This document discusses the importance of music education. It provides several reasons for studying music, including that music brings joy, enhances human relationships, and is vital for character building. The document outlines key areas of music instruction like listening, singing, moving, playing, reading, and creating. It provides developmental guidelines for teaching techniques in each area and describes the objectives of music education as enriching life experiences and developing skills like cooperation, discovery, and national spirit.

2. is an aural art form consisting of
organized sounds in time
is a form of expression, a means of
communication
is a very much part of our lives. We
use it for aesthetic, spiritual, social,
cultural, therapeutic and recreational
purposes

3. Several reasons why we
study music
 Music brings joy and satisfaction to all
 Music is vitalizing factor for the other
subjects in the school curriculum
 Music supplies man’s potential power
and energy for creative growth

4. Several reasons why we
study music
 Music enhances and improve human
relationships and character building
 Music is the panacea for all woes

5. Music Education
 is not merely the teaching of music.
 It is also relating of music to human
life and promoting of its use and
enjoyment.

6. Significance of Music Education
 reflected in the passage of the Music
Education Law (RA 4723)-an act
giving importance to the teaching of
music in the curricular of elementary
and secondary schools in 1966.
 Through the singing of folksongs
….the child demonstrates love of
country, the primary aim of Article XV
of the Constitution, Sec. 8, No.
4.

7. Objectives of Music Education
1. Enrich life experience through
observation, exploration, discovery,
cooperation and participation
2. Discover creative potentialities
through singing, listening, playing,
moving, reading and creating

8. Objectives of Music Education
3. Enhance visual and aural perception
for aesthetic and intellectual value
judgment
4. Utilize music as an outlet for one’s
feelings
5. Gain acquaintance with music of
different countries

9. Objectives of Music Education
6. Develop fellowship for universal
communication and social cohesion
7. Awaken interest in global culture
8. Develop nationalistic spirit in adapting
Philippine music

10. Objectives of Music Education
9. Gain familiarity with the different
styles of Philippine songs, dances,
festivals, musical instruments
10. Involve community participation for a
harmonious school-community
relationship

11. AREAS OF MUSIC INSTRUCTION
•LISTENING
•SINGING
•MOVING
•PLAYING
•READING
•CREATING

12. LISTENING…
 The first school experience with music
is listening
 Several levels of listening
 Passive of receptive listening
 Exploratory listening
 Inner listening
 Normative listening
 Interpretative listening
 Analytic listening
 Remembered listening

13. ACTIVITY
Listen to the music and answer some listening
guide questions

14. Some Listening Guide Questions
• What do we listen for?
• What were you thinking while listening to the
music?
• If you were going to make music like this, how
would you start?
• How does the music make you feel?
• What in the music makes you feel that way?
• Is the music fast or slow?

15. • Is the music loud or soft?
• Is the music moving in high, low or repeated
lines?
• Is the music thick or thin?
• Are the sounds in the music short or long?
• Are the phrases same, similar or different?

16. SINGING…
 Is the child’s outlet of his emotions
and energy
 Criteria in the selection of songs:
 Musical value
 Suitability to the grade level
 Suitability to the occasion
 Proper range
 Beauty of tone

17. Theories Of Singing Sequence
And Physiology Of The Voice

18. • Rote approach – Imitation
• Note / Interval approach (Kodaly)

20. • Contour approach (General Melodic contour)
• Contour Schema (Speech to song intonation,
uses dialect based intonation sequence)

21. • Birth to toddler voice is characterized by vocal
experimentation and imitation of simple songs
although not accurate. Research has shown
that speech babble is characterized by short
repeated sounds while singing

22. • Preschool children have small and light voices
with a range of D4 – A4 extending up to D5

23. • Most children can sing on a steady beat,
repeated rhythmic patterns, play chants, short
syllabic melodies in pentatonic, major and
minor scales with accurate loud or soft
dynamics

24. Techniques For Good Singing
• Posture (Balanced head and shoulders)
• Breathing
• Relaxation
• Registers (Play the different voices game –
whisper, talk low, talk high, yell, singing voice)

26. MOVING…
 Music encompasses mind, body and
feeling
 Movement is a means of fostering
human capacities for creativity,
imagination and wisdom
 Movement for spatial relations
 Rhythmic presentations
 Action songs
 Dance

27. What are the different Movement
Strategies?
• Exploratory Movement (with goals and tasks)
• Action Songs and Singing Games
• Elements Directed Movement
• Creative Movement
• Dance

28. Guidelines For Movement In
Classrooms
• Use non-locomotor movement if there is no
space in the classroom
• Movement may be done outside such as the
covered court or school garden
• Remind the children to avoid contact with
each other when moving
• Always listen to music first before moving

29. • In assessing movement, look for
(1) Appropriate response to particular musical
element
(2) creativity if movement is improvised
(3) grace and coordination

30. PLAYING…
 Is an exhilarating experience to
children in synchronizing expressive
physical activities and to parade and
display their developed physique and
acquired skill

31. Developmental Sequence of
Playing Instruments

32. Age Motor Ability Instruments (Activity)
Less than 2 years
old
2 – 3 years old
Rocking, nodding,
swaying, grip and grasp
Short periods of
rhythmic regularity
Jingle bells, Rattles
(shaking)
Hand drum (tapping)
Kalutang or sticks
(striking)

33. Age Motor Ability Instruments (activity)
3 – 4 years old Longer periods of
rhythmic regularity,
Beginning of beat
sensitivity and swaying
of arms
Claves, cowbell and
gong (striking)
Sticks, sandblocks
(rubbing)
Maracas, tambourine
(shaking)
Patteteg or xylophone
blades (no interlock)

34. Age Motor Ability Instruments (Activity)
 5 -6 years old Maintain beat
Alternation of hands
Eye-hand coordination
Bongos
(Hand striking)
Timpani
(mallet striking)
Cymbals
(striking)
Triangle
(mallet striking)
Keyboard
(one hand)
Tongatong
(no interlock yet)

35. Age Motor Ability Instruments (Activity)
7 – 9 years old
11 – 13 years old
Beat competency
Alternation of hands
Eye-Hand coordination
Beat competency
Alternation of hands
Eye-hand coordination
Himig Kawayan,
Anklung, Keyboard,
Recorder, Violin
Banduria, Octavina,
Kalinga instruments
(with interlock)
Kulintang,
Keyboard, Recorder,
Violin

36. Age Motor Ability Instruments
14 – 18 years old Mastery/control and
coordination of fine
motor movement
Guitar,
Double Bass
Gongs
Keyboard
Cello
Brass/Winds

37. Suggestions for Playing Activities
• Guide children to an awareness of their own
bodies as instruments
• Allow young children to discover various
instruments and how they are played
• Encourage the use of instruments in
storytelling. Have the children create their
own instrumental music shows with story,
song and movement
• Arrange for personal encounters with visiting
instrumentalists in the classroom

38. READING…
 Is the ability to translate a system of
formal arrangements of abstract
symbols into meaningful patterns of
sounds and movements

40. CREATING…
 This activity enable the child to give
expression to personal musical
initiative and can bring to him a very
intimate and revealing insight into
significant values of music itself

41. Creating Music Strategies
• Improvisation with body sounds
• Creative drama (Instruments and Role-playing
of rhymes/stories)
• Sound effects
• Creating accompaniment to songs

42. Guidelines For Creative Music
• Create space for groups to work in
• Decide sound sources and their distribution
(per line, per group, per child)
• Decide if random or assigned grouping (4-5
children/group)
• Give time limit for composing
• Give parameters for composition (how long,
theme/problem, emotions/mood, musical
elements, musical structures)

43. CHANGE ONE LETTER
1. tempt
2. heat
3. test
4. ripe
5. medal
6. ditch
7. sold
8. bolo
9. gone
10. blur
1. tempo
2. beat
3. rest
4. pipe
5. pedal
6. pitch
7. hold
8. solo
9. tone
10. slur
ACTIVITY:
LITERARY – MUSICAL GAMES

44. CHANGE ONE LETTER
1. compost
2. line
3. pound
4. tuna
5. corner
6. chores
7. ford
8. marsh
9. top
10. ringer
1. composer
2. fine
3. sound
4. tune
5. cornet
6. chorus
7. form
8. march
9. pop
10. singer
ACTIVITY:
LITERARY – MUSICAL GAMES

45. ADD ONE LETTER
1. pace
2. son
3. fort
4. cod
5. lent
6. ode
7. lye
8. not
9. vice
10. old
1. space
2. song
3. forte
4. coda
5. lento
6. mode
7. lyre
8. note
9. voice
10. hold
ACTIVITY:
LITERARY – MUSICAL GAMES

46.  it is important and necessary to
know the materials used by the
creative artists

48. ART PROCESSES
• Seeing/Observing
• Reading
• Imitating (re-creating)
• Responding
• Creating
• Performing (including movement)
• Evaluating
• Analyzing critically
• Applying (transference)

49. Group 1 Create movements
Group 2 Dramatize a song
Group 3 Change words of the song
Group 4 Create partner songs
GROUP ACTIVITY:

50. SALAMAT PO!!!
MILDRED Z. GALLENO
Tayabas East Central School II
Tayabas East District