Content workshops for music 7 quarter 1(2)

Content WorkshopMusic from Highland and Lowland Luzon Anna Patricia B. Rodriguez

• Walk • Pedagogy : Through Socio-cultural and Related Arts• Standards Approaches, •Teaching• Rubrics for • Musical Mapping Demonstration Music • Documentary •Lesson Performance Viewing Planning• Music of • Simulating the Different •Mini-teaching Highland and Lowland Musical Traditions Luzon • Composing/• Resources Improvising • K-W-L Chart

Standards• GRADE LEVEL STANDARD : The learner demonstrates understanding of salient features of Philippine music, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.• OBJECTIVE : Develop musical awareness and creativity in expressing oneself while doing the fundamental processes in music.

Performance Standards• Analyzes (Describes, Compares and/or Contrasts) 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.

Sample Rubrics for PerformanceBasic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows insensitivity to style and context; Shows no effort in coming up with improvised costumes and/or propsDeveloping –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. With some improvised costumes and/or props but are inappropriate to the musicApproaching 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. With some improvised costumes and/or props but are inappropriate to the musicProficient –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.

Sample Rubrics for Instrument MakingBasic –Inappropriate, Messy and Incomplete materials, Sound quality lacks similarity with original instrumental timbreDeveloping –Most materials appropriate, Decorated but messy, Neat but Fragile, Sound quality similar but not exactly as the originalApproaching Proficiency –Appropriate materials, Decorated, Neat, Similar sound quality as the original instrumentProficient –Appropriate and creatively modified materials, Decorated within the context of the instrument, Neat and Durable, Exact sound quality as original instrument

Philippine Music Content Highland Spanish- American and Luzon influenced Japanese Period(Cordillera) Lowland Luzon Lowland Luzon Vocal/Instrumental music, Context and Function, Performance Techniques

The Music of Cordillera (Highland Luzon) Concept Map• Geography: • Types (Vocal, Cordillera Instrumental) Administrative Region, Rice Terraces Socio- Musical historical Forms Context Issues Musical• Ancestral domain vs. State Policies Context • Functions (Work, Leisure,• Manual vs. Machine-processed Worship, Ritual) farming• Militarization• megatourism

Liturgy and Devotional Music influenced by the Spanish Concept Map • Geography: • Mass Luzon • Vocal forms Lowlands • Instrumental: • Spanish Las Piñas colonisation: Socio- Bamboo historical Musical 1565-1898 Forms Organ Context Issues Musical Context • Religion • Worship • Preservation • Feasts of culture

Secular Music influenced by the Spanish Concept Map• Geography: • Types (Vocal, Lowland Luzon (Region I, II, III, Instrumental: IV inland, V) Folk,• Barrio vs. City Composed) Socio- Musical historical Forms Context Issues Musical• Social Context • Functions commentaries (Work, Festivities• Declaration of and Recreation, Love for a person Courtship, Social• Patriotism Commentary)

Music during the American and Japanese Periods Concept Map• American and • Vocal Music Japanese (Sarswela) periods in the • Instrumental Music Philippines (Symphonic Band, Musikong Socio- Bumbong) Musical historical Forms Context Musical Issues Context • Music for• Resourcefulnes Recreation, s as a good Social Filipino trait Commentary,• Patriotism and Patriotism

Comparative Glossary: Highland Luzon InstrumentsVoice (*- ensemble playing) >Tongatong * (Bamboo Stamping Tube) >Saggeypo * (Bamboo Pipes in a Row) >Hudhud (Ifugao >Bungkaka * chanted epic (Bamboo Buzzers) poetry) >Kubing (Bamboo Jew’s Harp) >Patteteg * (Bamboo Leg Xylophones) >Gangsa * (Gongs)

Comparative Glossary: Lowland Luzon (Spanish Influence) InstrumentsVoice (*- ensemble playing) >The Mass >Las Piñas >Harana and Bamboo Organ Kumintang (Art Songs) >Rondalla >Pastores (plucked lute (Christmas Songs) ensemble)* >Pabasa ng >Pandanggo Pasyon (Chanting and Polka of Jesus’ Life and (dances with Death) songs)

Comparative Glossary: Lowland Luzon (Spanish Influence) Other Musical Traditions >Panunuluyan (musical re-enactment of the Holy Family’s search for a place) >Moro-moro/Komedya (play portraying duel between Moros and Christians) >Senakulo (re-enactment of Jesus’ suffering and death) >Salubong (re-enactment of Jesus and Mary’s meeting during Easter) >Flores de Mayo and Santacrusan (May Marian traditions)

Comparative Glossary: Lowland Luzon (American and Japanese Period) InstrumentsVoice (*- ensemble playing) >band * (Philippine Constabulary Band) >Sarswela >Musiko (musical Bumbong theater) (improvised bamboo symphonic band) *

• Walk • Pedagogy : Through Socio-cultural and Related Arts• Standards Approaches, •Teaching• Rubrics for • Musical Mapping Demonstration Music • Documentary •Lesson Performance Viewing Planning• Music of • Simulating the Different •Mini-teaching Highland and Lowland Musical Traditions Luzon • Composing/• Resources Improvising • K-W-L Chart

K-W-L Chart Music of Cordillera What I want What IveWhat I Know to Know learned

Approaches• Socio-cultural approach –music as interrelated with culture• Related Arts approach – studies parallel concepts among different art forms such as repetition, enlargement, contrast, unity and balance. (Anderson 2004)

Examples: CORDILLERA• Socio-cultural approachImportance of community as seen in musical occasions wherein there is no distinction between the audience and performer and anyone can join in the performance

Examples: CORDILLERA• Related arts approachConcept of interlock in music and in weaving

Examples: Spanish-Influenced Lowlands• Socio-cultural approachReflection of the religious belief in the devotional musical practices

Examples: Spanish-Influenced Lowlands• Related arts approach Komedya Visual element: Exaggerated movement Musical element: Comical (with the help of the banda)

Examples: American and Japanese Period Lowlands• Socio-cultural approachSubtle ways of expressing social commentaries on patriotism and longing for freedom

Examples: American and Japanese Period Lowlands• Related arts approachThe popularity of musical theater (komedya, bodabil, etc)coincides with the emergence of movies (film) in thePhilippines.

Content Resources• Print: actual field studies and journals: NCCA, CCP Encyclopediae, Canave-Dioquino, Maceda, Mirano, Santos, Tiongson• Instruments: use locally made materials, substitute (gongs, bamboo, rondalla), order from the source• Digital (Audio-visual and Non-print articles/journals): youtube, ncca.gov.ph, unesco.org, philippineculture.ph, himig.com.ph; Baes, Santos, Talusan

Music Teaching Strategies1. Musical Mapping: Listening, Comparison using a chart2. Documentary video watching: Hudhud, Las Piñas Bamboo Organ, Musiko Bumbong3. Performance: Vocal, Instrumental, Musical-theatrical4. Composition: My Own Hudhud5. Improvisation: Instrument Design, Accompaniment to songs

1.a. Sample Listening Charttimbre dynamics rhythm pitch form

1.b. Sample Listening Maps

2. Documentary Video Watching (Hudhud- Unesco)

3. Performance• Vocal: chanting, singing, improvising• Instrumental: improvising, composing, accompanying• Types of instruments: idiophone, membranophone, chordophone, aerophone (Hornboestel-Sachs)

. 4. Composition (My Own Hudhud) As a group, make your own poem of 8 lines. It may be about any of the following topics: love/marriage, honor, bravery, and revenge. Improvise a melody to your poem. ________________________________ ________________________________ ________________________________ ________________________________ ________________________________ ________________________________ ________________________________ ________________________________

5. Improvisation• Improvised instruments (blocks of wood for xylophones, bottles for panpipes, cans for stamping tubes)• Improvised accompaniment (rhythmic ostinato, vocal chording, guitar chording)

For your copy of the presentations, email: atticpat@gmail.com

Content workshops for music 7 quarter 1(2)

by S Marley on Jun 13, 2012

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