The University of ToledoThe University of Toledo Digital Repository

Theses and Dissertations

2012

Music and compound wordsTheodora E. MiddletonThe University of Toledo

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iii

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

iv

iii

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.

iv

For Max and Grace

v

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.

vi

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 12 Common Core 12

Common Core Concerns 13

Literature Review on Music and Literacy 15

Phonological Awareness 15

vii

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

viii

A. Folk Song Index 56

B. Resources for Educators 70

C. Compound Word List 72

ix

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

x

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

xi

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

1

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

2

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 self-

conscious 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:

3

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.

4

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.

5

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.

6

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 Correct He is a well known man He is a well-known man. (A compound

modifier before the noun) Their children are well-behaved. Their children are well behaved. (The

modifier follows the noun, no hyphen.) 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

7

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

8

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

9

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.

10

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 120 SG

HNU HS

K.I MIP SA

A, B, C x Ah! The Pretty Butterflies

Ain’t Gonna Let Nobody Turn Me ‘Round

Alexander’s Ragtime and

All Around the Buttercup

x All Around the Brickyard x x x

120 SG: 120 Singing games and dances for elementary schools HNU: Website: The American Folksong Collection at Holy Names University HS: Heritage songster K.I: The Kodály method I: Comprehensive music education MIP: Music in preschool SA: 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.

11

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.

12

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.

13

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

14

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

15

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)

16

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.

17

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 30-

minute 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

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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

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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

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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

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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.

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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.

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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.

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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

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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,

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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 wordsTo 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

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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

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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

49

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.

50

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.

51

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55

Appendix A

Index of Folk Songs and Speech Pieces Using Compound Words

120 SG: 120 Singing games and dances for elementary schools HNU: Website: The American Folksong Collection at Holy Names University HS: Heritage songster K.I: The Kodály method I: Comprehensive music education MIP: Music in preschool SA: Sail away: 155 American folk songs to sing, read and play SB.99: The Music connection: Master index and correlation, Silver Burdett SB.02: Silver Burdett Making music: Master index and correlation SGLO: Songs and games for little ones SOM: Spotlight on music STM: Share the music USOE: Website: Utah State Office of Education Song Title 120

SG HNU HS

K.I MIP SA SB.99 SB.02 SGLO SOM STM USOE

A, B, C x Ah! The Pretty Butterflies

x Ain’t Gonna Let Nobody Turn Me ‘Round

x

Alexander’s Ragtime and

x x All Around the Buttercup

x x x x All Around the Brickyard x x x x All Around the Maypole

x x All Around the Race-Track

x All God's Children Got Wings

x

All Work Together

x Ballad of the Bedbugs and the Beetles, The

x

Ballad of the Underground Railroad, The

Bandstand Boogie

x Barnyard Song x Bathtime x Bear and the Wildcat

x Bee, Bee, Bumblebee

x Before Mealtime

x Birthday x

56

Song Title 120 SG

HNU HS

K.I MIP SA SB.99 SB.02 SGLO SOM STM USOE

Birthday Bells x Blacksmith, The x x Bluebells x x x x x Bluebells, Cockle Shells

x Bluebird, Bluebird

x x x x Bluebird, The x Bluebirds x x Bluebirds Through My Window

x

Bonefish, Bluebird

x Buckeye Jim x Butterfly, The x x x x Butterfly, Come Play with Me

x Butterfly, Flutter By

x By the Firelight x Cairo x Chopstick x Come, Firefly x x Cornfields, The x x Cornstalk Fiddle and a Shoestring Bow

x

Cotton Eyed Joe x Cowboy, The x Cowherd and the Weaving Maid, The

x

Cowpoke, The x x Crow-fish Man x Daddy Shot a Bear

x x Dance Together x Dewdrops x Dewy Dells of Yarrow

x Doggie, Doggie, Where's Your Bone?

x x

Down by the Bay x x x Down by the Riverside x x x x Downtown x Elfin Knight, The x Everybody Has Music Inside

x Everybody Loves Saturday Night

x x

57

Song Title 120 SG

HNU HS

K.I MIP SA SB.99 SB.02 SGLO SOM STM USOE

Everybody Oughta Know

x Everybody Rejoice

x x Everybody Says

x Everything Grows

x Everything is Beautiful

x Farewell x Farewell to Nova Scotia

x Farewell to Tarwathie

x Farewell to the Warriors

x x Firefly x Five Little Snowmen

x Fly and the Bumblebee

x Football Team Chant

x Four Cornfields x x Frog's Courtship, The x Frosty, the Snowman x Garden Hoedown, The x Go Tell it on the Mountain

x Going to Boston

x Goodbye, Julie x Goodbye, My Friends x Goodbye, My Lover, Goodbye

x

Goodnight x Goodnight to You All

x Goodnight, Ladies

x x Gospel Train, The

x x Groundhog Blues, The

x Grandma Grunts

x x x Grandma's Feather Bed

x Grasshopper Grasshopper and the Ants

x

58

Song Title 120 SG

HNU HS

K.I MIP SA SB.99 SB.02 SGLO SOM STM USOE

Grasshoppers Three

x Great Outdoors x Gypsy in the Moonlight x Handsome Molly x x Hangman's Tree x Happy Birthday x x x Happy Birthday, Happy Birthday

x

Head for the Canfields

x Here Comes a Bluebird x x x x x Here is the Beehive

x Hey, Ho, Anybody Home

x x Hickety, Tickety, Bumblebee

x

Hide a Handkerchief

x Honeybee Song x Horseman, The x Housekeeping x How Many Miles to Babylon?

x x x

How Much Wood…Chuck?

x Hummingbird, The

x I am the Starlight x x I Can See a Rainbow x I Got Rhythm x I Hear the Windmill x I Heard a Mockingbird

x I Planted Watermelons

x If All the Raindrops

x In the Moonlight x Inchworm x I've Been Everywhere

x I've Been Working on the Railroad

x x x x x

Jamaica Farewell

x Johnny Appleseed

x

59

Song Title 120

SG HNU HS

K.I MIP SA SB.99 SB.02 SGLO SOM STM USOE

Johnny Has Gone for a Soldier

x

Kelligrew's Soiree

x Kentucky Babe x Key in the Highway

x Ladybug's Picnic

x Lemonade x x x x x x Let Us Sing Together x Let's Sing, Everyone x Little Butterfly x Little Snowball Bash x Lonesome Valley

x x Lonesome Dove

x Love Somebody

x x x x x Lullaby x Make a Rainbow

x Mary Was a Redbird

x Mockingbird, The

x Moonlight Lullaby

x Music Goes with Anything

x x My Landlord x My Last Farewell to Stirling

x

Nobody Knows the Trouble I See, Lord!

x

Nobody Knows the Trouble I've Seen

x x x x

Nobody's Business

x Nothing I Do I Own

x Old Betty Larkin

x

Old Dan Tucker x x On the Darkened Hillside

x

Outshine the Sun x Over the Rainbow

x x x

60

Song Title 120 SG

HNU HS

K.I MIP SA SB.99 SB.02 SGLO SOM STM USOE

Over the River and Through the Wood

x x

Party Tonight x Pat Works on the Railway x x Peppermint Twist

x x Playground at the Park

Please, Mr. Postman

x Popcorn Popping

x Rabbit Footprints

x x Ragtime x Railroad Corral x Rainbow Connection

x Rainbow Song, The

x x Rainbow, The x x Rattlesnake x x Rattlesnake Skipping Song x Ready for the Weekend x Red River Valley x Redbird x River Overflowing

x Round of Goodbyes

x Rudolf the Red-Nosed Reindeer

x x x x

Said I Wasn't Gonn' Tell Nobody

x

Sailboat in the Sky

x x Sally Go 'Round the Sunshine

x

Sandman x Seesaw x x Seesaw, Margery Daw

x x Shoo, Fly, Don't Bother Me

x x

Skip to My Lou

x x x x x x x Sleep, Baby, Sleep

x x Snowflakes x Snowman, The x

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Song Title 120 SG

HNU HS

K.I MIP SA SB.99 SB.02 SGLO SOM STM USOE

Somebody Come and Play

x Somebody Loves Me x Somebody Waiting x Somebody's Knockin' at Your Door

x x x

Someday Very Soon x Someone Who Believes in You

x x

Something for Me, Something for You

x

Something Funny Outside

x x Something to Sing About x Sometimes I Feel Like a Motherless Child

x x

Somewhere Out There

x x Song of the Snowflakes

x x Song on Courtship

x Springtime x x Springtime Has Come

x x Starlight, Star Bright

x Streets of Laredo

x x x Summertime x Sunrise, Sunset x x Sunset x Susie, Little Susie x Take Me Out to the Ballgame

x x

Thanksgiving x Thanksgiving Calypso x x Thanksgiving is Near

x Thanksgiving Song

x That's How I'd Be Without You

x

The Merry Golden Tree

x The More We Get Together

x The Toyman's Shop

x

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Song Title 120 SG

HNU HS

K.I MIP SA SB.99 SB.02 SGLO SOM STM USOE

Theme from New York, New York

x

There's Just Something About a Song

x

To Work Upon the Railway

x Today is Your Birthday

x Together in Unity

x Traveling Together

x Tugboat x Under the Spreading Chestnut Tree

x

Up on the Housetop x x x Wabash Cannon, The x Wabash Cannonball

x x Walk Together, Children

x Way Down Yonder in the Schoolyard

x x

We Gather Together x x We Go Together

x x We Shall Overcome

x x Weave Me the Sunshine

x Weigenlied (Lullaby)

x x We're Making Popcorn

x When We're Playing Together

x

Who's Got the Fishpole ?

x Willowbee x x Windmill, The x Winter Wonderland

Woodchuck x Woodpecker, The

x Working Together

x You Are My Sunshine

x x x

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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.

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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

67

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.

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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

70

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

71

Appendix C

List of Compound Words from www.learning differences.com

Compound Word List # 1 lifetime elsewhere upside grandmother cannot baseball fireworks passport together become became sunflower crosswalk basketball sweetmeat superstructure moonlight football railroad rattlesnake anybody weatherman throwback skateboard meantime earthquake everything herein sometimes also backward schoolhouse butterflies upstream nowhere bypass fireflies because somewhere spearmint something another somewhat airport anyone today himself grasshopper inside themselves playthings footprints therefore uplift supergiant homemade without backbone scapegoat peppermint

Compound Word List # 2 eyeballs longhouse forget afternoon southwest northeast alongside meanwhile keyboard whatever blacksmith diskdrive herself nobody seashore nearby silversmith watchmaker subway horseback itself headquarters sandstone limestone underground glassmaking riverbanks touchdown honeymoon bootstrap toothpick toothpaste dishwasher household township shadyside popcorn airplane pickup housekeeper bookcase babysitter saucepan lukewarm bluefish hamburger honeydew raincheck thunderstorm spokesperson widespread weekend hometown commonplace moreover pacemaker

72

Compound Word List # 3

supermarket supermen supernatural superpower somebody someday somehow someone anymore anyplace anytime anyway backhand watchdog backlog backpack backstage waterfall backtrack noisemaker underage underbelly underbid undercharge bookworm bookstore bookshelf bookend superscript supersonic superstar supersensitive bookkeeper bookmark bookmobile forgive forklift format fortnight honeycomb honeysuckle honeybee keyhole keynote keyway keyword lifeblood lifeboat lifeguard lifelike lifeline lifelong forefinger forefather forehand forehead

Compound Word List # 4

onetime supercargo supercharge overabundance backside backslap backspace backspin undercut underdevelop underdog underestimate superstrong supertanker superweapon superwoman underexpose underfoot however eyesight airfield sidekick crossover sunbathe anywhere anyhow backache backbite backbreaker backdrop backfire background textbook underachieve underact underarm keypad keypunch keystone keystroke upstairs softball uptight upstate supercool superego superfine superhero foreleg foreman foresee oneself

73

Compound Word List # 5

washroom blackbird blackboard blackberries upend blacktop whitecap whitefish whitewall whitewash friendship pancake daytime upbringing upbeat upcoming repairman firefighter standby bedroom blackjack blacklist blackmail blackout uphill waterline upkeep upland firehouse teenager carpool bellbottom ballroom brainchild pinstripe bodywork upward upwind upturn storerooms deadline rainbow watermelon waterway daybreak daybook daydream daylight update upgrade upheaval upheld

Compound Word List # 6

upload washstand upon upperclassman lifesaver forearm forbearer forbid carhop carload carport carpetbagger wastepaper upshot uplink upstage newspaper grandchild grandparent grandchildren fishpond fishtail hookup eyecatching taxicab taxpayer teacup teamwork uppercut uppercase uppermost uprising newsreel newsstand newsworthy granddaughter grandfather grandmaster grandaunt grandnephew upright uproar uproot upstart grandnieces grandson grandstand granduncle boldface bankbook bankroll dishcloth dishpan dishwater cardboard carefree

74

Compound Word List # 7

caretaker carsick carfare cargo uptake upthrust newsroom uptime carryall cartwheel wheelbase wheelbarrow washcloth fishlike waterproof fishnet newsdealer watershed newsman snowdrift intake courtyard overflow cornmeal underclothes overcoat undercover undercurrent takeover talebearer taleteller tapeworm superhuman wasteland superman superhighways afterlife setback overland highway mainland caveman drawbridge lifework firebomb someplace passbook passkey airtime firecracker sidewalk fireball allover notebook throwaway fireproof buttermilk footnote moonbeam Sunday

Compound Word List # 8

handmade candlelight firearm airline crossbow sideshow software sunfish moonstruck rattletrap weatherproof earthworm schoolboy sweetheart butternut hereafter playback foothill eyelid southeast horseplay headache blueprint raindrop weekday hammerhead foreclose foreclosure slowdown skyscraper motherhood fatherland forecast highball forebear mainline slumlord snowball snakeskin soundproof firebreak aircraft crosscut railway earthward buttercup allspice noteworthy playboy footlocker handgun horsepower rainstorm bluegrass cheeseburger weeknight headlight bedrock standoff commonwealth

75

Compound Word List # 9

cancan fireboat airlift Passover crossbreed sideburns sunbaked moonshine schoolbook hereby playhouse butterfingers footlights handbook backslide eyelash steamship headline spillway houseboat longhand horsehair standpipe whatsoever foresight soybean bookseller blueberry cheesecake raincoat thunderbolt standpoint bedroll cardsharp bellboy brainwash bodyguard pinhole ponytail newsboy careworn duckpin duckbill hookworm courthouse afterimage highchair mothball sixfold skintight skylight slapstick snowbank standout handout eyeglasses footrest stepson stockroom stonewall

Compound Word List # 10

sailboat watchword timesaving timeshare salesclerk showoff sharecropper sheepskin candlestick newsbreak newscaster newsprint butterscotch turnabout turnaround turnbuckle eyewitness starfish stagehand spacewalk shoemaker turndown turnkey turnoff horsefly comedown comeback cabdriver bluebird tablespoon tabletop tableware stoplight sunlit sandlot snowbird bluebell wheelhouse fishhook fishbowl stronghold tailgate taillight taillike pinup tailspin takeoff takeout bellhop taproot target taskmaster steamboat dairymaid teaspoon daisywheel pinwheel telltale tenderfoot tenfold

76

Compound Word List # 11

timekeeper watchword timesaving timeshare shoelace showoff sharecropper sheepskin newfound newsbreak newscaster newsprint timetable turnabout turnaround turnbuckle sharpshooter starfish stagehand spacewalk turncoat turndown turnkey turnoff aboveboard comedown comeback cabdriver tablecloth tablespoon tabletop tableware sundial sunlit sandlot snowbird wheelchair wheelhouse fishhook fishbowl tagalong tailgate taillight taillike tailpiece tailspin takeoff takeout taproom taproot target taskmaster teammate dairymaid teaspoon daisywheel showplace telltale tenderfoot tenfold

Compound Word List # 12 shortbread teapot timesaving timeshare firewater airmen sharecropper sheepskin moonscape schoolwork newscaster newsprint hereupon weathercock turnaround turnbuckle handcuff headdress stagehand spacewalk housetop forever turnkey turnoff tailcoat bedclothes comeback cabdriver upstanding fisheye tabletop tableware afterglow highland sandlot snowbird sisterhood skylark fishhook fishbowl waistline walkways taillight taillike walleyed wallpaper takeoff takeout wardroom warehouse target taskmaster warlike warmblooded teaspoon daisywheel warpath telltale tenderfoot tenfold

77

Compound Word List # 13

around washbowl fisherman schoolbus ashtray washboard beachcomb washout blackball upmarket washtub wastebasket sunroof sundown snowshovel sunup upset wastewater superimpose watchband jailbait jetliner dogwood downbeat atchcase backlash watchman below jetport boardwalk jackpot ballpark watchtower timepieces watercolor watercooler gumball goodbye nevermore coffeemaker watercraft backstroke waterfront waterlog moonwalk woodshop jellyfish waterfowl uphold watermark fishmonger waterpower shipbottom goodnight nutcracker racquetball waterscape newsletter waterside waterspout

Compound Word List # 14

scarecrow toolbox gearshift tailbone watertight waterworks waterwheel wavelength thunderbird bugspray overshoes paycheck wavelike warfare waxwork waybill bowtie crewcut typewriter jumpshot wayfarer waylaid wayward wayside deadend eardrum postcard fruitcup overboard jellybean centercut rubberband sunray clockwise downunder earache turntable driveway matchbox motorcycle nightfall graveyard carrack doorstop tadpole eggshell stopwatch limelight ironwork cattail nursemaid sunglasses wipeout egghead eardrop earthbound daybed earring housework haircut

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Compound Word List New

blowgun forethought upscale duckweed forewarn upstroke bowlegs foreknowledge uptown forebrain foregone washhouse forefeet foreshadow washrag forefoot foretold forego foreword foreground grassland butterball horseman forecastle horseradish foremost moonlit forepaws catwalk cardstock newborn foredoom newsperson forestall rainwater