SIGHT-SINGING IN IMPROVING PUPILS’ SKILLS IN LEARNING MUSI C

AN ACTION RESEARCH PROPOSAL

Respectfully Submitted to:

Saturnino T. Pabalinas, Jr., Ph. D.

OIC, SEPS – Planning and Research

by:

Jan Alfred G. Nombre

Teacher 1
Context and Rationale

Sight-singing is the ability to read music notation and sing it at first sight. It is a

skill along with other aural skills, which builds a foundation for music independence,

(Pollock, 2017). Sight-singing being a foundation for music independence must be taught

to elementary pupils to help improve their skill and potential in learning music.

According to the National Association for Music Education’s Core Music Standards

(NAFME, 2015), it is one of the core skills in learning music.

Improving sight-singing skill is an integral component of any music theory

curriculum because it enhances the student’s ability to develop audiation skill. Audiation

skill or inner hearing is the ability of a person to internalize or create musical

representations from the music hear or seen. Learners cannot sight-sing without inner

hearing (Nite, et.al. 2015). As cited in Sheridan (2015), “every person has the ability to

access his or her own voice.” Failure to form and use auditory representations before the

sound is produced would result in incorrect vocal intonation, (Penka, 2015).

To effectively learn sight-singing, lessons in music should be contextualized

according to Deped Order No. 35, s. 2016, Nite et.al. (2015) revealed that reading known

melodies should be taught first before reading unknown melodies. Folk songs, familiar

songs or mother-tongue songs which are the known melodies are the key to learn

effectively in sight-singing. As cited in Attaway (2017), Zoltan Kodaly, a prominent

figure in the 20th century music education used contextualization in teaching music in his

homeland Hungary. According to the Kodaly Approach in sight-singing as cited in

Sheridan (2015), “aural skills must be developed early in a child’s life through a cappella
singing in a sound to symbol approach.” Until today, the Kodaly approach to learning

music is still being practiced and United Nations Educational, Scientific and Cultural

Organization or UNESCO (2016) inscribed it as one of the intangible cultural heritage of

the world.

According to the Department of Education Music Curriculum Guide (2016), the

content in the Grade 6 is application for appropriate and mastery of skills and the key

stage standard is that a learner should demonstrate understanding of basic concepts in

music through performing, creating and responding. Nite, et.al. (2015), “Music

performance is at the heart of learning. All music knowledge should be derived through

singing. Singing can be understood to also include the ability to internalize or inner hear a

musical score.” It is important for pupils to learn sight-singing in order for them to be

able to demonstrate understanding of basic concepts in music.

In Talubangi Elementary School, the action researcher found out that based on the

test result conducted, the Grade 6 Camia pupils got an over-all Mean Percentage Score in

Music of 60% below the planning standard of the Department of Education which is

75%.

For this reason, the action researcher was prompted to use sight-singing as an

intervention in improving pupil’s skills in learning Music and would be the basis in

crafting of enhancement program plan.

II. Review of Related Literature

On Sight-Singing

Sight singing is the ability to read musical notation and sing it at first sight

(Pollock, 2017.) In developing or teaching pupils sight-singing, a sound to symbol

principle is followed. Before a child will learn how to sight sing, he or she must first

learn how to sing. For the learner to be able to sing, songs that must be taught are familiar

songs. According to Nite and his collegues (2015), all music knowledge should be first

derived through singing especially familiar to the learner. Carlson (2016) also stated that

singing is the first step for a musically literate society. Perhaps the best way to make a

society musically literate is to teach them folk songs. These familiar songs or folk songs

are used in teaching sight-singing which is also called mother-tongue songs. Attaway

(2017) states that the best and effective way in improving pupils skills in learning music

is to teach them first how to sing familiar songs. This principle was realized by Zoltan

Kodaly on December 16, 1882 at Kecskemét, Hungary. Not only that learners are being

taught the skills in learning music using folk songs but also a sense of nationalism is

being developed in them.

The Department of Education curriculum guide content in Music Grade 6 (2016)

states that learners must be able to demonstrate understanding in concepts of music. If the

teacher really wanted to develop his pupils skill in learning music, sight-singing should

be taught. According to Carlson (2016), sight-singing it is the most important skill in

learning music in developing the potential and skills of a learner’s musicianship. The best
time that sight-singing should be taught is during the early years of a child. As cited in

Sheridan (2015), musical training should begin as early in life as possible.

Sight-singing on Audiation

In learning sight-singing, a crucial skill that needs to be learned is audation.

Zoltan Kodaly ss cited in Nite, et. al. (2015), coined the term audition referring to inner-

hearing ability. Student cannot sight-sing if they cannot inner hear. Aural awareness is

very important, learners first inner hear the music and play it back in their mind. Aural

awareness can be achieved through repetitive exercises that focus on internalizing music,

analyzing music by ear, and creating representations of music (Nite, et.al. 2015). It is

important to teach learners folk songs or familiar songs in enhancement of their inner-

hearing skills (Sheridan, 2015).

According to Gordon’s Learning Music Theory developed by Edwin Gordon in

his book Edwin Gordon, Learning Sequences in Music: A Contemporary Learning

Theory (2007, p.15), there are different types of audiation, the following are type 1,

listening to familiar or unfamiliar music, type 2, reading familiar or unfamiliar music,

type 3, writing familiar or unfamiliar music from dictation, type 4, Recalling and

performing familiar music from memory, type 5, Recalling and writing familiar music

from memory, type 6, Creating and improvising unfamiliar music while performing or in

silence, type 7, Creating and improvising unfamiliar music while reading, type 8,

Creating and improvising unfamiliar music while writing.

 This action research on sight-singing in improving pupils’ skills in learning music

will focus on the type 2 audiation which is reading of familiar or unfamiliar music.

Furthermore, According to Gordon’s Learning Music Theory developed by Edwin

Gordonin his book Edwin Gordon, Learning Sequences in Music: A Contemporary

Learning Theory (2007, p.14), there are stages in audiation, the following are stage 1

which is momentary retention, stage 2 which is imitating and audiating tonal patterns

and rhythm patterns and recognizing and identifying a tonal center and macrobeats, stage

3 which is establishing objective or subjective tonality and meter, stage 4 which is

retaining in audiation tonal patterns and rhythm patterns that have been organized, stage 5

which is recalling tonal patterns and rhythm patterns organized and audiated in other

pieces of music and stage 6 which is anticipating and predicting tonal patterns and

rhythm processes.

On Levels of Discrimination in learning Music

According to Gordon’s Learning Music Theory developed by Edwin Gordon in

his book Edwin Gordon, Learning Sequences in Music: A Contemporary Learning

Theory (2007, p.101), there are also sequences in learning music. Discrimination

learning is defined as the ability to determine whether two elements are same or not the

same. Gordon describes five sequential levels of discrimination: aural/oral, verbal

association, partial synthesis, symbolic association, and composite synthesis.

Gordon describes that the most basic type of discrimination being aural/oral,

where students hear tonal and rhythm patterns and imitate by singing, moving, and

chanting patterns back to the instructor. Students listen in the aural portion of
discrimination learning, while performing represents the oral portion. At this stage,

students use neutral syllables to perform tonal and rhythm patterns.

After students are more able to audiate and perform basic rhythm and tonal

patterns and become comfortable with imitating songs and chants in introduced tonalities

and meters, Gordon explains the next step is verbal association, where contextual

meaning is given to what the students are audiating and imitating through tonal or rhythm

syllables (such as solfege or the names of concepts students may be audiating through

tonal patterns such as tonic and dominant).

At both aural/oral and the verbal association level, students identify familiar tonal

and rhythm patterns performed on neutral syllables by their verbal association.

Symbolic association is the point at which students are introduced to notation,

learning to associate written symbols and notation describing familiar tonal and rhythm

patterns that had been introduced in the aural/oral and verbal association level of the skill

learning sequence.

At the composite synthesis level, students give context to familiar tonal or rhythm

patterns by reading and writing them and identifying their tonality or meter as introduced

in the symbolic association stage.

On Rhythm

The DepEd Curriculum Guide (2016) in music starts its training primarily on

rhythmic ostinato as early as Grade 1. The rhythmic exercises given are counting and

syllabication. As it is the most easiest way to learn, these are introduced on lower levels.
It is also very important skill in sight singing along with pitch solmization (Carlson,

2016). There are different ways to learn rhythm, but the most common is the use of

syllable or the Kodaly approach and counting usually practiced together with the clapping

of hands (Nite, et.al 2015).

On Pitch Solmization and Rhythm Solmization

A study by Pollock (2017) indicated that majority of choir directors who teach

sight-singing uses pitch solmization and rhythm solmization as a strategy for effective

learning. Sight-singing performance is associated with fundamental rhythmic (rhythm

solmization) and melodic (pitch solmization) skills (Fournire et.al., 2017). Pitch

Solmization is the assignment of syllables to musical notation in a musical staff (Pollock,

2017). In teaching pitch solmization, there are two systems that are used, the movable-do

and the fixed-do. Either of the two has their advantages and disadvantages, but for the

elementary learners, the movable-do is the best choice in learning sight-singing because it

enhance their inner-hearing or audiation skill without moving to more complex notations

(Pollock, 2017).

According to Pollock (2017), after teaching pitch solmization is rhythm

solmizaton. Rhythm solmization is the next important thing to teach sight-singing after

pitch solmization. (Carlson, 2016). There are four (4) ways in teaching rhythm

solmization as cited in Pollock (2017), “(1) syllables reflecting duration, (2) syllables

reflecting metrical hierarchy, (3) syllables reflecting serial order in a subdivided beat, and

(4) speech cues associated with specific rhythmic patterns.”

 The most common and simple way in teaching rhythm solmization is the syllable

reflecting duration. It uses a Kodaly approach developed by a Hungarian composer

Zoltan Kodaly on assigning syllables on notes.

By combining both strategies, pupils will be able to develop inner-hearing ability

or audition skill which is crucial for learning in sight-singing (Pollock, 2017).

Learning Music on Contextualization

According to the Deped Order No. 35, s. 2016, curriculum contextualization is the

process of matching the curriculum content and instructional strategies relevant to

learners. While teaching strategies in sight-singing using pitch solmization and rhythm

solmization plays a vital role in the inner hearing ability or audiation skill of a learner in

achieving pitch accuracy, it is also important that the learning process should be

contextualized (Sheridan, 2015). Simple musical examples and familiar melodies like

folk songs should be used in teaching sight-singing (Nite et. al. 2015). The

contextualization in teaching music has already been given emphasis and importance

when Zoltan Kodaly realized the importance of contextualization. (Sheridan, 2015. The

Kodaly approach on contextualization in learning music developed by Zoltan Kodaly

does not only gives emphasis to promote the national identity and pride of a learner but it

makes learning more interesting and easy (Attaway, 2017).

On Competencies in Learning Music

According to the Department of Education Music Curriculum Guide (2016), the

content in the Grade 6 is application for appropriate and mastery of skills and the key

stage standard is that a learner should demonstrate understanding of basic concepts in

music through performing, creating and responding. As cited in Nite et.al. (2015), “Music

performance is at the heart of learning. All music knowledge should be derived through

singing. Singing can be understood to also include the ability to internalize or inner hear a

musical score.” It is important for pupils to learn sight-singing in order for them to be

able to demonstrate understanding of basic concepts in music.

Some of the learning competencies in the Deped curriculum require skills in

sight-singing using pitch solmization and rhythm solmization. Example in using sight-

singing is the learning competency in the second quarter in which the pupil will

demonstrate the ability to sing, read, and write simple musical notations in the Key of C

Major, G Major and F Major (DepEd Music 6 CG, 2013). Most learning competency

also in the Grade 6 are focused on reading musical notations.

First Quarter is all about rhythm on musical symbols and concepts. When the

pupils have the ability to sight-sing, it will be easy for them to learn rhythm on musical

symbols and concepts as sight-singing requires the ability of rhythm reading.

Second quarter is all about melody on intervals, major scales and minor scales.

Reading a melody on different scales requires the strategy of using a movable-do system

as the pupils will read the notes on a staff. Sight-singing uses a strategy of a movable-do

system as it is easy for the pupils. (Pollock, 2017).

 Third quarter is all about studying forms of music including repeat marks, timbre

of musical instruments and dynamic marking and fourth quarter is all about tempo,

texture and harmony.

Almost all topics from the first quarter to fourth quarter require a strong

foundation in music. By learning sight-singing, pupils will already have the foundation

for music independence in learning other skills in music making it will be much easier for

them especially in the 6th grade to learn the competencies (Pollock, 2017)

III. Research Questions

This action research will determine the Sight-singing as an Intervention to improve

pupils’ skills in learning music.

Specifically, this action research seeks to answer the following questions;

1. What is the level of Grade 6 pupils’ skills in learning music in terms of

rhythm, pitch solmization and rhythm solmization before the

intervention?

2. What is the level of Grade 6 pupils’ skills in learning music in terms of

rhythm, pitch solmization and rhythm solmization after the intervention?

3. Is there a significant difference between the levels of Grade 6 pupils’

skills in learning music in terms of rhythm, pitch solmization and rhythm

solmization before and after the intervention and when taken as a whole?

4. What enhancement program plan in learning music can be made based on

the findings of the study?

IV. Scope and Limitation

Scope and Limitation

This action research will focus on the following levels of sight-singing in terms of
rhythm, pitch solmization and rhythm solmization in improving pupil’s skills in learning
music to improve pupil’s skills in learning music. The participants will be the thirty (30)
Grade 6-Camia pupils of Talubangi Elementary School for the School Year 2019-2020.

V. Methodology

This action research will employ a quantitative single-subject experimental

research design to interpret one group of participants their level of skill of the participants

in terms of rhythm, pitch solmization and rhythm solmization and when taken as a whole

using a one-way experimental design before and after the intervention. Research from the

educational field commonly uses a single-subject research design to examine the

effectiveness of instruction (Adams, 2015). Single-subject research, at times referred to

as single-case research, is a quantitative approach to examine functional relationships

between baseline and experimental conditions over time within individual subjects

(Lewis and Cage, 2015).

Earl (2014) defines qualitative research as a scientific method of observation to

gather non-numerical data using a likert scale a standard tool. A single subject

experimental research was used to evaluate the intervention.

Sampling

The participants of this action research will be the 30 Grade 6- Camia pupils of

Talubangi Elementary School located in Barangay Talubangi, Kabankalan City, Negros

Occidental. Fifteen (15) males and fifteen (15) females are officially enrolled for the

School year 2019-2020. Hence, the participants were divided into two (2) groups, 15

pupils for the control group and 15 pupils for the experimental group.

Data Collection

This action research will utilize a researcher-made rubric (Appendix G). The

rubric has three parts. The part 1 consists of rubric on rhythm, part 2 on pitch solmization

and part 3 on rhythm solmization.

The Good and Scates validation form (Appendix D) will be used in validating

questionnaire. Three (3) panels of experts holding masters or doctoral degree will

validate the questionnaire. The research questionnaire consisted of three categories of

sight-singing comprising five (5) items for each category for the pre-test and post-test

following the pattern from the teacher-made test.

The reliability assessment of the instrument will be analyzed using the test-retest

procedures and the correlation coefficient as the bases of the reliability index). The

researcher will utilize an Alpha Cronbach for reliability test based on the attained scores

of the participants from the performance rubrics.

Pre-Implementation

On the pre-implementation stage, the pre-test will be given on Friday, January 10,

2020 to the 30 participants of Grade-6 Camia. A validated questionnaire and rubric will

be used by the teacher to evaluate their performance individually in sight-singing in terms

of rhythm, pitch solmization and rhythm solmization.

Implementation

On the implementation stage, the participants will undergo training on rhythm,

pitch solmization and rhythm solmization. Part of their routinely activity before the

training on sight-singing in terms of rhythm, pitch solmization and rhythm solmization

will be a vocal warm up exercise played on the speaker. This will prepare their vocal

chords and hearing skills during the training.

The training of sight-singing in terms of rhythm will be conducted for the month

of February 2020 on the first week. The principle of teaching music in rhythm will use

the sound to symbol approach which is a philosophy of Kodaly (Sheridan, 2015).

Participants will first sing familiar songs like Bahay-Kubo, Birthday Song, May Tatlong

Bibe to familiarize the sound and studied their rhythmic symbols based on the musical

scores provided by the teacher. The Kodaly approach using syllables will be introduced

after the participants will be able to familiarize the song. Pitch solmization will be taught

on the second week of February, 2020after the intervention on rhythm.

On pitch solmization, participants will undergo training for whole second week of

February 2020. The same principle of teaching using the sound to symbol approach will

be used and the same strategy of evaluation using individual approach will be applied to

the participants. Same songs during the training on rhythm were will also be used to pitch
solmization to analyze the pitch of each songs based on the musical symbols given.

During the training, the teacher will use videos, musical instruments and Noteworthy

composer which is an application software, and hand symbols (Kodaly approach) to help

develop their inner hearing which is essential in the training of pitch solmization.

On rhythm solmization, participants eill undergone training for two weeks on the

third and fourth week of January 2020. The teacher will give more time during the

intervention on the training of rhythm solmization because this skill in sight-singing was

not introduced in the K-12 Basic education Curriculum in Music. Unlike Rhythm and

Pitch Solmization which was introduced as early as the 1st and 2nd Grading in Grade 1

(Music Curriculm Guide, 2016). Rhythm solmization is the combination of rhythm and

pitch solmization and is the most difficult skill in learning sight-singing (Pollock, 2017).

The same songs and strategy on rhythm and pitch solmization will be used in rhythm

solmization. However, the teacher will add unfamiliar melodies written on a musical

score for the participants to interpret the pitch and rhythm simultaneously for rhythm

solmization.
Ethical Issues

To ensure the ethical standards of the study, the researcher will observe the

standards and protocols prior to the conduct of the study including permissions,

standards, and procedures to be observed. This action research will undergo inspection

which will be conducted by panel expert, research adviser and professor. All permissions

from the respective authorities will be followed and all responses of the participants will

be given the utmost confidentiality.

Plan for Data Analysis

This action research will gather, collect, analyze and interpret the data using an

appropriate statistical tool, procedure and treatment.

To answer problem numbers 1 and 2, the mean will be used and interpreted using

the likert scale as follows;

Mean Interpretation (Levels of Proficiency)

4.21-5.00 Advanced
3.41-4.20 Proficient
2.61-3.40 Approaching Proficient
1.81-2.60 Approaching
1.00-1.80 Beginning

For problem number. 3, the test of difference, the t-test will be utilized.
Workplan

Activities Target Date Persons Resources Needed

Frame Involved

January 10, Teacher and

2020 Pupils
Pre-Test on Sight-singing Test Materials

Presentation of the Research December Teacher- Data on Status of

Proposal 9, 2019 Researcher participant’s performance
in Music

Colloquium and Finalization of January 24, Teacher- Bondpaper for the

Proposal 2020 Researcher and Research Proposal
Panel for the
Colloquium

Gathering of Localized January 31, Teacher- Piano, Bondpaper, staple

Materials for sight singing, 2020 Researcher wire, Projector/TV, and
handouts and reproduction of computer
the same for the whole class.

Data Gathering/Collection February Teacher- Questionnaires for the

2020 Researcher and reproduction of Data
Participants of gathering tools
the Study

Post Test First Week Teacher- Test Materials

of March, Researcher and
2020 Participants of
the Study

Analysis and Interpretation of Second Teacher- Consolidation and

Data week of Researcher and Interpretation of Results
March 2020 Participants of
the Study

Formulation of Conclusions Third and Teacher- Paper for the terminal

and Recommendations Fourth Researcher and report/accomplishment
Week of Participants of
March, the Study
2020
Cost Estimates

Activities Resources Needed Estimated Amount

Validity of the Research Validators 1500
Instrument for three
experts
Reliability Testing Statistician 1000
Conduct of Pre-Test Test Materials 100
Presentation of the Data on status of none
Research Proposal participant’s performance
in music
Colloquium and Bondpaper for Research 100
Finalization of Proposal Proposal
Gathering of Localized Bondpaper and 500
Materials for sight singing, instructional materials for
handouts and reproduction teaching sight singing
of the same for the whole
class.
Data Gathering/Collection February 2020 None
Conduct of Post-Test First Week of March 2020 100

Analysis and Interpretation Snacks for the participnts 2000

of Data to the focused group
discussion

Formulation of Conclusion Bond Paper 100

and Recommendation

Plans for Dissemination/Advocacy

This action research seeks to investigate the effects of Sight-singing to the performance

in music of Grade 6 Camia. If the same proves effective, it will be replicated in other

grade 6 Music classes. Instructional materials in music in teaching sight-singing would be

further gathered and reproduced for use in classroom instruction.

The researcher upon the approval of the school principal shall meet and coordinate with

other Music teachers (preferably Grades Five and Six only) so the mechanics on the

utilization of sight-singing materials in classroom instruction will be thoroughly

discussed.

The following activities will be undertaken:

Activity Target Participants Tentative Schedule

Meeting with Grade Five Grade Five and Six Music June 2020
and Six Music Teachers Teachers
and Orientation on the use
of localized reading
materials

Distribution of sight- -do- June 2020

singing materials for Music
Five and Six

Utilization of the Sight- -d0- June 2020-March 2021

singing materials

Technical Assistance on -do- Whole Year Round

Filipino Classroom
instruction
 List of References

Adams, G. (2015). Proceedings of the British Society for Research into Learning
Mathematics.
Attaway, K. (2017) The Kodály Method and the Levels of Biblical Learning: Teaching
Theology and Hymns to Children
Carlson R. P., (2016). Teaching Sight-Reading to Undergraduate Choral Ensemble
Singers: Lessons from Successful Learners
D.O. 73, s. 2012. Guidelines on the Assessment and Rating of Learning Outcomes Under
the K to 12 Basic Education Curriculum.
Earl B. (2014). The Basics of Social Research (6th ed.). Belmont, California: Wadsworth
Cengage. pp. 303–04.
Edwin G., Learning Sequences in Music: A Contemporary Learning Theory (Chicago:
GIA Publications, Inc, 2007, p. 101)
Edwin G. Learning Sequences in Music: A Contemporary Learning Theory (Chicago:
GIA Publications, Inc, 2007, p. 20)
Eleanor E. Harding, Daniela Sammler, Molly J. Henry, Edward W. Large, Sonja A.
Kotz,, (2018). Cortical tracking of rhythm in music and speech.
Ertmer, P. A., & Newby, T. J. (1993). Behaviorism, cognitivism, constructivism:
Comparing critical features from an instructional design perspective.Performance
improvement quarterly, 6(4), 50-72
Guillaume Fournier, Francis Dubé, Maria Teresa (Maite) Moreno Sala, Susan A O'Neill
(2017), Cognitive strategies in sight-singing: The development of an inventory
for aural skills pedagogy
Hull, D (1993). Opening Minds, Opening Doors: The Rebirth of American Education.
Kielczewski, Nicole M. ( 2011) The Effect of Music Learning Theory on Sightsinging
Ability of Middle School Students
Lewis, T. J. and Gage N. (2015). Single-Subject Research Design.
Mehmet Fatih Ayaz, Hanifi Şekerci (2015). The Effects of the Constructivist Learning
Approach on Student’s Academic Achievement: A Meta-Analysis Study.
Mincheva, P. Penka (2015) Teaching Creative Abilities of Children in Music Education in
the General School
Mirsaedi, M. and Booth, T. (2014). Applying Constructivist Active Learning Theory in
the Creation of Information Security Hands on Labs.
Nite, S., Taacka P., Houlahan M., Moreno P., (2015). The Effect of Kodály Training on
Music Teachers’ Sight Singing Skills.
Oducado ,Ryan Michael Flores (2019). Survey Instrument Validation Rating Scale.
Perin, (2011). Facilitating Student Learning Through Contextualization.
Piaget, J. (2013). The construction of reality in the child (Vol. 82). Routledge.
Pollock, (2017). Sight-singing pedagogy : a survey of high school choral directors.
Rebilas, S., (2014). What Happens When Middle School Students are Individually
Assessed on Their Sightsinging Skills?
Refinger, J. Jr, (2018). The Relationship of Pitch Sight-Singing Skills With Tonal
Discrimination, Language Reading Skills, and Academic Ability in Children.
Sheridan, M. M. (2015) Singing is Elementary: Teachers’ Use of Singing in Three
Kodály-Based Elementary General Music Classrooms.
 Appendix A

Performance-Based Test

This three- part questionnaire forms of my on-going research study on “SIGHT-

SINGING IN IMPROVING PUPIL’S SKILLS IN LEARNING MUSIC”.

Let me assure you that all your responses will be kept confidential and there will
be no wrong or right answers.

Thank you for your participation.

JAN ALFRED G. NOMBRE

Action Researcher

Code Number: _______

Part 1 on Rhythm

Directions: Study the notes on the staff and give the rhythm by syllabicating and
clapping.

Part 2 on Pitch Solmization

Directions: Study the following notes and give the sound or pitch of each notes

using so-fa names.

 Part 3 on Rhythm Solmization

Directions: Sing the song in the musical score using so-fa syllables with appropriate pitch
and duration.
 Appendix B

Letter to Validators

Date:__________________

_________________________

_________________________

_________________________

Dear Madam,

May I request for your permission to validate my questionnaire of my on-going research

study on the “SIGHT-SINGING IN IMPROVING PUPILS’ SKILLS IN LEARNING
MUSIC”.

Copies of the questionnaires are attached for your reference. This two-part survey form
will be answered by my Grade VI pupils who will be the participants of this study.
Please be assured that the data will be treated with utmost confidentially.

Thank you for assistance and more power to you.

Very truly yours,

JAN ALFRED G. NOMBRE

Action Researcher

Noted by:
 LIRA R. VARONA
Principal

Appendix C
Research Instrument Evaluation Form

Action Research Title: “SIGHT SINGING IN IMPROVING PUPILS’ SKILLS IN

LEARNING MUSIC”

Directions: Kindly evaluate the attached rating scale according to the following
criteria set forth by Good and Scates:
1 = Poor; 2 = Fair; 3 = Good; 4 = Very Good; and 5 = Outstanding.

CRITERIA FOR EVALUATION RATING

1. The questionnaire is short enough so that the subject will not

reject it because it will drain much of his precious time.
2. The questionnaire has face appeal such that the subject will be
inclined to accomplish it fully.
3. The questionnaire can obtain some depth to the subject and avoid
superficial answers on data.
4. The items and their alternative responses are not suggestive or too
stimulating.
5. The questionnaire can elicit response which are definite but not
mechanically forced.
6. The items are stated in such a way that the responses will not be
embarrassing to the person concerned.
7. Items are framed in such a manner as to allay suspicious on the
part of the subject concerning hidden purposes in the questionnaire.
8. The questionnaire is not too warm nor restrictive or limited in its
scope and philosophy.
9. The responses to the questionnaire will take a whole, could
answer the basic purpose for which the questionnaire is designed and
therefore are considered valid.
TOTAL MEAN
 Research Instrument Evaluation Form
Action Research Title: “SIGHT SINGING IN IMPROVING PUPILS’ SKILLS IN
LEARNING MUSIC”

Directions: Kindly evaluate the attached rating scale according to the following
criteria set forth by Good and Scates:
1 = Poor; 2 = Fair; 3 = Good; 4 = Very Good; and 5 = Outstanding.

CRITERIA FOR EVALUATION RATING

10. The questionnaire is short enough so that the subject will not
reject it because it will drain much of his precious time.
11. The questionnaire has face appeal such that the subject will be
inclined to accomplish it fully.
12. The questionnaire can obtain some depth to the subject and avoid
superficial answers on data.
13. The items and their alternative responses are not suggestive or too
stimulating.
14. The questionnaire can elicit response which are definite but not
mechanically forced.
15. The items are stated in such a way that the responses will not be
embarrassing to the person concerned.
16. Items are framed in such a manner as to allay suspicious on the
part of the subject concerning hidden purposes in the questionnaire.
17. The questionnaire is not too warm nor restrictive or limited in its
scope and philosophy.
18. The responses to the questionnaire will take a whole, could
answer the basic purpose for which the questionnaire is designed and
therefore are considered valid.
TOTAL MEAN
 Research Instrument Evaluation Form
Action Research Title: “SIGHT SINGING IN IMPROVING PUPILS’ SKILLS IN
LEARNING MUSIC”

Directions: Kindly evaluate the attached rating scale according to the following
criteria set forth by Good and Scates:
1 = Poor; 2 = Fair; 3 = Good; 4 = Very Good; and 5 = Outstanding.

CRITERIA FOR EVALUATION RATING

19. The questionnaire is short enough so that the subject will not
reject it because it will drain much of his precious time.
20. The questionnaire has face appeal such that the subject will be
inclined to accomplish it fully.
21. The questionnaire can obtain some depth to the subject and avoid
superficial answers on data.
22. The items and their alternative responses are not suggestive or too
stimulating.
23. The questionnaire can elicit response which are definite but not
mechanically forced.
24. The items are stated in such a way that the responses will not be
embarrassing to the person concerned.
25. Items are framed in such a manner as to allay suspicious on the
part of the subject concerning hidden purposes in the questionnaire.
26. The questionnaire is not too warm nor restrictive or limited in its
scope and philosophy.
27. The responses to the questionnaire will take a whole, could
answer the basic purpose for which the questionnaire is designed and
therefore are considered valid.
TOTAL MEAN
 Appendix D

Rubric for Sight Singing

Part 1 – Test A. Rubric on Rhythm

5 – Excellent 4 – very good 3 – Good 2 – fair 1 – poor

Is able to Is able to Is able to I able to Cannot

perform the perform most perform half perform less perform all
rhythm of all of the rhythm of rhythm of than half of the rhythm of
the notes/rest (more than the staff the rhythm all the
in the staff by 60%) on the (40%-60%) (1%-40%) on notes/rest in
clapping and staff by by clapping the staff by the staff by
syllabicating. clapping and and clapping and clapping and
syllabicating. syllabicating. syllabicating. syllabicating.

Part 2 – Test B. Rubric on Pitch Solmization

5 – Excellent 4 – very good 3 – Good 2 – fair 1 – poor

Identifies all Identifies 9- Can identify Can identify Can only

pitches on the 10 pitches on 7-8 pitch on 5-6 pitch identify 1-4
staff with no the staff with the staff with names on the pitch names
error. 1-2 errors. 3-4 errors. staff with 5-6 on the staff
errors. with 7-11
errors.

Part 3 – Test C . Rubric on Rhythm Solmization

5 – Excellent 4 – very good 3 – Good 2 – fair 1 – poor

Can sight-sing Can sight sing Can sight sing Can sight sing Cannot sight
all pitches in 18-23 pitches 12-17 of 1-8 pitches in sing all the
the staff with in the staff pitches in the the staff with pitches with
the right with the right staff with the the right the right
 duration of duration of right duration duration of duration of
notes. notes of notes. notes. notes.

CURRICULUM VITAE

JAN ALFRED G NOMBRE

Professional Teacher
PRC License No: 1529794
(Brgy. Binicuil, Kabankalan City, Negros Occidental)
Mobile Phone: (Globe) 09774153228
Email: janalfred.nombre@deped.gov.ph

PERSONAL INFORMATION
Date of Birth: February 17, 1994
Age: 25
Mother’s Maiden Name: Mary Jane Perido Geroso
Father’s Name: Alfredo N. Nombre, Jr.

EDUCATIONAL BACKGROUND

GRADUATE STUDIES
University of St. La Salle
Project-FREE Paglaum, USLS Bacolod Center
Med-MAPEH

TERTIARY EDUCATION
Fellowship Baptist College
Bachelor of Elementary Education
Academic Distinction
2012-2016

SECONDARY EDUCATION
Fellowship Baptist College
With Honors
2006-2010

ELEMENTARY EDUCATION
Binicuil Elementary School
With Honors
200-2006