European International Journal of Pedagogics
272
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TYPE
Original Research
PAGE NO.
272-274
DOI
3
OPEN ACCESS
SUBMITED
31 March 2025
ACCEPTED
29 April 2025
PUBLISHED
31 May 2025
VOLUME
Vol.05 Issue05 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Consistency and Phase-By-
Phase Principle in
Providing Musical
Education to Primary
School Students
M. I. Umbarova
Independent Researcher, Tashkent State Pedagogical University named
after Nizami, Uzbekistan
Abstract:
The article emphasizes the importance of the
principles of consistency and phase-by-phase approach
in providing musical education to primary school
students. It highlights that for 1st grade students, the
primary objective is to develop a culture of listening to
music and to spark an interest in the subject of music.
Keywords:
Musical education, consistency, culture,
melody, rhythm, lyrics, literacy, song, interest, listening,
emotional impression, lesson, emotion, talent.
Introduction
:
Strict adherence to the principles of
consistency and gradual progression is essential in
providing musical education to primary school students.
For students entering the 1st grade, the main priority is to
cultivate a culture of listening to music and to awaken
interest in the subject. At this stage, students are
introduced to music through listening to and performing
simple school songs together. The initial repertoire
consists of songs with simple melodies and lyrics, and a
narrow vocal range. For example, students may listen to
familiar folk tunes such as Alla (a lullaby) or cheerful
children’s songs.
In the 2nd grade, students gradually transition to learning
more complex melodies and rhythms. They begin to
explore songs with a more vigorous, march-like character,
as well as festive and dance melodies. By the end of the
2nd grade, students are introduced to the first elements
of musical literacy: naming sounds such as do, re, mi, and
identifying basic rhythmic values in practice (whole note,
half note, quarter note).
In the 3rd grade, the content of musical education
becomes richer. Students by this time have already
European International Journal of Pedagogics
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European International Journal of Pedagogics
acquired a repertoire that includes several folk and
composed songs. They begin performing individually or
in small groups. At this stage, exercises involving simple
polyphonic singing (e.g., canon singing) and playing
accompaniments on instruments in an ensemble setting
may be introduced.
By the 4th grade, elementary concepts of music theory
are reinforced. Students learn the basic principles of
reading and writing musical notation on the staff. They
are now able to independently perform a simple piece
from notation, either by singing or playing an
instrument. At this stage, students are also introduced
to more complex rhythmic structures (e.g., syncopation)
and dynamic expression markings (such as piano, forte,
etc.).
Initial knowledge about musical form is also introduced,
and students learn to identify couplets (verses) and
repetitions in simple songs. In this way, students
gradually progress from basic to more complex skills in
musical literacy and perception. The teacher plays an
invaluable role in successfully implementing a health-
promoting (sanogenic) approach to musical education.
The teacher is not only a provider of knowledge but also
a key figure in creating an emotional atmosphere in the
lesson. During each session, they observe st
udents’
moods and respond accordingly
—
motivating or calming
them when necessary. For example, when noise
increases and attention wanes, the teacher might play a
soothing melody to regain focus; conversely, if
sluggishness is observed, they can energize students
with a lively musical game.
In addition, the teacher strives to involve every student
in the process without overlooking anyone’s musical
ability. In group singing, they may pair students with
loud and soft voices together, or assign solo parts to
talented students during instrumental playing
—
giving
each child a chance to express themselves. This
approach increases students' confidence and boosts
their interest in lessons. In general, the main goal of the
sanogenic approach is to make musical education a
joyful and beneficial activity for students, creating
opportunities for each child to experience a sense of
achievement.
Stages of developing musical perception and literacy.
Musical perception refers to students’ ability to
understand and derive aesthetic pleasure from listening
to music. To develop this ability in primary school
students, it is essential to first teach them to listen
attentively. During lessons, various types of musical
excerpts are played, drawing students’ attention to the
emotions and images the music evokes. For instance, a
cheerful melody may stir feelings of joy, while a calm,
lyrical tune can induce a sense of peace and serenity. As
students listen, they internally experience such moods.
After listening exercises, the teacher encourages students
to express their impressions through questions and
answers. This method helps deepen their musical
perception and aesthetic taste.
Students are also introduced to basic rhythmic feelings.
Musical games and physical movements are used to
develop rhythm recognition. For example, students form
a circle and take turns clapping or stepping in rhythm with
the song. This helps them coordinate hearing and
movement. In the well-known Dalcroze method, such
eurhythmic exercises develop children's sense of rhythm
through div motion. Initially, simple 2/4 marching
rhythms are practiced, followed by transitions to more
complex meters like 3/4. To strengthen rhythmic
awareness, students may recite poems to music or play
various patterns on drums. As a result, they become able
to understand simple rhythmic notation (e.g.,
♪
and
♩
for
eighth and quarter notes) and perform them using claps
or instruments.
Furthermore, the ability to hear and accurately reproduce
musical pitch is gradually developed.
In the teaching methodology of Hungarian educator
Zoltán Kodály, it is emphasized that the most effective
way to train the ear of students is by having them sing folk
songs. He regarded folk music and singing as the
foundation for developing musical literacy. Indeed, folk
songs have been used for centuries in the musical
upbringing of students and hold a special place as a rich
cultural and musical heritage of the people. Initially,
students memorize simple songs consisting of two or
three notes (for example, songs based on the sol
–
mi
interval). Later, they learn songs based on the pentatonic
scale (five-note scale) with a wider pitch range. According
to Kodály’s recommendation, the pentatonic scale made
up of the tones do, re, mi, sol, la is ideal for younger
children, as it allows the teaching of fundamental musical
elements.
During the singing process, the teacher uses solfège
syllables and hand signs to help students visualize the
pitch of each sound in space. As a result, by the 3rd or 4th
grade, students can attempt to sing simple songs by
reading notation or to understand a melody from musical
notation. While musical literacy may comprise only a part
of the lesson, it must be taught consistently and
systematically. In the 1st grade, the relative pitch and
duration of notes are explained verbally
—
for example,
students are taught to perceive that “do” is a low tone
and “sol” is a high tone. In the 2nd grade, students are
introduced to the staff and clefs (e.g., the treble clef), and
are shown how notes are positioned on the lines. In the
3rd grade, students begin writing music: they are given
exercises to notate short melodies in their notebooks. By
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European International Journal of Pedagogics
the 4th grade, students are expected to read simple
pieces from notation and recognize familiar songs when
written as notes. A student who has acquired musical
literacy can understand any piece they hear more
deeply, learn it with ease, and gain spiritual nourishment
from it. Therefore, it is important to teach the elements
of notation progressively and reinforce them through
creative exercises.
Understanding musical expressive means is also a crucial
part of the educational process. Students must learn not
only to sing melodies but also to understand their
expressive characteristics. In lessons, the concepts of
dynamics
—
singing loudly (forte) or softly (piano)
—
are
practiced in a playful manner. When the teacher extends
their arms widely, students sing louder; when the
teacher makes smaller hand gestures, they sing more
quietly. Through this, students learn to control volume
and use expressive tools in music.
The concept of tempo is taught in a similar fashion. By
performing fast and slow songs alternately and
identifying the differences, students grasp the meaning
of tempo markings like largo (slow) and allegro (fast).
The perception of musical form is explored more
seriously in grades 3
–
4. Students begin analyzing the
structure of simple songs or melodies, identifying the
number of sections and recognizing repeated parts. For
example, after listening to a folk song, they are tasked
with identifying how each verse (couplet) is repeated
and where the same melody returns. This enhances their
analytical skills and musical memory.
When these methods are applied as a whole, musical
perception and literacy are systematically developed in
primary school students. The goal is to spark interest in
the subject of music and engage all students actively. As
renowned educators Carl Orff and Zoltán Kodály
emphasized, for children, music is above all about joy
and play. Teaching music without games and movement
is difficult. If the lesson is enriched with engaging musical
games, national songs, and creative tasks, students will
genuinely love music and make it an integral part of their
lives. This, in turn, has a positive impact on their overall
intellectual and emotional development.
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