Republic of the Department of Education Regional Office IX, Zamboanga Peninsula

7 Zest for Progress Zeal of Partnership MUSIC Quarter 3 – Module 1: (EXPLORING MUSIC OF )

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 U N G G ______2. 2-stringed lute instrument made of wood U K D A Y I P ______

3. native 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.

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https://photos1.blogger.com/x/blogger/4507/549/1600/429792/Kulintang%20Ensemble%20007.jpg

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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. 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 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 .

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(), shaking or hitting (), 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 - 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 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 in Mindanao. Some of them are Subanen, B’laan, Mandaya, Higaonon, Banwaon, Talaanding, Mansaka, Manguanan, Dibabawon, Tagakaolo, Bagobo, Ubo, Tiruray, T’boli, and Manobo.

T’boli women

https://blog.savethechildren.org/wp-content/uploads/2015/11/6a0120a608aa53970c01b8d1716804970c.png

Bagob known as non-muslim and non-christians, the orientation of his/her cultural developments appears to be toward the Muslim groups. In most cases, lan- guage is the only differentiating element in ethnic cul- tures, particularly among those which occupy adjacent and continuous territory.” Most of the indigenous cul- tural communities (ICC) in Mindanao speaks languages belonging to the Manobo family of languages, except the B’laan, T’boli, and Teduray.

https://i.pinimg.com/564x/46/fd/56/46fd5689e507a311c010f9c5cedf1afa.jpg What’s More

Task 1 Activity title: What is in me? Directions: Read the paragraph below. Based from the given selection, Write down and analyze the musical elements and characteristics of Islamic music, vocal music and also include the mentioned traditional instruments and their uses. Write your answers on the given spaces.

The musical practices of Mindanao reflect separate Islamic and non-Islamic cultural traditions. When we talk about music, Mindanao music is characterized by a highly subtle organization of melody and rhythm. is mainly homophonic, using a clear melody line over a subordinate chordal accompaniment, but counterpoint was by no means forgotten, especially later in the period. Melisma singing, song phrases, narrow singing, fluid singing, tremolo, strained voice, nasal enunciation, these are some of the characteristics of Islamic music. We have the chants and lullabies under vocal music; the richness of his/her kulintang and bamboo ensemble, the popular solo instruments like the kudyapi, all of which are strongly influenced by Islam and its traditions. Then we have the traditions of the Christians, which now has a very wide range of ancient and modern Catholic/church music, and those non-Christians / non-Muslim’s groups’, the Lumad’s folk songs.

1. Vocal music ______

2. Elements of music

Rhythm______

Texture______

Form______

3. Characteristics of Islamic music ______

4. Musical instruments that strongly influenced by Islam and traditions ______Task 2 Directions: You may browse the internet and find the link written below. Listen and observe carefully the music and the instruments being used in the recordings.

Film viewing or Music listening: “Sanlibutan” by: Ang Grupong Pendong https://www.youtube.com/watch?v=I902GUsAgMDocument14

1. What particular instruments do you hear were used in this recording? ______

______

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2. Were they used the same way as the traditional playing of the kulintang ensemble? If yes, how? ______

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3. Does the song’s melody and mood give you a feeling of the same traditional Mindanao ritual or celebration? If yes, why? ______

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4. What is the effect of using modern text and melodic progression and mixed with the traditional Mindanao gong ensemble / other instruments on the modern generation? What I Have Learned

I have learned that ______

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What I Can Do

Making Improvised Mindanao Musical Instruments Directions: Discover ways of producing sounds similar to the sounds of instruments from Mindanao by simply creating improvised instruments out of the available materials at home. Make sure to follow safety precautions when using knife or any blunt materials.

https://makingmulticulturalmusic.files.wordpress.com/2011/07/mmmm_header_1000x288_notext.jpg Rubrics for designing an instrument substitute

Appropriate materials were selected and creatively modified in ways. The Above standards instrument shows 4 considerable attention to construction. Sound is very similar to the instrument studied. Appropriate materials were selected. The instrument shows considerable attention Meet standards to construction. Can produce 3 sound similar to the instrument studied. most of the materials were appropriate, but 1-2 were not. Sounds that were produced Approaches standards are not that similar to the 2 ones studied.

Construction materials were not appropriate for the purpose. Instrument were Below standards made does not produce any 1 sound at all.

Assessment

Multiple choice Directions: Read the items carefully. Choose the best answer and write the LETTER of your choice on the space provided before each number.

_____1. Which of the following from Mindanao best known for its highly valued priceless heirloom that can command a high price as dowries? A. Agung C. Gabbang B. Kulintang D. Bamboo ensemble

_____2. The following are the vocal music of Mindanao EXCEPT? A. Dikker C. Bayok B. Owiwi D. Ya-ya

_____3. Which of the following vocal music of Mindanao use in reading Qur’an and other books in Islam religion? A. Lugu C. Bayok B. Laggu D. Kalangan ____4. In the classification of traditional musical instruments, Gabbang is a native xylophone in Sulu. Gabbang is an example of an . What do you mean by an Idiophone? A. it is a wind instrument similar to a flute B. it is an Asian instrument that follows the structure of a piano C. percussion instruments that are struck with a mallet to produce sound D. none of the above

_____5. Why is vocal music of Mindanao important to the Islamic community specially to the ethno-linguistic groups? A. music of Mindanao is important because it is related to different occasion B. music of Mindanao is important because it was written by the folk and sung to accompany daily activities C. it is important because similarities do exist in their vocal styles that make up the larger Islamic society belongs to one single tradition D. it is important because many of the ethno-linguistic groups in Mindanao are good in singing and playing traditional instruments

_____6. which of the following is NOT part of the ethno-linguistic groups of the Islamic community? A. Maguindanao C. tausug B. Samal and Jama Mapun D. Bisaya

_____7. Which of the following statements below best describes music of Mindanao? A. Music of Mindanao is very unique because of its musical practices and with similarities do exist in their vocal styles B. Music of Mindanao is focus on melismatic and not into free meter style C. Music of Mindanao is distinctively made up of two sounds characteristics of instruments based on its respective materials D. Music of Mindanao is plainly used for communication with the spirits in rituals and worships alone

_____8. The rhythm of music of Mindanao is mainly homophonic in style, using a clear melody line over a subordinate chordal accompaniment. What is meant by the word homophonic? A. two or more parts each having a melody of its own B. it is a combination of relatively independent melodies C. homophonic describes how layers of sound with a piece of music interact D. homophonic refers to the structure of a musical composition or performance

_____9. Which of the following Maranao’s vocal repertoire known as a sacred song highlighted by quotations from the Qur’an? A. ya-ya C. dikker B. bayok D. liwang ____10. Which of the following is TRUE about the kulintang ensemble? A. it is ensembles of 6-8 hanging melody gongs in a row B. it is a Gong-based ensemble used by the Maguindanao and Maranao C. it is a set of native xylophone in Sulu, a bamboo keyboard on top, constructed out of a wood D. it is a guitar-like made of bamboo, cut before one nod and after next

Answer key: B B A C C D A B C B

References:

DEVELOPMENT TEAM

Writer: Mark Vincent A. Lauriaga Editor: Language Editor: Mark Vincent A. Lauriaga Proof Reader: Illustrators: Najer K. Atang Layout Artist: Ethel Gregana

Management Team: Julieto H. Fernandez, Ed. D., CESO VI SDS-Isabela City Maria Laarni T. Villanueva, Ed. D., CESE ASDS-Isabela City Henry R. Tura, CID Chief Elsa A. Usman, LR Supervisor Jani P. Ismael, EPS-MAPEH, Module Coordinator Region IX: Zamboanga Peninsula Hymn – Our Eden Land Here the trees and flowers bloom Gallant men And Ladies fair Here the breezes gently Blow, Linger with love and care Here the birds sing Merrily, Golden beams of sunrise and sunset The liberty forever Stays, Are visions you’ll never forget Oh! That’s Region IX Hardworking people Abound, Here the Badjaos roam the seas Every valleys and Dale Here the Samals live in peace Zamboangueños, Tagalogs, Bicolanos, Here the Tausogs thrive so free Cebuanos, Ilocanos, Subanons, Boholanos, With the Yakans in unity Ilongos, All of them are proud and true Region IX our Eden Land Region IX Our… Eden... Land...

The Footprints Prayer Trees by Joyce Kilmer One night I had a dream. I dreamed I think that I shall never see that I was walking along the beach A poem lovely as a tree. with the LORD. A tree whose hungry mouth is prest In the beach, there were two (2) sets Against the earth’s sweet flowing of footprints – one belong to me and breast; the other to the LORD. A tree that looks at God all day, Then, later, after a long walk, I And lifts her leafy arms to pray; noticed only one set of footprints. A tree that may in Summer wear “And I ask the LORD. Why? Why? A nest of robins in her hair; Why did you leave me when I am sad and helpless?” Upon whose bosom snow has lain; And the LORD replied “My son, My Who intimately lives with rain. son, I have never left you. There was only one (1) set of footprints in the Poems are made by fools like me, sand, because it was then that I But only God can make a tree. CARRIED YOU!

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