2010 Secondary Education Curriculum Music 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 the promotion of cultural identity, expansion of ones world vision and for self development.

2010 Secondary Education Curriculum Music I

Quarter 1 : Philippine Folk Songs

Topic: Philippine Folk Songs

Time Frame: 8 hours/sessions

Content Standard: The learner demonstrates understanding of musical concepts used in Philippine folk songs as influenced by history and culture.

Stage 1 Performance Standard: The learner performs examples of Philippine folk songs alone and with others in clear tone and correct pitch, rhythm, expression and style. (Singing/Playing/Improvising)

Essential Understanding(s): The varied ways in which the musical elements are combined gives a unique style to a specific folk song. Philippine folk songs communicate fundamental ideas about human experience and help us understand peoples ideas, emotions and beliefs. Learners will know: Different functions of folksongs in the Philippines 1. 2. 3. 4. 5. 6. Ballads / Narrative Songs Lullabies Love and Courtship Songs Friendship and Conviviality Work Songs Ritual Songs

Essential Question(s): How is culture reflected in our folk songs? Why do Philippine folk songs vary in style? Do you think our folk songs are still relevant today? Why?

Learners will be able to: sing/play/improvise using the folk songs of the Philippines listen/describe/compare the folk songs from the Philippines evaluate the quality of their own and others performances and improvisations of Philippine 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

How the musical elements are employed in folk songs 1. Timbre / Tone Color 2. Rhythm

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3. Melody 4. Harmony and Texture 5. Form Foreign influences as seen in Philippine folksongs Spanish colonization that is shown through the use of the head voice (light voice that represents heaven), major and minor tonality (representing a start and an end in mans life), homophonic texture (representing the dynamics of soloist-accompanist in performance) as shown in the songs from the Ilocano, Kapampangan, Tagalog in Luzon, Cebuano, Hiligaynon in Visayas and Chavacano in Mindanao. Chinese influences that has shown through the use of the pentatonic scale (representing a nonending cycle of life as shown in the Bontoc Salidummay from Northern Luzon. Hindu Arabic influences as shown in the music of Muslim Mindanao through the use of the Koran text in Dayo, Dayo Kupita (Maranao), chesty, melismatic singing resulting from chant by groups such as the Maranao, Maguindanao and Bukidnon of Mindanao.

works of art describe distinguishing characteristics of representative Philippine folk songs from the different regions in relation to history and culture

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Product or Performance Task: Group Performance of Philippine 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 to convey the message of a specific folk song Criteria Accurate description of the different elements Appropriate use of terminology Interpretation Illustrate through movements how the different elements of music are used in a selected folk song to communicate ideas and experiences Criteria Clear illustration of movements showing characteristic musical elements Meaningful illustration of movements Appropriate expression and technical accuracy Application Create an accompaniment to a selected Philippine folk song using standard or graphic notation applying understanding of musical concepts Criteria Appropriate accompaniment to the song Correct rhythm/chordal accompaniment

Evidence at the level of performance Evaluation of a Performance of Philippine 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: Easy to Follow Standard/Graphic Notation Appropriate use of symbols Appropriate rhythm/chord

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Stage 3 Teaching/Learning Sequence: 1. Explore In this phase, engage the learners in viewing examples of Philippine indigenous arts and listening to folk songs. Assess their background knowledge on the topic. Example: *Have the learners look at the picture of the sarimanok and the ideas that it reminds them of. Connect this to the story of the mythical bird and how art and music reflect ideas and experiences that humans want to represent. *Have the learners look at the P1,000 peso bill and find the manunggul jar. Ask them what they think when they see it. Relate this to the Igorot burial jar as the symbol for the journey of the spirit to the spirit world. Have the learners listen to a recording of a love folk song from the Philippines and draw out their feelings and ideas based from their initial hearing. Ask the students to imagine how they could express their admiration towards another person through a song. Ask them of how music can express ideas such as love, work, friendship, belief in God. Tell the learners to be guided by the following essential questions: How is culture reflected in our folk songs? Why do Philippine folk songs vary in style? Do you think our folk songs are still relevant today? Why?

Explain to the learners that to be able to nurture cultural identity, they will learn the different functions of Philippine folksongs, the different styles and their relevance to the lives of the Filipino then and now. Have the students understand that they will listen and compare, perform and improvise, evaluate their group performance of Philippine folk songs. Ask the learners what is the story behind every song as they listen to a recording of the songs from the Philippines. Have them draw out their feelings and ideas based from their initial hearing.

2010 Secondary Education Curriculum Music I

2. Firm Up In this phase, the learners will be engaged in analyzing examples of folk songs based on how the different elements of music were used. Tell the learners how the story behind the song is translated into music using the 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. Title of the Song: 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-la-ti-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 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 learners listen to a recording of the songs from the Philippines once more 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 Philippine 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.

2010 Secondary Education Curriculum Music I

Song Title Pamulinawen

Type of Song according to Function Encircle the number of your choice.

Description in terms of Musical Elements Encircle the answer of your choice.

1. 2. 3. 4. 5. 6.

Ballads / Narrative Songs Lullabyes Love and Courtship Songs Friendship and Conviviality Work Songs Ritual 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 (1-23), 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) Texture: Monophony (melody alone), 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 Pamulinawen (Ilocano) Atin Cu Pung Singsing (Kapampangan) Type of Song according to Function Love or Courtship Song Ballad or Narrative Song (SongDescription in terms of Musical Elements Head voice, Moderate tempo, Meter in 2, Major tonality, Moderate Range, Homophonic Texture, Syllabic Phrasing Head voice, Moderate tempo, Meter in 3, Major

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Story) Salidummay (Western Bontoc) Doon Po Sa Amin (Tagalog) Si Nanay, Si Tatay Di Co Babayaan (Bicolano) Condansoy (Visayan) Lawiswis Kawayan (Waray) Ili Ili Tulog Anay Ka Sadya ning Taknaha (Cebuano) Dayo Dayo Kupita (Maranao) Kaisa-isa Niyan (Maguindanao) Pamuwa sa Bata (Bukidnon) No Te Vayas (Chavacano) Friendship Song Song of Conviviality / Humorous Song Love (Parental) Song Drinking song / Song of Conviviality Song of Conviviality Lullaby Ritual Song / Religious Festival Song Song of Friendship Song of Conviviality Lullaby Love or Courtship Song

tonality, Moderate Range, Homophonic Texture, Syllabic Phrasing Chest voice, Moderate tempo, Meter in 2, Pentatonic tonality, Moderate Range, Monophonic Texture, Syllabic Phrasing Head voice, Moderate tempo, Meter in 3, Major tonality, Wide range, Homophonic Texture, Syllabic Phrasing Head voice, Slow tempo, Meter in 3, Minor tonality, Wide range, Homophonic Texture, Syllabic Phrasing Head voice, Fast tempo, Meter in 3, Major tonality, Wide range, Homophonic Texture, Syllabic Phrasing Head voice, Moderate tempo, Meter in 3, Minor tonality, Wide range, Homophonic Texture, Syllabic Phrasing Head voice, Slow tempo, Meter in 3, Minor Tonality, Wide range, Homophonic Texture, Syllabic Phrasing Head voice, Fast tempo, Meter in 2, Minor-MajorMinor tonality, Wide range, Homophonic Texture, Syllabic Phrasing Chest voice, Fast tempo, Meter in 4, Pentatonic Tonality, Moderate range, Monophonic Texture, Melismatic Phrasing Chest voice, Fast tempo, Meter in 4, Pentatonic Tonality, Narrow range, Monophonic Texture, Syllabic Phrasing Chest voice, Slow tempo, Irregular Meter, Pentatonic Tonality, Moderate range, Monophonic Texture, Melismatic Phrasing Moderate tempo, Meter in 2, Major Tonality, Wide range, Homophonic Texture, Syllabic Phrasing

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

2010 Secondary Education Curriculum Music I

TYPES OF FOLKSONGS BASED ON FUNCTIONS: Ballad: narrative song or songs that tell a story (example: Atin Cu Pung Singsing) Lullabye: songs for rocking the baby to sleep (example: Ili-Ili Tulog Anay, Pamuwa sa Bata) Songs of Friendship and Conviviality: drinking songs, humorous songs, welcoming songs (example: Salidummay, Doon Po Sa Amin, Condansoy) Love and Courtship Songs: love songs (parental and romantic love), courtship songs (example: Si Nanay,Si Tatay di co Babayaan, Pamulinawen, No Te Vayas) Ritual or Religious Songs: used for worship or marking rites or ceremonies (example: Ka Sadya ning Taknaha) 3. Deepen MUSICAL COLLABORATION: Have the students imagine themselves to be in one of the situations presented in the folksongs: being happy in love with someone/ones family, putting a baby to sleep, being happy with friends, being part of a religious celebration, story telling using a song. Group the students into five 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 interpret the Philippine folk songs through singing, playing and improvising accompaniment on instruments (guitar or improvised instruments). REFLECTION: Have the students process their performance by self-evaluation and assessment using the rubrics: Assessment Criteria for Performance: Clear tone quality Correct expression and style Accurate pitch Accurate rhythm Evaluation of Created Accompaniment based on the following criteria: Easy to Follow Standard/Graphic Notation Appropriate use of symbols Appropriate rhythm/chord

SYNTHESIS: Have the students realize through questioning technique that though there are songs that have the same functions, their sounds vary due to foreign influences that affect the way the musical elements are used in folksongs such as:

2010 Secondary Education Curriculum Music I

Spanish colonization that is shown through the use of the head voice (light voice that represents heaven), major and minor tonality (representing a start and an end in mans life), homophonic texture (representing the dynamics of soloist-accompanist in performance) as shown in the songs from the Ilocano, Kapampangan, Tagalog in Luzon, Cebuano, Hiligaynon in Visayas and Chavacano in Mindanao. Chinese influences that has shown through the use of the pentatonic scale (representing a non-ending cycle of life as shown in the Bontoc Salidummay from Northern Luzon. Hindu Arabic influences as shown in the music of Muslim Mindanao through the use of the Koran text in Dayo, Dayo Kupita (Maranao), chesty, melismatic singing resulting from chant by groups such as the Maranao, Maguindanao and Bukidnon of Mindanao. SUMMARY: Have the students realize the essential understanding that: The varied ways in which the musical elements are combined give a unique style to a specific folk song. Philippine folk songs communicate fundamental ideas about human experience and help us understand peoples ideas, emotions and beliefs. 4. Transfer MUSICAL CONNECTIONS: Have the students listen to a modern recording of any of the folk songs discussed in class such as Grace Nonos rendition of Salidummay or the Philippine Madrigal Singers arrangement of Kaisa-isa Niyan or Dayo Dayo Kupita. Ask the students to imagine being a native speaker of the particular folksong and how they feel when they hear their own folk songs being interpreted by others. Criteria Open Perceptive Responsive Sensitive Tactful SELF-KNOWLEDGE: Have them write reaction on fusion of Western elements to Philippine folk songs in their journal log. Criteria

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Insightful Reflective Self-adjusting Resources (Web sites, Software, etc.) Borromeo, Mauricia (1997) Philippine Folk Songs. In Anthology of Philippine Folk Literature. Dela Salle University Press. Damiana Eugenio (1997). Anthology of Philippine Folk Literature: The Folk Songs. Dela Salle University Press. Damiana Eugenio (2007). Folk Songs. Philippine Folk Literature. University of the Philippines Press. Jose Maceda (1998). Gongs and Bamboo. University of the Philippines Press. www.youtube.com search terms: Philippine Madrigal Singers Dayo Dayo Kupita and Kaisa-isa Niyan, Grace Nono Salidummay Materials/Equipment Needed: Recordings and Musical Scores of the songs: Pamulinawen, Atin Cu Pung Singsing, Doon Po Sa Amin, Si Nanay, Si Tatay Di Co Babayaan, Condansoy, Lawiswis Kawayan, Ili- Ili Tulog Anay, Ka Sadya ning Taknaha, Dayo Dayo Kupita, Kaisa-isa Niyan, Pamuwa sa Bata, No Te Vayas Audio Player, pictures of the sarimanok or scanned P1000 bill, guitar, improvised instruments, advanced organizers for musical crossword