District inset areasof music and arts
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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.
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District inset areasof music and arts
- 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 mans 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 ones 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 childs 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