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CHAPTER II

REVIEW OF LITERATURE

This chapter presents the relevant conceptual and research literature

which have bearing to the present study. The literatures included were found

substantial to the study and gave the necessary background to understand

the present research. This chapter also presents the theoretical and

conceptual frameworks of the study, synthesis, hypothesis and definition of

terms.

Conceptual Literature

The following concepts, principles and policies regarding

characteristics of music teachers, skills and competencies of music

teachers, challenges in teaching music, and music skills enhancement plan

are discussed in this section.

Characteristics of Music Teachers. In an article written by Smith

(2016), she mentioned that many music teachers still confront the false idea

that their subject is a walk in the park to teach. The belief that music is one

of those easier subjects where less effort needs to go in to supporting

students than in the sciences or English literature, however, ignores the

tremendous efforts educators put in to develop the musical abilities of their

students.
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She added that although it’s impossible to draw up a precise list of

qualities which every great music teacher must have, there are some traits

which help music teachers to stand out. First, the music teachers must be

able to connect with his or her students to show that they care about their

development. Teachers need to be prepared to challenge students to push

themselves. They must be an excellent communicator in such a way that

students should be given the opportunity to try things out in the lesson.

In addition to this, teachers should show students that they have an

enthusiasm for all musical styles so that they are motivated enough to do

some exploration for themselves and find out what they like. Reviewing the

fundamentals of instrument playing and musical technique is important so

even when they are rehearsing a complicated piece on the eve of a concert

or test, returning to the basics, such as posture, will sometimes make all the

difference. Music teachers must be able to identify key problem with their

technique or approach to improve things.

Moreover, teachers need to be able to maintain patience and the

conviction that with the hard work and study, everyone can make it. Having

the ability to see when it is necessary to step in and help and when it is better

to let the student explore their own approach, particularly as they become

more advanced, is critical. Reflecting on how the teachers have performed,

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if there was anything you could have done differently or identifying areas

they need to work on will be beneficial to them as well as their students.

Lastly, teachers should make it clear to students that they are enthusiastic

about what they can do would be a great way of motivating them.

A similar discussion regarding the characteristics of a music teacher

was expounded by Gayhardt (2017), he stated the seven important

characteristics that the best music teachers tend to possess. Music teachers

should have a genuine love for music since children respond to those who

show genuine enthusiasm for the subject. The joy that a teacher feels for

music should be evident in all lessons that he or she teaches, rather than

only in the lessons that are the most exciting. This can be especially helpful

in motivating younger students to practice and become more engaged with

their lessons. To be an effective music teacher, one must be people-

oriented, possess emotional intelligence and have a large capacity for

patience. Students will develop their musical abilities at different rates, and

not all of them will grasp important concepts right away.

Furthermore, he also emphasized that excellent music teachers never

forget the importance of the fundamentals. Both in technique and theory,

skilled instructors understand that training in and reinforcement of

fundamental elements like breathing, hand positions, and posture must be

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maintained as a student becomes more and more familiar with his or her

instrument. A talented music teacher also recognizes the need to

accommodate their individual needs. Great teachers show personal

investment in their students as musicians and as people, and let all students

know that they care about their progress. An excellent music teacher knows

that practicing music is a lifelong pursuit. They seek out opportunities to

improve their own abilities in addition to their students’. At the same time,

music teachers must be approachable, talented listeners who students feel

comfortable coming to with questions if any part of a lessons seems unclear

to them.

More details about the qualities every great music teacher should

possessed were being discussed by Kravchuk (2015). Teachers should

never confused or unclear a great lesson in music. A great teacher will be

able to come up with different, creative ways to explain a concept that make

sense to you. Whether they are working on perfecting their embouchure or

understanding how to adjust their pitch, a well-trained teacher will find the

right way for them to grasp the concept. During the music lesson, teachers

should actively listen to the act and spot problems as they are occurring.

Then, they will have solutions to help their pupils solve those problems they

encounter.
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Likewise, a talented teacher will understand how to make music

lessons fun and enjoyable, even with the hard work. The more they enjoy

their lessons, the more motivated they will be to prepare the lessons for them

and to quickly achieve their musical goals. Also, teachers should be positive

and encouraging, and able to balance out critiques by identifying the things

that they are doing well. They should also know how to structure their music

lessons and their learning goals, as well as assignments that help them get

closer to achieving their goals.

He also added that when it comes to choosing his or her repertoire or

music, a great music teacher will know how to select pieces that challenge

you without overwhelming you. An organized teacher can make the most of

that time, moving efficiently from one activity to the next. In fact, a great

music teacher is well-organized, conscientious of the time, and knows how

to stay productive during the entire duration of each music lesson. Lastly,

they should have a genuine love of music, and of teaching it. This love of

teaching music will help to drive a teacher to do their best to help their pupils

enjoy music as they do.

Moreover, McDonald (2017) explained that music teachers teach

music. But that teaching can take on many different forms. Some are vocal

coaches, some teach how to play instruments, some teach music theory,
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and some do a combination. Some music teachers are tied to a school or a

business while others teach music independently. Most of us have

experience with music teachers in school. As a school-based music teacher,

you will move from classroom to classroom providing music instruction. The

exact curriculum you cover will be dictated by the school district and the

grade levels with which you are working.

He also asserted that usually, there is a heavy emphasis on vocal

instruction and music theory. Some schools have elective music classes that

go a little deeper into music, teaching instruments, working more on music

theory, and so on. Music teachers may also be responsible for devising

school musical productions or coaching the school band.

Mazzocchi (2015) said that great music teachers love fundamentals

and know how to “sell” them to their students. Wise music teachers

understand that technique is essential, and that proper technique can be

taught during a school day no matter how many students are inside the

classroom. These teachers are not afraid to go back to the beginning of a

method book and honor the foundations of playing a musical instrument. Not

only with great teachers understand that building blocks such a posture,

breathing, and hand position are critical to beginners, they also understand

that these fundamentals must be constantly reinforced throughout their

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student’s schooling. Great teachers do not abandon fundamentals in order

to teach for a concert. They ensure that their concert repertoire is an

extension of strong musical foundations.

Moreover, great music teachers understand that every single child is

capable of becoming proficient at their craft. Great teachers understand that

they must help build proficient young players, one day at a time. While some

students may have instant and early success, great teachers communicate

through their teaching that those who persist and practice in an intelligent

and mindful way will grow, learn and reach their potential as well.

He also added that great teachers should render themselves useless.

Their long-term goal should be to help their students learn so much that they

no longer need the teacher. They do not lead by personality alone, and the

need to be the center of attention. That is why great music programs cannot

be built on a personality, it is not sustainable. Successful music teachers

create a culture where students want to continue to go beyond their comfort

zones in order to get better on their own. These teachers seek to create

moments of independence, so that students can slowly begin to “teach

themselves” moving forward beyond the classroom.

Skills and Competencies of Music teachers. Being a teacher at any

level requires a significant amount of knowledge and skill. Paying attention

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to the core competencies for educators helps to ensure that all teachers and

others who work in education are prepared to make school a positive

experience for students and their families (Zeiger, 2018).

In terms of key skills for music teachers, the ability to motivate others,

having determination and perseverance, enthusiasm, imagination,

commitment, passionate, excellent interpersonal and verbal communication

skills and patience are listed. All forms of musical experiences singing,

listening, rhythmic movement, instrumental music playing, creative activities

and music appreciation should be introduced early in the education process

for experience. Through those five skills, schools will be helping the youth

to find beautiful, permanent and satisfying values which make life for them

more intellectually and emotionally complete. A teacher cannot give what he

does not have so he should be professionally prepared to teach the subject.

According to Raman (2017), an accounting manager at Splice, the

first rule of music analysis was listening to a song with intent and complete

focus. One should clear away any disturbance such as notifications on the

computer or phone. He or she should be in a comfortable listening

environment.

Music teachers must have the initiative, enterprise and

resourcefulness to remedy the weaknesses of teaching. They have to go out

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of the confines of music instruction. Learning does not exist in a vacuum.

Through attendance in concert, seminars, affiliation with organization-vocal,

instrumental or academic, they must broaden their cultural orientation.

Unstinted dedication is expected of them (Rivadelo, 2010).

In like manner, Chaffin (2011) explained that music teachers do not

have to be a good composer to teach composition. The most important

things for teachers to do are to trust their own musicality. Good music

teachers should be able to recognize good phase shape, effective use of

ostinato, dynamics, instrumentation, musical insensitiveness and so much

more even though they do not consider themselves musicians.

He also added that music educators should be equipped with different

music theory, aural skills, music history, conducting, composition and

arranging, lesson on the instruments as well as the various social,

behavioural sciences and principles unique to music therapy. The goal of

music educators should be teach students to love music and continue to

engage in musical activities throughout their lives, to have love of music and

use it to motivate people to change behaviour.

In like manner, basic music skills students need to learn in order to

excel in the subject matter were being discussed. Ear training or aural skill

is one of the basic music skills students are taught in school in which they
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are enabled to identify different musical elements such as tone, pitch,

chords, rhythm, intervals and melody just by listening. In music, the ear is

by far one of the most important factors that enable one to fully appreciate

the art. The ear is trained to identify and listen carefully to how beautifully

music is created. With such skill, students become more appreciative of the

art and are able to create art themselves.

The second one is absolute pitch, a skill that enables a person to

recreate or identify a tune or a sound without reference to any external

factor. This is used in conjunction with ear training as with both basic music

skills you can beautifully recreate and reproduce art. Just by hearing a note

or a chord one is already able to identify and name each. It also enables to

sing in absolute perfection.

Next is Fingering. This is a skill you need to learn if you are to play

musical instruments. There are proper finger positioning to every chord you

hit and key you play. Such positioning prevents your fingers from over

fatigue and too much stress had you hit the chords with the wrong fingers.

This is one of the first things you will learn in a music class as this is

important for your fingers. Fingering changes all throughout the piece you

are to play. The logic behind such is to make you change hand positions at
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a lesser rate and to allow your fingers to be at their most comfortable

position.

Lastly, modulation which is the act of shifting keys. This is a skill one

must learn so efficiently to be able to produce music so smoothly and without

any nuisance. The skill of artfully modulating music enables one to produce

structure and add interest. Such skill represents the ever changing mood of

the composer. This is one part of music that is close to the artist's feelings

and mood. Shifting from one key to another represent how his mood

changes if from happy to sad or vice versa. This skill will enable one to

decode the composer and from the composer's point of view, artfully

incorporating modulation to his music will enable him to communicate

efficiently to his listeners.

Such basic music skills in music are important to relate to the listeners

and to the artist. Also, learning such enables one to be more appreciative

and interested in music than he has ever been. Music is a great part of our

lives and hence deserves appreciation (Teachnology Inc., 2019).

According to Lasauskiene and Rauduvaite (2013), the quality of music

teachers’ competences is largely influenced by their system of values that is

manifested as the pedagogical merit of their personal traits. It is a significant

factor of the successful pedagogical activity of music teachers, which can

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be defined as an individual competence of personal self-development.

Pursuing to prepare the model of the descriptor of music teacher’s

competences, four main areas of music teachers’ professional activity were

distinguished: personal self-development, development of music abilities,

management of the process of music education, and management of non-

formal music education. Each area of the activity was combined with certain

roles: a musician, an educator, a manager, and a researcher.

They also added that the analysis of scientific resources shows that

the models of teachers’ professional activity differ in various countries. There

is no list of teachers’ professional activity approved at the national level. The

range of the activities of music teachers is broad and includes a lot of activity

areas. They participate not only in the educational activity during lessons,

but also recognize musical activities for the school community, lead non-

formal music education classes which are after-class activities, as well as

participate in the cultural life of the society they live in.

Mark and Madura (2010) cited that the music education profession is

made up of a diverse array of individuals who care deeply about finding ways

to enrich all students’ lives with music, no matter what their age or musical

reference. Future teachers need to think beyond the boundaries of the

traditional ensembles of choir, band and orchestra which normally exclude

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at least eighty percent of secondary students. To be more inclusive,

teachers need to consider other possible ways to involve the students in

music learning activities which might include classes in composition, guitar,

or the history of jazz. Future teachers will help make schools, communities

and nation more musically inclined.

They also added that successful teachers are deeply interested in

their students. They love music and they love and respect young people.

Many teachers are able to perform in the community while they work with

kids in schools. They know students’ needs and abilities at different ages so

they can tailor their teaching to their pupils. They are proud when their kids

respond to music knowledgeably, or when they grow as musicians. Fulfilled

teachers know how much they have done for their students. They know that

they have made a positive contribution to their lives.

According to Bell and Robinson (2011), effective music educators will

use strategies best suited to their own personalities, teaching styles, and the

developmental levels of their particular ensembles. Music teachers need

personal experiences as improvisers and composers to understand

conceptually all of the intricate components involved when working

creatively with students. Within the creative strategy model, time to think –

musical cognition and to review, modify, and discard musical ideas become
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essential and meaningful activities. Teachers who desire creative mastery

and probe these musical understanding should access a series of college –

level courses in the content area.

To be effective, music educators must function within the culture of

their classroom as the guide on the side rather than the stage. They facilitate

learning by gently directing and encouraging students to discover their own

conceptual understanding rather than simply put to memory the thoughts of

their teacher. They must ask open-ended musical questions that stimulate

thinking rather than solicit students’ responses with only right/wrong or

yes/no answers. When students believe that their thinking is valued and

respected by their community of peers and teacher, their confidence to

share their musical thoughts increases and happens more freely, fluidly and

frequently.

On the other hand, Arca (2013) remarked the key skills needed to

be a private music teacher. Music teachers need strong written and

spoken communication skills. Having the versatility to communicate

with all of these age levels is not just an asset, but a necessity. Also,

listening skills are vital. Music instructors need to listen carefully to

musical elements such as notes, rhythm, articulation, pedaling,

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shaping, tempo and flow. Based on their assessment, they help their

students correct inconsistencies and learning errors.

She also added that music teachers should possess good

perception and observation skills. They need to detect and correct

improper technique and posture which, if left unchecked, could lead

to musician injuries. Independent music teachers also require strong

administrative, planning and organizational skills. Aptitude, learning

preferences, motivations, needs, interests and personalities are unique

to each student. Therefore, lesson plans need to be personalized for

each student.

Issues and Challenges in teaching music. Teachers today face

many issues and problems when it comes to teaching of a particular subject.

They need specific knowledge, skills, and attitudes that will enable them to

work effectively with the students. Students are exposed to more negative

influences, are offered more choices, have more freedom with less

supervision and are making more decisions that will affect the rest of their

lives than any similar group before them. Schools and teachers have never

played a more pivotal role in the life of students. The teachers influence over

students has never been stronger and the stakes have never been higher.
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According to Price and Savage (2012), one of the biggest challenges

in the classroom is to provide rich varied context for authentic music-making.

The students’ own musical history can help with this as their experiences

position them with a tacit understanding of many aspects of music in society.

An easy example is the way in which reality television such as X – factor,

Pilipinas Got Talent and Pinoy Pop Idol have opened the process of

selecting and expanding the repertoire to the public. In this case, the role of

the music teacher is to bring the students’ hidden understanding to the

surface. Another way for the teacher in addressing the challenge is to look

forward from understanding of different roles of musicians in society.

Conway (2014) explained that access to quality music instruction is

the most important issue in music education today. Some children have a

daily opportunity to make music during school with a certified music teacher

who assists them in creating music, performing music, and responding to

music. However, children may have daily access to a music teacher, but that

music teacher may not organize instruction in a way that offers the

opportunity to create, perform, and respond to music. Many children have

access to a music teacher only a few times per week and oftentimes, the

lack of resources for that music program leads to a low experience for

students.
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She also added that due to a lack of national level of policy regarding

music education, many children have no music teacher in their school

building. Although there are rich opportunities for outside of school

community music, many children cannot afford to pay for music instruction

outside of the school setting. Students interested in making a difference in

music education must advocate for a well-prepared, certified music teacher

in every school building. Music needs to be mandated at least twice a week

in a dedicated space at the elementary level and every secondary student

should have the opportunity to participate in choral, instrumental and general

music.

A similar discussion about the challenges that a music teacher faced

were being defined by Glauser (2017). Whether they are new to the

classroom or they have been teaching for years, music educators have the

potential to encounter some significant challenges. One of the challenges

was answering the arguments against the necessity of music. In many

school districts across the nation, policymakers, educators, and parents

alike consider music education optional rather than necessary. In such a

scenario, music education may become an elective available to students

who show promise rather than a standard subject that all students learn.
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Additionally, for many music educators, questions about the value of

music and district wide budget concerns continue to cause funding issues.

Emphasizing music’s inclusive nature and using the internet to stream

performances and cultural opportunities could be just the beginning of

educators’ efforts to attract interest and regain the funding their classrooms

need.

Correspondingly, another challenge for music teachers is the

pressure to accommodate students who have a wide range of needs. A one-

size-fits-all approach to teaching rarely enables teachers to educate

students effectively or meet district-mandated objectives. Instead, educators

must increasingly master the ability to provide individualized learning

opportunities while managing full classrooms.

Music teachers are also likely to find an increasing need to create an

inclusive classroom that accommodates learners from a variety of

backgrounds. While this may be a daunting prospect for some teachers,

educators in music classrooms may have a range of teaching tools at their

disposal. Meeting district objectives may inspire educators, but motivating

students to improve their performance may be a constant struggle for music

teachers. Assessing student accomplishments and progress continues to

present challenges for music educators.

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For music teachers at all levels, encouraging parent involvement at

an appropriate level remains a constant challenge and one that is likely to

continue. Parental involvement has the potential to enhance student

success, but busy schedules may prevent parents from participating at a

sufficient level. In most school districts, educators have introduced

technology to virtually every classroom. Music teachers may face challenges

in determining which options are best suited for their classrooms and staying

updated on optimal technology.

In like manner, Gayhardt (2017) expounded that music teachers face

a number of common problems, especially during their first few years in the

classroom. Many of these predicaments, such as student behavioral issues

and conflict with administrators, are not unique to music classrooms;

however, they often present a unique set of obstacles for music instructors.

In particular, budget cuts tend to adversely affect music teachers, forcing

them to defend not only their jobs, but the very concept of a musical

education.

Another concern is that the school districts face budgetary crises,

administrators tend to focus their resources solely on core subjects, such as

English and math, leaving arts and elective classes unfunded. The usual

rationale for savaging arts education is that parents can always enroll their
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children in extracurricular activities outside of school. However, paying for

music lessons isn't always an option for children from socioeconomically

disadvantaged backgrounds.

While children with problem behaviors are present in every type of

instructional setting, dealing with them in a music classroom can be

especially difficult. Ironically, music is one of the few subjects that can

actually help children with behavioral issues and other special needs. The

first few years of teaching, or of teaching in a new role, are inarguably the

most difficult period in any educator’s career. While the student-teaching

experience is supposed to make the shift from college to one’s first job

easier, many new teachers still find the transition period rather trying.

Next problem is high student-to-teacher ratios are commonplace in

many school districts. However, this situation is especially problematic in

music classrooms. Cultivating natural talent and encouraging kids to explore

their creative sides are main goals of music instructors, but accomplishing

these goals in overcrowded classrooms can be nearly impossible.

More details regarding the challenges with teaching music in primary

school were discussed by Rooney (2018). First, music teachers confirmed

that they were not musically-inclined and no experience with music. People

assume they can’t do music and have get outs by claiming things like they
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are ‘tone deaf’. people seem to believe they are tone deaf simply because

they struggle to sing in tune.

Similarly, the feeling that they don’t have sufficient resources and

ideas was also a challenge to a music teacher. A lot of teachers have told

us the Irish primary curriculum is too jam packed and subjects like music

and art get pushed down the priority list. This is completely understandable

and often is a source of great frustration to both the teachers and the

students.

In fact, according to Kara (2016), she mentioned that based on her

experience it is dealing with children that have been forced into playing an

instrument. There is no real passion or will to improve so it takes a lot of

imagination and skill to get them to have any joy for music. Dealing with an

over jealous parent that expects their child to be some kind of prodigy

generally is attached to the above paragraph. The only way to deal with this

is to be brutally honest. Not all parents take kindly to being told that their

child doesn't want to play an instrument.

Enhancement plan. Rue, et. al (2007) articulated that planning is the

process of deciding what objectives to pursue during a future time period

and what to do to achieve those objectives. It is a primary management

function and is inherent in everything a manager does. It enables an

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organization to actively affect rather than passively accept the future. They

added that planning may also have positive effects on managerial

performance. Studies have also demonstrated that employees who stress

planning earn high performance ratings from supervisors.

In planning, the objectives are the best to determine by a discussion

most especially in a group. All the objectives should be written down, even

the unspoken ones. The teachers should discuss which are the key ones

and the unnecessary objectives. Prioritizing the objectives is a help in

deciding which direction to go with regard to the selection of the factors,

response and the particular design. It will force the leader to start over from

scratch when an experiment does not meet the critical objectives.

Furthermore, it is limited to choices of fixed alternatives and reducing

subjective factors to a minimum.

In general, objectives are more specific and easier to measure than

goals. Objectives are basic tools that underlie all planning and strategic

activities. They serve as the basis for creating policy and evaluating

performance. Hence, it is the specific result that a person or system aims to

achieve within a time frame and with available resources. An objective is

something that you plan to do to achieve the point of something and to look

at things in a detached, impartial, and fact-based way.

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Activities in a plan were based from the objectives made. It should

encourage the students’ involvement to improve their performance as it is

the condition in which things are happening or being done. Price (2012)

mentioned that activities need to be prescribed and controlled, but each with

sufficient time and opportunities for students to participate in a way that is

meaningful to them. Without a sense why an activity is useful to them of how

it connects with their personal goals and current skills, they become

frustrated and disengaged. A disengaged student is a student that absorbs

information and can follow instruction but does not see the importance of

music-making. Such student struggle to take a critical view or to synthesize

or evaluate materials they encounter or create.

Music teachers faced with a class with a range of musical ability and

stylistic interest, the music teachers’ task is to be the balancing act.

Fortunately, enthusiastic and engaged students are important contributors

to the development of musical skills and knowledge of the whole class. Their

individual experiences and knowledge of range of music are often

invaluable.

A plan of activity consists areas of concern, objectives and different

activities of strategies. However, plan of activities should be revisited and

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reviewed as the plan moves forward. This assures that plan will meet the

expectations and remains flexible if details need to be changed.

Areas of concern are issues that a teacher disquiets about. It is the

main part of a plan which is supported by the objectives and strategies and

focused to the different weaknesses of the students that needs

improvement. Meanwhile, areas of concern have multiple concerns in that

one particular area as it is not only for one part of that area but also to the

other part that may affect by this one area. In having concerns especially to

the students should also think on how it may affect not only a part of it but

also as a whole.

Research Literature

The researcher reviewed some studies conducted by other

researchers which have significant bearing to the enhancement of teachers’

music skills. They are presented in this section.

As stated by Benson (2016), data from research suggests that there

is very little curricular unity or alignment between music instruction that

progresses from elementary, middle, and high school programs. This may

be the reason for the diminished rhythmic reading ability that often occurs

between elementary general music classes and beginning band classes.

Consistent practice of initial and similar concepts over a period of time allows
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for transfer of learning from one grade level to the next. However, there is a

dramatic difference in the way rhythmic instruction is given in elementary

music classes and beginning band methods.

A sequential presentation of rhythmic instruction, should provide a

curricular link between elementary music and beginning band. Students are

often able to perform more difficult rhythms in general music classes than

are presented in most beginning band method books. Subjects performed

seven common rhythmic patterns from fifth grade curricula. Students in this

study who experienced continuous rhythmic instruction (fifth grade students)

scored significantly higher (than students (sixth grade beginning band

students) who experienced a different method of rhythmic instruction.

The recommendation is to encourage communication between

elementary specialists and instrumental specialists regarding curriculum

and methods to ensure a cohesive music education program. A more

collaborative strategy would involve developing a cohesive method and

linear learning experience from general elementary music method curricula

to beginning instrumental music curricular methods.

Based on the study of Beron, et. al (2012), he concluded that the

music teachers must be knowledgeable in using instructional materials.

They must be familiar with the use of instructional materials. It was observed
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that not all music teachers showed efficiency in carrying out the teaching-

learning process. Some teachers claimed that such subjects must be taught

by the teachers who by nature were music minded or have natural interest

in music. It was also claimed that some teachers did not like to teach music

because they had just enough or limited knowledge on that matter.

The study of Ganyata (2015) on pedagogical challenges experienced

by teachers of music literacy in Zimbabwe pointed out that teachers of music

literacy are inadequately trained, supported and resourced, and that most

hold a negative attitude towards the teaching of the subject. The time

allocated to music learning in schools is not adequate, and teachers lack the

necessary logistical support to achieve their educational goals. The study

recommends for the development of viable music programmes in

Zimbabwean primary schools despite the challenges being experienced

such as the subject being accorded examination status, music syllabus

regularly reviewed and use of ICT in teaching music literacy.

As found out in the study of Gantan, et. al (2015), based from the data

collected, the following were concluded; in terms of the profile, it was found

out that most of the teacher-respondents were young and single most of

them are new in the government service. None attended a solely music

seminar for the past five years only two teachers in the whole town of Mexico
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were musically inclined but not trained professionally. The methods the

teachers used in teaching music were assessed as “much effective” by the

teacher-respondents but were assessed as “very much effective by the

student-respondents. The problems encountered in music were described

as “serious problems” by the respondents and most of it according to the

data was caused by the institution.

The work of Andal, et. al (2014) focused on determining the musical

instruments used by the teachers in teaching music, identified the

instruments available in the school, and the potentials of the students in

music. Majority of the respondents had a keyboard/piano; the least available

musical instrument in school was the violin. Lack of musical instruments in

school was the main problem encountered by the music teachers.

In view of these, schools were encouraged to provide music teachers

more time and information in teaching the different musical instruments to

develop their skills in playing musical instruments. The proposed training

guide was recommended to be used by practitioners so they can have

further information on different musical instruments and how to use them.

Results of the study of Concina (2015) showed that impact on music

teachers’ training is also considered, since it has proved to be a significant

dimension of effective music teaching since effective teaching is an essential

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condition for fostering learning in instrumental and vocal music education.

The role of the teacher in music lessons has to be considered in a

multidimensional perspective, since it involves different personal and

professional aspect in a one-to-one educational relationship.

On the other hand, the study conducted by Moralista et. al. (2016)

focused on the factors affecting the music education in the district of

Lambunao East, province of Ilo-ilo, Philippines. It was found out that the

teachers in the District of Lambunao East, Province of Iloilo, Philippines for

the school year 2015-2016 were ‚Very High in music education and when

categorized as to Psychomotor Domain ‚Excellent, Cognitive Domain ‚Very

High and Affective Domain ‚Very High. The Music teachers excelled in

psychomotor because music is supposedly sung and the teachers are the

same in their extent of music education when grouped in various area in

terms of Psychomotor Domain; Cognitive Domain and Affective Domain.

The study of Kilic (2012) aimed at determining and describing the

basic problems experienced in the course “Music Education” in primary

education schools from music teachers’ perspectives, and contributing to

make the course more functional. This is a qualitative research study and

employs interviews in order to collect the data in determining the

perspectives, experiences, feelings and perceptions of music teachers

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working in primary education schools. Having written down and having

analysed the data, the findings were interpreted. Based on the findings,

recommendations were made for solutions.

The study of Saarikallio (2014) on fostering the musical skills of

children and their teachers through a newly designed music program

showed significant increase in the children’s self-perceived abilities in

instruments and music cultures, while the teacher’s self-perceived teaching

skills increased significantly in all of the four domains. The children’s desire

for music and the teacher’s perceived importance of music were already

high before the program and did not change during the study. Additional

significant improvement was found in relation to the children’s attitude

towards school and their family’s encouragement for their music making.

In the research paper written by King (2018) aimed to compare the

level of ensemble directors’ expectations of musical knowledge and skills of

their students entering 5th, 7th, and 9th grade in schools within a district

feeder pattern. That band and choir directors and elementary specialists

had similar expectations for 3 out of 15 (20%) musical concepts for incoming

5th graders. Band and choir directors had similar expectations for 6 out of

17 (35%) musical concepts for incoming 7th graders and 4 out of 11 (36%)
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musical concepts for incoming 9th graders. These results suggest that the

district could benefit from greater vertical collaboration.

The study on addressing the challenges of teaching music by

generalist primary school teachers by Welch & Henley (2014) revealed that

many primary school teachers believe that the teaching of music to children

is outside their available expertise. Although Primary teachers enjoy music,

they often express a sense that music is a ‘specialist’ subject that requires

some kind of advanced competence on a musical instrument.

Underlying this perception is (i) a lack of confidence in their own

musicianship, often linked to the mistaken belief that innate human

musicality is unevenly distributed in the general population, and (ii) a lack of

knowledge of how to bring music into their everyday teaching. In order to

address these concerns, we initiated a specially designed cross-curricular

course that sought to link music to other areas of the curriculum where

teachers were required to demonstrate everyday expertise, such as in the

promotion of children’s language and mathematical development.

The results of the study of Brandao (2011) revealed that the current

state of conducting as an academic and professional pursuit shows a

plethora of conventional traditions and techniques that are accepted without

a question, but a dearth of ideas and approaches that will develop the skills
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essential to producing an effective conductor. This profile is especially

apparent in the field’s literature. This monograph will compile a list of these

titles and annotate each one, in order to determine the common threads that

run between them.

The work of Law & Zentner (2012) aimed to assess the musical

abilities objectively. This common approach for determining musical

competence is to rely on information about individuals’ extent of musical

training, but relying on musicianship status fails to identify musically

untrained individuals with musical skills, as well as those who, despite

extensive musical training, may not be as skilled.

To counteract this limitation, we developed a new test battery (Profile

of Music Perception Skills; PROMS) that measures perceptual musical skills

across multiple domains: tonal (melody, pitch), qualitative (timbre, tuning),

temporal (rhythm, rhythm-to-melody, accent, tempo), dynamic (loudness).

The PROMS has satisfactory psychometric properties for the composite

score (internal consistency).

As found out in the study of Mullensiefen,et. al (2014), musical skills

and expertise vary greatly in Western societies. Individuals can differ in their

repertoire of musical behaviours as well as in the level of skill they display

for any single musical behaviour. The types of musical behaviours we refer
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to here are broad, ranging from performance on an instrument and listening

expertise, to the ability to employ music in functional settings or to

communicate about music.

In this paper, we first describe the concept of ‘musical sophistication’

which can be used to describe the multi-faceted nature of musical expertise.

Next, we develop a novel measurement instrument, the Goldsmiths Musical

Sophistication Index (Gold-MSI) to assess self-reported musical skills and

behaviors on multiple dimensions in the general population using a large

Internet sample (n = 147,636). Thirdly, we report results from several lab

studies, demonstrating that the Gold- MSI possesses good psychometric

properties, and that self-reported musical sophistication is associated with

performance on two listening tasks.

The study of Altun a (2010) aims to investigate primary teachers’

teaching strategies in music Turkish primary classrooms. In the study the

‘qualitative’ research approach was adopted in order to fulfil the aims and

objectives of the study. The study carried out in two state primary schools in

Turkey. Findings suggest that there is a range of factors influence teachers’

music teaching activities in negative ways in classrooms. These factors were

encountered as students, curriculum, lack of teacher competencies,

inadequate facilities and resources for music education, limited support from
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parents and negative effects of audio-visual media. It is suggested that due

to the lack of confidence and competence of primary teachers, music

specialist teachers should be assigned to the task of delivering music

curriculum.

The study of Atkinson (2017) focused on whether a lack of clarity

around primary music pedagogy might be a contributing factor. Some

comparisons are drawn with the realm of second-language teaching. A small

qualitative study is reported in which three teacher-educators with

responsibility for primary music, from different higher education institutions,

were interviewed to explore their pedagogical articulacy.

However, one common theme was the implication that to teach

musically a teacher needs to ‘feel like a musician’ at some level. It is

suggested that teacher-educators might benefit from more clearly

articulating ‘pedagogic content knowledge’ for primary music, including the

dimension of ‘feeling like a musician’. This could in, turn, enhance work with

student teachers and perhaps enable more teachers to teach musically.

On the other hand, the study of Elpus, K. (2017) focused on examining

the assessment practices of secondary school music teachers in the mid-

Atlantic region of the United States through replicating the research methods

of Russel & Austin (2010). Regarding influence of respondents specific

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teaching contexts on grading methods, significant influences were found for

teaching specialization, assessment confidence, and instructional time.

Likewise, the research paper written by Allen (2011) determined the

perceptions of teachers and administrators regarding the challenges of the

music classroom. The responses identified common concerns that were

categorized into seven main areas: enrolment, motivation, resources,

scheduling, student behaviors, support, and teacher responsibilities.

Classroom management was not perceived as the main reason for the

challenges by the majority of participants, although 63% of beginning

teachers believed it was the cause of many of their concerns.

Other reasons provided for the challenges included minimal parental and

administrative support, the economy and budget cuts, and educational

priorities effect on non-tested classes. Suggestions primarily centered on

the teachers’ responsibility for management and instruction, but also

included ideas for funding, scheduling, and gaining support for music

education. This study contributed to existing literature regarding the

problems of music teachers, and furnishes data useful to teacher education,

administrators, and music teachers at all stages.

Similarly, Jaksova, K. (2015) discussed problems and solutions in

teaching music in lower secondary schools in Czech Republic. In the article,

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the most serious problems in the teaching of music education was

presented. Several times it was stressed that music education is not a

popular subject, and it is considered boring and unimportant. In doing so,

the vast majority of children have a positive attitude towards music.

The key to effective, quality and fun teaching music education is

teacher quality music, so the change should occur already in the education

of future music teachers – strengthen the didactics of music education at

universities and strengthen the practical training of future teachers in lower

secondary schools. In her article, she mentioned that music education can

be taught in such a way that entertained both teachers and pupils. It is

important to realize, how to be a teacher of music and how do these

problems can be restricted or completely eliminated.

In terms of the trouble with teaching music in our schools, Crooke, A.

(2017) mentioned that one major barrier to sustained music programs

relates to who actually delivers them. Some argue it should be the generalist

classroom teacher, but as over 15 years of research and government reports

have pointed out, most have neither the time nor the training to do so. This

speaks to two issues: this has left teachers who aren’t already musicians,

under-equipped in terms of both skill and confidence to provide music to

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their students. The second one, the teachers must deal with an increasingly

crowded curriculum.

The study of Juvonen, A. & Lenthonen, K. (2012) focused on finding

new bases for Finnish school music education. It outlines current music

education and points out difficulties that are caused by rapid changes in

music culture. Due to these changes, Finnish music curriculum must find

new starting points. We explore the main ideas about music education and

compare them to each other through the historical development. The

conclusions suggest that music education today should be built on music

making and listening. It can no longer be based on traditional frames

because it is not familiar to children of today. Music education should be

based on research and new ways of teaching and learning musical skills and

knowledge should guide its practice.

The study of Burkett (2011) aimed to investigate the effects of music

specific PD activities provided as part of a community symphony orchestra’s

educational outreach project on rural instrumental music teachers. Rural

music teachers face unique challenges of time, place, and distance. The

problem was to determine the extent to which rural instrumental music

teachers’ attitudes, teaching strategies, and musical skills are affected

through onsite music-oriented PD activities. PD activities designed

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specifically for instrumental music teachers appeared to stimulate and

improve teachers’ personal self-development of music and teaching skills.

Data indicate that PD must be oriented toward relevant and useful topics

and experiences that spark an inquisitiveness and continuing curiosity of

learning and self-development in teachers, and to counteract the

complacency that may occur from being in a fixed, isolated career path.

The study of Button (2010) investigated the perceptions of the

effective teacher, associated to the teaching and learning of music at

Results demonstrate that there is an imperative for music teachers, when

teaching general class music, to deploy a variety of teaching strategies and

to bridge the gap between pedagogical expertise, subject knowledge, and

how pupils learn if they are to become expert practitioners and maximize

their potential as change agents.

Synthesis

The related conceptual and research literature that were presented

were found relevant to the present study.

The discussion of Smith, Gayhardt, Kravchuk, McDonald and

Mazzocchi focused on the qualities and characteristics of a music teacher.

Connecting with the students, being an excellent communicator of

knowledge, developing a genuine love for music, having a strong

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commitment to fundamentals, identifying the problems quickly and believing

everyone can reach their full potential were some of the qualities highlighted

by the said authors.

In the same manner, Zeiger, Raman, Rivadelo, Chaffin, Lasauskeine

and Rauduvaite, Mark and Madura, Bell and Robinson, and Arca expounded

the various music skills and competencies as well as its importance.

Meanwhile, the authors like Price and Savage, Conway, Glauser,

Gayhardt, Rooney and Kara presented the issues and challenges of

teachers teaching music. In particular, access to quality music instruction,

budget concerns, lack of resources, classroom and student behaviors are

some of the aforementioned challenges experienced by music teachers.

In terms of related literature, some aspects of the studies reviewed

were found similar to the present study. The study of Benson is similar to

the present study as it geared toward the improvement of music instruction.

On the other hand, the two studies differ in a sense that the previous

study suggests very little curricular unity or alignment.

Another parallel research is the study of Beron. In terms of profile,

some teachers claimed that such subject must be taught by teacher who

have natural interest in music in which is also one the variables of the

present study.
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However, the two studies differ since the present study did not focus

on teacher’s knowledge in using instructional materials.

The study of Ganyata is also in comparative to this present research

as both studies aimed to assess the pedagogical challenges experienced by

teachers of musical literacy which were inadequately trained, supported and

resourced and most teacher hold a negative attitude towards teaching the

subject.

In contrary, the present study geared toward the development of

music skills enhancement plan while the previous study was recommended

for the development of viable music programs in Zimbabwean primary

schools despite the challenges being experienced.

The similarity of the research of Gantan to the present study is that in

terms of profile, both studies assess the trainings attended by teachers in

line with music.

On the other hand, civil status of teacher-respondents were not

considered in assessing the profile of the present study since the researcher

found no relevance of this variable.

Andal’s study is also comparable with this research in a sense that it

was also concerned with enhancing the teacher’s skill in playing musical
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instruments. Through providing music teachers more time and information

in teaching the different musical instruments.

In contrast, the study of Andal identified the instruments available in

the schools and the potentials of the students in music which were not

included as variable of the present study.

Meanwhile, this research also finds resemblance with the study of

Concina since both concerned with the importance of music teacher’s

training as a dimension of effective teaching. Since effective teaching is an

essential condition for fostering learning in instrumental and vocal music

instruction.

On the contrary, the two studies differ since the present study

recognized other important variables like highest educational attainment,

length of teaching experience, and interest in music.

The study of Moralista is similar to the present study as both studies

utilized descriptive method of research wherein the main data-gathering

instrument was a researcher-made questionnaire.

On the other hand, the two studies differ in a sense that the present

study assessed the significant difference between the assessments of the

groups of respondents in terms of skills and competencies of music teachers

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while the previous study assessed the significant difference in the level of

music education being practiced by teachers.

Another parallel research is the study of Kilic. The present study

employed the use of interview to determine the perspectives, experiences,

feelings and perceptions of music teachers.

However, the two studies differ since the previous study focused on

the basic problems experienced in the course, “Music education” in primary

education schools.

The study of Saarikallio is also in comparative to this present research

as this previous study also aimed at enhancing the musical skills of teachers.

In contrary, the present study did not include the musical skills of

children since the main purpose is to enhance the music skills of teachers.

The similarity of the research of King to the present study is that it also

employed the use of questionnaire as the main data-gathering instrument.

On the other hand, the two studies differ in terms of the respondents

of the study. The respondents of the previous study were the students while

the teachers served as the respondents of the present study.

Welch and Henley’s study is also comparable with this research in a

sense that it was also concerned with the challenges of teaching music by

primary school teachers.

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In contrast, the study of Welch and Henley focused on the lack of

confidence and competence of music teachers while the present study was

on the music skills among public elementary school teachers.

Meanwhile, this research also finds resemblance with the study of

Law and Zentner since both assess the musical abilities objectively.

On the contrary, the two studies differ since the previous study

developed a new test battery to measure the musical skills across multiple

domains while the present study will employ the use of survey questionnaire.

The study of Altun A is similar to the present study as it encompassed

the problems in teaching music.

On the other hand, the two studies differ in a sense that the previous

study concentrated on primary teachers’ teaching strategies in music.

Another parallel research is the study of Allen. Its aim of determining

the perceptions of teachers and school administrators regarding the

challenges of the music classroom were also part of the present study.

However, the two studies differ in a sense that the previous study

identified seven main areas of concerns such as enrolment, motivation,

resources, scheduling, student behaviour, support and teachers’

responsibilities which were not included in the present study.

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The study of Jaksova is also in comparative to this present research

as this previous study dealt on the problems in teaching music.

In contrary, the two studies differ in terms of research locale. The

previous study took place in secondary schools while the present one is in

elementary schools.

The similarity of the research of Crooke to the present study is that it

also pointed out one of the major barriers in music program and that is,

music teachers have neither the time nor the training to do so.

On the other hand, the present study did not only rely to the training

itself but other underlying important variables.

Juvonen and Lenthoven’ study is also comparable with this research

in a sense that it was also concerned with enhancing music instruction.

In contrast, the study of Juvonen and Lenthoven remarked that the

difficulties in music education were caused by rapid changes in music

culture which were not mentioned in the present study.

Meanwhile, this research also finds resemblance with the study of

Burkett since both aimed to stimulate and improve teachers’ teaching music

skills.
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On the contrary, the two studies differ since the previous study

investigated the effects of specific PD activities on rural instrumental music

teachers by which the present study did not attempt.

The study of Button is similar to the present study as it geared toward

the perceptions of the effective teacher, associated to the teaching and

learning music.

On the other hand, the two studies differ in a sense that the previous

study focused on teaching strategies in order to bridge the gap between the

pedagogical expertise, subject knowledge and how pupils learn.

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Theoretical Framework

This section presents the review of related literature from which the

theoretical structure was conceptualized. Pertinent studies and significant

theories are hereby highlighted in order to give the researcher justification

in this research undertaking. Moreover, these readings and literatures were

used to provide necessary background for work.

Music Skills
Enhancement
Plan for Public
Elementary
Schools

Figure 1

Theoretical Framework of the Study

Conceptual Framework
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This study’s conceptual framework utilized Ralph Tyler’s IPO Model.

This presents the operational variables of the study through the systems

approach comprising the input, process and output.

The input frame reveals the independent variables which were

grouped accordingly. The inputs include the profile of the Music teacher.

The process frame presents the data gathering instruments utilized in

this study. The assessments that the respondents provided and the results

of the questionnaire constitute the process. Also, the focus group discussion

and interview enriched the data gathered from the respondents. This part

was vital in the achievement of the possible output or result which was the

researcher’s contribution to the field.

Lastly, the output frame presents the dependent variable in this study

which was made after the inputs were processes. The output of the study

was an enhancement plan in music which deems to enhance the music skills

in the district. First, the demographic profile of the music teacher was

analysed as they were deemed to be contributory to the implementation of

music program. The assessments of the school administrators and music

teachers along the music skills were also greatly considered in the

preparation of the study’s output. In like manner, the assessments of the

respondents on the issues and challenges also surface as to what the focus
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of the output should be. Figure 2 illustrates the conceptual model of the

study.

Input Process Output

Characteristics of Characteristics of Characteristics of

Music Teachers Music Teachers Music Teachers

Skills and Skills and Skills and

Competencies of Competencies of Competencies of
Music Teachers Music Teachers Music Teachers

Challenges in Challenges in Challenges in

teaching Music teaching Music teaching Music
subject subject subject
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Figure 2

Conceptual Paradigm on Music Skills Enhancement Plan for Public

Elementary Schools
Hypothesis

The study tested the null hypothesis that there is no significant

difference between the responses of the two groups of respondents.

Definition of Terms

For better understanding of this study, the following terms are defined

conceptually and operationally.

Conducting.

Elementary school. It is defined as a school that provides the

first part of a child’s education, usually for children between five and

eleven years old. In this study, it refers to the public elementary schools

within Nasugbu East district.

Skill Enhancement Plan. Conceptually, it is described as essential

to first set goals then determine which skills need to be addressed in order

to reach that goal (Workforce Management, 2019). Operationally, it refers

to the output of the study.

Kodaly Approach.
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Music. This term refers to the union of pitch….. (____). Operationally

it means the specific subject tackled in the study considering it as one of the

component of MAPEH.

Musical instrument.

Music skills. This term refers to expressing thought and feeling

through sound, being able to understand and interpret the music,

communication through music, responding to music, playing or singing,

having a musical ear, listening and understanding, appreciation of music,

creativity, evaluation skills, technical skills, composing or improvising,

reading music, and knowledge about music (Hallam, 2006). On the other

side, it was the major variable to be measured through manifestation level

and problems encountered during the study.

Reading notes.

Singing. This term refers to a vocal outlet of emotion and energy

(Rivadelo, 2010). Nevertheless, it refers to one of the skills necessary for a

music teacher.

Skills. This term refers to the ability to …. In this study, it refers to the

ability or the competence of the teachers handling music subject.

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