The folk songs of the Luzon lowlands in the Philippines were traditionally passed down orally and accompanied daily activities. They were performed in native languages like Ilocano, Pangasinense, and Tagalog. Characteristics include being passed down orally, learned through repetition, sung in dialect, having simple melodies and lyrics based on nature or work. Examples of folk songs mentioned are "Pamulinawen" and "Magtanim ay 'Di Biro." Religious music was also influenced by Spanish colonization, incorporating indigenous forms into Christian rituals like Salubong and Flores de Mayo. Secular music includes harana serenades, kumintang love songs, and pandanggo court
Music of the Cordillera,Mindoro, Palawan and Visayas have similarities in terms of function of music in their daily lives. Music is often used in rituals and ceremonies. Most of their musical instruments are made from materials found in their locality.
The coastal and lowland areas of western Mindanao are homes of the Islamic cultures. Folk culture and court music dating way back in the 10th century or even much earlier are integrated into the musical traditions of the pre-Islamic culture. Music frowns upon the fundamental Islamic view, but the influx of foreign Islamic cultures of the Arabs and Persians has changed this view. The musical practices of the people in the coastal and lowland areas of Western Mindanao are a vital element in their social life are the primary source of their ethnic identities. The musical practices of these indigenous people are a mixture of Western and Non-western ideas.
Music of the Cordillera,Mindoro, Palawan and Visayas have similarities in terms of function of music in their daily lives. Music is often used in rituals and ceremonies. Most of their musical instruments are made from materials found in their locality.
The coastal and lowland areas of western Mindanao are homes of the Islamic cultures. Folk culture and court music dating way back in the 10th century or even much earlier are integrated into the musical traditions of the pre-Islamic culture. Music frowns upon the fundamental Islamic view, but the influx of foreign Islamic cultures of the Arabs and Persians has changed this view. The musical practices of the people in the coastal and lowland areas of Western Mindanao are a vital element in their social life are the primary source of their ethnic identities. The musical practices of these indigenous people are a mixture of Western and Non-western ideas.
this presentation contains the ff:
-Socio-Historical Context
-Geography of Palawan
-People of Palawan
-Vocal Music of Palawan
-Instruments; and
-Musical Context
Southeast Asian Music (Grade 8 MAPEH - First Quarter)Ian Bernardino
A simple PowerPoint Presentation of the music in SouthEast Asia :)
Download at http://dapalan.com/BBHr
This is made by Ian A. Bernardino .
Twitter: @ianburst
Facebook: www.facebook.com/ian.bernardino1
ARTS AND CRAFTS OF MIMAROPA MAPEH 7 ART LESSONakosi Ma'am
ARTS AND CRAFTS OF MIMAROPA MAPEH 7 ART LESSON
2ND QUARTER LESSON 1 MAPEH 7 LESSON IN ART
DISCLAIMER: NO COPYRIGHT INFRINGEMENT.
#JHSMAPEHTeacherandArt teacher
This lesson discusses the music in the lowlands of Luzon. The importance of sacred music. Folk songs, that served as pastime of the Filipinos during early days. vocal and instrumental music were also a part of this lesson.
Sharing my presentation about Music of the lowland Luzon. Quarter 1 in MAPEH 7 (Music)
It just a summary of important details from the book.
Just hit like, comment, download and follow.
Reference: Music and Arts Learners Module. Credits: YouTube, Google Photo, etc.
this presentation contains the ff:
-Socio-Historical Context
-Geography of Palawan
-People of Palawan
-Vocal Music of Palawan
-Instruments; and
-Musical Context
Southeast Asian Music (Grade 8 MAPEH - First Quarter)Ian Bernardino
A simple PowerPoint Presentation of the music in SouthEast Asia :)
Download at http://dapalan.com/BBHr
This is made by Ian A. Bernardino .
Twitter: @ianburst
Facebook: www.facebook.com/ian.bernardino1
ARTS AND CRAFTS OF MIMAROPA MAPEH 7 ART LESSONakosi Ma'am
ARTS AND CRAFTS OF MIMAROPA MAPEH 7 ART LESSON
2ND QUARTER LESSON 1 MAPEH 7 LESSON IN ART
DISCLAIMER: NO COPYRIGHT INFRINGEMENT.
#JHSMAPEHTeacherandArt teacher
This lesson discusses the music in the lowlands of Luzon. The importance of sacred music. Folk songs, that served as pastime of the Filipinos during early days. vocal and instrumental music were also a part of this lesson.
Sharing my presentation about Music of the lowland Luzon. Quarter 1 in MAPEH 7 (Music)
It just a summary of important details from the book.
Just hit like, comment, download and follow.
Reference: Music and Arts Learners Module. Credits: YouTube, Google Photo, etc.
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http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
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1. FOLKSONGS OF THE LUZON (Lowlands)
Folk songs are songs written by the folk and are sung to accompany daily activities such as
farming, fishing, and putting the baby to sleep
Traditionally passed on orally.
Most Philippine folk songs have Spanish and other Western influences.
The people created melodic chants and indigenous instrument based on the materials available
where they lived.
The folk songs of Luzon lowlands are performed in their native language such as Ilocano,
Pangasinense, Kampampangan, Tagalog, Bicolano, and others.
Characteristics of folk songs are as follows:
Originally passed down orally to the family, and to other members of the community
Learned through rote
Sung in their own dialect
Begins in one key and ends in the same key
Composers and lyricists are usually unknown
Mood can be sentimental, playful, and humorous
Concepts are based on nature or people’s work, tradition, culture
Short and simple
Either in duple meter 2, triple meter 3, or quadruple meter 4
4 4 4
Some examples of Philippine folk songs from the lowlands of Luzon are:
ILOCANO
• Pamulinawen
• Naraniag a Bulan
• Manang Biday
• Dungdungwen Kanto
• Bannatiran
• Ti Ayat ti Maysa nga Ubing
• Igid Diay Baybay
• Diro ni Ayat
Kapampangan
• Atin Cu Pung Singsing
• Doredo
• Caca, O Caca
• Ing Bulung Lara Y Rizal
• Tinanam Kung Kamantigui
• Misan a Cayaldawan
• Patag a Bundoc
• Nung Acuing Cucutnan
• Y Mariang Malagu
TAGALOG
• Magtanim ay ‘Di Biro
• Bahay Kubo
• Leron Leron Sinta
• Sitsiritsit
• Paru-parung Bukid
BICOLANO
• Sarung Banggi – means “one evening,” a folk song from Sto. Domingo, Albay.
– for Bicolanos,this is notonly a songbut also a festival thatshowcasea variety of
cultural and religious activities that is held every 18th to 25th day of May and
performed at night.
– A tribute to its composer, Potenciano V. Gregorio Sr,
LITURGY AND DEVOTIONAL MUSIC
• Religious music of the lowlands of Luzon reveals the impact of Spanish colonization to the
Philippines
• Introduction of Christianity camethe different Western forms of music that areused for religious
rites
• Some of these were adapted by Filipino musicians to suit Philippine culture and traditions
– (i.e. Music used for Salubong, Senakulo, Santacruzan, Flores de Mayo)
• Some indigenous Philippine musical forms were incorporated to Christian practices
- (i.e. Obando Fertility Rites and Pasyon chant)
PASYON
Pasyón is a Philippine narrative of the Passion, Death, and Resurrection of Jesus Christ.
In a form of song with a dramatic theme.
A book with stanzas of five lines of eight syllables.
The whole text is chanted
Also known as “Pabasa” and is recited during Holy Week (Semana Santa)
SALUBONG
A religious ritual that re-enacts the meeting of the Risen Christ with His mother on the dawn of
Easter Sunday.
Performed under a prepared arch where the veiled image of the Virgin Mary has been placed.
A child dressed as an angel is lowered by ropes from a high platform to lift the mourning veil of
the grieving mother while other children dressed in an angel costumes sing the “Rigena Coeli
Laetare,” meaning “Queen of Heaven.”
Church bells are rung to signify the end of Virgin Mary’s mourning for Jesus Christ’s resurrection
from the dead.
FLORES DE MAYO
• Flowers of May” is a Catholic festival held on the month of May.
• Performed as a devotion to the Blessed Virgin Mary or “Alay” (offering)
• Held in the church or chapel wherein children offer flowers to image of the Virgin Mary while
singing “Alay”.
SANTA CRUZAN
• A religious-historical event that dramatizes of finding the Holy Cross by the Queen Helena and
her son, Constantine the Great.
• Held throughout the Philippines during the month of May.
• Sagalas and escorts parade the streets of the community; the musiko (brass band) accompanies
the procession with music “Dios Te Salve Maria”.
2. SECULAR MUSIC
1. HARANA
a serenade traditionally sung by a man to express affection to a woman.
sang with emotion and usually accompanied by a guitar.
some popular Filipinoharana songs are “Ang Tangi Kong Pag-Ibig,” “O Ilaw,” “Dungawin Mo Hirang”.
in duple or quadruple meter in danza menor or habaneratempo.
2. KUMINTANG
originated from Balayan, Batangas
in triple meter with themes of love and courtship
in 1926, when Pasig became the venue of carnival performances, Nicanor Abelardo was inspired to
compose the “Mutya ng Pasig” in kumintang tempo
the mutya expresses her feelings under the light of the moon, she is mourningthe loss of her love, which
symbolizes the country’s loss of freedom
3. PANDANGGO
a dance formthat canbe found inthe different islands of Luzonsuchas Batanes, Ilocos, and Tarlac, and
parts of the Visayas.
a variation of the spanish word fandango.
became popular in the 19th century among the elite of Manila.
a form of entertainment in the Tagalog regioncalled Pandangguhan is performed during social celebrations.
a courtship dance but it can also refer to a type of song to entertain the farmers in the ricefield.
the singers of the folk song called pandanggeros and pandanggeras.
4. POLKA
originatedfrom a Bohemiandance that became popular inEurope and America in the early 19th Century.
it was performed in elegant evening gatherings at the heights ofits popularityduring the Spanish colonial
period.
the tempois inquick duple meter while the melody is supported by the chords/harmonies of tonic (I),
dominant (V) and sub-dominant (IV).
some Philippine folksongs that are in polka rhythmlike Pamulinawen(Stone-hearted), MagtanimAy‘Di Biro
(Planting Rice Is Never Fun) and Leron-leron Sinta (Leron the Beloved).
5. BALITAW
a dialogue or courtshipsong in triple meter, mostly in 2 and 3 parts forms and arranged with counter
melodies.
Example are: “Sa Libis ngNayon,” “Bakya Mo Neneng,” composed bySantiago Suarez and “ Arimunding-
munding,” composed by Severino Reyes.
6. KUNDIMAN (Art Song)
came from the word “kung hindi man”
it melody, lyrics, and expressive singing, the kundimanconveys a selfless andspiritualattitude, intense love,
longing, caring, devotion, andonenessnot only witha romantic partner, but also with a parent, child, a
spiritual figure, or the motherland.
in musical context, kundimanusuallystarts ina minor keythen goes to the major key and in triple meter.
some famous Filipinokundiman composers are FranciscoSantiago, Nicanor Abelardo, Bonifacio Abdon,
Francisco Buencamino, and Angel Peña.
among the famous kundiman performers in the early 1900’s are:
• Atang de la Rama
• Jovita Fuentes
• Conching Rosal
• Ruben Tagalog
some examples of the kundiman are:
• “Pilipinas Kong Mahal” by Francisco Santiago
• “Nasaan Ka Irog” and “ Huling Awit” by Nicanor Abelardo
• “Jocelyn an Baliwag” byanunknown composer inspired revolutionaries in Bulacan during the
1896 revolution
• “Sa Sariling Bayan” by V. Tolentino
• “Iyo Kailan Pa Man” by Angel Peña
INSTRUMENTAL MUSIC
1. BRASS BAND
brass bandis anensemble of woodwind, brass, and percussioninstruments in the Philippines.
usually played in fiestas, religious, and civic celebrations
repertoire may include folk songs, popular music, dance music.
bands were so remarkable that everytown used to have two or more bands. They sometimes
participate and even compete in many town band competitions.
most fiestas are celebrated invarious provincesof the Philippines to honor their patron saints.
town fiestas i made more lively by band music.
a parading brass band is called a marching band.
provinces like Rizal andLaguna, and schools in the Philippine Military Academy are home to
prominent brass bands in the Philippines.
Brass Band Instrument
Woodwinds
Piccolo
shorter than the flute
the sounds it
produces is thinner thanthe
flute
Clarinet
has a single-reed
mouthpiece
a straight cylindrical
tube withcylindrical bore, anda flaredbell
Alto Saxophone
commonlyusedin
classicalmusic concert bands,
chamber music, andsolorepertoire,
militarybands, marching bands and
jazz bands
Tenor Saxophone
a medium-sized
member of the saxophone
family
uses large
mouthpiece, reed andligature
than the alto and soprano
saxophones
easilydistinguished
bythe bendinits neck, or its
crook near the mouthpiece
Flute
an earophone (wind instrument) that produces its sound from the
flow of air across an opening
sound it produces is thin in timbre
3. BRASSWINDS
TROMBONE
sound is
produced when the
player’s vibrating lips
(embouchure) cause the air column inside
the instrument to vibrate
the name means “ large trumpet”
pitch is produced by sliding the valve
TRUMPET
has the
highest register in the
brass family
played by blowing air through almost-
closedlips, producing a “buzzing” sound
that starts a standing wave vibration in
the air column inside the instrument
EUPHONIUM
a valve
instrument
current models
are piston-valved
it is a non-
transposing instrument
known for its
distinctive tone color, wide range, variety
of character and agility
SOUSAPHONE
known as the
bass, is a type of tuba
designedto be easier than
the concert tuba to play
while standing or marching
widelyemployed
in marching bands and
various other musical genres
the bell is above the tubist’s head and
projecting forward
FRENCH HORN
commonly known as the horn
a brass instrument made of tubing wrappedintoa coilwiths flared bell
qualityof the sound mayalsobe controlledthroughthe adjustment of
lip tensionin the mouthpiece and the operation of valves by the left hand
PERCUSSION
CYMBALS
consist of thin, normallyround plates
of various alloys
used in many ensembles ranging
from the orchestra, percussion
ensembles, jazz bands, heavy metal
bands, and marching groups
the heavier the cymbals the louder
the volume
thin cymbals have a fuller sound,
higher pitch, and faster response
SNARE DRUM
known as a side drum is an ever-present
percussion instrument known for its cylindrical
shape and powerful, staccato sound
often used in orchestras, concert bands,
marching bands, parades, drum lines, drum
corps
played with drum sticks or brush
BASS DRUM
produces a note of low definite and indefinite pitch
known as percussion instrument and vary in sizes
“Lupang Hinirang,” was
originally entitled “Marcha Nacional Filipina.”
composed byJulianFelipe inmarch time tempoandinitiallyperformed by the San Francisco de
Malabonbandat the Proclamationof Philippine Independence onJune 12, 1898 in Kawit, Cavite
consideredas an“incidental music” which means a background music set into a particular
event/occasion in a dramatic mood
year after, Jose Palma wrote the lyrics adapted from the Spanishpoem“Filipinas” and entitled it
“Hiimno Nacional Filipino”.
LAS PIÑAS BAMBOO ORGAN
as the Philippine National Treasure, the BambooOrgan canbe foundin St. Joseph’s Church, Las
Piñas City.
It is made of902 bamboo pipes completed in 1824 under the supervision of Fr. Diego Cera.
Every February, the city celebrates the International Bamboo Organ Festival. A number of
established foreignandlocal artist participate inthe cultural event. It aims to pursue anddevelop
the rich cultural tradition of Las Piñas City.
MUSIKONG BUMBONG
Musikong Bumbong is Filipino marching bands that use bamboo woodwind instruments
The shapes and the sizes are similar to brass band instruments but have different sou nds
D’OriginalMalabon Musikong Bumbong started as a plain Banda de Boca (meaning bibig or
mouth) in Barrio Tonsuya, Malabon in 1896.
Felix Ramos was boththe founder andinventor of the bambooinstruments. The first members of
the band were all Katipuneros.
The band was renamed several times but is currently known as Musikawayan under the
leadership of P/Lt. Col. Gilbert M. Ramos.
Pangkat Kawayan, popularlyknown as the “SingingBamboos ofthe Philippines,” is an orchestra
that plays music using non-traditional bamboo instruments, founded in 1966.
The group’s musical instruments, numbering more than a hundredare made of six kinds of the
versatile bamboo in various sizes, shapes and designs.
One of the best features of this bamboobandis promoting and playing our native Philippine
folksongs to other countries. The group’s repertoire also includes folk melodies from other
countries, modern and popular music and some light classics.
THE PANGKAT KAWAYAN INSTRUMENTALS
INSTUMENTS DESCRIPTION
Angklung
Is a bamboo-rattle tubes attached to a bamboo frame.
tubes are carvedto have s resonant pitchwhenstruck, each
angklung represents a note and are tuned to octaves.
plays the counterpoints to the melody
is played byshaking the lower part with one handwhile the
upper end holding it with the other hand steady.
Bumbong (bamboo tube)
is made ofhollow pieces of bamboo that has been put
together and serve as the orchestra’s wind section.
is divided into bass.
(lower) and horn (higher) sections
each bumbong represents one note;to produce the sound
it has to be blown through a mouthpiece.
4. Kalatok
is a percussioninstrument made of pieces ofbamboos that
are strung together with pieces of bamboo with varying
tones when struck by a rubber mallet.
Talunggating (bamboo marimba)
is made frombamboo. it follows the musical scale and style
of the typical xylophone.
plays the melody.
mallets made out of rattan and rubber are usedto play the
instrument.
Kalagong
is a wind instrument that produces a hollow gong-like
sound.
plays bytappingthe top wholes of the bamboos bytwo flat
and flexible surface tapper.
serves as bass of the group.
Pan pipes
is a small pieces ofbamboo ingraduatedsmall tubes that
has been put together by a string.
the soundandstyling of the wind instruments found in
northern philippines
each pipe represents a note and is blown to produce the
sound.
Tulali (bamboo flute)
is made ofbaga (one ofthe smallest bamboo varieties).
a bamboo opening encircled by a banana leafing to a
pentatonic scale playedonfour holes, one foundbelow and
three on top of the bamboo tube.
Kiskis
is a bamboopiece withridges and serves as a percussion
instrument.
kiskis is a filipino word which means “to scratch” or “to rub
against something”.
is played by rubbing a rattan stick on its ridges.
ANGKLUNG ENSEMBLE
a small group of musicians who plays angklung bamboo instruments
made of bamboo-rattle tubes attached to a bamboo frame
manner of playing the angklungis byrapidlyshaking the bottompart of the frame while the other
hand steadily holds the upper part of the instrument
angklung shakers plays only one or two pitches
commonly accompanied by double bass, guitars and percussion instruments
angklung has more than two and a half octaves, or around 30 pitches
can also be a part of the other ensemble like the pangkat kawayan.
HORNBÖSTEL-SACHS CLASSIFICATION OF MUSICAL INSTRUMENTS
Idiophones produces soundbythe vibrationof its body
causedbythe waytheyare playedsuchas beingstruck,
scraped, rubbed, shaken, or plucked.
Aerophones produce sound primarilybycausing a body
of air to vibrate because of the air blown inside.
Chordophones produce sound through its vibrating
string or strings that is plucked, strummed, or usedwith
a bow.
Membranophones produce soundprimarilybywayof a
vibrating stretched membrane tapped by hands or
sticks.
Electrophones produce soundwhichare generated by
electricity.
*7 ELEMENTS OF MUSIC*
1. Rhythm
- The duration ofsound (how long or short the notes are)
- Rhythm has three parts:
Beat -The Pulse. Arhythmic unit oftime.
Tempo - The speed ofthe beat. How fast or slow the music is.
Metre -The organization ofstrong and weak beats. Indicated by measures and time signature.
2. Melody
- The tune; an organized sequence ofpitches
3. Harmony
- The combination oftwo or more pitches
4. Timbre
- Tone colour/ tone quality
5. Form
- The structure ofmusic
6. Texture
- Overall quality ofsound ofa piece, mostoftenindicated by the number ofvoices in the music and by the relationship between
these voices.
- There are three types oftexture
• Monophonic
• Homophonic
• Polyphonic
7. Dynamics
- The volume ofthe sound (how loud or soft the music is)