JHEVILINE D.

LEOPANDO
College Instructor
+639209796252 /
jhevleopando2212@calauagcentralcollege.edu.ph
\
LEARNING ACTIVITY # 7
NAME:_________________________________________________ GRADE / SCORE:____________
COURSE AND YEAR:______________________________________ DATE:_____________________
SUBJECT: MUS 101 – TEACHING MUSIC IN THE ELEMENTARY GRADES

PLEASE SHADE THE APPROPRIATE TYPE OF ACTIVITY:

❑ Concept Notes ❑ Laboratory Report ❑ Formal Theme ❑ Practical Activity
❑ Exercise / Drill ❑ Drawing / Art ❑ Informal Theme ❑ Others:
___________________

ACTIVITY TITLE: TEACHING STRATEGIES IN TEACHING MUSIC TO CHILDREN

LEARNING TARGETS: a. Differentiate the teaching techniques and assess which will be the
most appropriate in a situation.
REFERENCE(S) Teaching Music in the Elementary, City College of Calamba
(Title, Author, Pages) Module in Teaching Music in Elementary Grades, SMIT

There are various approaches used by educators when it comes to teaching music.
Some of the best ways of teaching children music are to build upon a child's innate curiosity
and teach children in a way that they learn best, similar to how a child learns their native
language. These methods and variations of them are used by music teachers in private
lessons and throughout schools worldwide. Here are four of the most popular music education
methods.

A. Orff Method
The Orff Schulwerk Method is a way of teaching children about music that engages their
mind and body through a mixture of singing, dancing, acting, and the use of percussion
instruments, such as xylophones, metallophones, and glockenspiels, which are known as the
Orff Instrumentarium.
Lessons are presented with an element of play helping the children to learn at their own
level of understanding while emphasizing arts integrations with stories, poetry, movement, and
drama.
The least methodical of the four approaches, the Orff method teaches music in four
stages: imitation, exploration, improvisation, and composition.
There is a natural progression to the method before getting to instruments. The voice
comes first through singing songs and creating poems, then comes body percussion, like
clapping, stomping, and snaps. Last comes an instrument, which is viewed as an activity that
extends the body.

B. Kodaly Method
The Kodaly Method's philosophy is that music education is most effective when started
early and that everyone is capable of musical literacy through the use of folk and composed
music of high artistic value.
Zoltan Kodaly was a Hungarian composer. His method follows a sequence with each
lesson building on the last. Singing is stressed as the foundation for musicianship.
He begins with sight-reading, mastering basic rhythms, and learning pitch with a "hand-
sign" method. The hand signs help children visualize the spatial relationship between notes.
Hand-signs combined with solfege singing (do-re-mi-fa-so-la-ti-do) aids in singing that is on-
pitch. Kodaly is also known for a system of rhythmic syllables to teach steady beat, tempo, and
meter.
Through these combined lessons, a student naturally progresses into a mastery of sight
reading and ear training.
 JHEVILINE D. LEOPANDO
College Instructor
+639209796252 /
jhevleopando2212@calauagcentralcollege.edu.ph
\
C. Suzuki Method
The Suzuki Method is an approach to music education that was introduced in Japan
and later reached the United States during the 1960s. Japanese violinist Shinichi Suzuki
modeled his method after a child's innate ability to learn their native language. He applied the
basic principles of language acquisition to music learning and called his method the mother-
tongue approach.
Through listening, repetition, memorization, building vocabulary—like language, music
becomes part of the child. In this method, parental involvement is helpful to a child's success
through motivation, encouragement, and support. This mirrors the same type of parental
involvement that helps a child learn the fundamentals of their native language.
Parents often learn the instrument along with the child, acting as musical role models,
and maintaining a positive learning atmosphere for the child to succeed.
Although this method was originally developed for the violin, it is now applicable to other
instruments including the piano, flute, and guitar.

D. Dalcroze Method
The Dalcroze method, also known as Dalcroze Eurhythmics, is another approach used
by educators to teach musical concepts. Emile Jaques-Dalcroze, a Swiss educator, developed
the method to teach rhythm, structure, and musical expression through music and movement.
Eurhythmics begins with ear training, or solfege, to develop the inner musical ear. This
differs from Kodaly’s use of solfege in that it is always combined with movement.
Another component of the method concerns improvisation, which helps students
sharpen their spontaneous reactions and physical responses to music.
At the heart of the Dalcroze philosophy is that people learn best when learning through
multiple senses. Dalcroze believed that music should be taught through the tactile, kinesthetic,
aural, and visual senses.

Answer the question briefly:

Among the four methods mentioned in the discussion, which among them do you think will be
the most compatible method for you that you can apply as a future music educator? Why?
(GOOGLE CLASSROOM)
 JHEVILINE D. LEOPANDO
College Instructor
+639209796252 /
jhevleopando2212@calauagcentralcollege.edu.ph
\
LEARNING ACTIVITY # 8
NAME:_________________________________________________ GRADE / SCORE:____________
COURSE AND YEAR:______________________________________ DATE:_____________________
SUBJECT: MUS 101 – TEACHING MUSIC IN THE ELEMENTARY GRADES

PLEASE SHADE THE APPROPRIATE TYPE OF ACTIVITY:

❑ Concept Notes ❑ Laboratory Report ❑ Formal Theme ❑ Practical Activity
❑ Exercise / Drill ❑ Drawing / Art ❑ Informal Theme ❑ Others:
___________________

ACTIVITY TITLE: TEACHING STRATEGIES IN TEACHING MUSIC TO CHILDREN

LEARNING TARGETS: a. Justify what strategy is most compatible to your method of teaching
REFERENCE(S) Teaching Music in the Elementary, City College of Calamba
(Title, Author, Pages) Module in Teaching Music in Elementary Grades, SMIT

In many cases, it’s up to music teachers to pave the way for a contemporary music
education experience and replace traditional teaching strategies with innovative ones that
focus on inclusion and engagement. Below are four contemporary music teaching strategies
you can employ to foster an engaged and inclusive classroom.

A. Technology Incorporation
One of the most significant drawbacks of traditional music teaching methods is that they
underutilize technology. Today’s students are the most technologically literate generation to
date – much more so than their teachers – and there is a vast amount of music teaching
technology available that can be a powerful conduit to learning.
From creative music theory lessons on YouTube to guided learning through educational
apps, music technology is proven to be more engaging in the classroom. Digital Audio
Workspaces (DAW) are a particularly popular resource to incorporate. Many students jump at
the chance to learn production and composition using cloud-based DAW apps like Soundation
and SoundTrap.
Tools like GarageBand, Logic, Pro Tools, or Ableton Live are also possible, not to
mention a wealth of free music composition apps available to students and teachers. Some
music technology can be prohibitively expensive, and it doesn’t do much good if students can
only use it when they’re at school. That’s why Thornton alum Jim Wang uses accessible
technology to teach production and composition skills with GarageBand for iOS.

B. Create an Inclusive Classroom

Inclusivity in a contemporary music classroom means engaging students of all learning
styles, backgrounds, and ability levels. As an educator, inclusivity and versatility go hand in
hand. A contemporary music teacher should be able to pivot from leading a jazz ensemble in
the morning to teaching a world music lesson in the afternoon, to directing an after-school rock
band.
“Great orchestras, choirs, and bands have been a hallmark of fine music education, but
if you offer keyboard, guitar, and songwriting classes in addition to the classic repertoire, a
wider variety of students’ musical needs are met,” said Robert Cutietta, Dean of USC
Thornton. “If schools offer wider musical options, music education will be transformed to better
meet the needs of the contemporary world.”
Inclusivity goes beyond the range of musical genres. A genuinely inclusive classroom is
one that is respectful of present diversity, adapts to the needs of all learners, and provides
opportunities for collaboration between students.

C. Engagement Focus
Many music teachers have the extraordinary opportunity to have a meaningful impact
on their students’ musical journeys and keep their minds in healthy shape. Music is a gift, but
it’s one that has to be readily accepted by the giftee. You can’t force music on an unwilling
student. Tastes vary widely, and it can be a daunting task to execute an educational and
 JHEVILINE D. LEOPANDO
College Instructor
+639209796252 /
jhevleopando2212@calauagcentralcollege.edu.ph
\

cohesive curriculum that’s engaging and responsive to individual interests.

For recent USC Thornton graduate and current K-12 Contemporary Teaching Practice
master’s student Ryan Williams, engaging his students means scouring the internet for film
scores and catering to his students’ interests.
“No one goes through the day without engaging in music in some way, and we are
trying to change what is considered appropriate in music education,” said Williams, “Why can’t
we discuss hip hop or R&B in a classroom setting?

D. Embrace the Artist-Teacher

Within One of the foundations of USC Thornton’s Music Teaching & Learning program
is the artist-teacher. As a music teacher, one of the biggest strengths you can draw on in the
classroom is your personal experience as a musician.
“We believe strongly in the idea of the artist-teacher,” said Dean Cutietta. “We shut
down our previous undergraduate music education program because it did not address our
belief that teachers in public schools should be both solid musicians and inspirational and
relevant teachers.”
Think of anything you’ve had to learn on the fly as a musician – organizing a concert,
working cooperatively with other musicians, dealing with the business side of music, or
producing a home recording. Each experience you’ve learned from is an opportunity to pass
the knowledge to your students and captivate their interest.
For example, some of your students are probably interested in being a rap producer, but
do they know what that entails on a day-to-day basis? Do you? If you don’t, be resourceful.
You probably know a musician in your network who can offer insight.
Maybe your students want to be in a rock band. Show them what it’s like by organizing
a community event featuring student-created music and letting them assist in the preparation
and production of the show.
Finally, as an artist-teacher, your education doesn’t have to stop when you leave
university. As you continue to grow as a musician and incorporate your experiences in the
classroom your students will benefit as a result.

Answer the question briefly:

Which of these four strategies do you think you can easily apply in the future as an educator?
Why? (GOOGLE CLASSROOM)