This document provides a learning activity sheet for Grade 10 Music students analyzing the musical characteristics of Afro-Latin American and popular music through listening activities. It includes background information on the characteristics of Afro-Latin American music such as call-and-response and improvisation. Characteristics of popular music discussed are being catchy, short, simple melodies and emphasizing recording over live performance. Students are given options to either analyze songs through online listening or reading the provided information. They complete a Venn diagram comparing the musical characteristics of the two genres.
The document provides an overview of a music learning module on Philippine popular music for 7th grade students. It is a 2-hour lesson that introduces students to the pioneers and genres of Philippine popular music such as pop, fusion, novelty, hip hop, and folk rock. Students will analyze musical elements in examples of popular music, learn about the cultural and historical context, and correlate the music to Philippine society. A culminating activity is a class variety show showcasing different genres of Philippine popular music. Students are assessed on their performance in groups.
This document provides an overview of Philippine music through different time periods in history. It discusses the ancient period where early records of music are found in carvings from India, Egypt, China and Greece. The Greeks made notable contributions to music's growth through developments in drama and scales. Subsequent lessons cover the Christian period and pre-classical, classical, romantic, modern and regional music periods in the Philippines. Activities provide interpretation and analysis of musical concepts and styles.
This document provides an overview of Philippine music through different time periods in history. It discusses the ancient period where early records of music are found in carvings from India, Egypt, China and Greece. The Greeks made notable contributions to music's growth through early drama and Pythagoras' formulation of acoustics. Subsequent lessons cover the Christian period and periods like pre-classical, classical, romantic, modern and famous music from different regions of the Philippines. Activities help interpret concepts and analyze musical elements like rhythm, notation and time signatures.
The vocal music of South Asia and the Middle East can be analyzed based on their musical elements and cultural influences. In India, Carnatic music from the south uses the voice as "temple music" while Hindustani music from the north dates back to 1000 BC. Pakistan is known for Ghazal and Qawwali vocal styles influenced by Central Asia. In Israel, devotional music is featured in worship while secular music is used in life events. Overall, the unique musical traditions of these regions reflect their diverse cultures and religious practices.
Copy of LAS-MAPEH-MUSIC-G10-MELC4-5-Week-6-8Day-1.pdfAlNioTarusan
1. The document provides instructions for learners to perform and evaluate Afro-Latin American music. Learners are asked to watch a video of a musical performance and answer questions about rhythm and preserving cultural music.
2. For an activity, learners will perform songs by Bob Marley or "Kum bay ya" and evaluate their own performance using a rubric focusing on pitch, rhythm, style, and expression.
3. Learners will also reflect on how music can help with learning during difficult times. The document includes various online resources and links to support the learning activities.
This document outlines a lesson plan on the folk songs of the lowlands of Luzon in the Philippines. The objectives are for students to understand, analyze, and appreciate the musical characteristics and social functions of representative folk songs from this region. Students will learn about vocal and instrumental folk music selections and their distinguishing features in relation to local culture and geography. Activities include identifying folk songs by origin on a map, discussing musical elements, and composing an original folk song in small groups. The purpose of studying folk songs is to understand the historical and cultural context they convey through simple melodies and lyrics.
The document provides the lesson plan for teaching students about folk songs from the lowlands of Luzon, Philippines. The objectives are for students to understand, appreciate, and analyze the different aspects and purposes of folksongs. The content topic will focus on folk songs from the lowlands of Luzon. The lesson procedures include reviewing previous lessons on musical symbols, establishing the purpose of exploring examples of folk songs from various provinces, presenting a map activity to locate origins of sample folksongs, discussing vocal music characteristics, developing mastery through group projects, analyzing cultural significance and themes through higher-order thinking questions, emphasizing the importance of folksongs, and evaluating learning through a short quiz.
This document is a daily lesson log for a Music class that covers Afro-Latin American music, popular music, and Philippine popular music over the course of a week. The teacher's objectives are for students to understand the historical and cultural backgrounds of these music genres and analyze their musical characteristics through listening activities. Each day focuses on a different topic and includes learning activities like group work, listening exercises, discussions, and assessments. The log provides links to audio examples and outlines the procedures used to introduce, practice, and evaluate the concepts.
The document provides an overview of a music learning module on Philippine popular music for 7th grade students. It is a 2-hour lesson that introduces students to the pioneers and genres of Philippine popular music such as pop, fusion, novelty, hip hop, and folk rock. Students will analyze musical elements in examples of popular music, learn about the cultural and historical context, and correlate the music to Philippine society. A culminating activity is a class variety show showcasing different genres of Philippine popular music. Students are assessed on their performance in groups.
This document provides an overview of Philippine music through different time periods in history. It discusses the ancient period where early records of music are found in carvings from India, Egypt, China and Greece. The Greeks made notable contributions to music's growth through developments in drama and scales. Subsequent lessons cover the Christian period and pre-classical, classical, romantic, modern and regional music periods in the Philippines. Activities provide interpretation and analysis of musical concepts and styles.
This document provides an overview of Philippine music through different time periods in history. It discusses the ancient period where early records of music are found in carvings from India, Egypt, China and Greece. The Greeks made notable contributions to music's growth through early drama and Pythagoras' formulation of acoustics. Subsequent lessons cover the Christian period and periods like pre-classical, classical, romantic, modern and famous music from different regions of the Philippines. Activities help interpret concepts and analyze musical elements like rhythm, notation and time signatures.
The vocal music of South Asia and the Middle East can be analyzed based on their musical elements and cultural influences. In India, Carnatic music from the south uses the voice as "temple music" while Hindustani music from the north dates back to 1000 BC. Pakistan is known for Ghazal and Qawwali vocal styles influenced by Central Asia. In Israel, devotional music is featured in worship while secular music is used in life events. Overall, the unique musical traditions of these regions reflect their diverse cultures and religious practices.
Copy of LAS-MAPEH-MUSIC-G10-MELC4-5-Week-6-8Day-1.pdfAlNioTarusan
1. The document provides instructions for learners to perform and evaluate Afro-Latin American music. Learners are asked to watch a video of a musical performance and answer questions about rhythm and preserving cultural music.
2. For an activity, learners will perform songs by Bob Marley or "Kum bay ya" and evaluate their own performance using a rubric focusing on pitch, rhythm, style, and expression.
3. Learners will also reflect on how music can help with learning during difficult times. The document includes various online resources and links to support the learning activities.
This document outlines a lesson plan on the folk songs of the lowlands of Luzon in the Philippines. The objectives are for students to understand, analyze, and appreciate the musical characteristics and social functions of representative folk songs from this region. Students will learn about vocal and instrumental folk music selections and their distinguishing features in relation to local culture and geography. Activities include identifying folk songs by origin on a map, discussing musical elements, and composing an original folk song in small groups. The purpose of studying folk songs is to understand the historical and cultural context they convey through simple melodies and lyrics.
The document provides the lesson plan for teaching students about folk songs from the lowlands of Luzon, Philippines. The objectives are for students to understand, appreciate, and analyze the different aspects and purposes of folksongs. The content topic will focus on folk songs from the lowlands of Luzon. The lesson procedures include reviewing previous lessons on musical symbols, establishing the purpose of exploring examples of folk songs from various provinces, presenting a map activity to locate origins of sample folksongs, discussing vocal music characteristics, developing mastery through group projects, analyzing cultural significance and themes through higher-order thinking questions, emphasizing the importance of folksongs, and evaluating learning through a short quiz.
This document is a daily lesson log for a Music class that covers Afro-Latin American music, popular music, and Philippine popular music over the course of a week. The teacher's objectives are for students to understand the historical and cultural backgrounds of these music genres and analyze their musical characteristics through listening activities. Each day focuses on a different topic and includes learning activities like group work, listening exercises, discussions, and assessments. The log provides links to audio examples and outlines the procedures used to introduce, practice, and evaluate the concepts.
This document outlines a 10-day music curriculum focusing on Afro-Latin American and popular music. The curriculum aims to teach students about the historical and cultural background of these genres through listening activities and performances. Students will learn about the characteristics and instruments of African and Latin American music. They will sing and evaluate selections of call-and-response, soul, spirituals, blues, reggae, and bossa nova. On days 3-5, students will explore creating sounds using improvised instruments. The curriculum concludes with students practicing and evaluating their performances using guided rubrics.
June is a month full of emotions: excitement as the summer holidays are coming closer, nerves because everyone wants to do well in their tests, sadness because we may not see our classmates for some time, happiness because we will be able to enjoy the sunshine and make exciting plans. This month we want to explore emotions and music. Our C1 and B2 candidates can learn about (music) festivals. Music will inspire our B1 candidates and will help them write their own stories. Our A2 Key and A2 Flyers candidates can also use their talent to tell stories using music and the little ones can express how music makes them feel. Happy teaching!
This document provides teaching materials for a music lesson on Philippine nationalistic songs and love songs. The lesson will introduce students to 4 compositions: 2 nationalistic songs expressing patriotism (Marangal na Dalit ng Katagalugan and Lupang Hinirang) and 2 love songs expressing romance (Nasaan Ka Irog? and Gaano Ko Ikaw Kamahal). Students will analyze the musical elements, cultural context, and social functions of the songs. They will also perform songs individually and in groups. The goal is for students to understand how music expresses beliefs of patriotism and love that are valued in Philippine culture and heritage.
The document is a pedagogical module for 9th grade English class. It includes 10 lessons covering various topics like sports, music, human rights, and dancing. The module provides reading passages, listening exercises, writing prompts, vocabulary activities, and grammar notes to teach students about values like freedom of speech, tolerance, and interculturality.
The document contains Katie VanDenBerghe's elementary music portfolio, which includes her music philosophy, descriptions of four microteachings, summaries of national and New York state music standards, lists of children's choral literature and reading literature, and a textbook review. The portfolio demonstrates Katie's approach to teaching elementary general music through activities focused on singing, playing instruments, composition, listening, and understanding music in its cultural contexts.
Experiences in music - northwestern presentationiknowithink
This course on experiences in music will explore diverse musical genres and styles from around the world. Students will develop skills in analyzing, performing, and creating music, as well as broadening their historical and cultural understanding of music. The goal is to equip students with the necessary knowledge and skills to become lifelong, passionate consumers and thinkers about music.
This document provides a table of specifications for a MAPEH test for 7th grade students covering topics like vocal and instrumental music, arts and crafts of Luzon highlands and lowlands, exercise programs, and adolescent growth and development. It outlines the objectives, topics, and number of items distributed according to cognitive process dimensions. The test will have 50 total items assessing different levels of understanding, application, and evaluation. The document also includes details about the test administration such as the date, proctor names, and student honor pledge.
The document outlines the importance of music and movement in early childhood education. It discusses how music and movement activities promote development across domains like cognitive, language, social-emotional, and physical skills. The document provides examples of music and movement activities for different age groups. It also emphasizes the teacher's role in facilitating music, ensuring accessibility to musical instruments, and incorporating diversity and various cultures through music.
CHAPTER 1 • Thinking about Music if you can speak you .docxketurahhazelhurst
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail is taking his
tum (probably last in the program due to his eminence) is ascertained by the
positioning of one (sometimes it is both) ...
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q3-Q4)LiGhT ArOhL
This document provides teaching materials for a lesson on Philippine vocal music. The lesson introduces students to two genres: nationalistic songs and love songs. It discusses four compositions as examples: "Marangal na Dalit ng Katagalugan" by Julio Nakpil, "Lupang Hinirang" by Julian Felipe, "Nasaan Ka Irog?" by Nicanor Abelardo, and "Gaano Ko Ikaw Kamahal" by Ernani Cuenco. Students will analyze the musical elements, cultural context, and social functions of the songs. They will also perform one of the songs as a group, incorporating singing and dance. The lesson aims to help students understand how these musical
The Vh1 Save the Music Foundation is a non-profit organization dedicated to restoring music education in public schools. Their mission is to provide new musical instruments to schools and help develop music curriculum. They have helped over 1,800 schools nationwide, providing $48 million in instruments and aiding over 1.8 million children. Studies show music education improves test scores and self-esteem and builds critical thinking skills. The foundation relies on donations, fundraisers, and sponsorships to continue their important work of bringing music education to underfunded schools.
Music education ii module 1.the world of musical soundsS Marley
This document provides an introduction to a module on musical sounds. It discusses what the module will cover, including definitions of music, sources of music in different cultures, and the four properties of sound. It instructs students to carefully read discussions, complete activities, and ask for help from their teacher. It outlines that students will listen to musical examples, learn songs from the Philippines and Japan, do interviews and a special project.
This document provides a curriculum map for a Music 7 class at St. Philomena's Academy in Pozorrubio, Pangasinan, Philippines for the first quarter of the school year 2022-2023. The unit topic is the Traditional Music of Luzon. The curriculum map outlines the learning competencies, content standards, assessment activities both online and offline, and resources that will be used to teach students about the musical characteristics, types of vocal music, and musical elements of traditional music from the lowlands of Luzon. It also includes a unit learning plan that provides details on lessons, activities, and a performance task to help students meet the learning targets.
Choose one of the questions from the list below. 1) Reflect o.docxrusselldayna
Choose one of the questions from the list below.
1) Reflect on the question by writing a 2-3 paragraph response.
2) Include the reference (APA Formate) to an educational website other than Wikipedia that helped you to form your response, with a 2-3 sentence description of how this website enhanced your learning for the week.
3) Select and add an image to your post that reflects your learning, including the specific reasons you chose the image.
Questions are:
An integral relationship between language and music is a feature of many styles and traditions of music worldwide. How do language and music combine and reinforce one another in the kinds of music you listen to? Can you think of instances in which the line between what constitutes speech and constitutes music blurs?
So-called musical Africanisms are pervasive features of many music traditions outside of Africa, especially traditions that belong to or have been influenced by African diasporic culture. Listen to and discuss a range of music that is familiar to you. What Africanisms do you hear in the music from our course materials? What effect do they have on how the music sounds and makes you feel?
The American musician Taj Mahal has made a career of breaking down conventional musical boundaries and redefining world music as worldly music. Do some research on Mahal and locate recordings and videos of his that represent the range and diversity of his music. Write a report describing how Mahal has combined his musical founding in blues music, his broad conceptions of “African” music as encompassing all forms of African and African diasporic music expression, and his cosmopolitanism as a world music adventurer and pioneer.
Locate videos and recordings representing several different African and African diasporic music traditions such as Brazilian samba, Trinidadian calypso, American funk and hip-hop, Ghanaian highlife and South African mbaqanga. What distinctive features do you hear in each? Are there any underlying elements that cut across some or all of them?
What role does a jeli serve in Mande society? What does he or she sing about, and what is the principal musical instrument in our course materials that is used in the jeliya art form?
...
The document provides background information on different music genres such as rock music, rhythm and blues, hip hop, and alternative rock. It then summarizes a study that examined the relationship between people's musical tastes and their lifestyles. The study found associations between types of music and factors like education level, smoking habits, and retirement status. The document goes on to discuss how music can influence thoughts and behaviors, especially for teenagers. It presents the problem statement and research questions for a study that aimed to determine the different genres of music preferred by students at Polytechnic University of the Philippines.
This document is a curriculum map for a Music course at a Catholic school in the Philippines for the school year 2019-2020. It outlines the units, topics, standards, learning competencies, assessments, activities and resources for each quarter of the course at grade 10. The first quarter covers 20th century music styles like Impressionism and Expressionism. The second quarter focuses on Afro-Latin and popular music. The third quarter's topic is contemporary Philippine music. The fourth quarter examines 20th and 21st century multimedia forms such as opera, ballet and musical plays. The document provides details on what students will learn, do and be assessed on in this Music course over the year.
1. Latin America consists of countries in South America, Central America, and some islands in the Caribbean whose inhabitants mostly speak Romance languages or Native American languages.
2. Traditional Latin American dancing blended European and indigenous styles and incorporated quick rhythms, playful movements, and sexy gestures.
3. The population of Latin America is very diverse, composed of people of Native American, European, African, and Asian ancestries.
❼❷⓿❺❻❷❽❷❼❽ Dpboss Matka ! Fix Satta Matka ! Matka Result ! Matka Guessing ! Final Matka ! Matka Result ! Dpboss Matka ! Matka Guessing ! Satta Matta Matka 143 ! Kalyan Matka ! Satta Matka Fast Result ! Kalyan Matka Guessing ! Dpboss Matka Guessing ! Satta 143 ! Kalyan Chart ! Kalyan final ! Satta guessing ! Matka tips ! Matka 143 ! India Matka ! Matka 420 ! matka Mumbai ! Satta chart ! Indian Satta ! Satta King ! Satta 143 ! Satta batta ! Satta मटका ! Satta chart ! Matka 143 ! Matka Satta ! India Matka ! Indian Satta Matka ! Final ank
This document outlines a 10-day music curriculum focusing on Afro-Latin American and popular music. The curriculum aims to teach students about the historical and cultural background of these genres through listening activities and performances. Students will learn about the characteristics and instruments of African and Latin American music. They will sing and evaluate selections of call-and-response, soul, spirituals, blues, reggae, and bossa nova. On days 3-5, students will explore creating sounds using improvised instruments. The curriculum concludes with students practicing and evaluating their performances using guided rubrics.
June is a month full of emotions: excitement as the summer holidays are coming closer, nerves because everyone wants to do well in their tests, sadness because we may not see our classmates for some time, happiness because we will be able to enjoy the sunshine and make exciting plans. This month we want to explore emotions and music. Our C1 and B2 candidates can learn about (music) festivals. Music will inspire our B1 candidates and will help them write their own stories. Our A2 Key and A2 Flyers candidates can also use their talent to tell stories using music and the little ones can express how music makes them feel. Happy teaching!
This document provides teaching materials for a music lesson on Philippine nationalistic songs and love songs. The lesson will introduce students to 4 compositions: 2 nationalistic songs expressing patriotism (Marangal na Dalit ng Katagalugan and Lupang Hinirang) and 2 love songs expressing romance (Nasaan Ka Irog? and Gaano Ko Ikaw Kamahal). Students will analyze the musical elements, cultural context, and social functions of the songs. They will also perform songs individually and in groups. The goal is for students to understand how music expresses beliefs of patriotism and love that are valued in Philippine culture and heritage.
The document is a pedagogical module for 9th grade English class. It includes 10 lessons covering various topics like sports, music, human rights, and dancing. The module provides reading passages, listening exercises, writing prompts, vocabulary activities, and grammar notes to teach students about values like freedom of speech, tolerance, and interculturality.
The document contains Katie VanDenBerghe's elementary music portfolio, which includes her music philosophy, descriptions of four microteachings, summaries of national and New York state music standards, lists of children's choral literature and reading literature, and a textbook review. The portfolio demonstrates Katie's approach to teaching elementary general music through activities focused on singing, playing instruments, composition, listening, and understanding music in its cultural contexts.
Experiences in music - northwestern presentationiknowithink
This course on experiences in music will explore diverse musical genres and styles from around the world. Students will develop skills in analyzing, performing, and creating music, as well as broadening their historical and cultural understanding of music. The goal is to equip students with the necessary knowledge and skills to become lifelong, passionate consumers and thinkers about music.
This document provides a table of specifications for a MAPEH test for 7th grade students covering topics like vocal and instrumental music, arts and crafts of Luzon highlands and lowlands, exercise programs, and adolescent growth and development. It outlines the objectives, topics, and number of items distributed according to cognitive process dimensions. The test will have 50 total items assessing different levels of understanding, application, and evaluation. The document also includes details about the test administration such as the date, proctor names, and student honor pledge.
The document outlines the importance of music and movement in early childhood education. It discusses how music and movement activities promote development across domains like cognitive, language, social-emotional, and physical skills. The document provides examples of music and movement activities for different age groups. It also emphasizes the teacher's role in facilitating music, ensuring accessibility to musical instruments, and incorporating diversity and various cultures through music.
CHAPTER 1 • Thinking about Music if you can speak you .docxketurahhazelhurst
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail is taking his
tum (probably last in the program due to his eminence) is ascertained by the
positioning of one (sometimes it is both) ...
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q3-Q4)LiGhT ArOhL
This document provides teaching materials for a lesson on Philippine vocal music. The lesson introduces students to two genres: nationalistic songs and love songs. It discusses four compositions as examples: "Marangal na Dalit ng Katagalugan" by Julio Nakpil, "Lupang Hinirang" by Julian Felipe, "Nasaan Ka Irog?" by Nicanor Abelardo, and "Gaano Ko Ikaw Kamahal" by Ernani Cuenco. Students will analyze the musical elements, cultural context, and social functions of the songs. They will also perform one of the songs as a group, incorporating singing and dance. The lesson aims to help students understand how these musical
The Vh1 Save the Music Foundation is a non-profit organization dedicated to restoring music education in public schools. Their mission is to provide new musical instruments to schools and help develop music curriculum. They have helped over 1,800 schools nationwide, providing $48 million in instruments and aiding over 1.8 million children. Studies show music education improves test scores and self-esteem and builds critical thinking skills. The foundation relies on donations, fundraisers, and sponsorships to continue their important work of bringing music education to underfunded schools.
Music education ii module 1.the world of musical soundsS Marley
This document provides an introduction to a module on musical sounds. It discusses what the module will cover, including definitions of music, sources of music in different cultures, and the four properties of sound. It instructs students to carefully read discussions, complete activities, and ask for help from their teacher. It outlines that students will listen to musical examples, learn songs from the Philippines and Japan, do interviews and a special project.
This document provides a curriculum map for a Music 7 class at St. Philomena's Academy in Pozorrubio, Pangasinan, Philippines for the first quarter of the school year 2022-2023. The unit topic is the Traditional Music of Luzon. The curriculum map outlines the learning competencies, content standards, assessment activities both online and offline, and resources that will be used to teach students about the musical characteristics, types of vocal music, and musical elements of traditional music from the lowlands of Luzon. It also includes a unit learning plan that provides details on lessons, activities, and a performance task to help students meet the learning targets.
Choose one of the questions from the list below. 1) Reflect o.docxrusselldayna
Choose one of the questions from the list below.
1) Reflect on the question by writing a 2-3 paragraph response.
2) Include the reference (APA Formate) to an educational website other than Wikipedia that helped you to form your response, with a 2-3 sentence description of how this website enhanced your learning for the week.
3) Select and add an image to your post that reflects your learning, including the specific reasons you chose the image.
Questions are:
An integral relationship between language and music is a feature of many styles and traditions of music worldwide. How do language and music combine and reinforce one another in the kinds of music you listen to? Can you think of instances in which the line between what constitutes speech and constitutes music blurs?
So-called musical Africanisms are pervasive features of many music traditions outside of Africa, especially traditions that belong to or have been influenced by African diasporic culture. Listen to and discuss a range of music that is familiar to you. What Africanisms do you hear in the music from our course materials? What effect do they have on how the music sounds and makes you feel?
The American musician Taj Mahal has made a career of breaking down conventional musical boundaries and redefining world music as worldly music. Do some research on Mahal and locate recordings and videos of his that represent the range and diversity of his music. Write a report describing how Mahal has combined his musical founding in blues music, his broad conceptions of “African” music as encompassing all forms of African and African diasporic music expression, and his cosmopolitanism as a world music adventurer and pioneer.
Locate videos and recordings representing several different African and African diasporic music traditions such as Brazilian samba, Trinidadian calypso, American funk and hip-hop, Ghanaian highlife and South African mbaqanga. What distinctive features do you hear in each? Are there any underlying elements that cut across some or all of them?
What role does a jeli serve in Mande society? What does he or she sing about, and what is the principal musical instrument in our course materials that is used in the jeliya art form?
...
The document provides background information on different music genres such as rock music, rhythm and blues, hip hop, and alternative rock. It then summarizes a study that examined the relationship between people's musical tastes and their lifestyles. The study found associations between types of music and factors like education level, smoking habits, and retirement status. The document goes on to discuss how music can influence thoughts and behaviors, especially for teenagers. It presents the problem statement and research questions for a study that aimed to determine the different genres of music preferred by students at Polytechnic University of the Philippines.
This document is a curriculum map for a Music course at a Catholic school in the Philippines for the school year 2019-2020. It outlines the units, topics, standards, learning competencies, assessments, activities and resources for each quarter of the course at grade 10. The first quarter covers 20th century music styles like Impressionism and Expressionism. The second quarter focuses on Afro-Latin and popular music. The third quarter's topic is contemporary Philippine music. The fourth quarter examines 20th and 21st century multimedia forms such as opera, ballet and musical plays. The document provides details on what students will learn, do and be assessed on in this Music course over the year.
1. Latin America consists of countries in South America, Central America, and some islands in the Caribbean whose inhabitants mostly speak Romance languages or Native American languages.
2. Traditional Latin American dancing blended European and indigenous styles and incorporated quick rhythms, playful movements, and sexy gestures.
3. The population of Latin America is very diverse, composed of people of Native American, European, African, and Asian ancestries.
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Copy of LAS-MAPEH-MUSIC-G10-MELC2-3.pdf
1. 10
MAPEH Activity Sheet
Quarter 2 – MELC 2-3
Music: Analyzes Musical Characteristics
of Afro-Latin American and Popular Music
through Listening Activities
2. Development Team of MAPEH (Music) Activity Sheet
Writer: Jenny G. Condes
Illustrator:
Editor: Edwin G. Umadhay
Layout Artist: Felizardo S. Valdez III
Division of Guimaras Management Team:
Ma. Roselyn J. Palcat
Novelyn M. Vilchez
Elleda E. de la Cruz
Edwin G. Umadhay
Arthur J. Cotimo
Felizardo S. Valdez III
Marve E. Gelera
Regional Management Team
Ma. Gemma M. Ledesma,
Josilyn S. Solana
Elena P. Gonzaga
Donald T. Genine
Mapeh 10 – Music Quarter 2 - Analyzes Musical Characteristics of Afro-Latin American
and Popular Music through Listening Activities
Learning Activity Sheet No. 2
First Edition, 2020
Published in the Philippines
By the Department of Education
Region 6 – Western Visayas
Republic Act 8293, section 176 states that: No copyright shall subsist in any work
of the Government of the Philippines. However, prior approval of the government agency or
office wherein the work is created shall be necessary for exploitation of such work for profit.
Such agency or office may, among other things, impose as a condition the payment of
royalties.
This Learning Activity Sheet is developed by DepEd Region 6 – Western Visayas.
ALL RIGHTS RESERVED. No part of this learning resource may be reproduced or
transmitted in any form or by any means electronic or mechanical without written permission
from the DepEd Regional Office 6 – Western Visayas.
3. Introductory Message
Welcome to MAPEH Grade 10 - Music
The Learning Activity Sheet is a product of the collaborative efforts of
the Schools Division of Guimaras and DepEd Regional Office VI - Western
Visayas through the Curriculum and Learning Management Division (CLMD).
This is developed to guide the learning facilitators (teachers, parents and
responsible adults) in helping the learners meet the standards set by the K to
12 Basic Education Curriculum.
The Learning Activity Sheet is self-directed instructional materials
aimed to guide the learners in accomplishing activities at their own pace and
time using the contextualized resources in the community. This will also
assist the learners in acquiring the lifelong learning skills, knowledge and
attitudes for productivity and employment.
For learning facilitator:
The Subject Area Activity Sheet will help you facilitate the teaching-
learning activities specified in each Most Essential Learning Competency
(MELC) with minimal or no face-to-face encounter between you and learner.
This will be made available to the learners with the references/links to ease
the independent learning.
For the learner:
The Subject Area Activity Sheet is developed to help you continue
learning even if you are not in school. This learning material provides you
with meaningful and engaging activities for independent learning. Being an
active learner, carefully read and understand the instructions then perform
the activities and answer the assessments. This will be returned to your
facilitator on the agreed schedule.
4. Name of Learner: _____________________________Grade and Section: ___________
Date: _____________________
MAPEH 10 : Music - Quarter 2 Learning Activity Sheet No. 2
Afro-Latin American and Popular Music
Sub-topic: Characteristics of Afro-Latin American and Popular Music
I. Learning Competency with Code
Analyze musical characteristics of Afro-Latin American and popular music
through listening activities. MU10AP-IIA-H-5
Learning Objective: Differentiate the musical characteristics of Afro-Latin
American from Popular Music (For MDL-Print Modality)
II. Background Information for Learners
Characteristics of Afro-Latin American Music
1. Conversation
“Call and response” – a performance of voice interaction as an answer to
the first chant.
2. Improvisation
Non-scripted ways of singing that allow for sincere conversations. It is a
framework where the artist has freedom in creating the musical mood.
3. The voice as an instrument
It is the manipulation of a freely controlled piece where they can change
the tone of voice, its tempo, the creation of moods, and even changing
the range and voice power.
4. The instrument as a voice
The instrument serves as a “singer” along with the range and voice
power.
Characteristics of Popular Music
Throughout the years, the musical genre of pop has proved to be highly
favored by many around the world. The immense popularity of pop music, in
part, has to do with its musical characteristics of being catchy, short, simple
and melodic.
Pop songs tend to consist of a verse and a repeated chorus. They are
generally between 2 ½ and 5 ½ minutes in length and they use a combination
of rhythms that are “dance oriented” and energetic. They aim to satisfy the
“broadest-possible audience."
Common instruments utilized by pop artists include the electric guitar,
bass guitar, drums, and the keyboard.
In addition, pop music appeals to a general audience rather than a
particular sub-group or ideology. The emphasis is on craftsmanship rather
than formal "artistic" qualities. It also emphasizes more on recording,
production, and technology, over live performance. It has also a tendency to
5. reflect existing trends rather than progressive developments and it is intended
to encourage dancing or it uses dance-oriented beats or rhythms.
III. Accompanying DepEd Textbook and Educational
Sites
Horizons Grade 10, Learners Manual, Music and Arts Appreciation for
Young Filipinos
https://prezi.com/yhv9s6mv4e2b/characteristics-of-
pop/?frame=35469fec418294ce92ef9547570f0a116d34b7cf
https://www.slideshare.net/elizabettth/afrolatin-american-
music?qid=05b987ea-c6c6-4ec1-a408-
23b6ac1e16b9&v=&b=&from_search=2
https://pt.slideshare.net/charlottehine2/pop-genre-
36014013/3?smtNoRedir=
IV. Activity Proper
Directions:
Option 1 (For learners who have internet access:)
Analyze musical characteristics of Afro-Latin American and Popular Music
through listening activities. Copy the Venn diagram below and write your
answers.
1. Afro-Latin American Song
Ligali Mukaiba - Ijo Palongo / Apena (Apala)
(https://www.youtube.com/watch?v=lswSQuBPaJk&list=PL4i0yqnxrp
Qt 96dcL41Zw9nhc4M65x5tl)
You may also listen to African songs, "Kumbaya," "Waka Waka" and
"Mbube" or the Latin American songs, "One Note Samba" or "We
are One (Ole Ola)"
to understand better the characteristics of Afro-Latin American Music.
2. Popular Song
Someone to Watch Over Me- Ella Fritzgerald
(https://www.youtube.com/watch?v=TYEeAOTIQ2c)
Option 2 (For learners who do not have access to internet)
Based on the information given, differentiate the musical characteristics of
Afro-Latin American from Popular Music. You may add more information
based on previous knowledge. Copy the Venn diagram below and write your
answers.
6. Exercises
Characteristics of Afro-Latin American and Popular Music
Afro-Latin American Music Popular Music
Guide Questions
(Option 1-Listening Activity)
Afro-Latin American Music
1. Have you heard/read conversation or "call and response” in the lyrics
of the song?
2. Does the singing allow for sincere conversations? Does the artist have
freedom in creating the musical mood?
3. Are there changes in the tone of voice, tempo, mood, or change in the
range and voice power?
4. Does the instrument serve as a “singer” along with the range and voice
power?
Popular Music
1. Is the song catchy, short, simple and melodic?
2. Is it consist of a verse and a repeated chorus?
3. Is it appealing to a general audience?
4. What do you think is the emphasis of this music?
(Option 2-Read to Understand)
Aside from the reading text, you may read the lyrics of these songs below
to understand better the characteristics of Afro-Latin American and
Popular Music.
Similarity
7. Example of African Music
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.” You
may visit
https://www.youtube.com/watch?v=bYJMtn6IJeE
to listen to this song.
KUMBAYA
Kumbaya, my Lord, kumbaya
Kumbaya, my Lord, kumbaya
Kumbaya, my Lord, kumbaya
Oh, Lord, kumbaya (oh, Lord, kumbaya)
Someone's cryin', Lord, kumbaya
Someone's cryin', Lord, kumbaya
Someone's cryin', Lord, kumbaya
Oh, Lord, kumbaya (oh, Lord, kumbaya)
Someone's singin', Lord, kumbaya
Someone's singin', Lord, kumbaya
Someone's singin', Lord, kumbaya
Oh,…
Source: LyricFind
Example of Latin-American music
We Are One (Ole Ola) by: Pitbull
https://www.youtube.com/watch?v=9W3sWiZ-iO8
Put your flags up in the sky
And wave em side to side
Show the world where you're from
Show the world we are one (one, love)
Olê olê, olê ola
Olê olê, olê ola
Olê olê, olê ola
Olê olê, olê ola
When the going gets tough
The stuff get going
One love, one life, one world, one night
Whole world, one fight, this place, Brazil
Everybody put your flags in the sky and do what
you feel
It's your world, my world, our world today
And we invite the whole world, whole world to play
It's your world, my world, our world today
And we invite the whole world, whole world to play
É mi mundo, tu mundo, el mundo de nosotros
Invitamos a todo el mundo
Put your flags up in the sky
And wave em side to side
Show the world where you're from where you're
from)
Show the world we are one…
Example of Popular Music (Jazz)
Someone to Watch Over Me
By Ella Fritzgerald
https://www.youtube.com/watch?v=IBSjLFJBW6M
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
8. 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
Rubric for scoring
Correct identification similar characteristics - 20 points
Correct identification of differences - 20 points
Grammar points - 10 points
50 points
V. Reflection
What will you do to appreciate Afro-Latin American and Popular music
better?
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