FIVE FACETS

OF MUSIC
TEACHING
Group 4
A. SINGING
Singing
1. An activity which is common in a music classroom. It is
therefore, necessary for the music teacher to know the
proper way to sing so that his singing may be the example
to the children in his class.
2. The core of the music education program.
3. Every child is a potential singer but, sometimes, we
come across children who, for one reason or another, do
not sing in exact tunes. These children are not really
nonotones but just unturned, like Prezinstruments which
are not tuned correctly.
 Rote Song
Rote-Song-A sung to be taught by tote by frequent
repetition to the learner, as a child before it is able to
read.
 Preparing Children for Part Singing
The use of instruments may be a device not only for
the musical growth of the children but also for their
enjoyment and understanding of music. The first
instrument experiences of the children may be with
toy or rhythm band instruments.
 Preparing Children for Part Singing
Singing songs with chording, that is, singing the bass
do, sol or fa together with the song depending on the
harmonic character of the song. Singing songs with a
chant: A chant is a figure or phrase sung repeatedly
with the phrases of a song. The chant is used,
therefore, with songs that have only one harmony
throughout
The four main vocal
ranges:
 Soprano
Soprano- is a type of classical female singing voice
and has the highest vocal range of all voice types.
 Alto
Alto- (Italian: "high") the alto is the second highest vocal
range of a female. Tenor it is the highest natural adult
male voice.
 Bass
Bass-the lowest vocal range of a male.
B. LISTENING
 LISTENING
The ability to accurately receive and interpret
messages in the communication process. It is the key
to all effective communication. Without the ability to
listen effectively. messages are easily
misunderstood. If there is one communication skill
you should aim to master, then listening is it.
 LISTENING
The world of music is unfolded to children through varied experiences in
singing. playing instruments, rhythm and dancing, and creative activities.
Children do not usually develop with excellence among these lines, but it is
hoped that each one may find atleast one phase of the work which can
provide enrichment in his life not only in his childhood, but also in
adulthood, perhaps only few will develop into skiliful performers (singers,
dancers, or composers) but a good number, all can become discriminating
and sensitive listeners. As a matter of fact, it is through listening rather
than active participation or performance that a big majority of the people
enjoy music
The three main types
of listening
AFFECTVE LISTENING
Affective Listening This type of listening is perhaps the most
basic. Useful questions for this type of listening typically
prompt students to voice their observations on a basic
level: What instruments do you hear? What genre of music is
this? What emotions does this evoke? How fast or slow is it?
(For those with musical training, this might also include
more targeted questions to draw out observations about
tempo, meter, rhythm, range, etc.)
DIALOGIC LISTENING
Dialogic listening This type of listening is perhaps the most complex
and time-consuming, yet also the most fruitful and potentially
rewarding. As the name implies, this type of listening places a musical
example in dialogue with external elements-generic conventions,
other musical pieces, artwork, texts, objects, etc. Teaching with music
does not preclude using texts or visuals as well. If your piece has
lyrics, include them (and if those lyrics are not in your students'
native language, provide a translation as well), it often helps to
complement listening with other ways of engaging with musical
examples by using other types of media.
STRUCTURAL LISTENING
Structural listening This type of listening approaches a musical
example almost like a sculpture or a painting, in which you point
students toward particular moments and see the ways in which those
moments are the culmination of particular trajectories. As such,
structural listening often means comparing different moments from
within a particular piece. Questions might include: How does the
artist or composer move from one idea to another? Why? And etc.
C. CREATIVE
WORK
 Creative work
A manifestation of creative effort such as artwork,
literature, music, paintings, and software. Creative
work have in common a degree of arbitrariness, such
that it is improbable that two people would
independently create the same work.
Three movements that
can enhance our
creativity
Rhythmic Movements
An interesting way of interpreting music.
It may be performed in the following forms: the
fundamental bodily movements such as walking,
running, or skipping: rhythmic activities like swaying
or clapping the hands or dangling.
Creative Movements
May be approached from different means:
After the discussion of the meaning of a familiar
song, the children may be led to create different
types of actions to depict different movements
suggested in the song.
Interpretative Movements
It may be suggested by the sound made by animals
or objects; of jingles, rhymes, or of selling calls; and
greeting and farewells.
Music heard or performed may suggest varied
movements. Dance steps can be apted to different
moods of music.
D. INSTRUMENTAL
WORK
Instrumental work
A process of instrument learning or a method of
training in which the reinforcement is made by
contingent on the occurrence of the response.

Instrumental work
Rhythym band
The use of instruments may be a device not only for
the musical growth of the children but also for their
enjoyment understanding of music.
Classification of
Instruments
Chordophones
These are the instruments with
strings which may be bowed or
plucked or strummed. Examples
include the violin, the violoncello
or cello, viola, and the contrabrass
or bass viola.
 Aerophones
Instrument made to sound by
blowing air into the tube by means
of the mouth pressed against the
mouthpiece of embouchure, or
blowing through the lips or the nose,
or blowing air by putting the
mouthpiece and its vibrating reeds
inside the mouth.
Idiophones
This instrument include the triangle, xylophones or
glockenspiel, marimba, castanets, and Rymbals.
Idiophones are played by hitting, shaking, and
rubbing.
E. MOVEMENT
Incorporating music and movement into early
childhood education can help young children
with development, social interaction and
language growth.
In regards to that, music, for children is
something they can associate with through
movement. When they hear it, they sway to it,
dance to it, they react to it with movements that
they want.
Importance of
Music & Movement
in the Education of
Young Children by
Meg Brannagan
Early Childhood
Early childhood education, for children 8 years
of age and younger, is the beginning of a
student's academic experience. This is an
important time of learning and brain
development for children in preparation for
the rest of their education
Brain Development
According to the Early Childhood Music and
Movement Association, 85 percent of brain
development occurs by the time a child
reaches 3 years. As children grow, they need
to learn specific activities that are important
for development.
Language
Language has its own tempo;
speaking a language fluently
involves regular pauses, stops and
starts in appropriate places
Thank you for
listening!