This research paper attempts to cover the exercises that are needed for the performer. It also touched upon the psychological processes of the editor. In the elementary classes, cognitive and ability peculiarities were analyzed and tried to draw conclusions by Botirova Xilola Tursunbaevna 2020. Methods for improving thoretical knowledge of music of elementary school students . International Journal on Integrated Education. 3, 4 (Apr. 2020), 4-10. DOI:https://doi.org/10.31149/ijie.v3i4.335 https://journals.researchparks.org/index.php/IJIE/article/view/335/328 https://journals.researchparks.org/index.php/IJIE/article/view/335
The document discusses the competencies and skills needed to be an effective music teacher. It outlines personal traits like being pleasant and enthusiastic about music. Musical abilities like singing, reading music, and playing an instrument are important. It also discusses how to improve the music classroom environment and includes charts of different areas of musical experience like creative music, instrumental music, and vocal music. The Kodaly method of teaching music concepts to children using hand signals is mentioned. Sample songs and their musical notes are provided.
This document outlines the learning areas, time allotments, and curricula for Music, Arts, Physical Education, and Health (MAPEH) in the K to 12 basic education program in the Philippines. It discusses that MAPEH focuses on developing artistic expression, cultural literacy, and lifelong fitness and wellness. The curricula are student-centered and performance-based. They aim to develop skills like critical thinking, creative expression, and health literacy. The document also provides sample content matrices that outline the focus areas for each grade level in subjects like Music, Arts, Physical Education, and Health.
The document discusses the history of music education in Uzbekistan from the early 20th century to the 1960s. It describes how the first music schools and conservatories were established after the Soviet Union took control. While music education expanded and the system grew, there were also limitations and reforms needed. For example, schools mainly focused on European music and many students were from urban areas. Over time, more schools opened but representation of local ethnic groups and availability of teachers in remote areas remained problems.
This document outlines several lessons that use music to teach concepts in natural sciences, chemistry, physics, and acoustics. The lessons incorporate musical instruments, songs, poems, and performances to engage students and explain scientific topics in an interactive way. Some key lessons described include using songs and drawings to teach about plant structures, acting out chemical bonds through short plays accompanied by piano music, writing and performing a "Hymn of the Atom" to explain atomic structure, and using string, wind, and percussion instruments to demonstrate characteristics of sound waves. The document emphasizes developing scientific thinking while improving student motivation and attention through musical elements.
This document describes several music lessons taught in Romanian schools to help students learn the Romanian language. The lessons use music and musical games to teach linguistic concepts in a fun way. Students learn about topics like spring, food vocabulary, and musical terms in their Romanian classes through singing songs, rhythmic speaking, and associating words with musical instruments. Evaluations found that integrating music improved students' motivation, attention, and emotions around learning Romanian.
The document describes a proposed certificate program in music education for elementary school music teachers and an introductory music course for other teachers in Pakistan. The certificate program would be 1 year long with 120 hours of training covering topics like basic music theory, music notation, singing basics, music genres, and an introduction to music therapy. It aims to provide formal music education and training for teachers who currently lack qualifications. The introductory course for other teachers would be 3 months with 36 hours focusing on an overview of music and its uses in education. Both programs aim to develop teachers' musical skills and knowledge of applying music techniques in the classroom to benefit students. Assessments would include assignments, observations, and exams to evaluate learning across each course
Joel Fass is a music instructor and guitarist seeking a position as a music instructor. He has over 45 years of experience teaching a variety of instruments including guitar, bass, keyboards, music theory, and songwriting to students of all ages and levels. He has taught privately, in-home, at Mercy College as an adjunct librarian and music instructor, and in New York City public schools. Fass has also performed professionally as a guitarist, bandleader, and composer.
The document discusses the competencies and skills needed to be an effective music teacher. It outlines personal traits like being pleasant and enthusiastic about music. Musical abilities like singing, reading music, and playing an instrument are important. It also discusses how to improve the music classroom environment and includes charts of different areas of musical experience like creative music, instrumental music, and vocal music. The Kodaly method of teaching music concepts to children using hand signals is mentioned. Sample songs and their musical notes are provided.
This document outlines the learning areas, time allotments, and curricula for Music, Arts, Physical Education, and Health (MAPEH) in the K to 12 basic education program in the Philippines. It discusses that MAPEH focuses on developing artistic expression, cultural literacy, and lifelong fitness and wellness. The curricula are student-centered and performance-based. They aim to develop skills like critical thinking, creative expression, and health literacy. The document also provides sample content matrices that outline the focus areas for each grade level in subjects like Music, Arts, Physical Education, and Health.
The document discusses the history of music education in Uzbekistan from the early 20th century to the 1960s. It describes how the first music schools and conservatories were established after the Soviet Union took control. While music education expanded and the system grew, there were also limitations and reforms needed. For example, schools mainly focused on European music and many students were from urban areas. Over time, more schools opened but representation of local ethnic groups and availability of teachers in remote areas remained problems.
This document outlines several lessons that use music to teach concepts in natural sciences, chemistry, physics, and acoustics. The lessons incorporate musical instruments, songs, poems, and performances to engage students and explain scientific topics in an interactive way. Some key lessons described include using songs and drawings to teach about plant structures, acting out chemical bonds through short plays accompanied by piano music, writing and performing a "Hymn of the Atom" to explain atomic structure, and using string, wind, and percussion instruments to demonstrate characteristics of sound waves. The document emphasizes developing scientific thinking while improving student motivation and attention through musical elements.
This document describes several music lessons taught in Romanian schools to help students learn the Romanian language. The lessons use music and musical games to teach linguistic concepts in a fun way. Students learn about topics like spring, food vocabulary, and musical terms in their Romanian classes through singing songs, rhythmic speaking, and associating words with musical instruments. Evaluations found that integrating music improved students' motivation, attention, and emotions around learning Romanian.
The document describes a proposed certificate program in music education for elementary school music teachers and an introductory music course for other teachers in Pakistan. The certificate program would be 1 year long with 120 hours of training covering topics like basic music theory, music notation, singing basics, music genres, and an introduction to music therapy. It aims to provide formal music education and training for teachers who currently lack qualifications. The introductory course for other teachers would be 3 months with 36 hours focusing on an overview of music and its uses in education. Both programs aim to develop teachers' musical skills and knowledge of applying music techniques in the classroom to benefit students. Assessments would include assignments, observations, and exams to evaluate learning across each course
Joel Fass is a music instructor and guitarist seeking a position as a music instructor. He has over 45 years of experience teaching a variety of instruments including guitar, bass, keyboards, music theory, and songwriting to students of all ages and levels. He has taught privately, in-home, at Mercy College as an adjunct librarian and music instructor, and in New York City public schools. Fass has also performed professionally as a guitarist, bandleader, and composer.
This unit plan focuses on musical innovations from before 1950, with a particular emphasis on early jazz styles and trends in modernism. Students will study important innovations in genres like blues, ragtime, dixieland, swing, and gypsy jazz. They will also examine modernist trends such as impressionism, primitivism, expressionism, serialism, and neoclassicism. The unit aims to develop students' skills in composition, performance, listening, and analysis of innovative works. Formative and summative assessments include two listening tests, formative composition tasks, and a final individual composition applying an innovation studied. Key learning activities involve exploring repertoire, developing compositional techniques, and a field trip to a symph
Melissa Bullen is doing her internship at Park View Education Centre in Bridgewater, Nova Scotia. She will be working with two experienced music teachers, Scott Leonard and Ken Foote. Leonard has over 20 years of teaching experience and has received awards for his commitment to the music program. Foote has extensive performance experience and awards for his service to music education. Bullen's goals are to gain confidence teaching outside her comfort zone, such as jazz band and guitar, and to make lessons interactive. She also aims to effectively prepare for the various classes and rehearsals she will be teaching.
This social sciences lesson plan focuses on communication through time. It covers various topics including the oldest forms of communication used by the San people in South Africa, the development of the postal system, radio, telegraph, telephone, camera, television, computers, the internet, and cell phones. Students will learn about how different forms of communication have changed and developed over time through class activities, discussions, and homework assignments involving pictures and research. The lesson aims to help students select relevant information and write about history in an organized way.
Teachers need to have an understanding of science content, how children learn, and skills to facilitate inquiry-based learning when teaching science to preschoolers. An example thematic lesson plan is provided on teaching the parts of flowers through visuals, group activities where children color and label pictures, and questions to generalize learning. Music is important in teaching science because young children enjoy it, and it incorporates multiple skills. Music involves the scientific concepts of frequency, intensity and time; mathematical concepts of rhythm and fractions; and requires physical coordination. Most importantly, music allows for creative expression and developing sensitivity, which fosters compassion and quality of life. References on brain-based learning and the importance of teaching music are also provided.
The Effects of Rhythmical Articulation Skills of Primary School Teacher Candi...inventionjournals
The aim of the research was to determine the effects of rhythmical articulation skills of primary school teacher candidates, who will be responsible from carrying out music courses as well as other domains in teaching, on playing instrument in instrument supported music courses. This study was an ex post facto research which has investıgated the effects of rhythmical articulation skills on ınstrument playing skills. In the research design Teacher Candidates were grouped according the rhythmical articulation and instrument playing examination timing. Firstly, the rhythmical articulation skills of teacher candidates were evaluated shortly after instrument playing skills. The correlation coefficient between two measurements was found to be R=0,73 and prediction coefficient R²=0,53 was found as middle level and significant. It meant that %53 of instrument playing skills were explained by rhythmical articulation skills. There were significant differences in rhythmical articulation skills and instrument playing skills in terms of gender in the second group. Female candidates’ rhythmical articulation and ınstrument playing skills means were found higher and meaningful than the male candidates’. But according to instrument types there were no meaningful differences. Based on this research, it can be suggested frequently skills of playing an instrument is supported by rhythmical articulation skills in general music course implementations and evaluations. Similar researches should be done to develop music and teaching music course in the primary school teacher education program. As a conclusion ıt can be said that rhythmical articulation skills has supply important clue for retention of melody before playing an instrument.
The lesson plan focuses on nation-building, cultural heritage, and celebrating national days in South Africa. It includes five activities:
1) Students will discuss how cultural heritage and national symbols like the flag and anthem unify the nation and identify national symbols.
2) Students will practice rhythmic movement patterns and coordination.
3) Students will create a self-portrait without looking in a mirror and reflect on the experience.
4) Different learning styles will be accommodated and advanced work given to support student performance.
5) The teacher will reflect on the lesson and student learning.
Music education ii module 1.the world of musical soundsS Marley
This document provides an introduction to a module on musical sounds. It discusses what the module will cover, including definitions of music, sources of music in different cultures, and the four properties of sound. It instructs students to carefully read discussions, complete activities, and ask for help from their teacher. It outlines that students will listen to musical examples, learn songs from the Philippines and Japan, do interviews and a special project.
Tamara Witkin is a musician and educator with experience conducting choirs, playing organ and piano, teaching music, and performing. She holds Masters degrees in piano performance and music composition, and was trained in music education methods. Witkin has taught both privately and in public schools, and currently offers private music instruction, choir directing, and organ playing services.
The document summarizes several articles on the link between music education and literacy, teaching strategies for music education, and credentials for music teachers. It finds that music education helps develop important skills for children and supports their learning in other subjects. The articles discuss how music uses symbols similarly to reading, and how activities like singing and movement can engage students and improve listening skills. They also note that changes in music require teachers to pursue advanced degrees to update their skills and knowledge.
Learning music at a young age provides several cognitive, emotional, and social benefits. It helps develop areas of the brain related to language and reasoning. Students also learn skills like memorization, coordination, discipline, and teamwork. Mastering a musical instrument can boost self-confidence and achievement. Overall, early musical training lays the foundation for success in school, work, and life.
Music education involves teaching students about music appreciation, vocabulary, discipline, and problem solving skills in addition to playing instruments. It has been part of human culture for centuries and was a fundamental part of education in cities like Boston beginning in the 18th century. Current music education standards focus on singing, playing instruments, composing, listening and analyzing music. Integrating music into other subjects can help students build skills in areas like math and language arts. Different musical styles can produce physical and emotional effects and influence mood.
Jessica Brotherton is a music teacher seeking a new position. She has over 8 years of experience teaching vocal music to grades 7-12 in Wisconsin schools. She holds a Bachelor of Music in Music Education from the University of North Carolina at Greensboro with highest honors. She is a member of professional music education organizations and has received several honors and scholarships for her work.
This document is a daily learning log for a MAPEH (Music, Arts, Physical Education, and Health) class. It outlines four sessions on Asian Festivals and Theatrical Forms. The objectives are for students to understand how elements like sound, music, and costume are used in Asian performances and how performance is an expression of celebration. Students will analyze different Asian festivals and theatrical forms, create costumes and performances, and participate in a festival. Assessment involves students scoring 80% or above and requiring remedial activities if below 80%.
The document outlines a music education program for primary and secondary school students. It describes holding workshops using instruments like Orff instruments and building homemade instruments to teach music history and involve students in an interactive way. The program includes two 1.5 hour sessions per week over two weeks, with different activities for 3rd/4th grade primary students compared to 1st/2nd grade secondary students. It also discusses using online tools like a website and social media to engage students and share information about the program.
The document outlines national standards for music education in the United States. It discusses the standards in three levels - grades K-4, 5-8, and 9-12. The standards cover singing, playing instruments, improvising, composing, reading music, listening, evaluating, understanding music's relationships to other arts and disciplines, and understanding music in historical and cultural contexts. The goal is to provide guidelines for developing students' musical skills at different grade levels.
Studio MusiCAL offers students weekly private lessons in various formats, bi-annual recitals to showcase progress, opportunities to participate in competitions and festivals. Lessons cover all fundamentals of music across many styles and students can learn performance and career skills. The teacher has a Bachelor's in Music with pedagogy emphasis, is a member of several music associations, and has 15 years experience as a pianist and 7 years teaching.
Mieko A. Ozeki interned at McClure Productions, an alternative education company, to learn about experiential and arts integration education. During her internship, she researched educational policies and standards, observed classroom lessons, and wrote curriculum. She developed adventure education programs incorporating character education. She also wrote lesson plans for McClure's music programs, incorporating academic standards. The internship helped her gain hands-on experience in experiential education and clarify her career goals in the field.
The document discusses using music to teach natural science concepts like plants and animals to students in kindergarten and primary school. It outlines objectives of observing plants over time, identifying parts, and exploring crafts. Methods include singing songs about topics and associating verses with concepts, as well as rhythmic activities. Evaluation consists of observing students, analyzing song interpretations, and worksheet completion. For secondary students, the document describes integrating music into topics like sound propagation and sustainability by making instruments from recycled materials and composing songs. Students presented their work and found the activities engaging and helpful for learning.
This document discusses the development of the first graded vocal series in 19th century American music education. It outlines how over 100 school music books were published before the Civil War with no standardization. The first graded series emerged post-Civil War to address the need for comprehensive materials across grade levels. Early series differed in their approaches to note reading versus rote learning and solfege systems. Popular series included The Song Garden, First Steps in Music, The National Music Course, and The Normal Music Course. These helped establish music as a core school subject by taking a more "scientific" approach. Standardization through graded series laid the foundation for modern music education.
Let’s introduce a composer to pupils_Perakaki_Komotini_2012Eliper
This document outlines a music course implemented in a Greek public school to introduce students aged 14-15 to Greek composers. The course focused on 6 exceptional Greek composers over 2-3 lessons each. Lessons included listening to music, watching videos, singing, orchestration, and group performances. Students initially reacted negatively but changed their views after learning about each composer's significance and the quality of their works. The course aimed to engage students creatively and cultivate their musical skills by following their interests and views on each composer.
The document discusses music and arts education in the Philippine basic education curriculum. It aims to develop functional literacy through participation in artistic and cultural performances. This promotes self-development, cultural identity and expanding one's world vision. Students will develop skills in reading/analyzing, listening/viewing, performing and creating music and arts. The curriculum will use approaches like teaching for musical understanding and discipline-based arts education, grounded in theories of schema, social constructivism and multiple intelligences. It outlines standards and assessments for four years of study covering folk songs and arts of the Philippines, Asia, different time periods, and the 20th-21st centuries.
The document provides an overview and rationale for Alberta's General Music 10-20-30 program for senior high school students. The program offers a broad range of musical experiences within a non-performance environment. It includes both required and elective components across three levels (10, 20, 30). The required components are Theory: Elements and Structures and Music Making. Elective components include Composition, History of Western Music, Music and Technology, World Music, and others. Modules can be completed in various sequences based on student and teacher preferences. The program aims to develop musical skills and understanding while fostering positive attitudes towards music.
This unit plan focuses on musical innovations from before 1950, with a particular emphasis on early jazz styles and trends in modernism. Students will study important innovations in genres like blues, ragtime, dixieland, swing, and gypsy jazz. They will also examine modernist trends such as impressionism, primitivism, expressionism, serialism, and neoclassicism. The unit aims to develop students' skills in composition, performance, listening, and analysis of innovative works. Formative and summative assessments include two listening tests, formative composition tasks, and a final individual composition applying an innovation studied. Key learning activities involve exploring repertoire, developing compositional techniques, and a field trip to a symph
Melissa Bullen is doing her internship at Park View Education Centre in Bridgewater, Nova Scotia. She will be working with two experienced music teachers, Scott Leonard and Ken Foote. Leonard has over 20 years of teaching experience and has received awards for his commitment to the music program. Foote has extensive performance experience and awards for his service to music education. Bullen's goals are to gain confidence teaching outside her comfort zone, such as jazz band and guitar, and to make lessons interactive. She also aims to effectively prepare for the various classes and rehearsals she will be teaching.
This social sciences lesson plan focuses on communication through time. It covers various topics including the oldest forms of communication used by the San people in South Africa, the development of the postal system, radio, telegraph, telephone, camera, television, computers, the internet, and cell phones. Students will learn about how different forms of communication have changed and developed over time through class activities, discussions, and homework assignments involving pictures and research. The lesson aims to help students select relevant information and write about history in an organized way.
Teachers need to have an understanding of science content, how children learn, and skills to facilitate inquiry-based learning when teaching science to preschoolers. An example thematic lesson plan is provided on teaching the parts of flowers through visuals, group activities where children color and label pictures, and questions to generalize learning. Music is important in teaching science because young children enjoy it, and it incorporates multiple skills. Music involves the scientific concepts of frequency, intensity and time; mathematical concepts of rhythm and fractions; and requires physical coordination. Most importantly, music allows for creative expression and developing sensitivity, which fosters compassion and quality of life. References on brain-based learning and the importance of teaching music are also provided.
The Effects of Rhythmical Articulation Skills of Primary School Teacher Candi...inventionjournals
The aim of the research was to determine the effects of rhythmical articulation skills of primary school teacher candidates, who will be responsible from carrying out music courses as well as other domains in teaching, on playing instrument in instrument supported music courses. This study was an ex post facto research which has investıgated the effects of rhythmical articulation skills on ınstrument playing skills. In the research design Teacher Candidates were grouped according the rhythmical articulation and instrument playing examination timing. Firstly, the rhythmical articulation skills of teacher candidates were evaluated shortly after instrument playing skills. The correlation coefficient between two measurements was found to be R=0,73 and prediction coefficient R²=0,53 was found as middle level and significant. It meant that %53 of instrument playing skills were explained by rhythmical articulation skills. There were significant differences in rhythmical articulation skills and instrument playing skills in terms of gender in the second group. Female candidates’ rhythmical articulation and ınstrument playing skills means were found higher and meaningful than the male candidates’. But according to instrument types there were no meaningful differences. Based on this research, it can be suggested frequently skills of playing an instrument is supported by rhythmical articulation skills in general music course implementations and evaluations. Similar researches should be done to develop music and teaching music course in the primary school teacher education program. As a conclusion ıt can be said that rhythmical articulation skills has supply important clue for retention of melody before playing an instrument.
The lesson plan focuses on nation-building, cultural heritage, and celebrating national days in South Africa. It includes five activities:
1) Students will discuss how cultural heritage and national symbols like the flag and anthem unify the nation and identify national symbols.
2) Students will practice rhythmic movement patterns and coordination.
3) Students will create a self-portrait without looking in a mirror and reflect on the experience.
4) Different learning styles will be accommodated and advanced work given to support student performance.
5) The teacher will reflect on the lesson and student learning.
Music education ii module 1.the world of musical soundsS Marley
This document provides an introduction to a module on musical sounds. It discusses what the module will cover, including definitions of music, sources of music in different cultures, and the four properties of sound. It instructs students to carefully read discussions, complete activities, and ask for help from their teacher. It outlines that students will listen to musical examples, learn songs from the Philippines and Japan, do interviews and a special project.
Tamara Witkin is a musician and educator with experience conducting choirs, playing organ and piano, teaching music, and performing. She holds Masters degrees in piano performance and music composition, and was trained in music education methods. Witkin has taught both privately and in public schools, and currently offers private music instruction, choir directing, and organ playing services.
The document summarizes several articles on the link between music education and literacy, teaching strategies for music education, and credentials for music teachers. It finds that music education helps develop important skills for children and supports their learning in other subjects. The articles discuss how music uses symbols similarly to reading, and how activities like singing and movement can engage students and improve listening skills. They also note that changes in music require teachers to pursue advanced degrees to update their skills and knowledge.
Learning music at a young age provides several cognitive, emotional, and social benefits. It helps develop areas of the brain related to language and reasoning. Students also learn skills like memorization, coordination, discipline, and teamwork. Mastering a musical instrument can boost self-confidence and achievement. Overall, early musical training lays the foundation for success in school, work, and life.
Music education involves teaching students about music appreciation, vocabulary, discipline, and problem solving skills in addition to playing instruments. It has been part of human culture for centuries and was a fundamental part of education in cities like Boston beginning in the 18th century. Current music education standards focus on singing, playing instruments, composing, listening and analyzing music. Integrating music into other subjects can help students build skills in areas like math and language arts. Different musical styles can produce physical and emotional effects and influence mood.
Jessica Brotherton is a music teacher seeking a new position. She has over 8 years of experience teaching vocal music to grades 7-12 in Wisconsin schools. She holds a Bachelor of Music in Music Education from the University of North Carolina at Greensboro with highest honors. She is a member of professional music education organizations and has received several honors and scholarships for her work.
This document is a daily learning log for a MAPEH (Music, Arts, Physical Education, and Health) class. It outlines four sessions on Asian Festivals and Theatrical Forms. The objectives are for students to understand how elements like sound, music, and costume are used in Asian performances and how performance is an expression of celebration. Students will analyze different Asian festivals and theatrical forms, create costumes and performances, and participate in a festival. Assessment involves students scoring 80% or above and requiring remedial activities if below 80%.
The document outlines a music education program for primary and secondary school students. It describes holding workshops using instruments like Orff instruments and building homemade instruments to teach music history and involve students in an interactive way. The program includes two 1.5 hour sessions per week over two weeks, with different activities for 3rd/4th grade primary students compared to 1st/2nd grade secondary students. It also discusses using online tools like a website and social media to engage students and share information about the program.
The document outlines national standards for music education in the United States. It discusses the standards in three levels - grades K-4, 5-8, and 9-12. The standards cover singing, playing instruments, improvising, composing, reading music, listening, evaluating, understanding music's relationships to other arts and disciplines, and understanding music in historical and cultural contexts. The goal is to provide guidelines for developing students' musical skills at different grade levels.
Studio MusiCAL offers students weekly private lessons in various formats, bi-annual recitals to showcase progress, opportunities to participate in competitions and festivals. Lessons cover all fundamentals of music across many styles and students can learn performance and career skills. The teacher has a Bachelor's in Music with pedagogy emphasis, is a member of several music associations, and has 15 years experience as a pianist and 7 years teaching.
Mieko A. Ozeki interned at McClure Productions, an alternative education company, to learn about experiential and arts integration education. During her internship, she researched educational policies and standards, observed classroom lessons, and wrote curriculum. She developed adventure education programs incorporating character education. She also wrote lesson plans for McClure's music programs, incorporating academic standards. The internship helped her gain hands-on experience in experiential education and clarify her career goals in the field.
The document discusses using music to teach natural science concepts like plants and animals to students in kindergarten and primary school. It outlines objectives of observing plants over time, identifying parts, and exploring crafts. Methods include singing songs about topics and associating verses with concepts, as well as rhythmic activities. Evaluation consists of observing students, analyzing song interpretations, and worksheet completion. For secondary students, the document describes integrating music into topics like sound propagation and sustainability by making instruments from recycled materials and composing songs. Students presented their work and found the activities engaging and helpful for learning.
This document discusses the development of the first graded vocal series in 19th century American music education. It outlines how over 100 school music books were published before the Civil War with no standardization. The first graded series emerged post-Civil War to address the need for comprehensive materials across grade levels. Early series differed in their approaches to note reading versus rote learning and solfege systems. Popular series included The Song Garden, First Steps in Music, The National Music Course, and The Normal Music Course. These helped establish music as a core school subject by taking a more "scientific" approach. Standardization through graded series laid the foundation for modern music education.
Let’s introduce a composer to pupils_Perakaki_Komotini_2012Eliper
This document outlines a music course implemented in a Greek public school to introduce students aged 14-15 to Greek composers. The course focused on 6 exceptional Greek composers over 2-3 lessons each. Lessons included listening to music, watching videos, singing, orchestration, and group performances. Students initially reacted negatively but changed their views after learning about each composer's significance and the quality of their works. The course aimed to engage students creatively and cultivate their musical skills by following their interests and views on each composer.
The document discusses music and arts education in the Philippine basic education curriculum. It aims to develop functional literacy through participation in artistic and cultural performances. This promotes self-development, cultural identity and expanding one's world vision. Students will develop skills in reading/analyzing, listening/viewing, performing and creating music and arts. The curriculum will use approaches like teaching for musical understanding and discipline-based arts education, grounded in theories of schema, social constructivism and multiple intelligences. It outlines standards and assessments for four years of study covering folk songs and arts of the Philippines, Asia, different time periods, and the 20th-21st centuries.
The document provides an overview and rationale for Alberta's General Music 10-20-30 program for senior high school students. The program offers a broad range of musical experiences within a non-performance environment. It includes both required and elective components across three levels (10, 20, 30). The required components are Theory: Elements and Structures and Music Making. Elective components include Composition, History of Western Music, Music and Technology, World Music, and others. Modules can be completed in various sequences based on student and teacher preferences. The program aims to develop musical skills and understanding while fostering positive attitudes towards music.
Improvement of professional quality of skills of music teachersSubmissionResearchpa
This document discusses improving the professional skills of music teachers. It argues that music teachers must have broad musical knowledge and skills, including in areas like conducting, playing instruments, music theory, and solfege. The document examines how the creative process is important for music teachers' work and professional development. It emphasizes that teacher training programs should develop music teachers' creative abilities and help them adapt to changing circumstances. The goal is to produce music teachers who can effectively provide musical-aesthetic education to students and form their musical culture.
The document discusses the elements and principles of music. It identifies 12 key elements: pitch, rhythm, structure, dynamics, pulse, texture, tempo, timbre, duration, harmony, melody. These elements are the building blocks of music and are important because they allow music to convey emotions and meanings. When combined together using these elements, a beautiful musical masterpiece can be created.
PYPMYP- PERFORMING ARTS MUSIC-MADHAV AGRAWALMadhav Agrawal
Madhav Agrawal is a single subject specialist in music at an IB school in Gurgaon, India. He is responsible for implementing the PYP and MYP music programs, including planning, preparing and delivering lessons, assessing student learning, and maintaining classroom discipline. He has over 10 years of experience teaching music and previously held positions as head of the music department at other schools. Agrawal received his master's degree in Hindustani vocals and is skilled in piano, guitar, vocals, sound engineering and other areas. His philosophy of music education is that music should be taught to all students to help them build 21st century skills and have an outlet for self-expression. He believes teachers should use varied teaching methods to
The document provides an overview of the Grade 10 Music curriculum guide from the Department of Education of the Philippines. It outlines the conceptual framework, philosophy, and rationale of music education. It also includes standards and competencies, as well as content and learning materials for the first and second quarters, focusing on 20th century music styles, Afro-Latin and popular music.
Blueprint for Teaching and Learning in Music June 2015Ian Kanakaris
This document provides an overview and acknowledgments for the third edition of the Blueprint for Teaching and Learning in Music from the New York City Department of Education. It discusses the goal of providing a comprehensive framework for music education and highlights new sections added in this edition, including relating music to the Common Core, early childhood music education, assessments, and family/student engagement. It expresses the hope that this edition will continue to serve as an essential resource for music teachers in providing high-quality music instruction.
This document summarizes three articles about using music in education. The first article discusses using the Suzuki method of teaching music to preschoolers, emphasizing listening, repeating, and memorizing. The second article describes teens writing in support of school music programs and how music provides a sense of belonging. The third article explains how integrating music into literacy instruction benefits English language learners.
PYPMYP-PERFORMING ARTS MUSIC -MADHAV AGRAWALMadhav Agrawal
This document outlines the author's philosophy of music education. It discusses that the purpose of teaching music is to pass the passion for music onto students and help them find success and pride through practice. Music education builds important 21st century skills and allows students to express themselves. The author believes music should be taught to all students regardless of ability, and that the teacher's role is to motivate students and make music interesting. An effective music teacher uses varied teaching techniques to engage different types of learners, teaches with passion and life, and shares personal stories to connect with students.
The document is the K to 12 Music Curriculum Guide published by the Department of Education of the Philippines in December 2013. It lays out the conceptual framework, philosophy, standards, learning competencies, and curriculum for music education from Kindergarten to Grade 10. The curriculum is designed to be student-centered and performance-based to empower students to develop their cultural identity and understand the world through active participation in music. It covers elements of music like rhythm, melody, harmony, form, timbre, dynamics, tempo, and texture and incorporates a spiral approach where concepts are revisited at increasing levels of complexity.
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Music Curriculum Guide Grades 1-10 December 2013.pdfAlnairCawigan
The document is the K to 12 Music Curriculum Guide published by the Department of Education of the Philippines in December 2013. It lays out the conceptual framework, philosophy, standards, learning competencies, and curriculum for music education from Kindergarten to Grade 10. The curriculum is designed to be student-centered and performance-based to empower students to develop their cultural identity and understand the world through actively engaging with and performing music. It covers musical elements like rhythm, melody, form, timbre, dynamics, tempo, and texture and aims to nurture students' artistic expression and cultural literacy.
The document is the K to 12 Music Curriculum Guide published by the Department of Education of the Philippines in December 2013. It lays out the conceptual framework, philosophy, standards, learning competencies, and curriculum for music education from Kindergarten to Grade 10. The curriculum is designed to be student-centered and performance-based to empower students to develop their cultural identity and understanding of the world through actively engaging with and participating in music. It covers musical elements like rhythm, melody, form, timbre, dynamics, tempo, and texture and is organized in a spiral progression with increasing complexity from year to year.
Music curriculum guide grades 1 10 december 2013Arneyo
The document is the K to 12 Music Curriculum Guide from the Department of Education of the Philippines from December 2013. It lays out the conceptual framework, philosophy, standards, and curriculum for music education from Kindergarten to Grade 10. The framework is student-centered and based on developing skills and cultural literacy through performance-based learning. The curriculum covers musical elements, processes, and content that increases in complexity by grade level, focusing on developing appreciation and skills through performing, creating, listening, and responding to music.
Music curriculum guide grades 1 10 december 2013Marc Gamil
The document is the K to 12 Music Curriculum Guide from the Department of Education of the Philippines from December 2013. It lays out the conceptual framework, philosophy, standards, and curriculum for music education from Kindergarten to Grade 10. The framework is student-centered and based on developing skills and cultural literacy through performance-based learning. The curriculum covers musical elements, processes, and content that increases in complexity by grade level, focusing on developing appreciation and skills in performing, creating, listening, and responding to music.
Music curriculum guide grades 1 10 december 2013S Marley
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This document provides information on the K to 12 Curriculum Guide for Arts in the Philippines. It discusses the conceptual framework, which focuses on student-centered, spiral learning of artistic skills and cultural literacy. It emphasizes performance-based and active learning through experiences like creating, performing and critiquing art and music. The guide covers philosophy, rationale and standards for both music and arts education. It aims to develop students' cultural identity and appreciation of Philippine arts while preparing them for careers in creative fields.
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Methods for improving thoretical knowledge of music of elementary school students
1. 4
International Journal on Integrated Education
e-ISSN : 2620 3502
p-ISSN : 2615 3785
Volume 3, Issue IV, April 2020 |
Methods for improving thoretical knowledge of music of
elementary school students
Botirova Xilola Tursunbaevna1
1
Acting Associate Professor of music education at the faculty of art studies of Andijan state
university, Uzbekistan
Email: botirova_x@umail.uz
ABSTRACT
This research paper attempts to cover the exercises that are needed for the performer. It also touched upon
the psychological processes of the editor. In the elementary classes, cognitive and ability peculiarities
were analyzed and tried to draw conclusions.
Keywords: art, rhythm, meter, note, musical instrument, imagination, vocal, music, performer, memory.
1. INTRODUCTION
Music literacy is a process that combines all activities and enhances the creativity and
performance of students. Therefore, this process cannot be viewed as a separate activity.
In his article, scholar B. Kadyrov, who conducted a separate study on talent, describes the
following in his article: "Talent is a multifaceted, complex, hereditary, biological and socially significant
phenomenon." [1.65]
In the first grades, the process of teaching literacy begins with all teachers teaching different
subjects. Some begin with the movement of sounds, others with the volume, length and so on. Some
teachers begin the music literacy process by teaching music registers.
Regardless of the subject matter, the teacher should link music education with other activities. It
explains the movement, volume, bending of the sounds in the melody, provides information on the
rhythm, the meter, the dynamics, the measurements, etc. when listening. Hand-to-hand explanations of
the movement of sounds to children are also effective. You can teach them the positioning of the notes by
comparing five fingers to the notation lines. The first grade students' music textbooks contain all the
information and exhibitions to master the topics they need, which they can easily master with the help of
children's teachers.
In his book “The Art of singing”, music scholar S.Begmatov describes this issue as follows:
“The performing arts are rich in different aspects of voice and music interpretation. Folk-based folk
performances are based on free interpretation, where every musician approaches his interpretation of the
work creatively and presents his unique miracle. ”[2.19]
It is important that first class pupils fully understand the concepts of "up" and "down". The
"ladder" helps to do this. Pupils will be able to easily sing sounds from bottom to bottom and from top to
bottom using stairs. According to the syllabus, first class pupils must master the concepts of sound name,
length, height, rhythm, meter, and note. Although it is a little tricky for schoolchildren, a good teacher can
handle these tasks. From the first lessons, the notes and the layout of the notes are gradually taught and
sung, so these tasks are no problem.
The concept of volume of sounds is given below:
1) High, low and medium sounds - give an idea of the register;
2) to give an idea of the up and down motion of the same volume;
3) step-by-step (stairs);
4) Different sounds are named differently: do, re, mi ...;
5) Concepts of perfection and imperfections (stable and unstable) and tonics;
6) Through the familiar tunes the concepts of major and minor modes are given.
2. 5
International Journal on Integrated Education
e-ISSN : 2620 3502
p-ISSN : 2615 3785
Volume 3, Issue IV, April 2020 |
All of the above concepts are reinforced by classroom musical activities.
The concept of sound length is as follows:
1) Long and short sounds are given in opposite tone;
2) The most common lengths are explained by different joints, applause, quarter and quarter
notes.
Yearly and quarterly topics in the first class:
Theme of the Year: We love music.
Quarter 1: Songs we like.
Quarter 2: Music Games and Songs.
Q3: Our delightful instruments.
Q4: Our delightful instruments.
Consequently, when conducting music culture classes with first-graders, attention to their age-
psychological characteristics, perceptions, memory, and also their physiological features will be an
important factor in achieving the goal.
Although many students in the 1st and 2nd classes have many things in common - their
perceptions, fantasies, memories, interests, they differ. First, a Grade 2 student will be more experienced
than a Grade 1 student in terms of how to behave in a classroom, how to adapt to the classroom routine.
Although the will is not sufficiently formed in the 2nd grader, they can overcome some difficulties with
the 1st graders. Grade 2 students will acquire reading and writing skills. This in turn will help to expand
the scope of music education. All of this is based on the knowledge that students have in their first grade.
The vocal capabilities of the 1st and 2nd grade students are different. It is important to remember
that children should not sing and tune their voices alone. Throughout the course of the year, the voice is
gradually becoming self-evident, meaning the singer finds its way into the process of learning. The
teachers say, "One singer will become a singer in 15-20 years." [3.4.] The instrumentalist is also a skilled
performer who has been trained throughout the years.
Organized, purposeful, fun lessons will teach students to listen to music together, share their
impressions, sing together and listen to each other.
Generally 2nd graders are not as enthusiastic as 1st graders. However, the teacher should try not
to extinguish their interest. To do this, the teacher should be more attentive to students who do not have
musical abilities, and in the future, their abilities should attach students to them and assign them special
tasks. In the learning process, a teacher must carry out classroom tasks from simple to complex, from
bottom to top.
Elementary music lessons are an integral part of the system of artistic education and aesthetic
education of students in secondary schools. Although there is little difference between first and second
grades, the sophomore is an experienced learner, an attentive student who is accustomed to school rules.
He tries to convey the sound in his imagination and the tone. Because when we imagine, we
create a new melody, performance, interpretation, ornamentation, and so on, in our minds. “Performance
is closely linked to creative thinking. In vocal music, the text of the work helps create the image. The
young performer needs to develop imagination and develop it. ”[4.16] Each artist and musician can
imagine what he is capable of and what he can do.
The method of teaching music used in Grade 1 is practically unchanged even in Grade 2. During
this time the interest and love for music will continue to develop, as well as the development of musical
skills. All knowledge, skills and abilities are deepened. It also provides a comprehensive understanding of
music, its perfection in terms of aesthetics and quality of performance.
The second-graders are similar to the first-graders by their psychological character. Grade 2
students cannot focus their attention on something for a long time and get tired very quickly. This is why
it is important to use a variety of activities, such as applause and step-by-step, to concentrate on musical
performance in music culture lessons.
For each achievement of students with poor musical skills and having a sound disorder during
the course, they should be encouraged and encouraged to make sure that they are equally motivated and
motivated to act as musicians with advanced children.
Grade 2 provides students with the ability to develop musical abilities, to stimulate interest in
music, and to create a musical impression, and to make music conscious as an art.
3. 6
International Journal on Integrated Education
e-ISSN : 2620 3502
p-ISSN : 2615 3785
Volume 3, Issue IV, April 2020 |
As a result, children have a starting point for music. To achieve this goal, the following tasks will
be implemented:
1. To develop students' musical abilities.
2. Developing the ability to listen to music.
3. Developing singing skills.
Moral aesthetic education in the context of musical artistic and ideological content.
Dance plays and music-appropriate activities are important for the students' mental and physical
development. Performing music-appropriate activities in music culture classes has a positive effect on
students' musical learning, memory, and rhythm. Any type of movement is performed at the pace and
rhythm of a musical piece, and the musical tones associated with the movement are stored in the child's
memory for a long time.
In the elementary (1-4) grades, the selection of song repertoire involves the following tasks:
1. Develop students' musical abilities (musical reading, rhythm, emotion, attention, memory
speech) through selected works.
2. To instill in students a sense of love for our national music, the motherland, the nature and the
beauty.
3. Teaching students to work, to study, to respect life in and around themselves, to appreciate the
work of others.
From the above, it is clear that each lesson needs to be creative and follow the requirements of
the new program. A two-year semi-annual thematic work plan is to be prepared in music. It is based on
the structure of the lessons using the new program, taking into account the students (classroom), vocal
range, interest in music and ability, seasons, holidays, year, quarter, and lesson topics. The songs can be
changed into works that suit the students' wishes and the curriculum with the newest songs to listen to
songs. The music classes are mostly one hour a week. Also, every year 12-14 works are heard.
Elementary students mainly sing one-sung songs. Since the second half of the second class, songs have
been sung with the sound glue. Accordingly, musical compositions are selected from simple to complex
principles. In the course of the song teaching, the rush and rush of teaching make the students feel
indifferent. On the contrary, well-executed and well-explained songs give a very positive impression.
Repeat "Mother of Knowledge" says our wise nation. The songs need to be repeated periodically. Every
child, no matter what profession he chooses, adorns the music, the music and the songs, the lives of his
students, but at the same time gives him a festive mood.
There are songs that will enrich lives, said our thinkers. Examples include such songs as
"Children and Goose" by J. Nazhiddinov, "My School" by F. Nazarov, "Hakkalar (Magpies)" by N.
Norkhojaev, and "Pakhta Oy" by F. Nazarov. All song repertoire provided in the program fully meets the
requirements of State Educational Standards. A music teacher should be a demanding person and not just
be successful. Only such a music teacher should be a good organizer, an active community, a professional
who loves his profession and children. When using a repertoire of songs in music culture lessons, the
music teacher will gradually learn about the psychological character, voice, and interest of the students,
invite gifted students to extracurricular activities, and work individually and in class with children with
music education. Required. The repertoire of songs presented in the DTS music program is scientific,
modern, classical, age-appropriate and vocal. That is, the content of these songs reflects love for the
motherland, national values, traditions and respects. For example: "Diyor madhi" (Honour of Land) music
by N. Norkhojaev, "Oy vatanim" (Oh, my motherland) music by Yormatov, "Healthy generation song" by
Sh. Yormatov's music, "We are Soldiers", "N. Norkhojaev", "Ochil pahtajon" music by F. Nazarov,
"Nisholda" music by D. Omonullaeva, "Old Turon" by N. Norkhojaev. For example, the song "We Will
Be A Moon" is a song by H.Rahimov, written by S. Barnoev. In this work children will be told that they
will be brave, fearless and brave like their grandfather Amir Temur. The boys are told that girls like
Alpomish are about to grow up to be intelligent, educated, and to serve their motherland with love and
devotion. This song is in the form of a couplet. The song is performed in a fast-paced dance. Fa major
tone. These songs help to cultivate a sense of love for music as a way of nurturing a perfect person.
The main methodological requirement in the lessons of music culture is to apply the acquired
musical knowledge directly to the practice of singing and listening to music. Students are taught 2-3 hours
depending on the complexity of the repertoire of the songs they are taught. To master these themes, it is
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necessary to perform the song expressively, to draw on the theme, to analyze it, to use the technical
means, to listen to the song on the tape, to use the new pedagogical technologies of handouts. The teacher
should be well aware of their vocal range so that they do not damage the vocal cords while they sing. The
repertoire of songs in the program is given separately for each class. It is advisable to use special
exercises before teaching the song. Students should be regularly trained to participate in a variety of
extracurricular activities. To do this, it is often best to play the "Classroom Scenes" to help students
improve their performing skills in music culture classes and to integrate them. It is advisable to have a
“lesson concert” after 2-3 lessons or at the end of the quarter after you have fully mastered the song.
Sticking to the stage culture, such as performing in the classroom, finding a place among classmates,
feeling each other in the singing and staying in their seats, will have a positive impact on students'
attitudes and behavior. Singing on stage gives the students a sense of how much they have learned the
songs in their repertoire, allowing them to “blend” some of the phrases and present the song in solemn
atmosphere. "Class Concert" gives students a lot of joy. Musical quizzes play an important role in making
classroom lessons more interesting and interesting. Playing meaningful games with students is a good
result. One of the most important principles of pedagogical science is to provide intermittent continuity
and interoperability to facilitate learning by children in the classroom.
Yearly and quarterly topics:
Theme of the Year: Types of Performance. Musical Expression means.
Quarter 1: Musical Expression means
Quarter 2: Solo, Accompanist, and chorus.
Q3: Singles and Solo. Musical instruments and singers.
Q4: Types of fingerboard. What is melody? What does the melody represent?
Musical Expression means.
Questions and assignments
1) Describe your second graders.
2) How does music play in your second year?
(3) How is the singing process involved, and how much time should be spent on it?
4) Describe a second class singing repertoire.
5) What topics are included in the music education process in the second grade?
6) Mention second-year year and quarterly topics.
Psychological, musical characteristics of students of 3-4 grades
Grade 3-4 students differ significantly from the lower grades by their pedagogical and
psychological character. They are very focused, have a good memory, fluent speech, a wide range of life
experiences, and a high level of interest in science. They will be able to think about serious issues, solve
large-scale music, research and think independently.
Children of this age have more active formation of anotomic structure of the brain. Learning has
a powerful influence on the development of its functions. In particular, conditions for the gradual
transition from subject-image thinking to a more abstract, annotated-logical thinking are created.
However, it is important to remember that a young teacher is always looking for a better support for his or
her own emotional experiences, personal experiences, knowledge and life. For this reason, it is important
to select the objects that are directly affecting the child's mind to understand the legitimate connection
between things and events. Students of this age are still tired of work that is not interesting to them, and
can hardly focus on material that has no direct effect. In view of this, it is not possible for the whole
education to be exclusively on the basis of interest and liking. The sooner the students realize and feel that
reading is a labor that requires serious willpower, the sooner they are able to concentrate their attention,
the ability to direct and freely organize activities in their learning activities. An active student of this age
is characterized by intense activity, which often adds to his inability to control his own behavior, often
causing him to act responsibly. It is necessary to organize the student's mobility and motor skills in the
right way and give him the best direction.
There is a certain dynamic in the attitude of students in grades 3-4. Finally, the child is interested
in the internal content of the learning activity and can transform theoretical and practical tasks into
specific and practical tasks. The study of the regularities of its formation is a task of modern pedagogical
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and psychological sciences. Speaking of child surveillance, children in these classes are already receiving
voluntary attention.
“Man has intelligence. In this mind, the spirit is the natural primordial of man. "But these
primitives do not suffice to become human beings under the influence of their natural instincts. [5.120]
(M.Khayrullaev, Farobi and his Philosophical works. T.1963)
The great Eastern thinkers play a great role in the emergence of psychological views in the East.
Among them are Al-Khwarizmi (783-850), Al-Farabi (873-950), Abu Rayhan Beruni (973-1048), Abu
Ali Ibn Sina (980-1037), and Mirzo Ulugbek (1324-1409) who have inherited rich ideas about the
psychology and upbringing of the younger generation.
Voluntary focus on a particular issue is an important achievement for students of this age. As
with other psychological processes, general characteristics of child emotion have changed. During this
time, children begin to develop the skills of teamwork and self-control within the community.
The purpose of the lesson is to be defined first.
I. Course Objectives:
1) The educational goal is to work on intonation, to explain new themes, to teach new songs, to
reinforce previously used topics in the classroom, and to use them effectively during the lesson.
2) The pedagogical aim is to instill a love for one's country and people through the songs studied,
to create a sense of respect and pride for their national music and national traditions.
3) The developing aim is to be able to think independently, to give feedback, to correct and
correct the mistakes and shortcomings of other students.
4) The formative aim is to develop musical skills, auditory skills, proper sitting, breathing
properly, and the use of sound equipment, music taste and worldview.
II. Type of Lesson: Controversial Intellectual Game.
IIII Visualization
Textbooks and additional literature, musical instruments (piano, rubab, accordion ...), tape
recorders or gramophone records, cards and posters.
IV. The lesson plan:
1) Students enter the classroom with their music and sit in their seats. (even better if there is a
song that needs to be learned or heard).
2) Opinions about music heard. (the author of the musical, what genre, tempo, rhythm, tone, etc.)
New Topic: Tonica.
The base of the melody is tonic. Each ton contains a tonic.
The musical works end in a toned tone and so on.
4) Listen to the song “Parents” we need to learn.
Pupils will comment on the song.
The teacher will tell you about the song's composer. By linking to a new topic, the teacher is
tasking students with finding the tonic of the work.
5) Singing. (Sound with volume adjustment exercises, song learned in small sentences)
6) The teacher analyzes the song with the students in terms of music (tone, size, tempo,
dynamics, etc.) and content (love for parents, feelings of respect, etc.) that complements the students'
thoughts and explains the educational value of the song.
He realizes that the brain is the center of conscious and logical thinking, and that the brain ...
perceives or stores sensory images. It combines or acts on the imagined images, thereby creating different
images, like the images that come through the senses. [5.19]
The procedure of the lesson: Music education is conducted in the traditional form (checking
pupils' attendance, checking homework, teaching songs, listening to music, music literacy). The teacher
then conducts the lesson according to the above plan. At the end of the lesson, homework will be given
and the students who have been active will be evaluated. Providing stimulus cards for each correct answer
will help increase the effectiveness of the lesson as it helps to identify the most active students.
Pupils will be introduced to notes from the 1st grade, along with the pauses. They can easily
perceive the pause as a pause in the singing. It is important to explain its importance to children based on
a song they already know and who have been paused (but never paid attention to it). The teacher records
this song on a blackboard and points out new, unfamiliar characters. He then suggests that the song be
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sung by the notes, and that the children should pay attention to the song while the rest of the characters in
the song have to squeeze and relax. The teacher illustrates the importance of pauses and the role they play
in expressing the peculiarities of the song, in the example of different music and songs. He explains that
the pause is part of the work, that it is easier to breathe during pauses, and so on. The teacher chooses the
tunes that come in different stretches for the singing exercises. The two-string exercise will be fun to sing
with the kids; It is stated that the first line is placed in the first half of the class and the lower half - in the
second half.
The work on developing a sense of rhythm in children, as well as introducing them to the
moaning stretches, helps children prepare for the perception of the dimension of music as well as the line
of tact. The teacher explains that the shifting of strong and weak contributions in music determines the
scale. For example, if one weak contribution is replaced by one weak contribution, it is a two-dimensional
measure, while the two strong contributions with one strong contribution are two-dimensional.
In Class II, the introduction to measurement begins with the two-partite dimensions that are most
common and often found in songs that are in the lower grades.
There are various ways to introduce children to the concepts of measurement and tact. The
simplest method is to compare the accents in the words of the poem with the accents of the music note.
First of all, the teacher recommends that children read the lyrics and underline the underlying links. The
lyrics are written on a blackboard, with the syllables highlighted separately.
As students learn to sing and listen to different pieces of music, they are introduced to some of
the principles of the formation of musical forms. The band forms a wide variety of children's songs.
When children hear a teacher say, "say the first paragraph" or "repeat the second paragraph," they get an
idea of the structure of the work.
Several songs will also be featured. They also remember this term very easily. Initially the
teacher uses such terms, and the students repeat it without understanding what they mean. But in class II,
the teacher's attention is drawn to the differences in the structure of the songs. In some songs the same
melodic material is repeated, but only the lyrics change. In other songs, the band consists of two parts, the
musician's song (the beginning of the song) and the repetition, while the poetic words at the beginning
(the beginning of the song) change, and the words are usually repeated. Thus, it is also familiar with the
two-part form.
A little later the children form a three-part shape; this form is based on the contrast (contrast)
comparison of the music material between the middle and the periphery. Three-piece songs are rarely
played, so this form is best known in the music listening section where you will find many examples.
In high school, students listen to complex and large works and learn about musical forms such
as rondo, variations, sonata allegros.
2. CONCLUSION
In summary, it is possible to say that upbringing a fully developed personality has
always been the most important area in which human reasoning and educational science are focused. The
scientific and educational importance of music art is highly valued among the original "sections" in this
area. That is why world-renowned scholars in science, culture and arts (Abu Nasr Farabi, Abdulqadir
Maraghi, Al Kindiy, Abdurahman Jomiy, Ibn Sina, Darvesh Ali Changi, Alisher Navoi) are both music
and art educators. They have produced great works on various problems. These works have not lost their
scientific and educational prestige as a historical basis of musical and theoretical knowledge. However, as
in any field, music education has modern requirements for the formation of an individual, which is the
agenda of every social era as an order and need for education. The role of the acquisition of music
knowledge in the formation of the personality of the elementary school student was further confirmed in
the results of this study guide. The lessons of Music Culture not only have a positive impact on students,
but also have an impact on their musical tastes and musical worldviews. Therefore, a set of musical
knowledge, which is presented in acceptable content and methodology, develops students' interest in
music and, more importantly, they learn to distinguish good music, genres, folk and classical music. The
results of the study showed that children started singing, listening to music and learning about the life of
composers. Even students who were initially disregarding music culture classes eventually came to the
music culture classes with a keen desire to learn something new. The interest and aspiration of the
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students to the various activities within the discipline of Music Culture increased. Many students have
developed the skills of a competent, meaningful approach to listening, singing, and performing rhythmic
movements. Developing students' ability to analyze the expressive means and forms of musical work has
given them the ability to express themselves freely.
REFERENCES
1. Kadyrov B. Talant, Tafakkur Magazine. -T., 2007. No. 3, pp. 65
2. S. Begmatov, "The Art of Security". - 2007. Page 19.
3. K. Burieva, “Traditional Singing” (for female voices) .- T, 2008. 4 pages
4. G.Muhamedova. Fundamentals of Singing Methods. -T., 2007. 16 p.
5. M. Hayrullaev, Farobi and his philosophical works. T.1963 120,
6. E.Goziev. "General Psychology." T. 2010.