Dpte Music and Movement Activities

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DPTE Music AND Movement Activities
Education arts and other social sciences (Moi University)
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DIPLOMA IN PRIMARY
TEACHER EDUCATION
(DPTE)
AND
DIPLOMA IN EARLY
CHILDHOOD TEACHER
EDUCATION
(DECTE)
MUSIC AND MOVEMENT
ACTIVITIES LESSON
NOTES

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COURSE PREREQUISITES
1) Key competencies: Communication and Collaboration, Self-efficacy, Critical Thinking and

Problem Solving, Creativity and Imagination, Citizenship 6. Digital Literacy, Learning to Learn
2) Professional learning areas: Child development and psychology, curriculum studies,
educational resources, ICT integration in Education, Educational Assessment, Communication
and research skills, Inclusive education, Educational Leadership and Management, Sociological
and Philosophical foundations of education, Historical and comparative foundations of
education, Micro teaching and practicum (12 areas)
3) Integrated content and pedagogy learning areas: English, Kiswahili, Mathematics, Science and
Technology, Agriculture, Home Science, Religious Education (CRE/IRE/HRE), Social Studies,
PHE, Art & Craft, Music, Indigenous Language, Foreign Languages
(French/Arabic/German/Mandarin-Chinese/Kenya Sign Language (KSL)
4) Regulations for the DPTE – entry requirements, duration of training, subjects offered, , micro
teaching and practicum, award of diploma, grading and distribution of course content in hours
5) National goals of education
6) Level learning outcomes for DPTE
7) Essence statement 8) General learning outcomes in music 9) Course content for music
Essence Statement
Music is an art form and a cultural activity that uses sound and movement as a way of expression and
communication. As a learning are, it involves creating/composing, performing, critical and responsive
listening to music. The course will equip the teacher trainee with both content in music, and necessary
pedagogical skills to facilitate learning of music as a practical experience. It also equips them with
skills and knowledge to identify and nurture a learner’s potential through a learner centred approach
focusing on learning that integrates the use of ICT resources. The music course seeks to develop a
competent, efficient and reflective generalist music teacher for primary education (PE). This is in line
with Albert Bandura’s Social-Cognitive Theory which argues that individuals have some type of
proactive involvement with their own development and their actions are capable of producing desired
results. The theory emphasizes experiential approach to acquisition of knowledge, skills and attitude in
music through proactive individual agency.
Upon completion of the course, the trainee will be able to work as a generalist music teacher in primary
school. In addition it will provide them with the ability to continue developing their skills and
knowledge in music through further training and lifelong engagement in musical activities.
GENERAL LEARNING OUTCOMES
1) Apply acquired knowledge on theory and practice of music to facilitate learning of the elements
of music in Primary School
2) Compose, improvise and arrange music for diverse developmental ability groups using voice,
percussion and melodic instruments
3) Choose appropriate instructional methods and materials representing a broad range of repertoire
and adapt them creatively to meet the varying needs and ability levels of the learner

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4) Design and apply assessment and evaluation techniques in learning music
5) Create and notate music using a music software and use ICT to enhance learning
6) Apply acquired competencies in performing music as an individual and in an ensemble
7) Identify and nurture every learner’s music potential during the learning process
8) Appreciate and promote Kenya’s diverse cultural heritage through music making activities 9)
Integrate values and Pertinent and Contemporary Issues (PCIs) in the learning of music
COURSE CONTENT FOR TERM 1 (40 HOURS)
1) Foundational skills
Overview of music o Music as a learning area o Justification
of music in the curriculum o Music as a tool of learning
in PE o Structure of PE and DPTE music curricular o
Place of and use of digital resources in music learning o
Development of a resource portfolio
2) Performing
Songs
o Categorizing and singing songs from different communities o Performing the Kenya
national Anthem o Performing of the East African Anthem
o How songs develop key competencies, instill values and address PCI’s
o Illustrating how songs can be used to develop core competencies, instill values and
address PCIs
o Illustrate how to facilitate learning of music skills and concepts through songs o Choose
appropriate songs for primary education
o Develop and use an observation schedule for assessing performance of a song
Kenyan folk songs o Discuss categories and features of folksongs from different
communities o Perform folk songs from different communities
o Explore how the community can be used to facilitate the learning of folk songs
o Illustrate how to facilitate learning of folk songs in PE o Design and use
assessment tolls for a folk song performance o Appreciate performance of
Kenyan folksongs in different contexts
Singing games
o Application of musical play and socialization theories in learning music o
Components of a singing game o Importance of singing games
o Preparation of a PE music festival program
3) Creating and composing music
Rhythm
o Establishing the beat in a piece of music o Creating rhythmic
patterns by use of body and percussions o French rhythm names and
note patterns in speech and words
o Interpretation of rhythms in simple and compound time aurally and
by sight reading o Composing 8-bar rhythmic phrases

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o Use music software to write and play music o Write rhythms to
given words
o Develop a scheme of work for one week and a lesson plan o
Research on and illustrate the strategies of facilitating learning rhythms
in PE o Make an audio and or audio visual lesson on improvisation of
rhythms
Music as a learning area
Various studies have found that engagement with music can lead to an improvement in brain
development in children. A study at Northwestern University found better neural processing in students
who played a musical instrument when they were compared with students who simply listened to
music.
Music education is an important aspect of providing children with a well-rounded education. When
allowed to work in harmony with other subjects and areas of study, music helps children grow in
selfesteem, build essential skills and prepare for bright futures
BENEFITS OF MUSIC EDUCATION TO EARLY LEARNERS
1) Language development - Music and movement enhances language development in children

from as early as during as gestation period Children whose mothers listen to particular songs when they
are expecting tend to like the song even after birth and this shows that listening skills are honoured
much earlier Music also develops language in children as they pronounce words, speak to each other
and express themselves.
Enhanced language capabilities - would you like your child to have larger vocabulary and enhanced
reading comprehension skills? Studies show consistent music education improves both areas. How
does it work?
Emerging evidence suggests the area of the brain controlling both musical ability and language
comprehension are more related than previously thought. Music education requires students to
recognize and repeat pitch, tone or enunciation of words.
Especially in young children, music directly benefits the ability to learn words, speak them correctly,
and process the many new sounds they hear from others.
2) Improved memory: Music education involves a high level of memorization. Students must be
able to read music by sight, play the proper notes on their instrument or recall lyrics. This process
benefits the overall memory center of the brain.
In one study, musicians outperformed non-musicians in auditory, visual, and memory tests.

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Music is also easily stored in our memory. Have you ever had a song stuck in your head? You can use
music to help children remember things. Examples include using common tunes to memorize facts,
playing meditative music during study time, and using music resources when presenting materials.
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3) Strengthened hand-eye coordination: Playing a musical instrument has long been known to
enhance dexterity and hand-eye coordination.
When playing an instrument, a musician must be able to create the correct notes through the proper
hand motions, whether it be hitting keys, closing valves or using another apparatus to produce sound.
In addition, the musician is also required to read the sheet music and follow the conductor.
This opportunity to grow motor skills is especially significant in younger children. Even a basic
introduction to an instrument, such as a hitting a triangle or learning a song on a recorder, can be
beneficial.
4) Powerful study habits: As children grow and are exposed to more rigorous courses of study,
time spent reviewing and retaining is essential to success. More and more time in the classroom is spent
on introducing new subjects and ideas, requiring students to work at home to ensure they have grasped
onto the necessary information.
When children are exposed to proper music education, they learn powerful study habits. Mastering
their specific musical craft takes a concerted effort, consistent practice and patience. These disciplined
habits translate into other areas of study.
5) Social development/Teamwork: Music is often thought of as a way to foster individual

expression. While it definitely is that, music can also teach teamwork. No place is this more evident or
powerful than in schools.
Students work together to create a cohesive, technically correct performance. Together, they form a
community of like-minded individuals who can help each other reach goals. Many students find a sense
of belonging in school music programs.
6) Cognitive development (mental processing & problem-solving heightened): In the end, one
of the most useful benefits of music education is the increased ability to process situations and find
solutions mentally. Those with musical training have been found to have higher levels of grey matter
volume in their brains, which are directly tied to auditory processing and comprehension.
Surprisingly, one of the areas of life this is most important for is forming relationships. Musicians learn
to listen to others, sense emotion, and react with greater depth and understanding
Sequential thinking - Children can be taught to think widely on creatively through music and movement
especially when parents/teachers stimulate their thinking e.g. how a tree would bend in a slight breeze.
When learning a new concept, a song or dance style will be used for quick remembrance.

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7) Physical development and coordination: The central factor in music & movement is to
enhance mobility. Since children involve their body parts and muscles to move, the music physical
development and coordination is enhanced.
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8) Emotional development: Young children exhibit different emotions at different times. Some
may be moody, happy and joyful, sad or tempered. In classroom teachers will use songs for creative
movement and dramatics as a change for pace and release for tension and energy.
9) To enhance other learning areas: Music can be integrated with Mathematics, Language,
Religion, outdoor/physical activities and environmental activities to promote building up of concepts
and skills.
Importance of music and movement in PE
1) It is used for purpose of Competition clearly demonstrated during schools festivals in Kenya.
2) For promotion of our national heritage- Through singing of patriotic songs.
3) For self-reliance- It forms a foundation for possible feature careers in music.
4) Necessary for concentration- Children have to listen first before repeating a song.
5) For instructional purpose- e g Actual teaching of number e g Moja, Mbili, Tatu, Nne etc
6) It’s a motivator- e g Ayoo-Ayo-yo-yo
7) Used for entertainment and relaxation- e g During sports parents days and prize giving days in
schools
8) Helps to improve physical fitness.
9) Used to enhance all areas of a child’s development e.g. physical, intellectual, language,
emotional and social aspect.
WHAT IS MUSIC?
• Is sound appearing in a planned sequence

• Is the art of making pleasant combinations of sound in rhythm, melody, tone colour and
harmony
• Is the organization of sounds that please the ear?
• Is the art of expression sound, melody, harmony including both composition and execution. In
PE, music is used to express a feeling or emotion such as joy, happiness sadness, or excitement.
Music is a tool through which man expresses his feelings, emotions and ideas through vocal or
instrumental rneans (or both). A combination of sounds which are pleasant to the ear.
It is a combination of organized sounds in a specific time pattern which sounds pleasant to human ear.
Music in pre-school involves singing, clapping, tapping and instruments. It is an art of expression
through sound that is culturally defined.

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It has been defined as “organized sound.” A musical tone is a product of regular vibration in the air,
and it perceived when an inner part of the listener’s ear is made to vibrate in sympathy. A noise by
contrast is the product of irregular vibration. Of the banging, scraping and blowing we mentioned
above, the first may produce music or noise, according to the object being banged and the ways in
which it vibrates. Normally, the scraping or striking a taut string, or causing a column of air to vibrate,
will produce a musical tone. Any musical composition, or piece of music, will be made up of a very
large number of musical tones, intended to be heard in a carefully ordered pattern.
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The basic systems of ordering are three: rhythm, which governs the movement of music in time; melody,
which means the linear arrangement of tones; and harmony which deals with the simultaneous sounding
of different tones. There are other important elements too such as, color and texture.
The first musician was nature. Insects hummed and birds sang. The wind sighed from giant trees and
ferns. The rain made gentle music as it fell upon rocks and upturned leaves. Water trickled down
mountain creaks and waves gurgled and splashed on beaches of pebbles and sand. Thunder boomed
across the sky. The world became alive with sound.
But in speaking of early times, when the world was very young and man had no means of writing down
his thoughts we must ask imagination to help us. Primitive man soon found he could pass on his
meaning to others by using the sounds which came from his throat. We can imagine that when he
wanted to warn his family of danger he did so by a sudden yell. We can also suppose that ordinary
conversation was carried on by a series of grants, some high, some low, some long and others short.
Gradually he learned to make up words, so speech began. “Primitive people” i.e. the early man, also
found pleasure in a simple form of dancing making noises as they jumped and whirled about. Because
the words which accompanied their dancing sounded better if chanted, singing began.
Then man found he could inspire others with a brave song, or a mother could soothe her child with a
gentle, crooning lullaby, and the need came for what we know now as music.
The songs of the early man would sound strange to our ears today, but in those far-off times they
expressed the feelings of these simple people. As time went on they discovered that other sounds could
be made besides those which came from throats.
From something that begun as a means of self-expression gradually developed as form of entertainment
for the benefit of others which became the basis of instrumental and vocal music.
THE ORIGIN OF MUSIC
Music is found in every known culture, past and present, varying widely between times and places.
Since all people of the world, including the most isolated tribal groups, have a form of music, it may
be concluded that music is likely to have been present in the ancestral population prior to the dispersal
of humans around the world.
In every society, in every period of history, men and women have made music:

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• they have sung it and danced to it;

• they have used it in solemn rituals and in light hearted entertainments;
• they have listened to it in fields and forests, in temples in bars, in concert halls and opera houses;
• they have made it not only with their voices but by adapting natural objects and banging them,
scraping them and blowing through them;
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• they have used it to generate collective emotion – to excite, to calm to inspire action, to draw
tears
Music is not a fringe activity or a luxury one: it is a central and necessary part of human life. Every
human culture has found a musical style and a means of expressing it that arise from the needs, the
history and the environment of that culture. In black Africa, for example, where the native population
has in general a stronger subtler command of rhythm than populations elsewhere, and where there has
been a crucial need for quick communication over large distances, the musical culture is more closely
concerned with drums and drumming than any other culture in the world.
ELEMENTS OF MUSIC
1) Sound: (overtone, timbre, pitch, amplitude, duration)
2) Rhythm: A regular pulse or beat appears in groups of two or three. A repetition of beat or sound
irregular and predictable pattern; Music as quicker or slower rhythm which may be lively or
soothing. It may contain sounds of different lengths which is related to the kind of notes used in a
rhythm such as crochet, minim etc.
3) Melody/Pitch: The location of a sound on a tonal scale. Therefore, defining its highness or lowness
of sound. The quality of musical note or a voice especially low or high it is. The rhythm value of a
note will determine the duration of the pitch. Melody is succession of notes varying in pitch which
have an organized and recognizable shape.
4) Harmony: Is the simultaneous sounding that is combination of two or more notes. It is vertical or
as opposed to horizontal movement of a melody as in melody. When a choir sings in four parts each
having its own notes then it performs in harmony. ‘
5) Timbre: Also known as tone color. It is the quality of tore distinguished in production by an
instrument or singer. Maybe described as bright, dark, brilliant or rich. If one note is to be sounded
by a trumpet and the descant recorder the quality of sound heard will be very different despite the
notes being of the same pitch. The difference in the tone color is the difference in the timbre
A rhythm defines a melody with an order movement in a devised pattern therefore melody is easy to
remember the part of a song that will harm or whistle to. Movement of melody is horizontal because
the notes are heard consecutively.

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6) Form/Structure: It is shape, structure and design of a composition. Various techniques can be used
by a composer to create a musical form such include repetition, contrast and variation
7) Expression: dynamics, tempo, articulation
How would you define music as learning?
Musical learning style refers to a person's ability to understand and process sound, rhythm, patterns in
sound, relationships between sounds, and ability to process rhymes and other auditory information.
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How does music help students learn?
• Background music may improve focus on a task by providing motivation and improving mood.
• During long study sessions, music can aid endurance.
• In some cases, students have found that music helps them with memorization, likely by creating
a positive mood, which indirectly boosts memory formation What skills does music develop?
Music ignites all areas of child development and skills for school readiness, including intellectual,
social-emotional, motor, language, and overall literacy. It helps the body and the mind work together.
Exposing children to music during early development helps them learn the sounds and meanings of
words.
PROPERTIES OF SOUND
A sound is a result of vibrating matter. A sound may be tonal or atonal. Atonal sounds have irregular
vibrations e.g. drum sound, clapping of hands, thunder etc. There are four properties of sound
1) Duration: This the time during which a sound lasts or the amount of time a sound lasts. Some
sound take s shorter time to last while other take a relatively longer time. Symbols that represent sound
are called note values. Depending on the length of time a sound takes to last, we have different note
values as we shall see in our subsequent lessons.
2) Pitch: This is the height (highness) or depth (lowness) of a sound. A sound is said to be high if
the frequency of the vibrating body is more rapid. The higher the frequency, the higher the pitch and
vice versa.
3) Timbre: This is the distinct quality of a sound. It is the roughness/coarseness or fineness of a

sound sometimes referred to as sound texture. The quality of a sound is determined by the wave patterns
of the vibrations, so that the more regular the shape of the waves, the finer the quality of sound. In this
case irregular wave shapes will result in a rough sound texture.
4) Intensity: It is the loudness or softness of a sound or the sound output or volume of sound. A
sound is said to be soft if it if barely audible. Too loud a sound can be irritating to the ear and even
cause some hearing loss. However, sound must be kept within the hearing range.

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ELEMENTS OF RHYTHM
NAME OF NOTE NOTE REST FRENCH RHYTHM NAME VALUE
Semi-breve( Whole note) Taa-aa-aa-aa 1
Minim Taa-aa ½
Crotchet Taa ¼
Quaver Ta-te 1 /8
Semi-quaver Ta-fa Te-fe 1 /16
Demi-semi quaver Ti-ri Ti-ri Ti-ri Ti-ri 1 /32
Hemi-demi-semi-quaver 1 /64
Total time is calculated by adding the notes and rests. Two quavers equal a crotchet. Four crotchets
equal a semibreve. Eight quavers equal a semibreve. This music plays for 16 crotchets.
French Rhythm Names: These are the sounds of note lengths when the crotchet is the beat.
ASPECTS OF RHYTHM
a) The Beat: When you clap your hands or tap your foot to music, you are responding to the beat.
The beat is a regular recurring pulsation that divides music into equal units of time. It is the basic unit
of time by which all note in a piece of music are measured. It is a regular throb. Any note can be a beat,
be it an ordinary or dotted note.
b) Meter/ Time Signature: A time signature is a set of two numbers, one on top of the other one,
written right after the key signature in a piece of music. The two numbers in a time signature tell you
how many of one kind of note there are in each measure in the song. In notational convention used in
Western musical notation, it is used to specify how many beats there are in each bar and which note
value constitutes one beat. Time signatures consist of two numerals, one stacked above the other:
The lower numeral indicates the note value that represents one beat (the beat unit).
The upper numeral indicates how many such beats there are in a bar.
In a musical score, the time signature appears at the beginning of the piece, as a time symbol or stacked
numerals, such as or 3 (read common time and three four time, respectively)
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The time signature immediately follows the key signature or immediately following the clef symbol if
the key signature is empty. A mid-score time signature, usually immediately following a bar line,
indicates a change of meter.
c) Tempo- the speed at which the regular beats of meter travel. It is the rate of change of musical
elements or simply the speed of music, be it fast or slow
MELODY
A melody is a series/succession of individual tones, differing in pitch, played/ heard/written one after
the other. Pitch is the height or depth (or highness or lowness) of a sound. The pitch of a sound is
determined by the frequency of the vibrating object, so that the higher the frequency (the more rapid
the vibration), the higher the pitch.
The Staff
The Staff is a set/series of five parallel, horizontal, equidistant lines with four spaces on which musical
notes are written
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The lines of the staff are numbered from the bottom to the top, so that the bottom line is line 1, the
second line from below is 2, the third is 3 etc.
The Clef
The five lines have no musical value without the introduction of pitch. The sign that introduces /fixes
pitch on to the staff is called the clef. The clef also enables us to name the line and the spaces of the
staff.
Types of clefs: 1) The Treble 2) The alto 3) Tenor 4) The bass clef

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1) The Treble Clef: It is also referred to as the G-clef. This is so because it coils around the second
line of the staff also called line G. The treble clef is used with the two female voices i.e. soprano and
the alto voices.
2) The alto/tenor clef: These are also referred to as the C-clef. They are used with the two middle
voices i.e. alto and tenor. The pointed part of the clef points on the middle C, which is halfway
between the treble and the bass clef. The alto and tenor clef symbols mirror through Middle C.
3) The Bass Clef: It is also called the F-clef. It is used with the two male voices i.e. tenor and the bass.
Naming the Staff

To name the staff, the first 7 letters of the alphabet are used i.e. A, B, C, D, E, F, and G. These 7 letters
are referred to as letter/pitch names. The seven letters, the eighth of which is a duplicate of the first
form a pattern called an octave, e.g.
A B C D E F G A B C D E F G A B C D E F G
The distance from one note/pitch name to another in an octave is not always the same. In an octave
where A Is the starting point (or tonic), the distances are thus:
A B C D E F G
The distance in pitch between two letter/pitch names is called an interval. Intervals are measured in
units called tones or semi tones.
The Grand/Great Staff

This is a big staff that combines both the treble and the bass clef. In between the two clefs is the middle
C.
Though we know the staff as five horizontal lines it originated as eleven. The 11 line staff is called the
grand/Great staff. Pitch ascends through the lines and spaces of the grand stave.

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We name the ascensions of pitch with the first 7 letters of the alphabet, A B C D E F G. The alphabet
ascends smoothly through the lines and spaces of the grand stave. We repeat the names at each eighth
ascension.
A B C D E F G A1 2 3 4 5 6
7 8
The easy ascension on the grand stave doesn't look so easy on the 5 line staves. The middle line is B
on the treble clef, D on the bass clef, C on the alto clef and A on the tenor clef.
Our five line stave is easier to read than the grand staff. But to reduce our staff to five lines we need to
know which five lines we are referring to. For that we use a clef.
a) The top five lines = the treble.
b) The bottom five lines = the bass clef.
c) The middle five lines = the alto clef.
d) The tenor clef stave is one line down from the alto clef stave.
The top two lines of the alto clef are the bottom two lines of the treble clef. The bottom two lines of the
alto clef are the top two lines of the bass clef.
The tenor clef is a line under the alto clef. The top of the tenor clef is the bottom of the treble clef.
The middle of the tenor clef is the top of the bass clef. The bottom of the tenor clef is the middle of
the bass clef.
Accidentals 1) Sharp (#)

Is a sign which when placed before a note value or after a letter/pitch name (as a superscript) raises the
pitch of the note by a semi-tone. e.g. C C # D D # E FF# G G # A A # B C
The notes C sharp and C double sharp on the treble clef.

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In music, sharp, diese (from French), or diesis (from Greek) means higher in pitch and the sharp
symbol raises a note by a half tone. More specifically, in musical notation, sharp means "higher in pitch
by a semitone (half step)," and has an associated symbol (♯), which may be found in key signatures or
as an accidental, as may flats.
Under twelve-tone equal temperament, B sharp, for instance, sounds the same as, or is enharmonically
equivalent to, C natural, and E sharp is enharmonically equivalent to F natural. In other tuning
systems, such enharmonic equivalences in general do not exist.
In tuning, sharp can also mean "slightly higher in pitch" (by some unspecified amount). If two
simultaneous notes are slightly out of tune, the higher-pitched one (assuming the lower one is properly
pitched) is said to be sharp with respect to the other. Furthermore, the verb sharpen means "raise the
frequency of a note, typically by a small musical interval".
Double sharps also exist; these are denoted by the symbol and raise a note by two semitones, or one
whole tone.
2) Flat
In music, flat, means "lower in pitch" and the flat symbol lowers a note by a half step[1]. More
specifically, in music notation, flat means, "lower in pitch by a semitone (half step)," and has an
associated symbol (b), which is a stylised lowercase "b" [2]
Under twelve tone equal temperament, C flat for instance is the same as, or enharmonically equivalent
to, B natural, and G flat is the same as F sharp. Note that in any other tuning system, such enharmonic
equivalences in general do not exist. To allow extended just intonation, composer Ben Johnston uses a
sharp as an accidental to indicate a note is raised 70.6 cents (ratio 25:24), or a flat to indicate a note is
lowered 70.6 cents[3].
Double flats also exist, which look like and lower a note by two semitones, or a whole step.
In tuning, flat can also mean "slightly lower in pitch". If two simultaneous notes are slightly out of tune,
the lower-pitched one (assuming the higher one is properly pitched) is said to be flat with respect to the
other.
The order of the flats in key signature notation B, E, A, D, G, C, and F. A mnemonic for this is: Battle
Ends And Down Goes Charle's Father.

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3) Natural sign (♮)

In musical notation, a natural sign (♮) is an accidental sign used to cancel a flat or sharp from either a
preceding note or the key signature. If a bar contains a double sharp or double flat accidental and the
composer wishes to denote the same note with only a single sharp or flat, a natural sign traditionally
precedes the (single) sharp or flat symbol. Naturals are assumed (by default) in key signatures and
mentioned only in key signature changes. In highly chromatic and atonal music, to prevent any
ambiguity in performance, natural signs may be placed in front of any note that is to be neither flattened
(flatted) nor sharpened (sharped)
Solfa - Notation.
Syllable — is a single sound made

Solfa — these are syllables representing notes sung on a musical scale.
Solfa notation — these is a system of writing down notes sung on a musical scale
Components of solfah-Notation
It is made up of so 8 (eight) syllables the 8th of which is a duplicate of the first. doh
ray mi fah soh lah ti doh written as d,r,m,f s l t,d’
The difference between one syllable (note) and another called the pitch. These pitches increase from
the initial d to r, in that manner in a musical scale.
Form of solfa notation:
They are of two kinds

a) Ladder form
b) Staircase form
FACTORS TO CONSIDER WHEN SELECTNG AND COMPOSING MUSIC FOR PE
1) Musical structure - Where children’s songs should have short phrases, not challenging (in
pitch, text…) not hard to remember.
2) Purpose/objective- course objectives. What the song is intended for e.g. behavior modification,
relaxation or general entertainment.
3) Syllabus requirement/Subject matter- Songs should be appropriate for the children’s level.
Most children like animal songs or nursery rhymes.
4) Ethnicity- Source/race/religion/language for which the music is intended. Reason for or the
importance of this: African songs are rhythmic while western songs are melodic.
5) Variety- Diversity in choice of the songs e.g. singing games, sacred songs, fork songs.
Different African communities differ in terms of specific body parts to be emphasized in
dancing/ movement while dancing or singing, but all accompanied by movements e.g. Maasai.
Turkana move the neck more while the Akamba move the shoulders.

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6) Musical interests of the children - Songs should be interesting to capture the child’s attention.
Teachers at pre- school need to be creative and offer a variety of songs.
7) Available/allocated time
8) Space requirement: Allow for free and easy movement
9) Number of children/class roll: The organization of the song will determine the number o1f
participants.
10) Materials/resources: Availability and adequacy is important.
11) Morality of the game/song: should be in line with what is morally and ethically acceptable.
12) Gender/sex: Consider class composition
13) Simplicity of the rhythm: Melody or song should be short with simple words for children o
remember.
14) Learner interests: What do they value most
15) Repetitive: Music should be repetitive for children to memorize easily.
16) Language to be used in the game/song: Should be simple and developmentally appropriate
for e age it is intended for.
17) Musical structure: The song should have short phrases which are neither challenging to learn
or hard to remember
HOW TO ENHANCE MUSIC AND MOVEMENT SKILLS IN PE
i) Ask children, clap, tap, stamp their feet etc. ii) Sing songs that encourage action e.g. head,
shoulder, knees and toes iii) Do activities using various body pars e g touch your nose, eyes,
ears etc. iv) Dramatic songs e g culling like a cat, enlarging like an elephant, jumping high like a
frog etc. v) Encourage each child to move his/her own way therefore catering for individual
differences.
vi) Prepare children to act out nature in movement e g bending and swaying, depicting natures,
causes and effect such as wind blowing.
vii) To appreciate diverse and rich cultural background and to develop a keen sense of nationhood.
viii) To enable children to learn and sing new children’s songs and games. ix) To enable
children build self-confidence and leadership skills. x) To develop children social skills.
xi) To appreciate and contribute to the development of different types of music. xii)
We are able to read and write music.
THE ROLE OF MUSIC IN CULTURAL HERITAGE
Role refers to the purpose of music in lives of who make it. Culture is the way people live in a
community or society. Heritage is something that is passed on by inheritance. Cultural heritage are the
customs1 and ways of life of groups of people or a country that are passed on by inheritance.
Through culture our country enjoys a rich diversity of cultures. Children as citizens of a given country
need to appreciate their culture and other people’s culture apart from their own. ECDE offers an
opportunity for teachers to enlighten and encourage the children to embrace the different cultural
aspects of other communities since children in the ECD centers especially in the urban centers are of
different communities.

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THE ROLEOF MUSIC AND MOVEMENTS IN CULTURAL HERITAGE
1) Through cultural dance children can get exposure to their culture through dances.
2) Transmission of particular communities values, norms and traditions 3) Helps in
expression of feelings indifferent issues.
4) Praising of the community heroes who have made an impact on their society.
5) Instills into the children appreciation of their heritage
6) Expression of the communities’ needs such as rain in cases of drought
7) Thanks giving were done through dance and songs when there was abundant harvest 8) For
entertainment
9) Transition of culture from one generation to another
10) Warnings-we use music to warn or rebuke people about some behaviour that are not accepted
in their cultures
11) For self-fulfillment and development. It encourages people to work hard in order to attain their
set goals.
12) For leisure or enjoyment- music enables people to relax, refresh their minds after work.
13) Educating some important messages are passed through music. This equips people with
knowledge.
14) Creates employment people are employed as music teachers and musicians
15) Promotion of skills and creativity by creating dancing costumes, cultural ornaments. Dances
were performed when occasions such as during naming ceremony, during birth, during
communal work, during marriage, during funerals during social gathering, duringtradition on
wars and during initiation.
16) During child naming- songs and dances are performed to entertain the gathering. Songs and
dances are performed to appease the ancestors from whom the name of the child is chosen.
Example of song Luhya song Meaning

Wenya khulola Omwana Tunataka kumwona mtoto
Whenya khulola Tunataka kumwona nayempenda.
During initiation- Before the activity songs and dances were performed in order to;
a) Encourage the initiates to be brave/not to fear - the cowards
b) Tell the historical aspects of initiation among the community.
c) Entertain the initiates
After initiation song and dances were performed in order to;
a) Congratulate the initiates for their bravery.
b) Mock those who may have feared the process.
c) Educate the initiates on their new social responsibilities.
d) Welcoming the initiates into adulthood

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Example
Luhya song
Mlongo ahoo*2
Ni wenye sina
Hawe ahoo
During communal work

The songs and dances are performed in order to:
i) Boost the morale of the workers ii)
Mock lazy workers
iii) Thank God for the plenty harvest
iv) Encourage community members to work hard and also together v) For entertainment during
the time at work vi) Make work appear easy. vii) Music makes the community the members
at work to work in harmony hence they are united. viii) Adds rhythm to words
Example Luhya song Meaning

Mama mbe tsimbindi Mother give me seeds.
Mama mbe tsmbindi I go and sow or plant
Nziekumiza*2 nzie nzie
Nziekumitsa
During social gatherings

These songs were meant to:
a) To entertain the gathering.
b) To praise the leaders of a community or country.
c) To praise bulls during bull fighting.
d) To mock the losing bull in fight.
e) To mock the drunkards.
f) To encourage people to behave well in community by adhering to the norms at large.
g) To ridicule wrong doers by calling them names.
h) As a form of contribution to the integration of the society.
Example:
Harambee x2 tuimbe pamoja x2
Haramhee x2tujenge pamoja.
During traditional wars:

a) When it was war time there were some song sung in order to;
b) Praise the winner or the winning party.
c) Motivate the worriers not to give up.
d) Mock the enemy.
e) Console the injured and the families of the dead.

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f) Mock the cowards.

g) To welcome the worriers back home.
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Example
Kenya*3 nchi yetu
Kenya*3 taifa letu
Wako wapi hao wabeberu
Waone haya*2
Zamani Tuliwekwa ati nambari nne
Sasa abautani tuko
Nambari moja
During funerals: When someone pass away there are some songs that are sung to;
a) Stop the dead from haunting the living.
b) Send off the dead warmly.
c) Console the bereaved family.
d) As a distress to praise the dead.
e) Entertain the mourners.
f) Drive away the evil spirits.
g) Give hope to the bereaved family.
Example
Bye bye grandpa bye until.
We met again if not in
This world in the world
Above. For the world is perishing
With all its love for the world is passing away where Will you be?
vii) During marriage: It was considered as a very important’rite of passage. Songs and dances vere
done during this ceremony to;
a) Entertain the gathering.
b) Offer a prayer of a bright future for the couples.
c) Praise the families of the couples
d) Advice the wedded about their new roles.
e) Mock either of them depending on the group performing. :
f) Praise the newlyweds (groom and bride)
g) Educate them about marriage life in the community culture.
Example.
Kata, kata x2 kata usiogope
Kata, kata hiyo keki .kata.
Lisha lisha x2 lisha huyo.
Keki lisha usiogope.

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During child birth

This symbolized the continuity of a community hence accompanied by songs and dances to;
a) Praise the parent of the new born child
b) Entertain the people gathered.
c) To express joy.
d) Welcome the new born to the society/ community at large.
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Example:
Amezaliwa Mwana
Kazaliwa sote tishangilie
Mwana Kazaliwa,
COMPOSING SONGS
In Kenya presently and indeed in the whole world, there are issues that need attention urgently. This is
especially true of many things that afflict children and the youth today Sensitization of such matters is
important to children right from their pre- school days to adolescence.
This calls for a breed of creative teachers who can incorporate these emerging issues into simple songs
for children. Songs such as London is burning. Am going to the country, Old Mc Donald had a farm
and many others, have had their origins from cultures that are foreign to ours.
Steps to consider when composing songs

i) Think of a theme ii) Write the
words on the theme
iii) Arrange the words in poetic and storytelling style
iv) Read the words severally to establish time signature and the rhythm v) Write the rhythm to
match the words vi) Compose the tune and fixthe time and key signature of the tune vii) Fix
the words be given one note. Make sure important words should be on a strong accent. viii)
Sing the song several times making any necessary correction.
ix) Add signs of tempo, dynamic and phrase marks.
Steps to be considered when teaching songs in an PE class

i) Sing a familiar song ii) Introduce the new
words of the new song.
iii) Sing the whole song for the children once more iv)
Guide them to sing that song stanza by stanza.
v) Ask them to sing on their own and correct them where necessary.
vi) Let the children repeat the song in order to master it. vii) After mastering the song
allow the children to make simple body movements.
viii) Introduce the use of simple musical instruments to match with the song

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MUSICAL ACTIVITIES IN PE
The common music activities for children are singing, playing music instruments or percussion,
storytelling and play games alongside with music.
a) Singing
Singing is the simplest way for children to acquire the element of music since every child has the vocal.
At the beginning, children might tend to scream when they sing due to inability to control their voices.
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Approaches:
i) Encourage the children to clap according to the rhythm of the song or while they are singing
ii) Organise activities that associate with rhythms and move with rhythm i.e. action songs are sung
with actions to make the movement according to the lyrics. Naturally children like action songs
because they are free to move, express their feelings and show their individual creativity.
iii) Sing action songs and with movement by following the song’s lyrics
iv) Encourage children to memorize their favourite songs by imitating their favourite singers in
order to acquire basic singing skills i.e. pitching and controlling of vocal and establish the
familiarity of beat and rhythms.
Classification of children’s songs
The Kenyan scholars who have described their communities’ children’s songs categorize them by the
social roles that each song plays in the lives of the children. Generally Kenyan children’s songs can be
classified according to their social functions because the songs can only acquire meaning and value in
relation to their social functions that they are part of. This is also the way in which the children view
their songs, as they will invite others to join them in singing the songs for counting, playing with a rope
etc. As such children’s songs can be classified as follows:
(a) Activity or Action Songs: Traditional Kenyan children’s songs in this category tend to spell
out social roles, like sweeping or fetching water and firewood, which are the activities in which the
children who perform them often take part. These tend to be female roles, which may indicate that at
this age, girls are at the forefront of this kind of performance. As a rule, these are songs that involve
children in doing something, where the actions are mimed. The children move in a manner that acts
out what is in the text. Musically, action/activity songs are easy to learn, with substantial rhythmic and
melodic interest. Moreover, the melodies are easy to learn with basic rhythmic patterns that often stress
the pulse.
(b) Singing Games: These are songs that place equal emphasis on song and play and can be called
play with song, since the song and game go hand in hand. These include the skipping songs where
children play with ropes, with actions changing at various points in the song. Clapping games also
have songs that command a change of action at specific points. Other games may involve a tug of war
at the end of the song (where the winning group is the better).

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A singing game is an activity based around a particular verse or rhyme, usually associated with a set of
actions and movements. Singing games are meant for children. Singing games enable children
coordinate singing and body movements. They are performed for enjoyment.
Music can be used in children games to make them more interesting and attractive; however the sound
of musical instruments and any other sound need to be selectively chosen in order to match the
objectives and nature of the games. Practice is a requirement for making sure the flow of games is
smooth and easy to carry out e.g. children galloping like a horse in a circle from slow to fast.
Categories of singing games: e) Calls of Friendship
a) Matchmaking f) Jumping
b) Wedding Rings
c) Cushion Dances 21
d) Witch Dances
g) Eccentric Circles i) Clapping
h) Buffoonery j) Mimicry
(c) Fable songs: These are songs that are incorporated in folk tales or fables. A lot of folk tales for
children have songs, usually sung by the victims and/or their captors, or the main characters in the
story.
(d) Songs for learning things: These are songs about ordinary things within a child’s experience,
touching on customs, proverbs, historical events and important personalities. In this category are
included technical songs from which children learn counting, colors and names of plants, animals, birds
and geographical locations. These are normally performed with some actions that help the learning
child to internalize the concepts, so that counting songs, for example, may involve moving and touching
people or objects. Songs involving naming of colors use the names of objects in the environment that
has the colors mentioned.
(e) Lullabies: A lullaby is a soothing song, usually sung to young children before they go to sleep,
with the intention of speeding that process. Lullabies have long been the medicine to nudge little ones
to sleep. As a result they are often simple and repetitive. This tradition of singing simple lullabies seems
analogous to the practice of meditation, in that the subject will listen to or repeat simple phrases or
sounds to induce a relaxed state for the mind and body. Lullabies are found in every culture.
As earlier mentioned lullabies are sung to sooth a crying baby, usually by someone older, who may or
may not be a child. They have repetitive texts (words) and the words deliver three types of messages.
The songs could:
i) Call on sleep to ‘take’ the baby, as in Nyandolo – (Nyandolo, nindo tere (Luo) – sleep, take
the baby).
ii) Praise the baby and promise good things upon the mother’s return, as in Merirei Cherotich
(kalenjin) and Ndolo mbobela omwana….lipwoni Sambe (Luyia) or iii) Carry the threat of
disaster for the baby who continues to cry in the form of an ogre or beast that eats children,
as in “Ombe” and ‘Mdondo’ (Chonyi).
Ombe……… Nyathi ma ywak , Ondiek Chame - The crying child will be eaten by the
hyena……

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Example.
Lala mtoto lala
Mamaanakuja lala Akupe
maziwa/mkate lala
Characteristics of such songs include:

i) Short melodic phrases
ii) Repetitive iii) Unaccompanied iv) Soothing text
v) Solo performed vi)
Require no costumes
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vii) Easy to remember

viii) Feminine tone
ix) Full of promises to the child
x) Simple melodies that are easy to memorize
xi) Full of rhymes which keep the child engaged to the song
(f) Cradle songs: Songs sung by the person tending the baby but not intended to hull him/her to
sleep, all fall under this category. They will praise and/or encourage him/her and are often directed at
the feats he/she is currently performing as he/she develops, like balancing on his/her feet, or taking the
first steps. (Tungelele/tete [Bukusu]). Most of these are chant like, but may have interesting musical
characteristics.
g) Rounds: These are song in which voices/performing groups enter in imitation of each other.
These songs are also referred to as canons. The objective of such songs is to mark entries and maintain
ones melodic line and rhythm. They are performed mostly by children.
h) Folk songs: Are traditional songs. Is a song that is traditionally sung by the common people of
a region and forms part of their cultural heritage. Folksongs revolve around the activities and matters
of social interest to the society. These songs have no specific composer and are orally transmitted from
one generation to the next.
In Africa, music plays an important part in the way people interact, celebrate and relay historic events!
Music is a form of communication and it plays a functional role in African society. Songs accompany
marriage, birth, rites of passage, hunting and even political activities. In certain African communities
music is often believed to ward off evil spirits and to pay respects to good spirits, the dead and ancestors.
When used:
i) Used to entertain during a social function. ii) For education purpose iii) Promote culture from
one generation to another.
iv) For pleasure and enjoyment.
Example Meaning
Dudu tirnore rnàlich ahiya Duduu is here when the
Kama jadongo goe kombe Elders are siting down as
Sama awero Ajeni manya I sing to Jane.who comes
Ahero nyamin jakom From Ahero the sister to the chairman
i) Religious songs: It is common to find that most human beings believe in Supreme Being. Young
children need to be taught songs that promote good neighborliness, kindness, charity, and good morals.
Song taught to children should put into consideration the respective religious affliction so as to avoid
unfairness when selecting songs.
Example
Mungu yu mwema
Mungu yu mwema
Mungu yu mwema
Yu mwema kwangu
j) Topical songs e.g. songs on HIV/AIDS songs: They Educates people about the causes and
prevention of the disease. Encourage the affected and infected that being sick is not the end of life. The

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songs taught to children should include what the children know about HIV/AIDS. This will make them
feel much at ease in participating in composing songs.
Example
Kenya is burning x2 withthe virus, with the virus
Stop the spreading preach, the message about the virus
k) Welcoming guests: African tradition demands that guests and other visitors be welcomed and
entertained properly.
Example
Welcome x2 our visitors we
Are happy to see you
Happy to meet you
l) Special days songs: Are those that are important to the human fraternity or children. Most of these
special days are marked on the calendars e.g. Christmas, Madaraka, Good Friday, Easter Monday and
Jamburi day.
Example
Kenya yetu ni nchi ajabu
Tuungane sote tuwe na umoja
Wananchi wa Kenya tulipata
Taabu tusahau yaliopita
Tujenge taifa.
m) Integrity songs: They should promote virtues such as honesty, trustworthiness, kindness, loyalty
in children. Children should be made to embrace good virtues that will make them stand out in the
society.
Example
Usiibe Ukiiba
Wee utafungwa bure
Usiuwe usiuwe
Wee ukiua watakunyonga bure
n) Songs of children’s rights: Children should be made aware of what they are entitled to by virtues
of being children.
Example.
Baba ninakukabidhi unipeleke
Shuleni kama watoto wengine
Wanavyo enda shuleni niweze
Kujisomea na kujiandikia
Nijivunie kisomo kiingereza
Kukinena.
o) Nursery Rhymes: Reading of nursery rhymes could be used to help the children to build up the
concept of rhythm. By reading the poem or nursery rhymes in rhythm to children, it could enable
their hearing and feeling of short and long syllables in the words and thus able to give response to
the rhythmic sounds

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p) Birthday songs: These songs are usually sung whenever attains a new year. To children, birthday
songs bring out a lot of fun and peers enjoy teasing the children. These songs promote curriculum
such as mathematics, when a child counts how many years he/she has attained by use of candles e.t.c
Happy birthday to you, happy birthday dear
q) Folksong: They are indigenous music which originate from the people and is handed from one
generation the next through a process of oral transmission. Children appreciate each other through
these songs as they learn different ethnic background.Children learn good behavior,
brotherhood,morality and kinndness.
Korom cheptang’ung halleluya X2
Kibun dirisha halleluya.
Kibun dirishakocheng’e nenyi………
r) Patriotic song: Young and growing children are able to learn and retain patriotism through songs.
Children should lean to honour. Patriotism also calls them to respect the leaders of the country
Harambee harambee tuimbe pamoja
Tujengenchiyetu…………..
b) Movement activities
Movement-The act of changing position or the act or manner of moving. It is an attribution that is
made to tempo and pace in music. It involves coordination produced by different body parts to elicit
an activity usually as a response to a song or other musical effects. In Pre-primary and PE movement
in music constitutes the coordinated use of most if not all the body parts.
Types of movement
Movement is vital activity for developing musicianship and understanding of musical concepts. There
are two types of fundamental types of movement in music i.e.
1) Axial movement/non locomotor movement: Occurs when a child moves in a place at the
same spot. It includes bending, swaying and shaking.
2) Locomotive movement: Is a movement by a child from one place to another and includes
walking, running, skipping and jumping.
Movement activities include:

a) Jumping. Example
Mama njeri!
Yoo!
Unaenda wapi?
Sokoni,
Kununua nini!
Samaki:
Samaki gani? Mgongo wazi:
haya kwaheri salamia watoto nyunbani, lakini nilisikia bwanako aliurnwa na nyoka
mstuni.

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b) Creative dancing.
Example:
Ndiranga baba wanje x2.
Nidianga baba undeshi vane
Nindianga kwitsa kwekwe.
Reko nurushe urindanga .
Shin nindanga kwistsa kwikwe.
c) Marching Example
We are matching in light of God x2, We are matching.
d) Rocking swaying.
Example:
Kaa nami ni usiku sana
usiniache gizani bwana msaada wako
haukomi mimi pekee yangu kaa —aa nami
e) Whirling Example:
Njendire, jonyire rnwana wa mama njendire njonyire x2:
Ninguruhe mgoye mnda mwana wa mama nimbue rngoye mndai
f) Jumping/ leaping.
Example:
Nuba nuwatukha usinjile utinye.woi baboli ulimsatsa baba wa; x2 g)
Slilding/glinding Example:
Helena ive inzi nakhiyanza x4
Wenya khubukule vhe mkhayo waiye.
How to ensure successful music and movement activities.
a) Observe children so that you can respond appropriately to what is enjoyable and makes
meaning to children.
b) Be flexible and allow children to respond to the music their own way.
c) Encourage children to come up with their own ideas about music.
d) Start with music that you enjoy so that enthusiasm and enjoyment motivate children.
e) Have the materials you need for the lesson ahead of time and make sure it is working.
f) Maintain a balance between child initiated and teacher directed music a movement activities.
g) Plan music and movement activities that can be carried out indoors or outdoors.
h) Provide time for individuals and small groups.
i) Allow enough time for the activity but ends the activity when you notice that children have had
enough.
j) Ensure that the activity is developmentally appropriate by checking if children are able to do
what they are asked to do.
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k) Encourage children to be spontaneous by giving an example
c) Playing of Musical Instruments
Playing of musical rhythmic, melodic and harmonic instrument is critical in EYE and PE. Learning to
play an instrument can help kids grow socially and academically.
i) Increases Memory Skills: Learning an instrument teaches a child how to create, store and
retrieve memories more effectively. In a hospital, this keeps a child or teen’s brain working and can
distract from their pain.
ii) Teaches Perseverance and Creates a Sense of Achievement: Learning to play an instrument
takes a lot of time, patience and practice. During music lessons and music therapy, a teacher or therapist
will set short term and long term goals. As the child reaches their goals, they will feel a sense of
achievement and pride.
iii) Improves Coordination: Playing an instrument requires the brain to work at advanced speeds.
Reading music is converted in the brain to the physical motion of playing the instrument. Those who
play instruments have improved hand eye coordination over those who do not.
iv) Improves Mathematical Skills: Playing an instrument may seem like a creative act, but there
are many parallels to math. Music and math are highly intertwined. By understanding beat, rhythm and
scales, children are learning how to divide, create fractions and recognize patterns. “It seems that music
wires a child’s brain to help him better understand other areas of math,” says Lynn Kleiner, founder of
Music Rhapsody in Redondo Beach, CA to Parents online.
v) Improves Reading and Comprehension Skills: Learning and playing music requires constant
reading and understanding. Children and teens need to identify a note on the page and recognize which
note (pitch) to play on their instrument, how long to hold it, what finger to use and how loudly to play
it. They also need to identify if the note should be played short and crisp, or smooth and connected to
the next note. Learning to read and comprehend music can even help in reading and understanding
literature in school classes.
vi) Creates Responsibility: Most instruments require some kind of maintenance or upkeep. This
can be anything from oiling to tuning to cleaning. Encouraging children to stay on top of regular
instrument maintenance creates a level of responsibility for them. When they are responsible for
something they are more likely to take care of it themselves without a parent having to remind them.
vii) Exposes the Student to Culture and History: Music theory has a deep history and can be
taught as part of musical instruction. Music is most often a reflection of the culture and era it was
composed in. Exposing a child to multiple types of musical genres (for example classical,
contemporary, rock, jazz, blues, folk or medieval) will allow them to have a glimpse into the past.
Understanding the origins of music, can give children a deeper understanding of what they are playing
and they may become more attached to it.
Music therapy also has an interesting history including being found in Greek Mythology, philosophy,
Native American culture, World War II and the United States military.

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27
viii) Nurtures Self-Expressions: Children learning to play an instrument are able to find themselves
creatively. In fact, one of the amazing benefits of music therapy is the ability for children to express
themselves. By learning how to express themselves and their complex feelings about their illness
through music, they are able to find a way to show or play what they are feeling during their hospital
stay.
ix) Improves Listening Skills Playing an instrument requires children listen carefully to an array
of different things. They not only need to listen to instructions from their teacher or music therapist,
they need to listen for rhythm, pitch and speed. This concentration will improve their skills in music
and in life.
x) Improves Social Skills: Depending on what the music therapist decides, music therapy can be
done either bedside or in group settings. When engaged in a group setting, this requires children and
teens to work together to collaborate on a specific sound or song. Interacting with other kids will give
them an opportunity to make friends and improve their time in the hospital. Additionally, it helps
children outside of a hospital relate to their classmates.
When choosing musical instruments to use during music and movement activities of children.
a) Ensure that you have permission from instrument owner to play it.
b) Ensure that it is an instrument that can be replaced, if broken
c) Ensure that it is safe for the children to use.
d) The instrument should be enjoyable to use.
e) The instrument should b simple to enhance.
f) The instrument should be affordable.
Other ways in which you can interact with children, during music and movement activities.
1) Describe what children are experiencing e.g. “you are moving left and right to
the music”.
2) Mirror the infants emotion e.g. “you enjoy the soft music”. 3) Explain
concepts-“that music is fast”.
4) Provide vocabulary as children explore music e.g. “that is a drum you hear being played”. 5)
Build their confidence and self-esteem e.g. you are dancing beautifully.
6) Encourage children to respond to music with their bodies e.g. “you will move slowly to this
music”.
7) Ask children to identify familiar sounds e.g. “what could be making that sound?
8) Point out differences between selections of music e.g. “the jingles are making the shrill sound.
9) Build social relationship e.g. “let us hold hands and dance together”.
INTEGRATION OF MUSIC TO OTHER LEARNING AREAS
1) To introduce other activity areas: This is one of the areas where music is really appropriate in
ECDE. As children go about performing their tasks and other activities, they may need to change from
one activity to another activity area. Instead of the use of bells and other devices, a song can sang after
tiding up to signify the end of ore activity and therefore the beginning of the other. Using songs to

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demarcate venous activity areas give the children a sense of anticipation’ since they look forward to
what will follow.
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Music eases transition from one activity area to the next. ‘For instance, instead of being told, it is time
for mathematics, when they have just completed an interesting music-filled language lesson, children
can sing. In order for this to materialize, the teacher should ensure that the environment is “musically
conducive”. Apart from Just being conducive, the individual interests and needs of the child need to
be considered in order to ensure that the progamme is child-centered. This is in line with
developmentally-appropriate -practices in ECDE: For example, after a language activity, if number
work is the next activity, the teacher can, the following song(s):
i)Moja, mbili, tutu, nne,.tano, sita or

ii)One elephant went.out.to play, Out on
the spiders way to come
He thought it was such fun though
Two callfor another her elephant to come
Two elephants………
iii) This old man, he played one ... iv) Ten

little ducks went swimming one day.... v)Ten
green bottles standing on the wall ……
The above songs will be able to prepare the children mentally that they are
going to venture into the world of numbers.
2) In transition from one activity to the other: Just as above, music is an important component of
introducing an activity area. Within an activity area, there are many different activities which the
children can perform or take part in. When children are changing from one activity to the next, a
song is the best way to move through the motions; this is to avoid creating .a vacuum between
activities.
Children can quite disorderly when going from one activity to the other, and music provides the channel
that ensures a smooth transition.
3) To enhance concepts in other areas: Each activity area in early childhood education is not there
just by chance, but for the acquisition of concepts and skills it is not totally unheard of for some
ECDE teachers to employ rote teaching and even lecture methods in ECDE centers. As professionals
in early childhood Education, teachers should be aware that the best way for children to acquire
Concepts in the different activity areas is to ensure that the atmosphere is relaxed, open to exploration
and discovery. The relationship between teachers and children should be harmonious. In order to
involve children in the different activity areas, it is advisable to use music. It is not common for
people to sing and rejoice while they are sad. As children struggle adjust to school life and acquisition
of knowledge, songs can be used to help them grasp the skills without much struggle.

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4) To break monotony and boredom: There are a lot of misconceived ideas about how education in
early childhood centre is carried out. Many more people are beginning to understand what Early
Childhood Education is all about. There is a growing understanding among pre-school and lower
primary school teachers that children cannot be taught in the same way as adults. Adults can
withstand the monotony of a speaker dwelling on one topic or subject because they have the capacity
to concentrate for a long time and attend to what the person is saying. Children, on the other hand
have a
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very short attention span and need to be refreshed regularly so as to sustain interest in the various
activities.
Music is used to capture the children’s interest in all activity areas. It is also introduced at intervals
during fora, conferences, seminars and workshops to break the monotony and make the presentations
lively. The ECDE teacher should be very keen to notice when the children look bored, distressed or
restless. He/she should ensure that children have enough activities, and creative songs to accompany
them. There should never be a situation, however, where there is a vacuum and the children are not
doing anything or engaged in music. Sometimes, children can be so excited in class that there is actually
no concentration; a song can be used to bring the situation back to normal by calling them to attention
5) For class control: The ECDE teacher has to be very conscious of how to ensure control in the class:
ECDE children can be carried away very easily and get out of control.This can make the teacher’s work
very difficult, considering that some of them teach large classes. Below are some of the tips teachers
can employ, to ensure class control: Children should know what is expected of them before the 1esson
starts that is the rules and regulations of the Class.
The teacher can write the rules on piece of paper and stick it on a soft board in the classroom. The
children can then learn how to recite the rules in the form of a chant or songs that encourage good
behaviour and discourage bad behaviour. The teacher should be consistent and avoid double standards
This is an important component of class control in early childhood.It is unfair and a pointer to bad early
childhood practices for a teacher to allow some behaviours this time and punish them some other time.
Consistency and steadfastness should be qualities that are deeply observed in ECDE. This is to make
the children have a clear distinction between what is acceptable and what is not. Music here can come
in handy, in that the teacher can ask one child to sing a song. If another child wants to sing too, the
teacher should give equal opportunities to all children to participate. If the ECDE teacher discourages
a certain dancing style or terms a song as culturally unacceptable, he/she should be firm on this
favouritism and prejudice should not find their way into an ECDE classroom. Good behaviour should
be reinforced while bad behavior should be separates from the child
This means that the teacher should direct negative comments of bad behaviours to the behaviour and
not to the child. In this way, the child will be encouraged to depreciate that it is the behaviour and not
him,who is bad. For example if Msalame hits Sintonia with a stick on the back and the teacher says
Msalame is bad, then the children will Just talk of Msalame s badness’ and not the bad behaviour. The
teacher should therefore say that hitting other people is bad. The teacher could also say that God loves
us all, but hates sins such as hitting others. This is to avoid unnecessary ridicule to the child as well as
ensuring that the child does not hate the activity being taught

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A creative ECDE teacher can, therefore compose a song whereby children can fill in what behaviours
are not appropriate, so that they remain as reminders of what should be done and what should not be
done
MUSIC AND OTHER LEARNING ACTIVITIES

Arts
a) Rhythm is an element common to music, art, and bodily response.
b) Appropriate recordings stimulate creative arts.
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c) Song creation can be inspired by pictures.
d) Pictures can motivate listening to descriptive music.
e) The making and decorating of' simple musical instruments is in the area of arts and crafts.
f) Some ideas can be expressed in several media: art, music, dance, creative dramatics and writing.
g) Certain artistic styles are common to both art and music. Examples: impressionism and
classicism.
h) Certain concepts of form are common to both art and music.
Physical Education
a) Singing games and dances are activities considered to be in the areas both of music and physical
education. Music can be created for a known dance.
b) Dance can be created for known music.
c) Basic understanding of note values and meter signatures comes from bodily response.
d) Rhythm can be expressed in the dance, in music, and in art.
e) Certain musical forms can be created for bodily movement.
Science
a) Some music concerns aspects of nature such as clouds, rain, the sea, the seasons, stars.
b) Aspects of electronics include such things as radio, television, amplifiers, and recording and
reproducing sound.
c) There are many scientists who have music as an enjoyable vocation.
d) Making and playing musical instruments and experimenting with sound-producing materials
motivate the study of acoustics, the science of sound. Correct posture in singing relates to
health.
e) There are songs that help teach health and safety.
Arithmetic
The study of beats, note values, and meter signatures relates to the understanding of number concepts.
Language Arts
a) Poetry and music are closely related; meter, word rhythms and melody rhythms are often similar
or identical.
b) Appropriate recordings can be employed to stimulate creative writing.
c) Poetry can be composed, music cat he written to make songs based on this poetry; poetry can
be composed for melodies. Some song interpretations develop creative dramatizations.
d) There are many books about music; instruments, and musicians.

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e) Music can be composed and recordings can be selected for use with dramatizations, plays, and
puppet shows. Many songs, operatic and symphonic works are based upon literature and drama.
f) Aspects of choric reading can relate to the process of learning songs.
g) Reading of words of songs can be an experience in the process of improving comprehension.
Pronunciation and enunciation.
h) Music can be selected that relates to children's literature.
DANCES
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The Importance of Dance in Childhood Education
Dancing benefits a child's education. Through dance, children not only learn the benefits of exercising,
but they also learn coordination, balance, flexibility, stamina, stability, memory and discipline.
a) Dancing Boosts Self Esteem: Research shows dancing boosts a child's self-esteem. Dancing
makes children feel good and helps them gain confidence in their own abilities.
b) Dancing Improves Memory: Dancing requires memorization. Children improve their overall
memory when trying to remember steps
c) Learn How to Listen: Dancing teaches children how to listen, whether it be instruction or for
the beat. When children are listening, they are not talking.
d) Develop Social Skills: Dancing shows children how to interact with their peers in a positive
manner. Dancing at a young age is non-competitive.
e) Creative Expression: Dance allows children to creatively express themselves, even through
the confines of a particular type of dance steps or process. Like art and music, dance lets kids
be themselves and express ideas with their bodies.
f) Concentrated Learning: Dance is the study of a concentrated area, which translates to an
opportunity for children to learn about something in a specific manner. Students who study
dance are able to focus on what they need to learn, take instruction and progress
g) Team Work and Individual Work: Depending on the dance class and type of dance, children
get a chance to work in a team, such as ballet, as well as by themselves. In all types of dance,
children can learn about being with a partner, relying on others, and working as a team. They
can also learn about relying on themselves and being the best individual that they can be.
h) Competition: Dance classes can also promote healthy competition to children of all ages. As
children try to accomplish steps, participate in dance recitals, and even compete for solos or
special dance routines, they learn that practice is important and you need to practice and move
forward in order to succeed, no matter what you choose to do in life.
i) Physical Fitness: Dance classes help children achieve both fine and gross motor skills, build
their muscles, and strengthen and tone their bodies. No matter what type of dance a child is
doing, their bodies will benefit from the exercise.

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Different communities have different dances for different occasions. Dance is a series of body
movements in response to musical stimuli.
Traditional dances are named based on:
1) The way the movements are executed.
2) The musical instruments used.
3) The costumes used.
4) The occasions when the dance is performed.
The organizational structure of dance includes the presence of a leader, a singing/ dancing group,
appropriate instrumental accompaniment and suitable costume and décor.
Apart from the singing and dancing, visual aids are also a part of music and dance in Kenya.
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1) Body painting and application of red ochre on the hair enhances the physical appearance of the
performers.
2) Colorful beads were used to make necklaces, bangles and bracelets that were worn during
performance.
3) Head gear for male performers could be made from feathers or animals skins.
4) Sisal skirts were also made for women to wear on the waist. This enhanced the waist movement
during dance.
Roles of dances in the society

1) To bring people together to share in the social occasion.
2) For entertainment.
3) For ritualistic purposes like exorcism.
4) To provide avenues for enhancement of good relations in the community.
5) For commercial purposes.
6) To keep fit and healthy
The Maasai Dances

The North is represented by the famous Maasai tribe. This ethnic community has managed to withstand
the test of time and retained its rich traditions and attires. The Maasai have a distinct dance that involve
making a circle and jumping up high. The women wear bead necklaces or shanga round their necks
which they use to dance as they sing their traditional music. The beautiful colors of their shukas and
beads combined with their mowhawk kind of hairstyles separates them from any other dancers in Kenya
Coast Province
Chakacha: Unlike the Maasai dances, coastal dances focus mainly on vigorous waist movements.
Chakacha is a very popular dance amongst the coastal tribes and their music is usually traditional or
Taarab.WithTaarab music and dancing, the instrumentals take up most of the song giving both the
dancers and the performers’ time to shake their waists and move their hands freely. The major difference
between chakacha and Taarab is the tempo of the songs with chakacha being the faster kind of music.

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Kamba Dances in the Eastern Province

The eastern province is synonymous with the Akamba people whose traditional dances involve shaking
their shoulders while stamping their bare feet. Their music is usually accompanied by drum beats and
flutes. Percussion instruments were used to accompany song and dance depending on the occasion or
ceremony.
Drum dances
Kilumi: (pl. milumi) drum songs and dances were traditionally performed by women and comprised of
two kilumi drums accompanying the ululations and singing of a lead singer backed by two other women
vocalists. Usually, the drummers compose and sing too.
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Formerly for old women, kilumi is now danced to even by men, and kilumi is one of the few songs and
dances that traditionalists still perform in Ukambani. One session of the kilumi dance could last about
half an hour, and the entire performance for something like eight hours.
Mbeni: This dance is for young unmarried people and because of its tiring pace, it has the shortest
sessions. One session lasts less than ten minutes. Its instruments are a set of four drums and three
whistles. Danced in pairs as it gets to the climax, when the male dancer (Anake) jumps about four feet
into the air and somersaults.
Nduli: The most popular dance among Kamba teenagers. It is a condition that any boy attending an
Nduli session must be circumcised, for it is in the Nduli dance that one may choose a partner for life.
Kisanga: This is a thanks-giving dance for all ages, both young and old. It is performed only when the
village has had a good harvest. During the celebration a white goat is slaughtered, its blood poured
under the Kitutu Tree, and its meat left near the tree for Mulungu (God).
Mwasa: The Mwasa dance involved two drums, one small and one large, and was found in northern
Kitui. While not primarily used for dancing, Mwasa served as an accompaniment while elders enjoyed
uki beer. Mwasa is a relatively new drum beat, which comes from a combination of Nzumari from the
Giriama (one of the 'Nine Tribes' of the Mijikenda) and original Kamba Ngoma. It came into existence
during the Second World War, when Giriama and Kamba soldiers served together in the colonial army.
Central Region
Mwomboko: Central Kenya is famous for its hilly terrain and the great Mountain of God, Mount
Kenya. The most populous tribe are the Agikuyu whose dances concentrated on foot and
handmovements. The rythimic stamping of feet and sequential arm movements make up most of the
dances in that area. Mwomboko is one of the most popular dances in that area and can be compared to

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a waltz or a slow paced salsa dance. The leg movements of both male and female are systematic and
one missed step ruins the whole performance. This dance is one of the least vigorous dances in Kenya.
Western
Isukuti: It is with much vigor and passion that the people of western Kenya dance. They probably have
the most energetic dances that combine all the other four dancing styles. Unlike the coastal people who
shake their waists, or the people from central whose main focus is the feet, or the northerners who love
to jump and the easterners who shake their shoulders, the people of western Kenya shake their whole
body. Accompanied by the famous Isikuti drums and the karingaringa, a metallic circular instrument
that is hit to produce sound, these people love to dance. They dance during all ceremonies, be it a
funeral or a wedding. However their most colorful dances are performed during their annual
circumcision ceremonies.
Dance Accompaniments Community Occasion Eligibility
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Sengenya Mijikenda
Ramogi Luo
Entabanana Gusii/Kisii
Ohangla Luo
Mumburo Kikuyu
Ibirandi Kuria
Vukhulu Tiriki
Ribina Gusii/Kisii
Dodo Luo
Kamabeka Luhya
Hella
Gitiiro Kikuyu
Kishawi Taita
Kamabeka Luhya
Isikuti Luhya
Adamu Maasai Maasai warriors
Kilumi Kamba Traditionally women
RESOURCES FOR TEACHING MUSIC ANDMOVEMENT IN PE
These are objects or instruments which helps musicians to create rhythm tone or melody and harmony.
Some of the teaching and learning resources for music and movement comprise of musical instruments,
ornaments, costumes and artifacts. Different communities have musical resources e.g. the Luhya use a
musical resources called Isikuti.

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Musical Instrument
A certain criteria is used in the classification of Kenyan instruments. The main factors are:
1) The external and internal basic shape of the instruments.
2) The mode of sound production.
3) The material used.
4) The mode of tuning the instrument.
5) The mode of holding the instrument.
6) The role of the instrument in the community.
These e objects that are used to enhance musical performance. They are divided into three groups they
include:
1) Aerophone/wind instruments
2) Chordophone/ string instruments
3) Idiophone/ percussive instruments
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4) Membranophones
The instruments have generations ranging from traditional to modern Traditional one includes
traditional drums shakers, flutes traditional guitars. Modern instruments include piano, modern drum
electric guitars, trumpets etc. Musical instruments should be accessible to the child’s learning
environment.
1 Aerophone/wind instrument
These are instruments which are blown to produce sounds. Different sounds are produced by tightening
and/or loosening of lip tension while playing. They are of many sizes, shapes and types thus they are
classified into the following groups
Flutes: Flutes are mostly made of reed/bamboo stick. Some flutes are end blown whereas others are
side blown (transverse flutes).
Different communities have different names for flutes. They are according to their designs and number
of holes. The finger positions on the force implied enable flue to produce different sounds and pitches.
FLUTES HORNS WHISTLES TRUMPETS
Kikuyu Muturiru Coro Filingi
Luhya Mulele Olwika
Luo Odundo Tung/Oporo
Kalenjin Ndurerut Kigondit /Lalet Silimbit
Kamba Mutulilu Nguli Vilingi
Gusii Ekeroria Egetureri
Mijikenda Chivoti Nzumari/Bung’o
Kuria Emborogo
Teso Auleru
Maasai Emouo

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Turkana
Pokot
Sabaots
Chordophones
The vibration of the string causes sound. Word ‘Chordo’ means string. There are modern and traditional
string instruments, some traditional string instruments include those with one string, two strings, five
strings and others eight.
FIDDLES LYRES HARPS MUSICAL BOWS
EARTH/GROUND MOUTH BOWS
Kikuyu Wandindi Nderemo
Luhya Shiriri Litungu Indevedeve, Ling’ang’a Lukhiji
Luo Orutu Nyatiti
Kalenjin Kimeng’eng Chepkesem
Kamba Uta wa
Gusii Ong’eng’o Obokano Mbaito
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Mijikenda Pukandit
Kuria
Teso Ageregeret Adeudeu
Marachi - Makhana
Instruments with one string can be divided into two groups
I. One stringed fiddle
II. Musical bows
Fiddles: Are simplest to make and found in many parts of this country i.e.They are mainly played by
blowing. It comes with one or two strings mainlyp1ayed by using bow or stick.Commonly used during
solo singing performance
Music bows: Isa string that is tied to a curved piece of wood, the string is made lighter or loosened
dependingon the pitch the performer wants to adopt. It’s a traditional musical instrument, examples of
musical bows include: Nderemo- Kikuyu and Indevendeve-luhya
Lyre: Comes with a range of fiveto eight strings. The shapes vary from Community to community The
strings are plucked in pairs to create a harmonic and melodic accompaniment solo singing. Examples
include; Abagusii — Obokano
Harp: Five strings are attached to a bowed arm that protrudes from the resonator. Theyare plucked
provide accompaniment to solo and choral singing. It’s mostly found on the slopes of Mount Elgon e.g.
Adeudeu of the Iteso
Idiophone: Are instruments that maintain rhythm during song or dance performance, this instrument
are played by rubbing together, banging together, shaking, tapping, striking with a stick. Those made
traditionally include; Horns, reed, metals, skin and wood

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The instruments are made from locally available materials so each community made percussion
instrument from materials available in their area. They can be divided into two main groups
Membranophones: Idiophones are permanently tuned while membranophone need tuning. The word
“idioms” means self-membrane like a skin. So when the skin or the membrane is hit It produces sound
1) Two ways of tuning membranophones are. Placing the membrane near a fire for it to stretch
2) Learning the instilment in the sun for the membrane to stretch. Other membranophones like the
VYAPUO from the coast province are tuned by tightening or loosening the membrane using
strings
THE PEDAGOGY OF TEACHING MUSIC IN EYE & PE
In Early Childhood Development and Education, it is important to bear in mind that teachers of ECDE
should not use shortcuts, lecture method and direct teaching methods. The teaching methods are
employed when dealing with adults and not children. Children should be allowed to explore all
possibilities in a natural way. Teachers should use methods that are not tedious or taxing to the child in
order for the children to understand well.
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Individual and peer — centered teaching
Individual teaching comes in when an ECDE teacher focuses his/her attention on children as
individuals. This will mean that each child will be able to perform a task or an activity as an individual.
It’s advisable for the teacher to let the child explore and follow his/her own interests. Peer-centered
teaching calls for little or no interference from the teacher. The teacher only acts as a resource person
who encourages the child or gives him/her morale to proceed even when activity seems to be
challenging.
Advantages.
a) Teacher focuses on one leaner until he/she understands well
b) Individual differences are catered for
c) Teacher-leaner relationship is enhanced
Disadvantages
a) Time consuming
b) it’s expensive in that different instruments are used to teach each leaner
c) Tiresome technique on the side of the teacher
Group/team teaching: Group teaching appeals to most children because everyone desires to be part of
a group and it is important ECDE classes for children to work in groups
Advantages
a) Children see alternative point of view of others and adjust their thinking to fit that of the group
b) They recognize their ideas and can see events in different ways.
c) Enables the teacher to cover the syllabus on time
d) Children strengthen their cognitive abilities through learning from others

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e) Skills of social interactions, listening turn taking are developed

f) Shy learners are catered for.
Disadvantages
a) There are egocentric (children this age are egocentric)
b) They cannot sit still for too long
c) They have short attention span
Factors to consider when working with children in groups

a) Ensure that all the children have the opportunity to participate
b) The group activities should be kept short, flexible and spontaneous
c) The teacher should establish physical closeness with children
d) Activities’ should begin without waiting for the group to be ready
Demonstration or imitation: Imitation is the process whereby the teacher portrays a action and the
learners copy
Advantages
a) Enables children to 1ow exactly what is needed.
b) Cheap in terms of using teaching materials
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Disadvantages
a) Not all learners can imitate the teach
b) Time consuming when performing the imitate
c) Can be easily forgotten by learners
Participation: Participation involves children taking part or being involved with something that forms
the basis for a big portion of the learning process.
Advantages
a) Children have the benefit of experiencing things first hand without being told
b) Children build self- confidence.
c) Encourage a fusion of different aspects of learning
d) Both boys and girls are involved in participation
Disadvantages
a) Tiresome to learners because they have to participate in different activities
b) Shy learners can be knocked out because they can’t participate
c) Time consuming while preparing for the participation
Visits to music festivals or cultural dances: Young children can benefit a lot from different visiting
places Where there is adverse fusion of music form different ethnic backgrounds Since children’s
primary interest is listening to music from different communities, visiting ‘institutions such as Bomas
of Kenya or festivals like the Kenya schools music festivals makes good the prose of both entertainment
and learning

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Advantages
a) Learners are able to explore and discover for themselves.
b) The teachers and pupils view musical performance from communities other than their own
c) Visits provide needed break from school routine activities.
Disadvantages
a) Time consuming
b) Due to children short span attention they easily forget what they saw during the visits
METHODS OF TEACHING MUSIC TO CHILDREN
There are various methods used by educators to teach music. Four of the most popular music education
methods include
1) The Orff methods

2) The Kodally method
3) The Suzuki method
4) The dalcroze method
1) The Orff Method
It’s a way of teaching about music that engages their mind and body through a mixture of singing,
dancing, acting and use of percussion, instruments. Lessons are presented with an element of play
39
helping the children to learn at their own understanding. Musical concepts are learned through singing;
chanting, dance drama and the playing of percussion of instruments.
Improvisation composition and child’s natural snse1 of play are encouraged. This method as developed
by Carl Orff a German composer and educator. He shared his ideas in a book entitled Orff- schulwer
which was later revised and then adapted into English as music for children.
Type of music and instrument used
Folk music and music composed by children themselves are mostly used in the Orff classroom.
Xylophones (Sopranos also bass) met allophones (sopranos also bass) glockenspiels
(sopranos also bass) castanets, bells, maracas, triangles, cymbals (finger crush or suspended)
Tambourines, timpani, gongs bongs, steel drums and conga drums are some of the percussion
instruments used in the Orff classroom. Other instruments (both pitched and un-pitched) that may be
used include Afiches, claves, cowbells, Djembe, shakers, tap-a - tap, rhythm stick.
Although Orff teacher use books frameworks, there is no standardized Orff curriculum.
Teacher design their own lesson plan and adapt it to suit the size of the class and the age, of the student
2) The Kodally method
The Kodaly Method is a way of developing musical skills and teaching musical concepts beginning in
very young children. This method uses folk songs, Curwen hand signs, pictures, movable-do, rhythm

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symbols and syllables. It was first introduced in Hungary but is now used in many countries, either
alone or in combination with other methods.
What types of music and instruments are used in the classroom?

Songs of high artistic value, both folk and composed, are used in the Kodaly classroom. Songs that are
in the pentatonic scale are emphasized at the beginning level.
According to Kodaly, "Nobody wants to stop at pentatony. But, indeed, the beginnings must be made
there; on the one hand, in this way the child's biogenetical development is natural and, on the other,
this is what is demanded by a rational pedagogical sequence." Other songs that may be used include
chants, dancing songs, lullabies, nursery rhymes, songs for circle games and story songs.
What are the musical instruments used?

The voice is the main musical instrument of this method. In his words, "Singing connected with
movements and action is a much more ancient, and, at the same time, more complex phenomenon than
is a simple song.
" Various rhythm and tonal instruments are also used, including xylophones and recorders.
3) The Suzuki Method
The Suzuki method, also known as the "mother-tongue approach," is a method of teaching music that
stresses the importance of parental influence and involvement. Parents and teachers work together to
achieve a common goal. Parents are expected to attend lessons and serve as nurturing teachers at home.
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Using this method students learn:
a) Discipline
b) Poise
c) Confidence
d) Proper posture
e) Technical mastery
f) Musicianship
g) Proper intonation and phrasing
Basic Elements of Suzuki Method
a) Children should be exposed to good music at birth, children should receive Violin instruction
at an early age.
b) It’s not only the music teacher who serves an education ,the child’s parents or guardians also
play a vital role in the child’s musical development
c) Students learn by observation than imitation
d) Children become adapt with the instruments before learning to read music.
e) Playing by memory
f) Attention to detail
g) Repetition
h) Aside from individual lesson students attend group lessons at least once a week

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Teaching a Song by Rote

Learning songs by ear, as opposed to learning songs by reading music, is the basic strategy for teaching
most but not all songs. The rote process involves no written music and most often no printed lyrics.
Songs that are taught by rote are usually simple. Songs that are complicated or that have lots of words,
particularly in other languages, require written lyrics either on overhead transparencies or word sheets.
Rote songs are an essential component of each student's aural/oral foundation. All music teachers
should teach their students rote songs. Instrumental students are especially apt to experience years of
music instruction without ever learning to play by ear. They should, of course, first learn to sing each
song before playing it. Prerequisites
1) Know the song: Make sure YOU know the song so well you can sing it at any time.
2) Positioning oneself: Position yourself in a highly visible position and make eye contact.
3) Establish tonality and meter: The "tune-up" is an excellent way to start a song. Shown below
is a tune-up for a major song in duple starting on mi (such as "Baa Black Sheep"). In this simple
four beat pattern you establish seven crucial aspects of the song: tonality, meter, keyality, resting
tone, starting note, tempo, and style. Some teachers like to precede the tune-up by establishing
tonality at the keyboard (tonic-dominant-tonic, for example, in major).
4) Repetition: A class may need to hear a song four to six times before most students are able to
sing it accurately. Keep them actively involved in the listening process by adding a new task to
each repetition.
Sing for students, not with them: Students first need to hear you sing the song in order to learn it.
When it's their turn to sing don't provide them with an aural model (your voice or the piano) to imitate.
41
Just listen, or play a keyboard accompaniment without the melody. When the melody is always sounded
for them, students may learn only to hone their skills of rapid pitch-tracking. They don't necessarily
learn to internalize the song through audiation.
Teach the tune/melody first, and then teach the words: Words are a valid part of songs, but it is best
to teach them after students have learned the musical aspects of the song. If you teach the text first,
much or most of students' attention will be on the words, not audiation. Children in our culture get
plenty of practice learning language, but rather little learning music through their ears. Maximize their
opportunity to learn to audiate the song by postponing teaching the words. Then, when you do teach
the text, teach it in segments, chanting (without pitch) to the melodic rhythm of the song.
Steps
1) Introduce the song, by stating the title, community/composer, occasion of performance,
legibility, etc. talk about the tradition from which the song comes and/or talk about the meaning
of the song.
2) Read through/recite the text explaining or speak the words of the song, word by word
highlighting/repeating the content and the difficult words.
3) Perform the song/sing through the song with energy to give everyone an idea of how it. Sing
the whole song, slowly at first, so that everyone can become familiar with the notes, and make
sure you sing the melody in a range that is comfortable for everyone—not too high and not too
low.

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4) Ask people to listen while you sing the tune (without words or instruments). Don't be tempted
to double the melody with an instrument. This confuses things and is unnecessary if you know
the song well. Have the singers echo you, phrase by phrase. Ask people to hum while you sing
the tune again and again. Make sure they hum as this means they can still hear the correct
melody from you, and enables self-correction without embarrassment. If the song is in an
unfamiliar language, begin by speaking the words only. Then sing them.
5) Have singers sing the verse in phrases first. Don't try to do too much; one verse or chorus is
sufficient to start. If you end up singing verses by yourself, that is fine—or you can invite youth
or fellow teachers sing along with you.
6) When every singer is feeling sufficiently confident with the words, sing complete phrases and
ask the students to repeat after you/teach the melody by combining/linking the lines/phrases
and singing through till mastery.
7) When all the singers sound confident, indicate that it is time to try the whole song. Pick up the
tempo so you are singing the song at the intended speed.
8) Introduce the prescribed or creative dance steps and formations/patterns that go with the song.
In most parts of the world, people don't sit still while they sing. They move; they dance.
9) Introduce accompaniments
10) Correct mistakes as they happen.
11) Sing over and over/ again and again for enjoyment.
Steps for Teaching Rhythm

Instead of rhythm syllables you use neutral syllables (e.g., "ba ba baba ba" or "da dada dada da"). They
should be able to hear the rhythm before they read it or play it or even try to write it.
Steps to use when teaching rhythm:

1. Echo rhythms on neutral syllables.
42
2. Play on an instrument and students sing back the rhythm they hear on a neutral syllable.
3. Use rhythm syllables.
4. Play the rhythm on an instrument they say the rhythm back using rhythm syllables.
5. Read rhythms from both stick and real notation. (I also vary using stems up and stems down.)
6. Say the rhythm on a neutral syllable and they have to identify the rhythm I did by picking the
correct card. (I have anywhere from 4-8 cards for them to review.)
7. Same as Step 6, but with rhythm syllables.
8. Rhythm dictation: I say the rhythm and they have to write the rhythm. I use the craft sticks,
rhythm envelopes (has the notes we are working with on small squares of paper), dry erase
boards.
4) The Dalcroze Method
The Dalcroze method, also known as Dalcroze Eurhythmics, is another approach music educators use
to foster music appreciation, ear-training and improvisation while improving musical abilities. In this
method, the body is the main instrument. Students listen to the rhythm of a music piece and express
what they hear through movement. Simply put, this approach connects music, movement, mind, and
body.

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Who created this method?
This method was developed by Emile Jaques-Dalcroze, a Swiss composer, music educator and music
theorist who studied with Gabriel Fauré, Mathis Lussy and Anton Bruckner. Dalcroze was born on July
6, 1865 in Vienna, Austria. He became a professor of harmony at the Geneva Conservatory in 1892; by
which time he started developing his method of teaching rhythm through movement known as
eurhythmics. He founded a school in Hellerau, Germany (later moved to Laxenburg) in 1910, and
another school in Geneva in 1914, where students learned using his method.
What are the key elements of the Dalcroze Method?:
This method has 3 facets:

• Eurhythmics (Greek for "good rhythm") - Musical expression through
movement; developing musical skills through kinetic exercises. Students learn
rhythm and structure by listening to music and expressing what they hear through
spontaneous bodily movement. For example, note values and rhythms are
represented by stepping and clapping.
• Solfege (fixed-do) - Helps develop ear-training and sight-singing skills.
Improvisation - Using instruments, movement and voice.
What is a typical lesson like?

Although it is generally referred to as a method, there is really no set curriculum. Dalcroze himself
didn't like his approach to be labeled as a method. Hence, each teacher uses a different approach based
on his/her interests, training and skills while keeping in mind the age, culture, location and needs of the
students.
What are the key concepts learned?

The Dalcroze Method helps foster imagination, creative expression, coordination, flexibility,
concentration, inner hearing, music appreciation and understanding of musical concepts.
43
ASSESSMENT OF MUSIC ACTIVITIES IN EYE & PE
Assessment: Assessment is the process of generating, gathering, recording, interpreting, using and
reporting evidence of learning in individuals, groups or systems, which relies upon a number of
instruments, one of which may be a test. Educational assessment provides information about progress
in learning.
Assessment comes from a Latin word meaning to sit beside and get to know. It is the process of
observing, recording, and documenting children’s growth and behavior. To be an authentic assessment,
observations must be done over time in play-based situations. This type of assessment is best because
it is the most accurate. It is used to make decisions about children’s education. Information is obtained
on children’s developmental status, growth, and learning styles. Sometimes the terms assessment and
evaluation are used interchangeably, but they are two different processes. Assessment is the process of

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collecting information or data. Evaluation is the process of reviewing the information and finding value
in it.
Purposes of Assessment
Information and data from assessment informs teachers about children’s developmental needs. It is
important for several reasons.
1) The information collected is used in planning developmentally appropriate curriculum.
2) Assessment keeps the teachers and the curriculum responsive to the needs of the children.
An authentic assessment involves gathering information when children are performing tasks in natural
settings. Assessment should include all developmental areas—physical, social, emotional, and
cognitive. Assessment should provide information on each child’s unique needs, strengths, and
interests. It also charts progress over time.
During the assessment process, you, as teacher, gain insights into children’s learning styles and needs.
a) What are their strengths and weaknesses?
b) What does the group know?
c) What are they able to do?
d) What are their interests and dispositions?
e) What are their needs?
Teachers who have good assessment skills will make better decisions. Individual and classroom
problems can often be identified through the assessment process. When specific examples of a child’s
behavior are observed and recorded, behavior patterns become clearer. Answers to behavior problems
can more easily be found when the specific behavior is observed and noted.
Classroom problems can be identified through assessment. When a problem arises, plans can be made
to remedy the problem. To illustrate, perhaps there have been many instances of pushing and shoving
in the dramatic play area. By observing and evaluating, you may realize that more classroom space
should be provided for this activity. If this is impossible, you may decide to limit the number of children
in this area at one time to prevent the undesirable behavior.
44
Assessment also allows you to identify children who might have special needs. Perhaps a child has a
hearing or vision impairment. Maybe a child has an emotional or behavioral problem that requires
counseling. These needs can be identified and specialized services obtained. Through assessment, you
will be able to find out where the children are in their development. Information on each child should
be recorded at regular intervals. In this way, you can see how each child is progressing in his or her
development. This information will help you make better curriculum planning decisions. It will also
help you decide how to set up the environment and stimulate each child’s development.
The information gained through assessment can also be useful during parent conferences. Parents want
to know how their children are progressing. You will be able to give them concrete evidence on their
child’s progress. Parents will also be assured you know and understand their child.
A final purpose for assessment is in evaluating your program. Information obtained through assessment
can help your staff determine if your program is effective in meeting its goals.

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When to do Assessments
As a teacher beginning a new year, you will need to do an initial assessment. This will provide entry
data and a baseline to use for each child. You cannot assume all children of a given age are alike.
Developmental differences will exist. Culture, economic status, and home background will impact each
child’s development. Therefore, the purpose of an initial assessment is to get a “snapshot” of each child
in the group. Observing children and acquiring information from the families are the most common
ways to gather this information.
You will want to learn as much about the children as possible during your initial assessment. Study the
existing folders on each child. Review home background forms. Read the notes from past parent
conferences. If possible, visit each child’s home. An alliance with families is important. Families can
give you useful information on a child’s learning needs and interests. In addition to this initial
assessment, you will need to do ongoing assessments on individual children as well as the group. A
single assessment is not an exact assessment of ability or performance. It is just an indicator.
Ongoing assessment may take more time, but it will also provide more in-depth information. The
information gained will be useful in tracking each child’s progress and documenting change over time.
It should provide evidence of a child’s learning and maturation. This information will also be helpful
in making decisions for enriching or modifying the curriculum and classroom environment when
necessary.
You can gather assessment data during classroom activities. Watch children as they work on art projects
and listen to them as they tell stories, 3-3. Observe children as they construct puzzles or build with
blocks. Listen in on children’s conversations. Discreetly take notes on individual children, especially
during free-choice activities. This is when children are most likely to reveal their own personalities and
development. These notes will provide important assessment information.
Factors to Consider in Assessment
i) The assessor’s relative subjectivity —objectivity and skills: The assessor is expected to have
adequate knowledge in child development, and in the ability to structure and apply appropriate
assessment strategies. Bias should; therefore, be avoided by the teacher acting very professionally since
45
differences in teacher’s child’s gender, race, ethnic background and personality-should not affect
assessment.
ii) The state of the child at the time of assessment: Children usually have no concept of the
importance attached to assessment. Every effort should be made to obtain several samples of the
children’s work performed when they are at ease, healthy and motivated, which will then be assessed.
iii) The properties of the assessment setting: The following qualities must be considered for an
ideal early childhood classroom where assessment is taking place;
a) Noise level should be low
b) There should be minimal destruction
c) Pleasing aesthetic qualities

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d) Adequate ventilation, light and space
iv) The timing of the assessment: Assessment of different skills and behaviour should not be
attempted until the teacher is more familiar with the children and can talk together. Therefore, children
should have adequate opportunity to practice the skill to be assessed. This assessment should not be
undertaken at a certain time of the school calendar year when the children are more likely to rush.
Formal and Informal Observation

Two different methods of observation are used for assessing young children—formal and informal.
They differ in how controlled the conditions are for using them. Formal methods include standardized
tests and research instruments. As a result of such research, developmental milestones for children have
been identified.
Developmental milestone are characteristics and behaviors considered normal for children in specific
age groups. Some educators refer to these as emerging competencies.
Developmental milestones will assist you in comparing and noting changes in the growth and
development of children in your care, 3-4. They will also help you as you observe young children in
preparation for your career working with young children. Examples of developmental milestones are
included in the Appendix of this book. They are useful tools for assessing children’s developmental
status. They also form the basis for planning developmentally appropriate curriculum.
While formal observation methods provide important information, they require specialized training for
recording data on carefully designed forms. Training is also needed for analyzing and interpreting the
data.
Pre-school teachers usually use informal observation methods to collect data.
These methods are easier to use and more appropriate for program planning. They include observing
children in the classroom, collecting samples of their work, interviewing parents, and talking with
children.
Choosing a Method of Assessment

There are three considerations for choosing a method of assessment.
a) The method chosen depends on the type of behavior you want to assess
b) The amount of detail you need.
c) Whether the information needs to be collected for one child or the entire group
46
d) The amount of focused attention required by the observer
Some methods of assessment will require more of your attention. For example, it is difficult interacting
with children when you are in the process of writing an anecdotal record. Narratives need to be rich in
information with detailed behavioral accounts. Checklists, videotapes, and participation charts are
easier to use while working with the children. Usually teachers use a variety of methods for gathering
information about the children.
Since no one method is the most effective or reveals everything, several methods are used. More
complete information is obtained by using several types of assessment. Multiple sources of information
also reduce the possibility of error when making evaluations.

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Assessment Tools
There are several types of assessment tools that are used in early childhood programs. These include
anecdotal records, checklists, participation charts, rating scales, samples of products, photographs, and
tapes. Teachers can also interview families to obtain information.
1) Anecdotal Records: The simplest form of direct observation is a brief narrative account of a specific
incident called an anecdotal record. Often an anecdotal record is used to develop an understanding of
a child’s behavior. Anecdotal records do not require charts or special settings. They can be recorded in
any setting and require no special training. All you need is paper and a writing tool to record what
happened in a factual, objective manner. The observation is open-ended, continuing until everything is
witnessed. It is like a short story in that it has a beginning, middle, and end.
The process of recording the incident requires a careful eye and quick pencil to capture all of the details.
You will need to note who was involved, what happened, when it happened, and where it occurred. It
needs to be done promptly and accurately. Figure 3-5 shows the contents of an anecdotal record. When
you use the narrative form of observation, your eyes and ears act like a video camera. You will be
recording pictures of children playing, learning, and interacting. During your observations, you will
record how children communicate, both verbally and nonverbally. You will record how they look and
what they do. Physical gestures and movements should be noted. You will also detail children’s
interactions with people and materials. Record as many details as possible.
Anecdotal Records Must Be Objective

During the observation process, it is important to record only objective statements. To be objective, a
statement must pass two tests. First, it must describe only observable actions. Thus, generalizations
about the motives, attitudes, and feelings of the children
Advantages and Disadvantages of Anecdotal Records

There are advantages and disadvantages in using the anecdotal record. An important advantage is that
it is the easiest method of use since it requires no special setting or time frame. Anecdotal records can
provide a running record over time showing evidence of a child’s growth and development. Therefore,
teachers who record incidents throughout the year have a means of assessing progress.
There are also disadvantages with using anecdotal records. Because the incident observed is based on
the observer’s interest, a complete picture may not be provided. Records may not always be accurate.
If the observer decides to write down the incident at the end of the day and is poor at recalling details,
important information may be missed.
47
2) Checklists: Another form of assessment is the checklist. Checklists are designed to record the
presence or absence of specific traits or behaviors. They are easy to use and are especially helpful when
many different items need to be observed. They often include lists of specific behaviors to look for
while observing.
Depending on their function, they can vary in length and complexity. Checklists may be designed for
any developmental domain—physical, social, emotional, or cognitive. A checklist that is carefully
designed can tell a lot about one child or the entire class.

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Checklists may be developed to survey one child or a group of children. The targeted behaviors are
listed in logical order with similar items grouped together. Therefore, you can quickly record the
presence or absence of a behavior. Typically, a check indicates the presence of a behavior. Checklists
require structuring. You may be able to purchase commercially prepared checklists. Most teachers
working in child care centers structure their own.
Advantages and Disadvantages of Checklists

One of the advantages of a checklist is that there are no time constraints in collecting the data. The
information can be quickly recorded anytime during program hours. In addition, checklists are easy to
use, efficient, and can be used in many situations. Data from checklists can be easily analyzed.
A disadvantage of using a checklist, however, is the lack of detailed information. Checklists lack the
richness of the more descriptive narrative. Because of the format, only particular behaviors are noted.
Important aspects of behaviors may be missed, such as how a behavior is performed and for how long.
Only the presence or absence of a behavior is noted in a checklist.
3) Portfolios: Materials you have collected as a part of ongoing assessment should be placed in each
child’s portfolio. A portfolio is a collection of materials that shows a person’s abilities,
accomplishments, and progress over time. Portfolios you create for the children in your care summarize
each child’s abilities. A portfolio includes items that show the child’s growth and development over
time.
Documenting learning is an important skill for teachers to develop. Depending on the materials
collected, the contents of a portfolio can be stored in a variety of forms. Some teachers prefer threering
binders. Others prefer to use boxes or large folders to store the portfolio contents.
Contents
A child’s portfolio needs to be carefully planned and organized. It should be more than a file of
anecdotal records, checklists, and questionnaires. Most teachers include work samples as well.
Examples include art projects, audiotapes of conversations, and child-dictated stories. Work samples
can provide evidence in all developmental areas. In addition, the portfolios include summaries of parent
conferences and parent questionnaires. Figure 3-11 shows the contents of a typical portfolio. Teachers
include work samples for each child that reflect unique skills and interests.
If Thomas built a complex and interesting block structure, his teacher might sketch or photograph it for
inclusion in his portfolio. Likewise, teachers may record stories that children dictate to them.
A portfolio should be continually evolving, documenting evidence of a child’s progress. Over time, this
method provides a vivid picture of each child’s development.
Visual documentation included in a child’s portfolio is a helpful tool when conferring with families. It
should be a summary of a child’s development. Information gained from evaluating the portfolio can
48
guide teachers in making curriculum decisions, structuring interactions, and setting up the classroom.
Families, too, will gain from reviewing the child’s portfolio with the teacher.
By reviewing the portfolios of children in a program, you should be able to identify unique
characteristics of each child. For instance, according to Mark’s portfolio, he remains in the cooking

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area until the entire snack is prepared every day. Often he provides the teachers with other methods of
preparing the foods.
4) Participation Chart: A participation chart can be developed to gain information on specific
aspects of children’s behavior. Participation charts have a variety of uses in the classroom. For instance,
children’s activity preferences during self-selected play can be determined.
Richard O’Grady, an experienced teacher, uses participation charts to record the time each child falls
asleep at nap time. He also charts the length of time each child sleeps. He records this information
several times a year. After collecting the data, he decides if a change should be made in the scheduled
nap time. Likewise, the length of the nap time can be adjusted to reflect the children’s needs.
Sometimes teachers find that children’s preferences do not match their needs. To illustrate, Randy has
weak hand-eye coordination skills. A participation chart shows he spends most of his time listening to
stories and music and watching other children play. To meet Randy’s needs, the teacher could introduce
him to interesting
5) Rating Scales: Rating scales, like checklists, are planned to record something specific. They
are used to record the degree to which a quality or trait is present. Rating scales require you to make a
judgment about the quality of what is being observed. Where a checklist only indicates the presence or
absence of a trait, a rating scale tells how much or how little is present. As a result, objectivity could
be hampered by the observer’s opinion
Advantages and Disadvantages of Rating Scales
Rating scales are easy to use and require little time to complete. Some scales contain only a numerical
range. Others define the behaviors more specifically.
A disadvantage of the rating scale is that only fragments of actions are included. In order to choose a
rating, the observer should have a good understanding of the behavior he or she is rating.
6) Collecting Samples of Children’s Products: Collecting samples of children’s work systematically
over time is another assessment tool. These products can provide valuable information regarding the
child’s developmental status and growth. Products collected may include artwork, stories dictated or
written, photographs, and records of conversations. Over time, these samples can be collected and
compared. To illustrate,
Chuck could make only random scribbles on paper at the beginning of the year. When Chuck’s teacher
asked him to tell her about his work, he explained it. She discovered the sample showed more than
Chuck’s scribbles. He said, “There is my name. That is how to write it. I wrote my mother’s name and
my sister’s.” Now he is able to draw a circle. A comparison of the two samples shows the progress
Chuck has made in fine-motor and hand-eye coordination skills.
A child’s products can be stored in a folder or portfolio. Whenever possible, store materials and items
in chronological order. This will save you time when evaluating progress or sharing the materials with
families.
49

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Records may be kept in different forms. Samples may be preserved by photographing, sketching, or
diagramming children’s products. These methods are especially useful for large structures such as block
displays and three-dimensional artwork that cannot be stored conveniently.

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50

Dpte Music and Movement Activities

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DPTE Music AND Movement Activities

Education arts and other social sciences (Moi University)

Scan to open on Studocu

Studocu is not sponsored or endorsed by any college or university

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1) Key competencies: Communication and Collaboration, Self-efficacy, Critical Thinking and

GENERAL LEARNING OUTCOMES

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COURSE CONTENT FOR TERM 1 (40 HOURS)

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Music as a learning area

BENEFITS OF MUSIC EDUCATION TO EARLY LEARNERS

1) Language development - Music and movement enhances language development in children

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5) Social development/Teamwork: Music is often thought of as a way to foster individual

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Importance of music and movement in PE

• Is sound appearing in a planned sequence

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THE ORIGIN OF MUSIC

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• they have sung it and danced to it;

1) Sound: (overtone, timbre, pitch, amplitude, duration)

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7) Expression: dynamics, tempo, articulation

How would you define music as learning?

3) Timbre: This is the distinct quality of a sound. It is the roughness/coarseness or fineness of a

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Semi-breve( Whole note) Taa-aa-aa-aa 1

Semi-quaver Ta-fa Te-fe 1 /16

Demi-semi quaver Ti-ri Ti-ri Ti-ri Ti-ri 1 /32

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Naming the Staff

The Grand/Great Staff

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Accidentals 1) Sharp (#)

The notes C sharp and C double sharp on the treble clef.

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3) Natural sign (♮)

Syllable — is a single sound made

Form of solfa notation:

They are of two kinds

FACTORS TO CONSIDER WHEN SELECTNG AND COMPOSING MUSIC FOR PE

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HOW TO ENHANCE MUSIC AND MOVEMENT SKILLS IN PE

THE ROLE OF MUSIC IN CULTURAL HERITAGE

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Example of song Luhya song Meaning

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During communal work

Example Luhya song Meaning

During social gatherings

During traditional wars:

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f) Mock the cowards.

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