As a necessary part of due diligence, school leaders must ask probing questions before committing to an intervention and research is an important source of information. In previous posts, I’ve highlighted academic work that explores for example, the importance of rhythm in infant language learning (October, 2015), the development of reading skills (March, 2015) and language processing in the auditory brainstem (November 2015).
It’s important to consider the extent to which school leaders can have confidence in the rigour of scholarly work and peer-review. A peer-review panel made up of academics with specialism in a particular field is uniquely qualified to judge that an article is not only relevant to the readership and methodologically sound, but also meets the ethical and academic standards of the publication. Many journals now offer free access to high quality, peer-reviewed content considered to be relevant to a wider readership (e.g. Long, 2014).
Incredibly, more than 5,000 academic papers are published each year in journals on the role of shared or overlapping neural structures known to contribute to linguistic processing and musical processing. Although many people intuitively believe that it may be possible to isolate and identify a ‘single mechanism’ that might explain the overlap between language and music, it is becoming more likely that several interconnected mechanisms or networks may be involved (e.g. Peretz et al., 2015).
When pupils in key stage one, key stage two and key stage three have taken part in the Rhythm for Reading programme, they’ve described benefits to their reading, concentration and attitudes to learning, suggesting that the impact of the programme is fairly broad. Recent research with older pupils in a special school has also demonstrated clear benefits of the programme on reading attainment and other areas of learning behaviour.
Consultation meetings with school leaders have sparked interesting discussions, with particularly popular topics which come up again and again.
1. The structure and content of the Rhythm for Reading programme.
2. The ‘single mechanism’ that might explain how the programme works.
3. The suitability of the intervention for different groups of children, for example pupils identified with EAL or SEND or FSM.
4. Professional development.
5. The development of the Rhythm for Reading programme.
As these are really popular questions, I’ve made a useful free resource for school leaders, please click here to have a read.
Marion Long. ‘I can read further and there’s more meaning while I read’: An exploratory study investigating the impact of a rhythm-based music intervention on children’s reading. Research Studies in Music Education (2014): 1321103X14528453.
Peretz, Isabelle, et al. “Neural overlap in processing music and speech.” Philosophical Transactions of the Royal Society of London B: Biological Sciences 370.1664 (2015): 20140090.
When did you last feel your ears ‘pop’ and lose the sound of your own voice?
Like many people, this happens to me fairly frequently on flights and car journeys. Adapting to the muffled world of partial hearing is quite intriguing as it offers a rare glimpse into what my brain is doing behind the scenes while I’m having a simple conversation. Of course, I’m always extremely grateful when my hearing returns to normal again.
Our awareness of speech is organised for the most part around our perception of sound, which is probably why our awareness of the rapidly changing jaw movements or the movements of facial muscle groups is suppressed while we are speaking. Consequently, losing the sound of our own voice is extremely disruptive to normal speech production.
If like me you’ve tried to persevere with a conversation in the absence of sound perception, you may have experienced that the movement sensations produced by facial muscles and jaw muscles are no longer suppressed, but that you become aware that your perception of your facial muscles is magnified, revealing in detail the intricate facial shapes necessary for the formation of syllables and words.
Even though the power of speech feels far slower and more effortful in the absence of sound, it’s still possible to continue speaking by monitoring the rhythmic patterning of the jaw and the facial muscles. In this way, rhythm unifies intention and movement in language, overriding the temporary disruption to the auditory system.
Losing the sound of my own voice made me realise how tiring communication can become if the sounds of language are not clearly relayed from the voice to the auditory system. It also indicated the importance of the role of rhythm as a bidirectional frame both for anticipating and tracking the number of syllables produced in an utterance.
The development of early reading depends on the efficient coordination between the ear and the eye. Strong associations between letters and their sounds help children to learn to recognise words on the page. Voices matter too. Educators have realised that poor oral language skills are a strong predictor of poor literacy (Stackhouse & Well, 1997) and that socially disadvantaged children are more likely to lag behind in their vocabulary development when compared with more affluent peers (Fernauld et al, 2013). However, research indicates that sharpening rhythmic awareness supports children’s ability to process information (Long, 2016), better perceive the sounds of language, to read more fluently and with more understanding (Long, 2014).
If this interests you, why not dip into the case studies and sign up for weekly updates.
Fernald, A, Marksman, A & Weisleder, A (2013) SES differences in language processing skill and vocabulary are evident at 18 months. Developmental science 16, (2) pp. 234-248.
Long, M. (2016) Rhythm for Reading, English 4-11, 56, pp. 5-6
Long, M. (2014) “I can read further and there’s more meaning while I read” An exploratory study investigating the impact of a rhythm-based music intervention on children’s reading Research Studies in Music Education, vol. 36, no. 1, pp.107-124
Stackhouse, J. & Well, B. (1997) Children’s Speech and Literacy Difficulties: A psycholinguistic framework. London: Whurr.
The most important thing that I’ve learned in the past two years is not only to expect the unexpected, but to embrace it. I’ve noticed that the sharpest twists and rockiest turns along the way have often prompted some of the most intriguing insights into the integrated processes that contribute to reading and learning. Wearing my SENCO hat, I strongly believe that the principle of early intervention (as opposed to waiting to see whether a learning difficulty will ‘resolve itself’ over time), and a proactive approach, can narrow the gaps that undeniably exist when children enter primary school.
In 2013, I adapted the Rhythm for Reading programme so that I could put in place urgently needed support for a group of Year 1 and Year 2 children, who struggled with phonics. Their school had already seen impact of the programme on key stage two children, so the leadership team were keen to extend its reach. At that time, I saw the programme as ideally placed to support older children, a body of research evidence has established the relationship between rhythmical awareness and phonological awareness in young children. The research argues that a strong awareness of rhythm is a reliable predictor of phonological awareness, which in turn is a strong predictor of reading attainment (see Hallam, 2015, for a comprehensive review).
However, since 2013 I’ve found that the most obvious barriers to learning for the key stage one children that I’ve worked with are fragmented, scattered attention, weak inhibition and a very short attention span of only a few seconds. Unsurprisingly, emotional insecurities are very common as well. As you may realise, children experiencing these particular difficulties would certainly struggle to discern, to retain or accurately produce a rhythmically aware response. It’s clear too, that when elevated or low arousal levels have been alleviated during Rhythm for Reading sessions, dramatically improved levels of attention, awareness of rhythm and phonological awareness soon follow.
In the context of the Rhythm for Reading programme for key stage one children, the most important adaptation has involved developing simple, fast-paced team-building games which focus on ears, eyes and voices. A subtle form of metacognitive training, these help the children to deepen and extend their attention. Combining the games with music and rhythm-based approaches to reading make it possible, in a few short sessions to support them in reading music fluently and inhibiting inappropriate responses, whilst enjoying working together as a team.
Hallam, S. (2015) The Power of Music - a research synthesis of the impact of actively making music on the intellectual, social and personal development of children and young people. International Music Education Research council (iMERC)