BISMILLAH

REVIEWER IN MUSIC

• Music education- is a field of study associated with teaching and learning

music.
• Music education touches on all learning; the cognitive, psychomotor, and the
affected.
• General Music Education- provides an overview and knowledge of music as a
science and as an art.
• (1) Is in developing skill, knowledege and appreciation in music, and (2) in
contributing to the enrichment of the music in our school. – DUAL FUNCTION
OF MUSIC EDUCATION.
• Music education should be approached through the learner’s aesthetic
experience and facts about music should be acquired in a purposeful learning
situation.
• A basic purpose of general music education in the Philippines is the
conservation and transmittal of the national heritage.
• Music is both an aural and a temporal art.
• Ronald Thomas articulates the nature music is expressive, on-going, and
creative.
• Aaron Copland- he describes music as a “continuos state of becoming.”

KEY STAGE STANDARDS

K-3 4-6 7-10

The learner The learner The learner
demonstrates demonstrates demonstrates
understanding of understanding of basic understanding of salient
fundamental processes elements and concepts features of music..of the
through performing, through performing, Philippines and the
creating, and creating, and world, through
responding, aimed responding, aimed appreciation, analysis,
towards the towards the and performance for
development of development of self-development,the
appreciation in appreciation in celebration of Filipino
music..and acquisition music..and acquisition cultural identityand
of basic knowledge and of basic knowledge and diversity, and the
skills. skills. expansion of one’s
world vision.
 GUIDING PRINCIPLES, APPROACH OF TEACHING MUSIC

• The K-12 curriculum for Teaching Music is designed as a student-centered,

based on spiral progression of processes, concepts and skills and grounded
in performance-based learning.
• Music as a performance based disiciplines, effective learning occurs through
active experience, participation, and performance, creative expression.
Aesthetic valuation, critical response, and interpretation.
• Reading/Analyzing, listening/observing, performing, singing, using musical
instruments, movement, acting, and playing, using different music materials,
techniques and processes, responding, composing, and creating.- The skills
that can be develop in the teaching of music.

THE LEGAL BASIS OF THE TEACHING OF MUSIC AND ARTS

• Article II, section 17 of the 1987 constitution declared a policy of a state to

“give to education, science and technology, arts culture, and sports to foster
patriotism and nationalism, accelerate socio progress, and promote total
human liberation and development.
• In arictle XIV on education , science and technology, arts, culture and sports
on Philippines states , to wit:
- Section 14. The state shall foster the preservation, enrichment, and
dynamic evolution of a Filipino national culture based on the Principle of
unity and diversity.
- Section 17. The state shall recognize, respect, and protect the rights of
indigeneous cultural communities, to preserve and develop their cultures,
traditions, and institutions. It shall consider these rights in the formulation
of national plans and policies.
• Yamzon (1972) states that in June 18,1996, Philippine congress passed
Republic Act No. 4723- known as the music law which provided for the
teaching of music and art as separate subject in the elementary and the
teaching of music once a week for one hour in the secondary level.

DIFFERENT TEACHING METHODS, STRATEGIES, MATERIALS AND &

ASSESSMENT IN MUSIC.
• The process of learning music closely relates to the process of language
acquisition process.
• Children begin with a type of musical vocabulary, which enables them to
become familiar with melodic and rhytmic patterns found in the song, as well as
aural recognition of instrumental sounds.
• Music teachers should approach instruction in such a way to develop musical
understanding by helping students to learn to “speak” and “think” through
musical experiences.
• Grunh notes that teachers should use singing, moving and playing instruments
to build mental representations.

ZOLTAN KODALY’S METHOD

• The kodaly method uses a child development approach to sequence,
introducing skills according to the capabilities of a child.
• New concepts are introduced beginning for what is easiest for the child
and progressing to the more difficult.
• Children are first introduced to musical concepts through experiences
such as listening, singing or movement. It is only after the child familiar
with a concept that he or she learnes how to notate it.

ORFF SCHULWERK’S METHOD

• “Elemental music is never just music. It is bound up with movement, dance and
speech, and so it is a form of music in one must participate, in which one is
involved not as a listener but as a co-performer”-Carl Orff.
• The orff method is the only approach that is not systematic “method” per se
although it does not entail fostering creative thinking through improvisational
experience.
• Orff approach to learning music combines instruments, singing, movement, and
speech to develop children’s innate musical abilities.
• His method emphasized to develop the awareness of internal steady beat and
enable children to become musically independent.
• Musical independence is nurtured through expriences such as exploration,
dance and movement, composition, improvisation, and performance.

EMILE -JACQUES DALCROZE

• Dalcroze method is playful, expirential approach to teaching and learning
music.
• It is a process for awakening, developing, and refining innate musicality
through rhytmic movement( often called eurhythmics), ear training and
improvisation.
• This unique approach to musical learning makes music vivid for everyone,
from young beginners though adult professionals.
• You begin to feel, express and master the flow that is essential to music,
dance, and the other performing arts.
EDWIN GORDON’S METHOD
• Learning music theory is a method of music education which is developed by
Edwin E. Gordon- a well known researcher , teacher, author, editor, and
lecturer(GIML).
• Music Learning Theory is a process by which Gordon explains how music is
learned through the basic belief that music is music is learned primarily
through audiation, and that the process of of learning music is very similar to
the process by which one learns a language.
• Audiation- is the ability to mentally hear the music without the use of external
sound.
• Audiation is used by Gordon to describe the basic patterns within music that
he believed represented the basic vocabulary of music, sound patterns
become the musical vocabulary for the inner voices, but instead of talking, the
voices sing.
• Preparatory Audiation- is the stages where a certain person undergo before
learns to audiate a song.
• Language-music acquisition metaphor- the relationship between language
and music
• Edwin E. Gordon’s Learning Music Theory- is an explanation of how learning
music is similar to learning a language.

SHINICHI SUZUKI’S METHOD

• The popular ‘Suzuki Method’ grew on the educational philosophy of

Shin’ichi Suzuki (1898-1998), born in Nagoya, Japan.
• He began playing a viloin at the age of 17.
• He studied with violininst Karl Klinger in Germany, where he met his wife
Waltrud, who also was German.
• Suzuki’s “Mother Tongue” approach to teaching builds on the principles of
language acquisition.
• Because all children learn and master their own language, Suzuki believed
that all children could learn and master music in the same way.
• Talent Education- meaning that musical talent is not inborn, but can be
developed in everyone.
• Suzuki called his method a “philosophy” and not a method; saying that
teachers must all devise their own method.
• Suzuki began by teaching the violin, and then his “philosophy” grew to
encompasses viola, cello, bass, flute, guitar, harp, piano, organ, voice,
recorder and early childhood eduation.

REGGIO EMILIA’S METHOD

• The Reggio Emilia approach to early childhood education views young
children as individuals who are curios about their world and have the powerful
potential to learn from all that surrounds to them.
• Educational, psychosocial, and sociological influences are important factors to
consider in understanding children and working stimulating learning in
appropriate ways.
• Emilia teachers employ strategies such as exposing children to a wide variety
of educational opportunities that encourage self-expression, communication,
logical thinking, and problem- solving.

4 major Principles of Emilia Approach

• Emergent Curriculum- A classroom’s curriculum stems from the particular
interests of children.
• Curriculum topics are derived from talking with children and their families, as
well, as well as from things that are known to be interesting to children.
• In-Depth Projects- these projects are thorough studies of concepts and ideas
based on the information gathered about children’s interests.
• Representational Development- this principal takes place into account
Howard Gardner’s concept of multiple intellingeces.
• The Reggio Emilia approach calls for the presentation of new ideas and
concepts in multiple forms, such as print, art, drama, music, puppetry, and so
on.
• Collaboration- is seen necessary to further a child’s cognitive development.
Groups both large and small are encouraged to work together to problem-
solving using dialogue, comparisons, negotiations, and other important
interpersonal skills.

The Teacher’s Role

• Teacher play a dual role in the Reggio Emilia classroom.
• Their primary role is to learn alongside children, becoming involved in group
learning experiences as a guide and resources.
• A Reggio Emilia teacher must always carefully observe and track the growth
of children and the classroom activity.
• Reggio teachers will also take time to reflect on what they have learned about
themselves and their teaching.

Observation and Documentation

• Documentation of the growth of both children and teachers is another
component of the Reggio Emilia approach. Photos of children at work and
play, along with dictations of their experiences, help teachers and parents
learn more about what does and does not work for a child.

The Classroom as Teacher

• The classroom is referred to as the “third teacher” in Reggio schools.
 THE ELEMENTS OF MUSIC
(RHYTHM)
• Sounds- are caused by the vibration of objects or movements of animals and
people.
• In music, movements are based on the element called rhythm.
• Rhythm- it is the aspect of the music that is concerned with accents,
durations, and flow of notes.
• Rhythm- is the most basic elements of music, the only one that can exist
independently of the others. It is a systematic division of musical ideas and it
is the regular recurrence of accented and unaccented beats in a measure.

COMPONENTS

• 1. Beat- the basic unit of music, which is felt and sensed. There is always a
note that coincides with the beat exactly, and it is called the beat note. The
first beat in a measure is usually played more emphasis that the other beats,
and it is called the down beat
• 2. Accent- the first beat in the group of notes is stressed. It can be strong or
weak. Accented beat is usually found on the first beat of each note pattern or
meter.
• 3. Meter- the natural groupings of beats. It is indicated by bar lines which
divides the measure into succesive units of two(duple), three(triple), and four
(quadruple). Also known “measure”
• 4. Rhythmic pattern- is the division of beats into patterns of sound. It is
indicated by words and syllables of the words.

• Notation- is a method of writing down music so that it can be performed

vocally and instrumentally.
• Duration- how long or short is the sound.
• Pitch- how high or low the sound.
• Expression- how should the music be played.
• Notes- are musical characters or symbols place on staff to denote certain
tones to be sounded.
• Rests- are musical symbols denotes silences or pause on the staff.
• Rhythmic pattern- is a combination of notes and rests. Each rhythmic pattern
is based on a specific time signature. Each note also has an equivalent
rhythmic syllable which helps in learning rhythm more accurately.
• Time signature- employ two numerals stacked on each other which are placed
immediately after the clef or the key signature; a number sign which look like
fraction; used to indicate the beats in each bar or particular rhythm to follow in
a musical composition.
For example:
2-tells how many beats are there in a measure
4-tells what kind of a note gets one beat.

• 1. Simple Time Signature

2, 2- simple duple meter or two-beat;two counts in a measure and follows the
4 2 two-beat pattern.
• Or C ( Common Time)
4, 4- simple quadruple time four or four beat; four counts in a measure and
4 2 follows the four beat.

• 2. Compound Time Signature

- Compound time are musical rhythm or meter in which each beat in a bar is
subdivided into three smaller units, so having the value of dotted one.
- 6}= compound dupple meter; the upper number (6) means, there are 6
4} counts in a measure.
-To simplify, there are two beats in a measure and the beats divides into 2
equal parts,
- The lower number (4) means, the quarter note or rest is the division of
the beats.