CHAPTER I

THE PROBLEM

Background of the Study

Through the centuries, music has played an important role in every human

society. Aristotle one said “Music has a power to mold character; that being so it

is an indispensable study for the young.” To this effect, there had been

considerable gathering provided for music teachers to pursue one thing: “Music

excellence.” One counts after another they to adopt newer techniques to better

improve music instruction.

The K to 12 Basic Education Curriculum was implemented formally by the

DEPED in the year December 2013. Music is both an aural and a temporal art.

All its elements, when interwoven in the highest artistic order, are likened into a --

tapestry moving in time. The global weavings of this tapestry in historical and

cultural contexts are diverse -- having spurred a continued metamorphosis to

include a full range of purposes, functions, and identities, from the utilitarian to

aesthetic. However, the basic nature of music does not change. In his book A

Structure for Music Education, Ronald Thomas articulates that the nature of

music is expressive, ongoing, and creative. Through a language and medium of

its own, music conveys ideas and feelings in a way that addresses the human

spirit, and has great value in its communicative process. Music, being responsive

in interpreting contemporary times, is a continuing art. Aaron Copland describes

this characteristic as a continuous state of becoming. Like the other arts, music is

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a creative avenue for man’s individual quest for self- expression and fulfillment.

On these basic characteristics are founded the rationale of music study. A keen

sensitivity to environmental and musical sounds needs to be developed. The

student must learn to ―hear, ―speak, and ―think in the medium of music.

Simultaneously, growth and development in the skills that enable the application

of the learner’s knowledge should be encouraged, through active involvement in

the various musical processes.

In the new Basic Education Curriculum (BEC) that was implemented by

the DEPED in the year June 2002. Music was integrated with three more

subjects where many issues were raised: Social Studies, Technology and HE

and Values Education as the Makabayan subjects,( where many issues were

raised). The revitalized and restructured BEC aims to improve the quality of

learning by infusing MAPEH across the different areas and discipline. In the first

year and second year high school level, music lessons are mere extensions of

elementary musical experience but only broader and deeper in context. The

activities are in consonance with six learning areas like singing, rhythmic,

listening, instrumental playing, creating and musical reading, interwoven with the

five musical elements: rhythm, melody, form, harmony and texture and

expressive elements.

The significance of Music Education can be gleaned from the on- going

seminars, workshops conducted by the Philippine Society for Music Education

(PSME). In fact, the increasing importance of Music education is reflected in the

passage of the Music Education Law (RA4723)- an act giving importance to the

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teaching of music in the curriculum of elementary and secondary schools in

1996, authored by Congressman Manuel Concordia,(which he won the “Music

Patron of the Year”) award. Bagangan (2000) revealed that melody, form, timbre,

dynamics, tempo, texture and harmony were moderately utilized by music

teachers. He also added that the training in music should be implemented to the

competency of teachers in teaching the entire lesson indicated in the Music

Education Program. To re- affirm that teachers lack the necessary skills and

ability along the set musical areas, Sabo (1996) concluded in her study that the

teacher- respondents lacked the knowledge and skills on singing, rhythmic,

creating, listening instrument playing and music reading.

Music does not have any one concrete meaning. Music has different

meanings for different people. Music is unique in each person’s life. To a

musician, music is their life. They eat, breathe, and live with music. Music is their

passion. For others, music is a hobby, a pastime. Music is something that

arouses interest and is pleasurable. The casual fan may learn about music, how

to read music, how to sing, or how to play musical instrument, but they do not

have the all- encompassing passion a musician possesses. Music is a means of

relaxation for some, while others simply enjoy listening to the sounds, melodies,

and rhythms that music brings to their ears, minds, and hearts. The Webster’s II:

New Riverside University Dictionary defines music as “the art arranging tones in

an orderly sequence so as to produce a unified and continuous composition”.

Music is the finest arts and sciences. Music is the union of pitch, force,

quality and duration arranged according to the laws of melody and harmony.

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Music brings joy and satisfaction to all. This develops their aesthetic and spiritual

taste for a better and noble life. Music is an integral part of society. A child shall

have education in music as part of his rightful general education as said by

Robert Nye.

Music is undoubtedly the most valuable all- round school subject for

training children in quickness of perception, acuteness of visual and auditory

analysis and rapidity of coordination. The training in quickness of response

involved in sigh reading, the absolute necessity of accurate seeing and hearing,

the observation of definite design in composition, with the insistence upon correct

pronunciation, enunciation and declamation in vocal music make music study an

important factor in teaching music language as said by Higino A. Sorneo.

Music is the lifeline to the outside world. It is an academic discipline and a

vital part in the total education program. The teacher is the director of learning.

She is not just an arbiter of information or a robot that mechanically follows what

is asked of her. She is like an architect who prepares the plans and long

strategies in unfolding the intricacies of music. The teacher is the decision-

maker. She determines the subject matter, procedures, and devices that will

ensure effectivity and efficiency in translating the message of the composer into

meaningful and joyful experiences. There are different methods and techniques

in the teaching of music but there is no definite approach which can be

considered the best. James Murcell in his book, “Music Education Principles and

Programs, said, “There is no standard best procedure for teaching music. Any

method, even your own invention, so long as the desired mental effect is

4
produced, is acceptable because in the teaching of music, reading notes can be

styllables, numbers, and letters.” The teacher is an innovator. With the advent of

the present musical gadgets, the teacher opts for the most appropriate methods,

materials, and techniques needed in the varied range of musical activities. Gilbert

Highet in his Art of Teaching said, “It is simply useless to teach a child even the

element of a subject without being prepared to answer his questions about the

upper ranges and inner depths of the subject”. The teacher is a counselor and

confidante. She holds the responsibility in guiding the children and the youth to

classify their musical interests, needs, aspirations, and emotional make-up. As

surrogate parent, she helps the students improve their relationship with peers as

well as elders, overcome insecurity, and ferret out problems in their confrontation

with music’s idiosyncracies. This teacher- learner relationship is of great

assistance in cementing associational crutches for intelligent appreciation of

global music. That music teacher contributes to educational manpower has

visible proof in brilliant achievements of musical group- choral or instrumental.

Music education helps the students to discover, improve, create, and improvise.

It is for this cause that the researcher contemplated to find out the profile of

the Non- MAPEH major teachers regarding from age, gender, civil status, highest

educational attainment, number of years teaching MAPEH, number of relevant

trainings attended and to find out the impact in the performance of the teachers

in terms of the fundamentals of music and also to find out the significance of the

fundamentals of music with their teaching performance.

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Statement of the Problem

This study, aimed to determine the performance of the Non- MAPEH

major teachers teaching MAPEH in fundamentals of music from the results of

their tests that had been administrated to three different schools in the

Municipality of Asingan namely: Angela Valdez Ramos National High School,

Toboy National High School and San Vicente West Integrated School during

S.Y. 2018- 2019.

Specially, it sought answer to the following questions:

1. What is the profile of the respondents in terms of the following attributes:

a. Age

b. Gender

c. Civil Status

d. Highest Educational Attainment

e. Number of years teaching MAPEH; and

f. Number of relevant trainings attended

2. What is the performance of the Non- MAPEH major teachers teaching

MAPEH in fundamentals of Music along:

1. Voice Range

2. Instrument played

3. Conducting Patterns

3. Is there a significant difference in between the respondent’s level of

performance in fundamentals of music across their profile variables?

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Research Hypothesis

The study tested the following research hypothesis in their null form at .05

level of significance:

1. There are no significant differences in the performance of the Non-

MAPEH major teachers teaching MAPEH in fundamentals of music across

their profile variables.

2. There are no significant relationships between the performance of the

Non- MAPEH major teachers teaching MAPEH in fundamentals of Music

along: Voice Range, Instrument played and Conducting Pattern

Significance of the study

The result of the study will be that deemed beneficial to the following

groups and sector:

School Administration. The study will make possible for the school

administrators to also focus on advance program of activities and formulate

policies for effective planning and implementation of the program in Music

Education.

School Principal.The result of the study will served as their basis to

solicit support and coordinate with other agencies and the government in the

enhancement of programs and projects in all public and private schools in the

country. In this way, identified problems as regards the implementation of the

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advance program of activities in Fundamentals of Music will be minimized and

actions to meet these challenges will be under taken.

Students. This study may further develop the skills of the students from

different areas of music.

Non- MAPEH Major Teachers.This study is expected to provide Non-

MAPEH Major Teachers some insights and better perspective on the

performance of their competence in teaching Fundamentals of Music.

Research Enthusiasts.This study will serve as spring board for the other

researchers to explore other reasonable areas or perspective on Fundamentals

of Music. This will serve as a good reference material for other researchers,

teachers or students because the ideas of many authorities and experts in

fundamental of music are embodied in the study.

Scope and Delimitation of the study

This study focused on Non- MAPEH major teachers teaching MAPEH in

fundamentals of music in the Municipality of Asingan namely: Angela Valdez

Ramos National High School, Toboy National High School and San Vicente

West Integrated School during S.Y. 2018- 2019. It looked into the profile of

the Non- MAPEH major Teachers and the level of performance in teaching

Fundamentals of Music along the Vocal Range, Instrument Played and

Conducting Pattern.

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 The subjects of this study are the Non- MAPEH major teachers teaching

MAPEH in fundamentals of music in the Municipality of Asingan namely: Angela

Valdez Ramos National High School, Toboy National High School and San

Vicente West Integrated School during S.Y. 2018- 2019. This study will strictly

delimit on the level of performance of the Non- MAPEH Major Teachers teaching

MAPEH in relation of their profile variables. Further, the researcher will use

descriptive- correlation method of research with questionnaire checklist as the

main data gathering instrument.

Definition of Terms

The following terms are defined lexically and operationally as they are

used in this study.

Brass Instruments. It refers to the instruments that are made of brass,

plated with silver, nickel, gold, or are pure brass. They are sounded by the use of

a mouthpiece made of brass. They are actually long brass tubes that have been

bent or curled for convenience in handing. The mouthpiece of most brass

instruments is shaped like cup or a funnel.

Conducting Pattern. It refers to the art of directing a musical

performance by way of visible gestures.

Fundamentals of Music. It covers the basic areas in music such as:

notational system, rhythm and meter, sounds, scale, intervals, chord etc. it is the

foundation of all music.

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 Instruments. It refers to a device or adapted to make musical sounds.

Percussion Instruments. It refers to those instruments that are struck to

produce sounds. It is also the oldest instruments in the world. Instruments that

can give changing pithches and have define pithches.

Performance. It refers to the act of performing a ceremony, play piece of

musical or the execution or accomplishment of work, act, feats, and a particular

action, deed or precluding. In this study, it refers to theknowledge of the subject

matter, teaching skills, personal and professional qualification and classroom

management.

Performance level. This refers to the result of the Non- MAPEH Major

Teachers performance in the administered test: the Practical

Music. It is the science or art of ordering tones or sounds in succession, in

combination, and in temporal relationships to produce a composition having unity

and continuity.

Music Education. It refers to the dissemination of music knowledge,

skills, and appreciation. The process may occur in the structured setting of a

school or in a more informal manner. Likewise it refers to the component of

Music curriculum which is being taught in school.

Non- MAPEH Major Teachers Profile. This refers to the variables like

age, gender, civil status, highest educational attainment, number of years

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teaching MAPEH and number of relevant training attended of the Teacher-

respondents.

Non- MAPEH Major Teachers- Respondents. This refer to the Non-

MAPEH major teachers teaching MAPEH in fundamentals of music in the

Municipality of Asingan namely: Angela Valdez Ramos National High School,

Toboy National High School and San Vicente West Integrated School this S.Y.

2018-2019

String instruments. It refers to the instruments that sounded by a bow, a

hammer or they are plucked or strummed.

Vocal Range. It refers to the measure of the breatdth of pitches that a

human voice can phonate. Its most common application is witin the context of

singing, where it is used as a defining characteristic for classifying singing voices

into groups known as voice types.

Woodwind Instruments. It refers to the instruments that are made of

wood or these is a portion of the instrument that made of wood or bamboo.

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 Chapter 2

REVIEW OF RELATED LITERATURE AND STUDIES

This chapter presents the summary of related literature and studies

that will guide the researcher in undertaking the study. These will be reviewed to

gain insights from previous researches. Thus, developing a clear understanding

of this research and problems as well. These materials contained concepts and

ideas regarding to the fundamentals of music which will provide the background

information in the theoretical framework of the study. Further, the literature and

the studies will help the researcher in the interpretation of findings.

The review of literature coming from authorities will cover some

concepts, theories, and insights about problems encountered by the Non-

MAPEH major teachers teaching MAPEH in fundamentals of music.

RELATED LITERATURE

Local Literature

Philippine Music comes in a variety of forms, covering a wide spectrum of

sources, geographically and historically; and representing more than 100 ethno

linguistics groups as well as different social and cultural environments in the

Philippines. The totality of these forms may be categorized into three distinct

repertoires: 1) Asiatic oral traditions; 2) Westernized oral traditions; and 3)

Western- influenced art and popular music, and semi classical music. (RAMON

P. SANTOS, PH.D. 2001)

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 Rivadelo (2005), the implementation of Republic Act 4723, known as the

Music Law, the teachers in the elementary and secondary levels, learns the

fundamentals of music and its manifold aspects. In coordination with the other

subjects, specifically work education and science, the “earn while you learn”,

attitude in developed. Jose Rizal said, “Success, wealth, and happiness- each of

these is the fruit of toil and hard work”.

Filipinos are lovers of music. Singing was an on- going activity even

before the discovery of the islands. The anitos, spirits, diwatas, and incantos

have to be appeased through songs, prayers; lustration and laughter are

accompanied by songs.

Music is necessary ingredient in all ceremonies- wedding, baptismal,

festivals, etc. The music is manna for emotional catharsis finds evidence in the

continuing proliferation of music groups, vocal and instrumental, and in the

various contest and festivals that allow the surfacing of talents of the people,

young and old. Music caters to all people.

Music is not only for the few talented ones. Music under a resourceful

teacher helps excite the mind to intelligent thinking. Music acts as a springboard

to ignite the teacher’s insight and creativity, conceptualization, span of attention,

and critical judgment.

Each teacher is made up of various idiosyncrasies- talented and less

talented, interest and less interested. Individual differences allow for nuances. No

two teachers are alike even though they are of the same age and sex. As the

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teacher grows mentally and chronologically, he or she undergoes growth in

learning, that is, he or she develops new insights, skills, attitudes, and interest.

Boys and girls differ in their musical likes and in the way they learn music. They

also differ in their ability because boy’s range of voice different from girls.

Estesor (1991) singled out that music instruction is concerned with

contents and methods of teaching music in all levels. To learn music and to use it

requires a substantial mastery of basic skills such as note reading, singing and

instrumental paying.

Factora (1995) pointed out that an effective music teacher employs a

variety of teaching styles. She stressed that the selection of such teachinf

strategies depends on the following factors: nature of the learner, availability of

the instructional materials, the objectives of the lesson and the teacher himself.

A “hand- on” performance- oriented learning environment—essentially an

expanded music teaching studio—characterized the program (Wilson, 1969).

As musical abilities of school pupils, Aben (1999) revealed that the

musical abilities of the student along the six learning areas were at an acceptable

level that their abilities were influenced by their teachers, schools, and home-

related factors.

Sales (1989) revealed that the level of competence of music teachers in

Batac, Ilocos Norte. His findings were as follows: a) the most common activities

under the singing area were singing games, plays, and action songs; b) the most

common activity understands by teachers along the listening areas was listening

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to vocal and instrumental melodies; c) the most common activity undertaken by

teachers along creating area was creating simple body movements; d) the most

common activity undertaken by teachers along instrumental palying was

competencies in playing musical instruments by the pupils and; e) majority of the

teacher emphasized saying action songs, singing, games, mimetics, jumping,

walking and saying to interpret musical pieces.

Agapay (2005), musical instruments produce sounds that add beauty to a

song. You can easily recognize the title of the song just by listening to the

accompaniment using the different musical instruments.

Gulpeo et.al (1992), extending the experience of the teachers from singing

to playing lead to the recognition of a variety of sounds from different

instruments. They will also discover the characteristics of each group of

instrument by the following classification: a) string instrument, b) percussion

instrument, c) woodwind instrument, and d) brass instrument.

Velasquez (1991) teachers play a decisive role helping the child construct

a base of experience, discover reference values,, acquire behavior patterns and

attitudes which allow him to absorb the ancestral culture and make it his own.

The teachers being molders of education, should be equipped then with

the necessary strategies in the music education of the children. She/ he should

be able to use the different approaches which can either be conventional or

innovative.

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Foreign Literature

Resonating with our Learning

“Music is the electrical soil in which the spirit lives, thinks and invents.”—

Ludwig Van Beethoven.

We all know how greatly music affects our feelings and energy levels.

Without even thinking about it, we use music to create desired moods—to make

us happy, to enjoy movement and dance, to energize, to bring back powerful

memories, to help us relax and focus. Music is a powerful tool for our personal

expression within our daily lives—it helps “set the scene” for many important

experiences.

Throughout time, people have recognized and intentionally used the

powerful effects of sound. In the 20 th century the western scientific community

has conducted research to validate and expand our analytical knowledge of

music. This research supports what we know from personal experience: Music

greatly affects and enhances our learning and living.

Research continues to be conducted to provide helpful guidelines for our

intentional use of music, especially in the classroom. This article, based on

extensive research and experiences, will provide you with successful and

valuable guidelines for incorporating music into the teaching and learning

environment—applicable to all ages and educational settings.

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Bringing Education to life with Music

The intentional use of music in the classroom will set the scene and

learning atmosphere to enhance our teaching and learning activities. Plus, using

music learning makes the process much more fun and interesting. Music, one of

the joys of life, can be one of the joys of learning as well. The following pages

give you suggestions for when and how to use music during your teaching or

training. With this techniques, you, the teacher, can orchestrate a classroom

environment that is rich and resonant—and provide learners with a symphony of

learning opportunities and sound education.

Music helps us learn because it will—a) establish a positive learning state;

b) create a desired atmosphere; c) build a sense of anticipation; d) energize

learning activities; e) change brain wave states; f) focus concentration; g)

increase attention; h) improve memory; i) facilitate a multisensory learning

experience; j) release tension; k) enhance imagination; l) align groups; m)

develop rapport; n) provide inspiration and motivation; o) add element of fun and;

p) accentuate theme- oriented units.

The Multiple Intelligences

In 1983 Howard Gardner, psychology professor at Harvard University,

presented his Multiple Intelligence theory upon many years of research.

Promoting the concept that intelligence is not one entity but that there are many

different forms of intelligence, Gardner has awaken a revolution in learning.

Multiple Intelligence teaching methods recognize eight (though they may be

17
more) forms intelligence: visual- spatial, linguistic, logical-mathematics, bodily-

kinesthetic, interpersonal, intrapersonal, musical, and most recently naturalist.

Multiple Intelligence teachers strive to broaden students familiarity and skill levels

in each area.

The Multiple Intelligence teaching model emphasizes education for

understanding rather than rote memory or the mimicking of skills. Practical

hands- on skill development is coupled with factual knowledge and ability to

apply skills and information in real- life situations and make meaningful

contributions to society.

Development of the musical intelligence can greatly aided by the use of

music throughout the curriculum. In addition to learning about musical elements

and how to create music, the musical intelligence involves developing an ability

to respond to musical sound and the ability to use music effectively in one’s life.

James Mussells, an authority in music, upholds the important of the

fundamentals in music. They are signs of conveying meaning, hence, they must

be taught. But they must teach in meaningful context, not in isolation. The

participation in the rhythmic land school teachers is a good way to enhance the

development of rhythmic concepts and to estimate further interest in music. Real

rhythm instruments should be available for the teachers and learners.

Hetland (as cited in Hayward & Gromko, 2009) it was found that the

effects of music instruction were stronger for those whose music experiences

were reinforced with reading music. This particular study focused on keyboard

18
instruction taught to the learner. Other debates include if a music teacher should

teach the symbols before the sound or vice versa, often referred to as the “rote

vs. note” controversy. Finally, once children are taught how to read notation on a

staff, the debate begins as to what is an appropriate reading level for specific

grades. The idea of “reading level” or grade level learning is already an

established benchmark in other academic subjects; still it has yet to be

standardized within the field of music education.

Some educators and philosophers formulated theories in music. One of

them was Darwin, who thought music was developed to attract the opposite sex.

Another was Spencer who thought music was developed to express emotions

just as language was developed to express ideas. The third one, Richard

Wagner, thought that music unlike the other arts could exist quit independent of

the visible world. Gurney theorized that “music creates audible form, succession,

and combinations of tones which have no prototype in nature and which do not

exist outside of music.”

Anna Adessi (University of Bolonga, Italy, 2001) research issues comprise

scholarly reports that enhance knowledge regarding the teaching and learning of

music with a special interest toward an international constituency and of interest

and relevance to the international community.

Eccles and Harold (2004) conducted a study found out that “many of the

most significant sex differences among gifted occur on achievement related

behavior’s that involve the element of choice.”

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 Diane Tucker (1998) focused her study on the gender related differences

in performance and attitudes of teachers in the fundamentals of Music and found

that there is a significant difference in Music and performance between male and

female.

RELATED STUDIES

Local Studies

Musical Background

Music education makes a valuable and unique contribution to students’

intellectual growth and integrates intellectual and emotional development. Shared

experiences in music significantly contributed to the development of a healthier

society through activities that reflects the diversity of human experiences. Music

education enables teachers to interact with sounds, simultaneously engaging the

mind, body and spirit. Through creating performing and listening to music

teachers experience the ways in which music evokes and conveys through,

images and feelings. Music education enables teachers to explore, create,

perceive and communicate thoughts. These experiences are unique and

essential and make a significant contribution to the learners’ lifelong development

as educated citizen.

Musical Interest and Experiences

Growth or participation, understanding and communicating in music

requires a long ongoing process of building concepts from the simple to the

20
complex through many varied musical experiences. Participation in instrumental

music opens the door to a wide vista of musical experiences. The growth in

understanding, insights, and skills constantly encourages new levels of

attainment and results in increasing musical independence. Music experiences

continue to expand the music knowledge, skills, and attitudes gained through

ongoing active participation. As teachers we move through level of advancement,

we develop music literacy and use it to extend skills of learners in creating,

listening and performing. The increasing development of competence is gained

through activities that acquire practice and the use of these skills. (Brescia, 1998)

Pierce (as cited in Jacob et.al, 2014) stressed that the ability to read music

is essential part of well- rounded music education, and its development should be

given proper consideration in the general music class. It is a step to musical

understanding and appreciation, one which when well taught, leads to a delightful

adventure into the reaction of music. It is important, therefore, that teacher

should know how to present music reading in an interesting and meaningful way.

Rivadelo (2005) mentioned that the Spaniards came to the Philippines, the

early Filipinos already had musical instrument. According to Pigafetta, it was

amazing to see the Filipinos having a common thread of identity, an established

culture in the line of music. They had their share of cross- cultural heritage

brought about by trade contacts with Chinese, Hindus, Japanese, and

Malaysians. They introduced he pentatonic scale.

Playing Instruments

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 A sure and interesting play of encouraging rhythmic expression is through

paying musical instrument. Music can be found in blocks, sticks, glasses, nails

and even coconut shells. Exploring sound by trying one instrument after another

to discover what might be used to imitate the sound of thunder, falling rain, hoof

beats, a rolling train, or a church bell.

The singing of familiar songs may be enhanced with the use of sound

effects provided by toy instruments. For example, the singing of a prayer may be

preceded with the striking of a gong to represent church bell, in a bird whistle

may provide the background of an evening song.

Objectives of Music Education

1. Enrich life experience through observation, exploration, discovery,

cooperation, and participation.

2. Discover creative potentialities through singing, listening, playing,

moving, reading, and creating.

3. Enhance visual and aural perception for aesthetic and intellectual

value judgment.

4. Utilize music as an outlet for one’s feelings.

5. Gain acquaintance with music of different countries.

6. Develop fellowship for universal communication and social cohesion.

7. Awaken interest in global culture.

8. Develop nationalistic spirit in adapting Philippine music.

22
 9. Gain familiarity with the different styles of Philippine songs, dances,

festival, and musical instruments.

10. Involve community participation for a harmonious school- community

relationship.

Foreign Studies

Music defined in the comprehensive approach as the interaction of sound

(pitch, horizontal, melody), and vertical (harmony), silence, duration (rhythm).

Qualities (timbre, dynamics, texture), and form (organization of musical elements

and context) according to David ought by in his comprehensive musicianship and

undergraduate music curriculum (U.S. AMENC, 1971).

Music can contribute greatly to social, intellectual, emotional, and physical

growth and development of the whole child- that it can deepen interest and

enhance the beauty in everyday living. It can and must become an integral part

of a personality.

Self-expression through singing helps the child develop a pleasing

personality, emotionally, and physically. He needs to sing many songs of various

kinds which will give him an all- around emotional balance.

In the intermediate grades the children begin to like singing. Harmony is

an exciting new venture which enriches their musical lives and, at the same time,

meets a need of the changing voice. The teacher should be able to work

intelligently with the singing voices and with changing voices.

23
 Total satisfaction cannot be procured from singing without a sense of

rhythm. In the primary grades free rhythmic experiences should be those which

use larger muscles. In the upper grades rhythmic experiences narrow toward folk

dancing activities although there should be ample opportunities provided for free

interpretative movement.

Listening is an important music activity which is much too often slighted

because of inadequacy on the part of the teacher and lack of material. From

listening experiences children learn about music itself, its moods and emotional

content. It helps make the informational data about composers, qualities of the

music, kinds of voices, and timber of instruments much more interesting and

open up new vistas in exploring other people and cultures.

If teachers are to have a well- balanced music program, instrumental

paying must play a big part in the music experiences of the teacher. Manipulating

mechanical instrument to produce music calls for muscular control and

coordination which contributes to the development of the teachers. (Rankin,

1952)

Music is a vital part of life. Ansdell (1995) quoted Charles Ive’s statement

that Music does not represent life: it is life.

Music is a means of personal expression. The National Curriculum Music

Working Group (1995) in Great Britain stated that people every culture have

found a need to express and share feelings, thoughts and ideas by ordering

sounds into forms, which symbolize and interpret experience. The group further

24
patterns of sounds which have significance, and which may be recreated on

subsequent occasions.

In 2002, Louk published a study of general music teachers’ attitudes and

practices in regards to the national standard for music education which indicated

that teacher opinions may also affect teaching and assessment. Through

surveys, Louk concluded that there was a difference in teacher perceived

importance of teaching each standard. Standard five was considered the most

important (reading and notating music), followed by standard nine (relation to

history and culture), standard two (playing instruments), standard one (singing),

standard six (listening and analyzing music), and standard eight (relation to other

disciplines) respectively. The standard considered least important was standard

four (composition), followed by standard three (improvisation), and standard

seven (evaluating music). Though this study did not deal with assessment of the

standards, it indicates that teacher opinion influences the teaching of standard

and therefore, some standards may be assessed more frequently than others.

Synthesis of the Reviewed Literature and Studies

The literature and studies reviewed presented here provided the

researcher the necessary guide on how to go about with the present study, the

reviewed literatures and studies have similarities and differences with the present

study in terms of objectives respondents and area of concern.

25
 All the aforementioned perceptions, views, beliefs and findings of cited

researchers and authors are considered as significant guidance reference of this

study.

Theoretical Framework

Albert Bandura’s Social Learning Theory

Social learning theory focus on learning that occurs within a social context.

It considers that people learn from one another, including such concepts as

observational learning, imitation, and modeling.

General Principles of social learning theory

 People can “learn by observing” the behavior of others and the outcomes

of those behaviors.

 Learning can occur “without a change” in behavior. Behaviorists say that

learning has to be represented by a permanent change in behavior, in

contrast social learning theorist say that because people can learn through

“observation alone”, their learning may not necessarily be shown in their

performance. Learning may or may not result in behavior change.

 Cognition plays a “role” in learning. Over the last 30 years social learning

theory has become “increasingly cognitive” in its interpretation of human

learning. Awareness and expectations of future reinforcements or

punishments can have a major effect on the behaviors that people exhibit.

 Social learning theory can be considered a bridge or a “transition”

between behaviorist learning theorist and cognitive learning theories.

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Social constructivism

Lev Vygotsky (1896-1934) a Russian psychologist and philosopher

in the 1930’s, is most often associated with the social constructivist theory.

He emphasizes that “knowledge exist in a social context and is initially

shared with others instead of being represented solely in the mind of an

individual. The construction of knowledge is shared by two or more

people. According to social constructivist, the opportunity to interact and

share among teacher helps to shape and refine their ideas. Knowledge

construction becomes social, not individual.

Vygotsky’s theory is one of the foundations of constructivism. It

emphasizes three major themes: first is the social interaction that plays a

fundamental role in the process of cognitive development (Vygotsky

1978), second is the more knowledge other (MKO) which refers to anyone

who has a better understanding or higher ability level than the learners,

with respect to a particular task, process, or concept. This person could be

a peer, a teacher, a parent, or another person (Mcleod, 2007) and lastly,

the zone of proximal development (ZDP) it refers to the distance between

a student’s ability to perform a task under adult facilitation or with peer

collaboration and the student’s ability to solving problems independently.

For teachers zone of proximal development for each task they are

expected to master. Learning occurred in this zone.

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 Gardner’s Theory

Gardner identified seven distinct intelligences, namely: music,

spatial, bodily- kinesthetic, interpersonal, intrapersonal, linguistic, and

logical- mathematical. This theory emerged from recent cognitive research

and documents the extent to which teachers possess different kinds of

mind and therefore learn, remember, perform and understand in different

ways (Gardner, 1991).

Gardner says that these differences “challenges an educational

system that assumes everyone can learn the same material in the same

way and that a uniform, universal measure suffices to test student

learning”.

The theory “Multiple Intelligences” states that the skill or knowledge

of every teacher is not the same with the other; means that MAPEH Major

teacher and Non- MAPEH Major teacher are with different intelligences. It

could be within the seven distinct intelligences stated by Gardner.

Conceptual Framework

Based on the aforementioned theoretical framework, this study

adapted the conceptual framework that was cited in the theoretical

framework.

This social learning theory, social constructivism and multiple intelligences

theory were utilized in formulating the conceptual framework of the study. The

input of the study consisted of the performance of the Non- MAPEH Major

teacher in fundamentals of music along the Vocal Range, Instrument Played

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and Conducting Pattern and practice teaching process as evaluated by the

researcher and teacher- respondent. The process features the stage that

were undergone in the design and development of the activities for

enrichment to the purpose or identifying an theoretical model served as the

schema for the conceptual framework that was adapted in this study, in order

to empowered teachers on the choices and challenger wellness and behavior

of being skilled in fundamentals of music that will last them forever. The

following input are presented infigure1 are assessed by them 1) teachers

profile, the teachers performance in fundamental of music along the voice

range, instrument played and conducting pattern.

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 Independent Variable Dependent Variable

1. Teacher Profile
a. Age
b. Gender
c. Civil Status
d. Highest educational
attainment The performance of Non-
e. Number of years teaching MAPEH Major teachers
MAPEH teaching fundamentals of
music
f. Number of relevant
trainings attended
2. Practical
a. Voice Range
b. Instruments Played
c. Conducting Patterns

Figure 1. Conceptual Paradigm shows the independent and dependent variable

of the study.

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 Chapter 3

RESEARCH METHODOLOGY

This chapter represents the research methodology deemed most

appropriate to the objectives of the study. The methodology consists of the

research design, subjects of the study and sampling scheme, data gathering

instrument, collection of data and statistical treatment of data.

Research Design

This study will undertake for the purpose of producing competent teachers

in music that can be used by their institutions particularly in singing competition

and participation.

This study employed the descriptive development method of research. it is

descriptive insofar as it described the fundamentals of music and aimed to

produce knowledgeable teachers in fundamentals of music. (Rivadelo, 2005)

Respondents to the Study

The study will conduct at the Municipality of Asingan namely: Angela

Valdez Ramos National High School, Toboy National High School and San

Vicente West Integrated School during S.Y. 2018- 2019.

The present study included the Non- MAPEH Teachers teaching

fundamentals of music during the school year 2018-2019. The combined

purposive and convenience sampling methods was utilized. The researcher has

already determined where to gather data and for ease of data collection, all Non-

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MAPEH Major Teachers who are present during the administration of the

questionnaire will automatically be counted as respondents.

Table 1

Distribution of Respondents

Angela Valdez Ramos NHS 3

Toboy NHS 4

San Vicente West Integrated School 4

Total 11

Data gathering Instrument

The researcher will use questionnaire checklist instrument specifically

made for the study based on the composed two parts aimed to provide answer

on the : Profile and level of performance of the Non- MAPEH Major Teacher

teaching Fundamentals of Music.

Validation of instrument

The main objective of the validation is to ascertain that every question is

clearly understood and within the experience of the actual respondents of the

study. The questionnaire was validated by a junior teachers, School

Administrators, and Junior High School Supervisor. This is to ensure that the

respondents would not find difficulty in answering the questionnaire and the data

to be gathered would be a valid and reliable.

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Data Gathering Procedure

Before administering the research instrument, permission was secured

form Schools Division Superintendent of Pangasinan Division II, District

Supervisors and the School heads. The researcher personally distributes and

administers the questionnaires to the junior teachers in the municipality of

Asingan. Likewise, the researcher personally retrieves the same questionnaires.

The responses and data obtained were kept confidential by the researcher to

ensure the highest degree of objectivity of responses. The respective Non-

MAPEH Major Teachers of the institutions was informed and oriented by

researchers’ regarding the purpose of the study.

Statistical Treatment of Data

The collected data coded using the MS Excel software then further

analyzed.

For an Accurate presentation of data, appropriate statistical tools were

utilized.

To answer problem number two which aims to establish the performance

of the Non- MAPEH Major teachers, weighted means will be used. the mean

values will be further interpreted using the five- point Likert scale and Three point

Likert scale below:

Numerical Values Statistical Limit Descriptive Equivalent Symbols

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 Interpretations

1 4.21-5.00 Outstanding O

2 3.41- 4.20 Very Satisfactory VS

3 2.61-3.40 Satisfactory S

4 1.81-2.60 Fair F

5 1.00-1.80 Needs Improvement NI

The Performance is interpreted as:

Outstanding- performed high skill and knowledge in the application of the

fundamentals of music.

Very Satisfactory- performed above normal skill and knowledge in the application

of theory and practice in the fundamentals of music.

Satisfactory- performed normal skill and knowledge in the application of theory

and practice in the fundamentals of music.

Fair- low performance of skill and knowledge in the application of the

fundamentals of music

Needs Improvement- required attention for enhancement and development.

Numerical Values Statistical Limit Descriptive Equivalent Symbols

34
 Interpretations

1 91.00-95.00 High H

2 86.00-90.00 Average A

3 81.00-85.99 Low L

The Performance is interpreted as:

High- performed high skill and knowledge in the fundamentals of music

Average- performed normal skill and knowledge in the theory in the fundamentals

of music

Low- required attention for enhancement and development.

Finally, to answer problem number three on the difference on the level of

performance of the respondents across their profile variables, t-test and analysis

of variance (ANOVA) were employed.

BIBLIOGRAPHY

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 A. BOOKS

Agapay, Nonabelle C. (2005) “Music, Arts, and P.E. Made Simple for

Young Learners Based on Basic Education Curriculum”

Pfeiiffer, William “Music in the Philippines: Indigenous, Folk, Modern”

Dumaguete City: Siliman University Foundation, 1975

Rivadelo, Rosita F. (1986) “Fundamentals of Music” Metro Manila

Philippines: national Bookstore Inc.

Rivadelo, Rosita F. (1994) “Musical Instrument Then and Now” Metro

Manila Philippines: national Bookstore Inc.

Rivadelo, Rosita F. (2005) “Fundamentals of Music” Metro Manila

Philippines: national Bookstore Inc.

Salazar, Miguela (1992) “Fundamentals of Music” Church

Strengthening Ministry, Makati City

B. THESIS

Caspit, et.al. “Performance of the SPA students of UCNHS in

Fundamental of Music” Unpublished dissertations of Urdaneta City

University 2014

Cabanting, Cecilia L. “Music integration in Kindergarden Teaching”

Unpublished Master of Arts Education dissertations of Urdaneta City

University 2016

36
Jacob, et.al. “The Extent Performance in the Mechanics of Note

reading, Rhythm, Melody and Expressive Singing of SPA Students of

UCNHS” Unpublished dissertations of Urdaneta City University 2014

Quindara, et.al. “Conventional and Innovative strategies in Teaching

Music in Selected elementary schools” Unpublished dissertations of

Urdaneta City University 2014

C. INTERNET RESOURCES

http://musicnotes.net/beats_format.html

Constructivism_(learning_theory)http://pmhmusic.weebly.com

Margeret_lau_thesis.pdfhttp://eprints.qut.edu.

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