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Module Teaching Music in the Elementary Grades

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Module 1 K to 12 Music Curriculum Framework

Overview

This module aims to orient students with the nature, structure and content of the K to 12 Music
Curriculum. It also discusses the theoretical and philosophical foundations of the K to 12 Music
Education Curriculum.

Module Objectives

At the end of this module, you are expected to:

1. Analyze the nature, structure and content of the K to 12 Music Curriculum
2. Discuss the theoretical and philosophical foundations of K to 12 Music
Education Curriculum, its goals and objectives.
3. Identify the contents of Music in each grade level

Course Materials

1. K to 12 Curriculum Guide in Music

A. Philosophy and Rationale for Music Education

Music is both an aural and a temporal art. All its elements, when interwoven in the highest
artistic order, are likened into a -- tapestry moving in time. The global weavings of this tapestry
in historical and cultural contexts are diverse -- having spurred a continued metamorphosis to
include a full range of purposes, functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music
Education, Ronald Thomas articulates that the nature of music is expressive, ongoing, and
creative. Through a language and medium of its own, music conveys ideas and feelings in a way
that addresses the human spirit, and has great value in its communicative process. Music, being
responsive in interpreting contemporary times, is a continuing art. Aaron Copland describes this
characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue
for man’s individual quest for self- expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to
environmental and musical sounds needs to be developed. The student must learn to ―hear,
―speak, and ―think in the medium of music. Simultaneously, growth and development in the
skills that enable the application of the learner’s knowledge should be encouraged, through
active involvement in the various musical processes.
Drawing from the development of music pedagogy through the years, the K-10 Music
Curriculum embodies the best practices advocated by the SPIRAL, MULTI-CULTURAL, and
INTEGRATIVE approaches in music education, as well as current philosophical thought about
contemporary general education. 10 ff fin
K to 12 Music and Arts Curriculum Guide : December, 2013

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Questions:

1. According to Ronald Thomas, the basic nature of music is expressive, ongoing and creative.
Considering this, cite an example of how music should be taught in the elementary grades.

____________________________________________________________________________
_
_________________________________________________________________

2. Research and briefly explain the concept of the following approaches in Music Education:

Spiral-

Multi-cultural-

Integrative-

B. Conceptual Framework of Music and Arts Education

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K to 12 Music and Arts Curriculum Guide: December, 2013

Activity:

To better understand the conceptual framework of music and arts education as

presented in figure 1. Follow this
link:https://www.academia.edu/38078710/K_to_12_Curriculum_Guide_MUSIC_Grade_1_to_Gr
ade_10 or secure a copy of K to 12 Curriculum Guide and read the Conceptual Framework of
Music and Arts Education on Page 2. Then answer the following:

1. Based on the what is shown on figure 1 and what you have read, give the two things that are
expected to be acquired by learners after learning knowledge, skills and values in music and
arts.
____________________________________________________________________________
_
____________________________________________________________________________
_ ___________________________________________________________
2. What are the three characteristics of the curriculum design for music and art teaching?

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____________________________________________________________________________
_
_________________________________________________________________
_______________________________________________________________________
3. Given that music and art are performance-based disciplines, explain how music should be
taught to elementary pupils? What are the activities that you may give to your pupils for them
to learn lessons in music?
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________

C. Content

1.1 Now that you already have a copy of K to 12 Music Curriculum Guide, read the key stage
standard on page 7 which state the prescribed skills and competencies into three grade level
categories to make sure that skills are developed systematically.

From the given K to 12 grade level standards of Music and Arts, specify the concepts, skills and
values to be developed by the learner. Use the table below.

Grade Level Concepts Skills Values

Category
K to 3

4-6

7-10

1.2 Read and analyze the content of music and arts per grade level on page 5 of the K to 12
Music Curriculum Guide. Explain how the spiral progression approach is applied on the
contents to be learned by pupils from kindergarten to grade 12.
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Module 2
Legal Basis of the Teaching of Music

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Overview

This module discusses the legal basis of teaching music and arts in the Philippine Basic
Education.

Module Objectives

At the end of this module, you are expected to:

1. Identify the legal basis of the teaching of Music
2. Recognize the importance of teaching music in the elementary grades

Course Materials

It is a declared policy of the state to “give priority to education, science and technology,
arts, culture, and sports to foster patriotism and nationalism, accelerate social progress, and
promote total human liberation and development (Article II, Section 17)”.

Likewise, Article XIV on education, science and technology, Arts, culture and sports of
the Philippine states, to wit:

The state shall foster the preservation, enrichment, and dynamic evolution of a Filipino
national culture based on the principle of unity in diversity in a climate of free artistic and
intellectual expression. (Sec. 14)

Arts and letters shall enjoy the patronage of the state. The state shall conserve, promote
and popularize the nation’s historical and cultural heritage and resources, as well as artistic
creations… (Sec. 15)

The state shall recognize, respect, and protect the rights of indigenous cultural
communities, to preserve and develop their cultures, tradition and institutions. It shall consider
these rights in the formulation of national plans and policies… (Sec. 17)

(2) The State shall encourage and support researches and studies on the arts and
culture… (Sec. 18)

Activity:

Answer the following:

1. Explain how the teaching of music and arts in the Basic Education can be an avenue for
cultural literacy and building among Filipino students our cultural identity.

2. As a future elementary music teacher, what can you do to fulfill what is stated in the
Article XIV, Section 15 and Section 17 of the Philippine Constitution? State concrete examples.

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Module 3 Elements of Music

Overview

This module discusses the basic elements of music such as Rhythm, Melody, Form, Timbre,
Dynamics, Tempo, Texture and Harmony.

Module Objectives

At the end of this module, you are expected to:

1. Identify the elements of music
2. Demonstrate understanding of the basic elements of music

Course Materials

RHYTHM

Rhythm is the element of "TIME" in music. When you tap your foot to the music, you
are "keeping the beat" or following the structural rhythmic pulse of the music. There
are several important aspects of rhythm: • DURATION: how long a sound (or
silence) lasts.

• TEMPO: the speed of the BEAT.

(Note: Tempo indications are often designated by Italian terms):
Largo = "large" or labored (slow)
Adagio = slow
Andante = steady "walking" tempo
Moderato = moderate
Allegro = fast ("happy")
Presto = very fast

• METER: Beats organized into recognizable/recurring accent patterns. Meter can be seen/felt
through the standard patterns used by conductors.

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MELODY

Melody is one of the most basic elements of music. A note is a sound with a particular pitch and
duration. String a series of notes together, one after the other, and you have a melody. But the
melody of a piece of music isn’t just any string of notes. It’s the notes that catch your ear as you
listen; the line that sounds most important is the melody.

Notation (The staff)

The staff (plural staves) is written as five horizontal parallel lines (Limguhit). Most of the notes
of the music are placed on one of these lines or in a space in between lines. Extra ledger lines
may be added to show a note that is too high or too low to be on the staff. Vertical bar lines
divide the staff into short sections called measures or bars. A double bar line, either heavy or
light, is used to mark the ends of larger sections of music, including the very end of a piece,
which is marked by a heavy double bar.

Clef (Treble Clef and Bass Clef)

The first symbol that appears at the beginning of every music staff is a clef symbol. It is very
important because it tells you which note (A, B, C, D, E, F, or G) is found on each line or space.
For example, a treble clef symbol tells you that the second line from the bottom (the line that the
symbol curls around) is "G". On any staff, the notes are always arranged so that the next letter

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is always on the next higher line or space. The last note letter, G, is always followed by another
A.

For you to easily memorize the letter names or notes in the treble and bass clef, you may use
the following mnemonics:

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DYNAMICS
All musical aspects relating to the relative loudness (or quietness) of music fall under the
general element of DYNAMICS. The terms used to describe dynamic levels are often in Italian:
pianissimo [pp] = (very quiet)
piano [p] = (quiet)
mezzo-piano [mp] = (moderately quiet) mezzo-
forte [mf ] = (moderately loud)
forte [f ] = (loud) fortissimo
[ff ] = (very loud)

Other basic terms relating to Dynamics are:

Crescendo: gradually getting LOUDER
Diminuendo (or decrescendo) : gradually getting QUIETER
Accent: "punching" or "leaning into" a note harder to temporarily emphasize it.

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TEXTURE

Texture is one of the basic elements of music. When you describe the texture of a piece of
music, you are describing how much is going on in the music at any given moment. For
example, the texture of the music might be thick or thin, or it may have many or few layers. It
might be made up of rhythm only, or of a melody line with chordal accompaniment, or many
interweaving melodies.

Monophonic music has only one melodic line, with no harmony or counterpoint. There may be
rhythmic accompaniment, but only one line that has specific pitches. Monophonic music can
also be called monophony. (Example: One person whistling a tune)

Homophonic music can also be called homophony. More informally, people who are
describing homophonic music may mention chords (Chords), accompaniment
(Accompaniment), harmony or harmonies. Homophony has one clearly melodic line; it's the line
that naturally draws your attention. All other parts provide accompaniment or all in the chords.
(Example: A singer accompanied by a guitar picking or strumming chords).

Polyphonic music can also be called polyphony, counterpoint, or contrapuntal music. If more
than one independent melody is occurring at the same time, the music is polyphonic. Rounds,
canons, and fugues are all polyphonic. (Even if there is only one melody, if different people are
singing or playing it at different times, the parts sound independent.)

MUSICAL FORM

The large-scale form of a musical composition can be projected via any combination of the
musical elements previously studied. Traditionally, however, musical form in Western music has
been primarily associated with the order of melodic, harmonic and rhythmic events (or the text)
in a piece. Letters (i.e., A, B, C) are used to designate musical divisions brought about by the
repetition of melodic material or the presentation of new, contrasting material. Some of the most
common musical forms are described below:

BASIC FORMS

Strophic Form: a design in VOCAL music, in which the same music is used for
several different verses (strophes) of words. [Example: "Deck the
Halls" has many verses of words sung to the same music.]
Verse 1 . . . Verse 2 . . . Verse 3 (etc.)

Through-composed a structure in which there is no repeat or return of any large-scale

musical section.
ABCDE...

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Binary Form a two-part form in which both main sections are repeated (as
indicated in the diagram by "repeat marks"). The basic premise of this form
is CONTRAST:

Ternary Form a three-part form featuring a return of the initial music after a
contrasting section. Symmetry and balance are achieved through this return
of material:

TONE COLOR (or TIMBRE -pronounced "TAM-BER")

It refers to the character or quality of musical sound or voice as distinct from its pitch and
intensity.

Vocal Ranges…The four main vocal ranges are:

• Soprano _ A high female (or boy's) voice
• Alto _ A low female (or boy's) voice
• Tenor _ A high (adult) male voice
• Bass _ A low (adult) male voice

HARMONY

Harmony is the VERTICALIZATION of pitch. Often, harmony is thought of as the art of

combining pitches into chords (several notes played simultaneously as a "block").

Module 4 Teaching Methods

Overview

This module discusses different teaching methods, strategies and techniques in teaching the
contents or subject matters of music in the elementary grades. This includes the Kodaly
Method, Orff-Schulwerk Method, Dalcroze Eurythmic Approach, Carabo-Cone Method and
Justine-Ward Method.

Module Objectives

At the end of this module, you are expected to:

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1. Identify the different methods and strategies in teaching music

2. Discuss different features of each method which can be used effectively in teaching
music
3. Demonstrate understanding of concepts and processes of each method
Course Materials

THE KODALY METHOD

The Kodaly Method is a teaching strategy in music which was introduced by a Hungarian
composer, Zoltan Kodaly. This method was adopted by music teachers from Grades one to six.
Its foundation is based on the rhythm and the use of a pentatonic or five-tone scale.

The Kodaly Method has the following components:

a. System of rhythm duration symbols such as using syllables “ta” for quarter note, “ti” for
the eighth note, and “ti-di” for the sixteenth note, to indicate one-beat and half-beat tones.

b. Kodaly Scale - A scale using hand signs or gestures which indicate the notes of the
scale, from lower do to higher do or vice versa. Each hand position signifies specific
characteristics and mood – acting or moving and passive or resting. (Please see the illustrations
of Kodaly hand signs.)

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The tonic (high and low do) in clenched fist manifests rest, repose or finality or passiveness.
The supertonic (re), mediant (mi) and dominant (so) are in open palm positions. Subdominant
(fa) with thumbs down and leading tone (ti) with second finger pointing up signify activity or
movement.

THE ORFF-SCHULWERK METHOD

The Orff-Schulwerk Method is a unique way of teaching music which was developed by a
German composer, Carl Orff, who was also a music educator. It utilizes the natural meter of
words and the child’s instinctive desire to incorporate speech, rhythm and movement as the
basis for creating rhythms (e.g., strolling, skipping, running, swinging, etc.).

1. Orff devised simple rhythm chants to serve as the basis for sequential development
activities. Speech patterns were taken from chants, games and vocal sounds in the child’s
vocabulary. The patterns were chanted, clapped, danced and sung.
2. Emphasis on rhythm led Orff him to the use of percussion instruments in music education.
He developed an ensemble of percussion and string instruments designed to create the
proper timber for the music. The instruments can be played even without proper training.
3. The children do much imitation and improvisation and are led to create their own music from
their inner feelings and imitation of sounds heard from the surroundings. Thus, they become
sensitive to sound and develop other sounds from these.

Examples: swaying of the trees, dropping of rain, galloping of horses

4. Orff involved creative activities using singing, playing and natural movements. Examples:
jumping, walking, running

THE DALCROZE EURYTHMIC APPROACH

Eurythmics was introduced by Emil Jacques Dalcroze, a Swiss teacher and composer.
Eurythmics is a system of coordinating physical movements with music to help the participants

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develop a sense of rhythm. This approach was based on solfege, piano improvisations, and
eurythmics or rhythmic movements.

1. Dalcroze method is like dramatization, play-party games, and dancing. The rhythmic bodily
movements in dramatization and play-party games interpret the text of a song through
dancing. Dalcroze eurythmics means bodily movements which interpret aspects of the
music.
2. Play –party games, folksongs and dances are used as singing games.

Some rhythmic movements

a. quarter note - ordinary walking
b. half note - step and bow or pause
c. dotted half note - step and 2 bows or pauses
d. 2 eighth notes - 2 light running steps
e. dotted quarter note – bow

Example: Lubi-Lubi

THE CARABO-CONE METHOD

The Carabo-Cone method provides a sensory-motor approach in the music foundation and
“intellectual stimulation for academic achievement.” It was observed by psychologists Piaget
and Bruner that “the learning and thinking of children are linked to the concrete, the seeable and
the touchable.”

Purpose:

1. Singing and listening while playing make the music concept alive and ingrained in the
children’s mind.
2. Perception and musical concepts are developed from the simple to the complex as the
children experience movement and touch, and understand the musical symbols.
3. Fun, familiarity and participation are needed to unravel the music symbols.
4. Suggested activities are the use of cards with symbols or words, drawings of symbols, giant
replicas. Movements of the different parts of the body are done as play activities.

JUSTINE WARD METHOD

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The technique advocated by the Ward series is to impart music not as dry drill or as
memory work for the child but as something that animates the child’s emotional life and orients
his taste to the finest aesthetical standard possible.
The Ward method is the result of ten years of extensive study and experimentation by Justine
Ward and the staff of music specialists of the Pius XX School of Liturgical Music in New York.
Justine Ward finalized the Ward Series in eight volumes. Each volume is accompanied by: 1)
teacher’s guide, 2) printed chart, 3) set of recorded music, 4) seven (7) song books for children
and 5) a set of lesson plans. Each volume of the Ward Series contains a phase of musical
development partially dependent on the preceding grades and totally essential to the next
grade.

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Activity

Using your Curriculum Guide in Music, identify topics (learning competencies) which you can
apply the different methods discussed in this module. List down one learning competency in
each method.

Method Learning Competency Activity

(with code)
Kodaly Method

Orff-Schulwerk Method

Dalcroze Eurythmic
Approach

Carabo-Cone Method

Justine-Ward Method

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Module 5 Assessment Techniques in Teaching Music

Overview

This module discusses the different assessment techniques that can be used in teaching
music.

Module Objectives

At the end of this module, you are expected to:

1. Define assessment
2. Differentiate the two types of assessment
3. Identify assessment tools and methods appropriate for music education
4. Discuss balanced assessment
5. Define a music portfolio, its purposes and process
6. Illustrate the kinds of performance tasks
7. Differentiate the two types of rubrics: holistic and analytic

Course Materials

Classroom assessment: Wat is it?

• Is a process that is used to keep track of learner's progress in relation to learning
standards in the development of 21st century skills; to promote self-reflection and
personal accountability among students about their own learning and to provide bases
for the profiling of student performance on the learning competencies and standards of
the curriculum.
• An on-going process of identifying, gathering, organizing, and interpreting quantitative
and qualitative information about what learners know and can do.
• Teacher should employ classroom assessment methods that are consistent with
curriculum standards. It is important for Teacher to inform learners about the objectives
of the lesson so that the latter will aim to meet or even exceed the standard. The
Teacher provides immediate feedback to students about their learning progress. CA also
measures the achievement of competencies by the learners. (DepEd Order No. 8, 2015)
• Activities that allow the teacher to obtain more specific information about each learner’s
knowledge and skills relative to the instructional objectives of the class
• Assessment may refer to: Testing; Other forms of measurement and appraisal, including
observations, interviews, and reports from knowledgeable sources

Why do we assess?
To find out if the learners are performing at par with the expectation for the grade level;
are equipped with the expected skills; need the necessary instructional assistance (Dr.
F. Pado)

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Two types of Assessment

1. Formative – This type of assessment monitors progress towards goals within a course of
study; it can be used as “assessment for learning" so teachers can make adjustment in their
instruction, also a way wherein students reflect. It is not used as a basis for grading.
Purposes of Formative Assessment
Parts of Purpose Examples of
the For the Learner For the Teacher Assessment
Lesson Methods
Before 1. Know what s/he knows 1. information about 1. Agree/ disagree
the about the topic/lesson what the learner activities
lesson 2. Understand the purpose already knows and 2. Games
of the lesson and how to can do about the 3. Interviews
do well in the lesson. new lesson. 4. Inventories /
3. Identify ideas or 2. Share learning checklist or
concepts s/he intentions and skills (relevant
misunderstand. success criteria to to the topic in
4. Identify barriers to the learners. the learning
learning 3. Determine area)
misconceptions 5. KWL activities
4. (what I know,
Identify what hinders what I want to
learning know, what I
learned)
6. Open-ended
questions
7. Practice
exercises

Lesson 1. Identify one’s strengths 1. Provide immediate 1. Multimedia

Proper and weaknesses feedback to presentations
2. Identify barriers to learners 2. Observations
learning 2. Identify what 3. Other formative
3. Identify factors that help hinders learning performance
him/her learn 3. Identify what tasks (simple
4. Know what s/he knows facilitates learning activities that
and does not know 4. Identify learning can be drawn
5. Monitor his/her own gaps from a specific
progress 5. Track learner topic of lesson)
progress in 4. Quizzes
comparison to (recorded but not
formative graded)
assessment 5. Recitation
results prior to the 6. Simulation
lesson proper. activities
6. To make decisions
on whether to
proceed with the

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next lesson,
reteach, or provide
for corrective
measures or
reinforcements

After the 1. Tell and recognize 1. Assess whether 1. Checklists

Lesson whether s/he met learning objectives 2. Discussion
learning objectives have been met for 3. Games
2. Seek support through a specified 4. Performance
remediation, enrichment, duration tasks that
or other strategies. 2. Remediate and/ or emanate from
enrich with the lesson
appropriate objectives
strategies as 5. Practice
needed. exercises
3. Evaluate whether 6. Short quizzes
learning intentions 7. Written work
and success
criteria have been
met.

2. Summative Assessment
– Measures the different ways learners used and apply all relevant knowledge,
understanding and skills.
– Spaced properly over a quarter
– Helps teachers determine how well learners can demonstrate content knowledge
and competencies articulated in the learning standards.
– Learners synthesize their knowledge, understanding, and skills during
summative assessments.
– Results are used as bases for computing grades
Component of Summative Assessment
Components Purpose When Given
Written Work 1. Assess learners’ At the end of the topic or
understanding of unit
concepts and
application of skills in
written form
2. Prepare learners for
quarterly assessments

Performance Task 1. Involve students in the At the end of a lesson

learning process focusing on a topic/ skill or
individually or in lesson

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collaboration with Several times during the

teammates over a quarter
period of time
2. Give students
opportunities to
demonstrate and
integrate their
knowledge,
understanding, and
skills about topics or
lessons learned in a
specific real-life
situation by performing
and / or producing
evidence of their
learning.
3. Give students the
freedom to express
their learning in
appropriate and diverse
ways.
4. Encourage student
inquiry, integration of
knowledge,
understanding, and
skills in various context
beyond the assessment
period.

Quarterly Assessment Synthesize all the learning Once, at end of the quarter
skills, concepts and values
learned in an entire quarter

RUBRICS
• A scoring guide that seeks to evaluate a student’s performance based on the sum of a
full range of criteria rather than a single numerical score.
• A working guide for students and teachers, usually handed out before the assignment
begins in order to get students to think about the criteria on which their work will be
judged.
• Rubrics have criteria and a description of performance for each criterion.
Steps in Writing Rubrics
1. Identify the separate standards that will serve as performance standards.
2. Decide on how many levels of performance you want to identify.
3. Choose a format, either table/matrix or the listing of standards

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4. Write the appropriate description of acceptable behavior at the different level of

performance.
5. Assign a weight to the whole assignment, then assign each standard a weighted value
and then within each standard, assign weight for exceeds expectations, meets, does not
meet.
6. Put it all together…
7. Share the rubric with the students.

Types of Rubrics

Holistic rubrics
• single criteria rubrics (one-dimensional) used to assess participants' overall achievement
on an activity or item based on predefined achievement levels;
• performance descriptions are written in paragraphs and usually in full sentences. Sample
Holistic Rubrics for Singing
Score Description
5 Students performs music with no errors pertaining to rhythm, pitch, dynamics,
intonation and diction
4 Students performs music with very few errors pertaining to rhythm, pitch,
dynamics, intonation and diction
3 Students performs music with numerous errors pertaining to rhythm, pitch,
dynamics, intonation and diction
2 Students performs music without demonstrating proper skill/technique
pertaining to rhythm, pitch, dynamics, intonation and diction
1 Unacceptable performance or no attempt

Analytic rubrics
• two-dimensional rubrics with levels of achievement as columns and assessment criteria
as rows. Allows you to assess participants' achievements based on multiple criteria
using a single rubric. You can assign different weights (value) to different criteria and
include an overall achievement by totaling the criteria;
• written in a table form.

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Sample Analytic Rubrics for Singing

Criteria Excellent 10 Good Needs Score
pts 7 pts Improvement
3 pts

Pitch Pitches are Pitches are An

well centered mostly in tune unawareness
and in tune. and centered. of tuning
Tone is well Tone is problems.
supported. supported Many notes
some. are out of tune
and not
centered. Very
little support of
tone.
Rhythm Rhythms are A few rhythms Many rhythms
sung correctly are not are sung
and in a style performed incorrectly.
that fits the correctly, but
piece. most are
cleanly
performed.

ACTIVITY
Using your curriculum guide in music, look for a lesson with a performance task (singing,
playing instruments, performing a rhythmic pattern). Design/create your own holistic and
analytic rubrics.

Learning Competency:

Performance Task:

Rubrics:

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Assessment Techniques in Music Education

Assessment techniques in teaching Music and Arts use familiar tools to determine learner’s
initial knowledge, understanding and skills and to monitor their progress on a given task.
1. Performance-based
This allows learners to demonstrate their own ability in performing a task. This serves as
a practical application of what has been learned by the students.

2. Projects/ Presentations Strategy

Learners output is assessed on how they accomplish tasks using a variety of sources and may
be delivered orally or written using multimedia technologies followed with performance
critiquing.

3. Self-Assessment
Learners reflect on their own progress towards the achievement or output. This could be
a basis for improving their learning. Rubrics and checklist could be used.

4. Journal Writing
Journal is a written record of learner’s thought, experiences and observations on the specific
lesson. This can improve the learner’s writing skills also.

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Module 6 Lesson Planning

Overview

This module lets the students apply what they have learned in the previous modules.
This provides the parts and processes of preparing an instructional/lesson plan of a particular
learning competency in the K to 12 Music Curriculum.

Module Objectives

At the end of this module, you are expected to:

1. Identify the essential parts and components of a lesson plan
2. Demonstrate skills in good lesson planning
3. Construct a lesson plan of a particular learning competency in Music
4. Identify and create innovative instructional materials that can effectively be used in the
teaching and learning process

Course Materials

After becoming familiar with the music curriculum, its contents, different teaching methods
and assessment techniques, you are now ready to learn how to plan a lesson in music and
prepare your own sample of instructional plan.

COMPONENTS OF A LESSON PLAN

1. Objectives- Objectives are obviously observable and measurable and clearly stated
application of subject matter knowledge and skills. These include the three domains;
cognitive, affective, psychomotor. Objectives are formulated based on the content standards,
performance standards and learning competencies of K to 12 Music Curriculum.

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2. Anticipatory Set- Lesson is creatively opened by tapping interest & prior knowledge. This may
include preliminary activities such as review, drill and motivation.

3. Procedures- Detailed all content and resources required for instruction; Includes a variety of
teaching strategies using Multiple Intelligences theory; Used multiple methods or inquiry for
student learning incorporating Bloom’s taxonomy; effective use of technology.

4. Closure- Provides summary to reinforce learning and link to future learning.

5. Assessment- Appropriate and connected to all objectives. Specific description of both

formative and summative assessments; Details at least two different ways to represent
learning; e.g.
concept map, quiz, reflective response

SELECTING APPROPRIATE INSTRUCTIONAL MATERIALS FOR MUSIC

Instructional materials are used to aide teachers in teaching a lesson. It facilitates quality
delivery of instructions and helps in achieving the desired learning outcomes. Just like in any
other subject area, selection of appropriate instructional materials for music lesson makes no
difference.

According to Pinseau (2012), the following are the importance of instructional materials:

-Serve as motivational factor

-Provide direct experience
-Help the teacher clarify the subject matter
-Make discussion lively
-Save money and time
-Avoid dullness

In music, recorded songs/music are commonly used as instructional materials especially when
teaching songs to students. Specific musical instrument could also be considered in teaching
the elements of music. These are as follows:

Brass Instrument- like trumpet and the trombone

Percussion Instruments- played by banging or shaking like drums, maracas, bell, cymbals,
gong, rattle, tambourine and xylophone
String Instruments- played by plucking strumming, picking or bowing the string like guitar,
violin, ukulele.
Wood wind Instruments- sounds are produced by the vibration of reeds in the mouthpiece like
the flute, piccolo and saxophone.

Teachers may also improvise musical instruments. You may ask your students to create their
own instruments such as drums made from used and empty containers and cans. Maracas
made from a plastic bottled with sand or pebbles inside. Just use your imagination and be
creative.

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SAMPLE LESSON PLAN IN MUSIC 3

By: Benjie M. Manila

I. LAYUNIN
A. Pamantayang Demonstrates understanding of the basic concepts of
Pangnilalaman rhythm
B. Pamantayan sa Pagganap -Performs simple ostinato patterns/ simple rhythmic
accompaniments on classroom instruments and other
sound sources to a given song -Sings songs with
correct rhythm
C. Mga kasanayan sa -Plays simple ostinato patterns with classroom
Pagkatuto instruments and other sound sources
(MU3RH-Id-h-5)

II. NILALAMAN Aralin 5- Ostinato

III. KAGAMITANG
PANTURO
A. Sanggunian

1. Mga pahina sa Gabay ng

Guro
2. Mga pahina sa 28-31
Kagamitang Pang-mag-
aaral
3. Mga Pahina sa Teksbuk
4. Karagdagang
kagamitan mula sa
Learning
Resource
Portal
B. Iba pang kagamitan Keyboard, Improvised Rhythmic Instuments, Music
Scores ng mga awitin, Mga Larawan at eCharts ng mga
rhythmic patterns, mga tambol
IV. PAMAMARAAN
A. Balik- Aral sa nakaraang Magbalik aral sa rhythmic pattern:
aralin at/ o pagsisimula - Isagawa ang Echo Clapping Pagsasanay sa
ng bagong aralin pag-awit:
(Review and Drill) - Solfege Practice gamit ang Codaly Hand
Signal

B. Paghahabi sa layunin ng Magpakita ng mga larawan ng hayop na gumagalaw

aralin (Motivation) (Mga hayop na matatagpuan sa awiting “Ang mga Alaga
kong Hayop”).
- Itanong ang mga pangganyak na tanong
C. Pag-uugnay ng mga -Ipakita ang tsart ng awiting “Ang mga alaga kong

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halimbawa sa bagong aralin hayop”

(Presentation) -Itanong kung ano ang palakumpasan ng awit
-Ipabigkas ang lyrics ng awitin sa paraang pantigan
-Iparinig at ituro ang awitin sa mga mag-aaral
-Ipaawit ng sabay-sabay ang awitin
D. Pagtalakay ng bagong -Ipakita ang isang rhythmic pattern sa palakumpasang
konsepto at paglalahad ng 2
bagong kasanayan #1
4
-Ituro at ipagawa ito sa mga bata ng paulit ulit habang
inaawit ang “Ang mga alaga kong hayop”
E. Paglinang sa kabihasaan Differentiated Instruction Pangkatin
ang klase:
UNANG Pangkat: Awitin ang “ang mga alaga kong
Hayop”
IKALAWA at IKATLONG Pangkat: Isagawa ang
magkaibang Ostinato Rhythmic Pattern gamit ang mga
improvised rhythmic instruments
IKA-APAT na Pangkat: Magsagawa ng angkop na kilos
na maaaring isabay sa awit.

E. Paglalapat ng aralin sa pang- -Lahat ng bagay na ginagawa natin sa araw-araw ay

araw-araw na buhay may kaugnay na rhythm at pattern, katulad ng pagtibok
ng ating puso at ating paghinga.
-Magbigay pa nga kayo ng iba pang mga halimbawa.
F. Paglalahat ng Aralin -Itanong:
Sa pag-awit natin kanina ng awiting “Ang mga alaga
kong hayop ay mayroon tayong” ay mayroon tayong
isinagawang mga rhythmic patterns, paano ba natin
isinagawa ang mga ito?
G. Pagtataya ng Aralin -Muling Pangkatin ang mga Mag-aaral (Tatlong grupo) -
Isagawa ang Ostinato Pattern kasabay ng awitin na
nakasulat sa activity card ng bawat pangkat.
H. Karagdagang gawain para sa
takdang-aralin at remediation

V. MGA TALA
VI. Pagninilay
A. Bilang ng mga mag-aaral na
nakakuha ng 80% sa
pagtataya.
B. Bilang ng mag-aaral na
nangangailangan ng iba
pang gawain para sa
remediation

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C. Nakatulong ba ng remedial?
Bilang ng magaaral na
nakaunawa sa aralin

D. Bilang ng mag-aaral na
magpapatuloy sa
remediation
E. Alin sa mga stratehiyang
pagtuturo ang nakatulong ng
lubos
F. Anong suliranin ang aking
naranasan na nasolusyunan
sa tulong ng aking punong
guro at superbisor?

G. Anong kagamitang panturo

ang aking nadibuho na nais
kong ibahagi sa mga kapwa
ko guro?

ACTIVITY

Using your k to 12 Curriculum Guide in Music and a reference book/material in MAPEH,

choose a topic and make a semi-detailed lesson plan of a learning competency of your choice
using the suggested format below.
Lesson Plan in Music
I. Objective
A. Content
B. Content Standard
C. Performance Standard
D. Learning Competency
II. Materials
A. References
B. Instructional Materials III. Procedure
A. Preliminary Activities
B. Presentation
C. Discussion/Concept Formation

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IV. Activities
V. Generalization
VI. Evaluation
VII. Enrichment

Note: You may use other format if you use a specific method of teaching (Please Indicate).

References:

Corpuz, B. B., and Salandanan, G. G. (2015). Principles of Teaching (with TLE). Lorimar
Publishing, Inc.
DepEd. K to 12 Curriculum Guide in Music retrieved at
https://www.academia.edu/38078710/K_to_12_Curriculum_Guide_MUSIC_Grad
e_1_to_Grade_10
Jones, C. S. and Jones, R. (n.d.) Understanding Basic Music Theory. Retrieved at
http://cnx.org/content/col10363/1.3/.

Marcial, J. V., Delos Reyes, L. B., Magbitang, I. R., and Tomas, C. (n.d.). Curriculum and
Instruction: MAPEH/MSEP. Teacher Induction Program Module.

Serrano. E.D., Pilariza, C. A., and Bunga, J. B. (2016). Principles of Teaching 2. Adriana
Publishing Co., Inc.

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