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Quarter 3 – Module 1: (EXPLORING MUSIC of MINDANAO)

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Quarter 3 – Module 1: (EXPLORING MUSIC of MINDANAO) Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula 7 Zest for Progress Zeal of Partnership MUSIC Quarter 3 – Module 1: (EXPLORING MUSIC OF MINDANAO) Name of Learner: ___________________________ Grade & Section: ___________________________ Name of School: ___________________________ What I Need To Know KKKKKNOWKNOW Hello there dear learners! Are you ready for another fun learning lesson? Great! Let’s get it on. In this module, you will learn about the music of Mindanao (vocal and instrumental). Through the lessons, you will discover the socio-cultural influences and distinct religious beliefs of the people of Mindanao. In this module, you are expected to attain the following MELCS: 1. describes the musical characteristics of representative music selections from Mindanao after listening; (MU7MN-IIIa-g-1) 2. identifies the musical instruments and other sound sources of representative music selections from Mindanao;(MU7MN-IIIa-g-3) 3. analyzes the musical elements of some Mindanao vocal and instrumental music; and 4. discovers ways of producing sounds on a variety of sources that is similar to the instruments being studied. What I know Activity title: JUMBLED LETTERS Directions: Identify the musical instruments pertained in column A by arranging the letters in column B. write the correct answer in the space provided in column B. Column A Column B 1. a large, deep-rimmed gong U N G G __________ 2. 2-stringed lute instrument made of wood U K D A Y I P _____________ 3. native xylophone in Sulu A B B G N G A ______________ 4. a long, thin-walled bamboo tube S I U L G N ___________ 5. suspended gong ensembles N G G O U H T A What’s In Directions: Find and encircle the words related to the music of Mindanao hidden in the grid. The words may be hidden in any directions. R B U B U L H Y G F G V D R S I A T R D D C F A W Q Q D D U N G W E L L E J B U L K U O L G O S C L V G G B G B N N Q I G B E B U C U T A B B W W T N Y O Y U G O N U N W E H D I G T Y T G U D C V G W E W A Z X T R F D S X C V Y H U I K I O R T R W E E C Y T G F D V B N Y N V C A S L U M A D R R U J R E W D D C V T Y Y Z X C V B R C V D S X T U I Q E A W Q Q A G U N G C V B N B A Y O K S Q W E F I O P O K H B C Z X V Q W D V B Y U I T R F D V F Q What’s New Directions: Before learning the Music of Mindanao, let us first find out what you already know about the beauty of Mindanao by naming the pictures and describing each of them. Write your answers on the space provided. _________________________________ _________________________________ _________________________________ ________________________________ https://photos1.blogger.com/x/blogger/4507/549/1600/429792/Kulintang%20Ensemble%20007.jpg ____________________________________ ____________________________________ ____________________________________ ____________________________________ https://blog.palabas.org/content/images/2017/08/cover10.png What Is It I. MORO / ISLAMIC MUSIC: A. Vocal Music of Mindanao The Islamic community of 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 - The Tausug of the Sulu Islands of Jolo, Siasi, and Tawi-Tawi - The Yakan of Basilan and Zamboanga The uniqueness of the cultures and his/her musical practices that make up the larger Islamic society in Mindanao and Sulu belongs to one single tradition. Similarities do exist in some vocal styles within the large society, but theoretical concepts, functions, aesthetics, and repertoires differ from culture to culture, and even from village to village belonging to one language group. 1. CHANTS – a lyrical rendition of different improvised text. Yakans do his/her chantings through solo and counter or group singing. His/her three famous everyday style chants are the: a. Lugu – chants that they use in reading his/her Qur’an and other books they use in his/her 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 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 B. Instrumental Music 1. Kulintang Ensemble – Gong-based ensemble used by the Maguindanao and Maranao of western Mindanao, the Tausug, the Yakan, and the Sama- Bajao of the Sulu Archipelago. They have varied functions but are mostly used for celebration / rituals and are mainly divided into two types. Kulintangan ( Manobo Cotabato )/Kwintangan – ensembles 0f 6-8 hanging melody gongs in a row, hung on ropes in pyramidal order, with the smaller and higher-pitched gongs near the top Tahunggo, Agung, Salmagi, BlowonSemagi – suspended gong ensembles (9-11 gongs, played a melody and drone player) in various names according to each tribe; ensemble maybe completed with 1 or 2 drums. http://www.kipas.nl/Instruments/Kulintangensemble.htm Kulintang Ensemble, Mindanao 1966 https:www.youtube.com/watch?v=2DaujjjuiL4 https://www.shutterstock.com/image-photo/handmade-crafted-klintang-kulintang-gongs-natives-1474690589 Kulintang – is an important social property. This instrument of the ensemble is a highly valued priceless heirloom that can command a high price as dowries. The ownership of these instruments indicates high social status and cultivated taste. https://digitalcollections.lib.washington.edu/digital/api/singleitem/image/ethnomusic/959/default.jpg?highlight Terms Agung – a large, deep-rimmed gong, vertically suspended, hanged in wooden frames. 2. Bamboo Ensemble – According to the Philippine legends, the first man and woman are born out of the bamboo. Bamboo is also considered among early Filipinos as a spiritual connection from our physical world to the spiritual. Many bamboo instruments were made for this purpose while some were also used for entertainment and personal expression. The different manners in playing bamboo instruments include: blowing(aerophones), shaking or hitting (idiophones), and plucking (chordophones). Gabbang – a native xylophone in Sulu, a bamboo keyboard on top, constructed out of wood. Ordinarily, its main body is shaped like a coffin; keys are struck with two mallets, each with a strip of rubber fastened to its underside. Seronggagandi – a guitar- like made of bamboo, cut before one nod and after next. Two cords are slit loose side by side from the outer skin fibers of the bamboo itself and these are given tension by means of bridges. A hole is then cut into the bamboojust under the 2 cords, to serve as resounding holes. Music Listening: Gabbang music Philippine music: music of the Mindanao Muslims Uwang Ahadas Gabbang http://www.youtube.com/watch?v=AR0heXocsA 3. Solo Instrument Kudyapi – is a 2-string plucked lute instrument made of wood which resembles and elongated guitar usually having 2 strings. It varies in sizes, but normally it is about one and a half meters long - it is held in the performer’s lap like a guitar, the left hand slides back and forth along the melody string between the frets; the middle finger of the right hand plucks both the melody and drone strings with a rattan plectrum or kubit https://3dwarehouse.sketchup.com/warehouse/v1.0/publiccontent/c587c0bc-dec3-46d1-a3dc-9c308530878f Film Viewing or Music Listening: Master Samaon Sulaiman https://www.youtube.com/watch?v=FqtEPoNEg-U II. NON-ISLAMIC Migrants/Christians – the people who migrated from Luzon and Visayas were mostly Christians. Most of these settlers from Luzon and Visayas came to Mindanao during the Philippine Commonwealth under the Americans and in the 1950s and 1960s. While Moro and Lumad music are often featured in Mindanao cultural presentations, the people who migrated from Luzon and Visayas brought along his/her own culture. Even though they still have family ties to Luzon and Visayas, they are evolving into his/her own Mindanao identity. For Christian music, Monsignor Rudy Villanueva of Cebu, Narcisa Fernandez of Davao City, Fr. Jose Maghinay who started his GSK songs (in the DOPIM area ( Dipolog, Ozamiz, Pagadian, Iligan, Marawi) and Fr. Lhem Naval (whose compositions are heavily influenced by the Jesuits ( who trained him in Vianney way back in the late 1990s ) have greatly contributed in liturgical music used in Mindanao. Chavacano music in Christian Zamboanga has also flourished through the years. Lumad – a collective term for groups of indigenous people from Mindanao, which means “native.” Out of the 6.5 million indigenous people in the Philippines, there are an estimate of 2.1 million Lumads in Mindanao. Some of them are Subanen, B’laan, Mandaya, Higaonon, Banwaon, Talaanding, Mansaka, Manguanan, Dibabawon, Tagakaolo, Bagobo, Ubo, Tiruray, T’boli, and Manobo.
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