Research Update March 2025
Armed with the latest knowledge of relevant peer-reviewed research, educators are better placed to make informed decisions about professional learning that addresses their professional learning needs. Here are vignettes of my latest research reads for your information, to guide you in your professional learning decision-making…
Halcrow, K. (2018). Imitation and Innovation: harnessing the principles of music pedagogy for the writing classroom. Literacy learning: The Middle Years, 26 (3). Kate is a lecturer/ researcher University of Canberra and her PhD was on this topic (University Syd, 2022).
Summary: In a music pedagogy-informed writing classroom, the prosodic qualities of speech (including the music, rhythm, intonation and speech) can be maximised to highlight grammar concepts through repeated reading and performing written texts (building prosody). This is evidenced by how Orff-Shulwerk and Kodaly (popular approaches to music education) classrooms regularly use speech, drama, dance and subject integration as key to their processes. Music is often used to respond to stories and texts. This article considers how music can be used in middle years classrooms, as evidence suggests that oral language, collaboration and experimentation is less common during these years. Oral language has been shown to be of continuing importance, especially for boys, ESL learners and students with language or speech difficulties (Disbosoms, 2007; Dockrell et al., 2009; Carroll, 2011).
Critique: This paper targets middle years however is just as relevant for early reading classrooms. I like the way the author provided broad guidelines how music can assist the teaching of writing, including:
1. Encourage experimentation with music in literacy lessons to develop confidence and skill.
2. Focus on oral language and promote active ways to experience language particularly for boys, ESL learners and students with specific language learning needs.
3. Promote the use of quality and authentic texts as teaching and learning scaffolds to integrate music and literacy.
Floretta, V. (2021). Inclusive education practices: an overview. Academic letters 1723. Veronica is a Cambridge Assessment Ambassador, Freelance Consultant, EFL Teacher, and Global Education Influencer in the area of inclusive education. I viewed this paper through the lens of all students accessing and achieving success in musical activities that support their literacy learning, irrespective of where they are placed on the literacy learning continuum.
Summary: Violetta outlines inclusive practices that begins with knowing the students whom you teach. It continues with the clear and explicit design of learning outcomes and how they will be assessed. Then it is necessary to develop accessible materials that allow for diversity and different types of interaction, with a special focus on engaging students and moments of reflection on learning. She advocates backwards mapping (starting with the end in mind), and differentiation (not necessarily personal development plans but using the data to identify patterns, common interests, and challenges across the student cohort).
Critique: Inclusive education seeks to remove barriers that hinder individuals’ ability to have successful learning experiences. Music opens up spaces for all students to achieve success, through actively engaging them in learning. We as educators need to broaden our thinking about how we present information and seek multiple means of active involvement in the learning process, taking into account student skills, interests and learning needs. The paper encourages educators to think laterally when planning for assessment- ensuring tasks are inclusive of all students. Through reflecting on this paper, I considered how musical activities and performances can provide a broad scope to allow students to demonstrate how they feel, what they know and can do; providing all students with opportunities to grow, improve and achieve personal success and pride.
Alamos-Gomez, J. Tejeda, J. & Farias, F. (2023). Cognitive processing of rhythm in primary education: encounters between teaching practice and scientific evidence. Music Education Research, 25(4), 435-446.
Summary: This paper explores the cognitive processing of musical rhythm based on the Chilean Ministry of Education belief that Music should be present at all levels of education: Listening and Appreciating; Performing and Creating; Reflecting and Contextualising.
Interestingly, in Chile, music is a compulsory subject throughout all six years of Primary Education. Specifically, in the third and fourth years (students aged between 8 and 10 years old), two teaching hours per week are allocated to music, out of a total of 38 teaching hours included in the full weekly study plan. This is much less than other subjects. As teachers find it hard to fit everything in (a universal problem), it was decided to treat separately some aspects of Music- specifically teaching rhythm.
Rhythm links to sensory perception, cognitive processing, and motor behavior. During early childhood and primary music education, great emphasis is often placed on rhythm. In this article, pulse, meter, tempo, and rhythmic patterns will be considered as the main categories of analysis, since these elements form part of a fundamental taxonomy for the psychological understanding and acquisition of rhythm (Gordon 2012; Honing 2013).
This research highlights the need to address musical rhythm more specifically and clearly in music curriculum. It is recommended that both teachers and governmental bodies take into account the fundamental elements of rhythm, as described in this study, to design gradual didactic sequences that support students’ musical development. In summary, when teaching rhythm, mark the pulse in music as it facilitates rhythmic production and perception. A tempo of around 100 beats per minute (bpm) is recommended as it facilitates rhythmic processing. Faster tempi for younger children (140bpm) are common however students’ natural pulses should be respected. Students are more successful in rhythmic tasks with a tempo close to their preferred natural tempo.
Critique: I was interested that the authors recommended specific numbers of beats per minute for musical activities, and it made me think about reading rates and links to oral reading fluency levels across the grades, which loosely correlate with this research. I had not heard of suggested numeric tempo prior (only terms like fast and slow, gradually getting faster, slower) and how it facilitates learning. Beats per minute (bpm) are worth considering when undertaking tempo activities such as rhymes and jingles, and action games in the classroom to maximise learning. It’s a big part of learning to play an instrument (I know well!). I have noted recently a number of publications suggesting a metronome may be a useful tool in the early reading and music classroom. It can be used to keep a consistent beat (can be easily dialled up and down to change speed) during action songs, rhymes and physical activities AND during oral reading fluency activities like repeated reading. It was great to read that music is a compulsory elementary school subject in Chile, in this paper. We need this in Australia!
A metronome may be a useful tool in the early reading and music classroom. It can be used to keep a consistent beat, building fluency in both oral reading, action games and singing.
(author’s own photo)
Luo, Z. & Zhang, D.W. (2025). Rhythms of relief: perspectives on neurocognitive mechanisms of music interventions in ADHD. Perspective. 3 March, 2025. DOI 10.3389/fpsyg.2025.1476928
Summary: This paper discusses strategies through which music interventions may help alleviate ADHD symptoms. It outlines how music therapy has substantial potential as a complementary treatment for ADHD (and this work is in its infancy), offering new avenues for addressing the psychosocial and cognitive aspects of this condition. Possible mechanisms outlined include executive function enhancement, timing enhancement, neural entrainment, affective management, and social bonding.
Critique: This paper supports the increasing plethora of research that learning to read and learning music are potentially joyful and reciprocal, inclusive processes, from which all students benefit. Active engagement with music adds value as it provides enjoyable social experiences that improve listening and phonemic awareness; well-situating all students for reading success.
Johnson, A. (2025). Understanding the Science of Reading: Context Matters. Book section. Guildford. (In press)
Summary: This paper draws on seminal research on how children learn to read (NRP Report 2000) and compares the five pillars of early reading acquisition with learning to play an instrument. It extrapolates on the similarities- how music and text is read linearly from left to right, both require fundamental skills learning to achieve automaticity and fluency. Andy states SOR proponents don’t always give credit to those educators who follow a balanced literacy approach as there are many similarities between SOR and balanced literacy that often go unacknowledged. His main argument is:
‘1. Balanced literacy does not ignore systematic, explicit, and direct instruction of phonics and other reading skills.
2. Balanced literacy instruction does not ignore the big five pillars of reading instruction. In fact, most would include seven more pillars to provide a much more comprehensive reading curriculum.
3. Even the National Reading Panel Report advocates balanced reading instruction. Look it up if you think I’m making this stuff up. It’s on page 2-97’ (Johnson, 2025, p3)
Critique: As a student of many musical instruments (ever working towards mastery); I experience firsthand the similarities like concepts about print and grapheme- phoneme correspondences, phonemic awareness, phonics, early writing (music and print) building vocabulary and reading (playing) fluency. In fact, all of the pillars of effective reading instruction as outlined in the seminal research that underpins SOR is evident in learning an instrument IN ADDITION TO joyfulness embedded in active learning, creativity and play. This paper is a fresh twist on the tired SOR vs a balanced literacy approach argument. The author is saying ‘Look for the similarities- there are many!’ I’m on TEAM Johnson!
Research updates will be a regular feature of The Early Reading and Music Partnership website. Look out for them! Please let me know if there is a particular related aspect of relevant research that you would like to know more about! Feedback and comments (below) are ALWAYS welcome and appreciated.
Best wishes
Lorri Bev.
