Revised Module in Teaching Music in The Elementary Grades 2

COURSE OUTLINE
Course Code/Subject: Music

Course Title: Teaching Music in the Elementary Grades
Subject Description:
Music is an important part of the human experience. It is a universal language, a tangible means
of communication for all humans. Music, with its unique body of knowledge, skills, and ways of
thinking, is worth knowing. It is a means of understanding ourselves and others in a way not possible in
other disciplines. The ability to perform, create, and listen to music with understanding is a highly
desirable and important part of the human experience for every member of society.
It provides an outlet for creativity and self-expression. It engages our imaginations and allows
us to explore our own identities. Schools have an obligation to help each student develop to his or her
potential. The development of musical potential, along with linguistic, physical, and others, exists in
every individual and is one of the basic tenets of education.
Further, appropriate teaching strategies and assessment methods shall be included to prepare
students to become elementary grade teachers.
Course Credit: Three (3) units

Prerequisite: None
Placement: BEED Third Year
Competencies:
1. Demonstrate understanding of the musical concepts by being able to apply them in every
activity and output required.
2. Accomplish written and performance-task activities observing the rules and concepts of the
course.
References:
Sarrazin, Natalie, Music and the Child, Open SUNY Brockport, June 14, 2016. PDF
Roldan, Albert Napoleon J, Teaching Music in Elementary Schools, Rex Bookstore, 2021. Module.
Carter, Nicolas (2018) “Music Theory From Absolute Beginner to Expert”, 3rd ed.PDF.
Carter, Nicolas (2017) “How to Read Music for Beginners”, ePub.
Boone, Brian and Marc Schonbrun (2017) “ Music Theory 101”, Adams Media, epub.
Collins, Anita (2021) “The Music Advantage- How Music Helps Your Child Develop, Learn, and Thrive”,
Penguin Random House. Epub
https://www.musichouseschool.com/what-is-music-music-defined-by-musicians
https://study.com/academy/lesson/what-is-music-definition-terminology-characteristics.html
https://theinspiredclassroom.com/2017/05/why-is-music-education-in-schools-important/
https://www.slideshare.net/musicolga26/qualities-of-sound-the-sound
https://www.earq.com/hearing-health/decibels
http://bilingualprogrammusic.blogspot.com/p/unit-1.html
https://www.studybass.com/lessons/reading-music/time-signatures/
https://www.musical-u.com/learn/what-is-kodaly-and-how-does-it-relate-to-ear-training/
https://www.musical-u.com/learn/the-16-keys-to-a-good-singing-voice/
https://hellomusictheory.com/learn/types-of-musical-notes/
https://www.liveabout.com/music-theory-101-dotted-notes-rests-4686771
https://www.musicnotes.com/now/tips/a-complete-guide-to-time-signatures-in-music/
https://www.orsymphony.org/learning-community/instruments/brass/
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https://www.orsymphony.org/learning-community/instruments/woodwind/
https://www.orsymphony.org/learning-community/instruments/string/
https://www.orsymphony.org/learning-community/instruments/percussion/
https://www.liveabout.com/f-clef-definition-2701600
https://ou.instructure.com/courses/1819836/pages/sharp-flat-and-natural-notes-lecture-and-notes
https://trainer.thetamusic.com/en/content/harmonic-intervals
https://www.musicnotes.com/now/featured/determine-vocal-range/
https://www.musictheoryacademy.com/understanding-music/rondo-form/
https://www.musictheoryacademy.com/understanding-music/binary-form/
https://carolingianrealm.blog/musicliteracy/index.php?p=30
https://courses.lumenlearning.com/musicappreciation_with_theory/chapter/monophony/
Course Requirements:
 Term exam must be taken on the scheduled date of assessment.
 Activities from the module must be submitted and complied on or before the scheduled date; a
consideration of one week shall be given to late submission.
 Performance task must be done during the once a month session or via video clip and send it
through online platforms.
 Attendance is part of the grading system; if being absent is inevitable on the scheduled date, a
letter should be sent to the teacher notifying his/her being absent. Moreover, reason/s should
be valid.
Grading System
Term Exam (Midterm/Final) 30%
Output-based Activities 40%
Class standing 30%
100%
Mode of Submission
 Facebook and Facebook Messenger (Krissy Go)
 Email Address: krystoffclutario@gmail.com
 Contact Number: +63999-720-4527
SUBJECT OUTLINE
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Midterm Lessons
Unit 1 (Introduction to Music Education)
Lesson 1.1: What is Music and its significance to the learners?
Lesson 1.2: Music and the Child
Lesson 1.3: Music Experiences Appropriate to Elementary Learners
Unit 2 (Preparing for Your Music Lessons)
Lesson 2.0: Musical Content on Melody
Lesson 2.1: On Teaching Melody
Lesson 2.2: Musical Content on Rhythm and Tempo
Lesson 2.3: On Teaching Rhythm and Tempo
Lesson 2.4: Musical Content on Timbre
Lesson 2.5: On Teaching Timbre
Lesson 2.6: Musical Content on Harmony and Texture
Lesson 2.7: On Teaching Harmony and Texture
Lesson 2.8: Musical Content on Form and Dynamics
Lesson 2.9: On Teaching Form and Dynamics
Midterm Exam
Final Lessons
Unit 3 (Instructional Strategies for Music)
Unit 4: Assessment Strategies
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UNIT 1 (INTRODUCTION TO MUSIC EDUCATION)
Lesson 1: WHAT IS MUSIC AND ITS SIGNIFICANCE TO THE LEARNERS?
I. OBJECTIVES
At the end of the lesson the students should be able to:
1. Define what music is.
2. Enumerate the different definitions of music according to some musicians using a graphic
organizer.
3. Recall a song/ some songs that is/are significant to you.
4. Reflect on the impact of music to you as a student.
II. CONTENT: WHAT IS MUSIC AND ITS SIGNIFANCE TO THE LEARNERS?
III. LEARNING RESOURCE/S

https://www.musichouseschool.com/what-is-music-music-defined-by-musicians
https://study.com/academy/lesson/what-is-music-definition-terminology-characteristics.html
https://theinspiredclassroom.com/2017/05/why-is-music-education-in-schools-important/
(https://www.britannica.com/art/music)
IV. LESSON PROPER

Motivation:
1. Do you believe that music is the universal language of the people?
2. Do you have a favorite song or band?
3. Have you ever played an instrument or been to a concert?
READING:
What Is Music?
It's challenging to truly describe music in words. We all know how it makes us feel, and we know
what we like when we hear it, but actually communicating this is the hard part. Author Victor Hugo
wrote that “Music expresses that which cannot be put into words and that which cannot remain silent."
Henry Wadsworth Longfellow described it as "the universal language of mankind."
 According to Ludwig Van Beethoven,

"Music is a higher revelation than all
wisdom and philosophy."
 "Music is a world within itself. It's a
language we all understand." -Stevie
Wonder
 "Music has healing power. It has the
ability to take people out of themselves
for a few hours." -Elton John
 “Music hath the power to mold character; that being so it is an
indispensable study for the young. “- Aristotle
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Sounds are all around us, from birds chirping and waves lapping against a coastline to cars
honking in traffic. But sometimes sounds are put together in purposeful ways to create a specific
atmosphere or to express ideas or emotions. Such organized sounds are called music.
Music is a collection of coordinated sound or sounds. Making music is the process of putting sounds and
tones in an order, often combining them to create a unified composition. People who make music
creatively organize sounds for a desired result, like a Beethoven symphony or one of Duke Ellington's
jazz songs. Music is made of sounds, vibrations, and silent moments, and it doesn't always have to be
pleasant or pretty. It can be used to convey a whole range of experiences, environments, and emotions.
Almost every human culture has a tradition of making music. Examples of early instruments like flutes
and drums have been found dating back thousands of years. Ancient Egyptians used music in religious
ceremonies. Many other African cultures have traditions related to drumming for important rituals.
Today, rock and pop musicians tour and perform around the world, singing the songs that made them
famous. All of these are examples of music.
Music is an art concerned with combining vocal or instrumental sounds for beauty of form or emotional
expression, usually according to cultural standards of rhythm, melody, and, in most Western
music, harmony. Both the simple folk song and the complex electronic composition belong to the same
activity, music. Both are humanly engineered; both are conceptual and auditory, and these factors have
been present in music of all styles and in all periods of history, throughout the world .
(https://www.britannica.com/art/music)
 Music is an art that, in one guise or another, permeates every human society. Modern music is
heard in a bewildering profusion of styles, many of them contemporary, others engendered in
past eras.
 Music is a protean art; it lends itself easily to alliances with words, as in song, and with physical
movement, as in dance.
 Throughout history, music has been an important adjunct to ritual and drama and has been
credited with the capacity to reflect and influence human emotion.
SIGNIFICANCE OF MUSIC
#1) Music stimulates brain development in children

Music education as early as pre-school is beneficial and results in increased intelligence
and better study skills. Music education programs increase children’s cognitive development.
Also, research shows that “preschoolers who took daily 30 minute group singing lessons and a
weekly 10-15 minute private keyboard lesson scored 80 percent higher in object assembly
skills than students who did not have the music lessons,” as reported in a 1994 study by
Frances Rauscher and Gordon Shaw at the University of California, Irvine (Harvey, 1997).
#2) Music is a way to connect with other people

Music education is also important because it will give students a way to connect with
other people. Children are naturally very social, and it’s important to encourage them to build
relationships by providing them experiences to share with each other. Creating a school band or
small ensemble, or encouraging participation in a chorus will allow children to work together
towards a final product (such as an end-of-year performance). This encourages bonding and will
provide students with something to reminisce on together in the future.
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#3) Music teaches discipline
Music will also teach children to develop time management skills and discipline. If students are
expected to learn their instruments and practice outside of school, then they will develop the
ability to create a practice schedule and balance every other activity they have going on in their
lives. Learning discipline and time management from a young age will have countless benefits on
a child’s future.
#4) Music can relieve stress: Finally, music is an excellent way to relieve stress, which is significant for
students who may feel overwhelmed by schoolwork and try to balance extracurricular
activities. Studies have found that music can reduce burnout and improve mood states.
#5) Musical training helps develop language and reasoning: Students who have early musical training
will develop the areas of the brain related to language and reasoning. The left side of the brain is better
developed with music, and songs can help imprint information on young minds.
#6) A mastery of memorization: Even when performing with sheet music, student musicians are
constantly using their memory to perform. The skill of memorization can serve students well in
education and beyond.
#7) Students learn to improve their work: Learning music promotes craftsmanship, and students learn
to want to create good work instead of mediocre work. This desire can be applied to all subjects of
study.
#8) Increased coordination: Students who practice with musical instruments can improve their hand-
eye coordination. Just like playing sports, children can develop motor skills when playing music.
#9) A sense of achievement: Learning to play pieces of music on a new instrument can be a challenging,
but achievable goal. Students who master even the smallest goal in music will be able to feel proud of
their achievement.
#10) Kids stay engaged in school: An enjoyable subject like music can keep kids interested and engaged
in school. Student musicians are likely to stay in school to achieve in other subjects.
#11) Success in society: Music is the fabric of our society, and music can shape abilities and character.
Students in band or orchestra are less likely to abuse substances over their lifetime. Musical education
can greatly contribute to children’s intellectual development as well.
#12) Emotional development: Students of music can be more emotionally developed, with empathy
towards other cultures. They also tend to have higher self-esteem and are better at coping with anxiety.
#13) Students learn pattern recognition: Children can develop their math and pattern-recognition skills
with the help of musical education. Playing music offers repetition in a fun format.
#14) Fine-tuned auditory skills: Musicians can better detect meaningful, information-bearing elements
in sounds, like the emotional meaning in a baby’s cry. Students who practice music can have better
auditory attention, and pick out predictable patterns from surrounding noise.
#15) Music builds imagination and intellectual curiosity: Introducing music in the early childhood years
can help foster a positive attitude toward learning and curiosity. Artistic education develops the whole
brain and develops a child’s imagination.
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#16) Development in creative thinking: Kids who study the arts can learn to think creatively. This kind of
education can help them solve problems by thinking outside the box and realizing that there may be
more than one right answer.
#17) Music can develop spatial intelligence: Students who study music can improve the development of
spatial intelligence, which allows them to perceive the world accurately and form mental pictures.
Spatial intelligence is helpful for advanced mathematics and more.
#18) Kids can learn teamwork: Many musical education programs require teamwork as part of a band
or orchestra. In these groups, students will learn how to work together and build camaraderie.
#19) Responsible risk-taking: Performing a musical piece can bring fear and anxiety. Doing so teaches
kids how to take risks and deal with fear, which will help them become successful and reach their
potential.
#20) Better self-confidence: With encouragement from teachers and parents, students playing a musical
instrument can build pride and confidence. Musical education is also likely to develop better
communication for students.
V. EVALUATION
Answer the following:
1. What is music?
2. Using a graphic organizer, enumerate the different definitions of music according to some
musicians?
3. Recall a song that is so significant to you. Record it and send it via messenger.
4. Write a short reflection on the impact of music to you as a student.
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Lesson 1.2: MUSIC AND THE CHILD
I. OBJECTIVES
At the end of the lesson, you should be able to:
1. Establish and show the connection between music and the development of a child.
2. Enumerate the songs that suit and does not suit your preference and be able to state your
reasons on why you prefer and hate them.
3. Reflect on the significance of gender in music.
II. CONTENT: MUSIC AND THE CHILD
III. LEARNING RESOURCE/S:

Siruno,Tarsila V.,General Music Education, Rex Bookstore Manila.,pp 30-37
IV. LESSON PROPER

READING:
ADAPTATION OF MUSIC TO LEVEL OF DEVELOPMENT
All music materials should be selected in terms of the maturity of interest and ability of a
group. In all fields educators are studying the characteristics of various levels of child development.
Research in Child Psychology reveal the importance of delaying formal education or instruction until
children indicate some degree of readiness or what might be termed as psychological maturation. The
situation in music education is highly illustrative. The little child should have as much opportunity as
possible for musical experience and expression, particularly in the form of rhythmic responses to music.
The early years of learning may provide that favorable mental set toward music which will contribute to
a life- long appreciation and desire for music. The study of the principles and technique of music must
follow after love of music has been firmly established, by many pleasurable excursions to the vast
world of music.
Toddlers and Music: Toddlers love to dance and move to music. The key to toddler music is
repetition, which encourages language and memorization. Silly songs make toddlers laugh. Try
singing a familiar song and inserting a silly word in the place of the correct word, like “Mary had
a little spider” instead of lamb. Let children reproduce rhythms by clapping or tapping objects.
Preschoolers and Music: Preschoolers enjoy singing just to be singing. They aren’t self-
conscious about their ability and most are eager to let their voices roar. They like songs that
repeat words and melodies, use rhythms with a definite beat, and ask them to do things.
Preschool children enjoy nursery rhymes and songs about familiar things like toys, animals, play
activities, and people. They also like finger plays and nonsense rhymes with or without musical
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accompaniment.
School-Age Children and Music: Most young school-age children are intrigued by kids’ sing-
along songs that involve counting, spelling, or remembering a sequence of events. School-age
children begin expressing their likes and dislikes of different types of music. They may express
an interest in music education, such as music lessons for kids.
Ex: “B-U-T-T-E-R-F-L-Y butterfly”, a popular Filipino childhood song “Chikading”
Teens and Music: Teenagers may use musical experiences to form friendships and to set
themselves apart from parents and younger kids. They often want to hang out and listen to
music after school with a group of friends. Remember those days of basement and garage
bands? Teens often have a strong interest in taking music lessons or playing in a band.
There is no downside to bringing children and music together through fun activities.
THE CHILD'S ATTITUDE TOWARD MUSIC
Different personalities react

differently to music. Sometimes a child
expresses a dislike for certain types of music
and occasionally for all music. In either case,
the child's opinion deserves respect and he
should not be forced into sincerity by the
coercion of adult standards.
The teacher may, however, provide

opportunity for many happy and successful experiences for the child in relation to music. Skillful
teaching will restore music appreciation which may have been dulled or blurred by previous clumsy
and unpsychological treatment and approach. New attitudes can be nurtured in a favorable and
sympathetic environment. The habit of deferring judgment of music until some knowledge and
understanding of its nature and its appeal are known can be cultivated. Appreciation can never be
forced upon another personality but it can be induced by the skillful teacher. It is wrong to coerce and
ram into the child adult standards for child's behavior.
GENDER IN MUSIC
Most of us never consider whether music is gendered, but any system that is part of a culture,
even a musical one, is bound to include any general perceptions and values of the society as a whole.
Perceptions of the individual based on their gender and race influence all of us in all areas. We
contextualize, filter, draw conclusions, and make inferences, in part, based on someone’s physical
attributes. Many educators have studied the role of gender and how it affects teachers and teaching. For
example, individual teachers may prefer one gender to another, but the entire educational system in
general, favors girls’ learning styles and behaviors over that of boys. Grades are affected in addition to
access to certain opportunities and promotion to leader- ship roles. Boys and girls may express different
musical interests and abilities with girls showing self-confidence in literacy and music and boys showing
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confidence in sports and math, but teachers also discuss boys and girls musicality differently (Green,
1993).
Is music gendered? Music is highly gendered in ways that we might not even think about.
Societies attribute masculinity to different genres of music, instruments, and what musicians should
look like when performing. For example, genres like heavy metal and rock are gendered not only in the
fact that male musicians dominate them, but also in that they are perceived as male-oriented in subject
matter, with appeal to a male audience. Gender lines are not as straightforward as one might believe,
however. In performance, there is a great deal of gender bending or borrowing that can occur. On stage,
male musicians may co-opt female gendered attributes as part of a performance, such as Heavy or Hair
Metal band members wearing long hair and make-up.
Musical instruments are also “gendered.” Our choices as to which instrument to play, in other
words, are not entirely our own. Society, friends, and teachers, play a significant role in our music
selection process. As a culture, and even as children, we have very particular notions of who should play
what instruments, with children as young as three associating certain instruments with gender (Marshall
and Shibazaki, 2012). In a 1981 study, Griswold & Chroback found that the harp, flute, and piccolo had
high feminine ratings; the trumpet, string bass, and tuba had high masculine ratings.
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Discussion Guide Questions:
1. What is the key to toddler’s music?

2. Why do you think preschoolers aren’t self-conscious of their singing?
3. Why do you think teenagers use their musical experiences to form friendship?
4. Is music gendered?
V. EVALUATION
1. Use a graphic organizer to establish and show the connection between music and the
development of a child.
2. In relation to the topic “Child’s Attitude towards Music”, the students need to fill out this out.
Favorite Songs Reason/s Songs that you don’t Reason/s

like
1 1
2 2
3 3
4 4
5 5
3. THINK ABOUT IT: Read and understand the situation.
You are a straight guy and you are naturally born with high voice that you sound so feminine. Every time
you sing in your Music class, you would sing some songs of female divas so your classmates would tease
and call you sissy. Since you are a straight guy, are you willing to continue singing with your natural voice
and sing songs fitting to your range? Or are you willing to sing other genre to stop them from teasing
you? Do we really need to associate gender with music? Write your response in a sheet of paper.
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Lesson 1.3: MUSIC EXPERIENCES APPROPRIATE TO ELEMENTARY LEARNERS
I. OBJECTIVES
1. Identify the music experiences appropriate for elementary learners.
II. CONTENT: MUSIC EXPERIENCES APPROPRIATE TO ELEMENTARY LEARNERS

 Siruno,Tarsila V.,General Music Education, Rex Bookstore Manila.,pp 30-37
 Colean, Creative Music For Children, Singing and Voice Control for Children, pp. 99-107.
 McConathy, The Music Hour in the Kindergarten and First Grade. Catching the Head Voice and
Aiding Monotones, pp. 189-191.
 Dann, First Year Music Book
 https://www.gov.nl.ca/education/files/
k12_curriculum_guides_music_intermediate_intermediate_music_section_five_appendix_h.pdf
IV. LESSON PROPER

Reading:
MUSIC EXPERIENCES APPROPRIATE FOR ELEMENTARY LEARNERS
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Rhythmic Activities:
Rhythmic activities are designed to give children free bodily movement and responses to the
rhythms in music; there should be a direct individual response to the music, which is in no sense
imitative. Music of a marked and definite rhythm should be used. The habit of listening before
responding should be formed. The teacher should work for the accuracy in the responses but never to
the point of lessening the child's spontaneous joy in his activity. The frequent remarked or suggestion
from the teacher, "Are you listening to the music?" will be helpful. For greater freedom of movement,
the class works in small groups. Such activities as walking, marching, running, skipping, hopping,
galloping and perhaps swimming to the least degree may be definitely used. In beginning these rhythmic
activities, the use of music that definitely suggests an appropriate response should be used. Other
compositions that suggest dogs, dancing leaves, the wind, carabaos and rice fields, clowns, the organ
man, and the circus band may be used later when the rhythmic sense is more developed
Rhythmic Band
For the elementary band

the following instruments are
desirable in order to give children
an opportunity for rhythmic
activity, drums, sticks,
tambourines, triangle bells,
cymbals, sand blocks. These may be
supplemented by chimes, woodblocks, rattles, glasses, or glass jars, clappers of seed pods, and other
materials.
It is best to keep the band very simple, using many instruments made by the children
themselves, or purchased from the local market, such as drums made of milk cans, and other similar
instruments, rather than the toy orchestra instruments frequently provided for the primary grades.
The educational value of rhythm band should not be lost sight of. Its real value lies in giving
the children a medium for rhythmic responses. The result should be spontaneous rather than drilled.
Creative music for children or music for young children are highly recommended, for fruitful rhythmic
experiences.
Singing
Melodic consciousness, melodic power to perceive and conceive the things called tune, is
gradually developed by the children through the learning and singing of rote songs, tune games, and
helping the individual child to find his singing voice. The children are trained in the following ways:
1. To grasp the melody quickly as a result of the careful aural attention and active interest.
2. To perceive the phrase and phrase repetition through learning of songs phrase-wise .
3. To recall and retain melodies in working over favorite songs until they are melodically
conceived.
4. To be independent in singing songs individually. Children may be encouraged to sing their
school songs at home and in public places.
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5. To create songs. This helps awaken melodic consciousness. The monotones have been known to
find their singing voice through creative song writing. Creating a tune helps the little child to
understand what tune really means.
Free beautiful singing which expresses the spirit of the words and music is the goal. There should
be class singing, group singing, and individual singing of tones. The teacher may sing to the children
but never with them. Special thought should be given to grouping the children into choirs according to
their tune ability so that the individual may be given help quickly and easily. The children need not be
conscious of belonging to a particular group, but it is important that the teacher know which children in
the same group can be helped to advantage.
The out-of-tune pupils should be helped daily. This may be accomplished best through the tune
games and whatever devices will stir the imagination and help to awake the sense of tune. There are
certain bits of melody in almost every song which can be sung by this particular group.
SPECIFIC SUGGESTIONS REGARDING SINGING
In teaching song singing to kindergarten children the following specific suggestions are offered to
the teacher.
 Begin with class singing of favorite songs appreciative approach that will create a desire to sing
and Make the songs and beautiful singing the center of interest.
 Teach the children the songs thoroughly. Although children should have a fairly extensive
repertoire, songs should be thoroughly learned. Select easy, unusually interesting songs with
much phrase repetition Row-Row-Row-Your-Boat and Leron Leron Sinta and other Filipino folk
songs.
 Develop the phrase habit by teaching songs phrase-wise. Lead the children to sing naturally
with the phrase as the unit of thought, the sentence method. Singing songs antiphonally helps
to create or develop the phrase habit. In antiphonal singing, teacher and class or class and
child, sing alternately.
 Establish the phrase-rhythm; do not merely establish pitch of the first tone. Before the children
are asked to sing the song, let them hear the first phrase sung or played. This is particularly
important when the phrase begins with the weak pulse.
 Practice singing a long, sustained tone daily through playing games of kite, airplane, balloon,
bees, etc. Such practice brings breath support without talking about it. It is important that the
children sing on several pitch levels, low and middle levels as well as high, within the range of
the staff.
TEACHING A ROTE SONG
Rote learning and singing is based on imitation and repetition. This is how young children learn
best: hearing, seeing, and experiencing things over and over again. If you've spent some time
around young children, you know one of their favorite words is "again" -"do it again," "read it
again," "sing it again,"
The teacher may be guided by the following specific suggestions in teaching the rote song to young
children:
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 Sing the song as a whole once or twice and let the class get the complete picture or story.
Encourage the children to listen so carefully that they may sing the song after one hearing if
possible. The song should be so simple as to permit this.
 Sing by phrases and let the class repeat.
 Class sings the song as a whole. Teacher should lead the children to express the spirit of the
words and the music and to interpret the story. Both tempo and tone quality should suggest the
content of the words.
LISTENING
Listening is not set off in a compartment by itself away from other types of music experience.
The children listen to songs sung to them, to selections to which they make rhythmic response, and to
music to be interpreted as to character and mood. Music may be used to establish a quiet, restful
feeling. There is a place also in the kindergarten education program for listening for the pure pleasure
it can give.
Listening which is the basis of music appreciation, is frequently regarded as a passive thing. It
should be made an active participation by the listener. Therefore, it is important that the compositions
should be vitally interesting to children. Little children have excellent taste and respond to the best
music; mediocre material, therefore, should not be used for children.
Songs sung to the children with clear enunciation and musical interpretation have great
value. This is especially true of the story Song. This practice permits bringing to the children songs of
greater difficulty than those which they themselves can sing.
GETTING FAMILIAR WITH THE CONCEPTS PERTAINING TO MUSIC
Musical Concepts -Music is patterns of melody, rhythm, harmony, tempo/dynamics, and timbre
combined to create repetition, variation and contrast. We use these patterns to create music and we
respond emotionally and intellectually to our perceptions and interpretations of these patterns of music.
Learning these concepts is as important as learning how to sing and play musical instruments.
 Duration
o Beat - Music often has an underlying, recurring beat.
o Accent - Beats may be accented or unaccented. Accented beats may occur at regular or
irregular intervals.
o Rhythm - Sounds may be long or short.
o Syncopation - Rhythmic and melodic accents may or may not coincide with metric
accents.
o Rests - Music moves in time in longer and shorter durations which are often grouped
together and which are punctuated by silences.
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o Metre - Metre is the organization and measurement of accented and unaccented beats
in groups. These groups may be composed of two beats, three beats, or multiples or
combinations of two’s and three’s.
 Melody
o Sound - Sounds are produced by vibration which may be regular or irregular. Regular
vibrations have definite pitch.
o Contour - Successive pitches may move higher or lower or stay the same.
o Phrases - Successive pitches may be organized in patterns, which may be combined to

create phrases and melodies.
o Ostinato - A repeated rhythmic, melodic, or harmonic pattern may serve as the

accompaniment to a musical work.
o Interval - The distance between two musical pitches is an interval. Each interval has a
distinctive sound regardless of the pitch on which it is built.
 Harmony
o Chords - Three or more pitches sounding simultaneously constitute a chord.
o Triad - A given tone together with the 3rd and 5th above it constitutes a specific kind of
chord called a triad. A triad or other chord may be built on any degree of a scale.
o Inversions - Triads may appear in root position or inversions.
o Tonality - Certain harmonies and harmonic progressions tend to establish a feeling of
tonal centre or tonic.
o Cadence - Certain chord progressions tend to establish a sense of finality or to
punctuate the flow of the music.
o Modulation - The tonal centres may change within a given piece of music
 Texture
o Monophony - A melodic line may exist without harmonic support.
o Homophony - A melody line may be supported by a harmonic accompaniment.
o Polyphony - A piece of music may be created by means of two or more musical lines
which exist simultaneously.
 Timbre
o Tone Colour - Sounds may differ in timbre.
o Factors Affecting Timbre - Differences in timbre are attributable to differences in
overtone structure. Each sound source produces its own distinctive timbre depending
on its size, shape and material. Tone quality is affected by a variety of factors relating to
tone production including, for example, embouchure in playing wind instruments,
bowing technique for playing string instruments, and placement of vowels and
consonants when singing. Timbre provides an important source of unity and variety in
music and serves as an important function in defining musical form. It may also play an
important role in musical expression.
 Dynamics
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o Dynamics - Sounds may differ in loudness. Changes in dynamics may occur suddenly or
gradually.
o Factors Affecting Dynamics - Dynamics and dynamic potential are affected by the
shape, size, and material of the sound source and by the method of tone production.
o Use of Dynamics - Dynamics play an important role in musical expression, provide an
important source of unity and variety, and help in defining musical form.
 Tempo
o Tempo - Music may move relatively fast or slow in tempo. Changes in tempo may occur
suddenly or gradually.
o Uses of Tempo - Tempo plays an important role in musical expression, provides an
important source of unity and variety, and helps in defining musical form.
V. EVALUATION
1. Using a graphic organizer, identify the music experiences appropriate to elementary learners.
UNIT 2: PREPARING FOR YOUR MUSIC LESSONS

Lesson 2.0: MUSICAL CONTENT ON MELODY
I. OBJECTIVES
1. Get a bird’s-eye-view of content topics under melody as written in the Department of Education
(DepEd) curriculum; and
2. Review and familiarize with the musical content pertaining to melody.
3. Create a melody map for a song.
4. Identify the correct pitch name.
II. CONTENT: MUSICAL CONTENT ON MELODY
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 Roldan, Albert Naopleon J., “Teaching Music in Elementary Schools”, Rex Bookstore, Quezonm
City, Print.
IV. LEARNING PROCEDURE
READING:
Grade 1 &2 Grade 3 Grade 4 Grade 5 Grade 6
Topics Pitch Pitch, Melodic Intervals, scales, Accidentals, Intervals, major and
Simple Lines, Melodic contours, successive bass and f- minor scales
Melodic patterns and pitches at C Major clef, melodic
pattern contours Scale contours,
intervals and
scales
1. PITCH- it simply refers to the highness and lowness of a sound/ pitches are represented by
notes written on a staff. A staff is a group of five horizontal lines and four spaces where pitches
are notated. Clefs are symbols written and placed at the beginning of the staff to show the
position of the pitches.
 Treble clef- pitches generally sound
higher than those written on the bass clef
Bar Lines and Measures

Bar lines are the vertical lines you see on a music staff
which divides the staff into measures. Inside a measure there are notes and rests corresponding to the
number of beats determined by a time
signature.
Measures are groupings of notes, usually
grouped by meter. Bar Lines show us where
one measure ends and another begins.
There are different types of Bar Lines, each with a different function
 A Single Bar Line is the normal

Bar Line, it tells us where the
measures are:
 A Double Bar Line shows there
is there is a major change in the
music, such as a new musical
section or new time signature:
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 A "Final" Double Bar Line shows that the piece of music is over:
2. INTERVALS- it is the distance

relationship between two pitches. It
may be melodic, or harmonic. The
intervals between pitches give us an
idea about its pattern and contour.
These are determined by the
intervals used, whether there are
steps, skips, or huge leaps between
pitches. To better understand this, we should take a look at the concept of whole steps and half
steps. Half step is also called a semitone, is a distance between two immediately adjacent
keys, whether black or white. A whole step or a whole tone is an interval made up of two
semitones.
3. ACCIDENTALS- these are signs written to either raise or lower pitch by half step or a whole step
a. Sharp - A sharp sign # means "the note that is one half step higher than the natural
note".
b. Flat- is used to lower pitch one half step. A flat symbol (b) is written before a note or
pitch.
c. Natural- cancels out any sharp or flat signs.
d. Double sharp- is two half steps (one whole step) higher than the natural note.
e. Double flat- flat is two half steps (a whole step) lower
4. SCALE- is a group of specific pitches going from lowest to highest or vice versa. The commonly
used are the major and minor scales. Each scale has key signature- an arrangement of sharps
and flats usually written at the beginning of a staff which identifies and presets which notes are
to be played shard or flat.
a. C Major Scale- has a key
signature of 0 flats and 0
sharps. All notes played on
this scale are in the white
keys of a piano.
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b. F Major Scale- it begins with the note F or Fa not with C. it has a key signature of 1 flat,
and this note is the note B or Ti.
V. EVALUATION
Answer the following:
 Create a melody map for at least 2 songs listed below. You may use art materials or color to
make it creative.
o Row, row, row your boat
o Are you sleeping, Brother John?
o Manang Biday
o It’s a Small World
o Pamulinawen
o Lupang Hinirang
 Identify the correct pitch name.
Lesson 2.1: ON TEACHING MELODY

I. I. OBJECTIVES
1. Take note of considerations that are to be applied when teaching melody , and include these
when writing down a music lesson plan, as necessary; and
2. Learn examples of approaches and activities that may be used for teaching content pertaining to
melody.
3. Give some examples or activities that are appropriate in teaching melody.
II. II. CONTENT: ON TEACHING MELODY
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III.LEARNING RESOURCE/S
City, Print.
IV. LEARNING PROCEDURES
READING:
POINTS TO PONDER WHEN TEACHING MELODY
Setting Goals- the teacher must set specific goals or objective for each music lesson but she
must also be ready to be flexible as the pacing of the class might be different from her initial
expectations.
On the procedures- can be divided into two: direct instruction and exercises and activities.
o Direct instruction- where lecture is basically given to the class, explaining facts, ideas,
concepts, and principles. It is a one-way flow communication from a teacher to the
students.
o Exercises and activities- part where students can engage more deeply with musical
concepts as they get to experience it tangibly (listening, reading, imitating, composing,
performing, and etc)
SAMPLE ACTIVITIES FOR LEARNING CONTENT RELATED TO MELODY

1. For identifying pitches or sounds whether high or low (Grades 1 and 2)
o Activity: determining high and low sounds
o Procedure: Use recordings of sounds found in the environment. The use of colorful
visual aids can also be helpful.
2. Teaching melodic lines (Grade 3)

o Activity: Using body gestures to reflect the melodic lines or movement of the pitches
o Procedure: The teacher will sing or play a series of pitches slowly. Students are to act
out certain gestures to represent the melodic changes.
o If melodic line goes up: the students will stretch their arms upward.
o If melodic line goes down: students squat
3. Familiarizing with melodic intervals (Grade 4 to 6)
o Activity: associating the beginning or chorus of a familiar song with a particular
melodic interval.
o Procedure: let the students practice a familiar song that best associates with a particular
melodic interval. A melodic interval is the distance between two notes played one after
another, as opposed to harmonic interval.
o Major 2nd (Do-Re)- First two notes of “Happy Birthday”
o Perfect 4th (Do-Fa)- First two notes of “Bahay Kubo”
CONSIDERATIONS INSIDE THE CLASS
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1. Consideration for materials used- audio recordings/videos, visual aids, and musical instruments
(standard and improvised)
2. Consideration for Evaluation- should be done through observation and/or actual musical
performance of the students, rather than giving them written quizzes, or exams though these
may be given sometimes.
3. Consideration for closure- teachers should give praise, encouragement, and affirmation to the
students as this put value in the student’s efforts when participating.
V. EVALUATION
I. Choose one topic below. Research an activity that is applicable for teaching for chosen
topic. (You may consult the latest DepEd Music Curriculum)
Topics on Melody
 Major and Minor scales
 Accidentals
 Bass clef or Treble Clef
 Melodic Contours
 Intervals
II. Provide the specific objectives, activity and exercise, and the evaluation to be used.
Lesson 2.2: MUSICAL CONTENT ON RHYTHM AND TEMPO

VI. OBJECTIVES
1. Get a bird’s-eye-view of content topics under rhythm and tempo as written in the Department
of Education (DepEd) curriculum; and
2. Review and familiarize with the musical content pertaining to rhythm and tempo.
3. Conduct with the hands using a specific time signature
4. Identify songs and their corresponding tempo.
5. Create a rhythmic pattern that is appropriate to a specific time signature.
VII. CONTENT: MUSICAL CONTENT ON RHYTHM AND TEMPO
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VIII. LEARNING RESOURCE/S
City, Print.
READING:
Grade 1,2, and 3 Grade 4 and 5 Grade 6
Rhythm Difference between sound and Notes and rests Same content as grades 4
silence Rhythmic patterns and 5, with the addition of
Steady beats Meter and simple time 6/8 time signature
Simple rhythmic patterns signatures
Ostinato ostinato
Grade 1 &2 Grade 3 Grade 4 Grade 5 & Grade 6
Temp Speed of Same content Tempo Largo, presto, allegro, moderato,
o sound in with G1-g2 Markings: Largo andante, vivace, ritardando, and
music, with the and presto accelerando.
difference addition of
between fast conducting
and slow gestures
music
RHYTHM
1. Rhythm- covers the flow and movement of music as ordered in time.
2. Meter- repeating pattern of strong and weak beats. It can be simple and compound.
a. Simple meter- each beat in measure of music can be naturally divided into two equal
parts.
b. Compound meter- each beat in a measure of music can be naturally divided into three
equal parts (time signatures 6/8, 9/8, 12/8)
c. Duple Meter- beats are grouped in twos. Best example of this is a march, reflecting the
movement of our two feet. Strong accent on beat one.
d. Triple meter- beats are grouped into threes. Bahay kubo uses this kind of meter. Strong
accent as well on beat one.
e. Quadruple meter- type of meter consisting of four beats. Hark the Herald Angels Sings
is an example. One and three are the strongly accented beats. First beat is also known as
the downbeat and the fourth beat is also known as the upbeat.
3. Ostinato- it is the short consistently repeated pattern found all throughout a piece of music or in
one of its sections.
4. Different notes and rests and their time

values
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5. Time signature- it is a sign placed at the
beginning of a musical composition to
indicate its meter.
o Example: 4/4 it means that there
are four beats in one measure, while
the bottom number “4” denotes the
kind of note that receives one beat
is a quarter note.
TEMPO
1.
1. Tempo- how fast or slow a piece of music is

performed. The word tempo means “time “
in Italian.
2. Conducting gestures-
conducting with the hands is
important to ensure that
performers sing or play
together in time to denote
what meter or time signature
a piece of music is of.
V. EVALUATION
1. Choose any song of your liking and identify its meter or time signature. Record yourself
conducting hand gestures and send it via messenger.
2. Give at least 10 songs and their corresponding tempo.
3. Create a rhythmic pattern that is appropriate to the following time signatures 2/4, ¾, and 4/4.
Use the following notes and rests.
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Lesson 2.3: ON TEACHING RHYTHM AND TEMPO
I. OBJECTIVES
1. Take note of considerations that are to be applied when teaching rhythm and tempo, including
these when writing down a music lesson plan, as necessary; and
rhythm and tempo.
3. Develop a simple activity that can be used in teaching rhythmic patterns.
II. CONTENT: ON TEACHING RHYTHM AND TEMPO
Page
25
City, Print.
READING:
CONSIDERATIONS WHEN TEACHING RHYTHM AND TEMPO
1. Rhythm can be tangibly realized; it can be experienced and heard. Engage your students to do
bodily movements such as clapping and tapping, or using readily available materials inside the
classroom.
2. Be patient in teaching rhythmic patterns, as young children are clumsy and their motor skills are
not refined yet.
3. Be sure that when teaching the rhythmic patterns, you are setting the right example: correct and
consistent.
4. Always be ready to answer student’s questions. Be honest as well. If you do not know an answer
to a particular question, tell them that you will research about it first.
5. When teaching the time values of notes and rests, use syllables or words to subdivide the beat.
SAMPLE ACTIVITIES FOR TEACHING RHYTHM

1. Listening for Steady beats (Grades 1 to 3)- a good way to understand this concept is to let them
experiences tangible activities like putting their hands on their chests, listening to a clock ticking,
and many more.
2. Echo clapping and body percussion (Grades 1 to 3) before giving this exercise, make sure to give
a direct instruction about the difference between sound and silence, and also about the concept
of steady beats. You may ask your students to listen to you as you clap a short and simple
rhythmic pattern. After that, ask the students to imitate the pattern you just did. You can also
use visual aids representing beats where they should clap and beats where they should be
silent.
3. Using Rhythm Flash Cards (Grades 4 to 6)-
once you have explained the different notes,
rests, and their respective time values, a good
way to practice the student’s counting and
coordination skills is to use random flash cards
that represent a rhythmic pattern that they
may clap, tap, or sing.
SAMPLE ACTIVITIES FOR TEACHING TEMPO

1. Modified Dance Freeze (applicable for Grades 1 and 2)- here is a simple activity wherein the
teacher manipulates the playback speed of a music recording. As the teacher changes the
playback speed, the students are to react and respond with their movements or dance
accordingly to the tempo change.
2. Conducting gestures (applicable from Grades 3 to 6)- it is advised to demonstrate them first
in front of the class. When conducting, it is important to note where the strong beats are.
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26
V. EVALUATION
A. Answer the following:
1. How many quarter notes is this equivalent to?
2. How many quarter notes is this equivalent to
3. How many quarter notes is this equivalent to
B. Develop a simple activity that can be used in teaching rhythmic patterns in 2/4, 3/3, and 4/4
Lesson 2.4: MUSICAL CONTENT ON TIMBRE

I. OBJECTIVES
1. Get a bird’s-eye-view of content topics under timbre as written in the Department of Education
2. Review and familiarize with the musical content pertaining to timbre.
3. Assess the difference between the music during the 1950s and music today.
4. Enumerate some local and international singers and describe their timbre or tone color.
II. CONTENT: MUSICAL CONTENT ON TIMBRE
III. LEARNING RESOURCES

City, Print.
Page
27
READING:
Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6
Quality of Quality of sound in Voice Variations Vocal and Intro. To
sound in Music Production of Sound Instrumental Instruments
Music Intro. To Voice Techniques Sounds, Basic of the
Difference Production, , Variations Voice Range Western
between Differentiation in in sound Qualifications, Orchestra
speaking and Sound Quality, quality Aural and Visual
Singing Intro. To Musical Identification of
Instruments Instruments
 Timbre is also known as the tone color.
 It refers to the quality of a sound that differentiate one musical instrument or voice from
another.
 Music can be divided into: vocal music and instrumental music. Music may be played in
different ways such as the following:
o Solo- means alone in Italian. A single instrument or voice is featured eminently
throughout even without accompaniment.
o Duet- a musical composition written for two parts, supported by accompaniment.
o Trio- a musical composition written for three parts, either for voice or instruments.
o Ensemble-a musical composition written for a relatively large group of performers
(choir, orchestras, and bands)
VOICE RANGE CLASSIFICATION
 Soprano- type of human voice with the highest pitch, usually possessed by women, though
there are some boys who are classified under this type in their younger years. In the choir
setting, it is the topmost voice.
 Alto- it is a low female voice. In the choir setting, it is the second highest voice.
 Tenor-this range is naturally highest occurring type of voice in adult males.
 Bass-the lowest sounding male voice.
IDENTIFYING ENSEMBLE INSTRUMENTS
1. Drum and Lyre Band- also called as the drum and lyre corps it is a type of Filipino marching
band that was derived from drum and bugle corps. Usually it is made up of around 30 to 40
members. Instruments found in this band are the following:
a. Lyre- or the bell lyre, a portable percussion
instrument where a set of tuned steel bars are
hit by either metal or wooden mallet.
b. Snare drum- composed of a cylinder- shaped
shell with two heads usually made out of wood
or metal
c. Tenor drum- a deep cylindrical drum, it is struck
with felt-headed or side drum sticks. It is not
outfitted with snares . it is also called a long
drum.
d. Bass drum- consisting of cylindrical shell with two heads, this drum is bigger, around 36
inches in diameter and 16 inches deep.
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e. Cymbals- usually held by hand in pairs, these instruments provide loud, occasional
accents while marching. These are broad circular plates.
2. Rondalla- originated from Spain, it is an
ensemble also called as Filipino “stringed
band”. The usual instruments found are
bandurria, laud, octavina, guitar, and
double bass.
 Bandurria- a small stringed
instrument derived from the guitar.
It plays the top (treble) part. It is
played by using a plectrum.
 Laud- also tuned in fourth but is
pitched one octave lower. It is
relatively bigger than bandurria.
 Octavina- shaped almost exactly as
the guitar, but has a set of 14
strings.
 Guitar-has 6 strings and is one of the most widely used musical instruments.
 Double bass- also called as contrabass. It is the largest of the bowed string instruments
and has the lowest pitch
3. Native Bamboo Ensemble (Pangkat Kawayan)- it is a unique Filipino performing group or
ensemble that uses nontraditional bamboo instruments, sourced locally. It is also known as the
Singing Bamboos of the Philippines. The instruments are the following: bumbong or bamboo
tube, talungating or bamboo marimba, tipangklung or bamboo piano, tulali or the bamboo
flute, kalatok or bamboo knockers, angklung or bamboo musical rattles.
4. The Western Orchestra- is divided into several sections namely: woodwinds, brasses,
percussion, and the strings. The term orchestra is a Greek origin, which referred to the area
directly in front of the stage in concert halls, theaters, and other performing venues.
a. Strings section
i. Violin- it has four strings and is the highest pitched member of this section. It
can be played solo or an ensemble instrument.
ii. Viola- slightly larger than violin, it is the second highest-pitched member of the
violin family.
iii. Cello- also called as the violoncello, it is the second- lowest pitched of the
bowed string instruments, and possesses a deep, rich tone in its lower register.
iv. Double bass- also called as contrabass, it is the largest of the bowed family and
has the lowest pitch and range.
b. Woodwinds section
i. Flute- usually gentle, light,
and airy, but can also stand
out clearly when played in a
higher register.
ii. Clarinet- sound is produced
by blowing into a reed which
vibrates. Its timbre id rich and
flexible, close to the sound of
a human voice.
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iii. Oboe- it has a double reed, before a performance, the oboe usually gives the
standard tuning pitch to the entire orchestra.
iv. Bassoon- a low-ranged woodwind instrument, bigger an longer than other
woodwinds.
c. Brass Section- loudest of the wind instruments
i. Trumpet- the instrument with the
highest range in this section. It
has a bright and powerful tone.
ii. French horn- is lower and
mellower than a trumpet. It has a
distinct circular shape.
iii. Trombone- uses a sliding
mechanism to produce and
control pitches. It has a lower
range than a trumpet.
iv. Tuba-usually the foundation for the brass section for having a low register.
d. Percussion section- produces sound by striking or hitting them with wooden or metal
mallets or sticks.
i. Timpani or kettledrums- are
large drums that are capable
of being tuned into exact low
pitches or sounds.
ii. Glockenspiel- related to lyre,
has a small steel bars that
produces brilliant, penetrating
sound.
iii. Celesta- has a keyboard and is
played similarly with piano,
though smaller in size, and
produces metallic sound.
iv. Marimba- played like
xylophone and is struck with mallets. It is originally an African instrument.
v. Triangle- a triangular- metal instrument.
vi. Snare Drum- composed of a cylinder- shaped shell with two heads usually made
out of wood or metal
vii. Tenor drum- a deep cylindrical drum, it is struck with felt-headed or side drum
sticks. It is not outfitted with snares . it is also called a long drum.
viii. Bass drum- consisting of cylindrical shell with two heads, this drum is bigger,
around 36 inches in diameter and 16 inches deep.
ix. Cymbals- usually held by hand in pairs, these instruments provide loud,
occasional accents while marching. These are broad circular plates.
V. EVALUATION
Assess: Listening
A. Listen to a modern song. Afterward, research and listen to a recording
of music that dates back to the 1950s or 1960s. Then, answer the
question below.
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1. Are there similarities in the timbre or tone color of the instruments you heard between the two
recordings? Describe.
2. Are there similarities in the timbre of the voice/s you heard between the two recordings?
Describe.
B. Enumerate some local and international singers. Then, describe their
timbre or tone color.
Lesson 2.5: ON TEACHING TIMBRE

I. OBJECTIVES
1. Take note of considerations that are to be applied when teaching timbre, including these when
writing down a music lesson plan, as necessary; and
timbre.
3. Give an example of an activity that is appropriate for teaching timbre.
II. CONTENT: ON TEACHING TIMBRE
VI. LEARNING RESOURCE/S
Page
31
 Roldan, Albert Naopleon J., “Teaching Music in Elementary Schools”, Rex Bookstore, Quezon
City, Print.
VII. LEARNING PROCEDURES
READING:
POINTS YO PONDER WHEN TEACHING TIMBRE
1. How do I teach the difference between speaking and singing? (For Grade 1)
One good example to teach this is to find an example of a song based on a poem like
“Humpty Dumpty.” Let the students recite it first as a poem and let them sing it as a song.
Afterwards, let them describe the similarities and differences between speaking and singing.
2. How do I teach different qualities of sound? ( For Grades 1 to 3)
Choose an easy song that the students are familiar with. Let at least 3 students to sing
the song one after the other. Instruct the class to listen and compare the qualities of the voices.
Young children are also fond of imitating they hear and sea. Let them imitate the sound
of animals, things or ideas.
3. How do I present the topic about different musical instruments? (Grades 4 to 6)
Ideally, when presenting this topic, the teacher has to prepare audio recordings along
with visuals or pictures of the instruments being taught. Play the recordings frequently so that
the students can take note of the differences between the instruments. If instruments are
available at school, bring them to the class so they can have a hands-on experience with these.
4. How do I teach them about the differences between SATB ( soprano, alto, tenor, and bass)
voices? (For Grade 5)
The teacher may use recording of full SATB choir for the students to listen to.
Recordings used to differentiate these voice classifications.
V. EVALUATION
1. How will you teach the different qualities of sound? To do this, think of an activity that is
appropriate for Grades 1 to 3 pupils. Be creative. (You may prepare some visual aids for this)
2. Give an example of a thing, a person, an animal, or an idea found in the environment that
produces a sound characterized or closely related to the following adjectives:
 Mellow
 Melting
 Whirring
 Chugging
Lesson 2.6: MUSICAL CONTENT ON HARMONY AND TEXTURE
I. OBJECTIVES
1. Get a bird’s-eye-view of content topics under timbre as written in the Department of Education
2. Review and familiarize with the musical content pertaining to timbre.
3. Sing in triadic harmony.
II. CONTENT: MUSICAL CONTENT ON HARMONY AND TEXTURE
Page
32
City, Print.
Reading:
Topics in Harmony
Grade 4 Grade 5 Grade 6
Topics in Simultaneous sounding of two Introduction to Major Primary Chords
Harmony tones or pitches Triads Harmony in Group Perf.
Grades 1 and 2 Grade 3 Grade 4 Grade 5 Grade 6

Topics in Thickness and Thinness Same content Difference Densities Variations in
Texture Difference of single as G1- G2, between ostinato of musical Texture
melodic line vs. with addition and descant sound
simultaneous of two-part
occurrence of multiple rounds and
melodic lines partner songs
HARMONY
1. Harmony- is the relationship between two or more pitches sounded together at the same time.
2. Harmonic interval- distance between two pitches or notes that sound together. Notes are
stacked vertically on top of each other to show that they are to be sounded or played
simultaneously.
3. Consonance and dissonance- are two types of harmonic interval. Consonance basically sound
stable and do not require resolution. Dissonance, on the other hand, sound unresolved and
somehow “hanging”. Therefore, it needs to resolve to a consonance.
Consonant Intervals Dissonant Intervals
 Unison (same two notes played together) Major and Minor 2nds
 5th or Perfect 5th Major and minor 7ths
 Octave (8ve)
 Major and minor 3rds
 Major and minor 6ths
4. Chords and Triads- is a set of three or more pitches which are sounded together at the same
time. Chords are stacked vertically on top of the other. Triad is the most basic form of a chord.
The C major triad is formed by three notes: the root or the bottom note, the third, and the fifth.
For triads in a minor key, it has a different pattern and sounds rather sad and less bright
compared to a major key. The root note is A, the next note is a minor third above the third
which is C.The fifth note is the same as the major triad, which is E.
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5. Primary Triads- are the most common chords in Western tonal music. Many popular songs are
built around these three triads.
The triads that are highlighted are the primary triads. Triads represented by a capital
Roman letter is a major triad. Triads in minor are written in small Roman letters. The first triad is
called the tonic. The fourth triad, F Major, is called the subdominant ; while the fifth triad, G
Major, is the dominant. These are three primary chords in they key of C Major.
TEXTURE
1. Texture- refers to the blending and manipulating of different sounds and melodic lines
happening simultaneously in music. It can be categorized as monophonic, polyphonic, and
homophonic. It can also be generally perceived as the number of voices or instruments used and
how these are manipulated to create variations in the thinness and thickness of sound layers.
2. Ostinato- consistently repeated pattern found all throughout a piece of music.
3. Descant- it is the highest voice in a composition, separated uniquely from the other voices. It
may also mean counterpoint, or the harmonic relationship between multiple voices in a song.
4. Variations in Texture
a. Monophony- is consists only of one single melodic line without any backgroup support
of accompaniment.
b. Polyphony- it consists of several melodic lines, combined simultaneously.
c. Homophony- one melodic line or part is given primary interest and is given a
subordinate supporting accompaniment. Example: a person sings while playing chords
in a guitar.
V. EVALUATION
Sing in triadic harmony. Form in groups of three. Assign who will sing the bottom, middle, and top notes
of the given triads. You can use a smartphone app or similar app to help you find the right pitch.
1. F Major 2. G Major 3. A Major ( one that is highlighted)

Lesson 2.7: ON TEACHING HARMONY AND TEXTURE
I. OBJECTIVES
1. Take note of considerations that are to be applied when teaching timbre, including these when
writing down a music lesson plan, as necessary; and
timbre.
II. CONTENT: ON TEACHING HARMONY AND TEXTURE

City, Print.
Page
34
Reading:
POINTS TO PONDER WHEN TEACHING HARMONY AND TEXTURE
HARMONY
1. How do I teach simultaneous sounding of two pitches (harmonic intervals)? (For Grade 4)
Two facets when teaching harmony: visual and aural. A visual representation like notes
notes on the staff has to be shown to the students. Use a melodic instrument or a smartphone app
to sound the notes, and repeat them as needed so that the students can remember how each
interval sounds. Lastly, have the students imitate and sing the interval by making them sing. Instruct
other students to listen whether or not their classmates are singing in tune.
2. How do I teach chords and triads? (
For Grades 5 and 6)
Visuals and illustrations are
indispensable when making activities
for chords and triads. In the absence
of an instrument, a smartphone app
may be used instead so the students
can see and hear the triads at the
same time.
The numbers show how many half steps (semitones) are between the notes of the triad.
From root C, it takes four half steps to the third middle note- E, and then 3 half steps to the top
note- G.
3. singing activities for teaching harmony- partner songs are songs that contain different melodies
that may be sung together to create harmonies
a. Row, row, row your boat and Three Blind Mice
b. Mulberry Bush and Skip to My Lou
TEXTURE
1. Thickness and Thinness in Music, Single or Multiple Melodic Lines (For Grades 1 to 3) - it can be
best realized and appreciated if they listen to sample recordings. To illustrate the contrast
between the two, let them hear different recordings like the following:
a. A tribal or folk chant sung by a single voice, versus a choir.
b. A solo guitarist versus a rondalla.
Have your students analyze and describe what characteristics they hear.
2. How do I teach monophony, polyphony, and homophony? What are their differences? (For
Grades 5 and 6)
a. Monophony- give listening examples to the student; explain what monophony ; and
give examples afterwards. Let them give their examples through unison singing or
unison playing.
b. Polyphony- expose the students by playing polyphonic examples that they may listen to
like Row, Row, Row Your Boat. You can let them sing a round song to experience
polyphony- singing independent melodic lines.
c. Homophony- there is no substitute to listening examples. Another ideal activity is to let
students sing while the teacher plays chords on piano or on guitar. The chordal
accompaniment is what differentiates homophony from polyphony.
V. EVALUATION
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35
 Work in groups of four. Sing the round song “Are You Sleeping, Brother John?” or “Row, Row,
Row Your Boat?”
 Using same round song, “Are You Sleeping, Brother John?” create harmony by supplying notes
using either major or minor 3rds above or below the melodic line of the song.
Lesson 2.8: MUSICAL CONTENT ON FORM AND DYNAMICS
Page
36
I. OBJECTIVES
1. Get a bird’s-eye-view of content topics under form and dynamics as written in the Department
of Education (DepEd) curriculum; and
2. Review and familiarize with the musical content pertaining to form and dynamics.
II. CONTENT: MUSICAL CONTENT ON FORM AND DYNAMICS

City, Print.
Grades 1,2, and 3 Grades 4 Grade 5 Grade 6

Topics Musical Lines, Beginnings and Phrases in a Structures of Structures of
on Endings in Music, Repeats in Musical Piece Musical Forms Musical Forms,
Form Music Repeat Marks
Topics on Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade6

Dynamics Distinction Loud, Dynamics Dynamics Dynamics Dynamics
between Louder, soft, with Terminology: Terminology Terminology
Loud and and Softer Conducting forte and
Soft piano
FORM
1. Form- is the general shape of a musical work. It also refers to the basic structure of a musical
composition.
2. Phrase- is a musical unit made up of a group of
notes that contains a definite idea. There are
different types of musical phrases.
a. Antecedent- a phrase that is left
hanging or unresolved, like a question.
b. Consequent- the phrase that usually
follows an antecedent phrase which
completes and resolves it. It gives an
answer to a hanging question when
listening to it.
Auxiliary sections within a Musical Composition
a. Introduction- this is the passage in the beginning of a musical work.
b. Coda- this is a section that gives closure to a musical work even if its material is
sometimes unrelated to the themes or phrases used in the piece.
3. Structure of Musical Forms
a. Binary- this is a piece of music which has two sections which are related and
compliment each other and usually the same in length. Also called A-B Form, where A is
the first section and B is the second section.
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b. Ternary- also called A-B-A form, this has three sections, where A is the opening, B is
different yet complimentary and A is repeated. Twinkle, Twinkle, Little Star is an
example of this form.
c. Rondo- primary section or the, recurs multiple times, alternating with secondary
sections. This is signified as A-B-A-C-A or A-B-A-C-A- D-A form, where the primary
section A is repeated in between episodes (B, C, D)
d. Strophic- a type of form wherein all the stanzas or verses of song’s lyrics are sung to the
same music. It is also called as verse-repeating form.
4. Repeat Marks
a. Da Capo- it is an Italian word that means “from the beginning” and is usually
abbreviated as D.C. De capo shows a return to the very beginning of a musical
composition.
b. Dal Segno- abbreviated as D.S., it is an Italian word meaning “from the
sign” It directs a musician to repeat a section of music from the sign.
c. Da Capo al Fine-it is an instruction that means “to repeat from the
beginning to the end.” The words “al fine” mean “to
the end”. It is abbreviated as D.C al Fine in notation.
d. Repeat marks- are sign which says that a section of
music is to be played twice.
e. 1st and 2nd Endings when music has a different
ending upon repeat, brackets with numbers on
top of measures show which to play during the
first time, and which to play during the second
time, and so on.
DYNAMICS
V. EVALUATION
Choose a part of any song that you like. Sing it by showing the different degrees of dynamics, from soft,
moderately
Lesson 2.9: ON TEACHING FORM AND DYNAMICS
Page
38
I. OBJECTIVES
1. Take note of considerations that are to be applied when teaching form dynamics, including
these when writing down a music lesson plan, as necessary; and
form and dynamics.
II. CONTENT: ON TEACHING FORM AND DYNAMICS

City, Print.
Reading:
POINTS TO PONDER WHEN TEACHING FORM AND DYNAMICS
FORM
What are the important concepts I have to teach to my students regarding musical form?
For Grades 1-3, the important skill to teach students is to listen for patterns in the music.
Listening activities are so important since they will be listening to:
 How a piece or song begins and ends;
 Evaluate if there are any patterns ( melodically and rhythmically); and
 Check if there are repeats in the piece or song.
For Grades 4-6, it becomes a bit more advanced because you need to teach the students how
to:
 Identify musical phrases in a piece of music.
 Denote whether the phrases are antecedent or consequent; and
 Identify how many sections a piece. A section is a biggechunk of music which is usually made up
of two or more phrases. This determines whether the piece is in
binary or ternary term.
a. Binary Form- a type of musical form with two contrasting parts
b. Ternary form- a type of musical form with three parts. The first
part, “A” is repeated after the second part, “B.”
DYNAMICS- refers to sound volume. Elementary children should learn early on that music is not just
about making sounds or hitting the right notes. It is a formalized practice to use Italian as the standard
language for notating music.
Here are some activities that you may use when teaching dynamics.
 Ask some students to give examples of sounds in the environment that may be considered as
either loud or soft. It would be good if the students could imitate to some degree the example
of their given sounds.
 Give examples of familiar songs that the children can sing. Ask them if a particular song is better
performed loudly or softly.
 Teach a simple song to the students, wherein they will sing or play with variations in dynamics.
You have to show it through simple conducting gestures.
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39
o Palm movements- palm of your hand facing upward and lifting it indicates a gradual
increase in volume (crescendo), while putting your palm facing downward and lowering
it signifies a gradual decrease in volume (decrescendo).
V. EVALUATION
a. Give a list of musical instruments that you know, categorizing them as either loud or soft.
Explain to the class afterward. Give at least three each per category.
LESSON 3.0: THINGS TO CONSIDER IN PLANNING INSTRUCTION
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40
I. Learning Outcomes
1. Discuss the different things that should be considered in planning instruction and explain their
importance.
2. Write instructional objectives in elementary social studies that adhere to Bloom’s Taxonomy of
the Cognitive Domain.
3. Incorporate differentiation in planning a social studies activity.
4. Reflect on one’s technological pedagogical content knowledge (TPACK)
II. CONTENT: THINGS TO CONSIDER IN PLANNING INSTRUCTION

 Padernal, Rowel S., Ernest L. Esmeralda, Brenson Y. Andres,. REX Bookstore Inc856 Nicanor
Reyes, Sr.St. Printed.

Reading:
 Instructional planning is not a task that can be done easily especially for a beginning teacher.
There are six factors that will be discussed in this chapter: content, objectives, classroom
environment, materials, students, and teacher.
Content
 Basically, teachers need to know what they will teach in order to effectively prepare their
lesson.
 This is one of the primary elements that should be considered in instructional planning.
 It is important to distinguish between declarative and procedural knowledge in instructional
planning. It helps teachers to determine how to present the content in more organized.
 Declarative knowledge may be presented through expository approach, graphic organizer, or
data retrieval chart since it entails knowing about something and comes in the form of facts,
concepts, and generalizations.
 Procedural knowledge is best presented through task analysis or problem-solving. It is also in
the form of skills.
Objectives
 It is a specific statement of a learning outcome.

 It describes what we want our students to do and how we will know if they are already there.
 In a lesson, it is important to take into account the objectives in order to assess the student’s
learning and evaluate the effectiveness of instruction.
 In k-12 curriculum guide, statements of learning outcomes are expressed through standards
and competencies.
 In formulating instructional objectives, Bloom’s Taxonomy of Cognitive Domain is a handy
reference. (Remembering, Understanding, Applying, Analyzing, Evaluating, Creating)
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41
Classroom Environment
 Student learns more when there is a positive classroom environment. A classroom should be
welcoming and stimulating that students interact with each other and no child is excluded.
 A conducive classroom for learning is possible by forming collaborative groups, devising seating
arrangements, implementing buddy system or planning group activities.
 Students should be taught to be sensitive to the needs of their classmates and teachers should
be their model.
 A positive classroom environment can be easily achieved through the establishment of
classroom rules and routines at the start of the school year.
Materials
 Schoenfeldt and Salsbury (2009) define materials as any item, tool, or piece of equipment used
to support the lesson before, during, or after instruction.
 This may come in the form of visual aids, media equipment, tools, realia, print sources, and
manipulatives.
 Sousa (2001) recommends that teachers should use materials that appeal to different senses.
 Research proves that the use of technology in the classroom is beneficial in increasing
motivation and achievement. (Bain & Ross, 2000 et.al)
Students
 Student is the heart of the learning process.

 These should be taken into consideration in the learning process:
o Student readiness- this refers to the ability level of a student in relation to a given
topic and skill. Therefore, it is important to acknowledge that students do not learn at
the same pace and utilize scaffolding for those who struggle in the lessons.
o Student readiness- it is considered to be a powerful motivator to engage in students in
the learning process. This can be done by identifying their interests and incorporating
these in the lesson.
o Intelligence preference or Learning Style- this refers to the different cognitive
inclinations that a person has for learning. Howard Gardner’s Theory on Multiple
suggests that students have at least nine intelligence preferences- verbal/linguistic,
logical/mathematical, musical/rhythmic, bodily/kinesthetic, visual/spatial,
interpersonal, intrapersonal, naturalist, and existentialist.
 One effective way of facilitating learning in a diverse classroom is through the use of
differentiation. Fautley (2013) defines differentiation as a deliberate pedagogical strategy by
which teachers create conditions in which the curriculum is made accessible to individual
students.
Teachers
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 Mishra and Koehler (2006), a teacher’s knowledge is comprised of three components: content
knowledge, pedagogical knowledge, and technological knowledge. The intersection of these
three knowledge components is called Technological Pedagogical Content Knowledge (TPACK).
 Content knowledge refers to the teacher’s knowledge about the subject matter.
 Pedagogical knowledge includes the teacher’s knowledge in about the process of teaching and
learning. It includes that understanding of the principles or learning, classroom management,
etc.
 Technological knowledge is the teacher’s knowledge of and ability to use technological tools
and associated resources.
 Teachers with a high level of TPACK knows how and when technology can be used to assist
instruction and when technology should not be used since it impedes learning.
V. EVALUATION
1. Write a reflection essay that assesses your own technological pedagogical content knowledge
(TPACK). As a future teacher what can you do to further develop your TPACK?
2. How will you integrate the use of technology in teaching Music? You may cite some examples.
LESSON 3.1: DEVELOPING LESSON PLAN FOR MUSIC
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43
1. Differentiate comprehensive and abbreviated lesson plans and discuss how they are used in the
Philippines.
2. Explain the different components of the Daily Lesson Plan and Daily lesson log.
3. Develop a lesson plan for one grade level based on the K to 12 Curriculum Guide for Music
II. CONTENT: DEVELOPING LESSON PLANS FOR MUSIC

 Padernal, Rowel S., Ernest L. Esmeralda, Brenson Y. Andres,. REX Bookstore Inc856 Nicanor
Reyes, Sr.St. Printed.

Reading:
General Formats of a Lesson Plan
1. Comprehensive Lesson Plan

 It contains detailed description if the steps in the teaching and learning process. Sometimes,
expected responses from the students are included.
 This type of format serves as major requirement for education students in methods courses
and student teaching.
 It aids teachers to be familiar with every part of the lesson, ensures a logical sequence, and
guarantees that roadblocks are minimized.
 Detailed Lesson Plan is mandated through DepEd Order No.42, s.2016.
o Newly hired teachers without working professional working experience are required to
accomplish DLPS during their first year. A rating of very satisfactory should be received
by them at the end of the school year for them not to be required to make DLPS on their
second year onwards.
o Teacher applicants
o Master teacher who will conduct a demonstration teaching.
o All teachers handling a subject integrated with a new content.
2. Abbreviated Lesson Plan
 It contains less details.
 This is utilized by more experienced teachers.
 Teacher may opt to create grids that will outline their learning activities for a particular day or
week.
 An example of this format is the Daily Lesson Log (DLL) which is also mandated through DepEd
Order No. 42, s. 2016. It serves a grid template where teachers input the different parts of the
lesson.
 Teachers who have been in the education service for at least one year are instructed to write
DLLs instead of DLP.
Important Components of Lesson Plan
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44
 DLP and DLL have the same six components: objectives, content, learning resources,
procedures, remarks, and reflection.
 DLPs are prepared daily while DLLs are submitted weekly.
Six Components of a Lesson Plan
1. Objectives-
 It should be aligned to the content standard, performance standard, and competency.
 Teachers should ensure that they are specific and measurable and describes what students
should know or be able to do.
 It should not just tap the rote memorization but also the critical and creative thinking.
2. Content-
 It states the actual topic or subject that will be discussed for the day.
3. Learning Resources
 The references that they used in the development of the lesson: learner’s module, teaching
guide, textbooks, and other sources of information.
4. Procedures
 This is the longest part of the lesson plan
 It contains the steps, and activities that will be done to achieve the objectives.
 Procedures portion should be divided into three parts: Before the lesson, During the lesson,
and after the lesson.
o Before the lesson- done at the beginning of the lesson.
 Review of the previous lesson;
 Introduction of the new lesson;
 Presentation of the connection between the previous and the new lesson;
and
 Statement of the learning objectives.
o During the lesson- this is the part where new topic is presented. Teachers should
also include various activities that will help students attain mastery and
understanding. Formative assessment (check-up quiz, practice work, journal entry,
etc.) is essential for both students and teachers to check if learning takes place.
o After the lesson- it serves the closure of the lesson. Wrapping of the discussion is
done by any of the following:
 Application of the lesson to real-life situations;
 Summary, generalizations, and conclusion;
 Summative assessment; and
 Homework.
To ensure that the instructional objectives are attained, it is important for

teacher’s to conduct a summative assessment at the end of the lesson.
5. Remarks- the teachers should indicate in this part whether they have finished the lesson or not
within the given time frame. If it has to be continued, reasons such as re-teaching should be
written.
6. Reflection- teachers should assess their instruction, filling out this portion right after the
delivery of the lesson.
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45
Some Tips in Developing a Lesson Plan
1. Be familiar with the different instructional models in social studies.

2. Use an outline in your lesson plan.
3. Indicate the time allotment for every activity to help you manage the schedule and maximize
student’s time for learning.
4. Provide clear transitions from one subtopic to another.
5. Include a variety of activities and minimize teacher talk to sustain students’ attention.
V. EVALUATION
Read the K-12 Curriculum Guide for Music and choose one lesson from Grades 1-6. Develop a Detailed
Lesson Plan or Daily Lesson Log by filling out the following components.
Grade Level
Learning Area
Quarter
I. Objectives
Content Standard
Performance Standard
Learning Competencies/objectives
II. Content
III. Learning Resources
References
Other learning Resources
IV. Procedure
Before the Lesson
During the Lesson
After the Lesson
Lesson 4.0: RUBRICS FOR ASSESSING MELODY

I. OBJECTIVES
1. Learn general rubrics (guidelines) in assessing musical topics pertaining to melody; and
Page
46
2. Use the knowledge learned in these rubrics to formulate his/her own of specific guidelines when
students in the future, tailored to the circumstances of the class.
3. Design and write a set of rubrics aligned for a particular lesson.
II. CONTENT: RUBRICS FOR ASSESSING MELODY

City, Print.
Reading:
 A rubric is a grading guideline that teachers use to define what a student is expected to learn
and the quality of work the students should produce.
RUBRICS PERTAINING TO MELODY
A general sample of general rubrics for assessing a student’s learning in melody. The numbers
before each rubric indicate the achievement level, from 0 being the lowest (poor) to 4 being the highest
(excellent).this rubrics covers both the written and performance-based activities in melody.
0 The student does not participate in singing activities, or pretends to sing.
1 The student sings a song after many repeats, but does not know how to read notes, rests, and
other melodic symbols written on the staff. (singing by ear only, no visual association)
2 The student is able to identify melodic symbols in one song, but unable to transfer this same
reading knowledge when learning a new, completely different song.
3 The student sufficiently reads and sings songs alone.
4 The student sufficiently reads and sings songs together with other without losing his/her own
pitch.
V. EVALUATION
i. Research and list down a few familiar songs that may be used in teaching melody topics for
Grades 4-6. You may look at the DepEd Curriculum Guide for Music. Write the title of the
songs and explain why you chose those and why they are feasible to teach for that particular
grade level.
ii. Write and design your own set of rubrics aligned for a particular lesson. Instead of using
numbers to indicate the level of achievement, you may also use qualitative grading (poor,
needs improvement, etc)
 Topic: Melodic Contours
 Song: Bahay Kubo
 Suggested Activities: Listening, Writing down pitches, drawing melodic map, singing individually
or as a group.
Lesson 4.1: RUBRICS FOR ASSESSING RHYTHM AND TEMPO

I. OBJECTIVES
1. Learn general rubrics (guidelines) in assessing musical topics pertaining to rhythm and tempo;
and
Page
47
II. CONTENT: RUBRICS FOR ASSESSING RHYTHM AND TEMPO

City, Print.
Reading:
RUBRICS PERTAINING TO RHYTHM AND TEMPO
A general sample of general rubrics for assessing a student’s learning in rhythm and tempo. The
numbers before each rubric indicate the achievement level, from 0 being the lowest (poor) to 4 being
the highest (excellent).this rubrics covers both the written and performance-based activities in melody.
0 The student cannot read nor write rhythms on staff
1 The student can read and write rhythms after many repeats of a musical sample.
2 The student can read and write rhythms of one piece or song, but cannot transfer the knowledge
to a new or different song.
3 The student sufficiently reads and notates rhythms of different songs , whether old or new
4 The student adequately reads and notates rhythms of different songs in a variety of tempos.
V. EVALUATION
iii. Write and design your own set of rubrics aligned for a particular lesson. Instead of using
 Topic: Distinguishing between duple and triple meter
 Song: any applicable song in duple and triple meter
Lesson 4.2: RUBRICS FOR ASSESSING TIMBRE

I. OBJECTIVES
1. Learn general rubrics (guidelines) in assessing musical topics pertaining to timbre; and
Page
48
II. CONTENT: RUBRICS FOR ASSESSING TIMBRE

City, Print.
Reading:
RUBRICS PERTAINING TO TIMBRE
A general sample of general rubrics for assessing a student’s learning in timbre. The numbers
before each rubric indicate the achievement level, from 0 being the lowest (poor) to 4 being the highest
(excellent).this rubrics covers both the written and performance-based activities in melody.
0 The student cannot visually and aurally identify musical instruments. He/she cannot tell if an
instruments. He/she cannot tell if an instrument is classified as stringed, woodwind, brass, or
percussion. The student cannot differentiate between low-pitched and a high-pitched voice.
1 The student is severely limited in identifying musical instruments and the nature as to how they
are played and in determining whether a human voice is high and low.
2 The student recognizes some of the musical instruments and the nature as to how they are
played, both aurally and visually. He/she can identify whether a human voice is high and low, but
is not that consistent in differentiating them.
3 The student can identify aurally and visually most of the musical instruments and can associate
their sounds with an extramusical idea. He/she knows how sound is produced in each
instruments. The student can also generally determine aurally if a voice is either in the range of
soprano, alto, tenor or bass.
4 The student can identify aurally and visually majority of the musical instruments, as part of
listening to them. He/she can also classify them as either part of one of the following ensembles.
The student can also distinguish the fine line of difference between soprano and alto, and
between tenor and bass when listening to choir recordings.
V. EVALUATION
iv. Write and design your own set of rubrics aligned for a particular lesson. Instead of using
 Topic: Voice Classification
Lesson 4.3: RUBRICS FOR HARMONY AND TEXTURE

I. EVALUATION
Page
49
1. Learn general rubrics (guidelines) in assessing musical topics pertaining to harmony and texture;
and
II. CONTENT: RUBRICS FOR ASSESSING HARMONY AND TEXTURE

City, Print.
Reading:
RUBRICS PERTAINING TO HARMONY AND TEXTURE
A general sample of general rubrics for assessing a student’s learning harmony and texture. The
numbers before each rubric indicate the achievement level, from 0 being the lowest (poor) to 4 being
the highest (excellent).this rubrics covers both the written and performance-based activities in melody.
Page
50

Revised Module in Teaching Music in The Elementary Grades 2

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Revised Module in Teaching Music in The Elementary Grades 2

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COURSE OUTLINE

Course Code/Subject: Music

Course Credit: Three (3) units

Unit 3 (Instructional Strategies for Music)

Unit 4: Assessment Strategies

II. CONTENT: WHAT IS MUSIC AND ITS SIGNIFANCE TO THE LEARNERS?

III. LEARNING RESOURCE/S

IV. LESSON PROPER

 According to Ludwig Van Beethoven,

#1) Music stimulates brain development in children

#2) Music is a way to connect with other people

II. CONTENT: MUSIC AND THE CHILD

III. LEARNING RESOURCE/S:

IV. LESSON PROPER

ADAPTATION OF MUSIC TO LEVEL OF DEVELOPMENT

THE CHILD'S ATTITUDE TOWARD MUSIC

Different personalities react

The teacher may, however, provide

1. What is the key to toddler’s music?

Favorite Songs Reason/s Songs that you don’t Reason/s

III. LEARNING RESOURCE/S

IV. LESSON PROPER

MUSIC EXPERIENCES APPROPRIATE FOR ELEMENTARY LEARNERS

For the elementary band

SPECIFIC SUGGESTIONS REGARDING SINGING

TEACHING A ROTE SONG

GETTING FAMILIAR WITH THE CONCEPTS PERTAINING TO MUSIC

o Beat - Music often has an underlying, recurring beat.

o Rhythm - Sounds may be long or short.

o Phrases - Successive pitches may be organized in patterns, which may be combined to

o Ostinato - A repeated rhythmic, melodic, or harmonic pattern may serve as the

UNIT 2: PREPARING FOR YOUR MUSIC LESSONS

Bar Lines and Measures

 A Single Bar Line is the normal

2. INTERVALS- it is the distance

Lesson 2.1: ON TEACHING MELODY

SAMPLE ACTIVITIES FOR LEARNING CONTENT RELATED TO MELODY

2. Teaching melodic lines (Grade 3)

CONSIDERATIONS INSIDE THE CLASS

Lesson 2.2: MUSICAL CONTENT ON RHYTHM AND TEMPO

4. Different notes and rests and their time

1. Tempo- how fast or slow a piece of music is

III. LEARNING RESOURCE/S

SAMPLE ACTIVITIES FOR TEACHING RHYTHM

SAMPLE ACTIVITIES FOR TEACHING TEMPO

2. How many quarter notes is this equivalent to

3. How many quarter notes is this equivalent to

Lesson 2.4: MUSICAL CONTENT ON TIMBRE

III. LEARNING RESOURCES

Lesson 2.5: ON TEACHING TIMBRE

VI. LEARNING RESOURCE/S

III. LEARNING RESOURCES

Grades 1 and 2 Grade 3 Grade 4 Grade 5 Grade 6

1. F Major 2. G Major 3. A Major ( one that is highlighted)

III. LEARNING RESOURCE/S

Lesson 2.8: MUSICAL CONTENT ON FORM AND DYNAMICS

III. LEARNING RESOURCES

Grades 1,2, and 3 Grades 4 Grade 5 Grade 6

Topics on Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade6

Lesson 2.9: ON TEACHING FORM AND DYNAMICS

III. LEARNING RESOURCE/S

LESSON 3.0: THINGS TO CONSIDER IN PLANNING INSTRUCTION

II. CONTENT: THINGS TO CONSIDER IN PLANNING INSTRUCTION