MUSIC

SYLLABUS
Primary and Lower Secondary

Implementation starting with 2023 Primary One and Two, and

Secondary One and Two Cohorts

© 2022 Student Development Curriculum Division.

This publication is not for sale. Permission is granted to reproduce this
publication in its entirety for personal or non-commercial educational use
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CONTENTS
Page
1. PHILOSOPHY OF MUSIC EDUCATION
• Philosophy and Purpose of Music Education 4
• Syllabus Aims and Desired Outcomes of Education 5
• Music Education for the Development of 21CC and CCE 6

2. CONTENT
• Music Curriculum Concept 9
• Core Understandings 12
• Syllabus Structure 14
• Learning Outcomes of Listening, Creating and Performing 15
• Making Connections 16
• Musical Elements and Concepts 17
• Planning a Spiral Music Curriculum 18
• Tables 2a – 2d: Knowledge, Skills and Values for Stages 1 to 4 20

3. PEDAGOGY
• Music Learning and the Singapore Teaching Practice (STP) 25
• Key Music Pedagogical Principles 26
• Music Pedagogical Leverages for Developing Emerging 21CC 28
• Music-Specific Pedagogical Approaches 29
• Other Pedagogical Approaches 29

4. ASSESSMENT
• Assessment in the Singapore Curriculum Philosophy 31
• Design of Music Assessment Activities and Tasks 31
• Communicating Learning Progress 32

5. ANNEXES
• Annexes 3a – 3d: Learning Progression of Two Main Pitched Instruments 34
• Annexes 4a – 4b: Core and Dynamic Repertoire 41

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 SECTION 1:
PHILOSOPHY OF
MUSIC EDUCATION

Philosophy and Purpose of Music Education

Syllabus Aims and Desired Outcomes of Education (DOE)
The 21st Century Competencies (21CC) Framework
Music Education for the Development of 21CC and CCE

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1. PHILOSOPHY AND PURPOSE OF MUSIC EDUCATION
Philosophy and Purpose of Music Education

Music is a universal human endeavour which exists in various contexts in all cultures. Music
connects individuals and communities through the expression of thoughts and emotions; and
develops our sense of aesthetics through aural experiences.

Musical experiences enhance our lives and enrich our understanding of ourselves and the
world. At the individual level, music is a medium of self-expression. It enables the sharing of
feelings, ideas and experiences. It has the capacity to cross cultural and social boundaries;
and builds our understanding of cultures through time. At the community and societal level,
music plays important roles in strengthening cultural identities, fostering social cohesion, and
forming national identity. Music education therefore contributes to the appreciation,
preservation and renewal of Singapore’s cultural heritage and traditions.

Our music education philosophy embraces the belief that all children are musical and seeks
to develop their aural and expressive abilities and sensibilities to empower them to
appreciate and participate in music. This is in alignment with the Singapore Curriculum
Philosophy that every child wants to and can learn.

The Primary and Lower Secondary Music syllabus is developed on the premise that every child
possesses innate musical qualities that could be harnessed and developed. Students will have
the opportunities to explore their environment through sounds and develop a connection
with music through experiences that are meaningful and valuable. These include the ability
to listen, sing, play, create and express themselves musically. When the learning experiences
are tailored to develop students’ musical abilities, the complete musicians inside them begin
to emerge1.

Through the Music curriculum, students will be introduced to a wide range of genres and
styles to put them in touch with their heritage as well as deepen their understanding of the
cultural diversity of music in Singapore and the world. In addition, the Music curriculum can
contribute to the holistic development of our students by developing 21st Century
Competencies (21CC), values, character and social-emotional well-being. It also contributes
towards extra-musical skills including psychomotor skills. The Music curriculum also lays the
foundation for further educational opportunities in music and endeavours to foster a lifelong
interest and involvement in music which would enable our students to appreciate and
contribute to Singapore’s cultural tapestry.

1
Campbell, P.S. & Scott-Kassner, C. (2013). Music in Children, Boston, MA: Schirmer, Cengage Learning, p8-9:
The author suggests that the development of children’s musical skills and understanding is inter-connected, and
best acquired through instruction.

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Syllabus Aims
The 2023 Music Syllabus aims to enable students to:

a. Acquire and apply musical skills, knowledge and understanding through Listening,
Creating and Performing
b. Develop abilities for creative expression and communication
c. Develop an understanding and appreciation of music in local and global cultures
d. Cultivate a life-long enjoyment and involvement in music.

Desired Outcomes of Education (DOE)

The Desired Outcomes of Education (DOE) are attributes that we aspire for every Singaporean
to possess by the time they complete their formal education. Music education provides ample
opportunities to achieve them, where our students would be developed to be:

• Confident persons who have a zest for life, have a strong sense of right and wrong,
are adaptable and resilient, know themselves, are discerning in judgment, think
independently and critically, and communicate effectively.
• Self-directed learners who take responsibility for their own learning, and question,
reflect and persevere in the lifelong pursuit of learning.
• Active contributors who are able to work effectively in teams, exercise initiative, take
calculated risks, are innovative and strive for excellence.
• Concerned citizens who are rooted to Singapore, have a strong civic consciousness,
are responsible to their family, community and nation and take active roles in
improving the lives of others.

For details on the Desired Outcomes of Education, please refer to the link below:
https://www.moe.gov.sg/education-in-sg/desired-outcomes

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A. Music Education for the Development of 21st Century Competencies (21CC)

Figure 1.1 The 21CC Framework and Student Outcomes

Music education plays an important role in the development of 21st Century
Competencies (21CC). The competencies that can be developed include:

• Civic literacy, Global awareness and Cross-Cultural skills (CGC): The natural link
between music and culture allows students to develop open-mindedness and a spirit
of inclusiveness as they explore, learn and compare various types of music from other
cultures and contexts. Students will develop an awareness and appreciation of the
music and people from local and global cultures.

• Critical and Inventive Thinking (CIT): Critical and inventive thinking can take place via
musical experiences when students consider multiple perspectives, and articulate
well-constructed reasonings for their musical decisions during creating and
performing. With creativity maintained as an essential dimension of the subject, music
has an important role to play in developing both general and musical creativity.

• Communication, Collaboration and Information Skills (CCI): Music also allows

students to acquire and practise communication and collaboration skills on several
platforms as they work with others – when they compose to express their voice and
intentions, perform to an appreciative audience; manage information and
communicate their responses to the music they listen to, create and/or perform.

Together, these values and competencies will help our students embody the Desired
Outcomes of Education so that they develop a sense of purpose and tap into rich
opportunities present in the emerging digital age while staying connected to the Singapore
heartbeat.

For details on the 21st Century Competencies, please refer to:

https://www.moe.gov.sg/education-in-sg/21st-century-competencies

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B. Music for the Development of Character and Citizenship Education (CCE)
Music education also provides a natural learning platform for developing character, social-
emotional well-being and citizenship dispositions. Through a variety of music learning
experiences within and beyond school, students are given the opportunities for
exploration into their values, national identity, contemporary issues and to develop the
social-emotional competencies. For example, music, as a form of self-expression, allows
an individual to develop his/her self-awareness skills. Students also learn teamwork and
develop positive relationships through the collaborative nature of music-making.
Students build character as they learn resilience by practising hard, not giving up on
difficult musical tasks and striving to do their best as they discover their talents.

Furthermore, as students learn about music of various cultures including their own, they
learn to see themselves as belonging to a social group characterised by different features
such as ethnicity and nationality. Through authentic learning experiences such as
attending external performances under the Performing Arts-Based Learning (PABL)
Programme, students may explore their national identity when engaging with local
composers, musicians and arts institutions. The engagement with the musicians and
industry practitioners can nurture students’ self-awareness, self-directedness and life
skills for continuous learning. These music learning experiences can help to shape
students’ identity and self-concept positively and instil in students an appreciation for the
value of various arts occupations and how they contribute to the society.

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 SECTION 2:
CONTENT

Music Curriculum Concept

Core Understandings
Syllabus Structure
Learning Outcomes of Listening, Creating and Performing
Making Connections
Musical Elements and Concepts
Planning a Spiral Music Curriculum
Tables 2a – 2d: Knowledge, Skills and Values for Stages 1 to 4

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2. CONTENT
Music Curriculum Concept
The Primary and Lower Secondary Music curriculum seeks to develop musical understanding through
the three Musical Processes of Listening, Creating and Performing. As illustrated in Figure 2.1 below,
these three Musical Processes (i.e. the three overlapping circles in the centre of diagram) are core to
the Curriculum Concept and are inter-related and inter-dependent in practice.

Core
Understandings
derived from
Philosophy and
Purpose of Music
Education

Figure 2.1: Music Curriculum Concept

Within the inner ring, Discourse is the set of musical elements, concepts and knowledge which
students use to engage in the three Musical Processes. Discourse helps to shape students’ musical
thinking as they navigate each musical Context. Context provides the backdrop which allows students

9
to make connections between music and time, place and community which could help students
develop an understanding of how music can reflect, shape and influence culture and identity.

The three Musical Processes, situated within Discourse and Context, are key in developing students’
level of discourse and ability to understand and appreciate a variety of musical contexts that they
may encounter. Vice versa, the engagement in discourse and authentic musical contexts are
necessary for the development of the three Musical Processes.

The outer ring describes the Experience which the music learner is immersed in. Each musical
experience is multi-dimensional and involves purposeful thinking and knowing, music-making and
listening. Students can experience music in different ways, by focusing on different aspects of it (e.g.
its form or function), and taking on the different roles during the encounter (e.g. as audience,
composer or performer). Being multi-dimensional in its practice, the same musical experience could
lead to a range of reflections, learnings and meanings among different students2, and the same group
of students may reflect on the same musical experience differently over time, gaining new insights
and further developing their musicianship. Table 2.2 provides the details on the Music Curriculum
Concept.

Table 2.2: Details on the Music Curriculum Concept

Musical Processes
Listening Listening is embodied in all music activity and is considered to be
the foundation for all musical experiences. Listening requires
skills that focus on the sound source, remembering sound
sources, and responding (Anderson & Lawrence, 2001). Hence,
attention must be given to learning activities that improve
students’ ability to listen. Furthermore, the purposes and
outcomes of listening may vary with students’ age and the
musical setting in which it occurs.

By actively listening, students would be able to experience and

explore how music from a range of cultures and genres convey
ideas, experiences and emotions. They would develop skills to
evaluate and make informed musical decisions for a variety of
contexts and in relation to their understanding of musical
concepts and elements.

2
Elliott, D.J. (2005). Praxial music education: Reflections and dialogues. New York: Oxford University Press, p7: The praxial
philosophy of music education urges a comprehensive and reflective approach to music teaching and learning based on
the views that musical works involve many layers of meanings; that musical understanding involves many closely related
kinds of thinking and knowing; and that the significance of music in human life can be explained in terms of many
important life values.

10
Creating* Creating involves exploring, experimenting with and discovering
*Creating is used here sounds. It requires students’ imaginative use of their existing
instead of the term musical understanding and skills to communicate thoughts,
“composing” as it is more feelings, ideas and emotions expressively through music.
encompassing. It includes
musical skills such as In the creative process, students develop critical and inventive
improvising, arranging, thinking skills in making musical decisions; while drawing
producing in addition to connections between concepts, skills, sounds and symbols in
composing. context. Through creating music individually or in group, student
voice can also be developed.
Performing Music is an active and participatory phenomenon. The process
and nature of performing music allow students to express
themselves and develop their technical skills in singing and
instrumental playing.

When performing, students learn to be sensitive to the music as

well as to different audiences and make decisions to interpret the
music performed. When rehearsing and performing in a group
setting, students would actively listening to fellow performers
and have the opportunity to develop leadership and
collaborative skills.
Inner Ring
Musical Elements, Concepts Discourse about music comprises musical elements, concepts
and Knowledge (Discourse) and knowledge (e.g. historical periods, styles).

The learning of musical elements and concepts within rich

musical contexts across the three musical processes of Listening,
Creating and Performing provides students with the means to
understand and engage with music across genres and traditions
of local and global cultures.
Musical Contexts for Through the engagement of music in meaningful contexts,
Authentic Learning (Context) students find relevance in their learning and connect what they
learn in school with real-world problems and situations. A
multiplicity of traditional and contemporary musical practices,
including the use of technology, provide further authentic
contexts for deep musical learning. The intentional selection of
appropriate repertoire would provide additional perspectives to
develop a deeper understanding of the value of music in
students’ lives.
Authentic learning 3 thereby equips them with practical and
useful skills that are applicable to their lives outside of school.

3
Authentic learning approach allows students to explore, discuss and meaningfully construct concepts and relationships
in contexts that involve real-world problems and projects that are relevant to the learner (Donovan, Bransford, &
Pellegrino, 1999).

11
Outer Ring
Multi-dimensional Nature of Music learning should leverage the multi-dimensional nature of
Music Practice (Experience) music and its practices.
For example, students can experience music:
• as an aesthetic product (e.g. absolute music) or through its
programmatic associations (e.g. opera);
• through its function (e.g. ritual, dance, sound effect in film).
from different role perspectives (e.g. as an audience
member, composer or performer).
As students experience music from different dimensions, they
deepen their capacities to form strong connections with other
musics, and apply related ideas drawn from the music to other
areas of life.

Core Understandings
The Music syllabus uses three Core Understandings as frames to enable students to find relevance
and purpose in their music learning. The Core Understandings, which are derived from the Philosophy
and Purpose of Music Education, express ideas that are central to Music. They can guide students
during Listening, Creating and Performing (Musical Processes); through the use and application of
musical elements and concepts (Discourse) and immersion in the different musical contexts
(Context). The use of Core Understandings across levels aims to deepen students’ appreciation of
Music and make connections of what they have learnt in school to their daily lives and apply the
knowledge, skills and understanding in real-world contexts.

The three Core Understandings are:

A. Music expresses our experiences and values
B. Music connects individuals and communities
C. Music is shaped by historical, social and cultural contexts

The Core Understandings help show how the Musical Processes, Discourse and Context can relate to
one another. A set of guiding questions (which are not exhaustive) are provided to enable teachers
to use these Core Understandings to design and plan music learning to guide students towards a
meaningful understanding of the learning content in the syllabus as they experience different pieces
of music through Listening, Creating and Performing.

A. Music expresses our experiences and values.

Music is a form of human expression that is realised through the interaction of musical elements
such as tempo, rhythm, pitch, expression, form, timbre, texture, tonality and harmony. Individual
and communal experiences and values are shared through music-making as people connect,
communicate and present thoughts, feelings and ideas through sounds and symbols. Through the
study of a wide range of music, students develop understanding of how music is a form of self-
expression and can serve to identify with the wider community.

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 Suggested Guiding Questions:
• How is a piece of music made/created?
• How are the elements of music organised in a piece of music?
• What feelings and emotions can a piece of music evoke?
• How do people create, perform and/or use music to communicate their experiences, ideas
and emotions?
• How do performers and composers use music to share their ideas, thoughts or feelings?

B. Music connects individuals and communities.

Cultural diversity is celebrated in many places around the world and a variety of music
representing all facets of our world fills our lives with a diverse range of sounds, instruments,
songs, performance techniques and styles. Through the study of music by key musicians, cultures
and communities in local and global cultures, students explore how music can help to build
identities, promote appreciation of diversity and form bonds through collaborative creating and
performing. This would allow students to embrace and respect the diversity within and between
groups and communities while developing their own sense of belonging and self-esteem.

Suggested Guiding Questions:

• Who creates/performs/produces the piece of music? What do we know about
him/her/them?
• How does music build identity? How does identity affect music?
• What is my role as a musician (in the ensemble)?
• How does a musician connect with his audience?

C. Music is shaped by historical, social and cultural contexts

Music is embedded in all aspects of life and serves different purposes. Through the study of key
characteristics of different music traditions, genres and styles, students would appreciate the
historical, social and cultural contexts of these traditions. This also helps them understand how
the multiple and shared identities and beliefs of people have shaped and continue to shape the
world of musical styles and contexts in Singapore and beyond.

Suggested Guiding Questions:

• What is the role of music in society (e.g. music at home, music in school, music for
celebrations)?
• How do we relate our experiences with music to historical, social and cultural contexts?
• How does knowing the context of a piece of music affect how it is experienced?
• How does society and culture affect the creation of music?

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Syllabus Structure

The syllabus spans across four key stages from Primary One to Secondary Two, as shown in Table 2.3.
Each stage comprises two levels. The expected Knowledge, Skills and Values (KSVs) that students
should acquire over the two years of each stage are detailed in the KSVs tables in pages 23 to 26. Each
stage builds upon the learning from the previous stage(s).

Table 2.3: Stages of the Music Syllabus

STAGE LEVEL
4 S1 – 2
3 P5 – 6
2 P3 – 4
1 P1 – 2

There are three Learning Outcomes (LOs) across the four key stages which are anchored on the
Musical Processes of Listening, Creating and Performing described in the Music Curriculum Concept:

LO1: Listen and Respond to Music

LO2: Create Music in both vocal and instrumental settings, individually and
collaboratively

LO3: Perform Music in both vocal and instrumental settings, individually and
collaboratively where students respectively:
A. Sing
B. Play Instruments

Across each of the four stages, students acquire a set of Knowledge, Skills and Values (KSVs) in
Listening, Creating and Performing with the corresponding musical elements and concepts (i.e.
Discourse); and musical cultures as described under “Making Connections” (i.e. Context). Figure 2.4
illustrates an example of how the different KSVs can be acquired in an integrated way at each stage.

Figure 2.4: An example of integrative learning between Learning Outcomes, Making Connections
and Musical Elements and Concepts

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Learning Outcomes of Listening, Creating and Performing

LO1 Listen and Respond to Music

LO1 seeks to enable students to actively listen to experience and explore how music from a range of
cultures and genres can convey ideas, experiences and emotions. At the primary level, students build
their foundation in listening skills through active listening. As they progress across the stages,
students will also develop skills to evaluate and make informed musical decisions for a variety of
contexts and in relation to their understanding of musical concepts and elements.

LO2 Create Music

LO2 seeks to harness and develop students’ innate creativity within the context of music. Through
improvising, composing and other ways of creating, students learn to communicate their ideas in and
through music, build their expressive skills and develop their unique personal voice. Students will also
develop skills to use a variety of sound materials, techniques and tools, as well as apply their
understanding of musical concepts and elements.

LO3 Perform Music

LO3 provides experiential means through singing and instrumental playing for students to interact
with a wide variety of repertoire to deepen their understanding of the characteristics of music. It
would also be important to have opportunities for students to perform individually as well as in
collaboration with others in an ensemble in class or as part of a community.

• LO3A Sing
LO3A seeks to enable students to sing with good tone, expression and appropriate singing
techniques (e.g. good control of breath, posture, diction). Singing has long been recognised as the
most accessible form of music-making and offers a highly expressive experience for our students.
Through the fostering of good vocal development, students build their musical capacities as they
experience, learn and apply musical understanding. Singing will also strengthen the acquisition of
aural perception and aural memory, which can lead naturally to the learning of written notation.
The inclusion of part-singing adds an exciting dimension to musical experiences as students will
have opportunities for ensembleship and collaborative learning.

• LO3B Play Instruments

LO3B seeks to provide students with the opportunities to make music spontaneously or from
written notation, individually or with a group through learning to play instruments. It deepens
students’ experience in music through the development of a range of motor coordination when
learning to play a variety of instruments. Through the playing of instruments, including virtual
instruments, students would understand the functions of the instruments in a variety of ways –
some are used to play rhythms, melodies, harmony, while others can play both melody and
harmony. Playing on at least 1 melodic and 1 chordal instrument (as required at Stages 2 and 3)
and on a combination of some of these instruments in the different registers (e.g. soprano, alto,
bass) would give students room to explore of a wide range of sounds and repertoire.

15
Making Connections

The KSVs for “Making Connections” highlight the connections students can make when they listen,
create and perform music in and from a variety of contexts. This includes providing students with
authentic musical tasks and raising their awareness of how social, cultural and historical contexts
have shaped music, as well as the music and musicians from various genres, traditions and styles in
our communities. The use of core and dynamic repertoire from our local cultures and inclusion of
authentic learning opportunities outside the classroom are important ways for “Making
Connections”.

• Core and Dynamic Repertoire

The music scene in Singapore reflects the rich histories and diversities of our multicultural society
with the various communities having their distinct musical traditions. The list of Core Repertoire
are songs that develop a sense of belonging to our country and community. Comprising our
National Anthem, National and Community Songs, the Core Repertoire has the power to convey
the Singapore spirit and bind Singaporeans in both good and challenging times. The songs by the
different ethnic groups, when experienced in meaningful contexts, can enable our students to
develop a greater appreciation and understanding of our multi-cultural heritage.

In addition to the Core Repertoire, a selection of Dynamic Repertoire which includes both vocal
and instrumental music, could be used in the music classroom to broaden students’ awareness of
other Singaporean musicians. Works by these Singaporean composers which draw influences
from local and ethnic, traditional and contemporary elements, can help students recognise the
diverse ways different musical traditions can be reimagined, adapted or transformed to remain
relevant in today’s context. The list of Core and Dynamic Repertoire can be found in Annexes 4a
and 4b.

• Authentic Learning Opportunities Beyond the Music Classroom

Authentic learning opportunities beyond the music classroom can reinforce, extend and/or
complement students’ classroom-based learning and help them relate and apply their music
learning to other arts experiences and/or disciplines, hence expanding their education and career
interests in music and arts-related fields. Such learning opportunities can include workshops,
assembly programmes and arts excursions to performances by established arts organisations and
musicians.

16
 Performing Arts-Based Learning (PABL) Experience at Stage 4
The Performing-Arts Based Learning (PABL) Experience at Stage 4 is a core learning experience at
the lower secondary level that seeks to augment music learning in class with customised out-of-
school learning experiences by extending music learning to the larger performing arts community.
Supported by the National Arts Council (NAC) and in collaboration with key music and cultural
institutions such as the Esplanade, Singapore Chinese Orchestra (SCO), Singapore Symphony
Orchestra (SSO) and the Metropolitan Festival Orchestra (MFO), the objectives of PABL are:

• To create common experiences for students to watch professional Singaporean artists and
arts groups at professional performing arts venues as part of their music education;
• To create a structure that provides greater access for students who might otherwise have
limited opportunities to be exposed to the arts in Singapore; and
• To further augment classroom-based learning with targeted, well-designed out-of-school
learning experiences.

Schools will be able to choose from a range of performances featuring diverse and varied
repertoire and groups for their lower secondary students based on the alignment to the Music
syllabus to broaden their perspectives on the local performing arts scene. The PABL experiences
may feature interactive performance engagement and come with teaching and learning resources
to contextualise and deepen students’ understanding and appreciation of the music performed.
Students will be able to bring new understanding of the musical elements and concepts
experienced and apply in their music learning contexts.

Musical Elements and Concepts

The learning of musical elements and concepts is synonymous to the learning of the musical language
and its importance as part of Music Discourse is shown in the Music Curriculum Concept. With the
fundamental understanding of the musical elements and concepts, students will be able to better
understand and appreciate the music they listen to, create and perform. In addition, the musical
knowledge and understanding that are developed would allow students to explore the subject further
as they learn to describe music and recognise how music is notated as appropriate to the various
musical genres, traditions and styles. Organised around the building blocks of music, students will be
able to experience, learn and apply the musical elements and concepts through Listening, Creating
and Performing:

(i) Tempo, Rhythm and Beats

(ii) Pitch
(iii) Expression
(iv) Form
(v) Timbre/Tone Colours
(vi) Tonality and Harmony
(vii) Texture
(viii) Notation

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Planning a Spiral Music Curriculum

Music learning should be structured with a spiral progression as shown in Figure 2.5 below. This
enables teachers to reinforce and extend upon key musical knowledge and skills so that they can be
deepened each time and students can learn to apply them in different contexts. The spiral approach
is also intended for students to progress in the curriculum from appropriate starting points. As
musical skills and knowledge are revisited over time (e.g. exploration of rhythmic concepts when
performing and creating music through the stages), it would help deepen students’ critical thinking
and encourage their creative use of these ideas.

Figure 2.5: The Spiral Approach to Developing Musical Skills and Understanding

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To support teachers in the planning of a spiral curriculum, the scope and progression from Stage 1
(Primary 1 and 2) to Stage 4 (Secondary 1 and 2) of each of the Learning Outcomes (LOs), Musical
Elements and Concepts, and Contexts are detailed in Annex 3. Each table indicates the KSVs that are
built upon the previous stage(s) and are developmentally appropriate for students to acquire by the
respective stages. However, these do not impose a ceiling on students who are able to progress
beyond their expected stage. Tables 2.6 (a) to (d) specify the Knowledge, Skills and Values (KSVs)
across the four stages.

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 Table 2.6 (a) Knowledge, Skills and Values for Stage 1
Musical Processes Making Connections Musical Elements and Concepts
LO1: Listen and Respond to Music Understand the role of music in society Experience and Apply the following Musical Elements and
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this • Describe musical experiences in their Concepts through Listening, Creating and Performing:
stage when they: lives: music at home, music in schools, (i) Tempo, Rhythm and Beats*
music in the community, music for • Beat/pulse and rhythm
(i) Imitate rhythmic and melodic patterns using voice, body percussion and instruments and/or sound material(s). celebrations, etc. • Tempo of the music: fast/allegro, at a walking pace/
[Sound materials include everyday sounds around us.] andante, very fast/presto, slow/largo
(ii) Respond to elements of music as well as its mood in a variety of ways. (e.g. movement, performing, drawing). Appreciate music from the Singapore culture • Meters: 2/4, 3/4, 4/4
(iii) Describe the sound produced by voice and instruments (e.g. low, high) and how these sounds are made (e.g. • Experience and perform the National • Note values: crotchet (quarter note), quaver (eighth note),
blown, hit/struck, shaken, scraped, bowed). Anthem and a variety of folksongs, semiquaver (sixteenth note), minim (half note), semibreve
(iv) Describe ways in which the elements of music are used for different purposes in the music they listen to, create community songs and instrumental (whole note), dotted minim (dotted half note), crotchet rest
and perform. (e.g. listen to peer performances and describe how dynamics are used to portray music in music (both live and recorded) that can (quarter note rest), minim rest (half note rest), semibreve
celebrations). be heard in Singapore, including Core rest (whole note rest), dotted minim rest (dotted half note
and Dynamic Repertoire. rest)
LO2: Create Music, in both vocal and instrumental settings, individually and collaboratively • Rhythmic ostinato
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this Appreciate music from global cultures
stage and explain the rationale behind musical decisions when they: • Experience and perform folksongs, (ii) Pitch
children’s songs and instrumental music • High and Low
(i) Explore and create musical ideas using voice, body percussion and/or instrument(s). (both live and recorded) from at least 6 • Melodic intervals: a step, a skip, a leap
(ii) Create rhythmic ostinato of at least 2 bars to accompany a melodic piece. different cultures, 2 of which must be • The use of relative solfege (i.e. moveable do)
(iii) Create a melodic phrase of at least 2 bars, based on the C-pentatonic scale. from Southeast Asia. • Melodic ostinato
(iv) Create and perform soundscapes to a given stimulus (e.g. poem, story, visuals).
(v) Use graphic (e.g. lines, colour blocks, shapes) or standard notation (e.g. stick notation) and/or technology to (iii) Expression
record music ideas. • Dynamics: loud/forte, soft/piano, very loud/fortissimo, very
soft/pianissimo, getting louder/crescendo, getting
LO3: Perform Music, in both vocal and instrumental settings, individually and collaboratively softer/decrescendo
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this
stage when they: (iv) Form
• Repetition (Repeating melodic and rhythmic patterns)
(A) SING • Phrase
Students will sing with good tone, expression and appropriate singing techniques (e.g. good control of breath, • Call and response
posture, diction). Singing may be accompanied with movement and/or body percussion (e.g. action songs and • AB, ABA
singing games).
(v) Timbre/Tone Colours
(i) Sing with accuracy and expression (e.g. appropriate tempo, dynamics, articulation and phrasing). • Speaking voice, singing voice, male and female voices
(ii) Sing a variety of songs in unison (e.g. nursery rhymes, children’s songs, folk songs) and simple 2-part canons. • Sound production of pitched and unpitched instruments
(iii) Read and sing simple scores in solfege. (e.g. blown, hit/struck, shaken, scraped, bowed)

(B) PLAY INSTRUMENTS (vi) Tonality and Harmony

Students will play instruments with good tone, expression and appropriate playing techniques (e.g. good posture, • Bourdon patterns on do and so
correct arm position).
(vii) Texture
(i) Play rhythmic and melodic patterns on pitched and non-pitched classroom instruments with accuracy and • Single melodic line in unison
expression (e.g. appropriate tempo, dynamics, articulation and phrasing). • Song with accompaniment
(ii) Play simple melodies and accompaniments for songs from different cultures and styles.
(iii) Perform rhythmic and melodic patterns, using graphic or standard notation, as appropriate to the (viii) Notation
repertoire/musical tradition. • Graphic
• Stick, Staff
*Use of Italian terms as appropriate to the musical traditions
encountered.

20
 Table 2.6 (b) Knowledge, Skills and Values for Stage 2
Musical Processes Making Connections Musical Elements and Concepts
LO1: Listen and Respond to Music Understand the role of music in society Experience and Apply the following Musical Elements and
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this • Discuss the different roles that people Concepts through Listening, Creating and Performing:
stage when they: take in a music performance (e.g. (i) Tempo, Rhythm and Beats*
musicians, performers, composers, • Tempo of the music: gradually slowing down/ritardando,
(i) Imitate rhythmic and melodic patterns using voice, body percussion and instruments and/or sound material(s). audience, conductor). gradually getting faster/accelerando, moderately fast,
(ii) Respond to elements of music as well as its mood in a variety of ways. • Understand and demonstrate moderately slow
(iii) Describe the sound produced by voice and instruments (i.e. from ethnic music cultures in Singapore, from appropriate behaviour in different • Meter: 6/8
Southeast Asian cultures and Western Orchestra) and how these sounds are made. performance contexts. • Note values: quaver rest (eighth note rest)
(iv) Describe ways in which the elements of music are used for different purposes in the music they listen to, create • The following note values and rhythmic patterns in 2/4, 3/4,
and perform. Express their thoughts and feelings towards the music. Appreciate music from the Singapore culture 4/4 and 6/8:
• Experience and perform the National • In simple time
LO2: Create Music, in both vocal and instrumental settings, individually and collaboratively Anthem and a variety of folksongs,
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this community songs and instrumental • In compound time
stage and explain the rationale behind musical decisions when they: music (both live and recorded) that can
be heard in Singapore, including Core
(i) Improvise with voice and instruments, rhythmic and melodic responses (e.g. pentatonic scales) of at least 2 bars and Dynamic Repertoire.
• Discuss the role of the National Anthem, (ii) Pitch
or equivalent.
National and Community songs in • Letter name of pitches
(ii) Create and perform 2-part rhythmic phrases of at least 4 bars or equivalent.
Singapore. • Accidentals: sharp, flat and natural
(iii) Create with voice and instrument, melodic phrases of at least 4 bars or equivalent based on the C-pentatonic and
C major scales. • Experience and recognise music of ethnic
groups in Singapore (iii) Expression
(iv) Create and perform soundscapes to a given stimulus.
• Be familiar with local composers and • Dynamics: moderately loud/mezzo forte, moderately soft/
(v) Use graphic or standard notation (e.g. stick notation, staff notation) and technology to record music ideas.
performers, where applicable. mezzo piano
(vi) Use digital tools to create music (e.g. soundscapes, rhythmic and/or melodic compositions):
• Changes in articulation: detached/staccato, smooth/legato
• Sequence tracks by looping, copying and pasting, slicing.
Appreciate music from global cultures
• Experience and recognise aurally, the (iv) Form
LO3: Perform Music, in both vocal and instrumental settings, individually and collaboratively
music and instruments from: • Binary (AB)
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this
o At least 2 cultures in Southeast Asia. • Ternary (ABA)
stage when they:
o The Western Classical Tradition – • Verse and Chorus
(A) SING Programme and Ballet Music (e.g.
Peter and the Wolf by Prokofiev, (v) Timbre/Tone Colours
Students will sing with good tone, expression and appropriate singing techniques (e.g. good control of breath,
Nutcracker Suite by Tchaikovsky, The • Sound production of pitched and unpitched instruments
posture, diction). Singing may be accompanied with movement and/or body percussion.
Four Seasons by Vivaldi). from ethnic music groups in Singapore, Southeast Asian
• Be familiar with composers and cultures and Western Classical Tradition
(i) Sing with accuracy and expression (e.g. appropriate tempo, dynamics, articulation and phrasing).
performers from these cultures, where • Timbres in relation to the mood of the music
(ii) Sing a variety of songs as an ensemble (e.g. 2- or 3-part canons).
(iii) Read and sing scores in solfege, within an octave. applicable.
(vi) Tonality and Harmony
• Melody and Chord
(B) PLAY INSTRUMENTS
• Major and Minor Tonality
Students will play instruments with good tone, expression and appropriate playing techniques (e.g. good posture,
correct arm position).
(vii) Texture
(i) Play rhythmic, melodic and harmonic patterns on pitched and non-pitched instruments** with accuracy and
• Melodic lines
expression (e.g. appropriate tempo, dynamics, articulation and phrasing). [**Including the use of virtual
• Melody with accompaniment part(s)
instruments.]
(ii) Play two pitched instruments (1 melodic and 1 chordal) to the basic proficiency appropriate for the instruments
(viii) Notation
(e.g. recorder, keyboard, ukulele, mallet keyboard percussion instrument).
• Staff (appropriate to the instrument(s) learnt)
(iii) Play simple melodies and accompaniments for songs from different cultures and styles.
(iv) Perform rhythmic and melodic patterns, using graphic or standard notation, as appropriate to the
*Use of Italian terms as appropriate to the musical traditions
repertoire/musical tradition.
encountered.

21
 Table 2.6 (c) Knowledge, Skills and Values for Stage 3

Musical Processes Making Connections Musical Elements and Concepts

LO1: Listen and Respond to Music Understand the role of music in society Experience and Apply the following Musical Elements and
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this stage • Recognise and describe the role of Concepts through Listening, Creating and Performing:
when they: music in media: films and/or (i) Tempo, Rhythm and Beats*
advertisements • the following note values and rhythmic patterns in 2/4,
(i) Respond to music of various cultures and styles in a variety of ways. 3/4, 4/4 and 6/8:
(ii) Describe the sound produced by voice and instruments (i.e. from Traditional and Popular Music in Singapore, Appreciate music from the Singapore o Syncopation
Traditional Music from Southeast Asia and Western Classical Tradition) and how these sounds are made. culture o Dotted Rhythms
(iii) Analyse and evaluate music they listen to, create and perform with reference to the elements of music. Describe • Experience and perform the o Triplets
ways composers/performers express moods and feelings in their music. National Anthem and a variety of
folksongs, community songs and (ii) Pitch
LO2: Create Music, in both vocal and instrumental settings, individually and collaboratively instrumental music (both live and • Melodic contours: ascending and descending melodies
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this stage recorded) that can be heard in
and explain the rationale behind musical decisions when they: Singapore, including Core and (iii) Expression
Dynamic Repertoire. • Changes in tempo, textures and timbres
(i) Improvise with voice and instruments, rhythmic and melodic responses (e.g. pentatonic and diatonic scales) of at • Discuss the role of the National
least 4 bars or equivalent. Anthem, National and Community (iv) Form
(ii) Create a composition to a given stimulus for a small ensemble of at least 2 parts (e.g. melody and accompaniment), songs in Singapore. • Rondo
using instruments, digital tools and/or everyday objects. • Experience and discuss music from • Theme and Variation
(iii) Use graphic or standard notation (e.g. staff notation, cipher notation) and technology to record music ideas. the following genres: Traditional
(iv) Use digital tools to create music. Music and Popular Music. (v) Timbre/Tone Colours
• Sequence tracks by looping, copying and pasting, slicing • Be familiar with local composers, • Sound production of pitched and unpitched instruments of
• Mix tracks (e.g. adjusting volume, panning). where applicable. Traditional and Popular Music in Singapore, Southeast Asia
and Western Classical Tradition
LO3: Perform Music, in both vocal and instrumental settings, individually and collaboratively Appreciate music from global cultures
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this stage • Experience and recognise aurally, (vi) Tonality and Harmony
when they: the music and instruments from: • Chord changes
o At least 2 cultures in Southeast • Chord symbols
(A) SING Asia (different from the ones
Students will sing with good tone, expression and appropriate singing techniques (e.g. good control of breath, posture, learnt in Stage 2). (vii) Texture
diction). Singing may be accompanied with movement and/or body percussion. o Western Classical Tradition: • Textural qualities (e.g. timbre, voices and harmony)
Musicals (e.g. Sound of Music
(i) Sing with accuracy and expression. by Rodgers and Hammerstein, (viii) Notation
(ii) Sing a variety of songs as an ensemble (e.g. 2-part songs). Mary Poppins by Richard and • Staff (appropriate to the instrument(s) learnt)
(iii) Read and sing scores in solfege, beyond an octave. Robert Sherman, The Lion King • Cipher
by Disney). • Chord sheet
(B) PLAY INSTRUMENTS o Cultures in Oceania
Students will play instruments with good tone, expression and appropriate playing techniques (e.g. good posture, correct • Understand the contexts and the *Use of Italian terms as appropriate to the musical traditions
arm position). background of the music. encountered.

(i) Play rhythmic, melodic and harmonic patterns on pitched and non-pitched instruments** expressively, and with
accurate rhythm and pitch. [**Including the use of virtual instruments.]
(ii) Play 2 pitched instruments (1 melodic and 1 chordal) to the basic proficiency appropriate for the instruments.
(Note: The 2 pitched instruments learnt should be the same as the ones selected at Stage 2.)
(iii) Play melodies and accompaniments from different cultures and styles.
(iv) Perform rhythmic and melodic patterns, using graphic, cipher, standard notation including bass clef notation, and/or
chord sheets, as appropriate to the musical tradition.

22
 Table 2.6 (d) Knowledge, Skills and Values for Stage 4
Musical Processes Making Connections Musical Elements and Concepts
LO1: Listen and Respond to Music Understand the role of music in society Experience and Apply the following Musical Elements and
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this stage • Understand and describe the Concepts through Listening, Creating and Performing:
when they: different music and arts-related (i) Tempo, Rhythm and Beats*
education and career pathways in • Meter of music commonly used in Western (i.e. 2/4, 3/4,
(i) Respond to music of various cultures and styles in a variety of ways. society. 4/4, 6/8, 12/8) and non-Western repertoire
(ii) Describe musical characteristics of different traditional and contemporary ensembles (i.e. Art and Popular Music in • Groove
Singapore, Traditional Music in Asia, Blues and Jazz, Popular Music, Orchestral Works). Appreciate music from the Singapore • Riff
(iii) Analyse and evaluate music they listen to, create and perform with reference to the elements of music. Describe culture
ways composers/performers use elements of music to express music ideas. • Experience and perform the National (ii) Pitch
Anthem and a variety of folksongs, • Melodies based upon pentatonic, major and minor scales
LO2: Create Music, in both vocal and instrumental settings, individually and collaboratively community songs and instrumental • Riff
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this stage music (both live and recorded) that
and explain the rationale behind musical decisions when they: can be heard in Singapore, including (iii) Expression
Core and Dynamic Repertoire. • Manipulation of musical elements to convey musical ideas
(i) Improvise with voice and instruments, melodic responses of at least 4 bars or equivalent, using a wider range of • Discuss the role of the National
modes and scales (e.g. pentatonic and diatonic scales). Anthem, National and Community (iv) Form
(ii) Create a composition/arrangement for a small ensemble of with at least 3 parts (e.g. melody, harmony and bass) songs in Singapore. • 12-bar blues
using instruments, voice and/or digital tools. • Experience and discuss Art and • Pop Song structure (i.e. verse, chorus, bridge, middle 8,
(iii) Use graphic or standard notation (e.g. staff notation, lead sheets, chord symbols) and technology to record music Popular Music in the local scene. intro and coda)
ideas. • Be familiar with local musicians,
(iv) Create a composition to a given stimulus using digital tools. composers and performers in (v) Timbre/Tone Colours
• Sequence a MIDI traditional and contemporary music • Instrument/voice types and groups/ensembles of Art and
• Manipulate recorded sound samples. ensembles (e.g. band, choir, pop Popular Music in Singapore, Traditional Music in Asia,
band, electronic music ensemble), Blues and Jazz, Popular Music, Orchestral Works (both
LO3: Perform Music, in both vocal and instrumental settings, individually and collaboratively where applicable. Western and Non-western)
Students should be able to demonstrate an understanding of the musical elements and concepts as stated for this stage • Discuss the influence of media and
when they: other factors on the local music (vi) Tonality and Harmony
culture (e.g. live music venues, • Chord progressions (e.g. C G Am F)
(A) SING copyright law). • Cadences (i.e. Perfect and Imperfect)
Students will sing with good tone, expression and appropriate singing techniques (e.g. good control of breath, posture,
diction). Singing may be accompanied with movement and/or body percussion. Appreciate music from global cultures (vii) Texture
• Experience and recognise aurally, • Combinations of layers of sounds (*Introduce technical
(i) Sing with accuracy and expression. the music and instruments from: terms where appropriate)
(ii) Sing a variety of songs in a mixed ensemble of at least 3 parts with voice and instruments. o At least 2 Asian cultures including o Different instruments or parts playing the same notes
(iii) Read and sing from notation as appropriate to the repertoire/musical tradition (e.g. chord sheet). Music of Southeast Asia (Unison)
o Blues and Jazz o Melody with accompaniment (Homophonic)
(B) PLAY INSTRUMENTS o Popular Music o Two or more melodies playing at the same time
Students will play instruments with good tone, expression and appropriate playing techniques (e.g. good posture, correct o Orchestral works (e.g. Western (Polyphonic)
arm position). and Non-western). o Variation of the melody played over the original
• Understand the contexts and the melody (Heterophonic)
(i) Play rhythmic, melodic and harmonic patterns on pitched and non-pitched instruments** expressively, and with background of the music. • Role of instruments in an ensemble (e.g. solo,
accurate rhythm and pitch. [**Including the use of virtual instruments.] accompaniment, rhythm, bass)
(ii) Perform in a mixed ensemble of at least 3 parts, with voice and instruments.
(Note: To build on instrumental proficiency acquired in Stages 2 and 3.) (viii) Notation
(iii) Play melodies and accompaniments from different cultures and styles. • Staff (appropriate to the instrument(s) learnt)
(iv) Perform using graphic and standard notation including lead sheets, as appropriate to the repertoire/musical • Lead sheet
tradition.
*Use of Italian terms as appropriate to the musical traditions
encountered.

23
 SECTION 3:
PEDAGOGY

Music Learning and the Singapore Teaching Practice (STP)

Key Music Pedagogical Practices
Music Pedagogical Leverages for Developing Emerging 21CC
Music-Specific and Other Pedagogical Approaches

24
3. PEDAGOGY
Music Learning and the Singapore Teaching Practice (STP)

The 2023 Music Syllabus draws from the Singapore Teaching Practice (STP) to facilitate effective
teaching and learning of Music in Singapore.

© Ministry of Education, 2021

Singapore Our music syllabus is developed based on our philosophy that every child possesses
Curriculum innate musical qualities that could be harnessed and developed. This is in alignment
Philosophy (SCP) with the SCP.

Knowledge Bases The Key Music Pedagogical Principles encapsulated the principles of Music teaching
and learning to enable our students to demonstrate/achieve the Music learning
outcomes and KSVs.

Music Pedagogical Leverages have also been identified to develop the emerging 21CC
through music learning, where our students can imbibe and apply the disciplinary
values and attitudes of the subject to develop life skills that would allow them to thrive
in an ever-changing world.

Pedagogical Both the Key Music Pedagogical Principles and Pedagogical Leverages, which are
Practices articulated through the Knowledge Bases of the STP, will guide teachers in the design
and implementation of music learning experiences.

25
Key Music Pedagogical Principles

Three Key Music Pedagogical Principles are highlighted to guide teachers in their selection and
reflection of the different pedagogy or blend of pedagogies that would best facilitate students’
learning to achieve the intended outcomes of the syllabus.

A. Foregrounding Experiential Learning in Music

Participation in music is by nature an experiential activity. Pedagogies for music learning should
thus centre on musical experiences, as encapsulated in the Music Curriculum Concept (refer to pg
12). Direct and integrated experiences in Listening, Creating and Performing in musical contexts
can support students’ understanding and acquisition of musical elements, concepts and
knowledge. Their understanding of the discourse about music can in turn guide them in deepening
their engagement in these musical processes.

Teachers should leverage the multidimensional nature of music practices when designing learning
experiences to meet the diverse needs and interests of our students. By providing students with
the opportunities to take on different perspectives of audience, composer and performer,
students can experience independent and collaborative engagement with music where music is
felt, experienced and expressed personally or with others.

Teachers could also leverage these musical experiences to draw musical understandings. Each
music concept is prepared through experiencing the concept through music (rather than
explaining or describing), and practiced through applying and expressing the ideas, creating, and
experimenting.

26
 The richness of the musical experiences would enable students in exploring the cultural contexts
of music of local and global cultures, thus allowing them to build informed understanding and
meanings of music in their lives4 and develop multifaceted musicianships in a variety of contexts5.

B. Facilitating Creative, Critical and Reflective Thinking in Music

As a means of expression, music is a natural avenue to develop creativity, critical and reflective
thinking, and metacognition through inquiry, discovery and sense-making. Teachers should
meaningfully plan for musical experiences that challenge students to think and reflect on the
creative and technical decisions they make while listening, creating and performing. By asking
questions and making connections to prior knowledge, concepts and ideas that they have
internalised, students would find relevance, meaning and purpose in the learning tasks they
engage in. The inclusion of open-ended tasks would allow for a diversity of outcomes and
differentiated learning, and this would encourage students to provide alternative musical
interpretations through responding, creating and performing.

C. Growing Student Agency and Empowerment

Student agency is developed when students are given the opportunity to apply and demonstrate
their musical knowledge and skills. Through giving space to student voice and providing choice in
music learning experiences, students are empowered to be self-directed learners. They would
build confidence in their own musicianship and hone their decision-making skills as they
experience success in and through music.

Hence, pedagogies that embrace the changing manifestations of musicianship in the 21st century6
would be important as students bring their personal music experiences and interests into the
classroom. This requires teachers to take a broader view of musicianship such as the use of new
music technologies and practices and accommodate the transmission of music in diverse genres
and traditions7.

Student agency and empowerment support students’ growth as life-long learners. With Blended
Learning becoming a feature of the schooling experience, music teachers can tap on it to further
develop students’ self-directedness and dispositions as life-long learners. In facilitating Blended
Learning, secondary students should be given opportunities to leverage different modes of
learning where they could learn at their own pace even outside of the classroom, have
opportunities to bring in their music experiences from beyond the classroom, and be empowered
to take charge of their learning.

4
Elliott (1997) opined that by enabling children to be actively engaged in the contexts of different music cultures –
engaging musical works in their contextual nature as artistic-social-cultural achievement from multiple perspectives – it
would motivate students to support and seek the multiple values of musical engagements as a life-theme – as a central
part of their lives.
5
Tobias, E.S. (2012). Hybrid spaces and hyphenated musicians: Secondary students’ engagement in song-writing and
technology course. Music Education Research, 14(3), pp. 329-346.
6
Leong, S. (ed.) (2003). Musicianship in the 21st century: Issues, trends & possibilities. Sydney: Australian Music Centre.
7
Campbell, P.S. (ed.) (2005). Cultural diversity in music education: Directions and challenges for the 21 st century.
Queensland, Australia: Australian Academic Press.

27
Music Pedagogical Leverages for Developing Emerging 21CC

Nurturing the musical voice of students provides rich opportunities for developing the emerging 21CC
(CGC, CIT, CCI). To guide teachers in this, four music pedagogical leverages 8 (Fig 3.2) have been
identified:

Figure 3.2: Music Pedagogical Leverages for Developing Emerging 21st CC

a. Musical Communication and Culture

The exposure to a variety of local and global repertoire provides students with meaningful
choices as they make explicit connections between music and its larger socio-cultural
contexts. Music, as a valuable means by which students express themselves and their ideas,
would allow for empowerment in their personal expression, thus engendering the
development of CGC and CCI.

b. Musical Collaboration
Musical collaboration is an authentic musical practice found across cultures around the world.
As facilitators and co-learners in the social dimensions of learning, teachers can teach students
the organisational structure, approaches and processes to successful group work and musical
ensemble to nurture collaborative skills for the development of CCI.

c. Musical Creativity
Music is a natural avenue to develop creativity and allows for open-ended tasks with diversity
of outcomes and differentiated learning. The development of CIT and CCI can be fostered by
encouraging students to provide multiple and alternative musical interpretations.

d. Critical Thinking in Music

To develop CIT in music, teachers empower students to respond to, interpret and analyse
musical works and concepts. Critical thinking strategies can help students reflect on the
creative decisions that they make to allow them discern quality, understand the qualitative
dimensions and make judgements of music.

8
Physical Education and Sports Teacher Academy (PESTA) and Singapore Teachers’ Academy for the aRts (STAR).
(2016). PAM research report: Enhancing 21st century competencies in Physical Education, Art and Music. Singapore:
Ministry of Education.

28
The above pedagogical leverages need to be enacted in a safe and vibrant learning environment with
musical aesthetics flow9, where the focus is on aesthetics dimensions as students listen to, create and
perform music.

Music-Specific and Other Pedagogical Approaches

A. Music-Specific Pedagogical Approaches

Lesson enactment can be supported with music-specific pedagogical approaches outlined in Table
3.3. These approaches can be adapted and woven together to provide a rich music learning
experience for achieving the learning outcomes of the syllabus.

Table 3.3: Music Specific Pedagogical Approaches

Music Specific Pedagogical Approaches

Dalcroze
Orff
Kodály
World Music Pedagogy
Informal Learning
Non-Formal approach

B. Other Pedagogical Approaches

Teachers can also consider the following pedagogical approaches outlined in Table 3.4 where
appropriate.

Table 3.4: Other Pedagogical Approaches

Other Pedagogical Approaches

Blended Learning in Music
Technology-based music lessons
Inquiry-Based Learning
Differentiated Instruction

9
Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York: Harper and Row.

29
 SECTION 4:
ASSESSMENT

Assessment in the Singapore Curriculum Philosophy (SCP)

Design of Music Assessment Activities and Tasks
Communicating Learning Progress

30
4. ASSESSMENT
Assessment in the Singapore Curriculum Philosophy (SCP)

Assessment is an integral part of the teaching and learning process and helps our students become
self-directed learners. For learning to be effective, the teaching pace, approaches and assessment
practices have to be developmentally appropriate, harnessing technology where useful. Assessment
must be closely aligned with curricular objectives, content and pedagogy and designed with clarity of
purpose. There should be regular and meaningful gathering of quantitative and qualitative
information about our students’ progress and development, and such information should be used to
address their strengths, close learning gaps and inform future practices.

A balanced assessment system should have both Assessment for Learning (AfL) as well as Assessment
of Learning (AoL). The purpose of assessment must be understood beyond the context of
examinations, and be seen as an iterative and continuous process. Through assessment, we can guide
our students to monitor their own performance and progress, and encourage them to be intrinsically
motivated to work towards their growth and development. Our assessment practices should
recognise each student’s efforts, provide opportunities for all learners to progress and be mindful of
the impact of assessment on students’ well-being.

Design of Music Assessment Activities and Tasks

While Music is a non-examinable subject, assessment is important to help teachers monitor students’
progress in their learning of the subject as well as for students to know about their learning and
mastery. In designing assessment tasks for diverse student profiles, teachers need to adhere to the
three key principles of assessment: validity, reliability and fairness, while also taking into account
student well-being. Schools should consider what students have learned and where they are at in
terms of their cognitive development and readiness at each assessment point of their learning
journey.

To evaluate and support students’ learning, a variety of assessment activities and tasks can be used.
To complement conventional assessment10 tasks, the use of authentic assessment activities and tasks
(including collaborative music-making activities and tasks) framed in contexts that are relevant to
students’ lives could further cultivate higher-order thinking skills and provide more opportunities for
transference of skills to different contexts.

10
Conventional assessment refers to pen-and-paper tests, quizzes and/or homework (e.g. music theory exercises,
quizzes on musical concepts).

31
Communicating Learning Progress to inform and improve Teaching and Learning
Qualitative descriptors (QDs) will be used to inform students’ learning progress for the three music
learning outcomes (LOs) at the end of each semester for Primary One and Two levels. QDs may be
used for other levels.

Schools are to plan the LOs to be assessed in each semester based on their context (e.g. scope and
sequence, focus areas for that semester). To show progress over the year, schools could identify some
LOs to be repeated across both semesters.

Schools must ensure that the teaching, learning and assessment (including assessment planning)
take reference from the specific stage of learning.

At the lower secondary level, appropriately pitched common assessment tasks would also serve to
ascertain students’ readiness in offering Music courses at Upper Secondary Level e.g. the N(T) and O-
Level Music course.

32
 SECTION 5:
ANNEXES

Annexes 3a – 3d: Scope and Sequence for Learning of Two Main Pitched Instruments
Annexes 4a – 4b: Core and Dynamic Repertoire

33
5. ANNEXES

Annexes 3a – 3d: Learning Progression of Two Main Pitched Instruments (Stages 2 and 3)
To further support students’ acquisition and development of instrumental playing skills, students at
Stages 2 and 3 will learn two main pitched instruments (i.e. 1 melodic and 1 chordal).

Students should have acquired adequate fundamentals (e.g. able to keep a steady pulse) at the end
of Stage 1 before learning the two main pitched instruments. The two main pitched instruments
that students learn should be the same for both Stages 2 and 3 to allow students to develop proper
playing techniques, build music literacy skills and musicianship when collaborating with others in
ensemble settings. The scope and learning progression of the following suggested instruments
across Stages 2 and 3 are shown:

• Annex 3a: Mallet Keyboard Instruments

• Annex 3b: Recorder
• Annex 3c: Keyboard
• Annex 3d: Ukulele

34
 Scope Table 3a: Mallet Keyboard Instruments (Choice of glockenspiel, xylophone and metallophone)
Stage 2 Stage 3
Middle Primary Upper Primary
Understanding Play the instruments with the mallets that were designed for them. To prevent damaging the instruments and diminishing
of Instrument the sounds, never use a mallet that is harder than the material of the instruments.

When removing/replacing the bar(s) on the instruments, lift both ends of the bar(s) to avoid damaging the bars and pins.

Avoid setting anything except for mallets on the top of the instruments as excessive weight can bend the bars, causing
them to go out of tune. Clean the bars and body of the instruments using a microfiber cloth.

Store the mallets properly as the sticks and heads are very fragile. Avoid hitting the sticks of the mallets together as this
can cause them to crack or break.

Technique Play a steady beat and strong beat are to be played hand to Play simple pulse roll(s) by alternating single strokes.
(cumulative*) hand using the basic mallet techniques. Single strokes should be even and need only be moderately
fast. Strive to produce a smooth continuous sound.

[Option for extension: Four mallet technique.]

Key C major, F major, A minor G major, D minor
(cumulative*)
Range Within one octave Within two octaves
Notation Staff notation (Generally written in Treble Clef)
Time 2/4, 3/4 and 4/4 6/8
Signature and
Note-Values
(cumulative*) Simple syncopation Tied notes
Expression p and f mf, mp, and
(cumulative*) Dynamic contrasts Accents

35
 Scope Table 3b: Recorder – for soprano/descant recorder
Stage 2 Stage 3
Middle Primary Upper Primary
Understanding Able to assemble recorder correctly
of Instrument Cleaning of recorder after playing
Technique Play a clear tone by tonguing Play slurred notes for phrasing
(cumulative*) Able to play melody for notes E’ – D’’ Able to play melody for notes C’ – D’’

[Option for extension: playing alto/treble recorder]

Key C major, F major, G major D major
(cumulative*)
Range C’ – D’’
Notation Staff notation (Treble Clef)
Time 2/4, 3/4 and 4/4 6/8
Signature and
Note-Values
(cumulative*) Simple syncopation Tied notes
Expression p, f mf, mp, and
(cumulative*) Dynamic contrasts Accents
Staccato, Legato

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 Scope Table 3c: Keyboard
Stage 2 Stage 3
Middle Primary Upper Primary
Technique Able to play a melody in 5-note position in the listed keys in Able to play a melody within an octave in the listed keys in
(cumulative*) both hands. Simple melodic exchange between RH and LH both hands, with “thumb under hand”/ ”finger over thumb”
movement with some finger extension beyond standard
position.

Some simple change of hand position. More frequent movement between hand positions.

Single note in the LH (root) 2 notes in the LH (root and 5th)

Key C major, F major, A minor G major, D minor
(cumulative*)
Range Within one octave Within two octaves
Notation Staff notation (Treble and Bass Clef)
Chord Symbols: C, G, Am, F Chord Symbols: Dm, Em
Time 2/4, 3/4 and 4/4 6/8
Signature and
Note-Values
(cumulative*) Simple syncopation Tied notes
Expression p, f mf, mp, and
(cumulative*) Legato, staccato Accents

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Scope Table 3d: Ukulele
Stage 2 Stage 3
Middle Primary Upper Primary
Understanding of • Students should be able to identify parts of the ukulele (i.e. neck, fretboard, body, tuning-pegs, nut or bridge,
instrument sound hole)
• Students should be able to identify the pitch names of the open strings (i.e. G, C, E, A)
• Students should be able to tune the ukulele.

Care and Maintenance:

• The ukulele should be kept in an instrument bag to protect against dust.
• When placing the ukulele on the floor, the ukulele should be placed out of the way and on its back with the
strings facing upwards.
• Students should pay attention not to drop the ukulele when handling it.
• The ukulele should be wiped down after each use with a cotton cloth to prevent dust and grease from
gathering on the instrument.
Technique Suggested Strumming patterns: Suggested Strumming patterns:
(cumulative) • D–D–D–D • D – DU – U – D

For noting:
= strum downward
• D–U–D–U • D – DU - U – DU
= strum upward

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Scope Table 3d: Ukulele
Stage 2 Stage 3
Middle Primary Upper Primary
• DU – DU – DU – DU

• D – DU – D – DU

• D – D – DU – DU

• D – DU – DU – DU

• D–U–U

Finger position Frets 1 to 4

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Scope Table 3d: Ukulele
Stage 2 Stage 3
Middle Primary Upper Primary
Chord Voicing Major: C, C7, F, G, G7 Major: D, A, D7
(Open position chords) Minor: Am, Dm Minor: Em, Fm

Melodic Exercises Students should be able to play these scales using downpick motion:
(cumulative*) • C major • G major

• C major pentatonic • A natural minor (option for extension)

• A minor pentatonic

Notation Students should be able to read ukulele tablature (treble clef), chord diagrams and chord sheets
Time Signature and 4/4, 3/4 and 2/4
Note-Values
(cumulative)

Expression Tempo markings

(cumulative) p, f, mf, ff
Dynamic contrasts
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Annex 4a: List of Core and Dynamic Repertoire – Primary Level (Stages 1 to 3)

Core Repertoire (Stages 1 to 3)

National and Community Songs in English Community Songs in Malay
• Count On Me, Singapore • Semoga Bahagia
• Stand Up for Singapore • Dayung Sampan
• Singapura • Rasa Sayang Eh!
• Singapore Town • Burung Kakak Tua
• Home • Chan Mali Chan
• Reach Out for the Skies • Di Tanjong Katong
• Let’s Build Community • Gelang Sipaku Gelang
• The More We Get Together (to be sung in 4 languages –
English, Malay, Chinese, Tamil) Community Songs in Chinese
• Sing Our Wishes • Zao Qi Shang Xue Xiao (早起上学校)
• There’s a Part for Everyone • Xiang Xin Wo Ba Xin Jia Po 相信我吧,新加坡 (Believe in Me,
• Make Courtesy Our Way of Life Singapore)
• Xi Shui Chang Liu 细水长流 (Friendship Forever)

Community Songs in Tamil

• Munnaeru Vaaliba (Song of Youth)
• Singapore Needu Vaazhga (Long Live Singapore)

Eurasian Song
• Jinkli Nona

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 Dynamic Repertoire (Stages 1 to 3)
Note: Teachers are free to choose from this list of dynamic repertoire that would complement the teaching of Music from Local Cultures.
Songs
• Aidilfitri by Zubir Said
• One By One by Kelly Tang and Aaron Lee [from Stories We Sing]
• First Light by Kelly Tang and Aaron Lee
• En Veetiley by Ghanavenothan Retnam [from Stories We Sing]
• Masa Remaja by Art Fazil [from Stories We Sing]
• Ole Ole Temasek by A. Ramlie

Instrumental Works
• Symphonic Suite on a Set of Local Tunes by Kelly Tang*
• Sketches of Singapore by Kelly Tang*
• Dances of Singapore: Malay and Indian Selections by Phoon Yew Tien*
• You Xi 游戏 (Game) by Law Wai Lun* (2018 CO SYF Set Piece)
• Yin Shui Si Yuan: Niu Che Shui 饮水思源: 牛车水 (Kreta Ayer) by Liong Kit Yeng* (2020 CO SYF Set Piece)
• Jie Mei Dao 姐妹岛 (Sisters’ Islands) by Wang Chenwei
• To Be Eurasian, To Be Singaporean – It’s One and the Same by Jeremy Monteiro*

* These works can be used across stages 1 to 4.

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Annex 4b: List of Core and Dynamic Repertoire – Secondary Level (Stage 4)
Core Repertoire
National and Community Songs in English Community Songs in Chinese
• We Are Singapore • Xiao Ren Wu De Xin Sheng 小人物的心声 (Voices from The
• One People One Nation One Singapore Heart)
• Bunga Sayang • Dui Shou 对手 (To Be A Better Me) by Eric Ng and Xiaohan
[from Stories We Sing]
Community Songs in Malay
• Singapura (Malay Version) Community Song in Tamil
• Dondang • Singai Naadu (Singapore My Country)
Dynamic Repertoire
Note: Teachers are free to choose from this list of dynamic repertoire that would complement the teaching of Music from Local Cultures.
Songs
• Sayang di Sayang by Zubir Said
• Bendera Kita by Sarah Ismail, Mohd Noh Dapi, Muhd Rafi Abu Bakar and Mdm Fauziah Muhd Fadzillah [from Stories We Sing]
• Telok Blangah by Kevin Mathews [from Stories We Sing]

Instrumental Works
• Symphonic Suite on a Set of Local Tunes by Kelly Tang*
• Sketches of Singapore by Kelly Tang*
• Dances of Singapore: Malay and Indian Selections by Phoon Yew Tien*
• Fen Yong Qian Jin 奋勇前进 (The Forge Ahead) by Phoon Yew Tien
• Hai Shang Di Yi Ren – Zheng He 海上第一人 – 郑和 by Law Wai Lun
• You Xi 游戏 (Game) by Law Wai Lun* (2018 CO SYF Set Piece)
• Yin Shui Si Yuan: Niu Che Shui 饮水思源: 牛车水 (Kreta Ayer) by Liong Kit Yeng* (2020 CO SYF Set Piece)
• Homecoming by Jeremy Monteiro
• To Be Eurasian, To Be Singaporean – It’s One and the Same by Jeremy Monteiro*

* These works can be used across stages 1 to 4.

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