Holy Angel University: Music Competencies of Bpe Students

MUSIC COMPETENCIES OF BPE STUDENTS
HOLY ANGEL UNIVERSITY
The Level of Competencies in Music of BPE Students in Selected
HEI’s in Angeles City: Basis for Suggested Enrichment Activities
Lawrence L. Clemente
Lhay Ann G. Lazo
Alliza D. Libu
Ian Lester L. Manalang
Nicholle D. Turla
Holy Angel University
Author Note
Lawrence L. Clemente, Lhay Ann G. Lazo, Alliza D. Libu, Ian Lester L. Manalang, and
Nicholle D. Turla, School of Education, Holy Angel University.
Correspondence concerning this article should be addressed to Ian Lester L. Manalang,
School of Education, Holy Angel University, #1 Holy Angel Avenue, Sto. Rosario Street,
Angeles City, 2009, Philippines. Email: ianlester.manalang@gmail.com
Page 0
The Physical Education Program in the country today has commonly been taken
as a peripheral program or worse, as a mere appendage to programs, which are generally
considered relevant such as science and technology. Consequently, school administrators
may have been lax in examining the competencies of teachers handling the PE programs.
In addition, it has been observed that in most schools today, PE courses, basic or major,
have the tendency to be regarded as “for requirement purposes only,” thus adversely
affecting decisions in the recruitment and selection of PE teachers. (Miguel, 2012)
All PE teachers whether in public or private institutions must know their strengths
and weaknesses in teaching the subject. It is also important to meet the expected
competency in a certain skill. Additionally, if all PE teachers desire to grow in a
particular competency area, they can examine the expected learning and skills in the
intermediate and advanced level. Hence, in studying physical education in depth it is
substantial to have a particular program.
One example of this program is the Bachelor of Physical Education or also known
as the BPE. The Commission on Higher Education (CHED) mandated the Memorandum
Order No 23, s. 2012. It says there, “In accordance with the pertinent provisions Republic
Act (RA) No. 7722, otherwise known as the “higher education act of 1994” and by the
virtue of the Commission en banc Resolution No. 197-2011 dated August 8, 2011 vesting
the Commission on Higher Education the power to set minimum standards for programs
and institutions of higher learning and for the purpose of rationalizing physical education
in the country with the end view of keeping pace with the demand of global
competitiveness.” Holy Angel University and the City College of Angeles are some of
Page 1
the higher educational institutions (HEI’s) in the Philippines particularly in Central
Luzon to comply and offer the program.
The program is a four-year degree course, which prepares the student to become a
specialist in the areas of sports, dance, recreation, and physical fitness. This program also
trains the students to be proficient in teaching physical education, sports coaching and
officiating, and in administering, conducting and supervising sports, dance, and
recreational programs. The graduates of this curriculum are also expected to be able to
teach music as well as health education in both the elementary and secondary levels.
The new BPE curriculum brought a lot of factors. One is affecting the entire
school institutions including Holy Angel University and other institutions in Angeles
City. The students who are enrolled in the course will be greatly affected in this situation.
As stated, the curriculum is mainly focused on physical education and health subject with
the exclusion of art and music subjects. This situation will lead to students becoming
illiterate and incompetent in teaching music. Furthermore, the lack of knowledge or skills
in the said subjects will be a hindrance in the teaching profession in the field at the time
they finish the course.
Another point to consider is when the graduates take their Licensure of
Examination for Teachers (LET). It follows that the insufficient learning in music area is
a big risk. Music as part of the subject areas in MAPEH, is still in the curriculum of many
schools today. Therefore, there is a big tendency for the graduate to get a low rating or
worse a failed rating. Moreover, if there is no formal music education within the
educational system, it will produce incompetent graduates that are expected to mold
students’ abilities and skills.
Page 2
According to Arostegui (2004) if students are to have a meaningful encounter
with music, they need to be able to think about how they experienced it– cognitively,
emotionally and physically– because it is through thinking about the experience (usually
performance) that one finds meaning. Meanwhile, Bauerline (2006) stated that if teachers
are to learn as their students learn, music teachers must have the competencies required
for responsible citizens in a democratic society. Music educators must accept the
challenge of educating society on the enrichment and positive benefits music has to offer
(Linan, 2006). Hence the importance of music education program benefits not just the
teachers but the students as well.
An article entitled “An Education Politics of the Particular: Promises and
Opportunities for the Quality of Higher Music Education,’ tells us that when a student
graduates from a music education program, knowledge of his or her competence consist
of list of the courses that the student passed and institution’s that the students integrated
the expected competencies or attributes, through experience, into a synthesis of
knowledge and skills that enable effective teaching in the K to 12 classrooms.
There were researchers that gave importance to music education. In the study of
Legette (2013) he examined the perceptions of early-career music teachers regarding
their pre-service teacher education program with respect to its success in developing
competencies needed to be effective in school music classrooms. Most teachers expressed
a need for more hands-on experiences, more discussion of pedagogical problems in a
variety of settings, and classroom management.
In a related study, Hamann & Ebie (2009) sought to determine whether students
enrolled in music education methods courses believed that these courses would address
Page 3
concerns they had about teaching either within or outside their area of familiarity.
Findings revealed that students had thought about and could express concerns about
teaching within and outside their area of familiarity, were confident that their methods
courses were providing them with the skills they needed to be effective teachers, and
believed that these courses were providing them with adequate knowledge and skills to
alleviate any concerns they had about teaching at this point in their careers.
Recent data from research in education indicate how ineffective colleges of
education have been in preparing teachers to communicate the individual and cooperative
knowledge and skills needed for K to 12 graduates to function in the twenty-first century
(Colwell, 2006).
A teacher’s competency in 21st century according to UNESCO (2008) is to have
firm knowledge of the curriculum of his/her subject and to use technology into the
curriculum. Formal system of education depends on three components that are
curriculum, student and teacher. Teachers’ role is to impart education and
education builds societies. An individual is unit of a society.
At every level, teachers’ competencies to improve their performance are of great
importance. Teachers competencies not only affect their values, behaviors,
communication, aims and practices but they also support professional development and
curricular studies (Selvi, 2010). Competencies can be defined as “the set of knowledge,
skills, and experience necessary for future, which manifests in activities.” Katane et.al
(2012) and Fakhra (2012) operationally defined teachers competencies as knowledge and
skills of teachers required for effective and quality education at higher education level.
These include a set of teaching skills that a teacher at the tertiary level needs to possess,
Page 4
in order to become effective teacher and these are pedagogical skills, management and
assessment skills, and research skills.
Different skills that will enhance students’ abilities and performance in the school
setting should be included in the curriculum. Relating to K to 12 and the development of
music pedagogy through the years, the K-10 music curriculum embodies the best
practices advocated by the spiral, multi-cultural, and integrative approaches in music
education, as well as current philosophical thought about contemporary general
education. It envisions in the music program that it will effectively nurture and refine the
learner’s artistic expression and cultural literacy, and celebrate his/her national heritage,
while it instills, within every individual Filipino learner, pride in his/her own cultural
identity.
Conceptual Framework
To give a point of view of the framework of the study, the researchers used the
Input – Process – Output Model wherein the input is consisting of the following
variables: content of music and competencies of music.
On the other side, the process used was through questionnaire, descriptive method
statistical treatment such as tallied, mean and standard deviation. The development and
validation of questionnaire ensured the effectiveness of the survey questionnaire. The
outputs were the level of competencies in music of BPE students of selected HEI’s in
Angeles City and the suggested enrichment activities in music.
Page 5
INPUT PROCESS OUTPUT
 Content of  Descriptive  Level of

music Method Competencies
in Music of
 Competencies  Questionnaire BPE students
in music of selected
 Statistical HEI’s in
Treatment Angeles City
 Suggested
enrichment
activities in
music
Figure 1. An illustration of the model to determine the music competency level of the
BPE students
Statement of the Problem
The main purpose of this study is to assess the level of competencies in music of
BPE students of selected HEI’s in Angeles City. Additionally, unpacking this association
may provide a key to understand and determine to what extent do the students’
competencies are which will be basis for suggested enrichment activities in music.
Specifically, this study aimed to answer the following questions:
1. How may the competencies in music be described in terms of:
1.1. Music Elements and Theory,
1.2. Music of the Philippines,
1.3. Music of Asia,
Page 6
1.4. Music History (Western and Eastern),
1.5. Popular Music and Genres,
1.6. Contemporary Philippine Music,
1.7. Music and Media.
2. How may the level of competencies in music of the respondents be
described in terms of:
2.1. Content Knowledge,
2.2. Skills.
3. What enrichment activities in music be suggested as the result of this
study?
Scope and Limitations
This study is limited only to the level of competencies in music among BPE
students in selected HEI’s in Angeles City: Holy Angel University and City College of
Angeles. The variables included were: the level of their competencies in terms of content
knowledge and skills. The researchers conducted a survey questionnaire to the
participants as part of the study. It gave the researchers an empirical data on the
competencies of the respondents.
Significance of the Study
Results of this study may provide educators an insight of the level of
competencies in music of BPE students on the schools stated above. The Commission on
Higher Education may also benefit, for this might help them identify what enrichment
Page 7
activities in music be implemented and addressed for the improvement of the curriculum
of Bachelor of Physical Education of the two selected HEI’s and other school institutions.
This study is also beneficial to other researchers who may take interest in research
about music competencies.
Page 8
METHOD
Research Design
The researchers used the descriptive method in this study. Descriptive research is
mainly performed when a researcher wants to gain a better understanding of a topic. The
main goal of this type of research is to describe the data and characteristics about what is
being studied. It is best to use for its fact-finding study and its involvement in the
collection of data through answering questionnaires, observations and interviews in order
to accomplish the aims of the study (Shuttleworth, 2008).
Sampling and Participants
The participants of this study were the 3rd year BPE students from one private
university and city college in Angeles City. There were 47 total respondents.
The sampling technique used was purposive sampling since the researchers only
chose two HEI’s in Angeles City offering a degree Bachelor of Physical Education. All
3rd year BPE students enrolled in the two schools were the target participants of the study.
Research Instrument
The researchers utilized a 30-item survey questionnaire. A questionnaire was used
as the main data-gathering instrument and is divided into two sections. The first section
is consists of 20 item statements determining the level of content knowledge while the
second section contains a 10 item statements determining the level of skills in music.
The researchers constructed the part one of the questionnaire. The statements
were aligned in the DepEd’s K-10 music curriculum. There were 4 statements in the
areas of (a) music elements and theory, (b) music of the Philippines, (c) music of Asia,
and (d) music history of eastern and western period. In terms of popular music and genres
Page 9
there were 2 statements, and for both contemporary Philippine music and music and
media, there were 1 statement for each area. Part two for the skills in music, is composed
of a 10-item statement. The researchers adopted two questionnaires that were developed
by Goodman (1986) and Samillano (2015). The researchers modified, add and delete
some statements to enhance the instrument. For both Goodman’s and Samillano’s
instrument, five statements were modified.
The statements were structured using the Likert format. In this survey type,
respondents will likewise be given a 4-point scale with response options from very high,
above average, below average to very low degree of competency.
Instrument Validity and Reliability
For the part two of the questionnaire, the researchers sought permission of the
researchers (Goodman) through e-mail, and (Samillano) through personal message on
Facebook to use some parts of their research instruments. Their approval gave the
researchers an authority to utilize the tool. Then three (3) experts in the field validated the
first draft of the questionnaire. After which their comments and suggestions were
considered in preparing the final form of the instrument. An evaluation tool was then
given to the validators to assure that the questionnaire is ready to use. Subsequently, the
researchers send a copy of the instrument to the two researchers.
To test the reliability of the questionnaire, pilot testing was conducted to the 4 th
year students who are currently taking up Bachelor of Physical Education in the said
private university and city college. The results of the pilot testing were computed using
Cronbach Alpha.
Page 10
The Cronbach Alpha values for dimensions of ‘level of competencies in music’
questionnaire were respectively: 1) 20-item-“content knowledge” 0.944. 2) 10-item-
“skills” 0.905. The results showed that the questionnaire was reliable.
Data Gathering Procedure
The researchers conducted a personal visit to the two HEI’s in Angeles City to ask
permission from the deans to collect data using the instrument of this research. After
securing permission, the questionnaires were administered to all the respondents. The
researchers clearly explained the contents of the questionnaire and the overview of the
study.
The retrieval was made after the respondents finished answering the
questionnaire. The researchers tallied the data carefully.
Ethical Considerations
The researchers ensured ethical considerations. The letter of permission to
conduct the survey was obtained from the deans of the two (2) higher educational
institutions from which data were collected. Secured informed consent and letters were
given to the respondents of this study.
The researchers practiced the principles of confidentiality and offered the
participants the right to withdraw from the study. The identities of the students were
secured with privacy and not asked to answer the questionnaire by force. Lastly, the data
collected were used solely for the purposes of this research.
Data Analysis
Descriptive statistics such as weighted mean and standard deviation were used to
describe the level of competencies in music of BPE students of the two HEI’s in terms of
Page 11
content knowledge and skills. The mean scores and descriptive reading for each level are
as follows:
Rating Descriptive Reading of Level of Competencies in Music
1.00 – 1.75 Very Low
1.76 – 2.50 Below Average
2.51 – 3.25 Above Average
3.26 – 4.00 Very High
Page 12
RESULTS
Presented in Table 1 shows that the level of competencies of the respondents in
Music Elements and Theory is above average (3.08). All of the competencies for each
statement of BPE students had a weighted means of 2.51 – 3.25 indicating an above
average results.
Table 1. Level of competencies in music of BPE students in terms of content knowledge in

Music Elements and Theory
Content Knowledge Weighted Descriptive
Mean Reading
Music Elements and Theory
1. Different notes and rests used in music (e.g., whole 3.15 Above Average
note/rest, half note/rest, quarter note/rest, etc.).
2. Elements in music (e.g., rhythm, harmony, dynamics, 3.06 Above Average
melody, tone color, texture and form).
3. Simple rhythmic/harmonic accompaniment in music (e.g., 2.94 Above Average
beat, meter, chords, etc.).
4. Different time signatures in music (e.g., ¾, 4/4, 6/8). 3.18 Above Average
Overall Weighted Mean 3.08 Above Average
Table 2 indicates that the respondents had a total weighted mean of 2.53 for the 4-
item statement in Music of the Philippines. It means that the students’ competencies are
above average. The data shows that the respondents gave item number 6 and 8 a similar
weighted mean of 2.70, item number 5, a weighted mean of 2.53. While for item number
7, a weighted mean of 2.17. It means that the respondents had a below average
competency.
Page 13

Music of the Philippines
Content Knowledge Weighted Descriptive
Mean Reading
Music of the Philippines
5. Instrumental music of the Philippines (e.g., rondalla, 2.53 Above Average

bandurria, kulintang, gabbang etc.).
6. Vocal and instrumental music of the Philippines (e.g., 2.70 Above Average
senakulo, pabasa, etc.).
7. Filipino composers (e.g. Nicanor Abelardo, Antonio Molina, 2.17 Below Average
etc.).
8. Compositions of the Philippines (e.g., harana, kundiman, 2.70 Above Average
etc.).
In table 3, the respondents gave item numbers 9 and 12 an equivalent weighted
means of 2.34 which both had a descriptive reading of below average. Statement number
10 got a weighted mean of 2.23, and for item number 11, the lowest weighted mean of
2.17 was computed. In this case, it means that the respondents’ music competency in
terms of content knowledge in the area in Music of Asia is below average.

Music of Asia
Content Knowledge Weighted Descriptive Reading
Mean
Music of Asia
9. Music in Asia (Southeast, East, Central, South and 2.34 Below Average
Near East Asian countries).
10. Instruments used in Asian countries. 2.23 Below Average
11. Characteristics of folk music from different Asian 2.17 Below Average
countries including their history and culture.
12. Traditional Asian music theater (e.g., Japanese 2.34 Below Average
Kabuki, Peking Opera, Wayang Kulit).
Overall Weighted Mean 2.27 Below Average
Page 14
As gleaned from Table 4, all the Music History (Western and Eastern)
competencies’ statements had a total weighted mean of 2.44. This indicates that all of the
respondents had a below average competencies particularly in music of renaissance,
baroque, classical and romantic periods, and also the different composers of western and
eastern music.

Music History (Western and Eastern)
Mean
Music History (Western and Eastern)
13. Music of Renaissance and Baroque periods. 2.47 Below Average
14. Music of Classical and Romantic periods. 2.40 Below Average
15. Western and Eastern music. 2.34 Below Average
16. Composers of different historical periods (e.g., 2.55 Above Average

Beethoven, Pachelbel, Liszt Wagner, etc.).
Overall Weighted Mean 2.44 Below Average
As shown in Table 5, the content knowledge in the area of Popular Music and
Genres, the respondents gave a total weighted mean of 2.55 which reflected their
competencies. Furthermore, the level of competencies of the respondents is above
average.
Page 15

Popular Music and Genres
Mean
Popular Music and Genres
17. Popular music of the 20s to the 50s. (e.g., 2.55 Above Average
Broadway Musical, Jazz, Rock and Roll, etc.).
18. Popular music and performers of the 60s to the 2.55 Above Average
90s. (e.g., Beatles, Rhythm/Blues, Gospel, etc.)
Table 6 presented a weighted mean of 3.09 for the respondents’ music
competencies in terms of Contemporary Philippine Music. It signifies an above average
competency.

Contemporary Philippine Music
Mean
Contemporary Philippine Music
19. Composers and performers of the Contemporary 3.09

Philippine music. (e.g., Ryan Cayabyab, Lea Above Average
Salonga, OPM Artists, etc.
In Table 7, the respondents gave a 3.09 weighted mean and show an above
average interpretation.

Music and Media
Mean
Music and Media
20. Music and media. 3.09 Above Average
Page 16
Presented in Table 8, the level of competencies in music of BPE students in terms
of skills shows an above average and below average results. The respondents gave 5
items an above average interpretation. Items number 1, 3, 4, 6, and 10 had a weighted
means of 2.51 – 3.25. In statement number 8, it shows that the mean is 3.26, which is
considered as a very high level of competency to the respondents. Out of 10 items, only 4
of these were below average; item number 2 (2.32), item number 5 (2.47), item number 7
(2.50), and item number 9 (2.43).
Table 8. Level of competencies in music of BPE students in terms of skills

Skills Weighted Descriptive
Mean Reading
1. Ability to teach a song. 2.51 Above Average
2. Ability to visually identify specific orchestral and folk 2.32 Below Average
instruments.
3. Ability to classify instruments by group (string, woodwind, 2.96 Above Average

brass and percussion).
4. Ability to identify and define commonly used music symbols 3.04 Above Average
and terminology.
5. Ability to sing a typical genre of song accurately and in tune. 2.47 Below Average
6. I can demonstrate understanding of basic musical notation. 2.85 Above Average
7. I can analyze & read a music sheet. 2.50 Below Average
8. I can show appreciation in performing music through 3.26 Very High

watching, performing and other performance activities.
9. I can perform well in any genre of music. 2.43 Below Average
10. I can demonstrate a particular lesson in music. 2.80 Above Average
Page 17
DISCUSSION
One of the most challenging subjects that can be taught in a public or private
school is music. It covers a wide range of topics and should develop the abilities and
skills of the learners holistically. This study focuses on determining the level of
competencies of BPE students in selected HEI’s in Angeles City. Therefore, graduates of
the program must be familiarize and master the competencies cognate to the Department
of Education’s K to 10 music curriculum to be able to teach the subject effectively.
A. Music Elements and Theory
In music elements and theory, the concepts and principles are being studied
through performing, creating, and responding through the acquisition of basic knowledge
and skills. The learners are expected to demonstrate an understanding of these concepts
through experiential learning for which it can enhance their abilities in music from basic
to advanced level.
They should be able to identify, relate, use, demonstrate, distinguish and perform
different concepts of the topics since it is in spiral progression.
B. Music of the Philippines
In music of the Philippines, the lessons are presented by part. It should start from
Music of Luzon then Music of Visayas and lastly Music of Mindanao. The learners are
expected to demonstrate an understanding of the vocal and instrumental music of the
country through performing, creating, listening and observing. They should also be able
to identify, analyze, explain, and improvise different lessons related to the topic.
Therefore, it can increase their appreciation of the cultural richness of the different
provinces in the Philippines.
Page 18
C. Music of Asia
In music of Asia, it is an area in which it has a lot of scope. The learners are
expected demonstrate understanding of common musical characteristics of each Asian
countries as well as relating to its geography and culture. Through appreciation, analysis,
and performance for self-development the learners will be able to celebrate Filipino
cultural identity and diversity, and the expansion of one’s world vision.
The competency that the learners should acquire is through identifying, analyzing,
performing, and exploring concepts in Asian Music.
D. Music History (Western and Eastern)
In music history (western and eastern), the learners should demonstrate
understanding of salient features of Western music from different historical periods
including its composers. It can only be achieve through appreciation, analysis, and
performance.
Moreover, the learners should be able to perform selected songs of the composers
from each period that may help in understanding and appreciating the identity and
diversity of music.
E. Popular Music and Genres
In popular music and genres, it is expected that the learners should be able to
explore different genres in music and perform them with accuracy and in tune. They
should also demonstrate the commonalities and differences of music from different
cultures of the world; its functions; the roles of musicians in society; and conditions
under which music is typically performed.
Page 19
F. Contemporary Philippine Music
In contemporary Philippine Music, the learners should develop their knowledge
and skills through appreciation, analysis, and performance. Consequently they should
also demonstrate understanding of salient features of contemporary music through
appreciation. In this case, through listening and singing of songs from the composers of
the country may help conserving the richness of Philippine Music.
G. Music and Media
In music and media, the learners should be able to demonstrate an understanding
of the interrelationship between music, technology and media. Through illustrating how
the different elements are combined in music and media presentation, and demonstrating
skills in using various media and technology, the learners will be competent in the said
area.
1. Level of Competencies in Music of BPE Students in terms of Content
Knowledge
After describing the competencies in music, the second objective of this study is
determine the level of competencies in music of the respondents in terms of content
knowledge and skills. In a study of Dawe (2009) she said that all music teachers carry
with them a wide array of knowledge about music. However, that which comprises the
discipline of music is so vast that not every music teacher can be assumed to have the
same musical strengths or to emphasize the same aspects of music in their teaching. For
the BPE students, it indicates that the most important components of their content
knowledge appear to be their understanding of music elements and theory, music of the
Page 20
Philippines, popular music and genres, contemporary Philippine music, and music and
media.
1.1 Music Elements and Theory
In this particular area, the respondents believed that they have the knowledge to
teach music elements and theory even without having an actual lesson in their course. An
understanding of music elements and theory can develop skills and abilities of the
students in music. Dunnett (2017) stated that the elements of music could be seen as
being the building blocks of music. Thus, learning first the basic elements and theories in
music will enable students to analyze and read a music piece.
1.2. Music of the Philippines
The level of competencies of the respondents in music of the Philippines resulted
into an above average reading. It means that they have actually the capability to teach the
different topics in the said area. In his article about ‘The Diversity of Philippine Music
Cultures’, De Leon (2009) asserted that there is a pressing need to bring Philippine music
closer to our people: strong identification of our own music is one vital factor in bringing
our people together or unifying the nation. Moreover, if the respondents will give an
importance of learning the Philippine music, it will develop students’ patriotism, love and
appreciation to our own music.
1.3. Popular Music and Genres
Having an above average level of competency, it is possible that the BPE students
can teach popular music and genres. This specific area is consists of various lessons that
may help the learner and the teacher demonstrate an appreciation of diverse music styles.
In a study of Schüler (2007) he affirmed that if we consider the importance of popular
Page 21
music on our youth, it seems natural that college and university curricula would reflect
this importance by including it as one of their objects of study.
1.4. Contemporary Philippine Music
In this area, the respondents believe that they can teach contemporary Philippine
music since their level of competency was above average. As they teach the topic, it is
quite important to deeply understand and cultivate an extensive effort of knowing the
subject well. An article about Philippine music asserted that a number of other genres are
growing in popularity of Philippine music scene. Also, new forms of Filipino music are
emerging and hopefully will continue to flourish in the future. This simply means that if
the BPE students continue to explore and expand their knowledge in mastering the
contemporary Philippine music, they can mold learners and uplift their patriotism to
Filipino music.
1.5. Music and Media
The respondents’ level of competency indicates that they can teach music and
media considering that they don’t have it as part of their curriculum. Accordingly, if they
are mindful of learning it more through the use of media and technology they may be able
to teach it appropriately. Redefining music in today’s world will take new approaches
that include new technologies and devices utilized by those in the mass media. There is
no shame in modernizing the presentation of classical literature performances as well as
our music educational system to reach a wider audience. (Rager, 2008)
In determining the level of competency in music of the respondents in terms of
content knowledge, there were two major areas that resulted into a below average
interpretation; music of Asia and music history (western and eastern).
Page 22
1.6. Music of Asia
The respondents reflected their competencies and the findings implied that they
are incapable to teach Asian music. If and only if there is an integration of Asian music
subjects that will help the BPE students in acquiring the needed knowledge, they can
teach lessons without any hesitations. In his study, deQuadros (2009) stated that music
teachers need more than the simple opportunity or freedom to use or to teach about Asian
music in their classrooms. They need specific guidelines to help them structure child-
centered, process-driven learning experiences so that the value and implications of
teaching about very different cultures is handled sensitively and constructively.
Consequently, a special emphasis should be put on the quality of the music teacher-
training curriculum to incorporate not only appropriate material, but also the
understanding of music in differing Asian societies and contexts. Thus, we need a
philosophy, which provides, in its precepts, the flexibility needed for including Asian
music into the curriculum in depth.
1.7. Music History (Western and Eastern)
The results in this particular area tell us that the respondents are incompetent to
teach music history. It follows that if they have the insufficient use of learning methods
about the different lessons, they cannot impart the necessary competencies to their
students. In a study of Renter-Reintamm (2009) conducted in Estonia, she found that the
use of active learning makes the teaching of history of music more effective. Engagement
in various activities may help the BPE majors to increase their knowledge most
importantly on the different musicians of each period. As reported by Pantev et al.
(2003), long years of active engagement with particular music activities in Western
Page 23
classical musicians are associated with an increase in neuronal representation specific for
the processing of tones of the musical scale. Thereby, it is necessary for enrichment
activities to be given to the respondents.
2. Level of Competencies in Music of the BPE Students in terms of Skills
Jorgensen (2013) mentioned in his research that music is unlike history and
mathematics, in that one must not only be able to know about the subject but one must
also possess practical skills and to be able to do it. To teach music, you need the intended
skills and abilities to perform them. Seemingly, the respondents have at least 6 skills in
music from a 10-item statement in the research questionnaire of this study. These are
having the ability to teach a song, ability to classify instruments and the ability to identify
and define commonly used music symbols and terminology, the respondents can teach
music effectively. It shows that they can also demonstrate understanding of basic musical
notation, can show appreciation in performing music through watching, performing and
other performance activities and can demonstrate a particular lesson in music. Thus it’s
easy for them to provide a fun learning experience in music to the students. Conversely,
there were four statements that the respondents reflected their competencies in music in
terms of skills and resulted into a below average interpretation.
First, they believed that they don’t have the ability to visually identify orchestral
and folk instruments. In article that talks about ‘Ten Reasons Why Everyone Should
Learn To Play Musical Instrument’, it shows that everyone enjoys listening to good
music, but not all of us are able to play musical instruments. This could be due to not
having the opportunity to learn as kids or simply due to lack of inclination or proper
instruction.
Page 24
Second, they believed that they don’t have the ability to sing a typical genre of
song accurately and in tune and cannot perform well in any genre of music. These
indications show that if the respondents don’t have the necessary skills for the said
competencies, they can poorly teach the music subject. Considering that there are
numerous types of musical genres, one should be able to obtain at least two to three or
more genres and learn to familiarize with it. Consequently, the more familiar music gets,
the more sophisticated the ability to differentiate becomes. (Sloboda, 2007)
And lastly, they believed that they couldn’t analyze and read a music sheet. This
area talks about the different strategies and techniques that a student should process to be
able to read music. In her study, Hallam (2009) suggested that engagement with music
plays a major role in developing perceptual processing system, which facilitates
encoding, and identification of speech sounds an patterns, the earlier the exposure to
active music participation the greater the impact.
After determining that there are competencies that the respondents need to obtain
before teaching it in the actual classroom setting, the researchers came up with the
suggested enrichment activities in music. The enrichment includes the time frame for
each competency; the content that shows all the scope of lessons; the competency that the
student must achieve; the suggested instructional strategies or resources; and the
assessments of students work to make sure that they meet the expected competencies for
each area.
Page 25
CONCLUSIONS AND RECOMMENDATIONS
Conclusions
Based on the findings, the researchers concluded that the respondents should meet
the expected learning competencies of the K to 10 Music Curriculum to be able to teach
music subject in the classroom. The researchers also concluded that the level of
competencies in music of the BPE students in terms of content knowledge should be at
least very high. When it comes to Music of Asia, the respondents should be competent in
the (a) instruments used in Asian countries, (b) characteristics of folk music from
different Asian countries including their history and culture, and (c) traditional Asian
music theater.
Also, pertaining to the content knowledge, the respondents should acquire the
competencies in Music History (Western and Eastern) before teaching it to the students.
They should be competent when it comes to music of renaissance and baroque periods,
music of classical and romantic periods, western and eastern music, and composers of
different historical periods.
In terms of skills, the researchers concluded that their overall level of
competencies in music was above average. They believed that they have the set of skills
in teaching music and therefore the respondents should increase their:
a. Ability to teach a song.
b. Ability to classify instruments by group in string, woodwind, brass and
percussion.
c. Ability to identify and define commonly used music symbols and
terminology.
Page 26
d. Understanding of basic musical notation.
e. Appreciation in performing music through watching, performing and other
performance activities.
f. Capability to demonstrate a particular lesson in music.
However when it comes to other areas, the respondent’s level of competencies
were below average. In this manner, the BPE students lack in certain areas and should
focus being competent in:
a. Ability to visually identify specific orchestral and folk instruments.
b. Ability to sing a typical genre of song accurately and in tune.
c. Analyzing & reading a music sheet.
d. Performing well in any genre of music.
The researchers also concluded that there is really a need for enrichment
activities. Thus, the suggested enrichment activities in music would help the BPE
students to develop their skills and be competent on the said areas.
Recommendations
Based on the findings on this study the respondents have below average
competencies in a specific area. In order to address these differences, the following
recommendations are as follows:
a. Deans and school administrators of the two higher educational institutions
should integrate music on the curriculum of Bachelor of Physical Education.
b. Consistent music trainings, programs and seminar provided by the
department to update the teachers in the latest trends in music.
Page 27
c. The Commission on Higher Education (CHED) may implement music
programs concerning the needs and goals of the students enrolled in the
course.
d. Additional studies could address several issues that emerged in this study.
e. Further research studies are needed to determine the feasibility and
effectiveness of the suggested enrichment activities to the BPE students.
f. Since the study is limited only to the students who are taking up BPE, it is
recommended that a similar study be conducted among private and public
secondary teachers in different schools in the city and in the region, and
g. A similar study may also be done using a qualitative method of research to
validate and give more empirical data of the variables considered in the study.
Page 28
Suggested Enrichment Activities in Music
The goals of enrichment activities includes increased learning, integration of
challenges, more in-depth exploration of areas of interest beyond the depth from the
traditional classroom (Subotnik, Olszewski-Kubilius, & Worrell, 2011) and higher
academic achievement.
Reis and Renzulli (2010) consider how enrichment learning and teaching have
roots in the philosophies, theories, and research of Jean Piaget, Jerome Bruner, and John
Dewey, defining their concept in four principles grounded in cognitive development and
educational reform: each learner is unique, thus all learning experiences must take in
individual abilities, interests, and learning styles; learning is more effective when
students enjoy what they are doing; learning is more meaningful and enjoyable when
process and content are learned in context, including the integration of authentic
assessment; and how the cornerstone of the model is the students’ own construction of
meaning. It follows then that enrichment learning and teaching can lead to: increased
intrinsic motivation for learning; improvements in self-directed learning behaviors, task-
commitment and self-confidence; refinement of analytical, critical and problem-solving
skills; escalated levels of talent development; and, most importantly, can “replace
dependence and passive learning with independence and engaged learning” (Reis &
Renzulli, 2010b, p. 103).
This suggested enrichment activities in music is aligned in the Department of
Education’s K to 10 Music Curriculum. It includes both content and performance
standards that will help BPE students to become competent in different areas. Moreover,
Page 29
it is also in line with the curriculum framework of New Port Public Schools in the
educational system of the United States of America.
Suggested Enrichment Activities in Music
Objective/Standard: The students should demonstrate understanding of salient features of Asian music,
through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural
identity and diversity, and the expansion of one’s world vision.
Suggested
Time Instructional Assessments Student
Content Competency
Frame Strategies Work
Resources/
5 to 8hrs Asian Music Demonstrate  Perform examples of  Work in a small
understanding of different Asian group and create
1. Music of salient features of music, alone and a timeline for
Southeast Southeast Asian with others, in various historical
Asia music by appropriate tone, periods
2. Music of East correlating musical pitch, rhythm,  Develop specific
Asia elements and expression and style. projects on
3. Music of processes to our • Ascribe the multicultural
Central Asia, native forms. distinguishing music
South Asia, characteristics of  Report on and
and Near Demonstrate representative folk perform projects
East understanding of music from that have been
countries salient features of Southeast Asia to the researched
4. Asian Asian Traditional history and culture of  Evaluate the
Traditional Music and Theater the area. group’s ability to
Music and by correlating • Analyze the create a
Theater musical elements relationship of comprehensive
and processes to our functions of music and
native forms. from Southeast Asia  accurate timeline
to the lives of the
people. Students will be
 Perform on available assessed through the
instruments from following:
different Asian
countries, alone and / • Listening quizzes:
or with others.  Time Periods
 Style
 Genre
• Student research
and reports -
rubric based
• Worksheets
Written tests and
quizzes
Page 30
Objective/Standard: The learner should demonstrate understanding of salient features of Western music
and from different historical periods, through appreciation, analysis, and performance for self-development,
the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Suggested
Time Resources/ Assessments Student
Content Competency
Frame Instructional Work
Strategies
5 to 8hrs Music History Demonstrate  Study differences and • Study differences
(Western and understanding of similarities in and similarities in
Eastern) salient features of terminology common terminology
music from to the various music common to the
1. Music of the different historical periods and various music
Renaissance periods. composers. periods and
Period • Listen to and study composers
2. Music of the Demonstrate the musical works • Study and list
Baroque commonalities and involved in the musical works of
Period differences of different music the western and
3. Music of the music from periods. eastern periods.
Classical different cultures of • Listen to, perform, • Develop, in
Period the world; its and study music groups, a written
4. Music of the functions; the roles featured in film and story, a set of
Romantic of musicians in theater. accompanying
Period society; and the • Describe the function
5. Western and conditions under drawings, and a
of music and musical
Eastern which music is musicians in various
Compared typically “soundtrack.”
time periods
performed. • Create a written
story, and a set of Students will be
Demonstrate accompanying assessed through the
understanding of drawings, and a following:
salient features of musical “soundtrack”
Western Music by to demonstrate the • Rubrics
comparing musical relationship between • Worksheets
elements and the fields of
processes to Asian • Quizzes
literature, art, music • Rubric-based
Music. and theater. evaluation of
Compare and “storyboard”
contrast the project
characteristics of Evaluate
music in various terminology and
historical periods knowledge of
and cultures. musical works
through listening
Identify similarities tests.
and differences
between the
composers of
different music
periods.
Page 31
Objective/Standard: The learner should demonstrate understanding of (a) orchestral and folk instruments,
(b) can sing a typical genre of song accurately and in tune, (c) can perform well in any genre of music, and
(d) can analyze and read a music sheet through appreciation, analysis, and performance for self-
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world
vision.
Suggested
Time Resources/ Assessments Student
Content Competency
Frame Instructional Work
Strategies
5 to 8hrs Ability to visually Play orchestral and  Improvise simple  Continue to
identify specific folk instruments rhythmic / harmonic develop skills in
orchestral and accurately and accompaniments to playing orchestral
folk instruments independently with selected Philippine and folk
correct posture, music. instruments.
position, and  Perform with  Develop and
breathe support. expression and practice
technical accuracy. techniques in
Play orchestral and  Perform a self- breath
folk instruments of composed piece of control/support,
selected Philippine music on orchestral positions,
music with or folk instruments. phrasing,
expression articulation, and
appropriate for the performance
work being presentation
performed.
 Practice playing
outside of school
Continue to develop
 Identify and play
skills on a variety of
classroom, basic musical
orchestral, and folk ornamentation
instruments including trills
individually in an and grace notes
instrumental  Create and
ensemble. perform a piece of
music using
Use instruments to orchestral and folk
accompany singing. instruments.
Students will be
assessed through the
following:
 Teacher
observation of
student
performance in
ensembles.
 Rubric and
checklist-based
evaluation of
individual (solo)
student
performances.
Page 32
 Checklist response
by students on
their own
performances
 Rubric and
checklist based
evaluations of
"orchestral and
folk"
performance.
Ability to sing a Identify different  Research the acoustic  Work in a small

typical genre of genre or song. (physical) properties group and create a
song accurately of music and basic song in any genre.
and in tune. Explore genres sounds, including the  Evaluate the
suited for their own human ear. groups’ ability to
voice.  Study different create a song in
Can perform well genres in music. any genre with
in any genres of Perform any genre  Perform any genre of accuracy and in
music. of song accurately song. tune.
and in time.  Sing and recognize  Compose for
any genre. voices and
 Perform and instruments in the
recognize genres in classroom.
music.  Arrange a piece of
 Develop a class music genre for
repertoire of varied using improvised
genres, cultures, and instruments.
styles.
 Perform a self- Students will be
composed song assessed through the
(individual or small following:
group).
 Listening quizzes:
Time Periods
Style
Genre
 Rubric and
checklist-based
evaluation of
individual (solo)
student
performances.
 Checklist response
by students on
their own
ensemble and solo
performances
 Checklist based
evaluation of
Page 33
"self-composed"
performance.
Can analyze and Demonstrate  Use computer  Use a counting

read a music knowledge of music programs which teach system to read
sheet. notation and students to read and music, especially
terminology through write music. the rhythm.
singing, playing, and  Use a counting  Use "Do" as the
listening. system to read home tone and
notated rhythms and sight read simple
Demonstrate rhythms within a melodies.
knowledge of a melody.  Study the name
rhythmic counting  Demonstrate and function of
system in the appropriate sight various music
reading of music reading sight-reading symbols.
notation. skills.  Drill on repeated
patterns presented
Read and perform by the teacher.
rhythm patterns
including whole Students will be
notes, half notes, assessed through
quarter notes, pairs the following:
of eighth notes, four
sixteenth notes,
Reading Music
dotted quarter and
 Teacher evaluates
eighth notes.
the accuracy of
Read whole, half, students’
quarter, eighth, individual and
sixteenth, and ensemble
dotted notes and performances of
rests in 4/4, 4/8, repertoire in class
2/8, 3/8, 6/8, 3/8, and concerts
and alla breve meter  Sight-reading and
signatures. Sight- sight-singing
read simple (treble-clef)
melodies in both the performance
treble and bass quizzes.
clefs.
Notating Music
Use standard  Accuracy of
notation to record notation in student
musical ideas. compositions
 Worksheets
Explore computer  Teacher
programs designed observation of
to read and analyze student's ability to
a music sheet. use a counting
system.
Page 34
References
Arostegui, Jose. (2004). Much more than music: Music education instruction at the
University of Illinois at Urbana-Champaign. In The Social Context of Music
Education. ed. J. Arostegui, 127-210. Champaign, IL: Center for Instructional
Research and Curriculum Evaluation.
Bauerline, Mark. (2006). A very long disengagement. The Chronicles Review 52. Music
Teacher Education in This Century: Part II. Colwell, Richard. Arts Education
Policy Review; Washington 108.2. 17-29.
Colwell, Richard. (2006). Music Teacher Education in This Century: Part II. Arts
Education Policy Review. University of Illinois, Urbana-Champaign.
Davis, S. G. (2008). Fostering a musical say: Enabling meaning making and investment
in a band class by connecting to students' informal music learning processes.
Oakland University, ProQuest Dissertations Publishing, 2008. 3333064.
Dawe, N. (2009). Exploring Professional Knowledge in Music Education: A Narrative
Study of Choral Music Educators in St. John’s, NL. University of Toronto. (p.
148)
deQuadros. A. (2009). Asian Music in the American classroom: Definition, challenges,
and pedagogical imperatives. Visions of Research in Music Education, 14.
Johansen, G. (2009). An Education Politics of the Particular: Promises and
Opportunities for the Quality of Higher Music Education. Washington 110.4.
(pp. 33-37).
Jorgensen, E. R. (2003). Transforming music education. Bloomington, IA: Indiana
University Press.
Page 35
Hallam, S., Burnard, P., Robertson, A., Saleh, C., Davies, V., Rogers, L., &
Kokatsaki, D. (2009). Trainee pimary-school teachers’ perceptions of their
effectiveness in teaching music. Music Education Research, 11 (2), 221-240.
Hamann, D. & Ebie, B. (2009). Students’ perceptions of university method class
preparation for teaching across music disciplines. Update: Applications of
Research in Music Education, 27 (21), 44-51.
Katane et. al and Fakhra. (2012). Impact of training on teachers competencies at
higher education level in Pakistan. 121-128.
Legette, R. (2013). Perceptions of early-career school music teachers regarding their pre-
service preparation, Update: Applications of Research in Music Education, 32.
Miguel, C.T. (2012). Competencies of Teachers in Physical Education Programs of
Higher Education Institutions in Region 10. The Mindanao Forum. Volume XXV.
No. 2 (46).
Nuqui, et. al. and Gantan, P. (2015). Strategies in teaching music and their perceived
effectiveness. Journal of Social Sciences & Humanities Research, 1 (2). 1-8.
Pantev, C., Engelien, A., Candia, V. & Elbert, T. (2003). ‘Representational cortex in
Musicians’. In I. Peretz and R. Zatorre, The Cognitive Neuroscience of Music,
Oxford: Oxford University Press (pp. 382-395).
Reis, S. M., & Renzulli, J. S. (2010b). The school wide enrichment model: A focus on
student strengths & needs. Gifted Education International, 26 (2), 140-156.
Renter-Reintamm, H. (2009). Aktiivõppe meetoditest muusikaloo õpetamisel
gümnaasiumis (About the active learning methods for learning music in upper
Page 36
secondary school). Muusikalise kontegelikkuse ühendused identiteedi ja
diferentsiga (pp. 339-356). Tallinn: Tallinn University.
Schüler, Niko. (2007). Music is World Music! World Music in the College-Level
Teaching of Music. Texas University, San Marcos. 193-202.
Selvi, Kiymet. (2010). Teachers’ Competencies. Cultural International Journal of
Philosophy of Culture and Axiology, 7 (1).
Sloboda, J. A. (2007). Muusikaline meel. Kognitiivne muusikapsühholoogia (The
Musical Mind: The Cognitive Psychology Model of Music). (Trans.) L. Fjuk, A.
Lange, T. Pajusaar, M. Valk-Falk ja A. Vurma. Tallinn: Scripta musicalia.
(Original work published 1985)
Subotnik, R. F., Olszewski-Kubilius, P., & Worrell, F. C. (2011). Rethinking
giftedness and gifted education: A proposed direction forward based on
psychological science. Psychological Science in the Public Interest, 12 (1), 3-54.
E-journals
Acorn: A collaborative outcomes resource network. Retrieved last February 10, 2017
from http://psychoutcomes.org/OutcomesMeasurement/CalculatingReliability
An Education Politics of the Particular: Promises and Opportunities for the Quality of
Higher Music Education. Retrieved last February 11, 2017 from
http://search.proquest.com/docview/211011057/fulltextPDF/89FB18B356484B80
PQ/1? accountid=148769
Dunnett, B. (2017). The Music Theory and Academy. The Elements of Music. Retrieved
last August 23, 2017 from https://www.musictheoryacademy.com/how-to-read-
sheet-music/the-elements-of-music/
Page 37
De Leon, F. (2009). The Diversity of Philippine Music Cultures. Retrieved last August
23, 2017 from http://www.himig.com.ph/features/1-philippine-music-treasures
General Music Standard 1. Grade 7 Level – New Port Public Schools. Retrieved from
https://www.npsri.net/site/handlers/filedownload.ashx?moduleinstanceid=172&da
taid=158&FileName=NPS%20Grade%207%20General%20Music%20Curriculu
m.pdf
General Music Standard 1. Grade 8 Level – New Port Public Schools. Retrieved from
https://www.npsri.net/site/handlers/filedownload.ashx?moduleinstanceid=172&da
taid=2550&FileName=NPS%20Grade%208%20Music%20Curriculum.pdf
History of Music Education in the Philippines. Retrieved last February 12, 2017 from
http://ncca.gov.ph/subcommissions/subcommission-on-the-arts-sca/music/history-
of-music-education-in-the-philippines/
Intelligence: Definition, Experiments & Characteristics. Retrieve last February 10,
2017 from http://study.com/academy/lesson/musical-intelligence-definition-
experiments-characteristics.html
K to 10 Music Curriculum Guide – DepEd. Retrieved last February 08, 2017 from
http://www.deped.gov.ph/sites/default/files/page/2016/Music%20CG.pdfMusical
Longitudinal Analysis of Survey Data. Retrieved last February 15 from
http://homes.chass.utoronto.ca/~josephf/pol242/7cLongitudinal.html
Philippine Music. Retrieved last August 23, 2017 from
https://aboutphilippines.ph/documents-etc/PHILIPPINE%20MUSIC.pdf
Page 38
Policies and Guideline for Bachelor of Physical Education major in School P.E.
Retrieved last February 12, 2017 from http://ched.gov.ph/wp-
content/uploads/2013/07/CMO-No.23-s2011.pdf
Rager, D. (2008) The Role of Music in Society Past, Present and Future. Music Faculty
Publications. 3. Retrieved last August 23, 2017 from
http://engagedscholarship.csuohio.edu/clmusic_facpub/3
Ten Reasons Why Everyone Should Learn To Play Musical Instrument. Retrieved
last August 23, 2017 from
https://www.shankarmahadevanacademy.com/blog/Ten-Reasons-Why-Everyone-
Should-Learn-To-Play-Musical-Instrument/
The Method Behind The Music. Retrieved last February 10, 2017 from https://method-
behind-music.com/theory/notation/UNESCO. Retrieved last March 12, 2017 from
http://www.medc.com.my/medc/seminar_medc/fromCD/pdf/41.pdf
University of Illinois at Urbana Champaign. Retrieved February 23, 2017 from
http://search.proquest.com/citedreferences/MSTAR_863637974/CA1339449F544
66PQ/3?accountid=148769
Page 39
Approval of the researchers Goodman and Samillano for the utilization of their
instrument
Page 40
Page 41

Holy Angel University: Music Competencies of Bpe Students

Uploaded by

Copyright:

Available Formats

You might also like

Holy Angel University: Music Competencies of Bpe Students

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Holy Angel University: Music Competencies of Bpe Students

Uploaded by

Copyright:

Available Formats

MUSIC COMPETENCIES OF BPE STUDENTS

HOLY ANGEL UNIVERSITY

The Level of Competencies in Music of BPE Students in Selected

HEI’s in Angeles City: Basis for Suggested Enrichment Activities

Lhay Ann G. Lazo

Ian Lester L. Manalang

Holy Angel University

Nicholle D. Turla, School of Education, Holy Angel University.

Correspondence concerning this article should be addressed to Ian Lester L. Manalang,

Angeles City, 2009, Philippines. Email: ianlester.manalang@gmail.com

as a peripheral program or worse, as a mere appendage to programs, which are generally

considered relevant such as science and technology. Consequently, school administrators

affecting decisions in the recruitment and selection of PE teachers. (Miguel, 2012)

competency in a certain skill. Additionally, if all PE teachers desire to grow in a

intermediate and advanced level. Hence, in studying physical education in depth it is

substantial to have a particular program.

the higher educational institutions (HEI’s) in the Philippines particularly in Central

Luzon to comply and offer the program.

officiating, and in administering, conducting and supervising sports, dance, and

they finish the course.

Another point to consider is when the graduates take their Licensure of

students’ abilities and skills.

According to Arostegui (2004) if students are to have a meaningful encounter

teachers but the students as well.

An article entitled “An Education Politics of the Particular: Promises and

the expected competencies or attributes, through experience, into a synthesis of

knowledge and skills that enable effective teaching in the K to 12 classrooms.

Legette (2013) he examined the perceptions of early-career music teachers regarding

competencies needed to be effective in school music classrooms. Most teachers expressed

a need for more hands-on experiences, more discussion of pedagogical problems in a

variety of settings, and classroom management.

Recent data from research in education indicate how ineffective colleges of

A teacher’s competency in 21st century according to UNESCO (2008) is to have

curriculum. Formal system of education depends on three components that are

curriculum, student and teacher. Teachers’ role is to impart education and

education builds societies. An individual is unit of a society.

At every level, teachers’ competencies to improve their performance are of great

importance. Teachers competencies not only affect their values, behaviors,

assessment skills, and research skills.

setting should be included in the curriculum. Relating to K to 12 and the development of

practices advocated by the spiral, multi-cultural, and integrative approaches in music

education, as well as current philosophical thought about contemporary general

variables: content of music and competencies of music.

validation of questionnaire ensured the effectiveness of the survey questionnaire. The

Angeles City and the suggested enrichment activities in music.

INPUT PROCESS OUTPUT

 Content of  Descriptive  Level of

Statement of the Problem

Specifically, this study aimed to answer the following questions:

1. How may the competencies in music be described in terms of:

1.1. Music Elements and Theory,

1.2. Music of the Philippines,

1.3. Music of Asia,

1.4. Music History (Western and Eastern),

1.5. Popular Music and Genres,

1.6. Contemporary Philippine Music,

1.7. Music and Media.