spa music cg 2014-writeshop 2 (1).doc

MUSIC

FOR SPECIAL PROGRAM IN THE ARTS (SPA)

CURRICULUM GUIDE

Draft prepared by: Jocelyn T. Guadalupe, Christine M. Muyco, Jose S. Soliman, Jr.,

Leticia G. Del Valle, Arvin Manuel R. Villalon

As of June 25, 2014College of Music, UP Diliman

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SPA MUSIC CURRICULUMCONCEPTUAL FRAMEWORK

Music occupies a very important role in Philippine society. Its function is well entrenched in the various occasions and festivals and in the day

to day activities of households. Music is used as a means to express and convey messages to members of the community. In the Philippine context,

there is no direct translation for the word music but there is a multitude of words relating to music which describe song forms, musical instruments,

and processes. This just means that music is more than just an abstraction as it is found in the everyday experiences of the people.

The SPA music curriculum focuses on four threads which at the end of the program will equip the learner as an engaged artist in the field of

music: 1. music as borne of the expression of the self as seen in the Filipino tales, epics, rituals, and festivals; 2. music as a community resource

rooted in the natural, tangible, and intangible heritage of the people; 3. music as an continuing expression of the people’s history and; 4. music as a

contextualized reality from the local to global perspectives in the contemporary times.

Along with four threads, the curriculum will develop the learner‘s knowledge, appreciation, and skills in music using the seven building blocks

of music distributed across the curriculum (Philosophy of Music; Overview of Music; Music Elements and Concepts; Music Processes and Skills;

Musical Instruments; Music Genre and Styles; People of Music). The SPA program is a spiraling program, grounded on performance-based learning.

At the end of the program the learners will have gained the basic and intermediate skills in music which will prepare them for a career and/or higher

education in music and other art disciplines.

The philosophical foundations upon which standards and competencies are based on are aligned with the regular K-12 program for music

and the arts. These include among others, the following sources: A Process of Education by Jerome Bruner, Performance-Based Learning by

Cleve Miller, Aesthetic Education by Bennett Reimer, Praxial Music Education by David Elliott, Multiple Intelligences by Howard Gardner, A

Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced

by the National Research Council of the Philippines, Dictionary of Filipino Musical Terms produced by the UP Center for Ethnomusicology, Content

Standards from the National Standards for Arts Education by Music Educators National Conference (MENC), Integrating Music Throughout the

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Curriculum by Claudia Cornett, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor

Lowenfeld and W. Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both

produced by the Cultural Center of the Philippines, and Malikhaing Guro by ARTISTS, Inc.

SPA MUSIC CURRICULUMPHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION

Source: K-10 Philosophy and Rationale for Music Education

Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a tapestry moving

in time. The global weavings of this tapestry in historical and cultural contexts are diverse—having spurred a continued metamorphosis to

include a full range of purposes, functions, and identities, from the utilitarian to aesthetic.

However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the

nature of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that

addresses the human spirit, and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a

continuing art. Aaron Copland describes this characteristic

as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self-expression and

fulfillment.

On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds

needs to be developed. The student must learn to hear, speak, and think in the medium of music. Simultaneously, growth and development in

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the skills that enable the application of the learner’s knowledge should be encouraged, through active involvement in the various musical

processes.

Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices

advocated by the SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thoughts

about contemporary general education. We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic

expression and cultural literacy, and celebrate his/her national heritage, while it instills, within every individual Filipino learner, pride in his/her own

cultural identity.

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Spirit

Land

Culture & History

Lifecycle

SENSORY-AESTHETIC

RELATIONAL

MENTAL-EMOTIONAL

VALUES

MUSIC ELEMENTS AND CONCEPTS

SelfMUSIC

PROCESSES AND SKILLS

MUSIC EXPRESSION AND PERFORMANCE

MUSIC CONTEXT

Local & Global Community

*LISTENING TO, ANALYZING, AND DESCRIBING MUSIC

*SINGING AND/OR PLAYING INSTRUMENTS, ON SOLO or GROUP PERFORMANCE on

VARIED REPERTOIRE OF MUSIC

*IMPROVISING MELODIES, VARIATIONS AND

ACCOMPANIMENTS

*CREATING AND ARRANGING MUSIC USING NATURAL AND

ELECTRONIC MATERIALS WITHIN SPECIFIC GUIDELINES

*UNDERSTANDS MUSIC AND ITS RELATIONSHIP TO OTHER ARTS

DISCIPLINES

*READING AND WRITING MUSIC

*EVALUATING MUSIC AND MUSIC PERFORMANCES

*UNDERSTANDS MUSIC IN RELATION TO HISTORY AND

CULTURE

PROMOTES A FILIPINO PERSPECTIVE IN THE *UNDERSTANDING AND PERFORMING OF MUSIC

SPA MUSIC CURRICULUM

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GRADE 7 ELEMENTS OF MUSIC -BASIC ELEMENTS AND MUSIC APPRECIATION & PRINCIPLE OF ALL THE ARTS BASIC MUSIC SKILLS -SELF & THE GROUP

GRADE 8 MUSIC SKILLS DEV’T I: - COMMUNITY: LIFE SOURCES AWARENESS & EXPLORATION & CULTURAL HERITAGE

GRADE 9 MUSIC SKILLS DEV’T II: -PHILIPPINE MUSIC: INDIGENOUS, EXPLORATION TRADITIONAL, WESTERN

MUSICAL COMPARATIVE HISTORICAL HISTORICAL

GRADE 10 PROFICIENCY - MUSIC IN ASIAN, WESTERN, GLOBAL and CONTEMPORARY

PERSPECTIVES

GRADE 11 COMPETENCE - MUSIC SPECIALIZATION I

GRADE 12 ADVANCED - MUSIC SPECIALIZATION II COMPETENCE

FIGURE 2. THE CONTENT OF SPA MUSIC CURRICULUM PER GRADE LEVEL SPA MUSIC CURRICULUM

Music as an Expression of Life Music as a Communication

Tool Music as an Expression of

Personal and Cultural Identity Music as an Expression of

History Music as a Repository of

Values Music as a Means for

Promoting Personal and Social Growth

What is Music Music in Relation to the Other

Arts Purpose and Role of Music in

Society Defining Music in the

Timbre Dynamics Rhythm Melody Pitch Harmony Tempo Form

Listening Reading Imitating Responding Creating Improvising Performing Evaluating Analyzing critically Applying Researching Using music technology Instrument-making/

Voice and the Body Sound makers Idiophones Membranophones Aerophones Chordophones Rondalla, Orchestra and

band Indigenous instruments and

ensemble Electronic Musical

Instruments

Music of the Philippines Music of Asia Music of the West Music of Africa, Latin

America, South Pacific Contemporary Musical

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BUILDING BLOCK III:

MUSIC ELEMENTS AND CONCEPTS

BUILDING BLOCK II:

OVERVIEW OF MUSIC

BUILDING BLOCK IV:

MUSIC PROCESSES OR SKILLS

BUILDING BLOCK VI:

MUSIC LITERATURE

MUSIC SPECIALIZATION:

1. VOICE

2. INSTRUMENT

3. CREATIVE MUSIC WRITING AND ARRANGING

4. PERFORMANCE

*BUILDING BLOCK I: PHILOSOPHY: WHY STUDY MUSIC

BUILDING BLOCK V:

MUSICAL INSTRUMENTS

Philippine Context repairing Writing Music

Forms and Styles

Famous musicians in history National Artists and Gawad

Manlilikha ng Bayan Roles in Music Making Careers in Music

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BUILDING BLOCK VII:

PEOPLE OF MUSIC

*Adapted From National Standards for Arts Education, 1994

SPA MUSIC CURRICULUM

LEARNING AREA STANDARD:

The learner demonstrates an appreciation and understanding of the concepts and principles of Music, Aesthetics, and History within the context of Philippine cultural and historical realities. The course ends with musical performances imbued with artistic creativity, sense of community, and pride of place. Each performance incorporates sensitive interaction with Filipino indigenous heritage, values of human and social development, and mobilizing skills for a career in the arts.

KEY STAGE STANDARD

GRADES 7-10 GRADES 11-12

The learner demonstrates an appreciation and understanding of the concepts and principles of Music, Aesthetics, and History within the context of Philippine cultural and historical realities. The course ends with musical performances imbued with artistic creativity, sense of community, and pride of place. Each performance incorporates sensitive interaction with Filipino indigenous heritage, values of human and social development, and mobilizing skills for a career in the arts.

The learner demonstrates Competency in the Mastery and Application of the concepts and principles of Music, Aesthetics, and History directly applicable for towards a career and profession in various fields of Music.

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TABLE 1. BASIC REFERENCE FOR MUSIC

GRADE LEVEL STANDARDS

GRADE LEVEL

GRADE LEVEL STANDARDS

Grade 7 The learner demonstrates an appreciation and understanding of the basic language of the creative arts, focusing on MUSIC as an INTEGRATED LANGUAGE of personal, group, and cultural expression and creativity in stories, ritual, myth, and cultural enactments for the RELEASE of creativity, and AWARENESS of self and cultural identity, and sense of social responsibility.

Grade 8 The learner demonstrates an understanding of the basic concepts, principles, and skills of MUSIC relevant to creating seminal works on Community Realities and Life Sources for the AWARENESS and EXPLORATION of creativity, sense of self and cultural identity, and social responsibility

Grade 9 The learner demonstrates an understanding of the basic concepts, principles, skills of MUSIC relevant to creating processes and works reflecting History and Heritage for the EXPLORATION of creativity, sense of self and cultural identity, and social responsibility

Grade 10 The learner demonstrates an understanding of the basic concepts and principles of MUSIC interacting with other disciplines relevant to the creation of major works reflecting Con temporary Realities for the PROFICIENCY in artistic creativity, leading to a sense of self, cultural identity, and social responsibility

Grade 11 The learner demonstrates COMPETENCE in the application of the concepts and principles of Music, Aesthetics, and History in their own MUSIC SPECIALIZATION towards a productive career and profession in various fields of Music.

Grade 12 The learner demonstrates an ADVANCEMENT in COMPETENCE in the application of the concepts and principles of Music, Aesthetics, and History in their own MUSIC SPECIALIZATION towards a productive career and profession in various fields of Music.

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CURRICULUM CONTENT AND MATERIALS FOR SPA MUSIC

Expected Graduates of SPA Music:

Track A: Tertiary Education

Track B: Practitioner of Music (performer, church music trainer, arranger, music technician)

Course Scope, Content and Materials:

GRADE Level: Quarter or Grading Period

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 PM

INTRO TO MUSIC INSTRUMENTAL ENSEMBLE INTRO TO MUSIC VOCAL ENSEMBLE INTRO TO MUSIC

4-5 PM

SOLO INSTR SOLO INSTR SOLO INSTR

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SPA MUSIC CURRICULUMGRADE 7

COURSE DESCRIPTION:

This is a course in SPA music specialization that aims the learner to demonstrates an appreciation and understanding of the basic language of the creative arts, focusing on MUSIC as an INTEGRATED LANGUAGE of personal, group, and cultural expression and creativity in stories, ritual, myth, and cultural enactments for the RELEASE of creativity, and AWARENESS of self and cultural identity, and sense of social responsibility.

MUSIC GRADE 7 : FIRST QUARTER FIRST GRADING PERIOD

1st Quarter: Artistic Expressions, Integrated Arts , Soundscapes and Warm-Ups for Voice and Instruments

CONTENT CONTENT STANDARDS

PERFORMANCE STANDARDS

LEARNING COMPETENCIES

CODES

A. THE LANGUAGE OF ARTISTIC EXPRESSION

Elements of Artistic Expression in all the arts: 1.Space2.Line3. Movement4.Texture5. Sound

The learner…

demonstrates understanding of the different artistic expressions; its elements, processes, principles, and interrelations.

The learner…

illustrate examples of the integrated art processes in the different art forms

The learner…

1. defines the different elements of artistic expression

2. describes how the different elements are used

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6. Silence7. Rhythm 8.Form

B. Principles of Artistic Organization common in the arts

1.Unity and Variety2.Form3. Function and Intent

C. Characteristics of the different Art Forms and its Artistic Expressions:1. Music 2.Dance3.Drama4. Literature5.Visual Arts6.Film

D. Soundscapes(Music from the Natural Environment)

Develops the fundamental artistic process such as music with artistic awareness and creativity in expressing oneself.

3. explains the principles of artistic organization in the different art forms.

4. explains the characteristics of the different art forms

5. distinguishes clearly the commonalities and differences among the different art forms

6. analyzes elements and processes of artistic expression in the different art forms.

7. demonstrates the elements of artistic expressions using soundscapes in music using the available resources in your

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E. Warm-Ups and Caring for the Voice and Instruments

community

8.practice regular warm-up for vocal and instrumental ensemble.

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MUSIC GRADE 7 : SECOND QUARTER SECOND GRADING PERIOD

2nd Quarter: Legends and Myths, Sounds as narrative, Introduction to Music I-A




A. THE LANGUAGE OF CREATIVE EXPRESSION IN LEGENDS AND MYTHS:1. Sound as Narratives in

Local Legends and Myths

The learner...

demonstrates understanding of local stories, legends and myths as reflections of Filipino

The learner...

performs chants or songs from stories, legends and myths in their local context with clarity.

The learner...

1. describes the narratives citing their place of origin

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2. Interpretations/ Meaning-Making (Local Views)

3. Depictions through 2-3 Integrated Art Forms (e.g. Chants/Instruments, Movement, Poetry, etc.)

B. INTRODUCTION TO MUSIC

1.Why Study Music2.Overview of Elements of Music :

Rhythm Melody Harmony Tempo Dynamics Timbre Form

values, ingenuity

demonstrates understanding of the importance of studying music and its

2. interprets stories, guided by basic Filipino cultural perspectives

3.relates how these narratives reflect aspects through Filipino perspective

4.establishes a set of values and insights relevant to their life and community.

5.analyzes narratives in terms of literary and musical elements

6.identify the importance of studying music.

7.sings chants from stories, myths and legends

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3. Instrumental

Identification of Instruments

Parts of the Instrument Proper techniques of

playing the instrument

4. Vocal

Main features and proper care of the voice

Classifications of voice: SATB

elements.

demonstrates recognition of the instruments used; its parts,and proper technique of playing.

demonstrates proper warm-up and vocal care.

executes the proper technique of playing the instrument.

executes the proper way of vocal care.

8.applies the use of music in the integrated arts in depicting the narratives creatively

9. identifies the different instruments used and their parts .

10. applies the proper techniques in playing the instrument.

11. explains the main features and proper care of the voice

12. distinguishes the classifications of voice (SATB)

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MUSIC GRADE 7 : THIRD QUARTER

3rd Quarter: Rituals and Festivals, Introduction to Music I-B

CONTENTCONTENT

STANDARDSPERFORMANCE

STANDARDSLEARNING

COMPETENCIES

A. THE LANGUAGE OF CREATIVE EXPRESSION IN RITUALS AND FESTIVALS

1.Local/ Regional Rituals and Festivals2.Analysis of Artistic Expressions in Rituals and Festivals

3.Contextual Interpretations (Local)

The learner…

demonstrates understanding of local rituals and festivals reflective of Filipino values, ingenuity

demonstrates understanding of music concepts and processes as applied to the music of

The learner…

Performs rituals and festivals according to local/regional traditions.

The learner...

1. describes rituals and festivals citing their history, place of origin, and context

2. analyzes significant use of the arts and creative expressions in rituals and festivals

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4. Depictions through 2-3 Integrated Art Forms

(Visual Arts, Movement, Music, Literary Arts, Drama)

B. INTRODUCTION TO MUSIC1.Elements of Music

Rhythm (Beat, Meter, Note Values)

Melody (Modes, Tonality, Scales)

Harmony (Intervals & Triads)

Tempo (Adagio,

rituals and festivals

demonstrates understanding to the use of different art forms and media to portray rituals and festivals

executes skills required in solo and group performance

3.re-enact rituals and festivals using the integrated process involving elements from dance, drama, music, writing, visual arts, and media arts.

4.demonstrates the various artistic expressions present in the rituals and festivals and establishes their functions

5. identify the basic elements of music in a given music example

6..sing/play instruments alone or with others

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Moderato, Allegro, Presto, Vivace)

Dynamics( piano, forte, mezzo piano, mezzo forte)

Timbre (vocal, instrumental, environmental)

Form (Cyclic, Phrases, Period, Section, Binary, Ternary, Rounded Binary, Rondo, Song Forms)

*the teachers are free to choose what elements of music he/she think is necessary to apply.2.Importance of Music

as an expression of life as a tool for

communication as an expression of

personal and cultural identity

as an expression of history

as a repository of values

as a means for

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promoting personal and social growth

3. Application of the Elements of Music through the chosen specialization: voice and instrument-playing. Instrument-Playing/Singing Finger

positions/Posture Embouchure (winds);

bowing/plucking (strings);

Articulation Tone Production and

Resonance

MUSIC GRADE 7 : FOURTH QUARTER

4th Quarter: Performance, Introduction to Music (I-C) , Collaboration of the Different Art Fields




A. INTRODUCTION TO MUSIC

The learner... The learner... The learner...

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1.Continuation of Review of Elements of Music :

Rhythm (Beat, Meter, Note Values),

Melody (Direction and Contour, Modes, Tonality, whole and half

steps, Tetrachords, Scales and

Intervals), Harmony (Texture, Intervals &

Triads), Tempo (Adagio, Moderato,

Allegro, Presto, Vivace), Dynamics( piano, forte, mezzo

piano, mezzo forte), Timbre (vocal-chest & head,

instrumental, environmental), Form (Cyclic, Phrases, Period,

Section, Binary, Ternary, Rounded Binary, Rondo, Song Forms)

Basic Music Reading: Notes, Rests, Time Signature, Clefs

*NOTETeachers are free to choose what elements of music he/she thinks is necessary to apply in the course.

demonstrates an understanding of the importance of music, elements of music, music literacy, folk music and its functions, aspects of music ensemble practice and integrated musical performance

performs the epics, folktales, rituals, and festivals with music.

performs basic music reading skills through sight reading and singing of their local music (e.g.Harana-Bulacan)

1.describes the elements of music

2.analyzes musical elements in epics, rituals, festivals meaningfully

3.analyzes meaningfully the dynamics of self and group through music and the integrated arts approach

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Application of the Elements of Music through the chosen specialization: voice and instrument-playing.

Instrument-Playing/Singing Finger positions/Posture Tone Production &

Resonance Embouchure (winds);

bowing/plucking (strings); Articulation Solo and ensemble playing of

Pieces/works related to rituals and festivals

Integrated Arts Approach to staging a music performance based on Filipino legends, myths, rituals, and festivals

Applies the elements of music through singing and playing

applies aspects of the integrated arts approach in the staging music performances

*the performance standards for the fourth quarter will be showcased in collaboration

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with all the other art fields.

Course Scope, Content and Materials:

GRADE 7: Integrated Language


3-4 PM

INTRO TO MUSIC I

INSTRUMENTAL ENSEMBLE INTRO TO MUSIC I VOCAL ENSEMBLE INTRO TO MUSIC I

4-5 PM


Coverage of INTRO TO MUSIC:

1st Q: Artistic Expressions, integration, and Soundscapes; warm-up to instrument/voice;

2nd Q: Legends and Myths, sounds as narrative; Introduction to Music I-A

3rd Q: Rituals and Festivals; Theory, Listening, Introduction to Music I-B

4th Q: *Performance, Theory, Listening, Introduction to Music I-C, Collaboration of the Different Art FieldsSolo Performance/Collaboration: instrument/voice/choir--- SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b) INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI

MATERIALS: Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodore LynnSolo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of Concone, Marchesi,

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MacClosky; Van Christy Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda, Dictionary of Filipino Musical Terms (UPCE), Philippine Traditional Music by Kristina Benitez, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis)Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-WohlfarthWinds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in BandPiano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary Piano Method, Celebration SeriesStrings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full ScoreRondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and PerezChoir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu, www.upethnom.com

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http://www.upethnom.com/

http://www.folkways.si.edu/

http://www.culturalequity.org/

http://www.solfege.org/

http://www.teoria.com/

http://www.giamusic.com/

SPA MUSIC CURRICULUMGRADE 8

Course Description:This is a course in SPA- Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles, and

skills of MUSIC relevant to creating seminal works on Community Realities and Life Sources for the AWARENESS and EXPLORATION of creativity, sense of self and cultural identity, and social responsibility

MUSIC GRADE 8 : FIRST QUARTER FIRST GRADING PERIOD

Community/Folk life and music, Introduction to Music II-A


PERFORMANCE

STANDARDS

LEARNING COMPETENCI

ES

POSSIBLE ACTIVITIES

A. INTRODUCTION TO THE NATURAL AND CULTURAL HERITAGE OF A COMMUNITY:

The learner…

demonstrates an

The learner…

Creates a cultural map

The learner…

1.describes the

The learner…

draws and explains

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1. Cultural Heritage

2.The Different Dimensions of Society: Ecology, Governance, Cultural, Social, Human, Economic, and Spiritual

3. Assessing the Music Resources of a Community

4.Basic Social Mapping

B. INTRODUCTION TO MUSIC 1.Elements of Music :

Rhythm (Simple & Compound Meter,

understanding of cultural heritage

demonstrates an understanding of the different dimensions or modalities of society as applied in a community and their various relationships

demonstrates an understanding

depicting the community heritage (tangible and intangible).

assesses the music resources of the community

dimensions of society and applies them on an analysis of his community

conducts survey of the music resources of the community

2.illustrates social maps with clarity, analysis, and interest

the various dimensions of society and its reflections in his /her community

draws

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Syncopated ) Melody (Key

Signatures, Scale Degree names Types and Qualities of Intervals),

Harmony (Chord Functions, Tonic, Dominant, Chord Progressions),

Tempo (Grave, Lento, Prestissimo, Ritardando, Accelerando, Rubato),

Dynamics(crescendo, decrescendo, diminuendo),

Timbre (Hornboestel-Sachs Classification, Voice –SATB, Solo, Duet, Trio,Quartet ),

Form (Canon, Fugue, Sonata Allegro, Concerto,

of basic social mapping methods

demonstrates an understanding of basic music reading, basic vocal techniques, instrument playing techniques, and sight reading skills

Performs sight-reading, singing and playing

evaluates music applying the basic musical elements and skills

performs music through solo and with accompaniment

3. evaluates music applying the basic musical elements and skills

4.explains how specific elements of music are applied in particular pieces

social maps

reads and analyzes music

rehearses pieces

applies technique in singing or playing instruments

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Symphony) 2. Importance of

Music as an

expression of life;

as a tool for communication;

as an expression of personal and cultural identity;

as an expression of history;

as a repository of values;

as a means for promoting personal and social growth

3. Application of the Elements of Music through the chosen specialization: voice

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and instrument-playing.

Instrument-Playing/Singing (Continuation from Grade 7)

Finger positions/Posture

Tone Production & Resonance

Embouchure (winds); bowing/plucking (strings);

Articulation Sight Singing Basic Sight Reading Repertoire Study


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MUSIC GRADE 8 : SECOND QUARTER

2nd Q: Ecology and natural resources, Introduction to Music II-B;


PERFORMANCE

STANDARDS

LEARNING COMPETENCI

ES

POSSIBLE ACTIVITIES

A. OUR LIFE SOURCES1.Ecological Mapping: Creative Presentation of Local Natural Resources (marine, terrestrial, aerial ecosystems of a community)

The learner…

demonstrates an understanding of the natural resources of his/her community and its different ecosystems

The learner…

Map an inventory of the natural resources of the community , ecosystems and give their significance.

illustrates

The learner…

1. identifies the different natural resources of the community and their significance.

The learner…

researches on ecosystems and their significance

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2.Earth Music Fusion

B. INTRODUCTION TO MUSIC (Continuation)

1. Elements of Music : Rhythm

(Simple & Compound Meter, Syncopated )

demonstrates understanding of the relationship of music elements to the earth

the varied ecosystems in his/her community through an ecological map or visual collage

create a fusion of earth music through improvisation

performs music with an ecological content

2.creates ecological maps of the natural resources of his/her community

3.creates soundscapes of human and ecological situations based on these maps

draws or creates visual collages or community maps illustrating various eco-systems

explores various soundscapes

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Melody (Key Signatures, Scale Degree names Types and Qualities of Intervals),

Harmony (Chord Functions, Tonic, Dominant, Chord Progressions),


Dynamics(crescendo, decrescendo, diminuendo),

demonstrates the basic aural skills

demonstrates understanding of the various methods and techniques of singing and instrument-playing

demonstrates understanding of melody,

creates simple accompaniments to local music

demonstrates skills in music reading and ensemble playing and singing

stages musical performance with an ecological content

performs music through solo and with

4. identifies the elements of music

applies technique in singing or playing instruments

writes an experience paper on the quarter activities

studies new pieces applying music theory and sight reading

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Timbre (Hornboestel-Sachs Classification, Voice –SATB, Solo, Duet, Trio,Quartet ),

Form (Canon, Fugue, Sonata Allegro, Concerto, Symphony)

2. Application of the Elements of Music through the chosen specialization: voice and instrument-playing.

3. Instrument-Playing/Singing (Continuation from Grade 7)


harmony, balance, and blending through ensemble playing and group singing

accompaniment

skills

rehearses small group ensembles

33



Articulation Sight Singing Basic Sight

Reading Repertoire Study Choral

Harmony, Balance & Blending

4.Rehearsals and Performance of Pieces with Ecological Content


3rd Q: Basic research, mapping of tangible and intangible musical cultures, Introduction to Music II-C;


PERFORMANCE

LEARNING COMPETENCI

POSSIBLE ACTIVITIES

34

STANDARDS ES

A. OUR CULTURAL HERITAGE

CULTURAL MAPPING of Cultural Resources: Tangible and Intangible Using Creative Integrated Arts Approaches

The learner…

demonstrates an understanding of the cultural resources of his/her community, its different types, and significance

demonstrates an understanding of local heritage icons and their conditions

The learner…

Map an inventory of the tangible and intangible cultural resources from their community and establish its significance..

illustrates the heritage icons in his/her community through a cultural map or visual collage

The learner…

1. Identifies and Classifies the tangible and intangible cultural resources in his/her community and its significance.

2.creates maps of the cultural resources of communities

3.creates scenes of human and socio-cultural

The learner…

researches on his/her community’s cultural heritage resources and establishes their significance

draws or creates visual collages or community maps illustrating various tangible and

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1. Elements of Music :

Rhythm (Simple & Compound Meter, Syncopated , Ostinato, Drone), Melody (Key Signatures, Scale Degree names Types and Qualities of Intervals, Modes), Harmony (Chord Functions, Tonic, Dominant, Chord Progressions, Drone & Melody), Tempo (Grave, Lento, Prestissimo, Ritardando, Accelerando, Rubato),

demonstrates an understanding of basic

performs basic musical skills in voice and/or

situations based on these maps

4. identifies the music features of a short heritage piece

intangible cultural resources

explores various music techniques to portray heritage icons and human situations

performs music with a heritage content

writes an experience paper on

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Dynamics(crescendo, decrescendo, diminuendo), Timbre (Hornboestel-Sachs, Bel Canto, Indigenous Vocal Styles), Form ( Sonata Allegro, Concerto, Symphony, Theme & Variations, Cyclic form, Indigenous Forms)

2.Application of the Elements of Music through the chosen specialization: voice and instrument-playing.

Instrument-Playing/Singing (Continuation)




Articulation Sight Singing

elements of performance and music interpretation

demonstrates an understanding of features related to dynamics, tone gradation, articulation, and tempo

demonstrates understanding of elements of music as applied to indigenous forms

demonstrates an understanding of cultural research

instrument-playing

performs music pieces with cultural heritage content


stages music performance with a cultural heritage content

the quarter activities

rehearses small group ensembles

37

Basic Sight Reading

Repertoire Study Choral

Harmony, Balance & Blending

3.TECHNIQUE CLASS (Voice and Instrument): Performance of Local Music Pieces (Community Resources)

4.CULTURAL RESEARCH Field Research ApproachesCreating Cultural Heritage Maps and Selecting Icons for Music Performance

PERFORMANCE of Pieces with CULTURAL HERITAGE content


demonstrates understanding of the performance of music pieces with cultural heritage content drawn from local community resources

38

MUSIC GRADE 8 : FOURTH QUARTER

4th Quarter: Performance: instrument/voice/choir, Collaboration of the Different Art Fields;


PERFORMANCE

STANDARDS

LEARNING COMPETENCI

ES

POSSIBLE ACTIVITIES

A. MUSIC PERFORMANCE ON LIFE SOURCES AND CULTURAL HERITAGE

1.INTRO TO MUSIC: ANALYSIS. The identification of features played in a short heritage piece. The features would relate to the ELEMENTS OF MUSIC

B. PROGRAM PLANNING Basics of Planning a

Music Performance Rehearsal Preparation Staging the

Performance

The learner…

demonstrates an understanding of program planning, rehearsal preparation, and staging using the integrated arts approach

demonstrates an understanding of the staging process

The learner…

perform fundamental processes in music with creativity

performs basic musical skills for voice and instruments

The learner…

1.applies the appropriate musical elements needed in the piece

2.analyzes the importance of a good music programming, rehearsal

The learner…

plans for a music program

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C. REHEARSALS AND PERFORMANCE: Plays and/or Music Performances pertaining to Life Sources, Heritage and Culture

utilizing elements of production values like music, design, and movement

demonstrates an understanding of rehearsal and staging methods leading to run-throughs and performances

performs music pieces with cultural heritage content


employs acceptable rehearsal methods to good program planning

preparation, and staging

3.improvises music based on local cultural heritage

4.identifies acceptable rehearsal methods applicable to good program planning

conducts various rehearsals and run-throughs

performs in front of an audience

conducts a feedback session with the audience

performs improvisation of local musical materials

evaluates the

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applies aspects of the integrated arts approach in the staging music performances

*the performance standards for the fourth quarter will be showcased in collaboration with all the other art fields

production process in class

writes a journal of experiences of the entire Grade 8

GRADE 8: Community Realities and Life Sources

Schedule


3-4 INTRO TO MUSIC II INSTRUMENTAL INTRO TO MUSIC II VOCAL ENSEMBLE INTRO TO MUSIC II

41

PM ENSEMBLE

4-5 PM


Coverage of INTRO TO MUSIC II:

1st Q: Community/Folk life and music; Introduction to Music II-A

2nd Q: Ecology and natural resources; Introduction to Music II-B

3rd Q: Basic research, mapping of tangible and intangible musical cultures; Introduction to Music II-C

4th Q: Performance: instrument/voice/choir; Collaboration of the Different Art Fields

Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b) INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI

MATERIALS: Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodore LynnCommunity/Folk Music: Dictionary of Filipino Musical Terms (UPCE), Anthology of Philippine Folk Songs by Damiana Eugenio, CCP Encyclopedia of Music, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis); Compendium of Humanities by NRCP, Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose MacedaEcology: Soundscape by Murray Schafer, Earth Music by Arvin VillalonRondalla: Celso Espejo Rondalla Methods by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, PerezChoir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble ArtsSolo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of Concone, Marchesi, MacClosky, Foundations of Singing by Van ChristyIndigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino

42

(unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina Benitez, Tuklas Sining, CCP Encyclopedia, “Mangalimog ako: Finding one’s voice in Sugidanon (epic chanting)” by Christine Muyco in Songs of Memory in Islands of Southeast Asia , Musika Jornal, Sonic Orders, Songs of the Babaylan (Grace Nono) Musics of ASEAN , Compendium on the Humanities NRCPGuitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-WohlfarthWinds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in BandPiano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary Piano Method, Celebration SeriesStrings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full ScoreRondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and PerezChoir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts


SPA CURRICULUM MUSICGRADE 9

Course DescriptionThis is a course in SPA-Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles,

skills of MUSIC relevant to creating processes and works reflecting History and Heritage for the EXPLORATION of creativity, sense of self

and cultural identity, and social responsibility

43







MUSIC GRADE 9 : FIRST QUARTER

Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A




POSSIBLE ACTIVITIES

A. Functions of Music in Daily Life (Phil. & Western): 1.Rituals,2.Worship3.Leisure & Entertainment4.Historical and Geographical Background

Personages:Philippines: Ritualists (Babaylan, Baki, etc.) GAMABAWestern: Troubadors, Minstrels, Monks, Dancing Masters, Major Composers

The learner…

demonstrates an understanding of cross-cultural comparison between Philippine and Western musical development

The learner…

performs Philippine and Western music based on its functions to daily life

The learner…

1. distinguishes the different functions of music in Philippine and western setting

2. displays familiarity in various performance practice of Western music and Philippine music

3.Outline the historical and geographical

The learner…

makes a table of comparison for both Philippine and Western music development

traces the linear historical development of Philippine and Western music alongside

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1.Elements of Music :

Rhythm (Free Meter, Speech Meter, Changing Meter, Metric, Syncopated , Ostinato, Drone), Melody (Modes),

Harmony (Drone & Melody,


performs basic musical skills for voice and instruments


background of Philippines and Western countries

4.analyzes how socio-cultural functions and historical events affects musical forms across Philippine and Western society

5.distinguishes how Philippine and Western music developed alongside each other through finding commonalities and differences

applies additional musical skills for voice and instrument playing

historical events

rehearses music showing knowledge of the musical elements as applied in the music

sings or plays instruments with technique appropriate to the piece.

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Organum), Tempo (Grave, Lento, Prestissimo,

Ritardando, Accelerando, Rubato), Dynamics (Articulationslegato,

staccato, portamento, portato), Timbre (Local Instrument

Classification, Hornboestel-Sachs, Bel Canto, Indigenous Vocal Styles,

Musical Instruments:Gongs, Bamboo, Drums & Lutes (Philippines); Recorder Consort, Psaltery, Lutes, Viols, Tambor), Form (Musical Genres:

Philippines: Ballads & Epics, Mimetic Dances,

Western: Plainchant, Madrigals, Secular & Sacred, Mass, Dance Suites

3. Application of the Elements of Music through the chosen specialization: voice and instrument-playing. Instrument-Playing/Singing (Continuation)

Finger positions/Posture Tone Production & Resonance Embouchure (winds);

46

bowing/plucking (strings); Articulation Basic Sight Reading Repertoire Study Choral Styles


Spanish Colonial Period versus Baroque, Classic and Romantic Periods, Introduction to Music III-B




POSSIBLE ACTIVITIES

A.Functions of Music in Daily Life (Phil. & Western): 1.Sacred Music2.Secular Music

2.Historical & Geographic : Colonial Expansion & the Rise of Nationalism

Personages: Adonay, Bonus, Illustre

Troubadors, Minstrels, Monks,

The learner…

demonstrates an understanding of cross-cultural comparison between Philippine and

The learner…

displays familiarity in various performance practice of Western music and Philippine

The learner…

1. describes the different functions of music in Philippine and western setting

The learner…

makes a table of comparison for both Philippine and Western music

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Dancing Masters,

3.Major Composers

Western musical development

music 2.distinguishes sacred from secular music

3..identifies the historical and geographical background of Philippines and western

4. enumerates major composers of the Spanish colonial period in the Philippines.

5. enumerates the major composers of the baroque, classical and romantic periods.

6.analyzes how socio-cultural functions and historical events affects musical forms across Philippine and Western society

7..distinguishes how Philippine and

development

traces the linear historical development of Philippine and Western music alongside historical events

rehearses music showing knowledge of the musical elements applied in the music

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1.Elements of Music :

Rhythm (Review of Simple and Compound Meter),

Melody (Review of Major and Minor Tonality),

Harmony (Basso Continuo, Figured Bass, Alberti Bass),


Dynamics(Articulations, legato, staccato, portamento, portato),

Timbre ( Instruments of the


demonstrates basic musical skills in voice and/or instrument-playing


applies appropriate technical skills in performing Philippine and

Western music developed alongside each other through finding commonalities and differences

8. applies additional musical skills for voice and instrument playing

sings or plays instruments with technique appropriate to the performance practice of the piece.

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Orchestra Hornboestel-Sachs, Bel Canto,

Musical Instruments:Baroque, Classic & Romantic Orchestras

Music Genres: Philippines: Kundiman, Misa, Balitaw, Danza, Kumintang, Jota, Curacha, Habanera, Sarswela, Komedya, Pasyon, Subli, Senakulo, Panunuluyan, Gozo, Villancico, Pastores, DaigonWestern: Oratorio, Opera, Sonata, Symphony, Concertos, Tone Poem, Program Music, Art Songs, (Chansons, Lied, etc.)

2. Application of the Elements of Music through the chosen specialization: voice and instrument-playing.




Western music

50

Articulation Basic Sight Reading Repertoire Study Interpretations Choral Styles



3rd Quarter: American and Japanese Occupation. Introduction to Music III-C

51




POSSIBLE ACTIVITIES

A.Functions of Music in Daily Life (Phil. & Western): 1.Leisure and Entertainment 2.Art Music 3.Popular Music

4.Historical & Geographic Background

Personages: Philippines: Abelardo, Santiago, Molina National Artists for Music

Major Composers & Major Works


1. Elements of Music

Rhythm (Free Meter, Changing Meter, Mixed Meter , Polymeter),

The learner…

demonstrates an understanding of cross-cultural comparison between Philippine and Western musical development

demonstrates an understanding of basic music reading, basic vocal techniques, instrument playing techniques, and

The learner…

displays familiarity in various performance practice of Western music and Philippine music

demonstrates basic musical skills in voice and/or instrument-

The learner…

1.describes the different functions of music in Philippine and western setting

2.identifies the historical and geographical background of Philippines and western

3.analyzes how socio-cultural functions and historical events affects musical forms across Philippine and

The learner…

makes a table of comparison for both Philippine and Western music development

traces the linear historical development of Philippine and Western music alongside historical events

rehearses

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Melody (Whole-Tone, Polytonal, Twelve-Tone),

Harmony (Quartal Chords, Quintal, Heptachords, Hexachords),


Dynamics (extreme dynamics and articulations ex. Fortississimo),

Timbre (Unconventional Instruments and Manners of Playing, Prepared Piano, Electronic instruments, Popular music instruments)

Form (Musical Genres:Philippines: Sarswela, Kundiman, Bodabil, Music from the Japanese Period

Western: Gesamkünswerke, Neoclassical, Avante-Garde, Minimalist Music, ,

sight reading skills playing


applies appropriate technical skills in performing Philippine and Western music

Western society

4.distinguishes how Philippine and Western music developed alongside each other through finding commonalities and differences

5. applies additional musical skills for voice and instrument playing

music showing knowledge of the musical elements as applied in the music


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Chance/Aleatory Music, Indeterminacy, Jazz, Rhythm and Blues

2.Application of the Elements of Music through the chosen specialization: voice and instrument-playing.





MUSIC GRADE 9 : FOURTH QUARTER FOURTH GRADING PERIOD

4th Quarter: Performance of instrument/voice/choir; Collaboration of the Different Art Fields;

54




POSSIBLE ACTIVITIES

A. Application of the Elements of Music through the chosen specialization: 1.voice 2. instrument-playing.




B.PROGRAM PLANNING1.Basics of Planning a Music Performance2.Rehearsal Preparation3.Staging the Performance

The learner…


The learner…



employs acceptable rehearsal methods to good program planning

applies aspects of the integrated

The learner…

1. displays knowledge in performing basic musical performances

2.displays knowledge in music program planning

The learner…

makes a practice plan detailing technical requirements for pieces

rehearses music showing knowledge of the musical elements as applied in the music sings or plays instruments with technique appropriate to the performance practice of the piece.

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arts approach in the staging music performances

*the performance standards for the fourth quarter will be showcased in collaboration with all the other art fields

GRADE 9: History and Heritage


3-4 PM

HERITAGE AND MUSIC

INSTRUMENTAL ENSEMBLE/VOICE/CHOIR

HERITAGE AND MUSIC

INSTRUMENTAL ENSEMBLE/VOICE/CHOIR

/

HERITAGE AND MUSIC

4-5 PM


56

INTRO TO HERITAGE:

1st Q: Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A

2nd Q: Spanish and Baroque, Classic and Romantic Period, Introduction to Music III-B

3rd Q: American and Modern Period, Introduction to Music III-C

4th Q: Performance of instrument/voice/choir, Collaboration of the Different Art Fields

Solo Performance/ Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI

MATERIALS: History: CCP Encyclopedia of Music, History of Music by Jose Maceda, Grove’s Dictionary of Music and Musicians, Garland Encyclopedia of MusicIntroduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn, Thinking About Music by Bonnie WadeSolo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of Concone, Marchesi, MacClosky, Foundations of Singing byVan ChristyIndigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina Benitez, Tuklas Sining, CCP Encyclopedia, “Mangalimog ako: Finding one’s voice in Sugidanon (epic chanting)” by Christine Muyco in Songs of Memory in Islands of Southeast Asia , Musika Jornal, Sonic Orders, Songs of the Babaylan (Grace Nono) Musics of ASEAN, Compendium on the Humanities NRCPGuitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-WohlfarthWinds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in BandPiano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary Piano Method, Celebration SeriesStrings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full ScoreRondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and PerezChoir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck),

57

Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts


SPA CURRICULUM MUSICGRADE 10

Course DescriptionThis is a course in SPA- Music Specialization that aims the learner to demonstrates an understanding of the basic concepts and principles

of MUSIC interacting with other disciplines relevant to the creation of major works reflecting Contemporary Realities for the PROFICIENCY in artistic creativity, leading to a sense of self, cultural identity, and social responsibility

58







MUSIC GRADE 10 : FIRST QUARTER

1ST QUARTER: LOCALIZATION (NATIONAL AND ASIAN), Composition I-A



LEARNING COMPETENCIE

S

POSSIBLE ACTIVITIES

A. The Philippines from Independence to Present Times: Modern & Contemporary Music)

1946-60’s: Influence of Modern and British Music;Pilita CorralesDiomedes MaturanRic ManriqueMabuhay Singers,Levi Celrio, Lucio San Pedro, Felipe deLeon Sr.,

70’s-80’s: Rise of Filipino Nationalism; Protest Songs, Manila Sound, OPM , Filipino Novelty,Edsa revolution

The learner…

1.Demonstrates understanding of Philippine music development from Philippine Independence to Present times.

The learner…

Performs the genres of music (vocal /instrumental) from Philippine Independence to present times.

The learner…

Identifies the genres and proponents of music from Philippine Independence to the present

The learner…

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90’s to Present:Filipino Rap, Filipino Pop, Korean Invasion, Broadway (Miss Saigon, etc)

2.Issues Intellectual Property Rights,

3.Performers Rights

Institutions: CCP, NCCA, NCIP, NAMCYA, OPM, Filscap,

B.Basic Composition (Conceptualization, Representation of Sound: Standard or Graphic Notation, Instrumentation

demonstrates understanding of issues related to the music profession

demonstrates an understanding of basic compositional concepts and techniques

conducts interviews to local artists about the different issues in the music profession.

Composes music

2.Outlines the different issues affecting the music profession.

3.Advocates intellectual property rights.

4.Employs creativity in composition and arrangements.

composes or arranges for particular instruments and/or voices for given themes/functions discusses the reasons behind the issues besetting the music profession and how these can be

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1.Arranging

C. Music Technology Software

D. Application of the Elements of Music through composition and the chosen specialization: voice and instrument-playing.



Tone Production

demonstrates familiarity with music software for notation, recording, sequencing


Arranges music

Performs basic skills for voice and instrument-playing.

Notates, transcribes, records, or sequences music.


Performs diverse musical skills

5.familiarizes with various performance having diverse musical styles.

6. applies music technology software in notating, sequencing and recording.

6. Shows mastery of musical elements through varied musical performance.

addressed makes a database of organizations that advocate music and performer’s rights for future reference rehearses music showing knowledge of the musical elements and styles sings or plays instruments with technique appropriate to the performanc

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& Resonance Embouchure

(winds); bowing/plucking (strings);

Articulation Basic Sight

Reading Repertoire Study Choral Styles Interpretation of

composed works

e practice of the piece.


2nd Quarter: LOCALIZATION (NATIONAL AND ASIAN), Composition I-B




POSSIBLE ACTIVITIES

A. The Philippines in the Context of ASEAN;e.g. Indonesia-Gamelan/Anklung; folk songs , integrated arts in the ASEAN context (dance-drama; shadow puppet, music theater)

The learner…

Demonstrates understanding of Philippine music in the ASEAN context. .

The learner…

Presents a simulated performance of ASEAN music.

The learner…

1.distinguishes Philippine music from ASEAN music .

The learner…

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1.Tradition & Change: ASEAN MUSIC

2.ASEAN Integration, Cultural Ethics

B .Issues; Tradition and Change; ASEAN Integration

C. Simulated Performance of ASEAN Music

D. Continuation of Basic Composition (Conceptualization, Representation of Sound: Standard or Graphic Notation, Instrumentation


demonstrates

create basic music compositions or arrangements


2.develops creativity in conceptualizing basic music compositions or arrangements

3.displays

composes or arranges for particular instruments and/or voices for given themes/functions

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1.Arranging

C.Music Technology Software

D. .Application of the Elements of Music through composition and the chosen specialization: voice and instrument-playing.

an understanding of basic music reading, basic vocal techniques, instrument playing techniques, and sight reading skills

demonstrates familiarity with music software for notation, recording, and sequencing

uses technology to notate, transcribe, record or sequence music

performs music with fundamental musicianship (performs alone and with others in pitch, rhythm, expression, and style )

applies appropriate

familiarity in various performance practice of diverse musical styles

4.displays knowledge in using music technology software

5. displays mastery of the basic musical elements through musical performances.

notates, transcribes, sequences, records music using appropriate music technology tools

discusses the reasons behind the issues besetting the music profession and how these can be addressed

interviews or corresponds with music organizations

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Instrument-Playing/Singing (Continuation) Finger positions/Posture Tone Production & Resonance Embouchure (winds); bowing/plucking (strings); Articulation Basic Sight Reading Repertoire Study Choral Styles Interpretation of composed works

technical skills in performing diverse musical styles

regarding issues in music

rehearses music showing knowledge of the musical elements and styles


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MUSIC GRADE 10 : THIRD QUARTER THIRD GRADING PERIOD

3rd Quarter: GLOBALIZATION, MASS MEDIA AND MUSIC TECHNOLOGY, Composition I-C

CONTENT

CONTENT STANDARDS



POSSIBLE ACTIVITIES

A. Philippines and Globalization (e.g. Middle East, South Pacific, East Asian, African, Latin American, Fusion/Cross-over

The learner…

demonstrates an understanding of globalization in music.

The learner…

performs a musical genre for each region of the world.

conducts

The learner…

1.distinguishes each musical genre .

analyzes

The learner…

composes or arranges for particular instrum

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Music)

Issues in Music: 1.Tradition & Change,2.Commercialization, 3.Globalization 4. Diaspora, 5.Work Exploitation & Labor Laws, 6.Cultural Ethics7. Intellectual Property Rights,

B .Music in Media: Radio, TV, Film, Internet, Print

Institutions: IMusicCouncil, IPhilippine Society for Music Education, PASAMBAP,PHILBANDA,Council for Trad Music, IFederation of Choral Music, ISociety of Contem Music, Asian Composers League, PCDA, UNESCO

C. Continuation of Basic

demonstrates understanding of issues related to the music profession

demonstrates

researches about musicorganizations that deal with issues and music advocacy

create basic music compositions or arrangements


uses technology to notate, transcribe,

the reasons behind the issues in the musical profession

2.displays awareness in music advocacy and issues

3.develops creativity in conceptualizing

ents and/or voices for given themes/functions

notates, transcribes, sequences, records music using appropriate music technology tools discusses the reasons

SPA_MI10-IIIa-2

67

Composition (Conceptualization, Representation of Sound: Standard or Graphic Notation, Instrumentation

ArrangingD. Music Technology Software

E. Application of the Elements of Music through composition and the chosen specialization: voice and instrument-playing.





Articulation Basic Sight

an understanding of basic music reading, basic vocal techniques, instrument playing techniques, and sight reading skills


demonstrates familiarity with music software for notation, recording, and sequencing

record or sequence music


applies appropriate technical skills in performing diverse musical styles

basic music compositions or arrangements

4.displays familiarity in various performance practice of diverse musical styles

5.displays knowledge in using music technology software


behind the issues besetting the music profession and how these can be addressed

interviews or corresponds with music organizations regarding issues in music rehearses music showing knowledge of the musical elements and styles sings or plays instruments

SPA_MBC10-III-a-j-3

SPA_MAE10III-a-j-4

SPA_MMT10-IIIa-c-5

SPA_MAE10-

68

Reading Repertoire Study Choral Styles Interpretation of

composed works

with technique appropriate to the performance practice of the piece.

IIIa-j-6

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MUSIC GRADE 10 : FOURTH QUARTER FOURTH GRADING PERIOD

4th Q:Careers in Music, Contemporary Perspective , Performance/Collaboration




POSSIBLE ACTIVITIES

A .CAREERS IN MUSIC1.Composers / Arrangers2.Conductors3.Music Educators / Mentor4.Musicologist / Researcher5. Music Producer / Manager6.Music Technologist / Sound Engineer7.Music Therapist8.Performers (Singers, Instrumentalists)

B.PROGRAM PLANNING

The learner…

demonstrate an understanding of the nature of the work of various music careers

demonstrates an understanding of program planning, rehearsal

The learner…

demonstrate creativity in conceptualizing and making music compositions or arrangements


employs acceptable rehearsal methods applicable to good

The learner…

1.identifies the various music professions, their training and nature of work

2.evaluates one’s aptitude, interest and abilities in relation to the various music professions

The learner…

composes or arranges for particular instruments and/or voices for given themes/functions

prepares a music portfolio of music performances using appropriate

SPA_MC10-IVa-b-1

SPA_MC10-

70

1.Basics of Planning a Music Performance2.Rehearsal Preparation3.Staging the Performance

C. Application of the Elements of Music through the chosen specialization: voice and instrument-playing.



Tone Production &

preparation, and staging using the integrated arts approach



demonstrates

program planning

makes compositions and arrangements for various musical forms and functions


uses technology to document music performances

applies aspects of the integrated arts approach in the

3.displays familiarity in various performance practice of diverse musical styles


music technology tools

discusses the types of work and training for certain careers in music

interviews or corresponds with various music professionals regarding the training and nature of their music profession

rehearses music showing knowledge of the musical elements and styles

IVa-2

SPA_MAE10-IVa-j-3

SPA_MAE10-

71

Resonance Embouchure (winds);


Articulation Basic Sight Reading Repertoire Study Choral Styles

an understanding of the staging process utilizing elements of production values like music, design, and movement

staging music performances

*the performance standards for the fourth quarter will be showcased in collaboration with all the other SPA art fields


plans for a music program

conducts various rehearsals and run-throughs

performs in front of an audience

evaluates the production process in class

IVa-j-6

72

writes a journal of experiences of the entire Grade 10 experience

GRADE 10: CONTERMPORARY REALITIES


3-4 PM

MUSIC in Contemporary times

INSTRUMENTAL ENSEMBLE/VOICE/CHOI

R


INSTRUMENTAL ENSEMBLE/VOICE/C

HOIR/


4-5 PM

SOLO INSTR/CREATIVE MUSIC WRITING



1ST AND 2ND Q: Issues in Music, LOCALIZATION (NATIONAL AND ASIAN) Composition I-A/B;

3rd: GLOBALIZATION and MASS MEDIA AND MUSIC (TECHNOLOGY) Composition I-C;

Q: 4th Q: Careers in Music, Contemporary Perspective ; Performance/Collaboration of the Different Art Fields

Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI

MATERIALS: Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn

73

Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San Pedro, Awiting Bayan II by NCCASolo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice Methods of Concone, Marchesi, MacClosky, Van ChristyIndigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina BenitezGuitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-WohlfarthWinds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in BandPiano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano SeriesPiano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary Piano Method, Celebration SeriesStrings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full ScoreRondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and PerezChoir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble ArtsComputer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition


74







SPA CURRICULUM MUSICGRADES 11 & 12

GRADE 11: MUSIC AND SPECIALIZATION I


3-4 PM

MUSIC AND DISCIPLINE INSTRUMENTAL ENSEMBLE/VOICE/CHO

IR

MUSIC AND DISCIPLINE

INSTRUMENTAL ENSEMBLE/VOIC

E/CHOIR/

MUSIC AND DISCIPLINE

4-5 SOLO INSTR/CREATIVE SOLO SOLO

75

PM MUSIC WRITING INSTR/CREATIVE MUSIC WRITING

INSTR/CREATIVE MUSIC WRITING

MATERIALS: Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor LynnChoir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San Pedro, Awiting Bayan II by NCCASolo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice Methods of Concone, Marchesi, MacClosky, Van ChristyIndigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina BenitezGuitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-WohlfarthWinds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in BandPiano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano SeriesPiano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary Piano Method, Celebration SeriesStrings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full ScoreRondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and PerezChoir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble ArtsComputer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition

76


GRADE 12: MUSIC AND SPECIALIZATION II


3-4 PM

MUSIC AND DISCIPLINE II

INSTRUMENTAL ENSEMBLE/VOICE/CHOI

R

Internship

MUSIC AND DISCIPLINE II INSTRUMENTAL ENSEMBLE/VOICE/CHOI

R

Internship

MUSIC AND DISCIPLINE II

4-5 PM




1ST Q: Performance, Technology, and Research; 2nd and 3rd Q: Music Management; 4th Q: Integration

Performance: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI

MATERIALS: Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor LynnChoir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San Pedro, Awiting Bayan II by NCCASolo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice Methods of Concone, Marchesi, MacClosky, Van ChristyIndigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina Benitez

77







Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd edition (2002), Mel Bay, Hohmann-WohlfarthWinds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in BandPiano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano SeriesPiano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures, The Contemporary Piano Method, Celebration SeriesStrings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full ScoreRondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and PerezChoir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble ArtsComputer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition


78







spa music cg 2014-writeshop 2 (1).doc

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