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 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 well-being. 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 in this or any form of group teaching.
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
In recent weeks, Frontiers in Psychology published a meta-analysis by Gordon, Fehd and McCandliss (2015) which asked, ‘Does music training enhance literacy skills?’
The authors described a ‘rapidly accumulating body of evidence’ and listed studies that reported significant associations between musical training and language skills, such as Magne et al. (2006) and others which described enhanced brain responses via musical training to unexpected timing and duration of syllables (Chobert et al., 2011) and pronunciation (Milanov et al., 2009). They also reported significant correlations between musical aptitude (in the absence of musical training) and reading performance (Strait et al., 2011).
Gordon and colleagues also referred to a study in which ability in musical rhythm explained the variance in production of grammar in six year olds and complex sentence structures in a follow up (Gordon et al., 2015) and cited earlier studies of musical rhythm, in which an ability to synchronise with a beat predicted phonological awareness and rapid naming tasks (Woodruff Carr et al., 2014), second grade reading skills (Dellatolas et al., 2009) and better reading performance in adolescence (Tierney and Kraus, 2013).
Historically, scholars have made use of a wide range of literacy-related outcome measures and this proved something of a challenge for Gordon and her co-workers. Assessments of reading ability and phonological awareness have been designed to measure reading comprehension, reading rate, reading accuracy, reading fluency and a variety of phonological awareness related skills. Some measures control for working memory, while others do not. Assessments also vary in their formats. Some simply require an individual child to read a list of single words aloud, while others can be administered to groups of children, requiring them to read passages of connected text in silence. To some extent, direct comparisons of effect size can be made, but unless these are described in terms of their educational context, teachers cannot make informed decisions about the usefulness of rhythm-based approaches for different reading-related skills.
The use of random assignment in an educational setting putatively isolates the impact of an intervention under experimental rather than quasi-experimental conditions; yet no such experimental conditions exist in a school. Indeed the authors’ meta-analysis indicated that the amount of reading-related support given to children was rarely held constant over time. Moreover, the random assignment of individuals to any ‘treatment’ is known to induce positive or negative placebo effects, which can be sufficiently powerful to influence outcomes. In the context of a school, influential factors contributing to such effects typically include (i) compatibility of the individuals within the ‘treatment’ group, (ii) location of the ‘treatment’ in a room associated with a particular function in the school and (iii) timing of the ‘treatment’ to routinely coincide with particular social or academic activities.
All of the studies included by the authors in the meta-analysis have been peer reviewed. Relatively few studies had used the RCT paradigm, but all of the studies compared musical training against controls, included before and after comparison measures and indicated that reading intervention had been held constant across groups. Out of 4855 publications obtained in searches between November 2013 and March 2014, only 13 studies fulfilled these requirements and were included in the meta-analysis.
Three of these studies were considered by the authors to be particularly highly powered because they controlled for IQ and SES; they obtained very large effect sizes. A study of the effect of musical training on word reading obtained an effect size of 1.07 (Moreno et al., 2009). Moritz et al., (2013) reported the effect of musical training on phonological skills (PAT rhyming discrimination), whereas Dege and Schwarzer (2011) showed the impact of musical training on phonological awareness (DEBELS). Both teams found large effect sizes of 1.20 and 0.78 respectively.
To inform future directions for studies of this type, Gordon and colleagues proposed that the following questions should be addressed. For further information about rhythm-based approaches to reading, click here to discuss the Rhythm for Reading programme with us.
1. “What are the effects of different components of interventions (rhythm, pitch; instruments vs. singing; phonological activities in musical context, etc.) on training efficacy?”
2. “What degree of music-driven gains in phonological awareness is needed to impact reading fluency?”
3. “What are the mechanisms underlying improvement: such as attention, motivation, (e.g., OPERA hypothesis; Patel, 2011), speech prosody sensitivity, and/or working memory?”
4. “How are changes in brain function and structure associated with music-training-driven improvements?”
5. “How do individual differences predict response to training? Is there a subset of children that stands to benefit the most from music training?”
(Gordon et al., 2015, p.11)
Chobert, J., Marie, C., Francois, C., Schön, D., and Besson, M. (2011). Enhanced passive and active processing of syllables in musician children. J. Cogn. Neurosci. 23, 3874–3887. doi: 10.1162/jocn_a_00088
Dellatolas, G., Watier, L., Le Normand, M. T., Lubart, T., and Chevrie-Muller, C. (2009). Rhythm reproduction in kindergarten, reading performance at second grade, and developmental dyslexia theories. Arch. Clin. Neuropsychol.
24, 555–563. doi: 10.1093/arclin/acp044
Gordon RL, Fehd HM and McCandliss BD (2015) Does Music Training Enhance Literacy Skills? A Meta-Analysis. Front. Psychol. 6:1777.
Gordon, R. L., Shivers, C. M., Wieland, E. A., Kotz, S. A., Yoder, P. J.,
and Devin McAuley, J. (2015). Musical rhythm discrimination explains individual differences in grammar skills in children. Dev. Sci. 18, 635–644. doi: 10.1111/desc.12230
Magne, C., Schön, D., and Besson, M. (2006). Musician children detect pitch violations in both music and language better than nonmusician children: behavioral and electrophysiological approaches. J. Cogn. Neurosci. 18, 199–211. doi: 10.1162/jocn.2006.18.2.199
Milovanov, R., Huotilainen, M., Esquef, P. A., Alku, P., Välimä ̈ki, V., and Tervaniemi, M. (2009). The role of musical aptitude and language skills in preattentive duration processing in school-aged children. Neurosci. Lett. 460, 161–165. doi: 10.1016/j.neulet.2009.05.063
Patel, A. D. (2011). Why would musical training benefit the neural encoding of speech? The OPERA hypothesis Front. Psychol. 2:142 doi:10.3389/fpsyg.2011.00142
Strait, D. L., Hornickel, J., and Kraus, N. (2011). Subcortical processing of speech regularities underlies reading and music aptitude in children. Behav. Brain Funct. 7:44. doi: 10.1186/1744-9081-7-44
Tierney, A. T., and Kraus, N. (2013b). The ability to tap to a beat relates to cognitive, linguistic, and perceptual skills. Brain Lang. 124, 225–231. doi: 10.1016/j.bandl.2012.12.014
Woodruff Carr, K., White-Schwoch, T., Tierney, A. T., Strait, D. L., and Kraus, N. (2014). Beat synchronization predicts neural speech encoding and reading readiness in preschoolers. Proc. Natl. Acad. Sci. U.S.A. 111, 14559–14564. doi: 10.1073/pnas.1406219111
Apart from our group teaching sessions, perhaps the most important part of what we do is to hear children read individually for twenty minutes at the beginning and end of the Rhythm for Reading programme. Through this process we measure their progress, provide useful data for the school and also extend our own expertise on reading development and reading intervention.
In a recent follow-up session, a Year 5 student had discovered to her great relief that she could at last understand the message carried by the words that she read. Her reading reading fluency and comprehension had transformed. With great excitement she explained that she planned to go with her cousin to visit the library in the centre of the city where she lived.
Her bold plan moved and inspired me to visit the Norfolk Children’s Book Centre to put together a list of books for children who have discovered the joy of reading and are preparing to visit their nearest library for the first time. The Norfolk Children’s Book Centre houses some 80,000 children’s books. As dolphins, dinosaurs and gladiators feature prominently in our resources and are extremely popular with the children, they provided an obvious starting point for our search for these particular books.
Davis, N. (2011, illus. Brita Granstrom) Dolphin Baby. Walker Books ISBN 9781406344011
Features such as the rhythmic swing of the language, subtle use of alliteration and the careful exploration of a dolphin’s sound world make this a book that strongly resonates with the musical resources of our reading programme.
Davis, N. (2013, illus. Annabel Wright) Manatee Baby. Walker Books ISBN 9781406340884
Inhabiting the mind of Manuela, we discover how it feels to paddle along the Amazon and to kill a Manatee, a protected mammal. The rhythmic flow of the language is powerful, steering the reader through lavish descriptive writing and moments of buoyant, lively interaction between the characters.
King Smith, D. (2005) Dinosaur Trouble. Penguin ISBN 9780141318455
This enjoyable story is perfect for Rhythm for Reading children who have started to read longer words with confidence and are highly motivated to develop their vocabulary.
Chambers, C. (2015, illus. Emmanuel Certissier) Dinosaur Hunters. Dorling Kindersley IBSN 9780241182598
This is an innovative story for older readers and is refreshingly free from cultural stereotypes. It is about three global citizens from England, Japan and Brazil, who meet through a time-travel App. The descriptive language supplies finely grained details both of historical settings and digital devices.
Burgan, M. (2015) Life as a Gladiator Raintree ISBN 9781474706773
This interactive history adventure allows the reader to construct his / her own storyline using metadata to link to any of three different historical perspectives. It is fast-paced, yet packed with fascinating detail and classical scholarship.
For a copy of the full list please email email@example.com
Our ears are open all the time. Even sleeping newborn infants subconsciously respond to the sounds around them, indicating that from birth (1), humans are constantly exposed to their auditory environment.
In their review of the research evidence, Kraus & Chandrasekaran, (2) underlined the importance of the initial, subconscious (subcortical) stage of auditory processing. Before sound reaches our attention, the auditory brainstem responds to incoming information from our ears, integrating the spatial, rhythmical and acoustical features of sounds.
These features include frequency (high and low pitches), the timbre of the sound (for example, differentiating between human voices) and rhythmic features (such as the regularity or predictability of sounds). The auditory brainstem is extremely sensitive to very subtle differences in sound waves, such as individual phonemes in language (phonological awareness) and plays a critical role in early identification of sounds and their patterns in particular. Over time, the auditory brainstem produces an idiosyncratic response to sound that is unique to each individual.
Thus, the auditory brainstem response reflects the current state of the nervous system – the state at that time formed by an individual’s life experience with sound (ibid, 2010, pp. 601).
More recently, researchers have found that the auditory brainstem seems to respond with greatest clarity to the sounds with which the individual is most familiar. Having listened to brainstem responses of musicians, they found that for example, pianists’ brainstem responses to the sounds produced by a piano were unusually sharply defined when compared to those of non-pianists. Brainstem responses also appeared to receive feedback information from cortical areas of the brain (3).
Further developing the line of enquiry, scholars (4) proposed that the availability of cortical feedback (from the cognitive processing of sound) allowed the brainstem response to become increasingly specific over time. For instance, musical expertise that has accumulated over a lifetime leads to extremely fine-grained auditory brainstem responses among professional musicians, not only to musical sounds, but also both to phonemes and the pitch contours of language (5). Once the brainstem has adapted to cortical feedback, it appears to retain its enhanced structures as confirmed by a recent study of speakers of Mandarin and amateur musicians (6).
Overall these studies show that an overlap exists between early stage auditory processing of spoken language and musical experiences. Cognitive feedback informs development of these structures and expertise in music appears to enhance the auditory brainstem response to language, which coincides with group teaching in the Rhythm for Reading programme and can inform early reading intervention.
1. Nameth, R., Haden, G., Miklos, T. & Winkler, I (2015) Processing of horizontal sound localization cues in newborn infants, Ear and Hearing, 36 (5), pp. 550-556
2. Kraus, N and Chandrasekaran, B. (2010) Music training for the development of auditory skills, Nature Neuroscience, 11, pp. 599-605
3. Strait, D.L. Chan, K., Ashley, R., & Kraus, N (2010) Specialisation among the specialised: Auditory brainstem function is tuned to timbre, Cortex, 48, pp. 360-362
4. Skoe, E., Krizman, J., Spitzer, E., & Kraus, N. (2014) Prior experiences biases subcortical sensitivity to sound patterns, Journal of Cognitive Neuroscience, 27 (1), pp.124-140
5. Musacchia, G., Sams, M., Skoe, E. & Kraus, N. (2007) Musicians have enhanced subcortical auditory and audiovisual processing of speech and music. Proc. Natl Acad. Sci. USA 104.
6. Bidelman, G.M., Gandour, J.T., Krishnan, A., (2011). Cross-domain effects of music and language experience on the representation of pitch in the human auditory brainstem. J. Cogn. Neurosci. 23, 425–434.
How do tunes and rhymes find their way into our heads? Although repetition seems to be important for any type of learning, patterns of words and tunes seem to have an almost magnetic quality in the way that they spontaneously stick in the mind. This type of learning is extremely powerful. It’s known as implicit learning as it appears to require no effort at all.
Scholars have identified the importance of implicit learning for infant language development. In fact, they have revealed that infants are naturally sensitive to the distribution and frequency of patterns. The power of this, so-called statistical learning was clearly demonstrated when infants responded to rhythmic patterns in language, even when the natural intonation or prosodic features in speech had been removed (Saffran et al., 1996).
It seems that implicit language learning is a natural response to regular occurrences such as rhythmic patterns and sequences in the sounds of language. Infants hear these in their everyday exposure to language and also by producing patterns through babbling. According to Vihman (2015), this is why the development of language is to a degree, individual for each infant. A virtuous cycle soon develops once infants have realised that things around them have names and begin to learn words more deliberately and explicitly, storing phonological representations of words as symbolic, semantic associations. Language learning continues as infants identify probabilistic patterns within words, again through implicit learning and this leads to sensitivity and production of grammatical structure.
The importance of rhythm in underpinning implicit language learning is one of the key findings of the ground breaking research (Saffran et al, 1996). This is why it is important to focus on a child’s sensitivity to rhythm. If conventional reading intervention and early reading programmes have failed to support children’s reading fluency and comprehension, the Rhythm for Reading programme can empower teachers and children to reignite reading and learning through powerful group teaching.
Saffran, Jenny R., Richard N. Aslin, and Elissa L. Newport (1996). “Statistical learning by 8-month-old infants.” Science 274.5294, 1926-1928.
Vihman, M. (2015) Handbook of Language Emergence. MacWhinney, B. & O’Grady, W. (eds.). Malden, MA: Wiley-Blackwell, p. 437-457
The energy of a new school year is incredibly positive and also very demanding. Some students will begin the term refreshed, starting the year with high aspirations, new stationery in their new school bags, whereas others will have anxiety or feel angry that the work ahead of them will be even more difficult to understand than it was the year before. Many will look forward to seeing classmates again, but socially less well-adjusted children, will dread a return to taunts and jibes and loneliness.
Many will be beginning the new school year with the best of intentions, wanting to please teachers, trying to organise themselves with greater success than before and to contribute in lessons. Some will lack motivation, and for complex reasons, will continue to struggle, as despite everyone’s best efforts, the school system does not really help them.
I am frequently inspired by children who do not understand what they read, but trust that with more reading practice, their experience of reading will become more rewarding. Unfortunately, practising reading as a decoding skill is not going to help them to achieve fluency and comprehension. Unless word recognition skills are integrated with the child’s speech and understanding of language, for example, through a reading intervention, a profound disconnection between these processes will persist.
Equally inspiring for me, are the teachers and classroom practitioners who are faced with the enormous task of teaching children with extraordinarily wide-ranging attitudes to learning. I see wonderful group teaching in classrooms week after week, year after year. We really should celebrate that we have such a high calibre workforce in our schools.
There are new case studies on our website, illustrating how the Rhythm for Reading programme continues to support teachers in resolving the difficulties that children experience with reading fluency and comprehension. Click the link to read more.
At this time of year it’s good to feel that much has been accomplished. Reading 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 on my travels with the Rhythm for Reading programme 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 in our group teaching. 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 the highly structured group activities of the reading intervention. 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 Rhythm for Reading programme 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 during the reading programme 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 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 reading 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 their school’s phonics early reading programme. 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, and yet a body of research evidence has established the relationship between rhythmical awareness and phonological awareness in young children. The research literature argued 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 programme 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 for group teaching, these help the children 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)