UNIVERSITY OF CALOOCAN CITY

Biglang Awa St., Corner Catleya St., EDSA, Caloocan City

COLLEGE OF EDUCATION

CREATIVE ARTS, MUSIC AND MOVEMENT IN ECED

SUBJECT CODE: ECE 005
TOPIC OR LESSON 13: Developing Creativity through Music and Movement
WEEK: 15
SUB-TOPIC/S:
1.1. Knowing Approaches in Teaching Music and Movement
1.2. Creating an Environment for Music and Movement
1.3. Responding to Children

OVERVIEW OF THE TOPIC

As teachers, we select music for children’s enjoyment and introduce songs, action
games, and other music and movement activities. However, our primary role is to
facilitate children’s development by observing them as they respond to music, talking
to them about what they are doing, reacting to and reinforcing their explorations, and
asking open-ended questions. In order to do this, we have to equip ourselves with the
following skills:

1. Ability to describe movement and the elements of music.

2. Ability to identify levels of children’s physical development.
3. Ability to apply approaches in teaching music and movement.
4. Ability to create the environment for music and movement.
5. Ability to respond to children.

LEARNING OUTCOMES
Students are expected to list down own practices and measures that they have to
follow to do their tasks in creating an environment for music and movement more
efficiently.

LEARNING OBJECTIVES
At the end of the lesson, students should be able to:

a. Enumerate teacher’s role in early childhood music and movement program.

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 ENGAGE

Explain the four ways in describing movements.

BODY

Movement
EFFOR Concepts RELATIONSHIP
T

SPACE

EXPLORE
Think about it!
They said that you don’t need to be music major in order to teach music and
movement. However, you must familiarize yourself with various approaches used in
teaching music. How will you do it? What are the things that you have to do so you will
be knowledgeable on the different approaches in music?

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 EXPLAIN

KNOWING APPROACHES IN TEACHING MUSIC AND MOVEMENT

One does not need to be music major in order to teach music and movement to
young children. However, it is a must that preschool teachers should familiarize
themselves with various approaches used in teaching music. Three of the most popular
music education methods are briefly discussed below:

The Orff Method

The Orff Method, developed by the German composer Carl Orff, 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. Lessons are presented
with an element of “play” helping children learn at their own level of understanding.

The Kodaly Method

The Kodaly Method, developed by the Hungarian composer Zoltan Kodaly,
stresses singing as the foundation of musicianship. It encourages music education in a
very young age, and believes that everyone is capable of musical literacy. Folk and
composed music of high artistic value are used in Kodaly classes.

The following are some of the key concepts of the Kodaly method:
➢ Everyone is capable and has the right to musical literacy.
➢ Singing is the foundation of musical learning.
➢ Music education must begin with the very young.
➢ The importance of using folk music (native folk songs and folk songs of other
countries) and music of high artistic value.
➢ Incorporating games, movement, playing instruments, reading and writing music
with singing.
➢ Using a sequential process following a child’s natural learning development:
Aural – oral – kinesthetic
Written – pictorial – abstract
Read – recognized
Using the Kodaly Method learners develop listening skills, sight-singing, ear-
training, learn how to play instruments, compose, improvise, sing, dance, analyze, read
and write music.

The Dalcroze Method

The Dalcroze Method, also known as Dalcroze Eurhythmics, connects music,
movement, mind and body to foster music appreciation, ear-training and improvisation
while improving musical abilities. If you observe a Dalcroze class, you will find the
learners listening to the rhythm of a musical piece. They respond to what they hear
through movement. Developed by Emile Jaques-Dalcroze, a Swiss composer, the
Dalcroze method has three key elements namely eurhythmics, solfege and
improvisation.

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 Eurhythmics is the Greek term for good rhythm. Thus, rhythm and structure are
learned through kinetic exercises and by listening to music. Learners express what they
hear through spontaneous bodily movement. Solfege or fixed on the other hand is
used to develop ear-training and sight-singing skills. Learners use instruments,
movement and voice for improvisation.

CREATING AN ENVIRONMENT FOR MUSIC AND MOVEMENT

How does a developmentally appropriate environment for music and
movement look like? To answer this question, first let us define what a developmentally
appropriate environment. A developmentally appropriate environment for music and
movement is child-focused, and ensures a wide range of movement experiences so
that children can work and learn at developmental levels that are individually
appropriate.
Music and movement engage children in different activities. They listen to music,
join group experiences, and experiment with materials on their own. The environment,
therefore, must include a specific location where you store musical instruments, a tape
recorder, and a variety of props. In this place, children can be free to make or listen to
music and dance to the music if they wish.

Music and Movement Materials and Equipment

➢ Music boxes or musical toys
➢ Record/tape player
➢ Records, tapes, CD’s
➢ Radio
➢ Stories on tape
➢ Musical instruments: drums, homemade shakers, xylophones, bells, piano,
harmonica, recorders
➢ Earphones
➢ Dance props: scarves, streamers, hats, fabric, sheets, feathers, balloons, capes,
ribbons
➢ Furnishings: pillows, fluffy sofa or chair, bean bags, gym/tumble mat, padded
stools
➢ Full length mirrors
➢ Strong light for making shadows
➢ Bags on hooks, baskets, or low shelves for storage

RESPONDING TO CHILDREN
In order to respond to children appropriately during music and movement
activities, teachers should observe what each child is doing individually or with the
group.
Through purposeful observation, teachers can make choices and act or respond
accordingly. For example, when children are engaged in spontaneous music and
movement activities, it would be better if the teacher leaves them alone because
stepping in and offering suggestions might stifle their creativity. But if a child feels
frustrated by trying to remember the words of a favorite song, joining in can be helpful.
Knowing children’s basic patterns of development in music and movement will help the
teacher to intervene effectively.

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 During music and movement activities, notice if a child:
➢ Enjoys listening to music and is able to follow the beat
➢ Experiments with different instruments and identifies the different sounds of each
one
➢ Enjoys singing and can make up new words to songs
➢ Is able to create movements to go with your directions such as flying like a
butterfly, walking like an elephant, picking mangoes off a tree, etc.
➢ Interacts with others in music and movement activities

When you observe each child you get to know his or her interests and skills in
relation to music and movement. With this information, you can respond to each
child’s interests, abilities, and needs appropriately.

ELABORATE

Compare and contrast the different approaches in teaching music and movement
following the feature written on the first column. Then, below the table, decide which
method you think is most appropriate to use. Explain your choice comprehensively.

Feature Orff Method Kodaly Method Dalcroze Method

Proponent
Philosophy
Procedure

For me, the most appropriate approach to use is

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EVALUATE

If you will be asked, what are the practices and measures that you must do in order to
create an environment for music and movement more efficiently? Give at least five (5)
practices or measures then explain how you will do it.

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 RUBRIC FOR EVALUATION SCORE
3– The 2 – The 1– The explanation 0.5 – The 0–
explanation is explanation is is quite relevant to explanation is not Has no
RELEVANCE

directly relevant relevant to the the topic. Only few clear and has a explanation
to the topic. Every topic. Most of the of the details very rough
detail points details contribute contribute to the transition of idea.
toward the topic. to the development of The details are
development of the topic. not relevant to
the topic. the topic.
3– The 2– The 1– The explanation 0.5 – The 0–
ARGUMENT
EVIDENCE/

explanation shows explanation shows at 3 to 5 explanation Has no

at least 9 shows at least 6 correct/valid shows at most 2 explanation
correct/valid to 8 correct/valid evidences to correct/valid
evidences to evidences to support his/her evidences to
support his/her support his/her answer. support his/her
answer. answer. answer.
2– The 1.5 – The 1– The explanation 0.5 – The 0–
explanation is explanation is is somewhat clear explanation is not Has no
CLARITY

clear, has a very clear, has a good and has a rough clear and has a explanation
good flow of transition, most of transition from one very rough
discussion, every the details are idea to another. transition of
detail is connected to ideas.
connected to each other.
each other.
2– The 1.5 – The 1– The explanation 1.5 – The 0–
TECHNI-

explanation has explanation has 1 has 3 to 4 errors in explanation has Has no

CALITY

no error in to 2 errors in grammar, spelling, at least 5 errors in explanation

grammar, spelling, grammar, and punctuations. grammar,
and punctuations. spelling, and spelling, and
punctuations. punctuations.
OVERALL SCORE:

REFERENCES

Alcodia, Editha (2012) Creative Arts, Music and Drama for Young Children

Barnes & Noble Education Integrating Music, Art, Play and Movement in the Early
Childhood Curriculum

Sarrazin, Natalie (2012) Music and the Child

ADDITIONAL
MATERIALS

Charlie Parker’s Definition of Sound and Music

https://www.newyorker.com/culture/the-front-row/how-charlie-parker-defined-the-
sound-and-substance-of-bebop-jazz

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PREPARED BY:

Ms. Desiree S. Isidro

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