Module 9 mindanao vocal music

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Module 9 mindanao vocal music

  1. 1. MUSIC LEARNING MODULES 9-10: Selected Vocal Music of MindanaoI TARGET GRADE LEVEL: Grade 7II MODULES 1: Music of MindanaoIII TIME ALLOTMENT: 2 HoursIV OVERVIEW OF THE MODULE The module is about selected vocal music from Mindanao. The analysis of the music isdone using musical mapping as well as socio-cultural influences on the music. An application ofthe lesson involves singing familiar folk songs from Mindanao with appropriate expression, toneand style that is reflective of the function of the music.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 Mindanao and describe how the musical elements are used. Explains the distinguishing characteristics of representative Philippine folk music from Mindanao in relation to history and culture of the area. Analyzes the relationship of functions of Philippine music from Mindanao to the lives of the people. Sings accurately representative folk songs from Mindanao alone and / or with others. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from Mindanao. Evaluates music and music performances applying knowledge of musical elements and style.VII CONTENT/TOPIC : Vocal Music of Mindanao  Vocal Music: Epic: Darangen (Maranao); Lullabye: angan bata-bata (Tausug); Love and Courtship: Batac inanen, estijaro (Tagacaolo), bandayuy ( Matigsalog), antang (Manobo, for match-making) and sindaay, tarasul (Tausug); Entertainment songs: dangdang-ay, bayok (Mandaya), and the limbay (Manobo)
  2. 2.  Cultural Context (History and Traditions): Functional Songs, Epics, Ritual Songs  Social Functions: Ritual Music, Lullabies, Music for work, Music for entertainment  Performance Styles / Techniques: Melismatic, Syllabic SingingVIII RESOURCESReadings and Resources:Dioquino, Corazon C. Indigenous Music of the Philippines.http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=158Interactive Map of the Philippines and Major Ethnic Groups:http://www.kipas.nl/Groups.htmMaceda, Jose. The Music of the Maguindanao of the Philippines.http://media.smithsonianfolkways.org/liner_notes/folkways/FW04536.pdfSantos, Ramon P. Traditional Forms of Music.http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=161Recordings / Videos:Darangen epic UNESCO:http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00159#videoCalasiao singing pokpok alimpako :http://www.youtube.com/watch?v=ePSdnktzO-gZamboanga chavacano songs “No Te Vayas” and “Zamboanga Hermosa”:http://www.zamboanga.net/Song&MusicofZamboanga.htmHans Brandeis Videos on the Music of Mindanao:http://user.cs.tu-berlin.de/~brandeis/Videos_MindanaoLumad.htmlIX ACTIVITIESEXPLORING MINDANAO: Using the interactive map from http://www.kipas.nl/Groups.htm#,can you find the some major ethnic groups? List down at least three ethnic groups.The culture of Mindanao is as colorful as the geography and the peoples who live in Mindanao.Before learning the music, let us find out what you already know.
  3. 3. K-W-L Chart: Write what you currently know about the music of Mindanao under column 1 andwhat you want to know about the music of Mindanao under column 2.Music of Mindanao What I want to What I Know What Ive learned KnowGUIDED LISTENING:Listen to examples of vocal music from Mindanao from the resources segment. Reflect on: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 inbringing about the message of the music?MUSICAL MAPPING: This time, let us watch/listen once more to the musical examples and tryto map out using lines/graphic notation what you hear. You may focus on a particular musicalelement as you listen (vocal tone, melodic line, rhythm of the song, thick or thin texture of themusic). Write your map on the boxes below. You may add additional boxes per song. Darangen Pok-Pok Alimpako No Te VayasRead the paragraph about the vocal music of Mindanao by Maceda, Dioquino, Santos, Brandeis.Using the reading as well as the videos you have watched, complete what you have understoodabout the vocal music of Mindanao by filling up the concept map.
  4. 4. Socio- Musical historical Forms Context Vocal Music of Mindanao Performance Musical Techniques ContextAPPLICATION: In groups of 10 per group, study some of the songs from Mindanao using thevideo resources (UNESCO, Brandeis, etc). Pay particular attention to the function of the songand how the song is performed in the socio-cultural setting. Be ready to perform the song inclass next meeting.X ASSESSMENTRubrics for Performance 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 vocal music of Mindanao is a reflection of the natural and spiritual life of the variouspeople in the area: Lumad, Christian, Muslim Filipinos. Its many forms show the creativeexpressions that Filipinos use in order to express the emotions, events and word view.
  5. 5. MUSIC LEARNING MODULES 1-2: Selected Vocal Music of MindanaoI TARGET GRADE LEVEL: Grade 7II MODULES 1: Music of MindanaoIII TIME ALLOTMENT: 2 HoursIV OVERVIEW OF THE MODULE The module is about some selected vocal music from Mindanao. The analysis of themusic is done using musical mapping as well as socio-cultural influences on the music. Anapplication of the lesson involves singing familiar folk songs from Mindanao with appropriateexpression, tone and style that is reflective of the function of the music.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 Mindanao and describe how the musical elements are used. Explains the distinguishing characteristics of representative Philippine folk music from Mindanao in relation to history and culture of the area. Analyzes the relationship of functions of Philippine music from Mindanao to the lives of the people. Sings accurately representative folk songs from Mindanao alone and / or with others. Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk music from Mindanao. Evaluates music and music performances applying knowledge of musical elements and style.VII CONTENT/TOPIC : Vocal Music of Mindanao  Vocal Music: Epic: Darangen (Maranao); Lullabye: angan bata-bata (Tausug); Love and Courtship: Batac inanen, estijaro (Tagacaolo), bandayuy ( Matigsalog), antang (Manobo, for match-making) and sindaay, tarasul (Tausug); Entertainment songs: dangdang-ay, bayok (Mandaya), and limbay (Manobo)
  6. 6.  Cultural Context (History and Traditions): Functional Songs, Epics, Ritual Songs Social Functions: Ritual Music, Lullabies, Music for work, Music for entertainment Performance Styles / Techniques: Melismatic, Syllabic Singing a. CONCEPT MAP •Nature •Epics •Interaction among • Love and Courtship groups •Entertainment songs •Spirituality •Work and Lullabies Socio- •Ritual Songs historical Musical Context Forms Vocal Music of Mindanao Performance Musical Techniques Context •Melismatic •Music in •Syllabic Ritual •Improvisation •Creativity b. ACTIVITIES & STEPS/ PROCEDURE1. Have the students explore the ethnic groups in Mindanao using the interactive map from kipas. List down at least three groups.2. Ask the students to do a K-W-L chart of the music of Mindanao.3. Watch/Listen to vocal examples from the resources segment. Discuss their answers to the guide questions.4. Watch videos of the said vocal examples but this time, have the students map out what they hear using the musical map per song.5. Group the students into ten per group. Have them read the articles on the vocal music of Mindanao by Maceda, Dioquino, Santos or Brandeis. As a group, complete the concept map using information and insights understood from the readings. Discuss the students’ answers to the guide questions. The music may be played once more after all the questions have been answered.
  7. 7. 6. Group Singing: With their existing groups, have the students select one song from the resource videos (UNESCO, Brandeis, etc.) and to study the song in terms of its musical and socio-cultural characteristics. Give time for practice. 7. Remind the students of the rubrics for performance. Have the students perform their interpretation of any vocal excerpt from Mindanao.VIII SUMMATIVE ASSESSMENT –Rubrics for Performance 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:Dioquino, Corazon C. Indigenous Music of the Philippines.http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=158Interactive Map of the Philippines and Major Ethnic Groups:http://www.kipas.nl/Groups.htmMaceda, Jose. The Music of the Maguindanao of the Philippines.http://media.smithsonianfolkways.org/liner_notes/folkways/FW04536.pdfSantos, Ramon P. Traditional Forms of Music.http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=161Recordings / Videos:Darangen epic UNESCO:http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00159#video
  8. 8. Calasiao singing pokpok alimpako :http://www.youtube.com/watch?v=ePSdnktzO-gZamboanga chavacano songs “No Te Vayas” and “Zamboanga Hermosa”:http://www.zamboanga.net/Song&MusicofZamboanga.htmHans Brandeis Videos on the Music of Mindanao:http://user.cs.tu-berlin.de/~brandeis/Videos_MindanaoLumad.htmlX GLOSSARY OF MUSIC TERMS & SYMBOLSEpic: Darangen (Maranao)Lullabye: angan bata-bata (Tausug)Love and Courtship: Batac inanen, estijaro (Tagacaolo), bandayuy ( Matigsalog), antang(Manobo, for match-making) and sindaay, tarasul (Tausug)Entertainment songs: dangdang-ay, bayok (Mandaya), and limbay (Manobo)

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