'rd D" 7asic research, mapping of tangible and intangible musical cultures, Introduction to Music II30% CONTENT
•
A$ OUR CULTURAL HERITAGE 0<>T<8> MPPI;1 of 0ultural 8esources" Tangible and Intangible
CONTENT STANDARDS
$he learner/
•
demonstrates an understanding of the cultural resources of his4her community, its different types, and significance
PERFORMAN CE STANDARDS
$he learner/
•
•
•
demonstrates an
Map an inventory of the tangible and intangible cultural resources from their community and establish its significance. .
illustrates the heritage icons in his4her
LEARNING COMPETENCI ES
$he learner/
#. Identifies and 0lassifies the tangible and intangible cultural resources in his4her community and its significance.
&.creates maps of the cultural resources of communities
POSSI;LE ACTI+ITIES
$he learner/ SPFM0 resear :3IIIa3b3 ches on # his4her communit y(s cultural heritage resources and establishe s their significan ce SPFM0 :3IIIa3& draws or creates visual collages or •
•
35
understanding of local heritage icons and their conditions
;$ INTRODUCTION TO MUSIC (C#t#%at#) #. /lements of Music " 8hythm -Simple K 0ompound Meter, Syncopated , stinato, 9rone2, Melody -5ey Signatures, Scale 9egree names Types and Dualities of Intervals, Modes2, :armony -0hord $unctions, Tonic, 9ominant, 0hord Progressions, 9rone K Melody2, •
•
community through a cultural map or visual collage
'.creates scenes of human and socio3cultural situations based on these maps
). identifies the music features of a short heritage piece
community maps illustrating various tangible and intangible cultural resources
explor es various music techni!ues to portray heritage icons and human situations
•
SPFM0 :3IIIa3'
SPFM0 :3IIIa3)
perfor ms music with a heritage content •
•
36
Tempo -1rave, >ento, Prestissimo, 8itardando, ccelerando, 8ubato2, 9ynamics-crescen do, decrescendo, diminuendo2, Timbre -:ornboestel3Sachs, 7el 0anto, Indigenous =ocal Styles2, $orm - Sonata llegro, 0oncerto, Symphony, Theme K =ariations, 0yclic form, Indigenous $orms2 &.pplication of the /lements of Music through the chosen speciali*ation" voice and instrument3playing. •
•
•
•
•
performs basic musical sills in voice and4or instrument3 playing
writes an experience paper on the !uarter activities •
rehear ses small group ensembles •
•
•
Instrument3 Playing4Singing -0ontinuation2 $inger positions4Posture Tone Production K 8esonance /mbouchure
demonstrates an understanding of basic 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
performs music pieces with cultural heritage content
performs music through solo and with accompani ment
•
•
•
stages music •
•
demonstrates
37
-winds2% bowing4plucing -strings2% rticulation Sight Singing 7asic Sight 8eading 8epertoire Study 0horal :armony, 7alance K 7lending '.T/0:;IDSS -=oice and Instrument2" Performance of >ocal Music Pieces -0ommunity 8esources2
an understanding of cultural research
•
performance with a cultural heritage content
• •
• •
•
demonstrates understanding of the performance of music pieces with cultural heritage content drawn from local community resources
).0<>T<8> 8/S/80: $ield 8esearch pproaches 0reating 0ultural :eritage Maps and Selecting Icons for Music Performance •
P/8$8M;0/ of Pieces with 0<>T<8> :/8IT1/ content L;T/ Teachers are free to choose what elements of music he4she thins is 38
necessary to apply in the course.
MUSIC GRADE ? :
FOURTH UARTER
)th Duarter" Performance" instrument4voice4choir, 0ollaboration of the 9ifferent rt $ields% CONTENT
CONTENT STANDARDS
A$ MUSIC PERFORMANCE $he learner/ ON LIFE SOURCES AND CULTURAL HERITAGE #.I;T8 T M
CSIS. The an identification of features understanding played in a short heritage of program piece. The features would planning, relate to the />/M/;TS $ rehearsal M;;I;1 using the 7asics of Planning a integrated arts Music Performance approach •
PERFORMAN CE STANDARDS
$he learner/
perform fundamental processes in music with creativity •
•
LEARNING COMPETENCI ES
$he learner/
#.applies the appropriate musical elements needed in the piece
POSSI;LE ACTI+ITIES
$he learner/ SPFMM P3I=a3#
performs basic 39
8ehearsal Preparation Staging the Performance
•
0. 8/:/8S>S ;9 P/8$8M;0/" Plays and4or Music Performances pertaining to >ife Sources, :eritage and 0ulture •
musical sills for voice and instrume nts
demonstrates an understanding of the staging process utili*ing elements of production values lie music, design, and movement demonstrates an understanding of rehearsal and staging methods leading to run3 throughs and performances
&.analy*es the importance of a good music programming, rehearsal preparation, and staging
plans for a music program
SPFMP P3I=a3&
•
condu cts various rehearsals and run3 throughs
•
performs music pieces with cultural heritage content •
'.improvises music based on local cultural heritage
performs music ).identifies through solo acceptable and with rehearsal accompani methods ment applicable to good program planning
perfor ms in front of an audience
SPFMM P3I=a3b3 '
•
•
condu cts a feedbac session with the audience
•
•
SPFMP P3I=a3b3 )
performs improvisa tion of 4
employs acceptable rehearsal methods to good program planning
local musical materials
•
•
applies aspects of the integrated arts approach in the staging music performanc es
evalua tes the production process in class
•
writes a journal of experience s of the entire 1rade
•
!%+e $e'f(')#,e .%#,"#'". f(' %+e f(/'%+ 0/#'%e' ll e .+(#.e" , (ll#('#%(, %+ #ll %+e (%+e' #'% el".
189/ " 0ommunity 8ealities and >ife Sources 41
Schedule M*%!A+ 61 PM
INTRO TO MUSIC II
16. PM
SOLO INSTR
$,ES!A+ I;ST8 /;S/M7>/
E!%ES!A+ INTRO TO MUSIC II
$,.S!A+ =0> /;S/M7>/
SOLO INSTR
#.I!A+ INTRO TO MUSIC II
SOLO INSTR
0overage of I;T8 T M" ?I;9S, 1 /;S/M7>/" I;9I1/;/ -S>T P8T;/8S:IP2, 8ondalla, 8ecorder, 0hamber4Mixed% c2 0:I8" SS4ST7 8 9I=ISI MATERIALS: I#trd%!t# t M%!: 7asics of Music by Michael inn, $undamentals of Music by :errold, Introductory Musicianship by Theodore >ynn C**%#ty=F"< M%!: 9ictionary of $ilipino Musical Terms -ilia Tolentino -unpublished thesis2% 0ompendium of :umanities by ;80P, Palabunibunyan by ga Mayo 7utocan, 1ongs and 7amboo by 6ose Maceda E!"2y: Soundscape by Murray Schafer, /arth Music by rvin =illalon R#da""a: 0elso /spejo 8ondalla Methods by 0elso /spejo, Philippine $ol 9ances for 8ondalla by /dna 0ulig, Philippine 8ondalla 42
by ngelita Pasamba, >aro38ondalya by Polvori*a, Muyco, Trangco, Pere* C'r: ;M0C 0horal Series, Sundry 0horal Series -reprint2, 5oro >eyteno, Philippine $ol Songs by 8eysio 0ru*, :allel by ugusto /spino, Teaching 0horal Music -9awn 0ollins2, :andboo for 7eginning 0horal /ducators -?alter >amble2, Singing at $irst Sight Series -ndy 7ec2, Teaching Music Through Performance in Middle School 0hoir, 0ollaboration in the /nsemble rts S" +!e: 5undiman at Iba Pa I and II, ;M0C S/8I/S, $olsongs of the =isayas by Priscilla Magdamo, =oice Methods of 0oncone, Marchesi, Mac0losy, $oundations of Singing by =an 0hristy I#d2e#% M%!: Palabunibunyan by ga Mayo 7utocan, Select Transcriptions of Philippine $ol Songs by >ilia Tolentino -unpublished thesis2, 1ongs and 7amboo by 6ose Maceda, 9ictionary of Philippine Musical Terms -eonard 1uitar Method 7oos # N ', & nd edition -&@@&2, Mel 7ay, :ohmann3?ohlfarth 3#d=Per!$: 8uban, 7uraoff & Teaching Music Through Performance in 7and Pa#: 0*erny p. EJJ, 7ach ;oteboo of nna Magdalena 7ach, Selesiyon and >iha Tugtugin by ugusto /spino, Score Series by bejo, >iha3Tugtog3>iha by 0hristine Muyco, ;M0C Piano Series, lfred Piano Series, :al >eonard Piano Series, Piano dventures, The 0ontemporary Piano Method, 0elebration Series Str#2: ;M0C =iolin Series, Su*ui Method 7oo I, Mel 7ay Modern =iolin, :al >eonard /ssential /lements for Strings, lfred String 7uilder, 5jos /ssential for Strings, :abits of a Successful String Musician" $ull Score R#da""a: 0elso /spejo 8ondalla Method by 0elso /spejo, Philippine $ol 9ances for 8ondalla by /dna 0ulig, Philippine 8ondalla by ngelita Pasamba, >aro38ondalya by Polvori*a, Muyco, Trangco, and Pere* C'r: ;M0C 0horal Series, Sundry 0horal Series -reprint2, 5oro >eyteno, Philippine $ol Songs by 8eysio 0ru*, :allel by ugusto /spino, Teaching 0horal Music -9awn 0ollins2, :andboo for 7eginning 0horal /ducators -?alter >amble2, Singing at $irst Sight Series -ndy 7ec2, Teaching Music Through Performance in Middle School 0hoir, 0ollaboration in the /nsemble rts ?ebsite resource" #)/.() , %e('#() , .(lfee(' , /l%/'#le0/%(' , f(l#..e"/ , /$e%+,()()
SPA CURRICULUM MUSIC 43
GRADE @ C%re De!rpt# This is a course in SP3Music speciali*ation that aims the learner to demonstrates an understanding of the ba! !#!ept& pr#!p"e& <"" f MUSIC re"e,a#t t !reat#2 pr!ee a#d 9r< ref"e!t#2 Htry a#d Herta2e for the /BP>8TI; of creativity, sense of self and cultural identity, and social responsibility MUSIC GRADE @ :
FIRST UARTER
:istorical Periods" Pre30olonial Philippines and ?estern Medieval48enaissance, Introduction to Music III3 CONTENT
CONTENT STANDARDS
$he learner/ . $unctions of Music in 9aily >ife -Phil. K ?estern2" #.8ituals, &.?orship '.>eisure K /ntertainment ).:istorical and 1eographical 7acground
•
Per#a2e: P'"pp#e: 8itualists -7abaylan, 7ai, etc.2 1M7 3eter#: Troubadors, Minstrels,
•
demonstrates an understanding of cross3cultural comparison between Philippine and ?estern musical development
PERFORMANCE STANDARDS
$he learner/
performs Philippine and ?estern music based on its functions to daily life
•
LEARNING COMPETENCIES
$he learner/
#. distinguishes the different functions of music in Philippine and western setting &. displays familiarity in various performance practice of ?estern
POSSI;LE ACTI+ITIES
$he learner/
•
•
maes a table of comparison for both Philippine and ?estern music development traces the linear
SPFM$J3 Ia3#
SPFM$J3 44
Mons, 9ancing Masters, Major 0omposers
music and Philippine music
historical development of Philippine and ?estern music alongside historical events
'.utline the historical and geographical bacground of Philippines and ?estern countries
•
performs basic musical sills for voice and instruments performs music through solo and with accompaniment •
•
;$ INTRODUCTION TO MUSIC (C#t#%at#)
demonstrates an understanding of basic music reading, basic vocal techni!ues,
).analy*es how socio3 cultural functions and historical events affects musical forms across Philippine and ?estern society E.distinguishes how Philippine and ?estern music developed alongside each other through finding commonalities and differences •
applies additional musical sills for voice and
Ia3&
SPFM$J3 Ia3'
SPFM$J3 Ia3)
rehearses music showing nowledge of the musical elements as applied in the music •
SPFMIMJ3 Ia3e3E
sings or plays instruments with techni!ue •
45
#./lements of Music " •
•
•
•
•
•
instrument playing techni!ues, and sight reading sills
instrument playing
appropriate to the piece.
8hythm -$ree Meter, Speech Meter, 0hanging Meter, Metric, Syncopated , stinato, 9rone2, Melody -Modes2, :armony -9rone K Melody, rganum2, Tempo -1rave, >ento, Prestissimo, 8itardando, ccelerando, 8ubato2, 9ynamics -rticulationslegato, staccato, portamento, portato2, Timbre ->ocal Instrument 0lassification, :ornboestel3Sachs, 7el 0anto, Indigenous =ocal Styles, Musical Instruments" 1ongs, 7amboo, 9rums K >utes -Philippines2% 8ecorder 0onsort, Psaltery, >utes, =iols, Tambor2, $orm -Musical 1enres"
Philippines" 7allads K /pics, Mimetic 9ances, ?estern" Plainchant, Madrigals, Secular K Sacred, Mass, 9ance Suites •
'. pplication of the /lements of Music through the chosen 46
speciali*ation" voice and instrument3playing. Instrument3Playing4Singing -0ontinuation2 $inger positions4Posture Tone Production K 8esonance /mbouchure -winds2% bowing4plucing -strings2% rticulation 7asic Sight 8eading 8epertoire Study 0horal Styles
MUSIC GRADE @ :
SECOND UARTER
Spanish 0olonial Period versus 7aro!ue, 0lassic and 8omantic Periods, Introduction to Music III37 CONTENT
.$unctions of Music in 9aily >ife -Phil. K ?estern2" #.Sacred Music &.Secular Music
CONTENT STANDARDS
$he learner/
PERFORMANCE STANDARDS
$he learner/
LEARNING COMPETENCIES
$he learner/
#. describes the
POSSI;LE ACTI+ITIES
$he learner/
SPFM$J3 47
&.:istorical K 1eographic " 0olonial /xpansion K the 8ise of ;ationalism
•
•
Personages" donay, 7onus, Illustre Troubadors, Minstrels, Mons, 9ancing Masters, '.Major 0omposers
•
demonstrates an understanding of cross3cultural comparison between Philippine and ?estern musical development
•
displays familiarity in various performance practice of ?estern music and Philippine music
different functions of music in Philippine and western setting
•
&.distinguishes sacred from secular music '..identifies the historical and geographical bacground of Philippines and western
•
). enumerates major composers of the Spanish colonial period in the Philippines. •
E. enumerates the major composers of the baro!ue, classical and romantic periods. H.analy*es how socio3cultural functions and
maes a table of comparison for both Philippine and ?estern music development traces the linear historical development of Philippine and ?estern music alongside historical events rehearses music showing nowledge of the musical elements applied in the music
IIa3#
SPFM$J3 IIa3&
SPFM$J3 IIa3'
SPFM$J3 IIa3) SPFM$J3 IIa3E
SPFM$J3 IIa3H
48
historical events affects musical forms across Philippine and ?estern society G..distinguishes how Philippine and ?estern music developed alongside each other through finding commonalities and differences
;$ INTRODUCTION TO MUSIC (C#t#%at#) demonstrates an understanding of basic music reading, basic vocal techni!ues, instrument playing techni!ues, and sight reading sills •
#./lements of Music " •
•
•
•
8hythm -8eview of Simple and 0ompound Meter2, Melody -8eview of Major and Minor Tonality2, :armony -7asso 0ontinuo, $igured 7ass, lberti 7ass2, Tempo -1rave, >ento,
•
demonstrates basic musical sills in voice and4or instrument3 playing
. applies additional musical sills for voice and instrument playing
SPFM$J3 IIa3G
•
sings or plays instruments with techni!ue appropriate to the performance practice of the piece. SPFMIJ3 IIa3e3
performs music through solo and with •
49
•
•
•
•
Prestissimo, 8itardando, ccelerando, 8ubato2, 9ynamics-rticulations, legato, staccato, portamento, portato2, Timbre - Instruments of the rchestra :ornboestel3 Sachs, 7el 0anto,
accompaniment applies appropriate technical sills in performing Philippine and ?estern music •
Musical Instruments" 7aro!ue, 0lassic K 8omantic rchestras Music 1enres" P'"pp#e" 5undiman, Misa, 7alitaw, 9an*a, 5umintang, 6ota, 0uracha, :abanera, Sarswela, 5omedya, Pasyon, Subli, Senaulo, Panunuluyan, 1o*o, =illancico, Pastores, 9aigon 3eter#" ratorio, pera, Sonata, Symphony, 0oncertos, Tone Poem, Program Music, rt Songs, -0hansons, >ied, etc.2
&. pplication of the /lements of Music through the chosen speciali*ation" voice and instrument3playing. Instrument3Playing4Singing 5
-0ontinuation2 $inger positions4Posture Tone Production K 8esonance /mbouchure -winds2% bowing4plucing -strings2% rticulation 7asic Sight 8eading 8epertoire Study Interpretations 0horal Styles
L;T/ Teachers are free to choose what elements of music he4she thins is necessary to apply in the course.
51
MUSIC GRADE @ :
THIRD UARTER
'rd Duarter" merican and 6apanese ccupation. Introduction to Music III30 CONTENT .$unctions of Music in 9aily >ife -Phil. K ?estern2" #.>eisure and /ntertainment &.rt Music '.Popular Music
CONTENT STANDARDS
$he learner/
•
).:istorical K 1eographic 7acground
•
•
Per#a2e: P'"pp#e: Abe"ard& Sa#ta2& M"#a Nat#a" Artt fr M%! Mar C*per 7 Mar 3r<
;$ INTRODUCTION TO MUSIC (C#t#%at#) #. /lements of Music
•
demonstrates an understanding of cross3cultural comparison between Philippine and ?estern musical development
demonstrates an understanding of basic music reading, basic vocal
PERFORMANCE STANDARDS
$he learner/
•
•
displays familiarity in various performance practice of ?estern music and Philippine music
demonstrates
LEARNING COMPETENCIES
$he learner/ #.describes the different functions of music in Philippine and western setting
&.identifies the historical and geographical bacground of Philippines and western
'.analy*es how socio3cultural functions and historical events
POSSI;LE ACTI+ITIES
$he learner/
•
•
maes a table of comparison for both Philippine and ?estern music development traces the linear historical development of Philippine and ?estern music alongside
SPFM$J3 IIIa3#
SPFM$J3 IIIa3&
SPFM$J3 IIIa3'
52
•
•
•
•
•
•
8hythm -$ree Meter, 0hanging Meter, Mixed Meter , Polymeter2, Melody -?hole3Tone, Polytonal, Twelve3 Tone2, :armony -Duartal 0hords, Duintal, :eptachords, :exachords2, Tempo -1rave, >ento, Prestissimo, 8itardando, ccelerando, 8ubato2, 9ynamics -extreme dynamics and articulations ex. $ortississimo2, Timbre -
techni!ues, instrument playing techni!ues, and sight reading sills
basic musical sills in voice and4or instrument3 playing
performs music through solo and with accompaniment
affects musical forms across Philippine and ?estern society
).distinguishes how Philippine and ?estern music developed alongside each other through finding commonalities and differences
•
applies appropriate technical sills in performing Philippine and ?estern music
•
•
E. applies additional musical sills for voice and instrument playing
•
•
historical events rehearses music showing nowledge of the musical SPFM$J3 elements as IIIa3) applied in the music sings or plays instruments with techni!ue appropriate to the performance practice of SPFM$J3 the piece. IIIa3e3E
$orm -Musical 1enres" P'"pp#e" Sarswela, 5undiman, 7odabil, Music from the 6apanese Period
53
•
?estern" 1esamQnswere, ;eoclassical, vante31arde, Minimalist Music, , 0hance4leatory Music, Indeterminacy, 6a**, 8hythm and 7lues &.pplication of the /lements of Music through the chosen speciali*ation" voice and instrument3playing.
Instrument3Playing4Singing -0ontinuation2 $inger positions4Posture Tone Production K 8esonance /mbouchure -winds2% bowing4plucing -strings2% rticulation 7asic Sight 8eading 8epertoire Study 0horal Styles L;T/ Teachers are free to choose what elements of music he4she thins is necessary to apply in the course.
54
MUSIC GRADE @ :
FOURTH UARTER
FOURTH GRADING PERIOD
)th Duarter" Performance of instrument4voice4choir% 0ollaboration of the 9ifferent rt $ields% CONTENT . pplication of the /lements of Music through the chosen speciali*ation" #.voice &. instrument3playing. Instrument3Playing4Singing -0ontinuation2 $inger positions4Posture Tone Production K 8esonance /mbouchure -winds2% bowing4plucing -strings2% rticulation 7asic Sight 8eading 8epertoire Study 0horal Styles
CONTENT STANDARDS
$he learner/ •
demonstrates an understanding of basic music reading, basic vocal techni!ues, instrument playing techni!ues, and sight reading sills
PERFORMANCE STANDARDS
$he learner/ •
•
demonstrates basic musical sills in voice and4or instrument3 playing performs music through solo and with accompanime nt
LEARNING COMPETENCIES
$he learner/ #. displays nowledge in performing basic musical performances
&.displays nowledge in music program planning
POSSI;LE ACTI+ITIES
$he learner/ •
maes a practice plan detailing technical re!uirements for pieces
rehearses music showing nowledge of the musical elements as applied in the music sings or plays instruments with techni!ue appropriate to the performance practice of the piece.
•
SPFMJ3 I=a3#
SPFMJ3 I=a3&
•
7.P818M P>;;I;1 #.7asics of Planning a Music Performance &.8ehearsal Preparation '.Staging the Performance
employs acceptable rehearsal methods to good program planning •
55
•
applies aspects of the integrated arts approach in the staging music performances
!%+e $e'f(')#,e .%#,"#'". f(' %+e f(/'%+ 0/#'%e' ll e .+(#.e" , (ll#('#%(, %+ #ll %+e (%+e' #'% el".
189/ J" :istory and :eritage M*%!A+
$,ES!A+
E!%ES!A+
$,.S!A+
#.I!A+
56
61 PM
HERITAGE AND MUSIC
16. PM
SOLO INSTR
I;ST8
HERITAGE AND MUSIC
I;ST8
HERITAGE AND MUSIC
SOLO INSTR
/;S/M7>/4=I0/40:I8 4
SOLO INSTR
/;S/M7>/4=I0/40:I8
I;T8 T :/8IT1/" #st D" :istorical Periods" Pre30olonial Philippines and ?estern Medieval48enaissance, Introduction to Music III3 &nd D" Spanish and 7aro!ue, 0lassic and 8omantic Period, Introduction to Music III37 'rd D" merican and Modern Period, Introduction to Music III30 )th D" Performance of instrument4voic e4choir, 0ollaboration of the 9ifferent rt $ields Solo Performance4 0ollaboration" instrument4voice4choir333a2 S>" 7M7 $> /;S/M7>/" I;9I1/;/ -S>T P8T;/8S:IP2, 8ondalla, 8ecorder, 0hamber4Mixed% c2 0:I8" SS4ST7 8 9I=ISI MATERIALS: Htry: 00P /ncyclopedia of Music, :istory of Music by 6ose Maceda, 1rove(s 9ictionary of Music and Musicians, 1arland /ncyclopedia of Music I#trd%!t# t M%!: 7asics of Music by Michael inn, $undamentals of Music by :errold, Introductory Musicianship by Theodor >ynn, Thining bout Music by 7onnie ?ade S" +!e: 5undiman at Iba Pa I and II, ;M0C S/8I/S, $olsongs of the =isayas by Priscilla Magdamo, =oice Methods of 0oncone, Marchesi, Mac0losy, $oundations of Singing by=an 0hristy I#d2e#% M%!: Palabunibunyan by ga Mayo 7utocan, Select Transcriptions of Philippine $ol Songs by >ilia Tolentino -unpublished thesis2, 1ongs and 7amboo by 6ose Maceda, 9ictionary of Philippine Musical Terms -eonard 1uitar Method 7oos # N ', & nd edition -&@@&2, Mel 7ay, :ohmann3?ohlfarth 3#d=Per!$: 8uban, 7uraoff & Teaching Music Through Performance in 7and Pa#: 0*erny p. EJJ, 7ach ;oteboo of nna Magdalena 7ach, Selesiyon and >iha Tugtugin by ugusto /spino, Score Series by bejo, >iha3 Tugtog3>iha by 0hristine Muyco, ;M0C Piano Series, lfred Piano Series, :al >eonard Piano Series, Piano dventures, The 0ontemporary Piano Method, 0elebration Series 57
Str#2: ;M0C =iolin Series, Su*ui Method 7oo I, Mel 7ay Modern =iolin, :al >eonard /ssential /lements for Strings, lfred String 7uilder, 5jos /ssential for Strings, :abits of a Successful String Musician" $ull Score R#da""a: 0elso /spejo 8ondalla Method by 0elso /spejo, Philippine $ol 9ances for 8ondalla by /dna 0ulig, Philippine 8ondalla by ngelita Pasamba, >aro38ondalya by Polvori*a, Muyco, Trangco, and Pere* C'r: ;M0C 0horal Series, Sundry 0horal Series -reprint2, 5oro >eyteno, Philippine $ol Songs by 8eysio 0ru*, :allel by ugusto /spino, Teaching 0horal Music -9awn 0ollins2, :andboo for 7eginning 0horal /ducators -?alter >amble2, Singing at $irst Sight Series -ndy 7ec2, Teaching Music Through Performance in Middle School 0hoir, 0ollaboration in the /nsemble rts ?ebsite resource" #)/.() , %e('#() , .(lfee(' , /l%/'#le0/%(' , f(l#..e"/ , /$e%+,()()
SPA CURRICULUM MUSIC GRADE 0/ C%re De!rpt# 58
This is a course in SP3 Music Speciali*ation that aims the learner to demonstrates an understanding of the ba! !#!ept a#d pr#!p"e f MUSIC #tera!t#2 9t' t'er d!p"#e re"e,a#t t t'e !reat# f *ar 9r< ref"e!t#2 C#te*prary Rea"te for the P8$I0I/;0C in artistic creativity, leading to a sense of self, cultural identity, and social responsibility
MUSIC GRADE 0/ :
FIRST UARTER
0ST UARTER" >0>ITI; -;TI;> ;9 SI;2, 0omposition I3 CONTENT
. The Philippines from Independence to Present Times" Modern K 0ontemporary Music2 #J)H3H@(s" Influence of Modern and 7ritish Music% Pilita 0orrales 9iomedes Maturan 8ic Manri!ue Mabuhay Singers, >evi 0elrio, >ucio San Pedro, $elipe de>eon Sr., G@(s3@(s" 8ise of $ilipino •
CONTENT STANDARDS
$he learner/
10!emonstrates understanding of Philippine music de'elopment from Philippine Independence to Present times0
PERFORMANCE STANDARDS
$he learner/
•
Performs the genres of music 2'ocal 3instrumental4 from Philippine Independence to present times0
LEARNING COMPETENCIE S
$he learner/
Identifies the genres and proponents of music from Philippine Independence to the present •
POSSI;LE ACTI+ITIES
$he learner/
SPFM ##@3Ia3#
•
59
•
;ationalism% Protest Songs, Manila Sound, PM , $ilipino ;ovelty,/dsa revolution J@(s to Present" $ilipino 8ap, $ilipino Pop, 5orean Invasion, 7roadway -Miss Saigon, etc2
&.Issues Intellectual Property 8ights,
•
'.Performers 8ights •
demonstrates understanding of issues related to the music profession
Institutions" 00P, ;00, ;0IP, ;M0C, PM, $ilscap,
conducts interviews to local artists about the different issues in the music profession. •
&.utlines the different issues affecting the music profession. '.dvocates intellectual property rights.
•
compos
es or arranges for particular instruments and4or voices for given
SPFMI #@3Ia3&
SPFM themes4func 70#@3 tions Ia3j3' discuss es the reasons behind the issues besetting SPFM •
•
7.7asic
•
demonstrates
0omposes music
6
0omposition -0onceptuali*ation, 8epresentation of Sound" Standard or 1raphic ;otation, Instrumentation
an understanding of basic compositional concepts and techni!ues
)./mploys creativity in composition and arrangements. •
rranges music
the music /#@3 profession Ia3j3) and how these can be addressed maes a database SPFM of MT#@3 organi*ation Ia3c3E s that advocate music and performer(s rights for SPFM future /#@3 reference Ia3j3H rehear ses music showing nowledge of the musical elements and styles sings or plays instruments •
#.rranging Performs basic sills for voice and instrument3 playing.
• •
0. Music Technology Software •
9. pplication of the /lements of Music through composition and the chosen speciali*ation" voice and instrument3 playing. Instrument3
demonstrates familiarity with music software for notation, recording, se!uencing
demonstrates an understanding of basic music reading, basic vocal techni!ues, instrument playing techni!ues, and sight reading sills
•
;otates, transcribes, records, or se!uences music.
performs music through solo and with accompaniment
•
Performs diverse musical sills
E.familiari*es with various performance having diverse musical styles.
H. applies music technology software in notating, se!uencing and recording.
•
H. Shows mastery of musical elements through varied musical
•
•
61
Playing4Singing -0ontinuation2
performance.
$inger positions4Posture Tone Production K 8esonance /mbouchure -winds2% bowing4plucing -strings2% rticulation 7asic Sight 8eading 8epertoire Study 0horal Styles Interpretation of composed wors
MUSIC GRADE 0/ :
with techni!ue appropriate to the performanc e practice of the piece.
SECOND UARTER
-#d Duarter" >0>ITI; -;TI;> ;9 SI;2, 0omposition I37 CONTENT
CONTENT STANDARDS
PERFORMANCE STANDARDS
LEARNING COMPETENCIES
POSSI;LE ACTI+ITIES
62
$he learner/ . The Philippines in the 0ontext of S/;% e.g. Indonesia3 1amelan4nlung% fol songs , integrated arts in the S/; context -dance3drama% shadow puppet, music theater2
$he learner/
!emonstra
•
Presents a simulated performance of S/; music. •
tes understanding of Philippine music in the ASEA% context0 0
$he learner/
$he learner/
#.distinguishes Philippine music from S/; music .
SPFM ##@3IIa3 #
#.Tradition K 0hange" S/; M
•
•
create basic music compositions or arrangements
compo ses or arranges for particular instruments •
63
9. 0ontinuation of 7asic 0omposition -0onceptuali*ation, 8epresentation of Sound" Standard or 1raphic ;otation, Instrumentation
#.rranging
0.Music Technology Software
•
•
•
demonstrates an understanding of basic compositional concepts and techni!ues
demonstrates an understanding of basic music reading, basic vocal techni!ues, instrument playing techni!ues, and sight reading sills
demonstrates familiarity with
•
demonstrates basic musical sills in voice and4or instrument3playing
&.develops creativity in conceptuali*ing basic music compositions or arrangements
'.displays familiarity in various performance practice of diverse musical styles
•
uses technology to notate, transcribe, record or se!uence music
and4or voices for given SPFMI themes4functi #@3IIa3& ons
notates , transcribes, se!uences, records music using appropriate music technology tools •
SPFM 70#@3II3 a3j3'
discuss es the reasons behind the SPFM issues /#@II3 besetting the a3j3) music profession and how •
).displays nowledge in using music technology software
64
music software for notation, recording, and se!uencing 9. .pplication of the /lements of Music through composition and the chosen speciali*ation" voice and instrument3playing. Instrument3 Playing4Singing -0ontinuation2 $inger positions4Posture Tone Production K 8esonance /mbouchure -winds2% bowing4plucing -strings2% rticulation 7asic Sight 8eading 8epertoire Study 0horal Styles Interpretation of composed wors
these can be addressed performs music with fundamental musicianship -performs alone and with others in pitch, rhythm, expression, and style 2 •
applies appropriate technical sills in performing diverse musical styles •
intervie ws or corresponds with music organi*ations regarding issues in music •
E. displays mastery of the basic musical elements through musical performances.
SPFM MT#@3 IIa3c3E
rehear ses music showing nowledge of the musical elements and styles •
sings or plays instruments with techni!ue appropriate to the performance •
65
practice of the piece.
MUSIC GRADE 0/ :
THIRD UARTER
THIRD GRADING PERIOD
rd %arter " 1>7>ITI;, MSS M/9I ;9 M1C, 0omposition I30
CONTENT
CONTENT STANDARDS
PERFORMANCE STANDARDS
LEARNING COMPETENCIES
POSSI;LE ACTI+ITIES
66
$he learner/ •
. Philippines and 1lobali*ation -e.g. Middle /ast, South Pacific, /ast sian, frican, >atin merican, $usion40ross3over Music2 •
Issues in Music" #.Tradition K 0hange, &.0ommerciali*ation, '.1lobali*ation ). 9iaspora, E.?or /xploitation K >abor >aws, H.0ultural /thics G. Intellectual Property 8ights,
$he learner/
demonstrates an understanding of globali*ation in music.
•
•
•
demonstrates understanding of issues related to the music profession
performs a musical genre for each region of the world.
#.distinguishes each musical genre .
conducts researches about music organi*ations that deal with issues and music advocacy
•
•
analy*es the reasons behind the issues in the musical profession
compo ses or arrang es for particul ar instrum ents and4or voices for given themes 4functio ns
SPFM ##@3IIIa3 #
SPFMI #@3IIIa3& notates , transcribes, se!uences, records • •
Institutions" IMusic0ouncil, IPhilippine Society for Music /ducation,
$he learner/
&.displays awareness in music advocacy and issues
7 .Music in Media" 8adio, T=, $ilm, Internet, Print •
$he learner/
create basic music compositions or arrangements
67
PSM7P,P:I>7;9 ,0ouncil for Trad Music, I$ederation of 0horal Music, ISociety of 0ontem Music, sian 0omposers >eague, P09, <;/S0 0. 0ontinuation of 7asic 0omposition -0onceptuali*ation, 8epresentation of Sound" Standard or 1raphic ;otation, Instrumentation rranging 9. Music Technology Software
•
•
•
•
/. pplication of the /lements of Music through composition and the chosen speciali*ation" voice and instrument3 playing. Instrument3 Playing4Singing -0ontinuation2 $inger
demonstrates basic musical sills in voice and4or instrument3 playing
•
demonstrates an understanding of basic music reading, basic vocal techni!ues, instrument playing techni!ues, and sight reading sills
demonstrates an understanding of basic compositional concepts and techni!ues
uses technology to notate, transcribe, record or se!uence music
performs music with fundamental musicianship -performs alone and with others in pitch, rhythm, expression, and style 2 •
applies appropriate technical sills in performing diverse musical styles •
•
'.develops creativity in conceptuali*ing basic music compositions or arrangements
).displays familiarity in various performance practice of diverse musical styles
E.displays nowledge in using music
music using appropriate music technology tools discuss es the reasons behind the issues besetting the music profession and how these can be addressed interviews or corresponds with music organi*ation s regarding issues in music rehear ses music showing
•
SPFM 70#@3 III3a3j3'
SPFM /#@III3 a3j3)
•
68
positions4Posture Tone Production K 8esonance /mbouchure -winds2% bowing4plucing -strings2% rticulation 7asic Sight 8eading 8epertoire Study 0horal Styles Interpretation of composed wors
•
demonstrates familiarity with music software for notation, recording, and se!uencing
technology software H. displays mastery of the basic musical elements through musical performances.
nowledge of the musical elements and styles sings or plays instruments with techni!ue appropriate to the performanc e practice of the piece. •
SPFM MT#@3 IIIa3c3E
SPFM /#@3 IIIa3j3H
69
MUSIC GRADE 0/ :
FOURTH UARTER
FOURTH GRADING PERIOD
)th D"0areers in Music, 0ontemporary Perspective , Performance40ollaboration CONTENT
.08//8S I; M
CONTENT STANDARDS
$he learner/ •
demonstrate an understanding of the nature of the wor of various music careers
PERFORMANCE STANDARDS
$he learner/ •
•
demonstrate creativity in conceptuali*ing and maing music compositions or arrangements demonstrates basic musical sills in voice and4or instrument3 playing
LEARNING COMPETENCIES
POSSI;LE ACTI+ITIES
$he learner/
$he learner/
#.identifies the various music professions, their training and nature of wor
&.evaluates one(s aptitude, interest and
compo SPFM 0#@3 ses or I=a3b3# arranges for particular instruments and4or voices for given themes4functi ons •
•
prepares a 7
.Performers -Singers, Instrumentalists2 •
7.P818M P>;;I;1 #.7asics of Planning a Music Performance &.8ehearsal Preparation '.Staging the Performance
demonstrates an understanding of program planning, rehearsal preparation, and staging using the integrated arts approach
•
0. pplication of the /lements of Music through the chosen speciali*ation" voice and instrument3playing.
demonstrates an understanding of basic music reading, basic vocal techni!ues, instrument playing techni!ues, and sight reading sills
abilities in relation to the various music professions •
employs acceptable rehearsal methods applicable to good program planning
•
maes compositions and arrangements for various musical forms and functions
'.displays familiarity in various performance practice of diverse musical styles
music portfolio of music performance s using appropriate music technology tools
SPFM 0#@3 I=a3&
discusses the types of wor and training for certain careers in music SPFM interviews or /#@3 corresponds I=a3j3' with various music professionals H. displays mastery regarding the of the basic training and musical elements nature of through musical their music performances. profession rehearses music •
•
•
performs music with fundamental musicianship -performs alone and with others in pitch, rhythm, expression, and style 2
•
Instrument3 Playing4Singing
•
demonstrates
71
•
•
•
• • • •
-0ontinuation2 $inger positions4Posture Tone Production K 8esonance /mbouchure -winds2% bowing4plucing -strings2% rticulation 7asic Sight 8eading 8epertoire Study 0horal Styles
an understanding of basic compositional concepts and techni!ues
•
demonstrates an understanding of the staging process utili*ing elements of production values lie music, design, and movement
•
•
showing nowledge of the musical elements and styles
uses technology to document music performances applies aspects of the integrated arts approach in the staging music performances
•
!%+e $e'f(')#,e .%#,"#'". f(' %+e f(/'%+ 0/#'%e' ll e .+(#.e" , (ll#('#%(, %+ #ll %+e (%+e' SA #'% el".
•
•
•
SPFM sings or plays /#@3 instruments I=a3j3H with techni!ue appropriate to the performance practice of the piece. plans for a music program conducts various rehearsals and run3 throughs performs in front of an audience
72
•
•
evaluates the production process in class writes a journal of experiences of the entire 1rade #@ experience
189/ #@" 0;T/8MP88C 8/>ITI/S M*%!A+ 61 PM
MUSIC # C#te*prary t*e
16. PM
SOLO INSTR=CREATI+E MUSIC 3RITING
$,ES!A+
E!%ES!A+
I;ST8 /;S/M7>/4=I0/40:I 8
MUSIC # C#te*prary t*e SOLO INSTR=CREATI+E MUSIC 3RITING
$,.S!A+ I;ST8 /;S/M7>/4=I0/40 :I84
#.I!A+ MUSIC # C#te*prary C#te*prary t*e SOLO INSTR=CREATI+E MUSIC 3RITING
0ST AND -ND D" Issues in Music, >0>ITI; -;TI;> ;9 SI;2 0omposition I347% 'rd" 1>7>ITI; and MSS M/9I ;9 M1C2 0omposition I30% D" )th D" 0areers in Music, 0ontemporary 0ontemporary Perspective % Performance40ollaboration Performance40ollaboration of the 9ifferent rt $ields Solo Performance40ollaboration" instrument4voice4choir333a2 S>" 7M7 $> /;S/M7>/" I;9I1/;< S M/ -S>T P8T;/8S:IP2, 8ondalla, 8ecorder, 0hamber4Mixed% c2 0:I8" SS4ST7 8 73
9I=ISI MATERIALS: I#tr t C#te*prary T*e: Tunugan" T*e: Tunugan" $our /ssays on Philippine Music by 8amon Santos, >aon3>aon by 8amon Santos, 1arland /ncyclopedia of Southeast sian Music, The Music and Technology 8eference 7oo, Mass Media and Music, The rt of ;oise, The 9evil 8unning with the Music, 7asics of Music by Michael inn, $undamentals of Music by :errold, Introductory Musicianship by Theodor >ynn C'r: ;M0C 0horal Series, Sundry -reprint2, 5oro >eyteno, Mga witing 7ayan ed. by ndrea =eneracion, The 0horal ?ors by >ucio San Pedro, witing 7ayan II by ;00 S" +!e: 5undiman at Iba Pa I and II, ;M0C S/8I/S, $olsongs of the =isayas by Priscilla Magdamo, nthology of Italian rias, =oice Methods of 0oncone, Marchesi, Mac0losy, =an 0hristy I#d2e#% M%!: Palabunibunyan by ga Mayo 7utocan, Select Transcriptions of Philippine $ol Songs by >ilia Tolentino -unpublished thesis2, 1ongs and 7amboo by 6ose Maceda, 9ictionary of Philippine Musical Terms -eonard 1uitar Method 7oos # N ', & nd edition -&@@&2, Mel 7ay, :ohmann3?ohlfarth 3#d=Per!$: 8uban, 7uraoff & Teaching Music Through Performance in 7and Pa#: 0*erny H'H, 7ach Two3Part Inventions, :aydn Sonatinas4Sonata, 7arto for 0hildren, Selesiyon and >iha Tugtugin by ugusto /spino, Score Series by bejo, >iha3Tugtog3>iha by 0hristine Muyco, ;M0C Piano Series Pa#: 0*erny p. EJJ, 7ach ;oteboo of nna Magdalena 7ach, Selesiyon and >iha Tugtugin by ugusto /spino, Score Series by bejo, >iha3Tugtog3>iha by 0hristine Muyco, ;M0C Piano Series, lfred Piano Series, :al >eonard Piano Series, Piano dventures, The 0ontemporary Piano Method, 0elebration Series Str#2: ;M0C =iolin Series, Su*ui Method 7oo II, Mel 7ay Modern =iolin, :al >eonard /ssential /lements for Strings, lfred String 7uilder, 5jos /ssential /ssential for Strings, :abits of a Successful String Musician" $ull Score R#da""a: 0elso /spejo 8ondalla Methods, /laine /spejo, Philippine $ol 9ances for 8ondalla by /dna 0ulig, Pasamba, >aro38ondalya by Polvori*a, Muyco, Trangco, and Pere* C'r: ;M0C 0horal Series, Sundry 0horal Series -reprint2, 5oro >eyteno, Philippine $ol Songs by 8eysio 0ru*, :allel by ugusto /spino, Teaching 0horal Music -9awn 0ollins2, :andboo for 7eginning 0horal /ducators -?alter >amble2, Singing at $irst Sight Series -ndy 7ec2, Teaching Music Through Performance in Middle School 0hoir, 0ollaboration in the /nsemble rts C*p%ter Sft9are: $inale4Sibelius, udacity, MusScore, 8eason, 1arage7and, udition ?ebsite resource" #)/.() , %e('#() , .(lfee(' , /l%/'#le0/%(' , f(l#..e"/ , /$e%+,()()
74
SPA CURRICULUM MUSIC GRADES 00 7 0-
75
GRADE 00: MUSIC AND SPECIALIBATION I M*%!A+
$,ES!A+
E!%ES!A+
$,.S!A+
#.I!A+
61 PM
MUSIC AND DISCIPLINE
I;ST8 /;S/M7>/4=I0/40:
MUSIC AND DISCIPLINE
I;ST8 /;S/M7>/4=I0
MUSIC AND DISCIPLINE
16. PM
SOLO INSTR=CREATI+E MUSIC 3RITING
I8
SOLO INSTR=CREATI+E MUSIC 3RITING
/40:I84
SOLO INSTR=CREAT I+E MUSIC 3RITING
MATERIALS: I#tr t C#te*prary T*e: Tunugan" $our /ssays on Philippine Music by 8amon Santos, >aon3>aon by 8amon Santos, 1arland /ncyclopedia of Southeast sian Music, The Music and Technology 8eference 7oo, Mass Media and Music, The rt of ;oise, The 9evil 8unning with the Music, 7asics of Music by Michael inn, $undamentals of Music by :errold, Introductory Musicianship by Theodor >ynn C'r: ;M0C 0horal Series, Sundry -reprint2, 5oro >eyteno, Mga witing 7ayan ed. by ndrea =eneracion, The 0horal ?ors by >ucio San Pedro, witing 7ayan II by ;00 S" +!e: 5undiman at Iba Pa I and II, ;M0C S/8I/S, $olsongs of the =isayas by Priscilla Magdamo, nthology of Italian rias, =oice Methods of 0oncone, Marchesi, Mac0losy, =an 0hristy I#d2e#% M%!: Palabunibunyan by ga Mayo 7utocan, Select Transcriptions of Philippine $ol Songs by >ilia Tolentino -unpublished thesis2, 1ongs and 7amboo by 6ose Maceda, 9ictionary of Philippine Musical Terms -eonard 1uitar Method 7oos # N ', & nd edition -&@@&2, Mel 7ay, :ohmann3?ohlfarth 3#d=Per!$: 8uban, 7uraoff & Teaching Music Through Performance in 7and Pa#: 0*erny H'H, 7ach Two3Part Inventions, :aydn Sonatinas4Sonata, 7arto for 0hildren, Selesiyon and >iha Tugtugin by ugusto /spino, Score Series by bejo, >iha3Tugtog3>iha by 0hristine Muyco, ;M0C Piano Series Pa#: 0*erny p. EJJ, 7ach ;oteboo of nna Magdalena 7ach, Selesiyon and >iha Tugtugin by ugusto /spino, Score Series by bejo, >iha3Tugtog3>iha by 0hristine Muyco, ;M0C Piano Series, lfred Piano Series, :al >eonard Piano Series, Piano dventures, The 0ontemporary Piano Method, 0elebration Series Str#2: ;M0C =iolin Series, Su*ui Method 7oo II, Mel 7ay Modern =iolin, :al >eonard /ssential /lements for Strings, 76
lfred String 7uilder, 5jos /ssential for Strings, :abits of a Successful String Musician" $ull Score R#da""a: 0elso /spejo 8ondalla Methods, /laine /spejo, Philippine $ol 9ances for 8ondalla by /dna 0ulig, Pasamba, >aro38ondalya by Polvori*a, Muyco, Trangco, and Pere* C'r: ;M0C 0horal Series, Sundry 0horal Series -reprint2, 5oro >eyteno, Philippine $ol Songs by 8eysio 0ru*, :allel by ugusto /spino, Teaching 0horal Music -9awn 0ollins2, :andboo for 7eginning 0horal /ducators -?alter >amble2, Singing at $irst Sight Series -ndy 7ec2, Teaching Music Through Performance in Middle School 0hoir, 0ollaboration in the /nsemble rts C*p%ter Sft9are: $inale4Sibelius, udacity, MusScore, 8eason, 1arage7and, udition ?ebsite resource" #)/.() , %e('#() , .(lfee(' , /l%/'#le0/%(' , f(l#..e"/ , /$e%+,()()
GRADE 0-: MUSIC AND SPECIALIBATION II M*%!A+ 61 PM
MUSIC AND DISCIPLINE II
16. PM
SOLO INSTR=CREATI+E MUSIC 3RITING
$,ES!A+ I;ST8 /;S/M7>/4=I0/40:I 8 Internship
E!%ES!A+ MUSIC AND DISCIPLINE II
SOLO INSTR=CREATI+E MUSIC 3RITING
$,.S!A+ I;ST8 /;S/M7>/4=I0/40:I 8 Internship
#.I!A+ MUSIC AND DISCIPLINE II SOLO INSTR=CREATI+E MUSIC 3RITING
0ST D" Performance, Technology, and 8esearch% &nd and 'rd D" Music Management% )th D" Integration Performance" instrument4voice4choir333a2 S>" 7M7 $> /;S/M7>/" I;9I1/;/ -S>T P8T;/8S:IP2, 8ondalla, 8ecorder, 0hamber4Mixed% c2 0:I8" SS4ST7 8 9I=ISI MATERIALS: I#tr t C#te*prary T*e: Tunugan" $our /ssays on Philippine Music by 8amon Santos, >aon3>aon by 8amon Santos, 1arland /ncyclopedia 77
