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TEACHING MUSIC IN THE ELEMENTARY GRADES (BTMUSICEG)
OVERVIEW OF THE COURSE
Welcome to the course, TEACHING MUSIC INT HE ELEMENTARY COURSE. This course allows YOU, the pre-service Elementary teacher to know the pedagogical content knowledge in teaching music in the Elementary grades. It deals with the basic theoretical foundations of Music and its pedagogical principles as it applies to teaching and learning in elementary grades. At the end of this course, you must be able to:
- Master the pedagogical elements and skills essential in teaching music in the elementary grades.
- Apply instructional strategies for the development of critical and creative musical skills
- Design authentic assessment, evaluation instruments suitable for the intended musical learning competences
- Create learning tools that could be utilized in teaching elementary music education students. The topics that you will come across on this course are the different elements of music as it applies in teaching elementary music. Let us altogether enjoy the journey together towards becoming better musicians and music educators for our future students.
Below is the Work Plan for the Prelim Period. This work plan will tell you what is expected of you for this period. It will guide you in doing the tasks and tell you the dates that you should remember. The letter T stands for Teacher’s Task and the letter S stands for Student’s Task. The readings/videos/slide shares, etc. are uploaded in CANVAS or you may click the link/s provided. All outputs shall be submitted posted on CANVAS.
Work Plan for Prelim Period: Philosophy of Music Education and the Elements of Music
Wee
k
Intended
Learning
Outcome
Module/Lesson Learning/Teachi
ng Activities
Assessment
Task
Target Date
1 Restate their
commitment to the demands of the course by asserting their agreement or expressing their queries for further understanding and clarification. Reflect on their own philosophy of music education vis-a- vis the Philippine philosophy of Music education Course Orientation
- Course Description
- Course Objectives
- Course Content
- Course Requiremen t
- Online etiquette
- Program Retention Policy
- Music Theory Diagnostic Test Concept and Philosophy of Music
- Definition of Music
- Philosophy of Teaching Music T & S: Interactive discussion on classroom rules and expectations and philosophy of music S: Answer the Musicianship Survey and the Music Elements Diagnostic Test. S: Read on the Three Philosophy of Music Education and the K to 12 Music Education Curriculum S: Students will sign a commitment form and pledge stating that they agree with the rules and regulations, and requirements of the course. S: Write a brief reflection statement how they are willing to help on improve the music education in the Philippines and how they can contribute in achieving the intended outcomes in the philosophy
Jan. 13 , 2022
- Melodic Intervals
- Staff and the Letter Names
- Solfa syllables
- Accidentals Form
- Musical Phrase (repetition and patterns)
- Binary
- Ternary
- Strophic WEEK 5 Timber
- Instruments of the Orchestra
- Instruments of the Rondalla, Pangkat Kawayan, Angklung
- Voice Classificatio ns of the Orchestra
- Tone Color Dynamics
- Concept of “soft” and “loud”
- Different symbols in dynamics Texture
- Monophonic
- Polyphonic
- Homophoni c
Harmony
- harmonic interval
- chords
- simple chord progression s (I-IV-V) Genre/style of Music
6 Week 6
PRELIM EXAMINATION
Performance Task (video recorded submission) :
- Clap and sing one nursery rhyme/one folk song in correct pitch and rhythm based on the music notation
- Conduct the Lupang Hinirang in correct duple meter 50 item written Exam on the following topics
- Philosophy of Music Education
- Reading Music Notes
- 8 Elements of Music
Read What is Music?
- the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity (Merriam Webster Dictionary)
- a group of sounds that people have arranged in a pleasing or meaningful way. All cultures of the world make some form of music. Music can be simple—for example, one person tapping out a beat on a log drum or singing a children’s song (Britannica Kids) The 3 Philosophies of Music Education by Victoria Boler Main Reference: https://victoriaboler.com/blog/three-philosophies-of-music-education
- UTILITARIAN - t he Utilitarian Philosophy is centered around the idea that music education is practical. A few key ideas of utilitarian music education: Music serves a function. It is a tool we can use to achieve a purpose. For example, we may advocate that strong music programs are related to strong academic performance, such as increased SAT scores. We may argue that music serves to build “character education,” patriotism, and school values. We may show how music improves the brain and helps language development. Music serves a non-musical outcome You may have noticed something from the examples above: None of them have to do with musical growth. The utilitarian music philosophy promotes music for the purpose of achieving an outcome outside the musical realm. For example, educators who use this philosophy do not state that students who study music will improve their rhythmic and melodic skills. Instead, they might focus on improved science and math scores. A very quick background of the Utilitarian Philosophy In 1838, for the purposes of improving singing in Christian church congregations, music was added to the public school system in Boston. Further, the school board agreed that adding music in schools would promote Christian morals, improve physical health, and increase students’ intellectual capabilities. In other words, music was included in schools to achieve a very practical purpose. This is the practical music philosophy we refer to as “Utilitarian.” The Utilitarian Music Philosophy in Advocacy: Today this philosophy is alive and well, and is used by NAfME, VH1 Save the Music, and NAMM. We see it on posters, on bulletin boards, and doors:
As music teachers, the message we are trying to convey is that music education is important because it has a positive impact on many other subject domains or content areas. If you view yourself as a teacher aligned with the utilitarian philosophy, you might highlight how students are working through mathematical, linguistic, or scientific concepts through your music lessons.
- AESTHETIC - The Aesthetic philosophy of music education is centered around the idea that music expresses emotion. A few key ideas in Aesthetic Education: Music for music’s sake When studying music, students should engage in developing musical skills and understandings In other words, when studying music, students should learn music. Instead of learning music so we can be competent in other areas, we should learn music so we get better at music itself. The aesthetic philosophy is not primarily concerned with what functional value music offers. Instead, it views music itself as the value. Feelings-based experiences In the Aesthetic philosophy, when we hear music, we’re engaging in a feelings-based experience. Our feelings are subjective, but they can be traced back to specific structures or expressive elements in a musical work. When we study music, we are studying expressive sonic properties that convey an emotional message.
Music is the actualization (praxis) of a person’s belief systems and motivations The practice - improvise, listen, perform, compose, arrange, or conduct - of music is where the value of music education lies. At their core, these are human activities. Human lives, thoughts, and actions are inherently valuable. Therefore, music is inherently valuable because it is the result of humans’ actionable beliefs. Music is multi-dimensional. It uses the cultural background of the piece, the musical traditions of a people, and the student’s own performance or listening interpretation. Music is both a process and a product “Music” is the thing we output as a complete work (product). Think about our description of “a piece of” music. It is also something we do, a process we experience, whether listening, performing, composing, arranging, or conducting. For example, in the case of musical performance, music happens both before a note is produced, as the producer imagines the sound. It happens in the moment the sound is made. It happens after the sound is produced as the producer critically reflects on the music. When music is process-oriented, students think, plan, make, and reflect on music holistically. Music lives in a cultural and social context Across cultural and historical contexts, music has meaning. This meaning is valuable in and of itself without superimposing standards of Western European art music. When we examine music from a wide range of cultural, social, and historical contexts, we are better positioned to recognize the value and meaning music brings. A Very Quick History of the Praxial Philosophy: The praxial philosophy is still quite new. In the 1990s, David Elliot (a former student of the key aesthetic advocate, Bennett Reimer) proposed that music is a human activity, not a purely aesthetic product. Elliot’s position was that the aesthetic philosophy is limiting, since music education at the time focused primarily on Western art music, and excluded global or popular music traditions. He also advocated for a music philosophy that included more participation rather than observation. In addition to Elliot, music thinkers like Philip Alperson, Christopher Small, and Thomas Regelski have also impacted this approach to music education.
The Praxial Philosophy in Advocacy: Praxial philosophy of music education Music is worthy of study because human thoughts, voices, beliefs, and actions are worthy of study. When we study music, we teach students to become holistic problem-solvers, thinkers, and artists as they explore the process of musicing, and celebrate the resulting product. They are placed at the center of their own learning, as inventors, producers, and critics. Equally important, they learn how to invent, produce, and critique their peers in a way that honors the beliefs, value systems, and practices of our shared history, and the global community. No other subject synthesizes the value of the human experience, the process of learning, and the context of art in the way music does. If your philosophy is praxial, you could collect artifacts (like videos or compositions) that highlight the process of learning music holistically.
3 PHILOSOPHIES IN SUMMARY
Reflect: After reading the Philosophy of Music Education in the Philippine K to
12 Curriculum, answer these questions:
- How can you differentiate utilitarian, aesthetic, and praxial philosophies of music
education
- In your experience of taking music classes (or MAPEH classes) when you were
in Elementary/High School, what philosophy of music education do you think
does the Philippine Educational Curriculum practice?
Below is the list of content and music processes of the Philippine K to 12 Music
Curriculum found on page 6. The music elements are the main content spread across the
entire Elementary and High School curriculum, whereas the music processes are the
learning activities and strategies that we aim to accomplish and practice as the curriculum
progresses.
Activity
Based on the Music K to 12 curriculum guide:
- What elements are focused on each quarter for each grade level? (Notice a pattern, they are the same on ALL quarters except for Harmony)
- Count the number of competencies and estimate how many competencies there are in one quarter. Do you think you will be able to meet all these competencies if Music subject only meets once a week?
Reflect:
Exit Reflection - After our discussion on the philosophy of music education and the state
of music education in the Philippines, what can you do to improve on the quality of music
education in the Philippines? Cite concrete acts or evidence
Guide Questions as you watch the video:
GROUP 1
- Using the staff, how can we tell what to play on the staff and when to play it?
- What letters are used in reading musical pitches?
- How do we know if the pitch goes up or the pitch goes down?
- What are clefs and what is their job? What is the usual clef we read music on?
- What are ledger lines and how do you use it? GROUP 2
- What are the two main elements that tell when to play music?
- What is the difference between a quarter note and the other notes?
- What is the job of the bar line?
- What is a time signature? What does the upper number in the time signature mean?
- What number represents the different notes in the lower time signature? Read
How do you read music notes?
Reference: pp. 11, Voderman, 2019 What are the parts of a music staff?
Reference: Guitar Masterclass, 2009
Staff - five lines and four spaces where the notes should be written
Key Signature - a set of sharps and flats at the beginning of the composition saying
what the key other song is
Time Signature - the numbers that provide information for the rhythm. The upper number
tells you how many beats are there in the measure. The lower number tells you which
beat gets one measure. 1 is for whole note, 2 is for half note, 4 is for quarter note, 8 is for
eighth note and 16 is for sixteenth note.
Measure Line/Bar Line - divides the staff into measures
Bar/Measure – place where you write the notes
Staff/Staves - five lines and four spaces where the notes are written
Ledger Line - lines which are the extension of the staff
Tempo Marking - tells you how fast/slow you should play the piece
Dynamic Markings – tells you how soft/loud your should play the piece
What are the values of the notes and rests?
Below is an illustration of how notes and rests are related. We usually say that a quarter
note gets one beat. But that is the case if the lower number of the time signature is 4. If
What are the notes on the keyboard?
Reference: pp 16-17, Voderman, 2019
What are the pitches in the staff for both the G clef and the F clef staff and
how do I play it on the piano?
Reference: https://pianosecrets.com/grand-staff/
The letters in the G-clef and F-clef staff have corresponding notes on the piano as well.
Musicians need to master both the letters on the staff and on the piano. This, together with
rhythm, is what allows us to read music. Musicians take time to practice and perfect their
music reading skills. This is known as sight-reading.
