8 MUSIC

Quarter 4 – Module 1:
Musical Theater
And
Festivals of Asia
MUSIC – Grade 8
Alternative Delivery Mode
Quarter 4 – Module 1: Musical Theater and Festivals of Asia
First Edition, 2020

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Published by the Department of Education

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 8

Music
Quarter 4 – Module 1:
Musical Theater and Festivals of
Asia
Introductory Message
For the facilitator:

Welcome to the MUSIC 8 Alternative Delivery Mode (ADM) Module on Musical

Theater and Festivals of Asia

This module was collaboratively designed, developed and reviewed by educators

both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies
that will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
learners as they do the tasks included in the module.
For the learner:

Welcome to the Music 8 Alternative Delivery Mode (ADM) Module Musical Theater
and Festivals of Asia!

The hand is one of the most symbolized part of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a
learner is capable and empowered to successfully achieve the relevant
competencies and skills at your own pace and time. Your academic success lies in
your own hands!

This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in
the module.

What I Know This part includes an activity that aims to

check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.

What’s In This is a brief drill or review to help you link

the current lesson with the previous one.

What’s New In this portion, the new lesson will be

introduced to you in various ways such as a
story, a song, a poem, a problem opener, an
activity or a situation.

What is It This section provides a brief discussion of

the lesson. This aims to help you discover
and understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to
process what you learned from the lesson.

What I Can Do This section provides an activity which will

help you transfer your new knowledge or
skill into real life situations or concerns.
 Assessment This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given

to you to enrich your knowledge or skill of
the lesson learned. This also tends retention
of learned concepts.

Answer Key This contains answers to all activities in the

module.

At the end of this module you will also find:

References This is a list of all sources used in

developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of
the module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your
answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.

We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!
 What I Need to Know

This module was designed and written with you in mind. It is here to help you
master the Musical Theater and Festivals of Asia. The scope of this module permits
it to be used in many different learning situations. The language used recognizes
the diverse vocabulary level of students. The lessons are arranged to follow the
standard sequence of the course. But the order in which you read them can be
changed to correspond with the textbook you are now using.

The module is divided into three lessons, namely:

 Lesson 1 – Japanese Theater
 Lesson 2 – Chinese Theater
 Lesson 3 – Indonesian Theater

After going through this module, you are expected to:

1. identify the musical characteristics of selected Asian musical theater
through video films or live performances;
2. describe the instruments that accompany Kabuki, Wayang Kulit and Peking
Opera;
3. describe how specific idea or story is communicated through music in a a
particular Asian musical theater;
4. improvise appropriate sound, music, gesture, movements, props and
costume for performance of a chosen Asian traditional musical and
theatrical form;
5. perform selection/s from chosen Asian musical theater; and
6. evaluates music and music performances using guided rubrics applying
knowledge of musical elements and style.
 What I Know

Picture Interpretation: Say Something about the picture below. Write your
comments inside the box.
 What I Need to Know

Japanese Theater

Traditional form of popular theater which began at the end of the 16 th

century and soon became the most successful theater entertainment in the red
light districts of the great cities. Together with Nōh, it is considered the most
important Japanese contribution to World Theater. Both Nōh and kabuki are
unique and genuine expressions of the Japanese spirit and culture. They mirror,
however, taste and ideals of different social classes, in profoundly different
environments and epochs.

Vocal Pattern and Techniques:

1) Ipponchōshi or the continuous pattern – used in speeches building up to an

explosive climax in the aragoto(oversize, supernatural, rough hero) style, it
requires an extraordinary breath-control that only few experts succeed in
achieving

2) Nori technique – adapted from the chanting of jōruri, implies a very sensitive
capacity of riding the rhythms of the shamisen (string instrument), declaiming
each accompaniment

3) Yakuharai technique - the subtle delivery of poetical text written in the

Japanese metrical form of alternating seven and five syllabus

Vocal and Instrumental Features

Dances and movements are accompanied by shamisen music which collected and
popularized a number of aspects from all previous forms of Japanese music, from
gagaku (classic court music imported from China during the 18 th century), kagura
(performed in Shinto shrines), nō (chant derives from shōmyō, the sophisticated
and rich tradition of Buddhist chanting), down to the folk and fashionable song of
the day. The most popular shamisen music was called nagauta (long song) which
reached a golden age in the first half of the 19 th century as dance music for the
henge mono or quick change pieces.

Naugata music is very flexible, can be performed by one shamisen or by the entire
orchestra of twenty musicians , of which ten are shamisen players, while other play
flutes (fue taken from the nō) and drums (small drum-kotsuzumi; waist drum-
ōtsuzumi; stick drum-taiko)

Shamisen- 3 stringed instrument

http://www.iconarchive.com/show/hinode-icons-by-dunedhel/shamisen-icon.html

Kotsuzumi– Small shoulder drum

http://www.taikomasa.co.jp/english/products/others.php

Otsuzumi– Waist drum

http://www.taikomasa.co.jp/english/products/others.php

Taiko – Stick Drum

http://www.clker.com/clipart-taiko-drum.html

What’s In

Activity 1: Watch and Observe

Watch a video a clip of Kabuki performance and write your observation about there
costume, historical background, vocal and instrumental music and distinct theatre
elements and features.

Video Clip
Kabuki Theater
http://www.youtube.com/watch?v=67bgSFJiKc&feature=related
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What’s New

Chinese Theater

Peking opera is a form of traditional Chinese theatre which combines music, vocal
performance, mime, dance and acrobatics. It arose in the late 18th century and
became fully developed and recognized by the mid-19th century. The form was
extremely popular in the Qing Dynasty court and has come to be regarded as one of
the cultural treasures of China.

The vocal requirements for all of the major roles were greatly reduced for Peking
opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the
equivalent role in Kunqu style. The melodies that accompany each play were also
simplified, and are played with different traditional instruments than in earlier
forms. The popularity of Peking opera has been attributed to the simplicity of the
form, with only a few voices and singing patterns. This allowed anyone to sing the
arias themselves.

Beijing opera follows other traditional Chinese arts in emphasizing meaning, rather
than accuracy. The highest aim of performers is to put beauty into every motion.
One skill may take precedence at certain moments during a play, but this does not
mean that other actions should cease. Much attention is paid to tradition in the
art form, and gestures, settings, music, and character types are determined by long
held convention.

Vocal and Instrumental Features

Performances are accompanied by music - usually played on three types of

instrument: wind instruments, string instruments and percussion. The main
instruments are Chinese in origin: the jinghu, a two-stringed instrument played
with a bow, the yueqin, a fourstringed instrument that is plucked, a sanxian, a
three-stringed instrument also plucked, the suona horn, Chinese flutes and a
variety of gongs and cymbals. The melodies are rhythmic and graceful.

The melodies played by the accompaniment mainly fall into three broad
categories. The first is the aria. The arias of Beijing opera can be further divided
into those of the Erhuang and Xipi varieties. An example of an aria is wawadiao, an
aria in the Xipi style that is sung by a young Sheng to indicate heightened emotion.
The second type of melody heard in Beijing opera is the fixed-tune melody, or qupai.
These are instrumental tunes that serve a wider range of purposes than arias.
Examples include the "Water Dragon Tune" (shui long yin), which generally denotes
the arrival of an important person, and "Triple Thrust"(ji san qiang), which may
signal a feast or banquet. The final type of musical accompaniment is the
percussion pattern. Such patterns provide context to the music in ways similar to
the fixed-tune melodies. For example, there are as many as 48 different percussion
patterns that accompany stage entrances. Each one identifies the entering
character by his or her individual rank and personality.

Traditionally, the musicians also remain in full view throughout the

performance and are dressed in the same style as the stage assistants. They come
and go freely and are never considered part of the stage picture. In contemporary
China, the musicians are often seated in an orchestra pit and kept offstage.

Theater musicians learn their parts by rote since Chinese musical notation
is very imprecise. Most music used in the Peking Opera has been worked out
collaboratively between actors and musicians; most is borrowed from already
existing sources and recombined according to the requirements of a particular play.
Although they may be classified as string, wind and percussion, the instruments of
the Chinese orchestra have no counterparts in the West. The leader of the
orchestra plays a drum which establishes the time and accentuates the rhythm.
Gongs, cymbals, brass cups, flutes, stringed instruments and more exotic items
complete the orchestra. Songs are accompanied only by flute and strings, but
entrances and exits are signalled by deafening percussion passages. Much of the
onstage action is performed to a musical background

The actor’s delivery of lines is rigidly controlled by conventions. Each role

has its prescribed vocal timbre and pitch, and syllables are often drawn out regard
for conversational usage in order to maintain the appropriate rhythm. Even spoken
passages are governed by strict rhythms and tempos. Chanted and sung passages
are freely inserted into spoken monologues or dialogues. Thus lines are rendered in
an extremely stylized manner.

The following are some musical instruments used in a Peking opera performance.

Instrument Description

Aerophone
Ti-ts Cross flutes- usually played along with
singing

Siao Recorded flutes- usually played along

with singing

Sona Trumpet announces prosperous

occasions
 Chordophone

(Violin like)

Hu-ch’in Two-stringed instruments

Bu-ch’in Two Stringed instruments

Guitar Like

Yue-ch’in Four stringed instruments

San-sien Three stringed instruments
Pi-p’a Similar to lute with four strings
Idiophone
Ta-lo Gongs- signify the beginning of the
performance
Siao-lo
Tan-pi-ku Kettle drum- used to create the tempo
of the performance

What’s In

Activity 2: Carousel Brainstorming

Given the cue words below discuss each cue words on the things that you
know about Chinese Peking Opera.

Costume Vocal and Instrumental Music

Chinese Peking Opera

 Historical Background Distinct Theater Elements and
Features

What’s New

Indonesian Theater

Wayangkulit, shadow puppets prevalent in Java and Bali in Indonesia, and

Kelantan and Terengganu in Malaysia are without a doubt the best known of the
Indonesian wayang. Kulit means skin and refers to the leather construction of the
puppets that are carefully chiseled with very fine tools and supported with carefully
shaped buffalo horn handles and control rods.

Wayang is an Indonesian and Malay word for theatre. When the term is used to
refer to kinds of puppet theater, sometimes the puppet itself is referred to as
wayang. "Bayang", the Javanese word for shadow or imagination, also connotes
"spirit." Performances of shadow puppet theater are accompanied by gamelan in
Java, and by "gender wayang" in Bali.

Dalang as a source of recreation, of humor and of popular philosophy (essential

communication between the artist and the audience). Shadow play is an invention
of man which reflects his experience of nature and of his thought. Puppets are
projected by the lamp on a white screen.

Non-jointed puppets were manipulated by the chief performer, the dalang, who told
a story to the accompaniment of several instruments, including some that are part
of the present day gamelan ensemble.

Wayangkulit was performed in royal court and widely performed in public on

religious occasions so that knowledge of wayang became widespread among all
classes in Java.

Vocal and Instrumental Features

Gamelan ensemble is composed mainly by bronze percussion instruments,

augmented by other percussion instruments, strings and flute. A full Javanese
gamelan ensemble consists of:

a. saron - xylophone of heavy bronze bars

b. gender - bronze xylophone with resonance chambers beneath

c. bonang - set of bronze bowls

d. gong and kempul – hanging gongs

e. kenong and ketuk – single inverted bronze bowl

f. gambang – wooden xylophone

g. rebab – two-stringed fiddle

h. suling – flute

i. kendang – horizontal drum beat with the fingers on both ends

j. tjelempung – a zither of thirteen double strings

http://homepages.cae.wisc.edu/~jjordan/gamelan/instrum-photo.html

The preponderance of bronze instruments gives gamelan music a bright, lingering

sound, ranging from the slow, majestic melodies of the Javanese gamelan to the
clangorous vibrancy of Balinese gamelan. Fiddle and flute add delicate
counterpoint to a four-square pattern of percussive melody

In addition to setting the mood or atmosphere of a play, music has two major
dramatic functions in the theatre. It accompanies the singing/chanting and it
accompanies stage actions including dance. The importance of each function
varies from area to area and from theater form to theater form.

The Dalang sings the mood songs (suluk) at regular intervals during performance;
in a ninehour wayangkulit, he may sing fifty or sixty. Nevertheless they are
considered relatively unimportant except as mood pieces. The same generalized
lyrics may be used in play after play. Suluk are never accompanied by the full
gamelan ensemble. Often a single instrument accompanies the singer, never more
than three or four. The major dramatic function of gamelan music is to accompany
stage action. Entrances, exits and fight scenes are executed in time to gamelan
music.

What’s In

Activity 3: Hit the Gongs

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What’s In

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Notes to the Teacher

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 What’s New

Biology Defined
Biology is the science that studies life and living things, including the laws that
govern the phenomena of life.

Every aspect of life from the smallest submicroscopic living particle to the largest
and most imposing of plant and animal species is included in the study of biology.
Biological study encompasses all that is known about any plant, animal, microbe
or other living thing of the past or present.

Branches of Biology
The amount of knowledge gained in biology is so large that it has many branches.
The following table lists some of the major ones.

Table 1. Some Branches of Biology

Name Focus
Botany plants
Zoology animals
Anatomy structure of living things
Taxonomy classification of living things
Cytology cells, their structure and functions

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 What is It

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 What’s More

Activity 1.1 Understanding Science Words

There are two ways you can understand science words better. One way is by
defining the word in context. The way the word is used gives you a clue as to its
meaning. Another way is by looking at the parts that make up the word. Each word
part can give you a clue as to the meaning of the whole word.
Learning the Skill: Defining Words in Context
1. First, read to see if the word is defined directly in the sentence.
2. If the word is not defined directly, read several sentences beyond the one in
which the word first appears. These sentences may provide information
about the definition of the word.
3. If possible, define the word based on your own past knowledge. You may
have learned the word in an earlier grade, or you may be familiar with it
because you hear it everyday.
4. Figure out the meaning of the word by how it is used in the sentence and by
the sentences around it.
Find the definitions of the italicized words.
1. Biology is the study of life.
2. A cat is a mammal.
3. All living things can reproduce
4. Green plants carry out photosynthesis.

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 What I Have Learned

1. The basic characteristics of living things include movement, metabolism,

growth, response, and reproduction.
2. Metabolism is the sum of all chemical activities essential to life. Ingestion,
digestion, respiration, and excretion are metabolic activities that occur in all
organisms.
3. Life span is the maximum length of time a particular organism can be
expected to live.
4. A living thing reacts to a stimulus, which is a change in the environment,
by producing a response.
5. Reproduction is the process by which organisms produce offspring.
6. Asexual reproduction requires only one parent while sexual reproduction
requires two parents.
7. Living things need energy for metabolism. The primary source of energy for
all living things is the sun.
8. Oxygen in the air or dissolved in water is used by all organisms during
respiration.
9. Carbon dioxide is used by plants to make food.
10. Homeostasis is the ability of an organism to keep conditions constant inside
its body when the outside environment changes.

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 What I Can Do

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Assessment

Multiple Choice. Choose the letter of the best answer. Write the chosen letter on a
separate sheet of paper.
1. Which is NOT one of the basic characteristics of life?
a. air
b. response
c. metabolism
d. reproduction

2. Life activities such as ingestion and digestion are parts of the process of
a. growth
b. response
c. metabolism
d. respiration

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 Additional Activities

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 Answer Key

Assessment What's More What I Know

1. A 1. A 1. A
2. B 2. B 2. B
3. C 3. C 3. C
4. D 4. D 4. D
5. A 5. A 5. A

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References

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