DOCUMENT RESUME CS 012 727 AUTHOR Botwinick, Jill
DOCUMENT RESUMEED 405 548AUTHORTITLEPUB DATENOTEPUB TYPEEDRS PRICEDESCRIPTORSIDENTIFIERSCS 012 727Botwinick, JillDeveloping Musical/Rhythmic Intelligence To ImproveSpelling Skills.May 9762p.; M.A. Project, Kean College of New Jersey.Masters Theses (042)Dissertations/ThesesResearch/Technical (143)ReportsMF01/PC03 Plus Postage.Classroom Techniques; Grade 1; InstructionalInnovation; *Learning Strategies; Listening Habits;*Music; Primary Education; *Spelling; *SpellingInstruction; *Student Improvement; StudentMotivationEdison Township Schools NJABSTRACTA study examined whether listening to any music or toa particular type of music would have an effect on the spellingscores of first-grade students. Subjects were 19 first graders fromthe Edison, New Jersey, public school district. The study hypothesiswas that no significant difference would exist between scores onspelling tests of students when they listen to music just prior toreceiving instruction in the spelling of phonetically generalizedwords, whether that music be classical music (Mozart), baroque music(Vivaldi), or symphonic music using Disney theme songs rearranged inthe styles of the composers from other periods. For the next 4 2-weekperiods, students received daily instruction: during the firstperiod, no musical component was added; the next 3 2-week periods, 10minutes of listening to music was added. Students were tested at theend of each 5-day cycle. Results indicated that data supported thestudy's hypothesis but, while listening to music prior to spellinginstruction showed a statistically insignificant gain, there wasgreater achievement when they listened to Mozart than when theylistened to Vivaldi or to symphonic versions of Disney themes.Findings suggest that anecdotal records, however, show that studentmotivation and interest were increased when a musical listeningperiod was provided prior to spelling lessons, indicating that musichas a facilitative effect upon learning. (Contains 6 tables of data;related research and 63 references are appended.) *************************Reproductions supplied by EDRS are the best that can be made*from the original ******************************
Developing Musical/Rhythmic IntelligenceTo Improve Spelling SkillsByJill BotwinickPERMISSION TO REPRODUCE ANDDISSEMINATE THIS MATERIALHAS BEEN GRANTED BYU.S. DEPARTMENT OF EDUCATIONOffice of Educational Research and ImprovementEDIjCATIONAL RESOURCES INFORMATIONCENTER (ERIC)This document has been reproduced asreceived from the person or organizationoriginating it.J ZE,41A-LeL-4-dxMinor changes have been made toimprove reproduction quality.TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)Points of view or opinions stated in thisdocument do not necessarily representofficial OERI position or policy.Submitted in partial fulfithe requirements for theMaster of Arts0e ofKean College of New JerseyMay 1997BEST COPY AVAILABLE
11AbstractThis was a study of the spelling achievements of nineteenfirst grade students from the Edison, New Jersey public schooldistrict. The students listened purposefully to music immediatelyprior to receiving spelling instruction.The purpose of the studywas to investigate whether listening to any music or to aparticular type of music would have an effect on the spellingscores of these first grade students.Results indicated that whilelistening to music prior to spelling instruction showed astatistically insignificant gain, there was greater achievementwhen they listened to Mozart than when they listened to Vivaldi orto symphonic versions of Disney themes.
iiiAcknowledgementI would like to thank Dr. Albert Mazurkiewicz, Chairperson ofthe Department of Communication Sciences at Kean College, for hisguidance and patience as I completed this paper.I thank my Creator for the many benefits bestowed that allowedme to pursue this goal.I thank the administrators of the Edison,New Jersey publicschool district for allowing me to pursue the answers to myquestions.I give special thanks to the students in my first gradeclass for their enthusiasm in discovering whether listening tomusic can help them to become better spellers.
ivDedicationThis paper is dedicated to my family.My husband, Paul, hasbeen my source of encouragement and emotional support throughout myyears in graduate school, and particularly so in the time that ittook to prepare this paper. I thank him.I thank my daughter, Lora, for her patience and understanding,which gave me the freedom to pursue this goal.
Table of ivIV.List of TablesviV.Developing Musical/Rhythmic Intelligenceto Improve Spelling es3Results4Conclusions8Musical/Rhythmic Intelligenceand Spelling:Related Research9References50
viList of TablesI.II.III.IV.V.VI.Samples, means, standard deviations and t ofno musical intervention vs. listening to Mozart5Samples, means, standard deviations and t ofno musical intervention vs. listening to Vivaldi5Samples, means', standard deviations and t ofno musical intervention vs. listening to symphonicDisney tunes6Samples, means, standard deviations and t oflistening to Mozart vs. listening to Vivaldi6Samples, means, standard deviations and t oflistening to Mozart vs. listening to symphonicDisney themes7Samples, means, standard deviations and t oflistening to Vivaldi vs. listening to symphonicDisney themes77
1There appears to be a strong correlation between both phonemicawareness and phonological awareness and the development ofspelling skills.Using current methodology to teach spelling hasnot assisted many young children to become accurate spellers.Noting theories of multiple intelligences raises questions aboutusing the musical/rhythmic intelligence as an aid to developingphonemic and phonological ability.Current research (Goswami 1990, 1996) suggests that spellingcan effectively be taught using the phonemic segmentation of onsetsand rhymes.In the past, using this phonemic segmentation methodas outlined in the teacher's guide of A New View (Macmillan 1996)has not yielded success for first grade children on weekly spellingtests. Many students correctly spell the words in a task-specificway, but do not spell them correctly on weekly spelling tests.In the past, while using as a basis for teaching a basal textthat included specific instruction in phonics but no specificinstruction in spelling, this researcher found anecdotally that thespelling skills of her first grade students to be adequate toassist progression along the continuum of stages of developmentfrom pre-phonetic to conventional spelling.In contrast, while inmore recent years and while currently using a literature-basedprogram that includes specific instruction in phonics andconcurrent instruction in spelling, this researcher foundanecdotally that the spelling skills of her first grade students tobe slightly less adequate to assist their progress along thecontinuum of stages of development in spelling from pre-phonetic to
2conventional.The main difference seems to be that while using aliterature-based program that includes a phonetic/spellingcomponent, this researcher included a weekly spelling test uponwhich her students were unable to consistently achieve a passingscore.Although balanced literacy programs encourage an integrationof all four of the language arts, it appears that speaking, readingand writing seem to develop concurrently, while listening seems tobe the last to develop.Acknowledging that there are differentlevels of auditory processing (Darrow 1990) and a hierarchy ofauditory processing (Sanders 1977) and different purposes forlistening, this researcher questions whether listening tomusic purposefully might carry over to improved purposefullistening in other situations, such as in developing phonemicawareness.Possibly the most difficult task that teachers of youngchildren have is to catch and hold the attention of their students.The ability to attend to the spoken word seems to be the area ofgreatest difficulty and probably the greatest predictor of success.It is questioned whether or not helping children to listenpurposefully to sounds of music can help them listen purposefullyto sounds in words.Research suggests that the use of music to influenceconsciousness is older than recorded history.Fazel (1989) notesthat absolutely every culture throughout history has employed music
3to ease physical labor, inspire the mind, and cheer the spirit.Other research indicating a strong link between music andlearning has come from the work pioneered by Dr. Georgi Lozanov(1960) and continued by Ostrander and Schroeder (1979).Theirfocus has been the use of Baroque music to accelerate learning.More recently, Rauscher, Shaw and Ky (1993) have studied the effectof Mozart's music upon enhanced learning (1993, 1995). However, noevidence exists to determine the effects of music on learning tospell. To provide some evidence on this topic, the following studywas undertaken.HYPOTHESISIt was hypothesized that no significant difference would existbetween the scores on spelling tests of students when they listento music just prior to receiving instruction in the spelling ofphonetically generalizable words, whether that music be Classicalmusic, Baroque music, or symphonic music using Disney theme songsrearranged in the styles of composers from other periods.PROCEDURESIn the first week of the study, students were pre-tested ontheir ability to spell one syllable, short vowel words with eithera consonant-vowel-consonant pattern or consonant blend-vowelconsonant pattern.For the next two weeks, students received dailyinstruction in two particular "word families" as indicated in the10
4teacher's guide of A New View (Macmillan 1996). Five words weretaught in both of the two week periods. No musical component wasadded. Students were tested at the end of both five day cycles.'For the following two weeks, students again received dailyinstruction in two particular "word families" as indicated in theteacher's guide.Prior to the lessons, students listened to tenminutes of Classical music composed by Mozart. Students were testedat the end of both five day cycles.For an additional two weeks,students received daily instruction in two particular "wordfamilies" as indicated in the teacher's guide. Prior to thelessons, students listened to ten minutes of Baroque music composedby Vivaldi. Students were tested at the end of both five daycycles. For the final two weeks, students received dailyinstruction in two particular "word families" as indicated in theteacher's guide. Prior to the lessons, students listened to tenminutes of symphonic music using Disney theme songs rearranged inthe styles of composers from other periods.Students were testedat the end of both five day cycles. Analysis of the weekly testresults achieved at the end of each cycle of instructionwere madeusing t tests of mean differences.RESULTSMean scores, standard deviations and t-test results for thedifferent listening conditions are presented in Tables I, II, III,IV, V, and VI.
5As can be seen in Table I below, there was a 13.16 differenceTable IMeans, Standard Deviations and t ofno musical intervention vs listening to MozartSamplesMeanStandardDeviationNo Musical InterventionMozart80.5293.6826.9720.871.68between the means of the samples in which no musical listeningcondition was provided prior to spelling instruction, as comparedto when ten minutes of listening to Classical music composed byMozart took place prior to spelling lessons.This difference wasfound to be statistically not significant.Table II, below, indicates a 6.84 difference between the meansTable IIMeans, Standard Deviation and t ofno musical deviation vs. listening to VivaldiSamplesNo Musical 26.9724.68t-0.81of samples in which no musical listening condition was providedprior to spelling instruction, as compared to when ten minutes of
6listening to Baroque music composed by Vivaldi took place prior tospelling lessons.This difference is not statisticallysignificant.Table III, below, indicates a 13.76 difference between theTable IIIMeans, standard deviations and tof no musical intervention andlistening to Disney themesMean80.53SamplesNo Musical InterventionSymphonic Disney Theme94.21StandardDeviation26.9716.101.90means of samples in which no musical listening condition wasprovided prior to spelling instruction, as compared to when tenminutes of listening to symphonic music using Disney themesrearranged in the styles of composers from other periods tookplace.This difference is also statistically not significant.Table IV, below, compares the results of ten minutes ofTable IVMeans, standard deviations and t oflistening to Mozart vs. listening to .6887.3620.8724.68t0.85
7listening to Mozart to ten minutes of listening to Vivaldi prior tospelling instruction. A 6.32 difference resulted, which isstatistically not significant.Table V, below, compares the results of ten minutes ofTable VMeans, standard deviations and t oflistening to Mozart vs. listening tosymphonic Disney themesSamplesMozartSymphonic Disney 87listening to Mozart to ten minutes of listening to symphonicversions of Disney themes prior to spelling instruction. A .52difference resulted, which is statistically not significant.Table VI, below, compares the results of ten minutes ofTable VIMean, standard deviation and t oflistening to Vivaldi vs. listeningto Disney themesSamplesVivaldiSymphonic Disney .01listening to Vivaldi to ten minutes of listening to symphonicversions of Disney themes prior to spelling instruction.A 6.84difference resulted, which is statistically not significant.
8CONCLUSIONSData from this study support the hypothesis that nosignificant difference would exist between the scores on spellingtests of students when they listen to music just prior to receivinginstruction in the spelling of phonetically generalizable words,whether that music be Classical, Baroque or symphonic variations ofDisney themes.Anecdotal records, however, show that studentmotivation and interest were increased when a musical listeningperiod was provided prior to spelling lessons, indicating thatmusic has a facilitative effect upon learning.It is interesting to note the large (13.16) point differencebetween achievement when exposed to Mozart (and the lesser pointdifference when exposed to Vivaldi and symphonic Disney themes)prior to spelling instruction when compared to no intervention.Even though the differences were not statistically significant,they suggest a differential effect of various musical genre andalso that, had the study been continued over a longer period oftime, a greater gain might have been achieved by the Mozarttreatment. Exploration of these suggestive findings is recommendedfor further study.
Musical/Rhythmic Intelligenceand Spelling:Related Research16
10THE BRAIN, HEMISPHERIC SPECIALIZATION AND PROCESSING STYLESThe human brain is amazing. It regulates all bodily functionsand controls our most primitive behaviors.The brain isresponsible for all of our activities, hopes, thoughts, emotionsand personality.and fissures.The brain is complex, with many lobes, layers,The number of neurons, or nerve cells, in an averagebrain is thought to be a staggering one hundred billion, and in asingle human brain, the number of possible interconnections betweenthese cells is greater than the number of atoms in the universe.(Richards, 1993, p.1, citing Ornstein and Thompson, 1984)The cerebrum of the brain consists of two hemispheres, theright and the left.These hemispheres are connected by the corpuscallosum, a bundle of commissural nerve fibers that serves as afacilitator for communication between the two hemispheres.Thecorpus callosum is the largest fiber pathway in the brain.Itcovers about four inches and forms a bridge of about three hundredmillion nerve fibers, which become myelinated as we mature and gainexperience.In the process of myelinization, the outer parts ofneurons develop a waxy coating that insulates the wiring andfacilitates rapid and clear transmissions. (Richards, 1993, p. 1and 2, citing Healy, 1990)Each hemisphere contains a motor strip as well as a sensoryarea; these areas are symmetrical.The left side of the brainreceives sensory information from and controls movement on theright side of the body.The right side of the brain receivessensory information from and controls movement on the left side of
11the body. .The brain is not-totally symmetrical, however, and manyspecialized functions are centered primarily in one hemisphere oranother. -For example, the speech and hearing centers are generallyon the left side of the brain, just above the ear.The lefthemisphere tends to be more involved and more proficient inlanguage and logic, whereas the right hemisphere is more involvedin controlling spatial activities and gestalt thinking.It is anoversimplification to assume that the two hemispheres are separatesystems, like two individual brains.Although each hemisphere isspecialized to handle different tasks, the task division betweenthe two hemispheres is not absolute, and they constantlycommunicate with each other.Neither hemisphere is completely idlewhile the other side is-active.Most activities involve bothhemispheres interacting with each other. (Richards, 1993, p.2,citing Healy, 1990)The cortex is the surface of the cerebrum and functions as acontrol panel for processing informationsatthree levels: receivingsensory stimuli, organizing them into meaningful patterns so thatwe can make sense out of.the world, and associating patterns tohelp develop abstract types of learning and thinking. (Richards,1993, p.2, citing Healy, 1990)Given the asymmetrical nature of the hemispheres of the brain,it is not .surprising that each deals with information in differentways. It has become popular to refer to people by their processingtendency, yet as human beings, we all use both hemispheres; no oneis completely a-right-hemisphere or a left-hemisphere processor
12unless he or she has severe physiological damage.We may refer toa person as a "right-hemisphere processor" or a "left-hemisphereprocessor" because, in many tasks, one or the other hemispheretakes control and acts in charge. (Richards citing Cherry, 1989)People who visualize very well usually process information inthe right hemisphere; their comprehension takes place by seeingpictures. They are called visual learners.Those who comprehend byhearing, auditory learners, usually process information in the lefthemisphere. Those who do not specifically localize theircomprehension usually are haptic learners; they learn byexperience. They tend to be right-hemispheric or to alternate fromone side to the other. When we talk about a right- or lefthemispheric person, we are talking about learning preferences basedon the functional differences between the hemispheres. (Richardsciting Vitale, 1982)A summary of research about processing styles indicatesthe following processing characteristics typical of eachhemisphere. The left hemisphere is linear and works with detailsrather than wholes; is concrete and precise; is sequential andsystematic; is logical and uses planning; is verbal and processeslanguage or meaning; is more auditory than visual; is realitybased; is automatic and recalls automatic codes; has temporalawareness of time in the past, present and future; and is practicaland concerned with cause and effect. The right hemisphere workswith wholes rather than parts; is metaphoric and symbolic; is19
13random and informal; is intuitive andspontaneous; is nonverbal andresponds to body language; is more visual than auditory; is fantasyoriented; is responsive to novelty; is nontemporal and-does notalways consider time; is original and ,is concerned with ideas andtheories.In short, the left hemisphere is more in control ofsymbolic and language activities and processes more details,whereas the right hemisphere is used to process haptic, spatial andglobal information. (Richards, 1993; Cherry, 1989; Vitale, 1982;Stevens,1984, Healy, 1987, 1990)A balance usually exists between the hemispheres, with eachtaking control of the' tasks it handles best and with thehemispheres working together as a coordinated unit.A task mayhave several components, and each hemisphere will handle thecomponents that require the strength of that hemisphere.Somebrains find certain processing modes morecomfortable, so they tendto approach certain tasks with a preferred style, either moreglobal .and holistic-or more analytical.It is very similar tohandedness. Most of us are more comfortable using our dominant handand-are more efficient using it in various tasks.We are, however,quite capable of using both hands together, and in many situationswe rely on the nondominant hand.Similarly, both hemispheres workin tandem and constantly integrate. processing styles as thehemispheres deal with different aspects of a problem. (Richards,1993)In general, the left brain codes and processes messages inlanguage.It thinks by "talking to itself" as it manipulates
14numbers and words, and it plans logically.It does not have asense of-space, but is constantly aware of time and refers to aninner clock for much of its evaluation and organization. (Stevens,1984) The left brain breaks information into small, manageablepieces. It places these pieces into an order that helps organizeand categorize material.It deals with this information in a verysystematic manner, incorporating sequencing and step-by-stepprocessing.In music, it attends to notations and lyrics.Ithelps language processing by ordering sounds and words, usingfunction words, and mediating fine distinctions between words. Theleft brain stores factual information, and it reaches conclusionsthrough reasoning and by being systematic, without feeling oremotions. (Richards, 1993)The right brain is primarily nonverbal and intuitive.Itdeals directly with Teality -through a mode of thinking that usesvisual images and metaphors rather than words or numbers. It has ahighly 'developed awareness of space, and much of its thinkinginvolves imagining, imagery, or placing objects in space.Theright brain takes in-data as'whole units and organizes informationby seeking relationships and by recognizing similarities betweenwholes.It prefers analogous leaps to step-by-step processing.Inmusic, it picks up the melody, and melodies frequently "floataround" in the 'person's mind while he or she is engaged in otheractivities.The right brain helps process language throughinterpreting body language, prosody, and understanding the overallmeaning.It produces sudden insights that serve as stepping stones21
15to "help it feel its way to conclusions by use of hunches or trialand error.It uses intuition by being sensitive, imaginative, andwhimsical. (Richards, 1993)Research on the development and specialization of the brainhas opened the way to understanding how children learn.Researchon lateralization and specialization of the hemispheres hasimportant implications for the ways we teach children. (Vitale,1982)Noting the differences in the functions of the two hemispheresof the brain, one might question whether music can be used toenhance different types of learning. Research suggests differingpoints of view about this.Gardner (1983), whose beliefs aboutspecific intellectual competencies has evolved into theories ofmultiple intelligences, asserts that musical thinking involves itsown rules and constraints and cannot simply be assimilated tolinguistic-or logical mathematical thinking. He asserts that whilelinguistic and musical expression and communication had commonorigins neurologically several hundred thousand or perhaps even amillion years ago, investigators have demonstrated beyond areasonable doubt that the processes and mechanisms subserving humanmusic and language are distinct from one another.The mechanismsby which -pitch is apprehended and stored are different from themechanisms that process other sounds, particularly those oflanguage.He notes that linguistic abilities are lateralizedalmost exclusively in the left hemisphere in normal right-handedindividuals, whereas the majority of musical capacities, including
16the central capacity of sensitivity to pitch, are localized in mostnormal individuals in the right hemisphere. In most tests withnormal individuals, musical abilities turn out to be lateralized tothe right hemisphere. For example, in tests of dichotic listening,individuals prove better able to process words and consonantspresented to the right ear (left. hemisphere), while they are moresuccessful at-processing-musical tones when these have beenpresented to the right hemisphere.But Gardner (1983) notes acomplicating lactor. When these dichotic listening tasks arepresented to individuals with musical training, there areincreasing left hemisphere and decreasing right hemisphere effects.Specifically, the more musical training the individual has, themore likely he will draw at least partially upon the lefthemisphere mechanisms in solving a task that the novice tacklesprimarily through the use of right hemisphere mechanisms.Gardner (1983) asserts that an image of musical competencecrossing the corpus callosum as training accrues must not be takentoo far.It is not found with every musical skill. Even musiciansperform chord analysis with the right, rather than with the lefthemisphere.It is not exactly clear why increasing left hemisphereeffects are-found with training. While the actual-processing ofmusic may change loci, it is also possible that the mere affixingof verbal labels to musical fragments brings about apparent lefthemisphere dominance for musical analysis.Trained musicians maybe able to use "formal" linguistic classifications as aids where
17untrained subjects must fall back on purely figural processingcapacities.Gardner (1983) stresses the surprising variety of. neuralrepresentations of musical ability found in human beings. He notesthat while every normal human being is exposed to natural languageprimarily through listening to others speak, humans can. encountermusic through many channels: singing, playing instruments by hand,inserting instruments into the mouth, reading musical notation,listening to records, watching dances, or the like.According to Gardner (1983), none.of the claims with respectto musical breakdown suggest any systematic connection with otherfaculties such as linguistic, numerical, or spatial processing.Perhaps once we have refined the proper analytic tools for studyingvarious forms of musical competence, we may find that it is evenmore lateralized and localized than human language. Recent studiesconverge on the right anterior portions of the brain with suchpredictability as to suggest that this region may assume.for musicthe same centrality as the left temporal lobe occupies in thelinguistic sphere.Gardner (1983) notes that although language and music areseparate intellectual competencies, and neither are dependent uponphysical objects.in the world, both can be elaborated to aconsiderable degree through exploration and exploitation of theoral-aural channel.While musical intelligence has its own developmentaltrajectory and its own neurological representation separate from
18language, certain music abilities may be closely tied tospatial and mathematical capacities. Gardner (1983) notes that thestudy of music shares the features of the 'study of mathematicalproportions, special ratios, and recurring patterns. He notes thatthere are "high math" elements. in music and that in order toappreciate the operations of rhythms in musical work, an individualmust have some basic numerical competence. He notes also thatperformances require a sensitivity to regularity and ratios, andan appreciation of basic musical structures and how they can berepeated, transformed, embedded, and played off one againstanother. (Gardner, 1983)Research offers differing points of view about whether musiccan enhance learning. Research teams at the University ofCalifornia at Irvine have performed multiple experiments todetermine how music can enhance brain function. The following aredescriptions of some of their experiments.The first experiment sought to determine if short term causalenhancements of spatial-temporal reasoning could be invoked bymerely listening to music. Mozart's music was chosen because of itscomplex, highly structured and non-repetitive character. Threelistening conditions were established for thirty-six undergraduatestudents. They listened to the first ten minutes of Mozart'sSonata for Two Pianos in D Major, (K.448), or to a relaxationtape for ten minutes, or to ten minutes of silence. Performancewas improved for those tasks immediately following the firstlistening condition, the Mozart sonata, which was labeled "The25
19Mozart Effect."The students -scored eight to nine points higheron the abstract/spatial reasoning IQ subtest of the StanfordBinet Intelligence Scale than they scored after they listened totaped relaxation instructions or.silence.only .ten to fifteen minutes.This facilitation lasted(Rauscher, Shaw and Ky, 1993)-In a follow-up study, seventy nine undergraduate studentswere tested for five consecutive days. All students were issuedsixteen paper folding and cutting items on the first day of theexperiment, and then.were.divided into three groups with equivalentabilities. They also issued sixteen short-term memory items, whichwere three subtests in the spatial reasoning portion of-theStanford-Binet Intelligence Scale. The researchers chose the paperfolding
DOCUMENT RESUME ED 405 548 CS 012 727 AUTHOR Botwinick, Jill TITLE Developing Musical/Rhythmic Intelligence To Improve. Spelling Skills. PUB DATE May 97 NOTE 62p.; M.A. Project, Kean College of New Jersey. PUB TYPE Dissertations/Theses Masters Theses (042) Reports Re
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