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Music
Quarter 1 – Module 1:
The Vocal Music of Luzon
Lowlands
MAPEH – Grade 7
Quarter 1 – Module 1: The Vocal Music of Luzon Lowlands
First Edition, 2020
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over them.
Published by the Department of Education – Region XI
Regional Director: Allan G. Farnazo
Assistant Regional Director: Maria Ines C. Asuncion
Development Team of the Module
Writers: Ruzzel M. Ramirez
Editors:
Reviewers:
Illustrator: Ruzzel M. Ramirez
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Template Developer: Neil Edward D. Diaz
Management Team:
Allan G. Farnazo Reynaldo M. Guillena
Mary Jeanne B. Aldeguer Alma C. Cifra
Analiza C. Almazan Aris B. Juanillo
Ma. Cielo D. Estrada May Ann M. Jumuad
Jeselyn B. Dela Cuesta Elsie E. Gagabe
Printed in the Philippines by ________________________
Department of Education – Region XI
Office Address: DepEd Davao City Division, Elpidio Quirino Ave., Davao City
Telefax: 224-3274
E-mail Address: [email protected]
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Music
Quarter 1 – Module 1:
The Vocal Music of Luzon
Lowlands
Introductory Message
For the facilitator:
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 at home.
Furthermore, you are expected to encourage and assist the learners as
they do the tasks included in the module.
For the learner:
As a learner, you must learn to become responsible of your own
learning. Take time to read, understand, and perform the different
activities in the module.
As you go through the different activities of this module be
reminded of the following:
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 Let Us Try before moving on to the other
activities.
3. Read the instructions 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 done.
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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Let Us Learn
Before we start, I would like to know how far you know about the type
of music of Luzon have you listened to and how these forms of music speak
about the culture of Luzon, particularly in lowland areas. This module
specifically seeks to achieve the learning competency: Identifies the musical
characteristics of representative music selections from the lowlands of Luzon
after listening. (MU7LU-Ia-1)
And we will focus our learning objectives with the following:
1. Identify the different vocal music style of Luzon Lowlands;
2. Discuss the characteristics of Folk song, Devotional/Liturgical and
Secular Music of Luzon Lowlands; and
3. Explain and understand the content of some selected vocal music style
from the Lowlands of Luzon;
Are you ready? Let’s do this. Now, let us start learning about this
module. See you and good luck!
Let Us Try
“You Belong”
I. Classify the songs according to the area where the vocal music styles of
Luzon belong to.
Paru-parong Bukid Santa Clara Alay
Dungawin Mo Hirang Regina Coeli Pamulinawen
Mutya ng Pasig Leron Leron Sinta Naasan Ka Iro
Dios Te Salve
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LUZON HIGHLANDS LUZON LOWLANDS
Guide Questions:
1. Which of the songs are you more familiar with? How did you learn
about it?
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
2. With the song you are familiar with, where do you think it belongs to?
To what particular place?
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
Let Us Study
The Vocal Music of Luzon Lowlands
1. Folk Song – are songs written to accompany daily activities which were
also passed down orally to each generation. These are melodic chants
mostly performed in their native languages, like Ilocano, Kapampangan,
Pangasinense, Tagalog, and others. Its mode can be sentimental, playful,
and humorous; either in duple meter, triple, or quadruple meter. The lyrics
are quite short and simple and based on nature or people’s work, tradition
and culture though lyricists and composers are usually unknown.
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Ex.: a. Magtanim Ay Di Biro
➢ This song speaks about the experiences of the lowlands farmers.
b. Pamulinawen
➢ This song speaks about giving love a good point of view of respect
that one should be more serious and full of thoughts.
2. Liturgical & Devotional Songs- are songs that refer to the religious music
of the lowlands that reveals the impact of the Spanish colonization. These
songs are used for religious rites and celebrations adapted from the culture
and traditions, like: Senakulo, Salubong, Santacruzan, Pasyon, or in some
fiesta celebrations.
Ex.: a. Regina Coeli
➢ The song is recited after the Angelus prayer or during the feast of
Mary the Virgin Mother of Christ.
b. Ave Maria
➢ The song about the proclamation of the Virgin Mother as the Queen
of Heaven.
3. Secular Songs – are songs that do not have religious nature, like:
a. Harana – is sung by a man to express his affection to a woman;
usually accompanied by a guitar in duple or quadruple meter in a
habanera dance pace.
Ex.: a. Ang Tangi Kong Pag-ibig
➢ The song illustrates the love of a young man to young woman who
he sees as his soulmate.
b. Dungawin Mo Hirang
➢ This song describes the feeling of a man to a certain woman.
c. Kumintang – is a song with themes of love and courtship in triple
meter;
➢ it originated from Balayan, Batangas.
➢ Ex.: Mutya ng Pasig – this song personifies the Pasig River to
a lady who is quite delicate and enduring of all the changes
life is giving as she nourishes her own attributes.
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d. Pandanggo – is a courtship dance also refers to a type of song to
entertain the farmers in the rice field. It became popular in the
19th century among the elite of Manila as it is performed during
social celebrations.
e. Polka – an entertainment song performed during night
gatherings among commoners. Its tempo is in quick duple meter
and people usually dance to its melody. Some of our Philippine
folk songs are in polka rhythm.
Ex.: Leron leron Sinta, Pamulinawen
⮚ These songs are also samples of local folk songs; upbeat and
are usually engaged in the merry making celebrations in an
occasion.
f. Balitaw – is dialogue or courtship song in triple meter, mostly in
2 and 3-part forms and arranged with counter melodies.
Ex.: Bakya Mo Neneng, Aringmunding-munding
⮚ These songs are quite a piece of two interacting parties (a man
and a woman) with each has to say to the other, delivering
words of appreciation or sarcasm towards each other. It is
usually to entertain a group of people in a celebration.
g. Kundiman – is an art song that conveys a selfless attitude,
intense love, longing, caring, devotion and oneness with a
romantic partner, with a parent to a child, or to a motherland. Its
melody, lyrics and expressive singing usually starts with a minor
key then goes to major key and in triple meter.
Ex.: Pilipinas Kong Mahal, Nasaan Ka Irog
➢ These songs express the love of a person to his country and
fellowmen while the latter, speaks of one’s longing to his loved
one and who has been engulf with tormenting sadness.
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Let Us Practice
“Say What…”
Instruction: Identify each type of Secular Music by choosing its correct
characteristics in the 3rd column. Write the letter of your choice in the “Say
What” column.
Say What Secular Music Characteristics
A. A song with themes of love and
Balitaw
courtship in triple meter
B. It is a courtship dance also refers to a
Harana
type of song.
C. It is sung by a man to express his
Kundiman
affection to a woman.
D. It is an entertainment song performed
Kumintang during night gatherings among
commoners.
E. It is a dialogue or courtship song in
triple meter, mostly in 2 and 3 parts
Pandanggo
forms and arranged with counter
melodies.
F. It is an art song that conveys a selfless
attitude, intense love, longing, caring,
Polka devotion, and oneness with a romantic
partner, with a parent to a child, or to a
motherland.
Follow up Question:
1. Differentiate Harana from Kundiman?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. Name a few secular songs you now that you have heard over the radio.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Let Us Practice More
“Listen and Deliver”
Instruction: Using the downloaded links for the listening activities, you will
be tasked to fill out the graphic organizer below (if internet connection is
available). You may also refer to the following music pieces for this activity.
As you go through this activity, follow the guide questions for your easy
reference:
Easy Download Links:
a. https://www.youtube.com/watch?v=F_hCrbe3sbc
b. https://www.youtube.com/watch?v=foc5JUlPbXU&pbjreload=101
c. https://www.youtube.com/watch?v=avQVOliu2G8
A. (Song Title) B. (Song Title) C. (Song Title)
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A. https://www.youtube.com/watch?v=F_hCrbe3sbc
B. https://www.youtube.com/watch?v=foc5JUlPbXU&pbjreload=101
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C. https://www.youtube.com/watch?v=avQVOliu2G8
Guide Questions:
1. What is the vocal music style of the song?
2. What does the song speak about?
3. What do you think is the tempo of the song?
4. Where do you think the song is usually sung?
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Let Us Remember
The Vocal Music of Luzon Lowlands
1. Folk Song – are songs written to accompany daily activities which were
also passed down orally to each generation. These are melodic chants
mostly performed in their native languages. The lyrics are quite short and
simple and based on nature or people’s work, tradition, and culture though
lyricists and composers are usually unknown.
2. Liturgical and Devotional Songs – are songs that refer to the religious
music of the lowlands that reveals the impact of the Spanish colonization.
These songs are used for religious rites and celebrations adapted from the
culture and traditions.
3. Secular Songs – are songs that do not have religious nature, like:
a. Harana
b. Kumintang
c. Pandanggo
d. Polka
e. Balitaw
f. Kundiman
Let Us Assess
A. Multiple Choice. Choose the letter of your answer and write it on the
space provided.
____1. Which vocal style is used for expressing faith and devotion to
Christ and saints?
a. Devotional song c. Kundiman
b. Folk song d. Pandanggo
____2. Among these Secular genres, which format is a dialogue or courtship
song in triple meter, mostly in 2 and 3-part forms and arranged
with counter melodies?
a. Kumintang c. Balitaw
b. Kundiman d. Banda
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____3. What sacred song that is used in the re-enactment of the life,
sufferings of Jesus Christ on stage during Lenten season?
a. Mass song c. Salubong
b. Pasyon d. Senakulo
____4. If Polka is a dance music of secular of the secular genre, its time
signature must be in what meter?
a. Duple meter c. Triple meter
b. Tonic meter d. Quadruple meter
____5. “Mutya ng Pasig” is an example of what secular genre?
a. Balitaw c. Kumintang
b. Kundiman d. Polka
B. Compare and Contrast. Using the simple Venn Diagram, compare the
Vocal styles of Luzon lowlands
Folk Songs Secular Songs
Similarities
Characteristics Characteristics
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Let Us Enhance
As a young Filipino student, how are you going to show your
appreciation to type of vocal music from the lowlands of Luzon?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
Let Us Reflect
As a Filipino, we know that our forefathers were greatly influenced by
the colonization from Spain, as we too were greatly influenced by them. So,
learning the vocal music from the lowlands of Luzon is not supposed to be
hard and unprecedented. Instead, we are expected to be more appreciative of
how our music style has evolved from plain entertainment to ease boredom to
hype and modern.
This 1st module from the first quarter have given you the introductory
of how much richer our music heritage to explore and enjoy much. Further,
this module has guided us to learning the basic things about different
characteristics of the vocal music of Luzon lowlands and its function, and how
the people of Luzon lowlands share their beliefs, tradition, and history. Along
with this, we have also discovered important information which are necessary
in the proceeding lessons. And because we believe that “music speaks the
language of our soul”, we need to continue explore and learn more our music
evolution for us to appreciate more our growth.
Congratulations! You were able to identify and narrate some important
characteristics of the vocal music styles of Luzon lowlands. You did a great
job! I hope you enjoyed a lot while going through this module. You are now
ready for the next lesson. God bless!
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Let Us Assess Let Us Assess
1. A
2. C
3. D
4. A
5. B
Let Us Practice More
Let Us Practice Let Us Try
1. E Luzon Highlands Luzon Lowlands
2. C
3. F
4. A All of the songs
5. B belong to the
6. D lowlands of Luzon.
Follow-up Questions:
Answers may vary
Answer Key
References
Department of Education – Bureau of Learning Resources (DepEd-BLR)
(2017), Music and Arts – Grade 7 Teacher’s Guide, First Edition Published by
DepEd
Santos, R.P. (2007). Traditional forms of Music. Retrieved from
https://scholar.googlr.com/sholar?hl=en&as_sdt=0%2C5&q=vocal+music+o
f+luzon+lowlands&oq=#d=gs_qabs&u=%23p%3DY8aA9TsLC8UJ
Wissmann, C. (2002). Worsship practice in the Churches of Christ: Central
Luzon, Philippines. University of St. Andrews (United Kingdom). Retrieved
from
http://search.proquest.com/openview/a536f2023d107cc98013f87126d2fb5
6/1?pq-origsite=gscholar&cbl=2026366&diss=y
Link References:
● https://www.youtube.com/watch?v=F_hCrbe3sbc
● https://www.youtube.com/watch?v=foc5JUlPbXU&pbjreload=101
● https://www.youtube.com/watch?v=avQVOliu2G8
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For inquiries or feedback, please write or call:
Department of Education – Region XI
F. Torres St., Davao City
Telefax:
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