MUSIC

Grade 7 Teacher’s Guide (Units 1 and 2)

MUSIC TEACHING GUIDE 1: Music of Cordillera I II III IV TARGET GRADE LEVEL: Grade 7 MODULE 1: Music of the Cordillera TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE

The lesson is an overview on the music of the Cordillera or the Highlands of Luzon where several ethnolinguistic groups in the mountains of Cordillera live.. Through the lesson, one will discover how the Cordillerans express their feelings towards each other and the environment, their history, and their supernatural beliefs through the medium of voice and/or musical instruments. A group performance inspired by examples of Cordillera music examples will culminate the educational experience. V    PERFORMANCE STANDARD Analyzes musical elements and processes of Philippine music. Correlates Philippine music to Philippine culture. Performs examples of Philippine music, alone and with others, in appropriate tone, pitch, rhythm, expression and style. COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from the Highlands and Lowlands of Luzon, and describe how the musical elements are used. Explains the distinguishing characteristics of representative Philippine folk music from the Highlands and Lowlands of Luzon, in relation to history and culture of the area. Analyzes the relationship of functions of Philippine music from the Highlands and Lowlands of Luzon, to the lives of the people. Sings accurately representative folk songs from the Highlands and Lowlands of Luzon, alone and / or with others. Performs on available instruments music from the Highlands and Lowlands of Luzon, alone and / or with others. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from the Highlands and Lowlands of Luzon. Explores ways of producing sounds on a variety of sources that would emulate the instruments being studied. Evaluates music and music performances applying knowledge of musical elements and style.

VI  

     

1

VI PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Grade 6 aptitude) VII   CONTENT/TOPIC Music of Cordillera Vocal Music – Hudhud (chanted epic poetry) Instrumental Music- Bamboo Stamping Tubes (Tongatong), Bamboo Pipes in a Row (Saggeypo), Bamboo Buzzers (Bungkaka), Bamboo Jew’s Harp (Kubing), Patteteg (Bamboo Leg Xylophones), Gongs (Gangsa Topayya and Palook) Cultural Context (History and Traditions) – Apayao, Bontok, Ibaloi, Ifugao, Kalinga, Tingguian Composition: Chanted epic poetry, Dances Social Functions: Music for Worship and Rituals, Work (Planting) Performance Styles / Techniques a. CONCEPT MAP •Geography: Cordillera Administrative Region, Rice Terraces
•Types (Vocal, Instrumental)

   

Sociohistorical Context

Musical Forms

The Music of Cordillera
•Ancestral domain vs. State Policies •Manual vs. Machineprocessed farming •Militarization •megatourism

Issues

Musical Context

•Functions (Work, Leisure, Worship, Ritual)

b.

ACTIVITIES & STEPS/ PROCEDURE –

1. Present the K-W-L chart to the students and instruct them to fill up the K and W portions.

2

2. Show the video from http://www.youtube.com/watch?v=zv9mc5JNeg4, a short animation on the Hudhud hi Aliguyon. Ask the students about their insights regarding the short animation (where they think the story comes from and what they think the story is about) 3. Show a map from http://www.cpaphils.org/cordillera/cordimap_pol.htm. Showing the second map from http://www.cpaphils.org/cordillera/cordimap_res.htm, tell them the Cordillerans way of life. See http://www.cpaphils.org/cordillera.htm and http://www.unesco.org/culture/ich/index.php?RL=00015 for more information and visual aids (pictures and videos). 4. Show the video “Hudhud hi Aliguyon (Hudhud Chants of Ifugao)” from http://www.youtube.com/watch?v=sRu0F_LGP9I. Explain the content and prestige accorded to the Filipinos due to this intangible heritage from the Cordillera region. The Hudhud , a chanted epic poetry consisting of poems about heroism, honor, love, and revenge, was declared in 2001 by the UNESCO a Masterpiece of the Oral and Intangible Heritage of Humanity. 5. Ask the students how the video that was shown, reflects the way of life of the Cordillerans. Based on the lecture given in step 2 and the video in step 4, ask the students to fill up the concept map. 6. Group the students into six members per group. Have them write a short poem of 8 lines and compose a melody (chant) to the poem.. 7. Assign an instrument to each group. Have them listen to it and answer the guide questions as they listen: a. What instrument was used in this particular music? What is the function of this music in society? b. Describe the instruments used. What is the instrument made of? How was the music performed? What environmental materials in the classroom may serve as substitutes for these instruments? c. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in bringing about the message of the music?

8. Explain the rubrics for evaluation (performance and instrument construction). Allot time for making instrument substitutes and music practice. Give feedback regarding group practice. 9. Have the students introduce their poem and instrument assigned to them and perform the music by group first their own Hudhud then their instrumental music using improvised instruments. 10. Evaluate the group performance using performance rubrics. 11. Sum up what has been learned using the K-W-L chart (What I know, What I want to know and What I learned about the music of Cordillera). 3

Approaching Proficiency: Appropriate materials. and well-defined dynamic levels. . inconsistent phrasing and dynamics. with creative nuances as indicated in the music score or as suggested by the teacher with reference to style and content. unstable pitch. Decorated within the context of the instrument. Proficient: Focused and clear tone throughout the piece. Approaching Proficiency: Focused and clear tone in the normal ranges. erratic rhythm. some nuances as indicated in the music score or as suggested by the teacher with reference to style and context. pitch and phrasing. Synthesize the lesson by having the students relate their answers in the K-WL chart with that of the Synthesis part (see module). Decorated. VIII SUMMATIVE ASSESSMENT Rubrics for Group Performance    Basic – Unfocused tone. Decorated but messy. unstable pitch. pitch and phrasing. Unfocused tone. some repeated errors in rhythm .12. Neat and Durable. Sound quality lacks similarity with that of the original instrument. Needs work on nuances with reference to style and context. neat.. discernible dynamic levels. Developing: Most materials appropriate.    Rubrics for Designing an Instrument Substitute   Basic: Inappropriate. discernible dynamic levels. Needs work on nuances with reference to style and context. Sound quality almost similar to that of the original instrument Proficient: Appropriate and creatively modified materials. inconsistent phrasing and dynamics. consistent and sensitive phrasing. pitch and phrasing. Developing: Focused tone but inconsistent in the extreme ranges. accurate rhythm and secure pitch. Sound quality most similar to that of the original instrument    4 . with more nuances as indicated in the score or as suggested by the teacher with reference to style and content. more obvious dynamic levels. Neat but fragile. Messy and incomplete materials. some nuances as indicated in the music score or as suggested by the teacher with reference to style and context. Sound quality somewhat similar but not exactly similar to that of the original instrument. isolated errors in rhythm. Developing: Focused tone but inconsistent in the extreme ranges. erratic rhythm. some repeated errors in rhythm .

asp http://www. 7.unesco.htm Maceda.com/watch?v=lb_gKCSLDu0 KubingPatteteg“1-07 Kalinga patteteg (bamboo leg xylophone):” Gangsa“1-02 Kalinga gangsa topayya (flat gongs played with the hands)”: http://www. 5.org/Features/kalinga/pages/page1.org/bpi/intangible_heritage/phillipines. 4.com/watch?v=zv9mc5JNeg4 “Hudhud hi Aliguyon (Hudhud chants of the Ifugao)”: http://www.koleksyon.youtube.com/watch?v=7PjFND2gFjo Saggeypo“1-11 Kalinga saggeypo (bamboo pipes in a row)” Bungkaka“1-08 Kalinga bungkaka (bamboo buzzers)”: http://www. 3.com/watch?v=n8azfI8CLbQ X 1. 2.unesco.org/cordillera. Recordings: Hudhud“Aliguyon the Animation”: http://www. Gongs and Bamboo.php?RL=00015 (with audios and videos already) http://www. GLOSSARY OF MUSIC TERMS & SYMBOLS Hudhud (chanted epic poetry) Tongatong (Bamboo Stamping Tubes) Saggeypo (Bamboo Pipes in a Row) Bungkaka (Bamboo Buzzers) Kubing (Bamboo Jew’s Harp) Patteteg (Bamboo Leg Xylophones) Gangsa Palook(Gongs played with sticks) Gangsa Topayya (Gongs played with hands) 5 . 8.intangible.org/culture/ich/index.youtube.htm http://www.youtube.com/watch?v=0HrbFjYbMiE “1-01 Kalinga gangsa pattung/palook (flat gongs played with sticks)”: http://www. Jose (1998).html (with audios and videos already) http://www.youtube.com/watch?v=sRu0F_LGP9I Tongatong“1-10 Kalinga tongatong (bamboo stamping tubes)”: http://www. Quezon City: University of the Philippines Press.com/filipinoheritage/phil-music/pre-colonial-indigenousmusic. 6.IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings: http://www.cpaphils.youtube.youtube.

Explains the distinguishing characteristics of representative Philippine folk music from the Highlands and Lowlands of Luzon. to the lives of the people. pitch. The Lowlands of Luzon consist of several ethnolinguistic groups. V    PERFORMANCE STANDARD Analyzes musical elements and processes of Philippine music. their history. in appropriate tone.. A group performance inspired by the Lowlands’ musical examples will culminate the educational experience. particularly on the Music for Liturgy and Devotional Music. Explores ways of producing sounds on a variety of sources that would emulate the instruments being studied. alone and / or with others. Throughout the lesson. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from the Highlands and Lowlands of Luzon. and describe how the musical elements are used. rhythm.. 6 VI         . in relation to history and culture of the area. Evaluates music and music performances applying knowledge of musical elements and style. and their religious beliefs through voice and musical instruments. Analyzes the relationship of functions of Philippine music from the Highlands and Lowlands of Luzon. Correlates Philippine music to Philippine culture. COMPETENCIES/OBJECTIVES Analyzes an example of Philippine music from the Highlands and Lowlands of Luzon. one will discover how the people of the Lowlands of Luzon express their feelings towards each other and the environment.MUSIC TEACHING GUIDE 2: Music of the Lowlands of Luzon 1: Music for Liturgay and Devotional Music I II III IV TARGET GRADE LEVEL: Grade 7 MODULE 2: Music of the Lowlands of Luzon 1 TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE The lesson is an overview on the music of the Lowlands of Luzon. Sings accurately representative folk songs from the Highlands and Lowlands of Luzon. Performs on available instruments music from the Highlands and Lowlands of Luzon. alone and with others. alone and / or with others. Performs examples of Philippine music. expression and style.

CONCEPT MAP • Geography: Luzon Lowlands • Spanish colonisation: 1565-1898 • Mass • Vocal forms • Instrumental: Las Pinas Bamboo Organ Sociohistorical Context Musical Forms Music for Liturgy and Devotional Music Issues • Religion • Preservation of culture Musical Context • Worship • Feasts d. ACTIVITIES & STEPS/ PROCEDURE – 13. Pastores. Senakulo and Pabasa ng Pasyon.Las Pinas Bamboo Organ Cultural Context (History and Traditions) – Spanish colonisation. Have the students write the K-W segment of the K-W-L chart. Composition: Songs. Instrumental music Social Functions: Music for Worship and Religious festivities Performance Styles / Techniques: Tiples. Flores de Mayo and Santacrusan Instrumental Music.VI PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Lesson 1: Module 1-2) VII CONTENT/TOPIC Music of the Lowlands of Luzon 1: Music for Liturgy and Devotional Music       Vocal Music – The Mass. Moro-moro/Komedya. Salubong. Christianity and Catholic religion. Dances. 7 . Neumes c.

” After listening to the music. http://bambooorgan. based on how the music reflected the way of life of the people of Lowland Luzon. Domingo. Latin 1.youtube. Panginoon.youtube. 21. Inform the students that during the Spanish period. Gloria 3.org. Lord.com/bamboo_organ. Have them answer the guide questions as they watch: 8 .nhi.14. You may visit http://www. Credo 4.gov. Kordero ng Diyos English 1. CCP) http://www.bambooman. Sumasampalataya 4. Ask the students who among the three colonizing countries introduced Christianity to the Filipinos.com/watch?v=uv2y_goeYxE) and tell the students about it. 16. Assign “I am Proud to be Filipino: The Las Pinas Bamboo Organ” as homework. Play “Gloria from Pequena Misa Solemnis (http://www. Lamb of God 15. http://bambooorgan. Creed 4. inform l the students that this particular Gloria was composed by a Filipino. Ask if anyone of them is familiar with these lines. Fill up the chart as a class. Group the students into five members per group and assign one clip from the video recordings in the resources section of the module. Santo. Papuri sa Diyos 3. Santo 5. Show the remaining videos to the class. young boys used to sing for the mass and they were called tiples.youtube. Play Canticorum Jubilol/Da Pacem Domine (performed by Tiples de Sto. Agnus Dei Filipino 1. Then.ph/downloads/ca0002. 20. 17. have mercy 2. Glory to God 3.php for more details.pdf . have the students read the phrases in Latin (The Mass). Kyrie 2.org/home. Holy 5. Show a picture of the church and the Spaniards’ colonisation. Ask the students to fill up the concept map. 19. 18.com/watch?v=j8aTQhio9Pc). Ask the students’ thoughts about this.com/watch?v=EFFnWd3GHmA. Sanctus 5.htm. and http://www. Explain to the students that these are prayers that are sung in the Mass. Show the video of the Las Pinas Bamboo Organ (Bamboo Organ http://www. Marcelo Adonay: the greatest composer of original liturgical music during the Spanish period. Maawa Ka 2.

consistent phrasing. What I want to know and What I learned about Music for Liturgy and Devotional Music of the Lowlands of Luzon). 23. form) used in bringing about the message of the music? 22. dynamics. 26. and some nuances in style as suggested by the score/teacher. Describe the voice quality used. Summarize what has been learned using the K-W-L chart (What I know. with some nuances in style as suggested by the score/teacher. How was the music performed? Was it effective in bringing about the message? c. With some improvised costumes and/or props but are inappropriate to the music Approaching Proficiency – Focused and clear tone in the normal range. Evaluate the group performance using performance rubrics. Have the students introduce the music tradition assigned to them and perform the music by group. some repeated errors in rhythm. Give feedback regarding group practice. discernible dynamics. rhythm. inconsistent phrasing. Shows no effort in coming up with improvised costumes and/or props Developing – Focused tone but inconsistent in the extreme ranges. accurate dynamics.a. dynamics and shows little or no indication of style and context. unstable pitch. 24. What is the function of the music? What message does it convey? During which particular occasion is this heard? b. accurate and consistent phrasing. pitch. 9 . pitch. VIII SUMMATIVE ASSESSMENT Rubrics for Group Performance Basic – Unfocused tone. 25. erratic rhythm. accurate rhythm and secure pitch with isolated errors. Discuss the rubrics for evaluation (performance and instrument construction). Have the students relate what they have written in the K-W-L chart with the Synthesis segment of the module. How were the varied musical elements (timbre. Allot time for music practice and costume and/or props making.

com/watch?v=WOeIbLIV0L4 Salubong 2010: Sta. consistent and sensitive phrasing and obvious dynamics.be/KdbqViEEuGU Philippine Pasyon (Passion of Christ) http://www.com/watch?v=uv2y_goeYxE Pastores.himig.org/home. accurate rhythm and secure pitch. Domingo.ph/downloads/ca0002.youtube.php Recordings: Gloria from Pequena Misa Solemnis (composed by Marcelo Adonay.com/watch?v=XnHNCdjIwoE&feature=related 10 .pdf http://www. http://www.org http://bambooorgan.com/watch?v=Fsw_z0-JW3Y Inay (Senakulo 2010) http://youtu. with creative nuances in style as a response to the music score With improvised costumes and/or props that are used appropriately to the music IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings: Mirano.youtube.com. Maria.ph/features/49-marcelo-adonay http://bambooorgan.(1992).com/watch?v=EFFnWd3GHmA Bamboo Organ http://www.com/bamboo_organ. Musika An Essay on the Spanish Influence on Philippine Music.gov. Elena Rivera.htm http://www.youtube. CCP) http://www. Bulacan http://www.com/watch?v=3mqMSFv5S3c&feature=related Komedya Ilokana by Ed Antonio http://www.bambooman.nhi.youtube.With some improvised costumes and/or props but are inappropriate to the music Proficient – Focused. clear tone all throughout. CCP Special Publications Office.youtube. performed by Novo Concertante) http://www.com/watch?v=tBxZaiD0roU Panunuluyan (Maytinis) http://www.com/watch?v=j8aTQhio9Pc Canticorum Jubilol/Da Pacem Domine (performed by Tiples de Sto.youtube. A Waray Christmas Tradition http://www.youtube.youtube.

Flores de Mayo () 20. Marcelo Adonay (premiere composer of original Filipino liturgical music.com/watch?v=MPY6hIAnuQE GLOSSARY OF MUSIC TERMS & SYMBOLS 9. Dalit () 19.X Dalit a Pakibat – Dalit 71 “Dalit at Pangadi na ning Metwat’ Mebyasa keng Ginu” http://www.com/watch?v=0abuN_bKAQA Flores de Mayo 2009 Dios te Salve Minalin amanuningbie. Tiples (boys choir) 11.youtube. Santa Cruzan () 11 .com http://www. Panunuluyan () 13. Komedya () 15. Sinulog () 14. Salubong () 18.youtube. Pastores (Christmas songs) 12. Pasyon () 17. Senakulo () 16. the Palestrina of the Philippines) 10.

in relation to history and culture of the area. pitch.MUSIC TEACHING GUIDE 3: Music of the Lowlands of Luzon 2: Spanish Influence in Secular Music I II III IV TARGET GRADE LEVEL: Grade 7 MODULE 3: Music of the Lowlands of Luzon 2 TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE The lesson is an overview on the secular music of the Lowlands of Luzon as influenced by Spanish culture and music. 12 . one will discover how the lowland Filipinos. and describe how the musical elements are used. Explains the distinguishing characteristics of representative Philippine folk music from the Highlands and Lowlands of Luzon. to the lives of the people. Sings accurately representative folk songs from the Highlands and Lowlands of Luzon. their history. through Spanish-influenced dance music and art songs express their feelings towards each other and the environment. alone and / or with others. V PERFORMANCE STANDARD    Analyzes musical elements and processes of Philippine music. Through the lesson. A group musical theatre performance of the songs and dances with an accompaniment on found objects and instruments of the rondalla will culminate the educational experience.   Analyzes the relationship of functions of Philippine music from the Highlands and Lowlands of Luzon. expression and style. Correlates Philippine music to Philippine culture. and their religious beliefs through voice and musical instruments. alone and with others. Performs examples of Philippine music. rhythm. VI   COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from the Highlands and Lowlands of Luzon. in appropriate tone.

VII CONTENT/TOPIC Folk Music of the Lowlands of Luzon       Vocal Music – Harana and Kumintang(song of varied topics).Pandanggo (Pangasinan). Explores ways of producing sounds on a variety of sources that would emulate the instruments being studied.    Performs on available instruments music from the Highlands and Lowlands of Luzon. Polka (LeronLeron Sinta. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from the Highlands and Lowlands of Luzon. Courtship. Catholic religion Composition – Kundiman (art songs). Pamulinawen) Instrumental Music. Instrumental music Social Functions: Music for Festivities and Recreation. Polka (Tagalog. alone and / or with others. Evaluates music and music performances applying knowledge of musical elements and style. Social Commentary and Patriotism Performance Styles / Techniques : Use of the Plectrum 13 . Ilocano) . Rondalla Cultural Context (History and Traditions) – Spanish colonisation. Work (Planting and Farming).

Social Commentary) f. Play the audio of the vocal forms (see links). Composed) Sociohistorical Context Musical Forms Hispanic –influenced Secular Music •Social commentaries •Declaration of Love for a person •Patriotism Issues Musical Context •Functions (Work. II. Ask the students to take a look at the pictures in their worksheet and describe the pictures. Show the map to the students and ask them to identify the provinces of the Lowlands of Luzon. V) •Barrio vs. form) used in bringing about the message of the music? 14 . City •Types (Vocal. III. with their very musical way of expressing their love. were already romantics. and social function. 28. Impress upon the students that the Filipinos. way back. How were the varied musical elements (timbre. cultural context. ACTIVITIES & STEPS/ PROCEDURE – 27. What is the function of the music? What do you think is the message of the music? In what specific occasions is it used? b.VIII PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Modules 3-4) Short recitation on: What are the sacred vocal music and instrumental music forms that were influenced by the Spanish era in the Philippines? Describe each in terms of music elements. Instrumental: Folk. rhythm. pitch. CONCEPT MAP •Geography: Lowland Luzon (Region I. dynamics. 29. Ask the class to listen to and analyze the lyrics of the songs. e. IV inland. Courtship. Festivities and Recreation. Use the following questions as a guide to listening: a.

unstable pitch. some repeated errors in rhythm and pitch. 36. 33. What I want to know and What I learned about Hispanic-influenced secular music). 32. dynamics and shows insensitivity to style and context Developing: Focused tone but inconsistent in extreme range. Have the students introduce the music assigned to them and perform the music as a group. There may be a musical accompaniment on any instrument of the rondalla and/or improvised musical instruments. discernible dynamics. Summarize what has been learned using the K-W-L chart (What I know. incorporating the music assigned. polka (leron. consistent phrasing. Discuss the rubrics for evaluation. Have the students relate what they have written in the K-W-L chart with the Synthesis segment of the module. Have them answer the “How well do you know your Rondalla?” part as an enrichment activity. inconsistent phrasing. 35. Give feedback regarding group practice. kumintang. 31.30. Evaluate the group performance using performance rubrics. VIII SUMMATIVE ASSESSMENT Rubrics for Group Performance   Basic –Unfocused tone. Tell the students that some vocal forms have instrumental counterparts. Allot time for practice. Group the students into five groups and assign one song to each group (harana. 38. Have t them listen to the recordings of the rondalla (and guitar orchestra). Discuss the origin and the instruments of the rondalla ensemble. some nuances in style as suggested by the score/teacher. 37. 34. erratic rhythm. 15 . kundiman. leron sinta and pamulinawen). Ask them to prepare for a short skit (about 5-7 minutes long) set in the Spanish era. have the students complete the concept map on Hispanic-influenced secular music. After the listening session.

(1992). accurate rhythm and secure pitch. clear tone all throughout.  Proficient: Focused. Corazon. with some nuances in style as suggested by the score/teacher. accurate rhythm and secure pitch with isolated errors. Santos.com/~ntamayo/folkdance.ph/filer/Hiyas-descriptions-of-dances. http://pw1.php?igm=1&i=162 Canave-Dioquino.youtube.youtube. with creative nuances in style as a response to the music score.com/watch?v=wF6-i-ROnXU 16 .ncca. accurate dynamics.htm Rural/Barrio Suite. consistent and sensitive phrasing and obvious dynamics.com/watch?v=98HBr8HkIDA Mutya ng Pasig.gov. http://www. Mirano. http://philippineculture.ph/about-culture-and-arts/articles-on-c-na/article.pdf Doon po sa Nayon. accurate and consistent phrasing.seasite. Jonas. Musika An Essay on the Spanish Influence on Philippine Music. Art Music Form. Elena Rivera. http://www. Ramon P. CCP Special Publications Office.netcom.ph/about-culture-and-arts/articles-on-c-na/article. The Lowland Christian Philippines. http://www.niu.html (with audio) Recordings: Philippine Cultural Heritage “HARANA” http://www.ncca. IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings: Baes.gov.php?igm=1&i=147 Hiyas Philippine Dance Company. Westernized Musical Traditions in the Philippines.Conching Rosal http://www.edu/Tagalog/Cynthia/dances/sa_nayon. Music Cultures and Regions. Approaching Proficiency: Focused and clear tone in normal range.

it is a fast-paced dance in triple time. traditionally sung by a young man to a young woman outside the young woman’s house as a profession of his love to her. this song in triple time can be of any topic: love.youtube.Kundiman) http://www. 23. Harana (Spanish ‘jarana’) – serenade. Pandanggo.com/watch?v=0fsBAarQO3g Pandanggo sa Ilaw Instrumental. 22.com/watch?v=ZBiRSRJiWyE Kundiman Mabuhay Singers (Jocelynang Baliwag.com/watch?v=keKTkl90FD4 X GLOSSARY OF MUSIC TERMS & SYMBOLS 21.youtube.com/watch?v=EHKRilht39Y Celso Espejo Rondalla – Magtanim ay di Biro (Planting Rice) http://www.youtube.Music Notation http://www. 24. usually accompanied by a guitar. (Leron-leron Sinta) http://www.originally a war song.com/watch?v=fuF_sxZJ5MA Pamulinawen.com/watch?v=h2Meg05In_w UPGO. It usually starts in a minor key and then goes to the major key.youtube.youtube.Philippine Folk Dance http://www.originating from the fandango of Spain. Kundiman (kung hindi man) – an art song about the love of a man for a woman but can also be about patriotic sentiments.youtube. Usually. resentment. the woman as an object of love and sacrifice of the man representing the Philippines whose countrymen are willing to do sacrifices for freedom. It can also be a dance or a combination of song and dance in this style.a lively dance in duple time.FilAm Veterans Rondalla in Newark CA. 25. dancers use accessories such as hats and lighted candle in a glass 17 .Philippine Folk Song LERON LERON SINTA http://www. Kumintang. or a social commentary. Polka.

Octavina. Bandurria.14-stringed pear-shaped lute with a round sound hole and played with a plectrum.14-stringed lute which is shaped like a small guitar and played with a plectrum. Rondalla. 30. 28. 18 . 29.an ensemble of plucked instruments and sometimes with percussion 27. it plays the alto part or counter melody in the rondalla ensemble. it plays the melody in the rondalla ensemble. It plays the bass part and serves as a rhythmic support. it plays a counter melody or harmony fill-in in the rondalla ensemble. It is bigger than the bandurria. Laud.26. Bajo de Uñas.a bass guitar which looks like a big guitar and is played by a plectrum.14-stringed pear-shaped lute with f-shaped sound holes and played with a plectrum.

pitch. VI   COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from the Highlands and Lowlands of Luzon. forms. their history. and ensembles of the Lowlands of Luzon during the American and Japanese periods. Correlates Philippine music to Philippine culture. alone and with others. Explains the distinguishing characteristics of representative Philippine folk music from the Highlands and Lowlands of Luzon.   Analyzes the relationship of functions of Philippine music from the Highlands and Lowlands of Luzon. to the lives of the people. 19 .MUSIC TEACHING GUIDE 4: Music of the Lowlands of Luzon 3: Philippine Music during the American and Japanese periods I II III IV TARGET GRADE LEVEL: Grade 7 MODULE 4: Music of the Lowlands of Luzon 3 TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE The lesson is an overview on the proliferation of musical genres. one will discover what forms and genres of music survived during the American and Japanese periods in the Philippines and how these expressed the feelings of the people towards each other and the environment. expression and style. rhythm. A group performance of sarswela airs will culminate the educational experience. Performs examples of Philippine music. Through the lesson. V    PERFORMANCE STANDARD Analyzes musical elements and processes of Philippine music. in relation to history and culture of the area. and their religious beliefs. alone and / or with others. Sings accurately representative folk songs from the Highlands and Lowlands of Luzon. in appropriate tone. and describe how the musical elements are used.

Estella). Bituing Marikit (Nicanor Abelardo) Social Functions – Music for Recreation. Balse) Instrumental Music –Symphonic Band (Philippine Constabulary Band). VII CONTENT/TOPIC Folk Music of the Lowlands of Luzon       Vocal Music –Zarzuela (Danza. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from the Highlands and Lowlands of Luzon. Musiko Bumbong Cultural Context (History and Traditions) – American and Japanese periods in the Philippines Composition – Ang Maya (Jose A. Explores ways of producing sounds on a variety of sources that would emulate the instruments being studied. Evaluates music and music performances applying knowledge of musical elements and style. alone and / or with others.    Performs on available instruments music from the Highlands and Lowlands of Luzon. Social Commentary and Patriotism Performance Styles / Techniques – Ensemble Playing 20 .

ACTIVITIES & STEPS/ PROCEDURE – 39. Discuss the zarzuela (you may use Tiongson’s A Short History of the Philippine Sarsuwela as a resource) in depth then play two examples of art songs from two zarzwelas. Musikong Bumbong) Sociohistorical Context Musical Forms Philippine Music during the American and Japanese periods •Resourcefulness as a good Filipino trait •Patriotism Issues Musical Context •Music for Recreation.VIII PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Modules 5-6) Short recitation on: What are the secular vocal music and instrumental music forms that were influenced by Spanish culture and music in the Philippines? Describe each in terms of music elements. and Patriotism g. a waltz/balse. 40. a 21 . and social function. and Bituing Marikit. Discuss that the komedya and zarzuela. Ang Maya. complete the concept map by writing details regarding Philippine Music during the American and Japanese periods on the boxes. •American and Japanese periods in the Philippines •Vocal Music (Sarswela) •Instrumental Music (Symphonic Band. Social Commentary. cultural context. musical theatre forms. Concept Map: Using the readings and links given above. bear Hispanic traits but proliferated more in the American and Japanese periods. Ask the students to view the pictures in their worksheet and describe the pictures.

50. What I want to know and What I learned about Philippine Music during the American and Japanese Period). Group the students into five groups and assign either of the two art songs to each group. form) used in bringing about the message of the music? 41. 49. pitch. arrangement of Mike Velarde’s danza by Maestro Amando San Jose). 42. Summarize what has been learned using the K-W-L chart (What I know. Rizal (a recent symphonic band. What is the function of the music? What do you think is the message of the music? b. How were the varied musical elements (timbre. 47. Allot time for practice. Use the following questions as a guide to listening: a.Ask them to show the similarities or differences between the two in terms of tempo and rhythm. Have them answer the essay on musiko bumbong as an enrichment activity/homework. Evaluate the group performance using performance rubrics. They may add actions and/or a musical accompaniment on the guitar/or improvised musical instruments. 22 . Ask them to rehearse singing it as a group. and the original Dahil Sa Iyo by the Mabuhay Singers. Give feedback regarding group practice. dynamics.danza. 43. rhythm. 44. Have the students relate what they have written in the K-W-L chart with the Synthesis segment of the module. Inform the students that there is also instrumental music during this time. 48. Dahil Sa’ Yo by Banda 8 of Cardona. lead the discussion on musiko bumbong and show the video of the Bamboo Marching Band. 45. Then. Ask the class to listen to and analyze the lyrics of the songs. 46. Let them listen to the recordings of the old Philippine Constabulary Band (Philippine National Anthem). Discuss about the symphonic band (Philippine Constabulary Band). Discuss the rubrics for evaluation. Have the students introduce the music assigned to them and perform the music by group.

dynamics and shows insensitivity to style and context Developing: Focused tone but inconsistent in extreme range. Santos.niu.gov. http://www. with creative nuances to style in response to music score. discernible dynamics. some repeated errors in rhythm and pitch. clear tone all throughout.  Approaching Proficiency: Focused and clear tone in normal range.php?i=590&archive=yes&yr=2008&mn=1. some nuances in style as suggested by the score/teacher. http://www. Music Cultures and Regions.htm Santos. Ramon P. accurate and consistent phrasing. with some nuances in style as suggested by the score/teacher.VIII SUMMATIVE ASSESSMENT Rubrics for Group Performance   Basic –Unfocused tone. unstable pitch.edu.ph/upnewsletter. Art Music Form. consistent phrasing. First-ever festival of komedya held in UP. 23 . Art Music of the Philippines in the Twentieth Century. accurate rhythm and secure pitch.edu/Tagalog/Cynthia/dances/spanish_influence_dance s.ncca. consistent and sensitive phrasing and obvious dynamics. (January 2008) UP Newsletter. accurate dynamics. The Lowland Christian Philippines. RESOURCES: READING & LISTENING MATERIALS – IX REFERENCES/LINKS IN WEBSITE Readings: Canave-Dioquino. erratic rhythm.seasite. Ramon P. http://www.  Proficient: Focused. inconsistent phrasing. accurate rhythm and secure pitch with isolated errors.php?igm=1&i=147 Influido de Espana. Music Cultures and Regions.ph/about-cultureand-arts/articles-on-c-n-a/article. Corazon.up.

N. N. Tiongson.edu/research. vol. Race.bol. CCP Encyclopedia of Philippine Art. Rizal) http://www.com.youtube. and Imperialism: The Philippine Constabulary Band of the American Colonial Era (research abstract). http://mtalusan.youtube. Music.htm. (2009-2010) Musika ng Zarzuela-Sarsuwela: Isang Pagaaral sa Etimolodyi. vol 11/12.com/watch?v=60WaJ84xzlI&feature=related DAHIL SA IYO (ORIGINAL VERSION) – Mabuhay Singers http://www. 6: Philippine Music. Philippine Humanities Review.) (1994). 11/12.Leopoldo Silos http://www. Philippine Humanities Review. Talusan. Recordings/Video: ANG MAYA. (2009/2010) A Short History of the Philippine Sarsuwela (18792009).youtube. Ramon P.youtube.com/watch?v=74pks6lbc4k Dahil Sa’Yo (Banda 8 of Cardona.youtube. Katangian at Kahalagahan sa Isang Uri ng Paghahayagdamdaming Filipino.youtube.ph/features/23-the-himigcollection-features-the-philippine-band-music Tiongson.(Kundiman) Conching Rosal http://www.com/watch?v=sUmQY8JhX_M Philippine National Anthem/ Bagong Pagsilang (MARTSA NG BAGONG LIPUNAN) http://www. Santos. Himig: The Filipino Music Collection of the FHL.com/watch?v=VUd3K4vqAgY (VIDEO) Bamboo Marching Band http://www.ucla. (1994) Musika. (Ed. The Himig Collection features the Philippine Band Music. CCP Special Publications Office. Manila: Cultural Center of the Philippines. Mary. http://himig. vol.Santos.com/watch?v=vw_Gd24E3j8 24 . Ramon P.com/watch?v=L6k_pvOFOgc Kundiman: Bituing Marikit. An Essay on the American Colonial and Contemporary Traditions in Philippine Music.

Philippine Constabulary Band – symphonic band founded by Col. danza – a dance in duple time of Cuban origin 33.X GLOSSARY OF MUSIC TERMS & SYMBOLS 31. this is a musical theatre form incorporating singing and dancing. include percussion instruments 35. balse – waltz. Walter H. usually about love and/or longing for freedom 32. musiko bumbong – an improvised brass band ensemble whose instruments are made out of bamboo 25 . Louis Exposition in 1904 36. symphonic band – an ensemble composed mostly of brass and woodwind instruments and sometimes. sarswela – adapted from the zarzuela of Spain. Loving in October 15. 1902 and is famous for playing in the St. a dance in triple time 34.

Explains the distinguishing characteristics of representative Philippine folk music from Mindoro. Palawan. Performs examples of Philippine music. and describe how the musical elements are used. in relation to history and culture of the area. and the Visayas. alone and / or with others. Palawan. in appropriate tone. and the Visayas. alone and / or with others. Sings accurately representative folk songs from Mindoro. and the Visayas. alone and with others. Analyzes the relationship of functions of Philippine music from Mindoro.MUSIC TEACHING GUIDE 5: Music of Mindoro I II III IV TARGET GRADE LEVEL: Grade 7 MODULE 5: Music of the Mangyan of Mindoro TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE The lesson is an overview on the music of the Mangyans. PRIOR SKILLS & ASSESSMENT – (Formative Assessment of Quarter 1) VI       VI 26 . expression and style. rhythm. and the Visayas. an ethnolinguisticgroup of in Mindoro. COMPETENCIES/OBJECTIVES   Analyzes an example of Philippine folk music from Mindoro. and the Visayas. Correlates Philippine music to Philippine culture. Palawan. Palawan. and their supernatural beliefs through voice and musical instruments. V    PERFORMANCE STANDARD Analyzes musical elements and processes of Philippine music. to the lives of the people. Palawan. Evaluates music and music performances applying knowledge of musical elements and style. Explores ways of producing sounds on a variety of sources that would emulate the instruments being studied. pitch. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from Mindoro. Performs on available instruments music from Mindoro. A group performance inspired by the Mangyan musical examples will culminate the educational experience. Palawan. and the Visayas. It is a discovery of how the Mangyans express their feelings towards each other and the environment. their history.

Gongs (Agong). Instrumental) Sociohistorical Context Musical Forms The Music of Mindoro Issues •Marginalization of culture •Cultural preservation Musical Context •Functions (Work. Leisure. narrative legends). have the students to look at the figure then read and interpret what the words mean to them: (figure and text from www. Ritual) i. Work. Buhid. Hanunoo)  Composition: Chanted Poetry. Sticks (Kalutang)  Cultural Context (History and Traditions) – Oriental Mindoro North Mangyan group (Iraya. Lute (Gitgit). ACTIVITIES & STEPS/ PROCEDURE – 51. Pamuybuyen (legend)  Instrumental Music-Flute (Bangsi). Permission to use needed.org. Marayaw (spirit song). spirit songs. Courtship  Performance Styles / Techniques h. Sleep. Jew’s Harp (Subing). Mt. Then. Have the students write the K-W segment of the K-W-L chart.VII CONTENT/TOPIC: Music of the Mangyan of Mindoro  Vocal Music – Igway (song).mangyan. Halcon •Kaingin •Types (Vocal. Tadyawan. Worship.) 27 . Dances  Social Functions: Music for Worship. Songs (lullaby. CONCEPT MAP •Geography: Mindoro. Alangan) and South Mangyan group (Batangan.

If united we remain and our bond is strong and pure. 55.org/tribal.org/system/files/images/mindoro-ethnographicmap-thumb. 54. Tell the background of the clip before playing. you and I. Play several clips from Nostalgia from a Denuded Forest or any of the YouTube videos in the resources section of the module. Show a map from http://www. Have them answer the guide questions as they listen: a. Group the students into five members per group and assign one clip from the musical recordings in the resources section of the module. Describe the instruments / voice quality used.mangyan. ask the students to complete the Concept Map on Mangyan Music (Socio-cultural context. pitch. it's like holding hands again. 53.html for more information and pictures. How were the varied musical elements (timbre.org/content/mangyan-groups. See http://www. Based on the information given on steps 2 and 3.jpg and tell them how the Mangyan have lived and practised their way of life and culture. rhythm. Kung buklod ay matibay Maayos ang samahan Ikaw nga at ako man Magkahawak ng kamay Wari'y nasa kandungan! 52. dynamics.mangyan.eccmanila. How was the music performed? Was it effective in bringing about the message? What instrumental substitutes can be used using environmental materials present in the classroom? c. issues. form) used in bringing about the message of the music? 28 . far as we are. musical forms and musical context) 56. Pictures from Gongs and Bamboo by Jose Maceda can also be shown to supplement the listening examples. Ask the students how the music listened to or videos reflects the way of life of the Mangyan. What is the function of the music? What do you think is the message of the music? b. it's like sitting side by side. Tell the students that the preceding example is from the Ambahan or chanted poetry of the Mangyans of Mindoro. or http://phch.

61. dynamics and shows insensitivity to style and context Developing: Focused tone but inconsistent in extreme range. 58. erratic rhythm. with some nuances in style as suggested by the score/teacher. Summarize what has been learned using the K-W-L chart (What I know. What I want to know and What I learned about the music of Mindoro). with creative nuances in style as a response to the music score. Messy and Incomplete materials. discernible dynamics. 59. 60.57. clear tone all throughout.   Rubrics for Designing an Instrument Substitute     Basic: Inappropriate. Neat but fragile. consistent and sensitive phrasing and obvious dynamics. Proficient: Focused. Approaching Proficiency: Focused and clear tone in normal range. Sound quality lacks similarity with original instrumental timbre Developing: Most materials appropriate. 29 . Discuss the rubrics for evaluation (performance and instrument construction). accurate dynamics. Approaching Proficiency: Appropriate materials. Allot time for making instrument substitutes and music practice. Have the students introduce the music assigned to them and perform the music by group vocally or instrumentally using improvised instruments. Decorated. inconsistent phrasing. Decorated but messy. consistent phrasing.. accurate rhythm and secure pitch. VIII SUMMATIVE ASSESSMENT Rubrics for Group Performance   Basic –Unfocused tone. some repeated errors in rhythm and pitch. Sound quality more similar to that of the original instrument Proficient: Appropriate and creatively modified materials. some nuances in style as suggested by the score/teacher. Decorated within the context of the instrument. Sound quality somewhat similar to that of the original instrument. accurate and consistent phrasing. Give feedback regarding group practice. Evaluate the group performance using performance rubrics. Have the students relate what they have written in the K-W-L chart with the Synthesis segment of the module. Sound quality most similar to sound quality of original instrument. unstable pitch. neat. accurate rhythm and secure pitch with isolated errors. Neat and durable.

subing/jew’s harp): http://www. Pamuybuyen (legend) 40.html Maceda. Recordings: Nostalgia in a Denuded Rainforest (Jonas Baes.org/tribal.com/watch?v=WmRNuODRpkY&feature=mfu_in_order&li st=UL (Hanunoo lullaby): http://www.eccmanila. Marayaw (spirit song) 39. Kalutang (sticks) 30 . Igway (song) 38.com/watch?v=raKyqAHrfTk&feature=related (Hanunuo gitgit/fiddle): http://www.mangyan.com/watch?v=JlT1C45zKPc (ambahan): http://www. Bangsi (flute) 41.IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings: http://www.com/watch?v=WmRNuODRpkY&feature=mfu_in_order&li st=UL (Hanunuo kalutang/sticks): http://www.youtube.com/watch?v=YTinJUZ5-UE&feature=related (Mangyan Tigian Dance Ritual – a ritual done for the purpose of seeking truth and justice): http://www. Jose (1998).youtube.com/watch?v=O3wMRdJjkNc&feature=related X GLOSSARY OF MUSIC TERMS & SYMBOLS 37. Quezon City: University of the Philippines Press.youtube. Subing (jew’s harp) 42.youtube.youtube. (Mangyan instrumental music: bangsi/flute.org http://phch. NCCA) – Recordings and Background Information on the music of Iraya Mangyan. Agong (gongs) 44.com/watch?v=_PPu89zCScI&feature=related (Iraya Mangyan igway lullaby): http://www.youtube.com/watch?v=NMyZ3K63E-M&feature=related (Modern Mangyan song): http://www.youtube.youtube. Gitgit (lute) 43. Gongs and Bamboo.

Explores ways of producing sounds on a variety of sources that would simulate the sound of instruments being studied. Analyzes the relationship of functions of Philippine music from Palawan to the lives of the people.MUSIC TEACHING GUIDES 6: Music of Palawan I II III IV V    TARGET GRADE LEVEL: Grade 7 MODULES 6: Music of Palawan TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE PERFORMANCE STANDARD Analyzes musical elements and processes of Philippine music. Explains the distinguishing characteristics of representative Philippine folk music from Palawan in relation to history and culture of the area. Performs examples of Philippine music. rhythm. Evaluates music and music performances applying knowledge of musical elements and style. COMPETENCIES/OBJECTIVES         Analyzes an example of Philippine folk music from Palawan and describes how the musical elements are used. alone and with others. Correlates Philippine music to Philippine culture. Sings accurately representative folk songs from Palawan alone and / or with others. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from Palawan. expression and style. with appropriate tone. pitch. VI VI PRIOR SKILLS & ASSESSMENT – Have the students fill up the K-W-L chart on the music of Mindoro. Performs on available instruments music from Palawan alone and / or with others. 31 .

Ulit (Shamanic chant)  Instrumental Music: aruding (Jew’s harp). Kudaman)  Social Functions: Ritual Music. pagang (bamboo zither)  Cultural Context (History and Traditions): Soundscape. CONCEPT MAP •Nature •Interaction among groups •Language •Kulial •Epics •Instruments Sociohistorical Context Musical Forms The Music of Palawan Issues •Cultural Preservation •Sustainable EcoTourism Musical Context •Music in Ritual •Soundscape •Creativity b. basal (gong). Music for entertainment  Performance Styles / Techniques: Onomatopeia. Epics  Composition: Bird songs. Bagit Bird Scale (no half steps) and Kulial Scale (with half steps). kusyapiq (lute).VII CONTENT/TOPIC  Vocal Music: Bagit. Karang (Sung-Spoken dialogue). Tultul (Epic chant). Music for work. suling (banded flute). Kulial songs. babarak (ring flute). 32 . Epics (i. Have the students view the picture of the Underground River and imagine the sounds heard within and outside the Underground River. Magibut (playing together). Music for expressing contrasting emotions.e. Music suggesting/representing elements of nature. ACTIVITIES & STEPS/ PROCEDURE 1. Kulial (Songs). Lumbaga (Shamanic chant about the voyage of the soul) a.

7. Have them read the articles on Palawan music on the readings segment. VIII SUMMATIVE ASSESSMENT – Rubrics for Simple Notated Musical Work    Basic: Incomplete composition. 4. not legible with some of the required musical elements Developing: Basically legible with half of the required musical elements Approaching Proficiency: Creative . complete the concept map using information and insights understood from the readings.ph/tautbato/arts/gallery-template. They may use lyre or recorder/bamboo flute as melody instruments. Discuss the students’ answers to the guide questions.scribd. imagine the sounds heard within and outside of the e Underground River and recreate the soundscape using vocal improvisation. Explain the rubrics for composition and performance and move around to guide the students as they compose. Read the guide questions for listening and listen to the kulial song once more. 6. Listen to an example of a kulial song from the recording resources segment. Group the students into five per group. The music may be played once more after all the questions have been answered. Pair the students and ask them to compose their own kulial using the C major scale. 10.edu. have them view the pictures in the student guide or project a slideshow from http://www. As the students listen. Go around and select three groups who will perform their improvisations in class. 9. Listen to musical examples from the resources segment of this module. legible.2. Notation can be traditional symbolic (notes) for advanced students or non-traditional using letters on top of the lyrics for beginning students.com/doc/26842427/PalawanMusic or http://wpu. Have the students perform their own eight-line kulial vocally and instrumentally using the lyre or bamboo flute/recorder.html 5. 3. As a group. Extension activity: Using the Palaw’an and Tagbanua alphabet. most musical elements complete 33 . Group Activity: In groups of five per group. have the students decode their kulial on the table given in the student guide. Ask the students to do a K-W-L chart of the music of Palawan. 8.

php The Arts of Tau’t Bato http://wpu. accurate rhythm and secure pitch. “Gawad Manlilikha ng Bayan MASINO INTARAY and the Basal and Kulilal Ensemble” http://web.scribd.gov. Proficient: Focused.edu. (2007). some repeated errors in rhythm and pitch. clear tone all throughout. Proficient: Highly creative.ph/index. Palawan Soundscape. most legible.upd.php Recordings / Videos: http://www. De Leon. Approaching Proficiency: Focused and clear tone in normal range.org/web/20060716025744/http://www. erratic rhythm. consistent phrasing.edu. http://www. some nuances in style as suggested by the score/teacher. discernible dynamics. Felipe Jr.omniglot.ncca.com/doc/26842427/Palawan-Music (Powerpoint Presentation) (The Vanishing Batak Tribe) http://www.   IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings and Resources: Palawan Provincial Government. accurate dynamics.php/socialsciencediliman/article/viewDownlo adInterstitial/1238/1273 Revel.ph/tautbato/arts/gallery-template. Oral Tradition. 11/1 (1996): 108-132. with creative nuances in style as a response to the music score.archive. accurate and consistent phrasing. complete required musical elements Rubrics for Performance of Creative Work   Basic –Unfocused tone. inconsistent phrasing and dynamics with little or no reference to style and context Developing: Focused tone but inconsistent in extreme ranges . 78-90 http://journals.youtube.com/language/articles/vanishingbataks.com/watch?v=zytxR8X8E9Q&feature=related (basal / gong and drum ensemble) 34 . This is Palawan: The New Frontier.com/watch?v=M7a-Hh6VPuc&feature=related (kulial / symbolic lovesong) http://www. Kudaman: An Oral Epic in the Palawan Highlands.youtube. with some nuances in style as suggested by the score/teacher. Nicole M. unstable pitch. accurate rhythm and secure pitch with isolated errors. consistent and sensitive phrasing and obvious dynamics. Nicole M.ph/about_c ultarts/cultprofile/gamaba/intaray. SOCIAL SCIENCE DILIMAN (January-December 2007) 4:1-2. (1996).html (article and video) Revel.

youtube.youtube.youtube. Copyright by the author. Babarak / flute Kulial / Song Ulit / Spirit song Comparative Glossary of Mindoro and Palawan Music.com/watch?v=QGhnUjYvcMU&feature=related (babarak / ring flute) http://www.com/watch?v=Zaf18Y9jVuI&feature=related (dance theatre) X GLOSSARY OF MUSIC TERMS & SYMBOLS Voice Mindoro: Instruments Mindoro: Subing / Jew's harp Gitgit / lute Agung / gong Bangsi / flute Igway / Song Marayaw / Spirit song Palawan: Palawan: Aruding / Jew's harp Kusyapiq / lute Basal / gong Suling. 35 .com/watch?v=2dR1e7BGFUo (Kudaman epic excerpt) http://www.youtube.com/watch?v=k1QTjPLRb6k&feature=related (aruding / Jew’s harp) http://www.http://www.

Tultogan c. rhythm. Lullaby. VII CONTENT/TOPIC / CONCEPT MAP Folk Music of the Visayas a. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from the Visayas. alone and with others. Kanta (Ballad. expression and style. COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from the Visayas.MUSIC TEACHING GUIDES 7: Music of the Visayas I II III IV V    VI         VI TARGET GRADE LEVEL: Grade 7 MODULES 7: Music of the Visayas TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE PERFORMANCE STANDARD Analyzes musical elements and processes of Philippine music. Explores ways of producing sounds on a variety of sources that would simulate the sound of instruments being studied. with appropriate tone. Sings accurately representative folk songs from the Visayas. Performs on available instruments music from the Visayas. alone and / or with others. alone and / or with others. Instrumental Music: Rondalla. Evaluates music and music performances applying knowledge of musical elements and style. PRIOR SKILLS & ASSESSMENT Have the students fill up the glossary from Module 3-4. Composition 36 . pitch. Balitao (Sung debate). Explains the distinguishing characteristics of representative Philippine folk music from the Visayas. Pastores (Christmas) . Courtship) b. Cultural Context (History and Traditions) d. Correlates Philippine music to Philippine culture. and describes how the musical elements are used. Analyzes the relationship of functions of Philippine music from the Visayas to the lives of the people. in relation to history and culture of the area. Performs examples of Philippine music.

are you familiar with the folk music of the Visayas?” 2. Show a map of the Visayas and identify the places where these festivals occur. Ask them why such festivals are held and how music enhances the festival. Have the students view pictures or videos of different festivals in the Visayas such as the Sinulog of Cebu.au/dspace/bitstream/2440/20676/1/09phc13 5. “Aside from music in festivals. Dinagyang of Iloilo. Performance Styles / Techniques •Christianity •Music in Ritual •Balitao •Composo •Tayuyon •Rondalla Sociohistorical Context Musical Forms The Music of the Visayas Performance Techniques •Tayuyon Expression in song. Maskara of Bacolod and Ati-Atihan of Aklan. Ask the students what they remember in terms of the Visayas in Philippine history. what is the message and function of the music?  How are the musical elements used to put the message across? 4.library. Have the students answer the following questions:  In your own opinion. The article written by Alice Magos can be used as a source and reference. 3. dance and music Musical Context •Paraliturgical folk music ACTIVITIES & STEPS/ PROCEDURE 1. Ask. Have the students read the summary of Cainglet on characteristics of West Visayan song http://digital. Social Functions f.edu.e. Listen to examples of Visayan vocal and instrumental music from the recordings section of the module.pdf. 37 .adelaide.

Have the students reflect on their performance by asking the questions:  How was my performance as a whole? How can my performance be improved? VIII SUMMATIVE ASSESSMENT Rubrics for Performance of Creative Work   Basic –Unfocused tone. clear tone all throughout. Maria Colina.ac. with more nuances in style as suggested by the score/teacher. Philippine Folk Dances and Songs. 187. Group the students and using the resources segment of the module. have the students study the notated examples of balitao by Gutierrez and the recordings in the resources segment. http://nirc.pdf 38 .   IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Department of Education (1966).5. Quezon City: University of the Philippines Press. unstable pitch. consistent and sensitive phrasing and obvious dynamics. some nuances in style as suggested by the score/teacher. 8.nanzanu. Approaching Proficiency: Focused and clear tone in normal melodic ranges. with creative nuances to style in response to music score.jp/publications/afs/pdf/a128. accurate rhythm and secure pitch with isolated errors. 9. accurate dynamics. Listen to Visayan musical examples and point out the musical characteristics enumerated by Cainglet. Practice the balitao per group with chordal accompaniment on the guitar or rondalla or keyboard. 7. Philippine Folk Literature Anthology. 6. Perform the balitao per group as a culminating activity. Gutierrez. Eugenio. accurate rhythm and secure pitch. 215. some repeated errors in rhythm and pitch. discernible dynamics. Proficient: Focused. pp. accurate and consistent phrasing. Manila: Bureau of Public Schools. Give time for group practice and supervise the groups as they practice their assigned songs. consistent phrasing. 130. The Cebuano Balitao and how it mirrors visayan culture and folk life. inconsistent phrasing and dynamics with minimal sensitivity to style and context Developing: Focused tone but inconsistent in extreme melodic ranges. erratic rhythm. Damiana (2007).

369. 365-366.ncca.ph/filer/toledo-cebu/Spanish-influences-in-song.com/watch?v=VWcOxwhWkUw&feature=related http://www.gov.youtube. Manila: National Commission for Culture and the Arts.pdf Visayan Balitaw: Arimunding-munding -Jovita Fuentes (circa 1930) http://www. Track 25 . Christine. Peters.Pastores (Bohol). National Commission for Culture and the Arts. 345348. National Commission for Culture and the Arts. Recordings: Composo 2011 Competition: http://www. Peters. Joseph.php?igm=1&i=161 http://philippineculture. pp. 365-366. ed. Sonic Orders in ASEAN MUSIC Volume 1. National Commission for Culture and the Arts (2001).Hiligaynon Literature: http://www.youtube.Pastores (Bohol).Rosas Pandan performed by the Loboc Children’s Choir: http://www. (2003). Track 25 .com/watch?v=299lMxuDhuo&feature=related Muyco. Track 28 – Balitao (Bohol). Track 28 – Balitao (Bohol).ph/about-culture-and-arts/articleson-c-n-a/article. Singapore: ASEAN Committee on Culture and Information. ed. Scott. Singapore: ASEAN Committee on Culture and Information. pp. 345348.gov.php?igm=1&i=137 Muyco. Looking for the Prehispanic Filipino. Sonic Orders in ASEAN MUSIC Volume 1.com/watch?v=v6PVPSecsek&feature=related 39 .youtube.youtube. 104-156. Tayuyon Music of the Panay Bukidnon of Western Visayas. Tayuyon Music of the Panay Bukidnon of Western Visayas. (2003). Joseph.ph/about-culture-and-arts/articles-on-c-na/article. William Henry (1992). Rondalla performance of Rosas Pandan: Traditional Forms of Music: http://www.com/watch?v=jDdngigleUA Visayan Folk Song . Philippine Cultural and Artistic Landmarks of the Past Milllenium. 369.ncca. Christine. pp. Quezon City: New Day Publishers.

Babarak / flute Palawan: Kulial / Song Ulit / Spirit song Visayas: Balitao. Composo / Song Tayuyon / Song and dance Visayas: Subing / Jew's harp Ah gong / gong Gitara / lute 40 .X GLOSSARY OF MUSIC TERMS & SYMBOLS Voice Mindoro: Igway / Song Marayaw / Spirit song Instruments Mindoro: Subing / Jew's harp Gitgit / lute Agung / gong Bangsi / flute Palawan: Aruding / Jew's harp Kusyapiq / lute Basal / gong Suling.

MUSIC TEACHING GUIDES 8: Instrumental Music of the Visayas I II III IV TARGET GRADE LEVEL: Grade 7 MODULE 8: Music of the Visayas TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE The module is an introduction to selected instrumental music from the Visayas such as the Binanog Music Ensemble of Panay Bukidnon. COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from the Visayas. Performs on available instruments music from the Visayas. in appropriate tone. and describe how the musical elements are used. Sings accurately representative folk songs from the Visayas. alone and / or with others. in relation to history and culture of the area. to the lives of the people. Correlates Philippine music to Philippine culture. Tultogan Bamboo of Maasin. rhythm. expression and style. Analyzes the relationship of functions of Philippine music from the Visayas. The module includes listening to and viewing of said instrumental ensembles. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from the Visayas. alone and / or with others. Iloilo and Rondalla of Silay-on. Evaluates music and music performances applying knowledge of musical elements and style. VI 41 . PRIOR SKILLS & ASSESSMENT Have the students fill up the glossary from Module 5-6. pitch. PERFORMANCE STANDARD    VI         Analyzes musical elements and processes of Philippine music. Performs examples of Philippine music. Explains the distinguishing characteristics of representative Philippine folk music from the Visayas. alone and with others. Negros. Explores ways of producing sounds on a variety of sources that would simulate the sound of instruments being studied. Making improvised instruments from bamboo materials and/or playing simple folk songs on rondalla instruments will culminate the learning experience.

Ask the students to fill out the chart on elemental music. Listen to excerpts of rondalla. 4. Chordal / Contrapuntal accompaniment of Rondalla g. 2. Dance. and Ritual  Performance Styles / Techniques: Oral tradition. Concept Map •Elemental Music •Spanish influences •Music in Ritual Sociohistorical Context Musical Forms •Tultogan •Tayuyon •Rondalla Performance Techniques Musical Context •Oral tradition •Rhythmic modes •Chord. 42 . Ask the class to make a vocal soundscape of the given elements through a vocal improvisation. Counterpoint •Music for Celebration and Ritual ACTIVITIES & STEPS/ PROCEDURE 1. 5. Introduce the students to the idea of elements in nature and in sound. rondalla (Santos) and binanog (Muyco) found on the resources segment of the module. Read the program notes and reading materials on the tultogan (Iloilo Festival). tultogan. binanog) and have them make a musical map of what they heard. MUSICAL MAPPING: Assign musical examples for each student (rondalla. Tultogan. 6. 3. Rhythmic Modes of Binanog (Panay). Music in Entertainment  Composition: Bird Dance Binanog (Panay Bukidnon)  Social Functions: Music for Celebration. Discuss their answers. Binanog  Cultural Context (History and Traditions): Music in Ritual. Connect the previously listened musical excerpts to the pictures and connect the sound heard with the picture of the ensemble.VII CONTENT/TOPIC  Folk Music of the Visayas  Instrumental Music: Rondalla. tultugan and binanog from the resources segment.

ncca. Improvising tultogan/binanog instruments or using rondalla instruments. To end the session. dynamics and shows minimal sensitivity to style and context  Developing: Focused tone but inconsistent in extreme melodic ranges. http://nirc.ph/about-culture-and-arts/articleson-c-n-a/article. clear tone all throughout.html Eugenio. ask the students to fill out their journal entry regarding their performance.com/2012/01/binanogfestival-of-lambunao-capturing. APPLICATION: Discuss the rubrics for performance / product. unstable pitch. consistent and sensitive phrasing and obvious dynamics. discernible dynamics. 10. accurate and consistent phrasing.blogspot. accurate rhythm and secure pitch with isolated errors. pp. CULMINATING ACTIVITY: Perform the musical ensemble assigned to each group. 130.gov. Manila: Bureau of Public Schools.pdf Hiligaynon Literature: http://www. Quezon City: University of the Philippines Press. accurate dynamics.php?igm=1&i=137  43 . Ask the students to fill out the concept map of what they have learned per group.nanzanu. inconsistent phrasing. 11. Damiana (2007). Philippine Folk Dances and Songs. accurate rhythm and secure pitch.ac. 187. IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Department of Education (1966). with some nuances in style as suggested by the score/teacher. 9. Binanog Dance: http://mybeautifuliloilo.  Proficient: Focused. some repeated errors in rhythm and pitch.  How was my performance as a whole? How can my performance be improved? VIII SUMMATIVE ASSESSMENT Rubrics for Performance of Creative Work Basic –Unfocused tone. Maria Colina.7. 8. Group the students according to the musical example they listened to and discuss their answers with their group mates. Gutierrez. The Cebuano Balitao and how it mirrors visayan culture and folk life. erratic rhythm.  Approaching Proficiency: Focused and clear tone in normal melodic ranges. 215. with creative nuances in style as a response to the music score. consistent phrasing. some nuances in style as suggested by the score/teacher. Philippine Folk Literature Anthology. have the students practice the music assigned to them.jp/publications/afs/pdf/a128.

ph/philippine-festival/december/tultuganfestival-drum-bamboo-maasin-iloilo/ Maceda. http://www.gov. Looking for the Prehispanic Filipino.php?igm=1&i=161 http://philippineculture.nfo. Jose.Iloilo Festivals: http://festival. Christine. http://festival. Manila: National Commission for Culture and the Arts. Drum. Wooden Percussion Ensemble 44 .ph/philippine-festival/december/tultugan-festival-drumbamboo-maasin-iloilo/ Recordings: Muyco. 104-156. Tayuyon Music of the Panay Bukidnon of Western Visayas.org/stable/833808?seq=2 Muyco. Tayuyon Music of the Panay Bukidnon of Western Visayas. http://cuerdasfestival. pp.youtube. National Commission for Culture and the Arts (2001).php?pid=58 Scott.nfo. 14-17. Quezon City: New Day Publishers. National Commission for Culture and the Arts. Santos. “Means of Preservation and Diffusion of Traditional Music: The Philippine Situation” in Asian Music 2:1.jstor. Philippine Cultural and Artistic Landmarks of the Past Milllenium. William Henry (1992). Ramon.ph/about-culture-and-arts/articles-on-c-na/article. Christine.com/watch?v=v6PVPSecsek&feature=related Tultogan Competition Maasin X GLOSSARY OF MUSIC TERMS & SYMBOLS Tultogan Rondalla Binanog • Bamboo and Drum Ensemble • Plucked Lute Ensemble • Gong.ncca.com/about-the-festival.ph/filer/toledo-cebu/Spanish-influences-in-song. National Commission for Culture and the Arts. Rondalla playing Rosas Pandan: Traditional Forms of Music: http://www.pdf http://www.