The Rhythm for Reading blog

Musical teamwork and empathy

Image credit: S.B. Vonlant via Unsplash

Teamwork

There’s tension in teamwork! On the one hand there’s the idea that ‘teamwork makes the dreamwork’, pointing to the ideal situation in which everyone pulls together to attain goals that are shared and for the good of the whole community - for instance in a social enterprise. The maxim, ‘There’s no ‘I’ in team’ tells us that people sometimes contribute to teamwork with other intentions - perhaps they see it as an opportunity to outshine, usurp or even exploit the efforts of others.

Let us think for a moment about a community of traditional hunter gatherers, researched by anthropologist Jerome Lewis at ULC. They have life ways built on teamwork: - Women and men carry out their day-to-day roles in separate groups and the two groups alternate in terms of taking on the responsibility for leadership and decision-making. In this way, the community maintains a rhythmic balance, like the swing of a pendulum, between the perspectives of the men and then the women. The elders of the community, particularly the women, encourage everyone to ridicule any young person who wants to be louder, faster or smarter than others in the group.

The qualities of teamwork have also been studied by neuroscientists and there are no surprises here. Teamwork involves joint action, communication and empathy: people’s actions naturally fall into coordination with one another. We see this in social situations where there is obvious mirroring - one person sips water from a glass and then others at that table do the same, perhaps as a symbolic intention of unity.

On the one hand, there are distinct disadvantages to group behaviour and teamwork, because imbalances within the group can generate a false sense of security, potentially affecting many people:

• ‘groupthink’ - when people are not able to discuss matters openly and one opinion dominates,
• bias - when clear thinking is sidelined by ideology and the whole group loses touch with reality,
• double standards - when a minority abuse the value system held by the group to dominate and repress the majority.

On the other hand, the advantages of teamwork and a sense of group membership are beneficial in the long term for our health and well-being. For example, it is easier for us to coordinate repetitive actions with others and to communicate regularly in small groups. This is because as humans, we are hard-wired to rely on group effort to guide both our day-to-day behaviour as well as our longer term goals. Teamwork is advantageous in the long term in the following ways:

• it is economical in terms of energy expenditure,
• coordinated actions look and sound impressive to outsiders,
• predators will likely be deterred, and
• people feel they belong and are safe.

Musical teamwork

In both contemporary western cultures and extant hunter gatherer societies, humans are coordinated in time by feeling a shared rhythm - whether that is via a physical action, a chant or a song. The repetitive nature of many actions means that the movement is not only coordinated in time but also refined in space.

This is a natural phenomenon that applies to most species - for example, bees secrete wax and form hexagonal cells in honeycomb because a hexagon shape allows for economic use of repetitive, rhythmic movement and energy, without compromising the stability and strength of the cell walls. We see a stylised version of this in formal military displays around the world, and a more relaxed version in informal crowd behaviour (such as a ‘Mexican wave’ or clapping in time) at cultural events for example at a sports stadium - whether enjoying a match or a pop concert.

The formation of a group identity in the context of working together involves mutual trust, respect, a desire to achieve results through coordinated precision and also the flexibility that is needed to achieve an optimal result. In musical teamwork, this level of cooperation is practised as a discipline ‘for its own sake’ because the people involved share joint musical goals. These might be modest such as journeying through a new musical score, or writing a new song together. The joint experience of traversing the musical ‘unknown’ is mysterious and requires coordination and coherence - similar to navigating a cave in the dark. Or, the goal might be more aligned with artistry, such as working together to balance all of the nuances of a known piece of music, so that the performance of a particular work comes across as a sublime entity of perfectly structured, balanced, ’architectural’ proportions, although in real time.

So, in describing different types of joint action in music - as in many things - it becomes obvious that some teams could be described as ‘elite’ and some as ‘inclusive’. In both groups (provided there is a sense of joint action, trust and positive teamwork) the neuropeptide, oxytocin (aka ‘the love hormone’) works quickly to build bonds between people and to form what are known among social psychologists as ‘in groups’ and ‘out groups’ (a power imbalance usually favours the ‘in group’).

For instance, in the Rhythm for Reading programme, we uphold an inclusive ethos. This is very important as everyone involved must feel that they can play a meaningful role in contributing to the effort of their group, each week. When, on occasion, a teacher has tried to introduce a new child into a group of ten children, or to swap two children between different groups (there may be six groups of children taking part in one school), the trust and the bonds in the affected groups may be dissolved, probably because of the influence of oxytocin on group identification..

So, to sum up, teamwork is an important and impactful aspect of the Rhythm for Reading programme.

Musical teamwork and empathy

An abundance of research findings point to the ‘prosocial’ impact of joint music-making (Hallam and Himonides , 2022). Being involved in music making requires sustained and coordinated joint action. For example, each person is aware of their own contribution, but they also have oversight of, as well as respect and responsibility for, the overall effect. In other words, each person would be listening and personally invested in the balance of the music in terms of its:

• musical texture - anticipating and blending their own sound in proportion to the sounds of others,
• pitch and melodic line - anticipating and aligning a single pitch or a melody with the pitch of others,
• rhythm and tempo - keeping in time with others, anticipating and contributing to the vibrancy of shared rhythm, and
• harmony - phrasing and blending their own sound within a shared ownership of harmony and structure.

In the anthropological work of Jerome Lewis, joint music making within the community of hunter gathers involved singing to their homeland - the nature around them in the Democratic Republic of Congo (DRC). Each level of richness of the equatorial forest was represented in their complex music, so that within communal music making, many rhythms and melodies were sung, balanced, and harmonised together. If one person protruded or was conspicuous, the precious balance of the musical ecosystem was lost and that person would be known as, ‘an energy thief’.

In music education in the UK, different types of music tend to require different kinds of musical interaction. These might include:

• playing in time with others, focussing mainly on synchrony and tight coordination,
• holding a completely different line and harmonising, with additional demands on cognitive control, or,
• alternating with each other, with room for greater individual expression, improvisation and flexibility.

Each of these examples emphasises what could be loosely described as a different musical skillset, but at the heart of all of these examples is the need for: empathy and ‘theory of mind’ - being able to read the intentions of others and respond accordingly,

Musical notation, teamwork and empathy

• If we feed a child nourishing food, we can say this has enhanced their health.
• If we place a child into stimulating musical training, we can say this has enhanced their empathy.
• If we place a child into an intervention which teaches them to read musical notation, we can say this has improved their reading skills.

There is a clear pattern of cause and effect, but millions of years of evolution have primed us to respond to optimal experiences that promote health, empathy and communication. This is why children are known to respond positively to an enriched environment (and why an enriched environment is also known to accelerate learning in animals, such as mice and rats).

A more worrisome situation arises when children from disadvantaged social backgrounds, whose fundamental needs of adequate nutrition, shelter and safety (physical, social and psychological), may not have been addressed, are placed into underspecified musical interventions where they are expected to thrive. This may be why many music education research studies have achieved such mixed results (see Hallam and Himonides, 2022 for a comprehensive review).

Closing thoughts

In the Rhythm for Reading Programme, the safety of the children is always the top priority, and this includes ensuring that on a weekly basis they experience a strong sense of:

• belonging - through working as a team, and coordinating with the specially composed music in a consistent way,
• fluency and ease - through reading simple notation enriched by patterns, repetition and novelty,
• happiness and enthusiasm - through participating in shared moments of collective joy.

To read about the extraordinary impact of the Rhythm for Reading programme on children’s reading comprehension click here.

To book a call and discuss group teaching and the needs of children in your school, click here.

If you enjoyed this post, keep reading!

Rhythm, breath and well-being

Breath is an important part of the Rhythm for Reading programme. We use our voices as a team in different ways and this engages our breath. In the early stages of the programme we use rapid fire responses to learn the names of musical notes and our breath is short, sharp and strong - just like the sounds of our voices.

Confidence and happiness in the Rhythm for Reading programme

This post describes the tenth of ten Rhythm for Reading programme sessions. By this stage in the reading intervention, 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 Joy of Teamwork

By nine years of age, children have assimilated a vast amount of information about their culture simply by learning through experience. Enculturation is a particularly powerful form of deep learning that shapes children’s attitudes and perceptions of the world in which they are growing up. Through working in many schools, I’ve observed that by the age of nine years, children have, through this process of enculturation developed a strong emotive response to the concept of ‘teamwork’.

Learn to read music and develop executive functions: The exception rather than the rule

The Rhythm for Reading Programme creates an environment that allows pupils to focus their attention right from the start. They learn to read music by repeating, reviewing and practising key concepts each week, consistent with the principle of ‘spaced practice’. Consistent rehearsal of musical notes using visual images, as well as hearing and saying the note names, illustrates the principle of ‘dual coding’. The programme is built on a cumulative structure that prioritises fluency, as well as a light ‘cognitive load’ and there is a gradual increase in the complexity of tasks within the context of working together as a strong and enthusiastic team.

References

Hallam, S. and Himonides, E (2022) The Power of Music: An exploration of the evidence, Cambridge: Open Book Publishers

NB References to Jerome Lewis are from personal notes taken during public lectures given by Radical Anthropology Group, Department of Anthropology, University College London.

It’s anti-bullying week: How does fear affect learning?

Recently, I read that an act of aggression is a natural ‘active coping strategy’ and is rewarded by a dopamine hit. Conversely, a submissive, ’passive coping strategy’ results in stress-induced withdrawal and even generates a ‘shutdown’, an immediate energy-conserving behavioural response. The setting for these social experiments was a laboratory. The brains of mice and rats were dissected following each behavioural task. Slices of tissue were examined to determine the levels of reward and stress induced by each type of ‘social situation’ manipulated by the researchers.

How does this relate to anti-bullying week? Well, in terms of brain structure, neurochemistry and behavioural responses, mice and rats are considered to bear a close enough resemblance to humans to deem such work ethical, justifiable and relevant.

Are children born knowing that bullying is inherently immoral, or, are we dealing with impulses that are ‘natural’ and therefore ‘justified’ on the grounds that ‘children will be children’?

This is the question that Ruter Bregman addressed in his wonderful book, ‘Human kind’. On the one hand, there is the view that humans may possess abhorrent traits, for example, John Adams’ vision of all men as ‘potential tyrants’ and Sigmund Freud’s thesis that we descended from ‘generations of murderers’. On the other hand, Rousseau’s much earlier realisation that the moral compass of humans had in fact been corrupted by land ownership and the extent to which social institutions (such as the baronial system) rewarded competitive and ‘loyal’ behaviour with enhanced social status, titles and land. This socially hierarchical system was normalised to such an extent that as humans, we lost touch with our natural compassion, health and vigour. Moreover, Bregman’s research showed that Rousseau’s argument was supported by countless examples of human courage and kindness. Furthermore, he discovered that explorers of the eighteenth century and the mainstream media had constructed blatantly false narratives that claimed dreadful events of human brutality had taken place, particularly within communities that lived traditional life-ways.

In the past year, stories of bullying as a global phenomenon have peppered the mainstream news. These have included an account by Raphael Rashid of a weekend rally of 200,000 South Korean school teachers protesting against the harassment they received from parents and that among their colleagues, one hundred teachers’ lives had been lost to suicide.

In southern California, Ramon Antonio Vargas reported on the lawsuit brought by the parents of fourteen year old school boy Diego Stoltz against the school district. Two of Diego’s own classmates had verbally and physically assaulted him, and he had lost his life to the injuries nine days after the attack. This took place on the school premises at lunchtime and another child had videoed the violence. This story shows that there is no room for complacency when enforcing an anti-bullying policy. Bullying is not just dangerous and corrosive, it can be fatal.

Complacency can be driven by an unease around standing up to bullying. However, in a school with effective leadership, where it is not tolerated at all, a strong ethos exists in terms of respect for teachers, pupils, learning equipment, school uniform and the fabric of the building. Expectations of high standards, however, are not necessarily self-sustaining: they are earned through consistent maintenance - it takes effort to keep children safe.

I visit schools every week and see teachers working hard to ensure that respect is maintained by a deliberate commitment to upholding the high behavioural values of the school. This is clearly visible when pupils move between lessons in every corridor and flight of stairs.

It is easy for standards to slide. When this happens, how might bullying affect learning? There are two main ways. First, if the atmosphere in a school lacks respect and tolerance, then pupils will feel hyper-vigilant and their attention will drift because they are alert for the wrong reasons, anticipating threat and wondering how to strategically position themselves for safety. This response is a necessary behavioural adaptation, but it diminishes cognitive focus, control and recall. Learning suffers.

The second way bullying affects learning is more insidious. It’s a narrowing of the bandwidth of ideas that pupils are willing to contribute and the questions that they are willing to ask in a classroom where individual contributions are not respected. In a culture of bullying, the perspective of the bully overrules opportunities for discussion, clarification and exploration. To move beyond ‘one size answers’, to ‘multiple answers’, pupils need to feel comfortable with expressing individual opinions or engaging with perspective-taking and the influence of context.

Deeper learning is also limited for one more reason, the so-called ‘narrowing of the curriculum’. The squeezing of arts subjects to the periphery of the curriculum is a huge loss in itself, but particularly so in this context, as arts subjects cultivate discipline, self-expression, dialogue, and prioritise collaborative working.

To conclude, the importance of enforcing an effective anti-bullying policy cannot be overstated. It is more than a matter of wearing odd-socks on ‘Odd socks day’. All schools must become places of safety, security and respect. Pupils who already carry visible negative effects from exposure to stress in early childhood, for example, need to know they will not be targeted, as they are vulnerable through no fault of their own. They deserve to focus their attention on learning and thriving as much as anybody else.

Research shows that headteachers who are successful leaders, with a strong vision and a clear set of values, have established an ethos of respectful conduct for everyone in the school community. An anti-bullying policy that works at all levels of implementation is the key to maintaining an effective and inclusive learning environment.

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Read more about this topic by clicking the links below

Temenos and Safety in Schools

We often hear about the dangers of cyberspace, where cyber-bullying is rife and children are vulnerable. Now imagine for a moment the relief of reaching the ultimate refuge. Temenos is a Greek concept that describes a sanctuary, a space of absolute safety and harmonious balance, where individuals uphold an immutable self-respect and where criticism and judgment are suspended.

Rhythm and connection 3/5

Mythical tales of abandonment, involving fear of the jaws of death followed by the joy of reunion are familiar themes in stories from all around the world. Sound is a primal medium of connection and communication via mid brain processes that are rapid, subjective, subtle and subconscious. Similarly, the telling of stories, the recitation of poems and songs are also examples of how auditory signals are woven together to communicate for example fear, distress and joyful reunion, or other emotions.

Rhythm and reading comprehension 1/5

In the Simple View of Reading, reading comprehension is described as the ‘product of’ skilled decoding and linguistic comprehension (Gough & Tumner, 1986). The recent focus on oracy (for example Barton, 2018) highlights a focus in some schools on linguistic comprehension. According to researchers, the proportion of children beginning school with speech, language and communication needs is estimated at between 7 and 20 per cent (McKean, 2017) and unfortunately, communication issues carry a risk of low self-esteem and problems with self-confidence (Dockerall et al., 2017).

References

Rutger Bregman, Human kind: A hopeful history, Bloomsbury Publishing

Raphael Rashid, South Korean teachers stage walkout over harassment by parents and students 4th September 23, accessed 26th October 23

Ramon Antonio Vargas and agencies, Family of boy, 13, who died after bullying attack get $27 million from school district, 15th September 23, accessed 26th October 23

Sensitivity to rhythm is all around us

A few weeks ago, in an inset session at a wonderful school with beautiful inclusive approaches in their group teaching, I mentioned that rats have the same limbic structures as humans. The limbic system is the part of the brain that deals with our mammalian instincts. These keep us in tune with social information, such as social status and hierarchy, protecting and nurturing our children, bonding with sexual partners and managing affiliation. It’s a logical assumption that if we share these limbic structures, rats like humans should be able to keep time with a musical beat - or their equivalent of that. So, it was no surprise to learn that Japanese researchers have shown that rats can indeed bob along and keep time with a musical beat.

It was back in the 1980s, when American scientists first discovered the genes that determined the rhythm of the mating song of fruit flies. If we think of rhythm as a musical trait exclusive to humans, these findings in rats and flies are simply amusing, novel or entertaining. On the other hand, the bigger picture behind these findings would suggest that the natural world is inherently structured by environmental and behavioural patterns organised by rhythm. If we think of rhythm as a system of ratios, proportions and repetition, then the math of rhythm is obvious. There are cycles and rhythmic flows in tides and weather systems and indeed, migration patterns follow these cycles. In individual organisms, as well as in shoal, pod, flock and herd movement, rhythmic patterns underpin locomotion and communication. Even a human infant’s stepping reflex is organised around the inherent rhythmic systems that we share with many other species.

We humans are particularly happy when our stylised rhythms achieve a hypnotic effect, for example in Queen’s ‘We will rock you,’ - one of the songs used by the Japanese scientists to detect the sensitivity to rhythm in rats. Halfway through the Rhythm for Reading programme, this same rhythmic pattern appears and is always greeted with enthusiasm by teachers and children as a fun part of the reading intervention. Look out for the next post, which explains the connection between hypnotic rhythm, flow states, reading fluency and reading comprehension.

Empowering children to read musical notation fluently

Schools face significant challenges in deciding how best to introduce musical notation into their curriculum. Resources are already stretched. Some pupils are already under strain because they struggle with reading in the core curriculum. The big question is how to integrate musical notation into curriculum planning in a way that empowers not only the children, but also the teachers.

The tried and tested ways of teaching musical notation are best suited to pupils who process information with ease. Traditionally, piano teachers begin with mnemonics for the notes that sit on the lines of the stave EGBDF (Every Good Boy Deserves Favour) GBDFA (Good Boys Deserve Fun Always) and for the notes that sit on the spaces FACE (Face) and ACEG (All Cows Eat Grass). Many teachers use these mnemonics to introduce a series of line notes and / or space notes all at once, which creates a heavy cognitive load.

What about all the children who struggle to process information, reading with ease and fluency?

Well-intentioned efforts to adapt musical notation for children who struggle to process the mnemonics, involve adding more information and increasing the cognitive load.

What is going on here?

Music teachers want children to enjoy making music and to have fun producing sounds on their instruments and they hope that in time, reading notation will gradually become familiar and easier to read. Until that point, music teachers add extra information to remind the child of the letter names of the notes. In the same vein, they often add numbers representing the finger patterns, to remind the child how to produce sounds on the instrument.

Soon enough, the page is cluttered with markings and the child has to select which ones to read.

These markings are intended as a quick fix, aiming to keep the child engaged. But of course the child relies on the letters, or the numbers, or both instead of reading the actual notes. This approach sets the child up to fail in the sense that they do not learn to read notation at all and even worse, assume that it is too difficult for them.

What could teachers do differently to support children who do not process information with ease and fluency?

A more inclusive approach would limit the cognitive load on children’s reading - which is what we do in the Rhythm for Reading Programme. Rather than teaching all the notes at once, we focus on just a few notes and develop fluency (and fun) in reading right from the start. Instead of learning the musical notes at the same time as playing musical instruments, which adds to the cognitive load, we simply use our feet, our hands and our voices, as we believe these are our most natural musical instruments.

Group learning in a structured programme supports the development of fluency, because the children are nurtured by the ethos of working together. Teamwork in combination with rhythm is an effective way to build fluency in reading, and acts as a catalyst for accelerated progress.