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
At this time of year it’s good to feel that much has been accomplished. Programmes have been completed, training delivered, progress measured, reports read, certificates received and so on. However, educating children and young people is about so much more than ticking lists of to dos.
I’m so grateful to work with fabulous teachers in the schools that I visit and I’ve experienced close-up their boundless enthusiasm, interest in trying new things and dedication to supporting their pupils in every possible way. Accelerating progress and boosting wellbeing are important educational goals of course, but equally prominent should be the development of a very profound sense of social connectedness. A ten-year old boy explained this very clearly to me recently,
“It made me feel welcome to the group because everyone was doing the same thing. Everybody knew it. I didn’t feel left out because usually I feel left out in a group.”
For me, this suggests that some children respond particularly positively to highly structured group activities. The phrase, ‘Everybody knew it’ mirrors the emotional security that develops when the certainty of knowing exactly what to do and say, is complemented by knowing how to contribute with confidence. When the barrier of uncertainty has been eliminated, learning can be experienced as a limitless, virtuous cycle.
In this particular instance, the virtuous cycle was achieved through highly structured group sessions in which the synchronised response of the group was an intrinsic element of the pedagogy. The group grew in confidence week by week, as the tasks that they accomplished together became increasingly intricate, fast-paced and complex; consequently they enjoyed a profoundly social experience of learning.
I’m reminded by Hall, Curtin & Rutherford to mention Lave’s pertinent advice – which is so relevant here and now: Learning is not something in itself, it is part of social life. (Hall et al., 2014, p.166)
Hall, K., Curtin, A. and Rutherford, V. (2014). Networks of Minds: Learning, Culture and Neuroscience, London and New York, Routledge
Lave, J. (1996). Teaching, as learning, in practice. Mind, Culture and Activity 3(3): 149-164
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, by internationally renowned Professor Susan Hallam MBE, University College London, Institute of Education was published at the end of January 2015. The review brings together more than 600 scholarly publications, which provide compelling evidence of the positive effect of music on literacy, numeracy, personal and social skills to support the argument for the inclusion of music in the education of every child and young person.
Music, more than any other discipline consists of ways of doing things (techniques and methods) and ways of being (empathy, intention, style etc). Perhaps, the most important of these is how to listen well. Children, immersed in their family and home environment from pre-birth to school age, have learned nearly everything they know about their language and culture through listening. A high quality musical education develops listening far beyond the everyday level by enhancing and deepening communication; it also refines physical coordination skills far beyond what can be achieved through sport. The unique combination of these elements contributes immensely to pupils’ wellbeing and to learning more efficiently.
The value of a high quality musical education in primary school, consisting of the integration of listening skills with singing, physical coordination and notation reading skills cannot be overstated. As musicians we have a huge responsibility to equip primary teachers with great tools, and training of the highest quality so that they feel confident, secure and empowered in this exciting and creative role. With the tools and training in place, all primary teachers can deliver a high quality musical education, bringing the power of music into their classrooms and witnessing the profoundly vibrant effects of music education.