The Effects of Music in Kindergarten Lessons on Student Engagement and Student Learning
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1 THE EFFECTS OF MUSIC IN KINDERGARTEN LESSONS ON STUDENT ENGAGEMENT AND STUDENT LEARNING A dissertation presented by Paul M. Sullivan to The College of Professional Studies In partial fulfillment for the degree of Doctor of Education In the field of Educational Leadership Northeastern University Boston, Massachusetts August, 2016 2 Abstract Over the past many years public schools in the United States have seen a reduction in art and music-based programming. This emphasis toward standards-based public education with its increased focus on learning in the content areas has, in many ways, subjugated music to the classification of an extraneous or secondary concern. Many kindergarten teachers contest that notion and feel that music, for many and varied reasons, should serve as an important presence in early learning settings. This research focused on the use of music in kindergarten classrooms to affect the engagement and learning of students in those classrooms. The qualitative study was conducted in an early childhood center which centrally houses all of the kindergarten programming within a suburban public school district in the northeastern United States. Data was collected from three distinct sources; transcripts from a focus group interview of six kindergarten teachers, transcripts of the researcher’s interviews of eight kindergarteners, and a document review of the researcher’s protocols from his classroom observations of twelve kindergarten lessons - two each from the same six teachers who participated in the focus group interview. Emergent themes were discovered, identified and discussed from the triangulated data. The key findings of this study strongly suggest that when music is used in kindergarten classrooms and included within kindergarten activities student engagement is enhanced significantly and the learning of those kindergarten children is positively affected. Keywords: music, early learning, kindergarten, student engagement 3 Acknowledgments The journey has been gruelingly glorious toward this hardest and most satisfying accomplishment of my professional life. And I did not go it alone. I know that. There are so many who were instrumental to this achievement and deserve recognition and thanks. First, thank you to my wife, Clare, my best friend and the most talented teacher I have ever met. I LOVE you! You pulled me into this process then pushed me through it. I have often joked that my foremost talent in life was mate-picking. It is no joke. Thanks to my son, Paul, who personified the values of resilience and persistence (must have inherited them from his mother), taking a big disappointment in a young life and transforming it into a magnificent accomplishment. With a door blocked, he found the proverbial window and crashed on through. My pride swells. Hi, Sarah! Hi, Zach! Thanks to my Mom. She loved music and she thought that maybe I could write something one day. Sensing the warmth of her 'I-told-you-so' smile almost compensates for the fact that she is not here to joyfully celebrate the culmination of the work she helped to start. Forgive the split infinitive in that last sentence, Mom; I miss my first proofreader, editor and typist. Thanks, Dad. War robbed you of the prospect of higher education. Ironically, your military service rendered a profound collateral benefit to your children. Chuck, Steve, Pete, Carol, G a r y , Mark, Jack and I recognize and understand that the patriotic detour in your life's path forged in you a relentless mindset that your kids would be better educated than were you. Better schooled, maybe. Thanks from all of them, for all of them and to all of them. 4 Thanks to Dr. Chris Unger, the advisor everybody wanted and I had. No one could have been more patient, insightful, helpful, motivating, encouraging, accommodating and expert through this process. My thanks to Chris are nearly as numerous as the missed 'deadlines' he graciously endured on my behalf. He is the best. Thanks also to Dr. Corliss Brown Thompson; my decades-long colleague, Dr. Mary Joyce, and, through them, to the entire Husky community. Thanks to my friends in the Dedham cohort; Doctors and Prospective Doctors, all. Having taught with some of them and for some of them for so long, it was an enormous pleasure and honor to learn with all of them. Thanks to my amazing staff and particularly to my longtime secretary and friend Amy Hicks for her unrelenting encouragement, cheerleading and confidence building. Thanks to the hundreds of kindergarten students whom I have had the privilege to teach. I wish everyone reading this could, as I do, bask in the bright-eyed, optimistic countenance of the five-y e a r -old each morning of his working life. Envy me, folks - the future smiles at me every day. Thanks, kids! Thanks to all my colleagues, family and friends who buoyed me with kind words, thoughts, suggestions and exhortations. Thanks as well, and perhaps, strangely, more, to those who brazenly chided, "Haven't you finished that thing y e t ? " So, finally...with humility and deep, deep gratitude... Thank God. It is finished. 5 Table of Contents ABSTRACT 2 ACKNOWLEDGEMENTS 3 TABLE OF CONTENTS 5 CHAPTER I: INTRODUCTION 7 Statement of the Problem and Significance 8 Research Questions 11 Theoretical Framework 11 CHAPTER II: LITERATURE REVIEW 19 Music and Human Response 19 Music and Learning 21 Music and Kindergarten 25 Music and Student Engagement 29 Summary 31 CHAPTER III: RESEARCH DESIGN 33 Research Questions 34 Research Design 34 Site and Participants 34 Data Collection 37 Data Analysis 50 Storing Data 53 Limitations 53 Protection of Human Subjects 54 Conclusion 55 CHAPTER IV: RESEARCH FINDINGS 57 Summary of Study Site, Participants and Data Collected 57 Research Question 1 60 Research Question 2 75 Research Question 3 84 Summary of Findings 91 CHAPTER V: DISCUSSION OF RESEARCH FINDINGS 94 Revisiting the Problem of Practice 94 Review of Methodology 95 Discussion of the Major Findings 97 Discussion of the Study Findings in relationship to the Theoretical framework 103 6 Discussion of the Study Findings in relationship to the Literature 107 Conclusion 111 Significance of the Study 113 Limitations 113 Validity 115 Future Research 116 Recommendations for Practice 121 Summary 120 Personal Thoughts and Reflections 120 REFERENCES 124 APPENDICES 134 Appendix A - Focus Group Interview Questions - Teachers 134 Appendix B - Interview Questions - Students 135 Appendix C - Researcher Observational Protocol 136 7 Chapter I: Introduction I have worked in public school kindergartens since 1992: as a classroom teacher of kindergarten for almost twenty years and as principal of an ea r l y childhood center, housing ten kindergarten classes, for about two y e a r s. When I was a kindergarten teacher, I was called upon at the outset of each school year to make certain baseline assessments of the learning and skill levels of m y students. Essentially all public school kindergarten teachers perform this type of student evaluation. Part of the data collection process involves determining the relative proficiency of students with the identification of the letters of the English alphabet. One year not long ago, I summoned my students, one by one, to my assessment table and asked them to tell me the letters of the alphabet. Every one of the children - probably twenty-two in number - sang the ABC Song to me. Now, I did not ask them to sing it but that was the means by which they demonstrated their mastery of one of the most fundamental elements of early learning. They all sang the alphabet to me because that is how they all learned it. Kindergarten is the traditional first year of official schooling for students in American public schools. Historically, a standard curriculum for public school kndergarten has included a variety of content; spanning a range of cognitive, social, emotional, motor and behavioral realms. As a longtime observer as of educational trends with decades of experience in kindergarten curriculum implementation I concur with Rentner, et al. (2006) that educational reform and the accountability and high-stakes testing movement has forced public school curricula to become increasingly compressed and focused on ‘academic’ areas with a corresponding subordination of other very important facets of child growth and development. Miller & Almon (2009) chronicle some of what many contend are alarming changes in kindergarten programming over time, 8 kindergarten has changed radically in the last two decades in ways that few Americans are aware of. Children now spend far more time being taught and tested on literacy and math skills than they do learning through play and exploration, exercising their bodies, and using their imaginations. Many kindergartens use highly prescriptive curricula geared to new state standards and linked to standardized tests (p. 11). Music can serve as a powerful force in early learning and can do so in many in many ways (Jensen, 2000). In my experience as a kindergarten teacher, I personally leveraged the properties and values of music to assist student learning, attract and gain student interest, adjust and orchestrate the mood in my classroom, and sometimes to just enjoy the ambience. As a veteran teacher of kindergarten and now an administrator of kindergarten policy, I seek to improve the educational experiences and learning of students whenever and wherever I can. In order to better understand the role music can play in students’ learning and their engagement in learning, I propose to undertake a qualitative study collecting, synthesizing and analyzing the perceptions of the kindergarten teachers currently working in my school to determine their philosophies, attitudes, beliefs and opinions about the efficacy of utilizing music within their practice to enhance student engagement and improve student learning. A focus group will be conducted and utilized in order to discover and discuss these perceptions, to record them and to provide data for analysis.