Module 4

Teaching Methods

Overview

This module discusses different teaching methods, strategies and techniques in teaching
the contents or subject matters of music in the elementary grades. This includes the Kodaly
Method, Orff-Schulwerk Method, Dalcroze Eurythmic Approach, Carabo-Cone Method and
Justine-Ward Method.

Module Objectives

At the end of this module, you are expected to:

1. Identify the different methods and strategies in teaching music
2. Discuss different features of each method which can be used effectively in
teaching music
3. Demonstrate understanding of concepts and processes of each method
Course Materials

THE KODALY METHOD

The Kodaly Method is a teaching strategy in music which was introduced by a Hungarian
composer, Zoltan Kodaly. This method was adopted by music teachers from Grades one to six.
Its foundation is based on the rhythm and the use of a pentatonic or five-tone scale.

The Kodaly Method has the following components:

a. System of rhythm duration symbols such as using syllables “ta” for quarter note, “ti” for the
eighth note, and “ti-di” for the sixteenth note, to indicate one-beat and half-beat tones.

11
b. Kodaly Scale - A scale using hand signs or gestures which indicate the notes of the scale, from
lower do to higher do or vice versa. Each hand position signifies specific characteristics and mood
– acting or moving and passive or resting. (Please see the illustrations of Kodaly hand signs.)

The tonic (high and low do) in clenched fist manifests rest, repose or finality or
passiveness. The supertonic (re), mediant (mi) and dominant (so) are in open palm positions.
Subdominant (fa) with thumbs down and leading tone (ti) with second finger pointing up signify
activity or movement.

THE ORFF-SCHULWERK METHOD

The Orff-Schulwerk Method is a unique way of teaching music which was developed by a
German composer, Carl Orff, who was also a music educator. It utilizes the natural meter of words
and the child’s instinctive desire to incorporate speech, rhythm and movement as the basis for
creating rhythms (e.g., strolling, skipping, running, swinging, etc.).

1. Orff devised simple rhythm chants to serve as the basis for sequential development activities.
Speech patterns were taken from chants, games and vocal sounds in the child’s vocabulary.
The patterns were chanted, clapped, danced and sung.
2. Emphasis on rhythm led Orff him to the use of percussion instruments in music education. He
developed an ensemble of percussion and string instruments designed to create the proper
timber for the music. The instruments can be played even without proper training.
3. The children do much imitation and improvisation and are led to create their own music from
their inner feelings and imitation of sounds heard from the surroundings. Thus, they become
sensitive to sound and develop other sounds from these.

Examples: swaying of the trees, dropping of rain, galloping of horses

4. Orff involved creative activities using singing, playing and natural movements.
Examples: jumping, walking, running

THE DALCROZE EURYTHMIC APPROACH

12
 Eurythmics was introduced by Emil Jacques Dalcroze, a Swiss teacher and composer.
Eurythmics is a system of coordinating physical movements with music to help the participants
develop a sense of rhythm. This approach was based on solfege, piano improvisations, and
eurythmics or rhythmic movements.

1. Dalcroze method is like dramatization, play-party games, and dancing. The rhythmic bodily
movements in dramatization and play-party games interpret the text of a song through
dancing. Dalcroze eurythmics means bodily movements which interpret aspects of the music.
2. Play –party games, folksongs and dances are used as singing games.

Some rhythmic movements

a. quarter note - ordinary walking
b. half note - step and bow or pause
c. dotted half note - step and 2 bows or pauses
d. 2 eighth notes - 2 light running steps
e. dotted quarter note – bow

Example: Lubi-Lubi

THE CARABO-CONE METHOD

The Carabo-Cone method provides a sensory-motor approach in the music foundation

and “intellectual stimulation for academic achievement.” It was observed by psychologists Piaget
and Bruner that “the learning and thinking of children are linked to the concrete, the seeable and
the touchable.”

Purpose:

1. Singing and listening while playing make the music concept alive and ingrained in the
children’s mind.
2. Perception and musical concepts are developed from the simple to the complex as the
children experience movement and touch, and understand the musical symbols.
3. Fun, familiarity and participation are needed to unravel the music symbols.
4. Suggested activities are the use of cards with symbols or words, drawings of symbols, giant
replicas. Movements of the different parts of the body are done as play activities.

JUSTINE WARD METHOD

The technique advocated by the Ward series is to impart music not as dry drill or as
memory work for the child but as something that animates the child’s emotional life and

13
orients his taste to the finest aesthetical standard possible.
The Ward method is the result of ten years of extensive study and experimentation by
Justine Ward and the staff of music specialists of the Pius XX School of Liturgical Music in New
York. Justine Ward finalized the Ward Series in eight volumes. Each volume is accompanied by:
1) teacher’s guide, 2) printed chart, 3) set of recorded music, 4) seven (7) song books for children
and 5) a set of lesson plans. Each volume of the Ward Series contains a phase of musical
development partially dependent on the preceding grades and totally essential to the next grade.

14
Activity

Using your Curriculum Guide in Music, identify topics (learning competencies) which you
can apply the different methods discussed in this module. List down one learning competency in
each method.

Method Learning Competency Activity

(with code)
Kodaly Method

Orff-Schulwerk Method

Dalcroze Eurythmic
Approach

Carabo-Cone Method

Justine-Ward Method

15
 Module 5
Assessment Techniques in Teaching Music

Overview

This module discusses the different assessment techniques that can be used in teaching
music.

Module Objectives

At the end of this module, you are expected to:

1. Define assessment
2. Differentiate the two types of assessment
3. Identify assessment tools and methods appropriate for music education
4. Discuss balanced assessment
5. Define a music portfolio, its purposes and process
6. Illustrate the kinds of performance tasks
7. Differentiate the two types of rubrics: holistic and analytic

Course Materials

Classroom assessment: Wat is it?

• Is a process that is used to keep track of learner's progress in relation to learning
standards in the development of 21st century skills; to promote self-reflection and
personal accountability among students about their own learning and to provide bases
for the profiling of student performance on the learning competencies and standards of
the curriculum.
• An on-going process of identifying, gathering, organizing, and interpreting quantitative
and qualitative information about what learners know and can do.
• Teacher should employ classroom assessment methods that are consistent with
curriculum standards. It is important for Teacher to inform learners about the objectives
of the lesson so that the latter will aim to meet or even exceed the standard. The
Teacher provides immediate feedback to students about their learning progress. CA also
measures the achievement of competencies by the learners. (DepEd Order No. 8, 2015)
• Activities that allow the teacher to obtain more specific information about each learner’s
knowledge and skills relative to the instructional objectives of the class
• Assessment may refer to: Testing; Other forms of measurement and appraisal, including
observations, interviews, and reports from knowledgeable sources

Why do we assess?
To find out if the learners are performing at par with the expectation for the grade level;
are equipped with the expected skills; need the necessary instructional assistance (Dr.
F. Pado)

Two types of Assessment

16
1. Formative – This type of assessment monitors progress towards goals within a course of
study; it can be used as “assessment for learning" so teachers can make adjustment in their
instruction, also a way wherein students reflect. It is not used as a basis for grading.
Purposes of Formative Assessment
Parts of Purpose Examples of
the For the Learner For the Teacher Assessment
Lesson Methods
Before 1. Know what s/he knows 1. information about 1. Agree/
the about the topic/lesson what the learner disagree
lesson 2. Understand the purpose already knows and activities
of the lesson and how can do about the 2. Games
to do well in the lesson. new lesson. 3. Interviews
3. Identify ideas or 2. Share learning 4. Inventories /
concepts s/he intentions and checklist or
misunderstand. success criteria to skills (relevant
4. Identify barriers to the learners. to the topic in
learning 3. Determine the learning
misconceptions area)
4. 5. KWL activities
Identify what hinders (what I know,
learning what I want to
know, what I
learned)
6. Open-ended
questions
7. Practice
exercises
Lesson 1. Identify one’s strengths 1. Provide immediate 1. Multimedia
Proper and weaknesses feedback to presentations
2. Identify barriers to learners 2. Observations
learning 2. Identify what 3. Other formative
3. Identify factors that help hinders learning performance
him/her learn 3. Identify what tasks (simple
4. Know what s/he knows facilitates learning activities that
and does not know 4. Identify learning can be drawn
5. Monitor his/her own gaps from a specific
progress 5. Track learner topic of lesson)
progress in 4. Quizzes
comparison to (recorded but
formative not graded)
assessment 5. Recitation
results prior to the 6. Simulation
lesson proper. activities
6. To make decisions
on whether to
proceed with the
next lesson, re-
teach, or provide
for corrective

17
 measures or
reinforcements

After the 1. Tell and recognize 1. Assess whether 1. Checklists

Lesson whether s/he met learning objectives 2. Discussion
learning objectives have been met for 3. Games
2. Seek support through a specified 4. Performance
remediation, duration tasks that
enrichment, or other 2. Remediate and/ or emanate from
strategies. enrich with the lesson
appropriate objectives
strategies as 5. Practice
needed. exercises
3. Evaluate whether 6. Short quizzes
learning intentions 7. Written work
and success
criteria have been
met.

2. Summative Assessment
– Measures the different ways learners used and apply all relevant knowledge,
understanding and skills.
– Spaced properly over a quarter
– Helps teachers determine how well learners can demonstrate content knowledge
and competencies articulated in the learning standards.
– Learners synthesize their knowledge, understanding, and skills during summative
assessments.
– Results are used as bases for computing grades
Component of Summative Assessment
Components Purpose When Given
Written Work 1. Assess learners’ At the end of the topic or
understanding of unit
concepts and
application of skills in
written form
2. Prepare learners for
quarterly assessments

Performance Task 1. Involve students in the At the end of a lesson

learning process focusing on a topic/ skill or
individually or in lesson
collaboration with Several times during the
teammates over a quarter
period of time

18
 2. Give students
opportunities to
demonstrate and
integrate their
knowledge,
understanding, and
skills about topics or
lessons learned in a
specific real-life
situation by performing
and / or producing
evidence of their
learning.
3. Give students the
freedom to express
their learning in
appropriate and
diverse ways.
4. Encourage student
inquiry, integration of
knowledge,
understanding, and
skills in various context
beyond the
assessment period.

Quarterly Assessment Synthesize all the learning Once, at end of the quarter
skills, concepts and values
learned in an entire quarter

RUBRICS
• A scoring guide that seeks to evaluate a student’s performance based on the sum of a full
range of criteria rather than a single numerical score.
• A working guide for students and teachers, usually handed out before the assignment
begins in order to get students to think about the criteria on which their work will be judged.
• Rubrics have criteria and a description of performance for each criterion.
Steps in Writing Rubrics
1. Identify the separate standards that will serve as performance standards.
2. Decide on how many levels of performance you want to identify.
3. Choose a format, either table/matrix or the listing of standards
4. Write the appropriate description of acceptable behavior at the different level of
performance.
5. Assign a weight to the whole assignment, then assign each standard a weighted value
and then within each standard, assign weight for exceeds expectations, meets, does not
meet.
6. Put it all together…

19
 7. Share the rubric with the students.

Types of Rubrics

Holistic rubrics
• single criteria rubrics (one-dimensional) used to assess participants' overall achievement
on an activity or item based on predefined achievement levels;
• performance descriptions are written in paragraphs and usually in full sentences.

Sample Holistic Rubrics for Singing

Score Description
5 Students performs music with no errors pertaining to rhythm, pitch, dynamics,
intonation and diction
4 Students performs music with very few errors pertaining to rhythm, pitch,
dynamics, intonation and diction
3 Students performs music with numerous errors pertaining to rhythm, pitch,
dynamics, intonation and diction
2 Students performs music without demonstrating proper skill/technique
pertaining to rhythm, pitch, dynamics, intonation and diction
1 Unacceptable performance or no attempt

Analytic rubrics
• two-dimensional rubrics with levels of achievement as columns and assessment criteria
as rows. Allows you to assess participants' achievements based on multiple criteria
using a single rubric. You can assign different weights (value) to different criteria and
include an overall achievement by totaling the criteria;
• written in a table form.

Sample Analytic Rubrics for Singing

Criteria Excellent Good Needs Score

10 pts 7 pts Improvement

20
 3 pts
Pitch Pitches are well Pitches are An
centered and in mostly in tune unawareness
tune. and centered. of tuning
Tone is well Tone is problems.
supported. supported Many notes are
some. out of tune and
not centered.
Very little
support of tone.
Rhythm Rhythms are A few rhythms Many rhythms
sung correctly are not are sung
and in a style performed incorrectly.
that fits the correctly, but
piece. most are
cleanly
performed.

ACTIVITY
Using your curriculum guide in music, look for a lesson with a performance task (singing,
playing instruments, performing a rhythmic pattern). Design/create your own holistic and analytic
rubrics.

Learning Competency:
Performance Task:
Rubrics:

Assessment Techniques in Music Education

Assessment techniques in teaching Music and Arts use familiar tools to determine
learner’s initial knowledge, understanding and skills and to monitor their progress on a given task.

21
1. Performance-based
This allows learners to demonstrate their own ability in performing a task. This serves as
a practical application of what has been learned by the students.

2. Projects/ Presentations Strategy

Learners output is assessed on how they accomplish tasks using a variety of sources and
may be delivered orally or written using multimedia technologies followed with performance
critiquing.

3. Self-Assessment
Learners reflect on their own progress towards the achievement or output. This could be
a basis for improving their learning. Rubrics and checklist could be used.

4. Journal Writing
Journal is a written record of learner’s thought, experiences and observations on the
specific lesson. This can improve the learner’s writing skills also.

22
 Module 6
Lesson Planning

Overview

This module lets the students apply what they have learned in the previous modules. This
provides the parts and processes of preparing an instructional/lesson plan of a particular learning
competency in the K to 12 Music Curriculum.

Module Objectives

At the end of this module, you are expected to:

1. Identify the essential parts and components of a lesson plan
2. Demonstrate skills in good lesson planning
3. Construct a lesson plan of a particular learning competency in Music
4. Identify and create innovative instructional materials that can effectively be used in
the teaching and learning process

Course Materials

After becoming familiar with the music curriculum, its contents, different teaching
methods and assessment techniques, you are now ready to learn how to plan a lesson in
music and prepare your own sample of instructional plan.

COMPONENTS OF A LESSON PLAN

1. Objectives- Objectives are obviously observable and measurable and clearly stated application
of subject matter knowledge and skills. These include the three domains; cognitive, affective,
psychomotor. Objectives are formulated based on the content standards, performance standards
and learning competencies of K to 12 Music Curriculum.

2. Anticipatory Set- Lesson is creatively opened by tapping interest & prior knowledge. This may
include preliminary activities such as review, drill and motivation.

3. Procedures- Detailed all content and resources required for instruction; Includes a variety of
teaching strategies using Multiple Intelligences theory; Used multiple methods or inquiry for
student learning incorporating Bloom’s taxonomy; effective use of technology.

4. Closure- Provides summary to reinforce learning and link to future learning.

5. Assessment- Appropriate and connected to all objectives. Specific description of both formative
and summative assessments; Details at least two different ways to represent learning; e.g.
concept map, quiz, reflective response

SELECTING APPROPRIATE INSTRUCTIONAL MATERIALS FOR MUSIC

23
 Instructional materials are used to aide teachers in teaching a lesson. It facilitates quality
delivery of instructions and helps in achieving the desired learning outcomes. Just like in any other
subject area, selection of appropriate instructional materials for music lesson makes no
difference.

According to Pinseau (2012), the following are the importance of instructional materials:

-Serve as motivational factor

-Provide direct experience
-Help the teacher clarify the subject matter
-Make discussion lively
-Save money and time
-Avoid dullness

In music, recorded songs/music are commonly used as instructional materials especially

when teaching songs to students. Specific musical instrument could also be considered in
teaching the elements of music. These are as follows:

Brass Instrument- like trumpet and the trombone

Percussion Instruments- played by banging or shaking like drums, maracas, bell, cymbals,
gong, rattle, tambourine and xylophone
String Instruments- played by plucking strumming, picking or bowing the string like guitar, violin,
ukulele.
Wood wind Instruments- sounds are produced by the vibration of reeds in the mouthpiece like
the flute, piccolo and saxophone.

Teachers may also improvise musical instruments. You may ask your students to create
their own instruments such as drums made from used and empty containers and cans. Maracas
made from a plastic bottled with sand or pebbles inside. Just use your imagination and be creative.

SAMPLE LESSON PLAN IN MUSIC 3

By: Benjie M. Manila

I. LAYUNIN
A. Pamantayang Demonstrates understanding of the basic concepts of
Pangnilalaman rhythm
B. Pamantayan sa Pagganap -Performs simple ostinato patterns/ simple rhythmic
accompaniments on classroom instruments and other
sound sources to a given song
-Sings songs with correct rhythm
C. Mga kasanayan sa -Plays simple ostinato patterns with classroom
Pagkatuto instruments and other sound sources
(MU3RH-Id-h-5)

II. NILALAMAN Aralin 5- Ostinato

III. KAGAMITANG
PANTURO
A. Sanggunian

24
 1. Mga pahina sa Gabay
ng Guro
2. Mga pahina sa 28-31
Kagamitang Pang-mag-
aaral
3. Mga Pahina sa Teksbuk
4. Karagdagang
kagamitan mula sa
Learning Resource
Portal
B. Iba pang kagamitan Keyboard, Improvised Rhythmic Instuments, Music
Scores ng mga awitin, Mga Larawan at eCharts ng mga
rhythmic patterns, mga tambol
IV. PAMAMARAAN
A. Balik- Aral sa nakaraang Magbalik aral sa rhythmic pattern:
aralin at/ o pagsisimula ng - Isagawa ang Echo Clapping
bagong aralin Pagsasanay sa pag-awit:
(Review and Drill) - Solfege Practice gamit ang Codaly Hand
Signal

B. Paghahabi sa layunin ng Magpakita ng mga larawan ng hayop na gumagalaw

aralin (Mga hayop na matatagpuan sa awiting “Ang mga
(Motivation) Alaga kong Hayop”).
- Itanong ang mga pangganyak na tanong
C. Pag-uugnay ng mga -Ipakita ang tsart ng awiting “Ang mga alaga kong
halimbawa sa bagong aralin hayop”
(Presentation) -Itanong kung ano ang palakumpasan ng awit
-Ipabigkas ang lyrics ng awitin sa paraang pantigan
-Iparinig at ituro ang awitin sa mga mag-aaral
-Ipaawit ng sabay-sabay ang awitin
D. Pagtalakay ng bagong -Ipakita ang isang rhythmic pattern sa palakumpasang
konsepto at paglalahad ng 2
bagong kasanayan #1
4
-Ituro at ipagawa ito sa mga bata ng paulit ulit habang
inaawit ang “Ang mga alaga kong hayop”
E. Paglinang sa kabihasaan Differentiated Instruction
Pangkatin ang klase:
UNANG Pangkat: Awitin ang “ang mga alaga kong
Hayop”
IKALAWA at IKATLONG Pangkat: Isagawa ang
magkaibang Ostinato Rhythmic Pattern gamit ang mga
improvised rhythmic instruments
IKA-APAT na Pangkat: Magsagawa ng angkop na kilos
na maaaring isabay sa awit.

E. Paglalapat ng aralin sa -Lahat ng bagay na ginagawa natin sa araw-araw ay

pang-araw-araw na buhay may kaugnay na rhythm at pattern, katulad ng pagtibok
ng ating puso at ating paghinga.
-Magbigay pa nga kayo ng iba pang mga halimbawa.

25
F. Paglalahat ng Aralin -Itanong:
Sa pag-awit natin kanina ng awiting “Ang mga alaga
kong hayop ay mayroon tayong” ay mayroon tayong
isinagawang mga rhythmic patterns, paano ba natin
isinagawa ang mga ito?
G. Pagtataya ng Aralin -Muling Pangkatin ang mga Mag-aaral (Tatlong grupo)
-Isagawa ang Ostinato Pattern kasabay ng awitin na
nakasulat sa activity card ng bawat pangkat.
H. Karagdagang gawain para
sa takdang-aralin at
remediation
V. MGA TALA
VI. Pagninilay
A. Bilang ng mga mag-aaral
na nakakuha ng 80% sa
pagtataya.
B. Bilang ng mag-aaral na
nangangailangan ng iba
pang gawain para sa
remediation
C. Nakatulong ba ng
remedial? Bilang ng mag-
aaral na nakaunawa sa
aralin
D. Bilang ng mag-aaral na
magpapatuloy sa
remediation
E. Alin sa mga stratehiyang
pagtuturo ang nakatulong
ng lubos
F. Anong suliranin ang aking
naranasan na
nasolusyunan sa tulong ng
aking punong guro at
superbisor?
G. Anong kagamitang panturo
ang aking nadibuho na nais
kong ibahagi sa mga kapwa
ko guro?

26
ACTIVITY

Using your k to 12 Curriculum Guide in Music and a reference book/material in MAPEH,

choose a topic and make a semi-detailed lesson plan of a learning competency of your choice
using the suggested format below.
Lesson Plan in Music
I. Objective
A. Content
B. Content Standard
C. Performance Standard
D. Learning Competency
II. Materials
A. References
B. Instructional Materials
III. Procedure
A. Preliminary Activities
B. Presentation
C. Discussion/Concept Formation
IV. Activities
V. Generalization
VI. Evaluation
VII. Enrichment

Note: You may use other format if you use a specific method of teaching (Please Indicate).

References:

Corpuz, B. B., and Salandanan, G. G. (2015). Principles of Teaching (with TLE). Lorimar
Publishing, Inc.
DepEd. K to 12 Curriculum Guide in Music retrieved at
https://www.academia.edu/38078710/K_to_12_Curriculum_Guide_MUSIC_Grad
e_1_to_Grade_10
Jones, C. S. and Jones, R. (n.d.) Understanding Basic Music Theory. Retrieved at
http://cnx.org/content/col10363/1.3/.

Marcial, J. V., Delos Reyes, L. B., Magbitang, I. R., and Tomas, C. (n.d.). Curriculum and
Instruction: MAPEH/MSEP. Teacher Induction Program Module.

Serrano. E.D., Pilariza, C. A., and Bunga, J. B. (2016). Principles of Teaching 2. Adriana
Publishing Co., Inc.

27