Module in Music 7 Qtr1_clone

7 DIVISION OF NAVOTAS CITY

MUSIC 7

Quarter 1 – Module 1:

Music of the Lowlands of Luzon
(Vocal Music)

S.Y. 2020-2021
NAVOTAS CITY PHILIPPINES

MUSIC– Grade 7
Quarter 1 – Module 1: Music of the Lowlands of Luzon (Vocal Music)
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

Development Team of the Module

Writers: Susan C. Matay-on

Editors: Rafael C. Felices

Reviewers: Rafael C. Felices

Illustrator: Susan C. Matay-on

Layout Artist: Susan C. Matay-on

Management Team: Alejandro G. Ibañez, OIC- Schools Division Superintendent

Buenafe E. Sabado, OIC- Asst. Schools Division Superintendent

Loida O. Balasa, Chief, Curriculum Implementation Division

Ernifer O. Cosmiano, EPS in MAPEH

Grace R. Nieves, EPS In Charge of LRMS

Lorena J. Mutas, ADM Coordinator

Printed in the Philippines by ________________________

Department of Education – Navotas City

Office Address: BES Compound M. Naval St. Sipac-Almacen Navotas City

Telefax: ____________________________________________
E-mail Address:
_0_2_-_8_3_3_2_-7_7_-_6_4________________________________
_n_a_v_o_ta_s_._c_it_y@__d_e_p_e_d_._g_o_v_.p_h______________________

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MUSIC

Quarter 1 – Module 1:
Music of the Lowlands of Luzon

(Vocal Music)

Introductory Message

For the facilitator:
Welcome to the MAPEH 7 Alternative Delivery Mode (ADM) Module on Music
of theLowlands of Luzon (Vocal Music)!
This module was collaboratively designed, developed and reviewed by educators
both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.
This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration
their needs and circumstances.
In addition to the material in the main text, you will also see this box in the body of
the module:

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

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

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For the learner:

Welcome to the MAPEH 7 Alternative Delivery Mode (ADM) Module on Music of the
Lowlands of Luzon (Vocal Music) !

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

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
What I Know competencies you are expected to learn in
the module.
What’s In
What’s New This part includes an activity that aims to
What is It check what you already know about the
What’s More lesson to take. If you get all the answers
correct (100%), you may decide to skip this
What I Have Learned module.
What I Can Do
Assessment This is a brief drill or review to help you link
Additional Activities the current lesson with the previous one.

In this portion, the new lesson will be
introduced to you in various ways; a story, a
song, a poem, a problem opener, an activity
or a situation.

This section provides a brief discussion of
the lesson. This aims to help you discover
and understand new concepts and skills.

This comprises activities for independent
practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

This includes questions or blank
sentence/paragraph to be filled into process
what you learned from the lesson.

This section provides an activity which will
help you transfer your new knowledge or
skill into real life situations or concerns.

This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.

In this portion, another activity will be given

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Answer Key to you to enrich your knowledge or skill of
the lesson learned.

This contains answers to all activities in the
module.

At the end of this module you will also find:

References This is a list of all sources used in
developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of
the module. Use a separate sheet of paper in answering the exercises.

2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.

3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your

answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.

If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.

We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!

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This module was written in order to help recognize and appreciate our cultural
identity and diversity through Philippine Music. This curriculum encompassed and
matched with the Department of Education's most basic learning competencies.
The lessons are provided based from the different areas of learning in music such
as defining, evaluating, measuring, self-assessing and performance.

The module is divided into three parts, namely:

✓ Folksongs of the Luzon (Lowlands)
- Aton Cu Pung Singsing
- Pamulinawen
- O Naraniag a Bulan
- Magtanim Ay Di Biro
- Santa Clara
- Sarung Banggi

✓ Liturgy and Devotional Music
- Pasyon
- Salubong
- Flores de Mayo
- Santa Cruzan

✓ Secular Music
- Harana
- Kumintang
- Pandanggo
- Polka
- Balitaw
- Kundiman

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After completing this module, the learners are expected to:

1. describe the musical characteristics of representative music selections
from the lowlands of Luzon after listening

2. analyze the musical elements of some Lowland vocal and instrumental
music selections;

Pre- Assessment:

Test I-A. Identification: Identify the following musical symbols. Choose your
answers from the WORD POOL given below:

1. 6.
2. 7.
3. 8.
4. 9.
5 10.

Whole note G-clef Time signature Staff
Half rest sharp Pianissimo F- clef
Eight note Crescendo

2

Test I-B. Matching Type: Match Column A with Column B. Write your
Answer on the first column given below. Letters only.

Answer A B

1. PITCH A. The accented
2. RHYTHM and unaccented
3. TEXTURE
4. DYNAMICS beats
5. TIMBRE
6. FORM B. The softness
and loudness of

sound

C. The tone
color or quality
of sound

D. The highness
and lowness of

sound

E. The overall
structure of a
musical composition

F. The thinness
and thickness of

sound

3

The lesson in this module is an overview on the music of the Lowlands
of Luzon, particularly on secular and sacred music like Philippine Folk
Songs, the Music for Liturgy and Devotional Music. Through the lesson, the
learners will be able to discover how music both vocal and instrumental
became an avenue to prompt their approaches toward each other and the
WeOnRvDiroCnLmAeSnSt,IFthICeiArTaItOtrNib:uCtliaonssoiffytthheeirfoplaloswt iinncgluwdoirndgs tahceciorrldeianrgnetod tbheeliierftaypned:
customs. Each lesson promotes discipline, ingenuity, concentration and high
self-esteem which are vital to your actual performance.

Direction. Classify the followings songs according to their type.
Write your answer on the table provided below.

HARANA DIOS TE SALVE KUMINTANG

REGINA COELI SARUNG BANGGI AGNUS DEI

BALITAW KUNDIMAN PANDANGGO

ATIN CU PUNG SINGSING ALAY PAMULINAWEN

FOLK SONGS LITURGICAL / SECULAR MUSIC
DEVOTIONAL MUSIC

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Lesson Music of the
Lowlands of Luzon
1

Filipino music is quite varied as the indigenous people in the Philippines
spread across hundreds of islands. Traditional music was largely retained and
practiced by many of the people who concentrated mainly in three regions:
Northern Luzon (Highlands and Lowlands), the Central Philippine islands of
Mindoro and Palawan and the southern islands of Mindanao and Sulu. Music even
before the colonial period was typically anonymous and largely functional whether
vocal or instrumental music.

People of the Lowlands of Luzon express their feelings towards each other
and the environment, their history, and their religious beliefs through voice and
musical instruments. The lowlands of Luzon include province of Ilocos,
Pangasinan, Pampanga, CALABARZON, MIMAROPA and Bicol to which their music
vary accordingly. Their traditional music in general is usually fast and lively and
often performs during fiestas or festivals, as a way of thanking their gods for a
bountiful harvest and to honour their patron saints and the Blessed Virgin Mary.
With the coming of the Spaniards the Filipino’s music underwent a transformation
most especially in terms of music used for liturgy, devotion and secular purposes
while the locals maintain cultural traditions through the Hispanic-influenced
music that varies according to places or towns.

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SECULAR MUSIC

1. FOLKSONGS OF THE LUZON (LOWLANDS)

✓ Folk Song is one of the vocal traditional music of the Filipinos
that expresses everyday activities, customs, and beliefs which
are put together as music.

✓ It is orally passed on from one generation to another and
transmitted to other places as well.

✓ Folk songs are written in many forms like lullaby, kundiman,
balitaw, polka, waltz, valse, pandango, ballad and danza which
can be performed in one’s own native language such as Ilocano,
Pangasinense, Kapampangan, Tagalog, Bicolano and others.

Below shows the characteristic of Folk Song in terms of the Elements of Music:

VOCAL MELODY RHTYHM TEXTURE/ HARMONY TEMPO FORM
FORM

Folk Simple Duple or Monophonic/ not typical Fast and strophic
Song slow
triple or homophonic
Quadruple

Here are some examples of Philippine Folk Songs from different Lowlands of Luzon.

✓ Atin Cu Ping •Magtanim ay ‘Di Biro
Singsing • Bahay Kubo
• Leron Leron Sinta
✓ Doredo • Sitsiritsit
✓ Caca, O Caca • Paru-Parong
✓ Ing Bulung
Bukid
Lara Y Rizal
✓ Tinanam Kung ✓ Pamulinawen
✓ Naraniag a Bulan
Kamantigue ✓ Manang Biday
✓ Misan a ✓ Dungdungwen Kanto
✓ Bannatiran
Sarung ✓ Ti Ayat ti Maysa nga
Banggi
Ubing
✓ Igid Diay Baybay

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LISTENING
ACTIVITY

Using the folk songs Pamulinawen and Atin Cu Pung
Singsing, Compare and Contrast the characteristics of the
two songs according to its musical element.

Note: Scan the corresponding QR Code of the two
songs to listen to it using the QR Code Scanner on
your Cell phone.

Pamulinawen Atin Cu Pung
Singsing

COMPARE and CONTRAST: Differentiate the given folk songs using the organizer below:

DIFFERENCES SIMILARITIES DIFFERENCES
____________________
TEMPO___________(fast or slow) ____________________ TEMPO___________(fast or slow)
MELODY __________(high or low) MELODY __________(high or low)
METER _________ (duple or triple) ____________________ METER _________ (duple or triple)
TEXTURE____________________ ____________________ TEXTURE___________________
(monophonic or homophonic) (monophonic or homophonic)

Purpose of the Song Purpose of the Song
_____________________________ _____________________________

https://www.shutterstock.com/image-vector/woman-student-lying-down-reading-book-1575959695

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RUBRIC for LISTENING

ACTIVITY

CATEGORY 3 4 5

Elements of Music Student can explain Student expresses Student is able to
Purpose of Music few of the musical some musical explain musical
elements/styles used elements/styles and elements/styles used
in a given song or supports his/her in a given song and
music and unable to opinions supports opinion
support it with valid about music choices
criteria
Student can identify Student can identify
Student is unable to several purposes of all purposes of music
define the purpose of music related to to culture/history
music related to culture/history
culture/history

Score:

A. Elements of Music __________

B. Purpose of Music __________

Total /10

2. Harana - is a Philippine traditional song used in courtship
✓ typically has a scene in which a young man with a chaperon
nervously prepares to serenade a lady that he likes in the
cold and star-lit night, hoping she’d fall in love with his song
and him

Examples of Harana
a. O Ilaw
b. Ang Tangi Kong Pagibig
c. Dungawin Mo Hirang

3. Kundiman – is the classic form of Filipino love song, in which the
singer who expresses an undying love for his beloved is singing for the
love of country.

✓ It is an Art song which came from the tagalog word “kung hindi man”
✓ Lyrics and melodies are emotionally expressive
✓ Conveys a selfless and intense love, longing and caring not only with a

romantic partner but also with a parent, child or country

Examples of Kundiman
a. Nasaan Ka Irog by Nicanor Abelardo
b. Ang Bayan Ko by Constancio de Guzman
c. Pakiusap by Francisco Santiago

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SACRED MUSIC

1. LITURGY AND DEVOTIONAL MUSIC
For over three centuries, Spanish music influenced the liturgical

and devotional music of the Philippines, particularly the lowlands of
Luzon. The effects of these influences affected the different religious
practices of the Filipino people. The vocals maintain cultural traditions
through the Hispanic influenced music that varies according to places
or towns.

LITURGY - The word Liturgy literally means “work of the people”, within
the Catholic Church it is used to describe all the public acts of worship
that take place, as it draws the people into the work of God.

✓ Liturgy is in many ways the public face or shop front of the Church,
it is through the liturgy that people engage with the faith and
deepen their relationship with God.

✓ The sacred liturgy is the true worship of God, enacted by Jesus
Christ and his body, the Church, through the power of the Holy
Spirit.

MASS - is the Roman Catholic Church 's central act of worship
which ends in the celebration of the Eucharistic sacrament.

✓ The word mass is derived from the Latin ecclesiastical for the dismis
sal of the congregation.

1. Kyrie (Panginoon, Maawa Ka)
2. Gloria (Papuri)
3. Alleluia (Aleluya)
4. Credo (Sumasampalataya)
5. Sanctus (Santo)
6. Peter Noster (Ama Namin)
7. Agnus Dei (Kordero ng Diyos)

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DEVOTIONAL MUSIC
A devotional music refers to a music which is commonly accompanied by
religious activities and rituals. Devotional music has been traditionally part of
Christian, Hindu, Buddhist, Islamic and Jewish music. In Eastern parts of the
world, devotional music acts as a part of communion prayer and meditation. In
western parts of the world, it is included in the liturgy.

1. PASYON – known simply as “Pabasa” is a Catholic devotion in
the Philippines popular during holy week involving the
uninterrupted chanting of the life of Jesus Christ, focused on His
Life, death and resurrection usually written in five lines of eight
syllables each where colorful melodies vary according to the place
where it is held.

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2. SALUBONG – is an

annual re-enactment of

the Biblical

interpretation of the

meeting of the Virgin

Mary with the

resurrected Jesus

Christ, a Tagalog word Photo courtesy of Joan Delos Reyes

meaning "to welcome" or "to meet." There are angels with singing

Alleluia to complement the festivities! While bells are

played in the church to proclaim the end of the

Lenten season

3. FLORES DE MAYO – is a festival celebrated in the month of May in the
Philippines in honor to the Blessed Virgin Mary that lasts for a month. The
tradition includes the decoration of churches, and even the whole city. The
procession of glamorous women in elegant gowns which is done through a
Santacruzan is one of the highlights of the festive gathering.

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3. SANTA CRUZAN - is a religious-historical beauty pageant held
throughout the Philippines during the month of May in many
cities, towns and even small villages around. The festivity
remembers Queen Helena and her friend, the newly converted
Emperor Constantine the Great,' looking for the Holy Cross. There
was a joyful celebration for thanksgiving after the Holy Cross was
found in Jerusalem, and brought back to Rome.
DIOS TE SALVE
(Tagalog)

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Activity 1.1 Explain the characteristics of Devotional Music and
Liturgy in terms of the given elements of music under each song.

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Direction. “If you believe you can do it, you will always succeed”.
Make a generalization of what you have learned in the

lesson by accomplishing the task below.

HISTORY OF MUSIC OF How does music reflect the history and
THE LOWLANDS OF culture of the Lowlands?
LUZON (summary)
______________________________________
__________________________ ______________________________________
__________________________ ___________________________________
__________________________
__________________________ Folksongs of Liturgy/ Secular Music
__________________________ Luzon Devotional Music ______________
__________________________ ______________ ______________
__________________________ ______________ ______________ ______________
__________________________ ______________ ______________ ______________
__________________________ ______________ ______________ ______________
__________________________ ______________ ______________ ______________
__________________________ ______________ ______________ ______________
__________________________ ______________ ______________ ___
__________________________ ______________ ______________
__________________________
__________________________ ___
__________________________
__________________________ What concrete action can I make as
__________________________ a student, to preserve our liturgical and devotional
__________________________
__________________________ music?
__________________________
__________________________ ___________________________________________________
__________________________
___________________________________________________
______________________
___________________________________________________

___________________________________________________

___________________________________________________

_____________________________________________

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You are a leader of a Cultural
Performing Group in your school and you
learned that some of the representatives from
NCCA or National Commission for Culture and the
Arts will visit your school the following month. Your
Principal asked you to prepare a cultural show that will
showcase our Philippine culture through song and dance

performance.
Your TASK is to create a PLAN for a cultural presentation using the

performance task GRASPS guided by the given rubrics below.

GR A S PS

G(Goal): the goal is to create a R (Role): You are a __________
________________________________ __________________________
____________________________

A (Audience): S (Situation): P (Product/ S(Standards &
Performance): Criteria for Success):
The target You need to show You need to create Your performance
audience is _______________ ________________ should___________
_______________ _______________ _________________ ________________
_______________ _______________ _________________ _________________
_______________ _______________ _________________ _________________
_______________ _______________ _________________ _________________
______________ _________________ _________________
_
__ ______

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20 points
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MULTIPLE CHOICE. Encircle the letter that corresponds to your answer.

1. The people of the lowlands of Luzon express their feelings toward each other
and the environment, their history, and their religious beliefs through voice
and musical instruments. Their folksongs are performed in their native
language such as Ilocano, Pangasinense, Kapampangan, Tagalog, Bicolano
and others. Which statement below supports this story about their music?
A. Their song is a variety of sacred and secular music
B. The music of the lowlands of Luzon was influenced by the Spaniards
C. The lowland folks are composed mostly of farmers, fishermen, artisans,
vendors and traders
D. The music of lowlands of Luzon is composed of Vocal and instrumental
music which varies in every province of Luzon

2. How does the texture of Luzon folksongs can be generally characterized?
A. Heterophonic B. Homophonic C. Monophonic D. Polyphonic

3. During holy week season, a religious stage play takes place in many places

to commemorate the life, death and resurrection of Jesus Christ. What

Filipino tradition is being described?

A. Mass B. Pasyon C. Salubong D. Senakulo

4. Which of the following statements is true about folksongs?
A. Folk songs are songs written by the folk and sung to accompany their
daily activities
B. Most Philippine Folk Songs have Asian influences
C. All folk songs are written about specific events or issues
D. Folk Song composers are well known artists

5. Which of the following musical forms influenced the most the life of the

early Filipinos?

A. Flores de Mayo B. Harana C. Kundiman D. Rondalla

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TRUE or FALSE. Write T if the statement is True and F if it is False.
______6. The time signature of the song “Magtanim ay Di Biro” is 4/4.
______7. “Pamulinawen” is an example of Ilocano song.
______8. Religious music of the lowlands of Luzon tells the impact of

Spanish colonization.
______9. “Pabasa” is a religious-historical vent that dramatizes the

finding of the Holy Cross by the Queen Helena and her
son, Constantine the Great.
______10. Kyrie:Panginoon Maawa Ka; Sanctus:Ama Namin

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MUSIC Direction: Using the Word Search Puzzle
WORD below, look/search for the words about the

SEARCH Vocal Music of the Lowlands and encircle it.
(15 pts.)

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20

What I Know What's In

Test A FOLK LITURGICAL SECULAR
1. Pianissimo SONGS / MUSIC
2. G-Clef
3. Whole Note DEVOTIONAL
4. Crescendo MUSIC
5. F-Clef
6. Staff Atin Cu Pung Regina Coeli Harana
7. Time Signature
8. Eight Note Singsing
9. Sharp
10.Half Rest Sarungbanggi Alay Balitaw

Test B. Pandanggo Dios Te Salve Kundiman

1. D Pamulinawen Agnus Dei Kumintang
2. A
3. F
4. B
5. C
6. E

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Assessment: ADDITIONAL ACTIVITIES

Test A
1.D
2. B
3. D
4. A
5. C

Test B.

6. F

7. T

8. T

9. F

10. F

References

Print Materials
• K to 12 Learner’s Material, Music and Arts Grade 7
• Miranda, Q., Jugueta, L., Sacdalan, G., San Jose, M.(2016). MAPEH 7 ICT
Enhanced

Online Resources
• Arredondo, A. (2007) Treble Clef. Retrieved from
https://commcommons.wikimedia.org/wiki/File:Treble_Clef.JPG
• Atin Cu Pung Singsing Musical Score. Transcribed by RCR/RO3. Retrieved
from https://www.scribd.com/document/372245852/Atin-Cu-Pung-
Sing-Sing-Grade-2-Lyrics
• Alcazar, M. (20212) Period in history of Philippine Music. Retrieved from
https://www.slideshare.net/markalcazar/period-in-history-of-
philippine-music-14480664
• Apple Outline. Retrieved from
https://www.pinterest.ph/dainakraai/creation-templates/
• Boy Singing. Illustration from BLR Navotas. Retrieved from
https://drive.google.com/open?id=1GQB_ljd3d8FEbxa-WgZx9hv3dKpyFiZS
• Bulb. Illustration from BLR Navotas. Retrieved from
https://drive.google.com/open?id=1GQB_ljd3d8FEbxa-WgZx9hv3dKpyFiZS
• EERSTE Communie Bunsbeek (2017). First Communion. Retrieved from
https://kerkenglabbeek.wordpress.com/category/bunsbeek/
• Silhouette Romantic Couple Love Guitar Serenade. Retrieved from
https://www.hippostcard.com/listing/silhouette-romantic-couple-
love-guitar-serenade/18734488
• Student Lying Down. Retrieved from https://www.shutterstock.com/image-
vector/woman-student-lying-down-reading-book-1575959695

Video Resources
• Atin Cu Pung Singsing | Kapampangan Folk Song | robie317. Retrieved from

https://www.youtube.com/watch?v=gVZgJGC8u2k&fbclid=IwAR3bKZP
dUFILL7tE3Leo7WARn8ifZMckn6X1AawFS2cBJ5BWReAO-1An3AM

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• Delos Reyes J. (2017) Salubong San Roque Navotas. Retrieved from
https://www.youtube.com/watch?v=UrfFKqLht6k&fbclid=IwAR0LagB
EhybnfDtHWhbJzkGxzQq6bJJ2Jh5g4b9pEFeXeZre3Xw1fXNLf7M

• Demonteverde, P. (2009). Pabasa. Retrieved from
https://www.youtube.com/watch?v=LZ-
hVsbye0w&fbclid=IwAR2eTZNFGidIH2B68IPJ2HhKqNWZJZWJ0hHxVAaeh03dEMcc
JgCMWNNQPRM

• Ilocano Songs Pamulinawen || Best Ilocano Song. Retrieved from
https://www.youtube.com/watch?v=ekpFvt1Z-O4&t=3s

• Santollano, E. (2013) Dios Te Salve. Retrieved from
https://www.youtube.com/watch?v=MLej0pql7Ik&fbclid=IwAR1j4H3o
Ob4iGg_e4P-Pur-suu4jlvpLsKRd21DvvuFwtEl4zCc9DmjF_Ns

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For inquiries or feedback, please write or call:

Department of Education – Schools Division Office Navotas
Learning Resource Management Section

Bagumbayan Elementary School Compound
M, Naval St., Sipac Almacen, Navotas City

Telefax: 02-8332-77-64
Email Address: [email protected]