Legal Basis of Mapeh

JESSIE REX V.
POLICARPIO
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LEGAL BASIS OF MAPEH
1987 Philippine Constitution Article XIV

Education, Science And Technology, Arts, Culture And Sports
EDUCATION
Section 1. The State shall protect and promote the right of all citizens to quality education at all
levels, and shall take appropriate steps to make such education accessible to all.
Section 2. The State shall:
1. Establish, maintain, and support a complete, adequate, and integrated system of education
relevant to the needs of the people and society;
2. Establish and maintain, a system of free public education in the elementary and high
school levels. Without limiting the natural rights of parents to rear their children,
elementary education is compulsory for all children of school age;
3. Establish and maintain a system of scholarship grants, student loan programs, subsidies,
and other incentives which shall be available to deserving students in both public and
private schools, especially to the under-privileged;
4. Encourage non-formal, informal, and indigenous learning systems, as well as self-

learning, independent, and out-of-school study programs particularly those that respond
to community needs; and
5. Provide adult citizens, the disabled, and out-of-school youth with training in civics,
vocational efficiency, and other skills.
Section 3.
1. All educational institutions shall include the study of the Constitution as part of the
curricula.
2. They shall inculcate patriotism and nationalism, foster love of humanity, respect for
human rights, appreciation of the role of national heroes in the historical development of
the country, teach the rights and duties of citizenship, strengthen ethical and spiritual
values, develop moral character and personal discipline, encourage critical and creative
thinking, broaden scientific and technological knowledge, and promote vocational
efficiency.
3. At the option expressed in writing by the parents or guardians, religion shall be allowed
to be taught to their children or wards in public elementary and high schools within the
JESSIE REX V. POLICARPIO
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regular class hours by instructors designated or approved by the religious authorities of
the religion to which the children or wards belong, without additional cost to the
Government.
Section 4.
1. The State recognizes the complementary roles of public and private institutions in the
educational system and shall exercise reasonable supervision and regulation of all
educational institutions.
2. Educational institutions, other than those established by religious groups and mission
boards, shall be owned solely by citizens of the Philippines or corporations or
associations at least sixty per centum of the capital of which is owned by such citizens.
The Congress may, however, require increased Filipino equity participation in all
educational institutions. The control and administration of educational institutions shall
be vested in citizens of the Philippines.
No educational institution shall be established exclusively for aliens and no group of

aliens shall comprise more than one-third of the enrollment in any school. The provisions
of this sub section shall not apply to schools established for foreign diplomatic personnel
and their dependents and, unless otherwise provided by law, for other foreign temporary
residents.
3. All revenues and assets of non-stock, non-profit educational institutions used actually,
directly, and exclusively for educational purposes shall be exempt from taxes and duties.
Upon the dissolution or cessation of the corporate existence of such institutions, their
assets shall be disposed of in the manner provided by law.
Proprietary educational institutions, including those cooperatively owned, may likewise

be entitled to such exemptions, subject to the limitations provided by law, including
restrictions on dividends and provisions for reinvestment.
4. Subject to conditions prescribed by law, all grants, endowments, donations, or

contributions used actually, directly, and exclusively for educational purposes shall be
exempt from tax.
Section 5.
1. the State shall take into account regional and sectoral needs and conditions and shall
encourage local planning in the development of educational policies and programs.
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2. Academic freedom shall be enjoyed in all institutions of higher learning.
3. Every citizen has a right to select a profession or course of study, subject to fair,
reasonable, and equitable admission and academic requirements.
4. The State shall enhance the right of teachers to professional advancement. Non-teaching
academic and non-academic personnel shall enjoy the protection of the State.
5. The State shall assign the highest budgetary priority to education and ensure that teaching
will attract and retain its rightful share of the best available talents through adequate
remuneration and other means of job satisfaction and fulfillment.
LANGUAGE
Section 6. The national language of the Philippines is Filipino. As it evolves, it shall be further
developed and enriched on the basis of existing Philippine and other languages.
Subject to provisions of law and as the Congress may deem appropriate, the Government shall
take steps to initiate and sustain the use of Filipino as a medium of official communication and as
language of instruction in the educational system.
Section 7. For purposes of communication and instruction, the official languages of the
Philippines are Filipino and, until otherwise provided by law, English.
The regional languages are the auxiliary official languages in the regions and shall serve as
auxiliary media of instruction therein.
Spanish and Arabic shall be promoted on a voluntary and optional basis.
Section 8. This Constitution shall be promulgated in Filipino and English and shall be translated
into major regional languages, Arabic, and Spanish.
Section 9. The Congress shall establish a national language commission composed of

representatives of various regions and disciplines which shall undertake, coordinate, and promote
researches for the development, propagation, and preservation of Filipino and other languages.
SCIENCE AND TECHNOLOGY
Section 10. Science and technology are essential for national development and progress. The
State shall give priority to research and development, invention, innovation, and their utilization;
and to science and technology education, training, and services. It shall support indigenous,
appropriate, and self-reliant scientific and technological capabilities, and their application to the
country's productive systems and national life.
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Section 11. The Congress may provide for incentives, including tax deductions, to encourage
private participation in programs of basic and applied scientific research. Scholarships, grants-in-
aid, or other forms of incentives shall be provided to deserving science students, researchers,
scientists, inventors, technologists, and specially gifted citizens.
Section 12. The State shall regulate the transfer and promote the adaptation of technology from
all sources for the national benefit. It shall encourage the widest participation of private groups,
local governments, and community-based organizations in the generation and utilization of
science and technology.
Section 13. The State shall protect and secure the exclusive rights of scientists, inventors, artists,
and other gifted citizens to their intellectual property and creations, particularly when beneficial
to the people, for such period as may be provided by law.
ARTS AND CULTURE
Section 14. The State shall foster the preservation, enrichment, and dynamic evolution of a
Filipino national culture based on the principle of unity in diversity in a climate of free artistic
and intellectual expression.
Section 15. Arts and letters shall enjoy the patronage of the State. The State shall conserve,
promote, and popularize the nation's historical and cultural heritage and resources, as well as
artistic creations.
Section 16. All the country's artistic and historic wealth constitutes the cultural treasure of the
nation and shall be under the protection of the State which may regulate its disposition.
Section 17. The State shall recognize, respect, and protect the rights of indigenous cultural
communities to preserve and develop their cultures, traditions, and institutions. It shall consider
these rights in the formulation of national plans and policies.
Section 18.
1. The State shall ensure equal access to cultural opportunities through the educational
system, public or private cultural entities, scholarships, grants and other incentives, and
community cultural centers, and other public venues.
2. The State shall encourage and support researches and studies on the arts and culture.
SPORTS
Section 19.
1. The State shall promote physical education and encourage sports programs, league
competitions, and amateur sports, including training for international competitions, to
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foster self-discipline, teamwork, and excellence for the development of a healthy and
alert citizenry.
2. All educational institutions shall undertake regular sports activities throughout the
country in cooperation with athletic clubs and other sectors.
REPUBLIC ACT NO. 4723
REPUBLIC ACT NO. 4723 - AN ACT GIVING IMPORTANCE TO THE TEACHING OF

MUSIC IN THE CURRICULA OF ELEMENTARY AND SECONDARY SCHOOLS, AND
APPROPRIATING FUNDS THEREFOR
SECTION 1. Commencing with the school year nineteen hundred sixty-six sixty-seven,
music shall be taught together with arts as a separate subject area, with music allotted three days
a week in all the grades in elementary schools, whether public or private; and shall be taught
together with arts, physical education and health as a separate subject field, with music allotted at
least one day a week in all the years in general or vocational secondary schools, whether public
or private.
SECTION 2. The Secretary of Education shall issue such rules and regulations as may be
necessary to carry out the purpose of this Act.
SECTION 3. The sum of five hundred thousand pesos is hereby appropriated, out of any funds
in the National Treasury not otherwise appropriated, to carry out the purpose of this Act during
the fiscal year nineteen hundred sixty-six sixty-seven. Thereafter, such sums as may be
necessary for the same purpose shall be included in the annual General Appropriations Act.
SECTION 4. This Act shall take effect upon its approval.
Music Education in Philippines Primary and Secondary Schools
To study music is to study the basics. Music is a comprehensive art - within its study students come into con
In 1963, DECS Memorandum #11,s.1963 was issued pointing out that Arts and Physical Education in the ele
that the above mentioned subjects should not be sacrificed for the sake of any other subjects in the elementary sc
Bulletin #6,s.1959, titled Improving the Teaching of Music, was a follow up of D.O. #1,s. 1957, observations
As early as 1950, D.O. Memorandum #72, came out with a prescription of "Music courses in the Secondary
1. voice culture - for those inclined to singing
2. courses on orchestral instruments

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3. c o u r s e s o n b
The setback to the suggested music course offerings were and still is the absence of orchestral and band instr
The memo mentioned further that a school should not offer any music course unless a qualified teacher is av
A subsequent bulletin #6,s.1959 from the Bureau of Public Schools, titled Improving the Teaching of Music u
The Bureau of Public Schools likewise encouraged the training of all music teachers: consultants from the G
The increasing importance given to music education was reflected in the passage of R.A. 4723 (Music Law)
The second Republic Act that has benefited Music education is R.A. 5523. Enacted in 1968, the law has cre
The initial implementation of the above stated laws has firmly rooted music in the curriculum of both public
Not until recently, the time allotted for each of the three subjects: Arts, Music and Physical Education, were
With the implementation of the Music Law, the subjects were subdivided into distinct areas, namely:
1. Music and Art
2. Physical Education
Implementing regulations of R.A. 4723 (Music Law) was embodied in the bureau of Public Schools Circular
The Philippine Society for Music Education (PSME), a non-profit association composed of music educators
Philippines were likewise founded.
In November 7-9, 1975, the succeeding president Dean Corazon S. Maceda spearheaded a workshop aimed a
From 1975 onwards, PSME continued on its mission to improve music education through yearly seminars an
completion seen by summer of 2000.
The Department of Education and Culture (DEC) issued an Order #21,s.1973 which was a "Clarification on
Citizens' Arm Training (CAT), replaced PMT, PE, Health and Music for the fourth year. A 40-minute weekly
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As a YDT component, Music Education was offered in all curriculum years. Approximately 65% of the tota
Meanwhile, in 1970-71, the Revised Elementary Education curriculum gave Music and Arts, 30 minutes per
Department of Education and Culture (DEC) Memorandum #65,s.1974 announced a "Third National Semina
The above national seminar-practicum came after the conclusion of a 5-year UP-BPS (University of the Phil
1971 saw the start of the National Music Competitions as an annual undertaking aimed to discover and nurtu
1973). From then on, the competition expanded to include not only children's choirs but also solo instruments, p
In 1982, the Ministry of Education and Culture issued MEC Order #6,s.1982 outlining the New Elementary
With the advent of the New Elementary School Curriculum effective school year 1983-84, time allotment fo
Music lost its identity with its marked absence in Grades I and II. Music for the elementary grades was offer
Time allotment - Minutes per week for Arts and Physical Education:
Equal distribution of time for Music, Arts and PE was on a 2-2-2 plan the whole year round. In the mid-90's
The New Secondary Education Curriculum (NSEC) became effective by School Year 1989-90. Physical Ed
Since 1973-74 with D.O. Memorandum #16.s.1973,v"Classification on the Revised PE and Health, Music, P
First and Second Year

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Third Year
Fourth Year
History of Music Education in the Philippines
Music education is the dissemination of music knowledge, skills and appreciation. The process
may occur in the structured setting of a school or in a more informal manner.
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Music permeates the daily lives of indigenous culture groups. it is used in connection with life-
cycle events such as birth, courtship, marriage and death. Occupational activities such as
planting, harvesting, hunting and fishing and functions such as peace pacts and victory
celebrations are occasions for music making. Lullabies are sung to put babies to sleep,
instruments are played to drive away evil spirits and songs and chants accompany the playing of
children. In these communities, singing of songs and playing of instruments are naturally learned
through participation. Formal ways of learning are however practiced among many culture
groups.
A Maranao lad who wishes to specialize in singing certain types of the extensive Maranao vocal
repertoire studies with a professional singer in a kasombak (apprenticeship) system. He stays
with the goro (teacher) and does daily chores for free instruction, board and lodging. The training
of the morit (student) begin with the learning of songs by rote, gradually progressing to creating
improvisations and variations and ends with the student singing in his own style songs prepared
by the teacher. Training includes learning the vocabulary and grammar of specific song
languages, and other aspects of performance (Cadar, 1981). Among the Tausug highly formalized
systems of instruction are practiced in the study of the purely vocal tradition, mixed vocal-
instrumental genres such as the paggabang, and solo instruments such as the tata gabbang (solo
gabbang) and tata biyula (solo biyula. Trimillos, 1972).
The Spanish colonizers who arrived in the 1500's brought with them missionaries who
established churches, convents and schools in different parts of the islands. Among them were
church musicians and music teachers who composed and performed liturgical music, wrote
books on music and taught young Filipino boys to sing the Gregorian chant and play instruments
for church services. Among the schools established was a Franciscan seminary in Lumban,
Laguna in 1606 where 400 boys were trained in singing and playing of instruments. Many years
later, the Colegio de los Nios Tiples de la Santa Iglesia Cathedral, a school noted for its
excellent training of boy's, choirs, offered classes in solfeggio, vocalization, composition and the
playing of organ and other stringed instruments. Graduates of the school included musicians such
as Salvador Pinon, Fulgencio Tolentino, Antonio Garcia, and Simplicio Solis. Founded in 1742,
the Colegio existed until the outbreak of the Second World War (Banas, 1969). In the 1800's a
rich musical life developed in the urban areas particularly in Manila and the more affluent
provinces. This was brought about by a large number of visiting foreign musicians, singers and
opera companies who performed in the theaters and concert halls of Manila and in some cities in
the South. These musical events contributed greatly to the music education of the Filipinos along
secular forms of Western music. (Guevara, 1971).
The American colonial government established public schools all over the islands. The first
teachers were American soldiers who were later replaced by the Thomasites. Curricula of these
schools included music in the elementary level. Music instruction concentrated based on the
Progressive Music Series, a graded foreign collection of songs, and a Philippine edition of the
same series by Norberto Romualdez. Similar materials which were used much later were the 6
volumes of the Bureau of Public School Series which consisted of basic songs (the Philippine
National Anthem and other patriotic songs) folk songs of the Philippines and other countries,
works of Filipino and foreign composers and suggestions for the teaching of rondalla and rhythm
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band. (Yamson, 1972).
In 1966, the Philippine Congress passed Republic Act No. 4723 popularly known as the Music
Law which provided for the teaching of music and art as a separate subject in the elementary
level and the teaching of music once a week for one hour in the secondary level (Yamzon, 1972).
The New Elementary School Curriculum of 1982 however, required the teaching of music as a
separate subject only from grades III to VI and its integration with other subjects in Grades I &
II. In the high school, music was made a part of a subject area, PEHM, which includes Physical
Education and Health. Content of instruction consists of a study of Philippine, Asian and Western
music. The Philippine High School for the Arts (PHSA) is a special secondary school established
by the government in 1977 which provides training in music, dance and the visual arts. Here,
music scholars are given instruction in performance, theory and literature as well as academic
subjects. In the tertiary level, schools of education offer PEHM specialization and 6 units of
music for students studying for a Bachelor of Science in Elementary Education degree. Colleges
and universities offer undergraduate and graduate courses in music. Various courses range from a
Diploma in Music, Bachelor of Music and Master of Music in Performance (major in piano,
voice, strings, winds, or percussion) Composition, Musicology, Conducting and Music
Education, to a Diploma or Certificate in Performance.
The University of the Philippines (UP) College of Music is one of the leading schools of music
in the country. Originally a conservatory patterned after European and American music schools,
the College today has strong multicultural thrust reflected in the integration of non-western
music courses of studies in the fabric of its over-all curriculum program. Other schools with
strong departments offering music degrees are: the University of Sto Tomas (UST), St.
Scholastica's College, Philippine Women's University, St. Paul's College, Sta. Isabel College,
Centro Escolar University, Asian Institute of Liturgy and Silliman University. Music instruction
are also being provided by tutors, numerous private studios teaching art and popular music, and
music organizations that hold seminars and workshops to improve the quality of instruction in
their specific fields of specialization.
The Philippines Society for Music Education (PSME) founded in 1971 is the main organization
in the country actively engaged in upgrading the standards of classroom music teaching in the
elementary and secondary schools today. It took over the work begun by the Philippine National
Society of Music Education (PNSME), which was founded in the early 1960's and was active
until 1970. Other music organizations are the Piano Teachers Guild of the Philippines, Kodaly
Society of the Philippines, Aschero Society of the Philippines, the Philippine Federation of
Choral Music, and the National Music Competitions for Young Artists (NAMCYA) Foundation.
MUSIC EDUCATION
Music education is a field of study associated with the teaching and learning of music. It
touches on all domains of learning, including the psychomotor domain (the development of
skills), the cognitive domain (the acquisition of knowledge), and, in particular and significant
ways,the affective domain, including music appreciation and sensitivity. The incorporation of
music training from preschool to postsecondary education is common in most nations because
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involvement in music is considered a fundamental component of human culture and behavior.
Music, like language, is an accomplishment that distinguishes us as humans.
Overview
In Elementary schools, children often learn to play instruments such as keyboards or recorders,
sing in small choirs, and learn about the elements of musical sound and history of music.
Although music education in many nations has traditionally emphasized Western classical music,
in recent decades music educators tend to incorporate application and history of non-western
music to give a well-rounded musical experience and teach multiculturalism and international
understanding. In primary and secondary schools, students may often have the opportunity to
perform in some type of musical ensemble, such as a choir, orchestra, or school band: concert
band, marching band, or jazz band. In some secondary schools, additional music classes may
also be available. In junior high school or its equivalent, music usually continues to be a required
part of the curriculum.[2]
At the university level, students in most arts and humanities programs may receive academic
credit for taking music courses, which typically take the form of an overview course on the
history of music, or a music appreciation course that focuses on listening to music and learning
about different musical styles. In addition, most North American and European universities have
some type of music ensemble in which students from various fields of study may participate such
as a choir, concert band, marching band, or orchestra. Many universities also offer degree
programs in the field of music education, allowing their students to become certified educators of
primary and secondary school ensembles as well as beginner music classes. Advanced degrees
can lead to university employment. These degrees come with the completion of varied technique
classes, private instruction, numerous ensembles, and in depth observations of educators in the
area. Music education departments in North American and European universities also often
support interdisciplinary research in such areas as music psychology, music education
historiography, educational ethnomusicology, sociomusicology, and philosophy of education.
The study of Western art music is increasingly common in music education outside of North
America and Europe, including Asian nations such as South Korea, Japan, and China. At the
same time, Western universities and colleges are widening their curriculum to include music of
non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music), as well as even
rock music (see popular music pedagogy).
Music education also takes place in individualized, life-long learning, and community contexts.
Both amateur and professional musicians typically take music lessons, short private sessions
with an individual teacher. Amateur musicians typically take lessons to learn musical rudiments
and beginner- to intermediate-level musical techniques.
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Instructional methodologies
While instructional strategies are bound by the music teacher and the music curriculum in his or
her area, many teachers rely heavily on one of many instructional methodologies that emerged in
recent generations and developed rapidly during the latter half of the 20th Century:
Major international music education methods
Dalcroze method
The Dalcroze method was developed in the early 20th century by Swiss musician and educator
mile Jaques-Dalcroze. The method is divided into three fundamental concepts - the use of
solfege, improvisation, and eurhythmics. Sometimes referred to as "rhythmic gymnastics",
eurhythmics teaches concepts of rhythm, structure, and musical expression using movement, and
is the concept for which Dalcroze is best known. It focuses on allowing the student to gain
physical awareness and experience of music through training that takes place through all of the
senses, particularly kinesthetic. According to the Dalcroze method, music is the fundamental
language of the human brain and therefore deeply connected to what human beings are.
Kodly method
Depiction of Curwen's Solfege hand signs. This version includes the tonal tendencies and
interesting titles for each tone.
Zoltn Kodly (18821967) was a prominent Hungarian music educator and composer who
stressed the benefits of physical instruction and response to music. Although not really an
educational method, his teachings reside within a fun, educational framework built on a solid
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grasp of basic music theory and music notation in various verbal and written forms. Kodly's
primary goal was to instill a lifelong love of music in his students and felt that it was the duty of
the child's school to provide this vital element of education. Some of Kodly's trademark
teaching methods include the use of solfege hand signs, musical shorthand notation (stick
notation), and rhythm solmization (verbalization). Even though most countries have properly
used their own folk music traditions to construct their own sequence of instruction, America
primarily uses the Hungarian sequence even though Hungarian folk music is completely different
from American.
Orff Schulwerk
Carl Orff was a prominent German composer. The Orff Schulwerk is considered an "approach"
to music education. It begins with a student's innate abilities to engage in rudimentary forms of
music, using basic rhythms and melodies. Orff considers the whole body a percussive instrument
and students are led to develop their music abilities in a way that parallels the development of
western music. The approach encourages improvisation and discourages adult pressures and
mechanical drill, fostering student self-discovery. Carl Orff developed a special group of
instruments, including modifications of the glockenspiel, xylophone, metallophone, drum, and
other percussion instruments to accommodate the requirements of the Schulwerk courses.[3]
Suzuki method
The Suzuki method was developed by Shinichi Suzuki in Japan shortly after World War II, and it
uses music education to enrich the lives and moral character of its students. The movement rests
on the double premise that "all children can be well educated" in music, and that learning to play
music at a high level also involves learning certain character traits or virtues which make a
person's soul more beautiful. The primary method for achieving this is centered around creating
the same environment for learning music that a person has for learning their native language.
This 'ideal' environment includes love, high-quality examples, praise, rote training and repetition,
and a time-table set by the student's developmental readiness for learning a particular technique.
While the Suzuki Method is quite popular internationally, within Japan its influence is less
significant than the Yamaha Method, founded by Genichi Kawakami in association with the
Yamaha Music Foundation.
Other notable methods
In addition to the five major international methods described above, other approaches have been
influential. Lesser-known methods are described below:
Gordon Music Learning Theory

This method is based on an extensive body of research and field testing by Edwin E. Gordon and
others. Music Learning Theory provides the music teacher a comprehensive method for teaching
musicianship through audiation, Gordon's term for hearing music in the mind with
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understanding. Teaching methods help music teachers establish sequential curricular objectives
in accord with their own teaching styles and beliefs.[4]
World Music Pedagogy

The growth of cultural diversity within school-age populations prompted music educators from
the 1960s onward to diversify the content of the music curriculum, and to work with
ethnomusicologists and some of the world's artist-musicians in establishing instructional
practices relevant to the musical traditions. 'World music pedagogy' was coined by Patricia
Shehan Campbell to describe world music content and practice in elementary and secondary
school music programs. Pioneers of the movement, especially Barbara Reeder Lundquist and
William M. Anderson, influenced a second generation of music educators (including Bryan J.
Burton, Mary Goetze, Ellen McCullough-Brabson, and Mary Shamrock) to design and deliver
curricular models to teachers of music of various levels and specializations.
Conversational Solfege
Deriving influence from both Kodly methodology and Gordon's Music Learning Theory,
Conversational Solfege was developed by Dr. John M. Feierabend, chair of music education at
the Hartt School at the University of Hartford. The philosophy of this method is to view music as
an aural art with a literature based curriculum. The sequence of this methodology involves a 12
step process to teach music literacy. Steps include rhythm and tonal patterns and decoding the
patterns using syllables and notation. Unlike traditional Kodly method, this method follows
Kodly's actual instructions and uses a sequence based on American folk songs instead of using
the sequence that is used in Hungary based on Hungarian folk songs.
Carabo-Cone Method
This early-childhood approach sometimes referred to as the Sensory-Motor Approach to Music
was developed by the violinist Madeleine Carabo-Cone. This approach involves using props,
costumes, and toys for children to learn basic musical concepts of staff, note duration, and the
piano keyboard. The concrete environment of the specially planned classroom allows the child to
learn the fundamentals of music by exploring through touch.[5]
MMCP
The Manhattanville Music Curriculum Project was developed in 1965 and is an alternative
method in shaping positive attitudes toward music education. This creative approach centers
around the student being the musician and involved in the discovery process. The teacher gives
the student freedom to create, perform, improvise, conduct, research, and investigate different
facets of music in a spiral curriculum.
O'Connor Method
On November 16, 2009, Mark O'Connor released books 1 and 2 of his 10-book O'Connor
Method - A New American School of String Playing [6] for string teachers and students of the
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violin designed to "guide students gradually through the development of pedagogical and
musical techniques necessary to become a proficient, well-rounded musician through a carefully
planned succession of pieces." Pieces cover a wide range of genres, and include: folk melodies
such as "Amazing Grace," "Cielito Lindo" and "Buffalo Gals," American Classical tunes such as
Copland's "Hoedown," two themes from Dvorak's New World Symphony, and O'Connor's
"Appalachia Waltz."[7] The series also contains short essays about topics including famous
American fiddlers such as Thomas Jefferson and Davy Crockett, the history of Gypsies and
Mariachi, and various dances. Teacher training sessions based on the method take place around
the country.
History of music education in the United States

18th century
After the preaching of Reverend Thomas Symmes, the first singing school was created in 1717 in
Boston, Massachusetts for the purposes of improving singing and music reading in the church.
These singing schools gradually spread throughout the colonies. Reverend John Tufts published
An Introduction to the Singing of Psalm Tunes Using Non-Traditional Notation which is regarded
as the first music textbook in the colonies. Between 1700 to 1820, more than 375 tune books
would be published by such authors as Samuel Holyoke, Francis Hopkinson, William Billings,
and Oliver Holden.[8]
19th century
In 1832, Lowell Mason and George Webb formed the Boston Academy of Music with the
purposes of teaching singing and theory as well as methods of teaching music. Mason published
his Manuel of Instruction in 1834 which were based upon the music education works of
Pestalozzian System of Education founded by Swiss educator Johann Heinrich Pestalozzi. This
handbook gradually became used by many singing school teachers. From 1837-1838, the Boston
School Committee allowed Lowell Mason to teach music in the Hawes School as a
demonstration. This is regarded as the first time music education was introduced to public
schools in the United States. In 1838 the Boston School Committee approved the inclusion of
music in the curriculum and Lowell Mason became the first recognized supervisor of elementary
music. In later years Luther Whiting Mason became the Supervisor of Music in Boston and
spread music education into all levels of public education (grammar, primary, and high school).
During the middle of the 19th century, Boston became the model to which many other cities
across the United States included and shaped their public school music education programs. [9]
Music methodology for teachers as a course was first introduced in the Normal School. The
concept of classroom teachers in a school that taught music under the direction of a music
supervisor was the standard model for public school music education during this century. (See
also: Music education in the United States)
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Early 20th century
In the United States, teaching colleges with four year degree programs developed from the
Normal Schools and included music. Oberlin Conservatory first offered the Bachelor of Music
Education degree. Osbourne G. McCarthy, and American music educator introduced details for
studying music for credit in Chelsea High School. Notable events in the history of music
education in the early 20th century also include:
Founding of the Music Supervisor's National Conference (changed to Music Educators

National Conference in 1934, later MENC: The National Association for Music
Education in 1998, and currently The National Association for Music Education -
NAfME) in Keokuk, Iowa in 1907.
Rise of the school band and orchestra movement leading to performance oriented school
music programs.
Growth in music methods publications.
Frances Elliot Clark develops and promotes phonograph record libraries for school use.
Carl Seashore and his Measures of Musical Talent music aptitude test starts testing people
in music.
Middle 20th century to 21st century
The following table illustrates some notable developments from this period:
Date Major Event Historical Importance for Music Education

The Child's Bill of
1950 A student-centered philosophy was formally espoused by MENC.
Rights in Music[10]
The American
School Band
1953 The band movement becomes organized.
Directors Association
formed
Increased curricular focus on science, math, technology with less
1957 Launch of Sputnik
emphasis on music education.
The purpose of the project was to make contemporary music relevant
Contemporary Music in children by placing quality composers and performers in the
1959
Project learning environment. Leads to the Comprehensive Musicianship
movement.
American Choral
1961 Directors Association The choral movement becomes organized.
formed
1963 Yale Seminar Federally supported development of arts education focusing on
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quality music classroom literature. Juilliard Project leads to the
compilation and publication of musical works from major historical
eras for elementary and secondary schools.
National Endowment Federal financial support and recognition of the value music has in
1965
for the Arts society.
Establishment of a unified and ecletic philosophy of music
Tanglewood
1967 education. Specific emphasis on youth music, special education
symposium
music, urban music, and electronic music.
35 Objectives listed by MENC for quality music education programs
1969 GO Project in public schools. Published and recommended for music educators
to follow.
Emphasized the impact of learning theory in music education in the
The Ann Arbor
1978 areas of: auditory perception, motor learning, child development,
Symposium
cognitive skills, memory processing, affect, and motivation.
"The Wesleyan Symposium on the Perspectives of Social
Becoming Human Anthropology in the Teaching and Learning of Music" (Middletown,
1984 Through Music Connecticut, August 610, 1984). Emphasized the importance of
symposium cultural context in music education and the cultural implications of
rapidly changing demographics in the United States.
Growing out of the awareness of the increasing diversity of the
American School population, the three-day Symposium for music
Multicultural
teachers was co-sponsored by MENC, the Society for
1990 Symposium in Music
Ethnomusicology, and the Smithsonian Institution, in order to
Education
provide models, materials, and methods for teaching music of the
world's cultures to school children and youth.
For much of the 1980s, there was a call for educational reform and
accountability in all curricular subjects. This led to the National
National Standards Standards for Music Education[11] introduced by MENC. The MENC
1994
for Music Education standards were adopted by some states, while other states have
produced their own standards or largely eschewed the standards
movement.
The Housewright
Examined changing philosophies and practices and predicted how
1999 Symposium / Vision
American music education will (or should) look in the year 2020.
2020
Tanglewood II: Reflected on the 40 years of change in music education since the first
2007 Charting the Tanglewood Symposium of 1967, developing a declaration regarding
Future[12] priorities for the next forty years.
Music course offerings and even entire degree programs in online music education developed in
the first decade of the 21st century at various institutions, and the fields of world music
pedagogy and popular music pedagogy have also seen notable expansion.
Standards and assessment

Standards are curricular statements used to guide educators in determining objectives for their
teaching. Use of standards became a common practice in many nations during the 20th century.
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For much of its existence, the curriculum for music education in the United States was
determined locally or by individual teachers. In recent decades there has been a significant move
toward adoption of regional and/or national standards. MENC: The National Association for
Music Education, created nine voluntary content standards, called the National Standards for
Music Education.[1] These standards call for:
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the
arts.
9. Understanding music in relation to history and culture.

Many states and school districts have adopted their own standards for music education.
Washington State has piloted a classroom based performance assessment which requires 5th and
higher grade students to compose music on a staff and sight sing from sheet music without the
aid of instruments. It is designed to assess standards expected to be attained by all students. [13]
Sight singing is a learning requirement in the state at the 8th grade level. Other states are
evaluating possible performance assessments as well.
Integration with other subjects

Some schools and organizations promote integration of arts classes, such as music, with other
subjects, such as math, science, or English. It is thought that by integrating the different curricula
will help each subject to build off of one another, enhancing the overall quality of education.
Music education can play a vital role in the development of the whole child and their scholastic
journey.
One example is the Kennedy Center's "Changing Education Through the Arts" program. CETA
defines arts integration as finding a natural connection(s) between one or more art forms (dance,
drama/theater, music, visual arts, storytelling, puppetry, and/or creative writing) and one or more
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other curricular areas (science, social studies, English language arts, mathematics, and others) in
order to teach and assess objectives in both the art form and the other subject area. This allows a
simultaneous focus on creating, performing, and/or responding to the arts while still addressing
content in other subject areas.[14]
The Learning Maestros is a company whose goal is to create new interdisciplinary musical
works and educational materials that explore connections between music and science, literature,
visual arts, natural history, and issues of social conscience. It was founded by Julian Fifer and
composer Bruce Adolphe. Notable interdisciplinary educational works they have created in
collaboration with writers and scientists include "Tyrannosaurus Sue: A Cretaceous Concerto"
(for the Field Museum of Natural History, Chicago), "Red Dogs and Pink Skies: A Musical
Celebration of Paul Gauguin" (in conjunction with an exhibition at the Metropolitan Museum of
Art, New York), "Self Comes to Mind" (created with neuroscientist Antonio Damasio, premiered
by Yo-Yo Ma at the American Museum of Natural History, New York), "Let Freedom Sing: the
story of Marian Anderson" (with writer Carolivia Herron, premiered by the Washington National
Opera), "Zephyronia" (with writer Louise Gikow, for the Imani Winds), and "Witches, Wizards,
Spells, and Elves: The Magic of Shakespeare" (for the Chicago Chamber Musicians and the
Chicago Shakespeare Theater).
The European Union Lifelong Learning Programme 20072013 has funded three projects that
use music to support language learning. Lullabies of Europe (for pre-school and early learners)
[15]
, FolkDC (for primary)[16], and the recent PopuLLar (for secondary)[17]
Significance of music education

According to the Florida Music Educators Association, Music and the Fine Arts have been a
significant portion of every cultures educational system for more than 3,000 years. The human
brain has been shown to be hard-wired for music; there is a biological basis for music being an
important part of human experience. Music and the Arts surround daily life in our present day
culture. Most present day artists, architects, and musicians acquired their interests during public
school Fine Arts classes... Education without the Fine Arts is fundamentally impoverished and
subsequently leads to an impoverished society. [18]
William Earhart, former president of the Music Educators National Conference, Music
enhances knowledge in the areas of mathematics, science, geography, history, foreign language,
physical education, and vocational training."[19] Music not only inspires creativity and
performance, but academic performance over all is seriously impacted. A research study
produced by the Harris Poll has shown that 9 out of 10 individuals with post graduate degrees
participated in music education. The National Report of SAT test takers study indicated students
with music performance experience scored higher on the SAT: 57 points higher on verbal and 41
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points higher on math.[20] Schools that have high academic performance in the US are spending
20 to 30% of their budget in the arts with emphasis on music education.[21]
Music education also increases one's success in society. The Texas Commission on Drugs and
Alcohol Abuse Report noted that students who participated in band or orchestra reported the
lowest lifetime and current use of all substances.[22]
An education in music also increases overall brain activity. Research done at the University of
Wisconsin has indicated that students with piano or keyboard experience performed 34% higher
on tests that measure spatial-temporal lobe activity, which is the part of the brain that is used
when doing mathematics, science, and engineering.[23]
Music also improves learning. Specifically, music aids in text recall. Wallace (1994) studied
setting text to a melody. One experiment created a three verse song with a non-repetitive melody;
each verse had different music. A second experiment created a three verse song with a repetitive
melody; each verse had exactly the same music. Another experiment studied text recall without
music. The repetitive music produced the highest amount of text recall; therefore, music serves
as a mnemonic device.[24] Smith (1985) studied background music with word lists. One
experiment involved memorizing a word list with background music; participants recalled the
words 48 hours later. Another experiment involved memorizing a word list with no background
music; participants also recalled the words 48 hours later. Participants who memorized word lists
with background music recalled more words demonstrating music provides contextual cues.[25]
It is important to note that "While studies show positive influences in other academic areas,
music and the Fine Arts are an academic discipline that are, as the other academics, an
independent way of learning and knowing." [18] Unfortunately, music in our schools are being cut
at a drastic rate due to budget cuts being forced upon the schools. The Assistant Superintendent
for Curriculum and Instruction with Chesapeake Public Schools in Chesapeake, Virginia,[26] Dr.
Patricia Powers states, It is not unusual to see program cuts in the area of music and arts when
economic issues surface. It is indeed unfortunate to lose support in this area especially since
music and the art programs contribute to society in many positive ways. What some school
boards do not know is that cutting music might cause test scores to fall due to the positive effect
on everything from academics to citizenship and even personal hygiene.[19]
Music advocacy
In some communities - and even entire national education systems - music is provided little
support as an academic subject area, and music teachers feel that they must actively seek greater
public endorsement for music education as a legitimate subject of study. This perceived need to
change public opinion has resulted in the development of a variety of approaches commonly
called "music advocacy". Music advocacy comes in many forms, some of which are based upon
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legitimate scholarly arguments and scientific findings, while other examples rely on
unconvincing data and remain rather controversial.
Among the more recent high-profile music advocacy projects that have become the subject of
widespread controversy are the "Mozart Effect" (which is now widely believed to be based on
misinterpretation and exaggeration), the National Anthem Project, and the movement referred to
as Cultural Diversity in Music Education which seeks out means of equitable pedagogy across
students regardless of their race, ethnicity, or socioeconomic circumstance. Even though the
Mozart Effect is a controversy it has some significance in proving that it is reliable. The test
has two, a group that has music taught and a group with no music taught. When this test was
given to three-year-olds their temporal test improved by 35% over those with no music; this
lasted for several days. The only flaw to this test is the different age groups, the older you are the
less of the effect it will have on you.[27]
Many contemporary music scholars assert that music advocacy will only be truly effective when
based on empirically sound arguments that transcend political motivations and personal agendas.
This position regarding music advocacy has especially been advanced by music education
philosophers (such as Bennett Reimer, Estelle Jorgensen, David J. Elliott, John Paynter and
Keith Swanwick,), yet a gap remains between the discourse of music education philosophy and
the actual practices of music teachers and music organization executives.
ART EDUCATION
Art education is the area of learning that is based upon the visual, tangible arts
drawing, painting, sculpture, and design in jewelry, pottery, weaving, fabrics, etc. and design
applied to more practical fields such as commercial graphics and home furnishings.
Contemporary topics include photography, video, film, design, computer art, etc.
Overview
Historically art was taught in Europe via the atelier Method system where artists' took on
apprentices who learned their trade in much the same way as any guild such as the Masons
(stonemasons or goldsmiths etc.). The first recorded art schools were established in 400 BC
Greece as mentioned by Plato. During the Renaissance formal training took place in art studios.
Historically, design has had some precedence over the fine arts with schools of design being
established all over Europe in the 18th century. Education in art takes place across the life-span.
Children, youth, and adults learn about art in community based institutions and organizations
such as museums, local arts agencies, recreation centers, places of worship, social service
agencies, and prisons among many other possible venues.
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Within art school's "visual arts education" encompasses all the visual and performing arts
delivered in a standards-based, sequential approach by a qualified instructor as part of the core
curriculum. Its core is the study of inseparable artistic and aesthetic experience and learning.
Approaches
There are thousands of arts education curricular models or models for arts or arts-based
professional development for teachers that schools and community organizations use. Some
assert that the core discipline of Western art education is the practice of drawing, a model which
has existed since the Renaissance. This is an empirical activity which involves seeing,
interpreting and discovering appropriate marks to reproduce an observed phenomena. It can be
asserted that other art activities involve imaginative interpretation.[citation needed] Others would assert
though, that issue based approaches, such as a visual culture approach to art education, define K-
12 art learning today.
Prominent models include:
A sixfold model divided into "Creative-Productive, Cultural-Historical and Critical-

Responsive components in Canada
Discipline Based Art Education (DBAE) came to favor in the United States during the
1980s and 1990s, and it focused on specific skills including techniques, art criticism and
art history.
Current literature in the United states has shifted away from DBAE but many classrooms
still use this model. Others have shifted to visual culture and diversity models.
Teaching for Artistic Behavior (TAB) is a theory that began in the 1970s in the United
States. TAB suggests that students should be the artists and so guided on their own
individual artistic interests through technique lessons and critiques, while being exposed
to art history as it relates to their own work.
In the UK the art curriculum is prescribed by the government's National Curriculum

except in public or fee paying schools.
In most systems, criticism is understood to be criteria-based analysis established on
acknowledged elements of composition and principles of design which often vary in their verbal
articulation, between the different art discipline forms (applied, fine, performing, & etc.) and
their many schools. Other art educational systems include the study of Aesthetics, ontology,
semantics, studio praxis (empirical investigation) and phenomenology. There is no set art
education curriculum content it is a process of continual often acrimonious cultural negotiation.
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Some studies show that strong art education programs have demonstrated increased student
performance in other academic areas, due to art activities' exercising their brains' right
hemispheres and delateralizing their thinking.[1] Also see Betty Edwards' Drawing on the Right
Side of the Brain. Support for art education, however, varies greatly between communities and
between schools in various cultures.
Art education is not limited to formal educational institutions. Some professional artists
specialize in private or semi-private instruction in their own studios. One form of this teaching
style is the Atelier Method as exemplified by Gustave Moreau who taught Picasso, Braque and
many other artists. Another is an artist apprenticeship in which the student learns from a
professional artist while assisting the artist with their work.
United Kingdom
Prince Albert was particularly influential in the creation of schools of Art in the UK. Prince
Charles has created The Prince's Drawing School in Hoxton to preserve the teaching of academic
drawing. Current UK's curriculum is focus on interdisciplinary approach.
The Netherlands
Art education in schools is in The Netherlands strongly improved by the founding of the Dutch
Art Teachers Association in 1880 and their Magazine (in 1881). In the seventies of last century
were national examinations common in almost all secondary schools. Over the years struggles
and problems, discussions about the right way and fights for equal qualification supposedly
coloured the history of art education in the Netherlands as in other countries. The details
however are of great interest for who will compare these developments with those in his own
country. The painter Maarten Krabb (19082005) changed the whole approach towards children
drawing and painting. With his books on how to educate children in their free expression
(Hidden possibilities | Verborgen Mogelijkheden (8 volumes | delen), uitbeeldingsmogelijkheden
voor jonge handen (Sijthoff, Leiden 1961)) he changed the entire educational landscape. He
showed how to handle the very delicate talents of children and how to treasure these.
United States
The study of art appreciation in America began with the Picture Study Movement in the late 19th
century and began to fade at the end of the 1920s. Picture study was an important part of the art
education curriculum. Attention to the aesthetics in classrooms led to public interest in
beautifying the school, home, and community, which was known as Art in Daily Living. The
idea was to bring culture to the child to change the parents. [2] The picture study movement died
out at the end of the 1920s as a result of new ideas regarding learning art appreciation through
studio work became more popular in the United States.[citation needed]
American educational philosopher and school reformer John Dewey was influential in
broadening access to art education in the United States in the late 19th and early 20th century.
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Since World War II, artist training has moved to colleges and universities, and contemporary art
has become an increasingly academic and intellectual field. Prior to World War II an artist did
not usually need a college degree. Since that time the Bachelor of Fine Arts and then the Master
of Fine Arts became recommended degrees to be a professional artist, facilitated by "the passage
of the G.I. Bill in 1944, which sent a wave of World War II veterans off to school, art school
included. University art departments quickly expanded. American artists who might once have
studied at bohemian, craft-intensive schools like the Art Students League, Black Mountain
College, or the Hans Hofmann School of Art in Greenwich Village; began enrolling at
universities instead. By the 60s, The School of Visual Arts, Pratt Institute, and Cooper Union in
New York City and other art schools across the country like the Kansas City Art Institute, the San
Francisco Art Institute, the School of the Art Institute of Chicago, the School of the Museum of
Fine Arts, Boston, Princeton and Yale had emerged as the leading American art academies.[3]
This trend spread from the United States around the world.[citation needed]
Enrollment in art classes at the high school level peaked in the late 1960searly 1970s. [citation
needed]
With No Child Left Behind (NCLB)[when?] (which retains the arts as part of the "core
curriculum", but does not require reporting or assessment data on this area) there has been
additional decline of arts education in American public schools.[citation needed] The United States
Department of Education now awards Arts in Education Model Development and Dissemination
grants to support organizations with art expertise in their development of artistic curricula. After
2010, an estimate of 25% of the nation's public high schools will end all art programs.[citation needed]
National organizations promoting arts education include Americans for the Arts [4] including Art.
Ask For More.,[5] its national arts education public awareness campaign; Association for the
Advancement of Arts Education; Arts Education Partnership.;[6]
Professional organizations for art educators include the National Art Education Association,[7]
which publishes the practitioner's magazine Art Education and the research journal Studies in Art
Education; USSEA (the United States Society for Education through Art) and InSEA (the
International Society for Education through Art[8]).
Education through the visual arts is an important and effective influence in allowing students,
from an early age, to comprehend and implement the foundational democratic process
emphasized within the United States societal structure. [9]
On a fundamental level, democracy requires that individuals within a society believe in a

philosophy of equality, and it will not prevail if these ideas are not recognized. In a society
established on a democratic process, individuals believe that they can impact the world around
them. They believe that a common goal, for the betterment of their existence, can be achieved.
And they realize that, while every human being perceives reality in a way that is unique to them,
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respect of differences is the only way unity can be attained, and that individual characteristics
need not be lost in a collective but, rather, complement and enhance the process of creation of a
better civilization.
With the encouragement of art education, students not only learn how to manipulate traditional
and modern tools and mediums in the art creation process, but also learn to perceive their
individual works of art as representations of themselves, and to openly attempt to understand the
emotional representations in the work of fellow artists.
Olivia Gude, the 2009 recipient of the prestigious National Art Education Associations
Lowenfeld Lecture Scholarship, spoke about the numerous ways in which art education is
instrumental in forming an informed self- and world-aware citizen. She asserts that:
Through art education, students develop enhanced skills for understanding the meaning
making of others. Through quality art education, youth develop the capacity to attend to
nuances of meaning. Most significantly, engagement with the arts teaches youth to
perceive complexity as pleasure and possibility, not as irritating uncertainty. Heightened
self-awareness is extended to heightened awareness of others . . .
The vividness of art experiences blurs the boundaries between self experience and the
experiences of another. Through artworks, students absorb the perceptions of others
situated in other times and places, embodied in other races, genders, ages, classes, and
abilities. Through art, the self becomes vitally interested in other selves, sensing the
possibilities and problems of those selves within oneself.
A democracy cannot long function as the tyranny of uncaring majorities over various
minorities of interest, nor can it long function when powerful minorities disregard the
interests and needs of the majority. Democracy requires that difference be perceived not
as an assault on selfhood, but as an invitation to be a fuller, more open self who
incorporates the sensations and experiences of others into ones own perceptions of the
world and into ones contributions to collective decision making. [10]
Art education promotes the very values after which the United States was fashioned, in a way
that allows children to understand and practice democracy within their immediate surroundings,
as their natural enthusiasm for discovery of self and others prospers.[citation needed]
Art Education In The Philippines
In 1968, two of the countrys creative minds merged their ideas and founded the Philippine Art
Educators Association. They were Brenda V. Fajardo, PhD. and Araceli Dans, artists and
educators and are both luminaries of art education in the country today. The two ladies laid the
cornerstone in creating what has to become of our art education: a noble profession. The PAEA
has now become what they have dreamed of. Presently, there are more than two hundred
members from private and public schools and other institutions in the Philippines being
supported by this association.
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PAEA, through the years, has conducted art workshops on different topics: art education,
teaching methodologies, other art and crafts applications and techniques, and integration of
creativity into the different subject areas. It has supported art educators through in-service
sessions, trainings and workshops, membership meetings, newsletters, and the sharing of
materials, ideas and resources. It has maintained connections with other organizations here and
abroad through art exchanges and representations in international conferences. It has provided
opportunities for cooperative study while discussing common problems and experiences related
to the teaching of art.
PAEA, in order to strengthen its foundation, encourages membership from diverse domains:
people who are engaged in multifarious interests in life but who has unquenched passion for art,
culture and education; art educators who are currently involved in school at any level; teachers
and students of varied discipline; cultural workers and practicing artists.
These are the people whose commonality is to be a part of the art education in the country and
help it go forward, flourish and spring into something very new from its roots of rich
background.
PHYSICAL EDUCATION
Definition of Physical Education | Body Fitness and health Education
Physical Education is the process by which changes in the individual are bought about through
movements experiences. Physical Education aims not only at physical development but is also
concerned with education of the whole person through physical activities.
Various Definitions of Physical Education are
1. Barrow defined Physical Education as an education of and through human movement where
many of educational objectives are achieved by means of big muscle activities involving sports,
games, gymnastic, dance and exercise.
2. According to Websters Dictionary Physical education is a part of education which gives

instructions in the development and care of the body randing from simple callisthenic exercises
to a course of study providing training in hygiene, gymnastics and the performance and
management of athletics games.
3. Jackson R. Sharman points out that physical education is that part of education which takes
place through activities, which involves the motor mechanism of human body which results in an
individuals formulating behaviour patterns.
4. Charles A. Bucher defines physical education, an integral part of total education process, is a
field of endeavour which has as its aim the development of physically, mentally, emotionally and
socially fit citizens through the medium of physical activities which have been selected with a
view to realizing these outcomes.
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5. Central Advisory Board of physical Education and Recreation defines Physical education as an
education through physical activities for the development of total personality of the child to its
fullness and perfection in body, mind and spirit
General reasons of having Physical Education

- it is for all-round development of person.
- mere academics is not enough to build a well-grounded personality. you require a healthy body
which translates into a healthy & alert mind.
- for a growing child, the development of muscles, body tone, strengthening of bones, etc. are all
very essential.
numerous studies have shown that proper exercise started at any age [including the 60s & above]
can benefit the individual.
- team sports provide & enhance social skills like cooperation, healthy competition, being a
team-player, etc.
- Leadership qualities are also inculcated, as well as delegating & working together.
- instills discipline.
- winning & losing are part of any sport/game. this is an important lesson learnt through PE as a
preparation for future life.
- PE takes the child out of the confines of the classroom & out into the open air - it helps relieve
stress, relax the mind, act as a 'break' from studies, bring one closer to nature/natural
surroundings.... children look forward to the PE class - acts as motivation.
Physical education (often abbreviated Phys. Ed. or P.E.) or gymnastics (gym or gym
class) is a course taken during primary and secondary education that encourages psychomotor
learning in a play or movement exploration setting.[1
Trends
Physical education trends have developed recently to incorporate a greater variety of activities.
Introducing students to activities like bowling, walking/hiking, or Frisbee at an early age can
help students develop good activity habits that will carry over into adulthood. Some teachers
have even begun to incorporate stress-reduction techniques such as yoga and deep-breathing.
Teaching non-traditional sports to students may also provide the necessary motivation for
students to increase their activity, and can help students learn about different cultures. For
example, while teaching a unit about lacrosse (in, say, Arizona, USA), students can also learn a
little bit about the Native American cultures of the Northeast and Eastern Canada, where lacrosse
originated. Teaching non-traditional (or non-native) sports provides a great opportunity to
integrate academic concepts from other subjects as well (social studies from the example above),
which may now be required of many P.E. teachers. The four aspects of P.E. are physical, mental,
social, and emotional.
Another trend is the incorporation of Health and Nutrition to the physical education curriculum.
The Child Nutrition and WIC Re-authorization Act of 2004 required that all school districts with
a federally funded school meal program develop wellness policies that address nutrition and
physical activity.[2] While teaching students sports and movement skills, P.E. teachers are now
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incorporating short health and nutrition lessons into the curriculum. This is more prevalent at the
elementary school level, where students do not have a specific Health class. Recently most
elementary schools have specific health classes for students as well as physical education class.
With the recent outbreaks of diseases such as swine flu, school districts are making it mandatory
for students to learn about practicing good hygiene along with other health topics. Today many
states require Physical Education teachers to be certified to teach Health courses. Many colleges
and Universities offer both Physical Education and Health as one certification. This push towards
health education is beginning in the intermediate level, including lessons on bullying, self esteem
and stress and anger management.
In the USA, the physical education curriculum is designed to allow school pupils a full range of
modern opportunities, dozens of sports and hundreds of carefully reviewed drills and exercises,
including exposure to the education with the use of pedometer, GPS, and heart rate monitors, as
well as state-of-the-art exercise machines in the upper grades. Some martial arts classes, like
wrestling in the United States, and Pencak Silat in France, Indonesia and Malaysia, are taught to
teach children self-defense and to feel good about themselves. The physical education curriculum
is designed to allow students to experience at least a minimum exposure to the following
categories of activities: aquatics, conditioning activities, gymnastics, individual/dual sports, team
sports, rhythms, and dance. Students are encouraged to continue to explore those activities in
which they have a primary interest by effectively managing their community resources.
In these areas, a planned sequence of learning experiences is designed to support a progression of

student development. This allows kids through 6th grade to be introduced to sports, fitness, and
teamwork in order to be better prepared for the middle and high school age. In 1975, the United
States House of Representatives voted to require school physical education classes include both
genders.[3] Some high school and some middle school PE classes are single-sex. Requiring
individuals to participate in physical education activities, such as dodge ball, flag football, and
other competitive sports remains a controversial subject because of the social impact these have
on young children. It is, however, important to note that many school budgets have seen cutbacks
and in some cases physical education programs have been cut.
Technology Use in Physical Education

New technology in Physical education is playing a big role in classes. One of the most affordable
and effective would be a simple tape recorder. With the use of a tape recorder students can see
the mistakes they're making in things such as a throwing motion or swinging form [4]. Studies
show that students do find this more effective than having someone just telling them what they
are doing wrong and trying to correct it [5]. Educators also found the use of other technologies
such as pedometers and heart rate monitors very successful, using them to make step and heart
rate goals for students[6].
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Other technologies that can be used in a Physical Education setting would include projectors,
GPS and even Wii systems such as Wii Fit and Dance Dance Revolution. Projectors can be used
to show students things such as proper form or how to play certain games. GPS systems can be
used to get students active in an outdoor setting and Wii systems like Wii Fit can be used by
teachers to show students a good way to stay fit in and out of the classroom setting[7]
Worldwide
In Korea, it is mandatory for pupils to take 3 hours of PE through primary and secondary
schools.
In Portugal, pupils from primary school could optionally join PE as an extra-curricular activity.
From middle school to secondary school pupils must participate in PE classes 2 hours per week.
In Singapore, pupils from primary school through junior colleges are required to have 2 hours of
PE every week, except during examination seasons. Pupils are able to play games like football,
badminton, captain's ball, and basketball during most sessions. Unorthodox sports such as
touchball, fencing, and skateboarding are occasionally played. In more prestigious secondary
schools and in junior colleges, sports such as golf, tennis, shooting, and squash are played. A
compulsory fitness exam, NAPFA, is conducted in every school once every year to assess the
physical fitness of the pupils. Pupils are given a series of fitness tests (Pull-ups/Inclined pull-ups
for girls, standing broad jump, sit-ups, sit-and-reach and 1.6 km for primary [10-12 year-
olds]/2.4 km for secondary and junior college levels [13-18 year-olds]). Students are graded by
gold, silver, bronze or fail. NAPFA for pre-enlistees serves as an indicator for an additional 2
months in the country's compulsory national service if they attain bronze or fail.
In Malaysia, pupils from primary schools to secondary schools are expected to do 2 periods or 1
hour of PE throughout the year except a week before examination. In most secondary schools,
games like badminton, sepak takraw, football, basketball and tennis are available. Pupils are
allowed to bring their own sports equipment to the school with the authorization of the teacher.
In most secondary schools, physical exams are rarely done, schools record pupils' heights,
weights and how many push-ups they can do.
In Scotland, pupils are expected to do at least two periods of PE in first, second, third and fourth
year. In fifth and sixth year, PE is voluntary.[citation needed]
In Indonesia, students ranging from Kindergarten to High School have PE integrated with their
curriculum. Kindergarten until Grade 3 of Elementary students have gymnastics, starting from
Grade 4 of Elementary School, students will be introduced into traditional martial arts Pencak
Silat and some team games such as badminton, tennis, soccer, futsal, rounders, basketball, etc.
Starting from Junior High School, Both gender are separated during PE class. PE find its place in
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extracurricular forms, where students can specialize themself in one kind of sports they choose.
Sport Festival can be held during vacuum period, usually after examination. At this time students
can compete each other by bringing own class' flag. Some universities such as ITB include PE in
curriculum for freshmen
In the Philippines, some schools have integrated martial arts training into their Physical
Education curriculum.
In England, pupils are expected to do two hours of PE a week in Year 7, 8 and 9 and at least 1 in
year 10 and 11.[13]
In Wales, pupils are expected to do only one hour of PE per fortnight.[14]
In Poland, pupils are expected to do at least three hours of PE a week during primary and
secondary education.[15] Universities must also organise at least 60 hours of physical education
classes at undergraduate courses.[16]
In India, Physical Education is an important subject in schools. Many students chose Physical
Education as a subject against Language Subject Like English, French, some time national
language Hindi and some time local languages like Punjabi, because it is very scoring subject
and very interesting. Assignments on Physical education increase the interest in Sports.
Educational Bodies in India like Central Board of Secondary Education and Punjab School
Education Board are in those which conduct examination on Physical Education in affiliated
schools and collages.
HEALTH EDUCATION
Health education is any combination of learning experiences designed to help individuals

and communities improve their health, by increasing their knowledge or influencing their
attitudes.
WHAT IS HEALTH EDUCATION?
Health education is a social science that draws from the biological, environmental,
psychological, physical and medical sciences to promote health and prevent disease,
disability and premature death through education-driven voluntary behavior change
activities.
Health education is the development of individual, group, institutional, community and
systemic strategies to improve health knowledge, attitudes, skills and behavior.
The purpose of health education is to positively influence the health behavior of individuals
and communities as well as the living and working conditions that influence their health.
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WHY IS HEALTH EDUCATION IMPORTANT?
Health education improves the health status of individuals, families, communities, states, and
the nation.
Health education enhances the quality of life for all people.
Health education reduces premature deaths.
By focusing on prevention, health education reduces the costs (both financial and human)
that individuals, employers, families, insurance companies, medical facilities, communities,
the state and the nation would spend on medical treatment.
WHO PROVIDES HEALTH EDUCATION?
Some people specialize in health education (trained and/or certified health education
specialists). Others perform selected health education functions as part of what they consider
their primary responsibility (medical treatment, nursing, social work, physical therapy, oral
hygiene, etc.). Lay workers learn on the job to do specific, limited educational tasks to
encourage healthy behavior.
Para-professionals and health professionals from other disciplines are not familiar with the
specialized body of health education knowledge, skills, theories, and research, nor is it their
primary interest or professional development focus. This will limit their effectiveness with
clients and communities, and their cost-effectiveness.
Health education requires intensive specialized study. Over 250 colleges and universities in
the US offer undergraduate and graduate (Masters and Doctorate) degrees in school or
community health education, health promotion and other related titles.
Nationally, voluntary credentialing as a Certified Health Education Specialist (CHES) is
available from the National Commission for Health Education Credentialing, Inc (NCHEC).
CHES competencies (health education needs assessment; program planning, implementation
and evaluation; service coordination; and Health Education needs, concerns, resource
communication) are generic to the practice of health education, whether it takes place in
schools, colleges, workplaces, medical care settings, public health settings or other
educational settings of the community. CHES are re-certified every five years based on
documentation of participation in 75 hours of approved continuing education activities.
2
WHERE ARE HEALTH EDUCATORS EMPLOYED?
In schools health educators teach health as a subject and promote and implement
Coordinated School Health Programs, including health services, student, staff and parent
health education, and promote healthy school environments and school-community
partnerships. At the school district level they develop education methods and materials;
coordinate, promote, and evaluate programs; and write funding proposals.
Working on a college/university campus, health educators are part of a team working to
create an environment in which students feel empowered to make healthy choices and create
a caring community. They identify needs; advocate and do community organizing; teach
whole courses or individual classes; develop mass media campaigns; and train peer
educators, counselors, and/or advocates. They address issues related to disease prevention;
consumer, environmental, emotional, sexual health; first aid, safety and disaster
preparedness; substance abuse prevention; human growth and development; and nutrition and
eating issues. They may manage grants and conduct research.
In companies, health educators perform or coordinate employee counseling as well as
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education services, employee health risk appraisals, and health screenings. They design,
promote, lead and/or evaluate programs about weight control, hypertension, nutrition,
substance abuse prevention, physical fitness, stress management and smoking cessation;
develop educational materials; and write grants for money to support these projects. They
help companies meet occupational health and safety regulations, work with the media, and
identify community health resources for employees.
In health care settings health educators educate patients about medical procedures,
operations, services and therapeutic regimens, create activities and incentives to encourage
use of services by high risk patients; conduct staff training and consult with other health
care providers about behavioral, cultural or social barriers to health; promote self-care;
develop activities to improve patient participation on clinical processes; educate individuals
to protect, promote or maintain their health and reduce risky behaviors; make appropriate
community-based referrals, and write grants.
In community organizations and government agencies health educators help a community
identify its needs, draw upon its problem-solving abilities and mobilize its resources to
develop, promote, implement and evaluate strategies to improve its own health status.
Health educators do community organizing and outreach, grantwriting, coalition
building,advocacy and develop, produce, and evaluate mass media health campaigns.
WHAT DOES A TRAINED HEALTH EDUCATOR DO?

Assess individual and community needs
Plan health education programs
Develop health education programs
3
Coordinate health education programs
Implement health education programs
Manage health education programs & personnel
Evaluate health education programs
Write grants
Build coalitions
Identify resources
Make referrals
Develop social marketing and mass media campaigns
Organize/ mobilize communities for action
Handle controversial health issues/content
Advocate for health related issues
Encourage healthy behavior
Use a variety of education/training methods
Develop audio, visual, print and electronic materials
Conduct research
Write scholarly articles
Concept of Health Education Health education is one important activity that is commonly
undertaken to promote health. It is the communication of information that enables people to
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make decisions about to follow those health-related activities at all stages of life which are
conducive for proper health.
Health Education
Health Education
It is concerned with communicating on those areas that are related to water supply, sanitation,
community health, mental health, disease control, personal hygiene, disaster management cycle,
reducing the risk of communicable disease and its transmission, proper nutrition, alcohol and
drugs, accident and first aid etc.
The Aim of Health Education should be -
1. Help students to assimilate the body if knowledge appropriate to health education.

2. Expose students to a variety of activities and experience related to health education.
3. Help individuals develop a sound understanding of their total development and enable them to
attain positive self-images.
4. Provide opportunities for students make personal decisions related to their intellectual,
physical and emotional development.
5. Allow students to experience social relations that will encourage desirable behaviour,
leadership and co-operation with others.
Objectives of Physical Education -
For Students -
1. A positive attitude towards physical fitness and good health.

2. A personal value system and satisfactory relationship with peers.
3. increased self-awareness and a positive self concept.
4. independence, interdependence, and a sense of responsibility.
5. An understanding of human sexuality.
6. An understanding of appropriate factual information and concepts.
For Patients and Public -
1. To increase public awareness that disease are significant public health problem.
2. To increase public awareness of symptoms and signs of disease.
3. To improve the knowledge and attitudes of patients about detection, treatment and control of
disease.
4. To promote the family and community educational material essential for positive lifestyle
habits.
5. To create public awareness about the ill-effects of alcohol, quit smoking and drugs, etc.
For Health professionals -

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1. To increase knowledge, attitude and skills of all health professionals regarding sign, symptoms
and management strategies for health hazards to improve disease control.
2. To encourage health professionals to treat patients carefully.
3. To develop resource and material for use of health professionals.
4. To promote research all over the world to curb health hazards.
5. To encourage continuing educational programmes on accurate information on diagnosis and
treatment of diseases.
Health education can be obtained through traditional college programs or through virtually such
as with an online nursing degrees.People must be educated about drug addiction, from the types
of drugs that are commonly sold in our streets to how facilities like detox centers work to
eliminate illicit substances from a drug addicts system.

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JESSIE REX V.

LEGAL BASIS OF MAPEH

1987 Philippine Constitution Article XIV

Section 2. The State shall:

4. Encourage non-formal, informal, and indigenous learning systems, as well as self-

No educational institution shall be established exclusively for aliens and no group of

Proprietary educational institutions, including those cooperatively owned, may likewise

4. Subject to conditions prescribed by law, all grants, endowments, donations, or

Spanish and Arabic shall be promoted on a voluntary and optional basis.

Section 9. The Congress shall establish a national language commission composed of

SCIENCE AND TECHNOLOGY

ARTS AND CULTURE

REPUBLIC ACT NO. 4723

REPUBLIC ACT NO. 4723 - AN ACT GIVING IMPORTANCE TO THE TEACHING OF

Music Education in Philippines Primary and Secondary Schools

1. voice culture - for those inclined to singing

2. courses on orchestral instruments

1. Music and Art

First and Second Year

History of Music Education in the Philippines

Major international music education methods

Other notable methods

Gordon Music Learning Theory

World Music Pedagogy

History of music education in the United States

Founding of the Music Supervisor's National Conference (changed to Music Educators

Growth in music methods publications.

Date Major Event Historical Importance for Music Education

Standards and assessment

1. Singing, alone and with others, a varied repertoire of music.

2. Performing on instruments, alone and with others, a varied repertoire of music.

3. Improvising melodies, variations, and accompaniments.

4. Composing and arranging music within specified guidelines.

5. Reading and notating music.

6. Listening to, analyzing, and describing music.

7. Evaluating music and music performances.

9. Understanding music in relation to history and culture.

Integration with other subjects

Significance of music education

A sixfold model divided into "Creative-Productive, Cultural-Historical and Critical-

In the UK the art curriculum is prescribed by the government's National Curriculum

On a fundamental level, democracy requires that individuals within a society believe in a

Art Education In The Philippines

Definition of Physical Education | Body Fitness and health Education

Various Definitions of Physical Education are

2. According to Websters Dictionary Physical education is a part of education which gives

General reasons of having Physical Education

In these areas, a planned sequence of learning experiences is designed to support a progression of

Technology Use in Physical Education

In Wales, pupils are expected to do only one hour of PE per fortnight.[14]

Health education is any combination of learning experiences designed to help individuals

WHAT IS HEALTH EDUCATION?

WHAT DOES A TRAINED HEALTH EDUCATOR DO?

The Aim of Health Education should be -

1. Help students to assimilate the body if knowledge appropriate to health education.

Objectives of Physical Education -

1. A positive attitude towards physical fitness and good health.

For Patients and Public -

For Health professionals -

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