Appendices   A   Ethical  Consent  Approval  ....................................................................................  1     B   Letters  to  parents  and  consent  Forms  ............................................................  2     C   Bongo  Phonics  CD  and  track  order  ..................................................................  5       D   Tune  Set  1  .................................................................................................................  6                                                            Marching  Through  the  Jungle       It’s  Nursery  Music  Day       The  Soldier’s  Song       Pretty  Coloured  Snake           Tune  Set  2  ..............................................................................................................  10                    Rover  Had  A  rag                    The  Race  Song                    Ladybird                    Fly  A  Kite     Post  test  tunes  ......................................................................................................  14                        Tracy  and  Thomas                        Bear  in  the  wood          E   Psychometric  and  Phonological  Tasks  ........................................................  16     WPPSI  Information  and  Picture  Tests     BAS  (British  Ability  Scales  11)     Elliot.  C.  D  (1996)     Word  Test  Recall  Test  From  Working  Memory  Test  Battery  for     Children    -­‐           Pickering  and  Gathercole  (2001)     Foundation  Stage  Profile     Picture  Syllable  Test         (D  James  2003)     Oral  Syllable  Test           (after  Treiman  &  Zukowski  1991)     Picture  Rhyme  Test         (D  James  2003)     Oral  Rhyme  Test         (Phab)        F    Bongo  Phonics  Children’s  Workbook  ..........................................................  26                                       Ga    Lesson  Notes  Music  Programme  ...................................................................  30   Gb    Lesson  Notes  Rhythmic  Speech  Programme  .............................................  35                     H    Results  for  the  Drumming  and  Singing  Entrainment  Tasks        in  the  Full  Study  ..................................................................................................  40     1   Appendix A Ethical Consent Approval     2   Appendix B Letters to parents and consent form.     Faculty  of  Education   184 Hills Road, Cambridge CB2 8PQ, UK October 2009 Music and Language Project Dear Parent, (Name of head) has given us permission to write to you to ask whether you would permit your child to be included in a research project examining the development of listening skills. The purpose of this study is to investigate how the structure of simple songs and nursery rhymes might increase children’s understanding of syllables and rhymes in their pre-literacy development. For example, we will investigate the impact of different speeds and melody in establishing rhythmic awareness and decision making (the ability to predict when a rhyme occurs in a song). Each participating child will be given a set of computer-based tasks. Your child will be asked to tap along, either on bongos or chime bars, with some music played at different speeds and to complete the rhymes in simple nursery rhymes as they occur in the songs. It is expected that all individual tasks, including four simple tests to check how well your child is doing in school (rhyme and syllable awareness and another two about general ability) can be completed in 8 short sessions of approximately 15 minutes, to be given at convenient times during the school day. The research period will be from October to May 2010. All tasks will be administered by John P. Verney, a trained developmental researcher in the Faculty of Education. We are happy to feed back to you any data concerning your child that you might wish for, however this research project may not bring any immediate benefits to your child. Rather, we hope that in due course the information that we obtain will help children’s linguistic development and quality of life. Confidentiality/Ethical Approval All data will be identified by a code, with names kept in a locked file. Results are normally presented in terms of groups of individuals and will be presented at conferences and written up in journals. If any individual data were to be presented, the data would be totally anonymous, without any means of identifying the individuals involved. This project has been approved by the Cambridge Psychology Research Ethics Committee. Participation/Withdrawal A consent form is attached to this letter. If you are willing for your child to take part in this study, please complete it and return it to your school via the class teacher or school secretary. If you would like any further information, please do not hesitate to contact John P. Verney at jpv28@cam.ac.uk, or via the school. Please note that you may withdraw from the project at any stage without explanation. Yours sincerely,   3   Consent Form Music and Language Project Have you read the information sheet about the study? YES / NO Have you received sufficient information about the study? YES / NO Do you understand that you are free to withdraw from the project at any time and without giving a reason for withdrawing? YES / NO Do you agree to your child taking part in this study? YES / NO Signed______________________________ Date_______________ Parent’s name (in block letters) ________________________________________________ Contact telephone number/ e-mail _____________________________________________ Child’s name (in block letters) - ________________________________________________ Child’s School & Class _____________________________________________________ Child’s Date of Birth ______________________________________________________ Thank you for your time and interest! John P. Verney   4   Dear parents John P. Verney, a PhD student from Cambridge University, is hoping to conduct some research tests in our school with children in the reception class, and would like to ask your permission to work with your child. John has considerable experience of working with young children in Northumberland schools, and was assistant head of Northumberland Music Service until he retired two years ago. His responsibilities included working with young children and their teachers to improve the musical curriculum in their classrooms. His research at Cambridge is to find out if the strategies that worked successfully in the classroom could work with many more children because they are grounded in scientific principles. This is the third year of research. In the first year he worked with 40 children and their teachers in three local schools. Last year he worked with 120 children from the reception classes in 7 schools and in this final year of the project he would like to work again in Felton, Shilbottle, Swarland, Broomhill, Red Row, Amble First and add St. Cuthbert’s R.C school in Amble to the schools. He will then have results from over 250 children to make his findings relevant to schools across the country. What is it for? By engaging with simple songs and nursery rhymes we hope that some children will be able to listen more carefully, and in so doing improve how they hear rhymes and syllables. With this increased understanding they should be able to improve pre-reading skills. What does it involve? • In October John will introduce himself to the class and bring along some drums and bongos and his cuddly toy ‘Pat the Panda’ to tell them about the activities. Then he will embark on some simple and enjoyable computer tasks with the children (outlined in the accompanying consent form letter) • He will come along and work with most of the children for a 30 minute session a week during the Spring Term. I do hope you feel confident to allow your child to take part in these activities and will fill in the form and return it to John via your class teacher or school secretary. We also have a newsletter in school from the Centre for Neuroscience in Cambridge explaining what other exciting work is being researched to help improve children’s learning in Literacy, Mathematics and to help them cope with dyslexia. It is all of international significance, so it is great that our school in Northumberland can contribute to knowledge that could go all round the world. Research Student: John Parker Verney, M.Ed, (Cambridge University: B.Phil. (Newcastle upon Tyne). Cert Ed. (Chester College of Education) Post graduate diploma in – Language and Communication Needs (Newcastle upon Tyne) LTCL guitar LTCL viola ALCM double bass. Current enhanced CRB check   5   Appendix C CD tracks Bongo Phonics Phonological Awareness Tests—Music Devised and composed by John P. Verney       Tapping tests 1 Practice piece - Sputnic 600 milliseconds Tune Set 1   2 Metronome Task 500 ms/ 400ms/ 666ms/ 1000ms 3 Marching through the jungle 500ms 4 Music Day 400ms 5 Soldiers Song 666ms 6 Snake 1000ms   Tune Set 2     7 Rover had a rag 500ms 8 The Race Song 400ms 9 Ladybird 666ms 10 Kite Song 1000ms Singing Tests Singing in Time 11 Practice Piece – Hello Mr. Verney 12 1 2 3 4 5 6 500ms 13 Hello Pat the Panda 666ms 14 Hello Mr Dinosaur 1000ms 15 Hello Mr Duck 400ms Rhyme + Music Rhyme - Music 16 Hickory, dickory, dock 1000ms 20 Hickory, dickory, dock 17 Twinkle, twinkle little star 666ms 21 Twinkle, twinkle little star 18 Baa Baa Black Sheep 400ms 22 Baa, baa black sheep 19 Miss Polly 500ms 23 Miss Polly Post Test 24 Metronome Task (500ms/ 400ms/ 666ms/ 1000ms) Tracy (500ms) Bear (1000ms) © (2012)   P P   6   Appendix  D  Tune  Set  1   Marching  Through  the  Jungle     Track  3   P   7   Appendix  D  Tune  Set  1       Music  Day             Track  4     8   Appendix D Tune Set 1 Soldiers Song Track 5   9   Appendix D Tune Set 1 Snake Track 6   10   Appendix D Tune Set 2 Rover had a rag Track 7   11   Appendix D Tune Set 2 The Race Song Track 8   12   Appendix D Tune Set 2 Ladybird Track 9   13   Appendix D Tune Set 2 Kite Song Track 10   14   Appendix D Post Test Tracy Track 24(a)   15   Appendix D Post Test The Bear in the wood Track 24(b)   16   Appendix E Psychometric and Phonological Tasks WPPSI-Ruk Information Test Name No school Date tester Comments Item Response Score 1 or 0 Picture items 1 Cook 2 Book 3 Square 4 Grow 5 Hear 6 Cold Verbal items 7 Nose 8 Ears 9 Thumb 10 Cut paper 11 Grass 12 Bottle 13 Milk 14 Shines - night 15 Legs - bird 16 Wheels 17 *Three animals 18 Vegetable 19 Wood 20 Letter 21 After Saturday 22 Shoes 23 Days-week 24 Pence 25 Seasons 26 Bread 27 Sun-set Test total (Max = 27) All  ages  begin  here   *  After  the  child  names  two  animals,  say  “Tell  me  another  one”   Discontinue  after  5  consecutive  failures.     17     WPPSI-Ruk Picture Completion Test Name No school Date tester Comments Item Response Score 1 or 0 Sample Teddy Bear 1 Teddy bear 2 Teddy Bear 3 Doll 4 Comb 5 Rabbit 6 Tricycle 7 Jacket 8 Rain Child 9 Flowers 10 Ladder 11 Girls’ face 12 Hand 13 Pigtails 14 Table 15 Clothes line 16 Ruler 17 Clock 18 Car 19 Cockerel 20 Door 21 Girl running 22 Duck 23 Lunch Box 24 Coat 25 Scissors 26 Girl’s profile 27 Screw 28 House Test total (Max = 28)        Ages                3.0  -­‐      4-­‐11              begin  here   *  After  the  child  names  two  animals,  say  “Tell  me  another  one”   Discontinue  after  5  consecutive  failures.                Ages  5.0  +                  begin  here     If  child  of  5+  passes  item  3  credit  them  with  items  1  &  2     18   Discontinue  after  8  failures  in  each  block  of  10  words   BAS (British Ability Scales 11) Elliot. C. D (1996) School Date tester Item Start age 5:0 – 7.11 1 the 11 one 2 up 12 cup 3 he 13 wood 4 you 14 bird 5 box 15 clock 6 at 16 ring 7 said 17 water 8 out 18 window 9 jump 19 men 10 fish 20 light 21 oil 31 coat 22 ship 32 carpet 23 running 33 brick 24 dig 34 thin 25 money 35 building 26 paper 36 tail 27 gat 37 travel 28 knock 38 babies 29 heel 39 writing 30 skin 40 climb 41 collect 51 wreck 42 early 52 favour 43 piece 53 supplies 44 piano 54 encounter 45 whistle 55 universal 46 invite 56 ceiling 47 guest 57 generation 48 electric 58 environment 49 enormous 59 cough 50 shoulder 60 character 61 avenue 71 tentative 62 experience 72 trauma 63 radiant 73 jeopardy 64 statue 74 silhouette 65 audience 75 desultory 66 curiousity 76 reminiscent 67 obscure 77 divulge 68 diameter 78 diplomacy 69 chaos 79 rheumatism 70 boisterous 80 tyrannical All  ages  begin  here     19   Word Test Recall Test From Working Memory Test Battery for Children - Pickering and Gathercole (2001) Name No school Date tester Practice list Score (0 or 1) A peach B mad pill C get leak calm Span List 1 much beg not doom back torn 2 lip bag moon pad numb pull come mud peel dark nap cool 3 cut beak chip neck nut pool lot palm tell park cod dip chill dad bean curl pork loop 4 turn pen bill dart mood lunch chart bed lid teach duck barn tick chop led ban pet noon mop chick cart pin luck met Presented at 666 ms = 90 bpm Stop after 3 mistakes If child gets four correct – move on   20   Span Score 5 lock lip let pack bird cheek dig turn card boot guard tool jam check big neat men tap cook mark kick torch mug ball gym dug pan bug man catch 6 pop charm net burn deck jot lap corn bead pig bun ten pat lad dot born cut deep mill but pin talk pet lead lick can god bit pall dog job gum cork learn bud pin 7 ditch pot lawn cat book kerb jot mob chalk pit bell debt look tag got look beach pearl dull gap league top patch jug bad leg caught dim map peak nod team bat chin log done mat gun bark nude church loom Word list recall total out of 42 Span Comments   21     22     Picture Syllable Test (D James 2003) Name No school Date tester Trial Target Choices Response 1 Sock worm envelope cucumber 2 Doctor wall spider Shoe 3 Hand rainbow coffee boat 4 Daffodil ship spaghetti bow Test 1 0+ Butterfly ant bike pyjamas 2 0+ Nose needle perfume kite 3 0+ Bed pillow jumper dog 4 0- Teeth lemon happy fence 5 0- Bird shop yo-yo body 6 0+ Man monkey zip castle 7 0- Torch tiger nurse camel 8 0- Sugar ghost penny shark 9 0- Baby lego chin doll 10 0+ Teacher boy tail carrot 11 0- Jelly mouth witch table 12 0+ Book pencil fish bucket 13 0+ Crocodile crane aeroplane snake 14 0+ Strawberry photograph string pear 15 0+ Toilet tin spider bus 16 0- Potato cheese museum switch 17 0+ Elephant door computer grey 18 0+ Leg cot tissue sandal 19 0+ Kangaroo triangle cup red 20 0+ Dolphin pie sea tractor 21 0+ Umbrella rain tick dinosaur 22 0- Banana domino strong bridge 23 0- Tomato church tights violin 24 0+ Finger fan circle thumb 25 0+ Bath comb button shampoo 26 0+ Sandwich trousers sun bag 27 0+ Donkey rubber pig dice Total Total 0+ Total 0- Comments 0- = orthographically incongruent; 0+ = orthographically congruent.   23   Oral Syllable Test (after Treiman & Zukowski 1991) Which does the puppet like best ? – the yes or no pairs Which makes him/her happy – waving or crossed arms? Name No school Date tester Practice items (yes) No pairs A hammer hammock ham Score 0 or 1 Below - intrude B scarecrow scary scare Part 1 test items Beginning is the same 1 ticket tickle 1 salad – perfect 2 2 panel panic 4 orchard – level 3 3 comma comment 1 fewer – taxi 2 4 jelly jealous 4 classic – biscuit 3 5 easy easel model - toffee 6 dollar dolly pillow - rubbish 7 solid solemn reflex - mason 8 column collar mustache - vinyl 9 survey service stomach - zipper 10 butter button plastic - heavy Part 1 total Practice items End is the same No pairs A B raccoon compete cocoon repeat coon peat Score 0 or 1 Require - invade 11 parole enrol delight – unique 12 compare repair polite – discuss 13 refuse confuse behave – conduct 14 object inject corral - behind -15 entire retire guitar - compose 16 insist assist cartoon - massage 17 prevent invent harpoon - collide 18 patrol control balloon - excite 19 admit permit protect - blockade 20 support deport enjoy - affect Part 2 total Test total Comments   24   Picture Rhyme Test (D James 2003) Name No school Date tester Trial Target Choices Response 1 Brush rush book chin 2 Phone shop bone fish 3 Zip worm hook lip 4 Stick comb lick dice Test 1 0+ Sock clock doll hat 2 0+ Tree pie knee bird 3 0+ Hand glove salt sand 4 0+ Leg peg nail arm 5 0- One two swan bike 6 0- Shoe gold feet blue 7 0- Light kite sun duck 8 0- Draw pen floor bath 9 0+ Wall wig tie ball 10 0+ Tap map ten ring 11 0+ Bag kiss flag bee 12 0+ Fan coat fox man 13 0- Fruit boot door frog 14 0- Soap cot rope six 15 0- Whale cup win snail 16 0- Key sea Farm king 17 0+ Nurse pill purse night 18 0+ Pink red crack sink 19 0+ Face Race nose fork 20 0+ Bin can pin bed 21 0- Four fat eight saw 22 0- Drum thumb tap toy 23 0- Hair bow pear goal 24 0- Bowl bus fork goal Total Total 0+ Total 0- Comments 0- = orthographically incongruent; 0+ = orthographically congruent.   25   Oral Rhyme Test (Phab) Name No school Date tester Practice items A sail boot nail B red fed leg C big hiss miss Part 1 test items Score 0 or 1 1 made hide fade 2 wig fig pin 3 bus harm farm 4 pack lag sag 5 sap hop top 6 nut cut pet 7 sand hand cup 8 cat fan mat 9 dot mop top 10 tub mud cub 11 dog man fog 12 sip win bin Part 1 total (9 or more needed to continue Part 2 test items Score 0 or 1 13 badge match catch 14 fate late made 15 tease geese piece 16 lip sip rib 17 dog sock log 18 had Sad mat 19 lick big tick 20 bead wheat seat 21 cob hop sob Part 2 total Rhyme Test total (Part 1 + Part 2: out of 21 Comments   26   Appendix F Bongo Phonics Children’s Workbook © The Centre for Neuroscience in Education (2008) Phonological Awareness Tests - Music Featuring Pat the Panda Music Tests for Rhyme Predictability and Syllable Segmentation Designed and composed by John P. Verney A training programme devised for PhD Faculty of Education P © The Centre for Neuroscience in Education (2008) Task 1 Metronome (a) 500ms. (b) 400ms. (c) 666ms. (d) 1000ms When ‘Metro Man’ clicks can ‘Bongo Boy’ synchronise his bongo taps with him? Listen carefully because ‘Metro Man’ can go fast and slow. P © The Centre for Neuroscience in Education (2008) Task 2 (Tune Set 1) Marching Through The Jungle (500ms) Can Pat the panda play his bongos with the jungle music? P © The Centre for Neuroscience in Education (2008) P Task 3 (Tune Set 1) Music Day (400ms) Can Pat the Panda play the bongos all the way through the music, with the bongo player   27   © The Centre for Neuroscience in Education (2008) Task 4 (Tune Set 1) Soldier’s Song (666ms) Can Pat the panda play his bongos with the marching soldier ? P © The Centre for Neuroscience in Education (2008) Task 5 ( Tune Set 1) Snake (1000ms) Can Pat the panda play his bongos to help the snake slither slowly in the grass? P © The Centre for Neuroscience in Education (2008) Task 2 (Tune Set 2) Rover had a rag (500ms) Can Pat the panda play his bongos when Rover the dog is eating the rag? P © The Centre for Neuroscience in Education (2008) Task 3 (Tune Set 2) The Race Song (400ms) Can Pat the panda play his bongos along with this running song? P   28   © The Centre for Neuroscience in Education (2008) Task 4 (Tune Set 2) Ladybird (666ms) Can Pat the panda play his bongos as the ladybird flies around the flowers? P © The Centre for Neuroscience in Education (2008) Task 5 (Tune Set 2) Fly a Kite (1000ms) Can Pat the panda play his bongos when Metro’ Man flies his kite? P © The Centre for Neuroscience in Education (2008) P Can you sing along and change the words with the music played on the chime bars ? Singing in Time Task 6. (500ms) Sing and count the numbers with the music 1 2 3 4 5 6 Singing in Time Task 7. (666ms) Sing ‘Hel – lo Pat the Pan – da’ P © The Centre for Neuroscience in Education (2008) Singing in Time Task 8. (1000ms) Sing ‘Hel – lo Mr Dinosaur’ Singing in TimeTask 9. (400ms) Sing ‘Hel – lo Mr Duck’   29   © The Centre for Neuroscience in Education (2008) Rhyme Tasks 10 and 14 Hickory Dickory Dock (1000ms) Can you sing along with Pat the Panda so you can help him finish the song by singing the missing words ? Hickory Dickory Dock The mouse ran up the ______ The clock struck one The mouse ran _______ Hickory Dickory Dock. P © The Centre for Neuroscience in Education (2008) Rhyme Tasks 11 and 15 Twinkle, twinkle little star (666ms) Can you sing along with Pat the Panda so you can help him finish this song? P Twinkle, twinkle little star. How I wonder what you _______ Up above the world so high Like a diamond in the _______ Twinkle, twinkle little star How I wonder what you _______ © The Centre for Neuroscience in Education (2008) Rhyme Tasks Test 12 and 16 Baa, baa black sheep (400 ms) Can you sing along with Pat the Panda so you can help him finish the song? P Baa, baa black sheep Have you any wool? Yes sir, yes sir Three bags ______ One for the master, And one for the dame And one for the little boy Who lives down the ______ © The Centre for Neuroscience in Education (2008) Rhyme Tasks 13 and 17 Miss Polly had a dolly (500ms) Can you sing along with Pat the Panda so you can help him finish the song? P Miss Polly had a dolly who was sick, sick, sick: So she ‘phoned for the doctor to be ____ ____ ____ The doctor came with his bag and his hat, And he knocked on the door with a ____ _ _____ _____   30   In te rv en ti on p ro gr am m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) P ho no lo gi ca l A wa re ne ss T es ts - M us ic F ea tu ri ng P at th e P an da D es ig ne d an d co m po se d by Jo hn P . V er ne y P I nt er ve nt io n pr og ra m m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) O rg an is e st oo l f or th e ch ild re n so th ey c an p la y th e bo ng os c om fo rta bl y or e ls e le t th em p la y st an di ng u p. Si ng H el lo P at th e Pa nd a In tro du ce th em to th e m et ro no m e an d pr ac tic e ta pp in g sl ow ly a nd q ui ck ly w ith th e be at s – st ar t a t 5 00 m s a nd m ov e to sl ow a nd th en q ui ck . In tro du ce th e ch ild re n to B on go B oy a nd M et ro no m e M an w ho h av e to p la y to ge th er a nd g iv e ea ch a c hi ld (o ve r t he 3 w ee ks ) a g o on th e bo ng os . B rin g ou t t he li ttl e m ar ac as so th ey c an p la y al on g w ith th e m et ro no m e an d th en pl ay a lo ng w ith M ic ke y th e M ou se . St op s a nd st ar ts . Su bs tit ut e m ar ac as fo r i nd iv id ua l c hi ld re n on th e bo ng os . ‘H el lo P at th e Pa nd a’ C ou nt to 6 – c he ck sy lla bl es D em on st ra te o n ch im e ba rs G et c hi ld re n to p la y th em in di vi du al ly ‘B ye B ye M r V er ne y’ Le ss on P la n Fa m ili ar is at io n Se ss io ns (x 3) O ct ob er 2 01 0 In tr od uc tio n to th e ch ar ac te rs P at – B on go B oy a nd M et ro no m e M an R es ou rc es To ys P an da In st ru m en ts B on go s, c hi m e ba rs , m ar ac as C om m en ts Appendix G ( a) Music Intervention Programme     31   I nt er ve nt io n pr og ra m m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) Le ar n an d si ng H el lo P at th e Pa nd a ( 1 2 3 4 5 6 – o n ea ch c hi m e ba r a s a pr el im in ar y so ng ) u si ng c hi m e ba rs C D a nd E C ho os e va rio us a ni m al s f ro m th e di ff er en t b ag s a nd th en ta p its sy lla bl e so un d w ith th e sy lla bl e st ic ks . S in g th e H el lo so ng to e ac h ne w a ni m al – e m ph as is in g th e di ff er en t s yl la bl e nu m be rs . G et te ac he r t o ch oo se c hi ld re n fo r i nd iv id ua l a tte nt io n. U si ng th e sy lla bl e st ic ks su ng a nd ta p al on g to T w in kl e Tw in kl e – ta pp in g ea ch sy lla bl e. Si ng M ic ke y th e m ou se so ng G et th e ch ild re n to si ng ju st th e rh ym in g w or ds e g m ou se a nd h ou se , w hi ls t t he tra in er si ng s t he w ho le so ng – m ak e su re it is su ng to 1 20 b pm . M ic ke y th e m ou se M ic ke y th e m ou se H e pl ay s m us ic a ll ro un d th e ho us e Si ng H or se y H or se y Si ng ju st th e rh ym in g w or ds a nd fu rth er sy lla bl e w or k on “ cl ip pi ty c lo p” u si ng th e st ic ks . H or se y H or se y do n’ t y ou st op Ju st le t y ou r f ee t g o cl ip pe tty c lo p Y ou r t ai l g o sw is h an d th e w he el s g o ro un d G id dy u p w e’ re h om ew ar d bo un d. ‘B ye B ye M r V er ne y So ng ’ G et c hi ld re n to p la y th em in di vi du al ly ‘B ye B ye M r V er ne y’ In te rv en tio n Le ss on N o 1 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a M ou se Ba g of c ud dl y to ys g ro up ed in s yl la bl e ba gs e g Be ar , d og , d uc k et c in b ag 1 Pa nd a, ra bb it, e tc . i n ba g 2 La dy bi rd e tc . i n ba g 3 In st ru m en ts C hi m e ba rs : s yl la bl e st ic ks (s im pl e cl av es – w oo de n do w el s) I nt er ve nt io n pr og ra m m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) In te rv en tio n Le ss on N o 2 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a, R ab bi t, M ou se B ag o f c ud dl y to ys g ro up ed in s yl la bl e ba gs e g Be ar , d og , d uc k et c in b ag 1 Pa nd a, ra bb it, e tc . i n ba g 2 La dy bi rd e tc . i n ba g 3 In st ru m en ts C hi m e ba rs : s yl la bl e st ic ks C D p la ye r Si ng “ H el lo P at th e Pa nd a” w ith th e 3 ch im e ba rs (C D E) Si ng H el lo to th e di ff er en t a ni m al s f ro m th e sy lla bl e ba gs ( ch ild re n ch oo se ) Si ng M ic ke y th e m ou se so ng – u si ng th e ba ck in g tra ck o n th e C D G et th e ch ild re n to si ng ju st th e rh ym in g w or ds e g m ou se a nd h ou se , w hi ls t t he tra in er si ng s t he w ho le so ng – a nd th en tr y an d m is s o ut th e rh ym in g w or ds - m ak e su re it is su ng to 1 20 pm . M ic ke y th e m ou se M ic ke y th e m ou se H e pl ay s m us ic a ll ro un d th e ho us e Le ar n ‘M ar ch in g th ro ug h th e Ju ng le ’ u si ng th e cu dd ly to ys to c ha ng e th e na m e of th e an im al s – th e ch ild re n ch oo se a d iff er en t a ni m al fr om e ac h ba g M ar ch in g th ro ug h th e ju ng le – w at ch in g al l t he ti ge rs p la y – 4 be at g ro w l M ar ch in g th ro ug h th e ju ng le – h av in g a lo ve ly d ay 4 b ea t t ig er sm ile I’m a b ab y el ep ha nt m ar ch in g w ith m y fri en ds w av e ar m s l ik e an e le ph an t t ru nk t he n m ar ch o n th e sp ot w ith th e la st li ne . W e m ar ch e ve ry m or ni ng a nd st op w he n th e da yl ig ht e nd s. Fi rs t l ea rn th e so ng si tti ng a nd th en m ar ch in g B ye B ye ‘P at th e Pa nd a’ a nd M r V er ne y G et in di vi du al c hi ld re n to p la y ch im e ba rs . ‘B ye B ye M r V er ne y’   32   I nt er ve nt io n pr og ra m m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) In te rv en tio n Le ss on N o 3 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es A ni m al s yl la bl e – se gm en ta tio n Fl as h ca rd s (s et o f 2 1) – s ee S pe ec h pr og ra m m e To ys R ab bi t P an da A b ag o f a ni m al s fro m th e ju ng le :- M us t h av e di ffe re nt s yl la bl e nu m be rs – e g sn ak e, ti ge r, el ep ha nt In st ru m en ts C hi m e ba rs : m et ro no m e: m in i m ar ac as C D P la ye r Si ng “ H el lo M r V er ne y” w ith th e 3 ch im e ba rs (c hi ld c ho se n as in di vi du al o r p ar t of a g ro up o f 3 – d ep en di ng o n cl as s s iz e. Lo ok a t a ll th e Fl as h ca rd s – a nd d iv id e th em in to th e th re e sy lla bl e gr ou ps – a nd ch oo se c hi ld re n to p la y an d si ng th e ne w ‘H el lo ’ s on gs a cc or di ng to th e ch os en fla sh c ar d. S ee w hi ch a ni m al n am es ‘m at ch ’ e ac h ot he r. Si ng H el lo so ng to d iff er en t j un gl e an im al s, cr ea tin g di ff er en t r hy th m s a cc or di ng to th e in di vi du al ly c ho se n an im al s: - H el lo ti ge r : H el lo e le ph an t e tc R ev is e M ar ch in g th ro ug h th e ju ng le – u se a s m an y di ff er en t s yl la bl e le ng th an im al s a s p os si bl e in th e tim e. M ar ch in g th ro ug h th e ju ng le – w at ch in g al l t he ti ge rs p la y M ar ch in g th ro ug h th e ju ng le – h av in g a lo ve ly d ay I’ m a b ab y el ep ha nt m ar ch in g w ith m y fr ie nd s W e m ar ch e ve ry m or ni ng a nd st op w he n th e da yl ig ht e nd s R ev is e ‘M ic ke y th e M ou se ’ a nd p la y al on g w ith th e C D tr ac k em ph as is in g th e rh ym e st ru ct ur e. T ap a lo ng w ith th e m in i-m ar ac as In tro du ce th e ch ild re n to R oc ky th e R ab bi t a nd sa y he llo to h im , a nd le ar n hi s so ng e m ph as is in g th e rh ym es a t t he e nd o f t he li ne s. R oc ky is a ra bb it an d he p la ys th e gu ita r H e da nc es o n th e st ag e ‘c os h e is a ro ck st ar H e sh im m ys w ith th e sh ee p, a nd h e si ng s w ith th e de er H e’ s t he g re at es t r ab bi t t ha t y ou ’ll e ve r h ea r. ‘B ye B ye M r V er ne y’ I nt er ve nt io n pr og ra m m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) In te rv en tio n Le ss on N o 4 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys P an da , M ic ke y m ou se , ra bb it Ju ng le a ni m al s of t t oy s In st ru m en ts C hi m e ba rs : m et ro no m e: m in i m ar ac as , b on go d ru m s, ta m bo ur in e C D p la ye r Pl ay M is s P ol ly H ad a D ol ly o n th e C hi m e ba rs a nd e m ph as is e th e th ym es w ith cl ap s. M is s P ol ly h ad a D ol ly w ho w as si ck , s ic k, si ck So h e ph on ed fo r t he d oc to r t o co m e qu ic k, q ui ck , q ui ck Th e do ct or c am e w ith h is b ag a nd h is h at A nd h e kn oc ke d on th e do or w ith a r at - a - t at - t at . G et in di vi du al c hi ld re n to ta p ra t – a – ta t o n th e ta m bo ur in e to c he ck sy lla bl e aw ar en es s. Pl ay ‘I t’s M y Sc ho ol M us ic D ay ’ o n C D p la ye r a nd ta p kn ee s i n tim e. Th en ta p al on g w ith m ar ac as , b on go d ru m s, ta m bo ur in e ( a ll th re e sy lla bl es ) It’ s m y sc ho ol m us ic d ay – w ha t m us ic sh al l w e pl ay W ha t i s t he so un d of a ‘s yl la bl e’ – ta m bo ur in e – bo ng o dr um s e tc It’ s m y sc ho ol m us ic d ay C ho os e a ch ild to ta p – th e th re e sy lla bl es - o n th e bo ng o dr um s / ta m bo ur in e et c. . Si ng H el lo so ng to ‘R oc ky th e rh ym in g ra bb it’ Th en u se R oc ky th e R ab bi t a s a ro ck so ng – u si ng th e m in i m ar ac as a s m ic ro ph on es . R oc ky is a ra bb it an d he p la ys th e gu ita r H e da nc es o n th e st ag e ‘c os h e is a ro ck st ar H e sh im m ys w ith th e sh ee p, a nd h e si ng s w ith th e de er H e’ s t he g re at es t r ab bi t t ha t y ou ’ll e ve r h ea r. C ho os e di ff er en t c hi ld re n to fi ll in th e ga ps a t t he e nd o f t he li ne s, by p oi nt in g th e pr et en d m ic ro ph on e at th e ch ild . Te ac h th e ch ild re n th e ‘S ol di er s s on g’ :- E m ph as is e (b y ac tio ns ) t he rh ym in g w or ds th at w ill b e ch an ge d to m ak e th e so ng ’f un ny ’ i n th e fu tu re . ‘T he S ol di er s S on g’ Th e so ld ie r m ar ch ed a ro un d w ith a h at u po n hi s h ea d W ith a h at u po n hi s h ea d – W ith a h at u po n hi s h ea d Th e So ld ie r M ar ch ed a ro un d w ith a h at u po n hi s h ea d, A nd th e dr um s w en t R at – a – T at – T at Ta p ou t R at – ta t – ta t w ith th e ta m bo ur in e. ‘B ye B ye M r V er ne y’   33   I nt er ve nt io n pr og ra m m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) In te rv en tio n Le ss on N o 5 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es ‘R im e’ m at ch in g F la sh c ar ds (s et o f 3 6) – s ee S pe ec h pr og ra m m e To ys Pa nd a, M ic ke y m ou se , r ab bi t Ju ng le a ni m al s of t t oy s In st ru m en ts C hi m e ba rs : m et ro no m e: m in i m ar ac as , b on go d ru m s, ta m bo ur in e C D p la ye r Pl ay M is s P ol ly H ad a D ol ly o n th e C hi m e ba rs a nd e m ph as is e th e th ym es w ith cl ap s. M is s P ol ly h ad a D ol ly w ho w as si ck , s ic k, si ck So h e ph on ed fo r t he d oc to r t o co m e qu ic k, q ui ck , q ui ck Th e do ct or c am e w ith h is b ag a nd h is h at A nd h e kn oc ke d on th e do or w ith a r at - a - t at - t at . H e lo ok ed a t t he d ol ly a nd h e sh oo k hi s h ea d A nd h e sa id “ M is s P ol ly , p ut h er st ra ig ht to b ed ” H e w ro te o n a pa pe r f or a p ill , p ill , p ill . “ I’ ll be b ac k in th e m or ni ng if th e do lly ’s st ill il l” . Si ng “ H el lo M r V er ne y” w ith th e 3 ch im e ba rs . Pl ay ‘I t’s M y Sc ho ol M us ic D ay ’ o n C D p la ye r a nd ta p m ar ac as in ti m e w ith th e m us ic o n th e ba ck in g tra ck . S in g N ur se ry rh ym es a nd o m it th e rh ym in g w or d – H ic ko ry – B aa B aa – T w in kl e - 1 23 45 C ho os e di ff er en t c hi ld re n to fi ll in th e ga ps a t t he e nd o f t he li ne s, by p oi nt in g th e pr et en d m ic ro ph on e at th e ch ild . Lo ok a t a ll th e ‘r im e’ fla sh c ar ds to m ak e su re c hi ld re n kn ow th e rh ym es , t he n pl ay a g am e ch an gi ng th e w or ds in th e ‘R oc ky ’ P oe m a s y ou re ve al e ac h pa ir –“ cl oc k rh ym es w ith so ck ” –“ c ar rh ym es w ith st ar ” et c. W hi ch w or ds in th is p oe m R hy m e – R oc ky th e R hy m in g R ab bi t w ill h el p th em de ci de ! R oc ky is a ra bb it an d he ’s g ot a c lo ck H e ke ep s h is c lo ck in si de a so ck Ro ck y is a R ab bi t a nd h e’ s a ro ck st ar H e dr iv es a ro un d in a ra ci ng c ar M ak e up n ew a ct io n so ng s w ith th e ch ild re n’ s r hy m e su gg es tio ns :- “R oc ky is in a b an d so h e ca n pl ay lo ts o f d iff er en t i ns tru m en ts ” R oc ky is a ra bb it an d he p la ys th e dr um s H e pl ay s t he m b es t w he n he ’s si tti ng o n hi s b um H e sh im m ys w ith th e sh ee p, a nd h e si ng s w ith th e de er H e’ s t he g re at es t r ab bi t t ha t y ou ’ll e ve r h ea r. ‘B ye B ye M r V er ne y’ I nt er ve nt io n pr og ra m m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) In te rv en tio n Le ss on N o 6 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es ‘R im e’ m at ch in g F la sh c ar ds (s et o f 3 6) – s ee S pe ec h pr og ra m m e To ys Pa nd a, M ic ke y m ou se , r ab bi t Ju ng le a ni m al s of t t oy s In st ru m en ts C hi m e ba rs : m et ro no m e: m in i m ar ac as , b on go d ru m s, ta m bo ur in e C D p la ye r S in g “H el lo M r V er ne y” a nd “ H el lo R oc ky th e R hy m in g R ab bi t” w ith th e 3 ch im e ba rs R ev is it Th e ‘S ol di er s S on g’ w ith m or e ch an ge s o f r hy m in g w or ds th at th e ch ild re n ca n su gg es t:- (I t d oe sn ’t m at te r i f t he y do n’ t m ak e se ns e) Th e so ld ie r m ar ch ed a ro un d w ith a r at u po n hi s f ed W ith a h at u po n hi s h ea d – W ith a r at u po n hi s f ed Th e So ld ie r M ar ch ed a ro un d w ith a r at u po n hi s f ed , A nd th e dr um s w en t R at – a – T at – T at . Lo ok a t a ll th e ‘r im e’ fla sh c ar ds to m ak e su re c hi ld re n kn ow th e rh ym es , t he n pl ay a g am e ch an gi ng th e w or ds in th e ‘R oc ky ’ P oe m a s y ou re ve al e ac h pa ir –“ cl oc k rh ym es w ith so ck ” –“ c ar rh ym es w ith st ar ” et c. D iv id e th e fla sh c ar ds in to th re e gr ou ps to p la y an ‘o dd o ne o ut ’ g am e. So ck , c lo ck , c ar e tc . C on tin ue w ith n ew so ng s f or R oc ky b as ed o n th e fla sh c ar ds R oc ky is a ra bb it an d he ’s g ot a b ea r H e lik es to se e hi m si tti ng o n a c ha ir Ro ck y is a R ab bi t a nd h e’ s f ou nd a m ou se H e fo un d it ru nn in g ro un d hi s h ou se M ak e up n ew a ct io n so ng s w ith th e ch ild re n’ s r hy m e su gg es tio ns :- “R oc ky is in a b an d so h e ca n pl ay lo ts o f d iff er en t i ns tru m en ts ” R oc ky is a ra bb it an d he p la ys th e pi an o H e’ s t he b es t p la y th at y ou ’ll e ve r k no w H e sh im m ys w ith th e sh ee p, a nd h e si ng s w ith th e de er H e’ s t he g re at es t r ab bi t t ha t y ou ’ll e ve r h ea r. ‘B ye B ye M r V er ne y’   34   I nt er ve nt io n pr og ra m m e - M us ic © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) In te rv en tio n Le ss on N o 7 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a, R ab bi t, M ou se Ba g of c ud dl y to ys g ro up ed in s yl la bl e ba gs In st ru m en ts C hi m e ba rs : m et ro no m e: m in i m ar ac as : bo ng os C D p la ye r R ev isi on S es sio n Si ng “ H el lo M r V er ne y” a nd “ H el lo P at th e Pa nd a” w ith th e 3 ch im e ba rs R ev is e: - M ic ke y Th e M ou se M ar ch in g Th ro ug h Th e Ju ng le R oc ky T he R ab bi t S on gs M y Sc ho ol M us ic D ay A ll N ur se ry R hy m es C on ce nt ra te o n sy lla bl es a nd rh ym e aw ar en es s ‘B ye B ye M r V er ne y’ w ith c hi m e ba rs   35   I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) Ph on ol og ic al A wa re ne ss T as ks f or Rh yt hm ic S pe ec h- ba se d In te rv en ti on Pr og ra m m e to im pr ov e sy lla bl e an d rh ym e aw ar en es s. D es ig ne d an d co m po se d by Jo hn P . V er ne y Th e C en tre fo r N eu ro sc ie nc e in E du ca tio n I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) An im al S yl la bl e- S eg m en ta tio n Fl as h C ar ds R hy m in g W or d Li st C ap Ta p Fa n M an H at C at Be ar C ha ir Bo x Fo x Se a Te a Pe a Ke y Ph on e Bo ne St ar C ar Sn ak e C ak e C ar ro t Pa rro t Sa w D oo r Fi sh D is h H ou se M ou se C lo ck So ck Ey e Pi e H on ey M on ey Pi n Bi n 1 sy lla bl e 2 sy lla bl e 3 sy lla bl e Fi sh Li on El ep ha nt C ow R ab bi t Ka ng ar oo Sh ar k Ze br a G or illa D og Pe ng ui n Bu tte rfl y D uc k Pa rro t O ct op us Pi g Sp id er C ro co di le H or se Pa nd a Po la r b ea r Appendix G (b) Rhythmic Speech Intervention     36   I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) Le ar n in tro du ct or y po em . H el lo M is te r V er ne y – H el lo M is te r V er ne y – H el lo M is te r V er ne y H ow a re y ou to da y St ar t w ith a w hi sp er a nd th en g et a li ttl e lo ud er – a nd e nd w ith a b ig w av e. Sa y he llo to th e di ff er en t a ni m al s t ha t t he c hi ld re n ch os e co m in g fr om th e ‘S yl la bl e ba gs ’. C la p ou t t he sy lla bl es to se e w hi ch a ni m al s h av e 1, 2 , a nd 3 sy lla bl es R ab bi t Pa nd a D og e tc . U se th e sy lla bl e st ic ks to ta p ou t t he rh yt hm , i ns te ad o f c la pp in g. Te ac h th e ch ild re n th e Po em :- it w ill c ha ng e ev er y w ee k! ! Em ph as is e (b y ac tio ns ) t he rh ym in g w or ds th at w ill b e ch an ge d to m ak e th e po em ’f un ny ’ i n th e fu tu re . ‘T he S ol di er s M ar ch ’ Th e so ld ie r m ar ch ed a ro un d w ith a h at u po n hi s h ea d W ith a h at u po n hi s h ea d – W ith a h at u po n hi s h ea d Th e So ld ie r M ar ch ed a ro un d w ith a h at u po n hi s h ea d, A nd th e dr um s w en t R at – a – T at – T at Ta p ou t R at – ta t – ta t w ith th e ta m bo ur in e. B ye B ye M r V er ne y - B ye B ye M r V er ne y - B ye B ye M r V er ne y Se e yo u ag ai n on T hu rs da y In te rv en tio n Le ss on W ee k 1 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a an d R ab bi t Ba g of c ud dl y to ys g ro up ed in s yl la bl e ba gs e g Be ar , d og , d uc k et c in b ag 1 Pa nd a, ra bb it, e tc . i n ba g 2 La dy bi rd e tc . i n ba g 3 Sy lla bl e St ic ks (P ai rs o f W oo de n D ow el s) a nd T am bo ur in e I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) H el lo M is te r V er ne y – H el lo M is te r V er ne y – H el lo M is te r V er ne y H ow a re y ou to da y St ar t w ith a w hi sp er a nd th en g et a li ttl e lo ud er – a nd e nd w ith a b ig w av e. Sa y he llo to th e di ff er en t a ni m al s t ha t t he c hi ld re n ch os e co m in g fr om th e ‘S yl la bl e ba gs ’. C la p ou t t he sy lla bl es to se e w hi ch a ni m al s h av e 1, 2 , a nd 3 sy lla bl es R ab bi t Pa nd a D og e tc . U se th e sy lla bl e st ic ks to ta p ou t t he rh yt hm , i ns te ad o f c la pp in g. Lo ts o f f la sh c ar d w or k w ith d iff er en t a ni m al s t o m at ch th e nu m be r o f s yl la bl es R ev is e th e Po em a nd th en a sk th e ch ild re n to c ha ng e th e rh ym in g w or ds a nd cr ea te n ew a ct io ns to m ak e th e po em ’f un ny ‘T he S ol di er s M ar ch ’ Th e so ld ie r m ar ch ed a ro un d w ith a h at u po n hi s h ea d W ith a h at u po n hi s h ea d – W ith a h at u po n hi s h ea d Th e So ld ie r M ar ch ed a ro un d w ith a h at u po n hi s h ea d, A nd th e dr um s w en t R at – a – T at – T at H at i s c ha ng ed to m at – ‘T he so ld ie r m ar ch ed a ro un d w ith a m at u po n hi s h ea d H ea d is c ha ng ed to b ed - ‘T he so ld ie r m ar ch ed a ro un d w ith a m at u po n hi s b ed . -T ea ch th e po em ‘R oc ky T he R ab bi t’ R oc ky is a ra bb it an d he p la ys th e gu ita r H e da nc es o n th e st ag e ‘c os h e is a ro ck st ar H e sh im m ys w ith th e sh ee p, a nd h e si ng s w ith th e de er H e’ s t he g re at es t r ab bi t t ha t y ou ’ll e ve r h ea r. B ye B ye M r V er ne y - B ye B ye M r V er ne y - B ye B ye M r V er ne y Se e yo u on F rid ay In te rv en tio n Le ss on W ee k 2 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a an d R ab bi t Ba g of c ud dl y to ys g ro up ed in s yl la bl e ba gs e g Be ar , d og , d uc k et c in b ag 1 Pa nd a, ra bb it, e tc . i n ba g 2 La dy bi rd e tc in b ag 3 Sy lla bl e St ic ks (P ai rs o f W oo de n D ow el s) a nd T am bo ur in e An im al S yl la bl e – Se gm en ta tio n Fl as h C ar ds (S et o f 2 1)   37   I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) H el lo M ist er V er ne y – H el lo M ist er V er ne y – H el lo M ist er V er ne y H ow a re y ou to da y St ar t w ith a w hi sp er a nd th en g et a li ttl e lo ud er – a nd e nd w ith a b ig w av e. Sa m e fo r t he p up pe ts H el lo P at th e Pa nd a H el lo R oc ky th e ra bb it H el lo M ic ke y th e m ou se Sa y so m e m or e H el lo ’s u sin g A ni m al F la sh c ar ds . C ou nt o ut sy lla bl es fo r e ac h ne w p oe m , a nd th en p la y a m at ch in g ga m e – D oe s f ish m at ch w ith ti ge r, or el ep ha nt , o r d og – ‘S yl la bl e Sn ap ’. Le ar n th e ac tio ns to g o w ith th e po em . Ro ck y is a ra bb it an d he p la ys th e gu ita r pr et en d to p la y th e gu ita r H e da nc es o n th e sta ge ‘c os h e is a ro ck st ar da nc e on th e sp ot H e sh im m ys w ith th e sh ee p, a nd h e sin gs w ith th e de er s hi m m y an d sin g w ith m ic ro ph on e H e’ s t he g re at es t r ab bi t t ha t y ou ’ll e ve r h ea r. po in t a t t he ra bb it. Pr et en d to u se th e m ic ro ph on e as y ou re ci te th e po em a nd sa y on ly th e rh ym in g w or ds ‘M ic ke y th e M ou se ’ M ic ke y th e M ou se – M ic ke y th e M ou se H e pl ay s m us ic a ll ro un d th e ho us e Re vi sit T he ‘S ol di er s M ar ch ’ w ith m or e ch an ge s o f r hy m in g w or ds th at th e ch ild re n ca n su gg es t:- Th e so ld ie r m ar ch ed a ro un d w ith a b at u po n hi s s he d W ith a h at u po n hi s h ea d – W ith a b at u po n hi s s he d Th e So ld ie r M ar ch ed a ro un d w ith a b at u po n hi s s he d, A nd th e dr um s w en t R at – a – T at – T at By e By e M r V er ne y - B ye B ye M r V er ne y - By e By e M r V er ne y Se e yo u ag ai n on F rid ay In te rv en tio n Le ss on W ee k 3 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a an d R ab bi t a nd M ou se M in i m ar ac as u se d to ta p ou t s yl la bl es a nd b ec om e pr et en d m ic ro ph on es Ta m bo ur in e An im al S yl la bl e – Se gm en ta tio n Fl as h ca rd s (S et o f 2 1) I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) H el lo M ist er V er ne y – H el lo M ist er V er ne y – H el lo M ist er V er ne y H ow a re y ou to da y St ar t w ith a w hi sp er a nd th en g et a li ttl e lo ud er – a nd e nd w ith a b ig w av e. Sa m e fo r t he tw o pu pp et s H el lo P at th e Pa nd a H el lo R oc ky th e rh ym in g ra bb it. Lo ok a t a ll th e fla sh c ar ds to m ak e su re c hi ld re n kn ow th e rh ym es , t he n pl ay a ga m e ch an gi ng th e w or ds in th e ‘R oc ky ’ P oe m a s y ou re ve al e ac h pa ir –“ c lo ck rh ym es w ith so ck ” –“ c ar rh ym es w ith st ar ” et c. W hi ch w or ds in th is po em ‘r hy m e’ – R oc ky th e Rh ym in g Ra bb it w ill h el p th em de ci de ! Ro ck y is a ra bb it an d he ’s g ot a c lo ck H e ke ep s h is cl oc k in sid e a so ck Ro ck y is a Ra bb it an d he ’s a ro ck st ar H e dr iv es a ro un d in a ra ci ng c ar Re vi sit th e ‘S ol di er s M ar ch ’ a nd c ha ng e as m an y rh ym in g w or ds a s p os sib le a nd m ak e up n ew a ct io ns Th e so ld ie r m ar ch ed a ro un d w ith a c at u po n hi s t ed W ith a h at u po n hi s h ea d – W ith a c at u po n hi s t ed Th e So ld ie r M ar ch ed a ro un d w ith a c at u po n hi s t ed , A nd th e dr um s w en t R at – a – T at – T at By e By e M r V er ne y - B ye B ye M r V er ne y - By e By e M r V er ne y Se e yo u ag ai n on F rid ay In te rv en tio n Le ss on W ee k 4 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a an d R ab bi t R im e m at ch in g - F la sh C ar ds (S et o f 3 6) Ta m bo ur in e   38   I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) H el lo M is te r V er ne y – H el lo M is te r V er ne y – H el lo M is te r V er ne y H ow a re y ou to da y St ar t w ith a w hi sp er a nd th en g et a li ttl e lo ud er – a nd e nd w ith a b ig w av e. Sa m e fo r t he tw o pu pp et s H el lo P at th e Pa nd a H el lo R oc ky th e rh ym in g ra bb it. U se th e pr et en d m ic ro ph on es to re ci te lo ts o f N ur se ry R hy m es e m ph as is in g th e rh ym in g w or ds . H ic ko ry / B aa B aa / Tw in kl e / 1 23 45 a nd M is s P ol ly Tr y an d ch an t r hy m es w ith ou t t he rh ym in g w or ds , o r w ith ju st th e rh ym es – m im in g th e ot he r w or ds . D iv id e th e fla sh c ar ds in to th re e gr ou ps to p la y an ‘o dd o ne o ut ’ g am e. So ck , c lo ck , c ar e tc . M or e ne w R oc ky p oe m s R oc ky is a ra bb it an d he ’s g ot a p ar ro t H e fe ed s h is p ar ro t w ith a b ig re d ca rr ot e tc .. M ak e up n ew a ct io n po em s w ith th e ch ild re n’ s r hy m e su gg es tio ns :- “R oc ky is in a b an d so h e ca n pl ay lo ts o f d iff er en t i ns tru m en ts ” R oc ky is a ra bb it an d he p la ys th e dr um s H e pl ay s t he m b es t w he n he ’s si tti ng o n hi s b um H e sh im m ys w ith th e sh ee p, a nd h e si ng s w ith th e de er H e’ s t he g re at es t r ab bi t t ha t y ou ’ll e ve r h ea r. B ye B ye M r V er ne y - B ye B ye M r V er ne y - B ye B ye M r V er ne y Se e yo u ag ai n on T hu rs da y In te rv en tio n Le ss on W ee k 5 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a an d R ab bi t M in i-m ar ac as – a s pr et en d m ic ro ph on es R im e m at ch in g Fl as h C ar ds (S et o f 3 6) I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) H el lo M is te r V er ne y – H el lo M is te r V er ne y – H el lo M is te r V er ne y H ow a re y ou to da y St ar t w ith a w hi sp er a nd th en g et a li ttl e lo ud er – a nd e nd w ith a b ig w av e. Sa y so m e m or e H el lo ’s u si ng A ni m al F la sh c ar ds . C ou nt o ut sy lla bl es fo r e ac h ne w p oe m , a nd th en p la y an ‘o dd o ne o ut ’ g am e – El ep ha nt – c ro co di le -b ea r M ak e up n ew a ct io n po em s w ith th e ch ild re n’ s r hy m e su gg es tio ns :- “R oc ky is in a b an d so h e ca n pl ay lo ts o f d iff er en t i ns tru m en ts ” R oc ky is a ra bb it an d he p la ys th e pi an o H e’ s t he b es t p la y th at y ou ’ll e ve r k no w H e sh im m ys w ith th e sh ee p, a nd h e si ng s w ith th e de er H e’ s t he g re at es t r ab bi t t ha t y ou ’ll e ve r h ea r. R ev is it Th e ‘S ol di er s M ar ch ’ w ith m or e ch an ge s o f r hy m in g w or ds th at th e ch ild re n ca n su gg es t:- (I t d oe sn ’t m at te r i f t he y do n’ t m ak e se ns e) Th e so ld ie r m ar ch ed a ro un d w ith a r at u po n hi s f ed W ith a h at u po n hi s h ea d – W ith a r at u po n hi s f ed Th e So ld ie r M ar ch ed a ro un d w ith a r at u po n hi s f ed , A nd th e dr um s w en t R at – a – T at – T at B ye B ye M r V er ne y - B ye B ye M r V er ne y - B ye B ye M r V er ne y Se e yo u ag ai n on F rid ay In te rv en tio n Le ss on W ee k 6 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a an d R ab bi t M in i-m ar ac as – a s pr et en d m ic ro ph on es ta m bo ur in e R im e m at ch in g Fl as h C ar ds (S et o f 3 6) An im al S yl la bl e – Se gm en ta tio n Fl as h ca rd s (S et o f 2 1)   39   I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) H el lo M ist er V er ne y – H el lo M is te r V er ne y – H el lo M ist er V er ne y H ow a re y ou to da y St ar t w ith a w hi sp er a nd th en g et a li ttl e lo ud er – a nd e nd w ith a b ig w av e. Sa m e fo r t he p up pe ts in th e sy lla bl e ba gs H el lo P at th e Pa nd a H el lo R oc ky th e ra bb it Pl ay S yl la bl e ‘S na p’ a nd ‘O dd o ne o ut ’ W or k on R im e m at ch in g fla sh c ar ds ‘R hy m e’ s a nd ‘O dd o ne o ut ’ Pa t w or ks o n th e sy lla bl e co un tin g. Ro ck y w or ks o n th e Rh ym es Re vi se a ll th e Po em s a nd th e N ur se ry R hy m es w ith th e pr et en d m ic ro ph on es Ea ch ta sk st ar tin g w ith th ei r p oe m s a nd a ct io ns . By e By e M r V er ne y - B ye B ye M r V er ne y - By e By e M r V er ne y Se e yo u ag ai n on T hu rs da y In te rv en tio n Le ss on W ee ks 7 S pr in g Te rm Ja nu ar y - M ar ch R es ou rc es To ys Pa nd a an d R ab bi t Sy lla bl e ba gs fu ll of c ud dl y to ys M in i-m ar ac as – a s pr et en d m ic ro ph on es , t am bo ur in e An im al S yl la bl e – Se gm en ta tio n Fl as h ca rd s (S et o f 2 1) R im e m at ch in g Fl as h C ar ds (S et o f 3 6) I nt er ve nt io n pr og ra m m e - R hy th m ic S pe ec h © T he C en tre fo r N eu ro sc ie nc e in E du ca tio n (2 01 0) Ex am pl es o f fla sh c ar ds Sy lla bl e Se gm en ta tio n Ex am pl es o f f la sh c ar ds - S yl la bl e - S eg m en ta tio n   40   Appendix H Results for the drumming and singing entrainment tasks in the Full Sample Beat Alignment tasks The rhythmic entrainment data are presented in Table AH1 for the metronome task and the beat alignment to music task, both of which used Bongo drums as the dependent variable. Singing data are presented in Table AH2 (Singing in Time; Singing the Rhyme, -Music; Singing the Rhyme, +Music). Any responses that were +/- 2 SD outside the mean response time for an individual child were first removed from the data (2.08% responses removed in the rhythmic entrainment tests and 4.51% responses removed in the singing tests). Inspection of the Tables show that in the Full Sample more children contributed scores in the Singing tasks (Table AH2) than in the rhythmic entrainment drumming tasks (Table AH1). The least number of participants to complete the task was nearly always at 1000ms (I Hz)) rate. The highest number of participants was usually at the 500ms (2 Hz) rate.  Table  AH1         Beat   accuracy   (mean   in  ms)   by   rhythmic   entrainment   drumming  task,  with  median  in  parentheses  and  standard  deviations  and  total  N  in  square  brackets.               Pulse  Rate   400  ms   500  ms   666  ms   1000  ms            Metronome   94.9    (93)  [31.1,  151]   92.8    (91.5)  [37.1,  168]   123.6    (126.0)  [47.8,  167]   194.1      (186.0)  [83.6,  155]  Beat   Alignment   to  Music   85.0      (83.0)  [31.5,  169]   90.5      (86.0)  [40.5,  173]   106.2    (103)  [41.2,  161]   155.5    (145.0)  [64.2,  123]     41   Table  AH2      Beat   accuracy   (mean   in   ms)   by   singing   task,   with   median   in  parentheses  and  standard  deviations  and  total  N  in  square  brackets.   Task   400  ms   500  ms   666  ms   1000  ms            Singing  in  Time   71.5  (60.0)  [39.4,  169]   73.2  (66.5)  [35.0,  178]   72.6  (63.5)  [39.5,  170]   120.7  (109)  [59.9,  157]  Singing   the   Rhyme,   -­‐Music   89.8        (79.0)  [48.8,  172]   66.9      (58.0)  [33.4,  176]   77.9      (71.0)  [38.4,  173]   84.5      (71.0)  [63.5,  175]  Singing   the   Rhyme,  +Music   98.7      (87.0)  [59.5,  179]   56.0      (52.0)  [29.5,  175]   72.9      (66.0)  [37.7,  177]   102.6      (90.0)  [55.6,  177]       (a) Drumming Tasks to metronome and music In the Full Study the rhythmic entrainment in the two tasks was compared using a 2 x 4 (Task: Metronome, Music x Rate: 400 ms, 500 ms, 666 ms, 1000 ms) ANOVA. Mean beat alignment in ms was the dependent variable, and missing values in the data were replaced by median scores. The ANOVA showed a significant main effect of Task, F(1,191) = 532.5, p = .0001, because children were significantly more accurate in the music task than in the metronome task overall, and a significant main effect of Rate, F(3,573) = 98.7, p = .000. The significant main effect of Rate was investigated using Tukey post-hoc tests, and arose because the children were equally accurate at the two faster speeds (400 ms, 500 ms), but then declined significantly in accuracy for the 666 ms rate, and declined significantly again in accuracy for the 1000 ms rate (p’s = .001). There was also a significant interaction between Task and Rate, F(3,573) = 82.4, p = .0001. Post-hoc inspection using Newman Keuls post-hoc tests revealed that children were significantly more accurate in the musical task than in the metronome task in entraining to the beat at all speeds except 500 ms (p’s = .05). For the 500 ms (2 Hz) rate only, they were as accurate in keeping the beat with the metronome as with a piece of music. For the metronome task, they were equally accurate in keeping the beat at the two faster speeds (400 ms, 500 ms), and were significantly more accurate at these two speeds than at either 666 ms or 1000 ms (p’s = .001). For the music task,   42   they were also equally accurate at keeping the beat at 400 ms and at 500 ms, and they were significantly more accurate at these speeds than at either 666 ms or 1000 ms (p’s< .001). In the Full Study the children’s rhythmic entrainment was best at 400 ms and 500 ms, and for 500 ms only they did not gain any significant benefit in terms of temporal accuracy from the richer musical experience. (b) Singing to Music (i) For the measure of Singing in Time (to the Hello song played at different pulse rates), a one-way ANOVA was run taking Rate as the repeated factor. Mean beat alignment in ms was the dependent variable, and missing values in the data were replaced by median scores. The ANOVA showed a main effect of Rate, F(3,573) = 72.0, p = .001. Post-hoc inspection of the means using Tukey post-hoc tests showed that children were as accurate at singing in time at the rates of 400 ms, 500 ms and 666 ms, but were significantly less accurate at 1000 ms than at all these other rates (p’s = .001). In contrast to keeping time on the Bongo drums, with their own voices in the Full Study children were not only more accurate at the rates of 400 ms and 500 ms, but were also more accurate at the rate of 666 ms in comparison to the slowest rate (1000 ms). (c) Rhythmic entrainment in both Drumming and ‘Singing in Time’ Compared. If a general rhythmic embodiment is present in these young children, then the accuracy of singing in time should be correlated with the accuracy of playing the Bongo drums in time. Relations between temporal accuracy in the rhythmic entrainment and singing tests were explored by computing partial correlations between the beat alignment with music task and the Singing in Time task, taking general cognitive ability (WPPSI) as the covariate (see Table AH3). This was done because the Singing in Time measure was significantly correlated with I.Q. for the rates of 400 ms (r= -.213, p= .003) and 500 ms (r= - .150, p= .037), and the beat alignment with music task was significantly correlated with I.Q. for the 500 ms rate (r= -.148, p= .040). The metronome task was not significantly correlated with I.Q. at any rate. Both the Singing in   43   Time measure and the beat alignment to music measure used a rich musical accompaniment to support temporal accuracy (drumming or singing). Inspection of Table AH2 reveals that there were many more significant correlations when the rhythmic entrainment task involved a rich musical accompaniment (beat alignment with music correlated with Singing in Time) than when the entrainment task did not involve music (the metronome measures). For those rates that lie within the region of greatest pulse salience (400 ms, 500 ms, 666 ms), the accuracy of playing the Bongo drums in time with a 400 ms rate was significantly correlated with singing in time at the rates of 400 ms and 500 ms ms (r= .176, p= .015; and r= .212, p= .003 respectively). Drumming accuracy for the 500 ms rate was significantly correlated with singing in time at 500 ms and 666 ms (r= .226, p= .002; and r= .160, p= .027 respectively), as was drumming accuracy for the 666 ms rate (r= .172, p= .017, singing at 500 ms; and r= .293, p= .000, singing at 666 ms). Drumming accuracy at the slowest rate (1000 ms) was significantly correlated with singing at 400 ms (r= .148, p= .042) and at 666 ms (r= .171, p= .018). For the pure measure of rhythmic entrainment (drumming in time with the metronome), by contrast, only 4 correlations were significant (drumming at 400 ms and singing at 666 ms, r= .151, p= .037; drumming at 1000 ms and singing at 400 ms, r= .199, p= .006; drumming at 500 ms and singing at 666 ms, r= .198, p= .006; and drumming at 666ms and singing at 500 ms, r= .185, p= .010). In the Full Study Table AH3 suggests that more accurate entrainment in drumming to music was significantly related to more accurate rhythmic embodiment in singing, especially for the 500 ms and 666 ms singing rates (2 Hz, 1.5 Hz). However, of these significant correlations, few would survive Bonferroni corrections for multiple comparisons (p values > .003). Only rhythmic entrainment to music at both 400ms and 500ms was related to singing at 500 ms, and drumming to music at 666 ms and singing at 666 ms, remained significant.   44   Table  AH  3   Pearsons  Partial  Correlations  between  Rhythmic  Entrainment  and  Singing,  controlling  for  I.Q.   (d) Rhythmic entrainment in the Singing The Rhyme Tasks in the Full Study The two singing tasks in which the missing rhymes had to be supplied also used the child’s voice as the dependent measure, hence singing the rhyme on time with the beat in these two tasks (-Music, +Music) was compared using a 2 x 4 (Task: Singing the Rhyme, -Music; Singing the Rhyme, +Music; x Rate: 400 ms, 500 ms, 666 ms, 1000 ms) ANOVA, taking mean beat alignment in ms as the dependent variable. Missing values in the data were again replaced by median scores. The ANOVA showed a significant main effect of Rate, F(3,573) = 4.8, p = .002. This arose because the children were best of all at singing on time with the beat for the 500 ms pulse rate, even compared to the rate of 666 ms, p< .001. They were most accurate next at the rate of 666 ms, for which keeping the beat was significantly more accurate than for the slowest rate (1000 ms) and the fastest rate (400 ms, p’s = .001). Singing the Rhyme at the slowest (1000 ms) and fastest (400 ms) speeds did not differ in accuracy, and children were significantly poorer at keeping time when singing at both of these pulse rates (p’s< .001). The main effect of Task was also significant, F(1,191) = 9.1, p = 0.003 but the interaction between Rate and Task was highly significant, F(3,573) = 50.3, p = .0001. Post-hoc inspection of the interaction using Newman-Keuls post-hoc tests showed that for the most accurate temporal rate (500 ms), children were significantly more accurate at keeping the beat in the Bongo  Drum  tasks   Singing  in  Time,  400  ms   Singing  in  Time,  500  ms   Singing  in  Time,  666  ms   Singing  in  Time,  1000  ms  Metronome  400   -­‐0.008   0.093   0.151*   0.134  Metronome  500   0.137   0.031   0.198**   0.120  Metronome  666   0.109   0.185*   0.111   0.104  Metronome  1000   0.199**   0.75   0.104   0.087            Music  400   0.176*   0.212**   0.107   0.073  Music  500   0.077   0.226**   0.160*   0.043  Music  666   0.062   0.172*   0.293**   0.117  Music  1000   0.148*   0.047   0.171*   0.124     45   +Music condition (56 ms), where they were singing along to rich musical accompaniment, than in the –Music condition (voice alone, 67 ms, p = .01). For the second most accurate temporal rate (666 ms), keeping to the beat was equivalent across the two conditions (+Music, 73 ms, -Music, 78 ms). The - Music condition was more helpful with respect to keeping time at the very slow rate of 1000 ms (85 ms versus 103 ms, p = .001), and also at the fastest rate of 400 ms (90 ms versus 99 ms, p< .05). In the Full Study the 500 ms (2 Hz) rate was the temporal rate for which rhythmic accuracy was highest. There was a benefit from a + Music experience for the most accurate speed (500 ms), as keeping the beat was significantly better at this rate when the children were singing along to music than to a voice alone. e) Relationships between Beat Alignment and Phonological Awareness tasks in the Full Study I next explored possible relations between rhythmic timing and beat alignment and children’s performance in the phonological awareness tasks. Table AH4 Pearson’s Partial Correlations between Rhythmic Entrainment and Phonological Awareness, controlling for I.Q. (all Phonological Awareness Scores = percentages)   *p<  .05,  **p<  .01.   Performance in all four of the phonological awareness tasks was significantly correlated with I.Q., hence I.Q. was controlled using partial correlations (oral rhyme percentage score and WPPSI, r= .330, p= .000; picture rhyme and WPPSI, r= .344, p= .000; oral syllable and WPPSI, r= .520, p= .000; Bongo  Drum  tasks   Oral  Rhyme   Picture  Rhyme   Oral  Syllable   Picture  Syllable  Metronome  400   -­‐0.072   -­‐0.139   -­‐0.148*   0.112  Metronome  500   0.071   -­‐0.101   -­‐0.130   0.097  Metronome  666   -­‐0.027   -­‐0.073   -­‐0.022   0.056  Metronome  1000   -­‐0.101   -­‐0.028   0.119   0.041            Music  400   -­‐0.082   -­‐0.129   -­‐0.086   -­‐0.102  Music  500   -­‐0.184*   -­‐0.199**   -­‐0.177*   -­‐0.147  Music  666   -­‐0.094   -­‐0.210**   -­‐0.146   -­‐0.010  Music  1000   -­‐0.036   -­‐0.097   0.040   0.124     46   and picture syllable and WPPSI, r= .291, p= .000). Given the hypothesised relationship between rhythmic entrainment and syllable-level entrainment to the speech stream, we expected to find relations between temporal accuracy and phonological awareness at both linguistic levels (the P-centre both marks syllable onset and is a cue to the onset-rime division of the syllable, thereby aiding rhyme awareness). Relations for the rhythmic entrainment tasks (temporal accuracy on the Bongo drums to the metronome and to music) are shown in Table AH 4. Relations for the singing tasks (Singing in Time, Singing the Rhyme with and without musical accompaniment) are shown in Table AH6. Inspection of Table AH4 reveals only one significant relationship for the metronome task. Drumming at the 400 ms (2.5 Hz) rate was significantly related to performance in the oral syllable task (r= -.148, p= .048). For the drumming to music task, both the 500 ms (2 Hz) and 666 ms (1.5 Hz) rates showed significant correlations with phonological awareness. For the 2 Hz rate the significant correlations were with oral rhyme awareness, picture rhyme awareness, and oral syllable awareness (r= -.184, p= .020 , r= -.199, p= .008 and r= -.177, p= .018, respectively). For the 1.5 Hz rate, there was a highly significant relationship with the picture rhyme awareness only (r= -.210, p= .005). Hence for different measures of rhythmic entrainment (to a metronome versus to music), all the rates of greatest pulse salience (2.5 Hz, 2 Hz and 1.5 Hz) showed some significant correlations with oral language processing (phonological awareness of rhymes and syllables). The most consistent relationships between rhythmic entrainment and phonological awareness occurred for drumming to music at 500 ms (3 out of 4 correlations significant, and the correlation with the picture syllable task just missed significance, r= - .147, p= .056). So individual differences in the temporal accuracy of entrainment by young children do show some significant connections with their phonological awareness. For the singing measures (Singing in Time, Singing the Rhyme, see Table AH5), there were very few significant correlations between phonological awareness and temporal accuracy (3 significant correlations only). For the Singing in Time measure there were no correlations. For the Singing the Rhyme measure, the 400 ms rate in the +Music task was significantly correlated with   47   picture rhyme, r= -0.179, p= .017, and with picture syllable, r= -0.184, p= .016). In the Singing the Rhyme measure - Music there was one significant correlation between drumming at 666ms and the Picture Rhyme test, r= 0.147, p = .05. Hence even though singing is a good measure of rhythmic embodiment, temporal accuracy was not strongly related to phonological awareness. Further, none of the significant correlations for the drumming nor singing measures would survive Bonferroni corrections. Table AH5 Pearson’s Partial Correlations between Singing Tasks and Phonological Awareness, controlling for I.Q. (all Phonological Awareness scores = percentages) Voice  tasks   Oral  Rhyme   Picture  Rhyme   Oral  Syllable   Picture  Syllable  Singing  in  Time,  400   -­‐0.057   -­‐0.091   -­‐0.001   -­‐0.049  Singing  in  Time,  500   -­‐0.066   -­‐0.077   -­‐0.116   -­‐0.150  Singing  in  Time,  666   0.064   -­‐0.121   -­‐0.136   0.039  Singing  in  Time,  1000   0.007   -­‐0.011   0.086   0.076            Rhyme,  -­‐Music  400   -­‐0.140   -­‐0.106   -­‐0.073   -­‐0.078  Rhyme,  -­‐Music  500   -­‐0.010   -­‐0.119   -­‐0.108   -­‐0.062  Rhyme,  -­‐Music  666   -­‐0.108   -­‐0.147*   0.016   -­‐0.099  Rhyme,  -­‐Music  1000   -­‐0.118   -­‐0.076   -­‐0.062   -­‐0.069            Rhyme,  +Music  400   -­‐0.137   -­‐0.179*   -­‐0.027   -­‐0.184*    Rhyme,  +Music  500   -­‐0.036   -­‐0.046   -­‐0.142   -­‐0.006  Rhyme,  +Music  666   0.055   -­‐0.071   -­‐0.030   0.055  Rhyme,  +Music  1000   -­‐0.147   -­‐0.056   -­‐0.118   -­‐0.031     *p<  .05,  **p<  .01