1ST Competency Music

Download as docx, pdf, or txt
Download as docx, pdf, or txt
You are on page 1of 4

Republic of the Philippines

Department of Education
REGION IX, ZAMBOANGA PENINSULA
SCHOOLS DIVISION OF ZAMBOANGA CITY
ZAMBOANGA NATIONAL HIGH SCHOOL-WEST

LESSON PLAN IN MAPEH (MUSIC)


FEBRUARY 28, 2024

Learning Competency
Describes the musical characteristics of representative music selections from Mindanao after
listening. MU7MN-IIIa-g-1

I – Objectives
Having gone through the activities, the students are expected to:
 Identify the musical characteristics of Mindanao Islamic and Non-Islamic vocal music.
 Describe the musical characteristics of Mindanao Islamic and Non-Islamic vocal music
after listening.
 Demonstrate understanding through various activities.

II - Subject Matter
Topic: Music of Mindanao
Reference: Music and Arts Learner’s Material pages 88-110
https://depedtambayan.net/wp-content/uploads/2022/02/MUSIC7-Q3-MODULE1.pdf
Materials: Powerpoint presentation, Laptop, and Visual Aids

III – Lesson Proper


A. Preparatory Activities
a.) Prayer
b.) Greeting
c.) Checking of Attendance
d.) Classroom management

B. Recall
o Picture Analysis
https://images.app.goo.gl/TzhCTcxKybpfMwcq6

 What do you observe on the picture?


 Can you identify who among them are muslims?
Activity: Exploring Music from Mindanao (Audio Presentation)
Maguindanao Bangsamoro: Vocal Culture and Tradition
https://www.youtube.com/watch?v=XCTobmUWuuQ
Republic of the Philippines
Department of Education
REGION IX, ZAMBOANGA PENINSULA
SCHOOLS DIVISION OF ZAMBOANGA CITY
ZAMBOANGA NATIONAL HIGH SCHOOL-WEST

o Students will listen to the example of music from Mindanao and reflect on the questions.

Analysis:
o What do you think is the message of the music?
o How were the musical instruments used in bringing about the message?

Abstraction:
o Class discussion about the Moro/Islamic Music: Vocal Music of Mindanao.

I. MORO/ISLAMIC MUSIC:
A. Vocal Music of Mindanao
The Islamic community in the Philippines consists of ethno-linguistic groups:
- The Maguindanao of Cotabato
- The Maranao of Lanao and Cotabato
- The Samal and Jama Mapun of the Sulu Islands of Sibutu and Cagayan De Sulu
- The Tausug of the Sulu Islands of Jolo, Siasi, and Tawi-Tawi
- The Yakan of Basilan and Zamboanga

1) CHANTS – a lyrical rendition of different improvised text

Yakans do their chantings through solo and counter or group singing. Their three famous
everyday style chants are the:
a. Lugu – chants that they use in reading their Qur’an and other books they use in their Islam
religion.
b. Kalangan – songs that they use for serenading his/her loved ones
c. Sa-il / Lunsey – an important chant to be sung by the wife-to-be during the ceremony that
talks about married life

Maranaos have an extensive vocal repertoire such as:


a. Dikker – sacred songs highlighted by quotations from the Qur’an
b. Bayok – semi-generic term for a lyrical rendition of different improvised text
Bayok – https://www.youtube.com/watch?v=9KESBf_1eJ8
(traditionally performed during wedding rites, wherein the singers are extemporizing
allusions and double meanings as they vie with each other)

2) LULLABY – a chant-style or chant formula use in rocking a baby to sleep

a. Ya-ya – is a song of the Yakans to put the baby to sleep, sung in a relax/slow manner, soft
and soothing while rocking the baby.
b. Bayok – is also a Maranao term for lullaby
Islam Lullaby wmv – https://www.youtube.com/watch?v=MLRyHctRk1Y

All of these songs regardless of its tribe of origin have some common characteristics:

1. Melismatic style of singing. Melisma means a group of notes sung in one syllable of the text.
Example is Luguh (https://youtu.be/Nr7FIY3ePgY)
2. Use of tremolo (rapid reiteration of a single note). The tremolo produces a musical effect which
resembles a shaky sound of notes.
Republic of the Philippines
Department of Education
REGION IX, ZAMBOANGA PENINSULA
SCHOOLS DIVISION OF ZAMBOANGA CITY
ZAMBOANGA NATIONAL HIGH SCHOOL-WEST

3. Long and slow melodic phrase. Unlike the regular song which has a fixed meter or number of
syllables for each line in stanza, these songs have indefinite length of lines which results from the
singer’s improvisation of the tune of the song.
4. Strained or throaty voice. This style of singing is very common to ethnic groups wherein the
singer uses his/her speaking voice to execute the song.
5. Free rhythm. Vocal music of Mindanao uses the free rhythm style. It means there are no fixed
measures in the song. You cannot distinguish if the song you are hearing is done in duple, triple
or quadruple. And because the singer has always the freedom to improvise the piece, one cannot
predict the length of each line of the song.

B. Musical Instruments
1. Kulintang Ensemble -

Application: GROUP ACTIVITY (Concept Map)


o With the same group, the students will complete the concept map by putting the songs,
chants, and lullaby to its corresponding categories.

Islamic Musical Instruments

Chants Lullaby

- Lugu - Kulintangan
- Kalangan - Agung
- Gabbang - Dikker
- Kudyapi - Bayok
- Ya-ya - Sa-il

NON- ISLAMIC
Lumad Subanon

Manobo T’boli

- Narrative songs - Ritual songs


- Donli - Native
- Tu man - Indigenous
- Songs of nature - Buwa
- Giloy - Tribes of South Cotabato

Evaluation:
Directions: Choose the letter of the correct answer.

1. What is a characteristic feature of chants in Moro/Islamic music?


Republic of the Philippines
Department of Education
REGION IX, ZAMBOANGA PENINSULA
SCHOOLS DIVISION OF ZAMBOANGA CITY
ZAMBOANGA NATIONAL HIGH SCHOOL-WEST

a) Fixed meter
b) Rapid tempo
c) Improvised text
d) Instrumental accompaniment

2. Which of the following is NOT one of the ethno-linguistic groups mentioned in the Islamic
community of the Philippines?
a) Tagalog
b) Maguindanao
c) Tausug
d) Maranao

3. What is the purpose of the Bayok in Maranao culture?


a) Reading the Qur’an
b) Serenading loved ones
c) Putting babies to sleep
d) Celebrating festivals
4. What is a common characteristic of lullabies in Moro/Islamic music?
a) Upbeat rhythm
b) Extensive instrumental accompaniment
c) Melismatic singing style
d) Short and fast melodic phrases
5. What is the significance of free rhythm in vocal music of Mindanao?
a) it allows for fixed measures in the song
b) It restricts the singer’s improvisation
c) It enables the prediction of line lengths
d) It gives the singer freedom to improvise

Assignment: Research
o The Instrumental music of Moro/Islamic music.

Prepared by: Checked by:

CJEANVAEB DWYNN B. APID MA. SOCCORO ANDO-SAMIJON


Pre-Service Teacher SST - II

Noted by:

BOYSIE A. SANTIAGO
SSHT IV, MAPEH Dept

You might also like