The document discusses the musical characteristics and elements of representative music selections from the lowlands of Luzon, Philippines. It examines the musical traits, themes, and moods present in both vocal and instrumental folk music from Luzon's lowlands. The goal is for learners to appreciate the simplicity of Luzon's lowland folksongs and cite their musical qualities after listening to music examples.

1. MUSIC OF THE
LOWLANDS OF
LUZON
PAPNHS

2. PAPNHS
Objectives:
Cite the musical characteristics of
representative music selections from the
lowlands of Luzon after listening.
Determine the musical elements,
themes, and moods present in vocal and
instrumental music of the lowland of
Luzon.
Appreciate the simplicity of Luzon’s
Lowlands folksongs.
At the end of the lesson, learners must be able
to:

3. “Tapat ko, Sagot!”
Instruction: The teacher will play a folk song entitled “Magtanim ay
Di Biro” and while the music is playing students will raise their
non-simultaneously and whenever the music stops, the student
raises the hand last will give an example of a folk song, and if
students wouldn’t able to give a sample of a folk song he or she
remain standing. He/she can seat down if one of his/her
gives an example of a folk song.

5. MUSIC
ACCOMPANIMEN
T
HARMON
Y
TIMBRE
TEMPO
COMPOSITIO
N
MELOD
Y
DYNAMIC
S
RHYTHM
INSTRUMENTS
ENSEMBLE

6. Matching Type: Match Column A with Column B. Write the letter of your
choice in your answer sheet.
A B
1. Elements of music that deals
with the regular repeated
pattern sound.
a. Timbre
2. Speed of the beat. b. Texture
3. Elements of music which
composes of time signatures.
c. Harmony
4. Softness and loudness of the
music
d. Melody
5. Main tune of the musical
piece.
e. Dynamics
6. Vertical arrangement of
sound in a musical piece.
f. Meter
7. This Element of music is all
about the thickness of the
sound.
g. Tempo
8. Quality of sound heard. h. Rhythm

7. TRUE or FALSE
Directions: Write APPROVED if the statement is true and if
not, write DISAPPROVED. Accomplish this task in your activity
notebook.
1. Luzon lowland folksongs have a very distinctive Spanish
influence.
2. Folksongs are generally taught in schools.
3. Sitsiritsit is a Tagalog folksong.
4. An example of a Kapampangan folk song is Sarung Bangg
5. The composers and lyricists of folk songs are usually
unknown.
6. Naraniag a Bulan is an example of an Ilocano folk song.
7. Folk songs are mostly short and complicated.

8. 8. Key signatures in folk songs do not change.
9. Folk songs are based on the community‟s livelihood,
tradition and culture.
10.Atin Cu Pung Singsing is an example of a Bicolano folk
song.
11.Sarung Banggi is a folk song from Batangas.
12.Pamulinawen is a folksong with a triple meter.
13.Folksongs are usually sung in the dialect of the people of its
place of origin.
14.Pamulinawen and Manang Biday are both Tagalog
folksongs.
15.All folksongs have the same story to tell

9. Try to find 16 popular folk songs in the puzzle. List down the
titles of the song you are familiar with. Tell whether it is a
TAGALOG, ILOCANO, KAPAMPANGAN, and BIKOLANO.
Write the title on the table below the puzzle.

11. 1. Are you familiar with the given songs in this activity?
2. How did they become familiar to you?
3. Have you tried singing those songs before? How was it?
4. Do you like listening to those types of songs? Why or why
not?

13. Folk songs in general have the following characteristics
A. The lyrics are according to the native tongue.
Because songs are based on the daily experiences of the people
in a particular place and the message of the songs need to be
understood easily to be appreciated, and the lyrics of the songs are
written or sung in their own dialects. For example, the Tagalog folk
songs came from the people who speak Tagalog. (Bahay Kubo, Leron,
Leron Sinta, Magtanim ay „Di Biro). The Ilocanos have their own
(Manang Biday and Pamulinawen). The Kapampangan’s Atin Cu Pung
Singsing, and the Bicolano’s Sarung Banggi are just a few among the
folk songs of Luzon that are sung in their own dialects. Why do you think
it is important for folk song to be sung or written in their native tongue?

14. B. Passed down through oral tradition to family or community
members, hence,
learned by mere memorization.
Singing is a form of social bonding among early Filipino families.
Because they did not have access to the internet, T.V., and radio
during that time, singing folksongs became their favorite pastime.
C. Unknown composers and lyricists.
Most composers of Filipino folk songs are unknown
because songs are just based on daily experiences and are
passed down orally.

15. D. Simple key signature of the song.
Do you know how to play the guitar? If you can play this
instrument, you can try to play a simple folk song. While playing, you will
notice that it starts with a particular key (key of G for example) and ends
in that same key. That only shows the simplicity of the Luzon folk songs.
E. Duple, triple, or, quadruple are common meters used.
These meters were very common during that time. The dances and
common songs are based on these meters. The composers of the folk
songs adopted these rhythmic patterns to their compositions. What folk
songs do you know? Can you identify the meters used based on the
discussion in the review section of this module?
F. Primarily based on the community’s culture, tradition, and
livelihood.

16. G. Short and simple
Aside from Tagalog, several other dialects are used by unknown
composers from Luzon in composing their own lowland folk songs such
as Ilocano, Kapampangan, Pangasinense, and Bicolano. Spanish and
other western influences are very evident in the construction of the songs
such as the meter used, and the minor and the major modes.

17. Modified TRUE or FALSE
Directions: Write APPROVED if the statement is true and if not, write
DISAPPROVED and identify the word that made the statement false.
Accomplish this task in your activity notebook.
1. Luzon lowland folksongs have a very distinctive Spanish
influence.
2. Folksongs are generally taught in schools.
3. Sitsiritsit is a Tagalog folksong.
4. An example of a Kapampangan folk song is Sarung Banggi.
5. The composers and lyricists of folk songs are usually unknown.
6. Naraniag a Bulan is an example of an Ilocano folk song.
7. Folk songs are mostly short and complicated.
8. Key signatures in folk songs do not change.

18. 9. Folk songs are based on the community‟s livelihood, tradition and
culture.
10.Atin Cu Pung Singsing is an example of a Bicolano folk song.
11.Sarung Banggi is a folk song from Batangas.
12.Pamulinawen is a folksong with a triple meter.
13.Folksongs are usually sung in the dialect of the people of its place of
origin.
14.Pamulinawen and Manang Biday are both Tagalog folksongs.
15.All folksongs have the same story to tell

19. SONG
In the next activity “YOUR SONG SOUNDS
FAMILIAR”, you will listen to sample music of Luzon
lowland folksongs. Then answer the questions below.

20. 1. What can you say about the lyrics of the folksongs?
2. What are the dialects used in folksongs you just heard?
3. What can you say about the translation of the dialects into other
languages?
4. Why do folk songs not change the key signatures?
5. How do people become familiar with the folksongs in the
community?
6. Based on the folksongs that you have heard, how do folksongs
depict the
community’s tradition, culture, and livelihood?

21. Students will write a reflection about the
gained learning for today’s lesson.
Reflection

22. Thank
You and

24. PHILIPPINES MUSIC STYLES
FOLK SONG songs written by the folk and are
sung to accompany daily activities
such as farming, fishing, and
putting the baby to sleep.
KUNDIMAN
from the words “kung hindi man” the
kundiman conveys a selfless and spiritual
attitude, intense love , longing, caring,
and devotion not only with romantic
partner, also with a parent, child,
spiritual figure or the motherland.

25. PHILIPPINES MUSIC STYLES
DEVOTION
Relating to or used in
religious services
HARANA
SERENADE

26. WORD CLASSIFICATION: GROUP THE FOLLOWING SONGS
ACCORDING TO THE DIFFERENT PHILIPPINE MUSIC STYLES.
-DUNGAWIN MO HIRANG
-MUTYA NG PASIG
-O ILAW
-NASAAN KA IROG
-PASYON
-DIOS TE SALVE
-SARUNG BANGGI
-ALAY
-ATIN CU PUNG SINGSING
FOLK SONGS HARANA KUNDIMAN DEVOTIONA
L

27. ELEMENTS OF MUSIC
COMPOSITION The over-all structure of a musical composition
DYNAMICS Refers to the loudness and softness of sounds
HARMONY Blending of two or mosre sounds
PITCH Highness and lowness of tone
TEMPO Speed of a song
TIMBRE Quality of musical sound or voice

29. LITURGY AND DEVOTIONAL MUSIC
BNHS

30. Liturgy and devotional music
• Religious music of the lowlands of Luzon reveals the impact of Spanish
colonization to the Philippines which lasted for almost three centuries.
With the introduction of Christianity came the different western forms of
music that are use for religious rites. Some of these were adapted by
Filipino musicians to suit Philippine culture and tradition. At the same time,
some indigenous Philippine musical forms were incorporated to Christian
practices (i.e., Obando fertility rites and pasyon chant).

31. What is the meaning of devotional music?
A devotional song is a hymn which accompanies religious
observances and rituals. Traditionally devotional music has been a part of
Christian music, Hindu music, Sufi music, Buddhist music, Islamic music and
Jewish music. Each major religion has its own tradition with devotional
hymns.

32. PASYON
• Pasyon is a Philippine narrative of the passion, death and resurrection of
Jesus Christ in a form of song with a dramatic theme. It is a book of stanzas
of five lines of eight syllables. The whole text is chanted and known as
“pabasa” and is recited during holy week ( Semana Santa).

33. Salubong
• Salubong is a religious ritual that re-enacts the meeting of the Risen Christ
with his mother on the Dawn of Easter Sunday. It is performed under a
prepared arch where the veiled image of the Virgin Mary has been placed.

34. Flores de mayo
• Flore de Mayo or “ Flowers of May” is a catholic festival held on the month
of May. It is one of devotions to the blessed Virgin Mary or “Alay”
(Offering). The celebration is held inside the church wherein children bring
flowers to offer to the image of the Virgin Mary at the altar while they sing
the “ Alay ng “Bulaklak kay Maria”.

35. Santa Cruzan
• Santa Cruzan is a religious- historical event that dramatizes the finding of
the Holy Cross by the Queen Helena and her son, Constantine the Great. It
is held throughout the Philippines during the month of May. As the Sagalas
and Escorts parade the street of the community, the musiko (brass band)
accompanies the procession with the music “ Dios Te Salve Maria).

36. SECULAR MUSIC
BNHS

37. GROUP ACTIVITY
DIVIDE THE CLASS INTO FIVE GROUPS. EACH GROUP WILL PRESENT THE
HISTORY, COMPOSERS, AND SAMPLE MUSIC OF THE
FOLLOWING TOPICS,
GROUP 1: KUNDIMAN
GROUP 3: PANDANGGO
GROUP 2: KUMINTANG
GROUP 4: POLKA
GROUP 5: BALITAW

38. HARANA
HARANA IS A SERENADE SONG TRADITIONALLY SUNG BY A MAN
TO EXPRESS HIS LOVE TO A LADY. IT IS SUNG WITH EMOTION AND
USUALLY ACCOMPANIED BY A GUITAR.
EXAMPLE OF HARANA
ANG TANGI KONG PAGIBIG, O ILAW AND DUNGAWIN MO
HIRANG
COMPOSERS
SANTIAGO S. SUAREZ- DUNGAWIN MO HIRANG

39. KUMINTANG
ORIGIBATED FROM BALAYAN, BATANGAS, WITH THEMES OF LOVE
AND COURTSHIP
EXAMPLE OF KUMINTANG
MUTYA NG PASIG – IN THIS SONG MUTYA EXPRESSES
HER FEELINGS UNDER THE LIGHT OF THE MOON. SHE IS
MOURNING THE LOSS OF HER LOVE, WHICH SYMBOLIZES THE
COUNTRY’SLOSS OF FREEDOM
COMPOSERS
NICANOR ABELARDO –MUTYA NG PASIG

40. PANDANGGO
- IS A DANCE FORM THAT CAN BE FOUND IN THE DIFFERENT
ISLANDS OF LUZON SUCH AS BATANES, ILOCOS, TARLAC AND
PARTS OF VISAYAS.
- IT IS A VARIATION OF THE SPANISH WORD FANDANGO.
- A FORM OF ENTERTAINMENT IN THE TAGALOG REGION CALLED
PANDANGGUHAN IS PERFORMED DURING SOCIAL
CELEBRATIONS .
- PANDANGGO IS A COURTSHIP DANCE BUT IT CAN ALSO REFER
TO A TYPE OF SONG TO ENTERTAIN THE FARMERS IN THE FIELD.
- THE SINGERS OF THIS FOLK SONG ARE CALLED PANDANGGEROS
AND PANDANGGERAS

41. POLKA
- ORIGINATED FROM BOHEMIAN DANCE THAT BECAME POPULAR
IN EUROPE AND AMERICA.
- IT WAS PERFORMED IN ELEGANT EVENING GATHERINGS ATBTHE
HEIGHT OF ITS POPULARITY DURING THE SPANISH COLONIAL
PERIOD
POLKA
THERE ARE SOME PHILIPPINE FOLKSONGS THAT
BARE IN POLKA RHYTHM LIKE PAMULINAWEN ( STONE HEARTED),
MAGTANIM AY DI BIRO ( PLANTING RICE IS NEVER FUN) AND
LERON LERON SINTA ( LERON THE BELOVED)

42. BALITAW
IS A DIALOGUE OR COURTSHIP SONG
EXAMPLE OF BALITAW
SA LIBIS NG NAYON, BAKYA MO NENENG, AND
ARIMUNDING MUNDING
COMPOSERS
SANTIAGO SUAREZ–SA LIBIS NG NAYON,
BAKYA MO NENENG,
SEVERINO REYES- ARIMUNDING MUNDING

43. KUNDIMAN
- CAME FROM THE WORDS “ KUNG HINDI MAN”
- THE KUNDIMAN CONVEYS A SELFLESS AND SPIRITUAL
ATTITUDE, INTENSE LOVE, LONGING, CARING, DEVOTION AND
ONENESS NOT ONLY WITH A ROMANTIC PARTNER, BUT ALSO
WITH A PARENT, CHILD A SPIRITUAL FIGURE OR THE
MOTHERLAND.
COMPOSERS
FRANCISCO SANTIAGO, NICANOR ABELARDO,
BONIFACIO ABDON, FRANCISCO BUENCAMINO AND ANGEL
PEÑA.

44. KUNDIMAN
EXAMPLE OF KUNDIMAN
- PILIPINAS KONG MAHAL- FRANCISCO SANTIAGO
- NASAAN KA IROG AND HULING AWIT- NICANOR ABELARDO
- JOCELYNANG BALIWAG- BY UNKNOWN COMPOSER INSPIRED THE
REVOLUTIONARIES IN BULACANN DURING THE 1896
REVOLUTION
- SA SARILING BAYAN – V. TOLENTINO
- IYO KAILAN PA MAN – ANGEL PEÑA

46. MUSIC OF
MINDORO