Republic of the Philippines

Department of Education
Regional Office IX, Zamboanga Peninsula

7 Zest for Progress

Z Peal of artnership

MUSIC
Quarter 3 – Module 1:
(EXPLORING MUSIC OF MINDANAO)

Name of Learner: ___________________________

Grade & Section: ___________________________
Name of School: ___________________________
What I Need To Know
KKKKKNOWKNOW
Hello there dear learners! Are you ready for another fun learning
lesson? Great! Let’s get it on. In this module, you will learn about the
music of Mindanao (vocal and instrumental). Through the lessons,
you will discover the socio-cultural influences and distinct religious
beliefs of the people of Mindanao.

In this module, you are expected to attain the following MELCS:

1. describes the musical characteristics of representative music
selections from Mindanao after listening; (MU7MN-IIIa-g-1)
2. identifies the musical instruments and other sound sources of
representative music selections from Mindanao;(MU7MN-IIIa-g-3)
3. analyzes the musical elements of some Mindanao vocal and
instrumental music; and
4. discovers ways of producing sounds on a variety of sources that is
similar to the instruments being studied.

What I know
Activity title: JUMBLED LETTERS
Directions: Identify the musical instruments pertained in column A by
arranging the letters in column B. write the correct answer in the
space provided in column B.

Column A Column B

1. a large, deep-rimmed gong UNGG

__________
2. 2-stringed lute instrument
made of wood UKDAYIP
_____________

3. native xylophone in Sulu ABBGNGA

______________

4. a long, thin-walled bamboo tube SIULGN

___________

5. suspended gong ensembles NGGOUHTA

 What’s In
Directions: Find and encircle the words related to the music of
Mindanao hidden in the grid. The words may be hidden in any
directions.
R B U B U L H Y G F G V D R S
I A T R D D C F A W Q Q D D U
N G W E L L E J B U L K U O L
G O S C L V G G B G B N N Q I
G B E B U C U T A B B W W T N
Y O Y U G O N U N W E H D I G
T Y T G U D C V G W E W A Z X
T R F D S X C V Y H U I K I O
R T R W E E C Y T G F D V B N
Y N V C A S L U M A D R R U J
R E W D D C V T Y Y Z X C V B
R C V D S X T U I Q E A W Q Q
A G U N G C V B N B A Y O K S
Q W E F I O P O K H B C Z X V
Q W D V B Y U I T R F D V F Q

What’s New Directions: Before learning the

Music of Mindanao, let us first find out what you already know about
the beauty of Mindanao by naming the pictures and describing each
of them. Write your answers on the space provided.

_________________________________
_________________________________
_________________________________
________________________________
https://photos1.blogger.com/x/blogger/4507/549/1600/429792/Kulintang%20Ensemble%20007.jpg

____________________________________
____________________________________
____________________________________
____________________________________

https://blog.palabas.org/content/images/2017/08/cover10.png
 What Is It

I. MORO / ISLAMIC MUSIC:

A. Vocal Music of Mindanao
The Islamic community of the Philippines consists of ethno-
linguistic groups:
- The Maguindanao of Cotabato
- The Maranao of Lanao and Cotabato
- The Samal and Jama Mapun of the Sulu Islands of Sibutu and Cagayan
- The Tausug of the Sulu Islands of Jolo, Siasi, and Tawi-Tawi
- The Yakan of Basilan and Zamboanga

The uniqueness of the cultures and his/her musical practices that

make up the larger Islamic society in Mindanao and Sulu belongs to one
single tradition.

Similarities do exist in some vocal styles within the large society, but
theoretical concepts, functions, aesthetics, and repertoires differ from
culture to culture, and even from village to village belonging to one language
group.

1. CHANTS – a lyrical rendition of different improvised text.

Yakans do his/her chantings through solo and counter or group

singing. His/her three famous everyday style chants are the:

a. Lugu – chants that they use in reading his/her Qur’an and other books
they use in his/her Islam religion
b. Kalangan – songs that they use for serenading his/her loved ones
c. Sa-il / Lunsey – an important chant to be sung by the wife-to-be during
the ceremony that talks about married life

Maranaos have an extensive vocal repertoire such as:

a. Dikker – sacred songs highlighted by quotations from the Qur’an

b. Bayok – semi-generic term for a lyrical rendition of different improvised
text

2. LULLABY – a chant-style or chant formula use in rocking a baby to sleep

a. Ya-ya – is a song of the Yakans to put the baby to sleep, sung in a relax /
slow manner, soft and soothing while rocking the baby
b. Bayok – is also a Maranao term for lullaby

B. Instrumental Music
1. Kulintang Ensemble – Gong-based ensemble used by the Maguindanao
and Maranao of western Mindanao, the Tausug, the Yakan, and the Sama-
Bajao of the Sulu Archipelago. They have varied functions but are mostly
used for celebration / rituals and are mainly divided into two types.

 Kulintangan ( Manobo Cotabato )/Kwintangan – ensembles 0f 6-8

hanging melody gongs in a row, hung on ropes in pyramidal order, with the
smaller and higher-pitched gongs near the top
 Tahunggo, Agung, Salmagi, BlowonSemagi – suspended gong
ensembles (9-11 gongs, played a melody and drone player) in various names
according to each tribe; ensemble maybe completed with 1 or 2 drums.

http://www.kipas.nl/Instruments/Kulintangensemble.htm

Kulintang Ensemble, Mindanao 1966

https:www.youtube.com/watch?v=2DaujjjuiL4

https://www.shutterstock.com/image-photo/handmade-crafted-klintang-kulintang-gongs-natives-1474690589

Kulintang – is an important social property. This instrument of the ensemble

is a highly valued priceless heirloom that can command a high price as
dowries. The ownership of these instruments indicates high social status
and cultivated taste.
https://digitalcollections.lib.washington.edu/digital/api/singleitem/image/ethnomusic/959/default.jpg?highlight
Terms

Agung – a large, deep-rimmed gong, vertically suspended, hanged in wooden

frames.

2. Bamboo Ensemble – According to the Philippine legends, the first man

and woman are born out of the bamboo. Bamboo is also considered among
early Filipinos as a spiritual connection from our physical world to the
spiritual. Many bamboo instruments were made for this purpose while some
were also used for entertainment and personal expression. The different
manners in playing bamboo instruments include: blowing(aerophones),
shaking or hitting (idiophones), and plucking (chordophones).

Gabbang – a native xylophone in Sulu, a bamboo keyboard on top,

constructed out of wood. Ordinarily, its main body is shaped like a coffin;
keys are struck with two mallets, each with a strip of rubber fastened to its
underside.

Seronggagandi – a guitar- like made of bamboo, cut before one nod and after
next. Two cords are slit loose side by side from the outer skin fibers of the
bamboo itself and these are given tension by means of bridges. A hole is
then cut into the bamboojust under the 2 cords, to serve as resounding
holes.
Music Listening: Gabbang music
Philippine music: music of the Mindanao Muslims Uwang Ahadas Gabbang
http://www.youtube.com/watch?v=AR0heXocsA
3. Solo Instrument

Kudyapi – is a 2-string plucked lute instrument made of wood which

resembles and elongated guitar usually having 2 strings. It varies in sizes,
but normally it is about one and a half meters long

- it is held in the performer’s lap like a guitar, the left hand slides back
and forth along the melody string between the frets; the middle finger of
the right hand plucks both the melody and drone strings with a rattan
plectrum or kubit

https://3dwarehouse.sketchup.com/warehouse/v1.0/publiccontent/c587c0bc-dec3-46d1-a3dc-9c308530878f

Film Viewing or Music Listening: Master Samaon Sulaiman

https://www.youtube.com/watch?v=FqtEPoNEg-U

II. NON-ISLAMIC

Migrants/Christians – the people who migrated from Luzon and

Visayas were mostly Christians. Most of these settlers from Luzon and
Visayas came to Mindanao during the Philippine Commonwealth under the
Americans and in the 1950s and 1960s. While Moro and Lumad music are
often featured in Mindanao cultural presentations, the people who migrated
from Luzon and Visayas brought along his/her own culture. Even though
they still have family ties to Luzon and Visayas, they are evolving into
his/her own Mindanao identity.

For Christian music, Monsignor Rudy Villanueva of Cebu, Narcisa

Fernandez of Davao City, Fr. Jose Maghinay who started his GSK songs (in
the DOPIM area ( Dipolog, Ozamiz, Pagadian, Iligan, Marawi) and Fr. Lhem
Naval (whose compositions are heavily influenced by the Jesuits ( who
trained him in Vianney way back in the late 1990s ) have greatly contributed
in liturgical music used in Mindanao. Chavacano music in Christian
Zamboanga has also flourished through the years.
 Lumad – a collective term for groups of indigenous people from Mindanao,
which means “native.”

Out of the 6.5 million indigenous people in the Philippines, there are
an estimate of 2.1 million Lumads in Mindanao. Some of them are Subanen,
B’laan, Mandaya, Higaonon, Banwaon, Talaanding, Mansaka, Manguanan,
Dibabawon, Tagakaolo, Bagobo, Ubo, Tiruray, T’boli, and Manobo.

T’boli women

https://blog.savethechildren.org/wp-content/uploads/2015/11/6a0120a608aa53970c01b8d1716804970c.png

Bagob
known as non-muslim and non-christians, the
orientation of his/her cultural developments appears
to be toward the Muslim groups. In most cases, lan-
guage is the only differentiating element in ethnic cul-
tures, particularly among those which occupy adjacent
and continuous territory.” Most of the indigenous cul-
tural communities (ICC) in Mindanao speaks languages
belonging to the Manobo family of languages, except
the B’laan, T’boli, and Teduray.

https://i.pinimg.com/564x/46/fd/56/46fd5689e507a311c010f9c5cedf1afa.jpg
 What’s More

Task 1
Activity title: What is in me?
Directions: Read the paragraph below. Based from the given selection,
Write down and analyze the musical elements and characteristics of
Islamic music, vocal music and also include the mentioned
traditional instruments and their uses. Write your answers on the
given spaces.

The musical practices of Mindanao reflect separate Islamic and non-Islamic

cultural traditions. When we talk about music, Mindanao music is characterized
by a highly subtle organization of melody and rhythm. is mainly homophonic,
using a clear melody line over a subordinate chordal accompaniment, but
counterpoint was by no means forgotten, especially later in the period. Melisma
singing, song phrases, narrow singing, fluid singing, tremolo, strained voice, nasal
enunciation, these are some of the characteristics of Islamic music.
We have the chants and lullabies under vocal music; the richness of
his/her kulintang and bamboo ensemble, the popular solo instruments like the
kudyapi, all of which are strongly influenced by Islam and its traditions. Then we
have the traditions of the Christians, which now has a very wide range of ancient
and modern Catholic/church music, and those non-Christians / non-Muslim’s
groups’, the Lumad’s folk songs.

1. Vocal music ______________________________________________________

2. Elements of music

Rhythm______________________________________________________________

Texture______________________________________________________________

Form________________________________________________________________

3. Characteristics of Islamic music

___________________________________________________________________________

4. Musical instruments that strongly influenced by Islam and

traditions
_____________________________________________________________________
 Task 2
Directions: You may browse the internet and find the link written
below. Listen and observe carefully the music and the instruments
being used in the recordings.

Film viewing or Music listening:

“Sanlibutan” by: Ang Grupong Pendong
https://www.youtube.com/watch?v=I902GUsAgMDocument14

1. What particular instruments do you hear were used in this recording?

____________________________________________________________________

_____________________________________________________________________

______________________________________________________________________

2. Were they used the same way as the traditional playing of the kulintang
ensemble? If yes, how?
_____________________________________________________________________

______________________________________________________________________

3. Does the song’s melody and mood give you a feeling of the same
traditional Mindanao ritual or celebration? If yes, why?
_________________________________________________________________________

___________________________________________________________________________

4. What is the effect of using modern text and melodic progression and
mixed with the traditional Mindanao gong ensemble / other instruments on
the modern generation?
 What I Have Learned

I have learned that

_____________________________________________________________________________
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What I Can Do
Making Improvised Mindanao Musical Instruments
Directions: Discover ways of producing sounds similar to the sounds of
instruments from Mindanao by simply creating improvised instruments out
of the available materials at home. Make sure to follow safety precautions
when using knife or any blunt materials.

https://makingmulticulturalmusic.files.wordpress.com/2011/07/mmmm_header_1000x288_notext.jpg
Rubrics for designing an instrument substitute
Appropriate materials were
selected and creatively
modified in ways. The
Above standards instrument shows
4
considerable attention to
construction. Sound is very
similar to the instrument
studied.
Appropriate materials were
selected. The instrument
shows considerable attention
Meet standards to construction. Can produce
3
sound similar to the
instrument studied.
most of the materials were
appropriate, but 1-2 were not.
Sounds that were produced
Approaches standards are not that similar to the
2
ones studied.

Construction materials were

not appropriate for the
purpose. Instrument were
Below standards made does not produce any
1
sound at all.

Assessment
Multiple choice
Directions: Read the items carefully. Choose the best answer and write the
LETTER of your choice on the space provided before each number.

_____1. Which of the following percussion instrument from Mindanao best

known for its highly valued priceless heirloom that can command a high price
as dowries?
A. Agung C. Gabbang
B. Kulintang D. Bamboo ensemble

_____2. The following are the vocal music of Mindanao EXCEPT?

A. Dikker C. Bayok
B. Owiwi D. Ya-ya

_____3. Which of the following vocal music of Mindanao use in reading Qur’an
and other books in Islam religion?
A. Lugu C. Bayok
B. Laggu D. Kalangan
____4. In the classification of traditional musical instruments, Gabbang is a
native xylophone in Sulu. Gabbang is an example of an Idiophone. What do
you mean by an Idiophone?
A. it is a wind instrument similar to a flute
B. it is an Asian instrument that follows the structure of a piano
C. percussion instruments that are struck with a mallet to produce sound
D. none of the above

_____5. Why is vocal music of Mindanao important to the Islamic community

specially to the ethno-linguistic groups?
A. music of Mindanao is important because it is related to different occasion
B. music of Mindanao is important because it was written by the folk and sung
to accompany daily activities
C. it is important because similarities do exist in their vocal styles that make
up the larger Islamic society belongs to one single tradition
D. it is important because many of the ethno-linguistic groups in Mindanao
are good in singing and playing traditional instruments

_____6. which of the following is NOT part of the ethno-linguistic groups of the
Islamic community?
A. Maguindanao C. tausug
B. Samal and Jama Mapun D. Bisaya

_____7. Which of the following statements below best describes music of

Mindanao?
A. Music of Mindanao is very unique because of its musical practices and with
similarities do exist in their vocal styles
B. Music of Mindanao is focus on melismatic and not into free meter style
C. Music of Mindanao is distinctively made up of two sounds characteristics of
instruments based on its respective materials
D. Music of Mindanao is plainly used for communication with the spirits in
rituals and worships alone

_____8. The rhythm of music of Mindanao is mainly homophonic in style,

using a clear melody line over a subordinate chordal accompaniment. What is
meant by the word homophonic?
A. two or more parts each having a melody of its own
B. it is a combination of relatively independent melodies
C. homophonic describes how layers of sound with a piece of music interact
D. homophonic refers to the structure of a musical composition or
performance

_____9. Which of the following Maranao’s vocal repertoire known as a sacred

song highlighted by quotations from the Qur’an?
A. ya-ya C. dikker
B. bayok D. liwang
 ____10. Which of the following is TRUE about the kulintang ensemble?
A. it is ensembles of 6-8 hanging melody gongs in a row
B. it is a Gong-based ensemble used by the Maguindanao and Maranao
C. it is a set of native xylophone in Sulu, a bamboo keyboard on top,
constructed out of a wood
D. it is a guitar-like made of bamboo, cut before one nod and after next

Answer key:
BBACCDABCB

References:

DEVELOPMENT TEAM

Writer: Mark Vincent A. Lauriaga

Editor:
Language Editor: Mark Vincent A. Lauriaga
Proof Reader:
Illustrators: Najer K. Atang
Layout Artist: Ethel Gregana

Management Team:
Julieto H. Fernandez, Ed. D., CESO VI
SDS-Isabela City
Maria Laarni T. Villanueva, Ed. D., CESE
ASDS-Isabela City
Henry R. Tura, CID Chief
Elsa A. Usman, LR Supervisor
Jani P. Ismael, EPS-MAPEH, Module Coordinator
 Region IX: Zamboanga Peninsula Hymn – Our Eden Land

Here the trees and flowers bloom
Here the breezes gently Blow,
Here the birds sing Merrily,
The liberty forever Stays,
Here the Badjaos roam the seas
Here the Samals live in peace
Here the Tausogs thrive so free
With the Yakans in unity
Gallant men And Ladies fair
Linger with love and care
Golden beams of sunrise and sunset
Are visions you’ll never forget
Oh! That’s Region IX
Hardworking people Abound,
Every valleys and Dale
Zamboangueños, Tagalogs, Bicolanos,
Cebuanos, Ilocanos, Subanons, Boholanos,
Ilongos,
All of them are proud and true
Region IX our Eden Land
Region IX
Our…
Eden...
Land...

The Footprints Prayer Trees by Joyce Kilmer

One night I had a dream. I dreamed I think that I shall never see
that I was walking along the beach A poem lovely as a tree.
with the LORD.
A tree whose hungry mouth is prest
In the beach, there were two (2) sets Against the earth’s sweet flowing
of footprints – one belong to me and breast;
the other to the LORD.
A tree that looks at God all day,
Then, later, after a long walk, I And lifts her leafy arms to pray;
noticed only one set of footprints.
A tree that may in Summer wear
“And I ask the LORD. Why? Why?
A nest of robins in her hair;
Why did you leave me when I am sad
and helpless?”
Upon whose bosom snow has lain;
And the LORD replied “My son, My Who intimately lives with rain.
son, I have never left you. There was
only one (1) set of footprints in the Poems are made by fools like me,
sand, because it was then that I But only God can make a tree.
CARRIED YOU!