SlideShare a Scribd company logo

Musicartsgr10tg

•
•
S
sheenlyfajardo

teachers guide music and arts 10

Education
1 of 108
Download to read offline
i HORIZONS Grade 10 Teacher’s Guide Music and Arts Appreciation for Young Filipinos Raul M. Sunico, Ph.D. Evelyn F. Cabanban Melissa Y. Moran GOVERNMENT PROPERTY NOT FOR SALE ALLOTTED TO District/ School: ____________________________________________________________ Division: ____________________________________________________________ First Year of Use:____________________________________________________________ Source of Fund (year included): ______________________________________________ Department of Education Republic of the Philippines All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ii HORIZONS Grade 10 Teacher’s Guide Music and Arts Appreciation for Young Filipinos ISBN 978-971-793-022-0 Philippine Copyright 2015 by Tawid Publications All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means—electronic or mechanical, including photocopying, recording, or any information storage or retrieval system without prior written permission from the publisher. Published by Tawid Publications 102 B. Gonzales St., Xavierville II Loyola Heights, Quezon City 1108 Metro Manila, Philippines (+63-2) 453-7918 tawidcorp@yahoo.com; tawidpub@gmail.com Editorial Board Editors: Evelyn F. Cabanban Melissa Y. Moran Milagros P. Valdez, language reader Coordinator: Evelyn F. Cabanban Cover Design: Rowena E. Cabanban Cover Art and Divider Art: Joe Dureza All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
iii TABLE OF CONTENTS MUSIC Quarter I MUSIC OF THE 20th CENTURY ............................................... 1 Impressionism to Modern Nationalism ........................................... 2 Electronic Music and Chance Music................................................. 12 Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19 African Music and Latin American Music........................................ 20 Jazz, Popular Music, and OPM .................................................... 29 Quarter III CONTEMPORARY PHILIPPINE MUSIC................................. 36 Traditional Composers ............................................................. 37 New Music Composers ............................................................. 46 Song Composers ............................................................. 53 Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61 Opera in the Philippines.................................................................... 62 Ballet in the Philippines.................................................................... 71 Philippine Musical Plays................................................................... 78 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
iv ARTS Quarter I MODERN ART............................................................................... ..90 Impressionism ............................................................................... 91 Expressionism: A Bold New Movement........................................... 97 Abstractionism .................................................................................. 101 Abstract Expressionism, Pop Art, Op Art......................................... 105 Installation and Performance Art ................................................... 111 Quarter II TECHNOLOGY-BASED ART ................................................... 117 Computer / Digital Art ................................................... 118 Mobile Phone Art / Computer-generated Images ............................. 123 Digital Photography ................................................... 127 Video Games / Digital Painting / Imaging Videos............................ 131 Quarter III MEDIA-BASED ARTS AND DESIGN IN THE PHILIPPINES ............................................................ 137 Photography ...................................................................................... 138 Film................................................................................................... 143 Animation / Comics Illustration / Digital Print Media...................... 147 Innovation in Product and Industrial Design..................................... 155 Quarter IV ORIGINAL PERFORMANCE WITH THE USE OF MEDIA ................................................... 162 Philippine Theater and Performing Groups ..................................... 163 Culminating Activity: Staging an Original Performance.................. 168 Music Glossary ........................................................................................................ 172 Music Pronunciation Guide ..................................................................................... 175 Arts Glossary .......................................................................................................... 176 Arts Pronunciation Guide ........................................................................................ 179 Music Bibliography ................................................................................................. 180 Arts Bibliography..................................................................................................... 181 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
v MUSIC Grade 10 Teacher’s Guide All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ii HORIZONS Grade 10 Teacher’s Guide Music and Arts Appreciation for Young Filipinos ISBN 978-971-793-022-0 Philippine Copyright 2015 by Tawid Publications All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means—electronic or mechanical, including photocopying, recording, or any information storage or retrieval system without prior written permission from the publisher. Published by Tawid Publications 102 B. Gonzales St., Xavierville II Loyola Heights, Quezon City 1108 Metro Manila, Philippines (+63-2) 453-7918 tawidcorp@yahoo.com; tawidpub@gmail.com Editorial Board Editors: Evelyn F. Cabanban Melissa Y. Moran Milagros P. Valdez, language reader Coordinator: Evelyn F. Cabanban Cover Design: Rowena E. Cabanban Cover Art and Divider Art: Joe Dureza All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
iii TABLE OF CONTENTS MUSIC Quarter I MUSIC OF THE 20th CENTURY ............................................... 1 Impressionism to Modern Nationalism ........................................... 2 Electronic Music and Chance Music................................................. 12 Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19 African Music and Latin American Music........................................ 20 Jazz, Popular Music, and OPM .................................................... 29 Quarter III CONTEMPORARY PHILIPPINE MUSIC................................. 36 Traditional Composers ............................................................. 37 New Music Composers ............................................................. 46 Song Composers ............................................................. 53 Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61 Opera in the Philippines.................................................................... 62 Ballet in the Philippines.................................................................... 71 Philippine Musical Plays................................................................... 78 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
iv ARTS Quarter I MODERN ART............................................................................... ..90 Impressionism ............................................................................... 91 Expressionism: A Bold New Movement........................................... 97 Abstractionism .................................................................................. 101 Abstract Expressionism, Pop Art, Op Art......................................... 105 Installation and Performance Art ................................................... 111 Quarter II TECHNOLOGY-BASED ART ................................................... 117 Computer / Digital Art ................................................... 118 Mobile Phone Art / Computer-generated Images ............................. 123 Digital Photography ................................................... 127 Video Games / Digital Painting / Imaging Videos............................ 131 Quarter III MEDIA-BASED ARTS AND DESIGN IN THE PHILIPPINES ............................................................ 137 Photography ...................................................................................... 138 Film................................................................................................... 143 Animation / Comics Illustration / Digital Print Media...................... 147 Innovation in Product and Industrial Design..................................... 155 Quarter IV ORIGINAL PERFORMANCE WITH THE USE OF MEDIA ................................................... 162 Philippine Theater and Performing Groups ..................................... 163 Culminating Activity: Staging an Original Performance.................. 168 Music Glossary ........................................................................................................ 172 Music Pronunciation Guide ..................................................................................... 175 Arts Glossary .......................................................................................................... 176 Arts Pronunciation Guide ........................................................................................ 179 Music Bibliography ................................................................................................. 180 Arts Bibliography..................................................................................................... 181 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
v MUSIC Grade 10 Teacher’s Guide All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
vi All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 1 Quarter I MUSIC OF THE 20TH CENTURY CONTENT STANDARDS The learner demonstrates understanding of... 1. The 20th century music styles and characteristic features. PERFORMANCE STANDARDS The learner... 1. Creates musical pieces using a particular style of the 20th century. LEARNING COMPETENCIES The learner... 1. Listens perceptively to selected 20th century music. 2. Describes distinctive musical elements of given pieces in 20th century styles. 3. Relates 20th century music to its historical and cultural background. 4. Explains the performance practice (setting, composition, role of composers/performers, and audience) of 20th century music. 5. Sings melodic fragments of given Impressionism period pieces. 6. Explores other arts and media that portray 20th century elements through video films or live performances. 7. Creates short electronic and chance music pieces using knowledge of 20th century styles. From the Department of Education curriculum for MUSIC Grade 10 (2014) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 2 QUARTER I MUSIC OF THE 20TH CENTURY Sessions 1, 2, 3, 4, and 5 IMPRESSIONISM TO MODERN NATIONALISM I. SUBJECT MATTER A. Topic: 20th Century Musical Styles: Impressionism to Modern Nationalism Sub-topics: Impressionism Expressionism Neo-Classicism Avant-Garde Modern Nationalism Composers (Debussy, Ravel, Schoenberg, Bartok, Stravinsky, Prokofieff, Poulenc, Stockhausen, Glass, Cage, Bernstein, Varese, and Gershwin) B. Materials: DVD/CD recordings, video clips, or recordings fromYouTube/ internet of Impressionistic, Expressionistic, Neo-Classicist, Avant Garde, and Modern Nationalistic music CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Visual arts pictures of Impressionistic, Expressionistic, and Modern Nationalistic paintings Charts of music scores C. Reference: Music Grade 10 LM - Pages 3-24 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Concepts on previous lessons on Romantic Music. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 3 2. Motivation a. Display pictures or posters of the paintings of impressionist painter Claude Monet, expressionist Jose Joya, and post-impressionist Van Gogh on the wall or board of the classroom. Let the students go around to view the pictures. b. Display and discuss pictures on action painting by Jackson Pollock. c. On a piece of pad paper, have the students describe each of the pictures in their own words (5 minutes). Collect their works. d. Call some volunteer students to read their descriptions or observations. Connect these to the new lesson. B. DEVELOPMENTALACTIVITY 1. Have the students listen to CD recordings or watch video clips from YouTube on Impressionist, Expressionist, Neo-Classicist,Avant-Garde, and Modern Nationalist music, while looking at the pictures of the paintings. 2. Ask them to analyze the characteristics and styles of each through discussion and sharing of insights. 3. Let them compare the paintings with their counterpart in music, in terms of the elements and characteristics of each. 4. Ask them to share their impressions, experiences, thoughts, and feelings after listening to the music and discussing all these. C. INTEGRATION 1. Integration of Music with Arts, Literature, and History through the use of paintings and music recordings. 2. Role playing - Call on volunteer students to depict the socio-historical context of one of the musical movements studied, Modern Nationalism, which incorporated folk songs and indigenous music. Infusion of values: Belief in the power of the mind and its ability to achieve one’s goals and control situations. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 4 D. GENERALIZATION The 20th century styles of impressionism and expressionism provided composers with the opportunity to express their thoughts based on outside impressions as well as ideas and expressions based on theirinner convictions. Other forms that emanated included neo-classicism, which is a return to the classical form and structure using modern harmonies and techniques of composition; avant garde, which deals with the parameters of sound in space; and Modern Nationalism, which is a combination of nationalist thematic materials with the modern techniques of composition. III. WHAT TO KNOW Let the students answer the following: 1. What group of people inspired many of Bartok’s compositions? 2. Which Russian composer created the music for the ballet The Firebird? 3. Who is considered the foremost impressionist? 4. What kind of musical style is attributed to Schoenberg and Stravinsky? 5. Who was the target audience of Prokofieff’s Peter and the Wolf? 6. Give an example of a musical work of each of the composers below. Write the title in the blanks. Composer Musical Work Debussy _____________________________________ Ravel _____________________________________ Schoenberg _____________________________________ Stravinsky _____________________________________ Bartok _____________________________________ Prokofieff _____________________________________ Poulenc _____________________________________ Gershwin _____________________________________ Glass _____________________________________ Bernstein _____________________________________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 5 IV. WHAT TO PROCESS Listening Activity: Works of 20th Century Composers 1. You will play excerpts of any (one) of the following musical examples: Debussy – Claire de Lune, La Mer, Children’s Corner Suite Ravel – Miroirs, Sonatine, Daphnis et Chloe, Jeux d’Eau, Bolero Schoenberg – Verklarte Nacht, Violin Concerto, Piano Concerto, Gurrelieder Bartok – String Quartet no. 4, Allegro, Mikrokosmos, Barbaro, Music for Strings Stravinsky – The Rite of Spring, Petrouchka, The Firebird Suite Prokofieff – Romeo and Juliet (ballet), Piano Sonatas Gershwin – An American in Paris, Porgy and Bess, Rhapsody in Blue, Someone to Watch Over Me Bernstein – Tonight from West Side Story, Clarinet Sonata Glass – Einstein on the Beach, Satyagraha, Akhnaten Poulenc – Concerto for Two Pianos, Dialogues des Carmelites 2. Let the students listen carefully to each excerpt and be able to recognize the distinct musical style of each composer. 3. Let them choose a composition that theylike. Let them write a short reaction paper on it.2. Listen carefully to each excerpt and be able to recognize the distinct musical style of each composer. 4. Based on this activity, let thestudents write a brief profile of the composer of the pieces played in a bond paper to be submitted the following meeting. V. WHAT TO UNDERSTAND A. Name the Composer, Title of the Music, Musical Style, and Description 1. After the Listening Activity, you will prepare selected excerpts of compositions by Debussy, Ravel, Schoenberg, Bartok, Stravinsky, Prokofieff, Poulenc, Glass, Bernstein, and Gershwin. 2. Divided into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, let the first student in each line goes to the board and writes the name of the composer. The All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 6 second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. Assign one student to tally the scores and announce the winners. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. After proclaiming the winners, the scorer will ask this question: What was the most significant thing that you have learned from this activity? VI. WHAT TO PERFORM A. Performance Activity 1: Video Clips / Watching Live /TV Performances Video Clips 1. Divide the class into four groups by having them count off from 1 to 4. 2. Have the students create and explore other arts (multi-media) that portray 20th centurymusical styles (impressionism, expressionism, jazz, avant garde) through a 10-minute video clip or MTV using theirdigital cameras or mobile phones. 3. Let them show and discuss their video works in class. Watching Live / TV Performances 1. Divide the class into groups. Assign groups who will re-enact what they watched. Assign other groups to do the video recording. 2. Have the students watch live performances of musical concerts, if available in their area, or let them watch live concerts recorded on TV or the internet (YouTube). 3. Let them re-enact in class what they have watched. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 7 4. Let the groups assign members to make a 10-minute audio video presentation, while the other members re-enact what they have seen on live concerts and on TV and internet. 5. Have the groups show and discuss their video works in class. B. Performance Activity 2: Singing or Humming Musical Fragments 1. Play several musical excerpts of selected 20th century composers. and briefly discuss the title, composer, and musical style of each. 2. Let the class listen carefully to each excerpt and be able to recognize the distinct musical style of each composer. 3. Have the students sing or hum some melodic fragments (portion only) of any of the following excerpts of 20th century music, together with the recordings: a. Claude Debussy’s Claire de Lune b. Leonard Bernstein’s West Side Story c. George Gershwin’s Rhapsody in Blue d. Ravel’s Bolero e. Any work of minimalist composers, Philip Glass or Meredith Monk f. Any work of nationalist composers, Erik Satie or Bela Bartok. 4. Based on the melodic fragments of the excerpts that they sang or hummed, they should be able to aurally identify the different selected works of the composers of the 20th century by naming the title and composer in a random short quiz (5 points). 5. Have the students choose a composition that they like. Ask them to write a brief profile about the composer, and to also give their personal reactions about the music on a one whole sheet of bond paper. 6. Let them submit it in class the next meeting. Evaluation Activity: “Drawing Lots” 1. After the above singing or humming activity, prepare a box containing slips of paper with the names of Debussy, Ravel, Gershwin, Bernstein, Glass, Monk, Satie, and Bartok written on them. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 8 2. Divide the class into four groups. Each group will choose four representatives who will be assigned as contestants. 3. Each contestant will draw a composer’s name from the box and must say three sentences about his compositional technique or musical style, his major contribution to modern music, and one work that shows his compositional style. 4. The rest of the groups will evaluate each contestant’s answer by flashing a card or paper marked “CORRECT” or “WRONG.” Each correct answer earns a point. 5. The group with the highest number of points wins the contest. C. Performance Activity 3: Film Showing or Video Watching 1. Have the students research on the 20th century musical play West Side Story written by Leonard Bernstein. 2. Instruct them to watch any video clip of West Side Story on the internet or YouTube. 3. Let them write a reaction paper explaining the following elements of the performance: a. Setting b. Musical compositions c. Role of composer and lyricist d. Role of performers (actors, actresses) e. Role of the audience (students) f. Sound and musical direction g. Script / screenplay h. Props, costumes, lighting 4. Divide the class into groups. Ask them these questions: Did you like what you watched? Why or why not? 5. Have them explain their answers on a one whole sheet of bond paper. Let each group report their answers in class. D. Performance Activity 4: Singing Songs from West Side Story All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 9 1. The students mayopt to do this as an individual or group activity. Groups will be divided into four. 2. Let the students listen to the songs Tonight, Maria, Somewhere, and America from video or recordings of West Side Story.Ask them to draw lots for the song to sing. 3. Have them sing and perform their song in class, with or without accompaniment. They may also sing with the recordings. 4. Let those students who are not performing act as judges for the performance evaluation. 5. Judges will have five placards, score cards, or paper sheets marked: BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. 6. Judges will display a score card after evaluating the performance. 7. One student maybe assigned to tabulate the scores after the performance. 8. Select and announce the “Best Performance” award. E. Performance Activity 5: Live Concert or Recording or Music Video Let the students choose the activity that they are interested in. 1. Class Concert – Live Performance a. Group the students into four. The first two groups will do the class concert. b. Have thegroup leader assign each member to do anyofthe following: singing, dancing, choreography, musical directing, playing an instrument (either as accompaniment to the song or dance, or a solo performance or as a band). They may use props and costumes, if needed. c. Let the groups perform in class their own original interpretation of the songs from West Side Story. 2. Recording or Music Video: Individual or Group Activity a. Have the remaining two groups choose their members. b. Let them record the performance of their classmates using a cassette recorder, or make a music video using a cellular phone, digital camera, or video camera. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 10 c. Have them play the recorded performance or show the music video to their classmates. The groups in the video or recording will choose the “Best Performers.” d. You will also rate the students’ performance based on the criteria below. e. Choose the “Best Video Presentation” based on creativity (50%) and presentation (50%). Evaluation of Performing Activities Let the students answer the following: Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair Rate scores are based on your performance quality. 1. How well did I perform the songs from West Side Story? ____________ 2 How well can I identify the different musical genres based on instrumentation, text, and purpose? ____________ 3. How well can I describe the characteristics of each through listening to their melody, harmony, rhythm, text, and mass appeal? ____________ 4. How well did I participate in the performance of the different activities? ____________ Teacher’s Rating of the Students’ Performance 1. Musicianship (60%) a. compositional concepts presented ____________ b. musical elements ____________ c. technique ____________ 2. Ensemble coordination (20%) ____________ 3. Ensemble organization (20%) ____________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 11 VII. EVALUATION Let the students answer the following: 1. What are the styles of 20th century classical music studied in this lesson? 2. Explain briefly how these styles have counterparts in the visual arts, particularly in painting. VIII. ENRICHMENTACTIVITIES / ASSIGNMENT A. Let the students answer the following: 1. Which of the styles that you studied do you like best? 2. Explain your answer in essay form. B. Encourage the students to search for the following video on YouTube and to view it for additional inights on 20th century music: Young People’s Concert: What is Impressionism by Leonard Bernstein They may also search for Bernstein’s other video lectures on music. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 12 QUARTER I MUSIC OF THE 20TH CENTURY Sessions 6, 7, and 8 20TH CENTURY MUSICAL STYLES: ELECTRONIC AND CHANCE MUSIC I. SUBJECT MATTER A. Topic: 20th Century Musical Styles: Electronic and Chance Music Sub-topics : Electronic Music Chance Music Composers (Cage, Stockhausen, Varese) B. Materials : DVD / CD recordings /video clips/ recordings from YouTube or the internet of Electronic and Chance Music CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Pictures, slides, video clips of musical gadgets used especially in Electronic Music Sound makers like stones, rice, radios, horns, and kitchen utensils C. Reference: Music Grade 10 LM. Pages 25-30 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Let the students go over the concepts they have learned about Impressionism, Expressionism, Modern Nationalism, Neo-Classicism and Avant-Garde Music. 2. Motivation: a. Hold a “Chance Music Experience.” Ask one student to simulate a performance concert sitting in front of the piano, keyboard, singing with amicrophone, just holding aguitar, or holding anyother musical instrument for 3 minutes without playing these. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 13 b. Discuss the performance and get reactions and observations from the class. What did they think? hear? see? feel? touch? smell? c. Use the experience as a bridge to the topic of the lesson. B. DEVELOPMENTALACTIVITY 1. Let the students listen attentively to CD recordings of Electronic and Chance Music. 2. Ask them to define/describe each of the two musical styles introduced in the recordings they listened to. 3. Discuss the history, characteristics, and operations of the two kinds of musical styles. 4. Have the students experiment with sounds on materials theyhad brought to class to create Chance Music. Divide the class into four or five groups, each with a written plan of what to accomplish. 5. Perform this experiment with a live concert of the two musical styles in the classroom. 6. Use new electronic equipment (if available) to listen to different sounds from the instruments (Example: synthesizer, cassettetape recorder, DVD player, karaoke, and others that you may think of). C. INTEGRATION 1. Integrate the useof electronic equipment, if available, and other materials that can produce sound as well as the use of modern technology gadgets in Music with lessons in Physics, Vocational Education, and Technology and Livelihood Education (TLE). 2. Show a picture of an action painting by Jackson Pollock and compare it with chance music. Infusion of values:Appreciation of the beauty of nature and the realization of their contribution to the environment. D. GENERALIZATION The modern musical tradition experimented with new sounds in classical music through such styles as Electronic Music and Chance Music. Through this experimentation, the novelty of sounds emanating from sources other than the traditional musical instruments played a major role in the compositions being created. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 14 III. WHAT TO KNOW Have the students answer thed following: 1. Who was the French composer known as the “Father of Electronic Music? 2. What are some of the new musical approaches of Cage? 3. What is meant by musique concrete used by Stockhausen? 4. Give an example of a musical work by Varese, Stockhausen, and Cage. Write your answers on the blanks below. Composer Musical Work Varese ___________________________ Stockhausen ___________________________ Cage ___________________________ IV. WHAT TO PROCESS Listening Activity: Works of 20th Century Composers 1. Play excerpts of any (one) of the following musical examples: Cage – 4’33"; Metamorphosis, for piano; Five Songs, for contralto soloist and piano; Music for Wind Instruments, for wind quintet Stockhausen – Etude, Electronic STUDIES I and II, Gesang der Junglinge, Kontakte, Momente, Hymnen Varese – Hyperprism for wind and percussion, Octandre for seven wind instruments and double bass, Intégrales for wind and percussion, Ionisation for 13 percussion players 2. Have the students listen carefully to each excerpt and be able to recognize the distinct musical style of each composer. 3. Let them choose a composition that theylike, and then write a short reaction paper on the composition and the profile of the composer. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 15 4. Have them submit this on one whole sheet of bond paper during the next meeting. At random, choose students to read their reactions in class. V. WHAT TO UNDERSTAND Name the Composer, Title of the Music, Musical Style, and Description 1. After the Listening Activity, prepare selected excerpts of compositions by Stockhausen, Cage, and Varese. 2. Divide the class into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, have the first student in each line goes to the board and writes the name of the composer.The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. Assign one student to be the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: What was the most significant thing that you have learned from this activity? VI. WHAT TO PERFORM A. Activity 1: Experimentation with the Sounds of 20th Century Music Systems Let the students do the following activity: 1. Chance Music – Put small items inside a bag. Include coins, pens, pins, small bells, and other articles with percussive sounds. Pour the bag’s contents on a hard surface. Then, using a cellphone or other available device, record the sounds that are produced. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 16 Put the items back in the bag. Then unload the same, while once again recording the sounds being produced. Note the changes between the two sets of sounds recorded. 2. Electronic Music – Create short electronic music pieces using your knowledge of 20th century musical styles. B. Performance Activity 2: Original Chance and Electronic Music Have the students do the following: Rate scores are based on the elements of music such as rhythm, melodic appeal, harmony and texture, tempo and dynamics, timbre, and overall musical structure BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. . 1. The class will be divided into four groups. 2. Each group will create an original five-minute performance of Chance Music and Electronic Music (if available) to be performed in class. 3. Those who are not performing will act as judges for the performance evaluation. 4. Judges will have five placards, score cards, or paper sheets marked: BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. They will display these score card after evaluating each performance. 5. One student maybe assigned to tabulate the scores after the performance. 6. Announce the “Best Performance” award. 7. Have the students answer this question: What was the role of the audience in the performance of Chance Music? Explain your answers. C. Performance Activity 3: Group Activity Video Clips 1. Divide the class into four groups by counting off from 1 to 4. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century 17 2. Let each group create and explore other arts (multi- media) that portray 20th century musical styles (Chance and Electronic Music) through a 10-minute video or MTV using their digital cameras or mobile phones. 3. They may use the internet as reference for their video clips. 4. Let them show and discuss their video works in class. Watching Live / TV Performances 1. Ask the students to watch live performances of musical concerts on Chance and Electronic Music, if available in their area; or to watch live concerts recorded on TV or the internet. 2. Let the group leaders choose two or three of their members as videographers for each group. Have them record and make a 10-minute audio video presentation, while the other group members re-enact what they have seen on live concerts and on TV. 3. Have them show and discuss their video works in class. 4. Choose the “Best Video Award” using the criteria: Creativity (50%) and Presentation (50%). Evaluation Activity: “Drawing Lots” 1. After the different performing activities, prepare a box containing slips of paper with the names of Cage, Stockhausen, and Varese. 2. Divide the class into four groups. Let each group choose four representatives who will be assigned as contestants. 3. Let each contestant draw out a composer’s name from the box and say three sentences about his compositional technique or musical style, his major contribution to modern music, and one work that shows his compositional style. 4. Let the rest of the groups evaluate each contestant’s answer by flashing a card or paper marked “CORRECT” or “WRONG.” Each correct answer earns a point. 5. The group with the highest number of points wins the contest. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 18 Evaluation of Performing Activities Have the students rate themselves based on their performance quality. Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair 1. How well did I perform chance and electronic music? ____________ 2 How well can I identify the different musical genres based on instrumentation, text, and purpose? ___________ 3. How well can I describe the characteristics of each through listening to their melody, harmony, rhythm, text, and mass appeal? ____________ 4. How well did I participate in the performance of the different activities? ____________ Teacher’s Rating of the Students’ Performance 1. Musicianship (60%) a. compositional concepts presented ____________ b. musical elements ____________ c. technique ____________ 2. Ensemble coordination (20%) ____________ 3. Ensemble organization (20%) ____________ VIII. ENRICHMENT ACTIVITY / ASSIGNMENT Have the students view this video which is available on the BBC and YouTube websites: BBC’s The Story of Music: Age of Rebellion and The Popular Age by Howard Goodall All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
19 Quarter II: Afro-Latin American and Popular Music Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of Afro-Latin American music and Popular music. PERFORMANCE STANDARDS The learner... 1. Performs vocal and dance forms of Afro-Latin American music and selections of Popular music. LEARNING COMPETENCIES The learner... 1. Observes dance styles, instruments, and rhythms of Afro Latin American and popular music through video, movies and live performances. 2. Describes the historical and cultural background of Afro-Latin American and popular music. 3. Listens perceptively to Afro-Latin American and popular music. 4. Dances to different selected styles ofAfro-LatinAmerican and popular music. 5. Analyzes musical characteristics ofAfro-LatinAmerican and popular music. 6. Sings selections of Afro-Latin American and popular music in appropriate pitch, rhythm, style, and expression. 7. Explores ways of creating sounds on a variety of sources suitable to chosen vocal and instrumental selections. 8. Improvises simple vocal/instrumental accompaniments to selected songs. 9. Choreographs a chosen dance music. 10. Evaluates music and music performances using knowledge of musical elements and style. From the Department of Education curriculum for MUSIC Grade 10 (2014) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
20 MUSIC Teacher’s Guide QUARTER II AFRO-LATIN AMERICAN AND POPULAR MUSIC Sessions 1, 2, 3, 4, and 5 AFRICAN MUSIC AND LATIN AMERICAN MUSIC I. SUBJECT MATTER A. Topic: African Music and LatinAmerican Music Sub-topics: African Music 1. Historical and cultural background 2. Musical instruments 3. Rhythms: Maracatu 4. Vocal forms: Blues, soul, spiritual, call and response Latin American Music 1. Historical and cultural background 2. Musical instruments 3. Vocal and dance forms: Cumbia, tango, cha-cha, rumba, bossanova, reggae, foxtrot, paso doble B. Materials: DVD/CD recordings, video clips, and internet recordings ofAfrican and LatinAmerican Music CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Photographs of Africa and Latin American culture and art, andAfrican and LatinAmerican musical instruments C. Reference: Music Grade 10 LM pages 38 - 64 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Concepts of Music of the 20th Century 2. Motivation a. Show video/film clips or any recording from YouTube of excerpts ofAfrican and LatinAmerican Music. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
21 Quarter II: Afro-Latin American and Popular Music Example: Lion KingforAfrican Music;Rio for LatinAmerican Music b. Play selected recordings of African and Latin American music. Examples: folk songs, instrumental music. c. Let the students listen to the music or watch the vido clips. On a piece of pad paper, let them describe the music that they listened to or watched in their own words. (5 minutes). d. Call some volunteer students to read their descriptions or observations. Connect these to the new lesson. B. DEVELOPMENTALACTIVITY 1. Ask the students to listen to CD/DVD recordings or watch MTVs from YouTube ofAfrican and Latin American music. 2. Have them analyze the characteristics and styles of each through discussion and sharing of insights. 3. Group Discussion: Let the students compare their insights with their classmates in terms of the elements and characteristics of each. 4. Have them share impressions, experiences, thoughts, and feelings after listening to the music and discussing all these. C. INTEGRATION Integration of Music with Arts, Literature, and History through the use of music recordings and video clips. Infusion of values: Belief in the power of the mind and its ability to achieve one’s goals and creativity. D. GENERALIZATION Music has always been an important part in the daily life of the African, whether for work, religion, ceremonies, or even communication. Singing, dancing, handclapping and thebeatingof drums are essential to manyAfrican ceremonies, includingthoseforbirth, death, initiation, marriage, and funerals. Music and dance are also important to religious expression and political events inAfrica. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
22 MUSIC Teacher’s Guide The music of Latin America is the product of three major influences – Indigenous, Spanish-Portuguese,andAfrican. Sometimes called Latin music, it includes the countries that have had a colonial history from Spain and Portugal. III. WHAT TO KNOW 1. What are the classifications ofAfrican music? 2. What are the characteristics of each classification ofAfrican music? 3. Name someAfrican musical instruments under the following categories: a. idiophones b. chordophones c. membranophones d. aerophones 4. Describe howAfrican musical instruments aresourced from the environment. Give examples. 5. What are the different vocal and dance forms of Latin American music? 6. What are the characteristics of each vocal and dance form of LatinAmerican music? 7. Which type of music was popularized by Bob Marley? 8. Which type of music was popularized byAntonio Carlos Jobim? 9. Who is known as the “Philippines’ Queen of Bossa Nova”? IV. WHAT TO PROCESS Class Activity 1. Play one recording of African and Latin American music. 2. Have the students participate in a class discussion on the distinctive features and qualities of each musical genre and style. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
23 Quarter II: Afro-Latin American and Popular Music V. WHAT TO UNDERSTAND Activity 1: Making Improvised African and Latin American Instruments Individual or Group Activity 1. Ask the students to make improvised African and LatinAmerican musical instruments using dried vegetables, animal hide, wood, strips of roofing metal, tin cans, bamboo, and other materials from the environment. 2. Have them create a rhythmic or harmonic accompaniment for anyAfrican and Latin American songs that they know using these improvised African and Latin American instruments. Let them use the internet for reference. 3. Have them answer: “How did you relate in making improvisedAfrican and LatinAmerican musical instruments found in the environment?” Activity 2: Choreography to Express the Music Individual or Group Activity 1. Have the students conceptualize a choreography to show some dance steps set to African and Latin American music. 2. Let them answer: “How does it feel to conceptualize the dance movements in each music category?” VI. WHAT TO PERFORM Group Activities 1. Class Singing Concert – live performance a. Divide the class into four groups.Ask each group to draw lots to sing a song from one of the following musical genres: For African Music - Kumbaya, Waka Waka, or Mbube For Latin-American music - One Note Samba; We are One (Ole Ola) the official song of the 2014 FIFAWorld Cup held in Brazil, written and co-produced by Pitbull and featuring Jennifer Lopez and Brazilian star Claudia Leitte. Let them research the lyrics and music. b. Let the students decide among their group members which of them will sing, plan the choreography or movements to accompany the song, play All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
24 MUSIC Teacher’s Guide a musical instrument, and record the group’s performance on video. c. Ask the students learn their assigned song, using the lyrics on the following pages. d. Have them practice it, with the choreographyand accompaniment. Then, let them perform in class. 2. Dance Interaction a. As they performs in class, have the performers invite the other class members to join them in the dance movements or choreography that they have prepared. They can do a “flash mob” style of dancing. b. Have the group leaders do an impromptu selection of the “Best Dance Performance” among their classmates. 3. Music Video Award a. During the class performance, let the assigned group member(s) to record their group’s performance using amobile phone, tablet, orvideo camera. b. Have them simulate a “Music Video Award” event by joining the other groups in presenting their respective videos in class. c. Ask the class members choose the “Best Song Performance” based on how well the group presented their assigned music genre. KUM BAY YA Kum Bay Ya is a spiritual song that was first recorded in the 1920s. It became a popular standard campfire song in Girl or Boy Scouting and during summer camps. The song is originally a simple petition to God to come and help those in need. This inspiring hymn is heard in many countries of Central Africa. It has great personal meaning and the singer often creates his own words as he works or pray. The words “Kum Bay Ya” mean “come by here” or “stay nearby.” All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
25 Quarter II: Afro-Latin American and Popular Music KUMBAYA Kum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya O Lord, kum bay ya. Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya O Lord, kum bay ya. Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya O Lord, kum bay ya. Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya O Lord, kum bay ya. Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya O Lord, kum bay ya. WAKAWAKA (This Time forAfrica) FIFAWorld Cup 2010 OfficialAnthem "Waka Waka (This Time for Africa)" or in Spanish, "Waka Waka (Esto es África)" is a song byColombian singer-songwriter Shakira. It feautures South African band, Freshlyground, and pairs an African Colombian rhythm with a Soca-inspired beat. Its lyrics encourage one to aim for one’s goals, like a soldier on a battlefield. The song was used as the official song of the 2010 FIFAWorld Cup held in South Africa. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
26 MUSIC Teacher’s Guide WAKAWAKA You're a good soldier You know it's serious Choosing your battles We're getting closer Pick yourself up This isn’t over And dust yourself off The pressure is on And back in the saddle You feel it You're on the frontline But you've got it all Everyone's watching Believe it ONE NOTE SAMBA Samba de Uma Nota Só ("One-Note Samba") is a song com- posed byAntonio Carlos Jobim, with Portuguese lyrics by New- ton Mendonça and English lyrics by Jobim. The song title refers to the main melody line, which at first consists of a long series of notes of a single tone. This is just a little samba Built upon a single note Other notes are bound to follow But the root is still that note Now this new note is the consequence Of the one we've just been through As I'm bound to be The unavoidable consequence of you There's so many people Who can talk and talk, and talk And just say nothing Or nearly nothing I have used up all the scale I know and at the end I've come to nothing I mean nothing All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
27 Quarter II: Afro-Latin American and Popular Music So I come back to my first note As I come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know So I come back to my first note I must come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know Evaluation of Performing Activities Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair Ask the students to answer the following: Rate scores are based on the groups’ performance quality. 1. How well did our group perform our assigned music? a. African music _______________ b. LatinAmerican music _______________ 2 How well can I identify the different musical genres based on instrumentation, melody, rhythm, text, timbre, harmony, and purpose? _______________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
28 MUSIC Teacher’s Guide 3. How well can I describe the characteristics of each genre as I listened to the melody, harmony, rhythm, and lyrics? _______________ 4. How well did our group perform the different dance moves for our assigned song? _______________ 5. How well can I (individually) sing the following musical genres? a. African music _______________ b. LatinAmerican music _______________ Teacher’s Rating of the Performance 1. Musicianship (60%) _______________ (musical elements, technique) 2. Presentation impact and showmanship (20%) _______________ 3. Ensemble coordination and organization (20%) _______________ VII. EVALUATION Have the students choose a new favorite musical genre. On a one fourth (1/4) sheet of pad paper, have them describe the character and classification ofAfrican and Latin American music and tell which is their favorite, and why. VIII. ENRICHMENT / ASSIGNMENT 1. Mini Concert: Divide the class into two groups. Assign African music to one group, and LatinAmerican music to the other group. Have them prepare for a mini concert of their assigned genre in the next meeting. 2. Research Work: Ask them to research or read on jazz, popular music, and OPM and write their personal impression about each genre. Let them submit it next meeting. 3. Video Analysis: Ask the students to watch the animated movies Lion King by Disney and Rio by Blue Sky Studios on the internet. Have them write a reaction paper regarding the musical forms and styles incorporated in these movies. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
29 Quarter II: Afro-Latin American and Popular Music QUARTER II AFRO-LATIN AMERICAN AND POPULAR MUSIC Sessions 6, 7, and 8 JAZZ, POPULAR MUSIC, AND ORIGINAL PILIPINO MUSIC I. SUBJECT MATTER A. Topic: Jazz Popular Music Original Pilipino Music (OPM) Sub-topics: Jazz – ragtime, big band, bebop, jazz rock Popular Music – ballad, standard, rock and roll, alternative music, disco Original Pilipino Music (OPM) B. Materials: DVD/CD recordings /video clips / recordings fromYouTube of Jazz Music, Popular Music, and OPM CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Pictures of Jazz, Popular Music, and OPM singers, composers, lyricists C. Reference: Music Grade 10 LM pages 65 - 87 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: a. Define and describeAfrian and LatinAmerican music. b. Give examples of musical instruments ofAfrica and LatinAmerica. 2. Motivation: a. Show video/film clips/MTVs or any recording from YouTube of Frank Sinatra, Nat King Cole, The Beatles, Michael Jackson, One Direction, The Vamps, Ed Sheeran, Taylor Swift, K pop, J pop, Freddie Aguilar, Francis Magalona, and Eraserheads. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
30 MUSIC Teacher’s Guide Or present in class video clips from the animated movie The Princess and The Frog and let the students listen to the background music which is jazz. b. Elicit responses through individual recitations or plain imitation of a short song melody. B. DEVELOPMENTALACTIVITY 1. Let the students listen to DVD/CD recordings or watch MTVs from YouTube of pop, rock, jazz, folk, country and western, rock and roll, hiphop, rap, and classical music. 2. Have them analyze/discuss the characteristics of each genre through comparison of their similarities and differenes. 3. Discuss the different aspects of the history of each musical genre in relation to Social Studies, and describe how each one is influenced by modern culture, society, and technology. 4. Let the students identify aurally the different genres of today’s music. 5. Call on volunteers to perform two or three of these genres in class. C. INTEGRATION 1. The lesson on Musical Genres of the 20th Century, dealing with folk and alternative music, as well as the modern idioms of jazz, popular music, and rock, may be integrated with Social Studies in reference to today’s society, culture, and technology. 2. Role Playing - Call on volunteer students to depict the socio-historical context of jazz and popular music, specifically rock and roll. Infusion of values: Ability to adapt to different situations in life and open- mindedness to new ideas. D. GENERALIZATION The emergence of 20th century musical genres is a reflection of modern life, balancing the traditional norms of society with the advances in science All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
31 Quarter II: Afro-Latin American and Popular Music and technology. Other than the genres that evolved from the traditionally classical styles, the new musical forms that developed included Country and Western, Jazz, Rock and Roll, Rock, and Alternative Music. III. WHAT TO KNOW Ask the students to answer the following: 1. How did the different forms of popular music reflect life in the 20th century? 2. Differentiate the characteristics of Philippine pop, rock, and rap music. 3. What role did media like radio, television, and recordings play in the development of these different musical genres? 4. Describe the “Manila Sound” in Philippine pop music. 5. Name some well-known OPM performers. IV. WHAT TO PROCESS Class Activity: Listening 1. Playone recording of each of the following: Jazz, Popular Music (standards, rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Instruct the class to listen carefully to each recording. 2. Have the students participate in a class discussion on the distinctive features and qualities of each musical genre and style. V. WHAT TO UNDERSTAND Activity: Choreography to Express the Music Individual or Group Activity 1. Ask the students to conceptualize a choreography to show some dance steps set to Jazz, Popular (Pop) Music, and OPM. 2. After this activity, ask the students: “How does it feel to conceptualize the dance movements in each music category?” All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
32 MUSIC Teacher’s Guide VI. WHAT TO PERFORM Group Activities 1. Class Singing Concert – live performance a. Divide the class into four groups. b. Each group will be asked to draw lots to sing a song from one of the following musical genres: For Jazz - choose from Someone to Watch Over Me byElla Fritzgerald (lyrics provided on the next page) or All That Jazz from the movie Chicago For Pop and OPM - choose your own song c. Have the students decide among their group members who will do the following: - sing - plan the choreography or movements to accompany the song - play a musical instrument - record the group’s performance on video. d. They will then learn their assigned song, using the lyrics provided or researched on the internet. Let them practice it, with the choreography and accompaniment. 2. Dance Interaction a. As they perform in class, ask the performers to invite the other class members to join them in the dance movements or choreography that they have prepared. They can do a “flash mob” style of dancing. b. Assign the group leaders to do an impromptu selection of the “Best Dance Performance” among their classmates. 3. Music Video Award a. During the class performance, ask the assigned group member(s) to record their group’s performance using a mobile phone, tablet, or video camera. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
33 Quarter II: Afro-Latin American and Popular Music Someone To Watch Over Me There's a saying old, says that love is blind Still we're often told, "Seek and ye shall find" So I'm going to seek a certain lad I've had in mind Looking everywhere, haven't found him yet He's the big affair I cannot forget Only man I ever think of with regret I'd like to add his initial to my monogram Tell me, where is the shepherd for this lost lamb? There's a somebody I'm longin' to see I hope that he, turns out to be Someone who'll watch over me I'm a little lamb who's lost in the wood I know I could, always be good To one who'll watch over me Although he may not be the man some Girls think of as handsome To my heart he carries the key Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Someone to watch over me b. Tell them to simulate a “Music Video Award” event by joining the other groups in presenting their respective videos in class. c. Ask the class members to choose the “Best Song Performance” based on how well the group presented their assigned music genre. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
34 MUSIC Teacher’s Guide Evaluation of Performing Activities Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair Rate scores are based on the groups’ performance quality. 1. How well did our group perform our assigned music? a. Jazz _______________ b. Popular Music _______________ c. OPM _______________ 2. How well can I identify the different musical genres based on instrumentation, melody, rhythm, text, timbre, harmony, and purpose? _______________ 3. How well can I describe the characteristics of each genre as I listened to the melody, harmony, rhythm, and lyrics? _______________ 4. How well did our group perform the different dance moves for our assigned song? _______________ 5. How well can I (individually) sing the following musical genres? a. African Music _______________ b. LatinAmerican Music _______________ Teacher’s Rating of the Performance 1. Musicianship (60%) _______________ (musical elements, technique) 2. Presentation impact and showmanship (20%) _______________ 3. Ensemble coordination and organization (20%) _______________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
35 Quarter II: Afro-Latin American and Popular Music VII. EVALUATION Make the students choose a new favorite musical genre. On a one fourth (1/4) sheet of pad paper, have them describe the character and classification of this genre and tell why it is their favorite. VIII. ENRICHMENT / ASSIGNMENT A. Research Work 1. Divide the class into three groups. Assign one musical genre to each group: jazz, popular music, and OPM. 2. Have the students research further on their assigned genre and the well- known musicians who composed/performed in this style. 3. Ask the students to briefly describe the life and works of their favorite artists in this genre. 4. Let them submit their resarch work in the next meeting.Ask 5 students to read their work in class. B. VideoAnalysis 1. Ask the students to watch the Disney animated movie The Princess and The Frog on the internet. 2. Have them write a reaction paper regarding the musical forms and styles incorporated in the movie. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 36 Quarter III CONTEMPORARY PHILIPPINE MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of contemporary music. PERFORMANCE STANDARDS The learner... 1. Sings contemporary songs. LEARNING COMPETENCIES The learner... 1. Listens perceptively to excerpts of major contemporary works. 2. Describes characteristics of traditional and new music. 3. Gives a brief biography of selected contemporary Philippine composers. 4. Sings selections of contemporary music with appropriate pitch, rhythm, style, and expression. 5. Explores ways of creating sounds on a variety of sources. 6. Improvises simple vocal/instrumental accompaniments to selected songs. 7. Creates a musical on the life of a selected contemporary Philippine composer. 8. Evaluates musicand music performances usingknowledgeof musical elements and style. From the Department of Education curriculum for MUSIC Grade 10 (2014) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 37 Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 1,2, and 3 TRADITIONAL COMPOSERS I. SUBJECT MATTER A. Topic: 20th Century Filipino Composers: Traditional Composers Sub Topics: Francisco Buencamino Francisco Santiago NicanorAbelardo Antonio Molina Hilarion Rubio Col. Antonino Buenaventura Rodolfo Cornejo Felipe Padilla de Leon Sr. Lucio San Pedro Rosendo Santos Jr. Alfredo Buenaventura Ryan Cayabyab B. Materials: Pictures/slides of composers Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players C. Reference: Music Grade 10 Learner’s Materials Pages 89-109 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 38 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Recall concepts from the past lesson. 2. Motivation: As the class listens to the recordings, display on the board pictures of each of the composers. Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart or list of composers from the last lesson. B. DEVELOPMENTALACTIVITY Have the students do the following: 1. Let the students listen to and watch presentations of the lives, musical achievements, and works of Francisco Buencamino Sr., Francisco Santiago, NicanorAbelardo, Antonio Molina, Hilarion Rubio, Col. Antonino Buenaventura, Rodolfo Cornejo, Felipe Padilla de Leon Sr., Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura, and Ryan Cayabyab. 2. Have them watch the following video clips on YouTube: a. Larawan and Mayon Fantasy by Francisco Buencamino performed by Cecille Licad, international concert pianist b. Nocturne by Nicanor Abelardo performed by Raul Sunico, international concert pianist c. Serenata by Nicanor Abelardo performed by Renato Lucas, cello and Raul Sunico, pianist d. Anak Dalita by Francisco Santiago e. Sa Ugoy ng Duyan by Lucio San Pedro performed by Lea Salonga f. Kumukutikutitap and Kay Ganda ng ating Musika byRyan Cayabyab 3. Let them express their a) personal reactions or feelings; and b) analysis of the musical elements present about these composers’ works through group discussion. Report the outcome of the group discussion in class. C. INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine Historyfor a better understanding of the musical styles and their sources of influence. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 39 Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage. D. GENERALIZATION Filipino composers of the 20th centurycontributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions. III. WHAT TO KNOW 1. Discuss the lives and musical contributions of the following 20th century Filipino composers: a. Francisco Buencamino Sr. g. Rodolfo Cornejo b. Francisco Santiago h. Felipe Padilla de Leon Sr. c. NicanorAbelardo i. Lucio San Pedro d. Antonio Molina j. Rosendo Santos Jr. e. Hilarion Rubio k. Alfredo Buenaventura f. Col. Antonino Buenaventura l. Ryan Cayabyab 2. Point out the characteristics of the musical style of the above-mentioned Filipino composers. Composer Characteristics of the Musical Style ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 40 IV. WHAT TO PROCESS A. Listening Activity 1. Play excerpts of recordings of any one composition by the following Filipino song composers: Antonio Molina - Hatinggabi, Misa Antoniana, Grand Festival Mass, Ang Batingaw, Kundiman- Kundangan; String Quartet, Kung sa Iyong Gunita, Pandangguhan, Amihan, Awit ni Maria Clara, Larawan Nitong Pilipina Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, Lahing Kayumanggi Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, Te Deum, Kay Ganda ng Ating Musika, Limang Dipang Tao, Da Coconut Nut, Alikabok, Spoliarium, Kumukuti-kutitap Col. Antonino Buenaventura - Minuet, Mindanao Sketches, Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings, Pandanggo sa Ilaw, Princesa ng Kumintang, Pandanggo ni Neneng Alfredo Buenaventura - Maria Makiling (1961), Diego Silang(1966), Prinsesa Urduha (1969); Ang Ating Watawat (1965), Pasko ng Barangay (1964); Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great Malayan Antagonist (1990) Rodolfo Cornejo - A la Juventud Filipina, Bailes deAyer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakas at Maganda Overture, Okaka, Oriental Fantasy, IbongAdarna, Piano Concerto Nos. 1,2,3, Ruby, Song of the Miners Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo, Florente at Laura, Halik, Danza, Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway, Concertino in C (Marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang Araw, In a Tropcal Sea, Filipino Youth, Nela, Light, Narra, Mutya ng Silangan All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 41 Rosendo Santos Jr. - Melinda’s Masquerade NicanorAbelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng Pasig, Paskong Anong Saya, Cavatina, Kundiman ng Luha, Magbalik Ka Hirang Francisco Santiago - Kundiman (Anak Dalita), Himutok, Pakiusap, Madaling Araw, Sakali Man, Pilipinas Kong Mahal, Ano Kaya ang Kapalaran? Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan, Payapang Daigdig, Pasko na Naman, Noche Buena, Kay Tamis ng Buhay, Sapagkat Mahal Kita Francisco Buencamino - Harana, Pandanggo ni Neneng, Collar de Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament, Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng Kumintang, Maligayang Bati, Ang Bukang Liwayway, Ang Bagong Balitaw, Himig ng Nayon, Damdamin (Romance), Pizzicato Caprice 2. Let the students listen carefully to each excerpt and recognize the different musical styles of the composers. 3. Have them analyze the music by taking note of the elements of music present: rhythm, melody, tempo, dynamics, texture, harmony, form, and timbre. 4. Let them choose a composition that they like, and then write a short reaction paper on it in relation to the musical elements. B. Evaluation of Listening Activity Name the Composer, Title of the Music, Musical Style, and Description 1. After the above Listening Activity, prepare selected excerpts of compositions byLucio San Pedro, Col.Antonino Buenaventura,Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino, Hilarion Rubio, Rosendo Santos Jr., Francisco Santiago, Nicanor Abelardo, Felipe Padilla de Leon Sr., and Ryan Cayabyab. 2. Divide the class into four teams, with each team forming a line. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 42 3. As you playa few measures of the first musical excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. Assign one student as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: What was the most significant thing that you have learned from this activity? V. WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1. Have the students compose a simple song, for which they will create both the lyrics and the music. 2. They may adapt a certain melody from the compositions of the song composers that they like, and then write new lyrics to fit the music. 3. They may also include an accompaniment using a guitar, flute, recorder, keyboard, drums, tambourine, maracas, or even improvised musical instruments from the environment. 4. Have the students sing their original songs or adaptations in class, either a capella (without accompaniment) or with accompaniment. 5. Ask them this question: What motivated you to compose or adapt the music of that particular song? VI. WHAT TO PERFORM A. Singing Activity Individual or in groups: Let the students sing any of the compositions of Lucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., Nicanor Abelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 43 If individual activity, let the students choose one composition that they will perform. If group activity, let them do the following procedure: 1. Divide the class into four groups. 2. Let the students choose any traditional composer, and research further on his compositions, if needed. 3. After researching, have them select one composition that they like best or they are familiar with. Or they may opt to learn a new song. 4. Let them choose their group’s musical director. 5. To learn and practice their chosen song, the students may bring to class “minus one” music on a CD, mobile phone, or USB. 6. Theymayadd instrumental accompaniment using aguitar, flute, recorder, maracas, tambourine, keyboard, or a combination of any of these. 7. They mayalso improvise simple vocal or instrumental accompaniment, by exploring ways of creating sounds from a variety of sources or from the environment. 8. Let them sing the song in class with their groupmates interpreting the music with appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony, and expression. 9. After all the performances, choose the “Best Singing Group” based on: - musicianship (musical elements) 60% - presentation impact and showmanship 20% - ensemble coordination and organization 20% 10. Have all the students evaluate by rating each other’s performance and their own performance. Evaluation of Singing Activity Have the students rate the individuals/groups based on performance quality: Rating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - Fair All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 44 Rating the other performers (if individual activity): 1. How well did the performers express the message of the songs? __________ 2. How well did the performers pronounce the lyrics of the songs? __________ 3. How well did the performers sing based on musical elements and style: a. pitch __________ b. rhythm __________ c. style __________ d. expression __________ e. dynamics __________ f. melody __________ g. timbre __________ h. texture __________ i. harmony __________ Rating the group members (if group activity): 1. How well did the group members express the message of the songs? __________ 2. How well did the group members sing? __________ 3. How well did the group members participate? __________ B. Creating and Performing Activities: Musical 1. Divide the class into four groups. Each group will choose a traditional composer who was discussed in class, and research further on his life and works. 2. Have the students create a contemporary musical on the life of their chosen composer. Encourage them to incorporate some of his compositions (melodic fragments) in the musical’s story line. 3. For the creation of the musical, have the students improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) for the songs that they have chosen. 4. Let them also explore ways of creating sounds as accompaniment on a variety of sources or from the environment. 5. Each group will then perform their original musical in class. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 45 6. Choose the “Best Group Musical Performance” based on: - musicianship (musical elements) 50% - audience impact and showmanship 20% - ensemble coordination and organization 20% - stage discipline or deportment 10% Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - Fair Rating the other performers/groups: 1. How well did the performers express the message of the musical? __________ 2. How well did they perform in the musical based on the following: a. voice quality __________ b. expression __________ c. stage presence __________ d. audience impact __________ e. mastery of the musical __________ g. musical elements (rhythm, melody, dynamics) __________ h. technique __________ i. showmanship __________ Rating your own group members: 1. How well did your group members express the message of the musical? __________ 2. How well did your group members perform? __________ 3. How well did your group members coordinate with each other during the performance in the ensemble? __________ 4. How well did your group organize yourselves in the ensemble? __________ Rating myself: 1. How well did I express the message of the musical? __________ 2. How well did I perform with my group? __________ 3. How well did I coordinate with the other members during the performance in the ensemble? __________ 4. How well did I cooperate in the ensemble? __________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 46 Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 4 and 5 NEW MUSIC COMPOSERS I. SUBJECT MATTER A. Topic: 20th Century Filipino Composers: New Music Composers Sub Topics: Jose Maceda Lucrecia Kasilag Ramon Santos Fr. Manuel Maramba, OSB Jerry Dadap Francisco Feliciano Josefino “Chino” Toledo Jonas Baes B. Materials: Pictures/slides of composers Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players C. Reference: Music Grade 10 Learner’s Materials Pages 119-124 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Recall concepts from the past lesson. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 47 2. Motivation: Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart of composers begun in the last lesson. As the class listens to selected excerpts of the recordings, display on the board pictures of each of the composers. B. DEVELOPMENTALACTIVITY 1. Have the students watch and listen to presentations of the lives, musical achievements, and works of Jose Maceda, Lucrecia Kasilag, Ramon Santos, Fr. Manuel Maramba, OSB, Jerry Dadap, Francisco Feliciano, Josefino “Chino” Toledo, and Jonas Baes. 2. Let them watch the following musical examples on YouTube: a. Udlot-udlot by Jose Maceda performed at Senri Expo Park, Japan b. Huntahang Gitara composed and conducted by Josefino Toledo c. Banwa by Jonas Baes d. Lullaby by Lucrecia Kasilag, National Artist for Music e. Pamugun by Francisco Feliciano, National Artist for Music f. Alay sa Inang Bayan by Jerry Dadap 3. Ask the students to express their personal reactions or feelings about these composers’ works through group discussion and analysis. Have them report the outcome of the group discussion in class. C. INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the styles and their sources of influence. Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage. D. GENERALIZATION Filipino composers of the 20th centurycontributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 48 III. WHAT TO KNOW Let the students answer the following: 1. Research on and describe the characteristics of New Music. 2. Discuss the lives and works ofthe following 20th centuryFilipino composers and performers: a. Jose Maceda e. Jerry Dadap b. Lucrecia Kasilag f. Francisco Feliciano c. Ramon Santos g. Josefino “Chino” Toledo d. Fr. Manuel Maramba, OSB h. Jonas Baes 3. Point out the characteristics of the musical styles of the above-mentioned Filipino composers. Composer Characteristics of the Musical Style ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ IV. WHAT TO PROCESS A. Listening Activity 1. Play excerpts of recordings of any one composition by the following Filipino New Music composers: All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 49 a. Jose Maceda - Ugma-Ugma; Agungan; Pagsamba; Ugnayan; Udlot Udlot b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legend of the Sarimanok; Divertissement and Concertante; Dularawan c. Josefino “Chino” Toledo - 2nd Og-og; Abe; Ako ang Daigdig; Alitaptap; Aliw-iw; Awiting Bayan; Barasyon; Asia; Kah-non; Humigit Kumulang; Lima; Mi-sa; Missa de gallo; Oyog-Oyog; Musika para sa; Pasyon at Buhay; Pompyang; Pintigan; Pilipino Komiks; Sigaw; Tatluhan; Auit, Ub-og; Ug-nay; Tula-li d. Francisco Feliciano - Sikhay sa Kabila ng Paalam;Ashen Wings; La Loba Negra; Prelude and Toccata ; Fragments; Yerma; The life of wartime Filipino hero, JoseAbad Santos; Transfiguration; Missa Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag; Pamugún; Restless e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I); Mangamuyo II; The Redemption; Five Little Fingers; Tubig ng Buhay; Dakilang Pagpapatawad;Andres Bonifacio, Ang Dakilang Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-ang Epic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniway at Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; Diyos Ama ay Purihin f. Fr. Manuel Maramba, OSB - Aba!, Sto. Niño; La Naval; Lord Takayama Ukon; Awakening; Seven Mansions; Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass in Honor of the Sto. Niño; cantatas St. Lorenzo Ruiz, St. Benedict, and St. Scholastica; Three Psalms—A hymn in honor of St. Lorenzo Ruiz, and the official hymn of the 1996 National Eucharistic Congress; Ang Sarswela sa San Salvador; Pugad Lawin; The Virgin of Naval; Transfiguration g. Ramon Santos - Ding Ding nga Diyawa; Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa Wikang Pilipino (para sa labing anim na tinig); L’BAD h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO- IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA; PANTAWAG; BASBASAN (Blessing) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 50 2. Let students listen carefully to each excerpt and be able to recognize the different musical elements and styles of the composers. 3. Have them analyze the music focusing on the elements of music present, such as rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre. 4. Let them choose a composition that they like and write a reaction paper on it. B. Evaluation of Listening Activity: Name the Composer, Title of the Music, Musical Style, and Description 1. After the above Listening Activity, prepare selected excerpts of the compositions that the students had listened to. 2. Divide the class into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. One student will be assigned as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: What was the most significant thing that you have learned from this activity? V. WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1. Divide the class into groups. Let them perform in solo, duet, trio, quartet, and quintet. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 51 2. Each group will compose a simple song incorporating indigenous music and folksongs; or they may adapt a certain melody from the compositions of the New Music composers that they like. 3. Have them write new lyrics to fit the music, and include an accompaniment using guitar, flute, recorder, keyboard, percussion, or improvised musical instruments. 4. If appropriate, encourage them to choreograph dance movements to interpret the music of the composer that they have chosen. 5. All the groups will then perform their composition or song adaptation in class, either a capella (without accompaniment) or with accompaniment. 6. Have the students answer the following: “How did you feel in incorporating our indigenous music in your composition or song adaptation?” Have them submit this paper in class next meeting. VI. WHAT TO PERFORM Creating and Performing Activities: Musical 1. Divide the class into four groups. Each group will choose a traditional composer who was discussed in class, and research further on his life and works. 2. Based on their research, have them create a contemporary musical on the life of their chosen composer, incorporating some of his compositions (melodic fragments) in the musical’s story. 3. Encourage them to improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) to the songs that they have chosen. 4. For the creation of the musical, ask them to explore ways of creating sounds as accompaniment on a variety of sources or from the environment. 5. All the groups will then perform their musical in class. 6. Choose the “Best Group Musical Performance” based on: - musicianship (musical elements) 50% - audience impact and showmanship 20% - ensemble coordination and organization 20% - stage discipline or deportment 10% All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 52 Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - Fair Rating the other performers/groups: 1. How well did the performers express the message of the musical? __________ 2. How well did the performers sing and act in the musical based on the following: a. voice quality __________ b. expression __________ c. stage presence __________ d. audience impact __________ e. mastery of the musical __________ f. pitch __________ g. rhythm __________ h. style __________ i. acting __________ Rating your own group members: 1. How well did your group members express the message of the musical? __________ 2. How well did your group members perform? __________ 3. How well did your group members participate? __________ Rating myself: 1. How well did I express the message of the musical? __________ 2. How well did I perform with my group? __________ 3. How well did I coordinate with the other members during the performance in the ensemble? __________ 4. How well did I cooperate in the ensemble? __________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music 53 Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 6, 7, and 8 SONG COMPOSERS I. SUBJECT MATTER A. Topic: 20th Century Filipino Composers: Song Composers Sub Topics: Levi Celerio Constancio de Guzman Mike Velarde Jr. Ernani Cuenco Restie Umali George Canseco Angel Peña Leopoldo Silos Santiago Suarez B. Materials: Pictures/slides of composers Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players C. Reference: Music Grade 10 Learner’s Materials Pages 125-140 II. LESSON PROPER A. PRELIMINARYACTIVITY All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide 54 1. Review: Recall concepts from the past lesson. 2. Motivation: As the class listens to the recordings, display on the board pictures of each of the composers. Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart of composers in the last lesson. B. DEVELOPMENTALACTIVITY Have the students do the following: 1. Let the students watch and listen to presentations of the lives, musical achievements, and works of Levi Celerio, Constancio de Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco,Angel Peña, Leopoldo Silos, Santiago Suarez 2. Have them watch the following video clips on YouTube a. Bayan Ko by Constancio de Guzman as performed by Lea Salonga b. Bato sa Buhangin by Ernani Cuenco, National Artist for Music as performed by Raul Sunico, international concert pianist c. Hanggang sa Dulo ng Walang Hanggan by George Canseco as performed by Raul Sunico, international concert pianist d. MaestroAngel Peña, The Trailblazer of Pinoy Jazz (Documentary) e. Levi Celerio on Ryan Cayabyab Show;ASAP18 presents The Music of Levi Celerio; Regine Velazquez-Levi Celerio OPM Classics with Ryan Cayabyab f. Dahil sa Iyo by Mike Velarde Jr g. Saan Ka Man Naroroon by Restie Umali h. Dahil sa Isang Bulaklak by Leopoldo Silos Jr. i. Bakya Mo Neneng bySantiago Suarez as performed bythe Mabuhay Singers 3. Let the students express their personal reactions or feelings about these composers’ works through group discussion and analysis. Then, have them report the outcome of the group discussion in class. C. INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the styles and their sources of influence. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg
Musicartsgr10tg

Recommended

Technology based arts
Technology based artsTechnology based arts
Technology based artsCey Gloria
 
Popular music
Popular musicPopular music
Popular musicBombie Dalangin
 
Music 10 lesson #3 electronic and chance music
Music 10 lesson #3 electronic and chance musicMusic 10 lesson #3 electronic and chance music
Music 10 lesson #3 electronic and chance musicEdessa Tolentino Torres
 
Grade 10 music QUARTER 1
Grade 10 music QUARTER 1Grade 10 music QUARTER 1
Grade 10 music QUARTER 1Christine Graza-Magboo
 
Chance Music
Chance MusicChance Music
Chance MusicJuan Miguel Palero
 
ART 9 FIRST QUARTER
ART 9 FIRST QUARTERART 9 FIRST QUARTER
ART 9 FIRST QUARTERmary katrine belino
 
Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...
Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...
Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...Jewel Jem
 
Chance Music
Chance MusicChance Music
Chance MusicHiroshi Nocum
 

Recommended

Technology based arts
Technology based artsTechnology based arts
Technology based artsCey Gloria
 
Popular music
Popular musicPopular music
Popular musicBombie Dalangin
 
Music 10 lesson #3 electronic and chance music
Music 10 lesson #3 electronic and chance musicMusic 10 lesson #3 electronic and chance music
Music 10 lesson #3 electronic and chance musicEdessa Tolentino Torres
 
Grade 10 music QUARTER 1
Grade 10 music QUARTER 1Grade 10 music QUARTER 1
Grade 10 music QUARTER 1Christine Graza-Magboo
 
Chance Music
Chance MusicChance Music
Chance MusicJuan Miguel Palero
 
ART 9 FIRST QUARTER
ART 9 FIRST QUARTERART 9 FIRST QUARTER
ART 9 FIRST QUARTERmary katrine belino
 
Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...
Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...
Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...Jewel Jem
 
Chance Music
Chance MusicChance Music
Chance MusicHiroshi Nocum
 
Popular music grade 10
Popular music grade 10Popular music grade 10
Popular music grade 10Harold Lebria
 
GRADE 10 Music week 1
GRADE 10 Music week 1GRADE 10 Music week 1
GRADE 10 Music week 1Joyce Francisco
 
Vocal music of the Romantic Period
Vocal music of the Romantic PeriodVocal music of the Romantic Period
Vocal music of the Romantic PeriodJoana Bernasol
 
Contemporary phil. music music 10-q3
Contemporary phil. music music 10-q3Contemporary phil. music music 10-q3
Contemporary phil. music music 10-q3Brenda Catalya
 
Grade 10 music q3
Grade 10 music q3Grade 10 music q3
Grade 10 music q3Christine Graza-Magboo
 
Music g10 2nd quarter latin american music
Music g10 2nd quarter latin american musicMusic g10 2nd quarter latin american music
Music g10 2nd quarter latin american musicMark Anthony Janer
 
Grade 10 arts quarter1 modern art
Grade 10 arts quarter1 modern art Grade 10 arts quarter1 modern art
Grade 10 arts quarter1 modern art mrianzo
 
African and-latin-american-music
African and-latin-american-musicAfrican and-latin-american-music
African and-latin-american-musicangelynsicat
 
Music 10 lesson #1 latin american music
Music 10 lesson #1 latin american musicMusic 10 lesson #1 latin american music
Music 10 lesson #1 latin american musicEdessa Tolentino Torres
 
Media based arts and designs in the philippines
Media based arts and designs in the philippinesMedia based arts and designs in the philippines
Media based arts and designs in the philippinesSchool
 
Grade 10 arts q2
Grade 10 arts q2Grade 10 arts q2
Grade 10 arts q2Christine Graza-Magboo
 
20th and 21st century MUSIC
20th and 21st century MUSIC20th and 21st century MUSIC
20th and 21st century MUSICgenniegrace
 
Afro latin music - music10-q2
Afro latin music - music10-q2Afro latin music - music10-q2
Afro latin music - music10-q2Brenda Catalya
 
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...Talangan Integrated National High School
 
Modern Nationalism Music
Modern Nationalism MusicModern Nationalism Music
Modern Nationalism MusicNick Cruz
 
Festival Dances-Grade 9
Festival Dances-Grade 9Festival Dances-Grade 9
Festival Dances-Grade 9Kaypian National High School
 
Pe active recreation
Pe active recreationPe active recreation
Pe active recreationJoana Bernasol
 
Music 10 lesson #1 african music
Music 10 lesson #1 african musicMusic 10 lesson #1 african music
Music 10 lesson #1 african musicEdessa Tolentino Torres
 
ROMANTIC PERIOD MUSIC
ROMANTIC PERIOD MUSICROMANTIC PERIOD MUSIC
ROMANTIC PERIOD MUSICCey Gloria
 
arts grade 10 quarter 2
arts grade 10 quarter 2 arts grade 10 quarter 2
arts grade 10 quarter 2Ronalyn Concordia
 
MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 complete
MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 completeMUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 complete
MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 completeV7_JED
 
A world of music
A world of musicA world of music
A world of musicGisela Serra
 

More Related Content

What's hot

Popular music grade 10
Popular music grade 10Popular music grade 10
Popular music grade 10Harold Lebria
 
Vocal music of the Romantic Period
Vocal music of the Romantic PeriodVocal music of the Romantic Period
Vocal music of the Romantic PeriodJoana Bernasol
 
Contemporary phil. music music 10-q3
Contemporary phil. music music 10-q3Contemporary phil. music music 10-q3
Contemporary phil. music music 10-q3Brenda Catalya
 
Music g10 2nd quarter latin american music
Music g10 2nd quarter latin american musicMusic g10 2nd quarter latin american music
Music g10 2nd quarter latin american musicMark Anthony Janer
 
Grade 10 arts quarter1 modern art
Grade 10 arts quarter1 modern art Grade 10 arts quarter1 modern art
Grade 10 arts quarter1 modern art mrianzo
 
African and-latin-american-music
African and-latin-american-musicAfrican and-latin-american-music
African and-latin-american-musicangelynsicat
 
Media based arts and designs in the philippines
Media based arts and designs in the philippinesMedia based arts and designs in the philippines
Media based arts and designs in the philippinesSchool
 
20th and 21st century MUSIC
20th and 21st century MUSIC20th and 21st century MUSIC
20th and 21st century MUSICgenniegrace
 
Afro latin music - music10-q2
Afro latin music - music10-q2Afro latin music - music10-q2
Afro latin music - music10-q2Brenda Catalya
 
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...Talangan Integrated National High School
 
Modern Nationalism Music
Modern Nationalism MusicModern Nationalism Music
Modern Nationalism MusicNick Cruz
 
ROMANTIC PERIOD MUSIC
ROMANTIC PERIOD MUSICROMANTIC PERIOD MUSIC
ROMANTIC PERIOD MUSICCey Gloria
 

What's hot (20)

Popular music grade 10
Popular music grade 10Popular music grade 10
Popular music grade 10
 
GRADE 10 Music week 1
GRADE 10 Music week 1GRADE 10 Music week 1
GRADE 10 Music week 1
 
Vocal music of the Romantic Period
Vocal music of the Romantic PeriodVocal music of the Romantic Period
Vocal music of the Romantic Period
 
Contemporary phil. music music 10-q3
Contemporary phil. music music 10-q3Contemporary phil. music music 10-q3
Contemporary phil. music music 10-q3
 
Grade 10 music q3
Grade 10 music q3Grade 10 music q3
Grade 10 music q3
 
Music g10 2nd quarter latin american music
Music g10 2nd quarter latin american musicMusic g10 2nd quarter latin american music
Music g10 2nd quarter latin american music
 
Grade 10 arts quarter1 modern art
Grade 10 arts quarter1 modern art Grade 10 arts quarter1 modern art
Grade 10 arts quarter1 modern art
 
African and-latin-american-music
African and-latin-american-musicAfrican and-latin-american-music
African and-latin-american-music
 
Music 10 lesson #1 latin american music
Music 10 lesson #1 latin american musicMusic 10 lesson #1 latin american music
Music 10 lesson #1 latin american music
 
Media based arts and designs in the philippines
Media based arts and designs in the philippinesMedia based arts and designs in the philippines
Media based arts and designs in the philippines
 
Grade 10 arts q2
Grade 10 arts q2Grade 10 arts q2
Grade 10 arts q2
 
20th and 21st century MUSIC
20th and 21st century MUSIC20th and 21st century MUSIC
20th and 21st century MUSIC
 
Afro latin music - music10-q2
Afro latin music - music10-q2Afro latin music - music10-q2
Afro latin music - music10-q2
 
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...
Grade 9 Health. First Quarter. Lesson 1. The Concepts of Community and Enviro...
 
Modern Nationalism Music
Modern Nationalism MusicModern Nationalism Music
Modern Nationalism Music
 
Festival Dances-Grade 9
Festival Dances-Grade 9Festival Dances-Grade 9
Festival Dances-Grade 9
 
Pe active recreation
Pe active recreationPe active recreation
Pe active recreation
 
Music 10 lesson #1 african music
Music 10 lesson #1 african musicMusic 10 lesson #1 african music
Music 10 lesson #1 african music
 
ROMANTIC PERIOD MUSIC
ROMANTIC PERIOD MUSICROMANTIC PERIOD MUSIC
ROMANTIC PERIOD MUSIC
 
arts grade 10 quarter 2
arts grade 10 quarter 2 arts grade 10 quarter 2
arts grade 10 quarter 2
 

Similar to Musicartsgr10tg

MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 complete
MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 completeMUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 complete
MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 completeV7_JED
 
The Localization of Christianity in Bangkok Protestant Churches: A Study on C...
The Localization of Christianity in Bangkok Protestant Churches: A Study on C...The Localization of Christianity in Bangkok Protestant Churches: A Study on C...
The Localization of Christianity in Bangkok Protestant Churches: A Study on C...xingledout
 
The English language
The English languageThe English language
The English languagetranslatorale
 
Feasibility of a music studio in pakistan
Feasibility of a music studio in pakistanFeasibility of a music studio in pakistan
Feasibility of a music studio in pakistanAbubakr Naushahi
 
Yunhe Li (R00077965)Thesis 2013
Yunhe Li (R00077965)Thesis 2013Yunhe Li (R00077965)Thesis 2013
Yunhe Li (R00077965)Thesis 2013李運賀 LI Yunhe
 
2009 Eurostat Regional Yearbook 09
2009 Eurostat Regional Yearbook 092009 Eurostat Regional Yearbook 09
2009 Eurostat Regional Yearbook 09guest4c3ea7
 
2009 Eurostat Regional Yearbook 09
2009 Eurostat Regional Yearbook 092009 Eurostat Regional Yearbook 09
2009 Eurostat Regional Yearbook 09Madrid Network
 
Eurostat Regional Yearbook
Eurostat Regional YearbookEurostat Regional Yearbook
Eurostat Regional Yearbooksynapticaweb
 
Music questionnaire (new)
Music questionnaire (new)Music questionnaire (new)
Music questionnaire (new)TriciaBrown354
 
Materyal Tasarım
Materyal TasarımMateryal Tasarım
Materyal Tasarımdennnis35
 
Discover China Presentation
Discover China PresentationDiscover China Presentation
Discover China Presentationfmayor
 
Into the Universe of Technical Images
Into the Universe of Technical ImagesInto the Universe of Technical Images
Into the Universe of Technical ImagesVapula
 
Pop magazine questionnaire
Pop magazine questionnairePop magazine questionnaire
Pop magazine questionnaireharriet-watts25
 

Similar to Musicartsgr10tg (20)

MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 complete
MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 completeMUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 complete
MUSIC and ARTS Gr. 10 Learner's Module Quarter 1 to 4 complete
 
A world of music
A world of musicA world of music
A world of music
 
DCPS-horiz-soc_studies
DCPS-horiz-soc_studiesDCPS-horiz-soc_studies
DCPS-horiz-soc_studies
 
The Localization of Christianity in Bangkok Protestant Churches: A Study on C...
The Localization of Christianity in Bangkok Protestant Churches: A Study on C...The Localization of Christianity in Bangkok Protestant Churches: A Study on C...
The Localization of Christianity in Bangkok Protestant Churches: A Study on C...
 
Arts
ArtsArts
Arts
 
The English language
The English languageThe English language
The English language
 
Feasibility of a music studio in pakistan
Feasibility of a music studio in pakistanFeasibility of a music studio in pakistan
Feasibility of a music studio in pakistan
 
Yunhe Li (R00077965)Thesis 2013
Yunhe Li (R00077965)Thesis 2013Yunhe Li (R00077965)Thesis 2013
Yunhe Li (R00077965)Thesis 2013
 
2009 Eurostat Regional Yearbook 09
2009 Eurostat Regional Yearbook 092009 Eurostat Regional Yearbook 09
2009 Eurostat Regional Yearbook 09
 
2009 Eurostat Regional Yearbook 09
2009 Eurostat Regional Yearbook 092009 Eurostat Regional Yearbook 09
2009 Eurostat Regional Yearbook 09
 
Eurostat Regional Yearbook
Eurostat Regional YearbookEurostat Regional Yearbook
Eurostat Regional Yearbook
 
Prevew
PrevewPrevew
Prevew
 
Prevew
PrevewPrevew
Prevew
 
Music questionnaire (new)
Music questionnaire (new)Music questionnaire (new)
Music questionnaire (new)
 
Materyal Tasarım
Materyal TasarımMateryal Tasarım
Materyal Tasarım
 
Caviar
CaviarCaviar
Caviar
 
Tea
TeaTea
Tea
 
Discover China Presentation
Discover China PresentationDiscover China Presentation
Discover China Presentation
 
Into the Universe of Technical Images
Into the Universe of Technical ImagesInto the Universe of Technical Images
Into the Universe of Technical Images
 
Pop magazine questionnaire
Pop magazine questionnairePop magazine questionnaire
Pop magazine questionnaire
 

Recently uploaded

Full Stack Web Development Course for Beginners
Full Stack Web Development Course for BeginnersFull Stack Web Development Course for Beginners
Full Stack Web Development Course for BeginnersSabitha Banu
 
ECONOMIC CONTEXT - PAPER 1 Q3: NEWSPAPERS.pptx
ECONOMIC CONTEXT - PAPER 1 Q3: NEWSPAPERS.pptxECONOMIC CONTEXT - PAPER 1 Q3: NEWSPAPERS.pptx
ECONOMIC CONTEXT - PAPER 1 Q3: NEWSPAPERS.pptxiammrhaywood
 
Computed Fields and api Depends in the Odoo 17
Computed Fields and api Depends in the Odoo 17Computed Fields and api Depends in the Odoo 17
Computed Fields and api Depends in the Odoo 17Celine George
 
18-04-UA_REPORT_MEDIALITERAСY_INDEX-DM_23-1-final-eng.pdf
18-04-UA_REPORT_MEDIALITERAСY_INDEX-DM_23-1-final-eng.pdf18-04-UA_REPORT_MEDIALITERAСY_INDEX-DM_23-1-final-eng.pdf
18-04-UA_REPORT_MEDIALITERAСY_INDEX-DM_23-1-final-eng.pdfssuser54595a
 
Enzyme, Pharmaceutical Aids, Miscellaneous Last Part of Chapter no 5th.pdf
Enzyme, Pharmaceutical Aids, Miscellaneous Last Part of Chapter no 5th.pdfEnzyme, Pharmaceutical Aids, Miscellaneous Last Part of Chapter no 5th.pdf
Enzyme, Pharmaceutical Aids, Miscellaneous Last Part of Chapter no 5th.pdfSumit Tiwari
 
Like-prefer-love -hate+verb+ing & silent letters & citizenship text.pdf
Like-prefer-love -hate+verb+ing & silent letters & citizenship text.pdfLike-prefer-love -hate+verb+ing & silent letters & citizenship text.pdf
Like-prefer-love -hate+verb+ing & silent letters & citizenship text.pdfMr Bounab Samir
 
Difference Between Search & Browse Methods in Odoo 17
Difference Between Search & Browse Methods in Odoo 17Difference Between Search & Browse Methods in Odoo 17
Difference Between Search & Browse Methods in Odoo 17Celine George
 
What is Model Inheritance in Odoo 17 ERP
What is Model Inheritance in Odoo 17 ERPWhat is Model Inheritance in Odoo 17 ERP
What is Model Inheritance in Odoo 17 ERPCeline George
 
Gas measurement O2,Co2,& ph) 04/2024.pptx
Gas measurement O2,Co2,& ph) 04/2024.pptxGas measurement O2,Co2,& ph) 04/2024.pptx
Gas measurement O2,Co2,& ph) 04/2024.pptxDr.Ibrahim Hassaan
 
Organic Name Reactions for the students and aspirants of Chemistry12th.pptx
Organic Name Reactions for the students and aspirants of Chemistry12th.pptxOrganic Name Reactions for the students and aspirants of Chemistry12th.pptx
Organic Name Reactions for the students and aspirants of Chemistry12th.pptxVS Mahajan Coaching Centre
 
Alper Gobel In Media Res Media Component
Alper Gobel In Media Res Media ComponentAlper Gobel In Media Res Media Component
Alper Gobel In Media Res Media ComponentInMediaRes1
 
POINT- BIOCHEMISTRY SEM 2 ENZYMES UNIT 5.pptx
POINT- BIOCHEMISTRY SEM 2 ENZYMES UNIT 5.pptxPOINT- BIOCHEMISTRY SEM 2 ENZYMES UNIT 5.pptx
POINT- BIOCHEMISTRY SEM 2 ENZYMES UNIT 5.pptxSayali Powar
 
Historical philosophical, theoretical, and legal foundations of special and i...
Historical philosophical, theoretical, and legal foundations of special and i...Historical philosophical, theoretical, and legal foundations of special and i...
Historical philosophical, theoretical, and legal foundations of special and i...jaredbarbolino94
 
Painted Grey Ware.pptx, PGW Culture of India
Painted Grey Ware.pptx, PGW Culture of IndiaPainted Grey Ware.pptx, PGW Culture of India
Painted Grey Ware.pptx, PGW Culture of IndiaVirag Sontakke
 
Solving Puzzles Benefits Everyone (English).pptx
Solving Puzzles Benefits Everyone (English).pptxSolving Puzzles Benefits Everyone (English).pptx
Solving Puzzles Benefits Everyone (English).pptxOH TEIK BIN
 

Recently uploaded (20)

Full Stack Web Development Course for Beginners
Full Stack Web Development Course for BeginnersFull Stack Web Development Course for Beginners
Full Stack Web Development Course for Beginners
 
ECONOMIC CONTEXT - PAPER 1 Q3: NEWSPAPERS.pptx
ECONOMIC CONTEXT - PAPER 1 Q3: NEWSPAPERS.pptxECONOMIC CONTEXT - PAPER 1 Q3: NEWSPAPERS.pptx
ECONOMIC CONTEXT - PAPER 1 Q3: NEWSPAPERS.pptx
 
Computed Fields and api Depends in the Odoo 17
Computed Fields and api Depends in the Odoo 17Computed Fields and api Depends in the Odoo 17
Computed Fields and api Depends in the Odoo 17
 
18-04-UA_REPORT_MEDIALITERAСY_INDEX-DM_23-1-final-eng.pdf
18-04-UA_REPORT_MEDIALITERAСY_INDEX-DM_23-1-final-eng.pdf18-04-UA_REPORT_MEDIALITERAСY_INDEX-DM_23-1-final-eng.pdf
18-04-UA_REPORT_MEDIALITERAСY_INDEX-DM_23-1-final-eng.pdf
 
Enzyme, Pharmaceutical Aids, Miscellaneous Last Part of Chapter no 5th.pdf
Enzyme, Pharmaceutical Aids, Miscellaneous Last Part of Chapter no 5th.pdfEnzyme, Pharmaceutical Aids, Miscellaneous Last Part of Chapter no 5th.pdf
Enzyme, Pharmaceutical Aids, Miscellaneous Last Part of Chapter no 5th.pdf
 
Like-prefer-love -hate+verb+ing & silent letters & citizenship text.pdf
Like-prefer-love -hate+verb+ing & silent letters & citizenship text.pdfLike-prefer-love -hate+verb+ing & silent letters & citizenship text.pdf
Like-prefer-love -hate+verb+ing & silent letters & citizenship text.pdf
 
ESSENTIAL of (CS/IT/IS) class 06 (database)
ESSENTIAL of (CS/IT/IS) class 06 (database)ESSENTIAL of (CS/IT/IS) class 06 (database)
ESSENTIAL of (CS/IT/IS) class 06 (database)
 
OS-operating systems- ch04 (Threads) ...
OS-operating systems- ch04 (Threads) ...OS-operating systems- ch04 (Threads) ...
OS-operating systems- ch04 (Threads) ...
 
Difference Between Search & Browse Methods in Odoo 17
Difference Between Search & Browse Methods in Odoo 17Difference Between Search & Browse Methods in Odoo 17
Difference Between Search & Browse Methods in Odoo 17
 
TataKelola dan KamSiber Kecerdasan Buatan v022.pdf
TataKelola dan KamSiber Kecerdasan Buatan v022.pdfTataKelola dan KamSiber Kecerdasan Buatan v022.pdf
TataKelola dan KamSiber Kecerdasan Buatan v022.pdf
 
What is Model Inheritance in Odoo 17 ERP
What is Model Inheritance in Odoo 17 ERPWhat is Model Inheritance in Odoo 17 ERP
What is Model Inheritance in Odoo 17 ERP
 
Gas measurement O2,Co2,& ph) 04/2024.pptx
Gas measurement O2,Co2,& ph) 04/2024.pptxGas measurement O2,Co2,& ph) 04/2024.pptx
Gas measurement O2,Co2,& ph) 04/2024.pptx
 
Organic Name Reactions for the students and aspirants of Chemistry12th.pptx
Organic Name Reactions for the students and aspirants of Chemistry12th.pptxOrganic Name Reactions for the students and aspirants of Chemistry12th.pptx
Organic Name Reactions for the students and aspirants of Chemistry12th.pptx
 
Alper Gobel In Media Res Media Component
Alper Gobel In Media Res Media ComponentAlper Gobel In Media Res Media Component
Alper Gobel In Media Res Media Component
 
Model Call Girl in Bikash Puri Delhi reach out to us at 🔝9953056974🔝
Model Call Girl in Bikash Puri Delhi reach out to us at 🔝9953056974🔝Model Call Girl in Bikash Puri Delhi reach out to us at 🔝9953056974🔝
Model Call Girl in Bikash Puri Delhi reach out to us at 🔝9953056974🔝
 
Model Call Girl in Tilak Nagar Delhi reach out to us at 🔝9953056974🔝
Model Call Girl in Tilak Nagar Delhi reach out to us at 🔝9953056974🔝Model Call Girl in Tilak Nagar Delhi reach out to us at 🔝9953056974🔝
Model Call Girl in Tilak Nagar Delhi reach out to us at 🔝9953056974🔝
 
POINT- BIOCHEMISTRY SEM 2 ENZYMES UNIT 5.pptx
POINT- BIOCHEMISTRY SEM 2 ENZYMES UNIT 5.pptxPOINT- BIOCHEMISTRY SEM 2 ENZYMES UNIT 5.pptx
POINT- BIOCHEMISTRY SEM 2 ENZYMES UNIT 5.pptx
 
Historical philosophical, theoretical, and legal foundations of special and i...
Historical philosophical, theoretical, and legal foundations of special and i...Historical philosophical, theoretical, and legal foundations of special and i...
Historical philosophical, theoretical, and legal foundations of special and i...
 
Painted Grey Ware.pptx, PGW Culture of India
Painted Grey Ware.pptx, PGW Culture of IndiaPainted Grey Ware.pptx, PGW Culture of India
Painted Grey Ware.pptx, PGW Culture of India
 
Solving Puzzles Benefits Everyone (English).pptx
Solving Puzzles Benefits Everyone (English).pptxSolving Puzzles Benefits Everyone (English).pptx
Solving Puzzles Benefits Everyone (English).pptx
 

Musicartsgr10tg

  • 1. i HORIZONS Grade 10 Teacher’s Guide Music and Arts Appreciation for Young Filipinos Raul M. Sunico, Ph.D. Evelyn F. Cabanban Melissa Y. Moran GOVERNMENT PROPERTY NOT FOR SALE ALLOTTED TO District/ School: ____________________________________________________________ Division: ____________________________________________________________ First Year of Use:____________________________________________________________ Source of Fund (year included): ______________________________________________ Department of Education Republic of the Philippines All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 2. ii HORIZONS Grade 10 Teacher’s Guide Music and Arts Appreciation for Young Filipinos ISBN 978-971-793-022-0 Philippine Copyright 2015 by Tawid Publications All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means—electronic or mechanical, including photocopying, recording, or any information storage or retrieval system without prior written permission from the publisher. Published by Tawid Publications 102 B. Gonzales St., Xavierville II Loyola Heights, Quezon City 1108 Metro Manila, Philippines (+63-2) 453-7918 tawidcorp@yahoo.com; tawidpub@gmail.com Editorial Board Editors: Evelyn F. Cabanban Melissa Y. Moran Milagros P. Valdez, language reader Coordinator: Evelyn F. Cabanban Cover Design: Rowena E. Cabanban Cover Art and Divider Art: Joe Dureza All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 3. iii TABLE OF CONTENTS MUSIC Quarter I MUSIC OF THE 20th CENTURY ............................................... 1 Impressionism to Modern Nationalism ........................................... 2 Electronic Music and Chance Music................................................. 12 Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19 African Music and Latin American Music........................................ 20 Jazz, Popular Music, and OPM .................................................... 29 Quarter III CONTEMPORARY PHILIPPINE MUSIC................................. 36 Traditional Composers ............................................................. 37 New Music Composers ............................................................. 46 Song Composers ............................................................. 53 Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61 Opera in the Philippines.................................................................... 62 Ballet in the Philippines.................................................................... 71 Philippine Musical Plays................................................................... 78 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 4. iv ARTS Quarter I MODERN ART............................................................................... ..90 Impressionism ............................................................................... 91 Expressionism: A Bold New Movement........................................... 97 Abstractionism .................................................................................. 101 Abstract Expressionism, Pop Art, Op Art......................................... 105 Installation and Performance Art ................................................... 111 Quarter II TECHNOLOGY-BASED ART ................................................... 117 Computer / Digital Art ................................................... 118 Mobile Phone Art / Computer-generated Images ............................. 123 Digital Photography ................................................... 127 Video Games / Digital Painting / Imaging Videos............................ 131 Quarter III MEDIA-BASED ARTS AND DESIGN IN THE PHILIPPINES ............................................................ 137 Photography ...................................................................................... 138 Film................................................................................................... 143 Animation / Comics Illustration / Digital Print Media...................... 147 Innovation in Product and Industrial Design..................................... 155 Quarter IV ORIGINAL PERFORMANCE WITH THE USE OF MEDIA ................................................... 162 Philippine Theater and Performing Groups ..................................... 163 Culminating Activity: Staging an Original Performance.................. 168 Music Glossary ........................................................................................................ 172 Music Pronunciation Guide ..................................................................................... 175 Arts Glossary .......................................................................................................... 176 Arts Pronunciation Guide ........................................................................................ 179 Music Bibliography ................................................................................................. 180 Arts Bibliography..................................................................................................... 181 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 5. v MUSIC Grade 10 Teacher’s Guide All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 6. ii HORIZONS Grade 10 Teacher’s Guide Music and Arts Appreciation for Young Filipinos ISBN 978-971-793-022-0 Philippine Copyright 2015 by Tawid Publications All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means—electronic or mechanical, including photocopying, recording, or any information storage or retrieval system without prior written permission from the publisher. Published by Tawid Publications 102 B. Gonzales St., Xavierville II Loyola Heights, Quezon City 1108 Metro Manila, Philippines (+63-2) 453-7918 tawidcorp@yahoo.com; tawidpub@gmail.com Editorial Board Editors: Evelyn F. Cabanban Melissa Y. Moran Milagros P. Valdez, language reader Coordinator: Evelyn F. Cabanban Cover Design: Rowena E. Cabanban Cover Art and Divider Art: Joe Dureza All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 7. iii TABLE OF CONTENTS MUSIC Quarter I MUSIC OF THE 20th CENTURY ............................................... 1 Impressionism to Modern Nationalism ........................................... 2 Electronic Music and Chance Music................................................. 12 Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19 African Music and Latin American Music........................................ 20 Jazz, Popular Music, and OPM .................................................... 29 Quarter III CONTEMPORARY PHILIPPINE MUSIC................................. 36 Traditional Composers ............................................................. 37 New Music Composers ............................................................. 46 Song Composers ............................................................. 53 Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61 Opera in the Philippines.................................................................... 62 Ballet in the Philippines.................................................................... 71 Philippine Musical Plays................................................................... 78 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 8. iv ARTS Quarter I MODERN ART............................................................................... ..90 Impressionism ............................................................................... 91 Expressionism: A Bold New Movement........................................... 97 Abstractionism .................................................................................. 101 Abstract Expressionism, Pop Art, Op Art......................................... 105 Installation and Performance Art ................................................... 111 Quarter II TECHNOLOGY-BASED ART ................................................... 117 Computer / Digital Art ................................................... 118 Mobile Phone Art / Computer-generated Images ............................. 123 Digital Photography ................................................... 127 Video Games / Digital Painting / Imaging Videos............................ 131 Quarter III MEDIA-BASED ARTS AND DESIGN IN THE PHILIPPINES ............................................................ 137 Photography ...................................................................................... 138 Film................................................................................................... 143 Animation / Comics Illustration / Digital Print Media...................... 147 Innovation in Product and Industrial Design..................................... 155 Quarter IV ORIGINAL PERFORMANCE WITH THE USE OF MEDIA ................................................... 162 Philippine Theater and Performing Groups ..................................... 163 Culminating Activity: Staging an Original Performance.................. 168 Music Glossary ........................................................................................................ 172 Music Pronunciation Guide ..................................................................................... 175 Arts Glossary .......................................................................................................... 176 Arts Pronunciation Guide ........................................................................................ 179 Music Bibliography ................................................................................................. 180 Arts Bibliography..................................................................................................... 181 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 9. v MUSIC Grade 10 Teacher’s Guide All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 10. vi All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 11. Quarter I: Music of the 20th Century 1 Quarter I MUSIC OF THE 20TH CENTURY CONTENT STANDARDS The learner demonstrates understanding of... 1. The 20th century music styles and characteristic features. PERFORMANCE STANDARDS The learner... 1. Creates musical pieces using a particular style of the 20th century. LEARNING COMPETENCIES The learner... 1. Listens perceptively to selected 20th century music. 2. Describes distinctive musical elements of given pieces in 20th century styles. 3. Relates 20th century music to its historical and cultural background. 4. Explains the performance practice (setting, composition, role of composers/performers, and audience) of 20th century music. 5. Sings melodic fragments of given Impressionism period pieces. 6. Explores other arts and media that portray 20th century elements through video films or live performances. 7. Creates short electronic and chance music pieces using knowledge of 20th century styles. From the Department of Education curriculum for MUSIC Grade 10 (2014) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 12. MUSIC Teacher’s Guide 2 QUARTER I MUSIC OF THE 20TH CENTURY Sessions 1, 2, 3, 4, and 5 IMPRESSIONISM TO MODERN NATIONALISM I. SUBJECT MATTER A. Topic: 20th Century Musical Styles: Impressionism to Modern Nationalism Sub-topics: Impressionism Expressionism Neo-Classicism Avant-Garde Modern Nationalism Composers (Debussy, Ravel, Schoenberg, Bartok, Stravinsky, Prokofieff, Poulenc, Stockhausen, Glass, Cage, Bernstein, Varese, and Gershwin) B. Materials: DVD/CD recordings, video clips, or recordings fromYouTube/ internet of Impressionistic, Expressionistic, Neo-Classicist, Avant Garde, and Modern Nationalistic music CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Visual arts pictures of Impressionistic, Expressionistic, and Modern Nationalistic paintings Charts of music scores C. Reference: Music Grade 10 LM - Pages 3-24 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Concepts on previous lessons on Romantic Music. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 13. Quarter I: Music of the 20th Century 3 2. Motivation a. Display pictures or posters of the paintings of impressionist painter Claude Monet, expressionist Jose Joya, and post-impressionist Van Gogh on the wall or board of the classroom. Let the students go around to view the pictures. b. Display and discuss pictures on action painting by Jackson Pollock. c. On a piece of pad paper, have the students describe each of the pictures in their own words (5 minutes). Collect their works. d. Call some volunteer students to read their descriptions or observations. Connect these to the new lesson. B. DEVELOPMENTALACTIVITY 1. Have the students listen to CD recordings or watch video clips from YouTube on Impressionist, Expressionist, Neo-Classicist,Avant-Garde, and Modern Nationalist music, while looking at the pictures of the paintings. 2. Ask them to analyze the characteristics and styles of each through discussion and sharing of insights. 3. Let them compare the paintings with their counterpart in music, in terms of the elements and characteristics of each. 4. Ask them to share their impressions, experiences, thoughts, and feelings after listening to the music and discussing all these. C. INTEGRATION 1. Integration of Music with Arts, Literature, and History through the use of paintings and music recordings. 2. Role playing - Call on volunteer students to depict the socio-historical context of one of the musical movements studied, Modern Nationalism, which incorporated folk songs and indigenous music. Infusion of values: Belief in the power of the mind and its ability to achieve one’s goals and control situations. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 14. MUSIC Teacher’s Guide 4 D. GENERALIZATION The 20th century styles of impressionism and expressionism provided composers with the opportunity to express their thoughts based on outside impressions as well as ideas and expressions based on theirinner convictions. Other forms that emanated included neo-classicism, which is a return to the classical form and structure using modern harmonies and techniques of composition; avant garde, which deals with the parameters of sound in space; and Modern Nationalism, which is a combination of nationalist thematic materials with the modern techniques of composition. III. WHAT TO KNOW Let the students answer the following: 1. What group of people inspired many of Bartok’s compositions? 2. Which Russian composer created the music for the ballet The Firebird? 3. Who is considered the foremost impressionist? 4. What kind of musical style is attributed to Schoenberg and Stravinsky? 5. Who was the target audience of Prokofieff’s Peter and the Wolf? 6. Give an example of a musical work of each of the composers below. Write the title in the blanks. Composer Musical Work Debussy _____________________________________ Ravel _____________________________________ Schoenberg _____________________________________ Stravinsky _____________________________________ Bartok _____________________________________ Prokofieff _____________________________________ Poulenc _____________________________________ Gershwin _____________________________________ Glass _____________________________________ Bernstein _____________________________________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 15. Quarter I: Music of the 20th Century 5 IV. WHAT TO PROCESS Listening Activity: Works of 20th Century Composers 1. You will play excerpts of any (one) of the following musical examples: Debussy – Claire de Lune, La Mer, Children’s Corner Suite Ravel – Miroirs, Sonatine, Daphnis et Chloe, Jeux d’Eau, Bolero Schoenberg – Verklarte Nacht, Violin Concerto, Piano Concerto, Gurrelieder Bartok – String Quartet no. 4, Allegro, Mikrokosmos, Barbaro, Music for Strings Stravinsky – The Rite of Spring, Petrouchka, The Firebird Suite Prokofieff – Romeo and Juliet (ballet), Piano Sonatas Gershwin – An American in Paris, Porgy and Bess, Rhapsody in Blue, Someone to Watch Over Me Bernstein – Tonight from West Side Story, Clarinet Sonata Glass – Einstein on the Beach, Satyagraha, Akhnaten Poulenc – Concerto for Two Pianos, Dialogues des Carmelites 2. Let the students listen carefully to each excerpt and be able to recognize the distinct musical style of each composer. 3. Let them choose a composition that theylike. Let them write a short reaction paper on it.2. Listen carefully to each excerpt and be able to recognize the distinct musical style of each composer. 4. Based on this activity, let thestudents write a brief profile of the composer of the pieces played in a bond paper to be submitted the following meeting. V. WHAT TO UNDERSTAND A. Name the Composer, Title of the Music, Musical Style, and Description 1. After the Listening Activity, you will prepare selected excerpts of compositions by Debussy, Ravel, Schoenberg, Bartok, Stravinsky, Prokofieff, Poulenc, Glass, Bernstein, and Gershwin. 2. Divided into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, let the first student in each line goes to the board and writes the name of the composer. The All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 16. MUSIC Teacher’s Guide 6 second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. Assign one student to tally the scores and announce the winners. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. After proclaiming the winners, the scorer will ask this question: What was the most significant thing that you have learned from this activity? VI. WHAT TO PERFORM A. Performance Activity 1: Video Clips / Watching Live /TV Performances Video Clips 1. Divide the class into four groups by having them count off from 1 to 4. 2. Have the students create and explore other arts (multi-media) that portray 20th centurymusical styles (impressionism, expressionism, jazz, avant garde) through a 10-minute video clip or MTV using theirdigital cameras or mobile phones. 3. Let them show and discuss their video works in class. Watching Live / TV Performances 1. Divide the class into groups. Assign groups who will re-enact what they watched. Assign other groups to do the video recording. 2. Have the students watch live performances of musical concerts, if available in their area, or let them watch live concerts recorded on TV or the internet (YouTube). 3. Let them re-enact in class what they have watched. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 17. Quarter I: Music of the 20th Century 7 4. Let the groups assign members to make a 10-minute audio video presentation, while the other members re-enact what they have seen on live concerts and on TV and internet. 5. Have the groups show and discuss their video works in class. B. Performance Activity 2: Singing or Humming Musical Fragments 1. Play several musical excerpts of selected 20th century composers. and briefly discuss the title, composer, and musical style of each. 2. Let the class listen carefully to each excerpt and be able to recognize the distinct musical style of each composer. 3. Have the students sing or hum some melodic fragments (portion only) of any of the following excerpts of 20th century music, together with the recordings: a. Claude Debussy’s Claire de Lune b. Leonard Bernstein’s West Side Story c. George Gershwin’s Rhapsody in Blue d. Ravel’s Bolero e. Any work of minimalist composers, Philip Glass or Meredith Monk f. Any work of nationalist composers, Erik Satie or Bela Bartok. 4. Based on the melodic fragments of the excerpts that they sang or hummed, they should be able to aurally identify the different selected works of the composers of the 20th century by naming the title and composer in a random short quiz (5 points). 5. Have the students choose a composition that they like. Ask them to write a brief profile about the composer, and to also give their personal reactions about the music on a one whole sheet of bond paper. 6. Let them submit it in class the next meeting. Evaluation Activity: “Drawing Lots” 1. After the above singing or humming activity, prepare a box containing slips of paper with the names of Debussy, Ravel, Gershwin, Bernstein, Glass, Monk, Satie, and Bartok written on them. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 18. MUSIC Teacher’s Guide 8 2. Divide the class into four groups. Each group will choose four representatives who will be assigned as contestants. 3. Each contestant will draw a composer’s name from the box and must say three sentences about his compositional technique or musical style, his major contribution to modern music, and one work that shows his compositional style. 4. The rest of the groups will evaluate each contestant’s answer by flashing a card or paper marked “CORRECT” or “WRONG.” Each correct answer earns a point. 5. The group with the highest number of points wins the contest. C. Performance Activity 3: Film Showing or Video Watching 1. Have the students research on the 20th century musical play West Side Story written by Leonard Bernstein. 2. Instruct them to watch any video clip of West Side Story on the internet or YouTube. 3. Let them write a reaction paper explaining the following elements of the performance: a. Setting b. Musical compositions c. Role of composer and lyricist d. Role of performers (actors, actresses) e. Role of the audience (students) f. Sound and musical direction g. Script / screenplay h. Props, costumes, lighting 4. Divide the class into groups. Ask them these questions: Did you like what you watched? Why or why not? 5. Have them explain their answers on a one whole sheet of bond paper. Let each group report their answers in class. D. Performance Activity 4: Singing Songs from West Side Story All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 19. Quarter I: Music of the 20th Century 9 1. The students mayopt to do this as an individual or group activity. Groups will be divided into four. 2. Let the students listen to the songs Tonight, Maria, Somewhere, and America from video or recordings of West Side Story.Ask them to draw lots for the song to sing. 3. Have them sing and perform their song in class, with or without accompaniment. They may also sing with the recordings. 4. Let those students who are not performing act as judges for the performance evaluation. 5. Judges will have five placards, score cards, or paper sheets marked: BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. 6. Judges will display a score card after evaluating the performance. 7. One student maybe assigned to tabulate the scores after the performance. 8. Select and announce the “Best Performance” award. E. Performance Activity 5: Live Concert or Recording or Music Video Let the students choose the activity that they are interested in. 1. Class Concert – Live Performance a. Group the students into four. The first two groups will do the class concert. b. Have thegroup leader assign each member to do anyofthe following: singing, dancing, choreography, musical directing, playing an instrument (either as accompaniment to the song or dance, or a solo performance or as a band). They may use props and costumes, if needed. c. Let the groups perform in class their own original interpretation of the songs from West Side Story. 2. Recording or Music Video: Individual or Group Activity a. Have the remaining two groups choose their members. b. Let them record the performance of their classmates using a cassette recorder, or make a music video using a cellular phone, digital camera, or video camera. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 20. MUSIC Teacher’s Guide 10 c. Have them play the recorded performance or show the music video to their classmates. The groups in the video or recording will choose the “Best Performers.” d. You will also rate the students’ performance based on the criteria below. e. Choose the “Best Video Presentation” based on creativity (50%) and presentation (50%). Evaluation of Performing Activities Let the students answer the following: Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair Rate scores are based on your performance quality. 1. How well did I perform the songs from West Side Story? ____________ 2 How well can I identify the different musical genres based on instrumentation, text, and purpose? ____________ 3. How well can I describe the characteristics of each through listening to their melody, harmony, rhythm, text, and mass appeal? ____________ 4. How well did I participate in the performance of the different activities? ____________ Teacher’s Rating of the Students’ Performance 1. Musicianship (60%) a. compositional concepts presented ____________ b. musical elements ____________ c. technique ____________ 2. Ensemble coordination (20%) ____________ 3. Ensemble organization (20%) ____________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 21. Quarter I: Music of the 20th Century 11 VII. EVALUATION Let the students answer the following: 1. What are the styles of 20th century classical music studied in this lesson? 2. Explain briefly how these styles have counterparts in the visual arts, particularly in painting. VIII. ENRICHMENTACTIVITIES / ASSIGNMENT A. Let the students answer the following: 1. Which of the styles that you studied do you like best? 2. Explain your answer in essay form. B. Encourage the students to search for the following video on YouTube and to view it for additional inights on 20th century music: Young People’s Concert: What is Impressionism by Leonard Bernstein They may also search for Bernstein’s other video lectures on music. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 22. MUSIC Teacher’s Guide 12 QUARTER I MUSIC OF THE 20TH CENTURY Sessions 6, 7, and 8 20TH CENTURY MUSICAL STYLES: ELECTRONIC AND CHANCE MUSIC I. SUBJECT MATTER A. Topic: 20th Century Musical Styles: Electronic and Chance Music Sub-topics : Electronic Music Chance Music Composers (Cage, Stockhausen, Varese) B. Materials : DVD / CD recordings /video clips/ recordings from YouTube or the internet of Electronic and Chance Music CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Pictures, slides, video clips of musical gadgets used especially in Electronic Music Sound makers like stones, rice, radios, horns, and kitchen utensils C. Reference: Music Grade 10 LM. Pages 25-30 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Let the students go over the concepts they have learned about Impressionism, Expressionism, Modern Nationalism, Neo-Classicism and Avant-Garde Music. 2. Motivation: a. Hold a “Chance Music Experience.” Ask one student to simulate a performance concert sitting in front of the piano, keyboard, singing with amicrophone, just holding aguitar, or holding anyother musical instrument for 3 minutes without playing these. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 23. Quarter I: Music of the 20th Century 13 b. Discuss the performance and get reactions and observations from the class. What did they think? hear? see? feel? touch? smell? c. Use the experience as a bridge to the topic of the lesson. B. DEVELOPMENTALACTIVITY 1. Let the students listen attentively to CD recordings of Electronic and Chance Music. 2. Ask them to define/describe each of the two musical styles introduced in the recordings they listened to. 3. Discuss the history, characteristics, and operations of the two kinds of musical styles. 4. Have the students experiment with sounds on materials theyhad brought to class to create Chance Music. Divide the class into four or five groups, each with a written plan of what to accomplish. 5. Perform this experiment with a live concert of the two musical styles in the classroom. 6. Use new electronic equipment (if available) to listen to different sounds from the instruments (Example: synthesizer, cassettetape recorder, DVD player, karaoke, and others that you may think of). C. INTEGRATION 1. Integrate the useof electronic equipment, if available, and other materials that can produce sound as well as the use of modern technology gadgets in Music with lessons in Physics, Vocational Education, and Technology and Livelihood Education (TLE). 2. Show a picture of an action painting by Jackson Pollock and compare it with chance music. Infusion of values:Appreciation of the beauty of nature and the realization of their contribution to the environment. D. GENERALIZATION The modern musical tradition experimented with new sounds in classical music through such styles as Electronic Music and Chance Music. Through this experimentation, the novelty of sounds emanating from sources other than the traditional musical instruments played a major role in the compositions being created. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 24. MUSIC Teacher’s Guide 14 III. WHAT TO KNOW Have the students answer thed following: 1. Who was the French composer known as the “Father of Electronic Music? 2. What are some of the new musical approaches of Cage? 3. What is meant by musique concrete used by Stockhausen? 4. Give an example of a musical work by Varese, Stockhausen, and Cage. Write your answers on the blanks below. Composer Musical Work Varese ___________________________ Stockhausen ___________________________ Cage ___________________________ IV. WHAT TO PROCESS Listening Activity: Works of 20th Century Composers 1. Play excerpts of any (one) of the following musical examples: Cage – 4’33"; Metamorphosis, for piano; Five Songs, for contralto soloist and piano; Music for Wind Instruments, for wind quintet Stockhausen – Etude, Electronic STUDIES I and II, Gesang der Junglinge, Kontakte, Momente, Hymnen Varese – Hyperprism for wind and percussion, Octandre for seven wind instruments and double bass, Intégrales for wind and percussion, Ionisation for 13 percussion players 2. Have the students listen carefully to each excerpt and be able to recognize the distinct musical style of each composer. 3. Let them choose a composition that theylike, and then write a short reaction paper on the composition and the profile of the composer. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 25. Quarter I: Music of the 20th Century 15 4. Have them submit this on one whole sheet of bond paper during the next meeting. At random, choose students to read their reactions in class. V. WHAT TO UNDERSTAND Name the Composer, Title of the Music, Musical Style, and Description 1. After the Listening Activity, prepare selected excerpts of compositions by Stockhausen, Cage, and Varese. 2. Divide the class into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, have the first student in each line goes to the board and writes the name of the composer.The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. Assign one student to be the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: What was the most significant thing that you have learned from this activity? VI. WHAT TO PERFORM A. Activity 1: Experimentation with the Sounds of 20th Century Music Systems Let the students do the following activity: 1. Chance Music – Put small items inside a bag. Include coins, pens, pins, small bells, and other articles with percussive sounds. Pour the bag’s contents on a hard surface. Then, using a cellphone or other available device, record the sounds that are produced. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 26. MUSIC Teacher’s Guide 16 Put the items back in the bag. Then unload the same, while once again recording the sounds being produced. Note the changes between the two sets of sounds recorded. 2. Electronic Music – Create short electronic music pieces using your knowledge of 20th century musical styles. B. Performance Activity 2: Original Chance and Electronic Music Have the students do the following: Rate scores are based on the elements of music such as rhythm, melodic appeal, harmony and texture, tempo and dynamics, timbre, and overall musical structure BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. . 1. The class will be divided into four groups. 2. Each group will create an original five-minute performance of Chance Music and Electronic Music (if available) to be performed in class. 3. Those who are not performing will act as judges for the performance evaluation. 4. Judges will have five placards, score cards, or paper sheets marked: BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. They will display these score card after evaluating each performance. 5. One student maybe assigned to tabulate the scores after the performance. 6. Announce the “Best Performance” award. 7. Have the students answer this question: What was the role of the audience in the performance of Chance Music? Explain your answers. C. Performance Activity 3: Group Activity Video Clips 1. Divide the class into four groups by counting off from 1 to 4. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 27. Quarter I: Music of the 20th Century 17 2. Let each group create and explore other arts (multi- media) that portray 20th century musical styles (Chance and Electronic Music) through a 10-minute video or MTV using their digital cameras or mobile phones. 3. They may use the internet as reference for their video clips. 4. Let them show and discuss their video works in class. Watching Live / TV Performances 1. Ask the students to watch live performances of musical concerts on Chance and Electronic Music, if available in their area; or to watch live concerts recorded on TV or the internet. 2. Let the group leaders choose two or three of their members as videographers for each group. Have them record and make a 10-minute audio video presentation, while the other group members re-enact what they have seen on live concerts and on TV. 3. Have them show and discuss their video works in class. 4. Choose the “Best Video Award” using the criteria: Creativity (50%) and Presentation (50%). Evaluation Activity: “Drawing Lots” 1. After the different performing activities, prepare a box containing slips of paper with the names of Cage, Stockhausen, and Varese. 2. Divide the class into four groups. Let each group choose four representatives who will be assigned as contestants. 3. Let each contestant draw out a composer’s name from the box and say three sentences about his compositional technique or musical style, his major contribution to modern music, and one work that shows his compositional style. 4. Let the rest of the groups evaluate each contestant’s answer by flashing a card or paper marked “CORRECT” or “WRONG.” Each correct answer earns a point. 5. The group with the highest number of points wins the contest. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 28. MUSIC Teacher’s Guide 18 Evaluation of Performing Activities Have the students rate themselves based on their performance quality. Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair 1. How well did I perform chance and electronic music? ____________ 2 How well can I identify the different musical genres based on instrumentation, text, and purpose? ___________ 3. How well can I describe the characteristics of each through listening to their melody, harmony, rhythm, text, and mass appeal? ____________ 4. How well did I participate in the performance of the different activities? ____________ Teacher’s Rating of the Students’ Performance 1. Musicianship (60%) a. compositional concepts presented ____________ b. musical elements ____________ c. technique ____________ 2. Ensemble coordination (20%) ____________ 3. Ensemble organization (20%) ____________ VIII. ENRICHMENT ACTIVITY / ASSIGNMENT Have the students view this video which is available on the BBC and YouTube websites: BBC’s The Story of Music: Age of Rebellion and The Popular Age by Howard Goodall All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 29. 19 Quarter II: Afro-Latin American and Popular Music Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of Afro-Latin American music and Popular music. PERFORMANCE STANDARDS The learner... 1. Performs vocal and dance forms of Afro-Latin American music and selections of Popular music. LEARNING COMPETENCIES The learner... 1. Observes dance styles, instruments, and rhythms of Afro Latin American and popular music through video, movies and live performances. 2. Describes the historical and cultural background of Afro-Latin American and popular music. 3. Listens perceptively to Afro-Latin American and popular music. 4. Dances to different selected styles ofAfro-LatinAmerican and popular music. 5. Analyzes musical characteristics ofAfro-LatinAmerican and popular music. 6. Sings selections of Afro-Latin American and popular music in appropriate pitch, rhythm, style, and expression. 7. Explores ways of creating sounds on a variety of sources suitable to chosen vocal and instrumental selections. 8. Improvises simple vocal/instrumental accompaniments to selected songs. 9. Choreographs a chosen dance music. 10. Evaluates music and music performances using knowledge of musical elements and style. From the Department of Education curriculum for MUSIC Grade 10 (2014) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 30. 20 MUSIC Teacher’s Guide QUARTER II AFRO-LATIN AMERICAN AND POPULAR MUSIC Sessions 1, 2, 3, 4, and 5 AFRICAN MUSIC AND LATIN AMERICAN MUSIC I. SUBJECT MATTER A. Topic: African Music and LatinAmerican Music Sub-topics: African Music 1. Historical and cultural background 2. Musical instruments 3. Rhythms: Maracatu 4. Vocal forms: Blues, soul, spiritual, call and response Latin American Music 1. Historical and cultural background 2. Musical instruments 3. Vocal and dance forms: Cumbia, tango, cha-cha, rumba, bossanova, reggae, foxtrot, paso doble B. Materials: DVD/CD recordings, video clips, and internet recordings ofAfrican and LatinAmerican Music CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Photographs of Africa and Latin American culture and art, andAfrican and LatinAmerican musical instruments C. Reference: Music Grade 10 LM pages 38 - 64 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Concepts of Music of the 20th Century 2. Motivation a. Show video/film clips or any recording from YouTube of excerpts ofAfrican and LatinAmerican Music. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 31. 21 Quarter II: Afro-Latin American and Popular Music Example: Lion KingforAfrican Music;Rio for LatinAmerican Music b. Play selected recordings of African and Latin American music. Examples: folk songs, instrumental music. c. Let the students listen to the music or watch the vido clips. On a piece of pad paper, let them describe the music that they listened to or watched in their own words. (5 minutes). d. Call some volunteer students to read their descriptions or observations. Connect these to the new lesson. B. DEVELOPMENTALACTIVITY 1. Ask the students to listen to CD/DVD recordings or watch MTVs from YouTube ofAfrican and Latin American music. 2. Have them analyze the characteristics and styles of each through discussion and sharing of insights. 3. Group Discussion: Let the students compare their insights with their classmates in terms of the elements and characteristics of each. 4. Have them share impressions, experiences, thoughts, and feelings after listening to the music and discussing all these. C. INTEGRATION Integration of Music with Arts, Literature, and History through the use of music recordings and video clips. Infusion of values: Belief in the power of the mind and its ability to achieve one’s goals and creativity. D. GENERALIZATION Music has always been an important part in the daily life of the African, whether for work, religion, ceremonies, or even communication. Singing, dancing, handclapping and thebeatingof drums are essential to manyAfrican ceremonies, includingthoseforbirth, death, initiation, marriage, and funerals. Music and dance are also important to religious expression and political events inAfrica. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 32. 22 MUSIC Teacher’s Guide The music of Latin America is the product of three major influences – Indigenous, Spanish-Portuguese,andAfrican. Sometimes called Latin music, it includes the countries that have had a colonial history from Spain and Portugal. III. WHAT TO KNOW 1. What are the classifications ofAfrican music? 2. What are the characteristics of each classification ofAfrican music? 3. Name someAfrican musical instruments under the following categories: a. idiophones b. chordophones c. membranophones d. aerophones 4. Describe howAfrican musical instruments aresourced from the environment. Give examples. 5. What are the different vocal and dance forms of Latin American music? 6. What are the characteristics of each vocal and dance form of LatinAmerican music? 7. Which type of music was popularized by Bob Marley? 8. Which type of music was popularized byAntonio Carlos Jobim? 9. Who is known as the “Philippines’ Queen of Bossa Nova”? IV. WHAT TO PROCESS Class Activity 1. Play one recording of African and Latin American music. 2. Have the students participate in a class discussion on the distinctive features and qualities of each musical genre and style. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 33. 23 Quarter II: Afro-Latin American and Popular Music V. WHAT TO UNDERSTAND Activity 1: Making Improvised African and Latin American Instruments Individual or Group Activity 1. Ask the students to make improvised African and LatinAmerican musical instruments using dried vegetables, animal hide, wood, strips of roofing metal, tin cans, bamboo, and other materials from the environment. 2. Have them create a rhythmic or harmonic accompaniment for anyAfrican and Latin American songs that they know using these improvised African and Latin American instruments. Let them use the internet for reference. 3. Have them answer: “How did you relate in making improvisedAfrican and LatinAmerican musical instruments found in the environment?” Activity 2: Choreography to Express the Music Individual or Group Activity 1. Have the students conceptualize a choreography to show some dance steps set to African and Latin American music. 2. Let them answer: “How does it feel to conceptualize the dance movements in each music category?” VI. WHAT TO PERFORM Group Activities 1. Class Singing Concert – live performance a. Divide the class into four groups.Ask each group to draw lots to sing a song from one of the following musical genres: For African Music - Kumbaya, Waka Waka, or Mbube For Latin-American music - One Note Samba; We are One (Ole Ola) the official song of the 2014 FIFAWorld Cup held in Brazil, written and co-produced by Pitbull and featuring Jennifer Lopez and Brazilian star Claudia Leitte. Let them research the lyrics and music. b. Let the students decide among their group members which of them will sing, plan the choreography or movements to accompany the song, play All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 34. 24 MUSIC Teacher’s Guide a musical instrument, and record the group’s performance on video. c. Ask the students learn their assigned song, using the lyrics on the following pages. d. Have them practice it, with the choreographyand accompaniment. Then, let them perform in class. 2. Dance Interaction a. As they performs in class, have the performers invite the other class members to join them in the dance movements or choreography that they have prepared. They can do a “flash mob” style of dancing. b. Have the group leaders do an impromptu selection of the “Best Dance Performance” among their classmates. 3. Music Video Award a. During the class performance, let the assigned group member(s) to record their group’s performance using amobile phone, tablet, orvideo camera. b. Have them simulate a “Music Video Award” event by joining the other groups in presenting their respective videos in class. c. Ask the class members choose the “Best Song Performance” based on how well the group presented their assigned music genre. KUM BAY YA Kum Bay Ya is a spiritual song that was first recorded in the 1920s. It became a popular standard campfire song in Girl or Boy Scouting and during summer camps. The song is originally a simple petition to God to come and help those in need. This inspiring hymn is heard in many countries of Central Africa. It has great personal meaning and the singer often creates his own words as he works or pray. The words “Kum Bay Ya” mean “come by here” or “stay nearby.” All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 35. 25 Quarter II: Afro-Latin American and Popular Music KUMBAYA Kum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya O Lord, kum bay ya. Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya O Lord, kum bay ya. Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya O Lord, kum bay ya. Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya O Lord, kum bay ya. Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya O Lord, kum bay ya. WAKAWAKA (This Time forAfrica) FIFAWorld Cup 2010 OfficialAnthem "Waka Waka (This Time for Africa)" or in Spanish, "Waka Waka (Esto es África)" is a song byColombian singer-songwriter Shakira. It feautures South African band, Freshlyground, and pairs an African Colombian rhythm with a Soca-inspired beat. Its lyrics encourage one to aim for one’s goals, like a soldier on a battlefield. The song was used as the official song of the 2010 FIFAWorld Cup held in South Africa. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 36. 26 MUSIC Teacher’s Guide WAKAWAKA You're a good soldier You know it's serious Choosing your battles We're getting closer Pick yourself up This isn’t over And dust yourself off The pressure is on And back in the saddle You feel it You're on the frontline But you've got it all Everyone's watching Believe it ONE NOTE SAMBA Samba de Uma Nota Só ("One-Note Samba") is a song com- posed byAntonio Carlos Jobim, with Portuguese lyrics by New- ton Mendonça and English lyrics by Jobim. The song title refers to the main melody line, which at first consists of a long series of notes of a single tone. This is just a little samba Built upon a single note Other notes are bound to follow But the root is still that note Now this new note is the consequence Of the one we've just been through As I'm bound to be The unavoidable consequence of you There's so many people Who can talk and talk, and talk And just say nothing Or nearly nothing I have used up all the scale I know and at the end I've come to nothing I mean nothing All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 37. 27 Quarter II: Afro-Latin American and Popular Music So I come back to my first note As I come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know So I come back to my first note I must come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know Evaluation of Performing Activities Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair Ask the students to answer the following: Rate scores are based on the groups’ performance quality. 1. How well did our group perform our assigned music? a. African music _______________ b. LatinAmerican music _______________ 2 How well can I identify the different musical genres based on instrumentation, melody, rhythm, text, timbre, harmony, and purpose? _______________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 38. 28 MUSIC Teacher’s Guide 3. How well can I describe the characteristics of each genre as I listened to the melody, harmony, rhythm, and lyrics? _______________ 4. How well did our group perform the different dance moves for our assigned song? _______________ 5. How well can I (individually) sing the following musical genres? a. African music _______________ b. LatinAmerican music _______________ Teacher’s Rating of the Performance 1. Musicianship (60%) _______________ (musical elements, technique) 2. Presentation impact and showmanship (20%) _______________ 3. Ensemble coordination and organization (20%) _______________ VII. EVALUATION Have the students choose a new favorite musical genre. On a one fourth (1/4) sheet of pad paper, have them describe the character and classification ofAfrican and Latin American music and tell which is their favorite, and why. VIII. ENRICHMENT / ASSIGNMENT 1. Mini Concert: Divide the class into two groups. Assign African music to one group, and LatinAmerican music to the other group. Have them prepare for a mini concert of their assigned genre in the next meeting. 2. Research Work: Ask them to research or read on jazz, popular music, and OPM and write their personal impression about each genre. Let them submit it next meeting. 3. Video Analysis: Ask the students to watch the animated movies Lion King by Disney and Rio by Blue Sky Studios on the internet. Have them write a reaction paper regarding the musical forms and styles incorporated in these movies. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 39. 29 Quarter II: Afro-Latin American and Popular Music QUARTER II AFRO-LATIN AMERICAN AND POPULAR MUSIC Sessions 6, 7, and 8 JAZZ, POPULAR MUSIC, AND ORIGINAL PILIPINO MUSIC I. SUBJECT MATTER A. Topic: Jazz Popular Music Original Pilipino Music (OPM) Sub-topics: Jazz – ragtime, big band, bebop, jazz rock Popular Music – ballad, standard, rock and roll, alternative music, disco Original Pilipino Music (OPM) B. Materials: DVD/CD recordings /video clips / recordings fromYouTube of Jazz Music, Popular Music, and OPM CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Pictures of Jazz, Popular Music, and OPM singers, composers, lyricists C. Reference: Music Grade 10 LM pages 65 - 87 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: a. Define and describeAfrian and LatinAmerican music. b. Give examples of musical instruments ofAfrica and LatinAmerica. 2. Motivation: a. Show video/film clips/MTVs or any recording from YouTube of Frank Sinatra, Nat King Cole, The Beatles, Michael Jackson, One Direction, The Vamps, Ed Sheeran, Taylor Swift, K pop, J pop, Freddie Aguilar, Francis Magalona, and Eraserheads. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 40. 30 MUSIC Teacher’s Guide Or present in class video clips from the animated movie The Princess and The Frog and let the students listen to the background music which is jazz. b. Elicit responses through individual recitations or plain imitation of a short song melody. B. DEVELOPMENTALACTIVITY 1. Let the students listen to DVD/CD recordings or watch MTVs from YouTube of pop, rock, jazz, folk, country and western, rock and roll, hiphop, rap, and classical music. 2. Have them analyze/discuss the characteristics of each genre through comparison of their similarities and differenes. 3. Discuss the different aspects of the history of each musical genre in relation to Social Studies, and describe how each one is influenced by modern culture, society, and technology. 4. Let the students identify aurally the different genres of today’s music. 5. Call on volunteers to perform two or three of these genres in class. C. INTEGRATION 1. The lesson on Musical Genres of the 20th Century, dealing with folk and alternative music, as well as the modern idioms of jazz, popular music, and rock, may be integrated with Social Studies in reference to today’s society, culture, and technology. 2. Role Playing - Call on volunteer students to depict the socio-historical context of jazz and popular music, specifically rock and roll. Infusion of values: Ability to adapt to different situations in life and open- mindedness to new ideas. D. GENERALIZATION The emergence of 20th century musical genres is a reflection of modern life, balancing the traditional norms of society with the advances in science All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 41. 31 Quarter II: Afro-Latin American and Popular Music and technology. Other than the genres that evolved from the traditionally classical styles, the new musical forms that developed included Country and Western, Jazz, Rock and Roll, Rock, and Alternative Music. III. WHAT TO KNOW Ask the students to answer the following: 1. How did the different forms of popular music reflect life in the 20th century? 2. Differentiate the characteristics of Philippine pop, rock, and rap music. 3. What role did media like radio, television, and recordings play in the development of these different musical genres? 4. Describe the “Manila Sound” in Philippine pop music. 5. Name some well-known OPM performers. IV. WHAT TO PROCESS Class Activity: Listening 1. Playone recording of each of the following: Jazz, Popular Music (standards, rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Instruct the class to listen carefully to each recording. 2. Have the students participate in a class discussion on the distinctive features and qualities of each musical genre and style. V. WHAT TO UNDERSTAND Activity: Choreography to Express the Music Individual or Group Activity 1. Ask the students to conceptualize a choreography to show some dance steps set to Jazz, Popular (Pop) Music, and OPM. 2. After this activity, ask the students: “How does it feel to conceptualize the dance movements in each music category?” All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 42. 32 MUSIC Teacher’s Guide VI. WHAT TO PERFORM Group Activities 1. Class Singing Concert – live performance a. Divide the class into four groups. b. Each group will be asked to draw lots to sing a song from one of the following musical genres: For Jazz - choose from Someone to Watch Over Me byElla Fritzgerald (lyrics provided on the next page) or All That Jazz from the movie Chicago For Pop and OPM - choose your own song c. Have the students decide among their group members who will do the following: - sing - plan the choreography or movements to accompany the song - play a musical instrument - record the group’s performance on video. d. They will then learn their assigned song, using the lyrics provided or researched on the internet. Let them practice it, with the choreography and accompaniment. 2. Dance Interaction a. As they perform in class, ask the performers to invite the other class members to join them in the dance movements or choreography that they have prepared. They can do a “flash mob” style of dancing. b. Assign the group leaders to do an impromptu selection of the “Best Dance Performance” among their classmates. 3. Music Video Award a. During the class performance, ask the assigned group member(s) to record their group’s performance using a mobile phone, tablet, or video camera. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 43. 33 Quarter II: Afro-Latin American and Popular Music Someone To Watch Over Me There's a saying old, says that love is blind Still we're often told, "Seek and ye shall find" So I'm going to seek a certain lad I've had in mind Looking everywhere, haven't found him yet He's the big affair I cannot forget Only man I ever think of with regret I'd like to add his initial to my monogram Tell me, where is the shepherd for this lost lamb? There's a somebody I'm longin' to see I hope that he, turns out to be Someone who'll watch over me I'm a little lamb who's lost in the wood I know I could, always be good To one who'll watch over me Although he may not be the man some Girls think of as handsome To my heart he carries the key Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Someone to watch over me b. Tell them to simulate a “Music Video Award” event by joining the other groups in presenting their respective videos in class. c. Ask the class members to choose the “Best Song Performance” based on how well the group presented their assigned music genre. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 44. 34 MUSIC Teacher’s Guide Evaluation of Performing Activities Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair Rate scores are based on the groups’ performance quality. 1. How well did our group perform our assigned music? a. Jazz _______________ b. Popular Music _______________ c. OPM _______________ 2. How well can I identify the different musical genres based on instrumentation, melody, rhythm, text, timbre, harmony, and purpose? _______________ 3. How well can I describe the characteristics of each genre as I listened to the melody, harmony, rhythm, and lyrics? _______________ 4. How well did our group perform the different dance moves for our assigned song? _______________ 5. How well can I (individually) sing the following musical genres? a. African Music _______________ b. LatinAmerican Music _______________ Teacher’s Rating of the Performance 1. Musicianship (60%) _______________ (musical elements, technique) 2. Presentation impact and showmanship (20%) _______________ 3. Ensemble coordination and organization (20%) _______________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 45. 35 Quarter II: Afro-Latin American and Popular Music VII. EVALUATION Make the students choose a new favorite musical genre. On a one fourth (1/4) sheet of pad paper, have them describe the character and classification of this genre and tell why it is their favorite. VIII. ENRICHMENT / ASSIGNMENT A. Research Work 1. Divide the class into three groups. Assign one musical genre to each group: jazz, popular music, and OPM. 2. Have the students research further on their assigned genre and the well- known musicians who composed/performed in this style. 3. Ask the students to briefly describe the life and works of their favorite artists in this genre. 4. Let them submit their resarch work in the next meeting.Ask 5 students to read their work in class. B. VideoAnalysis 1. Ask the students to watch the Disney animated movie The Princess and The Frog on the internet. 2. Have them write a reaction paper regarding the musical forms and styles incorporated in the movie. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 46. MUSIC Teacher’s Guide 36 Quarter III CONTEMPORARY PHILIPPINE MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of contemporary music. PERFORMANCE STANDARDS The learner... 1. Sings contemporary songs. LEARNING COMPETENCIES The learner... 1. Listens perceptively to excerpts of major contemporary works. 2. Describes characteristics of traditional and new music. 3. Gives a brief biography of selected contemporary Philippine composers. 4. Sings selections of contemporary music with appropriate pitch, rhythm, style, and expression. 5. Explores ways of creating sounds on a variety of sources. 6. Improvises simple vocal/instrumental accompaniments to selected songs. 7. Creates a musical on the life of a selected contemporary Philippine composer. 8. Evaluates musicand music performances usingknowledgeof musical elements and style. From the Department of Education curriculum for MUSIC Grade 10 (2014) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 47. Quarter III: Contemporary Philippine Music 37 Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 1,2, and 3 TRADITIONAL COMPOSERS I. SUBJECT MATTER A. Topic: 20th Century Filipino Composers: Traditional Composers Sub Topics: Francisco Buencamino Francisco Santiago NicanorAbelardo Antonio Molina Hilarion Rubio Col. Antonino Buenaventura Rodolfo Cornejo Felipe Padilla de Leon Sr. Lucio San Pedro Rosendo Santos Jr. Alfredo Buenaventura Ryan Cayabyab B. Materials: Pictures/slides of composers Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players C. Reference: Music Grade 10 Learner’s Materials Pages 89-109 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 48. MUSIC Teacher’s Guide 38 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Recall concepts from the past lesson. 2. Motivation: As the class listens to the recordings, display on the board pictures of each of the composers. Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart or list of composers from the last lesson. B. DEVELOPMENTALACTIVITY Have the students do the following: 1. Let the students listen to and watch presentations of the lives, musical achievements, and works of Francisco Buencamino Sr., Francisco Santiago, NicanorAbelardo, Antonio Molina, Hilarion Rubio, Col. Antonino Buenaventura, Rodolfo Cornejo, Felipe Padilla de Leon Sr., Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura, and Ryan Cayabyab. 2. Have them watch the following video clips on YouTube: a. Larawan and Mayon Fantasy by Francisco Buencamino performed by Cecille Licad, international concert pianist b. Nocturne by Nicanor Abelardo performed by Raul Sunico, international concert pianist c. Serenata by Nicanor Abelardo performed by Renato Lucas, cello and Raul Sunico, pianist d. Anak Dalita by Francisco Santiago e. Sa Ugoy ng Duyan by Lucio San Pedro performed by Lea Salonga f. Kumukutikutitap and Kay Ganda ng ating Musika byRyan Cayabyab 3. Let them express their a) personal reactions or feelings; and b) analysis of the musical elements present about these composers’ works through group discussion. Report the outcome of the group discussion in class. C. INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine Historyfor a better understanding of the musical styles and their sources of influence. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 49. Quarter III: Contemporary Philippine Music 39 Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage. D. GENERALIZATION Filipino composers of the 20th centurycontributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions. III. WHAT TO KNOW 1. Discuss the lives and musical contributions of the following 20th century Filipino composers: a. Francisco Buencamino Sr. g. Rodolfo Cornejo b. Francisco Santiago h. Felipe Padilla de Leon Sr. c. NicanorAbelardo i. Lucio San Pedro d. Antonio Molina j. Rosendo Santos Jr. e. Hilarion Rubio k. Alfredo Buenaventura f. Col. Antonino Buenaventura l. Ryan Cayabyab 2. Point out the characteristics of the musical style of the above-mentioned Filipino composers. Composer Characteristics of the Musical Style ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ ________________ _______________________________________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 50. MUSIC Teacher’s Guide 40 IV. WHAT TO PROCESS A. Listening Activity 1. Play excerpts of recordings of any one composition by the following Filipino song composers: Antonio Molina - Hatinggabi, Misa Antoniana, Grand Festival Mass, Ang Batingaw, Kundiman- Kundangan; String Quartet, Kung sa Iyong Gunita, Pandangguhan, Amihan, Awit ni Maria Clara, Larawan Nitong Pilipina Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, Lahing Kayumanggi Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, Te Deum, Kay Ganda ng Ating Musika, Limang Dipang Tao, Da Coconut Nut, Alikabok, Spoliarium, Kumukuti-kutitap Col. Antonino Buenaventura - Minuet, Mindanao Sketches, Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings, Pandanggo sa Ilaw, Princesa ng Kumintang, Pandanggo ni Neneng Alfredo Buenaventura - Maria Makiling (1961), Diego Silang(1966), Prinsesa Urduha (1969); Ang Ating Watawat (1965), Pasko ng Barangay (1964); Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great Malayan Antagonist (1990) Rodolfo Cornejo - A la Juventud Filipina, Bailes deAyer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakas at Maganda Overture, Okaka, Oriental Fantasy, IbongAdarna, Piano Concerto Nos. 1,2,3, Ruby, Song of the Miners Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo, Florente at Laura, Halik, Danza, Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway, Concertino in C (Marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang Araw, In a Tropcal Sea, Filipino Youth, Nela, Light, Narra, Mutya ng Silangan All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 51. Quarter III: Contemporary Philippine Music 41 Rosendo Santos Jr. - Melinda’s Masquerade NicanorAbelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng Pasig, Paskong Anong Saya, Cavatina, Kundiman ng Luha, Magbalik Ka Hirang Francisco Santiago - Kundiman (Anak Dalita), Himutok, Pakiusap, Madaling Araw, Sakali Man, Pilipinas Kong Mahal, Ano Kaya ang Kapalaran? Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan, Payapang Daigdig, Pasko na Naman, Noche Buena, Kay Tamis ng Buhay, Sapagkat Mahal Kita Francisco Buencamino - Harana, Pandanggo ni Neneng, Collar de Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament, Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng Kumintang, Maligayang Bati, Ang Bukang Liwayway, Ang Bagong Balitaw, Himig ng Nayon, Damdamin (Romance), Pizzicato Caprice 2. Let the students listen carefully to each excerpt and recognize the different musical styles of the composers. 3. Have them analyze the music by taking note of the elements of music present: rhythm, melody, tempo, dynamics, texture, harmony, form, and timbre. 4. Let them choose a composition that they like, and then write a short reaction paper on it in relation to the musical elements. B. Evaluation of Listening Activity Name the Composer, Title of the Music, Musical Style, and Description 1. After the above Listening Activity, prepare selected excerpts of compositions byLucio San Pedro, Col.Antonino Buenaventura,Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino, Hilarion Rubio, Rosendo Santos Jr., Francisco Santiago, Nicanor Abelardo, Felipe Padilla de Leon Sr., and Ryan Cayabyab. 2. Divide the class into four teams, with each team forming a line. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 52. MUSIC Teacher’s Guide 42 3. As you playa few measures of the first musical excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. Assign one student as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: What was the most significant thing that you have learned from this activity? V. WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1. Have the students compose a simple song, for which they will create both the lyrics and the music. 2. They may adapt a certain melody from the compositions of the song composers that they like, and then write new lyrics to fit the music. 3. They may also include an accompaniment using a guitar, flute, recorder, keyboard, drums, tambourine, maracas, or even improvised musical instruments from the environment. 4. Have the students sing their original songs or adaptations in class, either a capella (without accompaniment) or with accompaniment. 5. Ask them this question: What motivated you to compose or adapt the music of that particular song? VI. WHAT TO PERFORM A. Singing Activity Individual or in groups: Let the students sing any of the compositions of Lucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., Nicanor Abelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 53. Quarter III: Contemporary Philippine Music 43 If individual activity, let the students choose one composition that they will perform. If group activity, let them do the following procedure: 1. Divide the class into four groups. 2. Let the students choose any traditional composer, and research further on his compositions, if needed. 3. After researching, have them select one composition that they like best or they are familiar with. Or they may opt to learn a new song. 4. Let them choose their group’s musical director. 5. To learn and practice their chosen song, the students may bring to class “minus one” music on a CD, mobile phone, or USB. 6. Theymayadd instrumental accompaniment using aguitar, flute, recorder, maracas, tambourine, keyboard, or a combination of any of these. 7. They mayalso improvise simple vocal or instrumental accompaniment, by exploring ways of creating sounds from a variety of sources or from the environment. 8. Let them sing the song in class with their groupmates interpreting the music with appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony, and expression. 9. After all the performances, choose the “Best Singing Group” based on: - musicianship (musical elements) 60% - presentation impact and showmanship 20% - ensemble coordination and organization 20% 10. Have all the students evaluate by rating each other’s performance and their own performance. Evaluation of Singing Activity Have the students rate the individuals/groups based on performance quality: Rating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - Fair All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 54. MUSIC Teacher’s Guide 44 Rating the other performers (if individual activity): 1. How well did the performers express the message of the songs? __________ 2. How well did the performers pronounce the lyrics of the songs? __________ 3. How well did the performers sing based on musical elements and style: a. pitch __________ b. rhythm __________ c. style __________ d. expression __________ e. dynamics __________ f. melody __________ g. timbre __________ h. texture __________ i. harmony __________ Rating the group members (if group activity): 1. How well did the group members express the message of the songs? __________ 2. How well did the group members sing? __________ 3. How well did the group members participate? __________ B. Creating and Performing Activities: Musical 1. Divide the class into four groups. Each group will choose a traditional composer who was discussed in class, and research further on his life and works. 2. Have the students create a contemporary musical on the life of their chosen composer. Encourage them to incorporate some of his compositions (melodic fragments) in the musical’s story line. 3. For the creation of the musical, have the students improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) for the songs that they have chosen. 4. Let them also explore ways of creating sounds as accompaniment on a variety of sources or from the environment. 5. Each group will then perform their original musical in class. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 55. Quarter III: Contemporary Philippine Music 45 6. Choose the “Best Group Musical Performance” based on: - musicianship (musical elements) 50% - audience impact and showmanship 20% - ensemble coordination and organization 20% - stage discipline or deportment 10% Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - Fair Rating the other performers/groups: 1. How well did the performers express the message of the musical? __________ 2. How well did they perform in the musical based on the following: a. voice quality __________ b. expression __________ c. stage presence __________ d. audience impact __________ e. mastery of the musical __________ g. musical elements (rhythm, melody, dynamics) __________ h. technique __________ i. showmanship __________ Rating your own group members: 1. How well did your group members express the message of the musical? __________ 2. How well did your group members perform? __________ 3. How well did your group members coordinate with each other during the performance in the ensemble? __________ 4. How well did your group organize yourselves in the ensemble? __________ Rating myself: 1. How well did I express the message of the musical? __________ 2. How well did I perform with my group? __________ 3. How well did I coordinate with the other members during the performance in the ensemble? __________ 4. How well did I cooperate in the ensemble? __________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 56. MUSIC Teacher’s Guide 46 Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 4 and 5 NEW MUSIC COMPOSERS I. SUBJECT MATTER A. Topic: 20th Century Filipino Composers: New Music Composers Sub Topics: Jose Maceda Lucrecia Kasilag Ramon Santos Fr. Manuel Maramba, OSB Jerry Dadap Francisco Feliciano Josefino “Chino” Toledo Jonas Baes B. Materials: Pictures/slides of composers Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players C. Reference: Music Grade 10 Learner’s Materials Pages 119-124 II. LESSON PROPER A. PRELIMINARYACTIVITY 1. Review: Recall concepts from the past lesson. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 57. Quarter III: Contemporary Philippine Music 47 2. Motivation: Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart of composers begun in the last lesson. As the class listens to selected excerpts of the recordings, display on the board pictures of each of the composers. B. DEVELOPMENTALACTIVITY 1. Have the students watch and listen to presentations of the lives, musical achievements, and works of Jose Maceda, Lucrecia Kasilag, Ramon Santos, Fr. Manuel Maramba, OSB, Jerry Dadap, Francisco Feliciano, Josefino “Chino” Toledo, and Jonas Baes. 2. Let them watch the following musical examples on YouTube: a. Udlot-udlot by Jose Maceda performed at Senri Expo Park, Japan b. Huntahang Gitara composed and conducted by Josefino Toledo c. Banwa by Jonas Baes d. Lullaby by Lucrecia Kasilag, National Artist for Music e. Pamugun by Francisco Feliciano, National Artist for Music f. Alay sa Inang Bayan by Jerry Dadap 3. Ask the students to express their personal reactions or feelings about these composers’ works through group discussion and analysis. Have them report the outcome of the group discussion in class. C. INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the styles and their sources of influence. Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage. D. GENERALIZATION Filipino composers of the 20th centurycontributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 58. MUSIC Teacher’s Guide 48 III. WHAT TO KNOW Let the students answer the following: 1. Research on and describe the characteristics of New Music. 2. Discuss the lives and works ofthe following 20th centuryFilipino composers and performers: a. Jose Maceda e. Jerry Dadap b. Lucrecia Kasilag f. Francisco Feliciano c. Ramon Santos g. Josefino “Chino” Toledo d. Fr. Manuel Maramba, OSB h. Jonas Baes 3. Point out the characteristics of the musical styles of the above-mentioned Filipino composers. Composer Characteristics of the Musical Style ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ ________________ ________________________________________ IV. WHAT TO PROCESS A. Listening Activity 1. Play excerpts of recordings of any one composition by the following Filipino New Music composers: All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 59. Quarter III: Contemporary Philippine Music 49 a. Jose Maceda - Ugma-Ugma; Agungan; Pagsamba; Ugnayan; Udlot Udlot b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legend of the Sarimanok; Divertissement and Concertante; Dularawan c. Josefino “Chino” Toledo - 2nd Og-og; Abe; Ako ang Daigdig; Alitaptap; Aliw-iw; Awiting Bayan; Barasyon; Asia; Kah-non; Humigit Kumulang; Lima; Mi-sa; Missa de gallo; Oyog-Oyog; Musika para sa; Pasyon at Buhay; Pompyang; Pintigan; Pilipino Komiks; Sigaw; Tatluhan; Auit, Ub-og; Ug-nay; Tula-li d. Francisco Feliciano - Sikhay sa Kabila ng Paalam;Ashen Wings; La Loba Negra; Prelude and Toccata ; Fragments; Yerma; The life of wartime Filipino hero, JoseAbad Santos; Transfiguration; Missa Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag; Pamugún; Restless e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I); Mangamuyo II; The Redemption; Five Little Fingers; Tubig ng Buhay; Dakilang Pagpapatawad;Andres Bonifacio, Ang Dakilang Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-ang Epic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniway at Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; Diyos Ama ay Purihin f. Fr. Manuel Maramba, OSB - Aba!, Sto. Niño; La Naval; Lord Takayama Ukon; Awakening; Seven Mansions; Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass in Honor of the Sto. Niño; cantatas St. Lorenzo Ruiz, St. Benedict, and St. Scholastica; Three Psalms—A hymn in honor of St. Lorenzo Ruiz, and the official hymn of the 1996 National Eucharistic Congress; Ang Sarswela sa San Salvador; Pugad Lawin; The Virgin of Naval; Transfiguration g. Ramon Santos - Ding Ding nga Diyawa; Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa Wikang Pilipino (para sa labing anim na tinig); L’BAD h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO- IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA; PANTAWAG; BASBASAN (Blessing) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 60. MUSIC Teacher’s Guide 50 2. Let students listen carefully to each excerpt and be able to recognize the different musical elements and styles of the composers. 3. Have them analyze the music focusing on the elements of music present, such as rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre. 4. Let them choose a composition that they like and write a reaction paper on it. B. Evaluation of Listening Activity: Name the Composer, Title of the Music, Musical Style, and Description 1. After the above Listening Activity, prepare selected excerpts of the compositions that the students had listened to. 2. Divide the class into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. One student will be assigned as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: What was the most significant thing that you have learned from this activity? V. WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1. Divide the class into groups. Let them perform in solo, duet, trio, quartet, and quintet. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 61. Quarter III: Contemporary Philippine Music 51 2. Each group will compose a simple song incorporating indigenous music and folksongs; or they may adapt a certain melody from the compositions of the New Music composers that they like. 3. Have them write new lyrics to fit the music, and include an accompaniment using guitar, flute, recorder, keyboard, percussion, or improvised musical instruments. 4. If appropriate, encourage them to choreograph dance movements to interpret the music of the composer that they have chosen. 5. All the groups will then perform their composition or song adaptation in class, either a capella (without accompaniment) or with accompaniment. 6. Have the students answer the following: “How did you feel in incorporating our indigenous music in your composition or song adaptation?” Have them submit this paper in class next meeting. VI. WHAT TO PERFORM Creating and Performing Activities: Musical 1. Divide the class into four groups. Each group will choose a traditional composer who was discussed in class, and research further on his life and works. 2. Based on their research, have them create a contemporary musical on the life of their chosen composer, incorporating some of his compositions (melodic fragments) in the musical’s story. 3. Encourage them to improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) to the songs that they have chosen. 4. For the creation of the musical, ask them to explore ways of creating sounds as accompaniment on a variety of sources or from the environment. 5. All the groups will then perform their musical in class. 6. Choose the “Best Group Musical Performance” based on: - musicianship (musical elements) 50% - audience impact and showmanship 20% - ensemble coordination and organization 20% - stage discipline or deportment 10% All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 62. MUSIC Teacher’s Guide 52 Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - Fair Rating the other performers/groups: 1. How well did the performers express the message of the musical? __________ 2. How well did the performers sing and act in the musical based on the following: a. voice quality __________ b. expression __________ c. stage presence __________ d. audience impact __________ e. mastery of the musical __________ f. pitch __________ g. rhythm __________ h. style __________ i. acting __________ Rating your own group members: 1. How well did your group members express the message of the musical? __________ 2. How well did your group members perform? __________ 3. How well did your group members participate? __________ Rating myself: 1. How well did I express the message of the musical? __________ 2. How well did I perform with my group? __________ 3. How well did I coordinate with the other members during the performance in the ensemble? __________ 4. How well did I cooperate in the ensemble? __________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 63. Quarter III: Contemporary Philippine Music 53 Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 6, 7, and 8 SONG COMPOSERS I. SUBJECT MATTER A. Topic: 20th Century Filipino Composers: Song Composers Sub Topics: Levi Celerio Constancio de Guzman Mike Velarde Jr. Ernani Cuenco Restie Umali George Canseco Angel Peña Leopoldo Silos Santiago Suarez B. Materials: Pictures/slides of composers Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players C. Reference: Music Grade 10 Learner’s Materials Pages 125-140 II. LESSON PROPER A. PRELIMINARYACTIVITY All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 64. MUSIC Teacher’s Guide 54 1. Review: Recall concepts from the past lesson. 2. Motivation: As the class listens to the recordings, display on the board pictures of each of the composers. Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart of composers in the last lesson. B. DEVELOPMENTALACTIVITY Have the students do the following: 1. Let the students watch and listen to presentations of the lives, musical achievements, and works of Levi Celerio, Constancio de Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco,Angel Peña, Leopoldo Silos, Santiago Suarez 2. Have them watch the following video clips on YouTube a. Bayan Ko by Constancio de Guzman as performed by Lea Salonga b. Bato sa Buhangin by Ernani Cuenco, National Artist for Music as performed by Raul Sunico, international concert pianist c. Hanggang sa Dulo ng Walang Hanggan by George Canseco as performed by Raul Sunico, international concert pianist d. MaestroAngel Peña, The Trailblazer of Pinoy Jazz (Documentary) e. Levi Celerio on Ryan Cayabyab Show;ASAP18 presents The Music of Levi Celerio; Regine Velazquez-Levi Celerio OPM Classics with Ryan Cayabyab f. Dahil sa Iyo by Mike Velarde Jr g. Saan Ka Man Naroroon by Restie Umali h. Dahil sa Isang Bulaklak by Leopoldo Silos Jr. i. Bakya Mo Neneng bySantiago Suarez as performed bythe Mabuhay Singers 3. Let the students express their personal reactions or feelings about these composers’ works through group discussion and analysis. Then, have them report the outcome of the group discussion in class. C. INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the styles and their sources of influence. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.