1

paper title：A study of the fifth Grade Percussion Ensemble Curriculum - Use of
instruments Djembe
Name：Wu Peng
Id：6530110015
Group：2MMU65
Antistop：percussion ensemble、djembe、Percussion technique、rhythm、Cooperation

CHAPTER 1
INTRODUCT
ON
1.Statement and Significance of the Problem
1.1Statement of the Problem
Percussion ensemble began to rise in foreign countries as early as the 20th century. Each country
and each nation has its own percussion forms and instruments. Over the decades, cooperation
and exchanges between different nations have made percussion ensemble form the inheritance of
diversified culture. In this paper, percussion ensemble has become a good way to assist children's
growth in recent years. By studying percussion ensemble courses in different countries and
combining with years of teaching experience, this paper forms its own teaching inheritance
thinking.Study on the curriculum arrangement of the fifth grade Percussion Ensemble semester
1.2Significance of the Problem
Set up a percussion ensemble for primary school students to enhance students' sense of
cooperation and rhythm，enhance students' independent learning ability, cultivate students'
confidence and judgment.

2.Research Objectives
2.1 In order to clarify the teaching plan, make guidebooks, improve our teaching accuracy and
rigor.
2.2 Teaching Grade 5 in self-established studio in Xiamen, Fujian, China.
2.3Students can form percussion ensembles and perform in concerts.

3.Research Questions
3.1Why do we have to form a primary school percussion ensemble？What is its significance？
3.2How to quickly let students find their own position in the emsemble?
3.3How to combine different percussion instruments to form a percussion ensemble?
3.4After the formation of the role and use.

4.Research Hypotheses
4.1 Students can learn the basic skills of ensemble quickly and effectively.
4.2 Participate with ability and confidence as a member of a performance group
4.3 Students' understanding and respect for the fundamental values and principles of ensemble
playing.
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5.Scope of Research
5.1Format of the Research/Study: Research and Development
5.2Population and Samples
5.2.1Population
The entire fifth grade class
5.2.2Samples
Three groups.，A group of eight people, Grade 5
5.3Research Instruments (PACIS Model)
5.3.1Prototype: (Name of the Innovative Protype to be developed,
i.e. System)
5.3.2Attributes: (Identifying the attributes of the samples)
5.3.3Context: (Defining the context in which the research is to be conducted in terms of class
size, light, temperature, etc.)
5.3.4Impacts: Conducting Pretests, posttests and other tests to measure the impact such
as Satisfaction, Opinions
5.3.5Statical Instruments: (Specifying Statistics used for data analysis)
5.4Data Collection
5.5Data Analysis

6.Scope of Research Content (If any)

6.1 Time: 2022-2023
6.2 Location: Self-built Studio, Xiamen, Fujian, China
6.3 Personnel: Grade 5, a group of 8-10 people
6.4 Contents: Learn and play percussion band

7.Definitions of Terms:
7.1 Percussion ensemble: A percussion ensemble is an ensemble made up of percussion
instruments.  These ensembles focus primarily on the rhythmic aspect of music rather than
melody, although some percussion instruments are considered melodic.In many instances,
percussionists in a percussion ensemble must perform on multiple percussion instruments
within the same composition.Although the term can be used to describe any such group, it
usually refers to a group of mainly trained percussionists.
7.2 Djemble: The djembe is a string tuned, skin-covered goblet drum played by hand and
originated in West Africa. The djembe can produce a wide variety of sounds, making it a very
versatile drum. The drum is very loud, and as a solo and percussion ensemble instrument, it
has a clearer sound than large percussion instruments.
7.3 Percussion technique：There are three ways to strike the head in djembe drumming: slap,
bass, and tone.
Slap: Slap sounds make the highest-pitched sounds on the djembe. Hit the edge of the drum
with a slight curvature in your fingers.
Bass: Bass sounds are the lowest pitches on the djembe. Hit the center of the drum with a
heavy, flat palm.
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Tone: Tone sounds are medium-pitched. Hit the edge of the drum slightly more toward the
center than you would for a slap. Keep your fingers flat, and move your whole arm, rather than
just your wrist.
7.4 Rhythm：Attempts to define rhythm in music have produced much disagreement, partly
because rhythm has often been identified with one or more of its constituent, but not wholly
separate, elements, such as accent, metre, and tempo. Rhythm can exist without melody, as in
the drumbeats of so-called primitive music, but melody cannot exist without rhythm. In music
that has both harmony and melody, the rhythmic structure cannot be separated from them.
7.5 Cooperation:Collaborating should produce a healthy challenge for each artist. Many artists
enjoy collaborating with various musicians to experiment with different genres. This increases
the artist’s ability to stay fresh and innovative. However, within any collaboration, it is
important to establish mutual goals. Avoiding various goals and ideas can overall lend to the
creative atmosphere and relationship of the artists and lessen the chance of not being
successful. Musical collaborations help singers establish strong team-building skills. As an act
becomes more successful, the artist will need to have strong collaboration skills. These skills
can only expand the artist’s opportunities.

8.Research System and Variables

8.1Input-Independent Variables both concrete and abstracts
8.2Process-Intermediate Variables
8.3Output-Dependent Variables
8.4Impacts-Expected impacts resulted from the research outcomes
8.5Contexts-Environment and circumstances both concrete and abstracts

9.Expected Benefits from the Research

9.1 Through the application of percussion ensemble teaching in primary schools in China, this
paper studies how to stimulate students' interest in learning music rhythm, how to achieve good
cooperation, how to play a complete work together, and how to use rhythm games to activate the
classroom atmosphere and improve students' enthusiasm for learning ensemble.
9.2 Through percussion ensemble lessons, students can develop their musical creativity,
cooperation and trust in their partners.
9.3Improve the teaching ability and quality of music teachers through percussion ensemble class.
9.4Integrate foreign teaching methods into Chinese education, so that students can experience
different teaching mode
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10.Research Conceptual Framework:

Write a research conceptual framework to give answers to the following five questions:
1) What are the concepts, principles and theories needed for conducting this research?
2) What is the research context: With Whom? Where? When? And How?
3) What are the variable inputs of the research? Concrete and Abstract?
4) What are the intermediate variables as the process to bring about the
output or dependent variable?
5) What is the expected output or dependent variable?
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CHAPTER 2
REVIEW OF LITERATURE

Keyword synthesis: The researchers read scholars' definitions and meanings of keyword
research, and the composition of keyword synthesis is as follows.

1.Keyword 1 : Percussion ensemble

1.1 Definitions of keyword 1
A percussion ensemble is an ensemble made up of percussion instruments.  These ensembles
focus primarily on the rhythmic aspect of music rather than melody, although some percussion
instruments are considered melodic.In many instances, percussionists in a percussion ensemble
must perform on multiple percussion instruments within the same composition.Although the
term can be used to describe any such group, it usually refers to a group of mainly trained
percussionists.

1.2 Historical Development of keyword 1

Primitive drumming or percussive ensembles are thought to be traceable to prehistoric times.
Even in third world cultures, cities, villages, or countries there are often significant drumming
ensembles that can be found during religious or social ceremonies. The incorporation of
percussion into Western music took a much longer road by way of military music, namely
Janissary (Turkish) music, through the operatic and then symphonic venues.
Following the turn of the Twentieth Century and the new futurist movement in Europe, some
composers began to give percussion instruments a more pronounced and important role. The
futurist musical objectives (the lack of tonality, form, or organized rhythm) did not take root in
music composition beyond this short-lived insurrection, but in the 1920s there was a group of
composers that took some of the mechanical sounds, especially those produced by percussion
instruments, and combined compositional techniques of the "common practice period" in regard
to the tonal system, rhythmic organization, form, and textures. Works from the 1920s that
capture the essence of "machine music" can be seen in Appendix A. These specific pieces, while
exploring the use of the percussion instruments (especially as they related to the sounds of
industry and machines), did not exclusively use percussion, but combined the use of percussion
instruments with other orchestral string and wind instruments.

1.3 Principles of Keyword 1

1.3.1show technical development as ensemble musicians;
1.3.2participate with ability and self-confidence as a team member of a performing group;
1.3.3perform selected repertoire to concert standard;
1.3.4identify and exhibit specific knowledge of a range of ensemble repertoire;
1.3.5exhibit an informed respect for the values and principles of ensemble performance.
1.3.6demonstrate a capacity to think critically and independently;
1.3.7tudy selected repertoire relevant to the ensemble to performance standard;
1.3.8apply time and people management skills to rehearsal and performance planning;
1.3.9demonstrate teamwork skills in rehearsal/performance groups.
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2. Keyword 2 :Djembe

2.1 Definitions of keyword 2

Djembe or Jembe is a rope-tuned skin-covered goblet drum played with bare hands, originally
from West Africa. According to the Bambara people in Mali, the name of the djembe comes
from the saying “Anke djé, anke bé” which translates to “everyone gather together in peace” and
defines the drum’s purpose. In the Bambara language, “djé” is the verb for “gather” and “bé”
translates as “peace“. The djembe has a body carved of hardwood and a drumhead made of
untreated rawhide, most commonly made from goatskin. Excluding rings, djembes have an
exterior diameter of 30–38 cm and a height of 58–63 cm. The majority have a diameter in the 13
to 14 inch range. The weight of a djembe ranges from 5 kg to 13 kg and depends on size and
shell material. A medium-size djembe carved from one of the traditional woods (including skin,
rings, and rope) weighs around 9 kg. The djembe can produce a wide variety of sounds, making
it a most versatile drum. The drum is very loud, allowing it to be heard clearly as a solo
instrument over a large percussion ensemble. The Malinké people say that a skilled drummer is
one who “can make the djembe talk”, meaning that the player can tell an emotional story.
2.2 Historical Development of keyword 2
The djembe drum is most likely about 400-800 years old, and was created during the Malian
Empire by the Mandé people. It spanned the modern-day countries of Senegal, southern
Mauritania, Mali, northern Burkina Faso, western Niger, the Gambia, Guinea-Bissau, Guinea,
the Ivory Coast and northern Ghana. The Mali Empire grew out of an area referred to by its
contemporary inhabitants as Mande. Mande, named for its inhabitants the Mandinka
(initially Manden’ka with “ka” meaning people of), comprised most of present-day northern
Guinea and southern Mali. The empire was originally established as a federation of Mandinka
tribes called the Manden Kurufa (literally Manden Federation), but it later became an empire
ruling millions of people from nearly every ethnic group in West Africa.
It is taught that the Blacksmiths made the first djembes, making each drum custom-fitted to the
drummer who would play it. This makes sense as they would be the people to cut the tree. The
making of the drum was spiritual, and the blacksmith was obliged to make offerings to the spirits
of the trees he cut down. With the lengue tree, a sacrifice would be made to ask for permission to
cut the tree for a djembe. Once the blacksmith finished the djembe, it was delivered to the
drummer who commissioned it, a member of the jeli caste. The jeli are musicians, who are
responsible for the oral history of their people. This remains true to today. Traditionally, only
those born into the djembe family would be allowed (or interested) to play the djembe. Castes
have last names that have survived to this day and if your last name (your family name) is one of
those families born into the djembe, it is your instrument and possibly your job to play the drum
for the village.

2.3 Principles of Keyword 2

Musicians use the djembe as the instrument of dance at marriages, baptisms, funerals,
circumcisions and excisions. They also play songs during the ploughing, sowing and harvest,
during courtship rituals and even to settle disputes among the men of the village.
In west African society, certain instruments such as the balafon, the kora and the ngoni are
subject to hereditary restrictions. This means that only members of the griot caste
(historian/storyteller) may play them. The djembe is not a griot instrument and there are no
restrictions on who may become a djembefola.
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In daily life, various events are accompanied by unique songs and dances. The griot usually
performs these, accompanied by drummers, singers and dancers. Songs tell of great leaders, like
King Sundiata, or praise certain professions, like the cobblers or hunters.
In a typical ensemble, the griot is accompanied by two djembe and a drum player.

2.4 Theories of Keyword 2

A typical djembe ensemble contains one soloist, one or two accompanying djembe and one to
three dundun players. It is almost always accompanied by dancers and clapping.
The bass drums, or dundun, are usually played with sticks and provide the core structure of the
rhythm. There are 3 types of bass drum that range in size and pitch. They are the doundounba
(or dundun), the sangban and the kenkeni.
The djembe accompanists each play different rhythms alongside the bass drum to complete the
basic song. The soloist introduces the song, accents the beats, controls the tempo and plays solo
pieces over the rhythm provided.
Women sing and clap hands, while moving in and out of the circle and showing off their skill as
dancers. The djembe master or soloist leads the pace of the dance. He or she increases the
tempo when good dancers enter the circle. Traditionally, musicians play a single song for most
occasions, usually lasting a few hours.

3. Keyword 3 :Percussion technique

3.1 Definitions of keyword 3

To play a handheld tambourine, hold it in your non-dominant hand and strike it against your
other hand, or shake it in the air. If you hold the tambourine at a 45-degree angle with the
ground, you'll get greater vibration from the zills. If you plan to perform rolls on the head of the
tambourine, it's better to hold the instrument at a 90-degree angle.
3.2 Historical Development of keyword 3
As apart of African tradition, drums are always an accompaniment alongside ritual dance for the
ceremony that revolves around marriages, births and deaths. Beat more viciously; the drums
are also a necessary prelude to stir excitement and passion in warriors about to do battle. In
much of Africa, drums are considered to symbolize and protect royalty, which often leads to
their being housed in sacred dwellings. They can also be considered as a primitive telephone,
since drums are also used to communicate with tribes that are miles and miles away. Possibly
one of the most influential of all African drums, the Djembe drum dates back to 500 A.D. It was
created for use in healing ceremonies, rites of passage, warrior rituals, social dances and
ancestral worship. The rhythms beat upon the Djembe can often be heard in the air in the
evenings, particularly during the full moon, weddings, baptisms, honoring mothers, to celebrate
the conclusion of Ramadaan, and to honour the spring, summer and winter harvesting times.
With the skin of antelope, cow or goat, stretched across the carved trunk of a hollowed tree, the
drum is renowned for being able to tune with water, making it very special to all of those who
use it and are fortunate enough to hear it.

3.3 Principles of Keyword 3

Membranophones create sound from the vibration of a membrane, or skin. When the drum is
struck the skin reverberates and the shape of the hollow drum acts as amplifier. The sound is
projected out of the bottom of the shell. The notes are achieved by striking the drum in different
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places and with different parts of the hand. There are many other types of African drums, most
of which use the principle of a vibrating membrane.

3.4 Theories of Keyword 3

It is part of a group of instruments called membranophones, or drums. It is made of a hollow
wood body, with skin fastened over the top. The skin is traditionally rawhide, such as goat or
cow skin. Modern djembes often use synthetic skins. The skin is tightly stretched over the shell
using metal rings and rope. The tightly stretched skin creates a sound when it is struck. You play
it by hitting it with your hands and fingers. It is often accompanied by dancing.

4. Keyword 4 :Rhythm

4.1 Definitions of keyword 4

Polyrhythm (literally meaning 'many rhythms') is the layering of a number of different rhythms.
African rhythms are usually simple on their own, but when combined together they produce a
complex, polyrhythmic texture The rhythms may be similar, or may highlight different 'strong'
beats in a bar, adding to the rhythmic complexity. Cross-rhythms are a type of polyrhythm
involving two conflicting rhythms. The most basic example is two against three: one part plays
triplets while the other plays quavers, with the same pulse. African music makes extensive use
of a range of cross-rhythms. Rhythms in African drumming are cyclic- they use short, repeated
patterns.

4.2 Historical Development of keyword 4

From ancient times, Africans have expressed its sonic-visual culture in unprecedented multi
facets that integrate to holistic music or performance. These sonic-visual traits are seen and
perceived from its tonality, harmony. vocalism, timbre, instrumentation, dance, mode of
performance among others. And, rhythm serves as the creative nucleus or cement that binds
them together. Consequently, of the entire musical elements with which traditional Africans
have expressed its musical culture/heritage, their rhythmic ingenuity is the foremost element that
transverses, appeals and attracts music audience and researchers/writers across the globe. This is
simply because the art of rhythm in Africa is fascinating and it eludes the Europeans (and other
worlds') rhythmic skills and considerations. Hence, the quintessence of rhythm in African music
was long ago noted by Senghor in Chernoff (1979: 56) who confirms that, "Rhythm is the basis
of all African art", and Jones (1959: 40) who points out that "Rhythm is to the African what
harmony is to the Europeans." Roger (2002: 391) corroborates the assertions, as he certifies that
"Rhythm and percussion are highly emphasized in African music, reflecting the close link
between music and dance. African music tends to feature complex polyrhythm; in which,
several different rhythmic patterns are play simultaneously and repeated over and over, and each
instrument goes its own rhythmicway.

4.3 Principles of Keyword 4

A song can be played by a djembe, and the rhythm order includes:: An introduction ('the
call')、The basic rhythm 、An ending (or 'call out').
It is played in 4/4 time, which means there are 4 quarter notes per bar.
Introduction - The Call
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The call (also called a break) is a short rhythmical phrase played by either the soloist or the entire
group at the beginning of the song. It is a starting signal and is usually a quite expressive,
introducing the song and setting the starting tempo.
The same call or a variation is often played as a break in the middle or at the end to 'call'
everyone out. There are many variations of the call in djembe rhythms.

5. Keyword 5 :Cooperation

5.1 Definitions of keyword 5

Social and emotional well-being ，While we may spend many hours practicing and mastering
our own instrument, the best memories of making music are always of making music with
others, as an ensemble. The best way to be engaged in any activity is to share it with others.
By joining an ensemble, you are joining a community of musicians. You make friends, share
the joy of making music together, and peer teach each other. Within an ensemble students
make friends with like-minded musicians and forge deep, long lasting relationships.
Ensemble playing is more than the sum of its individual parts. Playing in an ensemble allows
students to develop team skills, sacrificing one’s ego to benefit the team. Whether students
have the melody or harmony, students learn to listen and non-verbally communicate with each
other to create music as a team. Skills learnt include learning balance, intonation, rhythm and
performance etiquette in a group setting.
Watching a conductor ，The conductor is the ensemble leader who brings all parts within a band
or orchestra to work as a whole. In order for the conductor to do this, students need to learn
how to interpret and respond to the conductor’s gesture and other means of communication.
For example, students will learn the importance of following the conductor’s beat patterns and
following the tempo. Reinforcing what is learnt in private lessons
General technique is taught within one-on-one lessons but what ensemble playing can do is
reinforce this technique. Even more important is that students can better understand the
reason for having learned the technique thus allowing them to be more engaged and motivated to
further their technique and musicianship.
Experiential Learning ，Often musical analysis is taught within musical concepts such as
structure, dynamics, expressive techniques, tone colour, pitch, rhythm. These foundations of
music, taught in music classrooms or in private lessons is given a practical application in the
ensemble setting, where students can really start to understand the concept and apply their
learning.
Organisation ，Attending a regular rehearsal on time each week with parts learnt, as well as
contributing positively to any performance involves organisation on the part of the individual.
Students learn the logistics of setting up their ensemble, of carting their and other instruments
from A to B (for example percussion, amplifiers, double basses, stands and chairs). Students
will also need to organise time to practice their individual parts so that they are contributing
positively to the team.
The benefits of playing and performing in an ensemble, group or band is huge, with the most
important being that it is fun!

5.2 Historical Development of keyword 5

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5.3 Principles of Keyword 5

Developing self-confidence. Playing in a group context helps improve the students’ self-
confidence because they are given an avenue to play masterfully as part of a bigger whole. The
students’ self-confidence improves with the realisation that they are contributing to something
greater and were especially selected to be part of that group due to their special talent for playing
a particular instrument.
Improved socio-emotional well-being. Being part of an ensemble includes the special benefit of
developing a sense of belongingness. To play well, each member must bond with the rest of the
group in order to serve a common purpose – which is to execute their musical pieces to the best
of their abilities. Students belonging to a violin ensemble feel at home in a special community
where they develop relationships with like-minded people who are there to support each other.
Honing one’s sense of discipline and organisational skills. Balancing rehearsals and
performances in a ensemble with the other aspects of a student’s academic and personal life is
practically a feat on its own. To become successful in these different areas of life, students will
need to hone their sense of discipline and self-organisation in order to manage the workload.
These skills become very advantageous to them later in life, where it is applicable in so many
ways.
Application of learned technique. Before joining an ensemble, the students must have had
hundreds of hours practicing their skill through one-on-one lessons. The exercises might seem
tedious or underappreciated in isolation, but the students learn and appreciate its application in a
group setting. Being part of an ensemble enables the students to see why perfecting their part
matters in the greater scheme of things – a trait that inevitably comes into play in their
professional life later on.
Learning how to be in sync with others. Students who are part of an ensemble learn to see
beyond themselves and develop an awareness of what is going on around them. Their nonverbal
communication skills are honed as they tune in to the rest of the group, playing their parts
accordingly, all the while maintaining focus on the conductor who brings everything and
everyone together. Becoming a team player is something that they will learn in an ensemble – an
important skill that can be to their advantage in any and all aspects of life.

5.4 Theories of Keyword 5

As performers we often dream of landing the leading roles and being the star of every show, but
theatre is so much more than that. The ensemble is such a key component of this world, and it
would not function without the incredible actors who take on these roles, as well as swing and
understudy roles.
There is often a stigma, especially in community theatre, attached to being cast in an “ensemble”
role – sometimes stating “I’m just in the ensemble”. Often times, performers see it as an
unimportant role. This stigma can cause disappointment due to assumptions that if you are cast in
the ensemble, you won’t have anything to do because you won’t have any lines.
But this is far from true! While it is possible for ensemble members to be given important lines,
speaking lines is not what makes a performance meaningful. Acting is all about doing, and as an
ensemble member you will be doing a lot! Exploring what it means to act through movement and
silence is an incredibly valuable skill to build as an actor. Anyone can say lines. But can you
convey who your character is, what they are doing and what they want without speaking? Now
that takes some practice and skill. Ensemble members bring the scene ALIVE!
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From the foregoing, it can be concluded that ，These five words are the core evidence of this
paper, which can help researchers prove the thesis more perfect and more
rigorous.Therefore,percussion ensemble 、 djembe 、 Percussion
technique 、rhythm、Cooperation,the researcher used five key words theory in the paper. the
need for the researcher to apply.

Literature synthesis: Researchers read scholars' literature on definitions and meanings.The

components of literature synthesis are as follows.

1. Document on Keyword 1
1.1 Wesley Brant Parker（4-22-2010）.The History and Development of the Percussion
Orchestra.
1.2 Rachel Agan Muniz（4-27-2018）The Development of Music for Percussion，Survey of
Music History II.
1.3 Alan Tauber(2015)History Of The Djembe,Boston's drumming community

2. Document on Keyword 2
2.1 Compiled by Richard McKerron with core content from Andy Gleadhill,African Drumming
– An Extended Introduction,Drums for Schools
2.2 Shannon Holland and Ellen Gilbert ,Djembe Traditions,Global Education Center
2.3 Supervisor: Professor Caroline van Niekerk ,Co-Supervisor: Dr Liana le Roux(10-
2011),African drumming as a medium to promote emotional and social well-being of children
aged 7 to 12 in residential care,University of Pretoria.

3. Document on Keyword 3
3.1 A guide to using the Girlguiding Hampshire West djembe drums,Andy Gleadhill’s African
Drumming Book,Andy Gleadhill’s Percussion Buddies
3.2 Larry Aynesmith - White Cliffs Media,(17-06-2008),Djembe-L FAQ,Barbara Bird
3.3 Paul Nas (WAP Pages),West Afrocan Percussions

4. Document on Keyword 4
4.1 David Guinane,(10-2017),OCR AoS3 Rhythms of the World, part 2:Africa, and Central and
South America,KS4
4.2 Paul Meggs(02-2015),AFRICAN-BASED RHYTHMS FOR DRUM CIRCLES
4.3 Abraka Nigeria,(07-2014),Traditional Rhythmic Patterns: The Source of Creativity and
Identity of Original Nigerian Art Music Compositions,Delta State University

5. Document on Keyword 5
5.1 The Scots College Sydney Australia,(16-0-2016),Six benefits of performing in musical
ensembles
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CHAPTER 3
RESEARCH METHODOLOGY

3.1 Research Information:

3.1.1 Research Title: A study of the fifth Grade Percussion Ensemble Curriculum -
Use of instruments bongo drum, tambourine,Djembe, snare drum
3.1.2 Name of Researcher: Mr.Wu Peng
3.1.3 Degree and Major: Maste; music education
3.1.4 Research Advisors (Major and co-advisors)：
3.1.5Year of Research: 2022

3.2 Research objectives：

3.2.1 In order to clarify the teaching plan, make guidebooks, improve our teaching
accuracy and rigor.
3.2.2 Teaching Grade 5 in self-established studio in Xiamen, Fujian, China.
3.2.3Students can form percussion ensembles and perform in concerts.

3.3 Research Questions：

3.3.1. Why do we have to form a primary school percussion ensemble？What is its
significance？

3.4 Study assumptions：

3.4.1. According to the performance standards, choose popular songs related to ensemble
for learning, so as to increase students' interest in ensemble
3.4.2. Demonstrate teamwork ability in rehearsal/performance group, and cultivate
students' self-cooperation ability and teamwork enthusiasm
3.4.3. Practice with simple ensemble rhythm first, show the technical development as an
ensemble musician, so that every member of the performance team can participate in the
performance with ability and confidence
3.4.4. After a certain amount of ensemble practice and cooperation, students will play
selected pieces according to concert standards and demonstrate specific knowledge of a series of
ensemble pieces, which will fully give students ensemble value and respect for principles

3.5 Scope of study：

3.5.1 Research form: qualitative research method
3.5.2 Population：All the students in grade five
3.5.3 Samples：Three groups.，A group of eight people, Grade 5
3.5.4 field of study：Percussion ensemble
3.5.5 time on research ：2022.
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Research Title: A study of the fifth Grade Percussion Ensemble Curriculum - Use
of instruments bongo drum, tambourine,Djembe, snare drum
Researcher: Mr.Wu Peng , Advisors: Academic Position Dr. XXXXX, Academic
Position Dr. XXXXX Academic Position; Degree: Doctor of XXXXX;
Academic Year: 2022

ABSTRACT

The objectives of this study are three--fold:

(1) Formed and performed a percussion band for elementary school students;
(2) After practicing the ensemble,students will have more ability and self-
confidence,and show the ability of critical and independent thinking;
(3) Let primary school students experience and learn all kinds of percussion
instruments and learn cooperation

This is a research and development research. Research form: qualitative research

method.Population：all the students in grade three. Samples：Three groups.，A group of
eight people, Grade 5 .Field of study：Time on research ：2022

Study assumptions：
(1)According to the performance standards, choose popular songs related to ensemble
for learning, so as to increase students' interest in ensemble
(2)Demonstrate teamwork ability in rehearsal/performance group, and cultivate
students' self-cooperation ability and teamwork enthusiasm
(3)Practice with simple ensemble rhythm first, show the technical development as an
ensemble musician, so that every member of the performance team can participate in the
performance with ability and confidence
(4)After a certain amount of ensemble practice and cooperation, students will play
selected pieces according to concert standards and demonstrate specific knowledge of a
series of ensemble pieces, which will fully give students ensemble value and respect for
principles

Keywords:percussion ensemble、djembe、Percussion technique、rhythm、Cooperation

3.6 Data collection：
3.7 Data analysis

Thesis title:A study of the fifth Grade Percussion Ensemble Curriculum - Develop
instruments Djembe entry skills assessment form
 14

五年级打击乐器合奏课程-开发乐器 Djembe 入门技能评估表研究

Research tool：Through studies that develop entry assessment forms for fifth graders.

In the relevant literature, the researchers chose to develop the entry assessment form of the fifth
grade students to analyze the ability of the students to Djembe and basic rhythm and their
learning ability and degree. In conducting the study, a team of experts was invited to evaluate the
entry skills assessment form for fifth graders.

研究工具:通过研究开发五年级入学评估表格。

在相关文献中，研究者选择制定五年级学生的入学评估表，分析学生对 Djembe 和基本节

奏的能力以及学习能力和程度。在进行这项研究时，一组专家被邀请对五年级学生的入学
技能评估表进行评估。

Purpose of research：The introduction Skills assessment form for Grade 5 students is used to
develop the students to teach in groups. The students are divided into those who have not
studied and those who have studied. The students are divided into those Entry and primary.
研究目的:利用《五年级学生入门技能评估表》开发学生的小组学习能力。学生们分为未学习过和已学
习的两类。学生分为入门和初级两组。

Blue Print for The Djembe entry skills assessment form

Cognitive domain、Psychomotor Domain

 15

Knowledge 20% Skill 50% Day-to-day actions of Attitude Number of items

management 20%
10%
terminolo definition tech rhyt Sou Coo Bod efficiency quality classroom
gy s niqu hm nd perat y performanc
e ion mov e
eme
nt

The fifth grade percussion band curriculum

Instruments
Djembe
2  5 2 1 10
Number of
items

20 50 20 10 100
Among them：Each assessment unit is worth ten points

Project goal consistency index

A score of + 1 means that the purpose / content check is certain.
A score of 0 indicates uncertainty.
A score of - 1 indicates non conformity / non direct / the content.
Criteria for determining IOC values
If the value is greater than or equal to 0.50, the problem is in the
Purpose. Indicates that the problem is valid.
项目目标一致性指数
得分+1 意味着对目的/内容的检查是确定的。
得分 0 表示不确定。
得分-1 表示不符合/不直接/该内容。
确定 IOC 值的标准如果值大于等于 0.50，则表示该问题是在目的。表示问题有效。

*Please fill out the second skill assessment form if you have studied the Djembe, and fill in the first one if you have not.问题陈述句！分
数规格！

Develop Grade 5 Percussion Ensemble Course Djembe Introductory Skills Assessment Form（Table1—
Level I）
Name Class Number Date
 16

Assessment item Key points of evaluation Number

of items

Terminology
术语
What do the "R" and "L" stand for in the Djembe?(single
choice)
A:"R" for right hand, "L" for left hand. ¨10
B:"R" for left hand, "L" for right hand. ¨8
C:I don't know ¨5
Knowledge Definitions
What is the definition of Djembe?(single choice)
定义
A:The Djembe are modern percussion music，play with both hands ¨7
B:The Djembe is the oldest percussion instrument，play with both hands ¨8
C:The Djembe are modern percussion music，Play with a drum stick ¨5
D:The Djembe is the oldest percussion instrument，Play with a drum stick and both
hands ¨10
Technique
敲击方法
Which of the following methods is used in Djembe?(multiple
choice)
A:Finger ¨2 B:Wrist ¨2 C:Palm ¨2
D:Drum stick ¨2 E：Heel ¨2
Rhythm
节奏
Do you recognize the following rhythms and name them?(Write
an answer)

[ ] [ ] [ ] [ ]

[ ] [ ] [ ] [ ]
Skill (Each blank is 1.25point)
Sound
声音
What sounds do Djembe make?(single choice)
A:only one sound ¨5 B:Slap and Bass ¨8
C:Slap、Tone and Bass ¨10 D:Tone and Bass ¨7

Cooperation
合作
In your opinion, What is the performance form of the
Djembe？(single choice)
A:A solo instrument ¨5 B:An ensemble instrument ¨8
C:A solo and ensemble instrument ¨10

Body movement
肢体动作
What do you think our bodies look like when we play an
Djembe?(multiple choice)
A:Sit with the drum between your legs ¨2.5
B:Put the drum on the ground, sit on the drum and play ¨2.5
C:Wear it on your back and play it standing up ¨2.5
D:Clip it under your arm and play it ¨2.5
Efficiency
How many hours a week do you think you need to practice the
Djembe, aside from the required daily lessons ？
A:Practice for an hour every two to three days ¨7
B:Practice once a week for 1-2 hours ¨8
Day-to-day
actions of C:Practice 15-30 minutes a day ¨10
management D:I don't need to practice. I learned it in class ¨5
Quality
How do you think each practice time should be divided?
A:Each exercise last 1-2 hours，Only practice 1-2 rhythm patterns ¨8
B: Each exercise last 1-2 hours，Practice each rhythm for 5-10 minutes ¨10
C:Practice for ten minutes at a time and learn how to play by yourself ¨5
Attitude Classroom
What do you think you can do about classroom performance?
 17

performance A:The classes are very busy every day, so I can't go to the classroom on time and
finish the homework exercises. ¨5
B: Able to get to class on time, but unable to complete homework on time ¨8
C:Be able to go to the classroom on time and complete all the homework ¨10

1. Based on the above grades, the overall score of the student is the: _____points
2. What level do you think the student should be in (choose)
A[ ] B[ ] C[ ] D[ ]
A. more than 90 points (excellent); B. 80-90 (good); C. 70-80 (qualified); D. below 65 points
(unqualified)
3.Student self-evaluation:

Among them：Students only fill in the evaluation form, there is no grade. Grades are graded by the teacher.

Develop Grade 5 Percussion Ensemble Course Djembe Introductory Skills Assessment Form（Table2—
Level II）
Name Class Number Date
Assessment item Key points of evaluation Number
of items

Knowledge Terminology
What do the six letters in the following score stand for？Please
reply.(Write an answer)
 18

1 2 3 4 5 6
[ ] [ ] [ ] [ ] [ ] [ ]
Definitions
What is the definition of Djembe?(single choice)
A:The Djembe are modern percussion music，play with both hands ¨7
B:The Djembe is the oldest percussion instrument，play with both hands ¨8
C:The Djembe are modern percussion music，Play with a drum stick ¨5
D:The Djembe is the oldest percussion instrument，Play with a drum stick and both
hands ¨10
Skill Technique
Which of the following methods is used in Djembe?(multiple
choice)
A:Finger ¨2 B:Wrist ¨2 C:Palm ¨2
D:Drum stick ¨2 E：Heel ¨2
Rhythm
Can you play the rhythm of the following score and name the
rhythm pattern？(Write an answer)

1
[ ][ ][ ][ ]

2
[ ][ ][ ][ ]

(Each blank is 1.25point)

Sound
What sounds do the three red circles represent in the picture
below?

1 2 3
[ ] [ ] [ ]
Cooperation
In your opinion, What is the performance form of the
Djembe？(single choice)
A:A solo instrument ¨5 B:An ensemble instrument ¨8
C:A solo and ensemble instrument ¨10
Body
movement
What do you think our bodies look like when we play an
Djembe?(multiple choice)
A:Sit with the drum between your legs ¨2.5
 19

B:Put the drum on the ground, sit on the drum and play ¨2.5
C:Wear it on your back and play it standing up ¨2.5
D:Clip it under your arm and play it ¨2.5
Efficiency
How many hours a week do you think you need to practice the
Djembe, aside from the required daily lessons ？
A:Practice for an hour every two to three days ¨7
B:Practice once a week for 1-2 hours ¨8
Day-to-day
actions of C:Practice 15-30 minutes a day ¨10
management D:I don't need to practice. I learned it in class ¨5
Quality
How do you think each practice time should be divided?
A:Each exercise last 1-2 hours，Only practice 1-2 rhythm patterns ¨8
B: Each exercise last 1-2 hours，Practice each rhythm for 5-10 minutes ¨10
C:Practice for ten minutes at a time and learn how to play by yourself ¨5
Classroom
performance
What do you think you can do about classroom performance?
A:The classes are very busy every day, so I can't go to the classroom on time and
Attitude finish the homework exercises. ¨5
B: Able to get to class on time, but unable to complete homework on time ¨8
C:Be able to go to the classroom on time and complete all the homework ¨10

1.Based on the above grades, the overall score of the student is the: _____points
2. What level do you think the student should be in (choose)
A[ ] B[ ] C[ ] D[ ]
B. more than 90 points (excellent); B. 80-90 (good); C. 70-80 (qualified); D. below 65 points
(unqualified)
3. Student self-evaluation:

Conclusion of the Entry Skills Assessment form:

The Percussion Ensemble Course Djembe Introductory Skills Assessment Form table1 is entry group. Divide the A-B levels into one group and the
C-D levels into one group.For short entry group I and entry group II.primary
The Percussion Ensemble Course Djembe Introductory Skills Assessment Form table2 is primary group.Divide the A-B levels into one group and
the C-D levels into one group.For short primary group I and primary group II.
Four groups.，A group of eight people, Grade 5.
 20

Table 3:The feasibility evaluation of the Entry Skills Assessment Form for Grade 5 students
No Question Mr.Huan Mr.Wang Mr.WU total Octave
g
1 What do the "R" and "L" stand for in the 1 1 1 3 1
Djembe?
2 What is the definition of Djembe? 1 1 1 3 1
3 Which of the following methods is used in 0 1 1 2 0.66
Djembe?
4 Do you recognize the following rhythms 1 1 1 3 1
and name them?
5 Do you recognize the following rhythms 1 1 1 3 1
and name them?
6 In your opinion, What is the performance 1 1 1 3 1
form of the Djembe？
7 What do you think our bodies look like 1 0 1 2 0.66
when we play an Djembe?
8 How many hours a week do you think you 1 1 1 3 1
need to practice the Djembe, aside from the
 21

required daily lessons ？

9 How do you think each practice time 0 1 0 1 0.33

should be divided?

10 What do you think you can do about 1 1 0 2 0.66

classroom performance?

11 What do the six letters in the following 1 1 1 3 1

score stand for？
12 Can you play the rhythm of the following 1 1 1 3 1
score and name the rhythm pattern？
13 What sounds do the three red circles 1 1 1 3 1
represent in the picture below?

34
0.87
Among them, 13 questions scored an average of 87 percent. It shows that these questions are valid.

Expert introduction

Mr.s Huang —Huang Hong Jun

Associate professor, Department of Music, Jiageng College, Xiamen University.Honorary President of Xiamen Percussion Association. Xiamen Siming District
percussion Society president. In 1988, he formed the famous Xiamen pop band "Blue Space" and served as the drummer. In 1998, he was employed by Xiamen
Philharmonic Orchestra and participated in the founding of Xiamen Philharmonic Orchestra and its first concert and performance season in Gulangyu Concert
Hall. From 1999 to 2003, he was the drummer of "Shanghai Shanghai Band", the first overseas resident band in China (Hotel Lisboa). In 2006, he founded
Xiamen Jazz Trio, the only jazz band in Fujian Province, and served as the drummer and leader. "Xiamen Jazz Trio" and outstanding jazz singer Xu Shijie were
 22

invited to perform at the first Xiamen Jazz Festival in 2016. During this period, I have been engaged in teaching work without interruption, performing and
teaching. My students have won gold MEDALS in percussion competitions in Fujian Province and ranked among the best in national competitions for many
times. For Xinghai Conservatory of Music and other colleges and universities to send excellent percussion students.