ELE11 - Teaching

Music in
Elementary Grades
1ST Semester, A.Y. 2021-2022

Module 2
(Week 2-5)

Prepared by:

Markhill Veran Tiosan, LPT

Instructor

Name of Student: _____________________________________

Course/Section: ______________________________________
Date Accomplished: ___________________________________
The Kodarly Method

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 Overview

In the previews module, we discussed about the basic elements of music. Elements of music
are essential to create desirable musical piece. We also discussed some facts about
teaching music in elementary grades. In this module, we are going to deepen our knowledge
about the approach in teaching music specifically the Kodarly Method where hand sign, staff
Southeast Asian folk songs and Philippine folk songs are associated.

Objectives

 Gain knowledge on the different acknowledges methodologies in music.

 Use appropriate knowledge and body parts-joints (head, trunk, hips, limbs, etc.)
 Learn what “Staff” is.
 Develop solo work: working or performing solo to create confidence, assurance, and
independence.
 Learn different South East Asian Folk Songs.
 Develop solo work: working or performing solo to create confidence, assurance, and
independence.
 Learn different Philippine Folk Songs.

Discussion

READ
Zoltán Kodály (1882-1967) developed the Kodály method in Hungary in the first half
of the twentieth century. According to Kodály, the human voice is the fundamental
instrument, and it should be central to musical training. Students should gain musical literacy
through sung solfège (also known as solfa), using a moveable-do system.
THE KODÁLY METHOD
It is a long accepted truth that singing provides the best start to music education;
moreover, children should learn to read music before they are provided with any
instrument… Even the most talented artist can never overcome the disadvantages of an
education without singing. (Kodály, 1974, p. 201, 204)
Kodály’s Philosophy
The Kodály philosophy of music education supports music’s role in the intellectual,
emotional, physical, social, and spiritual development of every child. A central tenet of the
Kodály approach is that music belongs to everyone—that an education in music is the right
of every human being and cannot be left to chance.
Zoltán Kodály (1882–1967) was an ethnomusicologist and composer from Hungary.
He was appalled by children’s poor singing quality, and began to create teaching methods to
improve it. His approach was highly sequential. He began with sight-reading and mastering

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basic rhythms and pitches that gradually increased step by step to become more complex,
sometimes by adding only one new note or rhythmic value at a time.
Kodály was also appalled at the type of songs and repertoire children were learning
in school, and began to focus on utilizing authentic folk music and composed music of
excellent quality through which to teach children.
Kodály hand signs
Although he did not invent the hand signs, Kodály did make alterations based on two
previously established hand sign systems—Sarah Glover’s Norwich sol-fa (1845) and John
Curwen’s tonic sol-fa (1858). The hand signs are very much associated with the Kodály
method, which uses the hand signs to help children visualize
the spatial relationship between notes. This aids in proper
and correct on-pitch singing as well as sight reading and ear
training.
Positioning the hand signs
When using hand signs, the low Do should be placed
at your waist or midsection, with the upper Do at about eye-
level. The other hand signs are placed equidistantly between
the two Do’s.
Movement in Kodály
Although he was mostly known for popularizing the
solfege hand signs and rhythm syllables, Kodály recognized
the value of bodily movement as well. He was inspired by
Swiss educator Emile-Jacques Dalcroze’s use of movement and incorporated walking,
running, and clapping into his teaching strategies.
STAFF

What is a Staff?
In musical notation, the “staff” is a set of five lines and four spaces. Each line
and space corresponds to one of the white keys on the piano, so staffs are usually
easiest to read on pianos and other keyboard-based instruments. But this kind
of musical notation is used for many other instruments as well.
Here’s an example of one kind of musical staff with the names of each note.

Staffs and Clefs

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When reading a staff, the most important step is to notice the clef. That’s a large
symbol on the far right of the staff. Depending on what clef you see, the lines and

spaces will be named for different notes! The image above was a treble clef ( ),
which has one set of notes; here you can see a bass clef ( ) with its notes. Notice
how different they are! There are ways to memorize these different sets of notes,
which we’ll go over in the last section.

Other Marks
Brace
The black curvy line here is called a “brace.” It connects two staffs with
different clefs on them. Altogether, when you have two staves connected by a
brace in this way, it’s called a grand staff. This symbol is very common
in piano music, where the grand staff is split between right and left hands: on
the higher staff, you’ll see the notes for your right hand. On the lower staff,
you’ll see the notes for your left hand.
Ledger line
Sometimes, the staff doesn’t have enough room on it for the really high
or really low notes. When this happens, you’ll see ledger lines, or short
lines placed above or below the staff. If you see ledger lines, all you
have to do is count them up: each line is two notes higher than the one
below, while the space just one note higher. So if you know the name for the top
note of your staff, you can just count up.

Why is the Staff Important?

The staff is like a Christmas tree, and the notes are like decorations: the staff
provides a structure for you to place each note where it belongs! Without the staff, it
would be very difficult for us to read music!
How to Read a Staff
When reading a staff, all you have to do is count the lines — lower notes will
be at the bottom, and higher notes at the top! More specifically, each line or space
represents a specific note on your instrument.
When you first learn musical notation, the teacher almost always gives you
“mnemonics” or little rhymes that you can use to work out the meaning of the lines
and spaces on the staff. The mnemonics only cover the notes “within” the staff. But

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there are also extra notes written above and below the staff, with little shorter lines
through them to mark how they relate to the staff.
LINES of the Treble Clef: E-G-B-D-F
“Every Good Boy Does Fine”
SPACES of the Treble Clef: F-A-C-E
“Face!”
LINES of the Bass Clef: G-B-D-F-A
“Good Boys Do Fine Always”
SPACES of the Bass Clef: A-C-E-G
“All Cows Eat Grass”
SOUTHEAST ASIAN FOLK SONGS
Music of Southeast Asia
Southeast Asian music include the musical traditions of this subregion of Asia.
This sub region consists of eleven countries, namely, Brunei, Cambodia, East Timor,
Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand, Vietnam,
and Northeast India.
Music of Southeast Asia is best heard as an introductory sampler to the music
of Burma, Malaysia, Laos, Thailand, and Vietnam.
 On "Burma: Shan Song," San Toke's gentle pentatonic singing weaves
through percussion and aereophone accompaniment.
 With "Malaya: Chinchem (Temiar Dream Song)," the Temiar people sing and
play drums and gongs in an effort to induce trance.
 Western and traditional Thai instruments are combined on "Admiration of a
Sleeping Maiden." Composed by Yakob, this early world music fusion features
suggestive lyrics about the fondling of a maiden's lotus flowers.
 All in all, Music of Southeast Asia is a fascinating introduction to the complex
and variegated realm of musical cultures found in this area of the world. And
Henry Cowell's liner notes help to contextualize this heterogeneity.
Traditional music in Southeast Asia is as varied as its many ethnic and
cultural divisions. Main styles of traditional music can be seen: Court music, folk
music, music styles of smaller ethnic groups, and music influenced by genres
outside the geographic region.
Of the court and folk genres, Gong-chime ensembles and orchestras make up
the majority (the exception being lowland areas of Vietnam). Gamelan orchestras
from Indonesia, Piphat /Pinpeat ensembles of Thailand and Cambodia and the
Kulintang ensembles of the southern Philippines, Borneo, Sulawesi and Timor are
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the three main distinct styles of musical genres that have influenced other traditional
musical styles in the region. String instruments also are popular in the region.
Instruments in Southeast Asian music
 String instruments
o Zither (17 strings)
o Harp
o Lute
o Fiddle
 Metal instruments struck by mallets
o Gong
o Gangsa/Saron
o Pat waing/Godang
 Instruments with keys
 Bagpipes
o Khene
 Flutes
o Bamboo
o Metal

PHILIPPINE FOLK SONGS

Of all the arts, music is regarded as the most universal in its appeal and acceptance.
This universality, however, does not mean that music is without individual character. Each
country has its own kind of music that embodies the total experience, the collective
consciousness of its people. Music, therefore, is the collective expression of the musical
genius of a particular people. Such is the case of Philippine music which today is regarded
as a unique blending of two great musical traditions – the East and the West. Being innately
musical, the Filipinos, from the earliest to contemporary times, have imbibed these traditions
and have woven their musical creations along these mainstreams musical thoughts. Through
time, Philippine society has witnessed the evolution of music expressed in different forms
and stylistic nuances. A people gifted with a strong sense of musicality, the Filipinos turn to
music to express their innermost feelings. Hence, every song they sing, every instrument
they play, every piece of music they make is a direct, almost spontaneous reflection of their
hopes and longings, frustrations and fulfillment, and failures and triumphs. The native arts
have suffered a great deal of transformation and fundamental ideas but thanks to a patriotic
spirit of renaissance and to the enthusiasm of scholars, something is now done to preserve
the few remnants of the old and truly Oriental civilization (Yamio, 2011).
Philippine Music is divided into four eras or traditions, namely the Ethnic, Spanish
Colonial, American Colonial and Contemporary tradition. The majority of Philippine Music
revolves around cultural influences from the West, due primarily to the Spanish and
American rule for over three centuries. Oriental (ethnic) musical backgrounds are still alive,
but mainly thrive in highland and lowland barrios where there is little Western influence
(Pantig, 2007).

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 There are lots of songs that almost everybody in the Philippines knows. These are
children’s songs that have been sung for generations.

 Bahay Kubo
 Sitsiritsit
 Leron Leron Sinta
 Paruparong Bukid
 Magtanim ay Di Biro
Because the Philippines is an archipelago, almost every island has its own folk song
embedded in their culture.
Dandansoy - an Ilonggo folk song that is sung by even non-Illonggos. It’s about the singer
saying goodbye to Dansoy as he chases after a girl.

Magtanim ay di biro- work song which was composed by Felipe de leon

Leron-leron sinta- Folk song that depicts humbleness
Bahay-kubo- is a popular children folk song about the different kinds of vegetables
which reflect the traditional Filipino Rural Houses.
Other Visayan Folk Songs include:
Folk Songs From Mindanao:
 Si Pilemon
 Iliili Tulog Anay  Buyayang Buyayang
 Dandansoy  Ayaw Kang Magtangis
 Waray-waray  Tuwan Tu Kuwan Nahoda
 Pakitong kitong  Piyaganak
 Tuba  Nihma Arri

Folk songs are an integral part of history. It holds within the lyrics a glimpse into the
life of our ancestors.
For more readings you can go on this link https://wfmt.info/2012/12/29/filipino-folk-music/

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 Assessment

Answer the following:

A. Make a video of yourself singing a Nursery Rhyme with hand sign
(Movements/Gestures). Send the video in the google classroom with this answered
module. [e.g. Itsy Bitsy Spider Nursery rhyme song for children (sung by Patty Shukla)
https://www.youtube.com/watch?v=U9ey2k0Zis8]
Rubric:
Voice Quality The song was The performance Performance were
delivered is fairly creative (5) dull and incoherent
creatively (10pts) (3)

Hand Gestures Hand gestures Hand gestures Hand gestures

were made were applied fairly were not delivered
appropriately (5) appropriately (3)
(10pts)

Presentation The nursery rhyme The nursery rhyme The nursery rhyme
was demonstrated was sung fairly (5) is unrelated to the
accurately (10 pts) hand gesture
applied (3)

B. Identify the hidden words on the staff using the letter names.

C. Singing of folk songs. Send the videos in the google classroom with this
answered module.
1. Southeast Asian folk song: (e.g. Si Patokaan)-Indonesia

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 2. Filipino folk song: (e.g. Ragragsakan)
Rubric
Elements of Music 5 4 3 2 1

D. Essay
1. As a future teacher, do you recommend teaching subject matter
incorporated with music to facilitate teaching learning process?
2. What is your reflection and/or reaction about the singing of folk songs?
RUBRIC
CRITERIA

CREATIVITY Ideas were Ideas were Ideas were dull

written written fairly and incoherent
creatively creative (5) (3)
(10pts)

CLARITY OF Ideas were Ideas were Ideas were not

CONTENT expressed expressed in a clearly
clearly (10pts) clear manner understand (3)
(5)

ORGANIZATION Ideas were Ideas were Ideas includes

organized and expressed but unrelated
easy to could have sentences. (3)
understand (10 been organized
pts) better (5)

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 References

https://www.liveabout.com/major-methods-of-teaching-music-to-kids-2456776
https://www.masterclass.com/articles/kodaly-method-guide#5-principles-of-the-kodly-method
https://musicaldictionary.com/staff/
https://www.slideshare.net/daniholic/folk-music-of-southeast-asia
https://philnews.ph/2020/03/06/example-of-folk-songs-list-of-filipino-folk-songs/
https://wfmt.info/2012/12/29/filipino-folk-music/
https://www.slideshare.net/marissarcanoza/rubrics-for-southeast-asian-music-232986932?
qid=0e0df9d8-e891-46ef-ba4e-124e88d7bfa6&v=&b=&from_search=10

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