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MUSIC

FOR SPECIAL PROGRAM IN THE ARTS (SPA)

CURRICULUM GUIDE

Draft prepared by: Jocelyn T. Guadalupe,


Christine M. Muyco,
Jose S. Soliman, Jr.,
Leticia G. Del Valle,
Arvin Manuel R. Villalon

As of June 25, 2014


College of Music, UP Diliman

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SPA MUSIC CURRICULUM
CONCEPTUAL FRAMEWORK

Music occupies a very important role in Philippine society. Its function is well entrenched in the various occasions and festivals and in the day
to day activities of households. Music is used as a means to express and convey messages to members of the community. In the Philippine context,
there is no direct translation for the word music but there is a multitude of words relating to music which describe song forms, musical instruments,
and processes. This just means that music is more than just an abstraction as it is found in the everyday experiences of the people.
The SPA music curriculum focuses on four threads which at the end of the program will equip the learner as an engaged artist in the field of
music: 1. music as borne of the expression of the self as seen in the Filipino tales, epics, rituals, and festivals; 2. music as a community resource
rooted in the natural, tangible, and intangible heritage of the people; 3. music as an continuing expression of the people’s history and; 4. music as a
contextualized reality from the local to global perspectives in the contemporary times.
Along with four threads, the curriculum will develop the learner‘s knowledge, appreciation, and skills in music using the seven building blocks
of music distributed across the curriculum (Philosophy of Music; Overview of Music; Music Elements and Concepts; Music Processes and Skills;
Musical Instruments; Music Genre and Styles; People of Music). The SPA program is a spiraling program, grounded on performance-based learning.
At the end of the program the learners will have gained the basic and intermediate skills in music which will prepare them for a career and/or higher
education in music and other art disciplines.
The philosophical foundations upon which standards and competencies are based on are aligned with the regular K-12 program for music
and the arts. These include among others, the following sources: A Process of Education by Jerome Bruner, Performance-Based Learning by
Cleve Miller, Aesthetic Education by Bennett Reimer, Praxial Music Education by David Elliott, Multiple Intelligences by Howard Gardner, A
Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced
by the National Research Council of the Philippines, Dictionary of Filipino Musical Terms produced by the UP Center for Ethnomusicology, Content
Standards from the National Standards for Arts Education by Music Educators National Conference (MENC), Integrating Music Throughout the

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Curriculum by Claudia Cornett, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor
Lowenfeld and W. Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both
produced by the Cultural Center of the Philippines, and Malikhaing Guro by ARTISTS, Inc.

SPA MUSIC CURRICULUM


PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION

Source: K-10 Philosophy and Rationale for Music Education

Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a tapestry moving
in time. The global weavings of this tapestry in historical and cultural contexts are diverse—having spurred a continued metamorphosis to
include a full range of purposes, functions, and identities, from the utilitarian to aesthetic.

However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the
nature of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that
addresses the human spirit, and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a
continuing art. Aaron Copland describes this characteristic
as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self-expression and
fulfillment.

On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds
needs to be developed. The student must learn to hear, speak, and think in the medium of music. Simultaneously, growth and development in

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the skills that enable the application of the learner’s knowledge should be encouraged, through active involvement in the various musical
processes.

Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices
advocated by the SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thoughts
about contemporary general education. We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic
expression and cultural literacy, and celebrate his/her national heritage, while it instills, within every individual Filipino learner, pride in his/her own
cultural identity.

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PROMOTES A FILIPINO PERSPECTIVE IN THE
*UNDERSTANDING AND PERFORMING OF MUSIC

MUSIC ELEMENTS
*READING AND WRITING MUSIC *LISTENING TO, ANALYZING, AND
AND CONCEPTS
DESCRIBING MUSIC

Culture
& History
*UNDERSTANDS MUSIC AND ITS Local & Global *CREATING AND ARRANGING
RELATIONSHIP TO OTHER ARTS Community MENTAL- Spirit
MUSIC USING NATURAL AND
DISCIPLINES EMOTIONAL
ELECTRONIC MATERIALS WITHIN
SPECIFIC GUIDELINES

MUSIC
MUSIC
CONTEXT RELATIONAL Self VALUES PROCESSES
AND SKILLS

*UNDERSTANDS MUSIC IN
*EVALUATING MUSIC AND MUSIC
RELATION TO HISTORY AND
PERFORMANCES
CULTURE
SENSORY-
AESTHETIC
Lifecycle Land
*SINGING AND/OR PLAYING
*IMPROVISING MELODIES, INSTRUMENTS, ON SOLO or
VARIATIONS AND MUSIC EXPRESSION GROUP PERFORMANCE on 5
ACCOMPANIMENTS AND PERFORMANCE VARIED REPERTOIRE OF MUSIC
SPA MUSIC CURRICULUM

GRADE 12 ADVANCED - MUSIC SPECIALIZATION II


COMPETENCE

GRADE 11 COMPETENCE - MUSIC SPECIALIZATION I

GRADE 10 PROFICIENCY - MUSIC IN ASIAN, WESTERN,


GLOBAL and CONTEMPORARY
PERSPECTIVES

GRADE 9 MUSIC SKILLS DEV’T II: -PHILIPPINE MUSIC: INDIGENOUS,


EXPLORATION TRADITIONAL, WESTERN
MUSICAL COMPARATIVE HISTORICAL
HISTORICAL

GRADE 8 MUSIC SKILLS DEV’T I: - COMMUNITY: LIFE


SOURCES
AWARENESS & EXPLORATION & CULTURAL HERITAGE

GRADE 7 ELEMENTS OF MUSIC -BASIC ELEMENTS AND

MUSIC APPRECIATION & PRINCIPLE OF ALL THE ARTS

BASIC MUSIC SKILLS -SELF & THE GROUP

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FIGURE 2. THE CONTENT OF SPA MUSIC CURRICULUM PER GRADE LEVEL
SPA MUSIC CURRICULUM
*BUILDING BLOCK I: BUILDING BLOCK III: BUILDING BLOCK V:
PHILOSOPHY: WHY STUDY MUSIC
MUSIC ELEMENTS AND CONCEPTS
MUSICAL INSTRUMENTS
 Music as an Expression of Life  Timbre  Voice and the Body
 Music as a Communication  Dynamics  Sound makers
MUSIC SPECIALIZATION:
Tool  Rhythm  Idiophones
 Music as an Expression of  Melody  Membranophones
Personal and Cultural Identity  Pitch  Aerophones
 Music as an Expression of  Harmony  Chordophones 1. VOICE
History  Tempo  Rondalla, Orchestra and
 Music as a Repository of  Form
BUILDING BLOCK IV: band
Values  Indigenous instruments and 2. INSTRUMENT
 Music as a Means for MUSIC PROCESSES OR SKILLS ensemble
Promoting Personal and Social  Electronic Musical
Growth Instruments 3. CREATIVE MUSIC
 Listening WRITING AND
 Reading ARRANGING
BUILDING BLOCK II:  Imitating BUILDING BLOCK VI:
 Responding
OVERVIEW OF MUSIC  Creating MUSIC LITERATURE 4. PERFORMANCE
 Improvising
 Performing
 What is Music  Music of the Philippines
 Evaluating
 Music in Relation to the Other  Analyzing critically  Music of Asia
Arts  Applying  Music of the West
 Purpose and Role of Music in  Researching  Music of Africa, Latin
Society  Using music technology America, South Pacific
 Defining Music in the  Instrument-  Contemporary Musical
Philippine Context making/repairing Forms and Styles

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 Writing Music

BUILDING BLOCK VII:

PEOPLE OF MUSIC
 Famous musicians in history
 National Artists and Gawad
Manlilikha ng Bayan
 Roles in Music Making
 Careers in Music

*Adapted From National Standards for Arts Education, 1994

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TABLE 1. BASIC REFERENCE FOR MUSIC

SPA MUSIC CURRICULUM

LEARNING AREA STANDARD:

The learner demonstrates an appreciation and understanding of the concepts and principles of Music, Aesthetics, and History within the context of
Philippine cultural and historical realities. The course ends with musical performances imbued with artistic creativity, sense of community, and pride of
place. Each performance incorporates sensitive interaction with Filipino indigenous heritage, values of human and social development, and
mobilizing skills for a career in the arts.

KEY STAGE STANDARD

GRADES 7-10 GRADES 11-12

The learner demonstrates an appreciation and understanding of the The learner demonstrates Competency in the Mastery and Application of
concepts and principles of Music, Aesthetics, and History within the the concepts and principles of Music, Aesthetics, and History directly
context of Philippine cultural and historical realities. The course ends with applicable for towards a career and profession in various fields of Music.
musical performances imbued with artistic creativity, sense of community,
and pride of place. Each performance incorporates sensitive interaction
with Filipino indigenous heritage, values of human and social
development, and mobilizing skills for a career in the arts.

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GRADE LEVEL STANDARDS

GRADE GRADE LEVEL STANDARDS


LEVEL
Grade 7 The learner demonstrates an appreciation and understanding of the basic language of the creative arts, focusing on MUSIC as
an INTEGRATED LANGUAGE of personal, group, and cultural expression and creativity in stories, ritual, myth, and
cultural enactments for the RELEASE of creativity, and AWARENESS of self and cultural identity, and sense of social
responsibility.

Grade 8 The learner demonstrates an understanding of the basic concepts, principles, and skills of MUSIC relevant to creating
seminal works on Community Realities and Life Sources for the AWARENESS and EXPLORATION of creativity, sense of self
and cultural identity, and social responsibility

Grade 9 The learner demonstrates an understanding of the basic concepts, principles, skills of MUSIC relevant to creating processes
and works reflecting History and Heritage for the EXPLORATION of creativity, sense of self and cultural identity, and social
responsibility

Grade 10 The learner demonstrates an understanding of the basic concepts and principles of MUSIC interacting with other disciplines
relevant to the creation of major works reflecting Con temporary Realities for the PROFICIENCY in artistic creativity, leading
to a sense of self, cultural identity, and social responsibility

Grade 11 The learner demonstrates COMPETENCE in the application of the concepts and principles of Music, Aesthetics, and History in
their own MUSIC SPECIALIZATION towards a productive career and profession in various fields of Music.

Grade 12 The learner demonstrates an ADVANCEMENT in COMPETENCE in the application of the concepts and principles of Music,
Aesthetics, and History in their own MUSIC SPECIALIZATION towards a productive career and profession in various fields of
Music.

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CURRICULUM CONTENT AND MATERIALS FOR SPA MUSIC
Expected Graduates of SPA Music:

 Track A: Tertiary Education

 Track B: Practitioner of Music (performer, church music trainer, arranger, music technician)

Course Scope, Content and Materials:

GRADE Level: Quarter or Grading Period

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 INTRO TO MUSIC INSTRUMENTAL ENSEMBLE INTRO TO MUSIC VOCAL ENSEMBLE INTRO TO MUSIC
PM

4-5 SOLO INSTR SOLO INSTR SOLO INSTR


PM

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SPA MUSIC CURRICULUM
GRADE 7
COURSE DESCRIPTION:

This is a course in SPA music specialization that aims the learner to demonstrates an appreciation and understanding of the basic language
of the creative arts, focusing on MUSIC as an INTEGRATED LANGUAGE of personal, group, and cultural expression and creativity in
stories, ritual, myth, and cultural enactments for the RELEASE of creativity, and AWARENESS of self and cultural identity, and sense of social
responsibility.

MUSIC GRADE 7 : FIRST QUARTER FIRST GRADING PERIOD

1st Quarter: Artistic Expressions, Integrated Arts , Soundscapes and Warm-Ups for Voice and Instruments

CONTENT CONTENT PERFORMANCE LEARNING CODES


STANDARDS STANDARDS COMPETENCIES

The learner… The learner… The learner…


A. THE LANGUAGE OF
ARTISTIC EXPRESSION
 demonstrates  illustrate 1. defines the different SPA_MAE7-
Elements of Artistic Expression understanding examples of the elements of artistic Ia-1
in all the arts: of the different integrated art expression
artistic processes in the
1.Space expressions; different art forms
2.Line its elements,
3. Movement processes, 2. describes how the SPA_MAE7-
4.Texture principles, and different elements are used Ia-2
5. Sound interrelations.
6. Silence

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7. Rhythm
8.Form
 Develops the 3. explains the principles of SPA_MPAO
B. Principles of Artistic fundamental artistic artistic organization in the 7-Ia-3
Organization common in the process such as different art forms.
arts music with artistic
awareness and 4. explains the SPA_MCAF7
1.Unity and Variety creativity in characteristics of the -Ia-4
2.Form expressing oneself. different art forms
3. Function and Intent
SPA_MAF7-
5. distinguishes clearly Ia-5
C. Characteristics of the the commonalities and
different Art Forms and its differences among the
Artistic Expressions:
different art forms
1. Music
2.Dance
6. analyzes elements
3.Drama
and processes of artistic
4. Literature
expression in the different
5.Visual Arts SPA_MAE7-
art forms.
6.Film Ia-6

7. demonstrates the
elements of artistic SPA_MS7-
expressions using Ib-7
D. Soundscapes soundscapes in music
(Music from the Natural using the available
Environment) resources in your
community

8.practice regular warm-

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up for vocal and
instrumental ensemble. SPA_MVC7-
Ij-8

E. Warm-Ups and Caring for


the Voice and Instruments

MUSIC GRADE 7 : SECOND QUARTER SECOND GRADING PERIOD

2nd Quarter: Legends and Myths, Sounds as narrative, Introduction to Music I-A

CONTENT CONTENT PERFORMANCE LEARNING


STANDARDS STANDARDS COMPETENCIES

A. THE LANGUAGE OF
CREATIVE EXPRESSION The learner... The learner... The learner...
IN LEGENDS AND MYTHS:
1. Sound as Narratives in  demonstrates  performs 1. describes the narratives SPA_MLCE7
Local Legends and understanding chants or songs citing their place of origin -IIa-1
Myths of local from stories,
stories, legends and myths
legends and in their local
myths as context with clarity.
reflections of
Filipino
2. Interpretations/ values,

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Meaning-Making (Local ingenuity
Views)

3. Depictions through 2-3 2. interprets stories, SPA_MLCE7


Integrated Art Forms guided by basic Filipino -IIa-2
(e.g. cultural perspectives
Chants/Instruments,
Movement, Poetry, etc.)
3.relates how these SPA_MLCE7
narratives reflect aspects -IIa-3
through Filipino
perspective

SPA_MLCE7
4.establishes a set of -IIa-4
values and insights
B. INTRODUCTION TO relevant to their life and
MUSIC community.
1.Why Study Music
2.Overview of Elements of 5.analyzes narratives in SPA_MLCE7
Music : terms of literary and -IIb-5
 Rhythm musical elements
 Melody
 Harmony
 Tempo
 Dynamics  demonstrates 6.identify the importance of SPA_MIM7-
 Timbre understanding studying music. IIa-6
 Form of the
importance of 7.sings chants from SPA_MLCE7
studying stories, myths and legends -IIb-7
3. Instrumental
music and its
elements. 8.applies the use of music SPA_MLCE7
 Identification of

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Instruments in the integrated arts in -IIb-8
 Parts of the Instrument depicting the narratives
 Proper techniques of creatively
playing the instrument

4. Vocal
 Main features and
9. identifies the different SPA_MIM7-
proper care of the
 demonstrates  executes the instruments used and their IIa-9
voice recognition of proper parts .
 Classifications of the technique of
voice: SATB instruments playing the 10. applies the proper SPA_MIM7-
used; its instrument. techniques in playing the IIa-10
parts,and instrument.
proper
technique of
playing.

SPA_MIM7-
 demonstrates  executes the 11. explains the main IIa-11
proper warm- proper way of features and proper care of
up and vocal vocal care. the voice
care.

12. distinguishes the SPA_MIM7-


classifications of voice IIa-12
(SATB)

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MUSIC GRADE 7 : THIRD QUARTER

3rd Quarter: Rituals and Festivals, Introduction to Music I-B

CONTENT PERFORMANCE LEARNING


CONTENT STANDARDS STANDARDS COMPETENCIES

A. THE LANGUAGE OF
CREATIVE EXPRESSION IN The learner… The learner… The learner..
RITUALS AND FESTIVALS .

1.Local/ Regional Rituals


and Festivals  demonstrates  Performs 1. describes rituals and SPA_MCER
2.Analysis of Artistic understanding rituals and festivals festivals citing their F7-IIIa-1
Expressions in Rituals and of local rituals according to history, place of origin,
Festivals and festivals local/regional and context
reflective of traditions.
Filipino
3.Contextual Interpretations values,
(Local) ingenuity

 demonstrates 2. analyzes significant SPA_MCER


understanding use of the arts and F7-IIIa-2

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of music creative expressions in
concepts and rituals and festivals
processes as
applied to the
music of
rituals and
festivals
4. Depictions through 2-3
Integrated Art Forms
(Visual Arts, Movement, Music,
Literary Arts, Drama) 3.re-enact rituals and SPA_MCER
 demonstrates festivals using the F7-IIIc-3
understanding integrated process
to the use of involving elements from
different art dance, drama, music,
forms and writing, visual arts, and
media to media arts.
portray rituals
and festivals
4.demonstrates the various SPA_MCER
artistic expressions present F7-IIIb-4
in the rituals and festivals
and establishes their
B. INTRODUCTION TO MUSIC functions
1.Elements of
Music
 Rhythm (Beat,
Meter, Note  executes skills 5. identify the basic SPA_MIM7-
Values) required in elements of music in a IIIa-5
 Melody (Modes, solo and given music example
Tonality, Scales) group
performance 6..sing/play instruments SPA_MIM7-
 Harmony

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(Intervals & alone or with others IIIj-6
Triads)
 Tempo (Adagio,
Moderato, Allegro,
Presto, Vivace)
 Dynamics( piano,
forte, mezzo
piano, mezzo
forte)
 Timbre (vocal,
instrumental,
environmental)
 Form (Cyclic,
Phrases, Period,
Section, Binary,
Ternary, Rounded
Binary, Rondo,
Song Forms)
*the teachers are free to
choose what elements of music
he/she think is necessary to
apply.
2.Importance of Music
 as an expression of life
 as a tool for
communication
 as an expression of
personal and cultural
identity
 as an expression of
history

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 as a repository of
values
 as a means for
promoting personal and
social growth

3. Application of the
Elements of Music through
the chosen specialization:
voice and instrument-
playing.
Instrument-Playing/Singing
 Finger
positions/Posture
 Embouchure (winds);
bowing/plucking
(strings);
 Articulation
 Tone Production and
Resonance

MUSIC GRADE 7 : FOURTH QUARTER

4th Quarter: Performance, Introduction to Music (I-C) , Collaboration of the Different Art Fields

CONTENT CONTENT PERFORMANCE LEARNING


STANDARDS STANDARDS COMPETENCIES

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A. INTRODUCTION TO The learner... The learner... The learner...
MUSIC
 demonstrates 1.describes the elements
1.Continuation of Review of an understanding of  performs the of music SPA_MIM7-
Elements of Music : the importance of epics, folktales, IVj-1
 Rhythm (Beat, Meter, Note music, elements of rituals, and
Values), music, music literacy, festivals with
 Melody (Direction and Contour, folk music and its music. 2.analyzes musical SPA_MIM7-
 Modes, Tonality, whole and half functions, aspects of elements in epics, rituals, IVj-2
steps, music ensemble festivals meaningfully
 Tetrachords, Scales and practice and
Intervals), integrated musical
performance
 Harmony (Texture, Intervals &
Triads),
 Tempo (Adagio, Moderato,
Allegro, Presto, Vivace),  performs basic 3.analyzes meaningfully SPA_MIM7-
 Dynamics( piano, forte, mezzo music reading skills the dynamics of self and IVj-3
piano, mezzo forte), through sight group through music and
 Timbre (vocal-chest & head, reading and singing the integrated arts
instrumental, environmental), of their local music approach
 Form (Cyclic, Phrases, Period, (e.g.Harana-
Section, Binary, Ternary, Bulacan)
Rounded Binary, Rondo, Song
Forms)
 Basic Music Reading: Notes,
Rests, Time Signature, Clefs

*NOTE
Teachers are free to choose

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what elements of music he/she
thinks is necessary to apply in
the course.

 Application of the Elements of


Music through the chosen
specialization: voice and
instrument-playing.
 Instrument-Playing/Singing
 Finger positions/Posture
 Tone Production &  Applies the
Resonance elements of music
 Embouchure (winds); through singing and
bowing/plucking (strings); playing
 Articulation
 Solo and ensemble playing of
Pieces/works related to rituals
and festivals
 Integrated Arts Approach to
staging a music performance
based on Filipino legends,
myths, rituals, and festivals  applies aspects
of the integrated
arts approach in
the staging music
performances
*the performance
standards for the
fourth quarter will
be showcased in

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collaboration with
all the other art
fields.

Course Scope, Content and Materials:

GRADE 7: Integrated Language

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 INTRO TO MUSIC INSTRUMENTAL ENSEMBLE INTRO TO MUSIC I VOCAL ENSEMBLE INTRO TO MUSIC I
PM I

4-5 SOLO INSTR SOLO INSTR SOLO INSTR


PM

Coverage of INTRO TO MUSIC:


1st Q: Artistic Expressions, integration, and Soundscapes; warm-up to instrument/voice;
2nd Q: Legends and Myths, sounds as narrative; Introduction to Music I-A
3rd Q: Rituals and Festivals; Theory, Listening, Introduction to Music I-B
4th Q: *Performance, Theory, Listening, Introduction to Music I-C, Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir--- SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b) INSTRUMENTAL
ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI

MATERIALS:
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodore Lynn

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Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of Concone, Marchesi,
MacClosky; Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda, Dictionary of Filipino Musical Terms (UPCE),
Philippine Traditional Music by Kristina Benitez, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis)
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-
Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary
Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder,
Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla by Angelita
Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino,
Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck),
Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu, www.upethnom.com

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SPA MUSIC CURRICULUM
GRADE 8
Course Description:
This is a course in SPA- Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles, and
skills of MUSIC relevant to creating seminal works on Community Realities and Life Sources for the AWARENESS and EXPLORATION of
creativity, sense of self and cultural identity, and social responsibility

MUSIC GRADE 8 : FIRST QUARTER FIRST GRADING PERIOD

Community/Folk life and music, Introduction to Music II-A

CONTENT CONTENT PERFORMAN LEARNING POSSIBLE


STANDARDS CE COMPETENCI ACTIVITIES
STANDARDS ES

A. INTRODUCTION TO THE
NATURAL AND CULTURAL The learner… The learner… The learner… The
HERITAGE OF A learner…
 demonstrates  Creates a 1.describes

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COMMUNITY: an cultural map the  draws and
1. Cultural Heritage understanding depicting the dimensions explains
of cultural community of society the various SPA_MC
heritage heritage and applies dimension H8-Ib-1
(tangible and them on an s of society
intangible). analysis of and its
his reflections
2.The Different community in his /her
Dimensions of Society:  demonstrates community
Ecology, Governance, an
Cultural, Social, Human, understanding
Economic, and Spiritual of the different  conducts
dimensions or survey of the
modalities of music
society as resources of
applied in a the
community  assesses the community
3. Assessing the Music and their music
Resources of a various resources of
Community relationships the
community

4.Basic Social Mapping

2.illustrates SPA_MC
social maps
with clarity, H8-Ib-2
B. INTRODUCTION TO MUSIC
1.Elements of Music : analysis,
 demonstrates and interest
 Rhythm (Simple &
Compound Meter, an
understanding

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Syncopated ) of basic social
 Melody (Key mapping  Performs
Signatures, Scale methods sight-  draws
Degree names reading, social
Types and maps
singing and
Qualities of  demonstrates
an playing
Intervals),
 Harmony (Chord understanding
Functions, Tonic, of basic music
reading, basic  evaluates 3. evaluates
Dominant, Chord music applying
vocal music
Progressions), the basic  reads and
techniques, applying the SPA_MI
 Tempo (Grave, instrument musical analyzes
Lento, elements and basic M8-Ij-3
playing musical music
Prestissimo, techniques, skills
elements
Ritardando, and sight and skills
Accelerando, reading skills  rehearses
Rubato),  performs pieces
 Dynamics(crescen music through
do, decrescendo, solo and with
accompaniment 4.explains
diminuendo),  applies SPA_MI
how specific
 Timbre elements of technique M8-Ia-d-
(Hornboestel- music are in singing 4
Sachs applied in or playing
Classification, particular instrument
Voice –SATB, pieces s
Solo, Duet,
Trio,Quartet ),
 Form (Canon,
Fugue, Sonata
Allegro, Concerto,

27
Symphony)
2. Importance of
Music
 as an
expression
of life;
 as a tool for
communicat
ion;
 as an
expression
of personal
and cultural
identity;
 as an
expression
of history;
 as a
repository of
values;
 as a means
for
promoting
personal
and social
growth
3. Application of the
Elements of Music
through the chosen
specialization: voice

28
and instrument-
playing.
 Instrument-
Playing/Singing
(Continuation from
Grade 7)
 Finger
positions/Posture
 Tone Production &
Resonance
 Embouchure (winds);
bowing/plucking
(strings);
 Articulation
 Sight Singing
 Basic Sight Reading
 Repertoire Study

*NOTE
Teachers are free to
choose what elements of
music he/she thinks is
necessary to apply in the
course.

29
MUSIC GRADE 8 : SECOND QUARTER

2nd Q: Ecology and natural resources, Introduction to Music II-B;

CONTENT CONTENT PERFORMAN LEARNING POSSIBLE


STANDARDS CE COMPETENCI ACTIVITIES
STANDARDS ES

A. OUR LIFE SOURCES The learner… The learner… The learner… The
1.Ecological Mapping: learner…
Creative Presentation of Local  demonstrates  Map an 1. identifies SPA_ML
Natural Resources (marine, an inventory of the different  resear S8-IIa-b-
terrestrial, aerial ecosystems understanding the natural natural ches on 1
of a community) of the natural resources of resources of ecosystems
resources of the the community and their
his/her community , and their significance
community and ecosystems significance.
its different and give
ecosystems their
significance.

 illustrates 2.creates
SPA_ML

30
the varied ecological S8-IIa-b-
ecosystems maps of the  draws 2
in his/her natural or creates
community resources of visual
through an his/her collages or
ecological community community
map or maps
visual illustrating
2.Earth Music Fusion collage various
eco-
3.creates systems
SPA_ML
soundscapes
of human and S8-IIa-b-
 explores
ecological various 3
situations soundsca
based on pes
these maps

B. INTRODUCTION TO  demonstrates  create a


MUSIC (Continuation) understanding fusion of
1. Elements of of the earth music
Music : relationship of through
 Rhythm music elements improvisatio
(Simple & to the earth n
Compound
Meter,  performs
Syncopated music with an
) ecological
 Melody content
(Key

31
Signatures,
Scale
Degree  creates
names simple
Types and accompanim
Qualities of ents to local
Intervals), music
 Harmony
(Chord
Functions, SPA_MI
Tonic, M8-IIa-d-
 demonstrates 4. identifies
Dominant, the elements  applies 4
the basic aural  demonstrate
Chord of music technique in
skills s skills in
Progression singing or
music
s), reading and playing
 Tempo ensemble instruments
(Grave, playing and
Lento, singing  writes
Prestissimo, an
Ritardando,  demonstrates experience
Accelerand understanding  stages paper on
o, Rubato), of the various musical the quarter
 Dynamics(c methods and performance activities
rescendo, techniques of with an
decrescend singing and ecological
instrument- content  studies
o,
playing new pieces
diminuendo)
,  performs applying
 demonstrates music music
 Timbre understanding through solo theory and
(Hornboeste of melody, and with sight

32
l-Sachs harmony, accompani reading
Classificatio balance, and ment skills
n, Voice – blending
SATB, Solo, through  rehear
Duet, ensemble ses small
Trio,Quartet playing and group
), group singing ensembles
 Form
(Canon,
Fugue,
Sonata
Allegro,
Concerto,
Symphony)
2. Application of
the Elements of
Music through
the chosen
specialization:
voice and
instrument-
playing.
3. Instrument-
Playing/Singing
(Continuation
from Grade 7)
 Finger
positions/Posture
 Tone Production
& Resonance

33
 Embouchure
(winds);
bowing/plucking
(strings);
 Articulation
 Sight Singing
 Basic Sight
Reading
 Repertoire Study
 Choral Harmony,
Balance &
Blending
4.Rehearsals and
Performance of Pieces with
Ecological Content

MUSIC GRADE 8 : THIRD QUARTER

3rd Q: Basic research, mapping of tangible and intangible musical cultures, Introduction
to Music II-C;

CONTENT CONTENT PERFORMAN LEARNING POSSIBLE


STANDARDS CE COMPETENCI ACTIVITIES
STANDARDS ES

34
A. OUR CULTURAL The learner… The learner… The learner… The
HERITAGE learner…
 CULTURAL MAPPING of
Cultural Resources: Tangible
 demonstrates  Map an 1. SPA_MC
and Intangible Using Creative
an inventory of Identifies and  resear H8-IIIa-b-
Integrated Arts Approaches understanding the tangible Classifies the ches on 1
of the cultural and tangible and his/her
resources of intangible communit
intangible
his/her cultural y’s
community, its resources cultural
cultural
different types, from their resources in heritage
and community his/her resources
significance and community and and
establish its its significance. establishe
significance. s their
. significan
ce SPA_MC
2.creates
H8-IIIa-2
 illustrates maps of the  draws
the heritage cultural or creates
icons in resources of visual
 demonstrates
his/her communities collages or
an
community community
understanding
through a 3.creates maps SPA_MC
of local
cultural map scenes of illustrating H8-IIIa-3
heritage icons
or visual human and various
and their
collage socio-cultural tangible
conditions
situations and
based on intangible

35
these maps cultural
resources
SPA_MC
4. identifies H8-IIIa-4
the music  explor
B. INTRODUCTION TO features of a es various
MUSIC (Continuation) short heritage music
piece techniques
1. Elements of Music : to portray
heritage
 Rhythm (Simple & icons and
Compound Meter, human
Syncopated , Ostinato, situations
Drone),
 Melody (Key
 perfor
Signatures, Scale
ms music
Degree names Types
with a
and Qualities of heritage
Intervals, Modes), content
 Harmony (Chord
Functions, Tonic,
Dominant, Chord
Progressions, Drone &
Melody),
 Tempo (Grave,
Lento, Prestissimo,  demonstrates  performs
Ritardando, an basic musical
Accelerando, Rubato),  writes
understanding skills in voice an
 Dynamics(crescen of basic and/or experience
do, decrescendo, elements of instrument- paper on
diminuendo), performance playing

36
 Timbre and music the quarter
(Hornboestel-Sachs, Bel interpretation activities
Canto, Indigenous Vocal
Styles),  demonstrates  rehear
an  performs ses small
 Form ( Sonata
understanding music group
Allegro, Concerto,
of features pieces with ensembles
Symphony, Theme & cultural
Variations, Cyclic form, related to
dynamics, tone heritage
Indigenous Forms) content
gradation,
2.Application of the
articulation,
Elements of Music
and tempo
through the chosen
specialization: voice and  demonstrates
instrument-playing.  performs
understanding
music
of elements of
Instrument- through solo
music as
Playing/Singing and with
applied to
(Continuation) accompani
indigenous
 Finger ment
forms
positions/Posture
 Tone Production
 stages
& Resonance
 demonstrates music
 Embouchure
an performance
(winds);
understanding with a cultural
bowing/plucking heritage
(strings); of cultural
research content
 Articulation
 Sight Singing
 Basic Sight
 demonstrates
Reading understanding

37
 Repertoire Study of the
 Choral Harmony, performance of
Balance & music pieces
Blending with cultural
3.TECHNIQUE CLASS (Voice heritage
and Instrument): Performance content drawn
of Local Music Pieces from local
(Community Resources) community
resources
4.CULTURAL RESEARCH
Field Research Approaches
Creating Cultural Heritage
Maps and Selecting Icons for
Music Performance

 PERFORMANCE of Pieces
with CULTURAL HERITAGE
content

*NOTE
Teachers are free to
choose what elements of
music he/she thinks is
necessary to apply in the
course.

MUSIC GRADE 8 : FOURTH QUARTER

4th Quarter: Performance: instrument/voice/choir, Collaboration of the Different Art

38
Fields;

CONTENT CONTENT PERFORMAN LEARNING POSSIBLE


STANDARDS CE COMPETENCI ACTIVITIES
STANDARDS ES

A. MUSIC PERFORMANCE The learner… The learner… The learner… The


ON LIFE SOURCES AND learner…
CULTURAL HERITAGE
1.INTRO TO MUSIC:
ANALYSIS. The  demonstrates  perform 1.applies the SPA_MM
identification of features an fundamental appropriate P8-IVa-1
played in a short heritage understanding processes in musical
piece. The features would of program music with elements
relate to the ELEMENTS OF planning, creativity needed in the
rehearsal piece
MUSIC
preparation,
B. PROGRAM PLANNING and staging
 Basics of Planning a using the
Music Performance
integrated arts  performs
approach basic
 Rehearsal Preparation SPA_MP
 Staging the musical
2.analyzes P8-IVa-2
 demonstrates skills for  plans
Performance the
an voice for a music
importance of
understanding and program
a good music
of the staging instrume
programming,
process nts
rehearsal
utilizing
C. REHEARSALS AND preparation,
elements of
PERFORMANCE: Plays and staging
production
and/or Music values like
39
Performances pertaining music, design,
to Life Sources, Heritage and movement  condu
and Culture cts various SPA_MM
 demonstrates  performs rehearsals P8-IVa-b-
an music pieces 3.improvises and run- 3
understanding with cultural music based throughs
of rehearsal heritage on local
and staging content cultural  perfor
methods heritage ms in front
leading to run- of an
throughs and audience SPA_MP
performances  performs P8-IVa-b-
music 4.identifies  condu 4
through solo acceptable cts a
and with rehearsal feedback
accompani methods session
ment applicable to with the
good program audience
planning
 performs
improvisa
tion of
 employs local
acceptable musical
rehearsal materials
methods to
good program  evalua
planning tes the
production
 applies process in
aspects of class
the

40
integrated  writes
arts a journal of
approach experience
in the s of the
staging entire
music Grade 8
performanc
es
*the performance
standards for the
fourth quarter
will be showcased
in collaboration
with all the other
art fields

GRADE 8: Community Realities and Life Sources


Schedule

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 INTRO TO MUSIC II INSTRUMENTAL INTRO TO MUSIC II VOCAL ENSEMBLE INTRO TO MUSIC II
PM ENSEMBLE
4-5 SOLO INSTR SOLO INSTR SOLO INSTR
PM

Coverage of INTRO TO MUSIC II:

41
1st Q: Community/Folk life and music; Introduction to Music II-A
2nd Q: Ecology and natural resources; Introduction to Music II-B
3rd Q: Basic research, mapping of tangible and intangible musical cultures; Introduction to Music II-C
4th Q: Performance: instrument/voice/choir; Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b)
INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c)
CHOIR: SSA/SATB OR DIVISI
MATERIALS:
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodore
Lynn
Community/Folk Music: Dictionary of Filipino Musical Terms (UPCE), Anthology of Philippine Folk Songs by Damiana Eugenio, CCP
Encyclopedia of Music, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis); Compendium of
Humanities by NRCP, Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda
Ecology: Soundscape by Murray Schafer, Earth Music by Arvin Villalon
Rondalla: Celso Espejo Rondalla Methods by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla
by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by
Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First
Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of
Concone, Marchesi, MacClosky, Foundations of Singing by Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino
(unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional
Music by Kristina Benitez, Tuklas Sining, CCP Encyclopedia, “Mangalimog ako: Finding one’s voice in Sugidanon (epic chanting)” by
Christine Muyco in Songs of Memory in Islands of Southeast Asia , Musika Jornal, Sonic Orders, Songs of the Babaylan (Grace Nono)
Musics of ASEAN , Compendium on the Humanities NRCP
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series
42
by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano
Adventures, The Contemporary Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred
String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla
by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by
Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First
Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu, www.upethnom.com

SPA CURRICULUM MUSIC


GRADE 9
Course Description
This is a course in SPA-Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles, skills
of MUSIC relevant to creating processes and works reflecting History and Heritage for the EXPLORATION of creativity, sense of self and
cultural identity, and social responsibility

MUSIC GRADE 9 : FIRST QUARTER

Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE


STANDARDS STANDARDS COMPETENCIES ACTIVITIES

43
The learner… The learner… The learner… The learner…
A. Functions of Music in Daily Life
(Phil. & Western):
1.Rituals,
2.Worship  demonstrates an  performs 1. distinguishes  makes a SPA_MF9-
3.Leisure & Entertainment understanding of Philippine and the different table of Ia-1
4.Historical and Geographical cross-cultural Western music functions of comparison
Background comparison based on its music in for both
between Philippine Philippine and
functions to Philippine
and Western
daily life western setting and Western
musical
 Personages: development music
2. displays development
Philippines: Ritualists (Babaylan, familiarity in various
Baki, etc.) GAMABA  traces the
performance
Western: Troubadors, Minstrels, practice of Western linear SPA_MF9-
Monks, Dancing Masters, Major music and Philippine historical Ia-2
Composers music development
of Philippine
and Western
3.Outline the historical SPA_MF9-
music
and geographical Ia-3
alongside
background of
historical
Philippines and
events
Western countries

4.analyzes how socio- SPA_MF9-


cultural functions and Ia-4
historical events
 performs basic affects musical forms
musical skills

44
for voice and across Philippine and
instruments Western society

 performs 5.distinguishes how


music through Philippine and SPA_MIM9-
solo and with Western music Ia-e-5
accompaniment developed alongside  rehearses
each other through music showing
finding knowledge of the
commonalities and musical elements
differences as applied in the
 demonstrates an music
understanding of  applies
basic music additional  sings or
B. INTRODUCTION TO MUSIC reading, basic musical skills for plays
(Continuation) vocal techniques, instruments with
voice and
instrument playing technique
1.Elements of Music : techniques, and instrument
playing appropriate to
sight reading skills
 Rhythm (Free Meter, Speech the piece.
Meter, Changing Meter, Metric,
Syncopated , Ostinato, Drone),
Melody (Modes),
 Harmony (Drone & Melody,
Organum),
 Tempo (Grave, Lento, Prestissimo,
Ritardando, Accelerando, Rubato),
 Dynamics (Articulationslegato,
staccato, portamento, portato),
 Timbre (Local Instrument
Classification, Hornboestel-Sachs,

45
Bel Canto, Indigenous Vocal
Styles,
 Musical Instruments:
Gongs, Bamboo, Drums & Lutes
(Philippines); Recorder Consort,
Psaltery, Lutes, Viols, Tambor),
Form (Musical Genres:

Philippines: Ballads & Epics, Mimetic


Dances,
 Western: Plainchant, Madrigals,
Secular & Sacred, Mass, Dance
Suites

3. Application of the Elements of


Music through the chosen
specialization: voice and
instrument-playing.
Instrument-Playing/Singing
(Continuation)
 Finger positions/Posture
 Tone Production & Resonance
 Embouchure (winds);
bowing/plucking (strings);
 Articulation
 Basic Sight Reading
 Repertoire Study
 Choral Styles

46
MUSIC GRADE 9 : SECOND QUARTER

Spanish Colonial Period versus Baroque, Classic and Romantic Periods, Introduction to Music III-B

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE


STANDARDS STANDARDS COMPETENCIES ACTIVITIES

A.Functions of Music in Daily Life


(Phil. & Western):
1.Sacred Music The learner… The learner… The learner… The learner…
2.Secular Music

2.Historical & Geographic : Colonial  displays 1. describes the  makes a SPA_MF9-


Expansion & the Rise of Nationalism  demonstrates an familiarity in different table of IIa-1
understanding of various functions of comparison
cross-cultural performance music in for both
 Personages: Adonay, Bonus, Illustre comparison practice of
Philippine and Philippine
between Western music
Philippine and and Philippine western setting and Western
 Troubadors, Minstrels, Monks,
Dancing Masters, Western musical music music
2.distinguishes sacred
development development
from secular music SPA_MF9-
3.Major Composers IIa-2
 traces the
3..identifies the
linear
historical and
historical
geographical
development
background of
of Philippine
Philippines and SPA_MF9-

47
western and Western IIa-3
music
4. enumerates major alongside
composers of the historical
Spanish colonial events
period in the SPA_MF9-
Philippines.  rehearses IIa-4
music
5. enumerates the SPA_MF9-
showing
major composers of IIa-5
knowledge of
the baroque, classical
the musical
and romantic periods.
elements
6.analyzes how applied in the SPA_MF9-
socio-cultural music IIa-6
functions and
historical events
affects musical forms
across Philippine and
Western society

7..distinguishes how
SPA_MF9-
Philippine and
IIa-7
Western music
developed alongside
 sings or
each other through
plays
finding
instruments
commonalities and
with
differences
technique
appropriate

48
to the
performance
practice of
B. INTRODUCTION TO MUSIC the piece.
(Continuation) 8. applies additional
SPA_MI9-
 demonstrates  demonstrates musical skills for
an understanding of basic musical IIa-e-8
voice and instrument
1.Elements of Music : basic music skills in voice playing
reading, basic vocal and/or
 Rhythm (Review of Simple techniques, instrument-
and Compound Meter), instrument playing playing
 Melody (Review of Major techniques, and
and Minor Tonality), sight reading skills  performs
 Harmony (Basso Continuo, music through
Figured Bass, Alberti Bass), solo and with
 Tempo (Grave, Lento, accompaniment
Prestissimo, Ritardando,
Accelerando, Rubato),  applies
 Dynamics(Articulations, appropriate
legato, staccato, technical skills
portamento, portato), in performing
 Timbre ( Instruments of the Philippine and
Orchestra Hornboestel- Western music
Sachs, Bel Canto,

 Musical Instruments:
Baroque, Classic & Romantic
Orchestras
 Music Genres:
Philippines: Kundiman, Misa,

49
Balitaw, Danza, Kumintang, Jota,
Curacha, Habanera, Sarswela,
Komedya, Pasyon, Subli,
Senakulo, Panunuluyan, Gozo,
Villancico, Pastores, Daigon
Western: Oratorio, Opera, Sonata,
Symphony, Concertos, Tone Poem,
Program Music, Art Songs,
(Chansons, Lied, etc.)

2. Application of the Elements of Music


through the chosen specialization:
voice and instrument-playing.

Instrument-Playing/Singing
(Continuation)
 Finger positions/Posture
 Tone Production & Resonance
 Embouchure (winds);
bowing/plucking (strings);
 Articulation
 Basic Sight Reading
 Repertoire Study
 Interpretations
 Choral Styles

*NOTE
Teachers are free to choose what
elements of music he/she thinks is
necessary to apply in the course.

50
MUSIC GRADE 9 : THIRD QUARTER

3rd Quarter: American and Japanese Occupation. Introduction to Music III-C

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE


STANDARDS STANDARDS COMPETENCIES ACTIVITIES

A.Functions of Music in Daily Life


(Phil. & Western):
1.Leisure and Entertainment The learner… The learner… The learner… The learner…
2.Art Music
3.Popular Music
 demonstrates an 1.describes the
4.Historical & Geographic understanding of  displays different  makes a SPA_MF9-
Background cross-cultural familiarity in functions of table of IIIa-1
comparison various music in comparison
between Philippine performance Philippine and for both
and Western practice of western setting
Philippine

51
 Personages: Philippines: musical Western music and Western
Abelardo, Santiago, Molina development and Philippine music
National Artists for Music music 2.identifies the development SPA_MF9-
 Major Composers & Major Works historical and IIIa-2
geographical  traces the
background of
linear
Philippines and
western historical
development
of Philippine
B. INTRODUCTION TO MUSIC and Western
(Continuation) SPA_MF9-
 demonstrates an 3.analyzes how music
understanding of socio-cultural IIIa-3
1. Elements of Music alongside
basic music  demonstrates functions and
historical
reading, basic vocal basic musical historical events
 Rhythm (Free Meter, techniques, affects musical events
Changing Meter, Mixed skills in voice  rehearses
instrument playing and/or forms across
Meter , Polymeter), techniques, and Philippine and music
instrument-
 Melody (Whole-Tone, sight reading skills Western society showing
playing
Polytonal, Twelve- knowledge of
Tone),
the musical
 Harmony (Quartal 4.distinguishes
elements as
Chords, Quintal, how Philippine
Heptachords, applied in the SPA_MF9-
and Western
Hexachords), music IIIa-4
music  sings or
 Tempo (Grave, Lento,
Prestissimo, developed plays
Ritardando, alongside each instruments
Accelerando, Rubato), other through with
 Dynamics (extreme finding technique
dynamics and  performs commonalities
music through appropriate
articulations ex.

52
Fortississimo), solo and with and differences to the
 Timbre (Unconventional accompaniment performance
Instruments and  5. applies practice of
Manners of Playing,  applies additional the piece.
Prepared Piano, appropriate musical skills for
Electronic instruments, technical skills
voice and SPA_MF9-
Popular in performing
music instruments) Philippine and instrument IIIa-e-5
Western music playing
Form (Musical Genres:
Philippines: Sarswela, Kundiman,
Bodabil, Music from the Japanese Period

 Western: Gesamkünswerke,
Neoclassical, Avante-Garde,
Minimalist Music, ,
Chance/Aleatory Music,
Indeterminacy, Jazz, Rhythm and
Blues

2.Application of the Elements of


Music through the chosen
specialization: voice and
instrument-playing.

Instrument-Playing/Singing
(Continuation)
 Finger positions/Posture
 Tone Production & Resonance
 Embouchure (winds);

53
bowing/plucking (strings);
 Articulation
 Basic Sight Reading
 Repertoire Study
 Choral Styles

*NOTE
Teachers are free to choose what
elements of music he/she thinks is
necessary to apply in the course.

MUSIC GRADE 9 : FOURTH QUARTER FOURTH GRADING PERIOD

4th Quarter: Performance of instrument/voice/choir; Collaboration of the Different Art Fields;

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE


STANDARDS STANDARDS COMPETENCIES ACTIVITIES

A. Application of the Elements of


Music through the chosen
specialization: The learner… The learner… The learner… The learner…
1.voice
2. instrument-playing.  demonstrates an  demonstrates 1. displays knowledge  makes a practice SPA_MA9-
understanding of basic musical in performing basic plan detailing IVa-1
Instrument-Playing/Singing basic music skills in voice musical performances technical
(Continuation) reading, basic and/or requirements for
 Finger positions/Posture vocal techniques, instrument- pieces
instrument playing playing 2.displays knowledge SPA_MA9-
 Tone Production & Resonance
 Embouchure (winds); techniques, and in music program  rehearses IVa-2
sight reading skills  performs planning music showing
bowing/plucking (strings);
 Articulation music through knowledge of the

54
 Basic Sight Reading solo and with musical elements
 Repertoire Study accompanime as applied in the
 Choral Styles nt music
 sings or
B.PROGRAM PLANNING
plays instruments
1.Basics of Planning a Music
Performance  employs with technique
2.Rehearsal Preparation acceptable appropriate to the
3.Staging the Performance rehearsal performance
methods to good practice of the
program piece.
planning

 applies
aspects of
the integrated
arts approach
in the staging
music
performances
*the performance
standards for the
fourth quarter will
be showcased in
collaboration with
all the other art
fields

55
GRADE 9: History and Heritage

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 HERITAGE AND MUSIC INSTRUMENTAL HERITAGE AND MUSIC INSTRUMENTAL HERITAGE AND MUSIC
PM ENSEMBLE/VOICE/CHOIR ENSEMBLE/VOICE/CHOIR
4-5 SOLO INSTR SOLO INSTR / SOLO INSTR
PM

INTRO TO HERITAGE:
1st Q: Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A
2nd Q: Spanish and Baroque, Classic and Romantic Period, Introduction to Music III-B
3rd Q: American and Modern Period, Introduction to Music III-C
4th Q: Performance of instrument/voice/choir, Collaboration of the Different Art Fields
Solo Performance/ Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL ENSEMBLE:
INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:
History: CCP Encyclopedia of Music, History of Music by Jose Maceda, Grove’s Dictionary of Music and Musicians, Garland Encyclopedia of Music
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn, Thinking
About Music by Bonnie Wade
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of Concone, Marchesi,

56
MacClosky, Foundations of Singing byVan Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis),
Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina Benitez, Tuklas Sining,
CCP Encyclopedia, “Mangalimog ako: Finding one’s voice in Sugidanon (epic chanting)” by Christine Muyco in Songs of Memory in Islands of
Southeast Asia , Musika Jornal, Sonic Orders, Songs of the Babaylan (Grace Nono) Musics of ASEAN, Compendium on the Humanities NRCP
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-
Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary
Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder,
Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla by Angelita
Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino,
Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck),
Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu, www.upethnom.com

57
SPA CURRICULUM MUSIC
GRADE 10

Course Description
This is a course in SPA- Music Specialization that aims the learner to demonstrates an understanding of the basic concepts and principles
of MUSIC interacting with other disciplines relevant to the creation of major works reflecting Contemporary Realities for the PROFICIENCY
in artistic creativity, leading to a sense of self, cultural identity, and social responsibility

MUSIC GRADE 10 : FIRST QUARTER

1ST QUARTER: LOCALIZATION (NATIONAL AND ASIAN), Composition I-A

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE


STANDARDS STANDARDS COMPETENCIE ACTIVITIES
S

A. The Philippines from


Independence to Present The learner… The learner… The learner… The learner…
Times: Modern &
Contemporary Music)
 1946-60’s:
Influence of
1.Demonstrates  Performs the genres  Identifies SPA_M
Modern and British understanding of of music (vocal the genres and 110-Ia-1

58
Music; Philippine music /instrumental) from proponents of
Pilita Corrales development from Philippine music from
Diomedes Maturan Philippine Independence to Philippine
Ric Manrique
Independence to present times. Independence
Mabuhay Singers,
Levi Celrio, Lucio Present times. to the present
San Pedro, Felipe
deLeon Sr.,
 70’s-80’s: Rise of
Filipino
Nationalism;
Protest Songs,
Manila Sound,
OPM , Filipino
Novelty,Edsa
revolution
 90’s to Present:
Filipino Rap,
Filipino Pop,
Korean Invasion,
Broadway (Miss
Saigon, etc)

2.Issues Intellectual  demonstrates


Property Rights, understanding of SPA_MI
issues related to 2.Outlines the 10-Ia-2
3.Performers Rights the music  conducts interviews different issues  compos
profession to local artists about the es or
affecting the
 Institutions: CCP, different issues in the music arranges for
music
NCCA, NCIP, profession. particular
NAMCYA, OPM, profession.
instruments
Filscap, and/or voices SPA_M

59
3.Advocates for given BC10-
intellectual themes/func Ia-j-3
property rights. tions
 discuss
es the
 Composes music
reasons
behind the
 demonstrates issues
B.Basic besetting SPA_M
an understanding
Composition the music AE10-
of basic
(Conceptualization, compositional 4.Employs profession Ia-j-4
Representation of concepts and creativity in
and how
Sound: Standard or techniques composition
Graphic Notation, and these can
Instrumentation arrangements. be
 Arranges music addressed
 makes
1.Arranging a database SPA_M
 demonstrates of MT10-
familiarity with  Performs basic skills for 5.familiarizes organization
with various Ia-c-5
music software voice and instrument- s that
for notation, playing. performance
having diverse advocate
recording,
musical styles. music and
sequencing
C. Music  Notates, transcribes, performer’s
Technology records, or sequences rights for SPA_M
Software 6. applies music future
music. AE10-
 demonstrates technology reference Ia-j-6
an software in  rehear
understanding  performs music through notating, ses music
of basic music solo and with sequencing and
60
reading, basic accompaniment recording. showing
D. Application of the vocal knowledge
Elements of Music techniques, of the
through instrument  Performs diverse musical
composition and playing musical skills 6. Shows
techniques, and mastery of elements
the chosen
sight reading musical and styles
specialization: voice
skills elements  sings
and instrument-
through varied or plays
playing.
musical instruments
Instrument- performance. with
Playing/Singing technique
(Continuation) appropriate
 Finger to the
positions/Posture performanc
 Tone Production & e practice of
Resonance the piece.
 Embouchure
(winds);
bowing/plucking
(strings);
 Articulation
 Basic Sight
Reading
 Repertoire Study
 Choral Styles
 Interpretation of
composed works
MUSIC GRADE 10 : SECOND QUARTER

61
2nd Quarter: LOCALIZATION (NATIONAL AND ASIAN), Composition I-B

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE


STANDARDS STANDARDS COMPETENCIES ACTIVITIES

The learner… The learner… The learner… The learner…

A. The Philippines in the  Demonstra  Presents a simulated 1.distinguishes SPA_M


Context of ASEAN; tes performance of ASEAN Philippine music 110-IIa-
e.g. Indonesia- understanding music. from ASEAN 1
Gamelan/Anklung; folk of Philippine music .
songs , integrated arts in music in the
the ASEAN context
ASEAN
(dance-drama; shadow
puppet, music theater) context. .

1.Tradition &
Change: ASEAN
MUSIC

2.ASEAN Integration,
Cultural Ethics

B .Issues; Tradition and


Change; ASEAN
Integration

C. Simulated  create basic music


Performance of ASEAN  compositions or  compo
Music

62
arrangements ses or
arranges for
particular
instruments
and/or voices
D. Continuation of 2.develops for given
Basic Composition creativity in themes/functi
(Conceptualization,  demonstrates SPA_MI
conceptualizing ons
Representation of an  demonstrates basic 10-IIa-2
basic music
Sound: Standard or understanding musical skills in voice
compositions or
Graphic Notation, of basic and/or instrument-playing
arrangements
Instrumentation compositional
concepts and
techniques
 notates
3.displays , transcribes,
1.Arranging  demonstrates familiarity in
an sequences,
various SPA_M
understanding records
performance BC10-II-
of basic music practice of music using
reading, basic a-j-3
diverse musical appropriate
vocal styles music
techniques,
technology
instrument
playing  uses technology to tools
techniques, notate, transcribe,
and sight record or sequence  discuss
reading skills music es the
reasons
behind the
issues
C.Music SPA_M

63
Technology 4.displays besetting the AE10II-
Software  demonstrates knowledge in music a-j-4
familiarity with using music profession
music technology
and how
software for software
these can be
notation,
recording, and addressed
sequencing  performs music with
D. .Application of the fundamental musicianship  intervie
Elements of Music (performs alone and with ws or
through composition others in pitch, rhythm, 5. displays corresponds
and the chosen expression, and style ) mastery of the with music
specialization: voice basic musical organizations
and instrument-playing.  applies appropriate elements regarding
technical skills in SPA_M
through musical issues in
Instrument- performing diverse MT10-
musical styles performances. music
Playing/Singing IIa-c-5
(Continuation)
 rehear
 Finger
positions/Posture ses music
 Tone Production & showing
Resonance knowledge of
 Embouchure the musical
(winds); elements
bowing/plucking and styles
(strings);
 Articulation  sings
 Basic Sight or plays
Reading instruments
 Repertoire Study
with
 Choral Styles
technique

64
 Interpretation of appropriate
composed works to the
performance
practice of
the piece.

MUSIC GRADE 10 : THIRD QUARTER THIRD GRADING PERIOD

65
3rd Quarter: GLOBALIZATION, MASS MEDIA AND MUSIC TECHNOLOGY, Composition I-C

CONTENT PERFORMANCE LEARNING POSSIBLE


STANDARDS STANDARDS COMPETENCIES ACTIVITIES
CONTENT

The learner… The learner… The learner… The learner…

 demonstrates  performs a musical 1.distinguishes  compo


A. Philippines and an genre for each each musical ses or
Globalization (e.g. understanding genre . SPA_M
region of the world. arrang
Middle East, South of 110-IIIa-
es for
Pacific, East Asian, globalization 1
in music. particul
African, Latin
American, ar
 conducts  analyzes
Fusion/Cross-over instrum
researches about the reasons
Music) ents
music behind the
and/or
organizations that issues in the
 Issues in Music: voices
1.Tradition & Change,  demonstrates deal with issues and musical
for
2.Commercialization, understanding music advocacy profession
given
3.Globalization of issues
4. Diaspora, related to the themes
5.Work Exploitation & music 2.displays /functio
Labor Laws, profession awareness in ns
6.Cultural Ethics music advocacy
7. Intellectual Property and issues
Rights,

SPA_MI
B .Music in Media: 10-IIIa-2
Radio, TV, Film,
Internet, Print  notates

66
,
 Institutions:  create basic music transcribes,
IMusicCouncil, compositions or sequences,
IPhilippine Society for arrangements records
Music Education,
music using
PASAMBAP,PHILBAND
A,Council for Trad  demonstrates basic appropriate
Music, IFederation of musical skills in voice music
Choral Music, ISociety and/or instrument- technology
of Contem Music, Asian playing tools
Composers League,  discuss
PCDA, UNESCO 3.develops es the
 uses technology to creativity in
reasons
notate, transcribe, conceptualizing
C. Continuation of Basic  demonstrates basic music behind the
record or sequence
Composition an compositions or issues
music
(Conceptualization, understanding arrangements besetting
Representation of Sound: of basic the music SPA_M
 performs music with
Standard or Graphic music profession BC10-
fundamental
Notation, Instrumentation reading, basic III-a-j-3
musicianship (performs and how
 Arranging vocal alone and with others in these can
D. Music techniques, pitch, rhythm, 4.displays
Technology instrument familiarity in be
expression, and style )
Software playing various addressed
techniques, performance  interviews
 applies appropriate
E. Application of the and sight practice of or
technical skills in
Elements of Music reading skills diverse musical corresponds
performing diverse SPA_M
through composition styles with music
musical styles AE10III-
and the chosen organization
specialization: voice  demonstrates a-j-4
s regarding
and instrument- an
understanding issues in

67
playing. of basic music
compositional  rehear
Instrument- concepts and 5.displays ses music
Playing/Singing techniques knowledge in showing
(Continuation) using music
knowledge
 Finger  demonstrates technology
software of the SPA_M
positions/Posture familiarity with
 Tone Production & music musical MT10-
Resonance software for 6. displays elements IIIa-c-5
 Embouchure notation, mastery of the and styles
(winds); recording, and basic musical  sings
bowing/plucking sequencing elements or plays
through musical SPA_M
(strings); instruments AE10-
 Articulation performances.
with IIIa-j-6
 Basic Sight technique
Reading
appropriate
 Repertoire Study
 Choral Styles to the
 Interpretation of performanc
composed works e practice of
the piece.

68
MUSIC GRADE 10 : FOURTH QUARTER FOURTH GRADING PERIOD

4th Q:Careers in Music, Contemporary Perspective , Performance/Collaboration

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE


STANDARDS STANDARDS COMPETENCIES ACTIVITIES

A .CAREERS IN The learner… The learner… The learner… The learner…


MUSIC
1.Composers /  demonstrate  demonstrate creativity 1.identifies the  compo SPA_M
Arrangers an in conceptualizing and various music ses or C10-
2.Conductors understanding making music professions, arranges for IVa-b-1
3.Music Educators / of the nature of compositions or their training and particular
Mentor the work of arrangements
nature of work instruments
4.Musicologist / various music
careers  demonstrates basic and/or voices
Researcher

69
5. Music Producer / musical skills in voice for given
Manager and/or instrument- themes/functi
6.Music Technologist playing ons
/ Sound Engineer 2.evaluates
7.Music Therapist one’s aptitude,  prepares a
8.Performers interest and
music
(Singers, abilities in
Instrumentalists) relation to the portfolio of
 demonstrates an various music music
B.PROGRAM understanding of professions performance
PLANNING program  employs acceptable s using
1.Basics of Planning planning, rehearsal methods appropriate SPA_M
a Music rehearsal applicable to good 3.displays music C10-
Performance preparation, and program planning familiarity in
technology IVa-2
2.Rehearsal staging using various
the integrated performance tools
Preparation
3.Staging the arts approach  makes practice of
Performance compositions and diverse musical  discusses the
 demonstrates arrangements for styles types of work
an various musical and training
understanding forms and functions for certain
of basic music careers in
reading, basic music
vocal SPA_M
 interviews or
techniques,  performs music AE10-
instrument corresponds
with fundamental IVa-j-3
playing musicianship with various
techniques, (performs alone music
and sight and with others in professionals
C. Application of the reading skills pitch, rhythm, regarding the
expression, and 6. displays mastery
Elements of Music training and
style ) of the basic
through the chosen nature of
70
specialization: voice musical elements their music
and instrument-playing. through musical profession
performances.  rehearses
Instrument- music
Playing/Singing  demonstrates
an showing
(Continuation)  uses technology to
understanding knowledge of
 Finger document music
of basic the musical
positions/Posture performances
compositional elements
 Tone Production &
concepts and and styles
Resonance techniques  applies aspects of the
 Embouchure (winds); integrated arts
bowing/plucking approach in the  sings or plays SPA_M
(strings);  demonstrates staging music instruments AE10-
 Articulation an performances with IVa-j-6
 Basic Sight Reading understanding *the performance standards technique
for the fourth quarter will be
 Repertoire Study of the staging appropriate
showcased in collaboration
 Choral Styles process to the
with all the other SPA art fields
utilizing performance
elements of
practice of
production
values like the piece.
music, design,
and movement  plans for a
music
program

 conducts
various
rehearsals
and run-
throughs

71
 performs in
front of an
audience

 evaluates the
production
process in
class

 writes a
journal of
experiences
of the entire
Grade 10
experience

GRADE 10: CONTERMPORARY REALITIES

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 MUSIC in INSTRUMENTAL MUSIC in INSTRUMENTAL MUSIC in Contemporary


PM Contemporary times ENSEMBLE/VOICE/CHOI Contemporary times ENSEMBLE/VOICE/C times

4-5 SOLO INSTR/CREATIVE R SOLO HOIR/ SOLO INSTR/CREATIVE


PM MUSIC WRITING INSTR/CREATIVE MUSIC WRITING
MUSIC WRITING

1ST AND 2ND Q: Issues in Music, LOCALIZATION (NATIONAL AND ASIAN) Composition I-A/B;

3rd: GLOBALIZATION and MASS MEDIA AND MUSIC (TECHNOLOGY) Composition I-C;

72
Q: 4th Q: Careers in Music, Contemporary Perspective ; Performance/Collaboration of the Different Art Fields

Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL
ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR
DIVISI
MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland
Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil
Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn

Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San
Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice
Methods of Concone, Marchesi, MacClosky, Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished
thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina Benitez
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto
Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo,
Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The
Contemporary Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String
Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by
Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino,
Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck),
Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts
Computer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition

73
Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu, www.upethnom.com

SPA CURRICULUM MUSIC

74
GRADES 11 & 12

GRADE 11: MUSIC AND SPECIALIZATION I

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 MUSIC AND DISCIPLINE INSTRUMENTAL MUSIC AND INSTRUMENTAL MUSIC AND
PM ENSEMBLE/VOICE/CHO DISCIPLINE ENSEMBLE/VOIC DISCIPLINE

4-5 SOLO INSTR/CREATIVE IR SOLO E/CHOIR/ SOLO


PM MUSIC WRITING INSTR/CREATIVE INSTR/CREAT
MUSIC WRITING IVE MUSIC
WRITING

MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos,
Garland Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art
of Noise, The Devil Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory
Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral
Works by Lucio San Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of
Italian Arias, Voice Methods of Concone, Marchesi, MacClosky, Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino
(unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine
Traditional Music by Kristina Benitez
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2 nd edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin
by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score
Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano

75
Series, Piano Adventures, The Contemporary Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings,
Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba,
Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by
Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing
at First Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble
Arts
Computer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu, www.upethnom.com

GRADE 12: MUSIC AND SPECIALIZATION II

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 MUSIC AND DISCIPLINE INSTRUMENTAL MUSIC AND DISCIPLINE II INSTRUMENTAL MUSIC AND
PM II ENSEMBLE/VOICE/CHOI ENSEMBLE/VOICE/CHOI DISCIPLINE II

4-5 SOLO INSTR/CREATIVE R SOLO INSTR/CREATIVE R SOLO


PM MUSIC WRITING MUSIC WRITING INSTR/CREATIVE
Internship Internship
MUSIC WRITING

1ST Q: Performance, Technology, and Research; 2nd and 3rd Q: Music Management; 4th Q: Integration

Performance: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL ENSEMBLE: INDIGENOUS
MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:

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Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland Encyclopedia
of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil Running with the Music,
Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San
Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice
Methods of Concone, Marchesi, MacClosky, Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis),
Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina Benitez
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto Espino,
Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-
Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary
Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder,
Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by
Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino,
Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck),
Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts
Computer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu, www.upethnom.com

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