Modular Phonetics Analysis

According to Anderson (2010), Modular Phonetics represents significant advances in the teaching an application of rhythm. It is based on the concept of modular phonetics. Modular refers to the interchangeability of rhythm syllables and phonetics refers to the sound of the rhythm syllables. Phonic has always been the key to the sound of the language. Without phonics the words could not be pronounced and the sound of the word could not be heard. In this approach learning takes place in the principle of “eye-ear-hand reflex” this meant, the eye sees it-the ear hears it-the hands execute it. This approach is supported from the theory of modalities by theorists: Walter Barbe and Raymond Swassing as cited by Hackett (2007) that
According to Treble Makers: A music education blog (2012) said that it should be a part of the student’s daily regimen. Here are some tips to acquire some rhythmic skill: Practice with the metronome, rhythmic exercises must be practiced from simple to complex rhythmic; understand the time signature; watch out for resting, ties and dotted notes; start slow and increase the tempo when played confidently; lastly, play along. Moreover, mastering the rhythmic skill requires the establishing of beat/pulse, tempo, meter and accent. Babelay (2009) stated that no matter what instrument a student is learning, everyone needs a good rhythmic foundation. Melodies, scales and chord patterns are all dependent on a piece’s rhythm. The importance of developing a strong sense of pulse or rhythm is a crucial element when learning to play-and being taught the basics of rhythm starts in the very first lesson. And, as students’ progress, it will become easier for them to understand why something does not sound exactly as it should- more often than not; it is rhythm which needs work or changing. By developing a good sense of rhythm will be able to better identify when the pulse or beat is
Active, hands-on music experiences enable children to demonstrate understanding of the musical concepts and the concept could be easily understood and are more effective through several kinds of behaviors: singing, playing instruments, moving to music, reading and notating music, creating and describing music. Hence, music teachers should be creative and resourceful enough to design musical activities appropriate for the concept to be learned. Such musical activities should ensure meaningful experiences in the development of the cognitive, psychomotor, and affective domain of the child. Furthermore, Music making activities are not ends in themselves, but are designed to lead to enjoyment aesthetic sensitivity-and conceptual