Shaping Paper Music and Arts

MANAGEMENT TEAM
Jocelyn DR Andaya
Director IV Mikael Dino T. Andrey
Supervising Education Program Specialist
Samuel A. Soliven
Director III Glenne DT Basio
Abel D. Soto
Isabel A. Victorino Senior Education Program Specialists Jocelyn T. Guadalupe, PhD
Chief Education Program Specialist Jose Soliman, Jr.
Christine Graza-Magboo Wilfred Dexter Tanedo
Jayson Tadeo Laya Roman
Specialists Romina P. Beltran-Almazan
Bureau of Learning Delivery
Page 0 of 41
Consultants
Republic of the Philippines
Department of Education
BUREAU OF CURRICULUM DEVELOPMENT
Curriculum Standards Development Division
Table of Contents
Objectives for Revising the Music & Arts Curriculum . . . . 2
I. CURRICULUM FRAMEWORK . . . . . . . 3
A. Curriculum Goals . . . . . . . . 3
The New Physical Education and Health Curriculum . . . . 4
B. Theoretical/Philosophical Bases for the Music & Arts Curriculum . . 5
II. STRUCTURE OF LEARNING AREA . . . . . . 8
A. Big Ideas . . . . . . . . . 8
B. Key Standards . . . . . . . . . 11
C. Learning Progressions . . . . . . . . 12
1. Vertical Articulation . . . . . . . . 14
2. Horizontal Articulation . . . . . . . 15
D. Development of 21st Century Skills . . . . . . 18
E. Social Issues and Government Thrusts . . . . . . 22
III. PEDAGOGY AND ASSESSMENT . . . . . . . 23
Learning Area – Specific Terminologies . . . . . . 30
References . . . . . . . . . . 32
3rd Floor, Bonifacio Building, DepEd Complex, Meralco Avenue, Pasig City 160 1|Page
Telephone Nos.: (02) 8-632-7746; 8-636-5173; Email Address: bcd.csdd@deped.gov.ph
CURRICULUM SHAPING DOCUMENT FOR MUSIC AND ARTS
Objectives for Revising the Music & Arts Curriculum
The Music and Arts curriculum is an important part of education that

contributes to students' overall development. It allows them to learn about different
cultures and express their creativity while also improving their cognitive skills.
However, as times have changed, it has become necessary to revise the music and
arts curriculum to meet the needs of modern education.
One of the primary reasons for revising the music and arts curriculum is to
align it with the changing needs of society. The world has undergone significant
changes in recent years, and education needs to keep up with these changes. The
revised curriculum will develop music and arts literate learners that are equipped
with 21st century skills.
Another reason for revising the music and arts curriculum is to ensure that it is
inclusive and caters to the diverse needs of students. The revised curriculum should
be designed in a way that accommodates students from different backgrounds,
cultures, and abilities. This will enable all students to benefit from the curriculum
and develop their artistic talents.
The integration of Music and Arts is one of the new curriculum's features. Here
are some of the reasons why these two disciplines should be combined.
1. Enhanced creativity: Both music and art are creative disciplines and combining
them can help students develop their creative thinking and problem-solving
skills. By encouraging students to think outside the box and approach problems
from multiple angles, educators can help them become more innovative and
flexible thinkers (Kisida, B., Goodwin, L., & Bowen, D. H., 2020).
2. Improved academic achievement: Studies have shown that integrating music and
art into the curriculum can enhance students' academic achievement in other
subjects, such as math, reading, and science. This is because music and art can
help students develop skills such as spatial reasoning, critical thinking, and
pattern recognition that are relevant to many academic disciplines (Greene, J.P.,
Kisida, B., Bogulski, C.A., Kraybill, A., Hitt, C., & Bowen., D.H., 2014).
3. Increased engagement: Music and art can be highly engaging for students, as
they offer opportunities for hands-on, experiential learning. By integrating these
disciplines into the curriculum, educators can help students become more
invested in their learning and more motivated to explore new topics (Heather
Vaughan-Southard, 2016).
4. Improved social and emotional development: Both music and art can help
students develop their social and emotional skills, such as empathy,
communication, and self-expression. By combining these disciplines, educators
can create a learning environment that supports students' holistic development.
5. Enhanced understanding of cultural diversity: Music and art are important

cultural expressions that can help students learn about different traditions and
perspectives. By integrating these disciplines into the curriculum, educators can
help students develop a deeper understanding and appreciation of cultural
diversity (Walling C. Bennett, 2015).
6. Both music and art are forms of creative expression: They involve exploring and
communicating ideas and emotions through various mediums. By combining
them in one curriculum, students can develop their creativity and self-expression
skills in a holistic way.
7. Both music and art involve developing technical skills: Whether it's playing an
instrument or learning different painting techniques, both music and art require
a level of technical skill development. By combining them in one curriculum,
students can develop their technical skills in a more integrated way.
8. Both music and art can enhance each other: Music can inspire visual art, and
visual art can inspire musical compositions. By combining the two, students can
explore the connections between the two disciplines and create more dynamic
and interesting work (Kari K. Veblen and Kristen Pellegrino, 2012).
9. Both music and art are important for well-rounded education: A well-rounded
education includes exposure to a variety of disciplines, including the arts. By
combining music and art in one curriculum, schools can ensure that students
receive a comprehensive education that includes a range of artistic experiences
(Lynn T. Fuller, Arlene A. Holmes-Henderson, and R. Deborah Davis, 2015).
I. Music & Arts Curriculum Framework
Curriculum Goals
Vision
The vision of Revised Music and Arts Education Curriculum is to create a

musically and artistically literate 21st century learner. Through participation in,
creation of, and production of various art forms and creative and innovative
expressions, it fosters the learner's multicultural literacy, artistic and creative
expression, and holistic national identity as a Filipino. It aims to develop, promote,
and preserve local traditions and heritage while introducing learners to other cultural
and artistic expressions from around the world through experiential and creative
learning opportunities in their families, schools, communities, regions, and the
world.
Mission
The mission of music and arts curriculum is to provide students with a

comprehensive education in the arts and music. The curriculum is designed to foster
creativity, critical thinking, and cultural awareness among learners. Music and arts
education help students develop important skills that are transferable to other areas
of their lives, such as problem-solving, collaboration, and communication.
Furthermore, is an essential component of a well-rounded education, providing
students with opportunities to explore their creativity, artistry, and express
themselves in new ways. The curriculum includes a range of activities that are
designed to help students develop their skills in various areas of the arts and music.
It also exposes students to different societies, cultures, and perspectives, works from
different time periods and geographic regions, which can help them develop a deeper
understanding of the world around them. Additionally, music and arts education can
help students develop empathy and understanding for others who may have different
backgrounds or experiences.
Another important mission is to promote lifelong learning and engagement in

music and arts. By providing students with a strong foundation in the arts and music
and to encourage them to continue exploring their creative interests throughout their
lives. This can lead to a greater appreciation for the arts as well as personal
fulfillment for individuals who continue to engage with the arts over time.
Objectives
The following are the objectives of the Enhanced Music and Arts Education
Curriculum 2023:
1) to communicate ideas and emotions through any of the following artistic and
creative expressions: performance, composition, creations, exhibits, and
production;
2) to hone imagination, creativity, and other essential life skills through constant
and correct practice and experiential learning opportunities;
3) to manifest connection between music and arts with other disciplines through
creative and artistic expressions;
4) to promote culture, heritage, ideas, and artistic values through performance,
composition, creations, exhibits, and production; and,
5) to apply different multidisciplinary and multicultural perspectives in the
creation and production of music and artworks.
A. Change of Framework
The Music and Arts specialists and resource persons found a need to change the
current curricular framework of Music and Arts Education curriculum to make it
more responsive and relevant to the changes made in the other components of the
curriculum. Moreover, the new framework of Music and Arts Education curriculum
would still address the goals of the learning area curriculum and would likewise be
still relevant as to how the framework would remain instrumental in the attainment
of these goals: “to empower learners through active involvement and participation,
to effectively correlate music and arts for the development of the learner’s own
cultural identity and the expansion of their vision of the world.”
The New Music & Art Curriculum Framework
The characteristics of the 21st Century Filipino Lifelong Learners are at the center of
the new Music and Arts Curriculum Framework and are considered the most
important components of the New Music and Arts Curriculum Framework. The
second layer resonates with the effective and efficient implementation of the music
and arts behaviors and practices essential to the development of the skills and
competence of the learners in Music and Arts Education, leading to music and arts
literacy. Two-directional arrows intersecting each part of the Music and Arts
framework are placed to show the dynamic relationships and influences between
each other. Whatever the learners learn in Music and Arts would influence how they
view their Filipino Cultural Identity, Creative Communications, and Multicultural
Literacy. These are the goals for the learners of Music and Arts Education.
B. Theoretical/Philosophical Bases for the Music and Arts Education

Curriculum
Music and Arts Education is anchored on theories that direct the learners from self-
discovery toward becoming culturally literate individuals who could artistically and
creatively express themselves in their respective journeys towards nation building.
Below are explanations of each theoretical anchor for Music and Arts education:
1. Culture as Meaning-Making by Clifford Geertz and Robert Kegan

Culture, according to Geertz, is “a system of inherited conceptions
expressed in symbolic forms by means of which men communicate,
perpetuate, and develop their knowledge about and attitudes toward
life.” The function of culture is to impose meaning on the world and make
it understandable to the learners in the teaching and learning process.
This is how this theory could best contribute to the teaching and learning
process. This theoretical anchor enables learners to express in creative,
musical, and artistic symbolic forms by means of which they can create,
innovate, produce, and exhibit meanings through their artworks and
music creations, which add to the essence of the teaching and
learning process.
2. “Musicking” by Christopher Small

According to Small, "to music, means to participate, in any
capacity, during a performance, whether or not by way of
performing", which teachers could use as their main theoretical
framework in the teaching of music. Small is aware of music as action, not
only as an item or a thing. "Musicking" could be a communal and
purposeful act. As such, it presents humans a way to explore, affirm, and
celebrate their identities, including artistic, musical, and cultural
identities. Small also contends that “music” should also be a verb (which
is a very effective pedagogical approach in the process of teaching and
learning of music) and not only a noun, and thus could be very relevant
to the performance standards of any effective music curriculum.
3. Creative Schools by Ken Robinson

In today's classrooms, what should students be taught? And, more
importantly, how can we address some of the present issues in our
schools? Ken Robinson and Lou
Aronica discuss these and other subjects in their work Creative Schools:
The Grassroots Revolution That's Transforming Education. From the
Industrial Revolution to today's Computer and Information Age, which is
concentrated on information diffusion and computerization, this
theoretical basis covers the social and cultural developments, which have
influenced education and have been a big influence in the teaching
and learning process of many schools around the world.
4. Discipline-Based Art Education (DBAE) by Elliot Eisner

Discipline-based art education (DBAE) is a flexible but comprehensive
approach to art education that recognizes and respects diversity in teacher
training, student backgrounds, and local conditions. Art Production, Art
History, Art Criticism, and Aesthetics are the four categories. Students'
performance is assessed using a portfolio method and a
comprehensive approach that are inarguably and essentially
contributory factors in the teaching and learning process in music

and arts education. Teachers must make a qualitative judgment
regarding how students' artwork has improved over time while using the
portfolio technique. Students benefit from this comprehensive approach.
5. Visual Culture Art Education by Sister Corita Kent

Within art education, Visual Culture Art Education (VCAE) has been
perceived as an emerging interdisciplinary subject of study and practice,
which has tremendously contributed to pedagogical literature in the
teaching and learning of art. This art theory was introduced and
pioneered by Sister Corita Kent, an art educator at Immaculate Heart
College in Los Angeles. Visual culture is seen to develop and hone
higher-order thinking skills that can help learners navigate through
the constant exposure to pictures daily. VCAE has been considered as
a pedagogical technique to incorporate popular culture and mass
media into art curricula to boost relevance to students' lives in several
cases.
6. Visual Thinking by Vladimir I. Zhukovskiy and Daniel V. Pivovarov

Visual thinking is a type of nonverbal thinking that psychologists have
been studying in recent years. The ability to combine multiple meanings of
images into a cohesive picture is the core function of visual thinking,
which greatly contributes to teaching considerations and learning
acquisition. Visual Thinking can also be used to investigate and analyze
a variety of works, resulting in fresh insights and a more thorough
understanding in a variety of domains, from scientific to creative, thus has
led pedagogists to conclude that this theory optimizes the teaching and
learning process in creative subjects if applied and considered
properly.
7. Aesthetic Development by Abigail Housen

Abigail Housen’s research demonstrated that viewers understand
works of art in predictable patterns called stages. Moreover, growth in
critical, innovative, and creative thinking accompanied growth in aesthetic
thought, which directly contributes to the teaching and learning of
arts, specifically visual arts. In other words, learners develop other skills
not typically associated with art such as carpentry, house cleaning, the
value of acceptance, etc. Equally interesting was that these findings are
consistent over an honest range of cultural and socioeconomic
backgrounds. The five stages in Housen’s theory are as follows:
accountive, constructive, interpretive, classifying, and re-creative.
8. United Nations Educational, Scientific and Cultural Organization

(UNESCO) Tangible and Intangible Heritage Education
The Program for Safeguarding tangible and intangible cultural heritage
in formal and non-formal education is an initiative of UNESCO, which
recognizes that education plays a key role in safeguarding both the tangible
and the intangible cultural heritage. Both the tangible and the
intangible cultural heritage can provide context-specific content and
pedagogy for educational programs and thus act as a lever to increase
the relevance and quality of education and improve learning
outcomes.
9. Philippine Development Plan (PDP) Chapter 7: “Promoting Philippine

Culture and Values”
Cultural awareness is a requirement for social inclusion and equity.
Improving the social fabric towards a society of great trust implies building
better relationships for social cohesion between people. More and better
interactions between members of a community, in turn, require an
awareness and appreciation of the culture and values that guide people's
attitudes and behavior. Culture offers a synthesis and a distillation of the
past which provides a solid basis for living in the present and walking
towards the future. As such, culture is considered one of the pillars for
achieving inclusive, sustainable, and people-centered development,
which is where the teaching and learning framework and processes
should be anchored on.
10. Critical Pedagogy in Music Education (CPME) by Frank Abrahams

For Critical Pedagogy, the purpose of teaching and learning is to modify
students' and teachers' perceptions of the world. It proposes that the
teacher and students teach each other, implying a shift in power dynamics
within the music classroom. Learners and their teachers are engaged in
critical thinking through problem posing, problem solving, and dialoguing,
but they are also engaged in critical action through a deliberate
production of culture when students write original musical
compositions. CPME fosters critical thinking in the act of reproducing
culture through music composition, improvisation, and performance, as
well as in the analysis and evaluation of music and music performances.
11. Arts Education for the Gifted Learners – Joan Franklin Smutny and
Jesse Rachel
This theory advocates the psychological truism that talent in young
children primarily refers to “precocity,” a rapid pace of development in one
or more areas. For some people, talent is purely academic and means, for
example, that a child wins all the A's on the report card. This child may be
gifted, as may children who by age 3 can count to 100 or read a book or
choose a piano tune. Gifted children are intensely curious, produce a
constant stream of questions, learn quickly, remember easily, and think
about the world differently from their peers. Their intense curiosity can get
them in trouble, especially when trying to figure out how something works.
Gifted children are at risk of boredom, frustration, and depression. This
theory serves as a guide for music and art teachers on how to manage
and teach gifted learners.
12. The Oxford Handbook of Social Justice in Music Education by Cathy
Benedict, Patrick Schmidt, Gary Spruce, and Paul Woodford
This handbook seeks to present a wide-ranging and comprehensive
survey of social justice in music education. Its goal is to help the field of
music education in developing a complex but accessible knowledge of
social justice by addressing significant topics that impact social justice
action within music teaching and learning around the world. Through
this, music students learn to recognize, analyze, and overcome
obstacles while also discovering the power of their own efforts to
explore untapped potential and create new possibilities by
encouraging youth empowerment in music education in methods that
support youth voices, well-being, and musical growth.
13. Perceptual Delineation Theory - advanced by June McFee

This theory focuses on several factors affecting how children’s artistic
skills develop. It considers the readiness of the child in physical
development, intelligence, perceptual development, and cultural
dispositions. The psychological environment of the child is also considered
together with the way the child manages knowledge taken from the
environment. Lastly, the manner of art material manipulation together
with their ingenuity and creativity is also considered.
14. Musical Characteristics of Children by Marilyn Zimmerman

This refers to the study conducted by Zimmerman summarizing
selected research findings concerning the musical characteristics of
children, and showing how these could be applied by the Music teacher in
the teaching learning process. The findings were summarized according to
the domains of knowledge considered when constructing taxonomies of
educational objectives: perceptual, cognitive, affective, and vocal and
manipulative development. In addition, research on individual differences
was also considered.
II. Structure of the Learning Area
A. BIG IDEAS
In crafting the BIG IDEAS for both Music and Arts Education Curriculum
these considerations were prioritized:
● Common to both music and arts
● Progressing (attuned to the child’s developmental characteristics)
● Adaptable (to formative and summative assessment)
● Reflects the theoretical anchor
● Multi-sensorial
● Open for solo/collaboration (differentiated learning activities)
● The learning in all stages contain aspects of the following: 1) exploration and
discovery, 2) production/creation, 3) integration of technologies (traditional
and emerging)
The following additional considerations in the crafting of the Big Ideas, as

introduced by Jay McTighe and Grant Wiggins (2004), were also considered in the
crafting of the Big Ideas:
a) Big Ideas are broad concepts that serve as the foundation for a curriculum's
standards and learning competencies. They refer to core concepts, principles,
theories, and processes that should serve as the focal point of curricula,
instruction, and assessment. Big Ideas reflect expert understanding and
anchor the discourse, inquiries, discoveries, and arguments in a field of study.
They provide a basis for setting curriculum priorities to focus on the most
meaningful content.
b) Big Ideas connect discrete knowledge and skills to a larger intellectual frame
and provide a bridge for linking specific facts and skills. A focus on these larger
ideas helps students to see the purpose and relevance of content.
c) Discrete facts do not transfer. Big Ideas are powerful because they embody
transferable ideas, applicable to other topics, inquiries, contexts, issues, and
problems. Because we can never cover all the knowledge on a given topic, a
focus on the Big Ideas helps to manage information overload. Big Ideas provide
conceptual thought lines that anchor a coherent curriculum.
d) A Big Idea is inherently abstract. Its meaning is not always obvious to
students, and simply covering it will not ensure student understanding.
“Coverage” is unlikely to cause genuine insight; understanding must be
earned. Thus, the idea must be uncovered – its meaning discovered,
constructed, or inferred by the learners, with the aid of the teacher and well-
designed learning experiences.
Another characteristic or guide used in the crafting of the Big Ideas is the capacity
to transcend the theories and academic boundaries of music and arts education and
encompass other disciplines to prepare learners not only to be productive artists but
also to be responsible and righteous 21st century citizens.
The big ideas will encourage curriculum decongestion and will improve
sequencing as they will provide focus only on the standards and learning
competencies that enhance investigation and create a coherent and unifying
framework, in which stakeholders can include multiple resources, artworks, and
artists. In creating a coherent and unifying framework, standards and competencies
that veer away from the unifying big idea should now be relegated to the desired
learning competencies and may be considered for deletion and/or may be subsumed
into other related standards and/or competencies as necessary, thus decongestion
is warranted. Lastly, and quite evidently at that, the Big Ideas are identified in such
a way that they could also pave the way to the cultivation of the 21st century skills
significant for learners to imbibe as they traverse the future world of work. The
detailed 21st Century Skills framework comprises the same four domains as
originally set out in DepEd Order No. 21, s. 2019. These are:
● Information, Media, and Technology Skills,
● Learning and Innovation Skills,
● Communication Skills,
● Life and Career Skills.
3rd Floor, Bonifacio Building, DepEd Complex, Meralco Avenue, Pasig City 160 10 | P a g e
It is quite clear that each domain of the 21st Century Skills is either implicitly
or explicitly related to the Big Ideas of the Music and Arts Education curriculum. For
example, under the Information, Media, and Technology Skills, Visual Literacy is the
first in the list of the Skills, Competencies, Values, and Attitudes. Big Idea number
3 and 4 captures the Visual Literacy skills taking into consideration the following
explanation of what Visual Literacy is all about under the domain of Information,
Media, and Technology Skills, which states:
“Visual Literacy is the ability to closely examine, interpret, and communicate

understanding of diverse visual texts including but not limited to visible actions,
objects, symbols, natural or man-made that are encountered in the environment and
across a range of text types to promote critical viewing skills.”
From this definition of Visual Literacy, Big Idea number three, as an example,
clearly states the inclusion of multiliteracy and innovation as part of the major
activities of the learners in the teaching and learning process, which are sourced out
from the learners’ culture and heritage, and in which Information, Media, and
Technology are all significant parts of. It is also a given fact that Music develops
visual literacy among learners as they are taught how to read music signs and
symbols in the early grades, and in Arts, on other hand, inculcates the crucial role
of observation and reflection as part of the creative process in the creation and
production of artworks.
The following are the Big Ideas for Music and Arts Education curriculum:
1. National Artistic Identity is greatly influenced and honed by creativity,

innovativeness, artistry, musicality, multiliteracy, which certainly includes
cultural and multicultural literacy.
2. In the observation, creation, innovation, production of and reflection on
music and
3. arts, elements, principles, materials, and processes are globally and locally
contextualized.
4. Culture and heritage are rich sources of inspiration for observation,
creation, multiliteracy, innovation, and production of and reflection on
music and arts.
5. The synergy (collaboration) of an individual, nature, and technology makes
creation, innovation, and production more creative, effective, and efficient.
6. Music and Arts Literacy affects an individual's cultural identity and the
expansion of his/her world vision.
The big ideas stated above shall be used to provide conceptual coherence
between the different content, performance activities, and topics in music and arts
education. The 21st century skills are also factored in, in the formulation of the Big
Ideas.
B. KEY STANDARDS
Music & Arts
Learning Area Standard: The learner creates, produces, and innovates creative
works based on contemporary and emerging concepts and processes in music and
arts that reflect individual and Filipino identities and diversity in the global context.
Key Stage Standards
Grades 4 to 6 Grades 7 to 10
The learner produces creative works The learner innovates creative works
about regional and national identities about global communities within the
using conventional and contemporary context of the Filipino cultural identity
concepts, processes, and practices in and diversity using conventional,
music and arts. contemporary, and emerging concepts,
processes, techniques, and/or
practices in music and arts.
The Learning Area Standard and Key Stage Standards were revised in terms
of their correctness in clearly showing the spiral progression approach in curriculum
development and how encompassing, relevant, and inclusive were the scope of these
standards in relation to the essence of the formulated Big Ideas. The concerned
specialists ensured that the progression of the standards was developmentally
appropriate to the learners’ abilities, cognitive competence, social and academic
contexts, age, and learning styles. Having stated this fact, the Learning Area
Standard and Key Stage Standards were anchored in the essence of the Big Ideas as
these standards were primarily based on the crafted Big Ideas of Music and Arts
education. It was the Big Ideas that guided the specialists in the formulation of the
aims and standards for music and arts education. Let us take for example the Key
Stage Standard for Key Stage 3, which states, “The learner innovates creative works
about the Filipino identity, and diversity, within the context of the global community,
using contemporary and emerging concepts and processes in music and arts.”. From
this KS3 standard, we could clearly see that what this Key Stage standard would
demand from the learners to demonstrate, which captures not just one but all of the
Big Ideas, brought about by the demonstration of the learner’s understanding of the
salient features of music and arts of his own country and that of the other countries
through appreciation, evaluation, innovation, performance, etc. thus was linked to
and anchored on any of the Big Ideas below:
1. National Artistic Identity is greatly influenced and honed by creativity,

innovativeness, artistry, musicality, and multiliteracy, which would
certainly include cultural and multicultural literacy.
2. In the observation, creation, innovation, production of and reflection on
music and arts, elements, principles, materials, and processes are globally
and locally contextualized.
3. Culture and heritage are rich sources of inspiration for observation,
creation, multiliteracy, innovation, and production of and reflection on
music and arts.
4. The synergy (collaboration) of an individual, nature, and technology makes

creation, innovation, and production more creative, effective, and efficient.
5. Music and Arts Literacy affects an individual's cultural identity and
expansion of his/her world vision.
C. LEARNING PROGRESSION
Music and Arts Education, and Health and Physical Education would ensure
the progression of the skills that would be learned and achieved in each key stage in
achieving the curriculum goals. It is also ensured that the concepts are developed in
greater depth and breadth through time, which would also build on the learner’s
prior knowledge and skills, anchored on “glocal” contexts.
In the revision of the content standards, performance standards, and learning

competencies, the following significant considerations were considered, constantly
being guided by the spiral progression approach, coherence, unity, and the
continuity of overarching themes and content/topics found in the Big Ideas and Key
Stage Standards.:
Content Standards
- They should follow the revised Key Stage Standards.

- They should explicitly show the content by using the right and appropriate
verb, also making sure that the verb used would be measurable and
aligned with the standards.
- They should be developmentally appropriate.
- The content should reflect relevant and applicable practices in the field.
- They should guide the crafting of the Performance Standards and Learning
Competencies.
Performance Standards
- Performance standards should exemplify the content standards.

- They should be aligned with the content standards.
- They should be developmentally appropriate.
- They should explicitly state the output that needs to be performed or
produced.
- They should guide the crafting of the Learning Competencies.
Learning Competencies
- They should be aligned with Content and

Performance Standards.
- The Verb form should be consistent (either present tense or imperative).
- Double-barreled verbs must be avoided.
- Should there be repetitive competencies, the progression or level of
difficulty should be explicitly stated.
- Skills to be attained in each topic/standard should be explicitly stated as
- competencies that would be manifestations and would be in coherence

with the Content, Content Standards, and Performance Standards.
- They should explicitly show prerequisite skills.
There are four overarching art concepts that were based on the curriculum
of New Zealand. These four concepts served as bases for the other specific music
behaviors and visual processes used in the organization of the learning area
curriculum. These are: contextualizing the arts, acquisition of practical
knowledge in the arts, ideation in the arts, and communication and
interpretation in the arts. The Big Ideas are aligned to the four universal art
concepts because these four art concepts are also references to the crafting of the
Big Ideas.
There was a need to do “content and task analyses” to unify all the art
concepts that would be used in the curriculum of Music and Arts education, thus
the four overarching art concepts and the specific music behaviors and visual
processes.
As to the spiraling of the learning area in the curriculum, these concepts were
helpful in the determination of the appropriateness of all the aspects of the spiral
progression approach in the curriculum of Music and Arts Education, for they served
as references in terms of context, functionality, ideation, expression, and
interpretation of music and arts, which were all significant considerations in the
spiral progression approach in curriculum development.
The Music and Arts Education would focus on the following specific music
behaviors and arts processes:
MUSICAL ARTS
EXPLANATION
BEHAVIORS PROCESSES
Skills Listening Describing/ In this set of specific music behaviors and
Set Perceiving arts processes, the learner would respond
#1 Responding (interpreting/ to sample works of the various disciplines
analyzing music or an in music and arts in a progressive manner.
artwork) These works would stimulate artistic,
creative, innovative, and intentional
physical, verbal, emotional, and cognitive
reactions. Learners could comprehend the
aspects of music and arts by actively
listening, watching, and doing. Responding
via Music and Arts would provide students
with aesthetic, creative, and innovative
learning opportunities through inquiry,
writing, painting, music-making, and
production.
Skills Arranging This set of specific music behaviors and arts
Set Planning processes would foster the learner's
#2 Composing capacity to produce creative, innovative,
and musical ideas, concepts, and works. It
Curriculum Standards Development Division would develop the learner's creativity,
Performing originality, innovativeness, and uniqueness
Creating for them to successfully convey feelings and
Innovating ideas via the development and production of
Improvising diverse art forms. This would allow students
Presenting to design, innovate, produce, and develop
Producing creative and musical works on their own
Conceptualizing/Directing and in groups, employing ideas inspired by
creativity, inquiry, experimentation,
innovation, and intentional play.
Arts performing would include but would

not be limited to: Printmaking, Sculpting,
Drawing, Coloring, Miming, Mimicking,
Role-Playing Reenacting Dramatizing,
Building Characters Mounting/ Structuring
Scenes,
Music performing would include the

following but would not be limited to
singing, moving, playing instruments
Skills Evaluating/Critiquing In this set of specific music behaviors and
Set Finding Connections arts processes, the learner would critically
#3 Reflecting and Valuing analyze his own work as well as the work
and practices of others. This would allow
the learner to assess his strengths and
opportunities for development as creator,
producer, collaborator, and observer,
reflecting on his own creative experiences,
and drawing connections to the creative
experiences of others. Making links between
one's work in local, global, and socio-
cultural settings, as well as with the other
disciplines, to convey culture, heritage, and
identities from diverse contexts, plays an
important element of life for all people.
VERTICAL ARTICULATION
In consideration of the revision of the Music & Arts Education Curriculum, all
learning competencies would be organized and written following the specific strands
according to each component of the MAPEH.
Music & Arts
The Music & Arts curriculum would be based on specific behaviors and
processes that were derived from the four overarching universal arts concepts.
MUSICAL BEHAVIORS ARTS PROCESSES

Skills Set Listening Describing/Perceiving
#1 Responding (interpreting/ analyzing music or an artwork)
Skills Set Composing/Arranging
#2
Planning, Composing, Performing, Creating, Innovating,
Improvising, Presenting, Producing, Conceptualizing/Directing
Skills Set Evaluating/Critiquing, Finding Connections, Reflecting and Valuing
#3
These sets of specific behaviors and processes were clearly evident in all
learning competencies from Kindergarten to Grade 10 taking into great consideration
the approach on spiral progression.
The reorganization of the learning competencies was done in consultation with

the Bureau of Learning Delivery specialists in terms of the possible teaching and
learning delivery principles. The relevance of these principles to the organization of
content, determination of the gaps in the learning continuity of the topics, and the
correct and appropriate sequencing of the topics in the music and arts education
curriculum were ascertained. This would ensure the smooth transition of art and
music concepts and skills, meaning, there would be a need to organize or reorganize
the sequence of content and learning competencies from simple to complex, to build
on skills/understanding first, before proceeding to the more advanced one. There
was also a need to decongest the LCs.
The prerequisite skills were made explicit by identifying topics, words,

phrases, ideas, and concepts that were directly depicting the related skills found in
the LCs, which in turn were directly connected to the attainment of the cognitive
demands of a certain art topic in a certain grade level. Also, the articulation of
learning competencies was standardized from Grades 1 to 10. A need to revise how
the learning competencies were expressed in the music and arts education
curriculum, like using more developmentally appropriate words in the rewriting of
the learning competencies.
HORIZONTAL ARTICULATION
The curriculum for Music and Arts, and Physical Education and Health have
prerequisite skills and would reinforce those found in other learning areas. The
horizontal articulation of the music and arts curriculum was done as part of the
process of the curriculum review of the bureau where the determination,
identification, and integration of the scope and of the curricular contents from
different knowledge domains across all grade levels and across other learning areas
were accomplished in consultation with the different specialists in all learning areas.
A review of the interconnectedness of prerequisites aimed at checking

prerequisites that may have been present in other learning areas. This task was
undertaken in cross-learning-area groups, with at least one participant from each
learning area present. It involved two activities.
The first activity would relate to locating the prerequisites flagged in the
previous task as having the potential to be in a different learning area. For each
flagged prerequisite, the group members were asked to indicate if the prerequisite
was included in the curriculum guide in their learning area. Once a flagged
prerequisite was identified as being included in another learning area, the associated
grade level and quarter were recorded. This process ensured that the
interdependence of learning areas was not overlooked. The first part was the prompt
question “When is this (prerequisite) included in your learning area?”, which would
compel each group to answer. The other part included the learning areas. There were
12 learning areas, each of which was allocated to a column.
Recommendations were also generated as part of the cross-learning- area

review. As with the previous recommendations, these could identify changes to
wording and/or timing of the learning competency. Because these recommendations
needed to work for all learning areas involved, a checking process was undertaken
where each learning area expressed agreement or disagreement with the
recommendations. Each learning area was required to respond to the prompt
question “Do you agree with this (referring to the recommendation from another
learning area)?” There were three possible responses expected from groups: ‘Yes’
(means “agree”), ‘No’ (means “disagree”) or ‘N/A’ (means that the recommendation
would not affect their learning area in any way). This activity emphasized the
importance of learning areas considering each other’s needs when making decisions
about their recommendations on prerequisites.
In doing the horizontal articulation, the music and arts education curriculum
ensured the holistic development of the learners and provided balance to their
learning of process-oriented learning areas like music and arts. For example,
learning fraction through music, learning therapy through art, etc.
Figure 1. Distribution of Prerequisites in other Learning Areas

(Music)
Figure 2. Distribution of Prerequisites in other Learning Areas (Art)
Table 1 and Table 2 involved the horizontal articulation of prerequisite skills

from each Learning Area. These pre-requisite skills were needed to meet the Learning
Competency in Music and Arts.
In Table 1, Grades 3 and 5 have the greatest number of prerequisites with a

frequency of 44, while Grade 1 has 0 number of prerequisites. Surprisingly, the
largest number of prerequisite skills in Music could be found in English, second with
Arts and a close 3rd with Mathematics with frequencies of 77, 59 and 57 respectively.
This only goes to show that there was still an existing “imbalance” of learning
competencies in relation to their relationship with the other learning areas, as there
were only three grade levels that were found to have strong link with three learning
areas.
In Table 2, although Grade 6 has the greatest number of prerequisites found

in other learning areas with a frequency of 50, there were only four learning areas
where the Grade 6 Arts CG was found: Science, Math, English, and EPP/TLE. Grades
1 and 3 were next with 42 counts and 37 counts respectively, both found in six
learning areas. Grades 2, 10, and 9 with counts of 29, 28, and 27 counts respectively
showing that the counts did not have big discrepancies from each other and were
found in four to six learning areas. Grade 4 and 7 both obtained 20 frequencies found
in five to six learning areas. Relatively, Grades 5 and Grade 8 recorded scores of 12
and 13 respectively, reflecting the smallest number of prerequisites found in four to
five learning areas.
MAPEH’s convergence points of learning were with the following learning

areas: Languages, Literature, Mathematics, Science, Araling Panlipunan, and
Technical-Vocational and Livelihood Education (TLE), Good Manners and Right
Conduct, and Values Education (GMRC-VE) would be explicitly stated accordingly
through the learning competencies.
D. DEVELOPMENT OF 21ST CENTURY SKILLS
The Department of Education has developed a detailed 21st Century Skills

framework to guide and ensure the inclusion of these skills across all governance
levels of DepEd. The detailed framework specified terminology and descriptions of
these skills to be used, thus promoting a shared vocabulary to support clear and
consistent communication and implementation. Most importantly, the framework
should guide all governance levels of DepEd as they work together to enhance the
development of these 21st Century Skills by all Filipino learners.
Music and Arts would respond to the changing contexts and the advent of new
technologies. The Music and Arts Education Curriculum combined facets of different
literacy skills: traditional literacy, information literacy, scientific literacy, multimedia
literacy, and technology literacy. Embedded in these various literacies are the 21st
century skills in innovation, communication, critical thinking, creativity, and
collaboration.
These would include the cognitive skills in critical thinking, problem-solving,

creative and innovative thinking; the social or interpersonal skills of communication,
collaboration, leadership, and multicultural skills; self-management skills or self-
monitoring and self-direction, as well as task or project management skills, and other
life skills, which are part of ethics, civic, and global citizenship responsibility and
accountability through quality, relevant, inclusive, and innovative Music and Arts
Education.
Based on the skills needed by a Filipino learner to attain the Music and Arts
Education curriculum should have the following:
INFORMATION, MEDIA, AND TECHNOLOGY SKILLS
1. Visual Literacy – Learners develop the ability to closely examine, interpret, and
communicate understanding of diverse visual texts including but not limited to
visible actions, objects, symbols, natural or man-made that were encountered in the
environment and across a range of text types to promote critical viewing skills.
Music – Uses musical symbols in rhythmic and melodic patterns and composition.
Arts - Uses lines, shapes, patterns, and colors in an artwork.
2. Information Literacy – Learners develop a set of integrated abilities

encompassing the inquisitive, analytical, and reflective process of acquiring,
organizing, evaluating, sharing, and producing information with an understanding
on what type of information would be needed, when it would be needed, where it
would be accessible, and how the information would be socially situated and its
ethical and legal considerations to use and communicate accurate and appropriate
information relevant to the current context and needs of the target audience.
Music - Analyzes musical forms and genres based on its history.
Arts - Analyzes art based on elements and principles of each genre and its history.
3. Media Literacy – Learners develop a wide range of skills that would involve
understanding various media contents and its uses, accessing information efficiently
and effectively, using a broad range of media to express ideas. It would involve
analyzing media and creating media products and creations. This could be seen when
learners could examine and use media to learn how and why messages were created,
produced, and interpreted, as well as how media could shape culture, values, and
behaviors.
Music and Arts - Uses multimedia art like computer-aided art or design and music
compositions, apps in handheld gadgets, and the likes but can also be rediscovery and
understanding of heritage-art techniques and styles.
4. Technology Literacy – Learners utilize technology as an effective incorporation

of information, communication, and their applications through technology. It would
include responsible use of appropriate technology to communicate, solve problems,
and access, manage, integrate, evaluate, and create information to improve learning
across all learning areas and to acquire lifelong knowledge and skills in the 21st
century. This domain would ultimately lead to developing abilities to use technology
that would enable learners to use their inventiveness to design and create ideas and
concepts in solving practical problems technological in nature.
Music and Arts - Uses music and arts research and study especially on heritage-based
art and music, appropriated art, intellectual property right issue, among others that the
learner may use for his/her artwork or music work.
5. Digital Literacy – Learners develop the ability to define, access, manage,

integrate, communicate, evaluate, and create information safely and appropriately
through a wide range of digital technologies and networked devices (i.e., internet
platforms, social media, mobile devices, etc.) for participation in education, social
and economic life. It would require critical thinking skills, an awareness of the
essential standards of behavior for online environments, and an understanding of
the social issues created by digital technologies, more than the ability to use software
or operate digital devices.
Music – Utilizes digital technology in music-making and composition.
Arts - Utilizes digital technology in creating digital art such as Canva, Photoshop,
Blended etc.
LEARNING AND INNOVATION SKILLS
1. Creativity – Learners develop the ability to think and work creatively and
innovatively using a variety of techniques or methods.
Music - Composes, arranges, improvises, and performs melodies, variations, and
accompaniments.
Arts - Produces and designs artworks and products.
2. Openness – Learners develop the willingness to engage with new ideas, situations,
and experiences.
Music and Arts - Applies new ideas into situations and experiences in the production
and composition of music and art works.
3. Critical Thinking – Learners develop the ability to analyze evidence, patterns,

relationships, making inferences using reasoning, judging, evaluating, and making
decisions or solving problems. It would include actively and skillfully
conceptualizing, analyzing, synthesizing, and/or evaluating information gathered
from, or generated by, observation, experience, reflection, reasoning, or
communication, as a guide to belief and action, the ability to make inferences,
calculating probabilities and making decisions.
Music and Arts - Plans, produces, and assesses music work and artwork,
performances, or composition using different media, techniques, and processes to
communicate ideas, experiences, stories, and other literary and creative art forms.
4. Problem Solving – Learners develop the ability to engage in cognitive processing

to understand and resolve problem situations where a method of solution is not
immediately obvious. It would involve finding a way to solve a problem and may
include modeling, data analysis, logical deduction, and metacognition.
Music and Arts - Resolves problems involved in music and art production.
5. Reflective Thinking – Learners develop the ability to reflect critically on learning,

experiences, decisions, and processes to create meaning and justify actions to inform
future decisions.
Music and Arts - Deliberates issues and concerns related to music and art production.
COMMUNICATION SKILLS
1. Teamwork – Learners develop skills necessary to be able to work with others

towards a common goal under the direction or instruction of a leader. These skills
would include the ability to follow an agenda and make group decisions.
Music - Participates in group performances.
Arts - Creates murals, community art projects and collaborative artworks like
installation art, performance art or doing a full theater production.
2. Collaboration – Learners participate effectively in interactions between at least

two co-equal parties voluntarily engaged in shared decision-making as they work
towards a common goal. Collaboration would involve joint communication and goal
setting (including planning, sharing information, discussing problems, and learning
from others) as well as the need for parties to contribute different information or
resources that need to be pooled together for action.
Music and Arts - Collaborates in the creation of artworks like mural making, theater
production, dance performance or a musical production/improvised recital; art and
music research that involves actual interviews or workshops with seasoned or
established artists or cultural communities and/or organizations/institutions.
3. Interpersonal Skills – Learners develop the ability to communicate and read
emotions, motivation, and behaviors in a social context. Good interpersonal skills
would involve insight, understanding, and the kind of social awareness that helps
one to initiate, sustain, and end a conversation appropriately within a given
situation.
Music and Arts - Brainstorms and evaluates issues and concerns related to Music
and Arts production.
4. Intrapersonal Skills – This refers to the internal dialogue learners have with
themselves. Good intrapersonal communication skills would help them manage their
emotions effectively, set goals, self-motivate, cope with distractions, strategize and
adjust their approach to any given situation as needed.
Music and Arts - Reflects on issues and concerns related to Music and arts
production.
5. Interactive Communication – This focuses on building oracy skills including

listening and speaking. This would include diverse communication methods.
Music and Arts - Engages in discussion on elements and themes related to Music and
Art.
6. Non-verbal Communication – This would include facial expressions, gestures
displayed through body language (kinesics) and the physical distance between the
communicators (proxemics).
Music and Arts – Recognizes gestures and movements related to Music (conducting)
and Arts (theater and dance).
7. Communicating in a Diverse Environment – This would ensure that learners

from varied backgrounds, religions, genders, communities, and age groups share
strong rapport and do not face problems working together.
Music and Arts – Expresses and accepts diverse ideas related to Art and Music
production.
LIFE AND CAREER SKILLS
1. Informed Decision-making – This refers to the ability to make decisions based

on facts or information focusing on the risks and benefits involved. The decision-
making process would involve identifying the problem, collecting data and
information, brainstorming all possible alternatives, weighing the alternatives by
considering available resources, making a choice, enacting a plan, and reviewing the
decision.
Music and Arts – Plans for Music and Art production.
2. Adaptive Leadership – This is the ability to organize proactively and lead people
in such a way to motivate them to achieve tasks effectively. Learners are future
leaders of the nation and must be able to learn the art and skills of leadership
including resolving conflicts, developing people, being accountable, and adapting to
a complex and rapidly changing environment. They must also be morally upright and
ethically grounded.
Music and Arts – Mobilizes a team in the creation and production of Music and Art.
3. Intercultural Understanding – This involves learners learning about their own

culture to understand local and global issues, and engage with diverse cultures and
identities (e.g., gender, languages, socio-economic backgrounds, ethnic groups,
citizenship, etc.). Building intercultural understanding would support learners in
recognizing commonalities and differences, creating connections with others,
cultivating mutual respect, and promoting human rights, peace, and non- violence.
Music and Arts – Contextualizes creation and production of Music and Art.
4. Self-discipline – The condition where learners were able to set goals with tangible
and intangible success criteria. It is a balance of short-and long-term goals to manage
one’s workload efficiently by controlling impulses and delaying gratification. This is
necessary to manage life in an organized, industrious manner to give meaning and
purpose in a changing environment.
Music and Arts – Supervises oneself in art making, performance or music creation and
production, including doing the necessary warm-up, practice, or rehearsals.
5. Future Orientation – Learners develop the ability to consider future developments

and consequences when thinking, making decisions, and acting to result in a more
sustainable future. Future considerations should include society, environment,
culture, and economy to balance them in pursuit of an improved quality of life for
this and future generations. Future orientation would allow individuals to envision
how to meet the needs of the present without compromising the sustainability of
future generations.
Music and Arts – Proactively plans for art activities and music productions.
6. Resilience and Adversity Management – This is the process of advancing despite

adversity. Being resilient would allow learners to adapt with flexibility to a new
environment, lifestyle, emerging challenges or when faced with stressors. It would
involve having a growth mindset, being open to change and showing profound
personal growth.
Music and Arts – Makes a stand on issues and other concerns relevant to the creation
and production of Music and Arts.
E. SOCIAL ISSUES AND GOVERNMENT THRUSTS
An important feature of the K to 12 curriculum is flexibility, which would

guarantee and allow the contextualization of learning (content, teaching strategies,
assessment, and learning resources) based on the realities of the learners’ locality
and social context. The contextualization of learning experiences would ensure that
education would be responsive and relevant to the learners and their community,
thereby addressing concerns that would urgently demand stakeholders’ mobility and
action.
One way to practice contextualization would be to integrate social issues and

government thrusts by identifying entry points in the curriculum document or guide.
In the case of Music and arts, such content may be incorporated and reinforced in
the form of curriculum delivery or instruction. By identifying entry points in the
appropriate learning competencies of the curriculum, the contextualization of the

subject would be realized by integrating social issues and government thrusts.
An example of this could be found in the Grade 7 Music and Arts curriculum,
where music and arts from the different regions were the main topics of the Grade
level. Cultural Education could be integrated for the learners to reflect upon their
own culture, culture of others and culture in general.
The following are some of the social issues and government thrusts included
in the Music and Arts curriculum:
Environmental Cultural Education

Awareness and / Indigenous
Conservation Peoples Education
Sustainable Global Citizenship

Development Education
Goals
III. PEDAGOGY AND ASSESSMENT
A. Pedagogical Approaches
The teacher is strongly encouraged to employ developmentally appropriate

and learner- centered teaching techniques to support the development of art, music,
physical, and health literacy competencies. This includes building on student
experience and prior learning, using culturally responsive scenarios and materials,
incorporating music and arts into health message delivery, engaging learners in
meaningful games and cooperative learning activities, and employing life skills and
value-based strategies, particularly when discussing sensitive topics like substance
use and sexuality. Similarly, it incorporates thoughtful and introspective exercises
into the courses to promote creativity and wellbeing.
Music and Arts Education shall utilize pedagogies based on the Enhanced
Basic Education Act of 2013 (RA 10533), Section 5.e the use of constructivist,
inquiry-based, reflective, collaborative, and integrative pedagogical methods. It is
highly recommended the use of an integrative approach due to the new curriculum
framing of the Music and Arts education in Grade 4 to 10 curriculum. The integrative
teaching approach allows students to train effectively in solving problems from
different fields and to gain deeper and more systematic knowledge that can be applied
to real life. This approach prepares students for the process of lifelong learning as it
blurs the traditional boundaries between subjects (lake 1994). It is also suggested
that pedagogical approaches and strategies in teaching Arts and Music education
should be anchored to culture-based education where the learner's acquisition of
knowledge is grounded on his/her unique values, beliefs, culture, practices, heritage,
and experiences of the society. Thus, instruction, teaching materials and learning
experience must be indigenized, localized, and contextualized to highlight Filipino
cultural identity, values, awareness, and appreciation. Other significant pedagogical
techniques are also proposed in teaching like Differentiated instruction, explicit
teaching (direct instruction), experiential learning, culture-based training, and
technology-enhanced instruction are some examples. The pedagogies listed above
can be blended or with other techniques to assure learners’ development.
It is also strongly advised to integrate the use of time-tested and well-

researched music education teaching methodologies such as Orff Schulwerk, Kodaly,
Dalcroze Eurhythmics, and Carabocone methods to properly offer more relevant
music instruction in the classroom and Arts pedagogies like Visual thinking,
Teaching Artistic Behavior (TAB), Discipline-Based Arts Education (DBAE) are
pedagogies that ensure the development of artistic expression, cultural awareness,
and appreciation of learners through engaging and fun art activities and art creation.
These strategies and pedagogies play an important role in developing 21 century
skills namely, Information, Media, and technology skills, learning and innovative
skills, communication skills, and life and career skills (DO no. 21, s. 2019). For
example, critical thinking and creativity can be developed through performances and
creation processes while Collaboration, self- expression, and visual literacy can be
developed through group activities, art production, and appreciation. Intercultural
understanding, self-discipline, and leadership skills shall also be gained through
learners’ interaction and exposure to different tasks, activities, and learning different
art forms.
It is also suggested to use Differentiation in Art as pedagogy. Differentiation

in art means providing the learner's individual needs in art class for them to make
progress. It also addresses instruction for learners with special educational needs
and levels of ability. Differentiation in art
involves supporting students by knowing your learners’ learning style and multiple
intelligences, good planning, finding supporting resources, reflecting where to use
differentiation, and formative assessment, thus capturing the multiliteracy in the
21st Century Skills.
And lastly, it should also be noted that the Music and Arts education shall
use interventions strategies that are inclusive of learners with disabilities, like
direct instruction; learning strategy instruction; and using a sequential,
simultaneous structured multi-sensory approach, which is all found in the different
theoretical anchors' section of this paper.
Methods in Teaching Music Education
1. Orff Schulwerk
It incorporates music, dance, theater, and speech into sessions that are
similar to a child's world of play – exploring, improvising – in order to tap children's
natural musicality. It organizes the process of teaching music into four stages:
imitation, exploration, improvisation, and composition. These four phases lay the
groundwork for children's musical literacy development. It is similar to Bloom's
taxonomy in that it begins with the introduction of the fundamental skill set and
progresses to more sophisticated activities like improvisation and composition. "Play"
in the Orff classroom is not a random free-for-all, but rather a carefully organized
series of exercises and open-ended questions designed to promote students'
spontaneous creative thinking. According to Goodkin (2001), "freedom for the kid
requires accuracy on the side of the instructor.
2. Kodály Method
Music is important in every child's intellectual, emotional, physical, social,
and spiritual development, according to the Kodály philosophy of music education.
A central tenet of the Kodaly method is that music belongs to everyone, and that
music education is a fundamental right that should not be taken for granted.
Singing, according to Zemke, should be the first step in music instruction. This
approach made use of a variety of techniques to help achieve a musically literate
society. These include relative solmization (also known as "movable do"), rhythm
syllables derived from a French method established by Cheve, and hand signals
meant to offer a visual representation for solfege syllables and developed in England
and often credited to Sarah Glover and John Curwen (Choksy, 1999; Zemke, 1977).
3. Dalcroze Eurythmics Approach

The teacher places a high value on eurhythmy and movement. To move, you
need rhythm, and movement is a bodily sensation. Dalcroze disliked the concept of
a song having a set movement. Teachers are encouraged to improvise and build on
the content. With teachers' understanding of musical components, any material may
be utilized.
4. Carabo-Cone Method
This is a music-teaching method that uses a sensory-motor approach. The
teacher utilizes props, costumes and toys for children while incorporating the use of
piano-keyboard.
5. Constructivist and Behaviorist Theories for Learners with Disabilities

Because of processing and academic impairments, students with learning
disabilities are difficult to educate successfully in the inclusion context. Most
children with LD have a high chance of success if teachers are familiar with patterns
of strengths and weaknesses and are aware of key guidelines for successful practice.
Rather than teaching from a predetermined ideology, instructional decisions should
be made depending on the child's learning qualities, the task, and
the topic. The most effective education will frequently incorporate concepts from
constructivist and behaviorist approaches.
Curriculum
e.g. Standards Development Division
In the Music area, the use of songs related to themes being studied keeps students
focused on topics of interest. Music productions, like broadway productions on
current issues such as gender, war, and racism, environmental research, or other
controversial topics can even be used to integrate music, science, and social studies
lessons.
Music and Arts Education shall also utilize pedagogies based on the Enhanced
Basic Education Act of 2013 (RA 10533), Section 5.e the use of constructivist,
inquiry- based, reflective, collaborative, and integrative pedagogical methods. There
are many additional significant pedagogical techniques that are proposed in the
teaching of Art and Music Education that are used in most learning areas throughout
grade levels. Differentiated instruction, explicit teaching (direct instruction),
experiential learning, culture-based training, and technology-enhanced instruction
are some examples. The pedagogies listed above can be blended with one another or
with other techniques to assure learners development.
Art Education Theories and Approaches
1. Visual Thinking Strategy

Visual thinking is a kind of nonverbal thinking that psychologists have
extensively researched. The capacity to combine diverse meanings of pictures into a
cohesive picture is the primary function of visual thinking. Its use in examining and
analyzing diverse works might result in fresh insights and a more thorough
knowledge. Visual Thinking Strategies (VST) is an inquiry-based teaching procedure
that is suited for students of all grade levels.
As facilitators, the teachers are helping the students to:

- Look carefully at works of art.
- Talk about what they observe.
- Back up their ideas with evidence.
- Listen to and consider the views of others.
- Discuss and hold as much as possible a variety of interpretations.
2. Material Culture Study

Material culture refers to the element of social reality that is based on the
items and buildings that surround people. It encompasses item usage, consumption,
creation, and exchange, as well as the behaviors, conventions, and rituals that the
things produce or participate in. The approach is complementary to producing art,
comprehending culture, and the evolution of art.
3. Visual Culture Study

Visual Culture Study is a new multidisciplinary topic of study that analyzes
and interprets visual imagery using several techniques. This method is
complementary to the creation of art and the comprehension of the impacts of visual
imagery.
4. Teaching for Artistic Behavior

The primary objective of art education is to motivate students to act like
artists. The objective is to show students that art originates from inside them, not
from their teachers. "The objective is to demystify art and ensure youngsters, via
teacher acts and works, that art can be discovered in familiar locations and common
surroundings," says Szekely.
The Student as Artist

Students "experiment with the materials and techniques of the artist, work
with materials they love, and engage with ideas in personally meaningful ways". In a
TAB, Choice based, Art studio, Children take ownership of the art ideas they are
developing. The teacher's role shifts from authoritarian to enabler, facilitator,
consultant, coach, and collaborator (GAW, 2003, para. 1)
5. Constructivist and Behaviorist Theories for Learners with Disabilities

Because of processing and academic impairments, students with learning
disabilities are difficult to educate successfully in the inclusion context. Most
children with LD have a high chance of success if teachers are familiar with patterns
of strengths and weaknesses and are aware of key guidelines for successful practice.
Rather than teaching from a predetermined ideology, instructional decisions should
be made depending on the child's learning qualities, the task, and the topic. The
most effective education will frequently incorporate concepts from constructivist and
behaviorist approaches.
e.g.
In the arts areas, the use of dances and or acting related to themes being studied
keeps students focused on topics of interest. Artworks on current issues such as
euthanasia, stem cell research, or other controversial topics can even be used to
integrate arts, science, and social studies lessons.
6. Discipline-based Art Education

Discipline-based art education (DBAE) is a flexible but comprehensive
approach to art education that recognizes and respects diversity in teacher training,
student backgrounds, and local conditions. DBAE supports a diminished emphasis
on studio instruction, and instead promotes education across four disciplines within
the arts: aesthetics, art criticism, art history and art production. Students'
performance is assessed using a portfolio method and a comprehensive approach
that are inarguably and essentially contributory factors in the teaching and learning
process of arts education. DBAE advocates that art should be taught by certified
teachers, and that "art education is for all students, not just those who demonstrate
talent in making art."
B. ASSESSMENT
Assessment is a process that is used to keep track of learners' progress in

relation to learning standards and in the development of 21st century skills; to
promote self-reflection and motivate them to keep on learning; and to provide bases
for profiling students' performance on the curriculum's learning competencies and
standards.
Formative and summative assessments are used in the classroom. Formative

assessments are to be dominantly used in the classroom and learners undertaking
the assessment by themselves with teacher’s guidance. Formative assessment may
be viewed as assessment for learning, allowing teachers to make changes to their
lesson. Summative assessment is the evaluation of learning that occurs at the end
of a unit. It assesses whether or not students have satisfied content and performance
criteria.
Music and Arts education shall adhere to the general principle and key aspects
on how to assess learners set by the Enhanced K to 12 Curriculum of 2023 to
reinforce DepEd’s vision to produce holistically developed Filipino learners with 21st
century skills. Thus, high-quality assessment must be required to achieve this vision.
Music and Arts education assessment strategies shall focus on developing creativity,
critical thinking, collaboration, self- expression, visual literacy and appreciation
through art performances and creation. It must also align with standards and
teaching strategies to produce effective learning experiences and outcomes.
Assessment practices on DO 8, s 2015 and Do 31, s. 2020 shall also follow.
Three Methods of Assessment
1. Performance Assessment
Performance assessment is a method of documenting and evaluating the work
that learners have completed over a specific period. It usually takes the form of long,
interdisciplinary problem-solving sessions. Expert panels regularly assess the
outcomes, which are commonly utilized for promotion, distinctions, and graduation.
The diploma should be given after a successful final display of expertise for
graduation – an “exhibition." The school's program follows no rigorous age grading
because the diploma is granted when obtained. The pupils' ability to demonstrate
that they can perform significant things is emphasized. Performance evaluations can
be either short-answer or extended-answer. Oral questions, conventional quizzes,
tests, and open-ended suggestions are all examples.
2. Projects
Projects are intended to develop and harness a variety of abilities in students,
who may work independently or in groups to achieve the goals that have been
established. Students can work independently or in groups to fulfill the objectives
provided. Here are a couple such examples:
● Music and arts - Create a production of a modern version of Sarsuela.
● Music and Arts - Create a simple theater production based on a local story.
3. Portfolios
Portfolio evaluations are compilations of student work. Portfolio assessments
have been implemented statewide in Vermont. Every year, a group of educators from
around the state assemble in a central location for a portfolio assessment session
that lasts four or five days. Portfolios of mathematics and writing from schools
around the state are sampled and assessed. The annual statewide results are then
used to determine local scores.
The appropriate assessment shall be employed to holistically measure the

learners’ current and developing abilities while developing personal accountability in
the process (DepEd Order 8, s. 2015). It is a crucial part of the teaching-learning
process where teachers are guided in formulating succeeding instructional decisions,
and learners are informed of their progress and form part of setting learning goals.
Supposedly, assessment techniques utilized in the classroom Should allow teachers
to see the progress of learners in the instructional process and help to assess both
instruction and learning goals.
Computation of Grades of the enhanced MAPEH from Grade 4 to Grade 10.
MAPEH will be computed as two (2) components (e.g., Music and Arts will have
a separate grade from P.E. and Health) and not anymore as four (4) separate
components. This will enable the teacher to focus more on teaching, learning and
assessment processes since they will no
longer be computing grades for four (4) components. At the end of each quarter, the
two components will be averaged to compute the total grade for MAPEH. The average
of the total grades for each quarter will be the final grade for the learning area.
Example:
Final
Q1 Q2 Q3 Q4 Grade
MAPEH
Music &
90 91 92 95 -
Arts
Physical
Education 91 90 93 96 -
& Health
Average 91 91 93 96 93
Example of Assessment Strategies
The “ways of assessing” complement “ways of teaching” and aim to support

teachers in developing effective assessment practices in both Music and Arts
Education and Physical Education and Health. The key to selecting the most
appropriate assessment relies on the establishment of the clear purpose of the
assessment itself, the identification of learners’ misconceptions or gaps in their
learning and usage of observations of students during the course of learning
activities, assignments, and tests, to determine how learning can be improved. Below
are specific examples of assessment strategies which can enable teachers to
understand where students are in their learning. Assessments should also be based
on the integration of a range of types and sources of evidence.
• Self-assessment and Evaluation and Student Journals - The self-reflection of
achievement and progression towards goals. It allows for metacognitive
thinking about their learning and personal reflection upon their strengths and
weaknesses. Student journals provide personal accounts of student responses
to learning activities, experiences, and understanding.
• Peer Assessments - Individuals, peers, or a group of peers, provide evaluative
feedback on performance or activity.
• Group Activities - Cooperative activities that provide opportunities for
individual and peer learning. During group work, teachers should stop at key
points to check individual students’ understanding.
• Authentic Performance Tasks - The demonstration of learning through
activities using virtual or actual settings, such as improvising appropriate
sounds, music, visual components, and artistic concepts and ideas using
media and technology for a selected part of a musical play in Music and Arts
Education and community fitness and wellness assessments for Health and
Physical Education.
• Tests or Quizzes - These may include verbal questioning, multiple-choice,
short-answer responses, or open-ended questions that require longer,
structured written responses.
• Written Work - This includes short and extended written tasks. These may
take the form of short responses, such as worksheets with a sentence or
paragraph answers. Longer responses may include essays, information
reports, or imaginative texts, such as journal entries. Learners may also
conduct inquiry tasks in which they develop questions; gather, analyze, and
evaluate information; communicate findings; and reflect upon their
conclusions.
• Graphic Organizers - The demonstration of learning through making
connections, showing relationships, and concept-mapping of student
knowledge.
• Visual Representations - The demonstration of learning through digital media
and the like.
• Oral Performance Tasks - The demonstration of learning in practical
performance, role- play, simulations, creating original musical and artistic
works, and even structured discussions. Learner performance is assessed
using checklists, rubrics, or anecdotal records in the context of the activities
which provide learners with the opportunity to develop skills and awareness,
with an increase in complexity as determined by learners' ability and level
progression.
• Conferences - Discussions or interviews that are conducted either face-to-face
or via audio and video recordings.
• Checklists are assessment tools that provide precise criteria for instructors
and students to measure skill development or advancement. Checklists can
help students study more effectively. These tools allow students to participate
actively not just in their evaluations, but also in the learning process.
Checklists can be used with students from Kindergarten to Grade 12 on any
topic. Checklists define abilities, attitudes, methods, and behaviors for
evaluation and provide a method for methodically organizing information on a
student or group of learners.
Checklists: What Are They Good For?

• To give instruments for documenting observations methodically.
• To give learners tools for self-evaluation.
• To give learners examples of criteria at the start of a project or learning
activity.
• To keep track of the development of the abilities, techniques, attitudes, and
behaviors required for effective learning.
• To assess learners learning requirements by summarizing previous learning.
Checklists can also be used to inform a student's parents about his or her
progress.
The simple act of making and using a checklist may bring a level of order into
a student's life that was before lacking. Executive functions, which are the many
cognitive processes that students use to manage their behavior, may be a problem
for children with learning disabilities and ADHD, thus equipping them with
techniques to overcome these shortcomings is critical.
Assessment strategies of Music and Arts in Key stage 2 (Grade 4-6) shall strive
to reinforce fundamental skills to a higher level and mastery. While Key stage 3 (grade
7-10) shall concentrate on assessing higher-order thinking skills like analyzing,
applying, performing, and creating music and arts.
IV. Learning Area-Specific Terminologies
1. Arts Education - a collective term referring to the study of artistic disciplines,

such as: dance, music, drama, folk arts, media arts and visual arts. It is geared
towards enhancement of creativity, expressive communications, audience
development and understanding of culture and heritage. UNESCO supports two
forms of arts education: learning the arts (teaching and learning of the visual and
performing arts) and learning through the arts (integrating arts into education to
improve and enhance learning). (UNESCO, 2020).
2. Music Education - term that refers to the study of vocal music and musical
instruments, including its historical and cultural background based on its
geographical location in the country. The subject provides opportunities for
singing and music- making that lead to audience development and appreciation
of culture and heritage.
3. Exploration and Discovery - learning music and arts through investigation,
observation, and experimentation
4. Production - process of recreating an artwork or performance.
5. Creation - designing or making an original artwork or performance.
6. Traditional Technologies - A type of technology or method from any culture that
is repurposed for a specific use or for a more modern context.
7. Emerging Technologies - Emerging technology is a term generally used to
describe a new technology, but it may also refer to the continuing development of
an existing technology; it can have slightly different meaning when used in
different areas, such as media, business, science, or education.
8. Glocal - a word that combines “global” and “local”. It means that global knowledge
is contextualized for local use.
9. Multicultural Literacy - Multicultural literacy consists of the skills and ability
to identify the creators. of knowledge and their interests (Banks, 1996), to uncover
the assumptions of knowledge, to view knowledge from diverse ethnic and
cultural perspectives, and to use knowledge to guide action that will create a
humane and just world.
10. Creative Communications- entails connecting creatively in a way that best
connects with your target audience and may assist in providing clarity to your
work through visual aid and/or other types of interaction with the audience.
11. Music and Arts Behaviors and Practices - consist of the skills, concepts,
techniques and processes which are all essential to the development of the skills
and competence of the learners in Music and Arts Education
12. Rubrics - a learning assessment tool that is used to evaluate output,
productions, or performance-based tasks. It is a scoring guide that articulates
the expectations and describes the level of quality expected from a learner.
(Andrade, 2000; Arter & Chappuis, 2007; Stiggins, 2001)
13. Differentiated Instruction - A teaching approach that allows teachers to
design their lesson plans and strategies according to the different learning style
of each student.
14. Music Literacy - ability of children to generate music, reflect on the music in
which they are involved, express their opinions on the music they play, hear, or
create, speak about and listen to in order to form judgments, and read, write,
grasp, and interpret staff notation.
15. Art Literacy - a human right and a talent that may be taught. It is the ability
to engage personally and deeply with works of art and, as a result, build links to
our humanity and the humanity of others. Art literacy also refers to the capacity
to comprehend and contribute to a wide range of art-related disciplines, such as
visual arts (painting, ceramics, sketching, and so on), theatrical arts, musical
arts, and dance. Learners participate actively in various domains.
16. through physical interaction and creativity, as well as reading and interacting
with source materials.
17. Multisensory - a teaching approach that perceives children to learn better by
using all senses: visual, auditory, kinesthetic, and tactile.
REFERENCES:
2030 Agenda for Sustainable Development. Sustainable

Development Goal 4. https://sdgs.un.org/2030agenda
Abrahams, Frank. 2017. Critical Pedagogy as Choral Pedagogy. Edited by Frank

Abrahams and Paul D. Head. Oxford University Press.
Arnheim, Rudolf. 2004. Visual Thinking. 2nd ed. Berkeley, CA: University of
California Press.
ASEAN Strategic Plan for Culture and Arts (2016-2025).

https://asean.org/wp- content/uploads/2021/01/ASEAN-Strategic-Plan-
for-Culture-and-Arts-2016-2025.pdf
Constitution (1987), Article 2 Section 17 (Phil)
Benedict, Cathy, Patrick Schmidt, Gary Spruce, and Paul G. Woodford. 2016. The
Oxford Handbook of Social Justice in Music Education. Edited by Cathy Benedict,
Patrick Schmidt, Gary Spruce, and Paul Woodford. London, England: Oxford
University Press.
Burgess, Matthew. 2021. Make Meatballs Sing: The Life and Art of Sister Corita Kent.
New York, NY: Enchanted Lion Books.
Clammer, John, and Ananta Kumar Giri, eds. 2018. The Aesthetics of Development:
Art, Culture and Social Transformation. New York, NY: Palgrave MacMillan.
D.O. Memorandum #1 s. 1963, Cultural Revival Through Art Education, Music and
Physical Education in the Elementary Schools
D.O. Memorandum #72 s. of 1950, “Music courses in the Secondary Schools’ General
Curriculum”
D.O. Memorandum no. 16 s. 1973, “Classification on the Revised PE and Health,

Music, PMT and Scouting Program”
DepEd Order no. 1 s. 1957, “Arts & Physical Education as the proper vehicle for
DECS’ cultural revival program”
DepEd Order no. 12 s. 2020, “Adoption of the Basic Education Learning Continuity
Plan for the School year 2020-2021 in light of the Covid -19 Public Health
Emergency”
DepEd Order no. 21 s. 2019. “Policy Guidelines on the K to 12 Basic Education”
DepEd Order no. 43 s. 2013, “Implementing Rules and Regulations (IRR) of Republic
Act (RA) No. 10533 Otherwise Known as the Enhanced Basic Education Act of 2013”
DepEd Order no. 8 s. 2015. “Policy Guidelines on Classroom Assessment for the K
to 12 Basic Education Program”
Dzenko, Corey. 2017. Contemporary Citizenship, Art, and Visual Culture: Making
and Being Made. Edited by Corey Dzenko and Theresa Avila. London, England:
Routledge.
Eisner, Elliot W. 1988. The Role of Discipline-Based Art Education in America’s

School. Santa Monica, CA: Getty Education Institute for the Arts.
Enhanced Basic Education Act of 2013 or RA 10533

https://www.officialgazette.gov.ph MEC Order no. 6 s. 1982, “New Elementary
School Curriculum (NESC)”
Jesse Rachel, Cukierkorn. 2008. Arts Education for Gifted Learners. Waco, TX:
Prufrock Press.
Kegan, Robert. 1980. “Making Meaning: The Constructive-Developmental Approach

to Persons and Practice.” The Personnel and Guidance Journal 58 (5): 373–80.
https://doi.org/10.1002/j.2164-4918.1980.tb00416.x.
Mcfee, June King. 1998. Cultural Diversity and the Structure and Practice of Art
Education. Reston, VA: National Art Education Association.
Music Law or Republic Act. No. 4723. https://www.lawphil.net
National Cultural Heritage Act of 2009 or RA 10066

https://www.officialgazette.gov.ph
Nur, Balkir. 2014. Visual Culture in Art Teacher Education. LAP Lambert Academic
Publishing.
Philippine Development Plan - Chapter 7 - Promoting Philippine Culture and Values.

https://pdp.neda.gov.ph/wp-content/uploads/2019/11/Updated-PDP-2017-2022-
Chapter-07- 20201207-v1.pdf
Proclamation No. 683 s. 1991, “Declaring the Month of February of every year as
National Arts Month”
Robinson, Ken, and Lou Aronica. 2018. Creative Schools: The Grassroots Revolution
That’s Transforming Education. New York, NY: Penguin.
Small, Christopher. 2011. Musicking: The Meanings of Performing and Listening.
Wesleyan.
The Indigenous Peoples’ Rights Act of 1997 or RA 8371.
https://www.officialgazette.gov.ph
“Transforming Our World: The 2030 Agenda for Sustainable Development.” 2018.
In A NewEra in Global Health. New York, NY: Springer Publishing Company
UNESCO Releasing the Power of the Arts - Exploring Arts Education in Asia and the
Pacific. https://bangkok.unesco.org/content/releasing-power-arts
UNESCO Second World Conference On Arts Education. https://www.unesco.org
UNESCO Tangible and Intangible Heritage Education.

https://ich.unesco.org/en/education- 01017

Shaping Paper Music and Arts

Uploaded by

Document Informationclick to expand document informationMAPEH curriculum

Document Informationclick to expand document information

Copyright:

Available Formats

Shaping Paper Music and Arts

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Shaping Paper Music and Arts

Uploaded by

Copyright:

Available Formats

MANAGEMENT TEAM

Objectives for Revising the Music & Arts Curriculum . . . . 2

The New Physical Education and Health Curriculum . . . . 4

B. Theoretical/Philosophical Bases for the Music & Arts Curriculum . . 5

II. STRUCTURE OF LEARNING AREA . . . . . . 8

D. Development of 21st Century Skills . . . . . . 18

E. Social Issues and Government Thrusts . . . . . . 22

III. PEDAGOGY AND ASSESSMENT . . . . . . . 23

Learning Area – Specific Terminologies . . . . . . 30

Objectives for Revising the Music & Arts Curriculum

The Music and Arts curriculum is an important part of education that

5. Enhanced understanding of cultural diversity: Music and art are important

I. Music & Arts Curriculum Framework

The vision of Revised Music and Arts Education Curriculum is to create a

The mission of music and arts curriculum is to provide students with a

Another important mission is to promote lifelong learning and engagement in

The New Music & Art Curriculum Framework

B. Theoretical/Philosophical Bases for the Music and Arts Education

1. Culture as Meaning-Making by Clifford Geertz and Robert Kegan

2. “Musicking” by Christopher Small

3. Creative Schools by Ken Robinson

4. Discipline-Based Art Education (DBAE) by Elliot Eisner

contributory factors in the teaching and learning process in music

5. Visual Culture Art Education by Sister Corita Kent

6. Visual Thinking by Vladimir I. Zhukovskiy and Daniel V. Pivovarov

7. Aesthetic Development by Abigail Housen

8. United Nations Educational, Scientific and Cultural Organization

9. Philippine Development Plan (PDP) Chapter 7: “Promoting Philippine

10. Critical Pedagogy in Music Education (CPME) by Frank Abrahams

13. Perceptual Delineation Theory - advanced by June McFee

14. Musical Characteristics of Children by Marilyn Zimmerman

II. Structure of the Learning Area

The following additional considerations in the crafting of the Big Ideas, as

“Visual Literacy is the ability to closely examine, interpret, and communicate

1. National Artistic Identity is greatly influenced and honed by creativity,

Music & Arts

Key Stage Standards

1. National Artistic Identity is greatly influenced and honed by creativity,

4. The synergy (collaboration) of an individual, nature, and technology makes

In the revision of the content standards, performance standards, and learning

- They should follow the revised Key Stage Standards.

- Performance standards should exemplify the content standards.

- They should be aligned with Content and

- competencies that would be manifestations and would be in coherence

Arts performing would include but would

Music performing would include the

Music & Arts

MUSICAL BEHAVIORS ARTS PROCESSES

The reorganization of the learning competencies was done in consultation with

The prerequisite skills were made explicit by identifying topics, words,

A review of the interconnectedness of prerequisites aimed at checking

Recommendations were also generated as part of the cross-learning- area

Figure 1. Distribution of Prerequisites in other Learning Areas

Figure 2. Distribution of Prerequisites in other Learning Areas (Art)

Table 1 and Table 2 involved the horizontal articulation of prerequisite skills

In Table 1, Grades 3 and 5 have the greatest number of prerequisites with a

In Table 2, although Grade 6 has the greatest number of prerequisites found

MAPEH’s convergence points of learning were with the following learning