192 Music Assessment Techniques for Evaluating the Students’ Musical Learning and Performance in the Philippine K-12 Basic Education Curriculum Almighty Cortezo Tabuena, Glinore Santiago Morales, Mary Leigh Ann Corpuz Perez Philippine Normal University, Philippines Submitted: 2021-10-16. Revised: 2021-11-20 . Accepted: 2021-12-26 Abstract The primary objective of this study is to review and characterize research-based music assessments that might be used to guide and assist teachers and students in transforming their attitudes and perceptions, ability to express their ideas and concepts during the assessment process openly. This study employed descriptive and autoethnographic methods to elicit information about current conditions and practices through the library approach and literature review. The identified music assessment techniques were used to determine how well students comprehend important points in a session. It includes the Music Concept Memory Exercise and Instrumental and Vocal Schematic Processing for music lesson instructions and the Five-Letter Name Pitch Memory Test and Three-Chord Familiarization Assessment for basic instrumental music instructions. They are used as a core component deliberately designed to expose classroom teachers and prospective teachers to the essentials for effective instructional practices. Effective evaluation ensures that learners’ knowledge, understanding, and skills are transferred effectively in future contexts. Keywords: assessment, evaluation, music, musical learning, techniques How to Cite: Tabuena, A. C., Morales, G. S., & Perez, M. L. A. C. (2021). Music Assessment Techniques for Evaluating the Students’ Musical Learning and Performance in the Philippine K-12 Basic Education Curriculum. Harmonia: Journal of Arts Research And Education, 21(2), 192-203 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 192-203 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.32872 vered during class time (Angelo & Cross, 1993). As the K-12 Curriculum establishes new measures and standards for learning (content) and performance, the outcomes must be linked to its new sets of compe- tencies specific to the cognitive domains of learning in order to ensure that the learner demonstrates an understanding of funda- mental concepts and processes through appreciation, analysis, and performance (Department of Education, 2016). The concept of distinct learning sty- les has implications, if not demands, for INTRODUCTION Classroom assessment techniques are different strategies, and action plans educators and teachers in the field use to monitor and assess students’ compre- hension and understanding of key topics throughout a lesson, practical-based lear- ning, or a subject course. These techniques are intended to serve as a form of formati- ve evaluation, allowing teachers to change or modify a lesson based on students’ ne- cessities. The majority of classroom assess- ment procedures are ungraded and deli- Corresponding author: E-mail: tabuena.ac@pnu.edu.ph p-ISSN 2541-1683|e-ISSN 2541-2426 Almighty C. Tabuena, et al., Music Assessment Techniques for Evaluating the Students’ 193 instructional strategies. Because preferred modes of input and output vary between individuals, teachers must employ a varie- ty of instructional techniques and strate- gies to effectively meet the needs of indivi- dual students (Francis Xavier Engineering College, 2017). In addition, individual learners may be better suited to learning in a specific method tailored to the learning environment, employing different and dis- tinct patterns of thinking, relationship, and creation (Sambhram Institute of Technolo- gy, 2017). In the Philippines, the Commission on Higher Education’s (2012) Memo No. 46 reminded education policymakers that teachers remain critical to the learning process as catalysts and facilitators of lear- ning. Music instruction at the Junior High School level requires a variety of evalua- tion methods and procedures that differ from those used in other subject areas in terms of cultivating musical competence and artistic talents among students. As a form of intervention, music assessments enable students to see their progress over time. Additionally, it establishes that their input can influence what and how they learn and encourages them to be- come more engaged in the learning pro- cess—to become active participants rather than passive learners. This study would provide teachers with alternate means of assessing students’ performance and instructional tactics that promote teacher- student collaboration and dynamic class participation. Moreover, it would enhance music teachers’ abilities to use a variety of measurement and evaluation techniques and educate them about the scope of their competence in assessment and evaluati- on processes. Measurement and evalua- tion are the processes by which teachers, school administrators, parents, and other interested parties can obtain reliable infor- mation about students’ academic perfor- mance, with evaluation serving primarily as a teaching tool rather than as a means of assigning grades or providing post-course feedback. The paradigm shift of the educa- tional system in pedagogical approaches would provide more efficient and effective delivery and assessment of music classes, with an emphasis on our students’ success in musical learning. In addition, curricu- lum planners will understand the need for administering and managing formative assessments such as classroom assessment techniques in evaluating the overall stu- dents’ success in addition to the widely ad- ministered summative test. This study can assist administrators in developing a stra- tegy for educating teachers on the value of classroom assessments and their applicati- on in identifying and measuring students’ performance. Significance of the Study This study aimed to assist students in transforming their attitudes and percep- tions and their ability to openly express their ideas and concepts during assess- ment and evaluation processes. Students can track their progress over time using classroom evaluation procedures. In ad- dition, it demonstrates that their feedback can influence what and how the students learn and develop a sense of involvement in the learning process by becoming active participants rather than individual obser- vers. This study would also improve the ability of teachers to measure and evaluate them progressively. In this case, they make the students aware of their level of know- ledge regarding measurement and evalua- tion processes. They might benefit from alternate methods of evaluating students’ perfor- mance and instructional strategies that incorporate teacher-student engagement and active class involvement. Correspondingly, curriculum plan- ners will be made aware of the need to use formative assessment techniques such as classroom assessments to evaluate stu- dents’ performance with respect to the summative tests that are regularly admi- nistered. It can assist them in developing a plan for how teachers will become awa- re of the value of classroom assessment Harmonia: Journal of Arts Research and Education 21 (2) (2021): 192-203194 techniques and their application in evalu- ating students’ performance. This paper will also assist future researchers in iden- tifying alternative assessment and evalua- tion techniques and intentions and act as a reference for them if they ever do a study in this area. Objectives of the Study The primary objective of this study is to review and characterize research-based music assessment strategies that might be used to direct and aid teachers in their assessment and evaluation practices. The study accomplished this purpose by res- ponding to the following refined questions: (1) How may the following be described in terms of music assessment techniques for evaluating musical learning: (a) the philo- sophy and objectives of music education; (b) classroom assessment in the K-12 basic education program; and (c) implementati- on of music classroom assessment techni- ques; and (2) what are the research-based music classroom assessment techniques for evaluating students’ musical learning in the Philippine K-12 basic education cur- riculum? Theoretical Framework The theoretical underpinnings of this study are mentioned in the Department of Education’s [DepEd] (2015) Order No. 8 on classroom assessment provisions and poli- cy guidelines for the K-12 basic education program. On the other hand, this evalua- tion framework’s heart is the recognition and active consideration of the learners’ proximal development zone (Vygotsky, 1978). Appropriate evaluation is inten- ded to assure learners’ success in transi- tioning from guided to independent com- munication of ideas, comprehension, and abilities and their potential to effectively transfer this knowledge, understanding, and skill set in future contexts. From this viewpoint, evaluation enables learners to acquire higher-order thinking and 21st-century skills. As a re- sult, the assessment perspective under- stands the connection between instruction and assessment. Assessment is integrated into everyday classes and supplements the classroom activities currently included in the K-12 curriculum. Additionally, the Department of Education (2003) establis- hed DepEd Order No. 79, which empha- sizes measuring and evaluating the lear- ning process and reporting of students’ progress in public primary and secondary schools. METHOD This study employed a descriptive method to elicit information about current conditions (Tabuena, Hilario, & Buenaflor, 2021; Subong, Jr., 2005) and an autoethno- graphic method to describe and interpret cultural texts, experiences, beliefs, and practices (Adams et al., 2017). According to Creswell (2009), descriptive research en- tails the accumulation of data in order to correspond to questions about the subject’s current state. On the other hand, autoeth- nography is a type of qualitative research in which the author employs self-reflecti- on and writing to analyze the anecdotal and personal experience and connects it to broader cultural, political, and societal meanings and understandings (Ellis, 2004; Maréchal, 2010). The library approach (Sappe, 2020) and a literature review were utilized to acquire and synthesize articles and scientific papers on music assessment techniques for evaluating students’ musi- cal learning and performance in the Phi- lippine K-12 basic education curriculum (Tabuena, 2021c; Tabuena, 2020b). As one of the study’s limitations, some articles and scientific publications were dated after 1975, when assessment methods in music education were establis- hed and refined. In this case, this research study would also supplement the existing literature in terms of previously published articles and scientific papers. The rese- archers considered four teaching assess- ments in music education based on the analysis of the literature: Music Concept Memory Exercise, Instrumental and Vocal Schematic Processing, Five-Letter Name Almighty C. Tabuena, et al., Music Assessment Techniques for Evaluating the Students’ 195 Pitch Memory Test, and Three-Chord Fa- miliarization Assessment. The data and music assessment techniques were analyzed using a techni- que known as explanatory synthesis (Mur- ray, 2006), a written discussion that draws on one or more sources and then divides the subject into its parts and presents them to the reader in a clear and orderly manner. Four criteria were used to analyze the re- views: instruction, category, type, and as- sessment. Further, this procedure, referred to as meta-analysis, describes and clarifies previously reported important results that study the same phenomenon (Zeng et al., 2014; Aburayya et al., 2020). Stanley (2001) stated that meta-analyses acknowledge the impact of various data components and procedures on the given results. RESULTS AND DISCUSSION Music Assessment Techniques in Evalu- ating Musical Learning Assessment of student learning is central to effective teaching. By identifying student performance, identifying what went well and what needs improvement, and providing specific feedback or res- ponses to students, Hamlin (2017) asserts that it can significantly improve the music program. Assessment data can be a criti- cal component of improving any music program, provided it focuses on clear lear- ning outcomes and the most significant qualities of student performance, which it does not. Given that Black and Wiliam (1998) introduced the dynamic of class- room assessment to a broader audience in order to develop students’ achievement, an additional study has been undertaken on its practical uses and aims. Leahy et al. (2005) provided teachers with a variety of instructions and outcome-based activi- ties to let them improve their classroom evaluation practices. These researchers identified around 50 assessment appro- aches based on teacher demonstrations. The commonality of these strategies is that they help bridge the disparity between as- sessment and instruction, allowing for te- aching to take place while learning is still progressing. The Philosophy and Objectives of Music Education According to the preface of the Phi- lippine Society for Music Education’s (PSME) Curriculum Guide, the under- lying philosophy of the music education program is primarily aesthetic education, aimed at developing a learner’s sensitivity to the communicative qualities of music, but also at recognizing the ethical, social, physical, psychological, and other values inherent in music (Atabug, 1975). This is aligned with the fundamental principle of music education articulated at the PSME convocation on the goals of music edu- cation held on November 7-9, 1975 at the Development Academy of the Philippines, which described music education’s pur- pose and function in the curriculum as the most beneficial to national development due to its emphasis on musical (rather than extra-musical) values. This laid the foundations for the ge- neral goals of music education in the Phi- lippines at all educational levels, namely: (1) a progressive curriculum for music li- teracy; (2) a diverse and inclusive opportu- nity for the creation, recreation, and mea- ningful appreciation of music for all; (3) comprehensive and effective teacher pre- paration; and (4) a genuine appreciation for Philippine Music as a whole. In cont- rast, effective assessment is involved in ensuring learners’ success in transitioning from guided to a self-directed presentation of knowledge, comprehension, and skills and their ability to transfer this knowled- ge, understanding, and skill set successful- ly to future scenarios. Moreover, this perspective acknow- ledges the diversity of learners inside the classroom, the necessity for numerous measures of their varying talents and lear- ning potentials, and the learners’ position as co-participants in the assessment pro- cess. Evaluative processes must be holisti- cally and culturally appropriate, and their selection must be guided by the instruc- Harmonia: Journal of Arts Research and Education 21 (2) (2021): 192-203196 tional program’s objectives (Strickland & Morrow, 1989). If programs for individual students are to be sensitive to their deve- lopmental needs, the following standards must be enforced when developing cor- responding assessment procedures: (a) objectives must transcend all domains; (b) curriculum and assessment objectives must connect; and (c) current, continuous, and wide-ranging strategies must develop through cultural and developmental con- siderations. Classroom Assessments in the K-12 Basic Education Program Assessment and evaluation of lear- ning at a high level can generate extensive and valid data about students’ performan- ce and provide insight into the efficiency of teachers’ practices. Teachers that include formative evaluation in their classroom practices have been shown to achieve sig- nificant academic improvements. Stronge (2010) highlighted a study of research conducted by Black and Wiliam (1998) to determine whether developments in clas- sroom evaluations can result in improve- ments in learning. They discovered that in- formed evaluation significantly influences student success, ranging between 0.3 and 0.7 standard deviations. They found that formative evaluation is more helpful for low achievers than other learners, thereby closing an achievement gap while simulta- neously boosting total achievement. The DepEd (2002) believes that as- sessment should be utilized primarily as a quality assurance tool to measure stu- dents’ progress toward meeting standards, foster self-reflection and personal accoun- tability for one’s learning, and serve as the foundation for student performance profi- ling. Classroom assessment is a necessary component of curriculum implementation, as stated in the Department of Education’s Policy Guidelines on Classroom Assess- ment for the K to 12 Basic Education Pro- gram (DepEd, 2015). It enables educators to monitor and assess students’ progress and shift instruction consequently. Classroom assessment provides students, as well as their guardians and parents, with infor- mation about their development. Teachers are constantly confronted with the difficul- ty of evaluating both their pupils’ growth and their competence as teachers (DepEd, 2003). Assessment decisions have the po- tential to increase students’ performance over time significantly; advise teachers in improving the teaching-learning process; and assist policymakers in strengthening the educational system (Santos, 2007). In response to this situation, the researchers determined that formative evaluation, spe- cifically the music assessment techniques, could help students enhance their musical ability. A teacher can incorporate a variety of different sorts of musical learning as- sessments. The primary goal of classroom assess- ment is to empower the students and te- achers, to enhance the quality of learning by utilizing a learner-centered, teacher-di- rected, mutually advantageous, formative, context-specific, and steadfastly anchored in good practice approach (Angelo & Cross, 1993). A teacher must frequently evaluate in order to detect individual learners’ and the class’ diverse learning deficiencies (Ta- buena & Morales, 2021). Angelo and Cross (1993) defined fifty classroom assessment procedures as straightforward devices for gathering data on students’ basic cognitive processes in order to enhance them. Clas- sroom assessments are simple to develop, deliver, and analyze, and they have the added benefit of engaging learners in their educational experience. They are often un- graded, anonymous in-class activities that are included in the class’ normal work. The fifty classroom assessment techniques are classified as follows: (a) course-related knowledge and skills; (b) learner attitudes, self-awareness, and values; and (c) learner responses to instruction. Grieve (2003) de- fined classroom assessment as an ongoing advanced feedback system with specific ramifications and indications for the te- aching-learning process. Assessment de- cisions have the potential to significantly increase students’ performance over time; advise teachers in improving the teaching- Almighty C. Tabuena, et al., Music Assessment Techniques for Evaluating the Students’ 197 learning process; and assist policymakers in strengthening the educational system (Santos, 2007). Implementation of Music Classroom As- sessment Techniques Rosas (2010) stressed the never-en- ding drive for excellent teaching, empha- sizing that at the center of any quest to improve teaching practices is the teacher, who, one would argue, is the central figu- re in the teaching-learning process. The teacher is the most visible and influential player and decision-maker in the arena of learning, and with a good teacher, learning can occur despite curriculum deficiencies and inadequacy, technologically deficient classrooms, the inadequacy of instructio- nal materials (e.g., modules, prototype models, quality control, self-learning kits, and workbooks), and even with unmoti- vated learners. The instructor will be able to reconstruct and even change these bar- riers into opportunities properly. Nume- rous empirical investigations conducted in western countries and the Philippines have established a link between student accomplishment and teachers’ abilities, knowledge, and practices. The claims as- sert that what students know and are ca- pable of is crucial to their learning. On the basis of the classroom assessment techni- ques formed and utilized in a large class of approximately 40 students per section: Music Concept Memory Exercise, Instru- mental and Vocal Schematic Processing, Five-Letter Name Pitch Memory Test, and Three-Chord Familiarization Assessment, these techniques may be employed as part of an integral area in a classroom (Tabue- na, 2021b; Tabuena, 2019). Research-based Music Assessment Tech- niques in Music Education The K-12 Music Curriculum Guide was utilized to develop the content and performance standards necessary for the assessment’s validity and reference mate- rials that enriched the context and learning of the subject. Two types of classroom as- sessment approaches were used: (1) World Music (for instruction) and (2) Instrumen- tal Music. For music lesson instructions, classroom assessment techniques include the following: (a) Music Concept Memory Exercise and (b) Instrumental and Vocal Schematic Processing; classroom assess- ment techniques for basic instrumental music instruction include the following: (a) Five-Letter Name Pitch Memory Test and (b) Three-Chord Familiarization As- sessment. Essentially, students might uti- lize the piano, flute, or another accessible musical instrument to create instrumen- tal music. These established techniques in music education were used following the pre-evaluation to determine how well students understood significant aspects of a session or course. Interdisciplinary exp- loration can provide students with fresh perspectives on music evaluation (Ng & Ng, 2020). As stated in Table 1, the rese- archers employed the following classroom assessment techniques as a class to give and assist other teachers with assessment and evaluation practices in teaching World Table 1. Comparison of Music Classroom Assessment Techniques Music Assessment Techniques Type Instruction Category Assessment Approach Music Concept Memory Exer- cise1 Memory Exer- cise Music Les- son Lesson-based Objective Instrumental and Vocal Sche- matic Processing1 Schematic Pro- cessing Music Les- son Lesson-based Objective Five-Letter Name Pitch Memory Test1 Memory Test Instrumen- tal Music Skill-based Outcome- based Three-Chord Familiarization Assessment2 Familiarization Assessment Instrumen- tal Music Skill-based Outcome- based Note. 1Also applicable in Flute Education (Tabuena, 2021c); 2applicable by group performance Harmonia: Journal of Arts Research and Education 21 (2) (2021): 192-203198 Music and Instrumental Music. Music Concept Memory Exercise Music Concept Memory Exercise is a lesson-based classroom assessment techni- que in which music concepts are summari- zed following a brief (specific) lesson into a variety of different types of objective test items, including short-answer items, true- false or alternative-response items, mat- ching exercises, multiple-choice items, and interpretive exercises; this assessment may be followed by another brief (specific) les- son. Figure 1 shows a sample lesson pro- per with a major concept in Contemporary Philippine Music and a sub-concept in Tra- ditional Composers using the Matching Exercise instruction as one of the Music Concept Memory Exercises. Figure 1. Matching Exercise Sample Instruc- tion Figure 2 shows another sample les- son proper with a major concept in Con- temporary African Music and a sub-con- cept in Maracatu using the Short Answer Exercise instruction as one of the Music Concept Memory Exercises. Figure 2. Short Answer Exercise Sample In- struction Instrumental and Vocal Schematic Pro- cessing Instrumental and Vocal Schematic Processing is a lesson-based classroom assessment technique in which: (1) cer- tain musical instruments are classified according to the Hornbostel-Sachs Clas- sification of Musical Instruments, and (2) certain musical phrases are analyzed in accordance with their (students’) schema (background knowledge). This process can be used as a cognitive shortcut, allowing the most receptive students to participate (common explanation to be chosen for new information). Figure 3 shows a sample les- son proper with a major concept in African music and a sub-concept in African Musi- cal Instruments as Instrumental Schematic Processing. Figure 3. African Musical Instruments, Instru- mental Schematic Processing Sample Instruc- tion Figure 4 shows another sample les- son proper with a major concept in Con- temporary Philippine Music and a sub- concept in Traditional Composers as one of the Vocal Schematic Processing inclu- ding a Musical Phrase Analysis (top) and a Music Notation Analysis (bottom). Five-Letter Name Pitch Memory Test The Five-Letter Name Pitch Memo- ry Test is a piano-based classroom assess- ment technique in which the researchers teach piano using letter name pitches rat- her than so-fa name pitches (notes). In this process, the student points to five keys on the piano (dummy keyboard) to assess their pitch (letter name) recognition. In this assessment technique, the following is Almighty C. Tabuena, et al., Music Assessment Techniques for Evaluating the Students’ 199 an exemplar of the Five-Letter Name Pitch Memory Test under the Piano Music Clas- sroom Assessment Techniques Instruc- tions (step-by-step procedure): (a) The te- acher will first integrate the lesson aligned to piano music; (b) After the lesson, the teacher will ask to play five pitches succes- sively on the student’s dummy keyboard; (c) This assessment technique should not exceed twenty seconds for each student to cater to the large class size; (d) Each pitch should not be followed by its previous or next pitch (e.g. if the letter name is A, the following letter name should not be G - the previous pitch, and B - the next pitch); (e) Further, the teacher could create an un- defined or defined word using the letter name for better pitch memory recogniti- on of the student/s; (f) Repeat the process with each student before the examination proper; (g) In this case, the remaining time could be the introduction to a three-chord familiarization assessment; (h) End of class routine. Three-Chord Familiarization Assessment Three-Chord Familiarization Assess- ment is a piano-based classroom assess- ment technique in which students play three chords sequentially as instructed by the teacher/s (researchers), with the proper finger position (of the students); during this process, they become familiar with the actual playing of the chords on the piano before the examination (perio- dical test or quarterly assessment). In this assessment technique, the following is an exemplar of the Five-Letter Name Pitch Memory Test under the Piano Music Clas- sroom Assessment Techniques Instruc- tions (step-by-step procedure): (a) The te- acher will first integrate the lesson aligned to piano music; (b) In this case, the teacher might already introduce the assessment; (c) After the lesson, the teacher will ask to play three (basic) chords successively on the student’s dummy keyboard, with pro- per finger positions; (d) This assessment technique should not exceed thirty se- conds for each student to cater to the large class size; (e) The first two chords could be followed by their previous or next chord (e.g. C [major] chord; the next chord could be B minor chord, its previous chord, or D minor chord, the next chord); (f) The third chord should not be followed by its pre- vious or next chord (e.g. if the third chord is E minor, the next chord should not be D minor - its previous chord, or F [major] - its next chord); (g) Further, the teacher could create an undefined or defined word using the letter name for better pitch memory recognition of the student/s (e.g. BEG - B minor, E minor, and G [major]; ACE - A minor, C [major], and E minor); (h) Repe- at the process with each student before the examination proper; (i) In this case, stu- dents are familiarized with the three [ba- sic] chords in a major scale; (j) End of class routine. Discussion The aforementioned research-based music assessment techniques, such as the (a) Music Concept Memory Exercise, (b) Instrumental Schematic Processing, (c) Fi- ve-Letter Name Pitch Memory Test, and (d) Three-Chord Familiarization Assessment, can be used and facilitate understanding through measurement and evaluation met- Figure 4. Traditional Composers, Vocal Schematic Processing Sample Instruction Harmonia: Journal of Arts Research and Education 21 (2) (2021): 192-203200 hods in music education, both for students and teachers. These music assessments could also be used as a core component of an essential scope in the assessment and evaluation of musical learning, deliberate- ly designed to expose classroom teachers and prospective teachers to the essentials for effective instructional practices (Tabu- ena, 2021b; Tabuena, 2021c). Learning and teaching pedagogy approaches have been shifting from teacher-centered to student- centered learning even though the teacher is no longer the only competent and skilled authority but a facilitator of learning (Ta- nyanyiwa & Madobi, 2021). The foundation for assessment and evaluation of learning and teaching is critical to effective teaching, a systematic process that involves the analysis and in- terpretation of data obtained through spe- cific measures to guide the instructional process (Linn & Gronlund, 2000). These research-based music assessment techni- ques can also assist teachers in identifying the most effective ways for their learners to learn as well as notify teachers when a certain technique is not performing pro- perly. Additional advantages include adaptability and timeliness. Many, but not all, of the research-based music classroom assessment strategies, can be employed in a variety of ways and formats. They can be customized to accommodate big or small class numbers or to fit the subject matter being taught; they can be used to measure students’ recall or critical thinking abilities (Miller, 2016). According to Genesee and Upshur (1996), it is vital to understand the factors that influence student performance in the class to organize and deliver appropriate teaching for individual students or groups of students. This entails going beyond achievement evaluation. According to Chastain (1988), teachers must regularly evaluate their instruction based on stu- dent reaction, interest, motivation, prepa- redness, involvement, perseverance, and achievement. The conclusions generated from such an evaluation serve as their primary source of information for deter- mining the efficacy of selected learning activities. With increasing demands on te- achers, such as the need to keep up with rapid technological change, the adoption of learner-centric methods, and differenti- ated learning approaches necessary to de- velop 21st-century student competencies, it is critical to explore new ways to strengt- hen pedagogical practices in order to meet these evolving needs (Allela et al., 2020). CONCLUSION The objective and philosophy of mu- sic education establish a clear direction, outcome, and purpose for assessment in general instructions to guarantee that ap- propriate assessment is used across a va- riety of activities and learning outcomes for each learner’s holistic growth (Tabu- ena, 2020). Additionally, planning class- room assessments requires determining what will be measured and then precisely defining it so that tasks can be constructed that require the desired knowledge, skills, and understanding, all while the assess- ment process is underway, as it reflects various relevant measures in music-re- lated learning outcomes. The identified music assessment procedures were used to determine how well students compre- hended important points in a session or course; these are the instructions for music lessons, including the Music Concept Me- mory Exercise and Instrumental and Vo- cal Schematic Processing, and instructions for basic instrumental music including the Five-Letter Name Pitch Memory Test and Three-Chord Familiarization Assessment. Essentially, students might utilize the pia- no, flute, or any other accessible musical instrument to create instrumental music. The specified research-based music clas- sroom assessment techniques guide and assist teachers in music education’s assess- ment and evaluation processes. Classroom assessment is a collabo- rative process that involves both teachers and students. It is a vital aspect of teaching and learning. Teachers conduct sufficient assessment when they attempt to holisti- Almighty C. Tabuena, et al., Music Assessment Techniques for Evaluating the Students’ 201 cally assess learners’ existing and develo- ping capacities while allowing them to take ownership of the process. This perspective recognizes the diversity of learners inside the classroom, the necessity for numero- us measures of their varying talents and learning potential, and the importance of learners as co-participants in the evalua- tion process. Assessment and evaluation are critical components of good teaching, a systematic process that makes use of data analysis and interpretation gathered through specific measurements to provide direction for the teaching process (Linn & Gronlund, 2000). The researchers recom- mended that educators utilize research- based classroom assessment techniques to collect immediate feedback and assess students’ learning and the effectiveness of teaching practices; additionally, it is recommended that educators assess and evaluate other research-based classroom assessment techniques in music and ot- her disciplines that may aid in improving instruction during the teaching-learning process. REFERENCES Adams, T. E., Ellis, C., & Jones, S. H. (2017). Autoethnography. The international encyclopedia of communication research methods, 1-11. Allela, M. A., Ogane, B. O., Junaid, M. I., & Charles, P. B. (2020). Effectiveness of multimodal microlearning for in-ser- vice teacher training. 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