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General Methods of Teaching Music in the Primary School

Article in Asian Research Journal of Arts & Social Sciences · March 2021
DOI: 10.9734/ARJASS/2021/v13i430221

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 Asian Research Journal of Arts & Social Sciences

13(4): 23-34, 2021; Article no.ARJASS.66655

ISSN: 2456-4761

General Methods of Teaching Music in the Primary

School
Benjamin Adjepong1*
1
Wesley College of Education, Kumasi, Ghana.

Authors’ contributions

The sole author designed, analyzed, interpreted and prepared the manuscript.

Article Information

DOI: 10.9734/ARJASS/2021/v13i430221
Editor(s):
(1) Dr. Ana Sofia Pedrosa Gomes dos Santos, Universidade de Lisboa, Portugal.
Reviewers:
(1) Boukhatem Nadera, Esmt Tlemcen, Algeria.
(2) Nasir Danzaria, Federal University Dutsinma, Nigeria.
Complete Peer review History: http://www.sdiarticle4.com/review-history/66655

Received 12 January 2021

Review Article Accepted 17 March 2021
Published 24 March 2021

ABSTRACT

Pupils learn music through many and different ways. Various methods, approaches and strategies
of teaching are described in the literature. Teaching music is an art and activity which require
teachers to use a combination or an integration of some of these methods and strategies to
provide effective learning experiences to pupils. The aim of this article is to present overviews of
some general approaches and strategies of teaching music based on the constructivist theory of
teaching in the primary school. It will cover the lecture, demonstration and modelling, discovery,
video showing, field trip, role-play, project, questioning technique, assignment, and the discovery
methods of teaching. The paper will also highlight factors that determine the selection of a teaching
method for a particular lesson and finally, stages in teaching.

Keywords: Teaching; music; primary school; constructivist theory.

1. INTRODUCTION suitability of a particular teaching method

depends upon the purpose for which it is
Pupils’ learn through various ways. It must, intended and the way it is used.” The nature and
therefore, be emphasised that no single method structure of music lends itself more to pupil-
of teaching can satisfy all music teaching centred activities in terms of teaching and
challenges. Tamakloe et al. [1] state that “the learning [2,3]. It is, therefore, important for
determination of the effectiveness or the teachers to adopt varieties of teaching
_____________________________________________________________________________________________________

*Corresponding author: Email: [email protected];

 Adjepong; ARJASS, 13(4): 23-34, 2021; Article no.ARJASS.66655

methods that maximise pupils’ active participation personally constructed and socially mediated
in musical activities and also meet the [12,5]. Knowledge is either constructed
whole range of their learning needs in the individually based on prior experience or
classroom [4]. collaboratively through the contributions of
participants [5,13]. Both teacher and learner are
Various methods of teaching and pedagogical co-constructors of meaning and understanding.
strategies for presenting lessons in the classroom This process has implications for teaching which
are described in the classroom. This paper must be shifted from traditional instruction to
considers some popular models based on the learning environments that are learner-centred,
constructivist theory of teaching available to knowledge-centred, community-centred and
teachers for teaching music in the primary assessment-centred [14;5].
school. Music forms part of the subjects taught in
the primary school, attended by learners between Tamakloe, Amedahe and Atta [1] are of the view
the ages of four and twelve years in Ghana that classroom activities dominated by teacher
where this writer reside. activities are considered as traditional
instructional methods. Therefore it is important to
Kim [5] states that “traditionally, learning has
note that in the constructivist classroom, pupils
been thought to be nothing but a repetitive
are always placed at the centre of learning to
activity, a process that involves students imitating
motivate them (pupils) to play active roles in the
newly provided information in tests. The
teaching-learning environment to find things out
constructivist teaching practice, on the other
themselves.
hand, helps learners to internalise and transform
new information”. In line with this, the article
suggest that whichever methods, strategies or Some characteristics of constructivist teachers,
approaches of teaching that are employed by the according to Kim [5] citing Yager, (1991) are that
teacher should be based on the constructivist they:
teaching approach to provide effective musical
learning experiences to pupils [6]. It is also • Invite students’ questions and ideas.
noteworthy that the adoption of “strategies of • Accept and encourage students’ invented
teaching need to be wide-ranging and ideas.
differentiated to cater for learning needs, styles, • Encourage students’ leadership,
and unforeseen circumstances that can occur in cooperation, seeking information, and the
any teaching environment” [7] since “employing a presentation of ideas.
limited range of teaching strategies accounts for • Modify their instructional strategies in
pupils becoming disinterested, de-motivated and teaching based upon students; thought,
less engaged” (Button 2010, p. 26). As a experiences and or interests.
standard, the teacher should “employ a variety of • Use printed materials as well as experts to
instructional strategies that encourages student get more information.
participation and critical thinking” [7] in the • Encourage free discussions by way of new
learning environment. ideas inviting student questions and
answers.
1.1 The Constructivist Theory and • Encourage or invite students’ predictions
Teaching of causes and effects in relation to
particular cases and events.
The constructivist theory considers the teacher as • Help students to test their ideas.
a facilitator, a guide and provider of experiences • Invite students’ ideas, before the student is
from which pupils construct knowledge [8,6] presented with the ideas and instructional
Cohen et al. [6] state that “constructivist theory material.
regards learning as an active process in which • Encourage student to challenge the
learners construct and internalise new concepts, concepts and ideas of others.
ideas and knowledge based on their present and • Use cooperative teaching strategies
past knowledge experiences”. In the constructivist through student interactions and respect,
environment, pupils are assisted in discovering sharing ideas and learning tasks.
knowledge rather than information being poured • encourage the students to respect and use
into them [9,10,11]. Researchers and educators other people’s ideas through reflection and
widely agree and advocate that constructivist analysis.
teaching should be informed by learning as

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• welcome the restructuring of his/her ideas Sematwa (2010, p. 376) stated that each of these
through reflecting on new evidence and stages is a “system of thinking that is
experiences. quantitatively different from the preceding stage”.
Pupils in a particular stage of Piaget’s
The characteristics outlined above can promote classification experience thought processes and
cooperation and collaboration between the exhibit unique behaviours associated within the
teacher and the learner, and drawing ideas from boundaries of that stage. This must inform
them to dominate classroom music activities can teachers in planning music lessons that meet the
boost effective students’ learning outcomes. needs and interests of pupils and motivate them
to learn effectively.
The works of two renowned psychologists, Jean
Piaget and Lev Vygotsky, are underpinned by Primary school pupils are at the concrete
constructivist theory. Their theories provide a operational stage (age 7 to 11). Moore and
framework for developmentally appropriate Hanson [16] reiterated that the concrete
teaching strategies in the primary school operational stage is where children “think
classroom. Based on the analysis of Blake and logically about objects and events, classify
Pope [12], Semmar and Al-Thani [11], Kalpana objects by several features, understand numbers”
[9] and Kim [5], I present the following differences and “realise objects that can appear in different
and similarities of Piaget’s and Vygotsky’s forms”. Piaget focused on cognitive
theories of cognitive development. constructivism. He emphasised teaching through
discovery learning and believed that pupils must
1.2 Some Similarities between Piaget’s construct their knowledge derived from concrete
and Vygotsky’s Theories of Cognitive experiences through interactions with the
Development environment [9,5,10]. In this sense, the learner
constructs knowledge and understanding
• Both are cognitive theorists internally rather than these been transmitted from
• Both consider children as active learners an external source [6]. These assertions
who organise new information with pre- authenticate learning as self-directed and
existing knowledge regulated and, therefore, to teach music well and
• Both believe that cognitive development effectively, teachers need to understand how and
declines with age what pupils are thinking [6]. This knowledge will
• Both agree that development may be then provide teachers with understanding as to
initiated by cognitive conflict how to create a developmentally appropriate
• Both believe that children learn classroom environment and adjust teaching
increasingly complex information and skills strategies to their pupils’ level for effective
as they grow older. construction of their musical knowledge and
understanding.
It can be primarily deduced from the comparisons
that whereas Piaget highlights self-discovery,
Vygotsky emphasises learning through On the other hand, Vygotsky focused on social
collaboration. Blake and Pope [12] are of the constructivism and theorised that “learning is
view that “teachers who can incorporate the rooted in social environment in which context and
theories of Piaget and Vygotsky into their inter-personal interaction play a fundamental role
teaching strategies will be better able to increase in learners’ cognitive development” [17]. He is of
students’ achievement”, thus the importance of the view that if a more knowledgeable and
considering the employment of both theories to experienced person gives assistance to a pupil,
provide effective learning experiences in music to the pupil is more likely to learn effectively [9,11].
pupils. Although pupils can construct knowledge
independently, “their learning is enhanced and
Piaget classified learners into various extended by interacting with significant others
developmental stages related to learning [15,2] such as their parents, siblings and peers” [16].
and these are: This may serve as a guide for teachers to offer
leadership through the provision of
 Sensory-motor stage, ages 0 to 2. developmentally appropriate music classroom
 Pre-operational stage, ages 2 to 7. environments and to assist their pupils so that
 Concrete operational stage, age 7 to 11. their learning and understanding in this art form is
 Formal operational stage, ages 11 to enhanced and extended.
adulthood.

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The social interaction through which learning less active and more passive in the teaching-
occurs as described by Vygotsky is the Zone of learning interaction”. In effect, the lecture method
Proximal Development (ZPD) and ‘Scaffolding’ of teaching provides limited opportunities for
[12]. Semmar and Al-Thani [11] defined the zone pupils to participate actively and ask questions
of proximal development as “the area between during the teaching and learning process.
where a child is able to perform independently
and the ability to perform a more difficult task with The nature of the lecture method of teaching with
assistance, yet without frustration”. Taking this its teacher-centred dominance [20] may be
into consideration, reference is being made to a considered as unsuitable in the primary school
musical task a pupil can perform on his or her music classroom. Notwithstanding this, it is an
own and what he or she can accomplish with important tool used in the classroom to ensure
assistance from a more capable person. Turk effective learning [21,19]. These activities align
[18] analysed the term ‘scaffolding’ in the with Vygotsky’s model of scaffold where the
classroom situation as “an instructional structure learner is assisted to understand and construct
whereby the teacher models the desired learning knowledge collaboratively with a more
strategy or task then gradually shifts experienced person. Here the learner is provided
responsibility to the student”. In a like manner, with facts which help him or her to further engage
someone who is more capable helps the learner in self-learning and a self-discovery, as
to perform musical tasks that he or she is emphasised by Piaget.
incapable to perform on his or her own through
continually adjusting the level of the assistance in In terms of its merit, the lecture method is used to
response to the learner’s level of performance reach a large number of pupils in a relatively
see [9]. short period of time. It also conveys a large
amount of materials to learners [19].
Vygotsky’s zone of proximal development as
described by Semmar and Al-Thani [11] and the 2.2 The Demonstration and Modelling
‘scaffolding’ as analysed by Turk [18] imply that Methods
primary school pupils’ musical knowledge, skills
and understanding can be enhanced and Demonstration and modelling are visual teaching
expanded significantly if primary school teachers styles which allow pupils to see, imitate and
are able to apply Piaget’s cognitive practice repeatedly for skills acquisition in
constructivism and Vygotsky’s social performing music. Learning takes place by
constructivism through specific strategies and observing expert’s behaviour for repetition or
methods of teaching they choose to provide practice [22,20]. Citing Syah (2003), Ramadhan
learning experiences in music to pupils. and Surya [23] state that “demonstration method
is a method of teaching by demonstrating things,
2. METHODS OF TEACHING MUSIC
events, rules, and sequence of activities, either
Overviews of selected general methods of directly or through using instructional media
teaching music which must be informed and which is relevant to the subject matter or material
guided by Piaget and Vygotsky theories based on that will be presented”. Salisu and Ransom [24]
constructivist teaching are provided in the describe modelling as the process of acquiring
following paragraphs. new skills, behaviour, or information by
observation. Employing demonstration and
2.1 The Lecture Method modelling as methods of teaching musical
concepts creates the necessary environment for
The lecture method of lesson presentation effective collaboration between the teacher and
involves the teacher talking to learners about a the learner to construct knowledge and
topic or content to be learned. Marmah [19] understanding to the benefit of the learner.
defines it as “one person speaking, more or less
continuously, to a group of people on a particular Cohen et al. [6] are of the view that many skills
subject or theme” and consider the teacher as can be learned easily through modelling rather
the “central focus of information transfer”. The than instruction through verbal explanation. In
lecture method of teaching is a one way adopting these methods, how to sing loud and
communication dominated by the teacher, with soft, for example, can be demonstrated by the
limited contributions from the learners [20,19]. teacher when discussing the concept of volume
Tamakloe et al. [1] describe it as “the method in with pupils.
which the role of the student is comparatively

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Demonstration and modelling are highly decisions relating to learning musical concepts
motivational strategies for pupils to learn [20] well that lead pupils to contribute to the creation of
as theory and practice are linked through these knowledge, making learning more lasting and
activities of instruction. According to McCarthy et meaningful.
al. [25], “modelling enables students to
discriminate between desired and undesired According to Tamakloe et al. [1], discussions
musical effects” and also motivates pupils to occur at brief intervals within demonstration and
engage in independent learning. Demonstration during the use of other methods of teaching in
and modelling are the most extensively used the classroom. As a consequence, the discussion
methods of teaching musical concepts and method of teaching can be used effectively after
performances [25], as they provide pupils with showing pupils, for example, a video of a musical
practical experiences in singing, playing musical performance or listening to music to reinforce
instruments and movements in response to musical learning. It allows pupils to be more
music. In effect, these methods seem to work articulate about musical issues, enhances their
well for developing pupils’ performance skills in oral communication skills, enhances their
music. It must, however, be noted that listening abilities, and gives them practice in
demonstrations are effective when the processes democratic processes (27). It may, however,
involved are explained step-by-step by the utilise a relatively longer period of time as
teacher [20]. This means that whatever action the majority of pupils in the class may want to
teacher demonstrates or models in the classroom contribute to the on-going discussion. The
should be accompanied by verbal explanation to discussion method may also be difficult to use
enhance pupils’ understanding of what they well as it presupposes adequate advance
learn. preparation.

2.3 The Discussion Method Using discussion as a method of teaching

In the teaching and learning environment, creates the opportunity for both self-learning and
discussion is a conversation between the teacher cooperative learning. Here the learner is able to
and pupils, and among pupils, providing them self-construct further knowledge based on
with opportunity to share and express their views, existing ideas or facts. Through collaboration with
ideas and opinion on what is being discussed, the teacher, they also acquire learning
and also to listen to one another [26,27]. It is a experiences through active participation in the
method which is integrated in almost all the other various activities of singing, drumming and
methods of teaching [14]. With the discussion movement [28,29,30;3] and these
method, the teacher leads and guides the whole practices should play a major role in the music
class in talking to each other about musical classroom.
issues of mutual concern. The discussion method
of teaching can be described as a process of 2.4 Video Showing Method
verbal interaction between two or more people
that covers the consideration of a topic or This is a method of teaching that brings realism
problem being studied. In this sense, it is used to into the classroom. Through the use of videos,
solve problems, explore issues and take musical concepts are demonstrated and

Table 1. Some differences between Piaget’s and Vygotsky’s Theories of Cognitive

development

Piaget’s theory Vygotsky’ theory

Cognitive development is the same Cognitive development differs from one culture
everywhere to another
Cognitive development results from the child’s Cognitive development results from social
independent exploration of his or her interaction
environment
Each individual child constructs his or her own Children and more experienced and
knowledge knowledgeable persons co-construct knowledge
Individual self-centeredness process becomes Social interactions with others become individual
more social psychological processes
Learning is preceded by a development Development is preceded by learning

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illustrated to “pupils in the classroom in a neat The field trip helps to improve learning among
and exiting package” [31]. Citing Gardner (2000), pupils. It motivates them to learn as they observe
Ljubojevic, Vaskovic, Stankovic and Vaskovic live musical situations [34]. It provides a sound
[32] state that “videos are a tool for engaging … and concrete basis for conceptualisation, makes
musical (rhythmic) intelligence of the student in learning more meaningful and lasting, provides
the learning process.” Videos “provide visual first-hand learning experience, and gives an
context and thus bring another sense into the opportunity for improving social relationships
learning experience” [14] to pupils. Using a real among pupils, and between pupils and teachers.
life event such as the performance of Kete (a Field trip is however time consuming and
traditional Ghanaian music and dance type of the especially parents may perceive that pupils may
Akan-speaking people) during the enthronement be exposed to hazards especially when this
of a royal personage may not be possible due to educational exercise is carried out far away from
the processes associated with the event. An the school [1].
alternative approach is to create an opportunity
for learners to observe such a performance by 2.6 The Role-Play Method
showing a video recording of such events in the
classroom. This brings a sense of realism into the In a role-play activity, learners take on actions
music class and gives pupils the opportunity to and activities in a given scenario [35]. As an
observe aspects of socio-cultural practices which approach to teaching music, role-play provides
are not otherwise easily accessible. It also pupils with opportunity to act parts in an event.
enables the teacher to teach certain musical Pupils play various roles during a musical-play
concepts that cannot be easily demonstrated or [36,28]. It is important for teachers to take
explained to learners. The teacher may not advantage of this inherent behaviour of pupils
demonstrate body gestures associated with the when planning music lessons to assign them
Kete music and dance performances and, (pupils) various roles to develop their skills in
therefore, using video in the classroom becomes singing, dancing and playing of musical
a viable alternative. In a sense, this arrangement instruments in an ensemble. This allows pupils to
provides the necessary experience to the learner collaborate with their peers, learn from one
for further self- exploration and self-learning. It another and develop their interpersonal skills
also fits well in an environment where knowledge [36,35].
construction is socially mediated.
2.7 The Project Method
Showing video as a teaching method is relatively Ulrich [37] describes the project method of
cheap and convenient [31]. It may, however, be teaching as “student-centered pedagogy, a
perceived as mere entertainment and induce comprehensive instructional endeavour which
boredom if not managed properly [33]. consists in individually, small or larger groups in-
depth extended investigation of a topic or
2.5 The Field Trip Method problem, worthy of the student’s interest, energy
and time”. The project method gives pupils the
Field trip creates space for the construction of choice to decide on what and how to learn, either
knowledge through both self-discovery and individually or in groups. The major characteristic
contributions from the teacher and the learner. It of the project method of teaching is “the
is a practice of taking pupils from the normal acceptance of an assignment by the pupil who is
classroom to a real life situation site for first-hand then free to work independently to reach the
observations about what they have studied in the requirements with the teacher coming in to offer
classroom [34]. It “allows students to put the help as and when necessary” [1]. In the project
concepts and ideas discussed in class in a real- method of teaching, and learning, pupils have the
world context” [14]. A primary school teacher in opportunity to determine the nature of the
the Ashanti Region of Ghana, for example, may problem, adopt a plan, employ the appropriate
take his students to observe music performances resources and put the plan into action to achieve
during the Adae Festival of the people of Ashanti. the goal of the project [38,39].
Such an educational exercise will provide pupils
with the opportunity to learn about the traditional The primary school music teacher may employ a
music associated with the festival. In no doubt, project to assign pupils a task to complete either
such experiences will contribute significantly to individually or in a group. The teacher’s model of
the students’ acquisition of skills and creating a rhythmic pattern in the music class can
understanding of their musical culture. be extended by pupils in the form of a project

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which can further be presented to the whole class  Pose problems which lead to the subject
for peer critique [22]. of the new lesson
 Motivate students
The project method of teaching provides  Maintain interest and alertness
opportunities for pupils to develop creative skills
 Develop a line of thought
and initiative in learning music. It motivates them
 Discover if pupils understand
to collaborate in sharing musical ideas and learn
 Lead pupils to make observations and to
from each other thereby promoting learning
draw inferences for themselves
through social interaction [9,5,18]. However,
among other challenges, the use of the project  Get students involved in the lesson
method is time consuming. Relatively, a longer  Revise the main points of a lesson
period of time is needed to accomplish a task  Test the results of a lesson
through the use of this method and this may  Pose further problems
affect the covering of the curriculum content  Remind students of what they do not know
planned for stipulated period of time.  Find out if pupils can use the knowledge
they have acquired
2.8 Questioning Technique Method  Find out pupils’ level of intellectual
functioning
Questioning is a tool used extensively in  Gather information from students
presenting a lesson. It is an act of inquiry that  Share views and opinions with students
stimulates thinking and understanding among after they have acquired some pieces of
pupils [25,27]. Tamakloe et al. [1] define information
questions as “statements that require answers.”  Diagnose for learning difficulties.
Discussion as a method of teaching music, for
example, depends heavily on question and Questioning as a teaching tool is frequently
answer [27]. Almost all teachers use questions in applied by the teacher to model a desired task
teaching. In using this skill, the teacher poses and gradually shift responsibility to the learner.
series of questions to pupils in order to promote Indeed, as a tool for teaching music, it assists
thinking and understanding. According to and guides the teacher to take very critical
McCarthy et al. [25], questions that direct pupils decisions during lesson presentations in order to
to discover, analyse, classify, hypothesise and provide effective learning experiences to primary
synthesise help them to “understand the act of school pupils.
forming aesthetic judgements” which are very
crucial to musical learning. 2.9 Assignment Method
Questioning is an assessment tool used to Assignment as an instructional approach is the
determine whether learning has taken place [27]. part of a lesson that directs the learner as to what
Pupils’ answers to questions in the music class to do after school hours in relation to what was
guide the teacher as to the next action to take in taught in class. It can, therefore, be considered
the teaching and learning process. At the as a tool which helps the teacher to provide
introduction stage of lesson delivery, it helps the extended practice for learners. Individual
teacher to determine the pupils’ background assignment helps the teacher to identify the
experience or their relevant previous knowledge abilities, needs and experience of each student
in music. During the development stage, while group assignment enables each member of
questions and answers help the teacher to the group to learn from one another [6].
ascertain whether pupils understand what is
being taught. At the closure stage of teaching,
Giving assignment for pupils to compose a piece
questions and answers bring to light learning that of music and dance either individually or in
has taken place.
groups for presentation to the class for
discussion is an excellent means of enhancing
Tamakloe et al. [1] have outlined the following pupils’ compositional and performance skill
importance of using questions in the teaching- which also has a direct impact on their listening
learning process to: abilities [22]. For example, Amuah and Adum-
Attah describe a dance-drama as a dance used
 Find out what pupils know about a subject to tell a story through dramatisation that
or topic integrates singing, drumming and dancing. In a
 Revise previous work done music classroom, the teacher may tell a known

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story with a theme that pupils can set to the shapes and sizes of various musical
above described artistic performance. In groups, instruments. As described by Alorvor [41],
pupils on their own plan and practice a dance- application of the discovery teaching method is
drama out of the story told for presentation in time-consuming and, therefore, not usually
class for peer critique under the guidance of the suitable for dealing with a fully loaded syllabus.
teacher [22]. Countryman [36] observed pupils Employing the method is also costly in terms of
constructing their art form during a playground variety of materials and equipment required to
study. He stated that “often I saw little clumps of operationalise it effectively.
children at the far corners of the playground,
working on song/dance sequences, but I did not 3. FACTORS THAT DETERMINE THE
approach, recognising that those were private SELECTION OF A TEACHING
rehearsals” [36], implying that pupils have the METHOD
ability to engage effectively in the process of
music making to achieve a product of the art, for
In teaching, every teacher tries to adopt a
example their ability to sing a song or play a
particular method or strategy of presenting the
musical instrument with minimal interference
lesson that has the potential of contributing to the
from the teacher. This process may also
achievement of the lesson’s set objectives.
promote acquisition of musical
Button [4] highlights the use of teaching methods
knowledge and skills from the competent
that provide opportunities for pupils to engage in
classmates.
musical activities. Such methods may constitute
the best to be considered by the teacher.
2.10 The Discovering Teaching Method However, factors that affect or determine the
selection of particular methods as outline by
The discovery teaching method is described as Tamakloe et al. [1] are the:
the provision of learning experiences through
which learners discover knowledge and ideas
● Timetable with reference to the number of
they did not know before [40]. In other words, the
contact hours between the teacher and
learner, through the process of self-learning with
the student
minimal intervention from the teacher, generates
● Objectives of the lesson
concepts and ideas. Indeed pupils’ desire to learn
● Size of the class
is stimulated and their interest is directed to the
● Characteristics or the nature of the subject
learning activity. Due to active participation of the
at hand
learner in a discovery instruction, perfection is
● Facilities that are available in the school
achieved and retention of learning is also greatly
and to the teacher
improved [41,40].
● Duration of the course of studies in terms
of the content to be covered
According to Tamakloe et al. [1], three cardinal ● Age, experience and ability of the
educational principles that are achieved in a students
discovery teaching-learning environment are: ● Type of curriculum adopted in the school
● Teacher’s pre-service training
● Students are given the opportunity to enter ● Type of examination set for the course if it
into areas where hitherto, been unknown to is externally examined
them ● Teacher’s willingness and ability to use
● Students are given the opportunity to make information available
intelligent guesses which may lead to ● Philosophy of the teacher, for example,
arriving at clues for unravelling the the principle of learning which he or she
“mysteries” of the unknown espouses
● The method provides students the ● Nature and the dynamics of the class as a
opportunity to develop and refine whole
documentary evidence, schemes, and ● Willingness of the teacher to inject variety
measuring tools for use in the discovery into his or her teaching.
process.
It is therefore very significant to consider the
In the primary school music classroom, for
above factors before adopting any specific
example, the teacher may provide ‘scaffolding’
method or strategy of teaching in order to
for the pupil to discover and understand the
maximise pupils’ learning through the following
concept of pitch by creating sounds from various

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stages in presenting music lessons in the In the learning of ‘Pulse’, for example, Rowsell
classroom: and Vinden [43] state that the three stages would
be:
4. STAGES IN TEACHING
● Sing a song while clapping the pulse many
After all the necessary planning and preparation times
for a lesson, what logically follows is the actual ● Learn the word ‘beat’ or ‘pulse’ to describe
teaching. At this phase, the teacher puts the what you have been clapping
lesson plan into action [42]. Lesson presentation ● Listen to a new song and try to clap the
refers to all learning experiences the teacher pulse.
provides for pupils to achieve the intended
learning outcome. The following paragraphs are the description of
the three stages of a lesson presentation.
In the lesson presentation, the teacher normally
goes through three interrelated stages which are 4.1 The Introduction Stage
the introduction, the development and the closure
The introduction stage is the starting point of the
as recorded in the lesson plan. These three
lesson. At this stage, the teacher prepares the
stages align with Kodály’s theory of three stages
pupils minds to arouse and sustain their interest
of teaching music: unconscious experience
throughout the lesson [42]. The introduction
(preparation), making conscious (presentation)
stage is the beginning of the lesson where the
and reinforcement (practice) [43], would yield a
teacher reviews the previous lessons by linking
positive outcome in teaching music.
the new topic to pupils’ pre-existing knowledge
and experiences. Teachers also present to pupils
The Kodály theory or concept of teaching and an overview of what they are about to learn and
learning music is pupil-centred. It is based on why it is necessary to learn those knowledge and
Zoltan Kodály, a Hungarian educationist, skills [42].
composer and musicologist who lived between
1882 and 1967 [44,45]. Kodály believed that 4.2 The Development Stage
every human being has innate music ability that
should be nurtured from childhood. Kodály During the development stage, the teacher
emphasised the use of folk songs of a people, employs a variety of teaching methods to teach
which, he believed, contains all the necessary the facts logically and sequentially and develops
characteristics needed to develop pupils’ the intended skills and knowledge to be acquired
foundation in music [44,46]. by the pupil [48,33]. At this stage, the teacher
models and demonstrates the skills embedded in
The first of Kodály’s three fundamental steps in the lesson for pupils to observe, imitate and
the teaching and learning music, the Preparation practice. At the development stage, the teacher
stage, is where unconscious experiences are “deals with the topic and tries to achieve the
provided, allowing pupils to learn naturally stated objectives or competencies by providing
through singing their playground rhymes and the learning experiences or activities for students
songs in the mother tongue. According to Watson so that he or she can build on them” [41].
[45], this stage is characterise with “fun and
spontaneous, based on imitation and reflective of 4.3 The Conclusion Stage
the manner in which children learn their native
At the conclusion stage of a lesson presentation,
language”, hence the concept’s contribution to
the teacher reiterates the main ideas,
children’s literacy development and language
summarises the lesson, and also assesses the
acquisition [47]. In the second stage
pupils’ learning [48,41]. At this stage, the teacher
(Presentation), pupils are consciously presented
also provides further and extended practice for
with new materials. They are guided to discover
pupils to ensure the achievement of the aims and
new elements by learning the new material based
objectives of the lesson [33].
on what they had already learned subconsciously
[45]. The Practice stage being the last of the 5. CONCLUSION
three stages is where learned skills are
reinforced with new elements introduced [45]. At Having presented and discussed overviews of
this stage, pupils may be engaged in listening to some general strategies and methods of teaching
songs to identify whether the rhythm is in triple or music, it is anticipated that whichever
quadruple time.

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