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Attachments 2012 05_29
 

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    Attachments 2012 05_29 Attachments 2012 05_29 Document Transcript

    • MUSIC LEARNING MODULES 3-4: Music of PalawanI TARGET GRADE LEVEL: Grade 7II MODULES 1: Music of PalawanIII TIME ALLOTMENT: 2 HoursIV OVERVIEW OF THE MODULE The music of Palawan is a brief survey of the music from different indigenous groupsfrom Palawan such as the Batak, Tagbanua and Palaw’an. The analysis of the music is doneusing the relationship of the music to concepts of soundscape, elemental music, spiritual andhuman emotional expressions and language. An application of the kulial (song) culminates themodule through musical composition and performance.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 folk music from Palawan and describe how the musical elements are used. Explains the distinguishing characteristics of representative Philippine folk music from Palawan in relation to history and culture of the area. Analyzes the relationship of functions of Philippine music from Palawan to the lives of the people. Sings accurately representative folk songs from Palawan alone and / or with others. Performs on available instruments music from Palawan alone and / or with others. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from Palawan. 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.
    • VII CONTENT/TOPIC Folk Music of Palawan  Vocal Music: Bagit, Kulial (Songs), Tultul (Epic chant), Ulit (Shamanic chant)  Instrumental Music: aruding (Jew’s harp), babarak (ring flute), suling (banded flute), basal (gong), kusyapiq (lute), pagang (bamboo zither)  Cultural Context (History and Traditions): Soundscape, Elemental Music, Epics  Composition: Bird songs, Kulial songs, Epics (i.e. Kudaman)  Social Functions: Ritual Music, Music for expressing contrasting emotions, Music for work, Music for entertainment  Performance Styles / Techniques: Onomatopeia, Bagit Bird Scale (no half steps) and Kulial Scale (with half steps), Magibut (playing together), Karang (Sung-Spoken dialogue), Lumbaga (Shamanic chant about the voyage of the soul)VIII RESOURCESReadings and Resources:Palawan Provincial Government. This is Palawan: The New Frontier.De Leon, Felipe Jr. “Gawad Manlilikha ng Bayan MASINO INTARAY and the Basal and Kulilal Ensemble” http://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cultprof ile/gamaba/intaray.phpThe Arts of Tau’t Bato http://wpu.edu.ph/tautbato/arts/gallery-template.html (article and video)Revel, Nicole M. (2007). Palawan Soundscape. SOCIAL SCIENCE DILIMAN (January-December 2007) 4:1- 2, 78-90 http://journals.upd.edu.ph/index.php/socialsciencediliman/article/viewDownloadInterstitial/12 38/1273Revel, Nicole M. (1996). Kudaman: An Oral Epic in the Palawan Highlands. Oral Tradition, 11/1 (1996): 108-132.http://www.scribd.com/doc/26842427/Palawan-Music (Powerpoint Presentation)(The Vanishing Batak Tribe)http://www.omniglot.com/language/articles/vanishingbataks.phpRecordings / Videos:http://www.youtube.com/watch?v=M7a-Hh6VPuc&feature=related (kulial / symbolic lovesong)http://www.youtube.com/watch?v=zytxR8X8E9Q&feature=related (basal / gong and drumensemble)http://www.youtube.com/watch?v=QGhnUjYvcMU&feature=related (babarak / ring flute)http://www.youtube.com/watch?v=k1QTjPLRb6k&feature=related (aruding / Jew’s harp)http://www.youtube.com/watch?v=2dR1e7BGFUo (Kudaman epic excerpt)http://www.youtube.com/watch?v=Zaf18Y9jVuI&feature=related (dance theatre)
    • IX ACTIVITIESSOUNDSCAPE: Can you imagine yourself in this shore from the Underground River in Palawan?What sounds can you hear? If you were to imitate these sounds, how would you do it? Will youuse your voice? Will you use instruments?Underground River Entrance. Copyright 2011 by the authorK-W-L Chart: Write what you currently know about the music of Palawan under column 1 andwhat you want to know about the music of Palawan under column 2.Music of Palawan What I want to What I Know What Ive learned KnowListen to examples of Palawan music from youtube. Was your improvisation similar to themusic of the people of Palawan? How similar or different were your music? Why do you thinkso?
    • Here are some musical instruments used by the people of Palawan.Pagang (zither), Kusyapiq (lute) babarak and suling (flutes) basal (gong). Copyright by theauthor. Palawan music is closely linked with nature and its expression is highly influenced by languagesuch as the use of onomatopoeia or the imitation of natural sounds. Below are examples of thedifferent alphabets used by the various ethnic groups from Palawan:
    • Tagbanua and Palaw’an script. Copyright by the authorRead the article on Soundscape by Revel (2007) or The arts of Tau’t Bato by Dadaeg (2003) andcomplete the concept map of Palawan music. Socio- Musical historical Forms Context The Music of Palawan Performance Musical Techniques Context
    • GUIDED LISTENING:Read the segment on poetic creativity by Revel (2007). Then, listen to an example of a kulialsong from the resources segment.a. What is the function of the music? What do you think is the message of the music?b. Describe the instruments / voice quality used. How was the music performed? Was it effectivein bringing about the message? What instrumental substitutes can be used using environmentalmaterials present in the classroom?c. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used inbringing about the message of the music?MAKING YOUR OWN KULIAL: Using the major scale (CDEFGABC), compose an eight line kulialexpressing contrasting emotions such as happiness and sadness.EXTENSION ACTIVITY: Write the words of your composed kulial on column 1. Then decode yourown kulial composition using either the Palaw’an or Tagbanua alphabet. Write your coded kulialon column 2. My Kulial Tagbanua / PalawanNEED TO KNOW: Want to know more of Palawan’s music? Write toJocelyn Fabello, Cultural Officer Palawan Museum, joeyfabello @yahoo.com
    • X ASSESSMENTRubrics for Simple Notated Musical Work Basic: Incomplete composition, difficult to read with only half of the musical elements Developing: Basic and legible with half of the required musical elements Approaching Proficiency: Somewhat creative and legible, most musical elements complete Proficient: Creative, easy to read, complete musical elementsRubrics for Performance of Creative Work Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows insensitivity to style and context 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. 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. Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances to style in response to music score.XI SYNTHESIS The music of Palawan reflects a veneration of the spiritual world and the naturalphysical world through the epic chants, nature songs and instruments. The human experienceof contrasting emotions is also shown in love songs. Music is used not only as an expressiveemotive medium but also as a manifestation of creativity, culture and world view amongTagbanuas, Palaw’an and the Batak people of Palawan.
    • MUSIC TEACHING GUIDES 1 AND 2: Music of PalawanI TARGET GRADE LEVEL: Grade 7II MODULES 1: Music of PalawanIII TIME ALLOTMENT: 2 HoursIV OVERVIEW OF THE MODULEV 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 folk music from Palawan and describe how the musical elements are used. Explains the distinguishing characteristics of representative Philippine folk music from Palawan in relation to history and culture of the area. Analyzes the relationship of functions of Philippine music from Palawan to the lives of the people. Sings accurately representative folk songs from Palawan alone and / or with others. Performs on available instruments music from Palawan alone and / or with others. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from Palawan. 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.
    • VI PRIOR SKILLS & ASSESSMENT – Have the students fill up the K-W-L chart on the music ofMindoro.VII CONTENT/TOPIC  Vocal Music: Bagit, Kulial (Songs), Tultul (Epic chant), Ulit (Shamanic chant)  Instrumental Music: aruding (Jew’s harp), babarak (ring flute), suling (banded flute), basal (gong), kusyapiq (lute), pagang (bamboo zither)  Cultural Context (History and Traditions): Soundscape, Elemental Music, Epics  Composition: Bird songs, Kulial songs, Epics (i.e. Kudaman)  Social Functions: Ritual Music, Music for expressing contrasting emotions, Music for work, Music for entertainment  Performance Styles / Techniques: Onomatopeia, Bagit Bird Scale (no half steps) and Kulial Scale (with half steps), Magibut (playing together), Karang (Sung-Spoken dialogue), Lumbaga (Shamanic chant about the voyage of the soul) a. CONCEPT MAP •Nature •Kulial •Interaction among •Epics groups •Instruments •Language Socio- Musical historical Forms Context The Music of Palawan Musical Issues Context •Cultural •Music in Ritual Preservation •Soundscape •Sustainable Eco- Tourism •Creativity
    • b. ACTIVITIES & STEPS/ PROCEDURE 1. Have the students look at the picture of the Underground River and imagine the sounds surrounding the place. 2. Group Activity: In groups of five per group, imagine the sounds heard in the Underground River and recreate the soundscape using vocal improvisation. Go around and select three groups who will perform their improvisations in class. 3. Ask the students to do a K-W-L chart of the music of Palawan. 4. Listen to musical examples from the resources segment. As the students listen, have them look at the pictures on the student guide or project a slideshow from http://www.scribd.com/doc/26842427/Palawan-Music or http://wpu.edu.ph/tautbato/arts/gallery-template.html 5. Group the students into five per group. Have them read the articles on Palawan music on the readings segment. As a group, complete the concept map using information and insights understood from the readings. 6. Listen to an example of a kulial song from the recording resources segment. Read the guide questions for listening and listen to the kulial song once more. 7. Discuss the students’ answers to the guide questions. The music may be played once more after all the questions have been answered. 8. Pair the students and ask them to compose their own kulial using the C major scale. They may use lyre or recorder/bamboo flute as melody instruments. Explain the rubrics for composition and performance and move around to guide the students as they compose. Notation can be traditional symbolic (notes) for advanced students or non-traditional using letters on top of the lyrics for beginning students. 9. Have the students perform their own eight-line kulial vocally and instrumentally using the lyre or bamboo flute/recorder. 10. Extension activity: Using the Palaw’an and Tagbanua alphabet, have the students decode their kulial on the table given in the student guide.VIII SUMMATIVE ASSESSMENT –Rubrics for Simple Notated Musical Work Basic: Incomplete composition, difficult to read with only half of the musical elements Developing: Basic and legible with half of the required musical elements
    • Approaching Proficiency: Somewhat creative and legible, most musical elements complete Proficient: Creative, easy to read, complete musical elementsRubrics for Performance of Creative Work Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows insensitivity to style and context 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. 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. Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances to style in response to music score.IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITEReadings and Resources:Palawan Provincial Government. This is Palawan: The New Frontier.De Leon, Felipe Jr. “Gawad Manlilikha ng Bayan MASINO INTARAY and the Basal and Kulilal Ensemble” http://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cultprof ile/gamaba/intaray.phpThe Arts of Tau’t Bato http://wpu.edu.ph/tautbato/arts/gallery-template.html (article and video)Revel, Nicole M. (2007). Palawan Soundscape. SOCIAL SCIENCE DILIMAN (January-December 2007) 4:1- 2, 78-90 http://journals.upd.edu.ph/index.php/socialsciencediliman/article/viewDownloadInterstitial/12 38/1273Revel, Nicole M. (1996). Kudaman: An Oral Epic in the Palawan Highlands. Oral Tradition, 11/1 (1996): 108-132.http://www.scribd.com/doc/26842427/Palawan-Music (Powerpoint Presentation)(The Vanishing Batak Tribe)http://www.omniglot.com/language/articles/vanishingbataks.phpRecordings / Videos:http://www.youtube.com/watch?v=M7a-Hh6VPuc&feature=related (kulial / symbolic lovesong)http://www.youtube.com/watch?v=zytxR8X8E9Q&feature=related (basal / gong and drumensemble)http://www.youtube.com/watch?v=QGhnUjYvcMU&feature=related (babarak / ring flute)http://www.youtube.com/watch?v=k1QTjPLRb6k&feature=related (aruding / Jew’s harp)http://www.youtube.com/watch?v=2dR1e7BGFUo (Kudaman epic excerpt)http://www.youtube.com/watch?v=Zaf18Y9jVuI&feature=related (dance theatre)
    • X GLOSSARY OF MUSIC TERMS & SYMBOLS Voice Instruments Mindoro: Mindoro: Subing / Jews harp Igway / Song Gitgit / lute Marayaw / Spirit song Agung / gong Bangsi / flute Palawan: Palawan: Aruding / Jews harp Kulial / Song Kusyapiq / lute Ulit / Spirit song Basal / gong Suling, Babarak / fluteComparative Glossary of Mindoro and Palawan Music. Copyright by the author.