Some of the most sublime music is remarkably simple to read. Just as the balance of three simple ingredients can make your taste buds ‘pop’, a few notes organised in a particular way can become iconic themes. The opening of Queen’s ‘Bohemian Rhapsody’ and the beginning of the ‘Eastenders’ theme by Simon May are examples of this - as is ‘Jingle Bells’ - (as we are now in December). The point I want to make is that music, like nature, requires balance if it is to feel and sound good. We humans are part of the natural world and our music - varied as it is - is an important part of our natural expression. By this I mean that like other species, we use our voices to attract, bond with, (or repel) each other, socially. In the past two thousand years, music has been written to represent the full range of our social behaviours: from the battleground to the banqueting hall, from the wedding to the funeral, the shop floor to the dance floor, the gym to the sanctuary. We use music to regulate our emotions, to develop our stamina and to motivate ourselves as social groups which behave in particular ways.
We don’t need to read music to enjoy singing with friends at a party or to chant with fans at a sports stadium or to create our own music in the quiet of our own homes. However, if we want to share our own process of creating or performing music, we need to notate it (to write it down) so that we are literally ‘on the same page’ and therefore are able to collaborate more efficiently.
It is very easy to learn to read music ‘without an instrument’ because our voice is our natural instrument. It is also possible to imagine a sound - in the same way that one can imagine a colour or a shape. Musicians can ‘read’ a sheet of music and use the ‘inner ear’ to hear the sounds. When we read a book, our inner voice reads the words in a similar way.
A debate raged for a long time in music education around the idea of ‘sound before symbol’. Some people believed that children were a ‘blank slate’ and needed to learn musical ‘sounds’ before they saw musical symbols in notated form. Others argued that children knew songs before they even started school, and could a manage a more demanding approach such as, ‘sound with symbol’. Fortunately, the era in which ‘sound before symbol’ dominated is now over and teachers can teach musical notation without being regarded as deviant or backward looking. Expensive musical instruments are not necessary for learning to read music. Each child’s voice is a priceless musical instrument, and every child can benefit by developing its use.
Humans have been using music for self-expression for thousands of years. It has been used by people to manipulate perceptions of potential competitors or predators. In situations where people have felt threatened, singing together has helped them to feel strong and brave. Sea shanties are an example of this and in traditional societies people sing through the night to make themselves appear ‘larger’ to predatory animals. To regulate and balance the nervous system, people all around the world soothe themselves through music when they are dealing with grief, using elegies, dirges and laments. When parents comfort infants and young children they sing lullabies to them and also provide a rocking motion, which can ‘lull’ them to sleep.
The human voice can signal alarm through a blood-curdling scream, but it can also provide comfort through well chosen words. Musical expression mirrors this wide range of functions, but it goes much further than language by making use of the exhaling breath. Manipulating the slow exhale, humans have discovered how to shape the voice into elaborate patterns. We can hear this particularly in gospel and operatic traditions - where the feel of improvisation involves an outpouring of emotion. Is it possible to notate these beautiful elaborations? Yes they can be transcribed, but their beauty lies in their spontaneity and the feeling that they emerged from an impulse in a moment of inspiration.
This is a great question. Given that I’m arguing for music as the natural ‘song’ of our species, why would this natural behaviour flow more easily through some people than others?
Reading as a skill is quite a recent addition to our repertoire of social behaviours. Music and language are natural to us and are ‘hard-wired’ into our nervous system, whereas reading is not - but we are able to learn to read. This skill is well-practised as humans have been using various signs and symbols to communicate for tens of thousands of years.
The main difference between reading music and reading words is that the rhythmic patterns in music are relatively inflexible, whereas printed language is rhythmically malleable. A three word phrase in a printed conversation, such as, ‘I don’t know’ can be reinterpreted by adapting the rhythmic qualities to convey a full range of emotions from exasperation to mystification. When we read, we are guide by the context of the passage. The context would help the reader to identify the most appropriate rhythm for the words. In this respect, rhythm in language reflects context as much as it does the underlying grammatical structure of the sentence.
When reading music, the prescribed rhythmic element reflects the musical context and style. A march, a samba and a ballad each have their own distinctive rhythmic feel. Repeated patterns need to be rhythmically consistent to sound ‘catchy’ or convincing. In this way, rhythm is the stylised and ritualised aspect of music and it can even be hypnotic. This quality in rhythm is the reason it is used by people as a motivational tool, or for self-regulation when the nervous system feels dysregulated.
When reading music, some people struggle to process the rhythmic element. The same people may struggle to move in time with the beat, but this is certainly not an insurmountable problem. It is a question of placing an emphasis on feeling the rhythm first, and then reading the rhythm, once the feeling has been established. This is not always easy because people sometimes feel anxious and believe that they are not ‘rhythmical’ enough.
Children who struggle to read printed language, have learned to read simple musical notation with ease and have responded very well to the Rhythm for Reading Programme. There is a remarkable shift in these children when they realise that by reading musical notation as a group, and through a very profound experience of well-being, belonging and togetherness that this brings, their reading fluency and comprehension also improve.
Our very simple introduction to musical notation involves:
It takes only a few minutes to learn to read simple musical notation. Even children with very weak language reading skills can achieve fluent reading of musical notation in only ten minutes. We focus on integrating each sensory aspect of reading music: the children’s eyes, ears and voices. Children are able to bring their attention into sharper focus when they read musical notation because the rhythmical element, which for them represents emotional safety, has been addressed through our highly structured approach.
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These posts are also about musical notation
A Simple View of Reading Musical Notation Here are some very traditional views on teaching musical notation - and the Rhythm for Reading way which avoids loading the children with too much information at once.
Fluency, Phonics and Musical Notes Presenting the sound with the symbol is as important in learning to read musical notation, as it is in phoneme-to-grapheme correspondence. Fluent reading for all children is the main teaching goal.
Musical notation, full school assembly and an Ofsted inspection Discover the back story…the very beginning of Rhythm for Reading - this approach was first developed to support children with weak executive function.
Empowering children to read musical notation fluently The ‘tried and tested’ method of adapting musical notation for children who struggle to process information is astonishingly, to add more markings to the page. Rhythm for Reading offers a simple solution that allows all children to read ‘the dots’ fluently, even in the first ten minute session.
If curriculum lies at the heart of education, it is reading comprehension that enables the vibrant health and vitality of learning. If the curriculum is narrow, the heart of education is constricted, pressured and strained. Without the breadth and rigour of a curriculum that encourages expression and criticality, there may be too little in terms of intrinsic motivation to inspire effective reading comprehension.
Growth mindset, resilience and perseverance cannot compensate for a narrow and impoverished curriculum, nor can they motivate children to want to engage with learning. However, a rich and rewarding curriculum can encourage children’s natural curiosity, drive and self-sustaining motivation, which can bring focus, enjoyment and depth of engagement to reading comprehension.
If a child cannot read, they will not be able to access the curriculum and this has far-reaching consequences not only for the individual, but for all of us as well. A generation of motivated and enabled children who access and enjoy everything that their education has to offer without the limitations of fragile reading, will adapt and adjust with greater confidence to whatever the future holds.
Reading comprehension offers everyone enriched opportunities to develop their aspirations, talents and interests. Indeed, it is through reading comprehension that pupils become lifelong learners and gravitate towards the topics that most interest them. As a starting point, children must engage with different types of reading - fiction, non-fiction and poetry, and discover the many different styles of writing. Engaging with a wide range of reading material empowers children to take their first steps on their future path and to expand their vocabulary. Up to ninety per cent of this is encountered in books rather than day-to-day speech.
Some reading experts have said that a lack of requisite vocabulary or background knowledge can limit a child’s ability to access a text. This mismatch between the text and the child’s prior experiences does not happen in a vacuum and need not limit a child’s education. Lacking the vocabulary or the knowledge to access a passage of text, a child must be encouraged to fill in the gaps at school.
Outstanding schools that have a large proportion of pupils with English as an additional language (EAL), address this issue of a limited vocabulary by immersing the children in ‘enriched’ environments. Different topics that do not come up in day-to-day conversation such as space exploration, deep sea diving and mountaineering, are exciting for children and these schools use corridor spaces as places where children can sit in a ‘spaceship’ or a ‘submarine’ or a ‘safari jeep’ and listen to information about the topic, use word banks, hold relevant books and enjoy the illustrations.
Reading comprehension is not only an understanding of the text - this could be gained from the relatively static process of looking at illustrations or chapter headings. It is a more dynamic process that integrates information as the text is read. This happens when we hear spoken language: we follow along and reciprocate in real time. Reading comprehension is like a conversation, in the sense that it is a social invitation to extract meaning from what is written. If it does not engage the child socially, the text is unlikely to be understood.
When we are reading, the most important key to good comprehension in my view is the social connection with the words. Children make this connection at home before they start school, having been read to by parents or siblings or other caregivers since infancy. These adults will have built social cues such as tone of voice and rhythm into their child’s earliest experiences of books. These children also arrive at school with other social assets such as a strong vocabulary and a positive attitude towards reading.
Conversely, children with a more limited vocabulary may need to build their social connection with reading from scratch and they may also feel anxious about learning for any number of reasons. For them, the usual cues of social engagement such as tone of voice and rhythm are missing from the ‘marks on the page’. So a child with a limited vocabulary and little experience of being read to needs to discover for themselves that reading is primarily a social act before their reading comprehension can develop traction.
Young children learn through play. This involves a sense of heightened arousal as well as social engagement. Even a child playing on their own will be vocalising a narrative of some kind, involving specific sounds and patterns. Punctuation offers an opportunity to engage with a child’s instinct for social engagement and meaning-making through play. Exaggerated voices, list-building, sudden sounds, humour and suspense are invitations to play with words. In the Rhythm for Reading programme we occasionally use a word, purely for fun, at a rhythmically important moment in the music. One such word is, ‘Splash!’ This word marks the end of a very up-beat tune about dolphins and the children love to celebrate this final moment with pure joy. Their social engagement and their playfulness are central to the entire programme, so reading becomes an act of social meaning-making, regardless of the development of their vocabulary.
At the beginning of a child’s literacy adventures at school, conventions of using punctuation are taught in the context of meaning-making and involve the correct use of capital letters, full stops, question marks, commas, exclamation marks, two types of apostrophes and speech marks.
Then other punctuation marks are introduced, such as colons, semi-colons and brackets as a way to enhance meaning-making. Finally, the other conventions involving quotation marks, dashes and hyphens can be added as the child embarks on writing that involves more informality, unusual language, citations and compound words.
Moving beyond conventions and back to social engagement, it is important to consider the ‘state’ of the child. An anxious child with a limited vocabulary will be overloaded emotionally and grapple with word-by-word processing. Their working memory may not have sufficient resources to manage punctuation. A withdrawn child, on the other hand, may have insufficient motivation to engage with reading or writing. By addressing their ‘state’ through a rhythm-based approach, these social-emotional learning blocks can, and do, shift.
Punctuation is a shorthand that guides the reader to recognise familiar types of meaning-making. A series of commas tells the reader that they are going to make a meaningful list. A question mark and an exclamation mark invite the reader to ‘play’ with the concept of ‘an unknown’ or ‘novelty’ respectively. Both are motivational to the child’s instinct for social engagement - their natural curiosity. The full stop is an important rhythmic cue that defines grammatical structures that can stand alone. In a conversation, this could be an opportunity for facial expression or a nod of the head which acknowledges the social dimension of meaning making. In terms of reading aloud, the reader’s prosody - the rise and fall of their voice, shows that the information unit has completed a rhythmic cycle.
In a conversation, the rise and fall of the voice, as well as the dimensions of rhythmic flow create the socially engaged cues of meaning-making and also support reading fluency. These cues are exaggerated by parents when they talk to their young children. Defining utterances in this way creates a structural blueprint for language and social engagement that we as social beings use when we interact. Similarly, conventions of punctuation correspond to these same structures that infants learn in the first eight months of life, as they acquire their home language. For this reason, children intuitively understand punctuation marks when they read with fluency, provided they are socially receptive to and engaged by the content of they are reading.
Punctuation is the dynamic part of reading that organises individual words into grammatical chunks and ultimately, meaningful messages. It functions as a counterpart to grammatical awareness because punctuation as a symbolic system is processed ‘top down’ from the conscious to subconscious, whereas grammatical awareness, which was established in infancy is processed bottom-up, from subconscious to conscious. It’s important to recognise that conscious processing is relatively slow, whereas subconscious processing usually occurs at lightning speed. Children who struggle with reading, and have not integrated these different processing speeds, experience reading as a kind of rhythmic block, often referred to as a ‘bottleneck’. Although many academics have described this as a problem with processing print, in my experience this ‘bottleneck’ is more related to a child’s subconscious levels of social engagement as well as their ‘state’ in terms of their perceptions, attitudes, emotions and level of confidence.
The Rhythm for Reading programme addresses the so-called ‘bottleneck’. Changing a child’s ‘state’ involves ‘neuroplasticity’ or ‘rewiring’ unhelpful ‘habits of mind’ and it is possible to achieve this through regular, short-bursts of learning using high intensity, repetitive and rhythmical actions.
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If you enjoyed this post about reading comprehension and punctuation, keep reading!
The comma, according to Lynn Truss, clarifies the grammatical structure of a sentence and points to literary qualities such as rhythm, pitch, direction, tone and pace.
The sentence as a whole and coherent unit is vibrant, elastic and flexible with its meaning perceived not through the synthesis of its many phonemes, but through its overall rhythm and structure.
Just as a heartbeat is organic, supporting life in each part of the body from the smallest cells to the largest organs, rhythm in reading reaches systemically into every part of language. Like a heartbeat it spreads both upwards, supporting the structure of phrases and sentences and also downwards, energising and sharpening the edges of syllables and phonemes. Rhythm therefore brings the different grain sizes of language into alignment with each other.
All children from all backgrounds need to learn to read fluently so that they can enjoy learning and fully embrace the curriculum offered by their school. A key challenge for schools is identifying an appropriate intervention that effectively supports reading fluency. This is a necessary part of a coherently planned, ambitious and inclusive curriculum that should meet the needs of all children.
The children who lag behind their classmates in terms of fluency are not a homogenous group. Although time-consuming and costly, one-on-one teaching is essential for those who struggle the most. However, short, intensive bursts of rhythm-based activity (Long, 2014) have been found to give a significant boost in reading fluency as a small group teaching intervention. This approach is a more efficient use of resources as it supports the majority of children who struggle with fluency in ten weekly sessions of only ten minutes.
An evidence-based, rigorous approach to the teaching and assessment of reading fluency leads to increases in children’s confidence and enjoyment in reading. Whilst logic might suggest that the difficulty level of the reading material is the main block to the development of reading fluency, manipulating the difficulty level does not actually address the underlying issue.
Reading fluency involves not only letter to sound correspondence, but also social reciprocity through the medium of print and therefore the orchestration of several brain networks. The social mechanisms of a child’s reading become audible when the expressive and prosodic qualities in their voice start to appear. This is why a more holistic child-centred perspective is helpful - it allows children to experience learning to read as a playful, rather than a pressured experience.
The pressure felt by children with poor reading fluency arises because of inattention and distractibility, as well as variability in their alertness, which pull them off-task. Compared with their classmates, these children are either more reactive and volatile in social situations, or quieter, and more withdrawn. Our rhythm-based approach uses small group teaching to reset these behaviours, by supporting these children into a more regulated state. Working with the children in this way helps them to adapt to the activities, to adjust their state and to regulate their attention within a highly structured social situation.
Different frameworks describe fluency in different ways. From a rhythm-based perspective, the components of expression, flow and understanding are the most important. There is one more to consider - social engagement with the author - the person who wrote the printed words. The extent to which the child reads with expression, flow and understanding reflects the degree of social engagement while reading. One of the ways to accomplish this is to free the volume and range of the voice by encouraging a deeper involvement with the text. It’s easy to achieve this in books that invite readers to exaggerate the enunciation of expressive or onomatopoeic words.
The flowing quality of fluent reading shows that the child has aligned the words on the page with the underlying grammatical structure of the sentences. This sounds more complicated than it actually is and doesn’t need to be taught, because children activate these structures in the first eight months of life, when they acquire their home language. Accessing these deep structures during reading enables them to feel the natural rhythm in the ebb and flow of the language. However, there are many different styles of both spoken and printed language, as each one may have a different rhythmic feel. Feeling the rhythmic qualities of printed language is inherently rewarding and motivating for both children and adults: it allows the mind to drop into a deeper level of engagement and achieve an optimal and self-sustaining flow state.
There is one prerequisite! Understanding printed language requires motivation to engage. Let’s call this the ‘why’. It involves a degree of familiarity with the context and a basic knowledge of vocabulary, which are both necessary to stimulate the involvement of long term memory, as well as a desire to become involved in the narrative. Many books introduce us to new concepts, vocabulary and contexts, but the ‘why’ must act as a bridge between what is already known and the, as yet, unknown. This ‘why’ compels us to read on.
In a conversation there is a natural alignment between expression, flow and understanding. The energy in the speaker’s voice may signal a wide range of expressive qualities and emotions which help the listener to understand the ‘why’ behind the narrative, as well as keeping them engaged and encouraging reciprocation. The ‘why’ in the narrative is arguably the most important element in communication as it conveys a person’s attitude and intention in sharing important information about challenges or changes in everyday life and the experiences of individual characters - the staple features of many storylines or plots.
So, in Eileen Browne’s beautiful telling of ‘Handa’s Surprise,’ a humorous book about a child’s journey to her best friend’s village, the reader learns about the names of the fruits in her basket, the animals that she encounters and becomes curious to learn what happens to Handa as she walks alone in southwestern Kenya.
It isn’t necessary for young children to know the names of the fruits, such as ‘guava’, ‘tangerine’ or ‘passion fruit’. Despite the irregularities of words such as ‘fruit’ and ‘guava’ (and the need to segment ‘tangerine’ with care to avoid ‘tang’) children understand the story, having been introduced to the new (unknown) vocabulary in the (known) context of ‘fruit’. The child’s long term memory offers up the background knowledge of ‘fruit’ as a broad category, but adds the names of the new fruits under the categories: ’food-related’ and ‘fruit’ for use in future situations in their own life.
The new vocabulary in the story enriches children’s knowledge of fruit, but the ‘why’ of this tale is the bigger question… Will Handa complete her journey safely? Empathy for, and identification with Handa elicits, (subconsciously), an increase in the reader’s curiosity and brings further focus to the mechanisms of reading fluency. Once each new word has been assimilated into the category of ‘fruit’, reading fluency is self-sustaining and driven by plot development and empathy for the main character. Having read this story (and many others) with children, I have become aware that reading fluency must become closely aligned with the rule-based patterns of grammar, as these enable irregular words such as ‘fruit’ and ‘guava’ to be quickly assimilated into the flow of the story.
A more famous and exaggerated example of this effect is Lewis Carroll’s ‘Jabberwocky’. Many of the novel ‘words’ invented by Carroll for this poem must be assimilated into the reader’s vocabulary. The process is much the same for made up, as it is for unfamiliar words. Long term memory offers up categories of animals and their behaviour, relative to the evocative sounds of ‘words’ such as, ‘slithy’, ‘frumious’ and ‘frabjous’.
The grammatical structure of each line of verse is kept relatively simple, allowing the narrative to feel highly predictable, as it is clearly supported by the regular metre. The repetitive feel of the ABAB rhyme structure guides the reader to use the conventions of grammar in anticipating, and thus engaging with the unfolding, yet somewhat opaque narrative.
Together, the features of repetition, rhythm and predictability strengthen coherence, so that the words are chunked together in patterns based on the statistically learned probabilities of spoken language. Deeper grammatical structures that sit beneath these rhythmic patterns are logic-based: they offer up meaning and interpretation based on micro-cues of nuanced emphasis, intensity and duration within the fluent stream of language, whether spoken or read.
Reading fluency is important for three reasons and these also act as drivers of motivation and learning.
The majority of studies show that:
The first two mechanisms work together symbiotically to anticipate, adapt and adjust to what is coming up next in printed language, similar to when we hear someone speaking. The third mechanism changes a child’s perspective on life. Teachers and parents need to expose children to printed language, including the unfamiliar and orthographically irregular words, simply because it is through reading fluency that these words are assimilated into a child’s lexicon.
Listening is key to measuring reading fluency. If a child practises a sentence by repeating it at least three times, there should be a natural shift in the level of engagement. In a child struggling with reading fluency, four attempts may be necessary. Here is an example of the process of refinement through repetition.
The pivotal moment was when ‘b-ird’ became BIRD. This would have sounded louder because the child’s voice would have become clearer once the (known) category ‘bird’ was activated in their long term memory and the meaning behind the word was understood. Long term memory offered up the strong likelihood of ‘hopped’ in relation to the category ‘bird’ and this helped the child to extrapolate that the final word must be a ‘thing’ to hop towards. This was not guesswork, nor was it an exclusive reliance upon phoneme-grapheme correspondence, but an alignment of 1. long term memory (including probabilistic language processing) with 2. visual recognition of letters and knowledge of the sounds they represent (including a degree of automaticity).
Reading fluency can be measured in terms of engagement, expression, flow and understanding and in the Rhythm for Reading programme we specialise in transforming children’s reading at this deep (subconscious) level. Children move from relying on unreliable decoding strategies (because the English language doesn’t follow the regularities of letter to sound correspondence), through to full alignment with the language structures that underpin their everyday speech. Once this shift has taken place, the children are able to enjoy interacting with books and they also grow in confidence in other areas of learning and social development.
We have helped many hundreds of children to engage with reading in this natural and fluent way using our rhythm-based approach, which is delivered in only ten weekly sessions of ten minutes. There are almost a thousand case studies confirming the relationship between our programme and transformations in reading fluency. Click the link to read about selected case studies.
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Schools ensure that all children become confident fluent readers, so that every child can access a broad and balanced curriculum. Fluent reading underpins a love of reading and is an important skill for future learning and employment and it also enables children to apply their knowledge and skills with ease.
Prosody is closely associated with skilled reading, being integral to fluency and a predictor of achievement in reading accuracy and comprehension. Prosody is not taught, but it is a naturally occurring feature of competent reading. The words on the page may be arranged in horizontal lines, but a good reader transcends the visual appearance of the words, allowing them to take on a natural, flexible and speech-like quality.
Many teachers and head teachers have remarked on the improvement in their pupils’ reading fluency, so it seemed important to try to capture what has been happening. Of course, there are different ways to define and to measure reading fluency, but here is a snapshot of what we found when using two types of assessment.
Eileen Browne (1995) Handa’s Surprise, Walker Books and Subsidiaries.
Long, Marion. “‘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 36.1 (2014): 107-124.
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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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.
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.
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).
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
Obviously, it is important that ALL children learn to read well. However, the lowest attaining twenty per cent of children are less likely to become confident, fluent readers. As a consequence, schools must monitor the development of pupils’ progress in phonics.
It is essential to identify any pupil who is falling behind the pace of the school’s phonics programme and to put effective support in place, but the quality of such support must withstand scrutiny. A certain amount of cognitive bias has been identified and found to disadvantage the lowest attaining children. Much of this is centred around verbal interactions - ie the spoken words between teacher and pupil. These verbalisations can be heard as criticism of the pupil and bias has also been found in the subtle manner in which expectations of the pupil are voiced.
In the teaching of early reading, communicative approaches are considered to have significantly positive effects. It is therefore important that when teachers are engaged in modelling language and reasoning, extending vocabulary and drawing attention to letters and sounds, they guard against cognitive bias, particularly in schools that serve disadvantaged communities. Given that unconscious bias can influence the way a child learns, it is important to understand how the emotional cues or ‘tone’ of the voice intersect with the human nervous system in the teaching of early reading.
What is phonemic awareness and how important are long and short vowels?
Phonemic awareness and decoding are essential for the development of reading. After all, as research has shown - guessing words from their context is only accurate for ten to twenty per cent of the time. As the foundation of a systematic approach to the teaching of reading, phonemic awareness and the alphabetic principle need to be explicitly taught until they become automatic.
The principle of automaticity is key to the development of good reading. When the reader has internalised the correspondence between letters and their sounds, the cognitive load lightens and frees up capacity in working memory, as well as cognitive attention. As availability of both memory and attention expands, the reader engages with the text with increasing fluency, ease and understanding.
However, as each word consists of a unique combination of phonemes and each syllable is characterised by a vowel sound, awareness of the differences between long and short vowels can make or break the development of phonemic awareness. Why is this? Well, vowel sounds are particularly interesting because they carry information about the meaning assigned to a word, and in everyday speech, they also carry the speaker’s tone of voice, as well as their attitude or intention towards the listener, including any cognitive bias.
Arguably, if the sounds of vowels are associated in the mind of the child with feelings of confrontation, then the vowel sound may trigger an anxiety-inducing response that does not support learning.
The vagus nerve relays sensory information that helps us to perceive the physiological signals that inform the brain of our internal state. As a cranial nerve, it connects the brain with almost every organ of the body and although the information travels in multiple directions, the majority of it flows upwards from the body to the brain. Certain parts of the vagus nerve are important for speech and are discussed below.
The vagus nerve descends on the left and the right of the neck. It innervates both sides of the larynx before it drops down into each side of the chest and then passes back up into the neck and into the larynx. On this ascending pathway the vagus nerve innervates all the remaining intrinsic muscles of the larynx, which are responsible for opening and closing the vocal folds. The nature of this return journey may account for why these branches of the vagus are known as the recurrent laryngeal nerve.
The larynx (or voice box) has three important functions. One is to prevent us from inhaling food or liquids. Another is to support breathing. The third is to produce sound through speaking, singing, shouting and screaming. The muscles of the larynx adjust the length and tension of the vocal folds (vocal cords) and this is how people adjust the tone and pitch of the voice, though the nervous system usually takes care of this for us subconsciously.
The tone of voice can be modified to portray a wide range of emotions such as anger, fear, surprise, sadness and joy. In stressful situations, chronic tension in the larynx can arise and can weaken the coordination between the muscles controlling the vocal folds.
The job of the cricothyroid muscles is to tense the vocal cords, resulting in more forceful and higher pitch speech. This is the only muscle that is innervated by the superior (upper) laryngeal branch of the vagus nerve. This muscle fundamentally changes the main acoustic of the sound, in terms of the emotional content and the contrasts in tone.
The more gentle sounds of the human voice are produced by the muscles innervated by the recurrent laryngeal nerve, after it has travelled through the chest area. These muscles include:
According to research findings by Arnal and colleagues (2015), human screams exploit a unique acoustic property. They display a ‘roughness’ that activates not only the brain’s auditory system, but also the amygdala, a deep brain structure that is involved in processing fear and danger.
A scream is a long vowel sound, ‘ah’, characterised by its high pitch and initial loudness. The researchers showed that a scream is distinctive (when compared to high pitched singing) because of its rough rather than harmonious qualities. It is the roughness that produces the fear-inducing response in listeners. However, context is key. In school playgrounds, under adult supervision, many children let off steam by running fast and screaming as they chase each other. This is a healthy use of the voice to release emotion in a playful way. A fast-paced and playful environment with a lot of emotional release reinforces active coping strategies and builds resilience as well as social connection.
The vagus nerve, which ascends through the vocal folds, and into the brain innervates two areas that are important for managing emotional and physiological pain: the insula and the anterior cingulate cortex. Given that our tone of voice can indicate how we feel in our social environment, and how we feel influences how we learn, how might this information apply to the way we approach vowels in the teaching of early reading? Let’s first consider vowel sounds in the context of phonemic awareness.
The emotion in the voice is related to the variability of vowel sounds as well as vowel length and impacts the vagus nerve in the following ways.
Given that the majority of our learning (via peers, experts, books or online media) is social, it’s interesting to know that the ventral part of the vagus nerve allows us to feel comfortable whilst we are socially engaged. This part of the vagus nerve is located towards the front of the body and opens up the heart space, allowing us to breathe more deeply. This is how the vagus nerve supports our ability to communicate easily with others. It ensures that we feel regulated and can handle what’s happening. In this socially engaged state, the voice shows variation in rhythm and pitch. An extreme example of this can be heard in the exaggerated rise and fall of the voice, as well as the lengthening of vowel sounds when parents interact with their young children. These particular sounds encourage feelings of safety and achieve an ideal environment, particularly for acquiring the child’s first language. In the majority of socially relaxed situations, people smile with their eyes and produce a calm friendly voice with warmth in both longer and shorter vowel sounds.
When people feel threatened, learning continues as part of an active coping strategy, but this is a different kind of learning. There’s tension in the shoulders and the sides of the ribs are constricted. The jaw may be clenched and speaking will feel reactive and sound lower in pitch. The vagus nerve enables these changes by allowing the heartbeat to pick up pace as a reaction to a perceived threat or stressor. Learning therefore takes place in a competitive rather than an exploratory context. There’s potential for the individual to overcome the threat through assertiveness. There can be confrontation, criticism and aggression in the voice, as the rise and fall of a socially engaged voice has been replaced by a more defensive tone, with a distinctive roughness in the vowel sounds. Assertiveness may or may not prove to be a successful strategy, but either way, the behaviour and outcome are appraised and stored as a memory.
If a situation is intolerable, feelings of flight and anxiety increase arousal levels and produce shallow, fast breathing and a relatively high pitched, faster pace of speaking. A low-level sense of dread limits focus, absorbs attention and constrains learning, whereas the most passive coping strategy of all involves the dorsal branch of the vagal nerve, which decreases arousal by freezing behaviour to such an extent that the person’s own voice feels unavailable and socialising is unimaginable. Learning is impossible in this state, as the body is too busy conserving energy: it is difficult to imagine doing anything, but survive.
Given that we are ‘wired’ to learn and to be social, it’s essential to understand the importance of tone of voice. The tone of voice can trigger a response from the vagal nerve and if the voice is perceived as threatening, this will impact learning. The teaching of vowel sounds in a phonics programme must be undertaken with awareness of the role of the voice, particularly in terms of tone quality. Any abrasion in the voice is likely to impact learning in very young children. So, let’s avoid an abrasive vocal tone in the teaching of reading and instead, allow ourselves to engage in that melodious sing-song voice that children find reassuring, because this signals safety for ALL children during the teaching of early reading.
A child with sensitivity to rhythm is attuned to the onsets of the smallest sounds of language. In terms of rhythmic precision, the front edge of the sound is also the point at which the rhythmic boundary occurs. Children with a well-developed sensitivity to rhythm are also attuned to phonemes and are less likely to conflate the sounds.
Vowel sounds carry interesting information such as emotion, or tone of voice. They are longer (in milliseconds) and without defined edges. Now imagine focussing on the onset of those syllables. The consonants are shorter (in milliseconds), more sharply defined and more distinctive, leaving plenty of headspace for cognitive control. If consonants are prioritised, information flows easily and the message lands with clarity.
There is no doubt that the foundation of a good education, with reading at its core, sets children up for later success. The importance of phonics is enshrined in education policy in England and lies at the heart of teaching children to become confident, fluent readers. However, young children are not naturally predisposed to hearing the smallest sounds of language (phonemes). Rather, they process speech as syllables strung together as meaningful phrases.
Arnal LH, Flinker A, Kleinschmidt A, Giraud AL, Poeppel D. Human screams occupy a privileged niche in the communication soundscape. Curr Biol. 2015 Aug 3;25(15):2051-6. doi: 10.1016/j.cub.2015.06.043. Epub 2015 Jul 16. PMID: 26190070; PMCID: PMC4562283.
The impact of fireworks on learning may have been underestimated as a factor that potentially limits some pupils’ capacity to access the curriculum. In terms of equipping all children and young people for future learning, sensitivity to environmental noise needs to be addressed, particularly in times of conflict. Also, our neurodivergent pupils may need time to centre themselves and recover from the inevitability of raised arousal levels. These sensitivities may manifest as excitability, anxiety and uncertainty around elevated exposure to noise. The increased stress from environmental noise exposure is a form of cognitive load. It is generally emotionally charged (loud, violent and unpredictable) with the availability of attentional resources diminished, working memory function compromised and access to learning constrained.
In this post I’ll unpack the ways in which resilience to environmental stress is influenced by regulatory circuits in the brain. These circuits process relative levels of adversity and support in the social environment and determine whether a person is more likely to approach or avoid neutral situations. When the emotion regulatory circuits are functioning well, people are protected against environmental stressors and sensory overload.
Researchers have found, for example, that children who grew up in inner cities, compared with those from rural areas, were more likely to have increased activity in the brain region of the regulatory circuit that is conditioned by social stress and adversity. In such instances, the ‘amygdala’ was implicated in children’s educational outcomes because it is particularly threat-oriented. This area of the brain drives fear-based responses and can modify behaviour by reallocating attentional resources to survival-type behaviours such as fighting back, escaping (absconding) or shutting down and withdrawing.
The capacity to down-regulate (relax) the amygdala is important for the development of social resilience, and this is best supported by a stable social network of friends and family, an inclusive school community and a healthy lifestyle. Researchers have proposed that oxytocin, a hormone associated with social bonding, protected individuals including those suffering from PTSD, hyper-arousal and high blood pressure: it also enhanced the management of stressful experiences.
Fireworks create a ‘spectacle’ and if we include the earliest ‘fire-crackers’ they have been used by humans for more than two thousand years: imagine hearing the noises which were created naturally when bamboo stems were thrown in the fire. Air exploded loudly in the narrow stems and as far as people were concerned these sounds were protective - because they were larger than life and were considered a force for good.
At least five hundred years later, experiments with gunpowder in China generated the first man-made fireworks. Their use spread rapidly from Italy, across Europe and eventually to the U.S.. Their function was to illuminate palaces and castles at night time and to exaggerate the wealth and status of the land owners, long before people had electricity. Rhythmically vigorous music was usually deployed to amplify the theatrical effect, just as it is today.
The whole point of fireworks has remained the same: to enchant people, to impress them and to manipulate their perceptions. When fireworks were first used by the wealthy, no doubt in competition with one another, the effect would also have astounded local people, further exaggerating the hierarchical relationship between land owners and workers.
We are the only living species that has achieved mastery of fire as a tool. From cooking to metal working, from the combustion engine to missiles, we’ve found ways to harness fire in remarkable ways, such as:
This year, people are suffering in so many ways from the most destructive aspects of fire: the impact of rockets and shelling has tragically impacted communities around the world. As we light up and set off fireworks, let’s contemplate the fact that these sound effects signify death and mutilation to so many people, including traumatised refugees who have sought safety in welcoming countries and those who are suffering in war zones. Nearer to home, the sounds of fireworks will have some people bracing, cowering, shaking and flinching, not only this year, but for many more in the future.
Having said this, fireworks are widely available and are frequently used for all manner of celebrations. Some people mark anniversaries and religious festival days with their brightly coloured lights and spectacular sounds, and as a global community we all celebrate New Year with them. Although they are generally used to bring people together for special occasions, many children and animals are naturally frightened by their overwhelming effects and they can cause panic, anxiety and fear, as well as generate sensory overload and confusion.
The fire in the family hearth can roar, crackle and pop, whereas the sounds of fireworks whistle, scream and bang. This manipulation of manmade fire reminds us of violent sounds associated with war and fear. The sounds of fireworks exploit two different mechanisms. First consider the narrow tube - just like the original bamboo stem: this is the vessel - the container of the ‘managed’ sound. The second mechanism depends on the type of chemical reaction, which determines whether the flame burns quickly or slowly. The quick reactions are more explosive, whereas the slower ones are more expressive.
Our auditory system is the first sensory system to develop in utero from about 19 weeks in gestation. From these very early days, the auditory system appraises the sounds of the environment while the foetus develops. We are wired to scan the environment using all our senses, but arguably, the most important and sensitive of these is the auditory system.
This system differentiates between the variety of emotional content of early memories, by processing the neutral ones in the left hemisphere of the brain, whereas upsetting early memories are processed in the right side. Researchers discovered that sensitivity to sound processing was more pronounced in the right than the left hemisphere, and that this occurred during recall of upsetting rather than neutral memories. The converse was also true. So, processing neutral memories was clearer in the left hemisphere, whereas auditory processing was less acute on the left side.
People with a history of childhood trauma and post traumatic stress disorder (PTSD) have more activation of their right hemisphere when recalling difficult memories, and can be expected to be highly sensitive to sound. Every person diagnosed with a debilitating condition such as PTSD suffers a unique array of lived experiences and challenging risk factors. It’s also reasonable to generalise that this disorder reduces resilience, with people in this situation more likely to avoid a noisy environment as a way to prevent traumatic memories and emotional distress from resurfacing.
Before the fireworks season begins, there is an opportunity for teachers to discuss the sounds that fireworks make and their impact. Naming and explaining things makes them less overwhelming, as well as easier to manage and process. Onomatopoeia - the literary device used to identify sound effects such as ‘bang’, is an obvious approach to take. Rather than simply referring to the novelty of the ‘fun’ sounds in fireworks, it’s also important to consider the unpleasant experiences that some children and young people in the classroom may need to have acknowledged, honoured and respected by their teacher. These pupils may very well wish that they could avoid being exposed to fireworks altogether.
Having included everyone’s points of view, the topic of ‘fireworks’ offers a huge opportunity for vocabulary development. A strong relationship between vocabulary and social background is well known as it exists the majority of research studies. Why not immerse children in evaluative language when discussing fireworks by:
If there are children in your class who are sensitive to the sound effects produced by fireworks, it may be helpful to embody the suddenness of the sounds by moving to music using starburst style movements, jumping jacks and also using art to release some of the complexity and intensity of any potentially overwhelming experiences.
Click the links to read related posts.
Trance-like attentional states include boredom and repetition, whereas novelty and a switch in stimulus generate a shift and a rapid reset of attention. Ultimately the attention span is involved in predicting where and when the next reward or threat will occur.
Sensory shock is one of those overworked, high impact, culturally jarring phrases bandied about to solicit attention. Its use speaks to violation, but of what? It points to a loss of cognitive control that is immediate and devastating. Even seemingly small changes in the tone of voice of someone new, can be experienced by some of the students, as a sensory shock.
Young people’s mental health challenges cannot be left to fester, as they affect their identity, educational outcomes, parental income and resilience within the wider community. Here are 10 key strategies that parents and teachers can use to support children and adolescents dealing with distressing symptoms of mental health challenges while they are waiting for professional help.
Did you know that ninety per cent of our vocabulary is encountered in reading and not in everyday speech? Books can introduce us to some spectacular ideas and gruesome knowledge at Halloween. Folk tales and myths in particular can induct us to knowledge about our world and rituals that date back many thousands of years. Although the origins of Halloween are attributed to the Celtic tradition, many of its themes as we know them today have rich and ancient origins. dating back to the beginnings of the Neolithic period. Humans have preserved, decorated and celebrated their ancestors’ skulls for thousands of years.
Here, I review two new Halloween books ‘Where’s my Boo!?’ by Nicholas Daniel, and ‘The Skull’ by Jan Klassen. “Where’s My Boo!?” is superficially an adorable story that actually deals with fear - the type of fear that steals your voice, that leaves a person feeling frozen and silenced. A ghost goes on a quest to ‘reclaim’ its ‘Boo!’ and even borrows the voices of others. This book delights in three ways. First, it uses a predictable pattern of rhyming couplets that is consistent and make it fun to guess the final word. Also, there’s a persuasive feeling of buoyancy in the illustrations and a font that pretty much mirrors the lilting feel of the language. Lastly, a huge sense of relief is palpable when the ghost stops searching and listens to the voice within. The encouraging message of this book is that our ‘true Boo!’ is the one that everyone loves and needs to hear.
‘The Skull’ is a retelling of a Tyrolean folktale. It’s a fascinating blend of folklore and symbols, reworked through a contemporary lens. Skulls have been polished and cherished for millennia, and in Halloween season, surrounded as we are by skeletons and carved pumpkins, I was curious to dive deeply into the underpinnings of this story.
The original version of this folk tale is deeply symbolic. The most mysterious and magical elements of the story, to my mind, have been ‘cleansed’ during Klassen’s retelling. However, the relationship between the main character, ‘Otilla’ and the ‘Skull’ remains the same across three different versions - and I’ll unpack a few points for the sake of comparison. The character of ‘The Skull’ is best described as a cherished ancestor, perhaps as a once precious elder of the community. There’s evidence that ten thousand years ago, people polished and decorated skulls, perhaps as a token of respect for deceased loved ones, or as a way to maintain a ‘connection’ with them. In each version of the story there is also a ‘Skeleton’ character, which wants possession of the ‘Skull’. The child ‘Otilla’ confronts the ‘Skeleton’ in the climax of the story and after this point, each reworking retells the folk tale in a different way.
In the original, according to Klassen, once the curse of the ‘Skeleton’ has been broken, it vanishes. At that moment, the ‘Skull’ turns into a beautiful lady dressed in white and the castle is filled with children and lovely things to play with. This lady gives everything in the castle to ‘Otilla’ before disappearing into the sky.
Another earlier version, written by Busk and edited by Rachel Harriette dates from the nineteenth century, entitled, “Otilia and the Death’s Head’ or, ‘Put your trust in providence’. It was published in London in 1871 and resonated strongly with the opening section of the well known tale ‘Cinderella’, as the young Otilla was both orphaned and resentful of her stepmother.
Overwhelmed by grief and her own vulnerability, Otilla runs away from home into the Tyrolean forest, all the while hearing her deceased father’s voice guiding her and urging her to trust in God. Hungry, cold and close to death herself, she discovers a castle and is welcomed by a speaking ‘Death Head’.
She undertakes specific tasks for the ‘Death Head’. She cooks in the kitchen, sleeps in a strange bedroom and faces her fear of the ‘Skelton’ that rattles its bones at her. However, guided by her father and trusting in God, she is resolute and fearless. The next morning, the ‘Skeleton’ is transformed into a beautiful lady dressed in white, who, having shown a lack of appreciation for all the wonderful things that life had given her, had been trapped in the castle. She turns into a dove before flying away.
Otilla displayed no fear when confronted by the ‘Skeleton’ and had broken the spell through the strength of her faith. Having inherited the castle from the lady in white, she invites her stepmother to enjoy it with her, and domestic peace and harmony are restored.
In a wonderful book called, ‘Decoding Fairytales’ by Chris Knight, Professor of Anthropology at UCL, the reader is guided through a system of symbols and signs based on the division of lived experiences as either ‘Other World’ (the world of trance, near death experiences, ceremonial masks and rebellion) or ‘This World’ (the orderly world of compliance, harmonious living and surrender). ‘Halloween’ of course is a celebration of the ‘Other World’.
To appreciate the contrast between each ‘world’ we need to think about life before the internet, telecommunications, and even the use of electricity, when moonlight was the most important source of light after sunset. The phase of the moon was believed to control not only the tides and peoples’ physical safety, but also to influence their emotions.
In this list I’ve summarised Knight’s observations of the two ‘Worlds’.
‘This World’ versus ‘Other World’
‘The Skull’ is not a story about ‘This World’. In all three versions of the tale, Otilla leaves the mundane world of her old life behind and journeys into the ‘Other World’ - the liminal world where she encounters the transition between life and death, enchantment and rebellion.
In many fairytales, a young girl finds herself lost in a forest or has been secluded in a forest (by someone in her matrilineal line). Although the forest was familiar to Otillla, as she lay in the wet snow crying, she confronted her fear of the dark, of danger and of being alone at night. Klassen allows the reader to decide whether or not it was the wind calling Otilla’s name, whereas Harriette and Busk were unequivocal that Otilla could hear her late father’s voice guiding her onwards through the darkness. The forest is both a psychological and physical barrier, carrying the risk of death and cutting her off from the safety of her domestic mundane life.
In the Harriette and Busk version of the story, Otilla is given tasks to perform. The first is to carry the ‘Death Head’. The second is to take it into the kitchen and to make a pancake. To do this she uses eggs - a universal symbol of rebirth. In Klassen’s version however, she eats a pear (carrying connotations of fertility) with ‘The Skull’, makes a fire for them both and they ‘drink tea’ (we must imagine the type of tea) by the fire. Both versions feature the fire, and in fairytales such as Hansel and Gretel or the Gingerbread Man, a kitchen fire, in a cottage in the middle of a forest traditionally cues an opportunity for children to be cooked alive.
In the Klassen version of the story, the ‘Skull’ shows Otilla a wall where ceremonial animal masks hang, explaining that they were not to be worn (i.e. taboo). However, they walk down the steps to the dungeon and look at the ‘bottomless pit’ (a familiar theme in many myths and legends, perhaps representing an ‘underworld’ or the subconscious mind). In the accompanying illustration Klassen depicts both characters wearing the animal masks, which signals that they have crossed the threshold into the ‘Other World,’ the space between life and death where it is appropriate to wear animal masks and where taboos may be broken without consequences.
Otilla has spent the first night drinking ‘tea’ and exploring the dungeon with the ‘Skull’ and now trusts sufficiently to be taken to the top of the turret. The turret, like the dungeon was traditionally a place of seclusion for girls in many fairytales. As they climb the steps from the dungeon to the balcony and move from darkness into light, we may assume that a new day, the second day of the adventure has dawned.
They remove their masks as they reach the daylight and emerge into fresh air, but then the ‘Skull’ immediately takes Otilla into the ballroom, where the sun streams in through the window. The adventure continues as they wear the ceremonial masks and dance until evening. Traditionally, wearing an animal mask simply meant acknowledging the ‘animal side’ of the self, (the side that was inhibited by social norms during domestic day-to-day life). Having danced the second day away with the ‘Skull’, Otilla makes another fire and they ‘drink tea’ in the evening. She looks into the fire, it becomes a source of inspiration and cerebral power while the ‘Skull’ tells her about the threat of the ‘Skeleton’. Otilla sleeps with the ‘Skull’ on the second night and falls into a ‘deep sleep’.
In the middle of the night, the ‘Skeleton’ appears just as predicted and tries to steal the ‘Skull’ from Otilla. The girl prevails and shows the ‘Skeleton’ that she is stronger and smarter in Klassen’s secular version (and spiritually disciplined and protected in the Harriette - Busk version).
According to Klassen, the ‘Skeleton’ chases the girl, who clutching the ‘Skull,’ leads it up to the top of the turret, throws it over the edge, and hears it shatter upon impact with the ground.
Later in the story, while the ‘Skull’ sleeps, Otilia cremates the ‘Skeleton’s’ fragmented bones. [According to Knight, fire is a traditional symbol of marriage and stands in opposition to blood, a traditional symbol of kinship.] In Klassen’s contemporary narrative, Otilla accepts an invitation to cohabit with the ‘Skull’, having made the ‘Skeleton’ disappear, and thus she emerges on day three of her adventure into a new domestic life.
In the original version and Busk’s retelling of it, the ‘Skeleton’ transforms into a beautiful lady at the end of the story, reminiscent of Cinderella’s Fairy Godmother. In both fables, the young girls have a strong affinity with the tempering and purifying power of fire, and both have lost their mothers. It would also seem that bereavement, extreme anxiety, fear and stress in a pubescent child, particularly after drinking a herbal brew such as tea, might induce such visions. But, in Klassen’s telling of the tale, these magical ‘other worldly’ elements have been removed. Instead, the ‘Skull’ offers Otilla companionship and a new home.
If the underlying elements of this story resonated, you might enjoy reading more about trance, rhyme, rhythm and language in these posts:
Rhythm, Flow, Reading Fluency and Comprehension: In extant societies, traditional life ways include hunting and gathering. For sheer survival, loud communal singing and drumming are also essential for deterring the big cats that may predate infants on the darkest of nights.
Rhythm, attention and rapid learning: Boredom and repetition generate trance-like states of attention, whereas novelty and a switch in stimulus create a rapid reset. Ultimately the attention span plays a role in predicting where and when the next reward or threat is likely to occur.
Practising poetry - The importance of rhythm for detecting grammatical structures: Rhythmical patterns in language cast beams of expectation, helping to guide and focus our attention, enabling us to anticipate and enjoy the likely flow of sound and colour in the atmosphere of the poem.
Many people think that reading musical notation is difficult. To be fair, many methods of teaching musical notation over-complicate an incredibly simple system. It’s not surprising that so many people believe musical notes are relics of the past and are happy to let them go - but isn’t this like saying books are out of date and that reading literature is antiquated? In homes all around the world, parents of all nationalities can teach children as young as three to read musical notation, as this has for a very long time, become an internationally standardised system. In many schools in all parts of the UK, I’ve taught children at risk of failing the phonics screening check to read simple musical notation fluently in ten minutes. There are distinct differences in my approach and I’m sharing these here.
Musicians refer to musical notation as ‘the dots’!
These little marks written on five lines show musicians not only the musical details, but also the bigger picture - they can see the character and the style of the music by the way ’the dots’ are grouped together. Imagine you are looking at a map of your local area - you’d be able to see where buildings and streets are more densely or sparsely grouped together.
This is the skill that musicians use when they look at a page of music - it’s simply a convention for mapping musical sounds.
Early evidence of this practice of notating music can be traced back to its archaic roots in Homer (8th century B.C.E.) Terpander of Lesbos (c. 675 B.C.E.) and Pindar (5th century B.C.E.). However, following the fall of Athens in the 5th century B.C.E., there was a break with tradition. Aristoxenus (c.320 B.C.E..) documented the cultural revolution that had taken place - the rejection of all traditional classical forms. Traditional music had been replaced by -
The rejection of the old ways, including the ‘old music’ appeared to allow space for a new level of freedom. The new emphasis on individual expression rejected:
Musical notation, as the history shows, is less related to individual expression and more to the concept of building a musical canon - a collection of forms, styles and conventions, which are best represented in certain iconic ‘classical’ works. As such, there’s an emphasis on a standardisation of musical language, one that is mathematically well-proportioned, enduring and able to be passed on from generation to generation.
The most ancient system of musical notation, ‘neumes’ in ‘sacred western music’ was used between the 8th and 14th centuries, (C.E.) and was built upon Greek terminology. Most interestingly, the use of the apostrophe /‘/ ‘aspirate’ in the ‘neumes’ survives in today’s musical notation and shows when a musician takes a new breath or makes a slight pause. Part of the standardisation of musical notation has been that it is written on five lines.
These lines, called ‘the stave’, show musicians whether the sounds are higher or lower in frequency (pitch). To take an extreme example, the squeak of a mouse is a high frequency sound (high pitch), and to show this frequency, the dots would be written far above the stave. Conversely, the rumble of a lorry has a low frequency sound (low pitch); to map this sound accurately, the dots would be written far below the stave. Extending the stave in this way involves writing what musicians call ‘ledger lines’.
In a central position within the spectrum of these very high and very low pitched frequencies, we have the pitch range of the human voice. Consider the sounds of the lowest male voice and the highest female voice and it’s clear that the spectrum of frequencies is still very wide. To accommodate this broad range of sounds, musicians write a different ‘clef’ sign at the extreme left of the stave. There are four ‘clef’ signs in common use: the treble (named after the unbroken boys’ voice), alto, tenor and the bass; these clefs are used by singers and instrumentalists alike. The two most commonly used are the bass and treble clefs.
In the early 1600s, for reasons of clearer musical organisation, vertical lines started to appear in notation, which divided the music into ‘bars’ (UK) or ‘measures’ (US). For the most part, the number of beats is standardised in each bar. Keep reading to find out more about the beats!
Many of the most catchy pieces of Western music rely on simple repetition of short patterns as well as predictable beats. We perceive these to fall naturally into a regular grouping, and most melodies fall into a pattern of two, three or four beats, spread across the piece or song. Here are two recognisable examples, the first in three time, the second in four time:
Of course, we all know music that’s more complex than this. For example, traditional dance styles from all around the world are often more elaborate and combine rhythmic groupings of faster-paced patterns such as:
Although these occasionally appeared in iconic classical works of the 19th century such as Mussorgsky’s ‘Pictures at an Exhibition,’ and Tchaikovsky’s Sixth Symphony, they became more commonplace in the early 20th century. These slightly irregular groupings create subtle feelings of asymmetry that is as delightful to the ear as new taste sensations are to the palette.
If there are five beats, as in ‘Take Five’ by Dave Brubeck, then after each group of five beats a vertical line shows the end of the ‘measure’ (US) also known as the ‘barline’ (UK). The bars or measures are units of time that show the organisation of the beats in the music.
Generally, ‘the dots’ and rhythms show the structure of a piece, or how it ‘works’ musically. In performance, a musician would maintain a consistent rhythmic ‘feel’. So these two essential notational elements offer a framework of predictability, which the musician reads, understands and feels:
However, too much emphasis on the predictability and the vertical organisation of the beats can produce an effect that is wooden and robotic. Although a strict sense of rhythm and pulse (the beat) is essential for successful music making, the actual phrasing of these is more horizontal and somewhat elastic in feel.
This can work by making more of the musical tension, by stretching it in time and intensity, as well as making it louder and moving forward; it can help the listener wait in anticipation for the all-important climax and moment of release. This is incredibly effective at all levels of music making, and is known to us all in the more familiar context of telling jokes and stories, where the pacing is as important as the details.
So, this is why experienced musicians use ‘the dots’ only as a map, and allow their ‘feel’ for the rhythm, the harmony and the style to bring freedom and individuality to their expression.
The anatomy of ‘the dots’ tells musicians about the pitch and the time values of sounds they make.
The ‘heads’ are the oval shaped part of a note, whereas the ‘stem’ is the line that may be attached to the ‘head’. The ‘head’ of the note moves around on the stave and tells the musician about pitch and depending on whether it’s filled (black) or open (white), about time value. The ‘stem’ of the note can join with other ‘stems’ (called ‘beaming’) and tells the musician about time and emphasis.
Some teachers of musical notation are very ‘head’ focussed and have elaborate mnemonics for memorising the positions of ‘the dots’ on the stave. Here are some examples:
The major problem with this approach is that it involves cognitive loading, as remembering these patterns rapidly absorbs a child’s finite cognitive resources. As a prerequisite for learning to read notation, these mnemonic patterns must be memorised and then applied in real time. Although this approach is not difficult for pupils with a strong working memory, it is absolutely why reading musical notation has gained its reputation for being ‘too difficult’ for some children to engage with.
Some leading musical education programmes in use today, are very ‘stem’ focussed and have elaborate time names for longer and shorter durations: ‘ta’ ‘ti-ti’ ‘tiri-tiri’ and ‘too’. Or, ‘Ta-ah’ ‘Ta’ ‘Ta-Te’ ‘Tafa-Tefe’ and there are many more to choose from.
The issue here is that the sound names are confusable because they sound so similar. Children with specific learning difficulties are likely to conflate these, and experience rhythm as confusing. This is unnecessary and easily avoided. Furthermore, it places children with weak working memory and weak sensitivity to phonemes at a considerable disadvantage.
We have completely avoided these issues in Rhythm for Reading and have opted for something simpler that does not front-load children’s attentional resources. In addition, our approach allows reading fluency to develop in the very first session.
We use simple and familiar language. ‘The dots’ are compared with lollipops and described as ‘blobs’ and ‘sticks’. Time names ‘ta’ and ‘ti-ti’ are simplified as ‘long’ and ‘quick quick’. There’s no confusion. This allows us to get on with the business of reading - fluently.
We offer professional development (CPD) that is deeply rooted in neuroscience, the development of executive function and of course, cognitive load theory. You can find out more in the following links.
Fluency, phonics and musical notes: Presenting the sound with the symbol is as important in learning to read musical notation, as it is in phoneme-grapheme correspondence. Fluent reading for all children is our main teaching goal.
Musical notation, full school assembly and an Ofsted inspection: Discover the back story… the beginning of Rhythm for Reading - an approach that was first developed to support children with weak executive control.
Empowering children to read music fluently: The ‘tried and tested’ method of adapting musical notation for children who struggle to process information is astonishingly, to add more markings to the page. Rhythm for Reading offers a simple solution that allows all children to read ‘the dots’ fluently, even in the first ten minute session.