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DIPLOMA IN EARLY
CHILDHOOD TEACHER
EDUCATION
(DECTE)
MUSIC AND MOVEMENT
ACTIVITIES LESSON
NOTES

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COURSE PRELIMINARIES

1) Key competencies: Communication and Collaboration, Self-efficacy, Critical Thinking and

Problem Solving, Creativity and Imagination, Citizenship 6. Digital Literacy, Learning to
Learn
2) Professional learning areas: Child development and psychology, curriculum studies,
educational resources, ICT integration in Education, Educational Assessment, Communication
and research skills, Inclusive education, Educational Leadership and Management,
Sociological and Philosophical foundations of education, Historical and comparative
foundations of education, Micro teaching and practicum (12 areas)
3) Integrated content and pedagogy learning areas: English, Kiswahili, Mathematics, Science and
Technology, Agriculture, Home Science, Religious Education (CRE/IRE/HRE), Social
Studies, PHE, Art & Craft, Music, Indigenous Language, Foreign Languages
(French/Arabic/German/Mandarin-Chinese/Kenya Sign Language (KSL)
4) Regulations for the DECTE – entry requirements, duration of training, subjects offered, ,
micro teaching and practicum, award of diploma, grading and distribution of course content
in hours
5) National goals of education
6) Level expected learning outcomes for DECTE
7) Essence statement
8) General learning outcomes in music
9) Course content for music

ESSENCE STATEMENT

Music is an art form and a cultural activity that uses sound and movement as a way of expression and
communication. As a learning are, it involves creating/composing, performing, critical and responsive
listening to music. The course will equip the teacher trainee with both content in music, and necessary
pedagogical skills to facilitate learning of music as a practical experience. It also equips them with
skills and knowledge to identify and nurture a learner’s potential through a learner centred approach
focusing on learning that integrates the use of ICT resources. The music course seeks to develop a
competent, efficient and reflective generalist music teacher for primary education (PE). This is in line
with Albert Bandura’s Social-Cognitive Theory which argues that individuals have some type of
proactive involvement with their own development and their actions are capable of producing desired
results. The theory emphasizes experiential approach to acquisition of knowledge, skills and attitude
in music through proactive individual agency.

Upon completion of the course, the trainee will be able to work as a generalist music teacher in
primary school. In addition it will provide them with the ability to continue developing their
skills and knowledge in music through further training and lifelong engagement in musical activities.

GENERAL LEARNING OUTCOMES

1) Compose songs and improvise rhythmic patterns for diverse developmental ability groups
using voice and percussion instruments
2) Choose appropriate instructional methods and materials that meet the varying needs and
abilities of the learner

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3) Design appropriate techniques to evaluate learners

4) Create and notate music using music software

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5) Use digital devices and ICT to enhance music learning

6) Perform music as an individual and in ensembles
7) Appreciate and promote Kenya’s diverse cultural heritage through music making activities
8) Integrate Pertinent and Contemporary Issues (PCIs) in the learning of music at Pre-Primary
level.

COURSE CONTENT FOR TERM 1 (40 HOURS)

1) Foundational skills
 Overview of music (3 hours)
o Examine importance of learning music in pre-primary education
o Use of music in facilitating learning in different learning areas
o Selection of relevant digital and online children songs for music learning in (Pre-
Primary Education) PPE
o Appreciate the relevance of PP1 and PP2 music essence statement for use in PPE
 Musical symbols and note values (12 hours)
o Improvise rhythmic patterns for use in introduction of note values
o interpret note values using French rhythm names/syllables to discriminate between
duration of musical notes
o Use note values to create short rhythmic patterns to facilitate the learning of rhythmic
improvisation in PPE
o Use music software to create, play, record and share rhythmic patterns
 Rhythm (11 hours)
o Musical notes and their corresponding rests
o Interpret rhythms in simple time
o Compose rhythms in simple and compound time
 Pitch (12 hours)
o The treble and the bass clefs
o Interpretation of piano/keyboard
o Notate pitches on the staff
o Construction of major scales of C, G,D,F and Bb with and without key signatures
o Hand signs and solfa notation (solfage)
 Melody (8 hours)
o Orally compose and record rhymes for use in PPE
o Fit new words to familiar tunes to address contemporary issues (Health Education)
o Appreciate music to entertaining lyrics (about animals, or an interesting character)
suitable for Pre-Primary activities)
Music as a learning area

Various studies have found that engagement with music can lead to an improvement in brain
development in children. A study at Northwestern University found better neural processing in
students who played a musical instrument when they were compared with students who simply
listened to music.

Music education is an important aspect of providing children with a well-rounded education.

When allowed to work in harmony with other subjects and areas of study, music helps children grow
in self- esteem, build essential skills and prepare for bright futures

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BENEFITS OF MUSIC EDUCATION TO EARLY

1) Language development - Music and movement enhances language development in children from
as early as during as gestation period Children whose mothers listen to particular songs when they are
expecting tend to like the song even after birth and this shows that listening skills are honoured much
earlier Music also develops language in children as they pronounce words, speak to each other and
express themselves.

Enhanced language capabilities - would you like your child to have larger vocabulary and enhanced
reading comprehension skills? Studies show consistent music education improves both areas. How
does it work?

Emerging evidence suggests the area of the brain controlling both musical ability and language
comprehension are more related than previously thought. Music education requires students to
recognize and repeat pitch, tone or enunciation of words.

Especially in young children, music directly benefits the ability to learn words, speak them correctly,
and process the many new sounds they hear from others.

2) Improved memory: Music education involves a high level of memorization. Students must be able
to read music by sight, play the proper notes on their instrument or recall lyrics. This process benefits
the overall memory center of the brain.

In one study, musicians outperformed non-musicians in auditory, visual, and memory tests.

Music is also easily stored in our memory. Have you ever had a song stuck in your head? You can use
music to help children remember things. Examples include using common tunes to memorize facts,
playing meditative music during study time, and using music resources when presenting materials.

3) Strengthened hand-eye coordination: Playing a musical instrument has long been known to
enhance dexterity and hand-eye coordination.

When playing an instrument, a musician must be able to create the correct notes through the proper
hand motions, whether it be hitting keys, closing valves or using another apparatus to produce sound.
In addition, the musician is also required to read the sheet music and follow the conductor.

This opportunity to grow motor skills is especially significant in younger children. Even a basic
introduction to an instrument, such as a hitting a triangle or learning a song on a recorder, can be
beneficial.

4) Powerful study habits: As children grow and are exposed to more rigorous courses of study, time
spent reviewing and retaining is essential to success. More and more time in the classroom is spent on
introducing new subjects and ideas, requiring students to work at home to ensure they have grasped
onto the necessary information.

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When children are exposed to proper music education, they learn powerful study habits.
their specific musical craft takes a concerted effort, consistent practice and patience. These disciplined
habits translate into other areas of study.

5) Social development/Teamwork: Music is often thought of as a way to foster individual

expression. While it definitely is that, music can also teach teamwork. No place is this more evident
or powerful than in schools.

Students work together to create a cohesive, technically correct performance. Together, they form a
community of like-minded individuals who can help each other reach goals. Many students find a
sense of belonging in school music programs.

6) Cognitive development (mental processing & problem-solving heightened): In the end, one of
the most useful benefits of music education is the increased ability to process situations and find
solutions mentally. Those with musical training have been found to have higher levels of grey matter
volume in their brains, which are directly tied to auditory processing and comprehension.

Surprisingly, one of the areas of life this is most important for is forming relationships. Musicians
learn to listen to others, sense emotion, and react with greater depth and understanding

Sequential thinking - Children can be taught to think widely on creatively through music and
movement especially when parents/teachers stimulate their thinking e.g. how a tree would bend in a
slight breeze. When learning a new concept, a song or dance style will be used for quick
remembrance.

7) Physical development and coordination: The central factor in music & movement is to enhance
mobility. Since children involve their body parts and muscles to move, the music physical
development and coordination is enhanced.

8) Emotional development: Young children exhibit different emotions at different times. Some may
be moody, happy and joyful, sad or tempered. In classroom teachers will use songs for creative
movement and dramatics as a change for pace and release for tension and energy.

9) To enhance other learning areas: Music can be integrated with Mathematics, Language,
Religion, outdoor/physical activities and environmental activities to promote building up of concepts
and skills.

IMPORTANCE OF MUSIC AND MOVEMENT IN EYE

1) It is used for purpose of Competition clearly demonstrated during schools festivals in Kenya.
2) For promotion of our national heritage- Through singing of patriotic songs.
3) For self-reliance- It forms a foundation for possible feature careers in music.
4) Necessary for concentration- Children have to listen first before repeating a song.
5) For instructional purpose- e g Actual teaching of number e g Moja, Mbili, Tatu, Nne etc
6) It’s a motivator- e g Ayoo-Ayo-yo-yo
7) Used for entertainment and relaxation- e g During sports parents days and prize giving days in
schools

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When children are exposed to proper music education, they learn powerful study habits.
8) Helps to improve physical fitness.

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9) Used to enhance all areas of a child’s development e.g. physical, intellectual,

emotional and social aspect.

WHAT IS MUSIC?

 Is sound appearing in a planned sequence

 Is the art of making pleasant combinations of sound in rhythm, melody, tone colour and
harmony
 Is the organization of sounds that please the ear?
 Is the art of expression sound, melody, harmony including both composition and execution.
In PE, music is used to express a feeling or emotion such as joy, happiness sadness, or
excitement.

Music is a tool through which man expresses his feelings, emotions and ideas through vocal or
instrumental rneans (or both). A combination of sounds which are pleasant to the ear.

It is a combination of organized sounds in a specific time pattern which sounds pleasant to human ear.
Music in pre-school involves singing, clapping, tapping and instruments. It is an art of expression
through sound that is culturally defined.

It has been defined as “organized sound.” A musical tone is a product of regular vibration in the air,
and it perceived when an inner part of the listener’s ear is made to vibrate in sympathy. A noise by
contrast is the product of irregular vibration. Of the banging, scraping and blowing we mentioned
above, the first may produce music or noise, according to the object being banged and the ways in
which it vibrates. Normally, the scraping or striking a taut string, or causing a column of air to vibrate,
will produce a musical tone. Any musical composition, or piece of music, will be made up of a very
large number of musical tones, intended to be heard in a carefully ordered pattern.

The basic systems of ordering are three: rhythm, which governs the movement of music in time;
melody, which means the linear arrangement of tones; and harmony which deals with the
simultaneous sounding of different tones. There are other important elements too such as, color and
texture.

The first musician was nature. Insects hummed and birds sang. The wind sighed from giant trees and
ferns. The rain made gentle music as it fell upon rocks and upturned leaves. Water trickled down
mountain creaks and waves gurgled and splashed on beaches of pebbles and sand. Thunder boomed
across the sky. The world became alive with sound.

But in speaking of early times, when the world was very young and man had no means of writing
down his thoughts we must ask imagination to help us. Primitive man soon found he could pass
on his meaning to others by using the sounds which came from his throat. We can imagine that
when he wanted to warn his family of danger he did so by a sudden yell. We can also suppose that
ordinary conversation was carried on by a series of grants, some high, some low, some long and
others short.

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Gradually he learned to make up words, so speech began. “Primitive people” i.e. the early man,
found pleasure in a simple form of dancing making noises as they jumped and whirled about.
Because the words which accompanied their dancing sounded better if chanted, singing began.

Then man found he could inspire others with a brave song, or a mother could soothe her child with a
gentle, crooning lullaby, and the need came for what we know now as music.

The songs of the early man would sound strange to our ears today, but in those far-off times they
expressed the feelings of these simple people. As time went on they discovered that other sounds
could be made besides those which came from throats.

From something that begun as a means of self-expression gradually developed as form of

entertainment for the benefit of others which became the basis of instrumental and vocal music.

THE ORIGIN OF MUSIC

Music is found in every known culture, past and present, varying widely between times and places.
Since all people of the world, including the most isolated tribal groups, have a form of music, it may
be concluded that music is likely to have been present in the ancestral population prior to the
dispersal of humans around the world.

In every society, in every period of history, men and women have made music:

 they have sung it and danced to it;

 they have used it in solemn rituals and in light hearted entertainments;
 they have listened to it in fields and forests, in temples in bars, in concert halls and opera
houses;
 they have made it not only with their voices but by adapting natural objects and banging them,
scraping them and blowing through them;
 they have used it to generate collective emotion – to excite, to calm to inspire action, to draw
tears

Music is not a fringe activity or a luxury one: it is a central and necessary part of human life. Every
human culture has found a musical style and a means of expressing it that arise from the needs, the
history and the environment of that culture. In black Africa, for example, where the native population
has in general a stronger subtler command of rhythm than populations elsewhere, and where there has
been a crucial need for quick communication over large distances, the musical culture is more closely
concerned with drums and drumming than any other culture in the world.

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ELEMENTS OF
1) Sound: (overtone, timbre, pitch, amplitude, duration)

2) Rhythm: A regular pulse or beat appears in groups of two or three. A repetition of beat or sound
irregular and predictable pattern; Music as quicker or slower rhythm which may be lively or soothing.
It may contain sounds of different lengths which is related to the kind of notes used in a rhythm such
as crochet, minim etc.

3) Melody/Pitch: The location of a sound on a tonal scale. Therefore, defining its highness or
lowness of sound. The quality of musical note or a voice especially low or high it is. The rhythm
value of a note will determine the duration of the pitch. Melody is succession of notes varying in
pitch which have an organized and recognizable shape.

4) Harmony: Is the simultaneous sounding that is combination of two or more notes. It is vertical or
as opposed to horizontal movement of a melody as in melody. When a choir sings in four parts each
having its own notes then it performs in harmony. ‘

5) Timbre: Also known as tone color. It is the quality of tore distinguished in production by an
instrument or singer. Maybe described as bright, dark, brilliant or rich. If one note is to be sounded by
a trumpet and the descant recorder the quality of sound heard will be very different despite the notes
being of the same pitch. The difference in the tone color is the difference in the timbre

A rhythm defines a melody with an order movement in a devised pattern therefore melody is easy to
remember the part of a song that will harm or whistle to. Movement of melody is horizontal because
the notes are heard consecutively.

6) Form/Structure: It is shape, structure and design of a composition. Various techniques can be

used by a composer to create a musical form such include repetition, contrast and variation

7) Expression: dynamics, tempo, articulation

How would you define music as learning?

Musical learning style refers to a person's ability to understand and process sound, rhythm, patterns in
sound, relationships between sounds, and ability to process rhymes and other auditory information.
How does music help students learn?

 Background music may improve focus on a task by providing motivation and improving mood.
 During long study sessions, music can aid endurance.
 In some cases, students have found that music helps them with memorization, likely by
creating a positive mood, which indirectly boosts memory formation

What skills does music develop?

Music ignites all areas of child development and skills for school readiness, including intellectual,
social-emotional, motor, language, and overall literacy. It helps the body and the mind work together.

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Exposing children to music during early development helps them learn the sounds and meanings of
words.

PROPERTIES OF SOUND

A sound is a result of vibrating matter. A sound may be tonal or atonal. Atonal sounds have irregular
vibrations e.g. drum sound, clapping of hands, thunder etc. There are four properties of sound

1) Duration: This the time during which a sound lasts or the amount of time a sound lasts. Some
sound take s shorter time to last while other take a relatively longer time. Symbols that represent
sound are called note values. Depending on the length of time a sound takes to last, we have different
note values as we shall see in our subsequent lessons.

2) Pitch: This is the height (highness) or depth (lowness) of a sound. A sound is said to be high if the
frequency of the vibrating body is more rapid. The higher the frequency, the higher the pitch and vice
versa.

3) Timbre: This is the distinct quality of a sound. It is the roughness/coarseness or fineness of a

sound sometimes referred to as sound texture. The quality of a sound is determined by the wave
patterns of the vibrations, so that the more regular the shape of the waves, the finer the quality of
sound. In this case irregular wave shapes will result in a rough sound texture.

4) Intensity: It is the loudness or softness of a sound or the sound output or volume of sound. A
sound is said to be soft if it if barely audible. Too loud a sound can be irritating to the ear and
even cause some hearing loss. However, sound must be kept within the hearing range.

ELEMENTS OF RHYTHM
NAME OF NOTE NOTE REST FRENCH RHYTHM NAME VALUE

Semi-breve( Whole note) Taa-aa-aa-aa 1

Minim Taa-aa ½

Crotchet Taa ¼

1
Quaver Ta-te /8

1
Semi-quaver Ta-fa Te-fe /16

1
Demi-semi quaver Ti-ri Ti-ri Ti-ri Ti-ri /32

1
Hemi-demi-semi-quaver /64

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Total time is calculated by adding the notes and rests. Two quavers equal a crotchet. Four crotchets
equal a semibreve. Eight quavers equal a semibreve. This music plays for 16 crotchets.

French Rhythm Names: These are the sounds of note lengths when the crotchet is the beat.

ASPECTS OF RHYTHM

a) The Beat: When you clap your hands or tap your foot to music, you are responding to the beat.
The beat is a regular recurring pulsation that divides music into equal units of time. It is the basic
unit of time by which all note in a piece of music are measured. It is a regular throb. Any note can
be a beat, be it an ordinary or dotted note.

b) Meter/ Time Signature: A time signature is a set of two numbers, one on top of the other one,
written right after the key signature in a piece of music. The two numbers in a time signature tell you
how many of one kind of note there are in each measure in the song. In notational convention used in
Western musical notation, it is used to specify how many beats there are in each bar and which note
value constitutes one beat. Time signatures consist of two numerals, one stacked above the other:
 The lower numeral indicates the note value that represents one beat (the beat unit).
 The upper numeral indicates how many such beats there are in a bar.

In a musical score, the time signature appears at the beginning of the piece, as a time symbol or
stacked numerals, such as or 3 (read common time and three four time, respectively)
4
The time signature immediately follows the key signature or immediately following the clef symbol if
the key signature is empty. A mid-score time signature, usually immediately following a bar line,
indicates a change of meter.

c) Tempo- the speed at which the regular beats of meter travel. It is the rate of change of musical
elements or simply the speed of music, be it fast or slow

MELODY
A melody is a series/succession of individual tones, differing in pitch, played/ heard/written one after
the other. Pitch is the height or depth (or highness or lowness) of a sound. The pitch of a sound is
determined by the frequency of the vibrating object, so that the higher the frequency (the more rapid
the vibration), the higher the pitch.

The Staff

The Staff is a set/series of five parallel, horizontal, equidistant lines with four spaces on which
musical notes are written

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The lines of the staff are numbered from the bottom to the top, so that the bottom line is line 1, the
second line from below is 2, the third is 3 etc.

The Clef

The five lines have no musical value without the introduction of pitch. The sign that introduces /fixes
pitch on to the staff is called the clef. The clef also enables us to name the line and the spaces of the
staff.

Types of clefs: 1) The Treble 2) The alto 3) Tenor 4) The bass clef

1) The Treble Clef: It is also referred to as the G-clef. This is so because it coils around the second
line of the staff also called line G. The treble clef is used with the two female voices i.e. soprano and
the alto voices.

2) The alto/tenor clef: These are also referred to as the C-clef. They are used with the two middle
voices i.e. alto and tenor. The pointed part of the clef points on the middle C, which is halfway
between the treble and the bass clef. The alto and tenor clef symbols mirror through Middle C.

3) The Bass Clef: It is also called the F-clef. It is used with the two male voices i.e. tenor and the bass.

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Naming the Staff

To name the staff, the first 7 letters of the alphabet are used i.e. A, B, C, D, E, F, and G. These 7
letters are referred to as letter/pitch names. The seven letters, the eighth of which is a duplicate of
the first form a pattern called an octave, e.g.

A B C D E F G A B C D E F G A B C D E F G
The distance from one note/pitch name to another in an octave is not always the same. In an octave
where A Is the starting point (or tonic), the distances are thus:

A B C D E F G
The distance in pitch between two letter/pitch names is called an interval. Intervals are measured in
units called tones or semi tones.

The Grand/Great Staff

This is a big staff that combines both the treble and the bass clef. In between the two clefs is the
middle C.

Though we know the staff as five horizontal lines it originated as eleven. The 11 line staff is called
the grand/Great staff. Pitch ascends through the lines and spaces of the grand stave.

We name the ascensions of pitch with the first 7 letters of the alphabet, A B C D E F G. The alphabet
ascends smoothly through the lines and spaces of the grand stave. We repeat the names at each eighth
ascension.

A B C D E F G A
1 2 3 4 5 6 7 8

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The easy ascension on the grand stave doesn't look so easy on the 5 line staves. The middle line is
on the treble clef, D on the bass clef, C on the alto clef and A on the tenor clef.

Our five line stave is easier to read than the grand staff. But to reduce our staff to five lines we need
to know which five lines we are referring to. For that we use a clef.
a) The top five lines = the treble.
b) The bottom five lines = the bass clef.
c) The middle five lines = the alto clef.
d) The tenor clef stave is one line down from the alto clef stave.

The top two lines of the alto clef are the bottom two lines of the treble clef. The bottom two lines of
the alto clef are the top two lines of the bass clef.

The tenor clef is a line under the alto clef. The top of the tenor clef is the bottom of the treble clef.
The middle of the tenor clef is the top of the bass clef. The bottom of the tenor clef is the middle of
the bass clef.

Accidentals
1) Sharp (#)
Is a sign which when placed before a note value or after a letter/pitch name (as a superscript) raises
the pitch of the note by a semi-tone. e.g. C C# D D# E FF# G G# A A# B C

The notes C sharp and C double sharp on the treble clef.

In music, sharp, diese (from French), or diesis (from Greek) means higher in pitch and the sharp
symbol raises a note by a half tone. More specifically, in musical notation, sharp means "higher in
pitch by a semitone (half step)," and has an associated symbol (♯), which may be found in key
signatures or as an accidental, as may flats.

Under twelve-tone equal temperament, B sharp, for instance, sounds the same as, or is
enharmonically equivalent to, C natural, and E sharp is enharmonically equivalent to F natural.
In other tuning systems, such enharmonic equivalences in general do not exist.

In tuning, sharp can also mean "slightly higher in pitch" (by some unspecified amount). If two
simultaneous notes are slightly out of tune, the higher-pitched one (assuming the lower one is
properly pitched) is said to be sharp with respect to the other. Furthermore, the verb sharpen means
"raise the frequency of a note, typically by a small musical interval".

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Double sharps also exist; these are denoted by the symbol and raise a note by two semitones, or
whole tone.

2) Flat

In music, flat, means "lower in pitch" and the flat symbol lowers a note by a half step[1]. More
specifically, in music notation, flat means, "lower in pitch by a semitone (half step)," and has an
associated symbol (b), which is a stylised lowercase "b" [2]

Under twelve tone equal temperament, C flat for instance is the same as, or enharmonically
equivalent to, B natural, and G flat is the same as F sharp. Note that in any other tuning system,
such enharmonic equivalences in general do not exist. To allow extended just intonation, composer
Ben Johnston uses a sharp as an accidental to indicate a note is raised 70.6 cents (ratio 25:24), or a
flat to indicate a note is lowered 70.6 cents[3].

Double flats also exist, which look like and lower a note by two semitones, or a whole step.

In tuning, flat can also mean "slightly lower in pitch". If two simultaneous notes are slightly out of
tune, the lower-pitched one (assuming the higher one is properly pitched) is said to be flat with
respect to the other.

The order of the flats in key signaturenotation B, E, A, D, G, C, and F. A mnemonic for this is: Battle
Ends And Down Goes Charle's Father.

3) Natural sign (♮)

In musical notation, a natural sign (♮) is an accidental sign used to cancel a flat or sharp from either a
preceding note or the key signature. If a bar contains a double sharp or double flat accidental and the
composer wishes to denote the same note with only a single sharp or flat, a natural sign traditionally
precedes the (single) sharp or flat symbol. Naturals are assumed (by default) in key signatures and
mentioned only in key signature changes. In highly chromatic and atonal music, to prevent any
ambiguity in performance, natural signs may be placed in front of any note that is to be neither
flattened (flatted) nor sharpened (sharped)

Solfa - Notation.

Syllable — is a single sound made

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Solfa — these are syllables representing notes sung on a musical

Solfa notation — these is a system of writing down notes sung on a musical scale

Components of solfah-Notation
It is made up of so 8 (eight) syllables the 8th of which is a duplicate of the first.
doh ray mi fah soh lah ti doh written as d,r,m,f s l t,d’

The difference between one syllable (note) and another called the pitch. These pitches increase from
the initial d to r, in that manner in a musical scale.

Form of solfa notation:

They are of two kinds

a) Ladder form
b) Staircase form

FACTORS TO CONSIDER WHEN SELECTNG AND COMPOSING MUSIC FOR PE

1) Musical structure - Where children’s songs should have short phrases, not challenging (in
pitch, text…) not hard to remember.
2) Purpose/objective- course objectives. What the song is intended for e.g. behavior
modification, relaxation or general entertainment.
3) Syllabus requirement/Subject matter- Songs should be appropriate for the children’s level.
Most children like animal songs or nursery rhymes.
4) Ethnicity- Source/race/religion/language for which the music is intended. Reason for or the
importance of this: African songs are rhythmic while western songs are melodic.
5) Variety- Diversity in choice of the songs e.g. singing games, sacred songs, fork songs.
Different African communities differ in terms of specific body parts to be emphasized in
dancing/ movement while dancing or singing, but all accompanied by movements e.g. Maasai.
Turkana move the neck more while the Akamba move the shoulders.
6) Musical interests of the children - Songs should be interesting to capture the child’s
attention. Teachers at pre- school need to be creative and offer a variety of songs.
7) Available/allocated time
8) Space requirement: Allow for free and easy movement
9) Number of children/class roll: The organization of the song will determine the number o1f
participants.
10) Materials/resources: Availability and adequacy is important.
11) Morality of the game/song: should be in line with what is morally and ethically acceptable.
12) Gender/sex: Consider class composition
13) Simplicity of the rhythm: Melody or song should be short with simple words for children o
remember.
14) Learner interests: What do they value most
15) Repetitive: Music should be repetitive for children to memorize easily.
16) Language to be used in the game/song: Should be simple and developmentally appropriate
for e age it is intended for.
17) Musical structure: The song should have short phrases which are neither challenging to learn
or hard to remember

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HOW TO ENHANCE MUSIC AND MOVEMENT SKILLS IN PE

i) Ask children, clap, tap, stamp their feet etc.

ii) Sing songs that encourage action e.g. head, shoulder, knees and toes
iii) Do activities using various body pars e g touch your nose, eyes, ears etc.
iv) Dramatic songs e g culling like a cat, enlarging like an elephant, jumping high like a frog etc.
v) Encourage each child to move his/her own way therefore catering for individual differences.
vi) Prepare children to act out nature in movement e g bending and swaying, depicting natures,
causes and effect such as wind blowing.
vii) To appreciate diverse and rich cultural background and to develop a keen sense of nationhood.
viii) To enable children to learn and sing new children’s songs and games.
ix) To enable children build self-confidence and leadership skills.
x) To develop children social skills.
xi) To appreciate and contribute to the development of different types of music.
xii) We are able to read and write music.

THE ROLE OF MUSIC IN CULTURAL HERITAGE

Role refers to the purpose of music in lives of who make it. Culture is the way people live in a
community or society. Heritage is something that is passed on by inheritance. Cultural heritage are
the customs1 and ways of life of groups of people or a country that are passed on by inheritance.

Through culture our country enjoys a rich diversity of cultures. Children as citizens of a given country
need to appreciate their culture and other people’s culture apart from their own. ECDE offers an
opportunity for teachers to enlighten and encourage the children to embrace the different cultural
aspects of other communities since children in the ECD centers especially in the urban centers are of
different communities.

THE ROLEOF MUSIC AND MOVEMENTS IN CULTURAL HERITAGE

1) Through cultural dance children can get exposure to their culture through dances.
2) Transmission of particular communities values, norms and traditions
3) Helps in expression of feelings indifferent issues.
4) Praising of the community heroes who have made an impact on their society.
5) Instills into the children appreciation of their heritage
6) Expression of the communities’ needs such as rain in cases of drought
7) Thanks giving were done through dance and songs when there was abundant harvest
8) For entertainment
9) Transition of culture from one generation to another
10) Warnings-we use music to warn or rebuke people about some behaviour that are not accepted
in their cultures
11) For self-fulfillment and development. It encourages people to work hard in order to attain their
set goals.
12) For leisure or enjoyment- music enables people to relax, refresh their minds after work.
13) Educating some important messages are passed through music. This equips people with
knowledge.
14) Creates employment people are employed as music teachers and musicians

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15) Promotion of skills and creativity by creating dancing costumes, cultural ornaments. Dances
were performed when occasions such as during naming ceremony, during birth, during
communal work, during marriage, during funerals during social gathering, duringtradition on
wars and during initiation.
16) During child naming- songs and dances are performed to entertain the gathering. Songs and
dances are performed to appease the ancestors from whom the name of the child is chosen.

Example of song
Luhya song Meaning
Wenya khulola Omwana Tunataka kumwona mtoto
Whenya khulola Tunataka kumwona nayempenda.

During initiation- Before the activity songs and dances were performed in order to;
a) Encourage the initiates to be brave/not to fear - the cowards
b) Tell the historical aspects of initiation among the community.
c) Entertain the initiates
After initiation song and dances were performed in order to;
a) Congratulate the initiates for their bravery.
b) Mock those who may have feared the process.
c) Educate the initiates on their new social responsibilities.
d) Welcoming the initiates into adulthood

Example
Luhya song
Mlongo ahoo*2
Ni wenye sina
Hawe ahoo

During communal work

The songs and dances are performed in order to:
i) Boost the morale of the workers
ii) Mock lazy workers
iii) Thank God for the plenty harvest
iv) Encourage community members to work hard and also together
v) For entertainment during the time at work
vi) Make work appear easy.
vii) Music makes the community the members at work to work in harmony hence they are united.
viii) Adds rhythm to words

Example
Luhya song Meaning
Mama mbe tsimbindi Mother give me seeds.
Mama mbe tsmbindi I go and sow or plant
Nziekumiza*2 nzie nzie
Nziekumitsa

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During social gatherings

These songs were meant to:
a) To entertain the gathering.
b) To praise the leaders of a community or country.
c) To praise bulls during bull fighting.
d) To mock the losing bull in fight.
e) To mock the drunkards.
f) To encourage people to behave well in community by adhering to the norms at large.
g) To ridicule wrong doers by calling them names.
h) As a form of contribution to the integration of the society.
Example:
Harambee x2 tuimbe pamoja x2
Haramhee x2tujenge pamoja.

During traditional wars:

a) When it was war time there were some song sung in order to;
b) Praise the winner or the winning party.
c) Motivate the worriers not to give up.
d) Mock the enemy.
e) Console the injured and the families of the dead.
f) Mock the cowards.
g) To welcome the worriers back home.
Example
Kenya*3 nchi yetu
Kenya*3 taifa letu
Wako wapi hao wabeberu
Waone haya*2
Zamani Tuliwekwa ati nambari nne
Sasa abautani tuko
Nambari moja
During funerals: When someone pass away there are some songs that are sung to;
a) Stop the dead from haunting the living.
b) Send off the dead warmly.
c) Console the bereaved family.
d) As a distress to praise the dead.
e) Entertain the mourners.
f) Drive away the evil spirits.
g) Give hope to the bereaved family.
Example
Bye bye grandpa bye until.
We met again if not in
This world in the world
Above. For the world is perishing
With all its love for the world is passing away where
Will you be?

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vii) During marriage: It was considered as a very important’rite of passage. Songs and dances vere
done during this ceremony to;
a) Entertain the gathering.
b) Offer a prayer of a bright future for the couples.
c) Praise the families of the couples
d) Advice the wedded about their new roles.
e) Mock either of them depending on the group performing. :
f) Praise the newlyweds (groom and bride)
g) Educate them about marriage life in the community culture.

Example.
Kata, kata x2 kata usiogope
Kata, kata hiyo keki .kata.
Lisha lisha x2 lisha huyo.
Keki lisha usiogope.

During child birth

This symbolized the continuity of a community hence accompanied by songs and dances to;
a) Praise the parent of the new born child
b) Entertain the people gathered.
c) To express joy.
d) Welcome the new born to the society/ community at large.

Example:
Amezaliwa Mwana
Kazaliwa sote tishangilie
Mwana Kazaliwa,

COMPOSING SONGS

In Kenya presently and indeed in the whole world, there are issues that need attention urgently. This
is especially true of many things that afflict children and the youth today Sensitization of such
matters is important to children right from their pre- school days to adolescence.

This calls for a breed of creative teachers who can incorporate these emerging issues into simple
songs for children. Songs such as London is burning. Am going to the country, Old Mc Donald had
a farm and many others, have had their origins from cultures that are foreign to ours.

Steps to consider when composing songs

i) Think of a theme
ii) Write the words on the theme
iii) Arrange the words in poetic and storytelling style
iv) Read the words severally to establish time signature and the rhythm
v) Write the rhythm to match the words
vi) Compose the tune and fixthe time and key signature of the tune
vii) Fix the words be given one note. Make sure important words should be on a strong accent.

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viii) Sing the song several times making any necessary correction.

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ix) Add signs of tempo, dynamic and phrase marks.

Steps to be considered when teaching songs in an PE class

i) Sing a familiar song
ii) Introduce the new words of the new song.
iii) Sing the whole song for the children once more
iv) Guide them to sing that song stanza by stanza.
v) Ask them to sing on their own and correct them where necessary.
vi) Let the children repeat the song in order to master it.
vii) After mastering the song allow the children to make simple body movements.
viii) Introduce the use of simple musical instruments to match with the song

MUSICAL ACTIVITIES IN PE

The common music activities for children are singing, playing music instruments or percussion,
storytelling and play games alongside with music.
a) Singing
Singing is the simplest way for children to acquire the element of music since every child has the
vocal. At the beginning, children might tend to scream when they sing due to inability to control their
voices.
Approaches:
i) Encourage the children to clap according to the rhythm of the song or while they are singing
ii) Organise activities that associate with rhythms and move with rhythm i.e. action songs are
sung with actions to make the movement according to the lyrics. Naturally children like
action songs because they are free to move, express their feelings and show their individual
creativity.
iii) Sing action songs and with movement by following the song’s lyrics
iv) Encourage children to memorize their favourite songs by imitating their favourite singers in
order to acquire basic singing skills i.e. pitching and controlling of vocal and establish the
familiarity of beat and rhythms.
Classification of children’s songs

The Kenyan scholars who have described their communities’ children’s songs categorize them by the
social roles that each song plays in the lives of the children. Generally Kenyan children’s songs can
be classified according to their social functions because the songs can only acquire meaning and value
in relation to their social functions that they are part of. This is also the way in which the children
view their songs, as they will invite others to join them in singing the songs for counting, playing
with a rope etc. As such children’s songs can be classified as follows:

(a) Activity or Action Songs: Traditional Kenyan children’s songs in this category tend to spell out
social roles, like sweeping or fetching water and firewood, which are the activities in which the
children who perform them often take part. These tend to be female roles, which may indicate that at
this age, girls are at the forefront of this kind of performance. As a rule, these are songs that involve

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children in doing something, where the actions are mimed. The children move in a manner that acts
out what is in the text. Musically, action/activity songs are easy to learn, with substantial rhythmic
and melodic

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interest. Moreover, the melodies are easy to learn with basic rhythmic patterns that often stress the
pulse.

(b) Singing Games: These are songs that place equal emphasis on song and play and can be called
play with song, since the song and game go hand in hand. These include the skipping songs where
children play with ropes, with actions changing at various points in the song. Clapping games also
have songs that command a change of action at specific points. Other games may involve a tug of
war at the end of the song (where the winning group is the better).
A singing game is an activity based around a particular verse or rhyme, usually associated with a set
of actions and movements. Singing games are meant for children. Singing games enable children
coordinate singing and body movements. They are performed for enjoyment.
Music can be used in children games to make them more interesting and attractive; however the
sound of musical instruments and any other sound need to be selectively chosen in order to
match the objectives and nature of the games. Practice is a requirement for making sure the flow
of games is smooth and easy to carry out e.g. children galloping like a horse in a circle from slow to
fast.
Categories of singing games:
a) Matchmaking f) Jumping
b) Wedding Rings g) Eccentric Circles
c) Cushion Dances h) Buffoonery
d) Witch Dances i) Clapping
e) Calls of Friendship j) Mimicry

(c) Fable songs: These are songs that are incorporated in folk tales or fables. A lot of folk tales for
children have songs, usually sung by the victims and/or their captors, or the main characters in the
story.

(d) Songs for learning things: These are songs about ordinary things within a child’s experience,
touching on customs, proverbs, historical events and important personalities. In this category are
included technical songs from which children learn counting, colors and names of plants, animals,
birds and geographical locations. These are normally performed with some actions that help the
learning child to internalize the concepts, so that counting songs, for example, may involve moving
and touching people or objects. Songs involving naming of colors use the names of objects in the
environment that has the colors mentioned.

(e) Lullabies: A lullaby is a soothing song, usually sung to young children before they go to sleep,
with the intention of speeding that process. Lullabies have long been the medicine to nudge little ones
to sleep. As a result they are often simple and repetitive. This tradition of singing simple lullabies
seems analogous to the practice of meditation, in that the subject will listen to or repeat simple
phrases or sounds to induce a relaxed state for the mind and body. Lullabies are found in every
culture.
As earlier mentioned lullabies are sung to sooth a crying baby, usually by someone older, who may or
may not be a child. They have repetitive texts (words) and the words deliver three types of messages.
The songs could:
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UNIVERSITY LECTURE NOTES
MUSIC AND MOVEMENT
ACTIVITIES
i Call on sleep to ‘take’ the baby, as in Nyandolo – (Nyandolo, nindo tere (Luo) – sleep,
the baby).
ii) Praise the baby and promise good things upon the mother’s return, as in Merirei Cherotich
(kalenjin) and Ndolo mbobela omwana….lipwoni Sambe (Luyia) or
iii) Carry the threat of disaster for the baby who continues to cry in the form of an ogre or
beast that eats children, as in “Ombe” and ‘Mdondo’ (Chonyi).
Ombe……… Nyathi ma ywak , Ondiek Chame - The crying child will be eaten by the
hyena……

Example.
Lala mtoto lala
Mamaanakuja lala
Akupe maziwa/mkate lala

Characteristics of such songs include:

i) Short melodic phrases
ii) Repetitive
iii) Unaccompanied
iv) Soothing text
v) Solo performed
vi) Require no costumes
vii) Easy to remember
viii) Feminine tone
ix) Full of promises to the child
x) Simple melodies that are easy to memorize
xi) Full of rhymes which keep the child engaged to the song

(f) Cradle songs: Songs sung by the person tending the baby but not intended to hull him/her to
sleep, all fall under this category. They will praise and/or encourage him/her and are often directed at
the feats he/she is currently performing as he/she develops, like balancing on his/her feet, or taking
the first steps. (Tungelele/tete [Bukusu]). Most of these are chant like, but may have interesting
musical characteristics.

g) Rounds: These are song in which voices/performing groups enter in imitation of each other. These
songs are also referred to as canons. The objective of such songs is to mark entries and maintain ones
melodic line and rhythm. They are performed mostly by children.
h) Folk songs: Are traditional songs. Is a song that is traditionally sung by the common people of a
region and forms part of their cultural heritage. Folksongs revolve around the activities and matters of
social interest to the society. These songs have no specific composer and are orally transmitted from
one generation to the next.

In Africa, music plays an important part in the way people interact, celebrate and relay historic
events! Music is a form of communication and it plays a functional role in African society. Songs
accompany

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UNIVERSITY LECTURE NOTES
MUSIC AND MOVEMENT
ACTIVITIES
marriage, birth, rites of passage, hunting and even political activities. In certain African communities
music is often believed to ward off evil spirits and to pay respects to good spirits, the dead and
ancestors.

When used:
i) Used to entertain during a social function.
ii) For education purpose
iii) Promote culture from one generation to another.
iv) For pleasure and enjoyment.
Example Meaning
Dudu tirnore rnàlich ahiya Duduu is here when the
Kama jadongo goe kombe Elders are siting down as
Sama awero Ajeni manya I sing to [Link] comes
Ahero nyamin jakom From Ahero the sister to the chairman

i) Religious songs: It is common to find that most human beings believe in Supreme Being. Young
children need to be taught songs that promote good neighborliness, kindness, charity, and good
morals. Song taught to children should put into consideration the respective religious affliction so as
to avoid unfairness when selecting songs.
Example
Mungu yu mwema
Mungu yu mwema
Mungu yu mwema
Yu mwema kwangu

j) Topical songs e.g. songs on HIV/AIDS songs: They Educates people about the causes and
prevention of the disease. Encourage the affected and infected that being sick is not the end of life.
The songs taught to children should include what the children know about HIV/AIDS. This will
make them feel much at ease in participating in composing songs.
Example
Kenya is burning x2 withthe virus, with the virus
Stop the spreading preach, the message about the virus

k) Welcoming guests: African tradition demands that guests and other visitors be welcomed and
entertained properly.
Example
Welcome x2 our visitors
we Are happy to see you
Happy to meet you

l) Special days songs: Are those that are important to the human fraternity or children. Most of these
special days are marked on the calendars e.g. Christmas, Madaraka, Good Friday, Easter Monday and
Jamburi day.
Example
Kenya yetu ni nchi ajabu
Tuungane sote tuwe na umoja

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UNIVERSITY LECTURE NOTES
MUSIC AND MOVEMENT
ACTIVITIES
Wananchi wa Kenya tulipata
Taabu tusahau yaliopita
Tujenge taifa.

m) Integrity songs: They should promote virtues such as honesty, trustworthiness, kindness, loyalty
in children. Children should be made to embrace good virtues that will make them stand out in the
society.
Example
Usiibe Ukiiba
Wee utafungwa bure
Usiuwe usiuwe
Wee ukiua watakunyonga bure

n) Songs of children’s rights: Children should be made aware of what they are entitled to by virtues
of being children.
Example.
Baba ninakukabidhi unipeleke
Shuleni kama watoto wengine
Wanavyo enda shuleni niweze
Kujisomea na kujiandikia
Nijivunie kisomo kiingereza
Kukinena.

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o) Nursery Rhymes: Reading of nursery rhymes could be used to help the children to build up the
concept of rhythm. By reading the poem or nursery rhymes in rhythm to children, it could enable their
hearing and feeling of short and long syllables in the words and thus able to give response to the
rhythmic sounds

p) Birthday songs: These songs are usually sung whenever attains a new year. To children, birthday
songs bring out a lot of fun and peers enjoy teasing the children. These songs promote curriculum
such as mathematics, when a child counts how many years he/she has attained by use of
candles e.t.c Happy birthday to you, happy birthday dear

q) Folksong: They are indigenous music which originate from the people and is handed from one
generation the next through a process of oral transmission. Children appreciate each other through
these songs as they learn different ethnic [Link] learn good behavior,
brotherhood,morality and kinndness.
Korom cheptang’ung halleluya X2
Kibun dirisha halleluya.
Kibun dirishakocheng’e nenyi………

r) Patriotic song: Young and growing children are able to learn and retain patriotism through songs.
Children should lean to honour. Patriotism also calls them to respect the leaders of the country
Harambee harambee tuimbe pamoja
Tujengenchiyetu…………..

b) Movement activities

Movement-The act of changing position or the act or manner of moving. It is an attribution that is
made to tempo and pace in music. It involves coordination produced by different body parts to elicit
an activity usually as a response to a song or other musical effects. In Pre-primary and PE movement
in music constitutes the coordinated use of most if not all the body parts.

Types of movement

Movement is vital activity for developing musicianship and understanding of musical concepts. There
are two types of fundamental types of movement in music i.e.
1) Axial movement/non locomotor movement: Occurs when a child moves in a place at the
same spot. It includes bending, swaying and shaking.

2) Locomotive movement: Is a movement by a child from one place to another and includes
walking, running, skipping and jumping.

Movement activities include:

a) Jumping.
Example
Mama njeri!
Yoo!
Unaenda wapi?

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Sokoni,
Kununua nini!
Samaki:
Samaki gani?
Mgongo wazi:
haya kwaheri salamia watoto nyunbani, lakini nilisikia bwanako aliurnwa na nyoka
mstuni.

b) Creative dancing.
Example:
Ndiranga baba wanje x2.
Nidianga baba undeshi vane
Nindianga kwitsa kwekwe.
Reko nurushe urindanga .
Shin nindanga kwistsa kwikwe.

c) Marching
Example

We are matching in light of God x2, We are matching.

d) Rocking swaying.
Example:
Kaa nami ni usiku sana
usiniache gizani bwana msaada wako
haukomi mimi pekee yangu kaa —aa nami

e) Whirling
Example:
Njendire, jonyire rnwana wa mama njendire njonyire x2:
Ninguruhe mgoye mnda mwana wa mama nimbue rngoye mndai

f) Jumping/ leaping.
Example:
Nuba nuwatukha usinjile [Link] baboli ulimsatsa baba wa; x2

g) Slilding/glinding
Example:
Helena ive inzi nakhiyanza x4
Wenya khubukule vhe mkhayo waiye.

How to ensure successful music and movement activities.

a) Observe children so that you can respond appropriately to what is enjoyable and makes
meaning to children.
b) Be flexible and allow children to respond to the music their own way.

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c) Encourage children to come up with their own ideas about music.

d) Start with music that you enjoy so that enthusiasm and enjoyment motivate children.
e) Have the materials you need for the lesson ahead of time and make sure it is working.
f) Maintain a balance between child initiated and teacher directed music a movement activities.
g) Plan music and movement activities that can be carried out indoors or outdoors.
h) Provide time for individuals and small groups.
i) Allow enough time for the activity but ends the activity when you notice that children have
had enough.
j) Ensure that the activity is developmentally appropriate by checking if children are able to do
what they are asked to do.
k) Encourage children to be spontaneous by giving an example

c) Playing of Musical Instruments

Playing of musical rhythmic, melodic and harmonic instrument is critical in EYE and PE. Learning to
play an instrument can help kids grow socially and academically.

i) Increases Memory Skills: Learning an instrument teaches a child how to create, store and retrieve
memories more effectively. In a hospital, this keeps a child or teen’s brain working and can distract
from their pain.

ii) Teaches Perseverance and Creates a Sense of Achievement: Learning to play an instrument
takes a lot of time, patience and practice. During music lessons and music therapy, a teacher or
therapist will set short term and long term goals. As the child reaches their goals, they will feel a
sense of achievement and pride.

iii) Improves Coordination: Playing an instrument requires the brain to work at advanced speeds.
Reading music is converted in the brain to the physical motion of playing the instrument. Those who
play instruments have improved hand eye coordination over those who do not.

iv) Improves Mathematical Skills: Playing an instrument may seem like a creative act, but there are
many parallels to math. Music and math are highly intertwined. By understanding beat, rhythm and
scales, children are learning how to divide, create fractions and recognize patterns. “It seems that
music wires a child’s brain to help him better understand other areas of math,” says Lynn Kleiner,
founder of Music Rhapsody in Redondo Beach, CA to Parents online.

v) Improves Reading and Comprehension Skills: Learning and playing music requires constant
reading and understanding. Children and teens need to identify a note on the page and recognize
which note (pitch) to play on their instrument, how long to hold it, what finger to use and how loudly
to play it. They also need to identify if the note should be played short and crisp, or smooth and
connected to the next note. Learning to read and comprehend music can even help in reading and
understanding literature in school classes.

vi) Creates Responsibility: Most instruments require some kind of maintenance or upkeep. This can
be anything from oiling to tuning to cleaning. Encouraging children to stay on top of regular
instrument

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maintenance creates a level of responsibility for them. When they are responsible for something they
are more likely to take care of it themselves without a parent having to remind them.

vii) Exposes the Student to Culture and History: Music theory has a deep history and can be taught
as part of musical instruction. Music is most often a reflection of the culture and era it was composed
in. Exposing a child to multiple types of musical genres (for example classical, contemporary, rock,
jazz, blues, folk or medieval) will allow them to have a glimpse into the past. Understanding the
origins of music, can give children a deeper understanding of what they are playing and they may
become more attached to it.

Music therapy also has an interesting history including being found in Greek Mythology, philosophy,
Native American culture, World War II and the United States military.

viii) Nurtures Self-Expressions: Children learning to play an instrument are able to find themselves
creatively. In fact, one of the amazing benefits of music therapy is the ability for children to express
themselves. By learning how to express themselves and their complex feelings about their illness
through music, they are able to find a way to show or play what they are feeling during their hospital
stay.

ix) Improves Listening Skills Playing an instrument requires children listen carefully to an array
of different things. They not only need to listen to instructions from their teacher or music therapist,
they need to listen for rhythm, pitch and speed. This concentration will improve their skills in music
and in life.

x) Improves Social Skills: Depending on what the music therapist decides, music therapy can be
done either bedside or in group settings. When engaged in a group setting, this requires children and
teens to work together to collaborate on a specific sound or song. Interacting with other kids will
give them an opportunity to make friends and improve their time in the hospital. Additionally, it
helps children outside of a hospital relate to their classmates.

When choosing musical instruments to use during music and movement activities of children.

a) Ensure that you have permission from instrument owner to play it.
b) Ensure that it is an instrument that can be replaced, if broken
c) Ensure that it is safe for the children to use.
d) The instrument should be enjoyable to use.
e) The instrument should b simple to enhance.
f) The instrument should be affordable.

Other ways in which you can interact with children, during music and movement activities.
1) Describe what children are experiencing e.g. “you are moving left and right to the music”.
2) Mirror the infants emotion e.g. “you enjoy the soft music”.
3) Explain concepts-“that music is fast”.
4) Provide vocabulary as children explore music e.g. “that is a drum you hear being played”.
5) Build their confidence and self-esteem e.g. you are dancing beautifully.

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6) Encourage children to respond to music with their bodies e.g. “you will move slowly to
music”.
7) Ask children to identify familiar sounds e.g. “what could be making that sound?
8) Point out differences between selections of music e.g. “the jingles are making the shrill sound.
9) Build social relationship e.g. “let us hold hands and dance together”.

INTEGRATION OF MUSIC TO OTHER LEARNING AREAS

1) To introduce other activity areas: This is one of the areas where music is really appropriate in
ECDE. As children go about performing their tasks and other activities, they may need to change
from one activity to another activity area. Instead of the use of bells and other devices, a song can
sang after tiding up to signify the end of ore activity and therefore the beginning of the other.
Using songs to demarcate venous activity areas give the children a sense of anticipation’ since they
look forward to what will follow.

Music eases transition from one activity area to the next. ‘For instance, instead of being told, it is time
for mathematics, when they have just completed an interesting music-filled language lesson, children
can sing. In order for this to materialize, the teacher should ensure that the environment is “musically
conducive”. Apart from Just being conducive, the individual interests and needs of the child need to
be considered in order to ensure that the progamme is child-centered. This is in line with
developmentally-appropriate -practices in ECDE: For example, after a language activity, if number
work is the next activity, the teacher can, the following song(s):

i)Moja, mbili, tutu, nne,.tano, sita or

ii)One elephant [Link] play,
Out on the spiders way to come
He thought it was such fun though
Two callfor another her elephant to come

Two elephants………

iii) This old man, he played one ...

iv) Ten little ducks went swimming one day....
v)Ten green bottles standing on the wall ……

The above songs will be able to prepare the children mentally that they
are going to venture into the world of numbers.

2) In transition from one activity to the other: Just as above, music is an important component of
introducing an activity area. Within an activity area, there are many different activities which the
children can perform or take part in. When children are changing from one activity to the next, a song
is the best way to move through the motions; this is to avoid creating .a vacuum between activities.

Children can quite disorderly when going from one activity to the other, and music provides the
channel that ensures a smooth transition.

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3) To enhance concepts in other areas: Each activity area in early childhood education is not
just by chance, but for the acquisition of concepts and skills it is not totally unheard of for some ECDE
teachers to employ rote teaching and even lecture methods in ECDE centers. As professionals in early
childhood Education, teachers should be aware that the best way for children to acquire Concepts in
the different activity areas is to ensure that the atmosphere is relaxed, open to exploration and
discovery. The relationship between teachers and children should be harmonious. In order to involve
children in the different activity areas, it is advisable to use music. It is not common for people to sing
and rejoice while they are sad. As children struggle adjust to school life and acquisition of knowledge,
songs can be used to help them grasp the skills without much struggle.

4) To break monotony and boredom: There are a lot of misconceived ideas about how education in
early childhood centre is carried out. Many more people are beginning to understand what Early
Childhood Education is all about. There is a growing understanding among pre-school and lower
primary school teachers that children cannot be taught in the same way as adults. Adults can
withstand the monotony of a speaker dwelling on one topic or subject because they have the
capacity to concentrate for a long time and attend to what the person is saying. Children, on the other
hand have a very short attention span and need to be refreshed regularly so as to sustain interest
in the various activities.

Music is used to capture the children’s interest in all activity areas. It is also introduced at intervals
during fora, conferences, seminars and workshops to break the monotony and make the presentations
lively. The ECDE teacher should be very keen to notice when the children look bored, distressed or
restless. He/she should ensure that children have enough activities, and creative songs to accompany
them. There should never be a situation, however, where there is a vacuum and the children are not
doing anything or engaged in music. Sometimes, children can be so excited in class that there is
actually no concentration; a song can be used to bring the situation back to normal by calling them to
attention

5) For class control: The ECDE teacher has to be very conscious of how to ensure control in the
class: ECDE children can be carried away very easily and get out of [Link] can make the
teacher’s work very difficult, considering that some of them teach large classes. Below are some of
the tips teachers can employ, to ensure class control: Children should know what is expected of them
before the 1esson starts that is the rules and regulations of the Class.

The teacher can write the rules on piece of paper and stick it on a soft board in the classroom. The
children can then learn how to recite the rules in the form of a chant or songs that encourage good
behaviour and discourage bad behaviour. The teacher should be consistent and avoid double
standards

This is an important component of class control in early [Link] is unfair and a pointer to bad
early childhood practices for a teacher to allow some behaviours this time and punish them some
other time. Consistency and steadfastness should be qualities that are deeply observed in ECDE.
This is to make the children have a clear distinction between what is acceptable and what is not.
Music here can come in handy, in that the teacher can ask one child to sing a song. If another child
wants to sing too, the teacher should give equal opportunities to all children to participate. If the
ECDE teacher discourages a certain dancing style or terms a song as culturally unacceptable,

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3) To enhance concepts in other areas: Each activity area in early childhood education is not
he/she should be firm on this favouritism and prejudice should not find their way into an ECDE
classroom. Good behaviour should be reinforced while bad behavior should be separates from the
child

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This means that the teacher should direct negative comments of bad behaviours to
behaviour and not to the child. In this way, the child will be encouraged to depreciate that it is the
behaviour and not him,who is bad. For example if Msalame hits Sintonia with a stick on the back and
the teacher says Msalame is bad, then the children will Just talk of Msalame s badness’ and not the
bad behaviour. The teacher should therefore say that hitting other people is bad. The teacher could
also say that God loves us all, but hates sins such as hitting others. This is to avoid unnecessary
ridicule to the child as well as ensuring that the child does not hate the activity being taught

A creative ECDE teacher can, therefore compose a song whereby children can fill in what behaviours
are not appropriate, so that they remain as reminders of what should be done and what should not be
done

MUSIC AND OTHER LEARNING ACTIVITIES

Arts
a) Rhythm is an element common to music, art, and bodily response.
b) Appropriate recordings stimulate creative arts.
c) Song creation can be inspired by pictures.
d) Pictures can motivate listening to descriptive music.
e) The making and decorating of' simple musical instruments is in the area of arts and crafts.
f) Some ideas can be expressed in several media: art, music, dance, creative dramatics and writing.
g) Certain artistic styles are common to both art and music. Examples: impressionism and
classicism.
h) Certain concepts of form are common to both art and music.
Physical Education
a) Singing games and dances are activities considered to be in the areas both of music and
physical education. Music can be created for a known dance.
b) Dance can be created for known music.
c) Basic understanding of note values and meter signatures comes from bodily response.
d) Rhythm can be expressed in the dance, in music, and in art.
e) Certain musical forms can be created for bodily movement.
Science
a) Some music concerns aspects of nature such as clouds, rain, the sea, the seasons, stars.
b) Aspects of electronics include such things as radio, television, amplifiers, and recording and
reproducing sound.
c) There are many scientists who have music as an enjoyable vocation.
d) Making and playing musical instruments and experimenting with sound-producing materials
motivate the study of acoustics, the science of sound. Correct posture in singing relates to
health.
e) There are songs that help teach health and safety.

Arithmetic
The study of beats, note values, and meter signatures relates to the understanding of number concepts.

Language Arts

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a) Poetry and music are closely related; meter, word rhythms and melody rhythms are often
or identical.
b) Appropriate recordings can be employed to stimulate creative writing.
c) Poetry can be composed, music cat he written to make songs based on this poetry; poetry can
be composed for melodies. Some song interpretations develop creative dramatizations.
d) There are many books about music; instruments, and musicians.
e) Music can be composed and recordings can be selected for use with dramatizations, plays, and
puppet shows. Many songs, operatic and symphonic works are based upon literature and
drama.
f) Aspects of choric reading can relate to the process of learning songs.
g) Reading of words of songs can be an experience in the process of improving comprehension.
Pronunciation and enunciation.
h) Music can be selected that relates to children's literature.

DANCES

The Importance of Dance in Childhood Education

Dancing benefits a child's education. Through dance, children not only learn the benefits of
exercising, but they also learn coordination, balance, flexibility, stamina, stability, memory and
discipline.
a) Dancing Boosts Self Esteem: Research shows dancing boosts a child's self-esteem. Dancing
makes children feel good and helps them gain confidence in their own abilities.
b) Dancing Improves Memory: Dancing requires memorization. Children improve their overall
memory when trying to remember steps
c) Learn How to Listen: Dancing teaches children how to listen, whether it be instruction or for
the beat. When children are listening, they are not talking.
d) Develop Social Skills: Dancing shows children how to interact with their peers in a positive
manner. Dancing at a young age is non-competitive.
e) Creative Expression: Dance allows children to creatively express themselves, even through
the confines of a particular type of dance steps or process. Like art and music, dance lets kids
be themselves and express ideas with their bodies.
f) Concentrated Learning: Dance is the study of a concentrated area, which translates to an
opportunity for children to learn about something in a specific manner. Students who study
dance are able to focus on what they need to learn, take instruction and progress
g) Team Work and Individual Work: Depending on the dance class and type of dance,
children get a chance to work in a team, such as ballet, as well as by themselves. In all types
of dance, children can learn about being with a partner, relying on others, and working as a
team. They can also learn about relying on themselves and being the best individual that they
can be.
h) Competition: Dance classes can also promote healthy competition to children of all ages. As

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a) Poetry and music are closely related; meter, word rhythms and melody rhythms are often
children try to accomplish steps, participate in dance recitals, and even compete for solos or
special dance routines, they learn that practice is important and you need to practice and move
forward in order to succeed, no matter what you choose to do in life.

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i) Physical Fitness: Dance classes help children achieve both fine and gross motor skills,
their muscles, and strengthen and tone their bodies. No matter what type of dance a child is
doing, their bodies will benefit from the exercise.
Different communities have different dances for different occasions. Dance is a series of body
movements in response to musical stimuli.
Traditional dances are named based on:
1) The way the movements are executed.
2) The musical instruments used.
3) The costumes used.
4) The occasions when the dance is performed.
The organizational structure of dance includes the presence of a leader, a singing/ dancing group,
appropriate instrumental accompaniment and suitable costume and décor.
Apart from the singing and dancing, visual aids are also a part of music and dance in Kenya.
1) Body painting and application of red ochre on the hair enhances the physical appearance of the
performers.
2) Colorful beads were used to make necklaces, bangles and bracelets that were worn during
performance.
3) Head gear for male performers could be made from feathers or animals skins.
4) Sisal skirts were also made for women to wear on the waist. This enhanced the waist
movement during dance.
Roles of dances in the society
1) To bring people together to share in the social occasion.
2) For entertainment.
3) For ritualistic purposes like exorcism.
4) To provide avenues for enhancement of good relations in the community.
5) For commercial purposes.
6) To keep fit and healthy

The Maasai Dances

The North is represented by the famous Maasai tribe. This ethnic community has managed to
withstand the test of time and retained its rich traditions and attires. The Maasai have a distinct dance
that involve making a circle and jumping up high. The women wear bead necklaces or shanga
round their necks which they use to dance as they sing their traditional music. The beautiful colors
of their shukas and beads combined with their mowhawk kind of hairstyles separates them from
any other dancers in Kenya

Coast Province
Chakacha: Unlike the Maasai dances, coastal dances focus mainly on vigorous waist movements.
Chakacha is a very popular dance amongst the coastal tribes and their music is usually traditional or
[Link] music and dancing, the instrumentals take up most of the song giving both the
dancers and the performers’ time to shake their waists and move their hands freely. The major

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difference between chakacha and Taarab is the tempo of the songs with chakacha being the faster
of music.

Kamba Dances in the Eastern Province

The eastern province is synonymous with the Akamba people whose traditional dances involve
shaking their shoulders while stamping their bare feet. Their music is usually accompanied by drum
beats and flutes. Percussion instruments were used to accompany song and dance depending on the
occasion or ceremony.

Drum dances

Kilumi: (pl. milumi) drum songs and dances were traditionally performed by women and comprised
of two kilumi drums accompanying the ululations and singing of a lead singer backed by two other
women vocalists. Usually, the drummers compose and sing too.

Formerly for old women, kilumi is now danced to even by men, and kilumi is one of the few songs
and dances that traditionalists still perform in Ukambani. One session of the kilumi dance could last
about half an hour, and the entire performance for something like eight hours.

Mbeni: This dance is for young unmarried people and because of its tiring pace, it has the shortest
sessions. One session lasts less than ten minutes. Its instruments are a set of four drums and three
whistles. Danced in pairs as it gets to the climax, when the male dancer (Anake) jumps about four feet
into the air and somersaults.

Nduli: The most popular dance among Kamba teenagers. It is a condition that any boy attending an
Nduli session must be circumcised, for it is in the Nduli dance that one may choose a partner for life.

Kisanga: This is a thanks-giving dance for all ages, both young and old. It is performed only when
the village has had a good harvest. During the celebration a white goat is slaughtered, its blood
poured under the Kitutu Tree, and its meat left near the tree for Mulungu (God).

Mwasa: The Mwasa dance involved two drums, one small and one large, and was found in northern
Kitui. While not primarily used for dancing, Mwasa served as an accompaniment while elders
enjoyed uki beer. Mwasa is a relatively new drum beat, which comes from a combination of Nzumari
from the Giriama (one of the 'Nine Tribes' of the Mijikenda) and original Kamba Ngoma. It came
into existence during the Second World War, when Giriama and Kamba soldiers served together
in the colonial army.

Central Region

Mwomboko: Central Kenya is famous for its hilly terrain and the great Mountain of God, Mount
Kenya. The most populous tribe are the Agikuyu whose dances concentrated on foot and

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handmovements. The rythimic stamping of feet and sequential arm movements make up most of
dances in that area. Mwomboko is one of the most popular dances in that area and can be compared to
a waltz or a slow paced salsa dance. The leg movements of both male and female are systematic and
one missed step ruins the whole performance. This dance is one of the least vigorous dances in
Kenya.

Western
Isukuti: It is with much vigor and passion that the people of western Kenya dance. They probably
have the most energetic dances that combine all the other four dancing styles. Unlike the coastal
people who shake their waists, or the people from central whose main focus is the feet, or the
northerners who love to jump and the easterners who shake their shoulders, the people of western
Kenya shake their whole body. Accompanied by the famous Isikuti drums and the karingaringa, a
metallic circular instrument that is hit to produce sound, these people love to dance. They dance
during all ceremonies, be it a funeral or a wedding. However their most colorful dances are
performed during their annual circumcision ceremonies.

Dance Accompaniments Community Occasion Eligibility

Sengenya Mijikenda
Ramogi Luo
Entabanana Gusii/Kisii
Ohangla Luo
Mumburo Kikuyu
Ibirandi Kuria
Vukhulu Tiriki
Ribina Gusii/Kisii
Dodo Luo
Kamabeka Luhya
Hella
Gitiiro Kikuyu
Kishawi Taita
Kamabeka Luhya
Isikuti Luhya
Adamu Maasai Maasai warriors
Kilumi Kamba Traditionally women

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RESOURCES FOR TEACHING MUSIC ANDMOVEMENT IN

These are objects or instruments which helps musicians to create rhythm tone or melody and
harmony. Some of the teaching and learning resources for music and movement comprise of musical
instruments, ornaments, costumes and artifacts. Different communities have musical resources e.g.
the Luhya use a musical resources called Isikuti.

Musical Instrument

A certain criteria is used in the classification of Kenyan instruments. The main factors are:
1) The external and internal basic shape of the instruments.
2) The mode of sound production.
3) The material used.
4) The mode of tuning the instrument.
5) The mode of holding the instrument.
6) The role of the instrument in the community.

These e objects that are used to enhance musical performance. They are divided into three groups they
include:
1) Aerophone/wind instruments
2) Chordophone/ string instruments
3) Idiophone/ percussive instruments
4) Membranophones

The instruments have generations ranging from traditional to modern Traditional one includes
traditional drums shakers, flutes traditional guitars. Modern instruments include piano, modern drum
electric guitars, trumpets etc. Musical instruments should be accessible to the child’s learning
environment.

1 Aerophone/wind instrument

These are instruments which are blown to produce sounds. Different sounds are produced by
tightening and/or loosening of lip tension while playing. They are of many sizes, shapes and types
thus they are classified into the following groups

Flutes: Flutes are mostly made of reed/bamboo stick. Some flutes are end blown whereas others are
side blown (transverse flutes).

Different communities have different names for flutes. They are according to their designs and
number of holes. The finger positions on the force implied enable flue to produce different sounds
and pitches.

FLUTES HORNS WHISTLES TRUMPETS

Kikuyu Muturiru Coro Filingi
Luhya Mulele Olwika
Luo Odundo Tung/Oporo

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RESOURCES FOR TEACHING MUSIC ANDMOVEMENT IN

Kalenjin Ndurerut Kigondit /Lalet Silimbit

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Kamba Mutulilu Nguli Vilingi

Gusii Ekeroria Egetureri
Mijikenda Chivoti Nzumari/Bung’o
Kuria Emborogo
Teso Auleru
Maasai Emouo
Turkana
Pokot
Sabaots

Chordophones
The vibration of the string causes sound. Word ‘Chordo’ means string. There are modern and
traditional string instruments, some traditional string instruments include those with one string, two
strings, five strings and others eight.

FIDDLES LYRES HARPS MUSICAL BOWS

EARTH/GROUND MOUTH BOWS
Kikuyu Wandindi Nderemo
Luhya Shiriri Litungu Indevedeve, Ling’ang’a Lukhiji
Luo Orutu Nyatiti
Kalenjin Kimeng’eng Chepkesem
Kamba Uta wa
Gusii Ong’eng’o Obokano Mbaito
Mijikenda Pukandit
Kuria
Teso Ageregeret Adeudeu
Marachi - Makhana

Instruments with one string can be divided into two groups

I. One stringed fiddle
II. Musical bows

Fiddles: Are simplest to make and found in many parts of this country [Link] are mainly played by
blowing. It comes with one or two strings mainlyp1ayed by using bow or [Link] used
during solo singing performance

Music bows: Isa string that is tied to a curved piece of wood, the string is made lighter or loosened
dependingon the pitch the performer wants to adopt. It’s a traditional musical instrument, examples of
musical bows include: Nderemo- Kikuyu and Indevendeve-luhya

Lyre: Comes with a range of fiveto eight strings. The shapes vary from Community to community
The strings are plucked in pairs to create a harmonic and melodic accompaniment solo singing.
Examples include; Abagusii — Obokano

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Harp: Five strings are attached to a bowed arm that protrudes from the resonator. Theyare
provide accompaniment to solo and choral singing. It’s mostly found on the slopes of Mount Elgon
e.g. Adeudeu of the Iteso

Idiophone: Are instruments that maintain rhythm during song or dance performance, this instrument
are played by rubbing together, banging together, shaking, tapping, striking with a stick. Those made
traditionally include; Horns, reed, metals, skin and wood

The instruments are made from locally available materials so each community made percussion
instrument from materials available in their area. They can be divided into two main groups

Membranophones: Idiophones are permanently tuned while membranophone need tuning. The word
“idioms” means self-membrane like a skin. So when the skin or the membrane is hit It produces
sound
1) Two ways of tuning membranophones are. Placing the membrane near a fire for it to stretch
2) Learning the instilment in the sun for the membrane to stretch. Other membranophones like
the VYAPUO from the coast province are tuned by tightening or loosening the membrane
using strings

THE PEDAGOGY OF TEACHING MUSIC IN EYE & PE

In Early Childhood Development and Education, it is important to bear in mind that teachers of
ECDE should not use shortcuts, lecture method and direct teaching methods. The teaching
methods are employed when dealing with adults and not children. Children should be allowed
to explore all possibilities in a natural way. Teachers should use methods that are not tedious or
taxing to the child in order for the children to understand well.

Individual and peer — centered teaching

Individual teaching comes in when an ECDE teacher focuses his/her attention on children as
individuals. This will mean that each child will be able to perform a task or an activity as an
individual. It’s advisable for the teacher to let the child explore and follow his/her own
interests. Peer-centered teaching calls for little or no interference from the teacher. The teacher
only acts as a resource person who encourages the child or gives him/her morale to proceed even
when activity seems to be challenging.

Advantages.
a) Teacher focuses on one leaner until he/she understands well
b) Individual differences are catered for
c) Teacher-leaner relationship is enhanced

Disadvantages
a) Time consuming
b) it’s expensive in that different instruments are used to teach each leaner
c) Tiresome technique on the side of the teacher

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Group/team teaching: Group teaching appeals to most children because everyone desires to be part
of a group and it is important ECDE classes for children to work in groups

Advantages
a) Children see alternative point of view of others and adjust their thinking to fit that of the
group
b) They recognize their ideas and can see events in different ways.
c) Enables the teacher to cover the syllabus on time
d) Children strengthen their cognitive abilities through learning from others
e) Skills of social interactions, listening turn taking are developed
f) Shy learners are catered for.
Disadvantages
a) There are egocentric (children this age are egocentric)
b) They cannot sit still for too long
c) They have short attention span

Factors to consider when working with children in groups

a) Ensure that all the children have the opportunity to participate
b) The group activities should be kept short, flexible and spontaneous
c) The teacher should establish physical closeness with children
d) Activities’ should begin without waiting for the group to be ready

Demonstration or imitation: Imitation is the process whereby the teacher portrays a action and the
learners copy

Advantages
a) Enables children to 1ow exactly what is needed.
b) Cheap in terms of using teaching materials

Disadvantages
a) Not all learners can imitate the teach
b) Time consuming when performing the imitate
c) Can be easily forgotten by learners

Participation: Participation involves children taking part or being involved with something that
forms the basis for a big portion of the learning process.

Advantages
a) Children have the benefit of experiencing things first hand without being told
b) Children build self- confidence.
c) Encourage a fusion of different aspects of learning
d) Both boys and girls are involved in participation

Disadvantages
a) Tiresome to learners because they have to participate in different activities
b) Shy learners can be knocked out because they can’t participate

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c) Time consuming while preparing for the participation

Visits to music festivals or cultural dances: Young children can benefit a lot from different visiting
places Where there is adverse fusion of music form different ethnic backgrounds Since children’s
primary interest is listening to music from different communities, visiting ‘institutions such as Bomas
of Kenya or festivals like the Kenya schools music festivals makes good the prose of both
entertainment and learning

Advantages
a) Learners are able to explore and discover for themselves.
b) The teachers and pupils view musical performance from communities other than their own
c) Visits provide needed break from school routine activities.

Disadvantages
a) Time consuming
b) Due to children short span attention they easily forget what they saw during the visits

METHODS OF TEACHING MUSIC TO CHILDREN

There are various methods used by educators to teach music. Four of the most popular music
education methods include

1) The Orff methods

2) The Kodally method
3) The Suzuki method
4) The dalcroze method

1) The Orff Method

It’s a way of teaching about music that engages their mind and body through a mixture of singing,
dancing, acting and use of percussion, instruments. Lessons are presented with an element of play
helping the children to learn at their own understanding. Musical concepts are learned through
singing; chanting, dance drama and the playing of percussion of instruments.

Improvisation composition and child’s natural snse1 of play are encouraged. This method as
developed by Carl Orff a German composer and educator. He shared his ideas in a book entitled
Orff- schulwer which was later revised and then adapted into English as music for children.

Type of music and instrument used

Folk music and music composed by children themselves are mostly used in the Orff classroom.
Xylophones (Sopranos also bass) met allophones (sopranos also bass) glockenspiels
(sopranos also bass) castanets, bells, maracas, triangles, cymbals (finger crush or suspended)
Tambourines, timpani, gongs bongs, steel drums and conga drums are some of the percussion
instruments used in the Orff classroom. Other instruments (both pitched and un-pitched) that may be
used include Afiches, claves, cowbells, Djembe, shakers, tap-a - tap, rhythm stick.

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Although Orff teacher use books frameworks, there is no standardized Orff curriculum.
Teacher design their own lesson plan and adapt it to suit the size of the class and the age, of the student

2) The Kodally method

The Kodaly Method is a way of developing musical skills and teaching musical concepts beginning in
very young children. This method uses folk songs, Curwen hand signs, pictures, movable-do, rhythm
symbols and syllables. It was first introduced in Hungary but is now used in many countries, either
alone or in combination with other methods.
What types of music and instruments are used in the classroom?
Songs of high artistic value, both folk and composed, are used in the Kodaly classroom. Songs that
are in the pentatonic scale are emphasized at the beginning level.

According to Kodaly, "Nobody wants to stop at pentatony. But, indeed, the beginnings must be made
there; on the one hand, in this way the child's biogenetical development is natural and, on the other,
this is what is demanded by a rational pedagogical sequence." Other songs that may be used include
chants, dancing songs, lullabies, nursery rhymes, songs for circle games and story songs.

What are the musical instruments used?

The voice is the main musical instrument of this method. In his words, "Singing connected with
movements and action is a much more ancient, and, at the same time, more complex phenomenon
than is a simple song.

" Various rhythm and tonal instruments are also used, including xylophones and recorders.

3) The Suzuki Method

The Suzuki method, also known as the "mother-tongue approach," is a method of teaching music that
stresses the importance of parental influence and involvement. Parents and teachers work together to
achieve a common goal. Parents are expected to attend lessons and serve as nurturing teachers at
home.

Using this method students learn:

a) Discipline
b) Poise
c) Confidence
d) Proper posture
e) Technical mastery
f) Musicianship
g) Proper intonation and phrasing

Basic Elements of Suzuki Method

a) Children should be exposed to good music at birth, children should receive Violin instruction
at an early age.
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b) It’s not only the music teacher who serves an education ,the child’s parents or guardians also
play a vital role in the child’s musical development
c) Students learn by observation than imitation
d) Children become adapt with the instruments before learning to read music.
e) Playing by memory
f) Attention to detail
g) Repetition
h) Aside from individual lesson students attend group lessons at least once a week

Teaching a Song by Rote

Learning songs by ear, as opposed to learning songs by reading music, is the basic strategy for
teaching most but not all songs. The rote process involves no written music and most often no
printed lyrics. Songs that are taught by rote are usually simple. Songs that are complicated or that
have lots of words, particularly in other languages, require written lyrics either on overhead
transparencies or word sheets.
Rote songs are an essential component of each student's aural/oral foundation. All music teachers
should teach their students rote songs. Instrumental students are especially apt to experience years of
music instruction without ever learning to play by ear. They should, of course, first learn to sing each
song before playing it.
Prerequisites
1) Know the song: Make sure YOU know the song so well you can sing it at any time.
2) Positioning oneself: Position yourself in a highly visible position and make eye contact.
3) Establish tonality and meter: The "tune-up" is an excellent way to start a song. Shown
below is a tune-up for a major song in duple starting on mi (such as "Baa Black Sheep"). In
this simple four beat pattern you establish seven crucial aspects of the song: tonality,
meter, keyality, resting tone, starting note, tempo, and style. Some teachers like to
precede the tune-up by establishing tonality at the keyboard (tonic-dominant-tonic, for
example, in major).
4) Repetition: A class may need to hear a song four to six times before most students are able to
sing it accurately. Keep them actively involved in the listening process by adding a new task
to each repetition.

Sing for students, not with them: Students first need to hear you sing the song in order to learn it.
When it's their turn to sing don't provide them with an aural model (your voice or the piano) to
imitate. Just listen, or play a keyboard accompaniment without the melody. When the melody is
always sounded for them, students may learn only to hone their skills of rapid pitch-tracking. They
don't necessarily learn to internalize the song through audiation.

Teach the tune/melody first, and then teach the words: Words are a valid part of songs, but it is
best to teach them after students have learned the musical aspects of the song. If you teach the text
first, much or most of students' attention will be on the words, not audiation. Children in our
culture get plenty of practice learning language, but rather little learning music through their ears.
Maximize their opportunity to learn to audiate the song by postponing teaching the words. Then,

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when you do teach the text, teach it in segments, chanting (without pitch) to the melodic rhythm of
the song.

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Steps
1) Introduce the song, by stating the title, community/composer, occasion of performance,
legibility, etc. talk about the tradition from which the song comes and/or talk about the
meaning of the song.
2) Read through/recite the text explaining or speak the words of the song, word by word
highlighting/repeating the content and the difficult words.
3) Perform the song/sing through the song with energy to give everyone an idea of how it. Sing
the whole song, slowly at first, so that everyone can become familiar with the notes, and make
sure you sing the melody in a range that is comfortable for everyone—not too high and not
too low.
4) Ask people to listen while you sing the tune (without words or instruments). Don't be tempted
to double the melody with an instrument. This confuses things and is unnecessary if you know
the song well. Have the singers echo you, phrase by phrase. Ask people to hum while you sing
the tune again and again. Make sure they hum as this means they can still hear the correct
melody from you, and enables self-correction without embarrassment. If the song is in an
unfamiliar language, begin by speaking the words only. Then sing them.
5) Have singers sing the verse in phrases first. Don't try to do too much; one verse or chorus is
sufficient to start. If you end up singing verses by yourself, that is fine—or you can invite
youth or fellow teachers sing along with you.
6) When every singer is feeling sufficiently confident with the words, sing complete phrases and
ask the students to repeat after you/teach the melody by combining/linking the lines/phrases
and singing through till mastery.
7) When all the singers sound confident, indicate that it is time to try the whole song. Pick up the
tempo so you are singing the song at the intended speed.
8) Introduce the prescribed or creative dance steps and formations/patterns that go with the song.
In most parts of the world, people don't sit still while they sing. They move; they dance.
9) Introduce accompaniments
10) Correct mistakes as they happen.
11) Sing over and over/ again and again for enjoyment.

Steps for Teaching Rhythm

Instead of rhythm syllables you use neutral syllables (e.g., "ba ba baba ba" or "da dada dada da").
They should be able to hear the rhythm before they read it or play it or even try to write it.

Steps to use when teaching rhythm:

1. Echo rhythms on neutral syllables.
2. Play on an instrument and students sing back the rhythm they hear on a neutral syllable.
3. Use rhythm syllables.
4. Play the rhythm on an instrument they say the rhythm back using rhythm syllables.
5. Read rhythms from both stick and real notation. (I also vary using stems up and stems down.)
6. Say the rhythm on a neutral syllable and they have to identify the rhythm I did by picking the
correct card. (I have anywhere from 4-8 cards for them to review.)
7. Same as Step 6, but with rhythm syllables.

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8. Rhythm dictation: I say the rhythm and they have to write the rhythm. I use the craft sticks,
rhythm envelopes (has the notes we are working with on small squares of paper), dry erase
boards.

4) The Dalcroze Method

The Dalcroze method, also known as Dalcroze Eurhythmics, is another approach music educators use
to foster music appreciation, ear-training and improvisation while improving musical abilities. In this
method, the body is the main instrument. Students listen to the rhythm of a music piece and express
what they hear through movement. Simply put, this approach connects music, movement, mind, and
body.

Who created this method?

This method was developed by Emile Jaques-Dalcroze, a Swiss composer, music educator and music
theorist who studied with Gabriel Fauré, Mathis Lussy and Anton Bruckner. Dalcroze was born on
July 6, 1865 in Vienna, Austria. He became a professor of harmony at the Geneva Conservatory in
1892; by which time he started developing his method of teaching rhythm through movement
known as eurhythmics. He founded a school in Hellerau, Germany (later moved to Laxenburg) in
1910, and another school in Geneva in 1914, where students learned using his method.

What are the key elements of the Dalcroze Method?:

This method has 3 facets:

 Eurhythmics (Greek for "good rhythm") - Musical expression through movement;
developing musical skills through kinetic exercises. Students learn rhythm and structure by
listening to music and expressing what they hear through spontaneous bodily movement. For
example, note values and rhythms are represented by stepping and clapping.
 Solfege (fixed-do) - Helps develop ear-training and sight-singing skills.
 Improvisation - Using instruments, movement and voice.

What is a typical lesson like?

Although it is generally referred to as a method, there is really no set curriculum. Dalcroze himself
didn't like his approach to be labeled as a method. Hence, each teacher uses a different approach
based on his/her interests, training and skills while keeping in mind the age, culture, location and
needs of the students.

What are the key concepts learned?

The Dalcroze Method helps foster imagination, creative expression, coordination, flexibility,
concentration, inner hearing, music appreciation and understanding of musical concepts.

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ASSESSMENT OF MUSIC ACTIVITIES IN EYE & PE

Assessment: Assessment is the process of generating, gathering, recording, interpreting, using and
reporting evidence of learning in individuals, groups or systems, which relies upon a number of
instruments, one of which may be a test. Educational assessment provides information about progress
in learning.

Assessment comes from a Latin word meaning to sit beside and get to know. It is the process of
observing, recording, and documenting children’s growth and behavior. To be an authentic
assessment, observations must be done over time in play-based situations. This type of assessment is
best because it is the most accurate. It is used to make decisions about children’s education.
Information is obtained on children’s developmental status, growth, and learning styles. Sometimes
the terms assessment and evaluation are used interchangeably, but they are two different processes.
Assessment is the process of collecting information or data. Evaluation is the process of reviewing
the information and finding value in it.

Purposes of Assessment
Information and data from assessment informs teachers about children’s developmental needs. It is
important for several reasons.
1) The information collected is used in planning developmentally appropriate curriculum.
2) Assessment keeps the teachers and the curriculum responsive to the needs of the children.
An authentic assessment involves gathering information when children are performing tasks in natural
settings. Assessment should include all developmental areas—physical, social, emotional, and
cognitive. Assessment should provide information on each child’s unique needs, strengths, and
interests. It also charts progress over time.
During the assessment process, you, as teacher, gain insights into children’s learning styles and needs.
a) What are their strengths and weaknesses?
b) What does the group know?
c) What are they able to do?
d) What are their interests and dispositions?
e) What are their needs?

Teachers who have good assessment skills will make better decisions. Individual and classroom
problems can often be identified through the assessment process. When specific examples of a child’s
behavior are observed and recorded, behavior patterns become clearer. Answers to behavior problems
can more easily be found when the specific behavior is observed and noted.
Classroom problems can be identified through assessment. When a problem arises, plans can be made
to remedy the problem. To illustrate, perhaps there have been many instances of pushing and shoving
in the dramatic play area. By observing and evaluating, you may realize that more classroom space
should be provided for this activity. If this is impossible, you may decide to limit the number of
children in this area at one time to prevent the undesirable behavior.

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Assessment also allows you to identify children who might have special needs. Perhaps a child has
hearing or vision impairment. Maybe a child has an emotional or behavioral problem that requires
counseling. These needs can be identified and specialized services obtained. Through assessment, you
will be able to find out where the children are in their development. Information on each child should
be recorded at regular intervals. In this way, you can see how each child is progressing in his or her
development. This information will help you make better curriculum planning decisions. It will also
help you decide how to set up the environment and stimulate each child’s development.
The information gained through assessment can also be useful during parent conferences. Parents
want to know how their children are progressing. You will be able to give them concrete evidence
on their child’s progress. Parents will also be assured you know and understand their child.
A final purpose for assessment is in evaluating your program. Information obtained through
assessment can help your staff determine if your program is effective in meeting its goals.

When to do Assessments
As a teacher beginning a new year, you will need to do an initial assessment. This will provide entry
data and a baseline to use for each child. You cannot assume all children of a given age are alike.
Developmental differences will exist. Culture, economic status, and home background will impact
each child’s development. Therefore, the purpose of an initial assessment is to get a “snapshot” of
each child in the group. Observing children and acquiring information from the families are the
most common ways to gather this information.
You will want to learn as much about the children as possible during your initial assessment. Study
the existing folders on each child. Review home background forms. Read the notes from past
parent conferences. If possible, visit each child’s home. An alliance with families is important.
Families can give you useful information on a child’s learning needs and interests. In addition
to this initial assessment, you will need to do ongoing assessments on individual children as well
as the group. A single assessment is not an exact assessment of ability or performance. It is just an
indicator.
Ongoing assessment may take more time, but it will also provide more in-depth information. The
information gained will be useful in tracking each child’s progress and documenting change over
time. It should provide evidence of a child’s learning and maturation. This information will also be
helpful in making decisions for enriching or modifying the curriculum and classroom
environment when necessary.
You can gather assessment data during classroom activities. Watch children as they work on art
projects and listen to them as they tell stories, 3-3. Observe children as they construct puzzles or
build with blocks. Listen in on children’s conversations. Discreetly take notes on individual
children, especially during free-choice activities. This is when children are most likely to reveal their
own personalities and development. These notes will provide important assessment information.

Factors to Consider in Assessment

i) The assessor’s relative subjectivity —objectivity and skills: The assessor is expected to have
adequate knowledge in child development, and in the ability to structure and apply appropriate
assessment strategies. Bias should; therefore, be avoided by the teacher acting very professionally
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Assessment also allows you to identify children who might have special needs. Perhaps a child has
since

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differences in teacher’s child’s gender, race, ethnic background and personality-should not affect
assessment.

ii) The state of the child at the time of assessment: Children usually have no concept of the
importance attached to assessment. Every effort should be made to obtain several samples of the
children’s work performed when they are at ease, healthy and motivated, which will then be assessed.

iii) The properties of the assessment setting: The following qualities must be considered for an
ideal early childhood classroom where assessment is taking place;
a) Noise level should be low
b) There should be minimal destruction
c) Pleasing aesthetic qualities
d) Adequate ventilation, light and space

iv) The timing of the assessment: Assessment of different skills and behaviour should not be
attempted until the teacher is more familiar with the children and can talk together. Therefore,
children should have adequate opportunity to practice the skill to be assessed. This assessment
should not be undertaken at a certain time of the school calendar year when the children are more
likely to rush.

Formal and Informal Observation

Two different methods of observation are used for assessing young children—formal and informal.
They differ in how controlled the conditions are for using them. Formal methods include standardized
tests and research instruments. As a result of such research, developmental milestones for children
have been identified.
Developmental milestone are characteristics and behaviors considered normal for children in specific
age groups. Some educators refer to these as emerging competencies.
Developmental milestones will assist you in comparing and noting changes in the growth and
development of children in your care, 3-4. They will also help you as you observe young children in
preparation for your career working with young children. Examples of developmental milestones are
included in the Appendix of this book. They are useful tools for assessing children’s developmental
status. They also form the basis for planning developmentally appropriate curriculum.
While formal observation methods provide important information, they require specialized training
for recording data on carefully designed forms. Training is also needed for analyzing and interpreting
the data.
Pre-school teachers usually use informal observation methods to collect data.
These methods are easier to use and more appropriate for program planning. They include observing
children in the classroom, collecting samples of their work, interviewing parents, and talking with
children.
Choosing a Method of Assessment
There are three considerations for choosing a method of assessment.
a) The method chosen depends on the type of behavior you want to assess

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b) The amount of detail you need.

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c) Whether the information needs to be collected for one child or the entire group
d) The amount of focused attention required by the observer
Some methods of assessment will require more of your attention. For example, it is difficult
interacting with children when you are in the process of writing an anecdotal record. Narratives need
to be rich in information with detailed behavioral accounts. Checklists, videotapes, and
participation charts are easier to use while working with the children. Usually teachers use a variety
of methods for gathering information about the children.
Since no one method is the most effective or reveals everything, several methods are used. More
complete information is obtained by using several types of assessment. Multiple sources of
information also reduce the possibility of error when making evaluations.
Assessment Tools
There are several types of assessment tools that are used in early childhood programs. These include
anecdotal records, checklists, participation charts, rating scales, samples of products, photographs, and
tapes. Teachers can also interview families to obtain information.
1) Anecdotal Records: The simplest form of direct observation is a brief narrative account of a
specific incident called an anecdotal record. Often an anecdotal record is used to develop an
understanding of a child’s behavior. Anecdotal records do not require charts or special settings. They
can be recorded in any setting and require no special training. All you need is paper and a writing
tool to record what happened in a factual, objective manner. The observation is open-ended,
continuing until everything is witnessed. It is like a short story in that it has a beginning, middle, and
end.

The process of recording the incident requires a careful eye and quick pencil to capture all of the
details. You will need to note who was involved, what happened, when it happened, and where it
occurred. It needs to be done promptly and accurately. Figure 3-5 shows the contents of an anecdotal
record. When you use the narrative form of observation, your eyes and ears act like a video
camera. You will be recording pictures of children playing, learning, and interacting. During your
observations, you will record how children communicate, both verbally and nonverbally. You will
record how they look and what they do. Physical gestures and movements should be noted. You
will also detail children’s interactions with people and materials. Record as many details as
possible.
Anecdotal Records Must Be Objective
During the observation process, it is important to record only objective statements. To be objective, a
statement must pass two tests. First, it must describe only observable actions. Thus, generalizations
about the motives, attitudes, and feelings of the children
Advantages and Disadvantages of Anecdotal Records
There are advantages and disadvantages in using the anecdotal record. An important advantage is that
it is the easiest method of use since it requires no special setting or time frame. Anecdotal records can
provide a running record over time showing evidence of a child’s growth and development.
Therefore, teachers who record incidents throughout the year have a means of assessing progress.
There are also disadvantages with using anecdotal records. Because the incident observed is based on

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the observer’s interest, a complete picture may not be provided. Records may not always be accurate.

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If the observer decides to write down the incident at the end of the day and is poor at recalling details,
important information may be missed.
2) Checklists: Another form of assessment is the checklist. Checklists are designed to record the
presence or absence of specific traits or behaviors. They are easy to use and are especially helpful
when many different items need to be observed. They often include lists of specific behaviors to
look for while observing.
Depending on their function, they can vary in length and complexity. Checklists may be designed for
any developmental domain—physical, social, emotional, or cognitive. A checklist that is carefully
designed can tell a lot about one child or the entire class.
Checklists may be developed to survey one child or a group of children. The targeted behaviors are
listed in logical order with similar items grouped together. Therefore, you can quickly record the
presence or absence of a behavior. Typically, a check indicates the presence of a behavior. Checklists
require structuring. You may be able to purchase commercially prepared checklists. Most teachers
working in child care centers structure their own.
Advantages and Disadvantages of Checklists
One of the advantages of a checklist is that there are no time constraints in collecting the data. The
information can be quickly recorded anytime during program hours. In addition, checklists are easy to
use, efficient, and can be used in many situations. Data from checklists can be easily analyzed.
A disadvantage of using a checklist, however, is the lack of detailed information. Checklists lack the
richness of the more descriptive narrative. Because of the format, only particular behaviors are noted.
Important aspects of behaviors may be missed, such as how a behavior is performed and for how
long. Only the presence or absence of a behavior is noted in a checklist.
3) Portfolios: Materials you have collected as a part of ongoing assessment should be placed in each
child’s portfolio. A portfolio is a collection of materials that shows a person’s abilities,
accomplishments, and progress over time. Portfolios you create for the children in your care
summarize each child’s abilities. A portfolio includes items that show the child’s growth and
development over time.
Documenting learning is an important skill for teachers to develop. Depending on the materials
collected, the contents of a portfolio can be stored in a variety of forms. Some teachers prefer three-
ring binders. Others prefer to use boxes or large folders to store the portfolio contents.
Contents
A child’s portfolio needs to be carefully planned and organized. It should be more than a file of
anecdotal records, checklists, and questionnaires. Most teachers include work samples as well.
Examples include art projects, audiotapes of conversations, and child-dictated stories. Work samples
can provide evidence in all developmental areas. In addition, the portfolios include summaries of
parent conferences and parent questionnaires. Figure 3-11 shows the contents of a typical portfolio.
Teachers include work samples for each child that reflect unique skills and interests.
If Thomas built a complex and interesting block structure, his teacher might sketch or photograph it
for inclusion in his portfolio. Likewise, teachers may record stories that children dictate to them.

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A portfolio should be continually evolving, documenting evidence of a child’s progress. Over

this method provides a vivid picture of each child’s development.
Visual documentation included in a child’s portfolio is a helpful tool when conferring with families. It
should be a summary of a child’s development. Information gained from evaluating the portfolio can
guide teachers in making curriculum decisions, structuring interactions, and setting up the classroom.
Families, too, will gain from reviewing the child’s portfolio with the teacher.
By reviewing the portfolios of children in a program, you should be able to identify unique
characteristics of each child. For instance, according to Mark’s portfolio, he remains in the cooking
area until the entire snack is prepared every day. Often he provides the teachers with other methods of
preparing the foods.
4) Participation Chart: A participation chart can be developed to gain information on specific
aspects of children’s behavior. Participation charts have a variety of uses in the classroom. For
instance, children’s activity preferences during self-selected play can be determined.
Richard O’Grady, an experienced teacher, uses participation charts to record the time each child falls
asleep at nap time. He also charts the length of time each child sleeps. He records this information
several times a year. After collecting the data, he decides if a change should be made in the scheduled
nap time. Likewise, the length of the nap time can be adjusted to reflect the children’s needs.
Sometimes teachers find that children’s preferences do not match their needs. To illustrate, Randy has
weak hand-eye coordination skills. A participation chart shows he spends most of his time listening to
stories and music and watching other children play. To meet Randy’s needs, the teacher could
introduce him to interesting
5) Rating Scales: Rating scales, like checklists, are planned to record something specific. They are
used to record the degree to which a quality or trait is present. Rating scales require you to make a
judgment about the quality of what is being observed. Where a checklist only indicates the presence
or absence of a trait, a rating scale tells how much or how little is present. As a result, objectivity
could be hampered by the observer’s opinion
Advantages and Disadvantages of Rating Scales
Rating scales are easy to use and require little time to complete. Some scales contain only a numerical
range. Others define the behaviors more specifically.
A disadvantage of the rating scale is that only fragments of actions are included. In order to choose a
rating, the observer should have a good understanding of the behavior he or she is rating.
6) Collecting Samples of Children’s Products: Collecting samples of children’s work systematically
over time is another assessment tool. These products can provide valuable information regarding the
child’s developmental status and growth. Products collected may include artwork, stories dictated or
written, photographs, and records of conversations. Over time, these samples can be collected and
compared. To illustrate,

Chuck could make only random scribbles on paper at the beginning of the year. When Chuck’s
teacher asked him to tell her about his work, he explained it. She discovered the sample showed
more than Chuck’s scribbles. He said, “There is my name. That is how to write it. I wrote my

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A portfolio should be continually evolving, documenting evidence of a child’s progress. Over

mother’s name and

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my sister’s.” Now he is able to draw a circle. A comparison of the two samples shows the
Chuck has made in fine-motor and hand-eye coordination skills.
A child’s products can be stored in a folder or portfolio. Whenever possible, store materials and items
in chronological order. This will save you time when evaluating progress or sharing the materials with
families.
Records may be kept in different forms. Samples may be preserved by photographing, sketching, or
diagramming children’s products. These methods are especially useful for large structures such as
block displays and three-dimensional artwork that cannot be stored conveniently.

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