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MUSIC LEARNING MODULES 9-10: Selected Vocal Music of Mindanao I II III IV TARGET GRADE LEVEL: Grade 7 MODULES 1: Music of Mindanao

TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE

The module is about selected vocal music from Mindanao. The analysis of the music is done using musical mapping as well as socio-cultural influences on the music. An application of the lesson involves singing familiar folk songs from Mindanao with appropriate expression, tone and style that is reflective of the function of the music. V
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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 Mindanao and describe how the musical elements are used. Explains the distinguishing characteristics of representative Philippine folk music from Mindanao in relation to history and culture of the area. Analyzes the relationship of functions of Philippine music from Mindanao to the lives of the people. Sings accurately representative folk songs from Mindanao alone and / or with others. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from Mindanao. Evaluates music and music performances applying knowledge of musical elements and style.

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CONTENT/TOPIC :  Vocal Music of Mindanao  Vocal Music: Epic: Darangen (Maranao); Lullabye: angan bata-bata (Tausug); Love and Courtship: Batac inanen, estijaro (Tagacaolo), bandayuy ( Matigsalog), antang (Manobo, for match-making) and sindaay, tarasul (Tausug); Entertainment songs: dangdang-ay, bayok (Mandaya), and the limbay (Manobo)

org/culture/ich/index.html IX ACTIVITIES EXPLORING MINDANAO: Using the interactive map from http://www.cs.php?igm=1&i=161 Recordings / Videos: Darangen epic UNESCO: http://www. Music for entertainment  Performance Styles / Techniques: Melismatic.nl/Groups.php?igm=1&i=158 Interactive Map of the Philippines and Major Ethnic Groups: http://www.org/liner_notes/folkways/FW04536. Ramon P. Before learning the music. The Music of the Maguindanao of the Philippines.ncca.nl/Groups. . Indigenous Music of the Philippines. let us find out what you already know. Traditional Forms of Music. Epics.ph/about-culture-and-arts/articles-on-c-n-a/article. Corazon C. The culture of Mindanao is as colorful as the geography and the peoples who live in Mindanao.gov.net/Song&MusicofZamboanga. http://www. Syllabic Singing VIII RESOURCES Readings and Resources: Dioquino.youtube.kipas.php?lg=en&pg=00011&RL=00159#video Calasiao singing pokpok alimpako : http://www.gov.ncca.smithsonianfolkways.de/~brandeis/Videos_MindanaoLumad.kipas.ph/about-culture-and-arts/articles-on-c-n-a/article.com/watch?v=ePSdnktzO-g Zamboanga chavacano songs “No Te Vayas” and “Zamboanga Hermosa”: http://www. Jose.htm#.pdf Santos. http://www.htm Maceda.zamboanga. Lullabies.htm Hans Brandeis Videos on the Music of Mindanao: http://user.tu-berlin. Cultural Context (History and Traditions): Functional Songs. Music for work. http://media. can you find the some major ethnic groups? List down at least three ethnic groups. Ritual Songs  Social Functions: Ritual Music.unesco.

You may add additional boxes per song. pitch. What is the function of the music? What do you think is the message of the music? b. Write your map on the boxes below. form) used in bringing about the message of the music? MUSICAL MAPPING: This time. You may focus on a particular musical element as you listen (vocal tone. Santos. Using the reading as well as the videos you have watched. Dioquino. complete what you have understood about the vocal music of Mindanao by filling up the concept map. rhythm. Brandeis. Music of Mindanao What I Know What I want to Know What I've learned GUIDED LISTENING: Listen to examples of vocal music from Mindanao from the resources segment. rhythm of the song. let us watch/listen once more to the musical examples and try to map out using lines/graphic notation what you hear.K-W-L Chart: Write what you currently know about the music of Mindanao under column 1 and what you want to know about the music of Mindanao under column 2. How were the varied musical elements (timbre. . melodic line. Reflect on: a. Darangen Pok-Pok Alimpako No Te Vayas Read the paragraph about the vocal music of Mindanao by Maceda. dynamics. thick or thin texture of the music).

dynamics and shows insensitivity to style and context Developing: Focused tone but inconsistent in extreme range. etc). with some nuances in style as suggested by the score/teacher. some repeated errors in rhythm and pitch. Its many forms show the creative expressions that Filipinos use in order to express the emotions. consistent phrasing. X ASSESSMENT Rubrics for Performance   Basic –Unfocused tone. . events and word view. with creative nuances to style in response to music score. accurate rhythm and secure pitch. some nuances in style as suggested by the score/teacher. discernible dynamics. accurate and consistent phrasing. inconsistent phrasing. Christian.Sociohistorical Context Musical Forms Vocal Music of Mindanao Performance Techniques Musical Context APPLICATION: In groups of 10 per group. accurate rhythm and secure pitch with isolated errors. Muslim Filipinos. consistent and sensitive phrasing and obvious dynamics. SYNTHESIS   XI The vocal music of Mindanao is a reflection of the natural and spiritual life of the various people in the area: Lumad. unstable pitch. Proficient: Focused. erratic rhythm. Be ready to perform the song in class next meeting. clear tone all throughout. Pay particular attention to the function of the song and how the song is performed in the socio-cultural setting. Brandeis. study some of the songs from Mindanao using the video resources (UNESCO. accurate dynamics. Approaching Proficiency: Focused and clear tone in normal range.

Lullabye: angan bata-bata (Tausug). COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from Mindanao and describe how the musical elements are used. Love and Courtship: Batac inanen. tone and style that is reflective of the function of the music. Evaluates music and music performances applying knowledge of musical elements and style. pitch. Explains the distinguishing characteristics of representative Philippine folk music from Mindanao in relation to history and culture of the area. An application of the lesson involves singing familiar folk songs from Mindanao with appropriate expression. for match-making) and sindaay. Correlates Philippine music to Philippine culture. in appropriate tone. Analyzes the relationship of functions of Philippine music from Mindanao to the lives of the people. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from Mindanao. alone and with others. Entertainment songs: dangdang-ay. The analysis of the music is done using musical mapping as well as socio-cultural influences on the music. antang (Manobo. V    PERFORMANCE STANDARD Analyzes musical elements and processes of Philippine music.MUSIC LEARNING MODULES 1-2: Selected Vocal Music of Mindanao I II III IV TARGET GRADE LEVEL: Grade 7 MODULES 1: Music of Mindanao TIME ALLOTMENT: 2 Hours OVERVIEW OF THE MODULE The module is about some selected vocal music from Mindanao. bayok (Mandaya). and limbay (Manobo) . rhythm. VI       VII CONTENT/TOPIC :  Vocal Music of Mindanao  Vocal Music: Epic: Darangen (Maranao). Sings accurately representative folk songs from Mindanao alone and / or with others. expression and style. tarasul (Tausug). estijaro (Tagacaolo). Performs examples of Philippine music. bandayuy ( Matigsalog).

As a group. The music may be played once more after all the questions have been answered. Music for work. CONCEPT MAP •Nature •Interaction among groups •Spirituality Sociohistorical Context Musical Forms •Epics • Love and Courtship •Entertainment songs •Work and Lullabies •Ritual Songs Vocal Music of Mindanao Performance Techniques Musical Context •Melismatic •Syllabic •Music in Ritual •Improvisation •Creativity b. Ask the students to do a K-W-L chart of the music of Mindanao. Ritual Songs  Social Functions: Ritual Music. have the students map out what they hear using the musical map per song. Santos or Brandeis. 3. . 4. Dioquino. Group the students into ten per group. ACTIVITIES & STEPS/ PROCEDURE 1. Have the students explore the ethnic groups in Mindanao using the interactive map from kipas. complete the concept map using information and insights understood from the readings. Discuss their answers to the guide questions. Watch videos of the said vocal examples but this time. Syllabic Singing a. List down at least three groups. Have them read the articles on the vocal music of Mindanao by Maceda. Discuss the students’ answers to the guide questions. 2. Cultural Context (History and Traditions): Functional Songs. Watch/Listen to vocal examples from the resources segment. Lullabies. Music for entertainment  Performance Styles / Techniques: Melismatic. Epics. 5.

php?igm=1&i=158 Interactive Map of the Philippines and Major Ethnic Groups: http://www.gov. etc.pdf Santos.htm Maceda. unstable pitch. Indigenous Music of the Philippines. consistent and sensitive phrasing and obvious dynamics.ncca.kipas. discernible dynamics.nl/Groups. accurate rhythm and secure pitch. erratic rhythm.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=161 Recordings / Videos: Darangen epic UNESCO: http://www. accurate and consistent phrasing. Corazon C. Brandeis.org/culture/ich/index. have the students select one song from the resource videos (UNESCO. consistent phrasing.ncca. The Music of the Maguindanao of the Philippines. 7. accurate rhythm and secure pitch with isolated errors. Ramon P. http://www. RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE   IX Readings and Resources: Dioquino.php?lg=en&pg=00011&RL=00159#video . Jose. Have the students perform their interpretation of any vocal excerpt from Mindanao. Proficient: Focused. VIII SUMMATIVE ASSESSMENT – Rubrics for Performance   Basic –Unfocused tone. Traditional Forms of Music. with some nuances in style as suggested by the score/teacher.6.unesco.smithsonianfolkways. clear tone all throughout. some nuances in style as suggested by the score/teacher.) and to study the song in terms of its musical and socio-cultural characteristics. with creative nuances to style in response to music score. some repeated errors in rhythm and pitch. dynamics and shows insensitivity to style and context Developing: Focused tone but inconsistent in extreme range. Approaching Proficiency: Focused and clear tone in normal range. Give time for practice. accurate dynamics. http://media.org/liner_notes/folkways/FW04536. http://www. Remind the students of the rubrics for performance.gov.ph/about-culture-and-arts/articles-on-c-n-a/article. Group Singing: With their existing groups. inconsistent phrasing.

bandayuy ( Matigsalog). tarasul (Tausug) Entertainment songs: dangdang-ay. estijaro (Tagacaolo).com/watch?v=ePSdnktzO-g Zamboanga chavacano songs “No Te Vayas” and “Zamboanga Hermosa”: http://www.tu-berlin.net/Song&MusicofZamboanga.youtube.html X GLOSSARY OF MUSIC TERMS & SYMBOLS Epic: Darangen (Maranao) Lullabye: angan bata-bata (Tausug) Love and Courtship: Batac inanen. antang (Manobo.Calasiao singing pokpok alimpako : http://www.zamboanga. and limbay (Manobo) .de/~brandeis/Videos_MindanaoLumad.cs. bayok (Mandaya). for match-making) and sindaay.htm Hans Brandeis Videos on the Music of Mindanao: http://user.