basic recall and basic inferential questions indicates that the student has comprehended the passage. |
Questions can also be designed to determine if students are comprehending critically and creatively.
| After placing ten details on the chalkboard, the teacher reads a ten-minute story aloud. After listening to the story, students are asked to jot down the four or five details that are most important to the outcome. The responses provide insights into students' listening ability. | |
| Students listen to a story and, afterwards, write down three key qualities of the character and their reasons for selecting these. While listening to the story a second time, the students listen for and record details that prove their assertions about the character. |
Even though listening is a difficult language strand to evaluate, assessment must take place to validate its place in a curriculum and to provide feedback to students. The feedback should be specific, concise, and as meaningful as possible. As with all evaluation, it needs to be continuous.