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2012

Music and compound words Theodora E. Middleton The University of Toledo

Follow this and additional works at: http://utdr.utoledo.edu/theses-dissertations Recommended Citation Middleton, Theodora E., "Music and compound words" (2012). Theses and Dissertations. Paper 378.

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A Thesis entitled Music and Compound Words by Theodora E. Middleton Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Master’s Degree in Music Education

_________________________________________ Dr. Timothy Brakel, Committee Chair _________________________________________ Dr. Pamela Stover, Committee Member _________________________________________ Dr. David Jex, Committee Member _________________________________________ Dr. Patricia R. Komuniecki, Dean College of Graduate Studies

The University of Toledo May 2012 iii

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An Abstract of Music and Compound Words by Theodora E. Middleton Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Master’s Degree in Music Education The University of Toledo May 2012 With the advent of the Common Core Curriculum, teachers will be asked to embed literacy into their lessons regardless of their content area. Fortunately for music educators, research indicates that music promotes literacy. Music is also a useful tool for regular classroom teachers. Compound words are an area of difficulty for Emergent Readers, English Language Learners (ELL) and students with learning disabilities. Jean Berko Gleason (1958), a psycholinguist from Boston University, found children were not always aware of the separate elements of compound words. While some children noticed the separate elements, they often assigned meaning to these parts that were inaccurate or merely personal. While many music and literacy researchers agree that music promotes literacy, there is a gap between scholarly theory and useful classroom tools. This project focuses on approaching this gap by creating new modules that are easy to use in the elementary general classroom. Each module contains multiple compound words piggybacked onto well-known melodies. In addition, a newly created index of high-quality folk songs containing compound words is located in Appendix A. iii

For Max and Grace

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Acknowledgements Many thanks to my professional colleagues and allies: Marion Jaeck, who brainstormed with me on this project, gave advice and friendship; and DeLee Beadle, who is an excellent sounding board and compassionate friend. Thank you to my professors: Dr. Timothy Brakel, for helping me figure out how to complete course work while being a working, single mother; and Dr. Pamela Stover, for all of her time and plentiful resources. Thank you to Brent Coldiron for stress-reducing yoga and laughter. Thank you to Dee Walker for child care. My family has given me the courage to do anything I set my mind to: Matthew, Seth, Tori, Stacie, LJ, James & Quinn, I am blessed to have you. This has definitely been a group effort as my mother, Sheilah Grogan (Mimi) assisted in line editing and moral support. My talented sister, Alexandra, helped with formatting. And almost everyone took a turn babysitting. And a special thank you to my children, Max and Grace, who sacrificed so much for the good of our little family. And lastly, for Rusty: thanks for making me a fighter.

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Table of Contents Abstract

iii

Dedication

iv

Acknowledgements

v

Table of Contents

vi

List of Tables

ix

List of Figures

x

Chapter I. Introduction

1

Music and Literacy

1

Purpose and Questions

2

Music in the Classroom

2

Compound Words and Second Grade in the Common Core

3

Newly Created Materials

4

Procedures

5

Selection of Compound Words

5

Method of Research and Sources

8

Design

9

Chapter II. Literature Review—Past and Current Overviews Common Core

12 12

Common Core Concerns

13

Literature Review on Music and Literacy

15

Phonological Awareness

15 vi

Phonemic Awareness

17

Orthographic Awareness

18

Music Experiences and Children

18

Recurrent Process

19

Compound Word Challenges

20

Compound Word Research

20

Decoding Difficulties

22

Chapter III. Available Resources

24

Songs for Teaching Compound Words

24

Songs Containing Compound Words

27

Chapter IV. Classroom Solutions

31

Nature Compound Words

31

Word Family –ay and Compound Words

35

Times of Day Compound Words

37

Sports –all Compound Words

39

Food Compound Words

42

Chapter V. Conclusions

45

Appendix Resources

45

Literacy Projects in the Music Classroom

46

Further Application

48

Conclusion

50

References

51

Appendices

56 vii

A.

Folk Song Index

56

B.

Resources for Educators

70

C.

Compound Word List

72

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List of Tables Table 1:

Common Core Standards ...................................................................................3

Table 2:

Hyphenated Compound Words ..........................................................................6

Table 3:

Evolved Compound Words ................................................................................7

Table 4:

Sample of Folk Song Index..............................................................................10

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List of Figures Figure 1.1 Nature compound words ..................................................................................31 Figure 1.2 ..........................................................................................................................32 Figure 1.3 ..........................................................................................................................32 Figure 1.4 ..........................................................................................................................32 Figure 1.5 ..........................................................................................................................33 Figure 1.6 ..........................................................................................................................33 Figure 1.7 ..........................................................................................................................33 Figure 1.8 ..........................................................................................................................34 Figure 1.9 ..........................................................................................................................34 Figure 2.1 -ay compound words ........................................................................................35 Figure 2.2 ..........................................................................................................................35 Figure 2.3 ..........................................................................................................................35 Figure 2.4 ..........................................................................................................................36 Figure 2.5 ..........................................................................................................................36 Figure 3.1 Times of day compound words ........................................................................37 Figure 3.2 ..........................................................................................................................37 Figure 3.3 ..........................................................................................................................37 Figure 3.4 ..........................................................................................................................38 Figure 3.5 ..........................................................................................................................38 Figure 3.6 ..........................................................................................................................38 Figure 3.7 ..........................................................................................................................39 x

Figure 4.1 Sports –all compound words ...........................................................................39 Figure 4.2 ..........................................................................................................................40 Figure 4.3 ..........................................................................................................................40 Figure 4.4 ..........................................................................................................................40 Figure 4.5 ..........................................................................................................................41 Figure 4.6 ..........................................................................................................................41 Figure 4.7 ..........................................................................................................................41 Figure 5.1 Food compound words .....................................................................................42 Figure 5.2 ..........................................................................................................................42 Figure 5.3 ..........................................................................................................................43 Figure 5.4 ..........................................................................................................................43 Figure 5.5 ..........................................................................................................................43 Figure 5.6 ..........................................................................................................................44 Figure 5.7 ..........................................................................................................................44 Figure 6

Caps for sale .....................................................................................................48

Figure 7

Terrible rhythm ................................................................................................48

Figure 8

Australia ...........................................................................................................49

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Chapter I Introduction Music and Literacy Many educators find music is an effective instructional tool. Despite the lack of comprehensive studies, significant research indicates music has a positive effect on mood, memory, literacy and language acquisition for English Language Learners. Many educators are aware of Howard Gardner’s theory of multiple intelligences that suggests intelligence is a range of abilities or intelligences in specific domains. As many educators know, one of the intelligences Gardner identifies is musical. Fleming's model identifies three types of learning styles: visual, auditory and kinesthetic. Often referred to as VAK or VARK where the R refers to read/write. The practice of considering all domains of intelligence, as well as adapting lessons according to different learning styles is widely used in education. Music has the capacity to represent all learning styles as outlined by the Fleming's VAK/VARK model: visual (seeing notation), auditory (hearing pitch), read/write (reading and composing notation), kinesthetic (moving to music). The authors of Linking Music Learning to Reading Instruction make an argument for music; “Discontinuing music programs could deprive students of kinesthetic, aural, oral, visual, and emotional experienced that will ultimately bring written texts to life.” Hanson & Bernstone (2002) identify six specific areas of literacy that are positively impacted by music instruction: phonological awareness, phonemic awareness, sight identification, orthographic awareness, cueing system awareness and fluency. Literacy is thought to develop in a spiral manner, “The term recurrent is used here to suggest a process of language and literacy acquisition that is not linear, but one that 1

loops back to earlier processes (listening, dialogue, reading/writing)…For a child to become language-literate she must be immersed in language” (Burton & Taggart 2011) It seems evident that since learners do not learn in the same manner, many students need multiple representations and repeated exposure to components of literacy, and music is a plausible form of reinforcement. Purpose and Questions The purpose of this thesis is to bridge the gap between scholarly research and practical classroom application, using music to support literacy instruction concerning compound words. These materials can be used by either the classroom teacher or the music specialist. Music in the Classroom While integrating music into the classroom is a somewhat natural process for some teachers, others may find themselves too selfconscious to sing in front of their students believing they “can’t sing”. Musically confident teachers are utilizing music to not only assist students in and out of transitions, but also to teach curriculum. Less confident teachers might avoid the use of music in the classroom, therefore missing a potentially vital opportunity to help their students learn and remember. Finding a way to integrate music in the classroom, especially for teachers feeling insecure with their musical abilities, is a useful and worthy endeavor. Since learners respond to different modalities of learning, it is logical to assume that music will eventually make the job of the teacher easier since the material is presented in a memorable manner. In The Effects of Music, Rhymes and Singing in the Classroom, (Ortis, 2006) Wolfe (2001) describes a melody familiar to most Americans, the ABC’s: 2

A five year old child can typically work with a mere two bits of information on a conscious level. But nearly all Kindergarten kids can recite the ABC song, which has 26 bits of information that have no natural relationship to one another, other than the musical accompaniment” (p.204) While many music and literacy researchers agree that music promotes literacy, there is a gap between scholarly theory and useful classroom tools. This project focuses on approaching this gap by creating new modules that are easy to use and take into consideration the musically insecure classroom teacher. Compound Words and Second Grade in the Common Core Conversations with teachers reveal certain areas of concern for their students, one is compound words. Therefore, the area of focus chosen for this project is compound words. While compound words are currently a first-grade standard in the State of Ohio, they are being transitioned to second grade with the Common Core as indicated in Table 1: Table 1: Common Core Standards Vocabulary Acquisition and Use L.2.4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 2 reading and content, choosing flexibly from an array of strategies. Use sentence-level context as a clue to the meaning of a word or phrase. Determine the meaning of the new word formed when a known prefix is added to a known word (e.g., happy/unhappy, tell/retell). Use a known root word as a clue to the meaning of an unknown word with the same root (e.g., addition, additional). Use knowledge of the meaning of individual words to predict the meaning of compound words (e.g., birdhouse, lighthouse, housefly; bookshelf, notebook, bookmark). Use glossaries and beginning dictionaries, both print and digital, to determine or clarify the meaning of words and phrases. Adapted from www.corestandards.org Table 1 is a portion of the English Language Arts Standards for Grade 2. Listed under Vocabulary Acquisition and Use, the fourth bullet under L.2.4 specifically mentions compound words. 3

While this project is geared towards second grade, it has implications for all elementary students of varying abilities: English Language Learners (ELL), typical learners and children with special needs will benefit from reinforcement of compound words in the form of short musical modules. As cited previously, researchers do not see the process of language and literacy acquisition in a linear manner, but instead learners build upon previous learning, therefore these compound word modules will be useful in multiple grade levels and serve to loop and reinforce literacy. Newly Created Materials As a part of this thesis new teaching materials were created. Five compound word modules are presented as five short PowerPoint Presentations. Each presentation incorporates multiple compound words per presentation making the most of use out of instructional time. Each presentation contains the new lyrics for students to read along. The modules make use of piggyback songs. Piggyback songs are well-known melodies (song in our cultural aural vernacular) set to new words. Well-known songs will be easier for classroom teacher to use immediately since most educators in America know to melody to songs such as Mary Had A Little Lamb. In addition to compound word modules, this project also includes an index of folk songs that contain compound words for music teachers or classroom teachers. It has long been held that high-quality folk songs are one of the best tools music educators have available in the general music classroom for primary grades. While classroom teachers may find piggyback songs are more easily accessible to their musical abilities, the music teacher and musically confident classroom teachers will have an opportunity to teach cross-curricular lessons with folk songs containing compound words. 4

The Common Core states an expectation for all teachers in their respective schools to share the responsibility of literacy, specifically: “These goals can be achieved by ensuring that teachers in other disciplines are also focusing on reading and writing to build knowledge within their subject areas.” Music educators are on firm ground to assist classroom teachers with these Common Core goals in English Language Arts (ELL) since research supports the idea that music promotes literacy. In reality, it only takes a few minutes in the general music classroom to display the text of a traditional folk song and, in this case, ask students to identify the compound word(s). This regular practice of displaying and reading the text, increasing fluency and highlighting various aspects of grammar, will certainly satisfy the new requirements of Common Core without demeaning the integrity of musical study. Procedures In creating and locating materials for Compound Words and Music, various resources were consulted to select the compound words and to locate known songs that already use compound words. This study focuses exclusively on closed compound words. Selection of Compound Words There are three forms of compound words: hyphenated, open and closed. A hyphenated compound is also sometimes called a unit modifier. A succinct and understandable definition of hyphenated compound words is found in The United States government’s Minerals Management Service Style Guide (1995): The hyphen is a mark of punctuation that not only unites but separates the component words; thus, it aids understanding and readability and ensures correct pronunciation. Words are hyphenated mainly to express the idea of a unit and to avoid ambiguity.

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Many compound adjectives are regularly hyphenated (such as accident-prone) but if the adjective uses the adverb well in its formation (well-behaved), the compound adjective is only hyphenated if it follows the noun in a sentence (Oxford Dictionaries Online, 2012) as illustrated in Table 2: Table 2: Hyphenated Compound Words Incorrect He is a well known man

Correct He is a well-known man. (A compound modifier before the noun) Their children are well behaved. (The modifier follows the noun, no hyphen.)

Their children are well-behaved. Adapted from http://oxforddictionaries.com

Table 2 contains sentences that illustrate correct and incorrect use of hyphenated and non-hyphenated adjectives. In the first sentence well known is incorrect because it comes before the noun man. In this case the sentence should read “…well-known man”. In the second sentence, well-behaved is incorrect because it comes after the noun children. This sentence should read “…children are well-behaved”. Some compound words in the hyphenated form are constantly changing because as usage increases the hyphen is dropped; such as key-board switching to keyboard. Some of the regularly used compound words still have two acceptable forms such as bumblebee and bumble bee. This tends to have the potential to confuse even the individual who holds English as their first language, let alone either those learning English as a second language or emergent readers and spellers. Indeed, The United States government’s Minerals Management Service Style Guide (1995) states, “Compounding is in such a state of flux that dictionaries do not always agree…” An open compound is two words; such as ice and cream, spelled unconnected to mean something new: ice cream. As stated earlier, some words in hyphenated or open 6

form, eventually evolve into the last type of compound: closed form. “The use of compounding in our language is an evolving process. As expressions become more popular or adopt special meanings, they follow a gradual evolution from two or more separate or hyphenated words to single words.” United States Minerals Management Service Style Guide (1995). Table 3 is an excerpt from The United States Minerals Management Service Style Guide that outlines several compound word evolutions: Table 3: Evolved Compound Words audio visual

audio-visual

audiovisual

copy editor

copy-editor

copyeditor

wild life

wildlife

wildlife

Adapted from: United States Minerals Management Service Style Guide (1995) As indicated above, many open compound words in American English have emerged as closed compound words over time. The word audio visual, for example, started as an open compound word and eventually morphed to a hyphenated compound word and is now also acceptable as a closed compound word. The solid or closed form of compound words are two words that are combined into a single word usually having a separate meaning from he original root words such as fire and fly combining to form firefly. Given the variable and confusing nature of open and hyphenated compound words, this project has been delimitated to include only the closed form of compound words in order to avoid confusion for the emergent reader. Only compound words that are in the regular experience of a typical child in this day and age were chosen. An emphasis on vocabulary related to real-life experience and

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background knowledge is important since previous experience is one way children scaffold learning: Scaffolding must begin from what is near to the student's experience and build to what is further from their experience. Likewise, at the beginning of a new task, the scaffolding should be concrete, external, and visible. Vygotskian theory shows that learning proceeds from the concrete to the abstract. (Wilhelm, Baker, & Dube, 2001 as cited by www.myread.org/scaffolding.htm) In the children’s rhyme Simple Simon the compound word pieman is present. However, a student in 2012 probably does not have much experience with a pieman. In addition, proper names that contain two root words, such as Redman were not included. Method of Research and Sources Using the master index from several music curricula, (Making Music, 1999, 2002; Share the Music, 2000; and The Music Connection, 1999) a list of songs and speech pieces for music and classroom teachers that contain compound words was compiled. Other method and folksong books such as The Kodaly Method I (Choksy, 1999) were combed for quality folk songs. Also used were resources from the personal collection of Dr. Pamela Stover, Early Childhood Education expert at The University of Toledo. Informal discussions of teaching compound words with a cross-section of Primary teachers proved useful. One teacher in particular, Marion Jaeck of Holland Elementary (Springfield School District of Northwest Ohio), was especially helpful in referring me to the website www.learningdifferences.com for an extensive list of compound words listed in Appendix C. A variety of online resources such as the Utah State Office of Education (USOE) were also helpful. The USOE website has a Fine Arts-Music section containing an Elementary Songbook, PDF files of sheet music, as well as accompaniment tracks with or 8

without voices. Materials were also collected from The American Folksong Collection at Holy Names University, an online resource of the Kodaly Center for Music Education in Oakland, CA. The website www.YouTube.com also proved a useful avenue for finding song material readily available for classroom teachers. Another rich resource of folk songs is The Folk Song Index created by Oberlin college library and a non-profit organization called Sing Out! This resource is worth noting as it is incredibly massive, listing over 62,000 international and American folk songs. These resources are among those listed in Appendix B, Resources for educators. Design Conversations with primary grade educators revealed a chronic lack of time to cover all of the concepts they are required to teach. Given this, the estimated time the educators agreed they could spend on compound words on a given day was less than fifteen minutes. Often, the concept of compound words itself would be touched upon only once or twice, and repeat exposure to these words would tend to occur naturally as they experience reading different texts. Another focus of concern within the design of this project is the musical ability and confidence of the non-musical classroom teacher. Many teachers indicated that they were much more likely to try a melody that is familiar. Piggyback songs offer this familiarity. Piggyback songs are not always ideal in the eyes of some music education professionals for valid reasons. There are concerns that students may think that the piggyback song is the original version, however, it may prove better to build upon classroom teachers’ areas of strength rather than dismiss small beginnings. Therefore, five new piggyback songs containing compound words were created. 9

Since time constraints in the classroom are a factor, the new piggyback songs contain more than one compound word. Compound words within each song are organized by either a word family or theme. Each song has a short PowerPoint presentation. The photographs were chosen for their engaging quality and visual appeal. A strong color theme is evident as visual learners often respond positively to color. Teachers looking for traditional songs will find an index of folk songs containing compound words organized alphabetically in Appendix A. A sample of the folk song index is shown in Table 4. Table 4: Sample of Folk Songs Index Song Title A, B, C Ah! The Pretty Butterflies Ain’t Gonna Let Nobody Turn Me ‘Round Alexander’s Ragtime and All Around the Buttercup All Around the Brickyard

120 SG: HNU: HS: K.I: MIP: SA:

120 SG

HNU

HS

K.I

MIP

SA

x

x x

x

x

120 Singing games and dances for elementary schools Website: The American Folksong Collection at Holy Names University Heritage songster The Kodály method I: Comprehensive music education Music in preschool Sail away: 155 American folk songs to sing, read and play

Note that each song in the folk song index has its own row. The columns have a code corresponding to the various resources listed below, such as Heritage Songster or Sail Away, where the song can be found.

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Teachers will be able to utilize these songs in a way that best supports his or her classroom. In using these song, it is recommended that quick and efficient procedures such as simply displaying the text somewhere in the room, asking students to point out the compound word in the sheet music, clap the rhythm of the compound word or even creating a word wall of compound words in the classroom. This introduction has laid the groundwork for this thesis. The next chapter explores the research supporting the new teaching materials and song index.

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Chapter 2 Literature Review—Past and Current Overviews This chapter begins with an overview of the newly instated Common Core Standards. It is followed by a traditional literature review on connections between literacy and music: phonological, phonemic and orthographic awareness. This is followed by a section on musical experiences and children and the recurrent nature of literacy. The concluding section includes research on compound words and the challenges they present. Common Core Currently, the Common Core State Standards have been adopted by all but five states in The United States (Texas, Alaska, Nebraska, Virginia and Minnesota). By 2014, current state assessments will be replaced by a test based on the Common Core Standards. The Mission Statement of Common Core: “The Common Core State Standards provide a consistent, clear understanding of what students are expected to learn, so teachers and parents know what they need to do to help them. The standards are designed to be robust and relevant to the real world, reflecting the knowledge and skills that our young people need for success in college and careers. With American students fully prepared for the future, our communities will be best positioned to compete successfully in the global economy.” Mission Statement of Common Core State Initiative Common Core also states all teachers in their respective school will become somewhat responsible for the literacy of students in their respective schools: “These goals can be achieved by ensuring that teachers in other disciplines are also focusing on reading and writing to build knowledge within their subject areas.” Fortunately, music educators are on firm ground, ready to assist classroom teachers with Common Core goals in ELA, since research supports the idea that music promotes literacy.

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A primary goal of Common Core is school consistency across all 50 states. Children living in Pennsylvania will, ideally, get the same education as children living in Nevada. This serves our mobile society, as well as allows states accurate comparisons of student achievement. In addition to creating consistency, Common Core requires students to learn topics with more depth. A further goal of the Common Core is to prepare students for the rigors of college and work force. One aspect of this preparation is the focus on informational text as opposed to fiction works such as classic novels or a Shakespearean play. While it is a myth that all fictional literature will be eliminated, certainly the balance of informational texts will increase heavily in all content areas, while classic literature and other fictional texts will see a decline. Common Core Concerns As educators know, not all students learn at the same pace or in the same way. While the intentions of the Common Core seem laudable, anecdotal information indicates the mood among many educators seems cautious. Perspectives opposing Common Core raise important questions about differentiated learning and the new de-emphasis of fictional literature. Susan Ohanian, a teacher and author of the book One size fits few: The folly of educational standards (1999), opposes No Child Left Behind, Race to the Top and the Common Core. On December 7th, 2011, the blog site Learning Matters asked several respected educators to weigh in on the question: “Are Common Core standards good or bad for education?” Ohanian’s statement on Learning Matters vividly describes her perspective: “Here’s a central problem: despite all the money and policing that goes into this, the poverty rate of children attending most urban and many rural schools exceeds 50 percent — and that remains the elephant in the room. The fact that so many of our children live in poverty, not teacher incompetence or a dearth of rigorous texts, is what should concern us. If the Standardistos weren’t so intent on downgrading the very idea that fiction teaches important lessons, they might heed 13

Alice Walker’s observation: The most important question in the world is, “Why is the child crying?” Back during a different education crisis, I received an emergency credential to teach English in a New York City high school larger than my hometown. When one of my students refused to read the assigned text, I panicked and ran to my department chair. He gave me the best pedagogical advice I ever received: “Then find a book he will read.” Later, when I taught 8th grade, 15-year-old Keith was astounded to read his first book ever. “I read it, Miz O. I really read it. Honest. Listen, I’ll read it again.” Keith’s reading of Hop on Pop is one of the triumphs of my career. Funny thing: My principal hadn’t understood my determination to subscribe to the Dr. Seuss book club. And today’s CCSS fundamentalists would term Keith’s experience as my failure to supply the “substantial supports and accommodations” to give him “access to rigorous academic content” such as Little Women, “Paul Revere’s Ride,” and Travels with Charley.” While the Common Core explicitly explains fictional works are not eliminated but they are merely shifted in a way to accommodate the emphasis on informational texts; there is an unfortunate, perhaps unintentional backhanded refutation of the benefits of fictional works. In reality, there is a strong possibility that many teachers will almost completely abandon fictional works in favor of informational texts so students will perform well on state tests. As previously mentioned, the Common Core also states broad, far-reaching expectation that all teachers in their respective schools will become somewhat responsible for the literacy of all students: “These goals can be achieved by ensuring that teachers in other disciplines are also focusing on reading and writing to build knowledge within their subject areas.” Fortunately, music represents another modality for learning concepts introduced in the regular classroom. Since some form of music is experienced by almost all students despite abilities, race and socioeconomic status, music has the ability to “reach” students where they are. “A cross-over curriculum helps bridge the gap 14

between the familiar and the unfamiliar in the minds of struggling students, as well as multicultural students, who need to be able to anchor their thoughts and ideas on familiar objects.” (Peter-Fiorito, 2008) With some planning, music teachers will easily find opportunities to reach the Common Core goals in English Language Arts especially since research supports the idea that music promotes literacy. Literature Review on Music and Literacy Research has found connections between music instruction and literacy. Since the goal to improve test scores are so important, it is significant to note that music training alone actually boosted reading test scores in the study Nonmusical effects of the Kodály music curriculum in primary grade children. In this study researchers tested a hypothesis on the relationship between musical training focused on sequencing tasks and academic performance on reading tests. At the conclusion of this study, students who received Kodály training increased academic performance in reading. (Hurwitz, Wolff, Bortnick & Kokas, 1975). A more recent study focused on word recognition. Fetzer (1994) tested the effects of a music program on word recognition in Kindergarteners. One group received music instruction concentrated on learning traditional songs, while the second group received no musical instruction. After 20 weeks, test results showed students with music instruction scored higher on tests measuring early reading ability. (Bolduc, 2008). Phonological awareness is the ability to distinguish all units of sound. An example of this is the ability children develop to rhyme words and to break words into syllables. Phonological awareness is enhanced in the music classroom when children echo rhythmic and sound patterns. (Hansen & Bernstore, 2002)

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Victoria Williamson is a Music Psychologist from the UK. Williamson has studied the fascinating topic related to music and the brain such as the effects of background music on video game performance, amusia (problems with music processing, either acquired or congenital) and earworms (a piece of music that get’s stuck in one’s brain and seems to repeat). Dr. Williamson believes music training is a viable intervention for poor readers; “…it seems music training strengthens a basic brain mechanism that may contribute to the understanding of language” (Williamson, 2011) Williamson cites the work of Nina Kraus and explains research on activity in the brainstem: Professor Kraus is a world expert in the study of activity in the brainstem, the ‘gateway to the brain’. She has carved out a niche studying auditory brain stem responses (ABRs) to speech and non-speech (including musical) sounds. What is an ABR? When presented with sound the brain stem responds by producing an electrical signal that maintains the characteristics of the stimulus sound wave. In Nina’s words: “Timing, pitch and timbre are the basic information-bearing elements in music and speech. The auditory brainstem response represents a faithful reconstruction of these features and can be recorded in a non-invasive manner in human participants” In measuring the ABR (which you can do even if people are sleeping!), Professor Kraus’ research group have shown systematic, reliable differences between two populations compared to the normal listener: 1) Trained musicians (who are still active and play at least 2-3 times a week) and 2) Children with language difficulties (including dyslexia, SLI and, by extension, APD). Musicians show enhanced neural coding of sound waves as measured by ABR, reproducing a larger and more accurate representation than normal listeners. They even show a kind of hyper specialisation, with new findings soon to be published showing that a musician’s most faithful ABR comes when they hear their own instrument. In addition, we know that musicians often demonstrate better cognitive skills that relate to reading such as phonemic awareness and auditory working memory.

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Poor readers by contrast, who typically have lower phonemic awareness and auditory working memory, show slower ABR responses. Their ABRs have good representation of the basic attributes of sound waves (i.e. the fundamental frequency) but poor representation of the more complex elements (i.e. the harmonics). These complex parts of the wave are more important for disambiguating sounds like consonants in spoken language. So, if you put the two together, it seems music training strengthens a basic brain mechanism that may contribute to the understanding of language (it being impaired in those with poor reading/language skills). These findings will pave the way for music interventions to be developed that will hopefully help poor readers develop their skills – and provide another reason why music education should not be lost from the National Curriculum. (Williamson, 2011) Phonemic awareness is another decoding tool essential for beginning readers. Phonemic awareness differs from phonological awareness in that the units of sound are smaller. Skill is achieved in this arena when the reader has the ability to manipulate these sounds. It is the ability to “sound out” a word, breaking it apart into the smallest possible units; saying dog in three distinct sounds (or phonemes) /d/- /o/- /g/. (Hansen & Bernstore, 2002) Gromko (2005) studied the question if music instruction, specifically analyzing song structure, would lead to the pattern recognition, word segmentation and phonemic awareness. In this study four kindergarten classes participated in weekly 30minute music classes, while four other kindergarten classes received no music instruction. Test results indicated participants in Gromko’s music treatment showed significant gains in phonemic awareness compared to the group with no music instruction. Gromko also concluded that the music instruction developed auditory abilities in participants. The developed auditory skills helped student distinguish phonemes. (Bolduc, 2008) It seems reasonable to assert that music can, in the case of

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compound words, help parse out the parts of the word by increasing phonological and phonemic awareness. Orthographic awareness is the knowledge that symbols represent the spoken language. It is the ability to recognize certain patterns, including spelling patterns and familiar parts of words. Music also has its own written language, with patterns and rules as well. Working in both areas fosters the knowledge that symbols have meaning: A child who can hear and see patterns in words and sounds (sound-symbol relationship) in music or in the language arts is able to interpret the message that is being communicated. Both language arts and art education can use the modalities of listening, speaking, reading, writing, viewing, and visually representing for instruction. (Peter-Fiorito, 2008) Orthographic Awareness also involves the knowledge of sound letter relationships and determines how we handle new words. Realizing that sounds can be manipulated, within certain guidelines is applicable to spelling and musical compositions. (Hansen & Bernstore, 2002) Musical experiences and children In addition to increasing the potential for retention, many educators would agree with the assertion that music in the classroom increases enjoyment. Educational psychology frequently refers to Lev Vygotsky’s sociocultural theory of development states that we learn through “social interactions and language, embedded within a cultural context” (Eggen & Kauchak, 2009). Additionally, cognitive views on learning echo that learners construct knowledge based on their experiences (Eggen, et al. 2009). Piaget believed children constructed their own knowledge, often through play. Musical experiences and musical play appear in a variety of ways during the life of a child. Music is used in an affective manner, as part of routine, as entertainment, and often music is 18

used during play. Harnessing what is already present in the life of a child; educators have the opportunity to build upon previous learning. Teachers should be serious about integrating music into their language curricula because of its potential to activate children’s prior knowledge and promote thinking. When children are exposed to music and its connections with language and literacy early in life, teachers can identify or create their ZDP and scaffold their listening, oral and written language. (Salmon, 2010) Research does support, in many instances, that exposure to music and music instruction boosts intellectual performance. Once relegated to a “right brain” endeavor, now it is believed that “Music is both a right-[sic] and left-brain function.” (Choksy, 1991). While some studies indicate the immediate effects of music instruction are temporary, many elementary and secondary classroom teachers continue to use music in the classroom. This is a good thing since, as Salmon states; “Music is a meta-cognitive tool that scaffolds children’s language and literacy development.’ (Salmon, 2010) Recurrent Process Music and musical play can also reinforce content by repetition. Song picture books “support emergent literacy by: ...providing repetition and predictability, expanding vocabulary…fostering creative expression and language play.” (Jalongo & Ribblett, 1997, p. 15-22) Suzanne Burton did a study where she used the literacy model for promoting music literacy. Burton did a three-year case study on one student, Joey, from her early childhood music class. In this study Burton “acted from a social constructivist (Vygotsky, 1978) orientation, taking the role of facilitator and guide” (Burton & Taggart 2011). Burton found that Joey developed musically in a recurrent manner; “…for Joey, music literacy development was a recurrent process, much like language literacy.” (Burton &

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Taggart 2011). The transferability of these findings is an intriguing possibility and worthy of study. Many teachers in various content areas use music to increase memory—almost as a mnemonic device at times. As stated earlier, the ABC song is an example of a melody ingrained in many elementary students memory as a method of recalling “26 bits of information that have no natural relationship to one another”. (Wolfe, 2001; Ortis 2006). Educators and parents can do an internet search and unearth a multitude of resources for learning content for many subjects. For example, on www.YouTube.com one can find videos of the song Fifty Nifty States. The website www.songsforteaching.com contains songs and raps about everything from math facts to character development. Research infers and anecdotal experiences seem to confirm that students who experience repetition in an enjoyable format remember and learn content. Compound Word Challenges As previously stated, there are three forms of compound words: hyphenated, open and closed. Open compound words do not present the same issues for decoding that closed compound words do. The space in between the words allow students to easily see the two words, while the closed form can look like an endless “big word” to beginning readers. Given the confusion and disagreement of the correct spelling of a number of hyphenated words, they were not included in the project. Aside from visual and spelling logistics, comprehension is also a concern when it comes to compound words. Compound Word Research There are relatively few studies on first grade students and compound words. One of the most well-known studies is one done in 1958 by Jean Berko Gleason, a psycholinguist from Boston University. The focus of her study 20

centered on the way children acquire grammatical comprehension. In linguistics, the term morphology refers to the study of word structure. Gleason’s study is famous for “The Wug Test”. Gleason showed a cartoon like drawing of a bird to children and called it a “Wug”. She then showed them two of the creatures and said, “Now there are two___”. The test asked the child to respond with the plural of “Wug”. With this test and other measures, she discovered that children learn language by identifying patterns, not simply imitation. Gleason also addressed compound words in her study. She questioned a small sample of adults, and a large sample of children ages four to seven and a half. She asked participants why they thought the following words were named the way they were: afternoon, airplane, birthday, breakfast, blackboard, fireplace, football, handkerchief, holiday, merry-go-round, newspaper, sunshine, Thanksgiving and Friday. No pictures were used during compound word questioning. The central question Gleason (1958) wanted answered was whether or not children were “aware of the separate morphemes in compound words”. Gleason reports the subjects responded in one of four ways: Identity—“a blackboard is called a blackboard because it is a blackboard”, Function or feature—“a blackboard is called a blackboard because you write on it”, Feature coinciding with name—“a blackboard is called a blackboard because it is black”, and Etymological explanation (given mainly by adults)—“takes into account both parts of the word, and is not necessarily connected with some salient or functional feature Thanksgiving is called Thanksgiving because the pilgrims gave thanks.” (Gleason, 1958). Although a few children did give etymological explanations, most of the children had what she called “private meanings” for many of the compound words. She states, “These 21

meanings may be unrelated to the word’s history, and unshared by other speakers… Examples of this…‘An airplane is called airplane because it is a plain thing that goes in the air.’ ” (Gleason, 1958) This portion of Gleason’s study revealed children were not always aware of the separate elements of compound words. While some children did notice the separate elements, they often assigned meaning to these parts that were more personal and often inaccurate. While being interviewed, several adults admitted assigning personal meaning to some of the morphemes as children, however these meaning evolved later in life. (Gleason, 1958) Decoding Difficulties While identifying compound words is difficult for beginning readers, identification and decoding compound words is also a difficult task for more experienced readers with learning disabilities. In A Synthesis of Morphology Interventions and Effects on Reading Outcomes for Students in Grades K–12 Reed (2008) describes decoding and inflection issues associated with compound words: Knowledge of compound words also tends to develop earlier for most children (Anglin et al., 1993). As with inflections, students who struggle with reading continue to have difficulties identifying compound words into the midelementary grades (Nagy et al., 2003). This is particularly true with low-frequency compounds or those that involve phonological shifts. (Reed, 2008) Individuals learning English as a second language also have a difficult time learning how to decode compound words. It takes experience and multiple exposures to compound words in order to understand common patterns. Experience can include musical experiences. In fact, In Processing English Compounds in the First and Second Language: The Influence of the Middle Morpheme the author confirms experience is what makes the difference “…the key is learning about these different patterns, which takes time.” (Murphy, V. A., & Hayes, J., 2010) Aside from decoding issues, the flexible and 22

ever-changing nature of compound words is a potential source of confusion for ELL students. “The complexity of compounds lies in their remarkable flexibility, which allows for the free creation of new combinations out of two existing words.” (Jullian, 2002) Additionally, ELL students may possibly not have a comparable device in their mother tongue: Compounds are capable of condensing large messages in few words by fusing two items into just one lexical unit, as in: ice-box = a box which keeps the ice (without melting);… the fact that many languages do not make use of this word-saving process often creates a major problem for EFL learners who are unfamiliar with this device in their L1. (Jullian, 2002) Chapter two gave an overview of the current climate with the institution of the Common Core Standards and provided a traditional literature review on connections between literacy and music, musical experiences of children, compound word research and challenges. The following chapter explores resources currently available for classroom teachers.

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Chapter 3 Available Resources This chapter discusses songs dealing with compound words. These songs are readily available for educators to utilize. The first category is songs composed to teach about compound words. The second category is high-quality folk songs that contain compound words. Songs for Teaching Compound Words There are a multitude of worksheets and activities aimed at giving children practice with compound words. However, only a few resources use music. The quality of these materials varies. Some may find the music trite, however, it may be easily accessible for busy teachers. Dr. Jean Feldman is an Early Childhood Educator with an extensive background spanning forty years. One area of expertise is creating piggyback songs to teach content in various subjects. For compound words, Dr. Jean created a piggyback song called the Compound Boogie: The Compound Boogie (Tune: Ballin’ the Jack) Take the word “rain” and the word “coat”. Put them together and get “raincoat”. Take the word “dog” and the word “house”. Put them together and get “doghouse”… The compound boogie is easy to do. You make one word out of two! And now you can join in the fun. I'll say two words and you make them one. This song has an accompanying video on www.YouTube.com. In addition, several teachers have shared online their PowerPoint presentations they have created to accompany this Dr. Jean song. 24

The website www.songsforteaching.com has a several songs for teaching compound words. One is called The Compound Word Whiz with Miss Jenny: I’m the Compound word whiz. Listen to what I’ve heard. Put two words together to make a compound word. Sun and shine make sunshine, Rain and bow make rainbow, Sun and flower make sunflower. Two words together make a compound word… This website also has a compound word song called Have You Heard About Compound Words? by Jack Hartmann. This song is in the style of a rap song: Take two words and make them one, what do you get?–a compound word Take two words and make them one, what do you get?–a compound word Take the word base and take the word ball–put them together And what do you get?–You get: baseball Take the word sun and take the word shine–put them together And what do you get?–You get: sunshine Take the word play and take the word ground–put them together And what do you get?–You get: playground Take the word fire and take the word house–put them together And what do you get?—firehouse Take the word snow and take the word man–put them together And what do you get?—You get: snowman Take the word sail and take the word boat–put them together And what do you get?–You get: sailboat Take the word foot and take the word ball–put them together And what do you get?–You get: football Take the word barn and take the word yard–put them together And what do you get?—You get: barnyard Also available on this website are these two songs from the CD Little Ears: 27 Songs For Reading Readiness. The two songs are The Syllable Song and Starfish by Fran Avni: The Syllable Song Put two parts together, Get a word that's new. Let's put together syllables To see what we can do. 25

Milk and shake make milkshake What a tasty treat. Cup and cakes make cupcakes. They're such fun to eat. Cakes are baking; milk is shaking Cup is filling; milk is spilling. Corn and flakes make cornflakes Cocoa’s in the cup Pan and cakes make pancakes, Breakfast coming up. Pancakes frying, pancakes flipping, Pancakes flying, syrup dripping. Starfish There’s a starfish hidden under my bed, Starfish (clap, clap) starfish (clap, clap) Someone took the star, what's left instead? Someone took the star, what's left instead? It’s just a fish (clap, clap), a fish (clap, clap). There’s a cowboy hidden under my bed Cowboy (clap, clap) cowboy (clap, clap) Someone took the boy, what's left instead? Someone took the boy, what's left instead? It’s just a cow, (clap, clap) a cow. There’s a toothbrush hidden under my bed... Someone took the tooth, what's left instead? Someone took the tooth, what's left instead? It’s just a brush, (clap, clap) a brush. There’s a football hidden under my bed... Someone took the foot, what’s left instead? Someone took the foot, what’s left instead? It’s just a ball, (clap, clap) a ball. There’s a doorbell hidden under my bed... Someone took the door, what's left instead? Someone took the door, what's left instead? It’s just a _______, a _______.

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While these offerings are serviceable, they are not particularly diverse. Many compound words are covered repeatedly by these songs. Also, these songs are not classified into themes or word families for ease of teaching compound words. While these offerings may be useful in the general classroom, the music educator may find the selections musically thin. Songs containing Compound Words The possible solution for the music educator wanting more than newly composed songs to teach compound words is a list of quality folk songs and chants with embedded compound words. These songs and chants are classic, pedagogically sound and part of our cultural heritage. One chant easily adaptable for a lesson on compound words is the clapping game Double, double this this: Double double this this, Double double that that, Double this, double that, Double double this that. With this chant, teachers can insert the compound words they want to teach. Also, students can take turns adding their own compound words to the chant creating new verses. One example is the word doghouse: Double double dog dog Double double house house, Double dog, double house, Music teachers have access to a large number of folk songs containing compound words. Starlight Star Bright is one example: Starlight, Star Bright First star I see tonight, Wish I may, wish I might, Have the wish I wish tonight. 27

Starlight, Star Bright is an appropriate song for younger students working on sol-mi melodies. Displaying the lyrics in the classroom, teachers can point out the compound words starlight and tonight as well as discuss rhyming root words light, bright, night, and might. Tapping the rhythm of the multi-syllabic words will also help students identify rhyming and compound words. There is more than one version to the song Skip to my Lou and each version contains several compound words: First Version: Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip to my Lou, my darlin’. Fly’s in the buttermilk, Shoo, fly, shoo, Fly’s in the buttermilk, Shoo, fly, shoo, Fly’s in the buttermilk, Shoo, fly, shoo, Skip to my Lou, my darlin’. Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip to my Lou, my darlin’. Cows in the cornfield, what’ll I do? Cows in the cornfield, what’ll I do? Cows in the cornfield, what’ll I do? Skip to my Lou, my darlin’. Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip to my Lou, my darlin’. There's a little red wagon, Paint it blue 28

There's a little red wagon, Paint it blue There's a little red wagon, Paint it blue. Skip to my Lou, my darlin’. Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip to my Lou, my darlin’. Second Version: Lost my partner, what’ll I do? Lost my partner, what’ll I do? Lost my partner, what’ll I do? Skip to my Lou, my darlin’. Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip to my Lou, my darlin’. I’ll get another one Prettier than you, I’ll get another one Prettier than you, I’ll get another one Prettier than you, Skip to my Lou, my darlin’ Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, Skip to my Lou, my darlin’. Can’t get a red bird, Jaybird’ll do, Can't get a red bird, Jaybird’ll do, Can't get a red bird, Jaybird’ll do, Skip to my Lou, my darlin’. Skip, skip, skip to my Lou, Skip, skip, skip to my Lou, 29

Skip, skip, skip to my Lou, Skip to my Lou, my darlin’. Aside from identifying compound words, another activity conducive to this song is the composition of new verses. Teachers could potentially have elementary students add new compound words to verses of the song such as: “Birds in the Birdhouse, Skip to My Lou” or “Going to the railroad, Skip to my Lou”. Creatively playing with Skip to My Lou and other folk songs activate a higher order of thinking and can invite playfulness and creativity into the classroom. Finding a list of folk songs with compound words is not readily available on the internet or in print sources. However, during the compilation of this index the research yielded a large number of songs using compound words. The task was time consuming but not insurmountable. Methodically collected from multiple sources, the index in Appendix A has 282 folk songs and speech pieces with compound words. These pieces are high quality and easily accessible for educators since most of them are classics. These pieces are also malleable to the needs of the classroom, usually covering more than one aspect of literacy and musical skill. This chapter explored resources that are already available to educators. There are two types of song options for teaching compound words—songs designed specifically to teach compound words and high-quality folk songs compound words embedded. For the music educator, folk songs are an especially rich resource for grammar and musical integrity. The next chapter shares newly created materials for the classroom.

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Chapter Four Classroom Solutions As previously stated, conversations with primary grade educators revealed the estimated time they believed they could spend on compound words is less than fifteen minutes per day. Since many classroom teachers are more likely to attempt a piggyback song, these modules are based on well-known melodies. While creating lyrics, care was taken to avoid long confusing melissmas. In singing, a melissma is two or more notes sung on a single syllable or monosyllabic word. Young students and inexperienced singers perform better with one note per monosyllabic word or syllable. In addition, natural word stress was taken into consideration. Multiple compound words are grouped in a word family, such as –ay, or a theme familiar to primary students. Photographs and bold color schemes were chosen for visual learners. Nature Compound Words This module is set to the tune of London Bridge is Falling Down and the theme is nature: Figure 1.1:

Nature Compound Words To the tune of “London Bridge is Falling Down”

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Figure 1.2:

Butterfly and firefly,

Figure 1.3:

Like to go, in the sky.

Figure 1.4:

Bluefish, whitefish, starfish

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Figure 1.5:

At the seashore.

Figure 1.6:

Grasshoppers and rattlesnakes

Figure 1.7:

Do not play patty cake!

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Figure 1.8:

Sunlight finds a small rainstorm

Figure 1.9:

And I get rainbows!

Word Family -ay Compound Words Grouping words into word families is a common practice of elementary educators. The –ay word family has a variety of compound words, such as bluejay and birthday. This module uses –ay words and is set to the tune of Mary Had A Little Lamb:

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Figure 2.1:

-ay compound words To the tune of “Mary Had a Little Lamb”

Figure 2.2:

Bluejay, bluejay everyday

Figure 2.3:

Thataway, your pathway,

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Figure 2.4:

Their birthday is not today, but

Figure 2.5:

You should fly back home

Times of Day Compound Words This lesson is set to the tune of Frere Jacques. The times of day PowerPoint has a total of eight compound words, including sunshine, sunflower, and moonbeam.

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Figure 3.1:

Times of day compound words To the tune of “Frere Jacques”

Figure 3.2:

Daylight, sunshine

Figure 3.3:

Sunset, moonbeam

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Figure 3.4:

Good, goodnight! Sunflower!

Figure 3.5:

Bumblebees will greet you,

Figure 3.6:

When the daybreak happens

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Figure 3.7:

I will too! I will too!

Sports –all Compound Words This module is based on the –all word family and has a sports theme. Boys and girls alike relate to sports and the words used are basketball, dodgeball and football. The lyrics are set to the tune of Three Blind Mice: Figure 4.1:

Sports –all compound words To the tune of “Three Blind Mice”

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Figure 4.2:

I will play basketball,

Figure 4.3:

Softball games, football too

Figure 4.4:

I will even try dodgeball,

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Figure 4.5:

In a very big snowfall,

Figure 4.6:

But I won’t do a cannonball

Figure 4.7:

At the North Pole!

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Food Compound Words This module is set to the tune of Baa, Baa Black Sheep and could easily be incorporated into a health and wellness unit. Many foods are compound words, such as strawberry, blueberry and honeydew:

Figure 5.1:

Food compound words To the tune of “Baa, Baa Black Sheep”

Figure 5.2: Supermarket, Supermarket, have you any food?

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Figure 5.3:

Pancake, cupcake, popcorn too

Figure 5.4:

I like cheeseburgers, honeydew

Figure 5.5:

Blackberry, blueberry, strawberry too

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Figure 5.6:

Hurry to my tabletop this afternoon,

Figure 5.7:

I will share my cheesecake with you!

In this chapter original PowerPoint presentations were created for quick and effective presentation of compound words using familiar tunes. The next chapter will highlight further resources available including the new index of folk songs containing compound words. In addition, further areas worthy of study and addition classroom application different content areas are addressed.

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Chapter 5 Conclusions In conclusion, there many resources and applications available to classroom and music teachers to teach not only compound word, but to promote literacy across the curriculum. Teachers will find an index of folk songs and speech pieces, internet resources and lists of compound words in the Appendices. This chapter concludes with ideas for further application of using music to teach across the curriculum to support the goals of the Common Core. Appendix Resources The Appendix A contains an index of folk songs and speech pieces embedded with compound words. For music specialists, the use of high-quality folk songs is imperative to maintaining music content integrity while simultaneously reinforcing literacy. Fourteen different sources including master indexes of several popular elementary general music curriculums were examined for lyrics containing compound words. In the end, 282 folk songs and speech pieces appropriate for the music classroom were discovered. Many of the songs appeared in multiple resources. Since usefulness is the most important aspect of this information, it was necessary to create a table indicated what source each song appears. Appendix B lists further resources available for educators. These sources are applicable for any elementary teacher and include the websites used and discovered over the course of this project. The internet is obviously tremendously useful, and this generation is inundated with more information than one can possibly need. However, the one caveat is that one must make an effort to find quality information and material. A few 45

quality sources are highlighted here. A new website exploding on the scene during the writing of this project is Pinterest.com. This website is dedicated to creating virtual bulletin boards of varies personal interests such as Hollywood celebrities to home decorating. Pinterest.com is starting to become a wealth of information for educators. Classroom organization, behavior plans and art projects are plentiful. The culture of education is that teachers share ideas that work and those shared ideas become adapted by new teachers. The possibilities for music education and interdisciplinary lessons are exciting and this is an area to watch. Another resource for music educators is www.YouTube.com. While some school districts block www.YouTube.com, in the hands of skilled and responsible teachers, this website provides visual and aural examples in many content areas. Many great music performances are preserved on film, such as The Beatles on The Ed Sullivan Show or Judy Garland and a young Barbara Streisand singing the duet Happy Days Are Here Again/Get Happy from the early 1960’s. Many of these performances are not something one can talk about, they have to be seen. Finally, the website www.learningdifferences.com has a comprehensive list of compound words that is included as Appendix C. Literacy Projects in the Music Classroom to support the Common Core Music teachers need to look for opportunities in folk song literature to not only highlight one specific area of grammar, but also literacy in a broad sense as required by the Common Core. A very effective program available for use with K-6 students is a program called Mallet Madness by Artie Almeida (2007). In one Mallet Madness lesson, the teacher reads a well-known children’s book, Caps for sale to the class. This lesson is 46

effective with third through fifth graders. After the reading the story aloud, everyone learns a four-measure song. After singing the short song and analyzing the music displayed on the SmartBoard, students transfer their knowledge of the musical staff to the classroom xylophones that have the note names on the bars. For another layer of story telling, some students are chosen to play characters in the story by accompanying the narrative with hand percussion instruments. The elements of story telling and musical skill blend together in this lesson from Mallet Madness. Figure 6: Caps for sale

Another enjoyable lesson from Mallet Madness is based upon the book Alexander and the terrible, horrible, no good, very bad day. This lesson works well with Kindergarten through third grade since the student participation is a repeated rhythm pattern accompanying the story. Before reading the story, students repeat the words under the rhythm displayed on the Smart Board. The rhythm pattern is set to the words in a natural way and even Kindergarteners could tap the rhythm on their laps along with the phrase: “terrible, horrible, no good, very bad day!”:

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Figure 7: Terrible rhythm

Students also learn about crescendo and decrescendo in this lesson. Students use their voices to play with dynamics as they say the word Australia: Figure 8: Australia

Further Applications In the classroom, many teachers, even those who proclaim they are not musically inclined, will sometimes sing a little tune to get student’s attention. One teacher shared that she was so exasperated with her students not lining up that she stated to quietly sing to the tune of Frere Jacques spontaneously: “I am waiting, I am waiting, for my class...” As if on cue, the children immediately stopped and sang “for my class”. She continued “please pay attention” and they echoed, “please pay attention”. Finally she 48

sang “look at me…” and they echoed, “Look at me”. The classroom became silent. She surprised them, got them listening and changed the mood in the room. This teacher excitedly discussed how this little song she created quite spontaneously is now one of her teacher staples. As far as specific goals in grammar, song modules could be created for contractions and possessives since this is another difficult area for beginning readers and ELL students. Using books based on songs, such as There was an old lady who swallowed a fly, is an easy way to transition literacy into the music class and conversely music into the regular classroom. Displaying song lyrics on the SmartBoard and having students highlight the words that rhyme is a valid activity for younger students. Aside from Language Arts, music lends itself to other content areas. Piggyback songs and content driven mnemonic devices in the form of rap tunes are already being utilized in content areas such as math and social studies. Websites such as www.Flocabulary.com and www.rocknlearn.com are suited for older students, while websites such as www.drjean.org are suited for younger audiences. Music appears to affect mood and may actually motivate certain students that in turn promotes learning. Elementary students could participate by sharing their background knowledge of social studies when the music class sings Native American songs. Math is also another area music teachers could explore. While discussing a famous singer with a three-octave range, music teachers could ask what an octave is, (eight notes) and then say, “Three octaves is how many notes? How many notes can this singer sing?” The music teacher, covertly, is asking students to solve a math equation. 49

Note values are easy to manipulate in a measure of music as the note values must add up to the time signature. Note values work somewhat like fractions, and this correlation is worth exploring. Acoustics are part of the science curriculum for upper elementary grades. Music class is an intriguing place students could explore acoustics and give hands on experiences to solidify concepts learned in science lessons. Songs focused on character, holidays and community citizenship are available on the website for Music K-8: www.musick8.com and www.songsforteaching.com. While test scores are the main focus at this time, educators should be mindful of the student as a human being and nurture their development is this area as well. Conclusion In reality there are teachable cross-curricular moments every day in both the music and regular classrooms. While sometimes these teachable moments are spontaneous, it is more powerful if the cross-curricular connections are well planned. Teachers can use the resources in this study to launch their lesson planning. In support of the Common Core, music educators will continue to play an important role in literacy development. Classroom teachers need to capitalize on the notion that music promotes learning through another learning modality that increases memory. Proactive teachers will find the materials in this study not only useful in teaching compound words but for enhancing literacy skills in support of the Common Core.

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References Almeida, A. (2007). Mallet madness: a collection of engaging units for using mallet instruments and drums in the music classroom. Dayton, OH: Heritage Music Press. Berko, J. (1958). The child's learning of English morphology. Boston: Radcliffe College. Bolduc, J. (2008). The Effects of Music Instruction on Emergent Literacy Capacities among Preschool Children: A Literature Review. Early Childhood research and practice, 10(1), 2. Bond, J. (2000). Share the music [Grade K-8]: common materials. New York: Macmillan/McGraw-Hill. Burton, S. L., & Taggart, C. C. (2011). Learning from young children: research in early childhood music. Lanham, Md.: Rowman & Littlefield Education. Campbell, L., Campbell, B., & Dickinson, D. (1999). Teaching & learning through multiple intelligences (2nd ed.). Boston: Allyn and Bacon. Choksy, L. (1999). The Kodály method I: comprehensive music education (3rd ed.). Upper Saddle River, N.J.: Prentice Hall. Choksy, L. (1991). Chapter 1 Why Should We Teach Music?. Teaching Music Effectively in the Elementary School (Facsimile ed., p. 5). Alexandria, VA: Prentice Hall. Choksy, L., & Brummitt, D. (1987). 120 singing games and dances for elementary schools. Englewood Cliffs, NJ: Prentice-Hall. Common Core State Standards Initiative | Home. (n.d.). Common Core State Standards Initiative | Home. Retrieved February 26, 2012, from http://www.corestandards.org/ Compound Word Lists Complete. Learning Disabilities Resources Home Page. Retrieved January 15, 2012, from http://www.learningdifferences.com http://www.learningdifferences.com/Main Page/Topics/Compound Word Lists/Compound_Word_ Lists_complete Compound Words. (n.d.). Capital Community College - Redirect Page. Retrieved February 25, 2012, from http://grammar.ccc.commnet.edu/grammar/compounds.htm Cornett, C. E. (2003). Creating meaning through literature and the arts: an integration resource for classroom teachers (2nd ed.). Upper Saddle River, N.J.: Merrill/Prentice-Hall. 51

Dallin, L., & Dallin, L. (1966). Heritage songster: 320 folk and familiar songs. Dubuque, Iowa: Wm. C. Brown. Educational songs & children’s music from songs for teaching®. (n.d.). Educational Songs & Children's Music from Songs for Teaching®. Retrieved February 26, 2012, from http://www.songsforteaching.com Eggen, P. D., & Kauchak, D. P. (2009). Chapter 2 The development of cognition and language in Educational Psychology: Windows on Classrooms (8 ed., p. 45). Alexandria, VA: Prentice Hall. Fetzer, Lorelei. (1994). Facilitating print awareness and literacy development with familiar children's songs. Marshall: East Texas University. Forrai, K., & Sinor, J. (1998). Music in preschool (Rev. ed.). Wooloowin, Australia: Clayfield School of Music. Grammar slammer—English grammar resource. (n.d.). English Plus+--English Grammar, Spelling, SAT, ACT, GRE, & More. Retrieved February 25, 2012, from http://englishplus.com/grammar Gromko, J. E. (2005). The effect of music instruction on phonemic awareness in beginning readers. Journal of Research in Music Education, 53(3), 199-209. Hansen, D., & Bernstore, E. (2002). Linking music learning to reading instruction. Music Educators Journal, 88 (17), 18-20. Retrieved February 5, 2012, from http:mej.sagepub.com Hansen, D., Bernstorf, E. D., & Stuber, G. M. (2004). The music and literacy connection. Reston, Va.: MENC. Hurwitz, I., Wolff, P. H., Bortnick, B. D., & Kokas, K., (1975). Nonmusical effects of the Kodály music curriculum in primary grade children. Journal of Learning Disabilities, 8(3), 167-174 . Retrieved January 14, 2012, from http://ldx.sagepub.com/content/8/3/167.short Jalongo, M. R., & Ribblett, D. M. (1997). Using song picture books to support emergent literacy. Childhood Education, 74(1), 15-22. Jullian, P. (2002). Uncovering implicit information in original compounds. English Language Teachers Journal, 56(4), 359. Retrieved February 25, 2012, from eltj.oxfordjournals.org/ Lamb, Susannah J., & Gregory, Andrew H. (1993). The relationship between music and reading in beginning readers. Educational Psychology, 13(1), 19-27. 52

Locke, E. G. (2004). Sail away: 155 American folk songs to sing, read and play. NY: Boosey & Hawkes. Murphy, V. A., & Hayes, J. (2010). Processing English Compounds in the First and Second Language: The Influence of the Middle Morpheme. Language Learning, Volume 60(1), 194–220. Retrieved February 11, 2012, from http://onlinelibrary.wiley.com Oberlin College Library-The folk song index - Search . (n.d.). College of Arts and Sciences & Conservatory of Music - Oberlin College. Retrieved February 26, 2012, from http://www.oberlin.edu/cgi-bin/cgiwrap/library/ref/folksongindex.php ODE-Home . (n.d.). Retrieved February 26, 2012, from http://www.ode.state.oh.us Ohanian, S. (2012) Are Common Core Standards Good or Bad for Education?. (n.d.). Learning Matters. Retrieved February 10, 2012, from learningmatters.tv/blog/web-series/are-common-core-standards-good-or-bad-foreducation Ohanian, S. (1999). One size fits few: the folly of educational standards. Portsmouth, NH: Heinemann. Oxford Dictionaries Online. (2012). Punctuation, Hyphen. Retrieved February 25, 2012, from oxforddictionaries.com/words/hyphen#hyphens_in_compound_words Peter-Fiorito, J. (2008). Using a cross-over curriculum teaching communication through art, music, and language arts. The Journal of Adventist Education, 71(1), 19. Retrieved February 25, 2012, from http://circle.adventist.org Reed, D. K. (2008). A synthesis of morphology interventions and effects on reading outcomes for students in grades K–12. Learning disabilities research & practice, 23(1), 36-49. Retrieved February 17, 2012, from http://www.eric.ed.gov Salmon, A. (2010). Using music to promote children’s thinking and enhance their literacy development. Early child development and care, 180(7), 943-944. Retrieved February 7, 2012, from http://www.eric.ed.gov/ Scott, F. A. (2002). Silver Burdett making music: master index and correlations.. Parsippany, NJ: Scott Foresman. Slobodkina, E. (1968). Caps for sale: a tale of a peddler, some monkeys and their monkey business. New York: Harper & Row. Stover, P. J. (2005). Chants and rhymes. The University of Toledo: Dr. Pamela Stover.

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The American folksong collection at Holy Names University. (n.d.). Retrieved February 26, 2012, from http://kodaly.hnu.edu/home.cfm The music connection: master index and correlation. (1999). Parsippany, NJ: Silver Burdett Ginn. The Standards. (n.d.). Common Core State Standard Initiative. Retrieved February 16, 2012, from www.corestandards.org/ United States Minerals Management Service. 1995 MMS style guide [microform] : a guide for authors, editors, reviewers, and word processors of MMS scientific and technical publications U.S. Dept. of the Interior, Minerals Management Service, Herndon, Va. (Mail Stop 4530, 381 Elden St., Herndon 22070-4817) Utah State Office of Education - USOE - Welcome. (n.d.). Retrieved February 26, 2012, from http://www.schools.utah.gov Viorst, J., & Cruz, R. (1987, 1972). Alexander and the terrible, horrible, no good, very bad day (2nd Aladdin Books ed.). New York: Aladdin Books. Walker, G., & Jenks, H. S. (1887). Songs and games for little ones (5th ed.). Boston: Oliver Ditson. Wilhelm, J. D., Baker, T. N., & Dube, J. (2001). Strategic reading: guiding students to lifelong literacy, 6-12. Portsmouth, NH: Boynton/Cook Publishers-Heinemann. As cited by MyRead. Retrieved March 12, 2016, from www.myread.org/scaffolding.htm Williamson, V. G., University of London. (n.d.). Home, Goldsmiths, University of London. Retrieved March 18, 2012, from http://www.gold.ac.uk/psychology/staff/victoria-williamson/ Withers, C. (1990). A rocket in my pocket: the rhymes and chants of young Americans. New York: Scholastic, Inc. YouTube - Broadcast Yourself. (n.d.). Retrieved February 26, 2012, from http://youtube.com

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Appendix A Index of Folk Songs and Speech Pieces Using Compound Words 120 Singing games and dances for elementary schools Website: The American Folksong Collection at Holy Names University Heritage songster The Kodály method I: Comprehensive music education Music in preschool Sail away: 155 American folk songs to sing, read and play The Music connection: Master index and correlation, Silver Burdett Silver Burdett Making music: Master index and correlation Songs and games for little ones Spotlight on music Share the music Website: Utah State Office of Education

120 SG: HNU: HS: K.I: MIP: SA: SB.99: SB.02: SGLO: SOM: STM: USOE: Song Title A, B, C Ah! The Pretty Butterflies Ain’t Gonna Let Nobody Turn Me ‘Round Alexander’s Ragtime and All Around the Buttercup All Around the Brickyard All Around the Maypole All Around the Race-Track All God's Children Got Wings All Work Together Ballad of the Bedbugs and the Beetles, The Ballad of the Underground Railroad, The Bandstand Boogie Barnyard Song Bathtime

120 SG

HNU

HS

K.I

MIP

SA

SB.99

x

SB.02

SGLO

SOM

STM

x x

x x

x

x

x

x

x

x

x

x

x

x

x x x x

x x

x x

Bear and the Wildcat Bee, Bee, Bumblebee Before Mealtime Birthday

x x x 55

USOE

Song Title Birthday Bells

120 SG

HNU

Blacksmith, The Bluebells Bluebells, Cockle Shells Bluebird, Bluebird Bluebird, The Bluebirds Bluebirds Through My Window Bonefish, Bluebird Buckeye Jim

x

HS

K.I

MIP

SA

x

SB.99

SB.02

x x

x

x

x

x x

x

x

x

x x

USOE

x

x

x x

x

x x x

Come, Firefly Cornfields, The Cornstalk Fiddle and a Shoestring Bow Cotton Eyed Joe Cowboy, The

x

Cowherd and the Weaving Maid, The Cowpoke, The

x

x x

x

x

x

x

x x

x x x x

x

Dewdrops

x

x x

Down by the Riverside Downtown Everybody Has Music Inside Everybody Loves Saturday Night

x

x

Chopstick

Elfin Knight, The

STM

x

Cairo

Dewy Dells of Yarrow Doggie, Doggie, Where's Your Bone? Down by the Bay

SOM

x

Butterfly, Come Play with Me Butterfly, Flutter By By the Firelight

Daddy Shot a Bear Dance Together

x x

x

Butterfly, The

Crow-fish Man

SGLO

x x

x x

x

x

x x 56

x

x

x

Song Title Everybody Oughta Know Everybody Rejoice Everybody Says Everything Grows Everything is Beautiful Farewell Farewell to Nova Scotia Farewell to Tarwathie Farewell to the Warriors Firefly

120 SG

HNU

HS

K.I

MIP

SA

SGLO

SOM

x

STM

x

x x x x

x

x x

x x

x x x

x

x

x x x

x x x x

Goodbye, My Friends Goodbye, My Lover, Goodbye Goodnight Goodnight to You All Goodnight, Ladies Gospel Train, The Groundhog Blues, The Grandma Grunts Grandma's Feather Bed Grasshopper

SB.02

x

Five Little Snowmen Fly and the Bumblebee Football Team Chant Four Cornfields Frog's Courtship, The Frosty, the Snowman Garden Hoedown, The Go Tell it on the Mountain Going to Boston Goodbye, Julie

SB.99

x x

x x

x

x x x

x

x

x x x

Grasshopper and the Ants

57

USOE

Song Title Grasshoppers Three Great Outdoors

120 SG

HS

K.I

MIP

SA

SB.99

How Many Miles to Babylon? How Much Wood…Chuck? Hummingbird, The I am the Starlight I Can See a Rainbow I Got Rhythm

x

SOM

STM

USOE

x

x x x

x x

x

x

x

x x

x

x

x x

x

x x x x x

x

x

x x x x

x x x

I Hear the Windmill I Heard a Mockingbird I Planted Watermelons If All the Raindrops In the Moonlight Inchworm I've Been Everywhere I've Been Working on the Railroad Jamaica Farewell Johnny Appleseed

SGLO

x

Horseman, The Housekeeping

SB.02

x

Gypsy in the Moonlight Handsome Molly Hangman's Tree Happy Birthday Happy Birthday, Happy Birthday Head for the Canfields Here Comes a Bluebird Here is the Beehive Hey, Ho, Anybody Home Hickety, Tickety, Bumblebee Hide a Handkerchief Honeybee Song

HNU

x x x

x x x x

x

x x

x x

x 58

x

Song Title Johnny Has Gone for a Soldier Kelligrew's Soiree Kentucky Babe Key in the Highway Ladybug's Picnic Lemonade Let Us Sing Together Let's Sing, Everyone Little Butterfly

120 SG

My Last Farewell to Stirling Nobody Knows the Trouble I See, Lord! Nobody Knows the Trouble I've Seen Nobody's Business Nothing I Do I Own Old Betty Larkin Old Dan Tucker On the Darkened Hillside Outshine the Sun Over the Rainbow

HS

K.I

MIP

SA

SB.99

SB.02

SGLO

SOM

STM

x

x x

x x

x

x

x

x

x x

x x

x

Little Snowball Bash Lonesome Valley Lonesome Dove Love Somebody Lullaby Make a Rainbow Mary Was a Redbird Mockingbird, The Moonlight Lullaby Music Goes with Anything My Landlord

HNU

x

x

x x

x

x

x

x

x

x

x

x x x x x

x

x x x

x

x

x x x

x x

x x

x x 59

x

x

USOE

Song Title

120 SG

HNU

HS

K.I

MIP

SA

SB.99

STM

USOE

x x x

x x x

x

x x

x

Railroad Corral Rainbow Connection Rainbow Song, The Rainbow, The

x x

x

x

Rattlesnake

x

x x

x x

x x x x x

x

x

x x

x

x

x x

x

Seesaw Seesaw, Margery Daw Shoo, Fly, Don't Bother Me Skip to My Lou Sleep, Baby, Sleep Snowflakes

SOM

x x

Pat Works on the Railway Peppermint Twist Playground at the Park Please, Mr. Postman Popcorn Popping Rabbit Footprints Ragtime

River Overflowing Round of Goodbyes Rudolf the Red-Nosed Reindeer Said I Wasn't Gonn' Tell Nobody Sailboat in the Sky Sally Go 'Round the Sunshine Sandman

SGLO

x

Over the River and Through the Wood Party Tonight

Rattlesnake Skipping Song Ready for the Weekend Red River Valley Redbird

SB.02

x

x x

x x

x

x

x

x

x

x

x x

Snowman, The

60

x

x

x

Song Title Somebody Come and Play Somebody Loves Me Somebody Waiting Somebody's Knockin' at Your Door Someday Very Soon Someone Who Believes in You Something for Me, Something for You Something Funny Outside Something to Sing About Sometimes I Feel Like a Motherless Child Somewhere Out There Song of the Snowflakes Song on Courtship Springtime Springtime Has Come Starlight, Star Bright Streets of Laredo Summertime

120 SG

HNU

HS

K.I

MIP

SA

SB.99

SOM

STM

USOE

x x x

x

x

x x

x x x

x x

x x x

x

x

x x x x

x

x x

x

x

x x x

Sunset

Thanksgiving Calypso Thanksgiving is Near Thanksgiving Song That's How I'd Be Without You The Merry Golden Tree The More We Get Together The Toyman's Shop

SGLO

x

Sunrise, Sunset Susie, Little Susie Take Me Out to the Ballgame Thanksgiving

SB.02

x

x x

x x x

x

x x x

x x x x 61

Song Title

120 SG

HNU

HS

K.I

SA

SB.99

SB.02

SGLO

SOM

STM

USOE

x

Theme from New York, New York There's Just Something About a Song To Work Upon the Railway Today is Your Birthday Together in Unity Traveling Together Tugboat Under the Spreading Chestnut Tree Up on the Housetop Wabash Cannon, The Wabash Cannonball Walk Together, Children Way Down Yonder in the Schoolyard We Gather Together We Go Together We Shall Overcome Weave Me the Sunshine Weigenlied (Lullaby) We're Making Popcorn When We're Playing Together Who's Got the Fishpole ? Willowbee

MIP

x x x x x x

x x

x

x x

x

x

x x

x

x

x x

x

x

x x

x

x x x x x

Windmill, The Winter Wonderland Woodchuck

x

x x x

Woodpecker, The Working Together You Are My Sunshine

x x

62

x

x

Chants and Rhymes This collection of nursery rhymes, chant and poems has been collected by Dr. Pamela Stover for use in music methods classes or teacher workshops and inservices. Most rhymes or chants are in the public domain, and many authors are unknown. Every effort has been made to locate authors and where authors are known, they are given. This packet is for class or workshop use only, and all included material falls under the fair use for scholarly endeavors under the US copyright law. (Pamela Stover, 2005) Bluebells, cockleshells Bluebells, cockle shells, Evie ivy, over; I like coffee, I like tea. I like the boys and the boys like me. Yes, no, maybe so..... Bluebells, cockleshells Bluebells, cockle shells, Eevie ivy, over; Ma went to market to buy some meat; Baby's in the cradle fast asleep. The clock on the mantle says one, two, three Nobody here except you and me. Bonefish, bluebird (Ruth Hamm and Isabel McNeill Carley) Bonefish, Bluebird, sheep and flea, Chickadee, doodle bug, robins in a tree. Fly in the cream jar. Frog in the pool. Clap for all the children here at school. Buttercups and daisies Buttercups and daisies, Oh what pretty flowers Coming in the springtime to tell of sunny hours. While the trees are leafless, While the fields are bare, Buttercups and daisies spring up everywhere. The cock's on the housetop The cock's on the housetop blowing his horn; The bull's in the barn a-threshing of corn; The maids in the meadows are making of hay; The ducks in the river are swimming away.

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The firefly The firefly is a funny bug, He hasn't any mind; He blunders all the way through life With his headlight on behind. There's a cross-eyed woman in our town, She's cross-eyed, that's a fact; And every time the lady cries, The tears roll down her back. Four little Grasshoppers (Grandma Anna) Four little grasshoppers one fine day, Hopped onto the lawn to play croquet We can't choose mallets and balls we said. But we'll have a game of our own instead. So hippity-hoppity they went around Through all the wickets on the ground Out came Johnny and Ben to play And the four little grasshoppers jumped away. Here is a Beehive Here is the beehive, there are the bees? Hidden away were nobody sees Watch and you will see them come out of their hives, One, two, three, four, five, Buzz, Buzz, Buzz Lullaby and Goodnight Lullaby and good night, Put your head down and sleep tight, Lay down now and rest, May your slumber be blessed. Mississauga Rattlesnakes (Dennis Lee) Mississauga rattlesnakes eat brown bread. Mississauga rattlesnakes fall down dead. If you catch a caterpillar, feed him apple juice; But if you catch a rattlesnake, turn him loose! My old granddad made a shoe. My old granddad made a shoe. How many nails did he put through? One, two, three, four, five....

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A peanut sat on a railroad track A peanut sat on a railroad track, His heart was all a-flutter, Here comes the train, It's 10:15, Toot, toot, peanut butter. Policeman do your duty Policeman, policeman do your duty; Here comes Miss American Beauty. She can do the tango; She can do the splits; And she can waer dresses way up to her hips. Yes, no Maybe so Postman, postman Postman, postman, do your duty. Send this letter to an American beauty. Don't you stop and don't delay. Get it to her right away. Rattlesnake R-A-T---T-L-E--S-N-A-K-E Spells Rattlesnake! Round and Round Round and round the cornfield, Looking for a hare, Where can we find one? Way up there! Seesaw, Margery Daw Seesaw, Margery Daw, Sold her bed and lay upon straw. Seesaw, Margery Daw (Lucy Coats) Seesaw, Margery Daw, Which one of us can go faster? Whee! up and down, Big bump on the ground, And Johnny's knee needs a big plaster. Seven Blackbirds (England) Seven Blackbirds in a tree, Count them, and see what they be: One for sorrow, two for joy; Three for a girl, four for a boy, Five for silver, six for gold; Seven for a story that's never been told. 65

Shimmy, shimmy Coco-pop! Shimmy, shimmy, coco-pop! Shimmy shimmy, pop. Wheeee Shimmy, shimmy, coco-pop! Shimmy, shimmy pop. Wheeee Grandma, grandma-ma sick in bed. Called the doctor and the doctor said: Let's get the motion of the head: ding, dong. Let's get the motion of the hands: clap, clap. Let's get the motion of the feet: stomp, stomp. Let's get the motion of the hot dog, Let's get the motion of the hot dog. Shimmy, shimmy, coco-pop! Shimmy shimmy, pop. Wheeee Shimmy, shimmy, coco-pop! Shimmy, shimmy pop. Wheeee A shoemaker makes shoes without leather A shoemaker makes shoes without leather, With four elements all together, Fire, Water, Earth, Air, And every customer takes two pair. Skyscraper, skyscraper (Dennis Lee) Skyscraper, skyscraper scrape me some sky. Tickle the sun while the stars go by. Tickle the stars while the sun's climbing high, Then skyscraper, skyscraper scrape me some sky. Starlight Starlight, star bright, first star I see tonight, Wish I may, wish I might, Have the wish I wish tonight. Strawberry shortcake Strawberry shortcake, Huckleberry Finn When I call your birthday, Please jump in! January, February, March, April, May, June, July, August, September, October, November, December Strawberry shortcake, Huckleberry Finn, When I call your birthday, Please jump out! January, February, March, April, May, June, July, August, September, October, November, December

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Strawberry, apple, my jam tart. Strawberry, apple, my jam tart. Tell me the name of your sweetheart. A, B, C, D Strawberry shortcake Strawberry shortcake, cream on top. Tell me the name of my sweetheart. A, B, C, D... A sunshiny shower A sunshiny shower won't last half an hour. These are Grandma's spectacles These are Grandma's spectacles, This is Grandma's hat. This is the way she folds her hands, And lays them in her lap. Two little blackbirds Two little blackbirds sitting on a wall, One named Peter the other named Paul, Fly away Peter, Fly away, Paul. Come back, Peter, Come back Paul. Three Little Nickels Three little nickels in a pocketbook new, One bought a peppermint, and then there were two, Two Little nickels before the day was done, One bought an ice cream cone, and then there was one One little nickel I heard it plainly say, “I’m going into the piggy bank for a rainy day!” When a game (The butterflies lawn tennis) R. André When a game at lawn tennis the butterflies sought. “I,” said the snail, "I will mark out the court." “I,” said the bee, "for a racquet will bring Some lazy old drone's cast off gossamer wing." “For your balls,” said the fuchsia, “I've dewdrops in store.” “As for me,” said the fly, "let me buzz out the score.” “I,” said the spider, "will spin you a net.” So the bright butterflies made up a set. 67

Which is the way to Somewhere Town? (Kate Greenaway) Which is the way to Somewhere Town? Oh, up in the morning early; Over the tiles and the chimney pots, That is the way, quite clearly. And which is the door to Somewhere Town? Oh, up in the morning early; The round red sun is the door to go through, That is the way, quite clearly. I went upstairs I went upstairs to make my bed. I made a mistake and bumped my head. I went downstairs to milk my cow. I made a mistake and milked the sow. I went in the kitchen to bake a pie. I made a mistake and baked a fly. When does the wristwatch When does the wristwatch strap shop shut? Does the wristwatch strap shop shut soon? Which wristwatch straps are Swiss wristwatch straps? When we went out with Grandmamma (Kate Greenaway) When we went out with Grandmamma— Mamma said for a treat— Oh, dear, how stiff we had to walk as we went down the street. One on each side we had to go, and never laugh or loll; I carried Prim, her Spaniard dog, and Tom—her parasol. Who's that ringing at my doorbell? Who's that ringing at my doorbell? A little kitty cat that isn't very well. Rub its little nose with a little mutton fat, That's the best cure for a little kitty cat. Uptown, downtown Uptown, downtown, wrong side too, Goodness me what a hullabaloo! Upstairs, downstairs, roundabout! Backwards forwards, inside OUT

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Appendix B Resources for Educators Online Resources The American Folksong Collection at Holy Names University (http://kodaly.hnu.edu/home.cfm) which is an online resource of the Kodaly Center for Music Education in Oakland, CA. Compound Boogie by Dr. Jean: http://www.youtube.com/watch?v=T0X7xMDXmc8 Compound Word Lists: www.rickwalton.com/curricul/compound.htm Compound Word Whiz With Miss Jenny: http://www.youtube.com/watch?v=RoX9ojwca8M&feature=related http://www.drjean.org Piggyback songs for young elementary grades The Folk Song Index created by Oberlin college library and a non-profit organization called Sing Out! (http://www.oberlin.edu/library/con/singout_intro.html). This site contains 62181 entries for international and American Folk songs. http://flocabulary.com Rap songs for learning various content areas Jack Hartmann Have You Heard About Compound Words? This song is available on Jack Hartmann's Hip-Hop AlphaBop or at http://www.songsforteaching.com www.janbrett.com/piggybacks/compound.htm Compound words - Jan Brett- list and activity by children’s author Jan Brettt www.learningdifferences.com List of Compound words arranged on numbered lists: Mallet madness: a collection of engaging units for using mallet instruments and drums in the music classroom. Almeida, A. (2007). Dayton, OH: Heritage Music Press. Phonics Time with Miss Jenny : Compound Word Wiz -Song for Teaching Compound Words by Jennifer Fixman (This song is available on Jennifer Fixman's Phonics Time with Miss Jenny or http://www.songsforteaching.com

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http://pinterest.com Virtual bulletin boards and sharing community http://www.rocknlearn.com Songs for learning math facts www.songsforteaching.com Songs for the classroom teacher, multiple content areas including character and community songs Utah Department of Education, Fine Arts, Music, Elementary Songbook (http://www.schools.utah.gov/CURR/fineart/Elementary/Songbook/Music.aspx), www.YouTube.com proved a useful avenue for finding song and visual material readily available for classroom teachers. Shopping www.amazon.com http://store.kidslearningdepot.com www.westmusic.com http://shop.scholastic.com http://www.themusicstand.com http://www.musick8.com http://www.lakeshorelearning.com

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Appendix C List of Compound Words from www.learning differences.com lifetime cannot together crosswalk moonlight anybody meantime sometimes butterflies fireflies something anyone inside therefore without

Compound Word List # 1 elsewhere upside baseball fireworks become became basketball sweetmeat football railroad weatherman throwback earthquake everything also backward upstream nowhere because somewhere another somewhat today himself themselves playthings uplift supergiant backbone scapegoat

grandmother passport sunflower superstructure rattlesnake skateboard herein schoolhouse bypass spearmint airport grasshopper footprints homemade peppermint

eyeballs southwest keyboard herself silversmith itself underground honeymoon dishwasher popcorn bookcase bluefish thunderstorm hometown

Compound Word List # 2 longhouse forget northeast alongside whatever blacksmith nobody seashore watchmaker subway headquarters sandstone glassmaking riverbanks bootstrap toothpick household township airplane pickup babysitter saucepan hamburger honeydew spokesperson widespread commonplace moreover

afternoon meanwhile diskdrive nearby horseback limestone touchdown toothpaste shadyside housekeeper lukewarm raincheck weekend pacemaker

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Compound Word List # 3 supermarket somebody anymore backhand backstage underage bookworm superscript bookkeeper forklift honeysuckle keyway lifeguard forefinger

supermen someday anyplace watchdog waterfall underbelly bookstore supersonic bookmark format honeybee keyword lifelike forefather

supernatural somehow anytime backlog backtrack underbid bookshelf superstar bookmobile fortnight keyhole lifeblood lifeline forehand

superpower someone anyway backpack noisemaker undercharge bookend supersensitive forgive honeycomb keynote lifeboat lifelong forehead

Compound Word List # 4 onetime backside undercut superstrong underexpose airfield anywhere backbreaker textbook keypad upstairs supercool foreleg

supercargo backslap underdevelop supertanker underfoot sidekick anyhow backdrop underachieve keypunch softball superego foreman

supercharge backspace underdog superweapon however crossover backache backfire underact keystone uptight superfine foresee

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overabundance backspin underestimate superwoman eyesight sunbathe backbite background underarm keystroke upstate superhero oneself

Compound Word List # 5 washroom upend whitewall daytime repairman blackjack uphill firehouse ballroom upward deadline daybreak update

blackbird blacktop whitewash upbringing firefighter blacklist waterline teenager brainchild upwind rainbow daybook upgrade

blackboard whitecap friendship upbeat standby blackmail upkeep carpool pinstripe upturn watermelon daydream upheaval

blackberries whitefish pancake upcoming bedroom blackout upland bellbottom bodywork storerooms waterway daylight upheld

Compound Word List # 6 upload lifesaver carhop wastepaper newspaper fishpond taxicab uppercut newsreel grandfather upright grandnieces boldface dishpan

washstand forearm carload upshot grandchild fishtail taxpayer uppercase newsstand grandmaster uproar grandson bankbook dishwater

upon forbearer carport uplink grandparent hookup teacup uppermost newsworthy grandaunt uproot grandstand bankroll cardboard

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upperclassman forbid carpetbagger upstage grandchildren eyecatching teamwork uprising granddaughter grandnephew upstart granduncle dishcloth carefree

Compound Word List # 7 caretaker uptake carryall washcloth newsdealer intake underclothes takeover superhuman afterlife mainland firebomb airtime allover buttermilk

carsick upthrust cartwheel fishlike watershed courtyard overcoat talebearer wasteland setback caveman someplace firecracker notebook footnote

carfare newsroom wheelbase waterproof newsman overflow undercover taleteller superman overland drawbridge passbook sidewalk throwaway moonbeam

cargo uptime wheelbarrow fishnet snowdrift cornmeal undercurrent tapeworm superhighways highway lifework passkey fireball fireproof Sunday

Compound Word List # 8 handmade crossbow moonstruck schoolboy playback horseplay weekday slowdown forecast slumlord firebreak earthward playboy rainstorm headlight

candlelight sideshow rattletrap sweetheart foothill headache hammerhead skyscraper highball snowball aircraft buttercup footlocker bluegrass bedrock

firearm software weatherproof butternut eyelid blueprint foreclose motherhood forebear snakeskin crosscut allspice handgun cheeseburger standoff 74

airline sunfish earthworm hereafter southeast raindrop foreclosure fatherland mainline soundproof railway noteworthy horsepower weeknight commonwealth

Compound Word List # 9 cancan crossbreed schoolbook footlights steamship longhand foresight cheesecake bedroll bodyguard careworn courthouse sixfold snowbank footrest

fireboat sideburns hereby handbook headline horsehair soybean raincoat cardsharp pinhole duckpin afterimage skintight standout stepson

airlift sunbaked playhouse backslide spillway standpipe bookseller thunderbolt bellboy ponytail duckbill highchair skylight handout stockroom

Passover moonshine butterfingers eyelash houseboat whatsoever blueberry standpoint brainwash newsboy hookworm mothball slapstick eyeglasses stonewall

Compound Word List # 10 sailboat salesclerk candlestick butterscotch eyewitness shoemaker horsefly bluebird stoplight bluebell stronghold pinup bellhop steamboat pinwheel

watchword showoff newsbreak turnabout starfish turndown comedown tablespoon sunlit wheelhouse tailgate tailspin taproot dairymaid telltale

timesaving sharecropper newscaster turnaround stagehand turnkey comeback tabletop sandlot fishhook taillight takeoff target teaspoon tenderfoot 75

timeshare sheepskin newsprint turnbuckle spacewalk turnoff cabdriver tableware snowbird fishbowl taillike takeout taskmaster daisywheel tenfold

Compound Word List # 11 timekeeper shoelace newfound timetable sharpshooter turncoat aboveboard tablecloth sundial wheelchair tagalong tailpiece taproom teammate showplace

watchword showoff newsbreak turnabout starfish turndown comedown tablespoon sunlit wheelhouse tailgate tailspin taproot dairymaid telltale

timesaving sharecropper newscaster turnaround stagehand turnkey comeback tabletop sandlot fishhook taillight takeoff target teaspoon tenderfoot

timeshare sheepskin newsprint turnbuckle spacewalk turnoff cabdriver tableware snowbird fishbowl taillike takeout taskmaster daisywheel tenfold

shortbread firewater moonscape hereupon handcuff housetop tailcoat upstanding afterglow sisterhood waistline walleyed wardroom warlike warpath

Compound Word List # 12 teapot timesaving airmen sharecropper schoolwork newscaster weathercock turnaround headdress stagehand forever turnkey bedclothes comeback fisheye tabletop highland sandlot skylark fishhook walkways taillight wallpaper takeoff warehouse target warmblooded teaspoon telltale tenderfoot

timeshare sheepskin newsprint turnbuckle spacewalk turnoff cabdriver tableware snowbird fishbowl taillike takeout taskmaster daisywheel tenfold

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Compound Word List # 13 around ashtray blackball sunroof upset jailbait atchcase jetport watchtower gumball watercraft moonwalk uphold shipbottom waterscape

washbowl washboard upmarket sundown wastewater jetliner backlash boardwalk timepieces goodbye backstroke woodshop watermark goodnight newsletter

fisherman beachcomb washtub snowshovel superimpose dogwood watchman jackpot watercolor nevermore waterfront jellyfish fishmonger nutcracker waterside

schoolbus washout wastebasket sunup watchband downbeat below ballpark watercooler coffeemaker waterlog waterfowl waterpower racquetball waterspout

Compound Word List # 14 scarecrow watertight thunderbird wavelike bowtie wayfarer deadend overboard sunray turntable nightfall tadpole ironwork wipeout daybed

toolbox waterworks bugspray warfare crewcut waylaid eardrum jellybean clockwise driveway graveyard eggshell cattail egghead earring

gearshift waterwheel overshoes waxwork typewriter wayward postcard centercut downunder matchbox carrack stopwatch nursemaid eardrop housework 77

tailbone wavelength paycheck waybill jumpshot wayside fruitcup rubberband earache motorcycle doorstop limelight sunglasses earthbound haircut

Compound Word List New blowgun duckweed bowlegs forebrain forefeet forefoot forego foreground butterball forecastle foremost forepaws cardstock foredoom forestall

forethought forewarn foreknowledge foregone foreshadow foretold foreword grassland horseman horseradish moonlit catwalk newborn newsperson rainwater

upscale upstroke uptown washhouse washrag

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