STRATEGIC INTERVENTION MATERIAL IN MAPEH 8

QUARTER: FIRST
COMPONENT: MUSIC

GUIDE CARD:

This unit introduces you to the musical world of selected countries in Southeast Asia. As you go along, you will
encounter activities that will allow you to understand and appreciate the culture and musical prowess of the selected
countries in Southeast Asia.

OBJECTIVES:
1. Analyzes musical elements of selected songs and instrumental pieces heard and performed (MU8SE-Ib-h-4)
2. Evaluates music and music performances using guided rubrics applying knowledge of musical elements and style
(MU8SE-Ic-h-8)

Southeast Asian Music’s developed through stories from religious texts such as the Ramayana, Mahabharata, The
Qur’an, or the Bible which were sung either in the local or imported language and these songs popularized the new
beliefs. Musical performances in Southeast Asia reflect their respective culture. Each country has a specific type of music
for festivals, religious events, weddings, funerals, and others.
Cambodia
Pinpeat is a musical ensemble of Cambodia. It consists mainly of
wind and percussion instruments. The sound of pinpeat music has a
beautiful, warm, and strong rhythm that makes the listener feel happy. The
Pinpeat (Khmer: ពិណពាទ្យ) is the largest Khmer traditional musical
ensemble. It has performed the ceremonial music of the royal courts and
temples of Cambodia since ancient times.

Indonesia
Gamelan is the most popular form of indigenous music. The Gamelan
ensemble are consisting mainly of metal percussion instruments that are
struck with mallets. It can be tuned to the scale of the Slendro (five-note
scale) and Pelog (seven-note scale).

Laos
Mor Lam is the traditional Laotian music. It often features a solo singer accompanied by the Khene
(a free reed mouth organ). It is usually sung in impromptu following a poetic verse. Typically, it has
a theme of unrequited love, difficulties of life in rural Isan and Laos, leavened with wry humor.

Malaysia
Kompang is a popular percussion instrument and is
commonly played at weddings as an ensemble. It is
played in an interlocking rhythmic pattern to accompany
choral singing. It is a folk tradition that was found in
Malaysia and Singapore. It is usually performed in traditional Malay weddings and other
celebratory functions. The drum ensemble is also used to accompany the singing of religious texts. Traditionally, the
Kompang is usually performed in groups. Each player produces two different distinct sounds on his/her kompang.
Kompang music (genre) is rhythmic in nature, characterized by interlocking rhythms. Interlocking Rhythms occurs when
different rhythmic parts alternate with each other to form a complete rhythm. In the Kompang ensemble, 3 different
rhythmic parts played which produces interlocking rhythm patterns.

Myanmar
The hsaing waing ([sʰáiɴ wáiɴ]; traditional orchestra and Burmese folk
musical ensemble that accompanies numerous forms of rituals,
performances, and ceremonies in modern-day Myanmar (Burma). The
Hsaing waing ensemble consists of many instruments such as thePat
Waing, Muang Hsaing, Hne, Chauk Lon Bat, Byaung, Wa, Wallet Kok, Yakin,
Si, and Mong.
Singapore
Singapore has reflected the diverse influences that have shaped the
country. Its various communities have their own distinct musical
traditions through the years, the music industry in Singapore grew
having Western influenced performances by the Singapore Symphony
Orchestra as well as ethnic music performances mainly by the
Singapore Chinese Orchestra. Singapore Chinese Orchestra is
Singapore’s only professional Chinese orchestra. Inaugurated in 1997,
the 85-musician orchestra took on the twin role of preserving traditional arts and culture and establishing new frontiers
through the incorporation of Nanyang music elements in its repertoire.
Thailand
The Thai Piphat ensemble is the most common form the Thai Classical
music. It is a midsize orchestra, primarily made up of wind and
percussion instruments. It can include Khong Wong, Yai Ranat, Ek
Taphon. There are different kinds andversions of Piphhat ensembles,
depending on the size and orchestration. Each kind is usually used for
specific occasions. The Mon ethnic group uses a Piphat ensemble for
funeral and cremation ceremonies. The instruments are usually
ornately carved and decorated and it features a semicircular vertical
gong chime. Piphat ensembles are also used a lot for different forms of drama, such as Nang Yai (shadow puppet
theatre) and Khon dance drama.

Vietnam
The music in Vietnam spans imperial, ceremonial, folk, hip hop, and rock music.
Vietnamese musical instruments can be divided into 4 groups: plucked strings,
bowed strings, winds and percussion. The most notable feature of Vietnamese
classical music is that it is based on a pentatonic or 5 note scale. Vietnam Nha
Nhac, meaning “elegant music”, refers to a broad range of musical and dance
styles performed at the Vietnamese royal court from the fifteenth to the mid-
twentieth century. Nha Nhac was generally featured at the opening and closing
of ceremonies associated with anniversaries, religious holidays, coronations,
funerals, and official receptions.

Traditional Folk Song of Indonesia

1. Burung Kakatua – comes from Ambon, Moluccas but spread in other parts of the Indonesian Archipelago and
beyond. It is about a cockatoo (kakatua) and the village grandmother who listens to the bird singing.
Characteristics:
- A very happy song with a tempo of 170 BPM (beats per minute) It can also use half-time at 85 BPM and the
played with a C key and a major mode. It has average energy and is very danceable with a time signature of 4
beats per bar. It is played at 43 beats per minute (largo), or 14 measures/ bars per minute. The harmony of the
folk song is very delighted, optimistic, favorable, and pleased. Its dynamic is soft. It has the strong base of
Ambon in the Moluccas.
2. Rasa Sayang – comes from Maluku, Indonesia and very popular in Malaysia, Singapore, and Philippines. The song
literally means “loving feeling” and written in Malay language. The basis of the folk song is like Dondang Sayang
and other Malay folk songs, which take their form from the pantun, a traditional ethnic Malay poetic form.
Characteristics:
- The song summarizes much of the Malay character specially the combination of friendliness, playfulness,
earthiness, sensuality, subtlety, and charm. The lyrics are written in the Malay poetic form of “puntun”. It is in
strophic form (the tune is repeated several times with successive stanzas of a poem).
- A very happy song with a tempo of 100 BPM. It has high energy and very danceable with a time signature of 4
beats per bar. The key signature used is written in the key to Cm. It is played at 157 BPM (Allegro) or 39
measures/bars per minute and the time signature is 4/4.
Traditional Song of Thailand
1. Loi Krathong or Loy Krathong literally meaning “to float a basket”, is one of the most-awaited festivals in
Thailand. It is in fact, a gigantic event with a marked presence of people every year who assemble to literally
'float their baskets'.
2. a moody song with a tempo of 126 BPM
ACTIVITY CARD:

Let’s proceed to the lyrics of the traditional folk music of Singapore “Chan Mali Chan”. Listen to the music and analyze
the elements of music present in the song.

Chan Mali Chan Chan Mali Chan

(Malay) (English)

Di mana dia anak kambing saya? Where is he, my little goat?

Anak kambing saya yang makan daun talas My little goat is eating taro leaves
Di mana dia buah hati saya? Where is he, my loved one?
Buah hati saya bagai telur dikupas My loved one is like a shelled egg.

Chan mali chan, chan mali chan Chan mali chan, chan mali chan
Chan mali chan, ketipung paying Chan mali chan, ketipung payung

Di mana dia, anak kambing saya? Where is he, my little goat?

Anak kambing saya main di tepi sawah My little goat is playing by the paddy fields.
Di mana dia, cinta hati saya? Where is he, my loved one?
Cinta hati saya yang pakai baju merah My loved one who is wearing red.

Chan mali chan, chan mali chan Chan mali chan, chan mali chan
Chan mali chan, ketipung paying Chan mali chan, ketipung payung

Di mana dia anak kambing tuan? Where is your little goat, sir?
Anak kambing tuan di atas jambatan Sir, your goat is on top of the bridge.
Yang mana dia si bunga pujaan? Which one of those is your favorite flower, sir?
Si bunga tanjung dihujung dahan It is the Tanjong flower at the end of the branch.

Kalau nak tahu anak kambing saya If you want to know where my goat is,
Anak kambing saya di dalam bilik It is in my room.
Kalau nak tahu intan payung saya If you want to know which is my umbrella,
Intan payung saya yang kecil lah molek It is the tiniest one.

Di mana dia anak kambing tuan? Where is your goat, sir?

Anak kambing tuan yang bulunya kuning Your goat that has yellow fur.
Yang mana dia buah hati tuan? Which one is your loved one, sir?
Buah hati tuan yang putih lah kuning. My loved one is the one who's in white and yellow.

Task to be done:
Analyze the folk song by describing the elements of music present. Use a concept map to explain.

CHAN MALI CHAN

What is its melody? What is its tempo? What is its tonality? What is its texture?

What is Chan Mali Chan all about?

ASSESSMENT CARD #1:

In this card, your understanding about the elements of music in Southeast Asian folk songs will be assessed. You can
present your responses by writing the letter of the correct answer.

1. Which Indonesian folk song talks about sense of love and loss?
A. Burung Kaka Tua B. Loi Krathong C. Rasa Sayang D. Ru Con
2. Which song does not belong to Southeast Asia?
A. Arirang B. Burung Kakak Tua C. Chan Mali Chan D. Rasa Sayang
3. What is the time signature of the song Rasa Sayang?
A. 2 B. 3 C. 3 D. 4
4 4 6 8
4. Which music can be performed with or without instruments?
A. both instrumental and vocal music C. none of the above
B. Instrumental music D. Vocal music
5. What are the two basic Indonesian music scales?
A. Obeat and Chhing B. Sai and Kertok C. Sep Nyai and Sep Noi D. Slendro and Pelog
6. Which of the following types of gamelan is used for sacred music?
A. Ancient B. Balinese gamelan C. Hsaing waing D. Javanese gamelan
7. Which ensemble is used to accompany specific forms of traditional Thai drama?
A. Gong Ensemble B. Kulintangan Ensemble C. Piphat Ensemble D. Rondalla Ensemble
8. What is the traditional musical ensemble of the Javanese, Sudanese, and Balinese?
A. Band B. Gamelan C. Opera D. Theatre
9. Which of the two tuning systems used in Indonesian gamelan adopts the heptatonic tone?
A. Kyey B. Kyo C. Peloq D. Slendro
10. Which statement is true about Singapore’s musical ensemble?
A. Singapore has a few musical ensemble. C. Singapore has many musical ensemble.
B. Singapore has its own musical ensemble. D. Singapore has no musical ensemble.
11. Which music in Southeast Asia is largely composed of percussion instruments?
A. Chinese Music B. Indonesian Music C. Malaysian Music D. Vietnamese Traditional Music
12. Which group of people highly influenced the musical world of Singapore?
A. Chinese, Indians, Malays and Tamils C. Malays, Cantonese, Vietnamese
B. Japanese, Chinese, Malays D. Western people
13. What is the national instrument of Laos?
A. Gong B. Khene C. Kulintang D. Pattala
14. Which of the following is one of the categories of Vietnam Music?
A. Cultural Music B. Festival Music C. Imperial Court Music D. Love Music
15. Which countries in Southeast Asia are almost identical in terms of music?
A. Cambodia, Laos, Thailand C. Laos, Thailand, Singapore
B. Cambodia, Laos, Vietnam D. Vietnam, Malaysia, Philippines

ASSESSMENT CARD #2:

Describe the distinct characteristics of the musical performance of every country as to vocal and instrumental
classification.

Country Musical Performance Vocal Instrumental

Cambodia Pinpeat
Indonesia Gamelan
Laos Mor Lam
Malaysia Gong-based
Singapore Singapore Chinese Orchestra
Myanmar Hsaing Waing
Vietnam Nha Nhac
Thailand Piphat
Philippines Rondalla
ENRICHMENT CARD:

In this activity, you will be given opportunities to rethink and refine your understanding of Southeast Asian
Music by listening to/ watching to the following video clips about musical performances created by students from other
schools or regions and give your reaction using the following guide questions. Video web links are given as well for your
reference.

Questions:
1. Describe how a musical element reflects the culture of each country?
2. How many instrument players were needed to form each ensemble?
3. Describe the instruments sound quality of each ensemble of each country?
4. How was the music performed?

Video Web Links:

https://youtube.com/clip/Ugkx6GWfEaTA1Qb1i0zyBPjHYM1v8xc4RiKU
https://www.youtube.com/watch?v=i-sReU1mrJY
https://www.youtube.com/watch?v=p3HwqqiVxbE
https://www.youtube.com/watch?v=0a62SF1Q1sA
https://www.youtube.com/watch?v=bi5RyepygCo

REFERENCE CARD:

Book

Music And Arts Module Grade 8

PIVOT 4A Learner’s Material Grade 8

Internet
https://youtube.com/clip/Ugkx6GWfEaTA1Qb1i0zyBPjHYM1v8xc4RiKU
https://www.youtube.com/watch?v=i-sReU1mrJY
https://www.youtube.com/watch?v=p3HwqqiVxbE
https://www.youtube.com/watch?v=0a62SF1Q1sA
https://www.youtube.com/watch?v=bi5RyepygCo
https://www.tso.com.au/wp-content/uploads/2017/07/TSO-Songbook-Teaching-Resources-Chan-Mali-Chan-for-
website-21072017.pdf

Images
https://ich.unesco.org/en/RL/nha-nhac-vietnamese-court-music-00074
https://asiasociety.org/burmese-hsaing-and-anyein
https://www.holidify.com/pages/music-of-thailand-2606.html
https://www.sso.org.sg/
https://en.wikipedia.org/wiki/Mor_lam

Prepared by: Checked by:

GERMALYN S. CALUMA VERONICA G. PABLO

MAPEH Teacher MAPEH Chairperson
Collage Making Variation: Create a collage in an A4 size bond paper or bulletin board display of cutout pictures from
newspapers or magazines that illustrate the benefits of being active and submit it together with the activity sheets.
(Creativity, Craftsmanship, Neatness, and effort should be observed).