Chapter 1

Disciplinary
Foundation of
Music Education
Chapter 1

Disciplinary Foundation of Music Education

 
Introduction
Music is a universal language that embodies one of the highest forms of creativity. A
high-quality music education should engage and inspire pupils to develop a love of music and
their talent as musicians, and so increase their self-confidence, creativity and sense of
achievement. As pupils progress, they should develop a critical engagement with music,
allowing them to compose, and to listen with discrimination to the best in the musical canon.
To fully equip with the learnings in Teaching Music in the Elementary Grades, this
module will guide you in tracing the disciplinary foundation of music education, treasure its
historical background, explore the legal basis, and discover the different concepts of music
education.
In this module, you will also learn the philosophy and rationale of music education
and how it applies in the delivery of instruction.
In relation with music education, this module will surely provide you insights and
learning on the basis of teaching music education. It is also important that you will
understand the different disciplinary foundations in teaching music to your future learners,
adhering these topics and lessons will make you ready in your music education journey.

Specific Objectives
At the end of the lesson, the students should be able to:
- explain the legal basis, philosophy, and rationale of music education;
- discuss the multiple intelligence theory applied in music;
- identify the five pillars of learning applied in music;
- differentiate the intrinsic and extrinsic values of music;
- analyze the goals of teaching music; and
- appreciate the importance of teaching music in the elementary grades.

Duration
Chapter 1: Disciplinary Foundation of Music Education = 6 hours (4 hours discussion;
2 hours assessment)
Lesson Proper

I. LEGAL BASIS IN TEACHING MUSIC EDUCATION

To study music is to study the basics. Music is a comprehensive art – within its study
students come into contact with other basic areas of the curriculum: math, science, social
studies, languages and physical education. (Hornilla, 2015).
In 1963, DECS Memorandum #11, s.1963 was issued pointing out that Arts and
Physical Education in the elementary grades were often neglected for the sake of instructional
and administrative expediency. It called for the proper implementation of D.O. #1, s. 1957,
singling out Arts & Physical Education as the proper vehicle for DECS’ cultural revival
program. The directive also aimed to make Art Education, Music and Physical Education
required subjects in the elementary grades. Under Arts and Physical Education, all such
subjects were to be allotted a 40-minute and 50-minute instruction time in the primary and
intermediate grades respectively. It was further stated that the above mentioned subjects
should not be sacrificed for the sake of any other subjects in the elementary school
curriculum. (DO Memorandum #1, s. 1963 – cultural Revival. Through Art Education, Music
and Physical Education in the Elementary Schools).

REPUBLIC ACT NO. 4723

REPUBLIC ACT NO. 4723 - AN ACT GIVING IMPORTANCE TO THE TEACHING

OF MUSIC IN THE CURRICULA OF ELEMENTARY AND SECONDARY
SCHOOLS, AND APPROPRIATING FUNDS THEREFOR

Section 1. Commencing with the school year nineteen hundred sixty-six — sixty-seven,
music shall be taught together with arts as a separate subject area, with music allotted three
days a week in all the grades in elementary schools, whether public or private; and shall be
taught together with arts, physical education and health as a separate subject field, with music
allotted at least one day a week in all the years in general or vocational secondary schools,
whether public or private.

Sec. 2. The Secretary of Education shall issue such rules and regulations as may be
necessary to carry out the purpose of this Act.

Sec. 3. The sum of five hundred thousand pesos is hereby appropriated, out of any funds in
the National Treasury not otherwise appropriated, to carry out the purpose of this Act during
the fiscal year nineteen hundred sixty-six — sixty-seven. Thereafter, such sums as may be
necessary for the same purpose shall be included in the annual General Appropriations Act.

Sec. 4. This Act shall take effect upon its approval.

Approved: June 18, 1966

 1987 PHILIPPINE CONSTITUTION

It’s declared a policy of the state to give priority to education, science and technology, arts,
culture and sports to foster patriotism and nationalism, accelerate social progress and promote
total human liberation and development, (Article II, Section 17)

Likewise, Article XIV on education, science and technology, arts, culture and sports of
Philippines states to wit:

The state shall foster the preservation, enrichment and dynamic evolution of A Filipino
national culture based on the principle of unity in diversity in a climate of free artistic and
intellectual expression. (section 4)

Arts and letters shall enjoy the patronage of the state. The State shall conserve, promote and
popularize the nation’s historical and cultural heritage and resources, as well as artistic
creations. (section 15)

The State shall recognize, respect and protect the rights of indigenous cultural communities,
to preserve and develop their cultures, traditions and institutions. It shall consider these rights
in the formulation of national plans and policies. (section 17)

The State shall encourage and support researchers and studies on arts and culture. (Section
18)

II. PHILOSOPY AND RATIONALE FOR MUSIC EDUCATION

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 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. Drawing from 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.

We envision that Music in the K-10 Program 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.

(Source: DepEd K to 12 Curriculum Guide – Version as January 31, 2012)

III. MULTIPLE INTELLIGENCE THEORY APPLIED IN TEACHING MUSIC

“Intelligence is the capacity to do something useful in the society in which we live.

Intelligence is the ability to respond successfully to new situations and the capacity to learn
from one’s past experiences.”
—Dr. Howard Gardner, author, Frames of Mind and Multiple Intelligences: The Theory in
Practice

Dr. Howard Gardner, a professor of cognition and education at the Harvard Graduate
School of Education, developed his theory of multiple intelligences twenty years ago. Simply
put, Dr. Gardner posits that people employ several different types of intelligence, rather than
one general type.

Multiple Intelligences for Adult Literacy and Education, applies Dr. Gardner's theory
to adult education. With this site we hope to inspire teachers and tutors to discover innovative
ways to help their learners succeed, based on their learners' intelligences.

Gardner’s theory has come under criticism from both psychologists and educators.
These critics argue that Gardner’s definition of intelligence is too broad and that his eight
different "intelligences" simply represent talents, personality traits, and abilities. Gardner’s
theory also suffers from a lack of supporting empirical research.

Despite this, the theory of multiple intelligences enjoys considerable popularity with
educators. Many teachers utilize multiple intelligences in their teaching philosophies and
work to integrate Gardner’s theory into the classroom.

1. VERBAL-LINGUISTIC INTELLIGENCE
(“word smart” or “book smart”)
This intelligence involves the knowing which comes through language; through reading,
writing, and speaking. It involves understanding the order and meaning of words in both
speech and writing and how to properly use the language. It involves understanding the
sociocultural nuances of a language, including idioms, plays on words, and linguistically-
based humor. If this is a strong intelligence for you, you have highly developed skills for
reading, speaking, and writing and you tend to think in words. You probably like various
kinds of literature, playing word games, making up poetry and stories, engaging in involved
discussions with other people, debating, formal speaking, creative writing, and telling jokes.
You are likely precise in expressing yourself and irritated when others are not! You love
learning new words, you do well with written assignments, and your comprehension of
anything you read is high.
People who are strong in linguistic-verbal intelligence are able to use words well, both when
writing and speaking. These individuals are typically very good at writing stories,
memorizing information, and reading.

Strengths
Words, language, and writing

Characteristics
People with linguistic-verbal intelligence:

 Remember written and spoken information

 Enjoy reading and writing
 Debate or give persuasive speeches
 Are able to explain things well
 Use humor when telling stories
Potential Career Choices
If you're strong in linguistic-verbal intelligence, good career choices for you are:

 Writer/journalist
 Lawyer
 Teacher

2. MATHEMATICAL-LOGICAL INTELLIGENCE
(“math smart” or “logic smart”)
This intelligence uses numbers, math, and logic to find and understand the various patterns
that occur in our lives: thought patterns, number patterns, visual patterns, color patters, and so
on. It begins with concrete patterns in the real world but gets increasingly abstract as we try
to understand relationships of the patterns we have seen. If you happen to be a logical-
mathematically inclined person you tend to think more conceptually and abstractly and are
often able to see patterns and relationships that others miss. You probably like to conduct
experiments, to solve puzzles and other problems, to ask cosmic questions, and
analyze circumstances and people’s behavior. You most likely enjoy working with
numbers and mathematical formulas and operations, and you love the challenge of
a complex problem to solve. You are probably systematic and organized, and you
likely always have a logical rationale or argument for what you are doing or
thinking at any given time.
People who are strong in logical-mathematical intelligence are good at reasoning, recognizing
patterns, and logically analyzing problems. These individuals tend to think conceptually
about numbers, relationships, and patterns.

Strengths
Analyzing problems and mathematical operations
Characteristics
People with logical-mathematical intelligence:

 Have excellent problem-solving skills

 Enjoy thinking about abstract ideas
 Like conducting scientific experiments
 Can solve complex computations
Potential Career Choices
If you're strong in logical-mathematical intelligence, good career choices for you are:

 Scientist
 Mathematician
 Computer programmer
 Engineer
 Accountant

3. VISUAL-SPATIAL INTELLIGENCE
(“art smart” or “picture smart”)
We often say “A picture is worth a thousand words!” or “Seeing is believing!” This
intelligence represents the knowing that occurs through the shapes, images, patterns, designs,
and textures we see with our external eyes, but also includes all of the images we are able to
conjure inside our heads. If you are strong in this intelligence you tend to think in images and
pictures. You are likely very aware of object, shapes, colors, textures, and patterns in the
environment around you. You probably like to draw, paint, and make interesting designs and
patterns, and work with clay, 2 colored markers, construction paper, and fabric. Many who
are strong in visual-spatial intelligence love to work jigsaw puzzles, read maps and find their
way around new places. You probably have definite opinions about colors that go together
well, textures that are appropriate and pleasing, and how a room should be decorated. And,
you are likely excellent at performing tasks that require “seeing with the mind’s eyes,” such
as visualizing, pretending, imagining, and forming mental images.

People who are strong in visual-spatial intelligence are good at visualizing things. These
individuals are often good with directions as well as maps, charts, videos, and pictures.

Strengths
Visual and spatial judgment

Characteristics
People with visual-spatial intelligence:

 Read and write for enjoyment

 Are good at putting puzzles together
 Interpret pictures, graphs, and charts well
 Enjoy drawing, painting, and the visual arts
 Recognize patterns easily
Potential Career Choices
If you're strong in visual-spatial intelligence, good career choices for you are:

 Architect
 Artist
 Engineer

4. INTRAPERSONAL INTELLIGENCE
(“self-smart” or “introspection smart”).
At the heart of this intelligence are our human self-reflective abilities by which we can step
outside of ourselves and think about our own lives. This is the introspective intelligence. It
involves our uniquely human propensity to want to know the meaning, purpose, and
significance of things. It involves our awareness of the inner world of the self, emotions,
values, beliefs, and our various quests for genuine spirituality.

If this intelligence is one of your strong points you may like to work alone and sometimes
you may shy away from others. You are probably self-reflective and self-aware and thus you
tend to be in tune with your inner feelings, values, beliefs, and thinking processes. You are
frequently bearers of creative wisdom and insight, are highly intuitive, and you are inwardly
motivated rather than needing external rewards to keep you going. You are often strong
willed, self-confident, and have definite, well-thought out opinions on almost any issue.
Other people will often come to you for advice and counsel

Individuals who are strong in intrapersonal intelligence are good at being aware of their own
emotional states, feelings, and motivations. They tend to enjoy self-reflection and analysis,
including daydreaming, exploring relationships with others, and assessing their personal
strengths.

Strengths
Introspection and self-reflection

Characteristics
People with intrapersonal intelligence:

 Analyze their strengths and weaknesses well

 Enjoy analyzing theories and ideas
 Have excellent self-awareness
 Understand the basis for his or her own motivations and feelings

Potential Career Choices

If you're strong in intrapersonal intelligence, good career choices for you are:

 Philosopher
 Writer
 Theorist
 Scientist

5. BODILY-KINESTHETIC INTELLIGENCE
("body smart" or "movement smart")
We often talk about “learning by doing.” This way of knowing happens through physical
movement and through the knowing of our physical body. The body “knows” many things
that are not necessarily known by the conscious, logical mind, such as how to ride a bike,
how to parallel park a car, dance the waltz, catch a thrown object, maintain balance while
walking, and where the keys are on a computer keyboard. If you have strength in this
intelligence area you tend to have a keen sense of body awareness. You like physical
movement, dancing, making and inventing things with your hands, and roleplaying. You
probably communicate well through body language and other physical gestures. You can
often perform a task much better after seeing someone else do it first and then mimicking
their actions. You probably like physical games of all kinds and you like to demonstrate how
to do something for someone else. You may find it difficult to sit still for long periods of time
and are easily bored or distracted if you are not actively involved in what is going on around
you.

Those who have high bodily-kinesthetic intelligence are said to be good at body movement,
performing actions, and physical control. People who are strong in this area tend to have
excellent hand-eye coordination and dexterity.

Strengths
Physical movement, motor control

Characteristics
People with bodily-kinesthetic intelligence:

 Are skilled at dancing and sports

 Enjoy creating things with his or her hands
 Have excellent physical coordination
 Remember by doing, rather than hearing or seeing

Potential Career Choices

If you're strong in bodily-kinesthetic intelligence, good career choices for you are:

 Dancer
 Builder
 Sculptor
 Actor

6. INTERPERSONAL
(“people smart” or “group smart”)
This is the person-to-person way of knowing. It is the knowing that happens when we work
with and relate to other people, often as part of a team. This way of knowing also asks use to
develop a whole range of social skills that are needed for effective person-to-person
communication and relating. If this person-to-person way of knowing is more developed in
you, you learn through personal interactions. You probably have lots of friends, show a great
deal of empathy for other people and exhibit a deep understanding of other points of view.
You probably love team activities of all kinds and are a good team member--you “pull your
own weight” and often much more! You are sensitive to other people’s feelings and ideas,
and are good at piggybacking your ideas on others’ thoughts. And you are likely skilled at
drawing others out in a discussion. You are also probably skilled in conflict resolution,
mediation, and finding compromise when people are in radical opposition to each other

Those who have strong interpersonal intelligence are good at understanding and interacting
with other people. These individuals are skilled at assessing the emotions, motivations,
desires, and intentions of those around them.

Strengths
Understanding and relating to other people

Characteristics
People with interpersonal intelligence:

 Communicate well verbally

 Are skilled at nonverbal communication
 See situations from different perspectives
 Create positive relationships with others
 Resolve conflicts in group settings

Potential Career Choices

If you're strong in interpersonal intelligence, good career choices for you are:

 Psychologist
 Philosopher
 Counselor
 Salesperson
 Politician

7. NATURALIST INTELLIGENCE
(“nature smart” or “environment smart”)
The naturalist intelligence involves the full range of knowing that occurs in and
through our encounters with the natural world including our recognition, appreciation, and
understanding of the natural environment. It involves such capacities as species discernment,
communion with the natural world and its phenomena, and the ability to recognize and
classify various flora and fauna. If the naturalist intelligence is one of your strengths you have
a profound love for the outdoors, animals, plants, and almost any natural object. You are
probably fascinated by and noticeably affected by such things as the weather, changing leaves
in the fall, the sound of the wind, the warm sun or lack thereof, or an insect in the room. At a
young age you were likely nature collectors, adding such things as bugs, rocks leave,
seashells, sticks, and so on to your collections. You probably brought home all manner and
kinds of stray animals and today you may have several pets and want more. You tend to have
an affinity with and respect for all living beings.

Naturalistic is the most recent addition to Gardner’s theory and has been met with
more resistance than his original seven intelligences. According to Gardner, individuals who
are high in this type of intelligence are more in tune with nature and are often interested in
nurturing, exploring the environment, and learning about other species. These individuals are
said to be highly aware of even subtle changes to their environments.

Strengths
Finding patterns and relationships to nature

Characteristics
People with naturalistic intelligence:

 Are interested in subjects such as botany, biology, and zoology

 Categorize and catalog information easily
 Enjoy camping, gardening, hiking, and exploring the outdoors
 Dislikes learning unfamiliar topics that have no connection to nature
Potential Career Choices
If you're strong in naturalistic intelligence, good career choices for you are:

 Biologist
 Conservationist
 Gardener
 Farmer

8. MUSICAL-RHYTHMIC INTELLIGENCE
(“music smart” or “sound smart”)
This is the knowing that happens through sound and vibration. In the original research on the
theory of multiple intelligences this intelligence was called musical-rhythmic intelligence.
However, it is not limited to music and rhythm so I’m calling it auditory-vibrational, for it
deals with the whole realm of sound, tones, beats, and vibrational patterns as well as music. If
you are strong in this intelligence area you likely have a love of music and rhythmic patterns.
You are probably very sensitive to sounds in the environment; the chirp of cricket, rain on the
roof, varying traffic patterns. You may study and work better with music in the background.
You can often reproduce a melody or rhythmic pattern after hearing it only once. Various
sounds, tones, and rhythms may have a visible effect on you--others can often see a change in
facial expressions, body movement, or emotional responses. You probably like to create
music and you enjoy listening to a wide variety of music. You may be skilled at mimicking
sounds, language accents, and others’ speech patterns, and you can probably readily
recognize different musical instruments in a composition.

People who have strong musical intelligence are good at thinking in patterns, rhythms, and
sounds. They have a strong appreciation for music and are often good at musical composition
and performance

Strengths
Rhythm and music

Characteristics
People with musical intelligence:

 Enjoy singing and playing musical instruments

 Recognize musical patterns and tones easily
 Remember songs and melodies
 Have a rich understanding of musical structure, rhythm, and notes

Potential Career Choices

If you're strong in musical intelligence, good career choices for you are:

 Musician
 Composer
 Singer
 Music teacher
 Conductor
 9. EXISTENTIAL INTELLIGENCE

Existential intelligence is the label education researcher Howard Gardner gave to

students who think philosophically. This existential intelligence is one of many multiple
intelligences that Garner identified. Each of these labels for multiple intelligences...

"...documents the extent to which students possess different kinds of minds and
therefore learn, remember, perform, and understand in different ways," (1991).

Existential intelligence involves an individual's ability to use collective values and

intuition to understand others and the world around them. People who excel in this
intelligence typically are able to see the big picture. Philosophers, theologians and life
coaches are among those that Gardner sees as having high existential intelligence (Kelly,
2019).
In many ways, the purpose of education can and should be to inspire future
generations to push humanity forward. Developing our youths’ existential intelligence is one
critical way of making them more aware of our true potential as a species and understand the
bigger picture.
After all we can’t deny that young thinkers who regular ponder on deep questions
about their self-identities and human nature, leave room for a vast array of intellectual
development. It’s why many also refer to this form of intelligence as “life smart”.

IV. FIVE PILLARS OF LEARNING APPLIED IN MUSIC EDUCATION

The following are brief descriptions of the five pillars of learning.

Learning to Know

Learning to Know involves the acquisition and development of knowledge and skills that are
needed to function in the world. Examples of skills under this pillar of learning include
literacy, numeracy, and critical thinking.

Learning to Live Together

Learning to Live Together involves the development of social skills and values such as
respect and concern for others, social and inter-personal skills and an appreciation of the
diversity among people. These skills would enable individuals and societies to live in peace
and harmony.

Learning to Do

Learning to Do involves the acquisition of skills that would enable individuals to effectively
participate in the global economy and society. These skills are often linked to occupational
success, such as vocational and technical skills, apprenticeships, and leadership and
management competencies.

Learning to Be
Learning to Be involves activities that promote holistic personal development (body, mind
and spirit), for an all-round ‘complete person.’ These include cultivating one’s self analytical
and socials skills, creativity, personal discovery and an appreciation of the inherent value
provided by these pursuits. An example under this pillar is a teacher who participates in
training workshops that will enhance his/her knowledge and skills in the teaching learning
process.

Did you notice the arrow that spans across the four pillars of learning? What do you think
does this arrow represent? If you mentioned “lifelong learning,” you are correct! The
framework takes into account that learning in the 21st century is a continuous building of
skills and knowledge throughout the life of an individual. It occurs through experiences
encountered in the course of a lifetime.

Learning to Transform Oneself and Society

When individuals and groups gain knowledge, develop skills, and acquire new values as a
result of learning, they are equipped with tools and mindsets for creating lasting change in
organizations, communities, and societies.

These five pillars are linked together by a social constructivist approach to individual
learning and a social constructionist approach to the development of learning communities
that significantly influences how students learn and how faculty and staff support their
learning. According to a social constructivist approach, learning is an active social process –
an individual’s acquisition of new knowledge and skills is heavily influenced and supported
by the social environment in which the learning occurs. Students make meaning from their
experiences by being actively engaged with others and the environment in which they are
situated rather than passively receiving information from their professors or texts.

A social constructivist orientation includes the following key elements

Self-Responsibility

Complex Problems

Collaborative Inquiry

Open Ended Learning Activities

Discussion and Reflection

People Learn in a Diversity of Ways

V. INTRINSIC AND EXTRINSIC VALUES OF MUSIC

Increasing pressures to justify the value of music in schools over recent decades has led to
the construction of three distinct areas of benefits: intrinsic (or musical) benefits, extrinsic
benefits related to academic and/or cognitive development, and extrinsic benefits related to
psychosocial wellbeing. While some argue these categories have been useful for identifying
specific areas of value and enabling targeted advocacy approaches, others have challenged
this segmented approach to justification. While the most strident point of contention stems
from the perception that categories which champion non-musical (extrinsic) benefits have led
to the devaluing of musical (intrinsic) benefits, others dispute the categories themselves. Such
arguments question the ability to separate what have been categorized as musical and
nonmusical elements, particularly in relation to social and political elements. This paper aims
to tease out the practicality of these existing categories, and in doing so, challenge them
robustness in both form and definition. The argument is made that current attempts to
separate the value of school-based music into distinct categories is not only unclear, but also
unhelpful in areas of advocacy. This argument rests on the premise that musical participation
affords opportunities to enrich human experience in holistic and integrated ways, and that
categorization serves to preclude this unique value.

The Three Categories of Musical Value

The value and purpose of music in schools has taken on many guises over the years, shifting
to promote the different theories or agendas of the times (Jorgensen, 1995). In the early
1900s, justification relied on “Art for Art’s Sake” (Guérard, 1936) arguments, which included
the primacy of aesthetic development, musical appreciation, and music as feelings (Elliott,
1994; Jorgensen, 1995).

Since then, the perceived benefits of school music have expanded to include everything from
physical development to imparting family morals and instilling nationalistic spirit (Stevens,
2003). However, the push for school music departments to justify their existence in the wake
of neoliberal education reform (Fowler, 2002; Vitale, 2011) has crystallized arguments into
three main areas: intrinsic benefits, as well as extrinsic benefits related to both cognitive and
academic development, and psychosocial wellbeing. While there are slight variations to these
categories (see, Ewing, 2010; McCarthy, Ondaatje, Zakaras, & Brooks, 2004), arguably, they
best represent current thinking and advocacy in this area.

Intrinsic Benefits

Historically, the intrinsic value of music had been tied with the concept of intrinsic and
extrinsic motivation (Csikszentmihalyi, Rathunde, & Whalen, 1997). Hence, intrinsic benefits
have been articulated as those specifically musical experiences that encourage one to
continue engagement in music; such as experiences of “musical and aesthetic sensitivity” and
the associated “enrichment of inner life” (Dai & Schader, 2001, p. 23). However, given
increasing needs to justify the value of music in education, and society more generally
(Edwards, 2011), the intrinsic value of music has more recently referred to the benefits of
musical participation that are specifically musical in nature. These have often been described
in general terms as about learning and experiencing music, and aligned closely with the more
classical values of aesthetic development (Jorgensen, 1995).

Yet in recent decades, intrinsic benefits have grown to encompass the ideas that musical
participation: “draws on a range of learning styles, fosters creativity, imagination and
emotional responsivity” (Gill & Rickard, 2012, p. 61); provides unique opportunities for
experiencing our world, understanding our own humanity, communicating and expressing
ourselves (Parliament of Victoria, 2013); and has the ability to help us connect to our social
world, understand culture (our own and others), develop and experience our emotions and
spirituality, discover ourselves, build interpersonal relationships, construct and partake in
socio-cultural rituals, and build civilization (Taylor, 2008). Invariably, the innate joy of
musical experience is added to this list.

Evidently, contemporary descriptions of the intrinsic benefits of musical participation are far
reaching. Hence, to define what intrinsic benefits are, many authors have focused on
identifying what they are not. These efforts have often been expressed via dichotomies.
While Reimer (1989) expresses this as honestly philosophical (intrinsic) versus efficaciously
practical (extrinsic) pursuits, Fowler (2002) sums it up as the aesthetic versus the
instrumental. Taylor extends on both, describing it as a dichotomy between an intangible,
aesthetic and subconscious sense of reality versus one that is pragmatic, definable and
rational; and further that the intrinsic benefits are “the qualities that can't necessarily be
displayed in a chart or studied in a laboratory” (Taylor, 2008, p. 37).

Extrinsic Benefits

Associated with efforts to clarify what intrinsic benefits are not, scholars have identified
many elements that constitute the extrinsic benefits of musical participation. These are
described as the benefits that musical participation has in areas of a student’s life not
uniquely bound to music, such as academic performance or wellbeing. Given these areas are
described as being above and beyond any distinctly musical realm, they are sometimes
referred to as extra musical. Other times they are referred to as nonmusical (Schellenberg,
2001) benefits, illustrating a perception of them being the associated effects of musical
participation – or even “non-musical side effects caused by the exposure to music” (Stewart,
2007, p. 4). Schellenberg and Winner’s suggestion that educators, policymakers and the
media often see these benefits as a “welcome by-product of sending children to music
lessons” (2011, p. 129) speaks to the popularity of this perception.

The idea of transfer of benefits provides a more considered account, conceptualizing extrinsic
benefits less as by-products, and more as a logical extension of distinct processes associated
with musical participation (Forgeard, Winner, Norton, & Schlaug, 2008). As Biasutti and
Concina (2013) suggest, rather than being a result of mere passive exposure, these social and
cognitive benefits are the product of engaging in certain musical processes that either mirror
(non-musical) cognitive processes or engender personal development in other (non-musical)
areas. Vitale (2011) describes these as ancillary benefits, those things that can be extracted
from the core elements of musicking (i.e. making, listening to, performing, appreciating, and
sharing music) and applied to other areas.

Whether considered happy coincidences or logical downstream effects, extrinsic benefits are
considered benefits that can be achieved in other ways, but which music may act as an
instrument to access. Such benefits are frequently used to argue a place for music in schools,
as they offer justification based not on the value of the Arts, but on development in “fields
such as math, science, and engineering: three fields of study that are highly valued by
society” (Taylor, 2008, p. 36). Thus, where these highly valued benefits are concerned,
musical participation can be seen as playing an instrumental rather than essential role.

Music and Emotion

One obvious point at which the distinctions between extrinsic and intrinsic categories
become hazy relates to the idea of emotion. The link between musical participation and
emotion is central to many descriptions of intrinsic benefits. This includes the ability to
express emotions and feelings musically, as well as the ability to understand and respond to
emotions represented within or by music (Taylor, 2008). This includes both the emotions of
others expressed in musical form, as well as one’s own emotions which emerge during, as a
response to, or are shaped through the act of musicking (Gee, 2006; Stewart, 2007). The
intrinsic nature of this relationship rests on the understanding that music, like most art forms,
can be seen as a product of emotion: it contains, reflects, expresses or portrays a certain
feeling of the person or people playing or creating it. It also affords an opportunity for the
listener (or player) to connect with their own emotions which are recognized in or through the
music. Music and emotion are inherently related, and in this way, the relationship is intrinsic.

Yet, descriptions of the extrinsic psychosocial category also contain many references
to emotion. This includes the ability for musical participation to afford emotional
development (Kim et al., 2006), enhance emotional sensitivity (Hallam, 2010), augment
emotional intelligence (Schellenberg, 2011b), provide an outlet for emotional expression, or
simply increase emotional wellbeing (Parliament of Victoria, 2013; Vaughan et al., 2011).
Such references to emotion in this extrinsic category should not be surprising, for the very
nature of psychosocial wellbeing – when understood as our subjective evaluation of ourselves
and our social world (Keyes, 1998, 2002) – is mediated, expressed, and understood via our
emotions. Indeed, the term psychosocial wellbeing is often used interchangeably with social
and emotional wellbeing (AIHW, 2012; Hamilton & Redmond, 2010; Vincent, 2005).

It would seem then, the relationship between musical participation and emotion, even
when viewed through this extrinsic psychosocial lens, is also inherent. Considering the
crossover identified here, maintaining a robust separation between intrinsic and extrinsic
conceptualizations of the relationship between music and emotion – and the categories
themselves – becomes questionable. Arguably, this crossover moves past the symbiosis
described by Taylor (2008), and demands instead an integrated understanding of the role that
music can play in the emotional realm of student experience, and vice-versa.

VI. GOALS IN TEACHING MUSIC

Education in Music, or the acquisition of musical knowledge, skills, and values, is

shaped by its purpose and context. In the Philippines, it may variably mean: a) an avenue for
the transmission of a culture or tradition; b) a curricular component in basic education; and c)
a prescribed sequence of study in preparation for professional careers in music.

Oral Transmission
The principal aim in education among ethno-linguistic groups is to continue their
tradition. These groups keep alive Southeast Asian indigenous music, the oldest type of
Philippine Music. For example, the palook (use of stick beaters) and topayya (use of the
hands) styles of playing the gangsa (flat gongs) in the Cordillera Highlands of Northern
Luzon are learned by young Kalinga boys through keen observation and imitation of a
customary circle of tutors- family, peers, or town elders. Able to practice only on bamboo
instruments, (traditionally, gong playing in the absence of ritual or social event is frowned
upon) actual playing on the gongs takes place at the social gatherings in which music-making
is a participatory and communal experience. As adults, they will form a pool of musicians
needed for non-stop strenuous gangsa playing during celebrations that last for days.

Unlike the gangsa, the kulintang (a row of knobbed gongs of graduated sizes) is taught
directly on the instrument itself, and by a tutor. He/She employs the techniques of rote-
learning (imitation and repetition of a pattern demonstrated by the teacher), the use of the
kamblala, a set of patterns to be memorized, then played and sung simultaneously by the
student; and kinesthetic guiding of the hands to teach muscular coordination. (Cadar, 1975).
The Maranaos (and other Muslim communities of Southern Philippines) value the study and
performance of kulintang for its social significance, serving as an occasion for community
entertainment, social contacts, competitions, ethical learning and exercise of self-discipline.

In the context of guru-pupil relationship, the Tausug tata gabbang (a bamboo xylophone
played alone) andtata biyula (a bowed string instrument played alone) are similarly taught.
Male students living with a male gururender household services in return for free room and
board while female students come to the house of a male guru for lessons. (Trimillos, 1972)

The highly specialized and multi-faceted apprenticeship of the Maranao princess, Sindao
Banisil, apabubayok and onor (artist) in the study of Bayok (Maranao vocal genre) was
entrusted to a team of five women, all aunts of hers. Starting at age six, she learned from
these tutor’s various aspects of Bayok artistry: memorization, and extemporizing on text
models, chanting techniques, and proper application of vocal devices, improvisation, and
other skills like dancing, playing on instruments, good manners, personal grooming- all
relative to the art. Sindao, a prodigious pupil, reached professional status at age 15, when she
easily won over established pabubayok in several competitions. (Santos, 1989).

Music in Basic Education

The New Elementary School Curriculum (NESC) and the Secondary Education
Development Program (SEDP) which were prescribed and instituted in 1982, and 1989
respectively by the then Department of Culture (DEC) and Department of Education, Culture
and Sports (DECS) constitute a continuum of academic preparation for college. The inclusion
of the subject of music is premised aesthetic (musical) and utilitarian (extra-musical)
contributions to general on its education and the national culture. Music instruction in both
public and private elementary schools are of the general music type (as distinct from
performance classes) commonly used in the United States. The overall aim is to develop
basic music literacy. The graded learning outcomes are based on the elements of music-
rhythm, melody, harmony, form timbre, texture dynamics and using the conceptual and spiral
approaches which are hallmarks of western music education. The repertoire includes
Spanish/European/American/ influenced Philippine Music and foreign songs. Accordingly,
the skills of singing, music reading, responding to the elements receive much attention. In
some schools, the general music classes are complemented by voluntary participation in
performance groups (Rhythm Band, Child Choir, Ethnic Ensembles) organized outside of the
regular class time.

In high school, the foundation of singing, music reading, responding and listening to
music is further developed and applied to the study of various genres of Philippine Asian, and
Western Music within the framework of the PEHM subject area (Physical Education, Health,
and Music). The skills of improvising and creating are encouraged. Recently, the subject of
art was added to the time allotted to music.

Significance of Music Education in the Philippines

 The significance of Music Education can be gleaned from the ongoing seminar
workshops conducted by different institutions to upgrade knowledge, methods and
procedures and teaching strategies.
  Music Education Law (RA 4723) – an act giving importance to the teaching music in
the curriculum of elementary and secondary schools in 1966.
 Music Education will be the child’s limb to the present global music.
 Through the singing of folk songs and our soul-stirring kundimans, playing native
instruments, participating in bamboo ensembles and the rondialas the child
demonstrates love of country.
Goals In Teaching Music Education
1. Enrich life experiences.
2. Discover creative potentials.
3. Enhance visual and aural perception.
4. Utilize music as an outlet for one’s feelings.
5. Gain acquaintance with music of different countries.
6. Develop fellowship.
7. Develop nationalistic spirit.
8. Awaken interest of global culture.
9. Gain familiarity with the different styles of native songs, dances, festivals, musical
instruments native to the country.
10.Involve community participation for a harmonious school-community relationship

References/Additional Resources/Readings

Kelly, Melissa (2020). Teaching Students with Existential Intelligence. ThoughtCo.

Retrieved from: https://www.thoughtco.com/existential-intelligence-profile-8097

Internet Sources:
- https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/
music/music-education-in-philippines-primary-and-secondary-schools/
- http://www.authorstream.com/Presentation/tito218665-2618546-chapter-12-
principles-teaching/
- https://www.wtc.ie/images/pdf/Multiple_Intelligence/mi10.pdf
- https://www.literacynet.org/mi/intro/index.html
- https://www.verywellmind.com/gardners-theory-of-multiple-intelligences-2795161
- http://iflex.innotech.org/GURO21/module1/l1_21.html
- https://minerva-access.unimelb.edu.au/bitstream/handle/11343/108611/
Crooke_2016_Extrinsic%20Vs%20Intrinsic%20Benefits.pdf?sequence=1
- https://souham.wordpress.com/a-a-prologue/
- https://bit.ly/3Dqo9I6
- https://www.scribd.com/document/235902271/History-of-Music-Education-in-the-
Philippines
- https://ir.lib.hiroshima-u.ac.jp/files/public/4/47395/20190411112637185946/
MusicCultEduc_31_125.pdf
- https://www.youtube.com/watch?v=kj5OYrJOlQU
- https://www.youtube.com/watch?v=iI2k1LhBjnw
- https://www.google.com/search?
q=five+pillars+of+learning+unesco+images&tbm=isch&ved=2ahUKEwii_Lbw9ZLr
AhX7zIsBHaqODeAQ2cCegQIABAA&oq=five+pillars+of+learning+unesco+image
s&gs_lcp=CgNpbWcQA1C8pQpY_64KYPC0CmgAcAB4AIABugWIAcockgEFNC
0xLjWYAQCgAQGqAQtnd3Mtd2l6LWltZ8ABAQ&sclient=img&ei=CXAyXLTIfu
 Zr7wPqp22gA4&bih=608&biw=1366&hl=en#imgrc=TInacauttOOItM
- http://gwhs-stg02.i.gov.ph/~s2govnccaph/subcommissions/subcommission-on-the-
arts-sca/music/philippine-music-education/#:~:text=Music%20in%20Basic
%20Education&text=The%20overall%20aim%20is%20to,hallmarks%20of
%20western%20music%20education.
- https://www.slideshare.net/liraleiannbondoc/music-24994618?from_action=save
- file:///C:/Users/User/Downloads/music-130806121052-phpapp02.pdf
Activity Sheet
ACTIVITY 1

Name: Mico S. Iglesia____________ Course/Year/Section: BEED/1stYear/B-1Score:_____

A. Multiple Choice: Read and analyze the statement below. Write your answer on the
space provided.
1. __________People who are strong in this type of intelligence are good at reasoning,
recognizing patterns and logically analyze problems.
a. Visual- Spatial Intelligence
b. Bodily- Kinesthetic Intelligence
c. Mathematic- Logical Intelligence
d. Naturalist Intelligence
2. __________ Learning to Do involves the acquisition of skills that would enable
individuals to effectively participate in the following;
a. Society Partnership and Collaboration
b. Global Economy and Society
c. Holistic Personal Development
d. Lifelong learning
3. ___________Why Music Education is significant as part of the learning outcome for
the learners?
a. Because it is a must that Music Education must be given emphasis on the
teaching learning process
b. Because it will enable the learners to fully understand and equip with
knowledge in terms of Music Education
c. Because it upholds the Patriotism and Nationalism of the learners
including all Educators and members of community.
d. All of the choices are correct!
4. ___________Potential careers for Verbal Linguistic Intelligence are the following
except one.
a. Writer/journalist
b. Lawyer
c. Teacher
d. Mathematician
5. ___________ Involves the development of social skills and values such as respect
and concern for others, social and inter-personal skills and an appreciation of the
diversity among people
a. Learning to Know
b. Learning to Live Together
c. Learning to Do
d. Learning to Be
e. Learning to Transform Oneself and Society
B. IDENTIFICATION: Identify the following statement. Write your answer on the space
provided.
1. ________________________________ Have grown to encompass the ideas that musical
participation draws a range of learning styles, fosters creativity, imagination and
emotional responsivity.
2. ________________________________ An Act giving importance to the teaching music in
the curriculum of elementary and secondary schools in 1966.
3. ________________________________ He is a professor of Cognition and education at the
Harvard Graduate School of Education and developed Multiple Intelligence
Theory.
4. ________________________________ This is also called the introspective intelligence.
5. ________________________________ Department which gave emphasis on the Philosophy
and Rational of Teaching Music Education.

C. Essay. In your own understanding, what is Music Education and what is its
importance in teaching elementary grades? Minimum of 100 words
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

D. Comprehensively discuss the following goals of Teaching Music Education. Minimum

of two paragraphs and maximum of four paragraphs.
1. Enrich life experiences.
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________

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

_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
________________
3. Develop nationalistic spirit.
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
________________
4. Involve community participation for a harmonious school-community
relationship
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
________________
5. Discover creative potentials.
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________
________________
Assessment
ACTIVITY NO. 1: Explain the following Legal Basis in Teaching Music Education in your
own words and context. Write your answer on the space provided.
1. The state shall foster the preservation, enrichment and dynamic evolution of A
Filipino national culture based on the principle of unity in diversity in a climate of free
artistic and intellectual expression (Section 4)
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

2. Arts and letters shall enjoy the patronage of the state. The State shall conserve,
promote and popularize the nation’s historical and cultural heritage and resources, as
well as artistic creations (Section 15)
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

3. The State shall recognize, respect and protect the rights of indigenous cultural
communities, to preserve and develop their cultures, traditions and institutions. It shall
consider these rights in the formulation of national plans and policies (Section 17)
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

4. The State shall encourage and support researchers and studies on arts and culture
(Section 18)
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

ACTIVITY NO. 2: Comprehensively give your insights on Why Republic Act No. 4723
was being made? What is the essence of this Republic Act in nurturing the Music
Education here in the Philippines?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
ACTIVITY NO. 3: Supply the following with your own understanding.

MULTIPLE EXPLANATION AND ITS IMPORTANCE IN TEACHING MUSIC

INTELLIGENCES EDUCATION
1. Verbal-
Linguistic

2. Mathematical-
Logical

3. Visual- Spatial

4. Intrapersonal

5. Bodily-
Kinesthetic

6. Interpersonal

7. Naturalist

8. Musical-
Rhythmic

ACTIVITY NO. 4: Supply the information needed below.

PILLARS OF KEY CONCEPT RELATION TO MUSIC
LEARNING EDUCATION
Learning to Know

Learning to Live
Together

Learning to Do

Learning to Be

Learning to
Transform Oneself
 and Society

ACTIVITY NO.5: Carefully analyze the Intrinsic and Extrinsic Value of Music then
supply the Diagram with correct information.

VALUES OF MUSIC

INTRINSIC BENEFITS SIMILARITIES EXTRINSIC BENEFITS

Differences Differences
Assignment

As a future educator, it is very important to know the Philosophical Views and Rationale
of Music Education. Conduct an interview to any MAPEH teacher on the relevance of the
Philosophy and Rationale of Teaching Music?

Information to be filled out:

Name of the teacher: ______________________________ Years in Service: _________________________

Position: __________________________ School: ___________________________________
INTERVIEW TRANSCRIPTION
Learner’s Feedback Form
 
Name of Student: ___________________________________________________
Program : ___________________________________________________
Year Level : ___________ Section : ___________
Faculty : ___________________________________________________
Schedule : ___________________________________________________
 
Learning Module : Number: _________ Title : ______________________
 
 
How do you feel about the topic or concept presented?
□ I completely get it. □ I’m struggling.
□ I’ve almost got it. □ I’m lost.
 
In what particular portion of this learning packet, you feel that you are struggling or lost?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
 
Did you raise your concern to you instructor? □ Yes □ No
 
If Yes, what did he/she do to help you?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________

If No, state your reason?

___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
 
To further improve this learning packet, what part do you think should be enhanced?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
 
How do you want it to be enhanced?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
  
Chapter 2

Nature, Structure,
Standards and
Framework of
Music Curriculum
Chapter 2

Nature, Structure, Standards and Framework of

Music Curriculum
 
Introduction

Music is one of the integral parts in the educational system today, it is very
important to know all the different structures and standards in teaching Music
Education to our school learners. Music emphasizes arts in different ways, it helps to
regain confidence in the mode of teaching. Thus, the emphasis of teaching Music shall be
one of the main concerns in the teaching learning process.
Many of us were totally inclined with music education, the process, the contents
and the different approaches related in teaching Music Education. K to 12 Curriculum of
the Department of Education caters the importance of Music as subject in Grades 1-12.
Now that you’ve learned the Disciplinary Foundation of Music, we will now
proceed to the Content, Nature, Philosophical Views and the concrete structure of K to
12 Curriculum. In this module you will going to understand and identify all the things in
relation to Music Education, how the Structure of the K to 12 Curriculum is aligned to
subject Music Education.
Guiding Principles and the different approaches in teaching Music Education will
help you too in connecting your future learners with the aid of this fundamentals of
Music Education.

Specific Objectives

At the end of the lesson, the students should be able to:

 explain the nature, structure and content of k to 12 music curriculum;

 analyze the standards for teaching music;
 discuss the guiding principles in teaching music; and
 differentiate the integrative and multi-cultural approaches in teaching music.

Duration

Chapter 2: Nature, Structure, Standards and Framework of Music Curriculum

= 9 hours (7 hours discussion; 2 hours assessment)

Lesson Proper:

I. STRUCTURE OF MUSIC EDUCATION AND CURRICULUM FRAMEWORK

Music Education in the Philippines can be observed in three different settings: in the
community as an intercultural tradition, in a school classroom as a curricular
component of basic education and in a university as a prerequisite for future
professional music career (Borromeo n.d.). Formal school music education in the
Philippines had its early beginnings when the Spanish colonizers brought western
music to the islands during the 1500s. Together with church missionaries and music
teachers, proper music training, such as solfeggio, vocalization, and composition, was
taught in schools established by the church (Del Valle n.d.). Over the past decades,
Philippine music education had experienced relative changes regarding curriculum
contents and structure. This paper will discuss the structure of the current basic
education curriculum and its changes in relation to music as an independent subject in
the Philippines. The first section of the paper discusses the reformations of the curricula
from the previous Basic Education Curriculum up to the present, K to 12 Curriculum.
The second section focuses on the Philippine’s formal music education system inside the
present curriculum. The conclusion section attempts to recapitulate points and issues
raised in the music education system of the reformed curriculum.

Conceptual Framework of Music under K to 12 Curriculum

Both the Music and the Arts curricula focus on the learner as recipient of the
knowledge, skills, and values necessary for artistic expression and cultural literacy. The
design of the curricula is student-centered, based on spiral progression of processes,
concepts and skills and grounded in performance-based learning. Thus, the learner is
empowered, through active involvement and participation, to effectively correlate
music and art to the development of his/her own cultural identity and the expansion of
his/her vision of the world.
As Music and Arts are performance-based disciplines, effective learning occurs
through active experience, participation, and performance, creative expression,
aesthetic valuation, critical response, and interpretation. The skills that are developed
include reading/analyzing, listening/observing, performing, (singing, using musical
instruments, movement, acting, and playing, using different art materials, techniques
and processes, responding, composing, and creating.

The Curriculum Framework of Music Education Curriculum

 The philosophical foundations upon which standards and competencies are
based include: A Process of Education by Jerome Bruner, Performance-Based Learning
by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by
Howard Gardner, A Structure for Music Education by Ronald Thomas, Gongs and
Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the
National Research Council of the Philippines, Cultural Dictionary for Filipinos by Thelma
Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W.
Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of
Philippine Arts and Tuklas Sining, both produced by the Cultural Center of the
Philippines. For more related information, just go to this link:
https://www.deped.gov.ph/wp-content/uploads/2019/01/Music-CG.pdf

II. CONTENT OF THE K TO 12 MUSIC EDUCATION

Music is an important part of the human experience. It is a universal language, a
tangible means of communication for all humans. Music, with its unique body of
knowledge, skills, and ways of thinking, is worth knowing. It is a means of
understanding ourselves and others in a way not possible in other disciplines. The
ability to perform, create, and listen to music with understanding is a highly desirable
and important part of the human experience for every member of society.
Music provides an outlet for creativity and self-expression. It engages our
imaginations and allows us to explore our own identities. Schools have an obligation to
help each student develop to his or her potential. The development of musical potential,
along with linguistic, physical, and others, exists in every individual and is one of the
basic tenets of education. The K - 12 music program provides the opportunity for
students to develop this potential.

The Basic Reference for Music Education under K to 12 Curriculum

Music Elements Music Processes

Rhythm Listening
Melody Reading
Form Imitating ( re-creating)
Timbre Responding
Dynamics Creating
Tempo Performing including movement
Texture Evaluating
Harmony (No formal Harmony from K to Analyzing Critically
3) Applying transference

Source: K to 12 Music Curriculum Guide May 2016

Learning Materials are uploaded at: http://lrmds.deped.gov.ph/.
Specific Content of Music Education
Below are the specific examples of the K to 12 Curriculum in Music Education matrix for
Grades 1 to 6 learners taken from DepEd’s Basic Education Program
(www.deped.gov.ph)

Grade One

Grade Two
Grade Three

Grade Four
Grade Five

Grade Six
(For the complete set of K to 12 Music Education Curriculum , please visit
www.deped.gov.ph)

Additional Information on the New Scheme Matrix of Most Essential Learning

Competency

III. GUIDELINES ON THE USE OF THE MOST ESSENTIAL LEARNING

COMPETENCIES (MELCs) IN MAPEH

Rationale

As the COVID19 pandemic continues to impact various governments and economies

around the world, even schools are not spared from its crippling effects. The current
global health crisis poses a profound impact on the basic education system as
approximately 87% of the world’s student population, that is 1.5 billion learners, have
been affected by school closures (UNESCO, 2020). While interim distance and remote
learning programs are being put in place in many locations, the most marginalized,
poverty-stricken, and vulnerable children are also the most disadvantaged.

As for the Philippines, ensuring the welfare of more than 27 million learners in the basic
education alone requires indomitable commitment especially amidst this crisis.
However, as UNESCO reiterates its stand in spite of the circumstances, ‘Education
cannot wait. If learning stops, we will lose human capital.’ Thus, meeting the needs of
the most vulnerable populations in these times is essential in achieving SDG4 (UNESCO,
2017).

The Department echoes UNESCO’s belief that educational quality, access, and system
strengthening cannot be compromised in times of crisis (UNESCO, 2017) and doing the
opposite will negatively affect human capital. Thus, the Department of Education
affirms its commitment in sustaining the delivery of quality, accessible, relevant and
liberating Philippine basic education services anchored on the Sulong Edukalidad
framework. It will continue to strive to produce holistic Filipino learners with 21st
century skills. Consequently, the Bureau of Curriculum Development ensures that
learning standards are relevant and flexible to address the complex, disruptive, volatile,
and ambiguous impact of COVID-19 in the Philippines particularly in the basic
education sector.

Working on the said premise, the Department hereby releases the Most Essential
Learning Competencies (MELCs) to be used nationwide by field implementers and
private schools for SY 2020-2021 only. The release of the MELCs is not just a response
to addressing the challenges of the current pandemic but is also part of the
Department’s long-term response to the call of SDG 4 to develop resilient education
systems, most especially during emergencies. Thus, it can be used under certain
circumstances as a mechanism to ensure education continuity (curriculum dimension).
However, releasing the MELCs does not downplay the standards set by the K to 12
curriculum guides. Rather, these serve as guide to teachers as they address the
instructional needs of learners while ensuring that curriculum standards are
maintained and achieved. The content and performance standards are indicated in the
attached documents for field implementers to recognize that the MELCs are anchored
on the prescribed standards.

Furthermore, the MELCS intend to assist the schools in navigating the limited number of
school days as they employ multiple delivery schemes by providing them ample
instructional space.

Background on the Identification of the Most Essential Learning Competencies

The Department, through the Bureau of Curriculum Development – Curriculum

Standards Development Division in collaboration with the Assessment Curriculum and
Technology Research Centre (ACTRC), started working on the identification of essential
learning competencies in the middle of 2019 as part of its initiative in reviewing the
intended curriculum. Bureau specialists, academic experts and field implementers
worked to reach a consensus regarding the criteria to be used and mechanism to adopt
in determining these competencies. Initiated by Secretary Leonor Magtolis-Briones, the
K to 12 curriculum review is not just meant to fulfill one of the provisions of Republic
Act (RA) 105333 to review the curriculum but is her continuing commitment to ensure
quality, relevant and liberating education. After the four phases of curriculum review
are completed, the Secretary will convene the Curriculum Consultative Committee to
present the findings as provided for in Section 6 of the same Republic Act.

The review focused on articulation within and across learning areas which led to the
identification of gaps, issues, and concerns across learning areas and grade levels.
Moreover, areas for improvement that would enhance the learning engagement,
experience and outcomes were recommended.
Results of the review from the workshop series provided an overview of the articulation
of learning competencies in each learning area. Specifically, the review covered the
following:
 mapping of the essential and desirable learning competencies within the
curriculum;
 identification of prerequisite knowledge and skills needed to prepare students
for essential learning competencies; and
 analysis of the interconnectedness of prerequisite knowledge and skills among
the learning competencies for each subject area.

Essential learning competencies were defined as what the students need,

considered indispensable, in the teaching-learning process to building skills to equip
learners for subsequent grade levels and consequently, for lifelong learning. On the
other hand, desirable learning competencies were defined as what may enhance
education but may not be necessary in building foundational skills.

A list of characteristics of essential learning competencies was provided to help

participants decide which among the learning competencies are deemed most
important.

Characteristics of an Essential Learning

Competency Learning competency is 1. it is aligned with national, state,
ESSENTIAL if … and/or local standards/ frameworks
 (eg: 'scientifically literate Filipinos').
2. it connects the content to higher
concepts across content areas.
3. it is applicable to real-life situations.
4. If students left school after this grade,
it would be important for them to have
this competence above many others.
5. it wouldn't be expected that most
students would learn this through their
parents/communities if not taught at
school.

These characteristics are based on a US-developed competency validation rubric, which

is intended to assure that learning competencies can reach the highest level of quality
and comparability across schools (New Hampshire Department of Education, 2012);
adaptations were made for relevance in the Philippine context.
As the Department anticipates the challenges in employing various schemes in the
delivery of the learning standards due to COVID19, the number of the identified
essential learning competencies per quarter were further reduced, thus, the term most
essential learning competencies (MELCs).

In determining the criteria for the selection of the most essential learning competencies,
the Department in consultation with stakeholders, during which the descriptor –
ENDURANCE – was considered the primary determining factor. A learning competency
is considered enduring if it remains with learners long after a test or unit of study is
completed or if it is useful beyond a single test or unit of study. Examples of such
learning competencies include research skills, reading comprehension, writing, map
reading, and hypothesis testing, which are essential in many professions and in
everyday life (Reeves, 2002; Many & Horrell, 2014). The Department then identified the
MELCs through the application of these understandings.

Necessary in the above process is the decision whether a learning competency is to be

retained, merged, dropped, or rephrased. As a general rule, a learning competency is
retained if it satisfies the endurance criterion which greatly contributes to life-long
learning and is a pre-requisite skill to the next grade level. On the other hand, two or
more learning competencies are merged or clustered if they have the same objective or
learning intention; and thus, can be combined into one comprehensive learning
competency.

In addition, a significant number of learning competencies is removed/dropped due to

the following reasons:
- they are too specific (and the articulation is similar to that of a learning
objective)
- they are deemed appropriate to be introduced in an earlier quarter or grade
level or moved to a later quarter or grade level
- they are recurring
- they are subsumed in another learning competency.
Finally, a learning competency is rephrased to be more concise.
The content and performance standards are directly lifted from the curriculum guides.
Its inclusion is to emphasize that the identification of MELCs is anchored on the
prescribed standards and not a departure from the standards-based basic education
curriculum. Thus, teachers are encouraged to refer to the 2016 Curriculum Guides in
unpacking the MELCs.

MELC FOR TEACHING MUSIC EDUCATION

For the School Year 2020-2021

These are the specific Most Essential Learning Competencies being used for the
Academic School Year 2020-2021. For the full details, visit www.deped.gov.ph.

Grade One

Grade Two
Grade Three

Grade Four

Grade Five

Grade Six
 IV. STANDARDS FOR MUSIC TEACHING
The design of the music curricula is student-centered, performance-based and
uses the spiral progression approach (Department of Education 2016a). According to
Department of Education (2012a: Order No.31 s.2012), “The overall design of Grades 1
to 10 curriculum follows the spiral approach across subjects by building on the same
concepts developed in increasing complexity and sophistication starting from grade
school.” (Enclosure No.1, p.1). Spiral progression approach helps students to achieve
gradual mastery of the core and general principle of learning from the early years while
gradually proceeding into complex concepts as years’ progresses. In music, this ensures
the students of a good foundation of the basic principle of music theory as concepts and
fundamental music processes are revisited while incorporating complex ideas in the
succeeding years.

There are three key stages of standards in the Music curriculum. These are the
lower primary level (Kindergarten to Grade 3), upper primary level (Grades 4 to Grade
6), and the junior high school (Grades 7 to 10). Fundamentals process and basic theory
of music are mostly taught at the primary level while historical and regional music
concepts incorporated with music appreciation are the main points of learning at the
secondary level.

The lower primary level student is initially exposed to music through listening
and observing, creating and performing. This process enables the learner to be familiar
with the basic concepts of music as well as understand the vital processes in music. The
formal introduction of the core elements of music starts at the upper primary level. In
this stage, learners rediscover the elements of music more complexly while musical
awareness is developed through this stage. The learner recognizes the basic concepts
through the processes of performing, listening and creating while developing music
appreciation and awareness skills. Learners in Grades 7 to 10 are introduced to regional
and historical learning of music. In this stage, extensive musical appreciation of
multicultural music awareness: Philippine music, Asian and Western music.

Learning Area Standard:

The learner demonstrates an understanding of basic concepts and processes in music
and art through appreciation, analysis and performance for his/her self-development,
celebration of his/her Filipino cultural identity and diversity, and expansion of his/her
world vision.
Key Stage Standards

GRADE LEVEL STANDARDS

V. CONTENT OF MUSIC SUBJECTS PER GRADE LEVEL

Elements and fundamentals of music are introduced during the elementary years.
Teaching is divided into four quarters of the school year. The first quarter focuses on
rhythms, second quarter on melody and forms; third quarter talks about forms, timbre,
and dynamics while the last quarter focuses on the topics on tempo, texture, and
harmony, the latter introduced in Grades 5 and 6. During the secondary level, having
expected to master the basic concepts of music, the students are focused to music
appreciation and application. Grade 7 students are presented to the cultural music of
Philippine music. This topic enhances the learner’s knowledge of the richness of the
Philippine music in cultural context helping the students to appreciate the aesthetic of
Filipino music and comprehend the Filipino cultural identity and diversity through
regional and ethnic music discussions.
In Grade 8, students understand the musical characteristic of neighboring Asian
countries as well as its cultural and traditional musical performances. The roots of
classical music, Western music, is introduced in Grade 9. The broad topic of the history
of western music is introduced periodically starting from the Medieval period, the
Renaissance period followed by Baroque to Classical up to the Romantic period focusing
on the characteristic features of each genre. Grade 10 follows the historical-based
conceptual learning of the previous grade level with the topic of 20th -century music of
the modern world and also focuses on the modern Filipino artist. The contemporary
composers and their styles are featured in this grade level. The last quarter of the music
subject in grade 10 highlights the traditional Filipino composers and their music which
promotes Filipino music awareness and cultural identity. In summary of the musical
contents of music curricula in Grades 1 to 10, Grades 1 to 6 provides students the
theoretical aspect of music while advancing to the historical and cultural appreciation
during the Grades 7 to 10 as shown in Figure 2 below.

VI. GUIDING PRINCIPLES IN TEACHING MUSIC

Here is an excerpt from the Conceptual Framework of Music and Art of K to
12 Curriculum.
The design of the curricula is student-centered, based on spiral progression
of processes, concepts and skills and grounded in performance based learning. Thus
the learner is empowered, through active involvement and participation, to
effectively correlate music and art to the development of his/her own cultural
identity and the expansion of his/her vision of the world.
 As Music and Arts are performance-based disciplines, effective learning
occurs through active experience, participation, and performance, creative
expression, aesthetic valuation, critical response and interpretation.
The skills that are developed include reading/analyzing,
listening/observing, performing, singing, using musical instruments, movement,
acting, and playing, using different techniques and processes, responding,
composing, and creating.
Drawing from the development of music pedagogy through the years, the K
to 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.
We envision that Music in the K to 10 Program will effectively nurture and
refine 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.

VII. INTEGRATIVE APPROACH IN TEACHING MUSIC

In music teaching lesson programs of this century, integration approaches
have an important place. For the purpose of directly or indirectly contributing to
subjects learned during the process of general music education, many different
approaches are present regarding integration. In this study, after explaining basic
concepts on integration focuses on three approaches; i) in-class association of music ii)
association of music with other subject areas iii) association of music with branches of
art (visual and dance). Examples on each of these approaches are given,
recommendations are provided for better management of integration process in class
management.
Keywords: General music education, Interdisciplinary/blended instruction, Curriculum
integration, Arts integration.
The term integration literally means “to combine into a whole.” Thus, when
integrating curricula, the emphasis is on a comprehensive understanding of a “whole,”
rather than many unrelated parts (NCSBE 2003). Berke (2000) defines integration as
“combining two equal groups into a unified whole” Integration represents a shift away
from emphasizing the differences between the arts and other subjects toward making
connections between them. This approach known alternatively as integrated,
interdisciplinary, blended, or collaborative teaching, combines ideas, terminology or
examples from multiple, unrelated subjects in ways that encourage a deeper
understanding of the material—more than could be accomplished by presenting them
separately (Overland, 2013). The ability to associate and transfer information from one
subject to another is necessary for meaningful and a bit deeper learning (Barry, 1996).
An education in this way provides students with more than one access point to express
and analyze the materials and therefore the ability to suitably form their thinking style
and understanding regarding a subject. Integrated approach on learning and teaching
creates an environment to help students understand the relations between content
areas (McCullar, 1998; Battersby & Cave, 2014). Integrated curriculum applications
provide student’s meaningful learning experience and form their own conscious
viewpoints (Krug & Cohen- Evron, 2000). Integrating different subject areas enables
students to learn various concepts from cognitive and experimental viewpoints
(Cosenza, 2005). At the same time, it gives broadness and depth to the subjects taught
and as a result, becomes distinguished experiences which the students will remember
all through their lives. Integrated approaches are focused on “holistically education”
(Chrysostomou, 2004). Holistically approaches during this process completely fulfils the
cognitive, physical, moral, affective, and spiritual needs of childhood (Shoemaker,
2000). Integration represents outlining differences between branches of art and other
subjects and the transition to making connections between these. According to Kennedy
Center Arts Edge education network, art integration is an education approach which the
students create and show their understanding via a branch of art.
Students participate in a creative process which connects a branch of art to
another subject area and achieves objectives developing in both (Bohannon &
McDowell, 2010; Silverstein & Layne). Art integration, in essence, means getting at least
one subject (for example, mathematics, science, social studies) together with a branch of
art (for example, music, arts and dance) to form an integrated curriculum which both of
the subject areas have equal priority as a combined unit. Art integration enables
students the ability to express themselves while actively busy with the material they are
learning and thus improves their creative problem solving processes (Cornett, 2006).
Art can also create a positive social effect by improving successes and multicultural
viewpoints of students (Scripp, 2000). According to Deasy (2002), art integration
contributing to student participation and academic success and benefits to improving
personality concept provides additional proof as to why music should be included in
basic subjects.
Therefore, art integration, more clearly music is seriously included in
education programs of various integration approaches.
Integrative Approach
 Teaching simple, highly effective, mindfulness based relaxation practices.
 Use of modelling and experiential exercises
 Self-soothing exercises, yoga poses, deep breathing, guided imaginary and
expressive art
 Based on preferences, interests, strengths and needs
 A student must learn to “hear”, “speak” and “think” in the medium of music
 The k to 12 Music Education Curriculum advocates the
 SPIRAL
 MULTICULTURAL and
 INTEGRATIVE approaches in music education and current philosophical
thought in contemporary general education.
Objectives of Integrative Teaching Strategies
1. To foster security and satisfaction
2. To promote cooperative learning
3. To help develop sense of values
4. To help develop self-direction
5. To foster creativity
6. To provide opportunities for social action
7. To help evaluate learning

Three types of Integration

1. Teaching and Learning Activity Integration
2. Peer Integration
3. Teaching and Assessment Integration

VIII. MULTI-CULTURAL APPROACH IN TEACHING MUSIC

What is Multi-cultural approach
Contributes to the creation of a multicultural environment, which is designed to educate
the professionalism of students in its cultural identification by introducing them to the
national and universal culture.
Thus, a multicultural approach to education is an educational approach aimed at finding
a balance between ethno-cultural diversity and stable social ties, preserving and
promoting the variety of ethnic and cultural realities with a view to the progressive
development of an individual in a multicultural society.
The analysis of the problem of a multicultural approach to education has revealed a
number of its essential features: dialogue of cultures in the historical and contemporary
context; cultural pluralism; multi-ethnicity.
It aims to preserve and promote the diversity of ethnic and cultural values, norms,
patterns and forms of activity prevailing in the society, and to transfer this heritage to
younger generations. The cultural picture as a system of different values and cultural
patterns is unified not by its unitarily, but by multiplicity and variety of elements, each
of which has a right to exist within it. Thus, a system of education should take into
account cultural diversity, dialogical relationships of national and universal values and
promote its uniqueness through integration with society.
Activity Sheet
ACTIVITY 1

Name: ______________________Course/Year/Section: ___________ Score: _________

I. True or False. Carefully read and analyze the following statement. Write
True if the statements are correct and False if it is wrong. Write your answer
on the space provided.
1. ___________ Music Education in the Philippines can be observed in three different
settings.
2. ___________ Elements and fundamentals of music are introduced during the
secondary years. Teaching is divided into three quarters of the school year.
3. ___________ Spiral progression approach helps students to achieve gradual mastery
of the core and general principle of learning from the early years while gradually
proceeding into complex concepts as years’ progresses.
4. ___________ In music teaching lesson programs of this century, integration
approaches have no important place.
5. ___________ The K to 12 Education advocates, Spiral, Multi- Cultural and Integrative
Approach.
II. Give your insights on the following objectives of Integrative Approach in
teaching Music.
1. To foster security and satisfaction
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
2. To promote cooperative learning
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
3. To help develop sense of values
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
4. To help develop self-direction
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
5. To foster creativity
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
6. To provide opportunities for social action
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
7. To help evaluate learning
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

III. Essay: Give your explanation on this

“Every fan of music knows the tremendous power it can have over both thoughts and
emotions. Great music can transform and ordinary day into something magical, even
spiritual.”
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

IV. Multiple Choice. Select your best answer. Write your answers on the space
provided below.
1. ___________ The Basic Music Processes of Music are the following except one
a. Form
b. Listening
c. Reading
d. Imitating
2. ___________ It aims to preserve and promote the diversity of ethnic and cultural
values, norms, patterns and forms of activity prevailing in the society, and to
transfer this heritage to younger generations.
a. Integrative Approach
b. Multi-Functional Approach
c. Multi-Cultural Approach
d. Multi-Integrative Approach
3. ___________ What are the designs of Music Curricula in the DepEd K to 12 Music
Curriculum?
a. Spiral Progression, Student Centered, Performance based
b. Performance based, Multi-linguistic instruction, Teacher Centered
c. Curriculum Based Framework
d. None of the above
4. ____________ defined as what the students need, considered indispensable, in the
teaching-learning process to building skills to equip learners for subsequent
grade levels and consequently, for lifelong learning.
a. Less learning Competencies
b. Essential Learning Competencies
c. Curriculum Competencies
d. Framework Competencies

5. _____________ In what quarter focuses on rhythms, second quarter on melody and

forms?
a. First
b. Second
c. Third
d. Fourth
Assessment

I. Direction: Comprehensively explain the following.

Words to explain Comprehensive Explanation
1. Multi-Cultural Approach

2. Music K to 12
Curriculum

3. Most Essential Learning

Competency

4. Integrative Approach to
teaching

5. Student-centered
curriculum

6. Conceptual Framework

II. Briefly explain and answer the following questions.

1. Do all subjects contribute significantly to the development of cultural literacy

and artistic expression, the goals of Music and Arts teaching?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

2. List down indicators of pride’s in one’s music cultural identity. Begin with this
clause.
I am proud of our Music Culture especially when I
a. __________________________________________________________________________________
b. __________________________________________________________________________________
c. __________________________________________________________________________________
d. __________________________________________________________________________________
 e. __________________________________________________________________________________

3. In your own understanding, what is the implication of Music Education in the life
of our learners?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

4. How does Music affect the cultural identity of our young learners?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

5. Is Music Education addressing the needs of our young learners to fully equip
with substantial learning in terms of Music? Why?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

III. Walk through on the Curriculum Framework of Music and Arts Education and
describe the significance of this framework in the Basic Education Program of
the Department of Education.
Assignment
A. Interview a public-school teacher that handles Music Education as his/her subject.
Ask the following questions that relates on the use of K to 12 Curriculum in Music
Education. Use the format provided below:

Name of the teacher:

Years in Service:
Years handling Music Subject:
School:
Contact number:
Date and Time of Interview:
(Note: the interview may be done through phone calls, social media platforms. Please
refrain from face-to-face contact interview.)
Questions to be asked:

1. As a teacher, why is Curriculum Guide in Music important in achieving the

desired goals of the Department of Education to fully maximize the potentials of
our young learners especially in the field of Music?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
2. What are the challenges you’ve encountered in teaching Music Education in you
class? How did you manage those challenges?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

3. What are the approaches you used to deliver the subject Music Education
effectively?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
4. What are the things to you want to impart or share to our future educators in
handling Music Education as a subject in the elementary grades?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
5. Cite at least 2 learning competencies in music that you love/like the most to
teach. Explain why?
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________

B. Give your insights on the following guiding principles of Music education.

As Music and Arts are performance-based disciplines, effective learning occurs

through

1. active experience
_____________________________________________________________________________________________________
2. participation,
_____________________________________________________________________________________________________
3. performance,
_____________________________________________________________________________________________________
4. creative expression,
_____________________________________________________________________________________________________
5. aesthetic valuation,
_____________________________________________________________________________________________________
6. critical response and
_____________________________________________________________________________________________________
7. interpretation.
_____________________________________________________________________________________________________
Learner’s Feedback Form
 
Name of Student: ___________________________________________________
Program : ___________________________________________________
Year Level : ___________ Section : ___________
Faculty : ___________________________________________________
Schedule : ___________________________________________________
 
Learning Module : Number: _________ Title : ______________________
 
 
How do you feel about the topic or concept presented?
□I completely get it. □ I’m struggling.
□I’ve almost got it. □ I’m lost.
 
In what particular portion of this learning packet, you feel that you are struggling or lost?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
 
Did you raise your concern to you instructor? □ Yes □ No
 
If Yes, what did he/she do to help you?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________

If No, state your reason?

___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
 
To further improve this learning packet, what part do you think should be enhanced?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
 
How do you want it to be enhanced?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
SUGGESTED READINGS
 https://www.deped.gov.ph/wp-content/uploads/2019/01/Music-CG.pdf
 https://ir.lib.hiroshima-u.ac.jp/files/public/4/47395/20190411112637185946/
MusicCultEduc_31_125.pdf
 https://www.mcser.org/journal/index.php/jesr/article/view/1851/1850
 https://www.gov.nl.ca/eecd/files/
k12_curriculum_documents_music_music_education_framework.pdf
 https://commons.deped.gov.ph/MELCS-Guidelines.pdf

RESOURCES
 https://www.deped.gov.ph/wp-content/uploads/2019/01/Music-CG.pdf
 https://ir.lib.hiroshima-u.ac.jp/files/public/4/47395/20190411112637185946/
MusicCultEduc_31_125.pdf
 https://www.mcser.org/journal/index.php/jesr/article/view/1851/1850
 https://www.mcser.org/journal/index.php/jesr/article/view/1851/1850
 https://www.gov.nl.ca/eecd/files/
k12_curriculum_documents_music_music_education_framework.pdf
 https://commons.deped.gov.ph/MELCS-Guidelines.pdf
 https://www.gov.nl.ca/eecd/files/
k12_curriculum_documents_music_music_education_framework.pdf
 http://cranepracticum.weebly.com/uploads/8/3/9/3/8393454/
principles_from_mtl_spring_2015__1_.pdf
 https://nafme.org/guiding-principles-improvisation-general-music-classroom/
 https://www.google.com/search?
q=integrative+approach+in+teaching+music+and+arts+in+the+philippines+ppt&sxsrf
=ALeKk02wgQ6QSyQjtGDNX5i7G1oK6arzkQ:1598237912940&tbm=isch&source
=iu&ictx=1&fir=Tl89pzmGKixhUM%252CriXxaRd2jDLFCM
%252C_&vet=1&usg=AI4_-
kTUoVsNvugVzknOdMw6skz6i5OQJg&sa=X&ved=2ahUKEwiAzsSY7LLrAhWHy
YsBHY5wBqAQ9QEwBHoECAoQBQ#imgrc=Tl89pzmGKixhUM&imgdii=mQZm
YwsHsI9F7M
 https://www.slideshare.net/ferlaine_cruz_canlas/multicultural-education-53313855?
from_action=save
 http://journals.ru.lv/index.php/SIE/article/viewFile/326/410#:~:text=Thus%2C%20a
%20multicultural%20approach%20to,individual%20in%20a%20multicultural
%20society.