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The Rhythm for Reading blog

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

17 January 2024

Image credit: Jessica Hearn via Unsplash
Image credit: Jessica Hearn via Unsplash

The narrowing of the curriculum has squeezed the arts and humanities and this is likely to affect pupils from a lower socio-economic status (SES) background more than relatively advantaged children, according to the Sutton Trust (Allen & Thompson, 2016). In England, headteachers are tasked with challenging the effects of economic disadvantage by ensuring children are able to access a broad and balanced curriculum, rather than an impoverished one. However, given that the allocation of teaching time is such a precious resource, how might primary schools devise a curriculum that includes musical notation? Traditional approaches are time-consuming and use complex mind-boggling mnemonics that are not sufficiently inclusive. However, a rhythm-based approach avoids cognitive loading and requires short weekly sessions of about ten minutes. This uses short, sharp quick-fire responses that are fun and facilitate group learning.

Teaching musical notation with a sense of mastery

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

There is minimal input in terms of ‘teacher talk’. Instead, explicit instructions from the teacher, based on the rubrics of the programme outline the specific details of each task. This approach is known to support novice learners and a clear expectation on the part of the teacher is that every child contributes to the team effort and is key to the programme’s impact.

Teaching musical notation and cultivating executive functions

The Rhythm for Reading Online Training Programme offers individually tailored CPD.

Teachers are immersed in a completely new knowledge base and a comprehensive body of work, including theory, research and practice, that has successfully evolved over a period of three decades.

The Rhythm for Reading approach stimulates children’s executive functions using simple repetitive techniques that feel like a fun group activity and are easy for all children to master.

The programme has been shown to transform reading development in:

  • young people with severe learning needs in a special education setting
  • Pupil Premium children in mainstream schools
  • children with specific learning difficulties
  • children who simply need a ‘boost’ in their reading

By following the simple rubrics and rhythm-based exercises of the online programme, teachers are able to accelerate children’s reading development and cultivate their executive functions during ten weekly sessions of about ten minutes.

Teachers need to practise using these fresh and exciting new teaching methods for at least a couple of terms. Ongoing mentoring support is available throughout the programme, as is follow-up support. For further details click here.

As teachers develop a practical understanding of how to nurture children’s executive functions through rhythm-based exercises, they feel empowered by changes in the children’s progress.

Reading fluency is monitored by teachers throughout the programme using a dedicated ‘Reading Fluency Tracker’ which takes two minutes to complete each week. There is also, if needed, an option to focus on deeper levels of assessment of learning behaviour.

Teacher enrichment and reflexive practices are keystones in the CPD of the Rhythm for Reading programme and there is a strong emphasis on supporting teachers’ well-being. A workbook is available for teachers to record their personal experiences of the programme and these can be referenced in weekly one-on-one mentoring calls.

Research Studies in Music Education

Research on the benefits of music training to executive function is inconclusive. According to academics, the mixed bag of findings reflects differences in the types of musical activities. At present, the relationship between musical training and any effect on executive functions is unclear to the music education research community. However, based on a review of the latest research, academics offered this recommendation:

Ideally music lessons should incorporate skills that build on one another with gradual increases in complexity. (Hallam and Himonides, 2022; p.197).

Potential exists for each executive function to play an important role in music making as follows:

  • Inhibitory control is essential to the element of teamwork in music-making, such as community singing, where people are encouraged to participate with others in a balanced and proportionate way.
  • Cognitive shifting, also known as cognitive flexibility, is activated every time a change occurs in a melodic or rhythmic pattern, and also when the relationships between the musical lines or voices, also known as the texture, changes.
  • Working memory is constantly activated in the same way that it would be in a conversation, with updating, assimilating and monitoring, as a person participates in the music.
  • Sustained attention is necessary for the coordination of cognitive shifting and working memory. Just as interaction in a conversation is predictable at the beginning and the end, but may have a ‘messy middle’ (a loss of predictability), the same can be said to exist in music.
  • To maintain the necessary level of sustained attention in the dynamic activity of music making, each performer engages inhibitory control of internal and external distractions.

In a particularly well-controlled, and therefore robust study, there were strong positive effects of musical training on executive functions, particularly inhibitory control among children (Moreno et al., 2011, cf. Hallam and Himonides, 2022).

Although the expressions, ‘getting lost in the music’ and ‘getting lost in a book’ are figurative and imply a perception that the external world has temporarily ‘ceased to exist’, there is also an implication that the individual has entered into a meditative ‘flow state’, suggesting that the executive functions are working together in a coherent and self-sustaining way.

Reading musical notation, reading a text and executive function

Given that musical notation as a symbol system that describes what should happen during music making, there is a strong logical argument for musical notation to act as a stimulus for activating executive functions.

A ‘Yes-But’ response resounds at once because the research literature is ‘mixed’ in terms of findings. Bear with me as I offer a few thoughts…

When researchers used a brain scanner to study the parts of the brain involved in reading musical notation, they asked professional musicians to read musical notes, a passage of printed text and a series of numbers on a five-key keypad (Schön et al., 2002, cf. Hallam and Himonides, 2022). Unsurprisingly, similar areas of the brain were activated during each type of reading activity. Over millennia humans have developed many symbol systems, including leaf symbols, hieroglyphs, cuniform, alphabets and emojis. This research is very reassuring as it suggests that the brain adopts a standard approach for reading different symbol systems. As there was no evidence that reading musical notation was any different to reading text or numbers, then presumably musical notation and other types of reading share the same neural structures. If this is the case, then this might explain an acceleration of reading skills in struggling readers after a six-week intervention in which children learned to read musical notation fluently (Long, 2014).

Reading musical notation differs from reading text or numbers in one important way: each symbol has a precise time value, which is not the case when we read words or numbers. However, when reading connected text or musical notation, there is an important element that is relates directly to rhythm, which is that musical phrases and sentences tend to be read within similar units of time. By coincidence (or by way of an explanation), this time window happens to fit with our human perception of the duration of each present moment.

So, given that working memory fades after about five to seven seconds of time have elapsed, we can understand that musical phrases and utterances in spoken language are closely tied to executive functions of working memory and sustained attention.

Reading musical notation and executive function

Many people’s experience of reading musical notation begins at the moment when they are learning to play a musical instrument. The physical coordination required to produce a well-controlled sound on any musical instrument draws upon sustained attention, working memory, and cognitive flexibility (adapting to the challenges of the instrument). The engagement of these executive functions in managing the instrument may leave very few cognitive resources available for reading notation, leading to frustration and a sense of cognitive overload.

Using the voice rather than an instrument offers a possible solution, as singing is arguably the most ‘natural’ way to make music. Learning a new song however, involves assimilating and anticipating both the pitch outline and the words before they are sung. As these tasks occupy working memory, it is possible that cognitive overload could arise if reading notation while learning a new song.

Chanting in a school context - a rhythm-based form of music-making that humans have practised for thousands of years, whether in protest or in prayer is relatively ‘light’ in terms of its cognitive load on working memory. All that is required is a short pattern of syllables or words. Repetition of the pattern allows the chant to achieve a mesmeric effect. This can be socially bonding, hence the popularity of chanting in collective worship around the world.

Although researchers have demonstrated that musically trained children have higher blood flow in areas of the brain associated with executive function (Hallam and Himonides, 2022 ), it is important that researchers specify the musical activities that activate executive functions.

Comparing the three options: learning an instrument, a song or a chant - it is clear that they could develop executive function in different ways.

Learning to play a musical instrument demands new levels of physical coordination, involves deliberate effort and activates all of the executive functions for this reason.

Learning a new song places a high demand on verbal and spatial memory (working memory) as the pitch outline and the words of a song must be internalised and anticipated during singing.

Learning a simple chant places minimal demand on cognitive load. This makes it is easy for individuals drop into a state of ‘autopilot’, allowing the rhythmic element of the chant to keep their focus and attention ‘ticking over’ without deploying executive function.

So, chanting, with its lighter cognitive load offers the most inclusive option for teaching musical notation in these settings:

  • in mixed ability groups in mainstream schools
  • among children with learning differences in mainstream or special educational schools

You might be thinking surely, ‘mindless’ chanting has no place in 21st century education? Yes, I would agree - but the exception to this notional rule would be this: chanting is appropriate for children with fragile learning and reading if they also display hypo-activation of executive function:

  • weak attention,
  • limited working memory
  • poor impulse control
  • slow cognitive switching

Children with weak executive functions are better able to learn to read musical notation using chanting (rather than playing an instrument or singing) for the reasons outlined above. A rhythm-based approach (using a structured and cumulative method) restores executive function and reading development among these children in a very short period of time.

According to Miendlarenewska and Trost (2014) enhancing executive functions through rhythmic entrainment in particular would drive improved reading skills and verbal memory: the impact of the Rhythm for Reading programme bears this out (Long, 2014; Long and Hallam, 2012).

If you enjoyed reading this post, keep reading:

A simple view of reading musical notation

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?

Musical notation, a full school assembly and an Ofsted inspection

Many years ago, I was asked to teach a group of children, nine and ten years of age to play the cello. To begin with, I taught them to play well known songs by ear until they had developed a solid technique. They had free school meals, which in those days entitled them access to free group music lessons and musical instruments. One day, I announced that we were going to learn to read musical notation. The colour drained from their faces. They were agitated, anxious and horrified by this idea.

Empowering children to read musical notation fluently

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

Teaching musical notation, and inclusivity

For too long, musical notation has been associated with middle class privilege, and yet, if we look at historical photographs of colliery bands, miners would read music every week at their brass band rehearsals. Reading musical notation is deeply embedded in the industrial cultural roots. As a researcher I’ve met many primary school children from all backgrounds who wanted to learn to read music and I’ve also met many teachers who thought that reading music was too complicated to be taught in the classroom.This is not true at all! As teachers already know the children in their class and how to meet their learning needs, I believe that they are best placed to teach musical notation.

References

Allen & Thompson (2016) “Changing the subject: how are the EBacc and Attainment 8 reforms changing results? The Sutton Trust,

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

Long, M. (2014). ‘I can read further and there’s more meaning while I read’: An exploratory study investigating the impact of a rhythm-based music intervention on children’s reading. Research Studies in Music Education, 36 (1) 107-124

Long, M. and Hallam, S. (2012) Rhythm for reading: A rhythm-based approach to reading intervention. [MP282] Proceedings of Music Paedeia, 30th ISME World Conference on Music Education, pp. 221-232

Miendlarenewska, E. A. and Trost, W. J. (2014) How musical training affects cognitive development: rhythm, reward and other modulating variables. Frontiers in Neuroscience, 7.

Moreno, S., Bialystok, E., Barac, R., Schellenberg, E.G., Capeda, N. J. & Chau, T. (2011). Short-term music training enhances verbal intelligence and executive function, Psychological Science, 22 (11), 1425-1433

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To what extent is reading comprehension supported by executive functions?

10 January 2024

Image credit: Ronald Felton via Unsplash
Image credit: Ronald Felton via Unsplash

Although it is widely known that information is best presented with a degree of repetition, as well as by repeating and reviewing key concepts, such an approach is most effective when pupils are able to read widely and often, with fluency and comprehension. Decades of research point to the importance of self-regulation and metacognitive awareness as key predictors of reading comprehension and the ability to access a broad and rich curriculum. Teaching in small chunks with repetition and being mindful of activities that require too much memory capacity in the spirit of ‘cognitive load theory’ is likely to hold many pupils back, so in this post I examine the relationship between reading comprehension, executive functions and rhythm-based teaching.

What are executive functions and why do they matter?

Just as we may need to ‘read the room’ to gauge a social context, mood and emotional tone, we also need to ‘read’ information on the page or screen with the same level of sensitivity and awareness. However, while the dynamics of a live social situation, or the events of a movie play out in real time before our eyes and ears, the situation on the page requires a more sustained and selective engagement on the part of the reader if they are to extract and assimilate the maximum understanding of the text.

This level of engagement involves ‘metacognition’, which is an aspect of social understanding that requires a person to monitor the degree to which they are successfully appraising a situation.

Metacognition is a form of social awareness, whereas self-regulation is more about a person’s awareness of their own behaviour and priorities.

Self-regulation is a form of goal-directed behaviour that includes:

  • prioritising relevant actions,
  • inhibiting (suppressing) those that are less relevant.

Therefore, inhibition is a core aspect of self-regulation. Both metacognition and self-regulation can facilitate reading comprehension in terms of the degree of overall engagement. There is also a more dynamic quality to understanding a text, which involves:

  • being able to adapt flexibly to the development of the narrative,
  • the shifting of perspective as necessary in order to maintain comprehension.

So far we have considered forward planning, cognitive flexibility - also known as ‘shifting’,and control of inhibition. These elements of cognitive control are referred to under the ‘umbrella term’, ‘executive functions’.

Are executive functions mentioned in the Simple View of Reading?

When people read a text, they draw upon prior knowledge, whether they realise it or not. They assume that the most likely course of events will unfold. For example, baking a cake precedes eating a cake. An unexpected turn of events might derail this assumption if say, the cake turned out to be a birthday present. Under the altered circumstances, the reader would adapt and apply a new schema (prior knowledge of birthday cakes) and reappraise their orientation and understanding of the text.

One of the most discussed aspects of executive function, ‘working memory’, varies considerably between people. In the context of language comprehension, in speech and in print, ‘working memory’ holds fragments of information in such a way that new information can be assimilated immediately, enriching, evolving and expanding previous impressions. Encoding (the process of updating or taking in information from the senses) is likely to involve both verbal and envisioned impressions, as creating this record of verbal information in the form of an image (like a movie in the mind) helps to enhance long-term memory formation.

In social situations, people tend to use language to imply what has taken place, and this means that an important part of social engagement involves filling the gaps with inferences that make use of tone of voice, gestures and facial expression, for example. Children with a limited working memory capacity are more literal in their response to language - relying more on a skeleton framework, whereas those with a more capacious working memory are more likely to enjoy a more playful and exploratory approach, to making these inferences.

In the Simple View of Reading (SVR), Gough and Tumner (1986) stated that reading comprehension is predicted by fluent decoding skills and oral language skills. Their model did not included executive function. Given that working memory, inhibition, sustained and selective attention, and cognitive flexibility underpin reading comprehension, this would appear to be an overly simplistic view.

However, in a study that examined the role of executive functions on young children’s reading comprehension (Dolean et al, 2021), a large proportion of the variance in reading scores was explained by executive function at the initial (baseline) testing, but not at the follow-up six months later. The authors noticed that this outcome was likely to be due to the high number of fluent decoders in their sample. However, language skills at baseline did predict reading comprehension in the follow-up tests. The researchers seemed to assume that executive functions, like language skills would accumulate with time in children. It is possible that these are more dynamic than language skills and are more likely in the short term to change in response to the immediate environment.

The relationship between executive functions, reading comprehension and rhythm-based training.

An interesting pattern has emerged from the research literature on the development of reading comprehension:

  • Struggling readers rely more on fluent decoding.
  • Fluent readers rely more on oral language skills.

The effects of executive functions on reading comprehension scores were stronger among children who relied on decoding rather than language skills

This findings bring us back to a ‘common sense view’ of reading comprehension which is:

  • Weaker executive functions such as working memory, control of inhibition, attention and cognitive flexibility are associated with children who rely more on decoding strategies in their reading comprehension.
  • Children who rely more on oral language skills and less on decoding, access reading comprehension with minimal effort in terms of executive function.

If performance on executive functions does predict fluent decoding in reading development, then it follows that changes in executive function would impact fluent decoding and influence reading comprehension scores.

There are many studies showing the effects of musical training on executive function (Hallam and Himonides, 2022). In particular, these studies have repeatedly shown the benefits of rhythm-based training on working memory. One recent study, measured working memory before and after a rhythm-based music intervention in young Finish children, and showed a statistically significant effect of:

  • rhythm-based training on working memory,
  • improved reading development among the children with lower baseline reading scores.

The three studies mentioned in this blog post point to three key findings:

  • the importance of executive function for the development of reading,
  • that children who are more likely to struggle with reading at school are more likely to need support through the development of executive function,
  • that rhythm-based training supports the development of executive function among children who have lower baseline reading scores.

Rhythm and executive functions

The studies also showed that we can think of executive functions as ‘team players’ in the following way:

  • Inhibitory control is an important element of sustained and selective attention and self-regulation.
  • Sustained and selective attention is an important component of working memory.
  • Working memory capacity enables cognitive flexibility.
  • Cognitive flexibility and working memory capacity enable metacognition.

As teachers are well-aware, if executive functions are limited or imbalanced, they can lead to low-level disruption in the classroom, and the extent to which a positive day-to-day learning environment can be maintained.

Schools using the Rhythm for Reading programme have discovered it has developed children’s executive functions. For over a decade, many children have benefited from the effects of the ten week programme of rhythm-based training (only ten minutes per week) with substantial improvements in:

  • Reading behaviour - accuracy, fluency and comprehension,
  • Sustained and selective attention - better ability to focus and concentrate in the classroom,
  • Improved working memory - increased assimilation of meaning while reading - ie comprehension,
  • Inhibitive control - stronger self-regulation and the ability to ignore distractions and complete given tasks,
  • Cognitive flexibility - improvement in updating and predicting the likely direction of events in the passage of text,

To learn more about the Rhythm for Reading programme and executive function, click here.

To read about our results in case study schools, click here.

To discuss having Rhythm for Reading in your school, click here to book a discovery call.

If you enjoyed this post on reading comprehension, keep reading!

How does the Rhythm for Reading programme actually work?

The logical forms and hierarchical structures that are integral to the Rhythm for Reading audio-visual resources automatically train children to recognise grammatical structures, align with phrase contours and activate the associative priming mechanism (Jones and Estes, 2012) while they read printed language (Long, 2014).

Three factors to take into account when assessing reading comprehension

Factor one: There is minimal cognitive loading of working memory as the child can refer back to the text when answering questions. In other words, they do not need to remember the passage of text, whilst answering the questions. This approach prevents a conflation between a test of comprehension and a test of working memory. Children may score higher on NARA II if working memory is likely to reach overload in other reading test formats, for example, if the child is required to retain the details of the text whilst answering comprehension questions.

Rhythm and Reading Comprehension 1/5

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

References

Ahokas et al., (2023) Rhythm and reading: Connecting the training of musical rhythm to the development of literacy skills,PsyArXiv; 2023. DOI: 10.31234/osf.io/7ehwu.

Dolean, D. et al., (2021) Language skills, and not executive functions, predict the development of reading comprehension of early readers: evidence from an orthographically transparent language, Reading and writing, 341: 1491-1512.

Gough, P.B. and Tumner, W. (1986) Decoding, reading, and writing disability. Remedial and Special Education, 7, 6-10.

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

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Child development in 2024: Learning versus hunger

3 January 2024

Credit image: Hollie Santos via Unsplash
Credit image: Hollie Santos via Unsplash

I had planned to find a light-hearted piece of new music education research for the first post of 2024 and maybe a few fun facts. I considered a study on the benefits of chanting, another on whether rats feel groovy (and yes, rats do feel the groove), but eventually I chose a new piece of research on the benefits of singing to infants because it drilled down into a possible relationship between rhythmic movement and expressive vocabulary development (Nguyen and colleagues, 2023).

At the same time, I considered recent topical pieces on child development and education in the mainstream media. Suddenly, this post became much heavier as it was destined to contrast the challenges of struggling families against the privileges of those who shape music education as research participants.

In recent weeks, there has been coverage on the rapid rise of ‘baby banks’ (Chloë Hamilton, The Guardian Newspaper). These are like food banks, but specialise in providing free nappies, baby formula, clothes and equipment. We have 200 branches in the UK and just as the Christmas holidays were about to start, there was also a piece about headteachers reporting malnourishment among their pupils (Jessica Murray, The Guardian Newspaper).

Having delivered the Rhythm for Reading programme in schools that also function as community food banks, and having seen children faint from hunger while at school, I am in no doubt that nothing can be more important to a civilised and caring society than children’s physical well-being - hungry children cannot learn anything at all.

In a balanced and caring society in which there is time to sing, to tell stories, and to enjoy family life without grinding hardship, music has its own role to play. People feel more inclined to engage socially and to look out for each other when they feel safe. From this perspective, is music important or not? When people need food to survive, food is more important than music. If people want to build a balanced and cohesive community, both music and food are fundamental for establishing trust and strong relationships whether in family life, business and trade, or diplomacy.

How do we know that music is important for child development?

According to decades of research, infants are exposed to music every day, particularly as their caregivers sing to them to entertain, to soothe and to share emotions with them. Even in utero, at 35 weeks gestational age, foetuses show more movement to musical sounds than to speech sounds, whereas at two months of age, an infant coordinates their gaze with the ‘beat’ of their caregiver’s singing. It is clear that music captures their attention and in this post I’ll point out how it seems to further their development.

What is infant-directed singing?

Infant-directed singing (compared with singing in general) is characterised by a slower tempo, more regularity in the pulse and a relatively wide range in terms of louder and quieter volume. The features of live infant-directed singing include positive emotional expression, accompanied by gestures and facial animation. In play songs there are also actions such as bouncing, jigging or sudden playful movements, whereas slower calming rocking movements characterise the soothing nature of lullabies.

How do infants respond to infant-directed singing?

As infants develop, they begin to adapt their rhythmic movements to coordinate with the rhythmic structure of music that they listen to, but the reasons for this are not well-understood. In terms of language development, years of research on infant listening has indicated that infants are sensitive to the rhythm, volume fluctuations and comprehensibility of speech, including sensitivity to these in nursery rhymes. Recent findings showed that newborn infants’ ability to track fluctuations in singing predicted their expressive language at 18 months.

What is the mechanism?

Researchers have found that these early life experiences of infant-directed singing endow children with sensitivity to the tempo (pace), changes in melodic patterns, harmony and rhythmic patterns of musical extracts. There’s been a recent focus on whether fluctuations in volume map directly onto the listening child’s brain activity, and most recently the same approach has been investigated in listening infants. The researchers refer to the term ‘neural tracking’ and by this they mean the extent to which brain activity is synchronised (entrained) with the features of the singing.

Who took part?

The research involved two different groups of mothers who had expressed an interest in taking part in this research. These mothers aged between 29-39 years, were highly educated: more than 86 per cent of them held university degrees and more than half of them (55 per cent) played a musical instrument, whereas one fifth (20 per cent) had time for themselves and sang in a choir. The authors did not explain the working status of these women, and the amount of time they each spent with their infant, whether some of the infants were enrolled in a crêche, or whether the mothers had chosen to return to work.

During the initial part of the research, all of the infants were seven months of age, lived in German speaking households and were without developmental delay. Across the two groups of participants, nine infants in total were excluded from taking part because of ‘infant fussiness’. This is a common practice in experiments of this kind; this means that the findings reflected the behaviour of infants who were well-adjusted enough to cope with the research protocols (such as wearing an EEG bonnet). The research involved testing the infants’ responses to play songs and lullabies at seven months of age. Then at twenty months, the researchers collected data detailing the children’s expressive language development.

In psychological research, it is important to justify the sample because the characteristics of these individuals are likely to shape the findings to a large extent. It is very difficult to draw broad conclusions about the relevance of infant-directed singing to vocabulary development from this particular group of people, when it is well known that parents’ educational level is a strong predictor of expressive language development in young children (Hart and Risley, 1995).

What is the vocabulary gap?

Expressive vocabulary development and the vocabulary gap became very topical almost thirty years ago when Hart and Risley (1995) conducted their work on vocabulary development in different social groups in America. This groundbreaking study involved analysing 1,300 hours of observations. An average child in a wealthier family heard 2,000 words during an hour, whereas a child from a family receiving welfare, heard 600 words in one hour. By the age of three, children from wealthier backgrounds had twice as many words in their productive vocabulary.

The wider impact of the Hart and Risley research

This finding had a powerful impact and the UK government launched the Sure Start initiative in 1998. Funding became available to enrich the lives of new parents through antenatal classes, postnatal support, parenting courses, nutritional advice, and provided supportive opportunities for very young children living in the poorest neighbourhoods in the UK up to the age of four. This scheme was successful in terms of physical health outcomes; it reduced harsh parenting practices and hospitalisations among children at age eleven. Sure Start Centres lost two thirds of their funding in 2010 and a relatively small number of these centres serve deprived communities.

Will we continue to see malnourished children in 2024?

Unlike Sure Start Centres, which were run in dedicated buildings, the baby banks are grassroots projects and some are set up as a series of tents in deprived rural areas. In the article by Chlöe Hamilton, mothers, who seek help from baby banks cannot afford to heat their homes and feed their children. Moreover, these mothers opt not to feed themselves, even though they are pregnant.

It is in these rural areas that head teachers are very concerned about rising levels of malnourishment. The are seeing children’s teeth falling out, their pupils have bowed legs and stunted physical growth. In some schools, as many as half of the pupils receive free school meals and a free breakfast, which is supplied by the charity ‘Magic Breakfast’. School leaders are also very concerned about children who do not qualify for free school meals, as the lunch they bring to school contains nothing more than cheap sugary snacks.

It is poignant that the first baby bank was started shortly after the banking crisis in 2008. Now there are 200 banks in the UK and over fifty branches are run by one charity, ‘Baby Basics’. According to a London-based charity, ‘Little Village’ twelve per cent of parents needed to visit the baby banks for children’s clothes and toys in the run up to Christmas, 2023.

It is not possible for children to learn when they are hungry and stressed. The lessons of Sure Start apply here. Jessica Murray’s article highlighted how hunger leads to dysfunction in the family relationships and the consequences of this are far reaching according to Dr Sarah Hanson, Associate Professor in Community Health at University of East Anglia:

“There’s evidence that not getting enough to eat causes low mood and anxiety, and often leads to stricter discipline in households. For children, their behaviour worsens and it has been linked to increased asthma diagnoses, as well as significantly higher use of emergency care.”

How is the study on infant-directed singing relevant to this situation?

Although the findings of the infant-directed singing study are more relevant to families of similar social characteristics to the participants: German speaking and highly educated, the most important finding is that infants are listening to their caregivers.

Most interesting perhaps, was that when the researchers manipulated the acoustic features of the singing - the pitch, the tempo, the beat - there was no significant effect on the infants’ neural tracking and this finding is a very inclusive one - infants listen, no matter how strange the singing may sound.

In both lullabies and playsongs, researchers found that infants’ rhythmic movement during the singing was strongly related to their neural tracking. This association between rhythmic movement and neural tracking was statistically significant. Lullabies were notable because they elicited stronger neural tracking - but that is not surprising, given that lullabies are hypnotic by their nature.

The researchers also found that infants’ neural tracking of play songs at seven months was significantly related to their expressive vocabulary at twenty months. This was not a product of chance, (95 percent confidence level). By seven months, these children had already developed playful interactions (involving infant-directed singing and rhythmic movement) in a way that was priming them for productive language. This chimes with the Hart and Risley research and really illustrates the importance of a supportive environment, particularly in the earliest months of an infant’s life.

If your enjoyed this post, keep reading!

Conversations, rhythmic awareness and the attainment gap

In their highly influential study of vocabulary development in the early years, Hart and Risley (1995) showed that parents in professional careers spoke 32 million more words to their children than did parents on welfare, accounting for the vocabulary and language gap at age 3 and the maths gap at age 10 between the children from different home backgrounds.

https://rhythmforreading.com/a/blog/entry/conversations-rhythmic-awareness-and-the-attainment-gap

Narrowing the attainment gap through early reading intervention

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.

The backdrop to reading is the space in the child’s mind.

In a recent post, I referred to Ratner and Bruner’s (1977) article on ‘disappearing’ games such as peekaboo. The article is clear that play of this type contributes to an infant’s ability to engage and interact not only with the game, but with the world around them as well. The playful and even joyful energy of peekaboo accompanies each of these four stages of learning

Gamification, Social Exchange and the Acquisition of Language

According to neuroscientists, repeated use of specific neural pathways catalyses the maturity of the neural structures through a process known as myelination. Referring back to Ratner and Bruner’s question about the ‘nature’ of early ‘disappearing’ games, it appears that language learning during infancy and early childhood coincides with spontaneous and joyful social interaction with an accompanying sense of intrinsic reward. This arguably contributes to successful social interaction throughout life.

References

Hamilton, C., ‘A day at the baby bank: ”I feel at ease here, because I’m not the only one struggling”, The Guardian Newspaper, published on 19.12.23 accessed 30.12.23

Hart, B. And Risley, T.R. (1995) Meaningful differences in the everyday experience of young American children, Paul H Brookes Publishing.

Murray, J, ’Children have bowed legs’: hunger worse than ever, says Norwich School, The Guardian Newspaper, published 21.12.23 accessed 30.12.23

Nguyen et al (2023) Sing to Me Baby: Infants show neural tracking and rhythmic movements to live and dynamic maternal singing, Developmental Cognitive Neuroscience, 64, 101313

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Fluency: Finding Flow in Early Reading

27 December 2023

Image credit: Picsea via Unsplash
Image credit: Picsea via Unsplash

The pupils who most need to improve in terms of reading fluency (the lowest twenty percent of children) require support from the most effective teachers. Teaching effectiveness is known to be a strong predictor of pupils’ progress throughout school and for these children, pedagogy that develops a sense of mastery through repetition, reviewing and building familiarity with new words, supports the development of confident and fluent reading.

Distinguished pedagogue Professor Marie M Clay is best known for her Reading (and writing) Recovery programme. Her research began in 1976 and hundreds of thousands of children have benefited from her work. Her expertise in fluency in reading is based on her detailed observations of the experiences of struggling readers. For example, in her ‘hierarchy of knowing words’ we can appreciate the varied experiences of the children she taught as they grappled with new words, and practised these until they became familiar. This hierarchy provides a six step process, which is helpful because the teacher can identify and monitor progress long before the child becomes a fluent reader.

A six step process

The entry point in this hierarchy is as a ‘new’ word. Then, the word becomes ‘only just known’ as it still retains its novelty value and may protrude and not yet fall into its place with other words. As the word becomes more familiar, it is ‘successfully problem-solved’ by the child - in what Clay describes as one of a ‘repertoire of behaviours’. In the fourth iteration of this process, the word may be ‘easily produced, but easily thrown’ - in other words it might trip the child up and disrupt the flow of reading. The next level suggests that the word has become more integrated within the child’s lexicon, as a word that is ‘well known and recognised in most contexts’.

At this point, the child relies on context during the integration of external (print, illustrations and prompts from an adult) and internal processes (memory, including the sound and shape of the word in the articulatory system). Finally, when a word is ‘known in many variant forms’ it is likely to contribute to the fluent reading of a passage. This chimes well with the generative notion of language as recursive, with each word sparking a new stream of thoughts and ideas.

The meeting of the internal and the external aspects of decoding are described by Clay in terms of visual information (the ‘input’ from the eyes) merging with ‘vast amounts of information about that word gathered in past experiences’ so that the more familiar words are read ‘in a flash’.

Place not pace

Although, ‘new’ words are read slowly and it is appropriate for beginner readers to allow time to focus upon and to assimilate them, Clay was clear that the journey from slow word-by-word decoding to reading fast and with fluency was not about pace, but rather it was about the place of the word within a phrase:

“We have to think about phrasing in reading….To be more technical, the reader has put several words into a grammatical phrase (or into a grammatical context)” (Clay, 2005, p.150).

From a rhythm-based perspective, a musical phrase is also felt as a unit of meaning and context. And yet there is a broader context to consider. Let us pause to reflect for a moment on the importance of the context (and biographical narrative) of the child’s nervous system. This would include their perceptions of challenge, threat and fear versus those of safety, play and social engagement. We might ask to what extent does the emotional set-point of this child influence their capacity to engage with reading?

Building capacity for fluency

Reading at home every day with a parent or an older sibling fosters fluency through nurturing and social engagement. For children who have not had this level of input at home, co-regulation through one-on-one intervention may also be necessary to build the capacity that a child needs to engage with reading. After all, if their attention is disrupted by intrusive thoughts or if they are socially withdrawn, then they are likely to struggle with the level of cognitive processing that fluent reading demands.

The dynamic qualities of fluent reading are summarised by Clay here,

“When the reading is phrased as in spoken language and the responding is quite fast, then there is a fair chance that the reader has grouped together the words that the author has meant to go together….If the reader can do this easily then he attends to the letters, and the words, and the grammar ‘on the run’ and as a result he can give more attention to the messages.” (Clay, 2005, p.150)

From a rhythm-based perspective, the key words in this quotation are ‘attends’ and ‘attention’. The child’s capacity to sustain their attention determines the fluency of their reading. Attention is the cognitive ‘fuel’ necessary to ‘drive’ this fluency and to extract the author’s ‘message’ from the alignment of the letters, words and phrases as units of meaning.

For a fragile reader, reading ’on the run’ could describe a single layer of fast-moving unrelated syllables and words that do not generate meaning as they are read. Many children can read fast and yet they do not process words within well-defined phrases and therefore do not assimilate meaning from their reading.

For a fluent reader however, reading ‘on the run’ would describe fast-moving syllables, words, and phrases that are grammatically and rhythmically aligned, and the message they convey is assimilated without additional effort.

Dynamic attending and language

When children process spoken language with ease and fluency, we must remember that this happens in the context of a social dynamic. The child takes into account the speaker, the context and the sounds of the language. This social dimension adds a lot of information. We could say that the speech stream is ‘gift-wrapped’ for the child. These outer layers of the sound spectrum convey three key signals about context of the message:

  • The relevance of the content capturing the child’s attention through curiosity or urgency.
  • The emotional content in the speaker’s voice reassuring or unsettling their sense of safety.
  • The rise and fall of intonation in the speaker’s voice and an emphasis on certain words helping them to process the context and content of the message ‘on the run’.

All of these outer layers of the speech stream are conveyed through the tone, timbre and rhythm of the speaker’s voice, and allow the child to feel the safety of their environment.

A child’s auditory environment is mapped out in utero from nineteen weeks gestational age and the home language is assimilated in an infant’s first year. Their emotional responses to the sounds of the care-giving environment are imprinted upon their nervous system, and embedded through a process called myelination. Myelin is a protective fatty coating that insulates nerve fibres and allows the information travelling along these fibres to move at lightning speed. The more these pathways are used, the faster they become.

The observations made by Marie Clay elude to this,

“It seems likely that if the learner develops faster responses racing around the neural circuits in his brain this will make reading more effective….” (Clay, 2005, p.151)

The emotional content of language processing has received little attention, though academics have studied the phonological, grammatical and semantic content of spoken language in depth. The ethical considerations when recruiting or identifying children with affective disorders relating to early childhood adversity are challenging, but studies of children in the care system and orphanages provide evidence of their difficulties with attention and reading. And of course, it is well-established that a warm, caring and sensitive environment in early childhood predicts strong educational attainment.

Reading Recovery

In Marie Clay’s original Reading Recovery programme (consisting of twenty ‘book levels’) there is an emphasis on the importance of a reading lesson every day for the children and she herself observed that a process of consolidation from one day to the next was important.

“If the child moves forward slowly, possibly missing lessons here and there, the end result is not as satisfactory as speedy progress through the book levels. It is as if the brain cells need to be involved tomorrow in what they explored today to consolidate some permanent change in their structure. This is a possible explanation.” (Clay, 2005, p.151)

Drilling into this a little further, if we consider the social dynamic between the specialist teacher and the child as a ‘dyad’ (an emotional pairing), then the continuity from one day to the next becomes more relevant in terms of the bond that accumulates from day to day and it is not surprising that the cumulative progress is described by Clay as ‘advantageous’.

Using the lens of child development, research conducted by Clay’s contemporaries Kuhn and Stahl (2003) showed that reading fluency was not limited to word recognition. The study concluded that among children in the first and second year of school, reading fluency was characterised by the prosodic features of language, which the authors defined as: rhythm, expression and perception of the boundaries of phrases in speech and text.

Phrases and fluency

From a rhythm-based perspective, the expressive element of fluent reading is underpinned by the temporal structure of clearly defined phrase boundaries. When the phrase boundaries are well-defined, the rhythm of the narrative ebbs and flows - good storytelling also has this wavelike motion of tension and release. Of course, a child listening to a story is mesmerised by the rhythmic features of the language and the expressive flow of the narrator’s voice. There are also peripheral signals that are a valuable part of holding a child’s attention: the stillness and poise of the narrator’s posture establish an atmosphere of trust, whereas their animated face and gestures, use of silence and the expressive qualities of their voice all contribute to the ‘suspension of belief’, which help to bring the events of the story to life.

It is interesting that using a rhythm-based approach to boost reading fluency requires a tiny fraction of the time taken by Reading Recovery. As a small group intervention that only requires ten minutes per week, in the Rhythm for Reading programme, the children are out of the classroom for only one hundred minutes across the entire course, and yet they experience a deep and meaningful shift in their ability to process printed language at the level of the phrase. Word accuracy also improves because the context of the words becomes clearer.

If you would like to read about the impact of the programme on different schools and children, click here. And to read more about fluency, here are links to related posts.

What can we do to support the development of reading fluency?

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.

Reading fluency again - looking at prosody

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.

Considering reading fluency

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.

Reading fluency: Reading, fast or slow?

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.

References

Clay, M.M (2005) Literacy Lessons Designed for Individuals: Part Two Teaching Procedures, New Zealand, Heinemann Education.

Kuhn, M.R. and Stahl, S. (2003) Fluency: A review of developmental and remedial practices. Journal of Educational Psychology, 95, 1: 3-21.

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Wishing you Peace at Christmas time: Rest and Replenish

20 December 2023

Image credit: Annie Spratt via Unsplash
Image credit: Annie Spratt via Unsplash

Tomorrow night is the longest night of the year in the northern hemisphere and here in London, the heavy grey clouds and the weight of the damp atmosphere have added a dense layer to the fatigue we are all feeling right now.
So as the school term draws to an end, I thought I’d share reflections on one of my favourite picture books: “A Seed is Sleepy,” by Diana Hutts Aston and Sylvia Long, published by Chronicle Books, San Francisco, California.

‘A seed is sleepy.

It lies there, tucked inside its flower,

On its cone, or beneath the soil, Snug, Still.’

This is the time to reclaim our need to sleep, and to sleep long and deeply. This is the season for rest, and teachers, having given out so much energy every single day, need this. Nothing is more important than rest and recovery after a long term of thirteen or even fourteen weeks. This is the time to be still and snug in the dark and the quiet of the longest winter night.

The time that a seed may take to reveal itself is encoded in its DNA. Each seed needs its own allotted period of time. There is no rushing this process. Some seeds need ten years and some need even longer.

‘Not all seeds are eager to germinate.

Some have lain dormant, or slept undisturbed,

For more than a thousand years.’

We need sufficient time to replenish our own physical energy and this applies to each and every cell. There might be a feeling of numbness. We might feel a little spaced out because of sheer exhaustion - a bit like being jet-lagged. We might feel tearful and emotional, or jittery and struggle to unwind. This is especially true if we have been chronically overstretched and have strained our nervous system without having a chance to recover. The seed shows us what to do.

‘Part of the seed, the root,

Feels the tug of gravity and

Digs down deep.’

The work of the seed is nourishment. Resting and recharging is also about spending time on replenishment. Just like a seed, our nervous system seeks out minerals and hydration. Little by little, as recovery progresses we realise that we are ready to receive light and love from our friends and family. There is, however no rush in the life of the seed. It can take time to reach upwards.

‘It knows to seek the sunlight

To push itself up, up, up

Through the soil But it must

Wait awhile before that happens.’

Each seed takes its own time. The diversity of seeds is part of the great mystery of nature. The tallest trees grow from the tiniest seeds and the most exquisite fruit of all (coco de mer) sprouts from the largest pod. Every shape and size in between has been designed through millions of years of evolution, adaptation and plenty of rest.

Happy Christmas! Rest well dear friends!

Danna Hutts Aston and Sylvia Long (2007) A Seed is Sleepy, Published by Cronicle Books, San Francisco, CA

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Supporting children with a ‘fuzzy’ awareness of phonemes and other symptoms consistent with dyslexia

13 December 2023

Image credit: Saeed Karimi via Unsplash
Image credit: Saeed Karimi via Unsplash

I’m often asked whether the Rhythm for Reading Programme helps children ‘diagnosed’ with dyslexia. As I have not done a study - and by this I mean a randomised controlled trial - with children ‘labelled’ with this specific learning difficulty, I rely on anecdotal evidence to answer the question. Every time a child, identified with dyslexia asks me whether I can help them, I ask them to tell me if and when they notice a change in their reading. To date, the children diagnosed with dyslexia have told me that they have seen improvements in reading, writing and even spelling. Some have reported that they are better able to focus in class and some have also noticed an improvement in their ability to ‘understand the question’ in maths lessons. These anecdotal data are a positive indication that Rhythm for Reading does indeed help children with a diagnosis of dyslexia.

Working memory capacity

Dyslexia is a broad umbrella term that is often associated with other specific learning differences, such as (but not limited to) dyspraxia and ADHD and ADD. These so-called ‘co-morbidities’ make it difficult to study dyslexia at scale in a scientific way because there are so many differences among children labelled with this particular specific learning difficulty.

Having supported many children with specific learning difficulties in my role as special educational needs coordinator (SENCO) in two secondary schools and one junior school, it became obvious that every child I worked with had a specific learning difficulty that was unique to them. And yet, practitioners and teachers in these schools were able to support a wide range of learning differences, by using a particular set of ‘dyslexia friendly’ tools. This was made possible because all of these children had one issue in common - their limited working memory capacity.

Working memory capacity describes the extent to which a person can hold and manipulate information in mind. Saying the alphabet backwards is a simple example of a task involving working memory. Removing the ’t’ sound from the word ‘winter’ (to make the word ‘winner’) is another simple example of a task that involves maintaining and manipulating information in working memory. A person with dyslexia would find such a task tiring and also frustrating. Imagine how challenging it would be to hold only three words in working memory when faced with a task that involved ‘writing in sentences’. Children with a specific learning difficulty often find that as they start to make marks on the page, the words in their mind fade or fragment. For these children, every hour of every day spent in the classroom, presents a new mountain to climb. Their working memory capacity always lets them down, no matter how hard they try to focus their attention. As a child, I experienced this too, but all of these problems disappeared when I was about eleven years old and joined a children’s orchestra.

A diagnosis of ‘severe dyslexia’

The diagnosis of dyslexia came in my early forties when I faced a sharp increase in stress in my personal life. Many people with dyslexia describe having ‘good days’ and ‘bad days’ and the effect of stress on working memory in particular would account for this. One morning, at 7.45 am, as I was about to begin teaching, to my astonishment I discovered that I could not read. The middle three letters of every word were superimposed and all I could see were smudges of ink on the page. Unable to read a single word, I assumed that this was a visual convergence problem and managed to squint out of the corner of my right eye for a few days until I was seen by an ophthalmologist. One week later, I was able to read again with the help of a conspicuous pair of dark green lenses.

A well-qualified psychologist conducted my dyslexia assessment one month later and declared in her report that I would struggle to complete secondary level education. This was nonsensical as I had a PhD and soon after that point had papers published in academic journals. A good psychological assessment on the other hand, can be a helpful guide. It can identify areas for particular focus and can empower an individual as they learn to manage their specific learning difficulty - otherwise what is the point? After four months, my eyes had returned to normal and I was able to read without the special spectacles, but I still have them tucked away in a drawer.

‘Fuzzy’ phonemes

If we turn to auditory problems faced by people with dyslexia, there are two interesting things to consider. One is fuzzy phonemes. Phonemes are the smallest sounds of language. If we break the sound wave of a phoneme down into its beginning, middle and end, this can help us to think about the very first part of the sound. Among children with dyslexia, there is a lack of perceptual clarity at the front edge of a phoneme, which scientists refer to as the ‘rise-time’. This means that children with dyslexia are significantly slower to detect the differences between phonemes. This is why rhythm can provide what is needed. Improving rhythmic awareness involves shifting the child’s attention to the front edge of each musical sound of a rhythmic pattern, and as the children are chanting, there is increased emphasis at the front of the phonemes too.

Here are a few of the phonemes that children with dyslexia struggle to differentiate. Looking at this list, it is obvious that there is insufficient sensitivity to the timbral qualities of the sounds as well as the ‘rise time’.

  • ‘p’ and ‘b’
  • ‘sh’ and ’ch’
  • ‘f’ and ‘v’
  • ‘f’ and ’s’
  • ‘pr’ and ‘br’
  • ‘tr’ and ‘chr’

Confusable sounds and conflated ideas

The second thing to think about is a tendency to conflate the sounds of words and similar concepts. Conflation is a reasonable and even logical coping strategy. It is a smart way to ‘cut corners’ as an efficiency drive within the context of a limited working memory. Many children with dyslexia conflate the colours black and brown and name those colours interchangeably. I worked once with a child who had conflated green, black and brown and referred to all three at ‘grown’ (rhyming with brown).

Are there different types of dyslexia?

Essentially, the label refers to a specific difficulty regarding the processing of words. It is described as ‘specific’, because it exists even though the individual has sufficient verbal and non-verbal intelligence to read and write and spell words and has been taught appropriately.

Attempts to classify types of dyslexia as ‘deep’, ‘superficial’, ‘phonological’ and so on are interesting, because all of these manifestations of dyslexia can be found in schools, but at the heart of this, children who have symptoms consistent with a diagnosis of dyslexia lack sufficient sensitivity to rhythm and phonemes. The idea that rhythm is a cure for dyslexia oversimplifies the complexity of this specific learning difficulty. The anecdotal evidence indicates that a rhythm-based intervention can support dyslexia, but I would add the caveat that it must be delivered in a supportive learning environment that also nurtures the child’s self-esteem. The child’s emotional safety must be established before sensitivity to rhythm and the smallest sounds of language can develop.

It is also important to adapt lessons to be more ‘dyslexia friendly’. For example, younger children can benefit from using holistic, multi-sensory approaches, such as the activities that underpin the structure of the Rhythm for Reading Programme. Here are some case studies to illustrate progress made by children, identified by their school as requiring additional support in reading.

If you enjoyed this post, click on these links to read more.

Phonics and stimulation of the vagus nerve: How long and short vowel sounds differ

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.

When phonics and rhythm collide part 1

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.

When phonics and rhythm collide part 2

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.

Phonemes and syllables: How to teach a child to segment and blend words, when nothing seems to work

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.

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Is learning to read music difficult?

6 December 2023

IMage credit: Soundtrap via Unspash
IMage credit: Soundtrap via Unspash

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.

Can you learn to read music without an instrument?

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.

Music for health and well-being

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.

Why do some people struggle to read music?

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:

  • working with music that is rhythmically balanced,
  • an atmosphere that is informal,
  • music-making that is joyful.

How to long should it take to learn to read music?

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.

If you have enjoyed reading about musical notation…

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Discover more about the impact of Rhythm for Reading on children’s reading development in these Case Studies

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.

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Improving reading comprehension and awareness of punctuation

29 November 2023

Image credit: Annie Spratt via Unsplash
Image credit: Annie Spratt via Unsplash

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.

What is reading comprehension?

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.

What is the most important key to good comprehension?

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.

What is punctuation?

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.

Why is punctuation important in reading comprehension?

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.

Why do children struggle with punctuation?

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.

To find out more about how the Rhythm for Reading programme changes a child’s ‘state’, click here to read our Case Studies and click the red Sign Up button at the top of this page to receive weekly ‘Insights’ and news about our new online programme.

If you enjoyed this post about reading comprehension and punctuation, keep reading!

Rhythm, punctuation and meaning

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.

Stepping up: from phonemes to comprehension

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.

Discover the heartbeat of reading

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.

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