Music 7

School Year 2022-2023 4

 Introduction

Welcome to the world of Music. You’re looking so fine! I hope you’ll make
your day just as good as mine. This module is for you. It is designated to
guide you in studying concepts and principles about the music of Luzon
Highlands and Lowlands. You will engage in enjoyable and carefully
designed learning activities which will make you learn and appreciate
music and composers in the most pleasurable and creative way.

Description

Music is both an aural and a temporal art. All its elements, when interwoven
in the highest artistic order, are likened into a tapestry moving in time. The
global weavings of this tapestry in historical and cultural contexts are
diverse having spurred a continued metamorphosis to include a full range
of purposes, functions, and identities, from the utilitarian to aesthetic.

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 Unit III- Music of Mindanao

Lesson 9- Historical Background of Islamic Music of Mindanao

Lesson 10- Gong Music of Mindanao

Lesson 11- Music from Mindanao with Own Accompaniment

Lesson 12- Mindanao Music-Kulintang, Tagongko And Kapanirong

Most Essential Learning Competencies

describes the musical characteristics of representative music

selections from Mindanao after listening
identifies the musical instruments and other sound sources of
representative music selections from Mindanao
analyzes the musical elements of some Mindanao vocal and
instrumental music;
discovers ways of producing sounds on a variety of sources that is
similar to the instruments being studied;
evaluates music selections and music performances using rubrics on
musical elements and style.

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 Table of Contents

Introduction -----------------------------------------------------------------------------------2

Description ------------------------------------------------------------------------------------2

Most Essential Learning Competencies----------------------------------------------3

Unit III- Music of Mindanao

Lesson 9- Historical Background of Islamic Music of Mindanao--------------- 5

Lesson 10- Gong Music of Mindanao------------------------------------------------- 11

Lesson 11- Music from Mindanao with Own Accompaniment-------------- 17

Lesson 12- Mindanao Music-Kolintang, Tagongko And Kapanirong ------23

References -------------------------------------------------------------------------------------- 28

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 ESSON 13- MUSIC FROM MINDANAO WITH OWN ACCOMPANIMENT

Time Frame: 13th week

Specific Objectives

identifies musical characteristics of selected Philippine festivals and t

heatrical forms through video or live performances;
describes the origins and cultural background of selected Philippine
festival/s;

Let’s try

Are you familiar of the traditional music of Mindanao?

________________________________________

Have you been in some places of Mindanao and observe their culture?

__________________________________________________________________

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The Philippines is rich in culture. Filipinos are music lovers wherein they appl
y music in all their endeavors. They use music to convey messages, express
emotions, express love of country, and practice religious beliefs.

Philippine Music comes in a variety of forms, covering a wide spectrum of

sources, geographically and historically; and representing more than 100
ethnolinguistic groups as well as different social and cultural environments
in the Philippines. The totality of these forms may be categorized into three
distinct repertoires: 1) Asiatic oral traditions; 2) westernized oral traditions;
and 3) western-influenced art and popular music, and semi classical musi
c.

1. Asiatic oral traditions (indigenous Philippine Music)- closely related to th

e cultural traditions of Southeast Asia. These traditions are practiced amon
g.
a) The villages of cordillera Autonomous Region (CAR)
b) Upland areas of Palawan, Mindoro, Eastern Mindanao
c) Western Mindanao and Sulu
d) Negrito communities (from Northern Luzon, Bicol, parts of Panay, an
d Mindanao

These musical forms are performed in connection with rites of passage an

d life cycle events as well as occupational activities.
a. birth
b. initiation and graduation ceremonies
c. courtship and marriage
d. death and funeral rites
e. hunting
f. fishing
g. planting
h. harvesting

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i. healing
j. various forms of armed conflicts

Most of the musical performances held in public is ass

ociated with dancing and some forms of physical movement wherein the
community or audience also participates. Contrary to this, solo playing or
small group singing is done without much movements.

2. Westernized Oral traditions (Folk Music)- consists of orally transmitted ge

nres and compositions that are performed in rural Christian communities in
Luzon, Visayas, and parts of lowland Mindanao. These songs originated fr
om:

a. froms that have been introduced by Spanish colonial power which wer
e adopted and modified by local artists and performers (metrical romanc
es)
b. syncretic and hybrid forms that have been locally assimilated elements
from Western religious traditions (subli, sanghiyang).
c. locally processed songs based on older pre-colonial tunes (planting son
gs, children’s play songs, lullabies, love songs, and serenades).

Occasions in Catholic Calendar Year Where Folk Songs Are Performed

a. May flower devotions to the V

irgin Mary (Santacruzan

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 b. Lent

Religious Hymns Connected to Specific Activities

a. Alay (flower offering in May)

b. Pabasa and PAsyon (chant reading of the life and passion of Christ)

c. Senakulo

d. Salubong (meeting of risen Christ and Mary)

e. Panunuluyan (search for inn during Christmas eve)

Each community/province in the Philippines celebrates feast of the patron

saint or other special festival such as;

Dinagyang (the feast of Sto. Nino

in Panay Island

www. Youtube.com

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 Pahiyas (the feast of San Isidro L

abrador in Quezon

3. Western- influence Art and Popular Music- Westernized -folk traditions in

the Philippines root from the Spanish Colonial Period of roughly three hun

dred years from 1521 to 1898. The creation of a colonial state and econo

mic system as well as the influence of Roman Catholicism shaped what w

as to be the mainstream, “lowland-Christian” Filipino society.

what was to be the mainstream, “lowland-Christian” Filipino society.

A major part of the cultural experience of the people centered on reli

gious or Christian subjects. At the beginning, Western music was introduce

d by way of the Spanish friars who taught Gregorian Chant for masses and

other Christian services. In Lumbang, Laguna, for instance, Fray Juan de S

anta Marta in 1606 gathered about four hundred boys from various place

s and trained them in singing and instrumental playing. Moreover, in 1742,

a singing school was established at the Manila Cathedral. At about this pe

riod, baroque pipe organs were constructed of which the one at the San

Agustin Church (restored in 1998) in Manila and the famous Bamboo Orga

n of Las Piñas survive today.

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 Let’s apply this
9

I. Answer the following questions by writing 2-3 complete

sentences. 5 points. (HOTS)

1. What are three distinct repertoires?

___________________________________________________________

___________________________________________________________

2. What are the occasions in Catholic calendar year where folk song is
performed?
___________________________________________________________

___________________________________________________________

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 Lesson 13
Name: _____________________________________ Grade& Section:_______

Identify weather the statement is true or false.

____________1. Philippine Music comes in a variety of forms, covering a wide

spectrum of sources, geographically and historically

____________2 Most of the musical performances held in public is

associated with dancing and some forms of physical

movement wherein the community or audience also

participates.

____________3. Westernized Oral traditions (Folk Music)- consists of orally

transmitted genres and compositions that are

performed in rural Christian communities

____________4 A major part of the cultural experience of the people

centered on religious or Christian subjects.

____________5. baroque pipe organs were constructed of which the one at

the San Agustin Church.

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 Let’s Remember this

Filipino dance music was patterned after Spanish and European dance
forms.
These include the carinosa,the balitao, the pandanggo, polka, dansa
and the rigodon. Perhaps connected to these is the development of the
rondalla, an ensemble of plucked string instruments that include the
banduria, the laud, the octavina, the gitara, and the bajo.

These instruments are adaptations of European instruments.

What I have learned:

(Closure Activity)

______________________________________________________________

______________________________________________________________

______________________________________________________________

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LESSON 14- MUSIC FROM MINDANAO WITH OWN ACCOMPANIMENT

Time Frame: 14th Week

Specific Objectives

describes how the music contributes to the performance of the musi

cal production;
describes how a specific idea or story is communicated through mu
sic in a particular Philippine musical theater

Let’s try

What is your favorite Philippine traditional song?

___________________________________________________________________

Where do you usually sing this? _____________________________________

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Filipinos developed a repertoire for the three distinct musical ensembles, o

utside the symphony orchestra tradition and the Filipino.

1. The band (brass and bamboo)- the Philippine band repertoire consis

ts of marches, overtures, symphonic poems, concertant pieces, and

medleys of Filipino folk tunes performed during military and civic pa

rades.

2. The rondalla (plucked string ensemble)-It was introduced by Spain

as the estudiantina and comparsa. This consists of marches and pas

adoble pieces (fast and brilliant music in two), medleys, and arrang

ements of Filipino folk songs, overtures, concertant music, and folk d

ance accompaniments. Before, serious art pieces were written for th

e rondalla or individual rondalla instrument but in modern compositi

ons, the rondalla and symphonic instruments are combined.

3. The chorus- The choral music in the Philippines before consisted of fo

lk song arrangements, old masses and hymns, opras, and sarswelas.

Today, the repertoire has been augmented by local madrigal-like pi

eces, arragements of popular love songs and large scale compositi

ons

Music production is one of the most exiting industries in the modern

world. The force behind the music we all know and love, music production

is a diverse process with many interesting facets. From recording to marke

14 | M u s i c 7
ting and beyond, this is the lifeblood that makes the music industry come

alive. If you’ve ever wondered what a music producer does, or how going

to school for audio engineering can get you started on this exciting caree

r path, here’s your complete guide.

Harana

Harana was a traditional form of courtship in the Philippines wherein

men introduced themselves and/or wooed women by singing underneath

her window at night. It was widely practiced in old Philippines with a set of

protocols, a code of conduct and a specific style of music.

Now, in modern age, serenaders sing popular love songs and OPM i

n their harana. Some popular songs used in harana are “Natutulog ka na

ba,” “Harana, “and “Dungawin Mo Hirang.”

Balitaw is a folk song from the Visayas. The word balitaw was derived from

the Tagalog words “balita raw.” It is the counterpart of kundiman and is ch

aracterized by a song and dance.

Two distinct tonalities of balitaw are:

1. Balitaw Mayor- as influenced by the French slow waltz

2. Balitaw Menor- a typical Visayan love song

15 | M u s i c 7
You will notice that the balitaw is danceable, and ususally the renditions ar

e performed with a dance. The balitaw shows typical Visayans as musicall

y inclined, fond of dancing, gay, and with happy disposition.

Paruparong Bukid Tinikling

Paruparong bukid na lilipad-lipad Kay saya-saya ng piknikan sa bukid

Sa gitna ng daan papaga-pagasp ,

a s Ibon at halaman pawang umaawit

Isang bara ang tapis ,

I s an g d an g kal a n g m an g gas Kay sarap ng hangin, kay ganda n

An g say an g de k o l a g langit,

Isang piyesa ang sayad May tula at awit sa agos ng batis.

May payneta pa si ya — uy!

May suklay pa man din — uy! Tayo'y magsayaw, umindak sa tugt

Nagwas de-ohetes ang palalabasi ugin,

n Mga palakpak ay isaliw,

Haharap sa altar at mananalamin Ang lukso mo Neneng, dapat pag

At saka lalakad nang pakendeng- butihin,

kendeng. Pag nagkamali'y maiipit ka man di

n.

16 | M u s i c 7
Kundiman

The term kundiman was coined from “ kung hindi man” meaning, “if it is n

ot so.” Kundiman is distinguished with characteristics such as:

1. It is a Tagalog song.

2. Its rhythmic figure is derived from Spanish bolero, which is typical thr

ee-four waltz.

3. It is melancholic and conveys emotions full of love.

4. Its singing style should be heartfelt.

5. Usual start of first part is with the minor mode and modulates to the

major key as the song goes by.

There are three types of kundiman, namely: the romantic, the patriotic, an

d the religious.

1. Romantic Kundiman- expresses feelings for a loved one and done a

ge slow waltz tempo. Examples are “pakiusap” and “Nasaan Ka, Iro

g.”

2. Patriotic Kundiman- expresses nationalistic love of country, usually c

omposed in march tempo. The most famous patriotic kundiman tha

t flamed the patriotic sentiments of the revolutionaries in their struggl

e for liberation from colonial rule was “Jocelyn ng Baliwag (Jocelyn

of Baliwag).” The song “Bayan Ko” is also a patriotic song.

17 | M u s i c 7
 3. Religious Kundiman- expresses belief, devotion, and honor to Almigh

ty, usually sung in slow waltz tempo. Examples are “Panunuluyan” an

d “Pasyon”.

KUNDIMAN NASAAN KA, IROG

Sa tapat ng laging palangiting ara N a s a a n k a I r o g ,

w; At dagling naparam ang iyong pa

Na lumalaganap sa dagat Silangan g - i b i g ?

, 'Di baga sumpa mo, ako'y mamah

May Mutyang masuyo't libid kayam a l i n ?

anan, Iyong itatangi, iyong itatangi

Na Giliw ang hangdog sa pusong m M a g p a - h a n g g a n g l i b i n g ,

ay damdam; Subalit nasaan ang gayong pagti

O bayang maligaya ng aking pag- ngin?

giliw, Nasaan ka Irog

Pusong lakanbini kalong salamisim.

Ang iyong pag-luha'y sandaling pig

ilin,

Ang kundimang ito Mutya, iyong di

nggin.

18 | M u s i c 7
 Let’s apply this
9

Give examples of balitaw, harana, and kundiman songs, three

examples for each kind. For the song title counterpart, write its composer
or singer.

Balitaw
1.
2.
Harana
1.
2.
Kundiman
1.
2.

Guided Generalization Table

Question: Answer:
How the Filipinos contribute to the
performance of the musical
production?

19 | M u s i c 7
 Lesson 14
Name: _____________________________________ Grade& Section:_____
Choose the letter of the correct answer.
1. It refers to a traditional form of courtship in the Philippines wherein
men introduced themselves and/or wooed women by singing
underneath her window at night.
a. Harana b. balitaw c. kundiman
2. It refers to folk song from the Visayas which derived from the Tagalog
words “balita raw.”
a. Harana b. balitaw c. kundiman
3. Which type of kundiman where it expresses nationalistic love of
country?
a. Romantic kundiman
b. Religious kundiman
c. Patriotic kundiman
4. Which type of kundiman where it expresses feelings for a loved one
and done age slow waltz tempo?
a. Romantic kundiman
b. Religious kundiman
c. Patriotic kundiman
5. Which type of kundiman where it expresses belief, devotion, and honor
to Almighty?
a. Romantic kundiman
b. Religious kundiman
c. Patriotic kundiman

20 | M u s i c 7
 Let’s Remember this

Music production is one of the most exiting industries in the modern

world. The force behind the music we all know and love, music production

is a diverse process with many interesting facets. From recording to marke

ting and beyond, this is the lifeblood that makes the music industry come

alive. If you’ve ever wondered what a music producer does, or how going

to school for audio engineering can get you started on this exciting caree

r path, here’s your complete guide.

What I have learned:

(Closure Activity)

______________________________________________________________

______________________________________________________________

______________________________________________________________

21 | M u s i c 7
Lesson 11- Music from Mindanao with Own Accompaniment

Time Frame: 11th Week

Specific Objectives
Identify the lute music of Mindanao
discovers ways of producing sounds on a variety of sources that is si
milar to the instruments being studied
improvises simple rhythmic/melodic accompaniments to selected
music from Mindanao

Let’s try

With the help of the website given in the resources, you can
research on boat lutes. Read the short abstract by Brandeis on the
Symbolic Meanings of the Philippine Boat Lute to be able to answer the
following questions.

1) What part of the Mindanao culture is the boat lute used for?
________________________________________________________________________
2) How do you play the boat lute?
______________________________________________________________

22 | M u s i c 7
The lesson is an introduction to lute music- particularly boat lutes from
Mindanao. The analysis of the music is done through a socio- cultural
approach as well as an emphasis on playing techniques. An application of
the lesson involves playing a short boat lute improvisation on the boat lute.
It may also make use of improvised instruments such a two-string guitar with
appropriate expression, tone, and style. This is reflective of the function of
the music.

Boat lutes are an important part of the music history of the Philippines.

The major names of the boat lutes are:

KUDLUNG

KUDYAPI

Below is a picture of the Gawad Manlilikha ng Bayan Samoan

Sulayman playing the boat lute.

23 | M u s i c 7
The music of the boat lutes of Mindanao is a reflection of the natural spiritual
life of the Lumad and Muslim Filipinos as well as the influence of Indian
culture in the development of boat lutes. Its many types show the creativity
of Filipinos in expressing their emotions, life events, and their world view.

Let’s apply this

9

24 | M u s i c 7
Draw the kudyapi inside the box.

(Product/Performance Output)

Guided Generalization Table

Question: Answer:
It is said that boat lutes played an
important role in the music history of
the Philippines. Gives reason why?

25 | M u s i c 7
 Lesson 11
Music from Mindanao with Own Accompaniment

Name: _____________________________________ Grade& Section:_______

I. Identify weather the statement is true or false.

____________1. The music of the boat lutes of Mindanao is a reflection of the

natural spiritual life of the Lumad and Muslim
____________2. Boat lutes are an important part of the music history of the
Philippines.
_____________3. Boat lutes were influenced by Indian culture.

II. Write the two examples of boat lutes.

1. ____________________________________________

2. ____________________________________________

Let’s Remember this

26 | M u s i c 7
The music of the boat lutes of Mindanao is a reflection of the natural spiritual
life of the Lumad and Muslim Filipinos as well as the influence of Indian
culture in the development of boat lutes. Its many types show the creativity
of Filipinos in expressing their emotions, life events, and their world view.

What I have learned:

(Closure Activity)

______________________________________________________________

______________________________________________________________

______________________________________________________________

Lesson 12- Mindanao Music-Kolintang, Tagongko And Kapanirong

Time Frame: 12th Week

27 | M u s i c 7
Specific Objectives

identifies musical characteristics of selected Philippine festivals and t

heatrical forms through video or live performances;
describes the origins and cultural background of selected Philippine
festival/s;

Let’s try

Asian musical cultures come together in the Southern Philippines. On these

islands old Malay music and a later form of India/Muslim music coexist.

Unaccompanied singing and the use of bamboo ide cords and bamboo

flutes are indicative of practices common in Malaysia.

The chanting of long, melismatic melodies are reminiscent of Indian and

Islamic music; while gong playing with basses evokes practices similarly

observed in Indonesia, Laos, Thailand, and Burma.

28 | M u s i c 7
 KULINTANG

The popular kulintang (gong melody) is played in different instrumental

combinations, but the Maguindanao ensemble is said to have the most

developed melodic permutation.

The kulintang ensemble is composed of a set of eight gongs of graduated

sizes arranged in a row:

1. babendil -a suspended gong with a thin sound

2. Debakan- a drum

3. Agung- one or two suspended gongs

4. Gandingan- a pair of gongs with narrow rims

The kulintang is a counterpart of the Malaysian or Indonesian gamelan,

except that it is an ensemble strictly of percussion instruments. No wind or

string instrument is played to accompany it. The principal eight-gong series

(kulintang) is used to play a variety of meaningful compositions; the other

gongs and the drum follow its beat.

TAGONGKO and KAPANIRONG

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Besides the kolintang, other musical ensembles popular among the

Maranao are the tagongko and the kapanirong.

Tagongko is parade or entourage music played by male musicians

dressed in their festive fineries. It is outdoor music, while kulintang is

indoor music. The instrumental ensemble consists of a number of

medium-sized gongs called mamalala; a number of small, high

pitched, and shallow gongs called pong; one or more tambor (snare

drums); and one or more garagara or panda'opan (cymbals).

The kapanirong is a serenade (from the root word sirong which

means "to go beside a house") by a group of young bachelors who

would come to a maiden's house and play their music by the

window. The house occupants would then invite the serenades into

the house and in the ensuing merrymaking some courtship could

take place among the young.

Let’s apply this

9 30 | M u s i c 7
Differentiate between tagongko and kapanirong.

Tagongko Kapanirong

31 | M u s i c 7
 Lesson 12
Music of Mindanao
Name: _____________________________________ Grade& Section:_______
Write the musical instruments composed in a Kulintang Ensemble.

1.
2.
3.
4.

Let’s Remember this

The popular kulintang (gong melody) is played in different

instrumental combinations, but the Maguindanao ensemble is said
to have the most developed melodic permutation.

What I have learned:

(Closure Activity)

______________________________________________________________

______________________________________________________________

REFERENCES

32 | M u s i c 7
Eduardo V. Cipriano, Ma. Karina Melody Zabala-Hernandez, Gernalyn andres-

Solano, Ed.D., Pinky Olivar-Libiran, Adelina P. Limos, Mark G. Fabella, Ronald

V. Solis, Ray Ferdinand D. Limos. (2018). The 21th Century MAPEH in ACTION

7 (Revised Edition). REX Book Store.

Argie A. Concha, Carlo Luis C. Ganzon, Jessica S. Tungala, Maria Gracia A.

Fulgencio. (2018). Achieve Creatice Experience and Skills in MAPEH 7. The Sibs

Publishing House Inc.

Vivian R. Lugue, Alvenia P. Palu-ay, Agripino G. Darilag, Lordinio A. Vergara,

Zenaida M. De Leon, Veronica E. Ramirez, Ph. D. (2011). OUr World of MAPEH

7. Vibal Publishing House, Inc.

Prepared by: Joann Marie M. Salonzo – Music Teacher

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