LEVEL OF DIFFICULTIES IN LEARNING MUSIC OF THE THIRD YEAR BPED

STUDENTS: BASIS FOR INTERVENTION PROGRAM

A Thesis
Presented to the Faculty of Teacher Education Program
RAMON MAGSAYSAY MEMORIAL COLLEGES
City of General Santos

In Partial Fulfilment of the Requirements

In Thesis 2
For the Degree Bachelor of Physical Education

GLYDIENE TRECH RANES PUNAY

May 2022
 ii

ACKNOWLEDGEMENT

The researcher extends her heartfelt gratitude to the following individuals

for sharing, supporting, motivating, and assisting her in pursuing this work.

All honour and praise go to the Almighty Father first. For the direction,

blessings, and knowledge that he continues to rain on us. Everything is made

possible by him.

To Ma’am Analisa T. Amada, EdD, her adviser, for the advice, skills and

approval of this study that aided in the execution of this work;

To the members of the panel, Noe P. Garcia, RGC, PhD and Garlan B.

Macaway, EdD, for their help to the researcher and constructive comments that

helped to improve this work;

To the researcher’s family, who gave their support when it comes to

financial assistance, for understanding and motivation; and

To her friends, who extended their hands to help, encouragement and

support.

Also, thank you to everyone who was not mentioned but contributed in

some manner to the completion of this study.

The Researcher
 iii

ABSTRACT

The study aimed at finding out the level of difficulties in learning music of the third

year Bachelor of Physical Education (BPED) students of Ramon Magsaysay

Memorial Colleges enrolled in the school year 2021-2022. Its findings may be

used as basis in proposing an intervention program. It used the descriptive-

evaluative research design involving one hundred and twenty-four (124) Third

Year BPED students who served as respondents of the study using simple

random sampling employed by the researcher. The number of respondents was

computed based on Slovin’s formula at 5% margin of error. Mean and ranking

were the statistical tools used to interpret the data gathered. Findings of the

study revealed that the respondents find learning music really difficult in all areas

such as: note reading, elements of music, voice lesson, and applied music.

Specifically, they find learning music difficult in taking class lesson in a specific

musical instrument in applied music. Hence, Trainings on Note reading,

Elements of Music, Voice lesson and Applied Music is proposed based on these

findings to lessen their level of difficulty in learning music through all areas.

Keywords: level of difficulties in learning music, intervention program,

Philippines.
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TABLE OF CONTENTS

Content `
Page

TITLE PAGE i

APPROVAL SHEET ii

ACKNOWLEDGEMENT iii

ABSTRACT iv

TABLE OF CONTENTS v

LIST OF TABLES vii

LIST OF FIGURES viii

DEDICATION ix

Chapter

1 INTRODUCTION 1

Rationale 1

Research Objectives 3

Review of Related Literature 3

Theoretical Framework 14

Conceptual Framework 15

Significance of the Study 17

Definition of Terms 18

2 METHOD 19
 v

Research Design 19

Research Locale 20

Population and Samples 22

REFERENCES 37

Research Instrument 22

Data Collection 22

Statistical Tools 23

Ethical Consideration 23

3 RESULT 28

Level of Difficulties in Learning Music by the Respondents 28

Proposed Intervention Program 33

4 DISCUSSION 34

Conclusion 34

Recommendation 35

APPENDICES 40

A Statistical Tables 40

B Research Instruments 43

C Request Letter for Research Instrument Validation 46

D Validation Sheet 47

E Summary for Validation Ratings 48

CURRICULUM VITAE 51
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LIST OF TABLES

Table Description
1 Distribution of the Level of Difficulties in Learning Music by the 40
Respondents
2 Proposed Intervention Program 42
 vii

LIST OF FIGURES

Figure Description

1 Conceptual Framework of the Study 16

2 Areal Map of the Research Locale 21

 viii

DEDICATION

This work is the result of numerous and difficult sacrifices. This work is

cheerfully and proudly dedicated to the people who serve as inspiration by the

researcher's efforts. To the family of the researcher who gives their support, to

friends who encourages and extended their help while doing this research.

To the adviser, members of the panel, to the faculty and staff of the

institution of Ramon Magsaysay Memorial Colleges. To the researcher that gives

her efforts. Above all, our Almighty Father who showered us abundance

blessings, giving us hope, especially for the patience, wisdom, and guidance

upon doing this research.

 Chapter 1

INTRODUCTION

Rationale

Learning music is a complex, fascinating process that spans an

impressive variety of meanings and experiences. Music education covers a wide

range of topics and settings. Some of this musical learning takes place in the

classroom in the form of weekly music lessons, while other aspects of the school

structure, such as singing assemblies, nativity plays, celebrations, choruses,

ukulele groups, and extracurricular activities, take place at other times.

Additionally, funding has been made available for all children to have access to

music tuition on an instrument or singing through a whole-class instrumental or

vocal tuition program, following a pledge from the then Secretary of State for

Education, David Blunkett, that "over time, all primary pupils who want to will be

able to learn a musical instrument" (DfES 2001).

Accordingly, outside of school, music education takes place in a variety of

settings and situations. Children learn from their friends and family, the radio,

music groups they attend, music theatre groups, churches, in fact, there are so

many situations in which music is present that determining where our musical

learning comes from is difficult and unnecessary. However, musical learning

outside of school is not a substitute for a rich and inspiring music education in

school. Music education has a role in the school curriculum as a timetabled

classroom subject, and it should be provided to all students. It should be viewed

as part of a broader policy for the arts in education, because the arts provide
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unequalled opportunities for the development of imagination, sensitivity,

inventiveness, and delight – all of which are necessary components of a well-

rounded curriculum. The heart of school music activity is music in the classroom;

from there, we can expand extracurricular music making (John Paynter, 1997).

Moreover, as school assessment expectations become more stringent, it

is unavoidable and depressing that the arts have been neglected in some

schools in favor of an exclusive concentrate on the so-called "core" courses. This

is a terribly short-sighted perspective because music has so much to give that

will entice youngsters to learn across the curriculum. This, however, is not the

main point. We learn music for the experiences, abilities, and information that it

provides. The bottom line is that if all children do not receive a musical education

in the school, there is no guarantee that they will receive any music education at

all. Music is not a right for all children if it is not taught in the classroom.

Making music is more vital than musical knowledge, which is simply a

stepping stone to musical activity. Children gain musical comprehension and

fluency via active, hands-on participation in music. It's also worth noting that the

term 'notation' is used sparingly; we don't need to be able to read or write music

to effectively teach or study it. Music is a method of listening to sounds, and

musical experience is basically a method of interacting with sounds. This is not to

dismiss the importance of listening; after all, the ear is the only 'law' in music, and

auditory awareness is the key to all musical comprehension (John Paynter,

1997).
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The general goal of this study is to explore the amount of difficulty in

learning music, and the results will assist students assess their challenge of

Ramon Magsaysay Memorial Colleges.

Research Objectives

The study aimed at finding out the level of difficulties in learning music of

the third year Bachelor of Physical Education (BPED) students of Ramon

Magsaysay Memorial Colleges enrolled in the school year 2021-2022.

Specifically, it sought answers to the following questions:

1. What are the level of difficulties in learning music of third year BPED

students in terms of:

1.1 note reading;

1.2 elements of music;

1.3 voice lessons; and

1.4 applied music.

2. What intervention program that can be proposed based on the findings

of the study?

Review of Related Literature

The purpose of this section was to provide the background of this study,

which includes literature and studies related to the topic. The variable of the

study was the Learning Music with the indicators: note reading, elements of

music, voice lesson and applied music.

 4

Music may play an important role in meeting a child's educational needs

as it provides a means of self-expression, giving the child an outlet for feelings

and emotions. Music, aside from being a source of enjoyment, is also a means of

communication with others (Suthers and Niland, 2007). Music may expose the

child to challenges and multi-sensory experiences which enhance learning

abilities and encourage cognitive development. In particular, music can also

engage cognitive functions, such as planning, working memory, inhibition, and

flexibility. These functions are known as executive functions (EF). Although there

is no consensus on conceptualization, there is agreement on the complexity and

the importance of EF for learning and development (Gioia et al., 2000). Music

education may be a promising tool in improving EF as it activates multiple cortical

and subcortical brain areas, including the prefrontal cortex, which is linked to EF

(Särkämö et al., 2014).

Meaningfulness in music education, like all education, is largely

determined by how people make sense of their active participation and

experiences, as well as how they find learning valuable for themselves and

others. In/for instrumental music instruction, Silverman connects meaningfulness

to a 4E-inspired concept of "sense-making." We engage with activities, objects,

and people in ways that "connect us both to ourselves and our worlds in

significant ways," according to her. Three contributions under this theme report

on empirical findings. Music teachers' experiences and views of ensemble skills

and learning skills when working with collaborative forms of music making were

investigated by Schiavio et al. The ability to "listen and respond to others" was
 5

identified as the most significant ensemble talent, while "time management" was

identified as the least important. The ability to "listen and respond to others" was

identified as the most important ensemble talent, while the key learning skills

were "time management," "comparing oneself to the class," and "creation of

responsible ways of learning." The other two contributions present findings from

interpretative phenomenological analysis of performing musicians' lived

experiences of Dalcroze practice—a method of music education that combines

group movement activities, ear training, and creative engagement to facilitate

musical exploration and enhance understandings of music-movement

relationships. The approach was deemed to be helpful in preparing repertoire for

performance by the participating flute players (Ridout and Habron, 2020).

In addition, scholars interested in musical practices' creative properties, as

well as the creative potential of those who engage with them, have recently

focused their attention on them, resulting in a slew of interdisciplinary

contributions at the intersection of musicology, cognitive (neuro)science,

sociological, and psychological research (see e.g., Burnard, 2012; Donin and

Traube, 2016; Clarke and Doffman, 2017; Cook, 2018). Indeed, in inventory of

creative achievement, music is one of the most favoured domains (Diedrich et

al., 2018). Interestingly, musical expression is not covered by tests of creative

cognitive potential. Non-musicians' musical creativity has been assessed in terms

of basic capacities to develop innovative melodies or rhythms (Berkowitz and

Ansari, 2008), but it is more typical to research musical creativity in pros and the

moment-to-moment fulfilment of their artistic outcomes.

 6

Further, an improvisational jazz ensemble is perhaps the first thing that

springs to mind when thinking about creative musical performance (see e.g.,

Johnson-Laird, 1988; Sawyer, 1992; Bailey, 1993; Berliner, 1994; Wilson and

MacDonald, 2017). While repeating the main theme, collectively adjusting speed,

accents, and beats, and building melodic, harmonic, and timbric mutations, it's

simple to envisage group members engaged in free improvisation or taking turns

to provide subtle expressive nuances. Expert improvisers are known for

transforming performance into a mutual discovery and negotiation process, in

which different motor, communicative, and imaginative parameters are

dynamically generated, assembled, hybridized, and re-deployed to serve novel

functions and guide their activity through known and unknown (musical)

territories (see Murray, 1998; Doffman, 2009; Duby, 2018; Kimmel and Rogler,

2018; Kimmel et al., 2018; van der Schyff, 2019).

Also, emphasized the growing dynamics involved in the development of

creative action when groups of persons collaborate, among others. Sawyer

envisioned interaction as the primary locus of invention, focusing specifically on

jazz musicians and artists that practice improvisation (Sawyer, 2003, 2006).

Similarly, music is commonly regarded as a canon in music education at

all levels of detailed and notated great art works that are performed in concerts

as a live event, recorded on CDs, broadcast by the media, and controlled by

concert agents. Artistic value criteria evolve with time, yet they are always socio-

culturally defined. In this perspective, music is a product of historical tradition

(text), live performance (sound), artistic expression (interpretation), and public

 7

presentation (distribution). This materialistic explanation, however, is insufficient

since the foundations of cultural identification go considerably deeper than a

socio-culturally influenced collection of compositions (objects). In essence, music

is an immaterial noun that has traditionally been described as an aesthetic

experience in the performer and listener that adds an incommensurable

qualitative moment and gives music significant subjective aspects (Adorno, 1970;

Eggebrecht, 1995; Mollenhauer, 1990).

On the other hand, this first materialistic (objectivist) perspective opens a

new path for characterizing music as a three-dimensional phenomenon: music is

realized as sound, object (work), or process depending on its (a) historical

appearance, (b) listener perspective, and (c) cultural memory function. There are

four agencies involved in music as sound, object, or process, regardless of our

choice. First, there is a sound composer who creates new sound structures.

Second, if the creator develops such musical ideas and writes them down in a

musical score, a professional re-creator is required to understand the notation

and turn it into sound. Sometimes the two agents are the same and appear in the

same musician, who invents and interprets at the same time. Third, there must

be an audience that either pays attention to music or uses it as a background to

other, non-musical activities. This audience will, by necessity, be primarily made

up of musical amateurs. What's essential here is that these people give the

sound their own interpretation. They convert sound into music and create the

musical forms, structures, songs, and other elements that they envision. This is a

crucial component of all musical events because it demonstrates that what we

 8

perceive and understand is dependent on mental actions; so, it is producing

rather than reproductive. As a result, the constituents of what is regarded as

music are the motor actions of a performer and the cerebral activity of

composers, interpreters, and listeners. Finally, various agents operate with music

in terms of promotion, technical production, advertisement, management, and so

on, all of which influence the music that listeners hear. All four agents have

something in common: they act with or to music. As a result, action is the axis

that binds all agents together.

Music is acoustically "moving air" (bewegte Luft, Busoni) that requires

action to exist; but, it also generates the action processes of perception,

cognition, interpretation, promotion, consumption, and distribution. We abandon

a product- or object-centered perception of the world from this standpoint. Music

as an objectivation of actions. Of course, this concept of music as action has

implications for music education: school music instruction should attempt to

educate students how to act musically (Elliot, 1995).

Further, performances are crystalline moments of poiesis, but rehearsal

habits, attitudes, and behaviors represent the choir's praxis. This is also a crucial

aspect of learning. If we define music as action and musical works as

objectivations of actions, we should focus on acts (poiesis) that assist to create

human attitudes and habits (praxis) toward music rather than abstract works and

"aesthetic objects." As a result, such musical movements provide an educational

arena for experiencing, critically analyzing, and pragmatically interpreting the

world we live in. "Interpreting music entails generating music; musical meanings
 9

are inextricably linked with musical performance," writes Helmuth Plessner

(Plessner, 1982, p. 471).

Acting musically in a communicative musical setting manifests and

develops musical understanding in the same way. This kind of "knowing" differs

significantly from appropriately applying words (terms) or defining the relationship

between music and non-musical situations. If music education and learning begin

with the use of words, symbols, notations, stories, and the like, rather than

musical intentions and meanings, it falls short of teaching and learning music,

instead of learning music, which is made up of intrinsic musical meaning. As a

result of this new perspective on music, a fundamental shift in our pedagogical

approaches to music education is required. We must remember that musical

interaction and comprehension take place solely inside the realm of music, with

no verbal or symbolic modifications. It seems obvious that music making affects

many dimensions of creativity (Sullivan & Willingham, 2003)

Reading music is a difficult procedure that requires at least two skills:

reading ability and mechanical ability (Wolf 1976). Music reading necessitates

numerous concurrent cognitive processes, including visual information coding,

motor responses, and visual-motor integration (Gudmundsdottir 2007). According

to studies, high-level music reading achievement is determined by information

processing speed and psychomotor quickness (Kopiez, Weihs, Ligges, and Lee

2006). This suggests that while decoding ability and motor response are vital in

music reading, combining these skills may be the secret to a successful

performance.
 10

Additionaly, reading staff notation or decoding musical symbols is a

complex endeavor in and of itself. Sloboda defines music reading as a collection

of musical perceptual processes (Sloboda 1976, 1978, 1984). According to

perception studies, pitch and time information are processed separately (Palmer

and Krumhansl 1987). As a result, pitch and time information in western staff

notation appear to be coded individually. Pitch and time are heard separately in

music reading, according to studies (Schön and Besson 2002, Waters and

Underwood 1999). Studies on musicians with brain damage provide more

evidence of independent pitch and timing processing. The researchers report a

professional musician who, after suffering brain damage, could only identify

pitches in musical notation but not the rhythm (Fasanaro et al. 1990).

As a result, in music reading, decoding entails independent procedures for

reading pitch and timing, which must be combined in the motor output.

Let's refine the definition of music by considering how children perceive

sound (timbre), melody, harmony, rhythm, structure or shape, expressiveness,

and texture, as well as how children perceive music's essential elements. In a

school or daycare context, children's musical encounters can be started by

themselves or their peers, or by the instructor or staff. The basic music aspects

play a crucial effect in how children respond to music, regardless of the sort of

interaction. The timbre of a sound is one of the most significant aspects for all

humans. The timbre of a sound is important to humans because it allows us to

identify the source of the sound, i.e. who is calling us—parents, friends, etc. It

also warns us about potential danger. According to studies, even very young
 11

children are capable listeners. Children respond to musical style, pace, and

dynamics as early as two years old, and begin to prefer particular musical types

(e.g., pop music over classical) at the age of five. "A typical competency

identified in young infants is the enactment through movement of the music's

most continuous and salient aspects, such as dynamics, meter, and tempo,"

according to Metz and his colleagues (Metz, 1989; Gorali-Turel, 1997; Chen-

Hafteck, 2004).

It should come as no surprise that children respond to the expressive

elements of music (dynamics, tempo, etc.). The majority of individuals react to

music in the same way as children do. We notice variations in pace (rapid or

slow), dynamics (loud or soft), and we physically respond to the bass guitar or

drums' rhythm. We also pay close attention to the melody, especially if there are

words. Along with rhythm and melody, these are among the most appealing

elements. This is exactly what we would anticipate. However, the outcomes of

other studies on this topic are more ambiguous. Youngsters's music attitudes and

responses do not appear to be based on specific musical characteristics,

according to a study by Sims and Cassidy, and children may have quite

distinctive responses and listening patterns (1997). Children are generally non-

judgmental, responding enthusiastically to nearly any style of music (Kim, 2007,

p. 23).

Vocal training, such as singing and acting lessons, is known to alter the

voice's acoustic characteristics. While the benefits of singing lessons are well

known, the impact of acting experience on the singing voice is unknown. A

 12

singer's objectives are numerous and varied: accurate pitch reproduction, desired

voice quality, clear intelligibility, precise timing, and intended emotional inflection;

these factors are not mutually exclusive, and how they are prioritized may reflect

differences in a performer's training and experience (Ostwald, 2005; Bunch,

2009). Singing and acting experience are two sorts of training that might have a

varied impact on vocal acoustic goals. The acoustics of the expert singing voice

(Sundberg, 2003), as well as the effects of short-term training on singing

acoustics, have been the subject of numerous research (Smith, 1963; Brown et

al., 2000; Awan and Ensslen, 2010). The acoustic properties of the trained

actor's speaking voice, as well as the effects of short-term acting training on

speech acoustics, have also been examined, though less thoroughly (Nawka et

al., 1997; Bele, 2006). (Timmermans et al., 2005; Walzak et al., 2008). To the

authors' knowledge, only one study has looked at the impact of acting training on

acoustic voice quality parameters (Walzak et al., 2008).

One of the most important perceptual criteria on which we judge the

quality of the singing voice is pitch accuracy. In a countrywide poll of singing

teachers, the ability to sing in tune was voted the most significant factor in

evaluating singing talent (Watts et al., 2003). Trained singers may accurately

replicate familiar melodies with pitch accuracy ranging from 30 to 42 cents on

average (Larrouy-Maestri et al., 2013). In the last ten years, there has been a lot

of interest in pitch accuracy among the general public (for a review, see Hutchins

and Peretz, 2012). Although untrained singers can be quite accurate in terms of

pitch when singing both familiar and unfamiliar tunes (Dalla Bella et al., 2007;
 13

Pfordresher et al., 2010), they perform poorly when producing single pitches,

deviating on average by 1.3 semitones from the target pitch compared to 0.5

semitones for trained singers (Ternstrom et al., 1988; Amir et al., 2003; Hutchins

and Peretz, 2012).

When an artist is forced to learn music song by song and instrument by

instrument, mastering music may become a lengthy and exhausting process.

When a musician masters the fundamental building elements of music and their

instrument, learning and mastering music becomes quick, instinctive, and

relatively simple. Self-motivation is also easy for the learner because they always

play your favorite songs while studying; no need for 200-year-old studies or high-

stress tests of songs you never really wanted to learn in the first place. To

summarize, if your heart truly want to learn Greenday, don't push yourself to

learn Chopin.

The Spaulding Method emphasizes studying the fundamentals of music

rather than specific songs. This enables global understanding of any music and

style possible, as well as making composition a snap. This learning technique

has the wonderful side effect of making it straightforward to transfer core

information from one instrument to the next. Whether you stay in the same

instrument family (violin to viola) or switch to a completely different instrument

(piano to guitar), the transition is rather smooth, and learning the second

instrument is hastened (Spalding, 1950).

Theoretical Framework
 14

This study was anchored on music learning theory by Gordon (1950) thas

has is a collection of theories regarding how people learn music through hearing.

We build audiation abilities that allow us to give meaning to the combinations of

rhythm patterns and tone patterns that comprise music a unique kind of human

communication by breathing, moving, rhythm chanting, singing, and playing

instruments. Furthermore, audiation can be exhibited in a variety of ways, and it

can develop in stages from before birth to adulthood (Gordon, 2007a; Gordon,

2007b; 2007d). We discover music learning as a never-ending, ever-deepening

process for music expression and enjoyment through audiation.

Gordon's Music Learning Theory is based on his vast research on musical

aptitude, or the potential for each person to achieve musical success (Gordon,

1965/1995, 1979, 1982, 1989a, 1989b). Music ability and achievement are two

distinct things, although they are inextricably linked. Music aptitude is the

potential for musical achievement, whereas musical achievement is the

actualization of that potential. Gordon believes that we are all born with musical

ability. There is a wide range of musical aptitude levels in the human population,

just as there is with other human learning potentials. Furthermore, audiation is

required for both musical ability and achievement. That is, our musical learning

potentials and accomplishments are determined by our musical thinking. Most

crucially, music thinking leads to music comprehension rather than just imitation

(Gordon 2007b; 2007d).

Additionally, this theory discovered that musical talent is developmental,

changing from birth until around age 9, and then stabilizing. The interaction
 15

between our innate musical ability and the music settings we encounter

throughout our first few years of life begins to explain the wide range of individual

musical variances teachers witness in their music classes. Teachers can utilize

Gordon's music aptitude exams (Gordon, 1965/1995, 1979, 1982, 1989a, 1989b)

to determine each student's musical aptitude and tailor music education to each

student's specific musical strengths and limitations (Gordon, 2007b; 2007d).

Before our musical aptitude stabilizes, we should each receive rich,

sequential informal music guidance followed by formal music teaching, which

permits our musical potentials to stabilize as high as possible and sets the stage

for musical achievement. Gordon (2003, 2007a, 2007b, 2007d) shows how we

develop music vocabularies through informal music advice and early formal

music training. Gordon compares the development of music vocabularies to the

development of language vocabulary.

Conceptual Framework

The conceptual framework showed the relationship between

variables. The independent variable; level of difficulties in learning music, and the

dependent variable; intervention program.

 16

Independent variable

Level of Difficulties in Learning Music

Dependent variable

Intervention Program

Figure 1. Conceptual Framework of the Study

 17

Significance of the Study

Parental, student, and teacher/professor involvement is critical for good

learning and healthy relationships. As a result, the findings of this study will

provide important insights into the following:

School Administrators. The findings of this study will inspire school

administrators to create programs and improve instructor strategies to help

students who struggle in learning music. Instructors will be more advanced in

delivering ideas in learning and teaching music subject to improve teaching

delivery and student mentality by providing seminars for teachers and learning

resources for students.

Teachers. This study's findings will urge educators to employ

performance-based assignments as frequently as possible to help students

assess their difficulties and display what they have learned. By being aware of

the student's ability in class and keeping track of the student's difficulties in

learning music.

Parents. This study helped them to be more attentive and sensitive to

their children's needs, which may serve as a challenge and encouragement for

them to become more active in their children's education.

Students. The study's findings will help people overcome their anxieties

about studying music.

Researcher. This research will provide her with insights that will help her

build attributes that are essential for a future teacher like her.
 18

Definition of Terms

To help readers understand and appreciate this study, the following terms

were conceptually and operationally defined:

Level of difficulties in learning music. A measure of how well a specific

intervention, method, regimen, or service performs its intended function for a

specific population when utilized in the field under normal conditions. It

specifically relates to the scores on the survey questionnaire and the descriptions

that go with them.

Note reading. It is a visual representation of a heard or imagined musical

sound, or a set of visual instructions for music performance. It is usually done in

writing or printed form and is a deliberate, time-consuming process. Its use is

motivated by one of two factors: memory aid or communication.

Elements of music. Music can be studied by examining a variety of its

elements, or pieces, either separately or collectively. Pitch, timbre, texture,

volume, duration, and form are examples of common major elements. Music

elements can be compared to art or design aspects.

Voice lesson. Assist you as a singer develop a better understanding of a

musical style, appropriate performing methods, attention, proper articulation, and

delivery. You will learn effective breath support, how to expand your vocal range,

how to sing with ease and clarity, and how to project your voice.

Applied music. In comparison to musical theory and literature, vocal or

instrumental musical performance is susceptible to college or school teaching.

 Chapter 2

METHOD

This chapter presents the methodology that was employed in this study.

This includes research design, research locale, research instruments, research

procedure, and statistical tools to be employed in the study.

Research Design

This study utilized the descriptive-evaluative survey of research method.

This was designed to determine the Level of Difficulties in Learning Music of the

3rd year BPED students of Ramon Magsaysay Memorial Colleges enrolled during

the school year 2021-2022.

Descriptive research as the process of gathering, analysing, categorizing,

and tabulating data about current conditions, practices, processes, trends, and

cause-effect relationships, and then making adequate and accurate

interpretations about such data with or without, or sometimes with minimal,

statistical methods. Furthermore, this method ascertains the predominant

circumstances of facts in a group under study, yielding either qualitative or

quantitative, or both, descriptions of the group's overall features as outcomes

(Calderon, 2009).

Furthermore, the goal of descriptive research is not just to discover truth,

but also to discover a new one. This same truth could take various shapes, and

Paler-Calmorin stated that the descriptive technique is both beneficial and

necessary for discovering truth in all of its complexities (Paler-Calmorin, 2010).

 20

Research Locale

This research was carried out at Ramon Magsaysay Memorial Colleges,

which are located on Pioneer Avenue in General Santos City. This is the only

PACUCOA-accredited school in Region 12. (Philippine Association of Colleges

and Universities Commission on Accreditation). This school was founded in

1960. This is currently led by College President Mr. Kristoffer Franz Mari R.

Millado, MA and College Vice-President Mrs. Geraldine Rodriguez, Ph.D, as well

as the faculty and staff.

Information Technology, Accounting, Liberal Arts, Business

Administration, Engineering, Education, Criminology, Social Work, Environmental

Science, BS Mathematics and Custom Administration, as well as Graduate

Studies in Education, are among the 2-year and 4-year courses offered at the

college. After achieving the required requirements set forth by the Philippine

Association of Colleges and Universities Commission on Accreditation, RMMC

was granted accreditation by the Federation of Accrediting Agencies of the

Philippines (FAAP) (PACUCOA).

Because it has been serving South Central Mindanao since 1960, this

institution was picked by the researcher. It is committed to delivering a well-

rounded education that will produce quality graduates while also allowing a

diverse group of students to develop their intellectual potential. Ramon

Magsaysay Memorial Colleges in General Santos City has received ISO

certification. This school is also known as "The Home of the Best" because of the

awards and abilities that its students have accumulated.

 21

Figure 2. Areal Map of the Research Locale

 22

Population and Sample

The respondents of the study were the 3 rd year BPED students in Ramon

Magsaysay Memorial Colleges who are enrolled during the school year 2021-

2022. There are 124 total of BPED students served as the respondents. They

were chosen using random sampling technique. This was used as the bases of

the study to determine the level of difficulties in learning music of the students.

Research Instruments

The instrument used to acquire the relevant data for this study was a

survey test questionnaire created by the researcher and validated by her

instructor to verify correctness. The questionnaire was validated by the three

experts. The revision was completed immediately following the validation. This

survey questionnaire was made up of 20 items, each with four indications (note

reading, elements of music, voice lesson, and applied music), and each with five

statements that the respondents answered.

Data Collection

To ensure the successful conduct of the study, the researcher wrote a

letter to the teacher college education program director of Ramon Magsaysay

Memorial College to allow her conduct the survey. After the request granted, the

researcher disseminated the survey questionnaires. But, due to the new normal

learning modality and no physical interaction, the survey questionnaires with the

link of Google form was sent through messenger (group chats or private
 23

messages) of the respondents with the attachments of the approved letter from

the TEP director to conduct the study.

When the survey questionnaires were completely answered, after that it

was presented to the researcher’s statistician for statistical treatment. It was

analysed and interpreted to answer the stated problems of this study.

Statistical Tools

The following statistical tools will be used to provide a more detailed

interpretation and analysis of the data.

Mean. is computed by summing all of the figures in the data set and then

dividing by the number of figures in the data set. This was used to evaluate the

level of difficulties in learning music of 3 rd year BPED students in Ramon

Magsaysay Memorial Colleges.

Ranking. when data is sorted, numerical or ordinal values are replaced

with rank.

Ethical Consideration

There is a significant ethical issue that has consequences for this

quantitative study. These flaws and concerns may stem mostly from the study's

methodology. This study adhered to the Ramon Magsaysay Memorial Colleges

Ethics and Review Committee's ethical criteria, particularly while dealing with the

population and data, such as, but not limited to:

 24

Voluntary Participation. The participants were given the option to leave

or withdraw from the study at any time without feeling obligated to do so. As a

result, after the goal of the study was explained to the respondents, the rights of

each respondent to contribute to the body of knowledge were carefully assessed

and anticipated. The participants in this study were not coerced to participate.

They have the option of participating or not participating in the study if they are

uncomfortable with it.

Privacy and confidentiality. Participants have a right to privacy that

should not be infringed upon without their informed agreement in order to comply

with the Data Privacy Act of 2012, which safeguards the fundamental human

right to privacy. Giving respondents the option of not stating their name on the

survey form is one technique to ensure privacy and confidentiality in this

quantitative study. Furthermore, the informants' demographic data, such as their

age, gender, occupation, job, and any diseases they may have, were kept private

and confidential. As a result, their identities were kept secret for their own

protection. Even their responses to the survey questions were kept private.

Informed consent process. In order to collect data for the study,

permission from the school administrator was sought and granted. This was done

in writing, with all important details to be disclosed to the administrator. The

names of the respondents were not included in the survey questionnaire, and

their responses were kept confidential, and the participants were fully aware that

they could withdraw from the study at any time.

 25

Furthermore, any data acquired by the researcher was kept private, and

any material released was subject to a thorough informed consent process.

Participants would have a sense of control over their personal information, which

would reduce their concern of the data or information being used in an undesired

way.

Recruitment. The grounds for their inclusion in the study were explained

to the respondents. The researcher conveyed the goal of the study to the

respondents so that they may further infer from the researcher and also see the

essence of the investigation. Aside from the letter, the researcher explained the

study's rationale and significance.

Risks. Only if there is an appropriate positive benefit-risk ratio will

research be done. The necessity to protect the participants from serious damage

is equally vital in this study. The respondents' well-being was prioritized

throughout the study. Furthermore, the respondents were not harmed because

their identities were kept private. Their safety and security were of the utmost

importance. As the researcher, it needed to make certain that the respondents

were physically, emotionally, and socially prepared. The researcher designed the

survey questions in such a way that the respondents did not feel uncomfortable

or uneasy.

Benefits. This study would be beneficial to the respondents because the

findings would serve as a wake-up call for the school administrators, and even

instructors in developing programs and strategies to the performance of students

when it comes in learning music. This study was carried out with one goal in
 26

mind: to benefit its internal and external stakeholders, particularly the learners.

Furthermore, in order to attain beneficence in study, the researcher took all

precautions that would not endanger the lives of the respondents, allowing them

to gain from future endeavours associated to the related studies. The most

crucial factor in generating benefits is the growth of important learning.

Results Communication. There was no trace or proof of

misinterpretation of someone else's work in the study. The study was tested to

plagiarism detection software such as plagiarism checker. To produce a

trustworthy research report, the researcher must have a deeper understanding of

the paradigm of plagiarism.

Fabrication. There was no sign or hint of a deliberate misreading of what

had been done in the study. There was no fabrication of data or results, nor was

there any deliberate promotion of false conclusions. The researcher applied and

integrated theories relevant to the information and additional inferential notions.

Falsification. There was no indication in the study of intentionally

distorting the work to match a model or theoretical expectation, nor of over

claiming or embellishment. Furthermore, this study did not adhere to data

manipulation, which included creating assertions or ignoring essential aspects,

modifying materials, tools, or procedures to deceive others.

Conflict of Interest (COI). There were no signs of a conflict of interest in

the study, such as the disclosure of COI, which is a set of circumstances in which

a professional judgment about a primary interest, such as the welfare of

 27

participants or the validity of the research, is influenced by a secondary interest,

such as financial or academic gains or recognitions. In addition, the researcher

had no control or influence over the participants, forcing them to participate in the

study.

Authorship. The study's researcher is currently enrolled in Ramon

Magsaysay Memorial Colleges. She had gone through a series of modifications

for her thesis based on her adviser's ideas and recommendations, who had

helped the researcher throughout the preparation of this work. The paper's

refinement had been made feasible by his researcher's guidance. The researcher

also followed the RMMC Ethics Review Committee's requirements for ethical

consideration.
28
 Chapter 3

RESULTS

This chapter presents the findings and discussions of the data gathered

from the survey conducted by the researcher involving one hundred and twenty-

four (124) Third Year BPED students who served as respondents of the study.

Level of Difficulties in Learning Music by the Respondents

As shown in Table 1, the level of difficulties in learning music in terms of

note reading of the Third Year Bachelor of Physical Education (BPED) students

enrolled at Ramon Magsaysay Memorial Colleges in the academic year 2021-

2022 has obtained a weighted mean of 2.66, which means that they moderately

agree that it is difficult for them to learn it in their music lesson.

Specifically, their top difficulty in note reading is found in item number 4

which states that, using popular songs as examples, they critically examine the

song's structure and chord progression with obtained the highest mean of 2.77.

This means that it is difficult for them to critically examine the song's structure

and chord progression. However, they find it easy when it comes to their

favourite music because they can quickly recall the main note of it with obtained

the lowest mean of only 2.48.

In terms of elements of music, their level of difficulties obtained a weighted

mean of 2.79, which means that they moderately agree that it is difficult for them
 29

to learn it in their music lesson. In this area, their top difficulty is found in item

number 4 which asks them if they are able to sing in a major scale and

distinguish between melodic and rhythmic patterns with obtained the highest

mean of 2.98. This means that it is difficult for them to be able to sing in a major

scale and distinguish between melodic and rhythmic patterns. However, although

they get the lowest mean of 2.62 in item number 1 which asks them if they are

able to tell if the following note is higher or lower in pitch than the one that came

before it, they still moderately agree that it is difficult for them to learn it in their

music lesson.

In terms of voice lesson, their level of difficulties obtained a weighted

mean of 2.81, which means that they moderately agree that it is difficult for them

to learn it in their music lesson. In this area, their top difficulty is found in item

number 4 which asks them if they are able to hit high or low notes when singing

the assigned or chosen song with obtained the highest mean of 2.92. This means

that it is difficult for them to be able to hit high or low notes when singing the

assigned or chosen song. However, although they get the lowest mean of 2.59 in

item number 3 which asks them if they didn't have to go to the vocal classes,

they would prefer to do so, they still moderately agree that it is difficult for them to

learn it in their music lesson.

Lastly, in terms of applied music, their level of difficulties obtained a

weighted mean of 2.87, which means that they moderately agree that it is difficult

for them to learn it in their music lesson. In this area, their top difficulty is found in

item number 3 which asks them if they are taking class lesson in a specific
 29

musical instrument with obtained the highest mean of 3.19. This means that it is

difficult for
 30

them to take class lesson in a specific musical instrument in applied music.

However, although they get the lowest mean of only 2.54 in item number 1 which

asks them if they have difficulty in executing proper posture in playing different

instruments, they still moderately agree that it is difficult for them to learn it in

their music lesson, especially in applied music.

Generally, this implies that the respondents find learning music really

difficult in all areas such as: note reading, elements of music, voice lesson, and

applied music.
 31

Table 1. Distribution of the Level of Difficulties in Learning Music by the

Respondents

Item Mean Description Interpretation

Note Reading
1. When it comes to my favorite music, I can 2.48 Disagree Easy
quickly recall the main note
2. I’m having trouble in identifying/memorizing 2.74 Moderately Agree Difficult
different music notes.
3. Having hard time learning notes. 2.69 Moderately Agree Difficult
4. Using popular songs as examples, I critically 2.77 Moderately Agree Difficult
examine the song's structure and chord
progression.
5. Able to recognize accurate sounds and 2.64 Moderately Agree Difficult
intonation.
Weighted Mean 2.66 Difficult Difficult
Elements of Music
1. I'm able to tell if the following note is higher or 2.62 Moderately Agree Difficult
lower in pitch than the one that came before it.
2. When playing in the class, I can create and 2.85 Moderately Agree Difficult
perform simple rhythm patterns, as well as
respond to the signals of my music teacher when
playing in the class.
3. Comprehend the importance of changed tones 2.79 Moderately Agree Difficult
and the relationship between key and meter
signatures
4. Be able to sing in a major scale and distinguish 2.98 Moderately Agree Difficult
between melodic and rhythmic patterns.
5. I am capable of determining proper rhythms and 2.81 Moderately Agree Difficult
tempos.
Weighted Mean 2.81 Difficult Difficult
Voice Lesson
1. I'm having a great time with my voice lesson. 2.90 Moderately Agree Difficult
2. I am more excited taking voice lesson class. 2.79 Moderately Agree Difficult
3. Even if I didn't have to go to the vocal classes, I 2.59 Moderately Agree Difficult
would prefer to do so.
4. Able to hit high or low notes when singing the 2.92 Moderately Agree Difficult
assign or chosen song.
5. Doing vocal exercises to warm up the voice. 2.75 Moderately Agree Difficult
 41

Weighted Mean 2.79 Difficult Difficult

 33

Applied Music

1 Difficulty in executing proper posture in playing 2.54 Moderately Agree Difficult

different instruments.
2 I am able to sing or play any musical instruments 3.02 Moderately Agree Difficult
at the same time.
3 I'm taking class lesson in a specific musical 3.19 Moderately Agree Difficult
instrument.
4 I’m having a hard time to learn the different 2.79 Moderately Agree Difficult
musical instruments due to lack of music
background.
5 Laziness in practicing musical instrument or 2.81 Moderately Agree Difficult
vocal performance.
Weighted Mean 2.87 Difficult Difficult
 Chapter 4

DISCUSSION

This chapter summarizes the findings and formulates recommendations

based on the gathered data for the study.

Conclusions

Based on the findings of the study, the following conclusions were made:

1. The respondents find learning music really difficult in all areas such as:

note reading, elements of music, voice lesson, and applied music.

2. They find learning music difficult in taking class lesson in a specific

musical instrument in applied music. Hence, Basic Training on Applied Music is

proposed based on these findings to lessen their level of difficulty in learning

music through applied music.

Intervention Program

The researcher presented an intervention program based on the study's

findings with the goal of boosting students' performance in applied music.

Intervention research focuses on determining which treatments or

methods are most effective in improving outcomes and making a difference in

the areas that matter most to you. While developing and testing treatments can

be a difficult and time-consuming process, proving the efficacy of a new

intervention or treatment that improves the health of a population you care

about is both personally and professionally satisfying. Although intervention

research could improve a variety of sectors in health, social sciences, and

education, the vast

 37

majority of studies are no experimental in nature. As a result, we typically lack

the highest quality of evidence required to change practice, influence policy,

and improve results in these disciplines. Music interventions are often said to

have an influence on motor, language, social, cognitive, and academic abilities

(Ho et al., 2003; Costa-Giomi, 2004; Schellenberg, 2004; Forgeard et al., 2008;

Standley, 2008; Jentschke and Koelsch, 2009; Southgate and Roscigno, 2009;

Yazejian and Peisner-Feinberg, 2009; Strait et al., 2010).

Recommendations

From the conclusions made for the study, the following recommendations

were sought:

1. The College may hire music instructor/s that can teach students on

how to sing or play any musical instruments at the same time so that

the College could also produce quality students with excellent

background in music;

2. The instructor/s may continue encouraging students to study their

music lessons well so that it will not be a big burden for them if they

are taking class lesson in a specific musical instrument, especially in

applied music;

3. Students may continue to practice their voice lessons so that they may

be able to hit high or low notes when singing the assigned or chosen

song to them;
 38

4. Instructors may exert extra efforts in teaching students learn the basics

of music in terms of note reading so that using popular songs that they

heard, they can critically examine the song's structure and chord

progression properly;

5. Students may also be encouraged to continue studying well their music

lessons so that they will be able to sing in a major scale and

distinguish between melodic and rhythmic patterns, especially in

studying the elements of music; and

6. The College of Teacher Education (CTE) through the BPED

Coordinator may conduct Basic Training on Applied Music to help

lessen the level of difficulty in learning music through applied music of

the BPED students.

38
 39

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