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Curriculum Guide
MUSIC
GRADE 10
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CONCEPTUAL FRAMEWORK
Music occupies a very important role in Philippine society. Its function is well entrenched in the various occasions and festivals and in the day
to day activities of households. Music is used as a means to express and convey messages to members of the community. In the Philippine context,
there is no direct translation for the word music but there is a multitude of words relating to music which describe song forms, musical instruments,
and processes. This just means that music is more than just an abstraction as it is found in the everyday experiences of the people.
The SPA music curriculum focuses on four threads which at the end of the program will equip the learner as an engaged artist in the field of
music: 1. music as borne of the expression of the self as seen in the Filipino tales, epics, rituals, and festivals; 2. music as a community resource
rooted in the natural, tangible, and intangible heritage of the people; 3. music as an continuing expression of the people’s history and; 4. music as a
contextualized reality from the local to global perspectives in the contemporary times.
Along with four threads, the curriculum will develop the learner‘s knowledge, appreciation, and skills in music using the seven building blocks
of music distributed across the curriculum (Philosophy of Music; Overview of Music; Music Elements and Concepts; Music Processes and Skills;
Musical Instruments; Music Genre and Styles; People of Music). The SPA program is a spiraling program, grounded on performance-based learning.
At the end of the program the learners will have gained the basic and intermediate skills in music which will prepare them for a career and/or higher
education in music and other art disciplines.
The philosophical foundations upon which standards and competencies are based on are aligned with the regular K-12 program for music
and the arts. These include among others, the following sources: A Process of Education by Jerome Bruner, Performance-Based Learning by
Cleve Miller, Aesthetic Education by Bennett Reimer, Praxial Music Education by David Elliott, Multiple Intelligences by Howard Gardner, A
Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced
by the National Research Council of the Philippines, Dictionary of Filipino Musical Terms produced by the UP Center for Ethnomusicology, Content
Standards from the National Standards for Arts Education by Music Educators National Conference (MENC), Integrating Music Throughout the
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Curriculum by Claudia Cornett, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor
Lowenfeld and W. Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both
produced by the Cultural Center of the Philippines, and Malikhaing Guro by ARTISTS, Inc.
Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a tapestry moving in
time. The global weavings of this tapestry in historical and cultural contexts are diverse—having spurred a continued metamorphosis to include a
full range of purposes, functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature
of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that
addresses the human spirit, and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a
continuing art. Aaron Copland describes this characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for
man’s individual quest for self-expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds
needs to be developed. The student must learn to hear, speak, and think in the medium of music. Simultaneously, growth and development in
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the skills that enable the application of the learner’s knowledge should be encouraged, through active involvement in the various musical
processes.
Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated
by the SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thoughts about
contemporary general education. We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic expression
and cultural literacy, and celebrate his/her national heritage, while it instills, within every individual Filipino learner, pride in his/her own cultural
identity.
Course Description
This is a course in SPA- Music Specialization that aims the learner to demonstrates an understanding of the basic concepts and
principles of MUSIC interacting with other disciplines relevant to the creation of major works reflecting Contemporary Realities for the
PROFICIENCY in artistic creativity, leading to a sense of self, cultural identity, and social responsibility
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MUSIC GRADE 10 : FIRST QUARTER
ST
1 QUARTER: LOCALIZATION (NATIONAL AND ASIAN), Composition I-A
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIE ACTIVITIES
S
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Nationalism;
Protest Songs,
Manila Sound,
OPM , Filipino
Novelty,Edsa
revolution
90’s to Present:
Filipino Rap,
Filipino Pop,
Korean Invasion,
Broadway (Miss
Saigon, etc)
6
Composition an understanding 4.Employs the music AE10-
(Conceptualization, of basic creativity in profession Ia-j-4
Representation of compositional composition and how
Sound: Standard or concepts and and these can
Graphic Notation, techniques arrangements. be
Instrumentation Arranges music
addressed
makes
1.Arranging a database
SPA_M
Performs basic skills for 5.familiarizes of
demonstrates voice and instrument- with various organization MT10-
familiarity with playing. performance s that Ia-c-5
music software having diverse advocate
for notation, musical styles.
music and
recording, Notates, transcribes,
C. Music performer’s
sequencing records, or sequences
Technology 6. applies music rights for
SPA_M
Software music. technology future
reference
AE10-
software in
demonstrates rehear
Ia-j-6
performs music notating,
an ses music
through solo and with sequencing and
understanding
D. Application of the of basic music accompaniment recording. showing
Elements of Music knowledge
reading, basic
through of the
vocal
composition and Performs musical
techniques, 6. Shows
the chosen instrument diverse musical skills elements
mastery of
specialization: playing musical and styles
voice and techniques, and elements sings
instrument-playing. sight reading or plays
through varied
skills
Instrument- musical instruments
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Playing/Singing performance. with
(Continuation) technique
Finger appropriate
positions/Posture to the
Tone Production & performanc
Resonance e practice of
Embouchure the piece.
(winds);
bowing/plucking
(strings);
Articulation
Basic Sight
Reading
Repertoire Study
Choral Styles
Interpretation of
composed works
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The learner… The learner… The learner… The learner…
1.Tradition &
Change: ASEAN
MUSIC
2.ASEAN Integration,
Cultural Ethics
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and/or voices
2.develops for given
D. Continuation of creativity in SPA_MI
themes/functi
Basic Composition conceptualizing 10-IIa-2
(Conceptualization, demonstrates demonstrates basic basic music
ons
Representation of an musical skills in voice compositions or
Sound: Standard or understanding and/or instrument-playing arrangements
Graphic Notation, of basic
Instrumentation compositional
concepts and
techniques notates ,
3.displays
familiarity in transcribes,
SPA_M
1.Arranging demonstrates various sequences,
an records music BC10-
performance
understanding practice of using II-a-j-3
of basic music diverse musical appropriate
reading, basic styles music
vocal
technology
techniques,
instrument uses technology to tools
playing notate, transcribe,
techniques, discuss
record or
and sight es the
sequence music
reading skills reasons
behind the
SPA_M
issues
4.displays AE10II-
C.Music knowledge in besetting the
a-j-4
Technology using music music
Software demonstrates technology profession
familiarity with software and how
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music these can be
software for addressed
notation, performs music with
recording, and fundamental musicianship intervie
sequencing (performs alone and with ws or
others in pitch, rhythm, 5. displays
corresponds
D. .Application of the expression, and style ) mastery of the
with music
Elements of Music basic musical
through composition applies appropriate organizations
elements
and the chosen technical skills in regarding SPA_M
through musical
specialization: voice performing diverse issues in MT10-
performances.
and instrument-playing. musical styles music IIa-c-5
Instrument- rehear
Playing/Singing ses music
(Continuation) showing
Finger
knowledge of
positions/Posture
the musical
Tone Production &
Resonance elements and
Embouchure styles
(winds);
sings
bowing/plucking
(strings); or plays
Articulation instruments
Basic Sight with
Reading technique
Repertoire Study appropriate
Choral Styles to the
Interpretation of performance
composed works
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practice of
the piece.
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The learner… The learner… The learner… The learner…
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PASAMBAP,PHILBAND demonstrates basic music using
A,Council for Trad musical skills in appropriate
Music, IFederation of voice and/or music
Choral Music, ISociety instrument-playing technology
of Contem Music, Asian tools
Composers League,
3.develops discuss
PCDA, UNESCO uses technology to
creativity in es the
notate, transcribe,
conceptualizing reasons
record or
C. Continuation of Basic demonstrates basic music behind the
Composition an sequence music compositions or
issues
(Conceptualization, understanding arrangements SPA_M
Representation of Sound: performs music besetting
of basic music BC10-
Standard or Graphic with fundamental the music
reading, basic
Notation, Instrumentation musicianship (performs profession III-a-j-3
vocal
Arranging techniques, alone and with others and how
D. Music instrument in pitch, rhythm, 4.displays these can
Technology playing expression, and style ) familiarity in be
Software
addressed
techniques, various
applies performance
and sight
appropriate technical interviews or
E. Application of the reading skills practice of
corresponds
Elements of Music skills in performing diverse musical SPA_M
through composition diverse musical styles styles with music
AE10III-
and the chosen organization
a-j-4
specialization: voice demonstrates s regarding
and instrument- an issues in
playing. understanding music
of basic
Instrument- compositional rehear
Playing/Singing concepts and 5.displays
knowledge in ses music
(Continuation) techniques
using music showing
Finger
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positions/Posture technology knowledge SPA_M
Tone Production & demonstrates software of the MT10-
Resonance familiarity with musical IIIa-c-5
Embouchure music 6. displays
mastery of the elements
(winds); software for
basic musical and styles
bowing/plucking notation,
elements sings SPA_M
(strings); recording, and
through musical or plays AE10-
Articulation sequencing
performances. instruments IIIa-j-6
Basic Sight
Reading with
Repertoire Study technique
Choral Styles appropriate
Interpretation of to the
composed works performanc
e practice of
the piece.
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MUSIC GRADE 10 : FOURTH QUARTER FOURTH GRADING PERIOD
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8.Performers abilities in music
(Singers, relation to the portfolio of
Instrumentalists) various music music
demonstrates an professions performance
B.PROGRAM understanding of
s using
PLANNING program employs acceptable
appropriate SPA_M
1.Basics of planning, rehearsal methods 3.displays
Planning a Music rehearsal applicable to good familiarity in music C10-
Performance preparation, and program planning various technology IVa-2
2.Rehearsal staging using the performance tools
Preparation integrated arts practice of
3.Staging the approach makes diverse discusses the
Performance compositions and musical styles types of work
demonstrates arrangements for and training
an various musical for certain
understanding forms and functions careers in
of basic music
reading, basic music SPA_M
vocal interviews or AE10-
techniques, performs music corresponds
IVa-j-3
instrument with fundamental with various
playing musicianship music
techniques, (performs alone professionals
and sight and with others 6. displays mastery regarding the
C. Application of the reading skills in pitch, rhythm,
of the basic musical training and
Elements of Music expression, and
elements through nature of
through the chosen style )
musical their music
specialization: voice
performances. profession
and instrument-playing.
rehearses
Instrument-
demonstrates music
Playing/Singing
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(Continuation) an showing
Finger understanding uses technology to knowledge of
positions/Posture of basic document music the musical
Tone Production compositional
performances elements and
& Resonance concepts and
styles
Embouchure (winds); techniques applies aspects of SPA_M
bowing/plucking the integrated arts sings or plays AE10-
(strings); demonstrates
approach in the instruments IVa-j-6
Articulation staging music
an with
Basic Sight Reading performances
understanding *the performance standards technique
Repertoire Study of the staging for the fourth quarter will be appropriate
Choral Styles process showcased in collaboration to the
utilizing with all the other SPA art
elements of performance
fields
production practice of
values like the piece.
music, design,
and movement plans for
a music
program
conducts
various
rehearsals
and run-
throughs
performs in
front of an
audience
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evaluates the
production
process in
class
writes a
journal of
experiences
of the entire
Grade 10
experience
A/B; 3rd: GLOBALIZATION and MASS MEDIA AND MUSIC (TECHNOLOGY) Composition I-C;
Q: 4th Q: Careers in Music, Contemporary Perspective ; Performance/Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL
ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR
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DIVISI
MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland
Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil
Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio
San Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias,
Voice Methods of Concone, Marchesi, MacClosky, Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished
thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina
nd
Benitez Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2 edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by
Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by
Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures,
The Contemporary Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred
String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by
Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto
Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series
(Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts
Computer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition
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Prepared by: Jocelyn T. Guadalupe,
Christine M. Muyco,
Jose S. Soliman, Jr.,
Leticia G. Del Valle,
Arvin Manuel R. Villalon