2010 Secondary Education Curriculum Music and Arts I

MUSIC I
General Standard: The learner demonstrates understanding of basic concepts and principles of folk songs and arts of
the Philippines and the world, through active participation in artistic and cultural performances for self development, promotion of cultural identity, and expansion of ones world vision.

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Quarter 2 : Folk Songs and Arts of Europe, Australia and America

Topic: Folk Songs of Europe, Australia and America

Time Frame: 8 hours/sessions

Stage 1 Content Standard: Performance Standard: The learner demonstrates understanding of musical The learner performs examples of European, American and concepts used in European, American and Australian folk Australian folk songs alone and with others in clear tone and songs as influenced by history and culture. correct pitch, rhythm, expression and style. (Singing/Playing/Improvising) Essential Question(s): Why do European, American and Australian folk songs vary in style? How do European, Australian and American folk songs vary in style? How do we recognize the culture of a specific country through their folk songs?

Essential Understanding(s): The varied ways in which the elements are combined gives a unique style to a specific folk song.

The culture of a country is recognized in their folk songs through the intonation of language, rhythm of speech, environmental sounds and other aspects of life all of which are culturally based. Learners will know: Functions of folksongs in Asia and Africa 1. Dance Songs 2. Drinking and Friendship Songs 3. Love and Courtship Songs 4. Broadside, Blues and Bush Ballads/Narrative Songs 5. Religious Songs 6. Work Songs How the musical elements are employed in folk songs 1. Timbre / Tone Color 2. Rhythm 3. Melody

Learners will be able to: sing/play/improvise using the folk songs of Europe, America and Australia listen/describe/compare the folk songs from the Europe, America and Australia evaluate the quality of their own and others performances and improvisations of European, American and Australian folk songs using developed criteria compare in two or more arts/disciplines outside the arts how the characteristic materials of each can be used to transform similar events, scenes, emotions or ideas into works of art

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4. Harmony and Texture 5. Form

describe distinguishing characteristics of representative European, American and Australian folk songs from the different regions in relation to history and culture Evidence at the level of performance Evaluation of a Performance of European, Australian and American folk songs based on the following criteria: Clear tone quality Correct expression and style Accurate pitch Accurate rhythm Evaluation of Created Accompaniment based on the following criteria:

Product or Performance Task: Individual and Group Performance of European, American and Australian Folk Songs Singing Playing and Improvising Accompaniment Product: Created Accompaniment (Standard/Graphic Notation)

Stage 2 Evidence at the level of understanding Explanation Explain how the different elements of music are used in European, American and Australian folk songs. Criteria Accurate description of the different elements Use of appropriate terminology

Interpretation Illustrate through movements how the Easy to Follow Standard/Graphic different elements of music were used in a Notation selected folk song to communicate ideas Appropriate use of symbols and experiences Appropriate rhythm/chord Criteria Meaningful Revealing Illustrative Application Create a one stanza song in the style of European, American or Australian folk song.

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Criteria appropriate style reflects intonation of a specific culture reflects environmental sounds and other aspects of life of a specific culture Perspective Write a critique on the style of a selected folk song on how the elements of music were used to reflect language, rhythm of speech, environmental sounds and other aspects of life. Criteria Critical Insightful Revealing Empathy Walk in the shoes of a European, American or Australian through a performance of their folk songs. Criteria Sensitive Open Responsive Receptive Self Knowledge After learning the representative folksongs of the world, write your realizations.

2010 Secondary Education Curriculum Music and Arts I

Criteria Insightful Reflective Self-adjusting Stage 3 Teaching/Learning Sequence: 1. Explore In this phase, diagnose where the students are, and clarify expectations. Hook and engage learners on the topic and as a guide, give them the essential question. ( * choose one) *Have the students dance the waltz in pairs. Tell them that the waltz is a dance from Europe specifically from Sweden where it is called vals. Point out that aside from the waltz, other Western influences that have become popular in the Philippines such as the hamburger (America), pizza and pasta (Italy), olive oil (Mediterranean). *Have the students look at the pictures of European landmarks such as the Eiffel Tower in Paris, Big Ben in London, Vatican City, Swiss Alps, Statue of Liberty, Sydney Opera House and imagine themselves how people in these areas live. Have the students greet each other with words of love in French Je taime, English I love you, German Ich liebe dich, and Spanish Yo te amo". Point out that even if the message is the same, the language differs not only in grammar but also in the way the words are pronounced and intoned (tone of the voice). Ask the students the following essential questions: Why do European, American and Australian folk songs vary in style? How do European, Australian and American folk songs vary in style? How do we recognize the culture of a specific country through their folk songs?

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Explain to the students that they will learn the different functions of Western folksongs, the different styles and their reflection of the lives of the people of Europe, America and Australia. Have the students understand that they will listen and compare, perform and compose a short song based on a Western song and evaluate their group performance of Western folk songs. Guide the students to discover that just like the different languages, Western folk songs also show a varied musical palette through their different combinations of musical elements that reflect their own culture and musical practices. 2. Firm Up In this phase, provide activities to process students meaning. Give activities for students to reflect, revise, and rethink their understanding. Tell the students how the different cultural and musical practices of Western countries are revealed through their use of musical elements. Review the terms for musical elements under timbre, rhythm, melody, harmony/texture and form in the listening guide using descriptive words and listening examples as applied to Western folk songs. Timbre: head voice/falsetto (light), chest/speaking voice (throaty), guttural voice (raspy/growl) Rhythm: fast (4 beats/second), moderate (2 beats/second) or slow tempo (1 beat/second) Meter: Regular Meter in 2 (1-2), in 3 (1-2-3), in 4 (1-2-3-4), Irregular Meter Melody: Narrow Range (1-3 tones), Moderate (5 tones), Wide (8 tones and above) Harmony: Major Tonality (do-re-mi-fa-so-lati-do), Minor Tonality (la-ti-do-re-mi-fa-so-la), Pentatonic (do-re-mi-so-la), Modal (combination of different tonal patterns) Texture: Monophony (melody alone), Homophony (melody with instrumental

Title of the Song:

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accompaniment), Polyphony (two or more different melodies sung at the same time), Heterophony (similar melodies sung at the same time) Form: Syllabic phrasing (one tone per syllable), Melismatic phrasing (many tones per syllable)

Have the students listen to a recording of Western songs and describe each song using the listening guide. MUSICAL CROSSWORD: Give the background information for each song and have the students compare and contrast the different types of Western folksongs by filling up the table in the listening guide. After filling up the table, have the students discuss in class how the elements of music were used to convey popular feelings, events, and stories as based on the background information on the song and how the students felt while listening.
Type of Song according to Function Encircle the answer of your choice. Description in terms of Musical Elements Encircle the answer of your choice.

Song Title 1. Cancion de Maja

1. Dance Songs 2. Drinking and Friendship Songs 3. Love and Courtship Songs 4. Broadside or Blues Ballads/Narrative Songs 5. Religious Songs /Spiritual 6. Work Songs

Timbre: nasal (voice resonates through the nose), head voice/falsetto (light), chest/speaking voice (throaty), guttural voice (raspy/growl) Rhythm: fast (4 beats/second), moderate (2 beats/second) or slow tempo (1 beat/second) Meter: Regular Meter in 2 (1-2), in 3 (1-23), in 4 (1-2-3-4), Irregular Meter Melody: Narrow Range (1-3 tones), Moderate (5 tones), Wide (8 tones and above) Harmony: Major Tonality (do-re-mi-fa-sola-ti-do), Minor Tonality (la-ti-do-re-mi-faso-la), Pentatonic (do-re-mi-so-la), Modal (combination of different tonal patterns), Undetermined Tonality Texture: Monophony (melody alone),

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Homophony (melody with instrumental accompaniment), Polyphony (two or more different melodies sung at the same time), Heterophony (similar melodies sung at the same time) Form: Syllabic phrasing (one tone per syllable), Melismatic phrasing (many tones per syllable) ANSWER KEY
Song Title Cancion de Maja (Andalucia, Spain) Describes lovers in May Ma Come Bene Bella Bimba (Italy) Describes parent singing to a girl who dances the villanelle. Ach, Du lieber Augustin (Germany) The story of a man named Augustin who lost everything he owned. Adapted in the song, The more we get together Il Petite Navire (France) This ballad tells the story of a sailor who was saved by thousands of fish who went on board as his crewmates were about to cook him for lack of food. Greensleeves (England) Attributed to King Henry VIII who dedicated this song to the Lady Greensleeves. Adapted in the Christmas song, What child is this. Gerakina (Greece) A Greek song-dance depicting the love of a man to a girl named Gerakina Swing Low, Sweet Chariot (USA) Type of Song according to Function Love Song Description in terms of Musical Elements Chest voice, Moderate tempo, Meter in 3, Major tonality, Wide Range, Homophonic Texture, Syllabic and Melismatic Phrasing Head voice, Moderate tempo, Meter in 3, Major tonality, Wide Range, Homophonic Texture, Syllabic Phrasing Head voice, Moderate tempo, Meter in 3, Major tonality, Wide Range, Homophonic Texture, Syllabic Phrasing Head voice, Moderate tempo, Meter in 3, Major tonality, Moderate range, Monophonic Texture, Syllabic Phrasing

Dance Song

Drinking Song

Broadside Ballad

Love Song

Head voice, Slow tempo, Meter in 3, Modal tonality, Moderate range, Homophonic Texture, Syllabic Phrasing Chest voice, Fast tempo, Irregular Mater in 7, Major tonality, Moderate range, Heterophonic Texture, Melismatic Phrasing Chest voice, Moderate tempo, Meter in 4, Major

Wedding Song and Dance

Spiritual

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An African-American Spiritual that describes the train that Blacks used to escape slavery in the Civil War. John Henry (USA) A blues ballad accompanied by a banjo telling the story of the legend of John Henry, the great steel worker. Bound for South Australia A popular sea chantey from Australia that uses soloist and chorus La Cucaracha (Mexico) A popular Mexican folksong about the cockroach that has developed into a metaphor about the Mexican Revolution

tonality, Wide range, Homophonic Texture, Syllabic Phrasing Blues Ballad Chest voice, Fast tempo, Meter in 2, Major Tonality, Wide range, Homophonic Texture, Syllabic Phrasing

Work Song

Chest voice, Fast tempo, Meter in 4, Major Tonality, Wide range, Homophonic Texture, Syllabic Phrasing Chest voice, Moderate tempo, Meter in 3, Major Tonality, Wide range, Homophonic Texture, Syllabic Phrasing

Ballad

Discuss the types of Western folksongs according to functions. As the teacher discusses each type of folksong, the students listen to a recorded example.

TYPES OF FOLKSONGS BASED ON FUNCTIONS: Broadside and Blues Ballads: songs that tell a story (example: John Henry, Il Petite Navire, La Cucaracha) Dance Songs: songs that mark accompany dances (example: Bella Bimba, Gerakina) Songs of Friendship and Conviviality: drinking songs, humorous songs, welcoming songs (example: Ach, Du Lieber Augustin) Love and Courtship Songs: love songs (parental and romantic love), courtship songs (example:Greensleeves, Cancion de Maja) Ritual or Religious Songs: used for worship or marking rites or ceremonies (example: Swing Low, Sweet Chariot) Let them sing examples of European, American and Australian folk songs. Check for understanding.

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3. Deepen 4. MUSICAL COLLABORATION: Have the students imagine themselves to be in one of the situations presented in the folksongs: participating in a wedding dance, expressing love for someone, expressing hope after a frustrating situation (African slaves in America), being a sailor on a big ship, enjoying the company of friends, portraying the story of John Henry. Group the students into several groups. Assign 1 folksong for each group. Select a conductor and choreographer to study the music and the movement for each song. Have the students walk in the shoes of a through a performance of the folk songs (singing, playing improvised instruments) and illustrate through movements how the different elements of music were used in a selected folk song to communicate ideas and experiences. Criteria for Movement: Meaningful Revealing Illustrative

Criteria for Empathy Sensitive Open Responsive Receptive

REFLECTION: Have the students create a one stanza song about the myths and legends of the world in the style of a Western folk song. Criteria appropriate style reflects intonation of a specific culture reflects environmental sounds and other aspects of life of a specific culture

PERSPECTIVE: Have the students write a critique on the style of a Western folksong and how the elements of music were used to reflect language, rhythm of speech, environmental sounds and other aspects of life such as: Europes use of light, head tones as representing heaven, use of regular meter as a reflection of strict

2010 Secondary Education Curriculum Music and Arts I

European society, major and minor tonality representing the beginning and ending of human earthly life, homophonic texture and the existence of the soloist as a representation of the individualistic nature of Western life. Arabic influences in the music of the Mediterranean can be seen in the use of melismatic singing of Spain, unusual or irregular meters and heterophonic texture of Greece. Spanish influences can be seen in the language of Mexican folksongs while the influence of African music in the American spiritual songs is shown in the use of syncopation and using the chest voice in singing. Australian folk songs show European influences due to European migration in Australia in the late 19th century. Criteria for Critique Critical Insightful Revealing MUSICAL CONNECTIONS: Have the students list down popular songs, movies or computer games that use Western folk songs. SELF-KNOWLEDGE: After learning the representative folksongs of the world, write your realizations. Criteria Insightful Reflective Self-adjusting SUMMARY: Have the students realize the essential understanding that: The varied ways in which the elements are combined gives a unique style to a folk song. The culture of a specific country is recognized in their folk songs through the intonation of language, rhythm of speech, environmental sounds and other aspects of life all of which are culturally based.

2010 Secondary Education Curriculum Music and Arts I

Transfer In this phase, provide activities for transfer of learning and evaluate the product or performance for the attainment of the performance standard.

Students will present a performance of European, American and Australian folk songs either individually or by group. Evaluate performance using the following criteria: Clear tone quality Correct Expression and Style Accurate pitch Accurate Rhythm Evaluation of Created Accompaniment: Easy to follow standard/graphic notation Appropriateness of symbols used Appropriate rhythm/chord

Resources (Web sites, Software, etc.) International Folk Songs. (1997) Hal Leonard Anderson, William and Patricia Campbell. (1996). Multicultural Perspectives in Music Education, 2nd ed. Virginia, USA: MENC. www.youtube.com, www.commons.wikimedia.org, www.folkstream.com search terms: Cancion de Maja, Bella Bimba, Ach, du lieber Augustin, Il petite navire, Greensleeves, Gerakina, Swing low, sweet chariot, John Henry, Bound for South Australia, La Cucaracha Materials/Equipment Needed: Recordings and Musical Scores of the songs: Cancion de Maja, Bella Bimba, Ach, du lieber Augustin, Il petite navire, Greensleeves, Gerakina, Swing low, sweet chariot, John Henry, Bound for South Australia, La Cucaracha Audio Player, pictures of Western landmarks, guitar, drum, shakers and other improvised instruments, advanced organizers for musical crossword

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