Republic of the Philippines

Department of Education
Region I
SCHOOLS DIVISION OF ILOCOS NORTE

MUSIC 7
Quarter 3 – Module 1:
Vocal and Instrumental
Music of Mindanao

MELCs: describes the musical characteristics of representative

music selections from Mindanao after listening; (MU7MN-IIIa-g-
1) identifies the musical instruments and other sound sources of
representative music selections from Mindanao (MU7MN-IIIa-g-3)

Prepared by:

ROBIN G. PIZA
SHS Teacher II
Salpad Integrated School
Music - Grade 7
Share-A-Resource-Program
Quarter 3 – Module 1: Vocal and Instrumental Music of Mindanao
First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in
any work of the Government of the Philippines. However, prior approval of the
government agency or office wherein the work is created shall be necessary for
exploitation of such work for profit. Such agency or office may, among other things,
impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

names, trademarks, etc.) included in this book are owned by their respective
copyright holders. Every effort has been exerted to locate and seek permission to use
these materials from their respective copyright owners. The publisher and authors
do not represent nor claim ownership over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Robin G. Piza

Editor: Arthur C. Cristobal
Reviewers: Edwin C. Padasdao
Lena M. Go
Efren Jonicel D. Domingo
Roland L. Corpuz
Management Team: Joann A. Corpuz
Joye D. Madalipay
Santiago L. Baoec
Jenetrix T. Tumaneng
Gene A. Reginaldo

Division Design & Layout Artist: Jannibal A. Lojero

Printed in the Philippines by ______________________________

Schools Division of Ilocos Norte
Office Address: Brgy. 7B, Giron Street, Laoag City, Ilocos Norte
Telefax: (077) 771-0960
Telephone No.: (077) 770-5963, (077) 600-2605
E-mail Address: ilocos.norte@deped.gov.ph
 7
Music
Quarter 3 – Module 1:
Vocal and Instrumental
Music of Mindanao
Introductory Message
This Contextualized Learning Module (CLM) is prepared so that you, our dear
learners, can continue your studies and learn while at home. Activities, questions,
directions, exercises, and discussions are carefully stated for you to understand each
lesson with ease.

This CLM is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.
Pre-test is provided to measure your prior knowledge on the lesson. This will
show you if you need to proceed in completing this module or if you need to ask your
facilitator or your teacher’s assistance for better understanding of the lesson. At the
end of this module, you need to answer the post-test to self-check your learning.
Answer keys are provided for all activities and tests. We trust that you will be honest
in using them.

In addition to the material in the main text, Notes to the Teacher is also
provided to our facilitators and parents for strategies and reminders on how they can
best help you in your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part
of this CLM. Use a separate sheet of paper in answering the exercises and tests.
Likewise, read the instructions carefully before performing each task.

If you have any question in using this CLM or any difficulty in answering the
tasks in this module, do not hesitate to consult your teacher or facilitator.
Thank you.
 What I Need to Know
This module was specifically developed and designed to provide you fun and
meaningful learning experience, with your own time and pace.

The module is divided into three lessons, namely:

 Lesson 1 – Vocal Music of Mindanao
 Lesson 2 – Instrumental Music of Mindanao

After going through this module, you are expected to:

 describes the musical characteristics of representative music selections
from Mindanao after listening; (MU7MN-IIIa-g-1)
 identifies the musical instruments and other sound sources of
representative music selections from Mindanao (MU7MN-IIIa-g-3)

What I Know

Directions: Determine whether the type of songs listed in the box is a chant or a
lullaby. List them in each category by copying the table in your answer sheet.
Songs
Ya-ya Kalangan Lugu
Dikker Sa-li Bayok

Chant Lulluby

2
 Lesson
Vocal Music of Mindanao
1

What’s In

Give me a Try!
Directions: Do the following activities in your paper.
1. Give one example of folk song from:
a. Cordillera
b. Palawan
c. Visayas
2. What do you think are the similarities of music from Cordillera,
Mindoro, Palawan, and Visayas in terms of function of music in the
daily lives of people?

What’s New

Hunt Me!
Directions: Find the following types of songs, listed below, inside the box.
Use your activity notebook for your answers.
Ya-ya Kalangan Lugu
Dikker Sa-il Bayok

D O O G C A T M E P
G N O N R E K K I D
K A A V M I P O T L
O O Y G I L U G U A
Y O J A N S N I N W
A I N S Y A A P L A
B N A T O R L Y I N
W I H E R Y I A A S
L P I L O I N A K S

1
 What is It
Musical Characteristics, Instruments, and Other Sound Sources of
Representative Selections from Mindanao
I. MORO/ISLAMIC MUSIC:
A. Vocal Music of Mindanao

The Islamic community in the Philippines consists of ethno-

linguistic groups:
- the Maguindanao of Cotabato
- the Maranao of Lanao and Cotabato
- the Samai and Jama Mapun of the Suku Islands of Sibutu and
Cagayan De Sulu
- the Tausug of the Sulu Islands of Jolo, Siasi, and Tawi-Tawi
- the Yakan of Basilan and Zamboanga
The uniqueness of the cultures and their 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 village to village
belonging to one language group.

1. CHANTS – a lyrical rendition of different improvised text

Yakans do their chants through solo or group singing. Their three
famous everyday style chants are:
a. Lugu – chants that they use in reading the Qur’an and other
Ismalic books
b. Kalangan – songs that they use for serenading their loved ones
c. Sail/Lunsey – an important chant 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. LULLABIES – a chant-style or chant formula used in rocking a
baby to sleep

2
 a. Ya-ya – a song of the Yakans to put a baby to sleep, sung in a
relax/slow, soft, and soothing manner
b. Bayok – also a Maranao term for lullaby

What’s More

The most prestigious local form of vocal expression is reading the

Qur’an, heard during the Friday noon service, before and after Ramadan,
during Maulud, and in commemorating the anniversaries of deaths.

Go Deeper!
Directions: With the help of the video link below, complete the concept map
by writing what you have understood about vocal music in the boxes below.
Write your answers in your paper.
“Islamic Chant”
https://www.youtube.com/watch?v=3wwTe1ETmGw

Socio-historical context Musical Forms

Performance Techniques Musical Context

What I have learned

Mindanao’s Islamic communities cover different forms and stylistic

differences that exist in rendering these forms.

Activity 5. Understand me!

Directions: This time, watch and listen to the musical example. Try to
focus on the musical element as you listen to the vocal tone, melodic
lines, and rhythm of the song, texture, and form. Describe how the
3
instruments were used to achieve the same effect as to how
“functional” music was used during the olden times in relation to their
social gatherings/rituals as well as how they described their unique
tradition. Write your answers in your paper.

“WOW Mindanao”
https://youtu.be/zvxZHF6SI7g
1. Vocal tones/melodic lines
______________________________________________________________
2. Rhythm
______________________________________________________________
3. Texture
______________________________________________________________
4. Form
______________________________________________________________
5. Instruments
______________________________________________________________

4
 What I Can Do

My Turn!
Directions: Compose your own simple Lullaby. It must have at least 4 lines with 5-
10 words per line. Record it using your mobile phone via voice recorder. Send your
voice recording to your teacher via online messaging app.

Rubrics on the Ambahan

5 points – Lullaby is composed of 4 lines with 5-10 words each line and gave 3
key inspirations.

4 points – Lullaby is composed of 4 lines with 5-10 words each line and gave 2
key inspirations.

3 points – Lullaby is composed of 4 lines with 5-10 words each line and gave 1
key inspiration.

2 points – Lullaby is composed of 4 lines with 5-10 words each line and gave no
key inspirations.

1 point – Lullaby is composed of less than 4 lines with 5-10 words each line.

Assessment

Direction: Match Column A to Column B. Write the letter that corresponds

to your answer in your paper.

1. Maranaos’ sacred song highlighted by quotations from A. Ya-ya

the Q’uran
2. Yakans’ chants that are used in reading the Q’uran B. Lugu
3. A chant style used in rocking a baby to sleep C. Dikker
4. A lyrical rendition of different improvised text D. Lullaby
5. A chant sung by a wife-to-be during a wedding E. Bayok
ceremony
6. Maranaos’ term for lullaby F. Lunsey
7. Yakans’ song that are used for serenading G. Chant
8. Yakans’ lullaby H. Kalangan

5
 Additional Activities

Watch Me and Explore!

Watch the following links below as they will help you understand more the
music of the different places and later on describe how their music were
played.
A) Bayok – https://www.youtube.com/watch?v=9KESBf_1eJ8

B) Islam Lullaby – https://www.youtube.com/watch?v=MLRyHctRk1Y

6
 Lesson
Instrumental Music of
2 Mindanao

What’s In

Give me a Try!
Directions: Do the following activities in your paper.
1. Give two examples of chant practiced by:
d. Yakans
e. Maranaos
2. Give 3 ethno-linguistic groups of the Islamic community in the
Philippines.

Any two of the following: Lugu, Kalangan, or Sa-il/Lunsey Dikker,

Bayok

Any three of the following: Maguindanao, Maranao, Samal, Jama

Mapun, Tausug, or Yakan

What’s New

Activity 3. Hunt Me!

Directions: Find the musical instruments of Mindanao inside the box. Use
your paper in writing your answers.

K U L I N T A N G P
G L O N D G N U G A
S W G V M I P O T L
C O N D I L L E S A
H O A I P A Y D U K
V I B G D O A P L A
I N B T O R G Y I N
W O A E R Y I N N S
A P G L O I N A G S

7
 What is It

Musical Characteristics, Instruments, and Other Sound Sources of

Representative Selections from Mindanao
II. MORO/ISLAMIC MUSIC:
A. Instrumental Music

1. Kulingtang 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
celebrations/rituals and are mainly divided into two types:

 Kulintang (Manobo Cotabato)/Kwintangan – ensembles of

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, Blowon Semagi – 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

Music Listening
Kulintang Ensemble, Mindanao 1966
https://www.youtube.com/watch?v=2DaujjjuiL4

This was filmed from Sultan Kudarat, Mindanao Island way

back 1966. The video shows Maguinadanaoan man and woman
playing kulintang ensemble. Instruments present in this video are
8 pieces gong rack of kulintang, gandingans, agung (the bass
gong), and the debakan (a goblet-shaped beaten drum).
Kulintang – is an important society 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.
Agung – a large, deep-rimmed gong, vertically suspended, hanged
in wooden frames.

8
2. Bamboo Ensemble – According to Philippine legends, the first
man and woman are born out of 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 2 mallets, each
with a strip of rubber fastened to its underside.

 Seronggagandi – a guitar-like made of bamboo, cut before

one node 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 bamboo just under the 2 cords, to serve as
resounding holes.

3. Solo Instruments
 Kudyapi – is a 2-string plucked lute instrument made of
wood which resembles an elongated guitar. It varies in size
but normally 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.

 Suling – (Maguindanao and Yakans) is made mainly of

tamiang bamboo, a long, thin-walled bamboo tube. The
mouthpiece of the suling is circled with a thin band made
of rattan near a small hole.

9
 What’s More

The different ethno-linguistic groups in Mindanao have similar gongs

and bamboo types of instruments used in their celebrations and ritual, but
they also have varied functions and different ways of playing these
instruments.

Activity 4: Go Deeper!
Directions: With the help of the video resources, write down the differences
among the gongs and bamboo instruments of varied ethnic groups with
regards to gong type (gongs in a row or hanging), other instruments played
with the gong ensembles, and technique (hand position, damped, and ringing
sound) and the differences among the bamboo instruments in each ethnic
groups (how bamboo is played, etc.). Write your answers in your paper.

INSTRUMENT’S NAME DESCRIPTION

GONGS

1.

2.

BAMBOO

1.

2.

3.

10
 What I have learned

Mindanao ethnic groups’ musical practices reflect the fusion of

traditional traits. Despite the Islamic practice dominance in the popular social
life, interpretations of local religions have allowed pre-Islamic artistic
practices to flourish. This kind of artistic freedom proves the local society’s
sense of independence from any one prominent political or religious ideology.

Activity 5. Understand me!

Directions: You may browse the internet and find the links written
below. Listen and observe carefully the music and the instruments
being used in the recordings. Write your answers in your paper.

Film Viewing or Music Listening

“Sanlibutan” by Ang Grupong Pendong
https://www.youtube.com/watch?v=I9O2GdUsAgMDocument4

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
kulingtang 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?
______________________________________________________________

11
 What I Can Do

Directions: Go online and click on the attached link to see the video of a Tausug
traditional music; https://www.youtube.com/watch?v=apF5ubMgfBU
Answer the following questions regarding the videos you have just watched. Write
your answers in your paper.
Processing questions:
1. What is the time signature?
2. What is common tempo used?
3. What dynamics were employed in the music?
4. What is the over-all texture?
5. Describe the melody of the music sample.

12
 Assessment

Activity 7. Let us see!

Directions: Identify the following instruments. Write your answers in your paper.

1.____________________________________ 2._________________________________

3.____________________________________ 4._________________________________

5._________________________________ 6._______________________

13
 Additional Activities

Activity 8. Watch Me and Explore!

Watch the following links below as they will help you understand more the
different instruments from Mindanao.
C) Music of the Mindanao Muslims Uwang Ahadas Gabbang
https://www.youtube.com/watch?v=-AR0heXocsA
D) Master Samaon Sulaiman
https://www.youtube.com/watch?v=FqtEPoNEg-U
E) Kaehlian Tunanetra Memaikan Suling Bambu (Bamboo flute playing
blind expertise)
https://www.youtube.com/watch?v=kpOfEwZeF6Q

14
 15
Lesson 1
Activity 1. Group the Songs
Activity 7. Let Us See.
Activity 2. Give Me a Try!
- Answers here may vary
Activity 3. Hunt Me!
Activity 4. Go Deeper!
- Answers here may vary.
Activity 5. Understand Me.
- Answers here may vary.
Activity 6. My Turn!
- Answers here may vary.
Activity 7. Let Us See.
Answer Key
 16
Lesson 2
Activity 1. Where Do I Belong?
- Answers here may vary.
Activity 2. Give Me a Try!
Activity 3. Hunt Me!
Activity 4. Go Deeper!
- Answers here may vary.
Activity 5. Understand Me.
- Answers here may vary.
Activity 6. My Turn!
- Answers here may vary.
Activity 7. Let Us See.
References:
Printed Materials:

"K To 12 Curriculum Guide In MAPEH". 2016.

Deped.Gov.Ph.https://www.deped.gov.ph/wpcontent/uploads/2019/01/M
APEH-CG.pdf.

Department of Education. "K To 12 Most Essential Learning Competencies With

Corresponding CG Codes". Pasig City: Department of Education Central
Office, 2020.

Miranda, Sacdalan, Jugueta, San Jose. 2013. Music and Arts 2 Learner’s Material.
1st ed. Philippines: Department of Education

REX Book Store, The 21st Century MAPEH in Action, Work text Revised Edition
2018

The Intelligente Publishing, Inc., Experiencing the World of MAPEH, 2018

Lourdes R. Siobal et. al. Music and Arts- First edition 2017

Online Websites:

https://www.youtube.com/watch?v=9KESBf_1eJ8

https://www.youtube.com/watch?v=MLRyHctRk1Y

https://www.youtube.com/watch?v=3wwTe1ETmGw

https://youtu.be/zvxZHF6SI7g

https://youtu.be/rs00uvfXY6k

https://youtu.be/JyLmgHvC4h4

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

https://www.youtube.com/watch?v=-AR0heXocsA

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

https://www.youtube.com/watch?v=kpOfEwZeF6Q

https://www.youtube.com/watch?v=I9O2GdUsAgMDocument4

17
 For inquiries and feedback, please write or call:

Schools Division of Ilocos Norte – Curriculum Implementation Division

Learning Resource Management Section (SDOIN-CID LRMS)

Office Address : Brgy. 7B, Giron Street, Laoag City, Ilocos Norte
Telefax : (077) 771-0960
Telephone No. : (077) 770-5963, (077) 600-2605
E-mail Address : sdoin.lrmds@deped.gov.ph
Feedback link: : https://bit.ly/sdoin-clm-feedbacksystem

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph