Scopes and

sequences of arts in
grade 1 to 6
Teaching arts in the Elementary Grades

DOLLOSO
Introduction
Content

RECEDE
Wrap Up D
Preparing Children
for Part Singing
1 SINGING

An activity which is common in a music classroom. It is therefore, necessary

for the music teacher to know the proper way to sing so that his singing may
be the example to the children in his class.

The core of the music education program.

Every child is a potential singer but, sometimes, we come across children who, for
one reason or another, do not sing in exact tunes. These children are not really
monotones but just unturned, like instruments which are not tuned correctly.
Singing
1 SINGING

An activity which is common in a music

classroom. It is therefore, necessary for the
music teacher to know the proper way to sing so
that his singing may be the example to the
children in his class.
The core of the music education program.
Every child is a potential singer but, sometimes, we come across children who, for
one reason or another, do not sing in exact tunes. These children are not really
monotones but just unturned, like instruments which are not tuned correctly.
Singing
1 SINGING

An activity which is common in a music classroom. It is therefore, necessary for the music
teacher to know the proper way to sing so that his singing may be the example to the
children in his class.

The core of the music education program.

Every child is a potential singer but, sometimes, we come across children who, for
one reason or another, do not sing in exact tunes. These children are not really
monotones but just unturned, like instruments which are not tuned correctly.
Singing
1 SINGING

An activity which is common in a music classroom. It is therefore, necessary for the

music teacher to know the proper way to sing so that his singing may be the example to
the children in his class.

The core of the music education program.

Every child is a potential singer but, sometimes, we

come across children who, for one reason or
another, do not sing in exact tunes. These children
are not really monotones but just unturned, like
instruments which are not tuned correctly.

BIANSON
Preparing Children
for Part Singing
 Preparing Children for Part Singing

The use of instruments may be a device not

only for the musical growth of the children
but also for their enjoyment and
understanding of music. The first instrument
experiences of the children may be with toy or
rhythm band instruments.
Preparing Children for Part Singing

Some children are not prepared to sing

part songs and therefore, are unable to
participate in choral activities. The music
teachers may be able to help the children
develop part singing readiness by the use of
the following singing activities:
 Singing activities:

Singing songs with Singing songs with a chant:

chording, that is, singing A chant is a figure or phrase
the bass do, sol or fa sung repeatedly with the
together with the song phrases of a song. The chant
depending on the is used, therefore, with songs
that have only one harmony
harmonic character of
throughout.
the song.
MAGARO
 The four main vocal ranges:

Alto Tenor
Soprano Bass
(Italian:
it is the
is a type of “high”) the
highest natural the lowest
classical female alto is the
adult male voice. vocal range of a
singing voice second
and has the highest vocal male.
highest vocal range of a
range of all female.
voice types.
 What do we mean by listening?

The Need Active

Definition for Teaching Listening:
Children Teaching Three Types
How to with Music of
Listen
Listening
 LISTENING

The ability to accurately receive and interpret

messages in the communication process.

It is the key to all effective communication.

Without the ability to listen effectively, messages
are easily misunderstood. If there is one
communication skill you should aim to master, then
listening is it.
CUANZON
 The Need for Teaching Children How to Listen

The world of music is unfolded to children through

varied experiences in singing, playing instruments,
rhythm and dancing, and creative activities.

Children do not usually develop with excellence

among these lines, but it is hoped that each one may
find at least one phase of the work which can provide
enrichment in his life.
 You see, but you do
Active listening not observe. The
distinction is clear.
- Sherlock Holmes
Active listening similarly
requires students to engage
with and think about what they
hear. In other words, active
listening is listening with a
purpose.
 Three types of listening

1 2 3

Affective Dialogic listening Structural

listening listening
1 Affective listening

This type of listening is perhaps the most basic.

Useful questions for this type of listening typically
prompt students to voice their observations on a basic
level: What instruments do you hear? What genre of
music is this? What emotions does this evoke? How
fast or slow is it? (For those with musical training, this
might also include more targeted questions to draw out
observations about tempo, meter, rhythm, range, etc.)
 Three types of listening

1 2 3

Affective Dialogic listening Structural

listening listening
2 Dialogic listening

This type of listening is perhaps the most

complex and time-consuming, yet also the
most fruitful and potentially rewarding. As
the name implies, this type of listening places
a musical example in dialogue with external
elements—generic conventions, other musical
pieces, artwork, texts, objects, etc.
MESTIO
 2 Dialogic listening

Teaching with music does not preclude using

texts or visuals as well. If your piece has lyrics,
include them (and if those lyrics are not in your
students’ native language, provide a translation
as well). It often helps to complement listening
with other ways of engaging with musical
examples by using other types of media.
 Three types of listening

1 2 3

Affective Dialogic Structural

listening listening listening
 3 Structural listening

This type of listening approaches a

musical example almost like a sculpture or a
painting, in which you point students toward
particular moments and see the ways in
which those moments are the culmination
of particular trajectories.
TEJARES
 3 Structural listening

Structural listening often means

comparing different moments from within
a particular piece. Questions might
include: How does the artist or composer
move from one idea to another? Why?
And etc.
FIVE FACETS OF MUSIC TEACHING

1 2 3

SINGING LISTENING CREATIVE

WORK
4 5

INSTRUMENTAL WORK MOVEMENT

 “A new study suggests that
listening to happy music promotes
more divergent thinking—a key
element of creativity.”
BY JILL SUTTIE | NOVEMBER 17, 2017
 Creative Movements

Interpretative
Rhythmic Movement movements
Rhythmic Movement

• An interesting way of interpreting music.

• It may be performed in the following forms:

the fundamental bodily movements such as
walking, running, or skipping; rhythmic
activities like swaying or clapping the hands or
dangling.
SAQUIBAL
Rhythmic Movement

• May be approached from different means:

• After the discussion of the meaning of a

familiar song, the children may be led to
create different types of actions to depict
different movements suggested in the song.
 Creative Movements

Interpretative
Rhythmic Movement movements
Interpretative movements

• It may be suggested by the sound made by

animals or objects; of jingles, rhymes, or of
selling calls; and greeting and farewells.

• Music heard or performed may suggest varied

movements. Dance steps can be adapted to
different moods of music.
FIVE FACETS OF MUSIC TEACHING

1 2 3

SINGING LISTENING CREATIVE

WORK
4 5

INSTRUMENTAL WORK MOVEMENT

4 INSTRUMENTAL WORK

A process of instrument learning

or a method of training in which the
reinforcement is made by contingent
on the occurrence of the response.

NAVALES
 Rhythm Band

• The use of instruments may be a device not only for

the musical growth of the children but also for their
enjoyment and understanding of music. The first
instrumental experiences of the children may be with
toy or rhythm band instruments.
• The objectives for using the rhythm band
instruments are:
• To utilize the instruments as a means of interpreting
music.
• To develop the ability to recognize one color and to
learn to use it for musical interpretation.
• To develop mental and physical coordination through
the manipulation of the instruments.
• To develop musical memory and use this is
meaningful ensemble work.
• To develop the basic skills and fundamentals of
music through enjoyable instrumental activities.
Classifications of Instruments
• Chordophones
• Aerophones
• Membranophones
• Idiophones
 Chordophones
• These are the instruments
with strings which may be
bowed or plucked or
strummed. Examples include
the violin, the violoncello or
cello, viola, and the
contrabrass or bass viola.
 Aerophones
● Instrument made to sound by blowing
air into the tube by means of the
mouth pressed against the mouthpiece
of embouchure, or blowing through
the lips or the nose, or blowing air by
putting the mouthpiece and its
vibrating reeds inside the mouth.
 Aerophones
● Examples are cornet, trumpet,
trombone, horn, tuba, sousaphone
(all of which are made brass) the
flute, clarinet, oboe, and bassoon
(all of which are made of wood).
 Membranophones
• The third group of instruments are
the membranophones which are so
called because they have a piece of
membrane or similar material
stretched over a hollow end of a
cylinder which is made to sound by
beating with the drumstick.
 Idiophones
The fourth group of instruments
include the triangle, xylophones or
glockenspiel, marimba, castanets, and
cymbals. Idiophones are played by
hitting, shaking, and rubbing

DOLLOSO
FIVE FACETS OF MUSIC TEACHING

1 2 3

SINGING LISTENING CREATIVE

WORK
4 5

INSTRUMENTAL WORK MOVEMENT

 5 MOVEMENT
• Incorporating music and movement into early
childhood education can help young children with
development, social interaction and language
growth.
• In regard to that, music, for children is something
they can associate with through movement. When
they hear it, they sway to it, dance to it, they
react to it with movements that they want.
• It is an important part of their learning
experience. CUANZON
 5 MOVEMENT

Music leads to movement. It's hard to

listen to music without moving in some way,
even if it's just moving your toes, head, or
fingertips! Movement is how we interact
with our environment and define the space
we occupy in the world. We move to explore.
Crawling leads to walking, and walking leads
to hopping, skipping, and jumping.
TEJARES
 Importance of Music &
Movement in the Education of
Young Children by Meg
Brannagan
 Early Childhood

Playing music and moving to a beat provides

stimulating experiences for young children and fosters
learning at home or in the classroom. Parents and early
childhood teachers can incorporate music and
movement into daily routines.
 Brain Development

According to the Early Childhood Music and

Movement Association, 85 percent of brain
development occurs by the time a child reaches 3
years. As children grow, they need to learn specific
activities that are important for development. For
example, very young children begin to scoot and crawl
for movement.

CRESENCIO
 Language

Language has its own tempo; speaking a language

fluently involves regular pauses, stops and starts in
appropriate places. For example, most people do not
speak in a constant, running diatribe of words; rather
they insert pauses between phrases, they use accents
and they increase or decrease the overall speed of
speech.
Music has a tempo and teaching young
children songs that have rhythms and
beats or learning to march in time to a
tune can help students to learn the
rhythm of speaking and improve their
communication skills.
REFERENCES

https://prezi.com/p/hmznamggbh8r/beed1-five-facets-of-music-teaching-gr
oup4-teach-elem-123/?fallback=1