i
Learner’s Material
(Quarters 3 and 4)
Department of Education
Republic of the Philippines
7
MUSIC LEARNING MODULES 1-2:
Composed Vocal Music 1: Nationalistic Songs and Love Songs
I TARGET GRADE LEVEL: Grade 7
II MO...
 Performs on available instruments works of representative Filipino composers, alone and / or
with others.
 Improvises s...
THE NATIONAL ARTISTS OF THE PHILIPPINES GUIDELINES.
http://www.ncca.gov.ph/about-ncca/org-awards/org-awards-national-artis...
Concept Map: With the help of the readings and links given above, complete the concept map by
writing details regarding Na...
Composer Julio Nakpil Julian Felipe
Title Marangal na Dalit ng Katagalugan Lupang Hinirang
Lyricist
Also Known As
Year of ...
Love Songs
With the help of the suggested readings, complete the e chart below with information on the two
Love Songs disc...
Guide Questions for Music Listening:
These four songs are but a few examples of the works of our great Filipino composers ...
X ASSESSMENT
Rubrics for Group Performance
Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, d...
MUSIC TEACHING GUIDES 1-2:
Composed Vocal Music 1: Nationalistic Songs and Love Songs
I TARGET GRADE LEVEL: Grade 7
II MOD...
 Sings accurately representative works of representative Filipino composers, alone and / or
with others.
 Performs on av...
VIII PRIOR SKILLS & ASSESSMENT
Short recitation on Quarter 3’s topics (Music of Mindanao)
a. Concept Map
Concept Map: Usin...
Nacional Filipino
Year of Composition 1896 1898 (music), 1899 (with lyrics)
Political Patron Andres Bonifacio Emilio Aguin...
11. Summarize what has been learned using the K-W-L chart (What I know, What I want to
know and What I learned about Natio...
Lubang, Danalyn T. Tamang Pagkanta ng Pambansang Awit. The Varsitarian. (Vol LXXXi, No. 13).
http://www.varsitarian.net/fi...
Bonifacio, but Emilio Aguinaldo preferred the work of Julian Felipe. It was fist played to
commemorate the eighth annivers...
Architecture and Allied Arts. The order is jointly administered by the National Commission
for Culture and the Arts (NCCA)...
MUSIC LEARNING MODULES 3-4:
COMPOSED VOCAL MUSIC
Solo and Choral Music (San Pedro and De Leon)
I TARGET GRADE LEVEL: Grade...
VII CONTENT/TOPIC
Solo and Choral Music (San Pedro and De Leon)
 Vocal Music Composition– Solo (Sa Ugoy ng Duyan, San Ped...
IX ACTIVITIES
Art is a language. Like words, music and pictures, can tell a story. Let us view some pictures and
think abo...
How about these pictures?
sources: http://en.wikipilipinas.org/index.php?title=Higantes_Festival, http://www.lakbaypilipin...
K-W-L Chart: Write what you currently know about Solo and Choral Music (San Pedro and De
Leon) under column 1 and what you...
Let’s go back to the pictures found at the start of the module.
The first picture, taken February 28, 1945, shows a Sherma...
The second set of pictures shows the Feast of San Clemente, commonly known as the Higantes
Festival, which is celebrated i...
Solo and Choral Music (San Pedro and De Leon)
With the help of the suggested readings, fill in the chart with information ...
Guide Questions for Music Listening:
These two songs are but one of many beautiful vocal music by our greatest Filipino co...
XI SYNTHESIS
Music, even without the words, can tell us stories about a particular time, place, person, and
event – much m...
MUSIC LEARNING MODULE 3-4:
COMPOSED VOCAL MUSIC 2:
Solo and Choral Music (San Pedro and De Leon)
I TARGET GRADE LEVEL: Gra...
VII CONTENT/TOPIC
Solo and Choral Music (San Pedro and De Leon)
 Vocal Music Composition– Solo (Sa Ugoy ng Duyan, San Ped...
3. Take time to discuss the stories behind each song, and also, about the composers’ lives and
their being National Artist...
IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN
WEBSITE
Readings:
Estrella, Espie. What is Choral Music?...
MUSIC LEARNING MODULES 5-6:
COMPOSED INSTRUMENTAL MUSIC
I TARGET GRADE LEVEL: Grade 7
II MODULES 5-6: Representative Instr...
VII CONTENT/TOPIC
Instrumental Music Composed by Representative Filipino Composers
 Instrumental Music – Solo, Orchestral...
Santos, Ramon P. (1977). Bagong Kamalayan sa Kontemporaryong Musika sa Pilipinas from Musika Jornal
(vol 1). Quezon City: ...
IX ACTIVITIES
What is Philippine Instrumental Music to you?
How does a Filipino today view Philippine Music, especially if...
K-W-L Chart: Write what you currently know about Representative Instrumental Music by Filipino
Composers under column 1 an...
Listening Chart
With the help of the suggested readings, fill in the chart below with information about the
composition as...
Lyrics (feelings,
story, images, etc)
Guide Questions for Music Listening:
These four compositions are but a few examples ...
X ASSESSMENT
Rubrics for Group Composition and its Performance
 Basic –Unfocused tone, erratic rhythm, unstable pitch, in...
MUSIC TEACHING GUIDES MODULE 5-6:
Composed Instrumental Music
I TARGET GRADE LEVEL: Grade 7
II MODULE 5-6: Representative ...
VII CONTENT/TOPIC
Representative Instrumental Music Composed Filipino Composers
 Instrumental Music – Solo, Orchestral, L...
a. ACTIVITIES & STEPS/ PROCEDURE –
1. Have the students answer the first activity of the module, What is Philippine Instru...
VIII SUMMATIVE ASSESSMENT
Rubrics for Group Composition and its Performance
 Basic –Unfocused tone, erratic rhythm, unsta...
Music – National Commission for Culture and Arts: Antonino Buenaventura. http://www.ncca.gov.ph/about-
ncca/org-awards/mus...
Dularawan (excerpts). (1969). From Pagdiriwang, A Song/Dance/Theater in Two Acts recorded live at the CCP
Theater for the ...
X GLOSSARY OF MUSIC TERMS & SYMBOLS
1. Solo – music that is meant to be performed by a single performer
2. Orchestral – mu...
MUSIC LEARNING MODULES 7-8:
Philippine Popular Music
I TARGET GRADE LEVEL: Grade 7
II MODULES 7-8: Philippine Popular Musi...
 Evaluates music and music performances applying knowledge of musical elements and style.
VII CONTENT/TOPIC
Philippine Po...
Cayabyab, Ryan – KAY GANDA NG ATING MUSIKA (Hajji Alejandro).
http://www.youtube.com/watch?v=t6MixeXSX5g.
De Leon, Diwa – ...
Concept Map: With the help of readings and links given above, complete the concept map by
writing details regarding Philip...
Top of the Charts
Fill up the chart with the necessary information. For the music part, you may use graphic notation.
SONG...
SONG TITLE (own
choice)
Artist’s Name
[ ] Composer [ ] songwriter [ ] MUSICIAN
Instrumentation
Tempo
Rhythm
Melody
Harmony...
Guide Questions for Music Listening:
One of the eight Philippine popular songs will be assigned to your group. The followi...
Group Activity
Stage a class variety show showcasing different genres of Philippine popular music. Take note: no
two genre...
MUSIC LEARNING GUIDES 7-8:
Philippine Popular Music
I TARGET GRADE LEVEL: Grade 7
II MODULES 7-8: Philippine Popular Music...
 Evaluates music and music performances applying knowledge of musical elements and style.
VII CONTENT/TOPIC
Philippine Po...
b. ACTIVITIES & STEPS/ PROCEDURE –
1. Present the K-W-L chart to the students and ask them to fill up the K and W part.
2....
VIII SUMMATIVE ASSESSMENT
 Rubrics for Group Performance
 Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsi...
Aguilar, Freddie – Freddie Aguilar Anak (Orginal Version). http://www.youtube.com/watch?v=-n-
2lPzH7Do.
Ayala, Joey – Mari...
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q3-Q4)
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q3-Q4)
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K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q3-Q4)

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  1. 1. i Learner’s Material (Quarters 3 and 4) Department of Education Republic of the Philippines 7
  2. 2. MUSIC LEARNING MODULES 1-2: Composed Vocal Music 1: Nationalistic Songs and Love Songs I TARGET GRADE LEVEL: Grade 7 II MODULES 1-2: Vocal Music 1: Nationalistic Songs and Love Songs III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The lesson is an introduction to two classifications of Vocal Music composed by Filipinos – the . Nationalistic Songs and Love Songs. The compositions Marangal na Dalit ng Katagalugan by Julio Nakpil and Lupang Hinirang by Julian Felipe ( Nationalistic) , the Kundiman Nasaan Ka Irog ? by Nicanor Abelardo and the ballad Gaano Ko Ikaw Kamahal by Ernani Cuenco ( Love Songs) will complete the musical journey in this module. Throughout the lesson, one will discover how these songs express the beliefs of a nation about patriotism and love and how a nation places a value on artists’ creations. . A group song and dance performance on these four songs culminates the educational experience. V PERFORMANCE STANDARDS  Analyzes musical elements and processes of Philippine music.  Correlates Philippine music to Philippine culture.  Performs examples of Philippine music, alone and with others, in appropriate tone, pitch, rhythm, expression and style. VI COMPETENCIES/OBJECTIVES  Analyzes a representative example of a work by a Filipino composer, and describes how the musical elements are used.  Explains the distinguishing characteristics of representative works by Filipino composers, in relation to history and culture of the area.  Analyzes the relationship of functions of the representative works of Filipino composers to the lives of the people.  Sings accurately representative works of Filipino composers, alone and / or with others.
  3. 3.  Performs on available instruments works of representative Filipino composers, alone and / or with others.  Improvises simple rhythmic / harmonic accompaniments to selected works of representative Filipino composers.  Explores ways of producing sounds on a variety of sources that would simulate the sound of instruments being studied.  Evaluates music and music performances applying knowledge of musical elements and style. VII CONTENT/TOPIC Nationalistic Songs and Love Songs  Vocal Music – Nationalistic Songs (Julio Nakpil and Julian Felipe), Love Songs ( Nicanor Abelardo,Kundiman and Ernani Cuenco, Ballad)  Cultural Context (History and Traditions) – Filipino conflict during the Spanish Period (Aguinaldo and . Bonifacio), How a National Artist is proclaimed  Compositions –Himno Nacional Filipino, Lupang Hinirang, Marangal na Dalit ng Katagalugan; Nasaan Ka Irog?, Gaano Ko Ikaw Kamahal  Social Functions – Patriotism, Artistry in the Society VIII RESOURCES Readings: Epistola, Ernesto V. (1996) Nicanor Abelardo, the Man, the Artist: A Biography (1st ed., pp. 50-52). Manila: Rex Book Store. Himig: The Filipino Music Collection of FHL. (2012) Ernani Joson Cuenco. Retrieved 7 June 2012. http://www.himig.com.ph/people/14-ernani-joson-cuenco?composer=true. Lubang, Danalyn T. Tamang Pagkanta ng Pambansang Awit. The Varsitarian. (Vol LXXXi, No. 13). http://www.varsitarian.net/filipino/20100507/tamang_pagkanta_ng_pambansang_awit. retrieved on 06/13/2012 - 11:46. Santos-Viola, Carlos N. Julio Nakpil: A Patriot and a Musician. http://julionakpil.blogspot.com/. THE NATIONAL ARTISTS OF THE PHILIPPINES. http://www.ncca.gov.ph/about-ncca/org- awards/org-awards-national-artist-list.php.
  4. 4. THE NATIONAL ARTISTS OF THE PHILIPPINES GUIDELINES. http://www.ncca.gov.ph/about-ncca/org-awards/org-awards-national-artist-guidelines.php. Supreme Court E-Library. Executive Orders. [Executive Order No. 236, September 19, 2003] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=a45475a11ec72 b843d74959b60fd7bd645fae1093b5c5. Supreme Court E-Library. Executive Orders. [Executive Order No. 435, June 8, 2005] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=f50a99f950ea0 dd2453e89f5c9d6a397455a4894e8228. Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art (Vol. 6: Philippine Music). Manila: Cultural Center of the Philippines. Recordings: Kundiman Art Song – Nasaan Ka Irog? – Sylvia La Torre. http://www.youtube.com/watch?v=W8- NqGJJYkeE. Lupang Hinirang Ang Pambansang Awit ng Pilipinas. ( ) [CD-ROM]. Philippines: . IX ACTIVITIES Philippine __________ Anthem: Musical Charades Form two teams for the musical charades. Your teacher will give to each team strips of paper containing phrases from Lupang Hinirang. To get a point, the team must sing the phrase, with correct lyrics and correct melody. The first team to get 5 correct performances wins incentive points. (SUBJECT for APPROVAL) K-W-L Chart: Write what you currently know about Nationalistic Songs and Love Songs under column 1 and what you want to know about Nationalistic Songs and Love Songs under column 2. Nationalistic Song and Love Songs What I Know What I want to Know What I've learned
  5. 5. Concept Map: With the help of the readings and links given above, complete the concept map by writing details regarding Nationalistic Songs and Love Songs.. Nationalistic Songs: Julio Nakpil and Julian Felipe. Julian PERMISSION NEEDED: source: http://www.oocities.org/valkyrie47no/Images/jn1.gif, http://3.bp.blogspot.com/_FFKau- MIe2I/TUNAF1zzDHI/AAAAAAAACfA/Y_k6YS3Ti78/s320/Julian+Felipe%252C+the+anthem+composer%252C+with+Jose+Palma..jpg With the help of the suggested readings, complete the chart below with information on the two Nationalistic songs discussed in class. As for the musical elements part, listen to the songs before filling up the chart. . Socio- historical Context Musical Forms Musical Context Issues Nationalistic Songs and Love Songs
  6. 6. Composer Julio Nakpil Julian Felipe Title Marangal na Dalit ng Katagalugan Lupang Hinirang Lyricist Also Known As Year of Composition Political Patron Timbre Melodic Contour Rhythm: Time Signature Rhythm: Tempo Harmony: Key Signature Musical Form Lyrics in a jist (feelings, story, etc)
  7. 7. Love Songs With the help of the suggested readings, complete the e chart below with information on the two Love Songs discussed in class. As for the musical elements part, listen to the songs before filling up the chart. Composer Nicanor Abelardo Ernani Cuenco Title Lyricist Date of Composition National Artist? Timbre: Feeling Evoked by the Musical Color Melodic Contour Rhythm: Time Signature Rhythm: Tempo Basic Rhythmic Pattern (clue: accompaniment) Harmony: Key Signature Modulation? Musical Form Lyrics in a jist (feelings, story, etc) Did you know that...? To be declared a National Artist, he/she should be a living Filipino citizen and artist at the time of nomination or has passed away as a Filipino citizen after establishment of the award in 1972.
  8. 8. Guide Questions for Music Listening: These four songs are but a few examples of the works of our great Filipino composers . Your teacher will assign one song to your group. The following questions will guide you in listening. a. What is the function of the music? What do you think is the message of the music? b. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in bringing about the message of the music? For more information, you may go to the Filipinas Heritage Library: LIBRARY HOURS Tuesday - Saturday (9 am-6 pm) Makati Avenue, Ayala Triangle Makati City, Philippines 1224 Trunkline: (632) 8921801 Fax: (632) 8921810 fhl_inquiry@filipinaslibrary.org.ph or you may access online: http://www.filipinaslibrary.org.ph/ Group Activity Create a song and dance performance of the song assigned to your group. The performance should incorporate singing and movement. Chordal and/or rhythmic accompaniment is encouraged.
  9. 9. X ASSESSMENT Rubrics for Group Performance Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows minimal awareness of style and context; movement irrelevant to the lyrics and/or elements of music present in the song. Developing: Focused tone but inconsistent in extreme ranges, some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the score/teacher.; some movements inconsistent with the lyrics and/or elements of music present in the song. Approaching Proficiency: Focused and clear tone in normal ranges, accurate rhythm and secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the score/teacher; some movements inconsistent with the lyrics and/or elements of music present in the song. Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances in response to the style and music score; movements relevant to the lyrics and/or elements of music present in the song XI SYNTHESIS Among the numerous composed vocal music of the Philippines, the two themes on : nationalism and love are predominant.. The two representative nationalistic songs discussed throughout the lesson, Marangal na Dalit ng Katagalugan (Nakpil) and Lupang Hinirang (Felipe), played very important roles in our history, being iconic representations of our nation’s love of freedom, at this point in time, from the Spanish regime. On the other hand, Nasaan Ka Irog ? (Abelardo) Gaano Ko Ikaw Kamahal ? (Cuenco) are our artists’ creative expressions of love which are valued in our Philippine culture and heritage..
  10. 10. MUSIC TEACHING GUIDES 1-2: Composed Vocal Music 1: Nationalistic Songs and Love Songs I TARGET GRADE LEVEL: Grade 7 II MODULES 1-2: Nationalistic Songs and Love Songs III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The module is an introduction to two classifications of Vocal Music composed by Filipinos – the . Nationalistic Songs and Love Songs. The compositions Marangal na Dalit ng Katagalugan by Julio Nakpil and Lupang Hinirang by Julian Felipe ( Nationalistic) , the Kundiman Nasaan Ka Irog ? by Nicanor Abelardo and the ballad Gaano Ko Ikaw Kamahal by Ernani Cuenco ( Love Songs) will complete the musical journey in this module. Throughout the lesson, one will discover how these songs express the beliefs of a nation about patriotism and love and how a nation places a value on artists’ creations. . A group song and dance performance on these four songs culminates the educational experience. V PERFORMANCE STANDARDS  Analyzes musical elements and processes of Philippine music.  Correlates Philippine music to Philippine culture.  Performs examples of Philippine music, alone and with others, in appropriate tone, pitch, rhythm, expression and style. VI COMPETENCIES/OBJECTIVES  Analyzes an example of a representative work of Filipino composers, and describes how the musical elements are used.  Explains the distinguishing characteristics of representative a works of Filipino composers, in relation to history and culture of the area.  Analyzes the relationship of functions of representative works of Filipino composers, to the lives of the people.
  11. 11.  Sings accurately representative works of representative Filipino composers, alone and / or with others.  Performs on available instruments music works of representative Filipino composers, alone and / or with others.  Improvises simple rhythmic / harmonic accompaniments to selected works of representative Filipino composers.  Explores ways of producing sounds on a variety of sources that would simulate the sound of the instruments being studied.  Evaluates music and music performances applying knowledge of musical elements and style. VII CONTENT/TOPIC  Nationalistic Songs and Love Songs  Vocal Music – Nationalistic Songs (Julio Nakpil and Julian Felipe), Love Songs ( Nicanor Abelardo,Kundiman and Ernani Cuenco, Ballad)  Cultural Context (History and Traditions) – Filipino conflict during the Spanish Period (Aguinaldo and . Bonifacio), How a National Artist is proclaimed  InitaComposition – Himno Nacional Filipino, Lupang Hinirang, Marangal na Dalit ng Katagalugan; Nasaan Ka Irog?, Gaano Ko Ikaw Kamahal  Social Functions – Patriotism, Artistry in the Society (Order of National Artists)
  12. 12. VIII PRIOR SKILLS & ASSESSMENT Short recitation on Quarter 3’s topics (Music of Mindanao) a. Concept Map Concept Map: Using the readings and links given above, complete the concept map by writing details regarding Nationalistic Songs and Love Songs on the boxes. b. ACTIVITIES & STEPS/ PROCEDURE – 1. Present the K-W-L chart to the students and ask them to fill up the K and W part. 2. Initiate tha game of musical charades using phrases from Lupang Hinirang. This game will give you the opportunity to find out if the class knows the Philippine National Anthem by heart. 3. Have the class listen to the two Nationalistic Songs y Filipino composers, Julio Nakpil and Julian Felipe. . Ask them to identify the similarities and differences between the two songs. and to fill up the chart below .As for the other details, instruct them to use the suggested readings and answer complete the chart as an assignment. Composer Julio Nakpil Julian Felipe Title Marangal na Dalit ng Katagalugan Lupang Hinirang Lyricist Julio Nakpil From Jose Palma’s Filipinas Also Known As Salve Patria Marcha Magdalo/ Himno •Patriotism •Courtship •Artistry in the Society, Order of National Artist •Patriotism •Value of Art in the Society •Vocal Music (Nationalistic Song - Nakpil and Felipe; Love Song - Kundiman vs. Harana) •Filipino riff during the Spanish Period (Bonifacio vs. Aguinaldo) •How a National Artist is Made Socio- historical Context Musical Forms Musical Context Issues Nationalistic Songs and Love Songs
  13. 13. Nacional Filipino Year of Composition 1896 1898 (music), 1899 (with lyrics) Political Patron Andres Bonifacio Emilio Aguinaldo Timbre Melodic Contour Rhythm: Time Signature 4 4 4 4 Rhythm: Tempo Harmony: Key Signature C major F major Musical Form Lyrics in a jist (feelings, story, etc) 4. Then .inform l the students that aside from nationalistic themes, there is an array of themes for composed vocal music. Here, introduce the two types of love song, the kundiman and the ballad. 5. Have them listen to the two examples, Abelardo’s Nasaan Ka Irog? and Cuenco’s Gaano Ko Ikaw Kamahal. Using the suggested readings, discuss the details of the songs, comparing the kundiman and ballad. Include a brief discussion on the process of selecting National Artists. 6. After the discussion, ask the students to fill up the chart on Love Songs, followed by the Concept Map. 7. Group the students into four and assign one song to each group. Ask them to perform a song and create a dance and rehearse it as a group. Remind them that the movement should be appropriate to the song assigned to them, especially Lupang Hinirang and Marangal na Dalit ng Katagalugan. They may add actions and/or a musical accompaniment on the guitar/or improvised musical instruments. 8. Discuss the rubrics for evaluation. Allot time for practice. Give feedback regarding group practice. 9. Have the students introduce the music assigned to them before the performance. 10. Evaluate the group performance with performance rubrics.
  14. 14. 11. Summarize what has been learned using the K-W-L chart (What I know, What I want to know and What I learned about Nationalistic Songs and Love Songs). 12. Have the students relate what they have written in the K-W-L chart to the Synthesis segment of the module. VIII SUMMATIVE ASSESSMENT Rubrics for Group Performance  Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows minimal awareness of style and context; movement irrelevant to the lyrics and/or elements of music present in the song.  Developing: Focused tone but inconsistent in extreme ranges, some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the score/teacher.; some movements inconsistent with the lyrics and/or elements of music present in the song.  Approaching Proficiency: Focused and clear tone in normal ranges, accurate rhythm and secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the score/teacher; some movements inconsistent with the lyrics and/or elements of music present in the song.  Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances in response to the style and music score; movements relevant to the lyrics and/or elements of music present in the song IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings: Epistola, Ernesto V. (1996) Nicanor Abelardo, the Man, the Artist: A Biography (1st ed., pp. 50-52). Manila: Rex Book Store. Himig: The Filipino Music Collection of FHL. (2012) Ernani Joson Cuenco. Retrieved 7 June 2012. http://www.himig.com.ph/people/14-ernani-joson-cuenco?composer=true.
  15. 15. Lubang, Danalyn T. Tamang Pagkanta ng Pambansang Awit. The Varsitarian. (Vol LXXXi, No. 13). http://www.varsitarian.net/filipino/20100507/tamang_pagkanta_ng_pambansang_awit. retrieved on 06/13/2012 - 11:46. Santos-Viola, Carlos N. Julio Nakpil: A Patriot and a Musician. http://julionakpil.blogspot.com/. THE NATIONAL ARTISTS OF THE PHILIPPINES. http://www.ncca.gov.ph/about-ncca/org- awards/org-awards-national-artist-list.php. THE NATIONAL ARTISTS OF THE PHILIPPINES GUIDELINES. http://www.ncca.gov.ph/about-ncca/org-awards/org-awards-national-artist-guidelines.php. Supreme Court E-Library. Executive Orders. [Executive Order No. 236, September 19, 2003] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=a45475a11ec72 b843d74959b60fd7bd645fae1093b5c5. Supreme Court E-Library. Executive Orders. [Executive Order No. 435, June 8, 2005] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=f50a99f950ea0 dd2453e89f5c9d6a397455a4894e8228. Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art (Vol. 6: Philippine music). Manila: Cultural Center of the Philippines. Recordings: Kundiman Art Song – Nasaan Ka Irog? – Sylvia La Torre. http://www.youtube.com/watch?v=W8- NqGJJYkeE. Lupang Hinirang Ang Pambansang Awit ng Pilipinas. ( ) [CD-ROM]. Philippines: . X GLOSSARY OF MUSIC TERMS & SYMBOLS 1. Himno Nacional Filipino –known presently as Lupang Hinirang, the National Anthem of the Philippines, with music by Julian Felipe, originally an instrumental march, known as either Marcha Filipina Nacional or Marcha Filipino Magdalo, and lyrics from Jose Palma’s Filipinas, Letra Para La Marcha Nacional. This work was commissioned by Emilio Aguinaldo and was played during the declaration of Philippine Independence on June 12, 1898. 2. Marangal na Dalit ng Katagalugan – with music and lyrics written by Julio Nakpil in 1896. Nakpil later changed the title to Salve Patria. This work was commissioned by Andres
  16. 16. Bonifacio, but Emilio Aguinaldo preferred the work of Julian Felipe. It was fist played to commemorate the eighth anniversary of Rizal’s execution on December 30, 1904. 3. Kundiman – known as The Philippines’ signature love song; It is an art song in triple time. According to Raymundo Bañas, there are three theories on the origin of the kundiman: a shortened version of the phrase “kung hindi man”, derived from the verse “Hele hele nang kandungan/ Hele hele ng kundiman”, and kundiman, referring to a red cloth worn by male dancers or men in the Philippines. Aside from messages of love, it also expressed sentiments of nationalism. 4. Nasaan Ka Irog? – a kundiman in slow triple time composed by Nicanor Abelardo in 1923, which was inspired by his childhood friend Dr. Francisco Tecson’s personal experience on love. The original Spanish was written by Narciso Asistio; the Tagalog lyrics were written by Jose Corazon de Jesus. This song has inspired the filming of a 1936 movie, retaining the title of the song. 5. Nicanor Santa Ana Abelardo (1893-1934) – He is one of our great composers, pianist, and a teacher of composition at the University of the Philippines then Conservatory of Music. His 140 compositions include kundimans, sarswelas, instrumental works, and UP Beloved, a university l hymn which won first prize in an open musical composition contest. 6. Ballad- a narrative song, ranging from indigenous forms to Hispanic-influenced themes. The romantic themes of the contemporary ballad or urban popular love songs are closely related to the kundiman. 7. Gaano Ko Ikaw Kamahal? – a ballad composed by Ernani Cuenco in 1979, with lyrics by Levi Celerio, both National Artists for Music. It was used as a movie theme for a 1980s movie with the same title, starring Lito Lapid. 8. Ernani Joson Cuenco (1936-1988) – proclaimed National Artist for Music in 1999; He was an award-winning film scorer in the early 1960s, working in collaboration with National Artist for Music Levi Celerio. He was also a teacher and a seasoned orchestra player. 9. Order of National Artists – The highest national recognition bestowed upon to Filipino artists who have made significant contributions to the development of Philippine arts; namely, Music, Dance, Theater, Visual Arts, Literature, Film, Broadcast Arts, and
  17. 17. Architecture and Allied Arts. The order is jointly administered by the National Commission for Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CCP) and conferred by the President of the Philippines upon recommendation by both institutions. (from NCCA Website)
  18. 18. MUSIC LEARNING MODULES 3-4: COMPOSED VOCAL MUSIC Solo and Choral Music (San Pedro and De Leon) I TARGET GRADE LEVEL: Grade 7 II MODULES 3-4: Composed Solo and Choral Music III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The module is an introduction to representative solo and choral music by Filipino composers with the compositions Sa Ugoy ng Duyan (Lucio San Pedro) and Payapang Daigdig (Felipe De Leon). Throughout the lesson, one will not only learn about these two wonderful vocal masterpieces, but will apply his/her skills in critical listening by identifying the texture of a vocal piece heard (solo or choral). A group performance of these two songs culminates the educational experience. V PERFORMANCE STANDARD  Analyzes musical elements and processes of Philippine music.  Correlates Philippine music to the Philippine culture.  Recognizes the contributions of the prime exponents of Philippine music  Gives value to Philippine culture as a vehicle towards national identity and unity VI COMPETENCIES/OBJECTIVES  Describes how a specific idea or story is communicated through Philippine Traditional Musical Forms.  Illustrates how the different elements of music are combined in creating Philippine Traditional Musical Forms.  Creates / improvises appropriate sound, music, gesture, movements, and costume for a rendition of particular Philippine Traditional Musical Forms.  Researches and analyzes the lives, works, and influences of early Filipino composers  Performs examples of early Philippine music, alone and with others.  Explores ways of producing sounds on a variety of sources that would emulate the instruments being studied.  Evaluates music and music performances applying knowledge of musical elements and style.
  19. 19. VII CONTENT/TOPIC Solo and Choral Music (San Pedro and De Leon)  Vocal Music Composition– Solo (Sa Ugoy ng Duyan, San Pedro)) and Choral (Payapang Daigdi, De Leon)  Cultural Context (History and Traditions) – How a National Artist is Declared,; Lives of Lucio San Pedro and Felipe De Leon  Social Functions – Artistry in the Society, Reflection of the Times , Art as Self-expression  Performance Styles / Techniques – Solo , . Choral VIII RESOURCES Readings: Estrella, Espie. What is Choral Music?. http://musiced.about.com/od/lessonsandtips/f/choralemusic.htm Felipe Padilla De Leon. http://www.filipinomusica.com/felipe-padilla-de-leon.html THE NATIONAL ARTISTS OF THE PHILIPPINES. http://www.ncca.gov.ph/about-ncca/org- awards/org-awards-national-artist-list.php. THE NATIONAL ARTISTS OF THE PHILIPPINES GUIDELINES. http://www.ncca.gov.ph/about-ncca/org-awards/org-awards-national-artist-guidelines.php. Supreme Court E-Library. Executive Orders. [Executive Order No. 236, September 19, 2003] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=a45475a11ec72 b843d74959b60fd7bd645fae1093b5c5. Supreme Court E-Library. Executive Orders. [Executive Order No. 435, June 8, 2005] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=f50a99f950ea0 dd2453e89f5c9d6a397455a4894e8228. Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art (Vol. 6: Philippine music). Manila: Cultural Center of the Philippines. Recordings: Payapang Daigdig (A Peaceful World) – The Himig Singers. http://www.youtube.com/watch?v=v7zp9Z8_pU0 Sa Ugoy ng Duyan (With English Translation). http://www.youtube.com/watch?v-zGeYwR6Vwtg.
  20. 20. IX ACTIVITIES Art is a language. Like words, music and pictures, can tell a story. Let us view some pictures and think about the stories these. (source: http://commons.wikimedia.org/wiki/File:Sherman_intramuros.jpg) Is this picture familiar to you? What do you think happened?
  21. 21. How about these pictures? sources: http://en.wikipilipinas.org/index.php?title=Higantes_Festival, http://www.lakbaypilipinas.com/images/rizal_angono_sanclemente.jpg Can you make a story for each picture?
  22. 22. K-W-L Chart: Write what you currently know about Solo and Choral Music (San Pedro and De Leon) under column 1 and what you want to know about Solo and Choral Music (San Pedro and De Leon) under column 2. Solo and Choral Music (San Pedro and De Leon) Concept Map: With the help of the readings and links given above, complete the concept map by writing details regarding Solo and Choral Music (San Pedro and De Leon) in the boxes. What I Know What I want to Know What I've learned Socio- historical Context Musical Forms Musical Context Issues Solo and Choral Music (San Pedro and De Leon)
  23. 23. Let’s go back to the pictures found at the start of the module. The first picture, taken February 28, 1945, shows a Sherman Tank at the Sta. Lucia gate of Intramuros, Manila. Which world event does this picture depict? Jumble the letters to find out. LOWRD RAW 2 _ _ _ _ _ _ _ _ _ Felipe De Leon, National Artist for Music, composed Payapang Daigdig, his masterpiece known for the music and the message of peace. . What else do you know about Felipe De Leon?
  24. 24. The second set of pictures shows the Feast of San Clemente, commonly known as the Higantes Festival, which is celebrated in the town of ______________, Rizal. Jumble the letters to find out. OGANON _ _ _ _ _ _ From this town hailed National Artist for Music Lucio San Pedro, a well-known composer and band master.. One of his famous masterpieces, Sa Ugoy ng Duyan, is also the fourth movement of his orchestral work “Suite Pastorale,” which was written for his hometown. What else do you know about Lucio San Pedro?
  25. 25. Solo and Choral Music (San Pedro and De Leon) With the help of the suggested readings, fill in the chart with information about the two songs we’ve discussed in class. As for the musical elements part, listen first to the songs before filling in the chart.. Composer Felipe De Leon Lucio San Pedro Title Lyricist Year of Composition How many voices are heard? Solo? Choral? Rhythm: Time Signature Rhythm: Tempo Draw the Melodic Contour Harmony: Key Signature Musical Form Lyrics in a jist (feelings, story, etc) Did you know that...? For someone to be included in the Order of National Artists, he should be a living Filipino citizen artist at the time of nomination or has died after the establishment of the award in 1972 as a Filipino citizen at the time of his death.
  26. 26. Guide Questions for Music Listening: These two songs are but one of many beautiful vocal music by our greatest Filipino composers. Your teacher will assign a song to your group. The the following questions will guide you in listening to the songs. a. What is the function of the music? What do you think is the message of the music? b. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in bringing about the message of the music? Group Activity VMV: Vocal Music Video Study the song assigned to your group (for Payapang Daigdig, sing only the melody). Make a live music video for each song. Be creative in thinking of a story to accompany these songs.! X ASSESSMENT  Rubrics for Group Performance  Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows minimal awareness to style and context; instrument/s used and movements irrelevant to the theme of the composition  Developing: Focused tone but inconsistent in extreme range, some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the score/teacher.; instrument/s used and some movements inconsistent with the theme of the composition  Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the score/teacher; instrument/s used and some movements inconsistent with the theme of the composition  Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances in response to the style and music score; instrument/s used and movements are consistent with the theme and are helpful in conveying the message
  27. 27. XI SYNTHESIS Music, even without the words, can tell us stories about a particular time, place, person, and event – much more, music with words. Two of the most well-known songs by our National Artists for Music - Sa Ugoy ng Duyan (San Pedro) and Payapang Daigdig (De Leon)are examples of Philippine solo and choral music. By listening and singing these songs, we take part in the stories behind each one, making it a story of our own.
  28. 28. MUSIC LEARNING MODULE 3-4: COMPOSED VOCAL MUSIC 2: Solo and Choral Music (San Pedro and De Leon) I TARGET GRADE LEVEL: Grade 7 II MODULE 3-4: Solo and Choral Music (San Pedro and De Leon) III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The module is an introduction to representative solo and choral music by Filipino composers with the compositions Sa Ugoy ng Duyan (Lucio San Pedro) and Payapang Daigdig (Felipe De Leon). Throughout the lesson, one will not only learn about these two wonderful vocal masterpieces, but will apply his/her skills in critical listening by identifying the texture of a vocal piece heard (solo or choral). A group performance of these two songs culminates the educational experience. V PERFORMANCE STANDARD  Analyzes musical elements and processes of Philippine music.  Correlates Philippine music to the Philippine culture.  Recognizes the contributions of the prime exponents of Philippine music  Gives value to Philippine culture as a vehicle towards national identity and unity VI COMPETENCIES/OBJECTIVES  Describes how a specific idea or story is communicated through Philippine Traditional Musical Forms.  Illustrates how the different elements of music are combined in creating Philippine Traditional Musical Forms.  Creates / improvises appropriate sound, music, gesture, movements, and costume for a rendition of particular Philippine Traditional Musical Forms.  Researches and analyzes the lives, works, and influences of early Filipino composers  Performs examples of early Philippine music, alone and with others.
  29. 29. VII CONTENT/TOPIC Solo and Choral Music (San Pedro and De Leon)  Vocal Music Composition– Solo (Sa Ugoy ng Duyan, San Pedro) and Choral (Payapang Daigdig, De Leon)  Cultural Context (History and Traditions) – How a National Artist is Declared, ; Lives of Lucio San Pedro and Felipe De Leon  Social Functions – Artistry in the Society, Reflection of the Times, Art as Self-expression  Performance Styles / Techniques – Solo vs. Choral VIII PRIOR SKILLS & ASSESSMENT Short recitation on Modules 1-2 Concept Map: With the help of the readings and links given above, complete the concept map by writing details regarding Solo and Choral Music Songs in the boxes. a. ACTIVITIES & STEPS/ PROCEDURE – 1. Ask the students to view the two pictures at the start of the learning guide. Encourage them to think of possible stories behind these pictures. 2. Inform the students that these pictures are related to two vocal masterpieces by the Filipino composers, Felipe P. De Leon and Lucio D. San Pedro. •Art as Self-expression •Artistry in the Society, Order of National Artist •Reflection of the Time •Value of Art in the Society •Solo •Choral •How a National Artist is Made •Lives of Lucio San Pedro and Felipe De Leon Socio- historical Context Musical Forms Musical Context Issues Solo and Choral Music (San Pedro and De Leon)
  30. 30. 3. Take time to discuss the stories behind each song, and also, about the composers’ lives and their being National Artists. 4. Have the students listen to the two songs and fill in the chart. 5. Discuss thoroughly the difference between solo and choral music. Ask students to give examples of solo and choral music. 6. Group the students into four and assign one song to each group. Ask them to create a music video for the song assigned to them. The live video should be relevant to the lyrics of the song or the life of the composer. 7. Discuss the rubrics for evaluation. Allot time for practice. Give feedback regarding group practice. 8. Have the students introduce the music assigned to them before performing . 9. Evaluate the group performance using performance rubrics. 10. Summarize what has been learned using the K-W-L chart (What I know, What I want to know and What I learned about Solo and Choral Music (San Pedro and De Leon)). 11. Have the students relate what they have written in the K-W-L chart to the Synthesis segment of the module.  Rubrics for Group Performance  Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows minimal awareness to style and context; instrument/s used and movements irrelevant to the theme of the composition  Developing: Focused tone but inconsistent in extreme range, some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the score/teacher.; instrument/s used and some movements inconsistent with the theme of the composition  Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the score/teacher; instrument/s used and some movements inconsistent with the theme of the composition  Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances in response to the style and music score; instrument/s used and movements are consistent with the theme and are helpful in conveying the message
  31. 31. IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings: Estrella, Espie. What is Choral Music?. http://musiced.about.com/od/lessonsandtips/f/choralemusic.htm Felipe Padilla De Leon. http://www.filipinomusica.com/felipe-padilla-de-leon.html Musika Natin: Lucio San Pedro. http://www.musikanatin.com/lucio.php. THE NATIONAL ARTISTS OF THE PHILIPPINES. http://www.ncca.gov.ph/about-ncca/org- awards/org-awards-national-artist-list.php. THE NATIONAL ARTISTS OF THE PHILIPPINES GUIDELINES. http://www.ncca.gov.ph/about-ncca/org-awards/org-awards-national-artist-guidelines.php. Supreme Court E-Library. Executive Orders. [Executive Order No. 236, September 19, 2003] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=a45475a11ec72 b843d74959b60fd7bd645fae1093b5c5. Supreme Court E-Library. Executive Orders. [Executive Order No. 435, June 8, 2005] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=f50a99f950ea0 dd2453e89f5c9d6a397455a4894e8228. Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art (Vol. 6: Philippine music). Manila: Cultural Center of the Philippines. Recordings: Payapang Daigdig (A Peaceful World) – The Himig Singers. http://www.youtube.com/watch?v=v7zp9Z8_pU0 Sa Ugoy ng Duyan (With English Translation). http://www.youtube.com/watch?v-zGeYwR6Vwtg . X GLOSSARY OF MUSIC TERMS & SYMBOLS 1. Solo vocal music – a song with only one line (melody) that can either be sung a capella or with instrumental accompaniment 2. Choral music – music that is meant to be sung by a choir. The common set-up of a choir is made up of four voices: soprano, alto, tenor, and bass.
  32. 32. MUSIC LEARNING MODULES 5-6: COMPOSED INSTRUMENTAL MUSIC I TARGET GRADE LEVEL: Grade 7 II MODULES 5-6: Representative Instrumental Music Composed by Filipino Composers III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The lesson is an introduction to Instrumental Music Composed by Filipino Composers and the search for a Filipino identity through Music. Four representative compositions complete the musical journey of this particular module: Malikmata, (Antonio Molina) Mindanao Sketches (Antonino Buenaventura), Dularawan (Lucresia Kasilag) and Udlot-Udlot (Jose Maceda). Performance of a group composition inspired by these four compositions culminates the educational experience. V PERFORMANCE STANDARD  Analyzes musical elements and processes of Philippine music.  Correlates Philippine music to the Philippine culture.  Recognize the contributions of the prime exponents of Philippine music  Give value to Philippine culture as a vehicle towards national identity and unity VI COMPETENCIES/OBJECTIVES  Describes how a specific idea or story is communicated through Philippine Traditional Musical Forms.  Illustrates how the different elements of music are combined in creating Philippine Traditional Musical Forms.  Creates / improvises appropriate sound, music, gesture, movements, and costume for a rendition of particular Philippine Traditional Musical Forms.  Researches and analyzes the lives, works, and influences of early Filipino composers  Performs examples of early Philippine music, alone and with others.
  33. 33. VII CONTENT/TOPIC Instrumental Music Composed by Representative Filipino Composers  Instrumental Music – Solo, Orchestral, Large work, Opera  Cultural Context (History and Traditions) – Contemporary Music as a Vehicle to Find and Express National Identity, How a National Artist is Proclaimed  Composition – Malikmata (Molina), Mindanao Sketches( Buenventura,) Dularawan (Kasilag) , Udlot-udlot (Maceda)  Social Functions – Awareness and Quest for a a National Identity (League of Filipino Composers), Artistry in the Society  Performance Styles / Techniques – New Music in Southeast Asia VIII RESOURCES Readings: Belleza, M.G. and Maceda, J. (1977). Udlot-udlot – Isang Bagong Musika na Maituturo sa High School. from Musika Jornal (vol 1). Quezon City: Kagawaran ng Pananaliksik sa Musika Dalubhasaan sa Musika Pamantasan ng Pilipinas. Defeo, Ruben. (2004). Jose Maceda’s lifelong quest for traditional Filipino music. . http://www.philstar.com/Article.aspx?articleId=249534 Features: Lucrecia Roces Kasilag. http://www.himig.com.ph/features/32-lucrecia-r-kasilag Maceda, Jose. (1977). Ang mga Kaisipan sa Musika sa Timog-Silangang Asya from from Musika Jornal (vol 1). Quezon City: Kagawaran ng Pananaliksik sa Musika Dalubhasaan sa Musika Pamantasan ng Pilipinas. Music – National Commission for Culture and Arts: Antonino Buenaventura. http://www.ncca.gov.ph/about- ncca/org-awards/music/antonino_buenaventura.php Music – National Commission for Culture and Arts: Antonio Molina. http://www.ncca.gov.ph/about- ncca/org-awards/music/antonio_molina.php. THE NATIONAL ARTISTS OF THE PHILIPPINES. http://www.ncca.gov.ph/about-ncca/org- awards/org-awards-national-artist-list.php. THE NATIONAL ARTISTS OF THE PHILIPPINES GUIDELINES. http://www.ncca.gov.ph/about-ncca/org-awards/org-awards-national-artist-guidelines.php.
  34. 34. Santos, Ramon P. (1977). Bagong Kamalayan sa Kontemporaryong Musika sa Pilipinas from Musika Jornal (vol 1). Quezon City: Kagawaran ng Pananaliksik sa Musika Dalubhasaan sa Musika Pamantasan ng Pilipinas. Supreme Court E-Library. Executive Orders. [Executive Order No. 236, September 19, 2003] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=a45475a11ec72 b843d74959b60fd7bd645fae1093b5c5. Supreme Court E-Library. Executive Orders. [Executive Order No. 435, June 8, 2005] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=f50a99f950ea0 dd2453e89f5c9d6a397455a4894e8228. Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art (Vol. 6: Philippine music). Manila: Cultural Center of the Philippines. Yan, Carrie B. (2011). Lucrecia Kasilag: First Lady of Philippine Music. http://www.globalpinoy.com/gp.topics.v1/viewtopic.php?postid=4d22ca80b77ec&channelName=4 d22ca80b77ec. Recordings:  Use http://www.onlinevideodownloader.com for youtube videos  Go to http://www.himig.com.ph/cart and follow instructions on getting tracks from CDs. 2010 Udlot-udlot Senri Expo Park 1. http://www.youtube.com/watch?v=OBkZy5DAgSY 2010 Udlot-udlot Senri Expo Park 2. http://www.youtube.com/watch?v=lwxw5ACuHYU. Antonio Molina – MALIKMATA – Enzo. http://www.youtube.com/watch?v=7o_Mhb84BAY Dularawan (excerpts). (1969). From Pagdiriwang, A Song/Dance/Theater in Two Acts recorded live at the CCP Theater for the Performing Arts on September 8, 1969 [CD]. Mindanao Sketches - A Village Festival Dance by UP Orchestra – Pt . http://www.youtube.com/watch?v=9uVx5B14Opg. Mindanao Sketches - Offering to the Gods by UP Orchestra. http://www.youtube.com/watch?v=LPBBEXcBvD4. Mindanao Sketches.wmv. http://www.youtube.com/watch?v=Sqbz7cd-z08 Mindanao Sketches.(1983). From The Best of Philippine Classics [CD].
  35. 35. IX ACTIVITIES What is Philippine Instrumental Music to you? How does a Filipino today view Philippine Music, especially if there are no words to define it? How do you distinguish it from another nationality’s music? Does our music have an identity?
  36. 36. K-W-L Chart: Write what you currently know about Representative Instrumental Music by Filipino Composers under column 1 and what you want to know about Representative Instrumental Music by Filipino Composers under column 2. Instrumental Music by Representative Filipino Composers Concept Map: With the help of the readings and links given above, complete the concept map by writing details regarding Representative Instrumental Music by Filipino Composers. What I Know What I want to Know What I've learned Socio- historical Context Musical Forms Musical Context Issues Representative Instrumental Music by Filipino Composers
  37. 37. Listening Chart With the help of the suggested readings, fill in the chart below with information about the composition assigned to your group. As for the musical elements. , listen first to the songs before filling in the chart.. Composer 5 facts about the composer 1. 2. 3. 4. 5. Title Year of Composition Solo? Orchestral? Large Work? Timbre/ Color Draw the Melodic Contour Rhythm: Time Signature Rhythm: Tempo Harmony: Key Signature Musical Form (Draw or describe)
  38. 38. Lyrics (feelings, story, images, etc) Guide Questions for Music Listening: These four compositions are but a few examples of works that initiated the consciousness and quest for a Filipino identity. Your teacher will assign a song to your group. The following questions will guide you in listening to the song. a. What is the function of the music? What do you think is the message of the music? b. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in bringing about the message of the music? Group Activity A Filipino Composition Choose a current relevant topic (politics, environment, education, economics, etc.) and compose a 5- minute piece relating to any of these topics. Use any instrument available (guitar, drums, piano, tabletops, sticks, body percussion, etc). You may use Western notation and/or non-conventional notation in writing down your composition.
  39. 39. X ASSESSMENT Rubrics for Group Composition and its Performance  Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows minimal awareness to style and context; instrument/s used and movements irrelevant to the theme of the composition  Developing: Focused tone but inconsistent in extreme range, some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the score/teacher.; instrument/s used and some movements inconsistent with the theme of the composition  Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the score/teacher; instrument/s used and some movements inconsistent with the theme of the composition  Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances in response to the style and music score; instrument/s used and movements are consistent with the theme and are helpful in conveying the message XI SYNTHESIS In the search for a national identity, Filipinos made music as a means to express who they were. Four of these composers – Molina, Buenaventura, Kasilag, and Maceda –have successfully stamped a Filipino identity in their artistic creations. .. Their works drew inspiration from their being Filipino; from our country, our people, our culture, our traditions, and freely used our own instruments, system of notation, Filipino terms, and tunes to truly depict who we are.
  40. 40. MUSIC TEACHING GUIDES MODULE 5-6: Composed Instrumental Music I TARGET GRADE LEVEL: Grade 7 II MODULE 5-6: Representative Instrumental Music Composed by Filipino Composers III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The lesson is an introduction to Instrumental Music Composed by Filipino Composers and the search for a Filipino identity through Music. Four representative compositions complete the musical journey of this particular module: Malikmata, (Antonio Molina) Mindanao Sketches (Antonino Buenaventura), Dularawan (Lucresia Kasilag) and Udlot-Udlot (Jose Maceda). Performance of a group composition inspired by these four compositions culminates the educational experience. V PERFORMANCE STANDARD  Analyzes musical elements and processes of Philippine music.  Correlates Philippine music to the Philippine culture.  Recognizes the contributions of the prime exponents of Philippine music  Gives value to Philippine culture as a vehicle towards national identity and unity VI COMPETENCIES/OBJECTIVES  Describes how a specific idea or story is communicated through Philippine Traditional Musical Forms.  Illustrates how the different elements of music are combined in creating Philippine Traditional Musical Forms.  Creates / improvises appropriate sound, music, gesture, movements, and costume for a rendition of particular Philippine Traditional Musical Forms.  Researches and analyzes the lives, works, and influences of early Filipino composers  Performs examples of early Philippine music, alone and with others.
  41. 41. VII CONTENT/TOPIC Representative Instrumental Music Composed Filipino Composers  Instrumental Music – Solo, Orchestral, Large work, Opera  Cultural Context (History and Traditions) – Contemporary Music as a Vehicle to Find and Express National Identity, How a National Artist is Made  Composition – Malikmata,(Molina) Mindanao Sketches(Buenaventura), Dularawan, (Kasilag) Udlot-udlot (Maceda)  Social Functions – Awareness and quest for a National Identity (League of Filipino Composers), Artistry in the Society  Performance Styles / Techniques – New Music in Southeast Asia  VIII PRIOR SKILLS & ASSESSMENT Short recitation on Modules 3-4 Concept Map: With the help of the readings and links given above, complete the concept map by writing details regarding Representative Instrumental Music by Filipino Composers in the boxes below. •New Music in Southeast Asia •Finding a National Identity •Artistry in the Society •Solo •Orchestral •Large Work •Opera •Contemporary Music as a Vehicle to Find and Express National Identity •How a National Artist is Made Socio- historical Context Musical Forms Musical Context Issues Representative Instrumental Music by Filipino Composers
  42. 42. a. ACTIVITIES & STEPS/ PROCEDURE – 1. Have the students answer the first activity of the module, What is Philippine Instrumental Music to you? Then , have a short discussion on the answers of the students. 2. . Introduce the four composers, Antonio Molina, Col. Antonino Buenaventura, Lucrecia Kasilag, and Jose Maceda. 3. Ask the students to listen to Udlot-udlot while showing its notation (from Musika Jornal 1). Ask the students how the composition looks like, (leading to answers such as there are no notes, only words in Filipino, etc.) Inform the students that this is one way of expressing an identity – to use something that we own (i.e. Filipino terms, and indigenous musical instruments. 4. Play the remaining audio/video recordings (Molina, Buenaventura, Kasilag). Ask the students how each one showed a Filipino identity (i.e. Buenaventura – depiction of Mindanao ). 5. Group the class into four and assign one composition to each. Have each group fill in the listening chart. As for the facts, encourage the students to read the suggested readings. 6. After filling in the charts, discuss with them the final requirement (a group composition). Discuss the rubrics for evaluation. Allot time for practice. Give feedback regarding group practice. 7. Have the students introduce their composition before performing their composition. 8. Evaluate the group performance using performance rubrics. 9. Summarize what has been learned using the K-W-L chart (What I know, What I want to know and What I learned about Instrumental Music by Representative Filipino Composers). 10. Have the students relate what they have written in the K-W-L chart to the Synthesis segment of the module.
  43. 43. VIII SUMMATIVE ASSESSMENT Rubrics for Group Composition and its Performance  Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows minimal awareness to style and context; instrument/s used and movements irrelevant to the theme of the composition  Developing: Focused tone but inconsistent in extreme range, some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the score/teacher.; instrument/s used and some movements inconsistent with the theme of the composition  Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the score/teacher; instrument/s used and some movements inconsistent with the theme of the composition  Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances in response to the style and music score; instrument/s used and movements are consistent with the theme and are helpful in conveying the message IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings: Belleza, M.G. and Maceda, J. (1977). Udlot-udlot – Isang Bagong Musika na Maituturo sa High School. from Musika Jornal (vol 1). Quezon City: Kagawaran ng Pananaliksik sa Musika Dalubhasaan sa Musika Pamantasan ng Pilipinas. Defeo, Ruben. (2004). Jose Maceda’s lifelong quest for traditional Filipino music. . http://www.philstar.com/Article.aspx?articleId=249534 Features: Lucrecia Roces Kasilag. http://www.himig.com.ph/features/32-lucrecia-r-kasilag Maceda, Jose. (1977). Ang mga Kaisipan sa Musika sa Timog-Silangang Asya from from Musika Jornal (vol 1). Quezon City: Kagawaran ng Pananaliksik sa Musika Dalubhasaan sa Musika Pamantasan ng Pilipinas.
  44. 44. Music – National Commission for Culture and Arts: Antonino Buenaventura. http://www.ncca.gov.ph/about- ncca/org-awards/music/antonino_buenaventura.php Music – National Commission for Culture and Arts: Antonio Molina. http://www.ncca.gov.ph/about- ncca/org-awards/music/antonio_molina.php. THE NATIONAL ARTISTS OF THE PHILIPPINES. http://www.ncca.gov.ph/about-ncca/org- awards/org-awards-national-artist-list.php. THE NATIONAL ARTISTS OF THE PHILIPPINES GUIDELINES. http://www.ncca.gov.ph/about-ncca/org-awards/org-awards-national-artist-guidelines.php. Santos, Ramon P. (1977). Bagong Kamalayan sa Kontemporaryong Musika sa Pilipinas from Musika Jornal (vol 1). Quezon City: Kagawaran ng Pananaliksik sa Musika Dalubhasaan sa Musika Pamantasan ng Pilipinas. Supreme Court E-Library. Executive Orders. [Executive Order No. 236, September 19, 2003] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=a45475a11ec72 b843d74959b60fd7bd645fae1093b5c5. Supreme Court E-Library. Executive Orders. [Executive Order No. 435, June 8, 2005] http://elibrary.judiciary.gov.ph/index10.php?doctype=Executive%20Orders&docid=f50a99f950ea0 dd2453e89f5c9d6a397455a4894e8228. Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art (Vol. 6: Philippine music). Manila: Cultural Center of the Philippines. Yan, Carrie B. (2011). Lucrecia Kasilag: First Lady of Philippine Music. http://www.globalpinoy.com/gp.topics.v1/viewtopic.php?postid=4d22ca80b77ec&channelName=4 d22ca80b77ec. Recordings:  Use http://www.onlinevideodownloader.com for youtube videos  Go to http://www.himig.com.ph/cart and follow instructions on getting tracks from CDs. 2010 Udlot-udlot Senri Expo Park 1. http://www.youtube.com/watch?v=OBkZy5DAgSY 2010 Udlot-udlot Senri Expo Park 2. http://www.youtube.com/watch?v=lwxw5ACuHYU. Antonio Molina – MALIKMATA – Enzo. http://www.youtube.com/watch?v=7o_Mhb84BAY
  45. 45. Dularawan (excerpts). (1969). From Pagdiriwang, A Song/Dance/Theater in Two Acts recorded live at the CCP Theater for the Performing Arts on September 8, 1969 [CD]. Mindanao Sketches - A Village Festival Dance by UP Orchestra – Pt . http://www.youtube.com/watch?v=9uVx5B14Opg. Mindanao Sketches - Offering to the Gods by UP Orchestra. http://www.youtube.com/watch?v=LPBBEXcBvD4. Mindanao Sketches.wmv. http://www.youtube.com/watch?v=Sqbz7cd-z08 Mindanao Sketches.(1983). From The Best of Philippine Classics [CD].
  46. 46. X GLOSSARY OF MUSIC TERMS & SYMBOLS 1. Solo – music that is meant to be performed by a single performer 2. Orchestral – music that is arranged for and meant to be played by an orchestra. A basic orchestra is composed of four sections of instruments: strings, woodwinds, brass, and percussion. 3. Large work – music that is arranged for a variety of instruments, sometimes including human- made sounds (i. e.voice). Performers can even reach up to a thousand. 4. New Music – originating from the term Neue Musik (German) that was coined by Paul Bekker in 1919. This refers to “contemporary classical/serious music.”
  47. 47. MUSIC LEARNING MODULES 7-8: Philippine Popular Music I TARGET GRADE LEVEL: Grade 7 II MODULES 7-8: Philippine Popular Music III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The lesson is an introduction to Philippine Popular Music, its pioneers, some composers and artists. The general - pop, fusion, novelty, and hip hop and folk rock, will complete your musical journey in this module. Through the lesson, one will discover how contemporary Filipino popular musicians express their ideals and beliefs though A class variety show on Philippine popular music culminates the educational experience. V PERFORMANCE STANDARD  Analyzes musical elements and processes of Philippine music.  Correlates Philippine music to Philippine culture.  Performs examples of Philippine music, alone and with others, in appropriate tone, pitch, rhythm, expression and style. VI COMPETENCIES/OBJECTIVES  Analyzes an example of Philippine popular music, and describes how the musical elements are used.  Explains the distinguishing characteristics of representative a worsk of Filipino popular musicians, in relation to history and culture of the area.  Analyzes the relationship of functions of the works of representative Filipino popular musicians, to the lives of the people.  Sings accurately Philippine popular music, alone and / or with others.  Performs on available instruments Philippine popular music, alone and / or with others.  Improvises simple rhythmic / harmonic accompaniments to selected works of representative Filipino popular musicians.  Explores ways of producing sounds on a variety of sources that would emulate the instruments being studied.
  48. 48.  Evaluates music and music performances applying knowledge of musical elements and style. VII CONTENT/TOPIC Philippine Popular Music  Vocal and Instrumental Music – pop, fusion, novelty, hip hop and folk rock  Cultural Context (History and Traditions) – OPM and Songwriting Competitions, Non- formal venues (bars, stadium, coliseum, outdoor, etc), Internet and Technology  Composition –Kay Ganda ng Ating Musika, Batang-bata ka Pa; Magkaugnay, Panorama, and Alak, Sugal, Kape, Babae, Kabaong; History of the Philippines; Anak, Mga Kababayan Ko  Social Functions – Nationalism and Social Relevance, Self-expression, Entertainment  Performance Styles / Techniques – Revivals vs. Originals VIII RESOURCES Readings: Lockard, Craig A. (1998). Dance of Life: Popular Music and Politics in Southeast Asia. (pp. 114-161.) United States of America: University of Hawai’I Press. Mariano, Vicente D. (ed). (2009) Sining-Bayan: Art of Nation Building Social Artistry Fieldbook to Promote Good Citizenship Values for Prosperity and Integrity. JAPI Printzone. http://apohikingsociety.org/ http://www.joeyayala.com/ http://www.blafi.org/ Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art (Vol. 6: Philippine music). Manila: Cultural Center of the Philippines. Recordings: APO – Batang-bata ka Pa. http://www.apohikingsociety.org/popup_batakapa.shtml. Aguilar, Freddie – Freddie Aguilar Anak (Orginal Version). http://www.youtube.com/watch?v=-n- 2lPzH7Do. Ayala, Joey – Mariano, Vicente D. (ed). (2009) Sining-Bayan: Art of Nation Building Social Artistry Fieldbook to Promote Good Citizenship Values for Prosperity and Integrity. JAPI Printzone. (Complementary CD)
  49. 49. Cayabyab, Ryan – KAY GANDA NG ATING MUSIKA (Hajji Alejandro). http://www.youtube.com/watch?v=t6MixeXSX5g. De Leon, Diwa – Panorama. http://www.youtube.com/watch?v=eA9z8UPtCus. Magalona, Francis - FRANCIS MAGALONA - MGA KABABAYAN [MY FELLOW COUNTRYMEN]. http://www.youtube.com/watch?v=EBaYmRHLES8. Radioactive Sago Project – Radioactive Sago Project. Alak, Sugal, Kape, Babae, Kabaong. http://www.youtube.com/watch?v=e3ZVQ9FMsmY. Villame, Yoyoy – History of the Philippines. http://www.youtube.com/watch?v=nCoEPnprS7Q. IX ACTIVITIES K-W-L Chart: Write what you currently know about Philippine Popular Music under column 1 and what you want to know about Philippine Popular Music under column 2. Philippine Popular Music What I Know What I want to Know What I've learned
  50. 50. Concept Map: With the help of readings and links given above, complete the concept map by writing details regarding Philippine Popular Music in the boxes. Socio- historical Context Musical Forms Musical Context Issues Philippine Popular Music
  51. 51. Top of the Charts Fill up the chart with the necessary information. For the music part, you may use graphic notation. SONG TITLE (group- assigned) Artist’s Name [ ] Composer [ ] songwriter [ ] MUSICIAN Instrumentation Tempo Rhythm Melody Harmony Message
  52. 52. SONG TITLE (own choice) Artist’s Name [ ] Composer [ ] songwriter [ ] MUSICIAN Instrumentation Tempo Rhythm Melody Harmony Message
  53. 53. Guide Questions for Music Listening: One of the eight Philippine popular songs will be assigned to your group. The following questions guide you in listening to the songs. a. What is the general impression that the music creates as a whole? What is the function of the music? What do you think is the message of the music? b. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in bringing about the message of the music? OPM Blog: What I Think About Today’s OPM Answer either of the two questions: Have you been listening to Original Philippine Music? What do you think about our original songs? Do they send a good message to the youth or no? You may cite examples of songs. Be sure to quote the title and artist (composer/songwriter/musician) involved. Has technology helped us in promoting OPM or has it promoted more piracy? What do you think about uploading existing songs and/or original songs into Youtube? _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ ________________________________________
  54. 54. Group Activity Stage a class variety show showcasing different genres of Philippine popular music. Take note: no two genres should be repeated, or at least, each song must be distinct in nature. You may include a genre that has not been discussed but be sure to consult your teacher first. Choose an original Philippine music (as much as possible, avoid revivals) and give an introduction, including the title, artist (composer, artist, and songwriter (all, if possible)), and a short description of the lyrics’ message. Live accompaniment on guitar, piano and/or rhythmic instruments, is highly encouraged, but minus-one accompaniment may be used. X ASSESSMENT  Rubrics for Group Performance  Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows minimal awareness to style and context; instrument/s used and movements irrelevant to the theme of the composition  Developing: Focused tone but inconsistent in extreme range, some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the score/teacher.; instrument/s used and some movements inconsistent with the theme of the composition  Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the score/teacher; instrument/s used and some movements inconsistent with the theme of the composition  Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances in response to the style and music score; instrument/s used and movements are consistent with the theme and are helpful in conveying the message XI SYNTHESIS Philippine popular music is the music of the majority, probably because it has more themes that people can relate to. Because of the emergence of innovations such as high-technology instruments and recording equipments, plus the internet, more and more people are able to access and also, create their own music to express their ideas and address certain issues, such as on nationalism and social relevance. Avenue for music is not just the classical concert hall, but is now practically anywhere. Song writing contests support not only existing artists but also give encouragement to the emerging song writers.
  55. 55. MUSIC LEARNING GUIDES 7-8: Philippine Popular Music I TARGET GRADE LEVEL: Grade 7 II MODULES 7-8: Philippine Popular Music III TIME ALLOTMENT: 2 Hours IV OVERVIEW OF THE MODULE The lesson is an introduction to Philippine Popular Music, its pioneers, some composers and artists. The general - pop, fusion, novelty, and hip hop and folk rock, will complete your musical journey in this module. Through the lesson, one will discover how contemporary Filipino popular musicians express their ideals and beliefs though A class variety show on Philippine popular music culminates the educational experience. V PERFORMANCE STANDARD  Analyzes musical elements and processes of Philippine music.  Correlates Philippine music to Philippine culture.  Performs examples of Philippine music, alone and with others, in appropriate tone, pitch, rhythm, expression and style. VI COMPETENCIES/OBJECTIVES  Analyzes an example of Philippine popular music, and describe how the musical elements are used.  Explains the distinguishing characteristics of representative a work of representative Filipino popular musicians, in relation to history and culture of the area.  Analyzes the relationship of functions of the works of representative Filipino popular musicians, to the lives of the people.  Sings accurately Philippine popular music, alone and / or with others.  Performs on available instruments Philippine popular music, alone and / or with others.  Improvises simple rhythmic / harmonic accompaniments to selected works of representative Filipino popular musicians.  Explores ways of producing sounds on a variety of sources that would emulate the instruments being studied.
  56. 56.  Evaluates music and music performances applying knowledge of musical elements and style. VII CONTENT/TOPIC Philippine Popular Music  Vocal and Instrumental Music – pop, fusion, novelty, hip hop and folk rock  Cultural Context (History and Traditions) – OPM and Songwriting Competitions, Non- formal venues (bars, stadium, coliseum, outdoor, etc), Internet and Technology  Composition –Kay Ganda ng Ating Musika, Batang-bata ka Pa; Magkaugnay, Panorama, and Alak, Sugal, Kape, Babae, Kabaong; History of the Philippines; Anak, Mga Kababayan Ko  Social Functions – Nationalism and Social Relevance, Self-expression, Entertainment  Performance Styles / Techniques – Revivals vs. Originals VIII PRIOR SKILLS & ASSESSMENT Short review on Module 5-6 (recitation) a. Concept Map Concept Map: Using the readings and links given above, complete the concept map by writing details regarding Philippine Popular Music on the boxes. •Vehicle for Ideas and Certain Issues •Entertainment •Nationalism and Social Relevance •Self-expression •Entertainment •Vocal and Instrumental Music genres: •pop •fusion and alternative •novelty •hip hop and rock •OPM and Songwriting Competitions •Non-formal venues (bars, stadium, coliseum, outdoor, etc) •Internet and Technology Socio- historical Context Musical Forms Musical Context Issues Philippine Popular Music
  57. 57. b. ACTIVITIES & STEPS/ PROCEDURE – 1. Present the K-W-L chart to the students and ask them to fill up the K and W part. 2. Show pictures of international pop artists and if they know them. Then, ask the students if they know certain popular local artists of today then have a discussion on which their favourite local band/artist is and describe the kind of songs they have. 3. Inform them that before these artists, there were pioneers of Philippine Popular Music. Let them watch the videos/listen to the recordings of the music. Inform them about the genre of each song and have them think their impression of the song (musical elements and lyrics’ message) and reserve it for a later discussion .. a. POP: Ryan Cayabyab (Kay Ganda ng Ating Musika) and APO (Batang-bata ka pa) b. FUSION: Joey Ayala (Magkaugnay), Diwa De Leon (Panorama), and Radioactive Sago Project (Alak, Sugal, Kape, Babae, Kabaong) c. NOVELTY: Yoyoy Villame (History of the Philippines) d. HIP HOP and FOLK ROCK: Francis Magalona (Mga Kababayan Ko) and Freddie Aguilar (Anak) 4. Briefly discuss e about songwriting competitions, such as Metro Manila Pop Music, in which Kay Ganda ng Ating Musika won Grand Prize and Anak became a finalist. 5. Assign the second chart and the activity OPM Blog: What I Think About Today’s OPM as homework. 6. Group the class into 8 and have them answer Top of the Charts (the first chart), to be reported to class next meeting. They may do research using the suggested readings. 7. While with their group mates, introduce the group activity, a class variety show on Philippine Popular Music. 8. Discuss the rubrics for evaluation. Allot time for practice. Give feedback regarding group practice. 9. Evaluate the group performance using performance rubrics. 10. Summarize what has been learned using the K-W-L chart (What I know, What I want to know and What I learned about Nationalistic Songs and Art Songs). 11. Have the students relate what they have written in the K-W-L chart to the Synthesis segment of the module.
  58. 58. VIII SUMMATIVE ASSESSMENT  Rubrics for Group Performance  Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows minimal awareness to style and context; instrument/s used and movements irrelevant to the theme of the composition  Developing: Focused tone but inconsistent in extreme range, some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as suggested by the score/teacher.; instrument/s used and some movements inconsistent with the theme of the composition  Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the score/teacher; instrument/s used and some movements inconsistent with the theme of the composition  Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances in response to the style and music score; instrument/s used and movements are consistent with the theme and are helpful in conveying the message IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE Readings: Lockard, Craig A. (1998). Dance of Life: Popular Music and Politics in Southeast Asia. (pp. 114-161.) United States of America: University of Hawai’I Press. Mariano, Vicente D. (ed). (2009) Sining-Bayan: Art of Nation Building Social Artistry Fieldbook to Promote Good Citizenship Values for Prosperity and Integrity. JAPI Printzone. http://apohikingsociety.org/ http://www.joeyayala.com/ http://www.blafi.org/ Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art (Vol. 6: Philippine music). Manila: Cultural Center of the Philippines. Recordings: APO – Batang-bata ka Pa. http://www.apohikingsociety.org/popup_batakapa.shtml.
  59. 59. Aguilar, Freddie – Freddie Aguilar Anak (Orginal Version). http://www.youtube.com/watch?v=-n- 2lPzH7Do. Ayala, Joey – Mariano, Vicente D. (ed). (2009) Sining-Bayan: Art of Nation Building Social Artistry Fieldbook to Promote Good Citizenship Values for Prosperity and Integrity. JAPI Printzone. (Complementary CD) Cayabyab, Ryan – KAY GANDA NG ATING MUSIKA (Hajji Alejandro). http://www.youtube.com/watch?v=t6MixeXSX5g. De Leon, Diwa – Panorama. http://www.youtube.com/watch?v=eA9z8UPtCus. Magalona, Francis - FRANCIS MAGALONA - MGA KABABAYAN [MY FELLOW COUNTRYMEN]. http://www.youtube.com/watch?v=EBaYmRHLES8. Radioactive Sago Project – Radioactive Sago Project. Alak, Sugal, Kape, Babae, Kabaong. http://www.youtube.com/watch?v=e3ZVQ9FMsmY. Villame, Yoyoy – History of the Philippines. http://www.youtube.com/watch?v=nCoEPnprS7Q. X GLOSSARY OF MUSIC TERMS & SYMBOLS 1. OPM – Original Pinoy Music or Original Philippine Music; a label used for original popular songs by Filipino artists 2. Genre – a distinct style of music 3. Pop – refers generally to music that is easily accessible by the public through mass media, and is also subject to selling 4. Fusion – a style of music infusing World music elements 5. Novelty song – comical popular songs that may be for a current situation, holiday, or just a can just be a dance fad 6. Hip hop – a style of music incorporating complex, stylized rhythms that is often accompanied by rapping. It belongs to a subculture that also goes by the same name, hip hop. 7. Folk rock – a style of music combining folk and rock elements. It is a genre term that was originally coined in the USA and/or UK. During the 1960s.

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