Music and Arts

Lillian N. Luna
Education Program Specialist
Bureau of Secondary Education
 no
Music and Arts

Functional Literacy for All

Self Development,
Participating in Artistic
no and
Promoting Cultural Identity
Cultural Performances
and Enhancing One's World Vision

Performing Creating
Reading/ Listening/
(Singing/Playing/ Composing Music
Analyzing Viewing
Acting/Dancing) and other Arts

Valuing

Teaching for Disciplined Based Cognitive

Musical and Artistic Art Education Apprenticeship
Understanding (DBAE) Learning

Social Constructivism Multiple Intelligences

Schema Theory
Theory Theory
 Approaches
 Teaching for Musical Understanding –Jackie
Wiggins
 DBAE – Getty Center Education in the Arts
decrease emphasis on art making and include
history, aesthetics and art criticism
 Cognitive Apprenticeship Learning – Rogoff
engage in real life problem solving
Philosophical Approaches
Schema Theory –
 an image that can help as understand how we hold
concepts in our minds
Mental structure or construct

Social Constructivism Theory -

Zone of Proximal Development (ZPD) – Leo Vigotsky
Capacity to solve problems

Multiple Intelligences Theory- Howard Gardner

 Teaching for Musical Understanding –Jackie
Wiggins – Construct an understanding as a result of
experience
 DBAE – Getty Center Education in the Arts
decrease emphasis on art making and include
history, aesthetics and art criticism
 Cognitive Apprenticeship Learning – Rogoff
engage in real life problem solving
 Music and Arts
Program Standard: The learner demonstrates understanding of basic concepts
and principles of music and arts through active participation in artistic and
cultural performances for self development, promotion of cultural identity, and
expansion of one’s world vision
General Standard General Standard General Standard General Standard
First Year Second Year Third Year Fourth Year
The learner The learner The learner The learner
demonstrates demonstrates demonstrates demonstrates
understanding of basic understanding of basic understanding of basic understanding of basic
concepts and principles concepts and principles concepts and principles concepts and principles
of folk songs and arts of Asian music and of music and arts of of music and arts of
of the and the world, arts through active the different periods the 20th and 21st
through active participation in artistic (Renaissance, centuries through
participation in artistic and cultural Baroque, Classical/Neo active participation in
and cultural performances for self classical and Romantic artistic and cultural
performances for self development, periods), through performances for self
development, promotion of cultural active participation in development,
promotion of cultural identity, and expansion artistic and cultural promotion of cultural
identity, and expansion of one’s world vision performances for self identity, and expansion
of one’s world vision development, of one’s world vision
promotion of cultural
identity, and expansion
of one’s world vision
What does it mean when students
understand music/art?
Know how to read notes or play an instrument?
Explain the steps in making a mask or make a
mask?
Learn the facts of music/art or make musical
choices when producing music/art?
Practice musical drills and art exercises or
perform with a group / mount an art work ?

VS.
Understanding= Transfer Big ideas when
Problem solving
 In the end, what should
students be able to make
sense of music and art on
their own?
 What is valid evidence of
their ability to achieve such
understanding in music and
art?
 What do students need to
learn to make musical/artistic
meaning on their own?
Understanding is
making meaning, not
taught but acquired
 In the end, what should the
students be able to do with
their music learning?
 What is valid evidence of
music ability to meet long
term transfer goals?
 What do students need to
learn to develop transfer
ability?
Transfer is the essence
of understanding and
the point of schooling
The Transfer Challenge
The challenge in transferring music and art into a
performance/work so fluent, holistic and expressive and not just
a complex set of instructions and notes/lines and colors.
I.a Content Standards
What should the students know and be able to do in music and
art? (input)

• The learner demonstrates understanding of musical concepts

used in Philippine folk songs as influenced by history and
culture. (SEC 2010 Music Y1 Q1)
• The learner demonstrates understanding of media techniques
and processes and the elements and principles of arts used in
Philippine folk arts as influenced by history and culture. (SEC
2010 Art Y1 Q1)
I.bPerformance Standards
How well must the students do their work? (rubrics and
benchmarks)

• The learner performs examples of Philippine folk songs alone

and with others in clear tone and correct pitch, rhythm,
expression and style. (SEC 2010 Music Y1Q1)
• The learner creates an example of Philippine folk art applying
knowledge of media techniques and processes, elements and
principles of art to communicate ideas, experiences and
stories (SEC 2010 Art Y1 Q1 )
I.c Essential Understanding
What do we want the students to understand and be able to use
several years from now, after they have forgotten the details?

• The varied ways in which the musical elements are combined

gives a unique style to a specific folk song. Philippine folk songs
communicate fundamental ideas about human experience and
help us understand people’s ideas, emotions and beliefs.
• Philippine folk art reflect nature and the life of the common folk
through various media techniques and processes based on the
factors of time, climate, resources, ideas and historical and
cultural context.
Essential Understanding
Essential Understanding are big, organizing ideas in full sentence
statements that are 1) central to the discipline, 2) abstract
(require uncovering through sustained inquiry), 3) transferable
(across disciplines and across time in later courses), 4) lasting
(CRITERIA)

EU’s may be overarching and topical or unit –specific.

In skill -focused courses of study such as music, art, p.e., EU’s

should be about 1) purpose and value of the skill, 2) Key concepts,
3) strategy and tactics, and 4) context/why the skill works
Essential Understanding
How to get EU’s:
1. Look at state standards
2. Find a pattern and state general and topical EU
3. Test EU/EQ with criteria (central, lasting, abstract, transferable)
4. State it as a sentence.
Example of EU’s in Music
(overarching and topical)
• The varied ways in which the musical elements are combined
gives a unique style to a specific folk song. Philippine folk songs
communicate fundamental ideas about human experience and
help us understand people’s ideas, emotions and beliefs.
(overarching)
• Pre-colonial Philippine folk songs use chest voice, responsorial
and melismatic singing, non-metrical rhythm and non-diatonic
melodies to express nature and ritual while Western influenced
Philippine folk songs use head voice, part-singing, metrical
rhythm, diatonic melodies to express religion and civic
organization. (topical)
I.d Essential Questions
Criteria for EQ
Does it raise multiple answers and other questions?
Does it promote student inquiry, focus and performance?
Does it address foundations and philosophy?
Is it naturally recurring in music or art?
Does it stimulate/rethink vital musical ideas, assumptions and
prior lessons?
Essential Questions
May be overarching and topical or unit-specific

• How is culture reflected in music? (overarching)

• What do Philippine folk songs reveal about Philippine culture?
(topical)

• In what ways does art reflect or shape culture? (overarching)

• What do ceremonial masks reveal about Philippine culture?
(topical)
Framing EQ’s
1. Look at the Essential Understanding.
2. Phrase the EU into an essential question (overarching and
topical)
3. Test your EQ’s with the criteria (inquisitive, open-ended,
stimulating, meaningfully connective, transferrable)

In skill -focused courses of study such as music, art, p.e., EU’s

and EQ’s should be about 1) purpose and value of the skill, 2)
Key concepts, 3) strategy and tactics, and 4) context/why the
skill works
Workshop on EU and EQ
Expected Output per group: Topical EU and EQ per Quarter

Time Frame: 1.5 – 2 hours

Each group will present their work to the body
Comments and reactions are encouraged for greater creative
output.
Samples of EU and EQ (Wiggins and MacTigh)
GENERAL ESSENTIAL UNDERSTANDING:
Great artists throughout the ages have both foreshadowed and articulated the effects of
social, political, cultural, and technological changes in our world.
Through the visual and performing arts, we can express our personal vision of the world
and understand the vision of others.
The medium through which an artist works shapes and refines his or her ways of
expressing a personal vision as well as reactions to universal human experiences.
TOPICAL ESSENTIAL UNDERSTANDING:
Music: In order to appreciate Japanese Koto music, we need to understand its
relationship to Japanese theatrical traditions and its role in Japanese culture. (Brown,
James L. ArtsEdge)
ESSENTIAL QUESTIONS:
How are sounds and silence organized and juxtaposed in various musical forms?
How do the Bobo people of Burkina Faso use masks as part of their tribal ceremonies?
To what extent does form follow function in the visual and performing arts?
Why did Braque and Picasso create cubism?
How can motion in dance provoke emotional and spiritual responses in the audience?
II. 6 Facets of Understanding
After stating EU and EQ, determine declarative and procedural
knowledge by stating behavioral objectives using the six facets
(not hierarchical unlike Bloom)
1. Explanation: student theorizes the “why”
2. Interpretation: student translates meaning
3. Application: student applies knowledge in NEW context
4. Perspective: student develops awareness of the points of view
of others
5. Empathy: student “walks in the shoes of...”
6. Self-knowledge: student becomes aware of prejudices/habits
of mind
 Examples of 6 Facets in Art*
Explanation: How will students be
expected to support claims,
conclusions, and assertions with
evidence from what we are studying?
Interpretation: How will students be
asked to construct meaning and
express their conclusions through the
creation of original works of art and
through artistic performances?
Application: How will I ensure that my
students move beyond formulaic
modeling of the information, skills and
procedures they are using toward
independent understanding and
original use in a creative, authentic
way?
*John L. Brown from ArtsEdge
Perspective: How will I encourage my
students to investigate, explore, and
debate differing points of view
associated with the topics, ideas, and
processes we will study in this
unit/course?
Empathy: How will I support my students
to understand the feelings and
aesthetic reactions of others? How can I
encourage my students to "walk in the
shoes" of others?
Self-Knowledge: How will my students'
experiences in the visual and p
performing arts enhance their
understanding of themselves, their
aesthetic values, and their
comprehension of the world in which
they live?
 Criteria for the 6 Facets
Explanation Interpretation Application Perspective Empathy Self-
Knowledge

Accurate Meaningful Effective Credible Sensitive Self-aware

Coherent Insightful Efficient Revealing Open Metacognitive
Justified Significant Fluent Insightful Receptive Self-adjusting
Systematic Illustrative Adaptive Plausible Perceptive Reflective
Predictive Illuminating Graceful Unusual Tactful Wise
 Rubrics for the 6 Facets
Explained Meaningful Effective In Emphatic Reflective
Perspective

Sophisticated Insightful Masterful Insightful and Mature Wise

and Coherent
Comprehensive

Systematic Revealing Skilled Thorough Sensitive Circumspect

In-Depth Perceptive Able Considered Aware Thoughtful

Developed Interpreted Apprentice Aware Decentering Unreflective

Naive Literal Novice Uncritical Egocentric Innocent

Rubrics for Music/Art
www.rubistar4teachers.org
Worksheet for Revealing the Understandings on a Topic
You really understand folk music/art when you can. . . .
  (unit or course topic)  
Explanation___________________________________________
Explain/teach _________________________________________
Give examples of_______________________________________
Make connections with __________________________________
Offer a sophisticated theory of____________________________
Describe partner songs
Justify/support ________________________________________
Prove/verify___________________________________________
Avoid common misconceptions, such as, ___________________
Rubrics :
Sophisticated and Comprehensive
Systematic
In-Depth
Developed
Naive
Interpretation
•Interpret the ___________________________________________
•Make sense of _________________________________________
•Tell a revealing story ___________________________________
•Provide an apt analogy for _______________________________
•Show the importance or meaning of _______________________
•Translate______________________________________________
•Relate __________________________to your experience (or the experiences of
others).
Insightful, Revealing, Perceptive, Interpreted, Literal

Application
•In a new situation, apply ________________________________
•Show or demonstrate ___________________________________
•Use in the context of ____________________________________
•Design/invent __________________________________________
•Overcome a challenge or constraint, such as ________________
Masteful, Skilled, Able, Apprentice, Novice
Music (www.rubistar4teachers.org)
Basic: Uses a speaking voice or sings more than 50% of the pitches incorrectly.
Prof.: Sings a diatonic melody in tune using an appropriate voice.
Adv: Sings in tune, but also demonstrates excellent tone quality for his/her age.
Perspective
  Analyze ______________________________________________
See from the point of view of _____________________________
Compare and contrast __________________________________
Critique ______________________________________________
Critically examine assumptions such as ____________________
Show _______________________________________________
See the limits of _______________________________________
Insightful and Coherent, Thorough, Considered, Aware, Uncritical

  Empathy
Role play a ____________________________________________
Walk in the shoes of ____________________________________
Experience directly and see ________________________________
Reach a common understanding with ______________________ concerning ______
Entertain the seemingly odd or alien view that _____________
Mature, Sensitive, Aware, Decentering, Egocentric
Self-Knowledge
Recognize you prejudice about ___________________________
Identify the lens through which you view ___________________
Explain how you came to understand partner songs and culture.
Realize that even with all you now know, you don’t really understand ____________
Wise, Circumspect, Thoughtful, Unreflective, Innocent
 Music 6 Facets
Explanation
Explain how the different elements of music are used to convey the message of a specific folk song
Criteria Accurate description of the different elements,
Appropriate use of terminology
 
Interpretation
Illustrate through movements how the different elements of music are used in a selected folk song to
communicate ideas and experiences
Criteria
Clear illustration of movements showing characteristic musical elements
Meaningful illustration of movements
Appropriate expression and technical accuracy
 
Application
Create an accompaniment to a selected Philippine folk song using standard or graphic notation applying
under standing of musical concepts
 Criteria
Appropriate accompaniment to the song
Correct rhythm/chordal accompaniment
 
 
 Art 6 Facets
Explanation
Explain how nature and folk life is reflected in Philippine folk arts.
Criteria
Clear
Accurate description of the different elements used
Appropriate use of terminology
 
Interpretation
Illustrate how factors of time, climate, resources, ideas and historical and cultural context influence a specific
folk art through a collage
Criteria
Meaningful
Revealing
illustrative
 
Application
Apply knowledge of
media techniques in creating an example of folk art using local resources
 Criteria
Appropriate use of materials and media techniques
Creative
 
Assessment of the 6 Facets
Authentic Assessment simulates real world problems.
Types of assessment applied to music
1. Tests – paper and pencil music quizzes (one answer)
2. Prompts – require students make a choice/strategize in
coming up with a music product / performance but without a
real audience (open ended, many right answers)
3. Tasks – like prompts, tasks allow students make a
choice/strategize to come up with music products /
performances involving an audience, open-ended (many right
answers)
Test, Prompt or Task
1. What are the musical characteristics of the song, Doon Po Sa
Amin?

2. What would Philippine music be today if the Spanish and

Americans did not colonize our country?

3. You are an MTV executive assigned to produce an Asian folk

album about love. What songs will you include? Justify your
selection based on comprehensive representation, market viability
and musical variety.
 Workshop Session
Output: Assessment Questions/Prompts/Tasks given
the six facets from the SEC 2010 Music and Art

Time allotment: 1.5 – 2 hours

Group presentation of output
Comments and reactions
References
Wiggins and MacTighe (2005) Understanding by
Design Virginia: ASCD
Kline, Everett (2010) Understanding by Design
Conference Proceedings Manila Hotel
Brown, John ArtsEdge
www.artsedge.kennedy-center.org
www.rubistar4teachers.org
www.ubdexchange.org
www.jaymactighe.com
III. Learning Plan
Where are the students going? (objectives)
Hook / Motivate the student by exploring EQ, puzzles, problems
and issues
Equip by firming up with varied musical experiences
Reflect, revisit, revise, refine and deepen by problem
solving
Evaluate using self-assessment (self-check)
Transfer and tailor for individual differences (relate to other
fields outside of music)
Organize new learning for self study (practice)
 Design Principles that Should
Guide Materials Development

Dr. Lolita Andrada

Director IV
BSE Department of Education
 Essential
Questions
Content/ Essential
Objectives
Performance Understandings
(knowledge/skills)
Standards

Results/Outcomes
Assessment
Criteria/
Products/
Tools
Performances
Assessment

Resources/
Learning Materials
Learning Plan
Activities
 U N D E R S TAN D I N G
Transfer++

Add value)
Firm Up

Deepen
Explore

(Create,
Content Standard Perf. Standard
Assessment
WHERETO Assessment
Outcomes
Learning Plan
WHERETO
W- How shall we help students know where they’re
headed and why they’re going there? Where is the
unit/lesson going? What is expected? In what ways
will students be evaluated?
H- How shall we hook and engage students’ interest
through thought-provoking experiences at the
beginning of each instructional episode?
WHERETO
E- What experiences shall we provide to help students
make their understandings real? How shall we equip
them for success throughout the unit or course?
R- How shall we cause students to reflect, revisit,
revise, and rethink?
E- How shall students express their understandings
and engage in meaningful self-evaluation?
WHERETO
T- How shall we tailor (differentiate) our instruction to
address the unique strengths and needs of every
learner?
O- How shall we organize learning experiences so that
students move from teacher-guided and concrete
activities to independent applications that emphasize
growing conceptual understandings?
 1. Ensure that all students know where they
are going and why and in what ways they
will be evaluated—as well as how they will
monitor and evaluate themselves.
Determine whether students understand the
purpose/goals/objectives of the lesson by asking
them to summarize these in some form (orally, in
writing, or non-verbally).
Pose questions (EQs) at the beginning of the
lesson to cue students into the big ideas and
activate prior knowledge related to the lesson or
unit.
 2. Incorporate warm-up activities that
establish purpose, evince authenticity,
and encourage student ownership.
Warm up students’ enthusiasm through
some form of advance organizer,
introductory cooperative learning
interaction, or activity.
Cue students into the big ideas of a lesson by
posing an essential question and having
students respond to it.
 2. Incorporate warm-up activities that
establish purpose, evince authenticity,
and encourage student ownership.
Ask students to engage in some form of K-W-
L (What do I think I know about this subject?
What do I want to learn about it? At the
conclusion of this lesson, what have I
learned?).
 3. Allow students to explore big
ideas and essential questions.

Make summarizing and note taking a direct

and ongoing part of instructional delivery;
encourage students to analyze information at
a deep level and to delete, substitute, and
keep information based on their analysis.
 3. Allow students to explore big
ideas and essential questions.

Promote students’ processing of key

information and skills through cooperative
learning activities that 1)use a variety of
criteria for grouping students; 2) include
formal, informal, and base groups; and 3) are
used consistently and systematically without
overuse.
 3. Allow students to explore big
ideas and essential questions.

Provide appropriate and continuing

opportunities for students to practice and
rehearse their procedural knowledge; use
approaches such as 1) focused practice with
extensive coaching, 2) opportunities to adapt
to and shape newly acquired knowledge; and
3) sustained movement toward independent
use and application.
 3. Allow students to explore big
ideas and essential questions.

Encourage students to generate and test

hypotheses in various settings—for deep
understanding.
Reinforce students’ support of claims,
assertions, and conclusions with valid and
complete evidence.
 3. Allow students to explore big
ideas and essential questions.

Integrate advance organizers into all aspects

of instructional delivery to help students cue
into what is important and significant for
them to retain and to understand.
4. Encourage students to be self-reflective and self-evaluative.

Get students to look for patterns in the lesson and to

find ways to classify the patterns according to their
common attributes.
Help students to synthesize their learning and to
reinforce their understanding through summarizing
and note taking using both linguistic and
nonlinguistic representations.
4. Encourage students to be self-reflective and self-evaluative.

Organize cooperative learning cohorts at the

conclusion of the lesson to allow students to
summarize, reflect, revisit, and refine their
shared perceptions and conclusions about
curriculum content.
Help students to reinforce their own effort
and to recognize their own progress through
metacognitive tools such as reflective
journals, think logs, and peer response
groups.
4. Encourage students to be self-reflective and self-evaluative.

Use homework as a vehicle for students’ independent

application and refinement of the work they have
done in class.
Have students revisit big ideas, enduring
understandings, and essential questions as closure
activities for lessons.
 5. Reinforce students’ capacity for self-
monitoring, self-assessment, and self-
presentation.

Ask students to express in written, oral, and

visual formats their perceptions and evaluations
of how they are doing relative to mastering
lesson objectives.
 5. Reinforce students’ capacity for self-
monitoring, self-assessment, and self-
presentation.

Encourage students to compare their pre- and

post- progress as they move through a lesson.
Have students self-evaluate by assessing the
extent to which they perceive themselves as
mastering identified objectives.
 6. Use differentiated instruction to
address all learners’ needs.

Use a variety of formative assessments to

determine where students are as they begin the
lesson; help them to self-classify according to
their specific strengths, needs, and interests.
Integrate one-on-one and small-group coaching
opportunities as students rehearse, practice,
and apply independently the knowledge and
skills that they are acquiring.
 6. Use differentiated instruction to
address all learners’ needs.

Use students’ creation of nonlinguistic

representations of the material they are
learning as a vehicle for identifying and
addressing their emergent strengths, needs, and
misunderstandings.
Observe and assess students’ response to
instructional cues, questions, and follow-up
probes to determine when individuals need
special assistance or coaching to correct
misunderstandings and errors.
 7. Move students from concrete experience
to deep conceptual understanding.

Help students to compare how they are growing

in their understanding from the beginning to
the end of the lesson.
Use a variety of formats to establish a roadmap
of the lesson for students to follow.
 7. Move students from concrete experience
to deep conceptual understanding.

Structure units so that lessons help students

move toward independent application of
complex cognitive processes such as system
analysis, problem solving, decision making,
investigation, invention, or experimental
inquiry.
 7. Move students from concrete experience
to deep conceptual understanding.

Help students to demonstrate a growing

proficiency and independent understanding
through increasingly complex assessments,
which will culminate in some form of real-
world, independent performance task or
project.
 7. Move students from concrete experience
to deep conceptual understanding.

Organize learning so that students grow in their

ability to demonstrate and to assess increasing
levels of independent use of one or more of the
six facets of understanding.

Ref. Brown, J. (2004). Making the Most of Understanding by Design. VA:ASCD.

Workshop
Output: Lesson Plan / Teaching Guide per Topic
Time Frame: 3 hours

Submission of Plans after the time limit

Presentation of plans will be done via teaching demonstration