Republic of the Philippines

Department of Education
Regional Office IX, Zamboanga Peninsula

7 Zest for Progress

Z Peal of artnership

MUSIC
Quarter 2, Wk. 1 – Module
1
Music of the Cordillera, Mindoro, Palawan
and of the Visayas

Name of Learner:
Grade & Section:1
Name of School:
What I Need to Know

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In this module, you are expected to attain the following MELCS:
Describe the musical characteristics of representative selections of Cordillera,
Mindoro, Palawan and of the Visayas after listening (MU7LV-IIa-f-1);
Identify the musical instruments and other sound sources from Cordillera, Mindoro, Palawan and of
Discover ways of producing sounds on a variety of sources similar to instruments being studied (M

II. What I know

Directions: Reveal the word by using the letters corresponding to the given
numbers. Write the letters inside the corresponding box below the numbers
and write a short description about it. Below is a reference.
1 2 3 4 5 6 7 8 9 10 11 12 13
A B C D E F G H I J K L M

14 15 16 17 18 19 20 21 22 23 24 25 26
N O P Q R S T U V W X Y Z

1.
8 21 4 8 21 4

2.
13 1 14 7 25 1 14

3.
19 21 2 9 14 7

4.
18 15 14 4 1 12 12 1

5.
2 1 12 9 20 1 15

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 A. What’s In
Directions: Describe the music of lowlands of Luzon using the letters
of the word music.

B. What’s New

Test I. SOUNDSCAPE: Can you imagine yourself on this shore from

the Underground River in Palawan? What sounds do you hear? If you were
to imitate these sounds, how would you do it? Will you use your voice? Will
you use instruments? Write your answer in your activity notebook.

https://www.google.com/search?q=Underground+River+Entrance.&source=lnms&tbm=isch
&sa=X&ved=2ahUKEwiu0YW4jqTrAhVIE4gKHQvLATgQ_AUoAXoECA0QAw&biw=1366&bih
=657#imgrc=gML5D12oJXEAFM

Test II. Fill in the blank

Directions: Give one vocal music and one instrumental music used in
Cordillera, Mindoro, Palawan and of the Visayas.
Vocal Music Instrumental Music

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 Cordillera
Mindoro
Palawan
Visayas

C. What Is It

Music of Cordillera
This lesson is an overview on the music of the Cordillera, or the
Highlands of Luzon, where several ethnolinguistic groups in the mountains
of the Cordillera live.
 Vocal Music – Hudhud (chanted epic poetry). It consists of narrative
chants traditionally performed by the Ifugao community. It is practiced
during the rice sowing season, at harvest time and at funeral wakes and
rituals.
 Instrumental Music

Bamboo Stamping Tubes

(Tongatong)
-is a bamboo percussion used by the people
of Kalinga to communicate with spirits during
house blessings

http://maestroflute.blogspot.com/2013/07/kalinga-instruments-for-sale.html

 Bamboo Jew’s Harp (Kubing)

- traditionally considered an
intimate instrument, usually used as
communication between family or a loved
one in close quarters.
https://www.wikiwand.com/en/Jew%27s_harp_music

 Bamboo Buzzers (Bungkaka)

- the instrument generates a buzzing sound
from the slit between the two tongues when
the instrument is struck against the lower
palm of the hand of the player.
http://iamnoubermensch.blogspot.com/2017/04/workshop-how-to-make-bamboo-
instruments.html

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6
  Gongs
a) Gangsa Topayya – is a single
handheld smooth surfaced gong
with a narrow rim.

http://musikocordillera.weebly.com/musical-instruments.html
b) Palook -gong strike or beaten
with wooden mallets while held
by the left hand. This is usually
played by men.

Visit the youtube site for more references:

1. https://www.youtube.com/watch?v=CT3rvsB_uK8
2. https://www.youtube.com/watch?v=Te07tmv1OJc

 Music of Mindoro
The music of the Mangyans, an ethnolinguistic group of several tribes
is a discovery of how the Mangyans express their feelings towards each
other and the environment, their history, and their supernatural beliefs
through voice and musical instruments.

 Vocal Music – Igway (song), Marayaw (spirit song), Pamuybuyen

(legend)
 Instrumental Music

 Flute (Bangsi)
-an external duct flute, which has a
chip glued on to the tube of the flute.

https://www.haikudeck.com/philippine-ethnic-musical-instruments-education-
presentation-NoU029TxOP

 Gongs (Agong)
-a set of two wide-rimmed, vertically
suspended gongs.

https://en.wikipedia.org/wiki/Agung

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  Sticks (Kalutang)
-a pair of equal-sized wood
struck together

https://museomusiko.wordpress.com/kalutang-hanunoo-mangyan/
Visit youtube site for additional references:
1. https://www.youtube.com/watch?v=e53FPe5Ldzw&list=PLL1F8l_jzUMJJnnvi4
dJ-0dT_hPyxIXB0
 Music of Palawan
The music of Palawan is a brief survey of the music from different
indigenous groups from Palawan such as the Batak, Tagbanua and
Palaw’an. The analysis of the music is done by relating the music to
concepts of soundscape, music suggesting/representing elements of nature,
spiritual and human emotional expressions through the language.

 Vocal Music: Bagit, Kulial (Songs), Tultul (Epic chant), Ulit (Shamanic
chant)
 Some of the Instrumental Music:

 Aruding (Jew’s harp),

-the frame is held firmly against the
performer's parted teeth or lips
(depending on the type), using the jaw
and mouth as a resonator, greatly
increasing the volume of the
instrument.
https://en.wiktionary.org/wiki/Jew%27s_harp

 Babarak (ring flute)

- end-blown flute with a rig wrapped
around the hole at the blowing end
of flute.
https://www.haikudeck.com/philippine-ethnic-musical-instruments-education-
presentation-NoU029TxOP

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  Suling (banded flute)
-mostly suling is made up of tamiang
bamboo which has very thin surface.

https://www.haikudeck.com/music-project-education-presentation-Tix68AkGTt
Palawan music is closely linked with nature and the expression of
which is highly influenced by language with the use of onomatopoeia or the
imitation of natural sounds.

 Music of the Visayas

The music from the Visayas (Cebu, Bohol, Negros, Leyte) including vocal
music such as the balitao and composo as well as instrumental ensembles such as
the rondalla. An analysis of the musical elements of Visayan songs as written by
experts on Visayan music is validated through listening and improvisation on the
balitao form.

Folk Music
 Vocal Music: Balitao (Visayan) / Banggi (Ilonggo) (Sung debate), Pastores
(Christmas) , Kanta (Ballad, Lullaby, Courtship), Composo (Ilonggo narrative
song)
 Instrumental Music:
The rondalla is an ensemble
of stringed
instruments played with
the plectrum or pick and
generally known as
plectrum instruments.
(Kabataang Silay Rondalla
Ensemble, Silay City, Negros
Occidental)
https://medium.com/@dominiqueantes/music-of-the-philippines-84f55fbdae92
Tultugan is an instrument
equivalent to drums.
This indigenous bamboo
instrument has been found
used centuries ago by our
natives for communication.
The instrument is played by
striking the body of the

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 bamboo with a stick to
produce a rhythmic pattern.
http://www.thenewstoday.info/2009/06/26/extraordinary.music.and.the.maasin.tultugan
.ensemble.html

Visit the youtube site for more references:

1. Rondalla- https://www.youtube.com/watch?v=N8s85AJwItQ
2. Tultugan -https://www.youtube.com/watch?v=L8ltCQusrWs

2 Characteristics of Vocal Music:

Melismatic- melismatic singing is commonly used for religious cerimonies and

eastern mystical rites. It is considered by the listener to by "hypnotic”.

Free Meter-when a piece of music has no discernible beat.

D. What’s More

Listening/ Viewing Activity

Find time to listen to the selected vocal music of Cordillera, Mindoro,
Palawan and of the Visayas. Answer the guide questions in your activity
notebook.
a) Music of Cordillera (Hudhud)
https://www.youtube.com/watch?v=qDImhwTKMOk
b) Folk Song of Mindoro
https://www.youtube.com/watch?v=MPkHM3gSShE
c) Music and Culture in Palawan
https://www.youtube.com/watch?v=MSHheytgruw
d) Visayan Balitao Folk Song (Anugon-anugon)
https://www.youtube.com/watch?v=omGuQM_c4JU

Guide Questions:
a. What is the function of music in the lives of the people in Cordillera,
Mindoro, Palawan and of the Visayas?
b. How were the varied musical elements (timbre, dynamics, rhythm, pitch,
form) employed bring about the message of each of the music?
c. What are its musical characteristics? (e.g. melismatic, free meter)?
d. What are the different musical instruments used in the selections?

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 IV. What I Have Learned

I have learned that

V. What I Can Do
Instrument Making
Directions: Out of the resources in your surroundings, make your own
musical instrument similar to the instruments being studied. Choose only
one instrument from Cordillera, Mindoro, Palawan and of the Visayas.

https://www.google.com/search?q=bamboo+musical+instrument+making+in+the+philippin
es&tbm=isch&ved=2ahUKEwi6uaCi7KTrAhUNzYsBHax8CpIQ2cCegQIABAA&oq=bamboo+m
usical+instrument+making+in+the+philippines&gs_lcp=CgNpbWcQA1AAWABgzLlpaABwAH
gAgAEAiAEAkgEAmAEAqgELZ3dzLXdpei1pbWc&sclient=img&ei=4NU7X7rJO42ar7wPrPmp
kAk&bih=657&biw=1366&hl=en#imgrc=9ujGR5LigQYiSM

Watch the video for your reference: https://www.youtube.com/watch?

v=11rpsQmKZLo
Scoring Rubric
The quality of work is
excellent, neat and can make
a sound similar to the
EXCELLENT 4
instruments studied.
The quality of work is good, a
little bit neat, ,can make a
sound and a little bit similar
GOOD 3
to the instruments studied.

1
 The quality of work is fair, a
little bit disordered and can
hardly be played with bare
FAIR 2
hands.
The quality of work needs
improvement and cannot
make a sound.
NEEDS IMPROVEMENT 1

VI. Post Assessment

I. Multiple Choice.
Directions: Read and analyze the questions properly. Write only the letter of
the correct answer in your activity notebook.
1. Which of the following is a bamboo percussion used by the people of
Kalinga to communicate with spirits during house blessings?
A. kubing C. tongatong
B. bungkaka D. gong
2. The following are the instrumental music of Mindoro, EXCEPT .
A. bungkaka C. agong
B. bangsi D. kalutang
3. Which of the following is an end-blown flute with a rig wrapped around the
hole at the blowing end of flute?
A. suling C. bangsi
B. aruding D. babarak
4. How is an Aruding (Jew’s harp) being played?
A. by striking C. by rubbing
B. by holding the frame D. by squeezing
against the parted teeth
5. Which of the following is traditionally considered an intimate instrument,
usually used as communication between families or a loved one in close quarters?
A. gongs C. bungkaka
B. kubing D. tongatong
6. How do Mangyans express their love of music in their tribe?
A. by singing at all times C. by listening to pop music
B. by kicking the instruments D. by expressing their feelings towards
each other
7. Which of the following is the spirit song of Mindoro?
A. igway C. pamuybuyen
B. marayaw D. dayang-dayang
8. The following are the indigenous people of Palawan, EXCEPT..
A. Batak C. Mangyan
B. Tagbanua D. Palaw’an
9. How does music affect the lives of the people in Cordillera, Mindoro,
Palawan and of the Visayas?
A. gives entertainment C. lets them express their feelings
B. helps in preserving culture D. all of the above
10. The following are the vocal music of Visayas, EXCEPT .
A. balitao C. igway
B. banggi D. pastores
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1
 Region IX: Zamboanga Peninsula Hymn – Our Eden Land
Here the trees and flowers Gallant men And Ladies fair Cebuanos, Ilocanos, Subanons, Boholanos, Ilongos,
bloom Here the breezes gently Linger with love and care All of them are proud and true
Blow, Here the birds sing Golden beams of sunrise and sunset Region IX our Eden Land
Merrily, Are visions you’ll never forget
The liberty forever Stays, Oh! That’s Region IX Region IX
Our..
Hardworking people Abound, Eden...
Here the Badjaos roam the seas Every valleys and Dale Land...
Here the Samals live in peace Zamboangueñ os, Tagalogs, Bicolanos,
Here the Tausogs thrive so free
With the Yakans in unity

. My Final Farewell
Farewell, dear Fatherland, clime of the sun caress'd Let the sun draw the vapors up to the sky,
Pearl of the Orient seas, our Eden lost!, And heavenward in purity bear my tardy protest
Gladly now I go to give thee this faded life's best, Let some kind soul o 'er my untimely fate sigh,
And were it brighter, fresher, or more blest And in the still evening a prayer be lifted on high
Still would I give it thee, nor count the cost. From thee, 0 my country, that in God I may rest.

On the field of battle, 'mid the frenzy of fight, Pray for all those that hapless have died,
Others have given their lives, without doubt or heed; For all who have suffered the unmeasur'd pain;
The place matters not-cypress or laurel or lily white, For our mothers that bitterly their woes have
Scaffold or open plain, combat or martyrdom's plight, cried,
T is ever the same, to serve our home and country's need. For widows and orphans, for captives by torture tried
And then for thyself that redemption thou mayst gain
I die just when I see the dawn break,
Through the gloom of night, to herald the day; And when the dark night wraps the graveyard around
And if color is lacking my blood thou shalt take, With only the dead in their vigil to see
Pour'd out at need for thy dear sake Break not my repose or the mystery profound
To dye with its crimson the waking ray. And perchance thou mayst hear a sad hymn resound
' T is I, O my country, raising a song unto thee.
My dreams, when life first opened to me,
My dreams, when the hopes of youth beat high, And even my grave is remembered no more
Were to see thy lov'd face, O gem of the Orient sea Unmark' d by never a cross nor a stone
From gloom and grief, from care and sorrow free; Let the plow sweep through it, the spade turn it o' er
No blush on thy brow, no tear in thine eye. That my ashes may carpet earthly floor,
Before into nothingne ss at last they are blown.
Dream of my life, my living and burning desire,
All hail ! cries the soul that is now to take flight; Then will oblivion bring to me no care
All hail ! And sweet it is for thee to expire ; As over thy vales and plains I sweep;
To die for thy sake, that thou mayst aspire; Throbbing and cleansed in thy space and air
And sleep in thy bosom eternity's long night. With color and light, with song and lament I fare,
Ever repeating the faith that I keep.
If over my grave some day thou seest
grow, In the grassy sod, a humble flower, My Fatherland ador' d, that sadness to my sorrow lends
Draw it to thy lips and kiss my soul so, Beloved Filipinas, hear now my last good-by!
While I may feel on my brow in the cold tomb below I give thee all: parents and kindred and friends
The touch of thy tenderness, thy breath's warm power. For I go where no slave before the oppressor bends,
Where faith can never kill, and God reigns e'er on high!
Let the moon beam over me soft and serene,
Let the dawn shed over me its radiant flashes, Farewell to you all, from my soul torn away,
Let the wind with sad lament over me keen ; Friends of my childhood in the home dispossessed!
And if on my cross a bird should be seen, Give thanks that I rest from the wearisome day!
Let it trill there its hymn of peace to my ashes. Farewell to thee, too, sweet friend that lightened my way;
Beloved creatures all, farewell! In death there is rest!

I Am a Filipino, by Carlos P. Romulo

I am a Filipino–inheritor of a glorious past, hostage to the uncertain I am a Filipino, child of the marriage of the East and the West. The
future. As such I must prove equal to a two-fold task–the task of East, with its languor and mysticism, its passivity and endurance,
meeting my responsibility to the past, and the task of performing was my mother, and my sire was the West that came thundering
my obligation to the future. across the seas with the Cross and Sword and the Machine. I am of
I sprung from a hardy race, child many generations removed of the East, an eager participant in its spirit, and in its struggles for
ancient Malayan pioneers. Across the centuries the memory comes liberation from the imperialist yoke. But I also know that the East
rushing back to me: of brown-skinned men putting out to sea in must awake from its centuried sleep, shake off the lethargy that has
ships that were as frail as their hearts were stout. Over the sea I see bound his limbs, and start moving where destiny awaits.
them come, borne upon the billowing wave and the whistling wind, I am a Filipino, and this is my inheritance. What pledge shall I give
carried upon the mighty swell of hope–hope in the free abundance that I may prove worthy of my inheritance? I shall give the pledge
of new land that was to be their home and their children’s forever. that has come ringing down the corridors of the centuries, and it
I am a Filipino. In my blood runs the immortal seed of heroes–seed shall be compounded of the joyous cries of my Malayan forebears
that flowered down the centuries in deeds of courage and defiance. when first they saw the contours of this land loom before their eyes,
In my veins yet pulses the same hot blood that sent Lapulapu to of the battle cries that have resounded in every field of combat from
battle against the first invader of this land, that nerved Lakandula Mactan to Tirad Pass, of the voices of my people when they sing:
in the combat against the alien foe, that drove Diego Silang and “I am a Filipino born to freedom, and I shall not rest until freedom
Dagohoy into rebellion against the foreign oppressor. shall have been added unto my inheritance—for myself and my
The seed I bear within me is an immortal seed. It is the mark of my children and my children’s children—forever.”
manhood, the symbol of dignity as a human being. Like the seeds
that were once buried in the tomb of Tutankhamen many thousand
years ago, it shall grow and flower and bear fruit again. It is the
insignia of my race, and my generation is but a stage in the
unending search of my people for freedom and happiness.
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