1.

INTRODUCTION
Music Education focuses on developing students self-potential in producing

creative minds which feel and enjoy music intellectually through musical activities.
Activity such as singing, movement and playing musical instruments are integrated in
the syllabus of Music Education in school. Primary School students are creative,
expressive and active.
Teaching is defined as a process whereby activities are designed for students in
order to bring improvement onto their behavior in the learning process. While learning
is defined as a behavioral process which is permanent due to experience and practice.
Teaching is also a knowledge delivering process. Effective teaching is through topic
planning, objectives, content, delivering method and assessments that suit students
ability and interest. Other than that, teaching is an action which brings a change in
values and meaning. It is also an intellectual activity which involves thinking, feeling,
and evaluating.
According to Kamus Dewan Bahasa dan Pustaka (1994) the term Teaching and
Learning comes from a basic form of word that is teach which means a guidance that
is given to other people. Teaching means everything that involves teaching others (e.g.
the method, system, etc). According to Shea, 1994, Juhazren et al., 2005, learning is a
mental process which brings behavioural transformation. However, (Eh 1993) quoted
that learning is a way to gain knowledge, skills, attitude, and new values.

In 1997, there was an improvement in the nature of effective teaching and

learning that was suggested by Anderson, 1991 as stated by Turner, 2001 in his book,
Expert Teaching that tells about the role of a teacher in determining the focus of the
class, building a class that is based on functions and to improve and maintain students
momentum. After 2000 that is entering the 21 st era, effective teaching and learning is
also influenced by teaching aids i.e. Information and Communication Technologies
(ICT) which involved the use of computer and other components.
This statement is supported as the teaching and learning process is an
important element in ensuring the students can follow the subject content being
delivered (Muhd. Fauzi et al., 2008). Charles (1972), too old, try to find out the latest
related articlestated that teaching can be considered systematic when it is able to be
combined with the teaching aids. Thus, teaching can be more effective and succeed in
bringing the students to focus onto their study. This statement is supported by an
academic research which finds students who learn through visual was 70% and audio
was only 30%. As a result, combining both factors is considered as the best approach.
Through observation, teachers find students interest increases when the teachers
apply this approach during the teaching and learning process. To conclude, the success
of a teacher to maintain the students motivation level will contribute to the students
success in the future. If the teaching environment is not interesting, the students
learning process will be disrupted. The students will be lazy and will not concentrate
in class. Thus, the role of a teacher is important and challenging as a teacher needs to
provide effective teaching and learning at all time.

The experience of teaching music education in primary school for 15 year is

very meaningful to the researcher. The working experience gained either deductively
or inductively is used to apply in class with the hope that the students skills in music
will increase to the maximum level. From the observation of teaching and learning
process of recorder playing, the researcher finds that several students did not master
the skills of reading the location of music notes. The researcher also finds that they
failed in recorder fingering skills and producing the correct pitch blowing as those
students did not manage to identify the music note location names while reading the
score melody which they were asked to play.
This adds to the difficulty to play the melody required in variety and
simultaneously. This is supported by the results of the assessments done by 5 students
of Tahun Empat A which did not able to play recorder with the accurate pitch
according to the required criteria. A good quality tone of recorder blowing depends on
5 techniques which are posture, embouchure, tonguing, breathing and fingering. These
techniques are very helpful in producing a high quality tone. The failure in fingering
technique will disturb the quality of a good tone for a presentation. If this matter is
continues, those students will have difficulties in playing the notes of the score
melody and will produce squeaking pitch. In real situation, the respondents showed a
deep interest in playing recorder. Furthermore, these respondents felt excited and
happy when they succeeded in playing the song which had been played in the class.
However, they were required to play a new melody; they found it difficult for them to
read the note locations and the reading was delayed.

The researcher also finds that the period of 60 minutes per class weekly for
music education session in primary school is insufficient which contributes to the lack
of skills in playing recorder. The insufficiency of time and intensive practice leads to
problem in its teaching and learning. The researcher also finds that this problem is
because recorder playing subject is new to the primary school students. Besides, the
students themselves do not own their own recorder which makes the problem even
worse. This is due to the lack of exposure as these students live in suburban areas
which hinder the interest of playing recorder to grow. The lack of teachers with music
option also adds up to this problem. Teachers with no music option do not have the
required skills to teach the students.
Thus, the researcher is interested in using drilling technique to solve the
problem by replacing the note locations with a new numbering system by using the
teaching aid i.e. software called Encore. This is to help the respondents in memorizing
and playing recorder. The music education lesson plan or Huraian Sukatan Pelajaran
Sekolah Rendah Pendidikan Muzik Pendidikan Muzik (2002) focuses on producing
students with basic music understanding and knowledge, minimum acquired skills in
music production, having the required potential from creativity and innovation
aspects, able to appreciate and enjoy the music aesthetic value and practice good
values. Khatijah (1998) states that music should be the spine and pulse in school
curricular. This helps in childrens emotional well-being, intellectuality, physical, and
spiritual.

According to National Education Philosophy, education in Malaysia is a

continuous effort to expand an individuals potential holistically to produce a balance
and harmony citizen intellectually, spiritually and physically based on trust and
obedience to God. An active involvement in systematic music activity may able to
encourage cognitive abilities, students effective psychomotor and while promoting
socialization value.
In addition, there are various genre of music in the various cultures of
Malaysians which the students should know it as the legacy of the nation. The
knowledge and experience in various cultural senses in music help to promote the
element of self-esteem and patriotism of the students themselves. To realize the
potential of Pendidikan Muzik KBSR curriculum, the application should be taken into
consideration and explored.
According to Mok

(2010),the education concept in Malaysia can be defined

from Falsafah Pendidikan Kebangsaan (FPK) which was officially constructed in

1996. FPK which was mentioned will determine the focus, bases and inspirational
resources to all efforts and planning in education. In this section, researcher has stated
the research content, literature review, as well as local and foreign research. The
literature review is based on the action background related to music education in
Malaysia, its advantages, drawbacks in Music Education Teaching and Learning,
Drilling Techniques, Recoreder Playing Research through Numbering System and
Soprano Recorder.

The ability in playing the recorder of a melody in the class is worrying the
researcher. This is because the 5 respondents were unable to play with accurate notes
and unable to read the song score well. However, these respondents were able to
acquire the skills of not values but the weakness that could be seen is when they failed
to memorize the note locations and read the melody notes in score correctly and
quickly. This is due to lack of intensive practice and new melody learned.
The respondents who had these difficulties are students of year four. Their
commitment and interest can be seen when they entered the music education class.
The respondents felt that playing recorder is fun and able to show their talent and
potential. The skills playing recorder has an important principle that is to play the
melody accurately. Obviously the researcher found that the basic skills which the
respondents failed to acquire will disturb the smoothness in playing the melody well.
The basic notes that should be acquired in the syllabus of grade 4 are B, A, G and C. A
perfect melody pitch played was disturbed because the respondents failed to produce a
synchronized melody when playing the recorder in the class. Thus, the researcher
should encounter this problem by analyzing, listening, and applying the appropriate
method as well as guiding the respondents to improve their skills in playing the
recorder.
The researcher has taken early actions as to ensure the respondents to identify
the melody note location names by playing the recorder with a slow tempo. They
should not be taught by force or too fast to master the melody note location names.
The researcher might help the respondents by pronouncing the melody note name first
before fingering the recorder. The respondents would master the fingering technique
when they can memorize the melody learned.

Provided that the respondents did not memorize the melody note location
names when they played it, difficulty would arise based on the National Education
Philosophy principle which promotes individual potential development as a whole and
united to produce a dynamic citizen who are harmony intellectually, emotionally,
spiritually and physically. An active involvement in systematic music activity will
encourage cognitive development, affection, students; psychomotor while inculcating
socialization value. Not relevanyou have to state your problem with a related article
..maybe you can find out article about music and technology of using software to
improve music learning
According to Sukatan Pelajaran Pendidikan Muzik KBSR (2000), it is stated
that the base of music that are rythm and pitch are already exist in daily movement
and articulation. This matter makes the children to feel at ease and responded
spontaneously in expressing themselves. This type of behaviour when being hadled
wisely will become effective role played in the childres self development.
Cognitively, students have acquired knowledge and understanding of music. For
Tahap students specifically, music activity and movements will not only help in their
kinesthetic growth but also helps them to understand the abstract music concept.
From the socialization aspect, the singing and movements as well as group playing of
musical instruments give the students the opportunity to communicate and interact and
apply good values. Meanwhile there are many genres among the various cultures in
Malaysia which should be known as our national heritage. The knowledge and
experience on various cultural influences in music would be able to promote selfesteem and patriotism in the students themselves. To realize the curriculum potential
of Pendidikan Muzik KBSR, the enforcement should consider and explore various

approaches, strategies and techniques which are related to teaching and learning i.e.
Multiple Intelligence, Future Study, Mastery Learning not related to your research.
Where is problem statement, please identify your problem statement with related
article to support.
2.0

RESEARCH OBJECTIVES AND RESEARCH QUESTION

This section explains the rationale of the research. There are two issues
mentioned in this research :

2.1

to Increase the recorder playing skill by reading the song musical score
according to theusing Sibelius Software.

Research objective 2 lebih kurang sama dengan yg 1.

2.2

Improving the skills in sight reading by intensive practice with the help of
Sibelius software.

To find out the effectiveness of sibelius software in helping students to improve the
recorder playing skills.

As for the research question is as follows :

2.3

Will reading music score melody simultaneously in Sibelius Software increase

recorder playing skill?

2.4

Does intensive practice with the help of Sibelius software improve sight
reading skill?

Buat research question berdasarkan research objective 2

3.0

LITERATURE REVIEW
In this section, researcher has stated the research content,

literature review, as well as local and foreign research. The literature

review is based on the action background related to action research,
music education in Malaysia, its advantages, Technology In Music
Education, Drilling Techniques, Recorder Playing Research through
Numbering System and Soprano Recorder.

3.1

Kajian Tindakan
Bahagian ini menerangkan tentang latar belakang, definisi, ciri-ciri dan tujuan

kajian tindakan. Kajian Tindakan dalam pendidikan dilakukan dengan tujuan untuk
mengkaji pola tingkahlaku murid, para guru, pentadbir dan pekerja di sekolah atau
institusi pendidikan lain. Penemuan melalui kajian merupakan ilmu pengetahuan baru
yang akan digunakan untuk meningkatkan pendidikan dan amalan pengajaran dan

pembelajaran. Kajian Tindakan ini adalah kajian berbentuk kualitatif. Kajian kualitatif
menggunakan data dalam bentuk fakta asal seperti dilihat, didengar atau dibaca. Data
berbentuk statistik nombor juga digunakan tetapi tidak menjadi cacat sesuatu kajian
tindakan yang tidak menggunakan data berbentuk itu. Peraturan yang perlu dipatuhi
apabila menjalankan kajian tindakan ialah keempat-empat langkah asas iaitu
merancang, bertindak, memerhati dan mereflek yang dilakukan secara berurutan
dalam bentuk gelungan.

3.1.1

Definisi Kajian Tindakan

Menurut Akhiar & Shamsina (2010:1) Kajian Tindakan Penyelidikan dalam

pendidikan sebagai proses memperolehi pengetahuan baru melalui pengumpulan data

dan maklumat untuk menyelesaikan masalah pendidikan dan seterusnya digunakan
untuk meningkatkan kualiti dan amalan pendidikan
Menurut Kulik et.al, (1997) Kajian Tindakan adalah proses untuk mengkaji
situasi sebenar sekolah atau kelas untuk memahami dan memperbaiki kualiti dalam
tindakan atau arahan.
Foshy & Tomlinson (1995) Kajian Tindakan adalah sejenis inkuiri yang
mempunyai pra-perancangan, tersusun dan boleh dikongsi bersama dengan guru-guru
yang lain.

10

McNiff, Lomax & Whitehead (1996) Kajian Tindakan adalah satu kaedah
yang sistematik dan tersusun bagi guru untuk memerhati amalan mereka atau untuk
meneroka masalah dan mencari penyelesaian yang terbaik .
Kember & Gow (1992) usaha guru untuk memperbaiki pengajaran mereka
secara sistematik melalui kitaran yang melibatkan proses perancangan, pelaksanaan,
pemerhatian & refleksi .
Cochran & Lytle (1990) kajian di bilik darjah yang dilakukan oleh guru-guru
bagi membolehkan mereka meneroka isu-isu pengajaran yang mereka suka atau tidak
suka bagi menambahbaikkan amalan tersebut Satu kajian yang sistematik oleh
sekumpulan guru untuk mengubah dan memperbaiki amalan pendidikan melalui
tindakan praktis mereka sendiri serta refleksi terhadap kesan atau akibat tindakan
tersebut.
3.1.2

Ciri-Ciri Kajian Tindakan

Menurut Mok (2010) menyatakan bahawa ciri-ciri kajian tindakan adalah

berdasarkan huraian konsep dan definisi kajian tindakan, huraian menyatakan tentang
kajian yang dijalankan secara kumpulan serta usahasama dalam sesuatu

kajian

tindakan . Selain itu ia juga melibatkan hubungan teori dengan amalan harian . Sikap
komuniti akan terbentuk terhadap persekitaran dan diri sendiri dan membaiki kerja
kumpulan atau diri sendiri seterusnya untuk kebaikan orang lain. Lingkaran yang
penting ialah tinjauan, perancangan, pelaksanaan dan pemerhatian serta refleksi.
Semua prose situ meliputi penggunaan dan penyimpanan data dan rekod secara
sistematik.
Berdasarkan kajian tindakan Carr & Kemmis (1986) mengabstrakkan tujuh
cirri utama kajian tindakan seperti kajian tindakan berciri amalan social yang
11

merangkumi kefahaman terhadap isu social, bertujuan kemajuan untuk menambahbaik

kurikulum, berciri kitaran refleksi, berupaya inkuiri sistematik, pengkaji membuat
refleksi terhadap amalan mereka, berciri mengutamakan aktiviti kumpulan dan
kerjasama antara peserta dan akhir sekali soalan kajian ditentukan oleh pengkaji
berdasarkan keperluan untuk mengkaji masalah yang dihadapi oleh diri dan
responden.

3.1.3

Tujuan Kajian Tindakan

Pelaksanaan Kajian Tindakan di bilik darjah bertujuan khusus untuk

meningkatkan keberkesanan amalan mengajar pengkaji dan meningkatkan pencapaian

responden. Hasil kajian yang diperolehi memberi peluang kepada pengkaji mengubah
kaedah dan teknik mengajar serta mencuba sesuatu yang baru dan lebih sesuai.
Pengkaji boleh meneliti aktiviti pengajaran secara terperinci melalui aktiviti refleksi.
Tinjauan ini akan memberi keyakinan ketika menjalankan aktiviti pengajaran pada
masa depan.
Ramalan pencapaian dan keberkesanan pengajaran di bilik darjah dapat
diketahui melalui kajian tindakan pengkaji akan mendokumentasikan dalam bentuk
tulisan. Ia merupakan bahan rujukan yang penting untuk para pendidik . Dengan

12

menjalankan kajian tindakan, pengkaji dapat melatih untuk meningkatkan kemahiran

perancangan,

pemerhatian,

mengumpul

data,

menganalisis,

menilai,

menginterprestasi, membuat refleksi serta merumus untuk meningkatkan tahap ilmu

pengetahuan dan imej dalam profesion perguruan.
Dalam literature review tak perlu terangkan apa itu kajian tindakan dan
research berkenaan dengan kajian tindakan..terus ke related research article
dengan your topic sahaja
3.2

Music Education In Malaysia

The music education lesson plan or Huraian Sukatan Pelajaran

Sekolah Rendah Pendidikan Muzik Pendidikan Muzik (2002) focuses on producing

students with basic music understanding and knowledge, minimum acquired skills in
music production, having the required potential from creativity and innovation
aspects, able to appreciate and enjoy the music aesthetic value and practice good
values. Khatijah (1998) states that music should be the spine and pulse in school
curricular. This helps in childrens emotional well-being, intellectuality, physical, and
spiritual.
According to Falsafah Pendidikan Negara Pendidikan in Malaysia, this is a
continuous effort to expand an individuals potential as a whole to produce a balance
and harmony citizen intellectually, spiritually and physically based on trust and
obedience to God. An active involvement in systematic music activity may able to
encourage cognitive abilities, students effective psychomotor and while promoting
socialization value. In addition, there are various genre of music in the various
cultures of Malaysians which the students should know it as the legacy of the nation.

13

The knowledge and experience in various cultural senses in music help to

promote the element of self-esteem and patriotism of the students themselves. To
realize the potential of Pendidikan Muzik KBSR curriculum, the application should be
taken into consideration and explored. According to Mok

(2010),

the

education concept in Malaysia can be defined from Falsafah Pendidikan Kebangsaan

(FPK) which was officially constructed in 1996. FPK which was mentioned will
determine the focus, bases and inspirational resources to all efforts and planning in
education.
According to Sukatan Pelajaran Pendidikan Muzik KBSR (2000), it is stated
that the base of music that are rythm and pitch are already exist in daily movement
and articulation. This matter makes the children to feel at ease and responded
spontaneously in expressing themselves. This type of behaviour when being hadled
wisely will become effective role played in the childres self development.
Cognitively, students have acquired knowledge and understanding of music.
For Tahap students specifically, music activity and movements will not only help in
their kinesthetic growth but also helps them to understand the abstract music concept.
From the socialization aspect, the singing and movements as well as group playing of
musical instruments give the students the opportunity to communicate and interact and
apply good values.
Meanwhile there are many genres among the various cultures in Malaysia
which should be known as our national heritage. The knowledge and experience on
various cultural influences in music would be able to promote self-esteem and
patriotism in the students themselves.

14

3.3

Technology In Music Education too many grammatical errors, pls check

your grammar and re-phrase

According to John Finney ( 2008 ) If music education is to respond to the
opportunities offered by the digital age we will need thoughtful and reflective
teachers. ???????These will be teachers who are able to research their own practice,
ask questions about the role of music technologies as part of their own professional
development and in the development of their students. In this paper the work of three
music teachers in the early stages of their careers are presented as examples of
reflective practice where the classroom environment is seen as problematic and where
questions need to be posed and systematic enquiry entered into. This is more than
evaluation of teaching and learning for it has the potential to change, even emancipate
teacher and learner, enabling both to see music and themselves differently. The way
electronic musicians learn, the attitudes of girls and boys to composing with music
technology and the concept of self-regulated learning provide the issues investigated
in these cases, prefaced by glimpsing the social realities of students engaged with
music through digital technology in and out of school as well as in-between. Digital
technology is powerful agent in moving the minds of teachers and students alike.
Fred Seddon (year) ????stated that increasing numbers of Broadband, Internet
connected computers in schools makes innovative, collaborative creative music
making projects possible within and between schools both nationally and
internationally via e-learning environments. These e-learning environments can
support communication and collaboration but research has shown social interaction
does not happen automatically. Social interaction within e-learning environments is

15

essential to promote effective collaborative learning but social interaction will not
occur without pedagogical practices designed to promote it.
This presentation reports a pilot study that investigated the effects of
computer-mediation, prior musical experience and culture on the process and product
of collaborative computer-based composition via email. The pilot study also revealed
the relationship between formal instrumental music tuition (FIMT), groupings of
collaborators in relation to prior musical experience and composition strategies
adopted. Results indicated prior FIMT was linked to extended and complex musical
dialogue, critical engagement with musical ideas and producing an exploratory
environment. No prior experience of FIMT was linked to uncritical and descriptive
dialogue and a cumulative environment. It was concluded that the most effective
groupings of collaborators had at least one of the participants having had prior
experience of FIMT. If future music e-learning environments are to provide effective
learning then adaptation of existing teaching and learning practices may not be enough
to ensure their success. New teaching and learning strategies coupled with music
teacher education practices that equip teachers with the skills to take advantage of
innovative music e-learning environments of the future will also be required.
Meanwhile Steve Dillon(year???) stated that music technologies primarily
function as individual or solo activities. He explores the potential for computers to
provide a vehicle for ensemble like collaborative music making through improvisation
using computers on a network. Networked improvisation suggests a contemporary
musicianship which embraces the computer as instrument, the network as ensemble
and cyberspace as venue. In this paper I will discuss the emerging learning
opportunities of real-time improvisation of digital instruments connected via
electronic networks and draw from school and community based case studies

16

involving the jam2jam family of generative instruments and research project

(http://www.jam2jam.com/).
According to Alex Ruhtmann (year????) recent advances in online
collaborative technologies such as wikis, blogs, and social networks have contributed
to a paradigm shift in how students use the Internet and interact in their daily lives.
Along with new tools have come more efficient, flexible and easy-to-use Internet
interfaces for creating media-rich online content. Participation in online social
networking sites has spread rapidly among students in secondary and tertiary schools
in the United States. A by-product of these recent developments is a new vision of the
Internet; it is seen as not just a repository of information and a conduit for
communication but rather a highly interactive collaborative platform that can be
personalized for socializing, communicating and learning.
Although many of these tools were not specifically designed for music
education, they can be adapted to support a broad range of music classes in schools.
The discussion concludes with a summary of strategies that music educators might use
to extend both the physical and temporal bounds of their classrooms by creating
online music learning environments for students. These environments enable students
to engage both collaboratively and reflectively with each other and the teacher, both
inside and outside of class time.

3.4

Drill Technique In Teaching and Learning Process

Referring to catatannota.blog.coms entry entitled Teaching method and

technique, intensive practice is a fact repetition to improve the performance in the

taught syllabus which focuses on the effort to achieve a certain level of skills or to
relate to something which will be memorable.
17

In teaching situation, intensive practice or drilling in socialistic teaching

should be avoided. This is because it will promote memorizing but intensive practice
is encouraged in music education. Intensive practice should be avoided in sociological
teaching as it promotes memorization but it is really recommended in music
education. Intensive practice is convenient in achieving a certain skill e.g. memorizing
melody note numbering system of the song score. To avoid students boredom and
lack of focus, various Intensive practices can be used e.g. conducting Intensive
practice in group competition or individual, i.e. who can answer teachers question on
something e.g. scoring, counting and collecting marks and compare them among
groups or individuals involved.
However, for less competitive students, Intensive practice can be applied with
the way to hold the recorder and pronounce the notation first from the note name
aspect. The students can also pronounce them repetitively for memorizing purpose.
When all notations in song melody which will be played are being memorized, then
the students can easily play the song with accurate tone.

3.5

Soprano Recorder
Music education also has become parts of human life and society. Children as

well as adults will react spontaneously to things that produce sounds and develop selfexpression through music. In daily conversation there is also basic thing in music e.g.

18

rhythm and tone. In primary schools, music education consists of singing, movement,
skills in using percussion which pitch less or with pitch and also recorder playing.
According to the theory by Emile Jaques-Dalcroze (Lois Choksky,1986),
movement in music education can strengthen the knowledge in fingering concept,
Dalcroze has used body gesture to promote understanding and develop alertness or
sensitivity towards musical aspects. According to Stephanie Merrit, the Director of
Southern California Center for Music and Imagery has told her story when she was a
teacher where there was a day when it was seen the students looked weak and they
have a low understanding ability. Hence, she asked her students whether they took
breakfast while listening to the music and they answered no, so from that moment she
asked them to listen to the music in the morning while having breakfast. Since that
moment, a change was noticed as the students had become wiser, more cheerful and
lively. Doing an activity, movement or playing is a good step in developing ones
ability. An activity which is done voluntarily will increase students development and
growth. An activity performed must suit the childrens age and their capabilities.
According to Depdikbud 1999, individual progress and ability can be expanded
gradually by playing while learning because this will make the students feel they are
not being forced and put under stress while learning.

Referring to the teachers reference book Pendidikan Muzik KBSR (2003),

recorder is considered as blowing musical instruments. This musical instrument has a
blower or mouthpiece whish is installed to the cylinder leveller which has seven holes;
six in front and one at the back and the last cylinder has two holes which contain twin
19

holes in front. Pusat Perkembangan Kurikulum (2003) defines recorder as a blowing

instrument that is made from wood or plastic. There are various sizes for different
roles. Figure 1 shows the family structure of a recorder i.e. sopranino, soprano, alto,
tenor and bass.

Figure 1: Family of Recorder

The usage of recorder in music learning activity promotes musical experience
via hands on. At the same time, the students can strengthen their understanding of
music language through practical experience. It also helps in learning process that is to
enhance the skills and master the skills of playing recorder. Figure 2 shows a recorder
that consists of 3 main components; the head, body and foot.

Pusat Perkembangan Kurikulum (2003) explains to the educators the correct

method of playing recorder where there are five methods that should be practised.
This is to produce a blow with high quality tone. The said methods are posture

20

technique, embouchure, tongueing, and fingering. All these techniques really help in
producing a good quality tone of blow.
There are various techniques displayed in the recorder teaching module of
Pusat Perkembangan Kurikulum (2003). The first technique is the posture technique
before blowing the recorder that is the seating technique or standing straight
comfortably while holding a recorder. Figure 3 shows an example of holding a
recorder correctly.

Figure 3 : How to hold a Recorder

Posture plays an important role when playing a recorder. A good posture helps
in producing a good quality of tone. The posture to play a recorder is the body is
straightened and in a comfortable position. Recorder is to be held at 45 degrees from
the body. This is to ease the hand movement during the fingering. Then the hand is
tensed a bit so it doesnt disturb the breathing. Recorder is held with the above left
hand finger and right hand finger for the bottom part. This is a practical way to play or
blow a recorder.
The second technique is Embouchure which means the use of facial muscles
and lips shaping which follow the cheek shape. The mouthpiece needs to be inserted
21

in the mouth that is between the lips. When the lips are closed, it is prohibited to bite
the recorder. Lips are tensed and they need to be comfortable. Figure 4 shows
Embouchure technique.

Figure 4 : Recorder Embrosure

The third technique is tonguing which is important in the production of low
and high notes. Tongue movement helps in producing air which is suitable with tone
quality. For the middle tone, the du is produced by the tongue. While the low note
uses the lu sound and lastly for the high note, the sound tu is produced. The
sound \du-ku is used during double tongueing. When the note is played, only the first
note will experience tongueing. For staccato play, the tut is produced for a short note.

Fourth technique is breathing technique to blow at a low note. The pressure

from diaphragm is released slowly and under control. More pressure is released at a
fast speed to blow at a high note. Only one breathing is used for a phrase. This
technique is important in producing a good tone according to the melody. Fifth
technique is fingering the recorder. Left hand that is the thumb is numbered 0 closes
22

the back hole of the recorder. The point finger is numbered 1 to close the first hole on
the recorder. The middle finger is numbered 2 closes the second hole while the ring
finger is numbered 3 closes the third hole.
For right hand, point finger is numbered 4 to close the fourth hole. The middle
finger is numbered 5 to close the fifth hole. The sixth hole is closed with the ring
finger that is numbered 6. The seventh hole is closed with the numbered 7 finger that
is the little finger. There are two small openings on the holes numbered 6 and 7. The
purpose of it is to produce the sharp and flat sound. Figure 5 shows the fingering
technique and the use of numbering system that would be used and applied by the
respondents for the recorder skills in before and after assessments in order to ensure
whether this numbering technique succeed in the recorder learning.

Figure 5: Numbering Technique

3.6

Recorder Playing Using through Numbering System

According to Scribd web by Azman Wahab (year???), referring to his proposal

on fingering technique using the numbering writing states that students have problem
in mastering fingering technique in pkaying recorder in the class. Many references are
stated in his proposal which are according to Dr Alfred Tomatis who worked in
23

Francem mentioned that music can give energy or strength to the brain. An experiment
was conducted by a professional musician, Dorothy Retallack in 1970 at Temple Buell
College, Colorado for his crops. He planted pumpkins and there were differences
identified on his crops e.g. his pumpkins which were played classical music had
grown well and the stems have crawled around the radio while the pumpkins that were
played rock music had not grown that well. This shows that music plays important
role in living creatures growth.

4.0

LIMITATIONS OF RESEARCH

24

5.0

METHODOLOGY

5.1

Research Design

25

This section explains the actions to be taken, Gantt Chart of action and the
implementation of the research. Table 1 shows scrupulous implementation of the plan
conducted by the researcher via Gantt chart.
The researcher has done a reflection on the problems that were experienced
during the teaching and learning of recorder playing. The main problem is the
respondents were unable to acquire the needed skills in memorizing a note location of
the song score played. Thus, the researcher has come up with the solutions in handling
this by applying the intensive practice in the teaching and learning session.
Numbering system used to ease the respondents in memorizing the song score. This
research was done for four weeks together with five respondents from Year Four A.
The assessment in this research is based on practical session of the before and after
recorder playing. Individual assessment was performed by using the same four song
melodies played by the five respondents. The chosen songs for the before and after
assessment are Etude, , Rekoder Saya, Flora and Moon Light which are attached
in Appendix 1, 2, 3 and 4.
The before and after assessment focuses on collecting information after
applying the intensive practice in using the numbering system to replace the notes on
the song score melody.

26

Year 2014
Month
Mac

Apr

May

Jun

Jul

Topic
Title Designation
Collection Of Information
Respondents Data Collection
Revised Proposal
The Implementation Of The Learning
Recorder using Sibelius Software
Analyzing And Evaluation of Data
Improvement Of Research Reports
Finishing The Documentation
Binding Research Report
Submission Research Report
Table : Ghant Chart for Research Planning

27

August

Sept

Oct

Nov

Dis

The researcher has used the observation form instrument to identify the
respondents knowledge on note value. After identifying the acquisition of note value,
the researcher has conducted the before assessment on four melody scores of recorder
skills. Respondents who failed to acquire the recorder skills were needed to undergo a
fundamental activity.
The after assessment was done to assess the skills of the five respondents.
Every one of them was given 10 minutes to play all the four songs with the keyboard.
The song score melody was displayed in the class using the Encore software. Pre Test
and post test assessments are the same assessment given to all respondents. Other than
that, the data obtained was compiled and analyzed and elaborated descriptively.
A reflection was done on what happened during the research process and it
was summed up thoroughly and suggestion for the future research was given.
5.2

Sample Size
Researchers have selected a total of five respondents who attend school in the

district of Segamat, Johore were selected. All the respondents aged of ten years. The
respondents studying in Year Four. There were two respondents are men and three are
women. This group was the most weak students in the technique of playing recorder.
The information of these respondents obtained from test results by the end of the year.
Review of current observation of teaching and learning in class conducted by
researchers, found that respondents who do not master the skill of reading and
remembering the notation melody on the song score. The respondents fail to do sight
reading to the score of a song
Hence, researchers have taken drastic steps by selecting as many as five
respondents involved to apply and review the most recent method of recorder
28

fingering using numbering system with the aid of Encore Software can help enhance
skills and dominated play melody song optimally. Target skills upgrading will be done
with the implementation of detection test before and after. Limitation that the
researcher will face is that this 5 respondents always absent. Their family does not
have responsibilities toward their children. This will be limitations in carrying out this
study.
5.3

Instrument

5.3.1

Pre and Post Test

Pre Test and Post Test assessments were conducted to monitor and identify

respondents proficiency in reading the song score melody for recorder skill. This is an
action research assessment that has not been conducted on the respondents by using
various methods or techniques that can increase the respondents achievement.
The purpose of this assessment is to identify the achievement and weakness
level on whether the respondents are able to read the song score melody
simultaneously or not. Pre Test was done to the five respondents to identify how
effective is the application of intensive practice and numbering system in increasing
recorder skills optimally.
Table 5 shows the Before and After Assessment forms that were used for the
respondents which are divided into three parts i.e. Part A, Feedback Form, Part B of
the Before Test and Part C of the After Test.

29

Bahagian
Bahagian A
Borang soal selidik

Bahagian B
Ujian Amali Sebelum
Bahagian C
Ujian Amali Selepas

Perkara
: Latar belakang responden
: Mengetahui nilai not semibrif
: Mengetahui nilai not Minim bertitik
: Mengetahui nilai not Minim
: Mengetahui nilai not krocet
: Mengetahui nilai not kuaver
: Lagu Etude
: Lagu Rekoder Saya
: Lagu Flora
: Lagu Moon Light
: Lagu Etude
: Lagu Rekoder Saya
: Lagu Flora
: Lagu Moon Light

Table 5
Table 6 shows the same Part B and C used to conduct the Before and After Test
for mark scale detail of Recorder Skills Assessment.
Bil
1
2
3
4

Nama Lagu
Etude
Rekoder Saya
Flora
Moon light
Jumlah skor
Skor min ( jumlah 4 )
Tahap pencapaian

Skala markah

Table 6: Sample of Recorder Skills Assessment According to Tone Blown by the Song
Melody

Table 7 shows detail marking scale of the respondents that is based on

assessment rubric of assessment which tells the achievement aspects that are very
weak, weak, average, good, excellent and above excellent.

30

Skala
markah
1

Aspek pencapaian

Kriteria

Sangat Lemah

Murid tahu perkara asas iaitu mengetahui lubang

penjarian rekoder not B, A dan G.
Murid menunjukkan kefahaman untuk membuat
penjarian yang betul not B, A dan G.
Murid menggunakan pengetahuan untuk membuat
penjarian not B, A dan G dan meniup rekoder.
Murid melaksanakan kemahiran membuat penjarian
not B, A dan G untuk meniup rekoder dengan
beradab dan ton yang betul.
Murid melaksanakan kemahiran membuat penjarian
not B, A dan G untuk meniup skor melodi dengan
ton yang betul secara sistematik.
Murid melaksanakan kemahiran membuat penjarian
not B, A dan G untuk meniup skor melodi dengan ton
yang betul dan beradab secara sistematik dan boleh
membimbing rakan sebaya.

Lemah

Sederhana

Baik

Cemerlang

Gemilang

Table 7: Respondents Marking Scale and Recorder assessment Rubric.

5.3.2

Interview
Interview is a face to face interaction to obtain information that can improve

response rate. This method benefits the respondents who do not know how to write
and read. Interview research was done to the five respondents and two Music Teachers
in the school to gain relevant information in the research. It is being focused to know
its effectiveness for intensive practice and numbering system applied in simultaneous
recorder playing with the help of Sibelius software.
This research analysis is divided into three parts that are Part A which leads to
questions on assessing knowledge skills, understanding and notation value writing,
Part B is interview questions before test was conducted and Part C which answered
the activity questions after the test. Table 8 shows the division of the three following
parts:

31

No
1.

Interviews

Aspect

Part A

2.

Part B
Pre Test

3.

Part C
Post Test

Skill: Assessing questions on knowledge, understanding

and notation value writing
Skill: To assess knowledge, understanding and
simultaneous recorder skills using intensive practice and
numbering system aided by Sibelius software.
Skill: To assess knowledge, understanding and
simultaneous recorder skills using intensive practice and
numbering system aided by Sibelius software.
Table 8: Interview Research

Interview research has been done in detail with the recording analysis to ease
the researcher in classifying category data and giving them allocation in numerical
code unit. Table 9 shows research data recording to five respondents.
No
1.
2.
3.
4.
5
6
7
8

Data coding determinants

Yes, I know the code, teacher.
Yes, I know and able to write the note value.
Yes, I can play the score melody.
Yes, I can play the score melody using the numbering system.
No, I do not know the note value.
No, I do not know and not able to write the note value
No, I cannot play the score melody.
No, I cannot play the score melody using the numbering system.
Table 9: Interview research of Respondents data Recording

Kod
1
2
3
4
5
6
7
8

Referring to the Table 10, interview questions shows coding of interview

research test data to assess knowledge, understanding and writing of notation value
conducted to all respondents.
Skill

Assessing questions on knowledge, understanding and notation

value writing
No
Kod
Research Questions
1.
Do you know the semibreve value?
2.
Do you know dotted minim value?
3.
Do you know the minim note value?
4.
Do you know the crochet note value?
5.
Do you know the quaver not value?
Table 10: Interview Question Research of Research Subject Part A

32

Referring to Table 11, interview research of Part B and C were used in the
Before and After Tests to record data of the Before Test conducted to all respondents.
Skill

No
1.
2.
3.
4.

To assess knowledge, understanding and simultaneous recorder

skills using intensive practice and numbering system aided by
Sibelius software.
Research Question
Etude song
Rekoder Saya song
Flora song
Moon Light song

Kod

Table 11: Interview research of Part B and CPre and Post Tests.

5.4

Intervention
This intervention activity was given to the respondents for the subsequent

songs. The levels of weekly activities planned are as follow:

Week 1
During the first week, the respondents received score melody for four songs
that contain the notations of B, A and G. They were minim and crochet in the melody
chain provided in the song. The respondents were required to relate the note names by
changing them into numberings and write to all melody scores.
In teaching session, the respondents were helped to blow the recorder at an
average tempo to guide them in understanding and reading the score melody for the
first song until they succeeded in acquiring the recorder skills.
Week 2
The respondent will played Rekoder Saya of the second score. In this practice all
respondents were helped to pronounce the notation name with numbering system written
33

on the song score. With this, respondents were able to memorize the numbers and able to
do fingering easily while playing the recorder.
Respondents were taught on the melody gradually until they achieved the four
target melody scores that were played in variety. After they succeeded in mastering the
song, intensive practice was used by combining the first and second song.

Week 3
In the third week, respondents played Flora and Moon Light. The same
method was applied using the numbering system onto the fingering technique to ease the
respondents to blow the recorder according to the given score. This was repeated several
times so that the respondents can acquire the skills of fingering and memorizing the
notations played.
Week 4
The post test assessment is used to assess the skills of the respondents. Every
respondent was given 10 minutes to play all the melody of four songs with the
keyboard. Melody score was displayed in the class with the help of Encore software.
The before and after assessment are the same assessments given to all respondents.
Then, data is collected and analyzed descriptively. Reflection on what
happened during the process was done and it was summarized as a whole and
suggestion for future research was given.

34

5.5

Data Collection
This section explains on the design of the research, research tools and methods

of collecting data. The tools that were used are observation form, assessments,
feedback and interview form. An early observation was done by observing the
respondents knowledge on notation value on the song melody. Table 2 shows the
observation form that states 100% of the respondents were able to identify notation
values.

Responden

Semibrif
=4

Kriteria penilaian mengenali nilai notasi

Minim
Krocet
=2
=1

Kuaver
=

R1
R2
R3
R4
R5
=
menguasai
= tidak
menguasai

Nota:
Dapat menjawab dan menulis nilai notasi dengan jawapan dengan betul
Tidak dapat dapat menjawab menulis nilai notasi dengan jawapan dengan
betul

Table 2: Observation Assessment in identifying the notation value.

35