Download to read offline
More Related Content
Similar to Q2_Lesson 1_ Vocal Music.pptx powerpoint
Q2_Lesson 1_ Vocal Music.pptx powerpoint
- 1. CONVENTIONAL TRADITIONAL OR LOCAL FOLKMUSIC AND ARTS COMMON TO THE PHILIPPINES AND SOUTHEAST ASIA Quarter 2 MUSIC AND ARTS MATATAG CURRICULUM
- 2. CONTENT STANDARDS The learnersdemonstrate understanding of the conventional local folk Music and Arts common to the Philippines and selected Southeast Asian countries, including the subjects, themes, concepts, mediums, processes, techniques, and/or practices.
- 3. PERFORMANCE STANDARDS The learners incorporate characteristicsof selected Philippine and Southeast Asian traditional or folk music and art in their creative work, using conventional, contemporary, and emerging concepts, processes, techniques, and/or practices in Music and Arts.
- 4. LEARNING COMPETENCIES 1.Explain similaritieswithin the Philippine regions and with selected Southeast Asian countries in terms of local subjects, themes, and mediums influenced by concepts, processes, techniques, and/or practices.
- 5. LEARNING COMPETENCIES 2. Explainthe similarities in terms of contexts across the regions and the Philippines with selected Southeast Asian countries through their use of subjects, themes, concepts, mediums, processes, techniques, and/or practices.
- 6. LEARNING COMPETENCIES 3. Correlatethe concepts, processes, and/or practices of contemporary and emerging creative works to conventional local folk performing and visual arts of the Philippines and selected Southeast Asian countries.
- 7. WHAT IS CONVENTIONALAND CONTEMPORARY?
- 8. CONVENTIONAL • Refers toideas, practices, or styles that are based on tradition or long-established methods. • They tend to follow norms and rules that have been accepted over time.
- 9. CONTEMPORARY • Refers tosomething current, modern, or related to the present time. • It often embraces new ideas, innovation, and creative freedom, sometimes challenging traditional norms. • Example: Contemporary art may involve abstract, experimental, or mixed media, reflecting today's social, political, or cultural issues.
- 10.
- 11. Traditional or LocalFolk Music Common to the Philippines and Southeast Asia Vocal Instrumental A. MUSIC
- 12.
- 13. GUESS THE SONG A.INDONESIA B. PHILIPPINES C. MALAYSIA D. VIETNAM TEMBANG SUNDA HUDHUD O, ILAW DIKIR BARAT CA TRÙ
- 14. To explore thesimilarities and differences in vocal music traditions between the Philippines and Southeast Asian countries. OBJECTIVE
- 15.
- 16. • Group 1:Kundiman ang Tembang Sunda • Group 2: Harana and Ca Tru • Group 3: Hudhud and Dikir Barat GROUP WORK Impoertant Question: 1.What themes do the songs have in common? How are these themes connected to the culture and traditions of the country? 2.What vocal techniques are used in the Philippine song? How does it compare to the Southeast Asian vocal music? Are there any similarities in the way the singers use their voices
- 17. PHILIPPINES A traditional serenade wherea man sings to express his love to a woman. HARANA
- 18. 1. Origin andCultural Significance • Harana originated during the Spanish colonial period in the Philippines, influenced by Spanish customs of courtship. • It was a common way for a man to express his love or admiration for a woman. The suitor would sing love songs outside the woman’s house, often accompanied by a guitar. • The tradition reflects Filipino values of respect, patience, and sincerity in courtship, as well as the importance of music in expressing emotions.
- 19. 2. Musical Style •The music of Harana typically follows a slow, smooth, and sentimental rhythm. The common instruments used are the guitar and sometimes other string instruments like the bandurria. • The vocal style is often soft and emotional, with lyrics focusing on adoration and love.
- 20. 3. The HaranaProcess • Typically, the man would stand outside the woman’s house in the evening, singing under her window or balcony. • The songs used in Harana are called kundiman or love ballads. These songs express deep affection, longing, and devotion. Common themes include unrequited love or admiration from afar. • After hearing the serenade, the woman (along with her family) would either come out to listen or remain inside as a way of signaling interest or rejection. If the woman steps outside, it’s seen as a positive response.
- 21. 4. Notable HaranaSongs • Some popular Harana songs include “O Ilaw,” “Dahil Sa Iyo,” and “Dungawin Mo Hirang.” These songs are characterized by their poetic lyrics and heartfelt melodies.
- 22. PHILIPPINES KUNDIMAN Slow, emotional love songsthat reflect devotion and longing.
- 23. 1. Origin andCultural Significance • Kundiman emerged during the Spanish colonial period in the Philippines, developing from folk traditions and influenced by Spanish music styles. • Initially, Kundiman songs expressed themes of romantic love, often portraying deep longing, unrequited love, or devotion to a beloved. However, as the Philippines moved towards independence, Kundiman evolved into a form of musical expression that also reflected the country's patriotic sentiments. • It became a way for Filipinos to express love for the motherland, with metaphorical lyrics that could represent both romantic and nationalistic love.
- 24. 2. Musical Characteristics •Kundiman follows a specific musical form characterized by a slow, smooth, and flowing rhythm, often set in triple time (¾ time signature). • The songs typically begin in a minor key, reflecting sadness or longing, and then transition into a major key in the latter part, symbolizing hope or the promise of happiness. • The vocal style is often soft, emotional, and heartfelt, with rich, expressive melodies that allow the singer to convey deep emotion.
- 25. 3. Themes inKundiman • The primary theme of Kundiman is love. Whether romantic or patriotic. The lyrics often speak of deep devotion, sacrifice, and longing for someone or something unattainable. • Patriotism became a central theme, especially during the Philippine Revolution against Spain and later during the American occupation. Songs metaphorically expressed the Filipino people's desire for freedom and independence.
- 26. 4. Famous KundimanComposers and Songs • Nicanor Abelardo, Francisco Santiago, and Ruben Tagalog are among the notable composers and performers who popularized the Kundiman genre. • Famous Kundiman songs include: “Bituing Marikit” (Beautiful Star) “Pakiusap” (Plea) “Nasaan Ka Irog” (Where Are You, My Love) “Jocelynang Baliwag”, which became known as a revolutionary Kundiman.
- 27. PHILIPPINES HUDHUD Epic chants from theIfugao people, often performed during harvests or funerals.
- 28. 1. Origin andCultural Significance • Hudhud originates from the Ifugao, an indigenous group residing in the mountainous region of Northern Luzon, known for building the Banaue Rice Terraces, a UNESCO World Heritage Site. • This epic narrative is chanted during significant Ifugao occasions such as: ⚬ Rice harvesting (a time of gratitude for the bountiful harvest), ⚬ Funeral wakes, and ⚬ The bone-washing ritual (a unique Ifugao practice of honoring ancestors). • The chant reflects the Ifugao way of life, their agricultural practices, and their deep spiritual connection to the land, ancestors, and deities.
- 29. 2. Structure andForm • The Hudhud is typically chanted by the “munhaw-e”, a lead female singer, accompanied by a group of choristers who provide responses. • The chant is performed in a call-and-response format, where the lead chanter narrates the story, and the chorus responds with refrains. • It contains over 200 stories or episodes, each taking hours or even days to complete when fully recited.
- 30. 3. Themes andStories • Hudhud revolves around heroic characters and their exploits, most notably the tales of Aliguyon, a brave Ifugao warrior. These stories often focus on: ⚬ Heroism, bravery, and wisdom, ⚬ Family and kinship, and ⚬ Peace-making rather than glorifying warfare. • The Hudhud also delves into the values of the Ifugao people, emphasizing respect for tradition, nature, and harmony within the community.
- 31. 4. Performance andPreservation • Traditionally, the Hudhud is performed orally by women, often during times of rest, such as after a day of working in the rice fields. • As a purely oral tradition, its survival has been threatened by modern influences and the declining number of practitioners. However, efforts are being made to preserve it through recordings, educational programs, and performances at cultural festivals.
- 32. let’s go toour neighboring countries!
- 33. INDONESIA TEMBANG SUNDA it isan emotional West Javanese poetry set to music, that tells stories of love and longing.
- 34. 1. Origin andCultural Significance • Tembang Sunda originated in the 19th century in the court of the Sundanese aristocracy in West Java. It was initially performed in royal courts and among the elite class as a form of entertainment and artistic expression. • The genre holds a prominent place in Sundanese culture, often linked to themes of nature, love, melancholy, and spirituality. • It is also referred to as Cianjuran (named after the Cianjur region), where the art form developed and flourished.
- 35. 2. Musical Characteristics •Tembang Sunda is characterized by slow, melodic, and emotional singing, accompanied by traditional Sundanese instruments. • The vocals are high-pitched and ornamented, with an emphasis on conveying deep emotional expression. • The primary instruments used in Tembang Sunda performances include: (Kacapi, Suling, Rebab) • The songs are composed in fixed poetic forms or verses, often based on traditional Sundanese poetry.
- 36. 3. Themes andLyrics • Tembang Sunda lyrics are often poetic, focusing on themes of nature, love, sorrow, and longing. The songs reflect the Sundanese people's relationship with their environment and their philosophical views on life. • The lyrics are written in Sundanese language and are typically melancholic, expressing feelings of nostalgia, heartache, and deep personal reflection.
- 37. 4. Performance Context •Tembang Sunda is traditionally performed in a serene, intimate setting, such as small gatherings or ceremonial events. It is considered a private and meditative form of music, intended to be enjoyed by a small, attentive audience. • Performers are usually highly skilled musicians and vocalists who have undergone years of training to master the complex melodies and expressive style.
- 38. MALAYSIA DIKIR BARAT It isa group choral performance focused on social issues and moral values.
- 39. 1. Origin andCultural Significance • Dikir Barat originated in the Malay Peninsula, particularly in the eastern state of Kelantan. It is believed to have roots in the traditional art forms of the Malay community, including influences from folk music and Islamic chanting. • Initially performed in villages during harvest festivals or special occasions, Dikir Barat has evolved into a popular performance art form often seen in competitions, festivals, and official events. • It serves as a way to bring people together, fostering community spirit, entertainment, and cultural identity. Today, it is performed by both rural and urban communities and is often televised or broadcast on radio.
- 40. 2. Performance Structure •Dikir Barat is known for its group performance, consisting of: ⚬ Tok Juara (Lead Singer): The main figure of the group, the Tok Juara initiates the performance by delivering solo verses or chants, often in a rhythmic, poetic style. The lead singer usually provides social commentary, tells stories, or improvises verses. ⚬ Awok-awok (Chorus): The awok-awok is the chorus, made up of a large group of performers who respond to the Tok Juara in a call-and-response format. They sing in unison and often perform synchronized hand movements or clapping. ⚬ Tok Dalang: In some performances, a Tok Dalang (conductor) may lead the group in rhythmic clapping and movements.
- 41. 3. Themes andLyrics • The content of Dikir Barat performances varies, but it often addresses: ⚬ Social issues: Commenting on current events, community life, or political situations. ⚬ Moral values: Teaching lessons on good behavior, humility, respect, and other Islamic or Malay cultural values. ⚬ Humor and Satire: Many Dikir Barat performances use wit and satire to entertain and make pointed remarks on societal issues. • The lyrics are typically in rhymed verses and may be improvised to fit the occasion, allowing the lead singer to engage the audience with relevant and timely topics.
- 42. 4. Musical Elements •Dikir Barat does not rely on many instruments. Instead, the group uses percussive hand clapping, body movements, and occasionally traditional Malay percussion instruments like rebana (a type of drum) or gendang to keep rhythm. • The vocal style is the central focus, with the Tok Juara singing in a lively and often dramatic tone, and the chorus responding with powerful, rhythmic refrains.
- 43. VIETNAM CA TRÙ an ancientform of poetry singing, performed during rituals and special ceremonies.
- 44. 1. Origin andCultural Significance • Ca Trù originated in northern Vietnam during the Lý Dynasty (11th century). Initially, it was performed in royal courts and later became popular among scholars and aristocrats. • The genre was historically linked to rituals, festivals, and entertainment for the upper class, and it was particularly appreciated for its intellectual and poetic qualities. • Ca Trù performances were traditionally held in small, intimate settings, such as homes, temples, or private gatherings, rather than large public spaces.
- 45. 2. Performance Structure •A Ca Trù performance typically involves three key participants: ⚬ The Singer (Đào Nương): Usually a female vocalist, known for her delicate and expressive singing style. The singer must have a mastery of vocal techniques to perform the richly poetic lyrics of Ca Trù. ⚬ The Lute Player (Kép): Accompanies the singer by playing the đàn đáy, a three-stringed lute with a deep, hollow sound. The kép often interacts with the singer by guiding the rhythm and melody. ⚬ The Drummer (Cái Trống Chầu): An audience member (traditionally a scholar or important person) who beats a small drum at key moments to indicate approval of the singer’s performance or emphasize important parts of the song.
- 46. 3. Musical andPoetic Elements • Ca Trù is known for its complex rhythms and poetic lyrics, often set to classical Vietnamese poetry. These poems typically deal with themes of love, longing, morality, and philosophy. • The music is highly structured, with different song forms for various occasions, including ritual music, entertainment, and competitive performances. • The singing style is highly ornamented, requiring the singer to navigate through intricate vocal melodies that require skill and emotional expression.
- 47. 4. Instruments Usedin Ca Trù • Phách: A pair of bamboo sticks struck against a small wooden block, used by the singer to keep time. • Trống Chầu: A ceremonial drum beaten by the drummer or audience member, which serves as a means of judging the performance and adding rhythmic accents. • Đàn Đáy: A traditional three-stringed lute with a long neck, producing a deep, resonant sound that accompanies the singer’s voice.
- 48. 5. Themes andPerformance Context • Ca Trù performances were historically held for a variety of occasions: ⚬ Religious and spiritual rituals. ⚬ Private entertainment for the elite class. ⚬ Literary competitions, where scholars would test their poetic and musical skills. • The lyrics of Ca Trù often focus on philosophy, morality, and romance, with many performances touching on profound emotional and intellectual themes.
- 49. SOUND REFLECTION How arethe songs similar? Did they give you the same emotional vibe? How do they reflect the culture of their countries?.
- 50. MINI TASK: CREATE YOUR OWNVOCAL PERFORMANCE
- 51. Procedure: • Group Activity: ⚬Each group should select a theme for the song (e.g., love, celebration, nature). ⚬ It would be best if you composed original lyrics that reflect this theme, drawing inspiration from traditional vocal music. ⚬ Incorporate vocal techniques they have learned, such as vibrato, call-and-response, or ornamentation.
- 52. Important Question: How didit feel to create your own vocal piece? What did you learn about the similarities between traditional music in the Philippines and Southeast Asia?
- 53.
- 54. Group Vocal Composition: Incorporationof Themes: Did the students effectively integrate traditional themes such as love, nature, or spirituality into their lyrics? Use of Vocal Techniques: Did they apply traditional vocal techniques (e.g., ornamentation, call-and-response)? Creativity: Were the students able to create an original piece that draws inspiration from traditional music? Class Participation: Did they actively engage in identifying similarities and differences in themes and techniques? Below Stamdards Meet Standards Exceeds Standards Reflection: • What are some of the common themes and vocal techniques that you found in both Philippine and Southeast Asian vocal music? • How did performing or composing your own vocal piece help you understand these similarities? • Why do you think there are shared characteristics in vocal music across the Philippines and Southeast Asia?
- 55. "Music is thevoice of culture; it tells the stories of our past, reflects the heart of our present, and shapes the soul of our future."
- 56.
Editor's Notes
- #8 The terms conventional and contemporary are often used to distinguish between traditional and modern approaches or ideas.
- #9 The terms conventional and contemporary are often used to distinguish between traditional and modern approaches or ideas.
- #10 Folk music and arts, shaped by centuries of tradition and cultural exchanges, offer a fascinating window into the shared heritage of Southeast Asia. This lesson will focus on the traditional vocal and instrumental music of the Philippines and Southeast Asia before the Second World War, highlighting both the similarities and distinctions within the region.
- #11 Folk music and arts, shaped by centuries of tradition and cultural exchanges, offer a fascinating window into the shared heritage of Southeast Asia. This lesson will focus on the traditional vocal and instrumental music of the Philippines and Southeast Asia before the Second World War, highlighting both the similarities and distinctions within the region.
- #12 Objective: To spark curiosity and engage students by introducing them to traditional vocal music from the Philippines and Southeast Asia. Vocal music plays a crucial role in the cultural and social life of the Philippines and Southeast Asia. We will listen to a variety of vocal music styles from the Philippines and neighboring countries.
- #13 Play short clips from different traditional vocal music styles of the Philippines and Southeast Asia. After each clip, ask students to guess where the song might come from and what it reminds them of (e.g., “Does this sound familiar? Which country or tradition do you think this belongs to?”).
- #15 Objective: To explore the similarities in vocal music between the Philippines and Southeast Asian countries by analyzing lyrics, themes, and vocal techniques.
- #16 Divide students into groups, assigning each group a traditional vocal music style from the Philippines and one from another Southeast Asian country. Question 1: Students will analyze the songs' themes (e.g., love, nature, spirituality) and compare how these themes are expressed in the Philippines versus Southeast Asia. Question 2: Students will listen to the different vocal techniques (e.g., vibrato, ornamentation, call-and-response
- #21 5. Modern Relevance Although the tradition of Harana has declined with modernization and changes in courtship practices, it remains an iconic part of Filipino culture. Today, Harana is often performed during cultural festivals or as part of traditional ceremonies, keeping its legacy alive. Some modern musicians also incorporate Harana elements into their songs to celebrate Filipino heritage.
- #22 Kundiman continues to resonate as a beautiful representation of Filipino sentiment—combining love, sacrifice, and patriotism in its lyrical and musical form. It remains a treasured part of the nation's cultural history.
- #23 5. Modern Relevance Although the tradition of Harana has declined with modernization and changes in courtship practices, it remains an iconic part of Filipino culture. Today, Harana is often performed during cultural festivals or as part of traditional ceremonies, keeping its legacy alive. Some modern musicians also incorporate Harana elements into their songs to celebrate Filipino heritage.
- #24 5. Modern Relevance Although the tradition of Harana has declined with modernization and changes in courtship practices, it remains an iconic part of Filipino culture. Today, Harana is often performed during cultural festivals or as part of traditional ceremonies, keeping its legacy alive. Some modern musicians also incorporate Harana elements into their songs to celebrate Filipino heritage.
- #25 5. Modern Relevance Although the tradition of Harana has declined with modernization and changes in courtship practices, it remains an iconic part of Filipino culture. Today, Harana is often performed during cultural festivals or as part of traditional ceremonies, keeping its legacy alive. Some modern musicians also incorporate Harana elements into their songs to celebrate Filipino heritage.
- #26 5. Modern Relevance Although the tradition of Harana has declined with modernization and changes in courtship practices, it remains an iconic part of Filipino culture. Today, Harana is often performed during cultural festivals or as part of traditional ceremonies, keeping its legacy alive. Some modern musicians also incorporate Harana elements into their songs to celebrate Filipino heritage.
- #27 Hudhud serves as a living testament to the Ifugao people's rich cultural heritage and their deep connection to nature, community, and their ancestors. Its preservation is critical for maintaining the cultural identity and history of the Ifugao and the Philippines.
- #31 Modern Relevance and Challenges With modernization, the Hudhud faces the challenge of being passed down to younger generations as fewer young Ifugaos are familiar with the chant. Government institutions and cultural organizations in the Philippines have been actively working to document and promote the Hudhud, ensuring that this oral tradition continues to thrive in the modern age.
- #32 Modern Relevance and Challenges With modernization, the Hudhud faces the challenge of being passed down to younger generations as fewer young Ifugaos are familiar with the chant. Government institutions and cultural organizations in the Philippines have been actively working to document and promote the Hudhud, ensuring that this oral tradition continues to thrive in the modern age.
- #38 Dikir Barat is a traditional musical and performance art form originating from Kelantan, Malaysia, widely practiced across Peninsular Malaysia. It combines music, singing, poetry, and movement, typically performed by a large group. Dikir Barat is not only a form of entertainment but also a way of preserving cultural heritage, promoting social unity, and delivering moral messages.
- #42 Modern Relevance and Preservation Dikir Barat continues to thrive in modern Malaysia. It is a staple in school competitions, cultural festivals, and even official government events. Television programs and radio shows regularly feature Dikir Barat performances, helping to keep the art form alive and relevant. Efforts to preserve Dikir Barat include its inclusion in school curricula and cultural education programs, ensuring that younger generations remain connected to this traditional performance art.
- #43 Ca Trù is a traditional Vietnamese musical and performance art form that dates back over a thousand years. Known for its poetic singing, intricate rhythms, and unique instrumentation, Ca Trù is considered one of Vietnam's most refined and ancient art forms, often performed in intimate settings for the intellectual and elite classes. It was recognized by UNESCO as an Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009.
- #50 Allow students to apply their understanding of traditional vocal music by creating and performing a vocal piece that integrates the themes, techniques, and styles explored in class. Materials Needed: Writing materials for lyric composition (e.g., paper, pens, or digital devices). Optional: Musical accompaniment (simple percussion instruments, guitar, or traditional instruments, if available).
- #51 Introduction: Students will now create their short vocal performance inspired by the vocal music traditions of the Philippines and Southeast Asia. Their piece should reflect the themes, vocal techniques, or styles discussed during the lesson (e.g., love or nature, ornamentation, call-and-response).
- #53 Allow students to apply their understanding of traditional vocal music by creating and performing a vocal piece that integrates the themes, techniques, and styles explored in class. Materials Needed: Writing materials for lyric composition (e.g., paper, pens, or digital devices). Optional: Musical accompaniment (simple percussion instruments, guitar, or traditional instruments, if available).
- #54 Community and Rituals: Philippines: Traditional vocal music often reflects community events and rituals. For example, the Harana (serenade) is a way to express love and courtship, while Hudhud chants are performed during significant life events like harvests and funerals. Southeast Asia: Similar themes are present. In Indonesia, Tembang Sunda often accompany social events and ceremonies, while Ca Tru in Vietnam is used in rituals and festivals.