This post describes the tenth of ten Rhythm for Reading sessions. By this stage everyone in the group can sight-read both simple and comparatively complex music notation with ease and confidence. To do this, our eyes are glued onto the board, our voices are synchronised and we’ve gelled through teamwork. The important part is this: the group experiences music at a deeper, more interpersonal level when these skills become reliable and relaxed, even when facing more challenging tasks. Here’s a short description of how this felt in the final session of the programme and a quick drill down into the concept.
After a couple of minutes, everyone’s behaviour changed at the same time. There was a sharp increase in the level of congruence in the group. Standing calmly as the task ended, they waited and gladly repeated the experience, expanding even more fully into the sounds they were creating. This level of working was maintained consistently for a further eight minutes, after which the group left the room feeling energised and calm, returning cheerfully to class.
These words have been carefully chosen to describe as accurately as possible how working in this way with the rhythm-based elements of music makes a difference to emotional wellbeing. Congruence in this sense refers to the sheer strength and coherence of our perception of rhythmic patterns, particularly when working as a group. Gains in reading behaviour can be measured, but the more profound benefits to wellbeing such as the increase in confidence and happiness that many children describe, are not measurable.
This rather reminds me of psychologist Mihaly Csikszentmihalyi’s work on ‘flow’ or ‘optimal experience’. Optimal experiences are life-affirming, intrinsically rewarding and in terms of pedagogy, they are highly desirable because they boost students’ confidence and motivation. They can be very helpful in realigning attitudes towards reward, so that students become motivated by the sheer joy of taking part rather than wanting to know what they will ‘get’ in return for taking part.
The spontaneous element of what I have described is not trivial, but extremely important, as it describes how the deeper and more satisfying levels of engagement can be achieved through working in this way. Perhaps it is our irrepressible ability to generate congruence from patterns in music and language that fuels our joy of reading and of music making.
Find out more here
Csikszentmihalyi, M. (2002) ‘Flow: The classic work on how to achieve happiness’ Rider, Random House, ISBN 9780712657594
As the year draws to a close, i’d like to say a heartfelt thank you to all the school staff and leadership teams who have invited Rhythm for Reading into school to work with their pupils in 2014. This truly has been an amazing year and it has been an incredible privilege to work alongside so many extraordinary professionals.
Perhaps, these individuals and teams are special, not only to me but to us all in the sense that they are ‘early adopters’ within the education community. According to Rogers’ famous “Diffusion of Innovations”, ‘early adopters’ comprise 13.5 % of any given population. These are the professionals who are most likely to particularly influence those around them. Having worked closely with them, I have been blown away by their exceptionally energised, informed, confident and remarkably positive approach to teaching and learning.
Working within schools, our experiences have closely echoed Rogers’ observations of early adopters. These are the qualities that we experienced when we worked in these remarkable schools with these wonderful teams. These bullet points are quoted from ‘Diffusion of Innovations’ to explain how the early adopter category, more than any other:
• ‘Has the greatest degree of opinion leadership in most social systems’
• ‘Is considered by many as “the individual to check with” before using a new idea’
• ‘Is a role model for many other members of a social system’
• ‘Is respected by his or her peers, and is the embodiment of successful and discrete use of new ideas.’ (Rogers, 1983; 248)
In fact, many of the teachers that we have worked most closely with this year have been invited to speak at one or more high profile events or have previously come to prominence as recipients of education awards. This suggests that Rogers’ theoretical approach resonates with what we are seeing in the schools that are currently using the Rhythm for Reading programme. These teachers’ attitudes to everyday work and their relationships with their pupils and wider communities are enlightening, intensely curious and insightfully engaged. It has been truly inspiring to work with each and every one of them.