SPECIAL PROGRAM IN THE ARTS

9
Quarter 1
Module3
Elements of music: Philippine and
Western Music
SPA-Music 9
Quarter 1 – Module 3: Elements of music: Philippine and Western Music
First Edition, 2020

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Published by the Department of Education - Schools Division of Pasig City

Development Team of the Self-Learning Module

Writer: Melanie G. Logdat
Editor: Melanie G. Logdat
Reviewers: Alma D. Coronado
Illustrator: Edison P. Clet
Layout Artist: Elinette B. Dela Cruz
Management Team: Ma. Evalou Concepcion A. Agustin
OIC-Schools Division Superintendent
Aurelio G. Alfonso EdD
OIC-Assistant Schools Division Superintendent
Victor M. Javeña EdD
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OIC-Chief, Curriculum Implementation Division

Education Program Supervisors

Librada L. Agon EdD (EPP/TLE/TVL/TVE)

Liza A. Alvarez (Science/STEM/SSP)
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Joselito E. Calios (English/SPFL/GAS)
Norlyn D. Conde EdD (MAPEH/SPA/SPS/HOPE/A&D/Sports)
Wilma Q. Del Rosario (LRMS/ADM)
Ma. Teresita E. Herrera EdD (Filipino/GAS/Piling Larang)
Perlita M. Ignacio PhD (EsP)
Dulce O. Santos PhD (Kindergarten/MTB-MLE)
Teresita P. Tagulao EdD (Mathematics/ABM)

Printed in the Philippines by Department of Education – Schools Division of

Pasig City.
MUSIC
SPECIAL PROGRAM IN THE ARTS (MUSIC)
9
Quarter 1
Module 3
Elements of Music
(Philippine and Western Music)
Introductory Message

For the Facilitator:

Welcome to the SPA Music 9 Self-Learning Module on Elements of music:

Philippine and Western Music

This Self-Learning Module was collaboratively designed, developed and

reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and independent
learning activities at their own pace and time. Further, this also aims to help learners
acquire the needed 21st century skills especially the 5 Cs, namely: Communication,
Collaboration, Creativity, Critical Thinking, and Character while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing them to
manage their own learning. Moreover, you are expected to encourage and assist the
learners as they do the tasks included in the module.
 For the Learner:

Welcome to the SPA Music 9 Self-Learning Module on Elements of music:

Philippine and Western Music

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - This points to the set of knowledge and skills

that you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

Wrap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measures how much you have learned from the
entire module.
 EXPECTATIONS

Most Essential Learning Competencies

 Demonstrates skills in playing actual or stimulated indigenous Philippine and western
instruments
Specific Objectives
 Identify the different elements of Philippine and Western music.
 Demonstrates basic skills in note reading and Basic Vocal techniques.
 Show appreciation in the elements of the Philippine and Western music.

PRETEST
MULTIPLE CHOICE
Directions. Read each questions carefully. Choose the letter of the correct answer and write it on the
space provided.

_________1. This refers to the harmonic or monophonic sound usually in low notes that
provides a rich foundation in a musical composition. It also serves as an
accompaniment or a background sound in a musical composition.
A. Descant C. Figured Bass
B. Drone D. Oastinato

_________ 2. A musical scale consisting of only five notes.

A. chromatic scale C. major scale
B. diatonic scale D. pentatonic scale

_________ 3. It is a systematic arrangement of musical sound and silence.

A. beat C. melody
B. dynamics D. rhythm

_________ 4. A type of musical texture with two or more melodies sounding simultaneously.
A. Homophonic C. Monophonic
B. Heterophony D. Polyphonic

_________ 5. It is the linear succession of single tone or note in a musical composition.

A. dynamics C. melody
B. harmony D. timbre
 RECAP
IDENTIFICATION
Directions: Identify what is being asked in each item below. Choose your answer inside the
box. Write your answers on the space provided.

PENTATONIC SCALE KUNDIMAN

PAMULINAWEN
RENAISSANCE DUNG AW DAL-LOT

_____________ 1. It is a love song created by an Ilocano Troubadour of pre-colonial

time. It tells about courting a girl with a stone heart
_____________ 2. It is a song of farmers during wedding, baptismal and other parties
accompanied by Kutibeng (guitar)

_____________ 3. It a song requesting a dead person to be good in his next life.

_____________ 4. A period of looking back to the Golden Age of Greece and Rome.
_____________ 5. It is a five tone scale introduce by the Chinese, Japanese and
Hindus.
 LESSON

Music Elements Western Philippines

Pre Baroque music Pre-colonial Music
 Free meter- it is  Free meter- the
when a musical Philippine
composition has no Indigenous music is
definite beat and the usually written in
rhythm is free free meter. It has no
flowing. definite meter.
Example: Gregorian Example:
Chant Kulintang Music of
 Ostinato- it is a short Mindanao.
repetitive musical
 Rhythm- a phrase or rhythm
systematic played in the musical
arrangement of composition. It can be
musical sound and sung or played by a
silence. musical instrument.
 Drone- it is a
harmonic or
monophonic sound
usually in low notes
that provides a rich
foundation in a
musical composition.
It also serves as an
accompaniment or a
background sound in
a musical
composition.
  Church modes- all  Nasal sound- vocal
these church modes music of the Pre-
were built from the colonial indigenous
notes in the C major music sounds nasal.
Scale or the White Music is also
Keys on the Piano. transmitted orally
from one generation
to another.
 Used of pentatonic
scale- a musical
scale consisting of 5
notes

 Melody – is the Notation of Church modes were taken from

the Essential Secrets of Song Writing. Used
linear succession of under fair dealing provisions.

single tone or note in  They used the Viva

a musical Voce method of
composition. learning music. Notation of pentatonic scale were taken
from the Music Stack Exchange

 Use of microtones or
semitones in their
music resulting to a
more ethnic sound.

 Harmony - is the  Polyphonic- a type of

 Monophonic- a
sounding of two or musical texture with chant without music
more notes two or more melodies accompaniment.
simultaneously. It is sounding  Ambahan- it is a
the sounding of two simultaneously. poetry with rhythmic
or more pitches at the Example expression of the
same time. Hanunuo Mangyans
people of Mindoro.It
 Mass - is a form of sacred has a meter of 7
musical composition that sets syllable lines and
texts of rhythmic end
the Eucharistic liturgy into syllables. It is a chant
music. without determined
musical pitch or
Madrigal - A secular vocal accompaniment.
polyphonic music  Hudhud – is consists
composition which originated of narrative chants
from Italy. It was written and traditionally performed
expressed in a poetic text and by the Ifugao
community, which is
sung during courtly well known for its rice
terraces extending over
the highlands of the
northern island of the
Philippine archipelago.
It is practiced during the
rice sowing season, at
harvest time and at
funeral wakes and
rituals.

 Tempo – it is  Fast-Allegro Fast Tempo- Happy

defined as the speed
 Moderate- Adagio Slow Tempo- sad
of music. It helps the
 Slow - Lento
composer to express
a feeling in a certain
music. It can be fast,
slow or moderate.

 Dynamics – refers to  Loud and

 Loud - piano
the loudness or  Soft dynamics.
 Soft – forte
softness of sound

 Timbre –it is the  ( Local instrument  Musical Instruments

tone color or the tone Classification, Gongs, Bamboo,
quality of a music. It Hornboestel-Sachs, Drums,
can either be a sound  Psaltery, Lutes,Viols,
of the human voice  Gangsa- North
Tambor
 Kunlintang- South
or the sound of the
musical instruments.
 ACTIVITIES
DAY 1.

RHYTHMIC EXERCISE

Directions: Fill in the missing note or rest to complete the number of beats on each measure.
Write the notes on the space provided.

Duple meter

Triple meter

DAY 2
NOTE SPELLING
Directions: Identify the following notes on each staff below by writing its corresponding
letter names on the notes. Use the illustration below as a guide.

Note: Illustration were taken from Wikipedia.net. Used under fair provisions.
 1. __________________________________2_______________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

3. __________________________________4.______________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

5. __________________________________6.______________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
_________________________________________________________________

DAY 3
MUSIC ANALYSIS
Directions. Compare and Contrast the characteristics of Western and pre- colonial Philippine music
using the Venn diagram.

Pre- Baroque
Pre- Colonial
Music
Music
Similarities
 WRAP–UP
ONE WORD SUMMARY
Directions: Think of one word that helps you remember the lesson and explain why you pick that
word. Write your word in the box and your explanation to the space provided below.

__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

VALUING

REFLECTION
Directions: Read each questions carefully, then write your answers on the space provided.

1. What is the difference between the music of the Pre-Baroque period of Western and
Pre-Colonial period of the Philippines?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________

2. Do you think that the music during the pre-colonial period is better than our music
today? Why or why not? Explain your answer.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
 POSTTEST

FILL IN THE BLANK

Directions: Fill each blank with the correct answer. Choices are written in the box below.
Write your answer on the blank provided.

beat melody
drone polyphonic
five silence

1. ___________________ is the linear succession of single tone or note in a musical

composition.
2. ___________________ is the musical texture with two or more melodies sounding
simultaneously.
3. Rhythm is a systematic arrangement of musical sound and _________.

4. Pentatonic scale is consist of only ___________ notes.

5. ________________ refers to the harmonic or monophonic sound usually in low notes that
provides a rich foundation in a musical composition. It also serves as an accompaniment
or a background sound in a musical composition.
 Posttest Activity 3
1. melody Pre-Baroque Similarities Pre- Colonial
-ostinato -free meter - nasal sound
2. polyphonic -drone - used oral -use pentatonic
3. silence -church mode tradition in scale
-Hornbostel teaching music -use of
4. five Sach’s from one percussive
classification generation to instruments
5. drone another from
bamboo/metals
- use
microtones
Activity 2- Note Spelling Activity 1
1. FACE Triple Meter
2. CABBAGE
1. 1 eight note/rest & 2 quarter note/rest
3. FAÇADE
4. BEAD 2. 1 half note/rest2 quarter note/rest/4 eight note/rest
5. FEED
3. 1 quarter note/rest/2 eight note/rest/
6. BEG
4. 1 quarter note/rest /2 eight note/rest
5. 1 half note/rest/2 quarter note/rest/4 eight note/rest
Activity 1
Recap Pretest
Duple Meter
1. Pamulinawen 1. B
1. 1 quarter note/rest,/2 eight note/rest
2. Dal-lot 2. D
2. 1 quarter note/rest/2 eight note/rest
3. Dung-aw 3. D
3. 1 quarter note/rest,/2 eight note/rest
4. Renaissance 4. D
4. 1 quarter note/rest and 1 eight note/rest
5. Pentatonic 5. C
5. 1 eight note/rest
KEY TO CORRECTION
 REFERENCES
 Books

Burkholder, J. Peter, et.al. (1980).Norton Anthology of Western Music. Vol.1: Ancient to

Baroque 5th Edition 2014. New York City, United States of America. Norton
W.W.& Company Inc.
Kamien, Roger (1976).Music Appreciation.9th Edition July 24, 2018. The Hebrew
University of Jerusalem, Israel. McGraw-Hill Education
Wright, Craig. (2013) The Essential Listening to Music, 6th Edition. Yale University.

 Website

Musical staff with piano keys- Wikipedia.en.org

Music of the Philippines during Pre-Spanish Era
https://www.google.com/search?q=pre+colonial+philippine+music&tbm=isch&ved=2ahUKE
wjxlcSE9r7qAhXiJaYKHQDGAIEQ2-
cCegQIABAA&oq=pre+colonial+philippine+music&gs_lcp=CgNpbWcQAzoECCMQJzoG
CAAQCBAeOgIIADoECAAQHlCKRFjXaGCMbmgAcAB4AIABmQGIAfENkgEEMS4xN
JgBAKABAaoBC2d3cy13aXotaW1n&sclient=img&ei=6WUGX7H9KeLLmAWAjIOICA&
bih=589&biw=1366&rlz=1C1CHBF_enPH854PH854#imgrc=VlzmgbxuvrizCM
 ACKNOWLEDGEMENT
_____________________________________________
EDISON P. CLET
Illustration

ELINETTE B. DELA CRUZ

Project Development Officer II (LRMS)
Lay-out Artist

MELANIE G. LOGDAT
Video/ PowerPoint Presenter

ALMA D. CORONADO
Validator
MARIVIC D. LISING
MAPEH Department Head

GILBERT O. INOCENCIO
Rizal High School
School Head

NORLYN D. CONDE
MAPEH Education Program Supervisor

RODOLFO B. MANUEL/ROLANDO C. JULIAN

Public Schools District Supervisor