Republic of the Philippines

Department of Education
DepEd Complex, Meralco Avenue
Pasig City

K to 12 Curriculum Guide
MUSIC
(Grade 7 to Grade 10)

May 2016
 K to 12 BASIC EDUCATION CURRICULUM
Table 1. Basic Reference for Music Content

Music Elements Music Processes

-creating)

(including movement)

*No formal instruction in

harmony from K to 3

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 K to 12 BASIC EDUCATION CURRICULUM

LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,
analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and
expansion of his/her world vision.

KEY STAGE STANDARDS:

K-3 4-6 7 – 10

The learner demonstrates The learner demonstrates understanding The learner demonstrates understanding
understanding of fundamental of basic elements and concepts through of salient features of music and art of
processes through performing, creating, and responding, the Philippines and the world, through
performing, creating, and responding, aimed towards the development of appreciation, analysis, and performance,
aimed towards the development of appreciation of music and art, and for self-development, the celebration of
appreciation of music and art, and acquisition of basic knowledge and Filipino cultural identity and diversity,
acquisition of basic knowledge and skills. and the expansion of one’s world
skills. vision.

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 K to 12 BASIC EDUCATION CURRICULUM
GRADE LEVEL STANDARDS:

Grade Level Grade Level Standards

Kindergarten The learner is exposed to the different basic music and art processes through experiential learning.

The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and
Grade 1
responding.

The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing,
Grade 2
and responding.

The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the
Grade 3
development of appreciation of music and art, and the acquisition of basic knowledge and skills.

Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
Grade 4
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
Grade 5
celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.

Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
Grade 6
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and
Grade 7
observing, and responding towards appreciation of the cultural richness of the different provinces in the Philippines.

The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-
Grade 8
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis,
Grade 9
and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for
Grade 10
self- development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

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 K to 12 BASIC EDUCATION CURRICULUM
GRADE 7
MUSIC OF THE PHILIPPINES

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
Music of Luzon ( Lowlands) The Learner… The Learner... The learner . . . EASE-module2
1. identifies the musical
Geographical and demonstrates performs music of the characteristics of representative OHSP Music
Cultural Background understanding of the lowlands with appropriate music selections from the Module Q1
musical characteristics pitch, rhythm, expression lowlands of Luzon after
1. Vocal Music of representative and style listening; *Edukasyong
MU7LU-Ia-1
a) Performance practice; music from the Pangkatawan,
b) Folk songs; lowlands of Luzon Kalusugan at
c) Sacred (Liturgical and Musika III.
Devotional) music: Adriano, Celia T.
Mass, Pastores, et al, 1999.
Senakulo, Pasyon, pp.248-250
Salubong, Flores de 2. analyzes the musical elements of EASE-module2
Mayo, Santacruzan; some Lowland vocal and
d) Secular music: Harana, instrumental music selections; *Edukasyong
Balitaw, Kumintang, Pangkatawan,
Polka; MU7LU-Ia-2 Kalusugan at
e) Art music: Kundiman. Musika III.
Adriano, Celia T.
2. Instrumental Music et al, 1999.
a) Rondalla; pp.248-250
b) Brass Band; 3. explains the distinguishing EASE-module1
c) Musikong Bumbongl characteristics of representative
d) Bamboo organ; Philippine music selections from *Edukasyong
e) Angklung ensemble; Luzon in relation to its culture Pangkatawan,
f) Himig Pangkat Kawayan. and geography; MU7LU-Ib-3 Kalusugan at
Musika III.
Adriano, Celia T.
et al, 1999.
pp.236-248

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Music of Luzon ( Lowlands) demonstrates performs music of the 4. explores ways of producing EASE-module1
understanding of the lowlands with appropriate sounds on a variety of sources
Geographical and musical characteristics of pitch, rhythm, expression that is similar to the *Edukasyong
Cultural Background representative music from and style instruments being studied; Pangkatawan,
the lowlands of Luzon MU7LU-Ib-f-4 Kalusugan at
1. Vocal Music Musika III.
a) Performance practice; Adriano, Celia T.
b) Folk songs; et al, 1999.
c) Sacred (Liturgical and pp.251
Devotional) music: 5. improvises simple
Mass, Pastores, rhythmic/melodic
Senakulo, Pasyon, accompaniments to MU7LU-Ic-f-5
Salubong, Flores de selected
Mayo, Santacruzan; music from the Lowlands
d) Secular music: Harana, of Luzon;
Balitaw, Kumintang, 6. performs
Polka; instruments/improvised
MU7LU-Ig-h-6
e) Art music: Kundiman. instruments from
2. Instrumental Music Luzon lowlands;
a) Rondalla; 7. sings folksongs from *Edukasyong
b) Brass Band; the lowlands of Luzon; Pangkatawan,
c) Musikong Bumbongl Kalusugan at
d) Bamboo organ; MU7LU-Ia-h-7 Musika III.
e) Angklung ensemble; Adriano, Celia T.
Himig Pangkat et al, 1999.
Kawayan. pp.236-248
8. creates appropriate movements
or gestures to accompany the MU7LU-Ia-h-8
music selections of the
Lowlands
of Luzon;
9. provides harmonic
accompaniments to MU7LU-Id-9
selected
music of the Lowlands of Luzon;

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 K to 12 BASIC EDUCATION CURRICULUM
10. evaluates music and music
performances applying MU7LU-Ic-h-
knowledge of musical elements 10
and styles.

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
SECOND QUARTER
Music of Cordillera, Mindoro, The Learner… The Learner... The Learner... *Edukasyong
Palawan, and the Visayas 1. identifies the musical Pangkatawan,
demonstrates performs selected vocal characteristics of representative Kalusugan at
A. Cordillera understanding of the and instrumental music selections of Cordillera, Mindoro, MU7LV-IIa-f-1 Musika III.
musical characteristics of of Cordillera, Mindoro, Palawan and of the Visayas Adriano, Celia T.
Geographical, cultural, and representative music from Palawan and the Visayas after listening; et al, 1999.
historical background the highlands of Luzon, in appropriate style pp.248-256,
Mindoro, Palawan, and the pp.265
1. Vocal Music; Visayas 2. analyzes the musical elements of *Edukasyong
a) Performance practice; some vocal and instrumental Pangkatawan,
b) Representative selections from Cordillera, Kalusugan at
songs/genre (salidummay, Mindoro, Palawan and of the MU7LV-IIa-f-2 Musika III.
oggayam, ba-diw). Visayas after listening; Adriano, Celia T.
et al, 1999.
2. Instrumental Music pp.265
a) Gangsa ensemble; 3. explains the distinguishing *Edukasyong
b) Bamboo solo/ensemble. characteristics of representative Pangkatawan,
music from Cordillera, Mindoro, Kalusugan at
B. Mindoro and Palawan Palawan and of the Visayasin MU7LV-IIb-f-3 Musika III.
relation to its culture and Adriano, Celia T.
1. Vocal Music; geography; et al, 1999.
a) Performance practice; pp.248-259
b) Representative 4. explores ways of producing *Edukasyong
songs/genre sounds on a variety of Pangkatawan,
(Vocal chants -Ambahan, sources similar to instruments Kalusugan at
Igway). being studied; MU7LV-IIb-g-4 Musika III.
Adriano, Celia T.
2. Instrumental Music et al, 1999.
a) Instrumental pp.257-258
ensembles: Bamboo / 5. improvises simple *Edukasyong
Gong ensemble ; rhythmic/melodic Pangkatawan,
b) Solo instruments. accompaniments to Kalusugan at
MU7LV-IIb-g-5
selected music from the Musika III.
C. Visayas Cordillera, Mindoro, Adriano, Celia T.
Palawan and of the et al, 1999.
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 K to 12 BASIC EDUCATION CURRICULUM
Visayas;

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
1. Vocal Music demonstrates performs selected vocal and pp.252-265
a) Performance practice; understanding of the instrumental music of
b) Representative musical characteristics of Cordillera, Mindoro, Palawan 6. performs *Edukasyong
songs/genre: Balitao- representative music from and the Visayas in instruments/improvised Pangkatawan,
Visayan, Pastores- the highlands of Luzon, appropriate style instruments from Cordillera, Kalusugan at
Christmas, Kanta- Mindoro, Palawan, and the Mindoro, Palawan and of MU7LV-IIb-g-6 Musika III.
Folksong, Ballad, Visayas the Visayas, alone and/or Adriano, Celia T.
Lullaby, Courtship, with others’ et al, 1999.
and Composo - pp.258
Ilonggo narrative 7. provides accompaniment to
song. selected music of the MU7LV-IIb-g-7
Cordillera, Mindoro, Palawan
2. Instrumental Music and of the
a) Instrumental Visayas;
ensembles: Rondalla, 8. sing songs from the Cordillera, *Edukasyong
Tultogan, Harp, Band, Mindoro, Palawan and of the Pangkatawan,
“Bird Dance” Binanog Visayas; Kalusugan at
(Panay, Bukidnon) MU7LV-IIa-f-8 Musika III.
Adriano, Celia T.
et al, 1999.
pp.252-265
9. creates appropriate movements
to accompany music from the MU7LV-IIc-h-9
Cordillera, Mindoro, Palawan
and
of the Visayas;
10. evaluates music and music MU7LV-IIc-h-
performances applying 10
knowledge of musical elements
and style.
THIRD QUARTER
Music of Mindanao The Learner… The Learner... The Learner... *Edukasyong
1. identifies the musical Pangkatawan,
A. Islamic Music demonstrates performs music of characteristics of Kalusugan at
MU7MN-IIIa-g-
understanding of the Mindanao with representative music Musika III.
1. Vocal music: 1
musical characteristics of appropriate expression selections from Adriano, Celia T.
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 K to 12 BASIC EDUCATION CURRICULUM
a) chants; and style Mindanao after et al, 1999.
listening;

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
b) lullaby. representative music from pp.252-253
Mindanao
2. Instrumental Ensemble: 2. analyzes the musical *Edukasyong
a) Kulintang ensemble ; elements of some Pangkatawan,
b) bamboo ensemble ; Mindanao vocal and MU7MN-IIIa-g-
Kalusugan at
instrumental music; Musika III.
c) solo instruments. 2
Adriano, Celia T.
et al, 1999.
3. Non-Islamic pp.252-253
a) Christian; 3. explains the distinguishing *Musika at Sining
b) Lumad: characteristics of I. Padro, Alicia N.
(Folk songs of representative music MU7MN-IIIa-g- et al, 1998. pp.2-
Zamboanga, Butuan selections of Mindanao in 3 3
and Tausug). relation to its culture and
geography;
4. explores ways of producing *Edukasyong
sounds on a variety of Pangkatawan,
sources that is similar to Kalusugan at
MU7MN-IIIb-h-
the instruments being Musika III.
4
studied; Adriano, Celia T.
et al, 1999.
pp.253-254
5. improvises simple
rhythmic/melodic MU7LV-IIIc-h-
accompaniments to 5
selected
music from Mindanao;
6. perform
instruments/improvised MU7LV-IIIc-h-
instruments from 6
Mindanao,
alone and/or with others;
7. sing songs from Mindanao; MU7LV-IIId-h-
7
8. creates appropriate
movements or gestures MU7LV-IIIc-8
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 K to 12 BASIC EDUCATION CURRICULUM
to
accompany the music

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
demonstrates performs music of selections of Mindanao;
understanding of the Mindanao with appropriate
musical characteristics of expression and style 9. provides accompaniment to
representative music from MU7LV-IIIc-h-
selected music of 9
Mindanao Mindanao;
10. evaluates music selections
and music performances
MU7LV-IIIb-h-
applying knowledge of
10
musical elements and
style.
FOURTH QUARTER
Philippine Festivals The Learner… The Learner... The Learner...
1. identifies musical
a) Aklan – Ati-atihan 1. demonstrates 1. performs characteristics of selected MU7FT-IVa-g-1
b) Davao - Kadayawan understanding and excerpts/selections from Philippine festivals and
c) Marinduque – Moriones application of Philippine musical theatrical forms through
d) Cebu – Sinulog musical skills related theater video or live performances;
e) Bicol – Ibalon to selected 2. narrate the origins and cultural *Edukasyong
f) Batangas – Sublian Philippine Festivals 2. performs songs and background of selected Philippine Pangkatawan,
dances from festival/s; Kalusugan at
2. demonstrates selected Philippine MU7FT-IVa-d-2 Musika III.
understanding and festivals Adriano, Celia T.
Theatrical Forms application of musical et al, 1999.
skills related to pp.260
a) Komedya/Moro- theater 3. creates movements to music of a *Edukasyong
moro/Arakyo particular Philippine festival; Pangkatawan,
b) Sarsuela Kalusugan at
c) Bodabil MU7FT-IVa-d-3 Musika III.
Adriano, Celia T.
et al, 1999.
pp.260
4. describes how the music
contributes to the performance MU7FT-IVe-h-4
of
the musical production;
5. explains the distinguishing EASE-module1
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 K to 12 BASIC EDUCATION CURRICULUM
characteristics of representative MU7FT-IVa-h-5
Philippine festivals and
theatrical

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
forms;

6. describes how a specific idea or EASE-module1

story is communicated through
MU7FT-IVe-h-6
music in a particular Philippine
musical theater;
7. sing selection/s from
MU7FT-IVe-h-7
chosen Philippine musical
theater;

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 K to 12 BASIC EDUCATION CURRICULUM
GRADE 8
MUSIC OF ASIA

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
MUSIC OF SOUTHEAST ASIA The Learner… The Learner... The Learner... OHSP Q2
1. explains how the music
Geographical, historical and cultural demonstrates performs Southeast of a Southeast Asian *Edukasyong
background understanding of Asian songs with country relates to its Pangkatawan,
common musical appropriate pitch, geography and culture; Kalusugan at
1. Indonesia-Gamelan characteristics of the rhythm, expression and MU8SE-Ia-h-1 Musika III.
a. Javanese; region as well as unique style. Adriano, Celia
b. Balinese. characteristics of a T.
particular Southeast Et al,
2. Thailand-Piphat Asian country. 1999.
pp.299-308
3. Cambodia-Pinpeat 2. listens perceptively to OHSP Q2
MU8SE-Ia-h-2
music of Southeast
4. Myanmar-Saung Gauk Asia;
3. sings songs of OHSP Q2
MU8SE-Ic-h-3
Southeast Asia;
4. analyzes musical elements OHSP Q2
of selected songs and
instrumental pieces heard *Edukasyong
and performed; Pangkatawan,
Kalusugan at
MU8SE-Ib-h-4
Musika III.
Adriano, Celia
T. Et al, 1999.
pp.299-305,
pp.308-312
OHSP Q2

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 K to 12 BASIC EDUCATION CURRICULUM
5. explores ways of
*Edukasyong
producing sounds on a Pangkatawan,
variety of sources that MU8SE-Ic-h-5 Kalusugan at
would simulate Musika III.
instruments being Adriano, Celia
studied; T. Et al, 1999.
pp.305-308,

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
MUSIC OF SOUTHEAST ASIA demonstrates performs Southeast pp.312-313
understanding of Asian songs with
Geographical, historical and cultural common musical appropriate pitch, 6. improvises simple OHSP Q2
background characteristics of the rhythm, expression and accompaniment to
region as well as unique style. MU8SE-Ic-h-6
selected Southeast
1. Indonesia-Gamelan characteristics of a Asian
a. Javanese; particular Southeast Asian music;
b. Balinese. country. 7. performs on OHSP Q2
available MU8SE-Ic-h-7
2. Thailand-Piphat instruments from
Southeast Asia;
3. Cambodia-Pinpea 8. evaluates music and OHSP Q2
music performances
4. Myanmar-Saung Gauk applying knowledge of
musical elements and MU8SE-Ic-h-8
style.

SECOND QUARTER
Music of East Asia The Learner… The Learner... The Learner... OHSP Q2
1. explains how East
1. China Asian music relates to *Edukasyong
2. Japan demonstrates performs East Asian its geography and Pangkatawan,
3. Korea understanding of music with appropriate culture; Kalusugan at
MU8SE-IIa-g-1
common and distinct pitch, rhythm, expression Musika III.
a) Geographical, historical musical characteristics of and style Adriano, Celia
and cultural background East Asian countries T. Et al, 1999.
pp.267, 274, 282

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 K to 12 BASIC EDUCATION CURRICULUM
b) Traditional instruments OHSP Q2
(idiophones, 2. listens perceptively
aerophones, to music of East Asia; *Edukasyong
membranophones, and Pangkatawan,
chordophones) Kalusugan at
MU8SE-IIa-h-2
c) Instrumental pieces (solo Musika III.
and ensemble) Adriano, Celia
d) Folksongs and ritual music T. Et al, 1999.
e) K-Pop and J-Pop pp.289

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Music of East Asia demonstrates performs East Asian OHSP Q2
understanding of music with appropriate 3. sings songs of East Asia;
1. China common and distinct pitch, rhythm, expression *Edukasyong
2. Japan musical characteristics of and style Pangkatawan,
3. Korea East Asian countries Kalusugan at
MU8SE-IIc-h-3
Musika III.
a) Geographical, historical and Adriano, Celia
cultural background T. Et al, 1999.
b) Traditional instruments pp.268-270, 278-
(idiophones, 279, 284-286,
aerophones, 4. analyzes musical elements OHSP Q2
membranophones, and of selected songs and
chordophones) instrumental pieces heard *Edukasyong
c) Instrumental pieces and performed; Pangkatawan,
(solo and ensemble) Kalusugan at
MU8SE-IIc-h-4
d) Folksongs and ritual music Musika III.
e) K-Pop and J-Pop Adriano, Celia
T. Et al, 1999.
pp.267-270, 274-
280, 283-286
5. explores ways of OHSP Q2
producing sounds on a
variety of sources that *Edukasyong
would simulate Pangkatawan,
instruments being studied; Kalusugan at
MU8SE-IIb-h-5
Musika III.
Adriano, Celia
T. Et al, 1999.
pp.271-272, 280-
282, 286-289
6. improvises simple OHSP Q2
accompaniment to MU8SE-IIc-h-6
selected East Asian
music;
7. performs on available OHSP Q2
instruments from MU8SE-IIb-h-7

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 K to 12 BASIC EDUCATION CURRICULUM
East Asia;

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Music of East Asia demonstrates performs East 8. evaluates music and OHSP Q2
understanding of Asian music with music performances
1. China common and distinct appropriate pitch, applying knowledge of *Edukasyong
2. Japan musical characteristics rhythm, expression musical elements and Pangkatawan,
3. Korea of East Asian and style style. Kalusugan at
countries Musika III.
a) Geographical, historical and Adriano, Celia
cultural background T. Et al, 1999.
b) Traditional instruments MU8SE-IIb-h-8 pp.267-287
(idiophones,
aerophones,
membranophones, and
chordophones)
c) Instrumental pieces
(solo and ensemble)
d) Folksongs and ritual music
e) K-Pop and J-Pop
THIRD QUARTER
Music of South Asia and The Learner… The Learner... The Learner... *Edukasyong
Middle East 1. explains how music of a Pangkatawan,
demonstrates an performsSouth Asia South Asian and the Kalusugan at
4. India understanding of and the Middle East Middle East country relate MU8WS-IIIa- Musika III.
5. Israel common and distinct music with appropriate to its geography and g-1 Adriano, Celia
musical characteristics pitch, rhythm, culture; T.
a) Geographical, historical of South Asia and the expression and style. Et al,
and cultural background; Middle East. 1999.
b) Traditional instruments pp.291
(idiophones, 2. listens perceptively to *Edukasyong
aerophones, music of South Asia Pangkatawan,
membranophones, and and the Middle East; Kalusugan at
MU8WS-IIIa-
chordophones) ; Musika III.
h-2
c) Instrumental pieces (solo Adriano, Celia
and ensemble); T. Et al, 1999.
d) Folksongs and ritual music pp.297
3. sings songs of South MU8WS-IIIc-
Asia and the Middle g-3
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 K to 12 BASIC EDUCATION CURRICULUM
East;
4. analyzes musical elements MU8WS-IIIc- *Edukasyong
of selected songs and h-4 Pangkatawan,

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Music of South Asia and demonstrates an performs South Asia instrumental pieces heard Kalusugan at
Middle East understanding of and the Middle East and performed; Musika III.
common and distinct music with appropriate Adriano, Celia
4. India musical characteristics pitch, rhythm, T.
5. Israel of South Asia and the expression and style. Et al,
Middle East. 1999.
a) Geographical, historical and pp.291-295
cultural background; 5. explores ways of *Edukasyong
b) Traditional instruments producing sounds on Pangkatawan,
(idiophones, a variety of sources Kalusugan at
MU8WS-IIIc-
aerophones, that would simulate Musika III.
h-5
membranophones, and instruments being Adriano, Celia
chordophones) ; studied; T. Et al, 1999.
c) Instrumental pieces (solo pp.296-297
and ensemble); 6. improvises simple
d) Folksongs and ritual music accompaniment to MU8WS-IIIb-
selected South Asia h-6
and the Middle East
music;
7. performs on available
instruments from MU8WS-IIIb-
South Asia and Middle h-7
East;
8. evaluates music and
music performances
MU8WS-IIIc-
applying knowledge of
h-8
musical elements and
style.
FOURTH QUARTER
Traditional Asian Theater Music The Learner… The Learner... The Learner...
1. Wayang Kulit; 1. identifies musical
2. Kabuki; demonstrates performs excerpts from characteristics of selected
3. Peking Opera. MU8TH-IVa-g-
understanding and traditional Asian theater Asian musical theater 1
application of musical with appropriate pitch, through video films or
skills related to selected rhythm, expression, live
traditional Asian theater and style performances;
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 K to 12 BASIC EDUCATION CURRICULUM
2. sing selection/s from MU8TH-IVa-g-
chosen Asian 2
musical
theater;

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
Traditional Asian Theater Music demonstrates performs excerpts from 3. describe how the musical
1. Wayang Kulit; understanding and traditional Asian theater elements contribute to MU8TH-IVb-h-
2. Kabuki; application of musical with appropriate pitch, the performance of the 3
3. Peking Opera. skills related to selected rhythm, expression, musical production;
traditional Asian theater and style 4. identifies the instruments
that accompany Kabuki, MU8TH-IVa-g-
Wayang Kulit, Peking 4
Opera;
5. explains the distinguishing
characteristics of MU8TH-IVa-g-
representative Asian 5
musical theater;
6. describe how a specific
idea or story is
MU8TH-IVa-g-
communicated through
6
music in a particular
Asian musical theater;
7. creates/improvises
appropriate sound,
music, gesture,
movements, props and MU8TH-IVb-h-
costume for performance 7
of a chosen Asian
traditional musical and
theatrical form;
8. evaluates music and
music performances
MU8TH-IVc-h-
applying knowledge of
8
musical elements and
style.

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 K to 12 BASIC EDUCATION CURRICULUM
GRADE 9
HISTORY OF WESTERN MUSIC

LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
FIRST QUARTER
The Learner… The Learner... The Learner...
1. MUSIC OF THE
MEDIEVAL demonstrates performs selected songs 1. listens perceptively to
MU9MRB-Ia-h-
PERIOD (700- understanding of from Medieval, renaissance selected vocal and
1
1400) characteristic features of and baroque periods instrumental music of
the Medieval, Renaissance Medieval, Renaissance
a) Historical and and Baroque period a) Chants; and
cultural background; music b) Madrigals; Baroque music;
b) Gregorian chants; c) excerpts 2. explains the performance *Edukasyong
c) Troubadour music; from practice (setting, composition, Pangkatawan,
d) Composer - oratorio; role of composers/performers, Kalusugan at
Adam de la Halle. d) chorales; and audience) during MU9MRB -Ia-h- Musika IV.
e) troubadour. Medieval, Renaissance and 2 Sacdalan,
2. RENAISSANCE Baroque periods; Guinevere I. Et
PERIOD (1400-1600) al, 1999. pp.274-
a) Historical and 286
cultural background; 3. relates Medieval, *Edukasyong
b) Mass; Renaissance and Baroque Pangkatawan,
c) Madrigal; music to its historical and Kalusugan at
d) Composers - cultural background through MU9MRB -Ic-f- Musika IV.
Giovanni da dramatization; 3 Sacdalan,
Palestrina and Guinevere I. Et
Thomas Morley. al, 1999. pp.274-
283
3. MUSIC OF THE 4. sings Medieval chant, *Edukasyong
BAROQUE PERIOD troubadour song, madrigal, Pangkatawan,
(1685-1750) chorale and selections from Kalusugan at
oratorio with correct pitch, MU9MRB -Ib-h- Musika IV.
a) Historical and rhythm, expression and 4 Sacdalan,
cultural background; style; Guinevere I. Et
b) Concerto Grosso, al, 1999. pp.274-
Fugue 277, 284
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 K to 12 BASIC EDUCATION CURRICULUM
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
c) Oratorio and chorale demonstrates performs selected songs 5. describes musical elements of *Edukasyong
d) Composers: Johann understanding of from Medieval, renaissance given Medieval, Renaissance Pangkatawan,
Sebastian Bach and characteristic features of and baroque periods Kalusugan at
and Baroque music;
George Friedrich the Medieval, Renaissance MU9MRB -Ib-f- Musika IV.
Handel and Baroque period a) Chants; 5 Sacdalan,
music b) Madrigals; Guinevere I. Et
c) excerpts al, 1999. pp.274-
from 283
oratorio; 6. explores other arts and *Edukasyong
d) chorales; media that portray Medieval, Pangkatawan,
e) troubadour. Renaissance and Baroque Kalusugan at
elements; MU9MRB -Ib-f- Musika IV.
6 Sacdalan,
Guinevere I. Et
al, 1999. pp.274-
286
7. improvises appropriate
accompaniment to given MU9MRB -Ib-d-
Medieval and 7
Renaissance
songs;
8. create and or perform
MU9MRB-Ib-h-
songs in Gregorian and
8
troubadour
styles;
9. play simple melodies of *Edukasyong
a chorale and provide Pangkatawan,
accompaniment. Kalusugan at
MU9MRB-Ib-h-
Musika IV.
9
Sacdalan,
Guinevere I. Et
al, 1999. pp.275
SECOND QUARTER
MUSIC OF THE The Learner… The Learner... The Learner...
CLASSICAL 1. narrates the life and works of
PERIOD (1750- demonstrates sings and performs themes classical composers after MU9CL-IIa-f-1
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 K to 12 BASIC EDUCATION CURRICULUM
1820) understanding of of symphonies and other video
and movie showing;

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 K to 12 BASIC EDUCATION CURRICULUM
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
a) Historical and characteristic features of instrumental forms 2. relates Classical music to its *Edukasyong
cultural background; Classical period music historical and cultural Pangkatawan,
b) Sonata, background; Kalusugan at
sonata allegro demonstrates sings and performs themes MU9CL-IIa-f-2 Musika IV.
form, understanding of of symphonies and other Sacdalan,
concerto, characteristic features of instrumental forms Guinevere I. Et
symphony; Classical period music al, 1999. pp.261
c) Composers: Franz 3. explains the performance *Edukasyong
Josef Haydn, practice (setting, composition, Pangkatawan,
Wolfgang Amadeus role of composers/performers, Kalusugan at
Mozart, and and audience) during Musika IV.
MU9CL-IIa-f-3
Ludwig van Classical period; Sacdalan,
Beethoven. Guinevere I. Et
al, 1999.
pp.261-
272
4. listens perceptively to *Edukasyong
selected Classical period Pangkatawan,
music; Kalusugan at
Musika IV.
MU9CL-IIb-g-4
Sacdalan,
Guinevere I. Et
al, 1999. pp.263-
264
5. describes musical elements of *Edukasyong
given Classical period pieces; Pangkatawan,
Kalusugan at
MU9CL-IIb-g-5
Musika IV.
Sacdalan,
Guinevere I. Et
al, 1999. pp.261-
272
6. analyzes sonata allegro form; *Edukasyong
Pangkatawan,
Kalusugan at
MU9CL-IIe-h-6
Musika IV.

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 K to 12 BASIC EDUCATION CURRICULUM
Sacdalan,
Guinevere I.
Et

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 K to 12 BASIC EDUCATION CURRICULUM
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
MUSIC OF THE demonstrates sings and performs themes al, 1999. pp.262-
CLASSICAL understanding of of symphonies and other 263
PERIOD (1750- characteristic features of instrumental forms 7. sings themes or melodic
1820) Classical period music fragments of given MU9CL-IIb-h-7
Classical period pieces;
a)Historical and 8. explores other arts and media *Edukasyong
cultural background; that portrays Classical Pangkatawan,
b) Sonata, elements; Kalusugan at
sonata allegro Musika IV.
MU9CL-IIb-h-8
form, Sacdalan,
concerto, Guinevere I. Et
symphony; al, 1999.
c) Composers: Franz pp.268-
Josef Haydn, 269
Wolfgang Amadeus 9. improvises appropriate
Mozart, and accompaniment to given MU9CL-IIe-9
Ludwig van short and simple Classical
Beethoven. pieces.
THIRD QUARTER
The Learner… The Learner... The Learner...
INSTRUMENTAL MUSIC 1. narrates the life and works of
MU9RO-IIIa-h-
OF THE ROMANTIC demonstrates sings and performs themes romantic composers after
1
PERIOD (1820-1900) understanding of of selected instrumental video and movie showing;
characteristic features of pieces 2. relates Romantic period music *Edukasyong
a) Historical and instrumental Romantic to its historical and cultural Pangkatawan,
cultural background; music background; Kalusugan at
b) Program music; MU9RO-IIIa-2 Musika IV.
c) Piano music; Sacdalan,
d) Composers: Guinevere I. Et
Frederic Chopin, al, 1999. pp.222
Peter Illych 3. explains the performance *Edukasyong
Tchaikovsky, Franz practice (setting, composition, Pangkatawan,
Liszt, and Camille role of composers/performers, Kalusugan at
MU9RO-IIIb-h-
Saint-Saens. and audience) during the Musika IV.
3
Romantic period; Sacdalan,
Guinevere I. Et
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 K to 12 BASIC EDUCATION CURRICULUM
al, 1999.
pp.222-

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 K to 12 BASIC EDUCATION CURRICULUM
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
INSTRUMENTAL MUSIC demonstrates sings and performs themes 229
OF THE ROMANTIC understanding of of selected instrumental
4. listens perceptively to *Edukasyong
PERIOD (1820-1900) characteristic features of pieces
selected Romantic period Pangkatawan,
instrumental Romantic
music ; Kalusugan at
a) Historical and music MU9RO-IIIb-h-
Musika IV.
cultural background; 4
Sacdalan,
b) Program music;
Guinevere I. Et
c) Piano music;
al, 1999. pp.226
d) Composers:
5. describes musical elements of *Edukasyong
Frederic Chopin,
given Romantic period Pangkatawan,
Peter Illych
pieces; Kalusugan at
Tchaikovsky, Franz
MU9RO-IIIb-h- Musika IV.
Liszt, and Camille
5 Sacdalan,
Saint-Saens.
Guinevere I. Et
al, 1999.
pp.222-
229, 234-242
6. sings themes or melodic *Edukasyong
fragments of given Pangkatawan,
Romantic period pieces; Kalusugan at
MU9RO-IIIe-h-
Musika IV.
6
Sacdalan,
Guinevere I. Et
al, 1999. pp.228
7. explores other arts and media *Edukasyong
that portray Romantic period Pangkatawan,
elements; Kalusugan at
MU9RO-IIIc-h- Musika IV.
7 Sacdalan,
Guinevere I. Et
al, 1999.
pp.229-
233

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 K to 12 BASIC EDUCATION CURRICULUM
8. improvises appropriate
accompaniment to given
MU9RO-IIIc-h-
short and simple Romantic
8
period pieces.

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 K to 12 BASIC EDUCATION CURRICULUM
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE
MATERIALS
FOURTH QUARTER
Vocal Music of the The Learner… The Learner... The Learner...
Romantic Period 1. narrates the plot, musical and
demonstrates sings and performs theatrical elements of an MU9OP-IVa-g-
a) Art song understanding of themes of selected songs opera after video and movie 1
b) Opera characteristic features showing;
c) Composers: of vocal music of the 2. listens perceptively to
MU9OP-IVa-g-
Franz Schubert, Romantic period selected art songs and
excerpts of opera ; 2
Guiseppe Verdi,
Giacomo Puccini, 3. sings themes or melodic
MU9OP-IVb-h-
and Richard fragments of given
3
Wagner selected songs;
4. explores other arts and media
MU9OP-IVb-h-
that portray Romantic
4
period elements;
5. creates / improvises
appropriate sounds, MU9OP-IVb-h-
music, gestures, 5
movements, and
costumes for a chosen opera.

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 K to 12 BASIC EDUCATION CURRICULUM

MUSIC - GRADE 10
MUSIC OF THE 20TH CENTURY

PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
A. Impressionism The Learner… The Learner... The Learner... *Edukasyong
1. listens perceptively to Pangkatawan,
a) Historical and cultural demonstrates understanding creates musical pieces selected 20th century Kalusugan at
background of 20th century music styles usingparticular style/s of music; Musika.
MU10TC-Ia-h-1
b) Composers: Claude and characteristic features. the 20th Century. Sacdalan,
Debussy, and Guinevere IV. et
Maurice Ravel al, 1999. pp.182,
203-208
B. Expressionism 2. describes distinctive musical *Edukasyong
elements of given pieces in Pangkatawan,
a) Historical and cultural 20th century styles; Kalusugan at
background MU10TC-Ia-h-2 Musika. Sacdalan,
b) Composer: Guinevere IV. et
Schoenberg al, 1999. pp.
203-
C. Others 208
th
3. relates 20 century music to *Edukasyong
a) Electronic music its historical and Pangkatawan,
b) Chance music cultural background; Kalusugan at
MU10TC-Ia-g-3 Musika. Sacdalan,
Guinevere IV. et
al, 1999. pp.
203-
208
4. explains the performance *Edukasyong
practice (setting, composition, Pangkatawan,
role of composers/performers, Kalusugan at
th MU10TC-Ib-g-4 Musika. Sacdalan,
and audience) of 20
Guinevere IV. et
century music;
al, 1999. pp.
203-

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 K to 12 BASIC EDUCATION CURRICULUM
208
5. sings melodic fragments of
given Impressionism MU10TC-Ib-5
period pieces;

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
6. explores other arts and media
A. Impressionism demonstrates understanding creates musical pieces that portray 20th century
MU10TC-Ic-h-6
of 20th century music styles usingparticular style/s of elements through video films
a) Historical and cultural and characteristic features. the 20th Century. or live performances;
background 7. create short electronic and
b) Composers: chance music pieces using
Claude Debussy, knowledge of 20th century
and Maurice Ravel styles.

B. Expressionism

a) Historical and cultural MU10TC-Ic-h-7

background
b) Composer: Schoenberg

C. Others

a) Electronic music
b) Chance music
SECOND QUARTER
AFRO-LATIN AND POPULAR The Learner… The Learner... The Learner...
MUSIC
demonstrates understanding performs vocal and dance 1. observes dance styles,
1. Historical and (cultural of characteristic features of forms of Afro-Latin instruments, and rhythms of
background of African Afro-Latin American music American music and Afro Latin American and MU10AP-IIa-g-
and Latin American music and Popular music selections of Popular music popular music through 1
2. Background of Popular video,
music movies and live
3. African music performances;
a. Rhythms: Maracatu 2. describes the historical and
b. Vocal forms: blues, cultural background of Afro-
MU10AP-IIa-g-
soul, spiritual, call Latin American and popular
2
music;

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
and response demonstrates understanding performs vocal and dance 3. listens perceptively to Afro-
4. Latin American music of characteristic features of forms of Afro-Latin Latin American and popular MU10AP-IIa-h-
a. Instruments Afro-Latin American music American music and music ; 3
b. Vocal and Dance and Popular music selections of Popular music
4. dances to different selected
form: Cumbia, tango, MU10AP-IIa-h-
styles of Afro-Latin
cha-cha. Rumba, 4
American and popular
bossanova, reggae, music;
foxtrot, pasa doble 5. analyzes musical
5. Jazz MU10AP-IIa-h-
characteristics of Afro-Latin
a. Instrumental forms: 5
American and popular
ragtime, big band, music;
bebop, jazz rock 6. sings selections of Afro-Latin
6. Popular music American and popular music MU10AP-IIa-h-
a. Ballad, standard, rock in appropriate pitch, rhythm, 6
and roll, alternative style, and expression;
music, disco 7. explores ways of creating
sounds on a variety of
sources suitable to MU10AP-IIa-7
chosen vocal and
instrumental
selections;
8. improvises simple
vocal/instrumental MU10AP-IIe-f-
accompaniments to selected 8
songs;
9. choreographs a chosen
MU10AP-IIb-d-
dance music;
9
10. evaluates music and
music performances
using knowledge of MU10AP-IIa-h-
musical elements and 10
style.
THIRD QUARTER
CONTEMPORARY The Learner… The Learner... The Learner...
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 K to 12 BASIC EDUCATION CURRICULUM
PHILIPPINE MUSIC 1. listens perceptively to MU10CM-IIIa-
(Minimum of 4 composers demonstrates understanding sings contemporary songs excerpts of major h-1
for each) of characteristic features of Contemporary works;

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
1. Traditional contemporary music sings contemporary songs
Composers demonstrates understanding
2. describes characteristics of MU10CM-IIIa-
of characteristic features of h-2
traditional and new
a. Lucio San Pedro contemporary music
music;
b. Antonino
3. gives a brief biography of *Edukasyong
Buenaventura
selected Contemporary Pangkatawan,
c. Antonio Molina
Philippine composer/s ; Kalusugan at
d. Alfredo Buenaventura MU10CM-IIIc-
Musika. Sacdalan,
e. Rodolfo Cornejo g-3
Guinevere IV. et
f. Bernardino Custodio
al, 1999. pp.209-
g. Antonio Buencamino
220, 247-259
h. Hilarion Rubio
4. sings selections of
i. Rosendo Santos
Contemporary music MU10CM-IIIb-
j. Ryan Cayabyab
with h-4
appropriate pitch, rhythm,
2. New Music
style, and expression;
5. explores ways of creating
a. Chino Toledo MU10CM-IIId-
sounds on a variety of
b. Ramon Santos e-5
sources;
c. Jose Maceda
6. improvises simple
d. Manuel Maramba
vocal/instrumental
e. Lucresia Kasilag MU10CM-IIId-
accompaniments to selected
f. Francisco Feliciano e-5
songs;
g. Jerry Dadap
h. Jonas Baes
7. create a musical on the life
of a selected MU10CM-IIIg-
3. Song Composer
contemporary Philippine h-7
composer;

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 K to 12 BASIC EDUCATION CURRICULUM
a. Constancio
de Guzman
b. Mike Velarde
c. Ernani Cuenco 8. evaluates music and music
d. Restie Umali performances using MU10CM-IIIh-
e. George Canseco knowledge of musical 8
f. Levi Celerio elements and style.
g. Angel Pena

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 K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
h. Leopoldo Silos
i. Santiago Suarez
FOURTH QUARTER
20th and 21st century The Learner… The Learner... The Learner...
MULTIMEDIA FORMS 1. describes how an idea or story
1. demonstrates 1.
performs selections in a musical play is MU10MM-IIIa-
1. OPERA understanding of from musical plays, presented in a live h-1
a) La Loba Negra characteristic ballet, opera in a performance or video;
b) Noli Me Tangere features of 20th satisfactory level of 2. explains how theatrical
c) El Filibusterismo and 21st century performance. elements in a selected part
MU10MM-IIIa-
opera musical play, of a musical play are
h-2
2. BALLET ballet and other 2.
creates a musical combined with music and
a) Lola Basyang multimedia forms. work using media & media to
b) Rama Hari technology. achieve certain effects;
2. demonstrates 3. sings selections from musical MU10MM-IIIc-
3. MUSICAL PLAY understanding plays and opera expressively; h-3
a) Andres Bonifacio of the 4. creates / improvises
b) Atang relationship appropriate sounds,
c) Katy among music, music, MU10MM-IIIc-
d) Florante at Laura technology, and gestures,movements, and h-4
e) Daragang media. costume using media and
Magayon technology for a
f) Noli Me Tangere selected part of a
g) El Filibusterismo musical play;
h) Magsimula ka 5. present an excerpt from a
20th or 21st century
MU10MM-IIIg-
Philippine musical and
h-5
highlight its similarities and
differences to
other western musical play.

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 K to 12 BASIC EDUCATION CURRICULUM
GLOSSARY

Accent emphasis/stress on a note, making it louder than the other notes

Accelerando becoming faster
Aerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membrane.
Allegro fast
Alto female voice of low range
Alternative music A type of rock music that originated from the 1980s.
Andante moderately slow, walking pace
Angklung An instrument, originally from Indonesia, made of two bamboo tubes attached to a bamboo frame.
Art song A vocal musical composition usually written for one voice with piano accompaniment.
Ballad A slow or sentimental romantic song.
Ballet An artistic dance form performed to music, using precise and highly formalized set steps and gestures.
Barline a vertical line that divides the staff into measures
Bass male voice of low range
Beat regular, recurrent pulsation that divides music into equal units of time
Bebop Jazz music with complex harmony and rhythms
Big band A large group of musicians playing jazz or dance music with improvised solos by lead players.
Binary Form a song or composition with two basic parts or ideas

Blues A musical style originating from African-Americans and is typically in a twelve-bar sequence; expresses sadness or depression.
Bodabil A genre of various entertainment composed of song, dance, comedy routines, magic acts, and chorus girls.
Bossa Nova A style of Brazilian music derived from samba but placing more emphasis on melody and less on percussion.
Cha-cha A ballroom dance with small steps and swaying hip movements, performed to a Latin American rhythm.
Chance music Music created by chance and its realization is left to the performer.

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GLOSSARY

Chord combination of three or more tones sounded together

Chordophone Any musical instrument that produces sound primarily by vibrating strings.
Clef symbol placed at the beginning of the staff to show the exact pitch of each line and space
Concerto Musical composition for a solo instrument accompanied by an orchestra.
Concerto Grosso Musical composition for a group of solo instruments accompanied by an orchestra.
Crescendo gradually getting louder
Cumbia Dance music similar to salsa.
Da Capo repeat from the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section
Decrescendo gradually softer
Descant an independent treble melody or counterpoint usually sung or played above a basic melody

Disco Dance music typically soul-influenced and melodic with a regular bass beat popularized in the late 1970s.
Dynamics degrees of loudness and softness in music
Electronic music Music that employs electronic musical instruments and technology in production.
Expressionism A style which the maker seeks to express the inner world of emotion rather than external reality.

Flat Sign a symbol that notates the pitch of a note a half step lower
Folksongs songs handed down from generation to generation

Form organization of musical ideas in time; structure of a musical composition

Forte (f) loud

Fortissimo (ff) very loud

Foxtrot A ballroom dance with uneven rhythm of alternating slow and quick steps.
A contrapuntal composition in which a short melody or phrase is introduced by one part and successively taken up by others; developed by the
Fugue
interweaving of the various parts.

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GLOSSARY

Gamelan Indonesian musical ensemble featuring a variety of metallophones (instruments made of metal and played by hitting or striking).
Gangsa Ensemble An instrumental ensemble that uses metallophones
Grand Staff combination of the treble and bass staves, used to encompass the wide range of pitches
Harmony the pleasing sound produced when three or more tones are blended simultaneously
Homophonic Texture refers to a melody sung or played with chord accompaniment e.g. guitar or piano
Idiophones A musical instrument that creates sound through its own vibration, without the use of any strings or membrane.
Impressionism A style or movement that depicts the visual impression of the moment, especially in terms of the shifting effect of light and color.
Interval distance in pitch between two tones
J-Pop Japanese popular music.
Jazz Music originated from African-American people characterized by improvisation, syncopation, and usually a regular or forceful rhythm.
K-Pop Korean popular music.
Kabuki Traditional Japanese theater performance.
Key Signature sharp or flat signs immediately following the clef sign at the beginning of a piece of music, indicating the key in which the music is to be played
Key (tonality) central note, scale and chord within a piece, in relationship to which all other tones in the composition are heard
Keynote central tone of a melody or piece of music e.g. when a piece is in the Key of C Major, C is the keynote
Kulintang A set of gongs usually played by ensembles in Mindanao.
Largo very slow

Ledger Lines short, horizontal lines above or below the staff, used to indicate a pitch that falls above or below the range indicated by the staff
Liturgical music Music composed for and played during liturgical celebrations and worship.
Lumad Means “native” or “indigenous”.
Madrigal Music for several voices with elaborate counterpoint; was popular during the Renaissance Period.
Maracatu A musical style from Brazil.

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GLOSSARY

Measure the space between two barlines, containing a fixed number of beats
Medieval Term that refers to the “Middle Ages”.
Melody the line of music that moves up and down in succession; series of single tones that add up to a recognizable whole
Melodic Contour the upward and downward direction of the notes
Melodic Pattern the combination of repeated, similar and contrasting figures, motives and phrases
Melodic Ostinato group of tones used to accompany a tone or a melody
Membranophone Any musical instrument that produces sound primarily by a vibrating stretched membrane.
Meter organization of beats into regular groups
Mezzo piano (mp) moderately soft
Mezzo forte (mf) moderately loud
Moderato moderate tempo
Monophonic Texture single melodic line without accompaniment
fragment of a theme, or short musical idea which is developed within a composition; refers to a short melody sung or played which can identify
Motive
a musical composition
refers to the relationship of melodic and harmonic elements in music which produces qualities of thickness and thinness, heaviness or lightness
Musical Texture
of a melody or sound produced
Musikong Bumbong An instrumental marching band that uses bamboo instruments.
Natural Sign symbol used to cancel a previous sharp or flat sign
Notation system of writing down music so that specific pitches and rhythms can be conveyed
Note symbol used to indicate pitch
Opera A dramatic work in one or more acts set to music for singers and instrumentalists.
Oratorio A large-scale musical work for orchestra and voices, usually narrative and typically on a sacred theme.
Ostinato motive or phrase that is repeated persistently at the same pitch

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GLOSSARY

Pangkat Kawayan An instrumental ensemble that uses different kinds of bamboo instruments.
Pasa doble A fast-paced ballroom dance based on the Latin American style of marching.
Peking Opera Traditional Chinese theater performance.
Pentatonic Scale a five-tone scale, used in folk music and music of the Far East
Phrase musical statements that express meaning or ideas
Piano (p) soft
Pianissimo (pp) very soft; as softly as possible
Pinpeat A Cambodian instrumental ensemble.
Piphat A Thai instrumental ensemble which features wind and percussion instruments.
Pitch relative highness or lowness of a sound
Pitch Range distance between the highest and lowest tones that a given voice or instrument can produce
Polyphonic Texture refers to a musical composition with two or more independent melodies sung or played to create a harmonious effect
Program music Music that is intended to evoke images or to convey the impression of events.
Ragtime A kind of music which evolved with syncopated melodic line and regularly accented accompaniment.
Reggae A style of music originally from Jamaica and popularized in the 1960s.
Renaissance Term that refers to the revival of European art under the influence of Classical Models.
Rest a symbol that indicates the duration of silence in music

Rhythm ordered flow of music through time; the pattern of durations of notes and silences in music
Rhythmic Pattern combinations of long and short sounds, notes and rests
Ritardando becoming slower
Rock and roll Popular dance music from the 1950s characterized by heavy beats and simple melodies.
Rondalla An instrumental ensemble that usually consists of musicians playing banduria, octavina, laud, guitar and double bass.

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GLOSSARY
form of music wherein a melody change from a single-voiced texture to a many-voiced texture; each voice enters in succession; the effect is
Round
that of weaving a new and richer rhythmic and harmonic texture
Rumba A rhythmic dance with Spanish and African elements originally from Cuba.
Sacred music Music that promotes devotion and faith.
Sarsuela A musical stage performance popularized in the Philippines during the Spanish colonization.
Saung gauk An arched harp used in Myanmar.
Scale series of pitches arranged in ascending or descending order
Secular music Music for non-religious purposes.
Sharp Sign symbol that notates the pitch of a note a half step higher
Sonata A composition for an instrumental soloist, often with a piano accompaniment, typically in several movements with one or more in sonata form.
Sonata-allegro form A large-scale musical structure popularly used during the middle of the 18th century.
Soprano female voice of high range
Soul Musical style that incorporates rhythm and blues and gospel music popularized by African-American people.
Sound vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to the brain
Staff a set of five lines and four spaces where notes are positioned or placed
Symphony An elaborate musical composition for full orchestra, typically in four movements, at least one of which is in sonata form.
Tango A ballroom dance originating from Buenos Aires, characterized by marked rhythms and postures and abrupt pauses.
Tempo rate of speed in music
Tenor male voice of high range
Timbre quality of sound that distinguishes one instrument or one voice from another
two numbers, one above the other, appearing at the beginning of a staff or the start of a piece, indicating the meter of a piece; the number
Time Signature
above refers to the number of beats per measure and the number below represents the kind of note getting one beat.
Tone sound that has a definite pitch or frequency

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GLOSSARY

Triad the most basic type of chord, consisting of three alternate tones of the scale e.g. do, mi, so
Troubadour Street musicians singing of love during the Medieval Period.
Unison performance of a single melodic line by more than one instrument or voice a t the same pitch
Wayang Kulit Indonesian puppet shadow theater.

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 K to 12 BASIC EDUCATION CURRICULUM
CODE BOOK LEGEND

Sample: MU7FT-IVe-h-6

LEGEND SAMPLE
DOMAIN/ COMPONENT CODE
Learning Area
Music Rhythm RH
and Strand/
Melody ME
Subject or
Form FO
First Entry Specialization MU7
Timbre TB
Dynamics DY
Grade Level Grade 7 Tempo TP
Texture TX
Harmony HA
Domain/Content/ Music of Luzon LU
Uppercase Letter/s Theatrical Forms FT Music of Cordillera, Mindoro, Palawan, and
Component/ Topic LV
the Visayas
- Music of Mindanao MN
Theatrical Forms FT
Roman Numeral Music of southeast asia SE
Quarter Fourth Quarter IV
*Zero if no specific quarter Music of South Asia and Middle East WS
Traditional Asian Theater Music TH
Lowercase Letter/s
Music of the medieval period MRB
*Put a hyphen (-) in between Music of the classical period CL
Week Week five to eight e-h
letters to indicate more than a Instrumental music of the romantic period RO
specific week Vocal Music of the Romantic Period OP
2Oth Century TC
Describes how a Afro-latin and popular music AP
specific idea or story is Contemporary Philippine music CM
Multimedia forms MM
Arabic Number Competency communicated through 6
music in a particular
Philippine musical
theater

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 K to 12 BASIC EDUCATION CURRICULUM
REFERENCES

Abeles, Harold, Hoffer, Charles and Klotman, Robert. Foundations of Music Education, (New York: Schirmer Books, 1984)

Armstrong, Thomas. "American Institute for Learning and Human Development." Multiple Intelligences. 2010. http://www.thomasarmstrong.com/multiple_intelligences.htm.

Bruner, Jerome, The Process of Education. (Cambridge, Mass.: Harvard University Press, 1977)

Bureau of Elementary Education, 2002 Basic Education Curriculum. (Pasig City: Department of Education, 2002)

Bureau of Elementary Education, 2002 Philippine Elementary Learning Competencies. (Pasig City: Department of Education, 2002)

Bureau of Secondary Education, Department of Education. Basic Education Curriculum. Pasig City, 2002.

Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies New Secondary Education Curriculum. Pasig City, 1991.

Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies Philippine Secondary Schools Learning Competencies.
Pasig City, 1998.

Bureau of Secondary Education, Department of Education. Secondary Education Curriculum. Pasig City, 2010.

Gardner, Howard. "Multiple Intelligences." Howard Gardner. 2010. http://www.howardgardner.com/MI/mi.html.

Gardner, Howard, Multiple Intelligences. (New York: Basic Books Inc., 1991)

Miller, Cleve, Performance-Based Learning, (England: Cambridge University Press, 2008)

Miller, Cleve. "Performance-Based Learning (Mexico: Cambridge University Press, 2010)." Teaching Business English (audio blog), December 16, 2010. performance-based-
learning.html.

Reimer, Bennett. A Philosophy of Music Education Advancing the Vision. 1991 ed. (Aesthetic Education. Upper Saddle River, New Jersey: Prentice Hall, 2003).

Reimer, Bennet, Journal of Aesthetic Education, (USA: University of Illinois Press, 1991)

Thomas, Ronald, A Structure for Music Education. (Bardonia, N.Y.: Media Materials Inc., 1970)

Thomas, Ronald B. MMCP Synthesis: A Structure for Music Education. (Bardonia, N.Y: Sponsored by the U.S. Office of Education Media Materials, 1970).

Wade, Bonnie C., Thinking Musically: Experiencing Music, Expressing Culture, (England: Oxford University Press, 2003)
K to 12 Music Curriculum Guide May 2016 Page 54of 94
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