BANGSAMORO AUTONOMOUS REGION IN MUSLIM MINDANAO

DEL SUR GOOD SHEPERD COLLEGE INC.

Wao, Lanao del Sur, Philippines
Contact No. +639359538691 Email Add: goodshepherd_wao@yahoo.com
‘’The School of Mind Character and Personality’’

WEEKLY LEARNING MODULE

1ST Quarter – Week 1
September 20-24, 2021

Name: ____________________________________________________ Score: ___________

Grade & Section: __________________________________________ Subject : MUSIC 7_

Lesson 1: Music of Luzon (Lowlands)

Introduction:
Have you ever been to any province of lowland Luzon? If you have not been to Luzon yet,
perhaps you have seen on TV or in the movies the chants, songs, and music played by the Ilokano,
Tagalog, Bikolano, Pampangueno, and Pangaseninse.

What kinds of songs or music did you hear being sung or played in that particular province?
Are they the same with the folk songs in your province or city?

Geographically, the Philippines belongs to the East, but its music has been heavily influenced
by the West due to the 333 years of Spanish rule and 45 years of American colonization. Nonetheless,
the music in the highlands and lowlands of the Philippines, where indigenous culture continues to
thrive, has strong Asian elements. Spanish and American influences are highly evident in the music of
the urban areas.

There are three main roots of Philippine music:

1. An old Asian influenced music referred to as “indigenous music”
2. A religious and secular music influenced by Spanish and European forms
3. An American/European – inspired classical and semi-classical and popular music

I.-Objectives: After completing the module, you should be able to:

1. Describes the musical characteristics of representative music selections from the lowlands of
Luzon after listening

II-Discussion:

A. Reading

The lowlands of Luzon cover the regions of the National Capital Region (NCR), and Region III and
IV. These are the provinces of Aurora, Bulacan, Nueva Ecija, Pampanga, Tarlac, Zambales, Cavite,
Laguna, Batangas, Rizal, and Quezon. The traditional music of the Philippines, like the folk music of
other countries, reflects the life of the common citizen. Most rural traditional songs have something
to do with fishing and farmin, as these are the livelihood of these provinces. Their music used in
singing and dancing reflect their way of life, beliefs, and daily practices. These include epics relating
genealogies and exploits of heroes and gods; work songs related to planting, harvesting, and fishing;
ritual songs to drive away evil spirits; songs to celebrated festive occasions like marriage, birth,
victory at war, of the settling of tribal disputes; mourning songs for the dead; and, children’s
counting and game songs.

The following are some examples of folk songs handed down through oral tradition from generation
to generation: Magtanim ay Di Biro; Leron, Leron Sinta; Paru-Parong Bukid, Pamulinawen, and
Dandansoy.

Magtanim Ay Di Biro- a popular folk song composed by Felipe De Leon; a song for working in the
fields.

Leron , Leron Sinta – is also a Filipino folksong from the Tagalog region handed down through oral
tradition. It is open presented as a children’s song but it is really a courtship song.

Reviewing the Musical Elements

1. Rhythm – may broadly pertain to the duration (long or short) of musical sounds.
Examples:
Slow – one beat per second
Moderate – two beats per second; a little slower
Fast – four beats per second; quick
2. Timbre or Tone Color – the unique quality of a tone produced by a given instrument or voice. It
is the difference between two tones of the same pitch, duration, and intensity. For example, a
middle C or C4 performed played on a violin versus another C4 performed/played on a flute; or a
C4 sung by an alto singer versus a soprano singer.
Examples:
a. Nasal – vocal sound produced by the “nasal cavities” of the face or the “nasal area”; voice
resonates through the nose
b. Head voice/Falsetto - light voice; less effort is exerted in singing; also called the ‘’angel’s
voice”
c. Chest tone – similar to the ‘’speaking voice’’; throaty
d. Guttural – characterized by a raspy sound or a “growl”
3. Texture – the horizontal (melodic lines) and vertical (chords) relationships of musical materials
that are comparable to the interweaving of the warp and woof of woven fabric. It is the way
multiple voices or instruments interact in a composition.
Examples:
a. Monophonic music – is represented by a single melodic line
b. Homophonic music – is also called as ‘’accompanied melody’’; consists of a single melodic
line (horizontal) that is supported at various points by chords (vertical)
c. Polyphonic music – consist of two or more horizontal lines of individual design, connected
with each other by the vertical relationship of consonance or harmony
d. Heterophonic music – is term used by Plato and adopted by modern musicologist to describe
a primitive type of polyphony. It is where two or more performers produce essentially the
same melody with slight modifications in one part, mainly through omission or addition of
some notes. This style is frequently found in Chinese, Javanese, African, etc. music.
4. Harmony – is the simultaneous occurrence of musical tones whether consonant or dissonant. It
refers to the vertical structure of music (while melody pertains to the horizontal element of
music).
Examples:
a. Major Tonality or Major Key – is the term used for distinctions of major intervals ad chords
(for example: Major C = c e g)
b. Minor Tonality or Minor Key – is the term used for the distinctions of minor intervals and
chords ( for example: Minor C = c eb g)
 c. Undetermined Tonality – refers to music pieces which has neither a major nor a minor key
all throughout the piece. (this happens when flats and sharps randomly appear in certain
measures, except for its specific indication in the beginning key signature).

B. Reinforcement

Activity 1. TRUE or FALSE. Write AGREE if the statement is correct and DISAGREE if the
statement if wrong. Write your answer on the space provided. 1 pt.

__________1. Luzon lowland folksongs have a very distinctive Spanish influence

__________2. Folksongs ate generally taught in schools.
__________3. Sitsiritsit is a Tagalog folksong.
__________4. An example of a Kapampangan folk song is Sarung Banggi.
__________5. The composers and lyricist of folk songs are usually unknown.
__________6. Naraniang a Bulan is an example of an Ilocano folk song.
__________7. Folk songs are mostly short and complicated.
__________8. Key signatures in folk songs do not change.
__________9. Folk songs are based on the community’s livelihood, tradition and culture.
__________10. Atin Cu Pung Singsing is an example of a Bicolano folk song.
__________11. Sarung Banggi is a flok song from Batangas.
__________12. Pamulinawen is a folksong with a triple meter.
__________13. Folksongs are usually sung in the dialect of the people of its place of origin.
__________14. Pamulinawen and Manang Biday are both Tagalog folk songs.
__________15. All folksongs have the same story to tell.

C. Recitation

Activity 1.

Try to find 16 popular folk songs in the puzzle. List down the titles of the song you are familiar
with. Tell whether it is a TAGALOG, KAPAMPANGAN, and BIKOLANO. Write the title on the
table below the puzzle.2 pts.

P A T A G A B U N D O C V U L C E K L
A G P A M U L I N A W E N F B M P G F
D E S P A C I T O T T I M A A M I T M
T Q A E R S D T G I S V E N H W E T A
L E R O N L E R O N S I N T A T G Y G
L B U Z C A C A O C A C A P Y T I M T
O H N O I T R E S U B G T E K C V A N
F R G B I H Y K U P A D G K U E P R I
V E B C I R T G A U S D R I B O P I M
B D A U T Y V N B N Z S F E O I H A A
A O N A R A N I A G A B U L A N G N Y
N R G B G E S I T S I R I T S I T G D
N E G T Y H G U Y I H J U W E S F M I
A D I W A S R D F N T Y H I K J O A B
T O C V M A N A N G B I D A Y V S L I
I X E R T Y U I O S A S D T G H K A R
R E T I S E P C B I Q R V I O A Z G O
A P A R U P A R U N G B U K I D A U S
N G J E D U D U N G W E N K A N T O D
1. Are you familiar with the given songs of this activity?

2. How did they become familiar to you?

3. Have you tried singing those songs before? How was it?

4. Do you like listening to those type of songs? Why or why not?

Dialect: __________ Dialect: __________ Dialect: __________ Dialect: __________

Magtanim ay di Biro Pamulinawen Atin Cu Pung Singsing Sarung Banggi

https://youtu.be/f8TgQ https://youtu.be/F_hCr https://youtu.be/gVZgJ https://youtu.be/SaRJC

0aagls be3sbc GC8u2k G4MWjY
Bahay Kubo Naraniag A Bulan Doredo

https://youtu.be/f4EY4 https://youtu.be/fpDZn https://youtu.be/2Hv5

Gc0poMw o9pqPAc UjWP5yE
Leron Leron Sinta Manang Biday Caca O Caca

https://youtu.be/firHRh https://youtu.be/Nc2cL https://youtu.be/an1DE

Lsprc yZmEJA iaE7C0
Sitsiritsit Dudungwen Kanto Y Mariang Malagu

https://youtu.be/rjkrdy2 https://youtu.be/4FGde https://youtu.be/zzVxO

A_HI JcR754 OaGDw0
Paru-parong Bukid Bannatiran Patag a Bundoc

https://youtu.be/aJK0ve https://youtu.be/wcqM https://youtu.be/cIZW

_0xdI _nrhpDk G9Yrt-w

Examine the table you have accomplished.

What helped you find the songs in the puzzle?

This time try doing this activity after listening to the folk songs.

1. What can you say with the different time signature (meter) of the songs.

2. Analyse the emotions communicated by each song (love, anger, happiness, suffering, etc.; and

3. Observe the speed of each of song. Do they have the same tempos?

4. Why do you think the composers of these particular folk songs made it that way?
 D. Reflection

Aside from Tagalog, several other dialects are used by unknown composers from Luzon in
composing their own lowland flok songs such as Ilocano, Kapampangan, Pangasinense, and
Bicolano. Spanish and other western influences are very evident in the construction of the songs
such as the meter used, and the minor and the major modes.

In this activity “YOUR SONGS SOUNDS FAMILIAR”, you will listen to some samples of
Luzon lowland folksongs. Using the YouTube links given in the first activity, try to browse for
the sample songs for your reference then answer the questions on the next page. Open the
YouTube link and listen to the given music.

1. What can you say about the lyrics of the folksongs?

2. What are the dialects used in folksongs you just heard?

3. What can you say about the translation of the dialects in other languages?

4. Why do folk songs not change the key signatures?

5. How do people become familiar with the folksongs in the community?

6. Based from the folksongs that you have heard, how do folksongs depict the community’s
tradition, culture, and livelihood?

E. Realization

In this activity, you will analyze the given six folk songs by completing the table. DIALECT
(Tagalog, Ilocano, etc. ), MELODY (major, minor scale), DYNAMICS (softness or loudness of
sound), TEMPO, TEXTURE, METER (duple, triple, quadruple), Mood (happy, sad, etc.), THEME
(love, religious, work, etc.) the youtube links are provided for your reference of the song samples.

Manang Biday Paru-parong Bukid Sarung Banggi Doredo

FOLK https:youtu.be/ https://youtu.be/6sO

SONGS qYnqpShl-Ns RJGUpW0M https://youtu.be/Sa https://youtu.be/2Hv
RJCG4MWjY 5UjWP5yE
DIALECT
METER
MOOD
MELODY
DYNAMICS
TEMPO
TEXTURE

Hope you enjoy answering all the activity. See you again and God bless you!