This is the Grade 7 Music self-learning module for Quarter 1, Module 7: “Music of Lowlands of Luzon (Vocal and Instrumental Music) Art Music: Kundiman Pangkat Kawayan.” It is an Alternative Delivery Mode (ADM) module, First Edition 2020, that learners can study at home. It introduces the kundiman, an art song of the Luzon lowlands, and the Pangkat Kawayan, a bamboo orchestra. Learners finish by performing a simple rhythmic accompaniment to a kundiman.
What learners will learn
The module lists these learning competencies:
- Explores ways of producing sounds on a variety of sources that is similar to the instruments being studied (MU7LU-Ib-f-4)
- Improvises simple rhythmic accompaniments to selected music (the printed competency is cut off and has no code)
- Evaluates music and music performances applying knowledge of musical elements and styles (MU7LU-Ic-h-10)
By the end of the module, learners should be able to:
- identify ways of producing sounds on other sources similar to Pangkat Kawayan;
- differentiate kundiman from folk song;
- perform a simple rhythmic accompaniment to a chosen kundiman; and
- assess the musical characteristics of kundiman through its tempo, rhythm, and dynamics.
Quick review from earlier modules
The module opens by recalling music from earlier lessons:
- Secular music: any music that is not religious.
- Harana: a serenade sung by a man to express his love for a lady, usually with a guitar.
- Kumintang: from Balayan, Batangas, sung in triple meter, with themes of love and courtship.
- Polka: from a Bohemian dance, in duple meter.
- Balitaw: a dialogue or courtship song in triple meter.
Kundiman: the art song of the lowlands
The word kundiman comes from the phrase “kung hindi man” (if it is not meant to be). Through its melody, lyrics, and expressive singing, a kundiman conveys selfless and spiritual feeling, intense love, longing, caring, and devotion. That love is not only for a romantic partner. It can also be for a parent, a child, a spiritual figure, or the motherland.
Key musical features:
- Key and meter: a kundiman usually starts in a minor key, moves to the major key, and is in triple meter.
- Dynamics: the softness and loudness of music. Dynamics add drama and intensify the emotions of a kundiman.
- Tempo: the speed of music, which signals mood. A faster tempo often means lively music. A slower one suggests a darker, sad, or emotional mood.
Composers named in the module: Francisco Santiago, Nicanor Abelardo, Bonifacio Abdon, Francisco Buencamino, and Angel Peña.
Early 1900s performers: Atang de la Rama, Jovita Fuentes, Conching Rosal, and Ruben Tagalog.
Examples of kundiman:
- “Pakiusap” by Francisco Santiago
- “Nasaan Ka Irog” by Nicanor Abelardo
- “Jocelynang Baliwag” by an unknown composer, inspired by revolutionaries in Bulacan during the 1896 revolution
- “Sa Sariling Bayan” by V. Tolentino
- “Iyo Kailan Pa Man” by Angel Peña
The module contrasts these with folk songs such as “Leron Leron Sinta,” “Magtanim ay Di Biro,” “Pamulinawen,” and “Sarung Banggi.”
Major and minor keys
A major key uses a major scale. A minor key uses a minor scale. The difference comes down to one note, the third. The third gives major chords a brighter, cheerful sound and minor chords a darker, sadder sound. A major chord uses the 1st, 3rd, and 5th degrees of a major scale. A minor chord uses the 1st, flatted 3rd, and 5th. For example, C major is C-E-G, and C minor is C-Eb-G. Learners try this on a piano app on their phone.
Pangkat Kawayan and the rondalla
The module first recalls the rondalla from Module 2. It is an ensemble of stringed instruments played with a plectrum or pick: the banduria, laud, octavina, guitar, and bass guitar (bajo de unas).
Pangkat Kawayan, known as the “Singing Bamboos of the Philippines,” is an orchestra that plays non-traditional bamboo instruments. It was founded in 1966 and is made up of young students chosen from Quezon City and Manila schools. Its more than one hundred instruments are made from six kinds of bamboo.
| Instrument | How it is played and its role |
|---|---|
| Angklung | Bamboo-rattle tubes on a bamboo frame. It is shaken and plays the counterpoint to the melody. |
| Bumbong (bamboo tube) | Hollow bamboo pieces blown through a mouthpiece. It forms the wind section, with bass and horn parts. |
| Kalatok (bamboo knocker) | Bamboo pieces strung together and struck with a rubber mallet. It is a percussion instrument. |
| Talunggating (bamboo marimba) | A bamboo xylophone played with rattan and rubber mallets. It plays the melody. |
| Kalagong | Gives a hollow, gong-like sound. Learners tap its top holes with flat tappers. It serves as the bass. |
| Pan pipes | Graduated bamboo tubes tied with string. Each pipe is blown to produce one note. |
| Tulali (bamboo flute) | Made of baga, one of the smallest bamboo varieties. It has four holes and uses a pentatonic scale. |
| Kiskis | A ridged bamboo piece rubbed with a rattan stick. Kiskis means “to scratch” or “to rub.” |
Rondalla and Pangkat Kawayan are both instrumental music of the Luzon lowlands. They differ in sound, texture, manner of playing, and materials.
How to use this module
- Answer the matching review (Let’s Check It Out) and the pretest (What I Know) on a separate sheet.
- Do the listening activities and the sorting of songs into kundiman and folk songs (What’s New).
- Read the discussion (What Is It), try the piano app activity, and match each bamboo instrument to its manner of playing: shaking, blowing, striking, tapping, or rubbing (What’s More).
- Answer the reflection questions (What I Have Learned).
- For What I Can Do, record yourself performing a simple rhythmic accompaniment to a chosen kundiman. Rate it with the rubric on rhythm, dynamics, and mastery. Then send the video to your facilitator through Messenger, e-mail, or another platform.
- Take the assessment, then try the additional singing activity.
For learners: use the answer key at the end honestly, only after answering.
For parents: help your child find a phone to use for the piano app, the listening activities, and the video recording.
For teachers: the pretest and the assessment use the same items, so you can compare scores to see how much each learner has learned.
Frequently asked questions
What grade and quarter is this Music module for?
It is for Grade 7 Music, Quarter 1, Module 7. It covers the kundiman and the Pangkat Kawayan from the lowlands of Luzon.
Where does the word kundiman come from?
According to the module, kundiman comes from the phrase “kung hindi man.” Musically, a kundiman usually starts in a minor key, moves to the major key, and is in triple meter.
What is the Pangkat Kawayan?
It is an orchestra known as the “Singing Bamboos of the Philippines” that plays non-traditional bamboo instruments. It was founded in 1966 and is made up of students from Quezon City and Manila schools.
Does the module have an answer key?
Yes. The answer key covers the matching review, the pretest, and the assessment. The pretest and the assessment share the same items.
What performance task does the module ask for?
Learners record themselves performing a simple rhythmic accompaniment to a chosen kundiman. They rate the performance with a rubric on rhythm, dynamics, and mastery, then submit the video to their facilitator.
Full text of the module
The text below is a transcription of the PDF above, as printed.
CO_Q1_Music7_Module7
Music
Quarter 1 – Module 7: Music of Lowlands of Luzon (Vocal and Instrumental Music) Art Music: Kundiman Pangkat Kawayan
[illustration: students studying outdoors under a tree and at a desk with a teacher, a globe, and a lantern]
GOVERNMENT PROPERTY NOT FOR SALE
CO_Q1_Music7_Module7
Music – Grade 7 Alternative Delivery Mode Quarter 1 – Module 7: Music of Lowlands of Luzon (Vocal and Instrumental Music) Art Music: Kundiman Pangkat Kawayan First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them.
Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio
Printed in the Philippines by ________________________ Department of Education – MIMAROPA Region Office Address: Meralco Avenue corner St. Paul Road, Pasig City Telephone Number: (02) 6314070 E-mail Address: mimaropa.region@deped.gov.ph
Development Team of the Module
Author: April T. Garcia
Content Editor: Emmanuel C. Alveyra
Language Editors: Cherrie Rose L. Desaliza, Gladys F. Cantos
Reviewer: Emmanuel C. Alveyra, Phoebejean H. Aludia, Lealyn R. Waoi, Mary Grace C. Padilla, Precious Anne S. Luarca
Illustrator: Reymark L. Miraples, Louie J. Cortez, Richard Amores, Pablo M. Nizal, Jr., Jan Christian D. Cabarrubias
Layout Artist: Reymark L. Miraples, Jhunness Bhaby A. Villalobos
Management Team: Benjamin D. Paragas, Mariflor B. Musa, Melbert S. Broqueza, Freddie Rey R. Ramirez, Danilo C. Padilla, Annabelle M. Marmol, Florina L. Madrid, Norman F. Magsino, Dennis A. Bermoy, Emmanuel C. Alveyra
Music
Quarter 1 – Module 7: Music of Lowlands of Luzon (Vocal and Instrumental Music) Art Music: Kundiman Pangkat Kawayan
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.
Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.
Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed to complete this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.
In addition to the material in the main text, ‘Notes to the Teacher’ are also provided to our facilitators and parents for strategies and reminders on how they can best help you on your home-based learning.
Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.
If you have any questions in using this SLM or any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator.
Thank you.
ii CO_Q
Lesson 1: Music of Lowlands of Luzon (Vocal and Instrumental Music) Art Music: Kundiman Pangkat Kawayan
Lesson 1
Learning Competencies
The learner:
- explores ways of producing sounds on a variety of sources that is similar to the instruments being studied (MU7LU-Ib-f-4)
- improvises simple rhythmic accompaniments to selected music from
- evaluates music and music performances applying knowledge of musical elements and styles (MU7LU-Ic-h-10)
What I Need to Know
Before we explore the art music and famous bamboo ensemble from the lowlands of Luzon, let us first recall the secular music and instrumental music that have been discussed in the previous modules.
Secular music refers to any music that is not religious in nature.
Harana is a serenade traditionally sung by a man to express his love to a lady, sung with emotion and usually accompanied by a guitar.
Kumintang which originated from Balayan Batangas, is sung in triple meter with themes of love and courtship.
Polka originated from a Bohemian dance that became popular in Europe and America in the early 19th century.
Balitaw is a dialogue or courtship song in triple meter, mostly in 2 and 3 part forms and arranged with counter melodies.
1 CO_Q1_Music7_Module7
Let’s Check It Out
Let’s see how much have you learned from these topics from the previous module by matching each type of music to its specific example. Write the letter of the correct answer in the blank provided before the number.
| A | B |
|---|---|
| 1. Harana | a. Anugon Anugon |
| 2. Kumintang | b. Polka Sa Nayon |
| 3. Polka | c. Dungawin Mo Hirang |
| 4. Balitaw | d. Lahing Kayumanggi |
Did you get a perfect score?
Good work! I can see that you are now ready to take part in this new module. Welcome to the world of the vocal and instrumental music of the lowlands of Luzon particularly the kundiman and the pangkat kawayan.
Filipinos are known to be music lovers. They tend to express the intensity of the emotions through the art of playing or singing music.
How do you show your love for the country through music? Are you the classic or modern type of musician? In what way do you appreciate music the most? Is it through singing, playing or listening to it?
Learning Objectives
In this module, you will be able to:
A. identify ways of producing sounds on other sources similar to Pangkat Kawayan; B. differentiate kundiman from folk song; C. perform a simple rhythmic accompaniment to your chosen kundiman; and D. assess the musical characteristics of kundiman through its tempo, rhythm and dynamics
2 CO_Q1_Music7_Module7
What I Know
This pre-test will help you think about your prior knowledge about the lesson. Read each statement carefully. Identify what is being described in each statement.
A. Identification: Analyze each statement carefully. Do this in your activity paper.
_____________ 1. It came from the phrase “kung hindi man.”
_____________ 2. It is popularly known as the “Singing Bamboos of the Philippines.”
_____________ 3. These pangkat kawayan instruments are bamboo-rattle tubes attached to a bamboo frame.
_____________ 4. It is a wind instrument that produces a hollow gong-like sound.
_____________ 5. These are small pieces of bamboo in graduated small tubes that have been put together by a string.
_____________ 6. He is the composer of “Nasaan Ka Irog.”
_____________ 7. In musical context, kundiman usually starts in a minor key then goes to the and in triple meter.
_____________ 8. Who composed “Pakiusap”?
_____________ 9. It is a bamboo piece with ridges, and it serves as a percussion instrument played by rubbing a rattan stick on its ridges.
_____________ 10. It is an ensemble of stringed instruments played with the plectrum or pick and generally known as plectrum instruments.
B. Modified True or False. Write True if the statement is correct. If the statement is false, write the word/s that make/s it incorrect.
_____________ 1. Oftentimes, a faster tempo signifies a lively music while a slower one implies a darker mood or simply a sad or emotional music.
_____________ 2. The tempo is the softness and loudness of music.
_____________ 3. A kundiman usually starts with a minor key then goes to the major key and in triple meter.
_____________ 4. A major key uses a minor scale.
_____________ 5. Rondalla is popularly known as the “Singing Bamboos of the Philippines.”
3 CO_Q1_Music7_Module7
What’s New
Before we proceed to our lesson, let us see how much you’ve learned about kumintang and polka. As to recall, kumintang originated from Balayan Batangas and is sung in triple meter with themes of love and courtship while Polka originated from Bohemian dance and is in duple meter. Let’s try how far you can engage in kumintang and polka with the following activity.
Listening Activity
https://www.youtube.com/watch?v=jWvsdtPjZHw https://www.youtube.com/watch?v=Uhlel7JJJ9M
Based on the music that you have listened to, fill out the table with your answer.
| Music (Title) | Tempo | Time Signature | Theme | Dynamics | Melody | Mood |
|---|---|---|---|---|---|---|
As you proceed to the activity, let me ask you these things:
- How were you able to distinguish kumintang from polka? Was it easy for you? Why? Why not?
- As of this time, what remains unclear to you with regard to kumintang and polka?
From these types of music, let us proceed to the art music itself, kundiman. This one is another example of vocal music from the lowlands of Luzon. But unlike the first two songs, kundiman offers a different taste of music for it conveys a selfless and spiritual attitude, intense love, longing, caring, devotion and oneness not only with a romantic partner, but also with a parent, child, a spiritual figure or the motherland. But how does it differ from folk songs? Let us dig deeper through this activity.
4 CO_Q1_Music7_Module7
Categorize each song inside the first box according to the type of music to which it belongs. Write your answer in the second box provided below.
| Songs | Songs |
|---|---|
| Pakiusap | Nasaan Ka Irog |
| Leron Leron Sinta | Pamulinawen |
| Jocelynang Baliwag | Sa Sariling Bayan |
| Anak Dalita | Iyo Kailanpaman |
| Magtanim ay Di Biro | Sarung Banggi |
[transcriber’s note: the first box is a bordered two-column list with no header row; the header above is added for the table format]
| KUNDIMAN | FOLK SONGS |
|---|---|
Examine the table that you have accomplished, and answer the following questions.
- Were you able to categorize all the songs? What were your bases?
- Was it easy for you to categorize the songs? Why? Why not?
- What can you say about the characteristics of kundiman and folk songs?
After answering these questions, you will be able to:
A. identify the musical elements present in the song; B. analyze the theme of each song category depending on the lyrics; and C. cite the difference between folk song and kundiman
In this activity, you would be able to see the difference between a folk song and a kundiman in terms of musical elements, characteristics and inspiration of the music.
Listening Activity
https://youtu.be/KPJJ_dzPaqg https://youtu.be/j398PnJqomM
After listening to each example of music, fill out the table below and answer the questions that follow.
| Songs | Tempo | Rhythm | Theme/ Inspiration | Time Signature |
|---|---|---|---|---|
| Magtanim Ay Di Biro | ||||
| Anak Dalita |
- What is the difference between the tempos of the two songs you have listened to?
- What do you think is the theme/inspiration of each song? How do you say so?
What is It
Kundiman came from the phrase “kung hindi man.” Through its melody, lyrics and expressive singing, the kundiman conveys selfless and spiritual attitude, intense love, longing, caring, devotion and oneness not only with romantic partner but also with parent, child, spiritual figure, or motherland. To emphasize these characteristics, it requires an application of the musical elements intended for a certain purpose.
Listening Activity
Listen to this particular kundiman and observe the softness and loudness of the music. See how it affects the theme and the mood of the song.
The dynamics or the softness and loudness of music adds more dramatic effects for a kundiman. It intensifies the attitude and the emotions of the song. On the other hand, the tempo signifies the mood of a certain music. Oftentimes, a faster tempo signifies a lively music while a slower one implies a darker mood or simply a sad or emotional music.
Some famous Filipino Kundiman composers are Francisco Santiago, Nicanor Abelardo, Bonifacio Abdon, Francisco Buencamino and Angel Peña.
Among the famous Kundiman performers in the early 1900’s are Atang de la Rama, Jovita Fuentes, Conching Rosal and Ruben Tagalog.
In musical context, kundiman usually starts in a minor key then goes to the major key and in triple meter. Some examples of the kundiman are:
“Pakiusap” by Francisco Santiago “Nasaan Ka Irog” by Nicanor Abelardo “Jocelynang Baliwag” by an unknown composer inspired by the revolutionaries in Bulacan during the 1896 revolution “Sa Sariling Bayan” by V. Tolentino “Iyo Kailan Pa Man” by Angel Pena
Major and minor keys are defined by their tonic note (their starting or base note) and their scale being major or minor.
A major key uses a major scale and a minor key uses a minor scale. The difference between major and minor chords and scales boils down to a difference of one essential note- the third (illustration of the third degree) The third is what gives major-sounding scales and chords their brighter, cheerer sound and what gives
minor scales and chords their darker, sadder sound. A major chord consists of a 1st, 3rd and 5th degree of a major scale while minor chord is made from the 1st, flatted 3rd, and 5th degrees of a major scale. In short, the only difference is the third degree.
[illustration: diagram of the third degree]
Activity: Try to install a piano application to your cellular phone. Identify the pitch names of each note in a scale of C. (C-D-E-F-G-A-B-C) – all white keys. (illustration with labels) The first one was done for you.
Options: Piano App or YouTube videos https://youtu.be/it43JQy1361
[illustration: piano keyboard with arrows labeled C, E, G; caption: Key of C]
From C to Cm, just flatten the third degree (1st- flatted 3rd,-5th)
[illustration: piano keyboard with arrows labeled C, Eb, G]
Try pressing the assigned pitches from the illustration. By doing so, you will be able to answer the following questions:
- What was the difference of the sound between a major and a minor chord in terms of:
a. Theme
b. Mood
c. Harmony - What does a brighter sound imply? How about the darker sound? How did you say so?
- What type of music comes into your mind when you hear a major or minor key? Why?
- How will you describe the message, theme and mood of a kundiman song based on the sound of major and minor keys?
Music has essentially two sides of the same coin. It will never be complete without the other side as the world has to live in balance. Even the human body itself is symmetrical. Music has its own take on that. It also has its vocal and instrumental type. Examples were given in the previous modules. Speaking of instrumental music, let us go back to rondalla instruments which you have learned in Module 2.
[illustration: marching band musicians playing brass and wind instruments]
A rondalla is an ensemble of stringed instruments played with the plectrum or pick and generally known as plectrum instruments. The rondalla instruments are the banduria, the laud, the octavina, the guitar and the bass guitar (bajo de unas). Rondalla musicians provide music for Philippine folk songs. Another instrumental music which we will highlight for this module is the Pangkat Kawayan.
[illustration: rondalla ensemble of musicians playing stringed instruments with a conductor]
You have enjoyed listening to kundiman a while ago. You learned to express yourself through singing. Not only you can express the mood, theme and intensity of the music vocally but you can also try the instrumental music particularly the Pangkat Kawayan.
From appreciating kundiman, let us try to explore Pangkat Kawayan too. I am sure this will be fun!
[illustration: group of students playing bamboo instruments with a conductor]
Pangkat Kawayan popularly known as the “Singing Bamboos of the Philippines,” is an orchestra that plays music using non-traditional bamboo instruments. Founded in 1966, it has always been composed of young students who are selected from Quezon City and Manila schools.
The group’s musical instruments, numbering more than a hundred are made of six kinds of the versatile bamboo in various sizes, shapes and designs. It includes:
| Instrument | Description |
|---|---|
| Angklung [illustration: bamboo frame holding bamboo-rattle tubes] | It has bamboo-rattle tubes attached to a bamboo frame. Tubes are carved to have a resonant pitch when struck, each angklung represents a note and is tuned to octaves. It plays the counterpoint to the melody. It is played by shaking the lower part with one hand while the upper end holding it with the other hand steady. |
| Bumbong (Bamboo tube) [illustration: bamboo tubes] | It is made of hollow pieces of bamboo that has been put together and serve as the orchestra’s wind section. It is divided into bass (lower) and horn (higher) sections. Each bumbong represents one note; to produce the sound, it has to be blown through a mouthpiece. |
| Kalatok (bamboo knocker) [illustration: bamboo pieces strung together] | It is a percussion instrument made of pieces of bamboos that are strung together with pieces of bamboo with varying tones when struck by a rubber mallet. |
| Talunggating (bamboo marimba) [illustration: bamboo marimba with wooden bars on a frame] | It is made from bamboo that follows the musical scale and style of the typical xylophone It plays the melody. Mallets made out of rattan and rubber are used to play the Instrument. |
[transcriber’s note: the table has no printed header row; the header above is added for the table format]
| Instrument | Description |
|---|---|
| Kalagong [illustration: bamboo tubes set on a frame] | It is a wind instrument that produces a hollow gong-like sound. It is played by tapping the top holes of the bamboos by two flat and flexible surface tapper. It serves as the bass of the group. |
| Pan Pipes [illustration: pan pipes of graduated bamboo tubes tied together] | It has small pieces of bamboo in graduated small tubes that has been put together by a string. It has the sound and styling of the wind instruments found in Northern Philippines. Each pipe represents a note and is blown to produce the sound. |
| Tulali (bamboo flute) [illustration: bamboo flute] | It is made of baga (one of the smallest bamboo varieties). A bamboo opening encircled by a banana leafing to a pentatonic scale played on four holes, one found below and three on top of the bamboo tube. |
| Kiskis [illustration: bamboo scraper with ridges and a rattan stick] | A bamboo piece with ridges and serves as a percussion instrument Kiskis is a Filipino word which means “to scratch” or “to rub against something”. It is played by rubbing a rattan stick on its ridges. |
Rondalla and Pangkat Kawayan are both instrumental music of the lowlands of Luzon. But that is the only commonality between the two. Each music possesses different qualities when it comes to sound, texture, especially the manner of playing the instruments, and the materials used in producing the instruments.
Listening Activity
https://www.youtube.com/watch?v=kxi55bMAOPA https://www.youtube.com/watch?v=t_scmvPAzlc https://www.youtube.com/watch?v=FlfwbH8b5Ro
After watching the videos and listening to the music, try to answer the following questions:
- What difference/s did you notice between rondalla and pangkat kawayan?
- How is each instrument being played?
- How does each instrument sound?
- Was it easier for you to differentiate Rondalla and Pangkat Kawayan now Why? Why not?
- Based on what you have listened to, which musical instruments/ ensemble is more applicable to be used as accompaniment for kundiman? Justify your answer.
What’s More
In this activity, you will try to analyze the sound produced in the given instruments. You are going to identify the manner of playing for each instrument.
| Manner of playing the instrument (producing sound) |
|---|
| Shaking |
| Blowing |
| Striking |
| Tapping |
| Rubbing |
- Angklung – _____
- Kiskis – _____
- Tulali – _____
- Pan Pipes – _____
- Kalagong – _____
- Kalatok – _____
- Bumbong – _____
- Talunggating – _____
What I Have Learned
- What is the connection of sound production to the manner of playing the instruments? Justify your answer.
- How does the manner of playing affect the sound being produced?
- What is/are the significance of the elements of music with regard to the sound production?
My Reflections
[illustration: blank scroll with ruled writing lines]
What I Can Do
Congratulations for making this far! I believe that you can keep up and learn all these things we have for you.
As you continue exploring this kind of music, here’s one last challenge for you. Record your performances using your cellphone or other media devices and submit it to your facilitator through messenger, e-mail or other media platforms.
- Perform a simple rhythmic accompaniment for your chosen kundiman.
- Evaluate your own performance using the rubrics below and your knowledge of elements of music.
Performance Rubric
| CRITERIA | 4 | 3 | 2 | 1 |
|---|---|---|---|---|
| Rhythm | It followed the triple meter and was on point | It followed the triple meter but is not consistent in the first stanza. | The rhythm is not consistent in the stanza and chorus part of the kundiman. | It is not in triple time Signature. |
| CRITERIA | 4 | 3 | 2 | 1 |
|---|---|---|---|---|
| Dynamics | Softness and loudness are evident in the whole accompaniment | Softness and loudness are slightly evident in the first stanza and chorus. | Only the soft/ loud part was evident in the 1st stanza of the song. | There is no dynamics at all. |
| Mastery | The rhythmic accompaniment flawlessly performed. | The rhythmic accompaniment memorized but there are 2 evident mistakes in its execution. | The rhythmic accompaniment slightly memorized but there are 3-4 evident mistakes in its execution. | The rhythmic accompaniment was memorized at all. |
[transcriber’s note: table continued from the previous page]
Assessment
This assessment will help you think about the lesson that you have learned. Read each statement carefully. Identify what is being described in each statement.
A. Identification: Analyze the questions below and do this in your activity paper.
_____ 1. It came from the phrase “kung hindi man.“
_____ 2. It is popularly known as the “Singing Bamboos of the Philippines.”
_____ 3. These pangkat kawayan instruments are bamboo-rattle tubes attached to a bamboo frame.
_____ 4. It is a wind instrument that produces a hollow gong- like sound.
_____ 5. These are small pieces of bamboo in graduated small tubes that have been put together by a string.
_____ 6. He is the composer of “Nasaan Ka Irog.“
_____ 7. In musical context, kundiman usually starts in a minor key then goes to the and in triple meter.
_____ 8. Who composed “Pakiusap”?
_____ 9. It is a bamboo piece with ridges, and it serves as a percussion instrument played by rubbing a rattan stick on its ridges.
_____ 10. It is an ensemble of stringed instruments played with the plectrum or pick and generally known as plectrum instruments.
B. Modified True or False. Write True if the statement is correct. If the statement is false, write the word/s that make/s it incorrect.
_____ 1. Oftentimes, a faster tempo signifies a lively music while a slower one implies a darker mood or simply a sad or emotional music.
_____ 2. The tempo is the softness and loudness of music.
_____ 3. A kundiman usually starts with a minor key then goes to the major key and in triple meter.
_____ 4. A major key uses a minor scale.
_____ 5. Rondalla is popularly known as the “Singing Bamboos of the Philippines.”
Additional Activities
Applying the skills you have learned from this module, choose one from the harana songs discussed here. You may opt to record a video of your performance for you to be able to rate it.
Suggested Video: Ruben Tagalog – O Ilaw https://youtu.be/DiOGLiPBfik
You might want to download an instrumental of O Ilaw or if you can play guitar, you can use it as an accompaniment for your chosen song.
| Criteria | 4 | 3 | 2 | 1 |
|---|---|---|---|---|
| Timing | The singer is on cue and at the right tempo in the whole song. | The singer missed the first two lines of the song. | The singer found it hard to be in the right timing for the first stanza of the song. | The singer is inconsistent in the proper tempo, cuing and timing of the whole song. |
| Dynamics | Softness and loudness are evident in the whole song. | Softness and loudness are slightly evident in the first stanza and chorus | Only the soft/loud part was evident in the first stanza of the song. | There is no dynamics at all. |
| Mastery | The lyrics is flawlessly performed. | The lyrics is memorized but there are 2 evident mistakes in its execution. | The lyrics is memorized but there are 3-4 evident mistakes in its execution. | The lyrics is not memorized at all. |
| Criteria | 4 | 3 | 2 | 1 |
|---|---|---|---|---|
| Facial Expression | Emotions are clearly evident in the singer’s face in the whole duration of the song. | Emotions are slightly inconsistent in the first stanza but the singer is able to express in the chorus part. | Emotions are only evident in the first two lines of the song. | The singer is singing in a poker face. |
[transcriber’s note: table continued from the previous page]
After doing this activity, answer the following:
- What rate did you get? Was it high or low? Why do you think so?
- How much do you appreciate harana now? Are you still in favor of it as a way of courting? Why? Why not?
Answer Key
[transcriber’s note: this page is printed upside down; the three panels are transcribed below in upright reading order]
What I Need to Know / Let’s Check It Out
- C
- D
- B
- A
What I Know / Assessment (B)
- True
- False – Dynamics
- True
- False – Major
- False – Pangkat Kawayan
What I Know / Assessment (A)
- Kundiman
- Pangkat Kawayan
- Angklung
- Kalagong
- Pan Pipes
- Nicanor Abelardo
- Major Key
- Francisco Santiago
- Kiskis
- Rondalla
References
Siobal, Lourdes R., Ma. Honeylet A. Capulong, Ledda G. Rosenberger, Jeff Foreene M. Santos, Jenny C. Mendoza, Cherry Joy P. Samoy, Rabboni C. Roxas, and Johanna Samantha T. Aldeguer-Roxas. 2017. “Music and Arts Learner’s Material.” In Music and Arts Learner’s Material, by Lourdes R. Siobal, 43. Pasig City. Department of Education.
Cachero, Brenda E. Pangkat Kawayan.c 2018. July 22, 2018. Accessed October 3,2019.https://www.slideshare.net/mobile/brendaescabal/lesson-8-pangkatkawayan
Musical U- Team.Hearing The Difference Between Major and Minor Keys. c2017. Accessed September 27, 2019. https://www.musical-u.com/learn/majorminor-keys/
For inquiries or feedback, please write or call:
Department of Education – Bureau of Learning Resources (DepEd-BLR)
Ground Floor, Bonifacio Bldg., DepEd Complex Meralco Avenue, Pasig City, Philippines 1600
Telefax: (632) 8634-1072; 8634-1054; 8631-4985
Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph
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