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JUNIOR HIGH SCHOOL

MAPEH 8 (MUSIC)
FIRST QUARTER
LEARNING MODULE 1

UNIT TOPIC: MUSIC OF SOUTHEAST ASIA

Prepared by: Amor Grace Martinez Sacudit

Day 2

I. GAINING IN YOUR END

I will be able to:
- Listen perceptively to music of Southeast Asia (Cambodia)
- Analyzes musical elements of selected songs and instruments
- Explore ways of producing sounds on a variety of sources that would stimulate
instruments being studied
- Improves simple accompaniment to selected Southeast Asian music

II. AS YOU MOVE

Study and describe the picture below.

Answer:
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III. MATTER IN HAND

MUSIC IN CAMBODIA

Elements of Music
Cambodian music, which gain world recognition during the 1960s, is influenced by ancient forms
during the Khmer Empire. It reached its peak during the time of Khmer civilization and Angkor was the
center of music and dance.

The texture of Cambodian music can be defined as polyphonic or having different independent
melodies interweaving or heterophonic which means having simultaneous variations of melody. The

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melodies are based on a five-tone are also composed either in duple or quadruple meter with no tempo
markings. Embellishments are also one of the characteristics of its music and plays an important role in
traditional Cambodian music.

The traditional Cambodian Music can be heard at different occasions such as spiritual rites,
weddings, festivals, and theater performances. The musicians improvise words and vocabulary around an
underlying music and follow their fellow musicians to create a complex layer of rhythmic patterns.

Vocal Music
Yai, a form of lyrical poetry, is performed either solo or duet by a man and a woman. It serves as
an ad-lib or completely impromptu which is usually comedic in character. When performed duet, the man
and the woman are seemingly conversing with each other. In between verses are short instrumental
breaks. There are also songs for planting, harvesting, expressing joy, and songs used in religious rites.

Instrumental Music
Religious dancing depicts ancient stories and myths. It is accompanied by the Pinpeat orchestra.
This orchestra was also used in court music, accompanying masked plays and shadow plays. The
orchestra generally consists of xylophone-type instruments accompanied by gong circles. The combination
of these instruments creates a sound that makes if difficult to distinguish which of the two creates which
sound.

The Pinpeat Orchestra Instruments

Traditional Cambodian musical instruments are a combination of aerophones, condophones,
idiophones and membranophones.

1. Khloy – a vertical duct flute made of bamboo, hardwood, or plastic

a. Khloyek – smaller flute
b. Khlotthom – larger flute
2. Tro Sau Toch – two-sringed vertical fiddle with a hardwood body
3. Oneat/Roneat ek – 21 thick rectangular bamboo in a curved boat suspended over two string
4. Samphor – small barrel two-headed drum
5. Kong Vong Toch – is a set of knobbed gongs attached to a circle-shaped rack played with a mallet
6. Ching – finger cymbals which adds a coloring effect to the music

IV. KEY POINTS TO REMEMBER

Elements of Music

The texture of Cambodian music can be defined as polyphonic or having different independent
melodies interweaving or heterophonic which means having simultaneous variations of melody.

Yai – a form of lyrical poetry, is performed either solo or duet by a man and a woman.
Pinpeat Orchestra - The orchestra generally consists of xylophone-type instruments accompanied
by gong circles

This module is for TLCA learners use only (NOT FOR SALE)
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Cambodian musical instruments:

1. Khloy – a) Khloyek b) Khlotthom
2. Tro Sau Toch
3. Oneat/Roneat ek
4. Samphor
5. Kong Vong Toch
6. Ching

V. THINK THROUGH (test and task)

1. Listen to an example of Pinpeat orchestra and describe the music heard.
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2. In your opinion, how important is the traditional music of Cambodia to the lives of its people?
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3. What are the similarities and different of Pinpeat orchestra and the Gamelan orchestra?
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This module is for TLCA learners use only (NOT FOR SALE)
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Resources: MAPEH 8 (Kto12), Vilma V. Perez, Mark Kevin F. Tengco, Crisanto E. Tomas, Josie Jordan D.
Gineta, John Jerry Heriberto A. Francisco

This module is for TLCA learners use only (NOT FOR SALE)