Learning Competency:

 Improvises simple
rhythmic/melodic accompaniments
to selected music from Mindanao;
(MU7LV-IIIc-h5)
Identify the appropriate
instrument described
according to their uses or
functions. The pictures may
serve also as clue.
When I am played as a solo instrument, I
allow people to communicate with each
other and send messages or warnings via
long distance. But when I am integrated
into the Kulintang ensemble, I function as a
secondary melodic instrument in harmony
with the first melodic instrument. I am a
__________.
Traditionally I am considered as a ‘women
instrument’ by many groups because my
performance is associated with the graceful,
slow, frail, and relaxed movement of a
woman. My performances are important in
bringing unity and togetherness in the
community and adjacent regions. I am
________
I am found elsewhere in the southern
archipelago with an embossed shape. I am
associated with important community
celebrations such as harvest, thanksgiving,
ceremonies, and rituals. The sounds I
produce is dependent on how big or small I
am. I am ___.
I am the smallest bamboo flute and the only
one classified as a ring flute among the
Maguindanaos. Because of the difficulty of
playing the Palendang, both I and tumpong
have come to replace the Palendang as the
Maguindanaos’ most common aerophone. I
am ________.
As a solo instrument, indigenous peoples
both from highland and Muslim of
Mindanao created me from bamboo. They
usually play me for recreation and during
courtship as a means to communicate with
each other without the elderly parents
being able to understand what is being said.
I am ___.
 iv id e d in t o 4 g r o u p s .
 The class will be d a m b o a n g a
e o c li p o f Z
 Watch the music vid A C I T Y - T h e
t h is li n k : Z A M B O A N G
th ro u g h n d u r ria ) •
C it y ( I n s tr u m e n ta l B a
only A s ia 's L a t in
Oc t 1 0, 20 19 . g ro u p t h e
v id e o c li p , a s s ig n e a c h
 Fr o m t h e s h a re to
t o b r a in s to r m w it h a n d
foll o w in g t o p ic
the class. u m e n ts u s e d ,
e n t if y t h e m u s ic a l in s t r
Group 1 - id
s o f m u s ic a p p li e d ,
Group 2 - the element tr a d it io n s in t h e
- t h e d if f e re nt c u lt u ra l
Gro u p 3
peninsula, and e n c e o f t h e p la c e .
t h e g e o g ra p h ic a l in f lu
Group 4 -
1.What is Christian music of Mindanao?
2.What type of instruments are used to
accompany their music? Are they
Asiatic instruments (from South East
Asia) or Western instruments? How
do you say so?
3.What conclusion can you draw from
the words you gathered regarding the
Christian music of Mindanao?
• Watch again the music video clip of Zamboanga through this
link: ZAMBOANGA CITY - The only Asia's Latin City
(Instrumental Bandurria) • Oct 10, 2019.
• Listen carefully to the music rendition. Imitate the beat of the
drums by stomping your feet for the bass drum and clapping
your hands for the snare.
• Ensure that you stay in time along with the music video,
keeping your rhythm steady until the end.
• Write your observations/experiences and reactions by
answering the processing questions afterwards.
• The rhythm follows a regular 8th beat pattern, or a 1-2 beat
in layman’s terms, which is as such: Bass – Snare – Base Bass
– Snare; Bass – Snare – Bass Bass – Snare Which translates to:
Stomp – Clap – Stomp Stomp – Clap; Stomp – Clap – Stomp
Stomp - Clap
 Along with the Spanish colonization in
the country came the influence of
Western musical tradition, particularly
through liturgical music. “History relates
that the Filipino’s first encounter with
Christian religious music was during the
Easter Sunday mass on March 31, 1521.”
(Javellana and Brillantes 1994)
The Music of the
Christian (non-Islamic)
Mindanao
CATHOLIC
MUSIC
Most of the Christian settlers (Catholics,
Evangelical, Pentecostal, etc.) from Luzon and
Visayas migrated to Mindanao and comprise
majority of the household population in the region.
They brought along with them musical culture with
Spanish and American Influence.
In celebration of the liturgy, singing using
Gregorian chant, (a sacred song set in Latin text
normally sung by a male chorus), polyphonic masses
(every day prayers like the Kyrie, Gloria, Credo,
Sanctus, Agnus Dei) and motets (sacred song sung
by choir in imitative counterpoint), and hymns in
Latin are used.
CATHOLIC
Later in vernacular songs (Cebuano and
MUSIC
Chavacano) were introduced. Extra liturgical music
(blending of folk traditions and practices with
Catholic rituals and celebrations) such as
Pamamasko and Panunuluyan, Pabasa or chanting
of Pasyon and Salubong, Pangangaluluwa, Flores de
Mayo and Santacrusan are also performed. Playing
instruments like the guitar, violin, flute, harp, and
the organ and singing of Spanish, Mexican, and local
Villancicos (poetic and musical form sung with or
without accompaniment) are highly emphasized in
their celebrations. Narcisa Fernandez, a music
graduate from Davao City and Msgr. Rudy
Villanueva, a musician from Cebu wrote and
enriched the music for the Cebuano Liturgy.
EXERCISE 1
Watch and listen the 3rd Mass (Kyrie) by Msgr.
Rudy Villanueva. Using the lyrics/notation, try to
clap your hands following the rhythm of the song. In
two to three sentences describe how the elements of
music (rhythm and tempo in particular) are used to
convey the message of the song
SECULAR MUSIC
A European type of secular music (poetry and non-
religious music) performed by Filipinos and visiting
artists became more pronounced among the urban
upper class.
This musical form developed in rural Christian
communities, commonly known as folk music
(traditional or composed song with simple melodies)
integrates the elements with physical movement,
space, dance, and theater.
They can be categorized as vocal, instrumental, or a
combination of both. This music reflects the life of
common or mostly rural Filipinos and their strong
connection with nature.
EXERCISE 2
This time, watch and listen to the song No Te
Vayas De Zamboanga. Using any available
materials in the environment, try to
imitate the rhythmic patterns heard in
the song
No te vayas, no te vayas de
Zamboanga
Que me puedes, que me puedes
olvidar
No te vayas, no te vayas, ni me
dejes
Que yo sin ti, no puede estar
No llores, paloma mia
No llores que volvere
No llores que en cuando llegue
Paloma mia, te escribire
Con una pluma de ave
Y un pedazo de papel
Con la sangre de mis venas
Paloma mia, te escribire
 m a k e s C h r is ti a n m u s ic
1 .W h at
m o th e r m u s ic a l g e n r e
uniq u e f r o
like the ri tu a l m u s ic o f
indigen o u s p e o p l e ?
ila r it ie s d i d y o u n o tic e
2.Wha t s im
fe r e n t m u s ic a l ty p e s o f
fro m d if
u s ic ( li t u r g y ,
Christian m
a l a n d s e c u l a r ?
ecumenic
 o u p i n g s , c r e a t e o r
• With the same gr i m e n t
e d r h y t h m i c a c c o m p a n
imp r o v i s
c f r o m Z a m b o a n g a , t h e
to t h e f o l k m u si
Z a m b o a n g a ” i n
“No Te Vayas De
a g e u sin g a n y
Chavacano langu ls f r o m
in st r u m e n t s o r m a t e r i a
mu si c a l
e n t a s a c c o m p a n im e n t .
th e e n v i r o n m
t h e f o ll o w i n g r u b r i c s .
• Be g u i d e d w it h
 CRITERIA OUTSTANDING VERY GOOD GOOD
(5) (4)
(3)
BEAT A steady beat was A steady beat was maintained The beat was not steady all
maintained while the first 2 measures only. throughout the piece.
improvising without the
guidance of the teacher or
use of visuals.
RHYTHM The entire performance The performance has 1-2 Inappropriate rhythm was
follows correct rhythm lapses in the application of used
correct rhythm
MASTERY The rhythmic The rhythmic accompaniment The rhythmic
accompaniment was was memorized but there are accompaniment was not
flawlessly performed 2 -3 evident mistakes in its memorized at all
execution

OVER-ALL All the characteristics of The performance includes The song includes only 1-2
Christian(folk) music are most of the elements and elements and
PERFORMANCE evident characteristics of characteristics of Christian
Christian(folk) music. (folk) music.
1.Did you follow some techniques in your
performances? If yes, what are those? If no,
why not?
2.How did you apply the elements and
characteristics of Christian folk vocal music?
3.Do the instruments used complement with
the message of the song? How?
4.What other materials in the environment can
be used in place of the accompanying
instruments?
Thank You!
For your assignment, research and write a short
essay on the cultural significance of Christian
music from Mindanao. Include examples of
famous Christian music composers from the
region. (Essay overview: 200 words)