Q3 Lesson Exemplar for Music and Arts Grade 7 PDF

7 Quarter Quarter 1 Quarter 4 3 Lesson Exemplar Lesson for Music and Arts...

7 Quarter Quarter 1 Quarter 4 3 Lesson Exemplar Lesson for Music and Arts 1 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exemplar for Music and Arts Grade 7 Quarter 3: Lesson 1 (Weeks 1-2) SY 2024-2025 This material is intended exclusively for the use of teachers in the implementation of the MATATAG K to 10 Curriculum during the School Year 2024- 2025. It aims to assist in delivering the curriculum content, standards, and lesson competencies. Any unauthorized reproduction, distribution, modification, or utilization of this material beyond the designated scope is strictly prohibited and may result in appropriate legal actions and disciplinary measures. Borrowed content included in this material are owned by their respective copyright holders. Every effort has been made to locate and obtain permission to use these materials from their respective copyright owners. The publisher and development team do not represent nor claim ownership over them. Development Team Writers: Jemuel Barrera Garcia (West Visayas State University) Ryan L. Puljanan (West Visayas State University) Validator: Mary Leigh Ann Perez (Philippine Normal University – Manila) Rus Will E. Ledesma (West Visayas State University) Management Team Philippine Normal University Research Institute for Teacher Quality SiMERR National Research Centre Every care has been taken to ensure the accuracy of the information provided in this material. For inquiries or feedback, please write or call the Office of the Director of the Bureau of Learning Resources via telephone numbers (02) 8634-1072 and 8631-6922 or by email at [email protected] MUSIC AND ARTS / QUARTER 3 / GRADE 7 (WEEKS 1-2) I. CURRICULUM CONTENT, STANDARDS, AND LESSON COMPETENCIES A. Content The learners demonstrate understanding of nationalistic Music and Arts common to the Philippines and selected Standards Southeast Asian countries, including the subjects, themes, concepts, processes, techniques, mediums, and/or practices. B. Performance The learners produce an integrative creative work using conventional, contemporary, and/or emerging concepts, Standards processes, techniques, and/or practices in the Philippines and selected Southeast Asian Nationalistic (Post-war) Music and Arts. C. Learning Learning Competencies Competencies A. Explain how their nationalism, including the issues surrounding this concept, influences the performing and and Objectives visual arts of the Philippines and selected Southeast Asian countries. Learning Objectives In particular, the students should be able to: A. Discuss post-war nationalism in the Philippines and Indonesia in relation to the figuration of each country’s respective performing arts. B. Explain the similarities and differences in nationalistic Music and Visual Arts common to the Philippines and Indonesia. C. Content Theme: “Nationalistic Music and Arts in the Post-war Philippines and Southeast Asia” PERFORMING ARTS A. Music A. Philippine National Anthem B. Nationalistic Music (Vocal Music/Instrumental Music) Musical Behaviors: Active Listening; Describing; Interpreting; Composing; Finding Relations; Performing Materials: Any available local (natural and synthetic) material. The selection of countries for this quarter depends on the extent of foreign influences and/or the presence of foreign (Southeast Asian) nationals dominant in one’s locality/region. D. Integration Global Citizenship - Through two weeks of learning nationalistic Music and Arts common to the Philippines and selected Southeast Asian countries, students are expected to develop a deep appreciation of nationalism in the country and nearby Southeast Asian neighbors, inculcate a sense of care and empathy for others and the environment, and at the same time, nurture respect for diversity. 1 II. LEARNING RESOURCES Aguilar, F. (n.d.). A case for ‘Bayan Ko’ as Philippine national anthem. https://floranteaguilar.com/bayan-ko-national-anthem/. Aguirre, J. N. (2018, March). Legend of the Ati-atihan fest in Aklan. Municipality of Kalibo Province of Aklan. https://kaliboaklan.gov.ph/ legend- of-the-ati-atihan-fest-in-aklan/. Anderson, Q. N. (2015). Kundiman love songs from the Philippines: their development from folksong to art song and an examination of representative repertoire. The University of Iowa. https://doi.org/10.17077/etd.hivytk5h. Araneta, G.C. (2007, June 19). "'Bayan Ko'" - Manila Bulletin, June 19, 2007". Manila Bulletin. Archived from the original on 28 January 2019. Retrieved 28 January 2019. Araullo, K. (2024, January 19). Sinulog: unveiling the hidden history of Cebu’s grandest celebration. YouTube. https://youtu.be/q6wwqbwS mX8?si=1CsymgG4JUm6LNpo. BlueMarbleNations. (2011, July 17). Indonesian national anthem: Indonesia Raya. YouTube. https://www.youtube.com/watch?v=Rc2dG7 uMlhA. Brainly.PH. (2023). Conducting patterns. https://brainly.ph/question/5259101. Cabrera, P. (2024). The golden age of Philippine cinema. Blogger. http://nickledimepenny.blogspot.com/2008/08/golden-age-of-philippinecine ma.html Cambodia Nostalgia. (2018, March 26). The evolution of Cambodian folk music (1931-2014). YouTube. https://www.youtube.com/watch?v=xY _0jsRT3M0 Cardoza, J. (2018, March 28). Cambodian (Khmer) national anthem. YouTube. https://youtu.be/oBk64xStymM?si=7IXfqyTnhdtifq8b. Celestial, V. (2021, January 25). Suguidanon epic|| Hinilawod. YouTube. https://www.youtube.com/watch?v=1XBcq6A3Fmk Datlangin, N. (2020, June 12). Philippine protest theater through the decades. Theater Fans Manila. https://theaterfansmanila.com/ philipp ine-protest-theater-through-the-decades/ Dela Cruz, E. (2022, August 28). Dulaan: A documentary on Philippine theatre. YouTube. https://www.youtube.com/watch?v=qqRpu4yGjc k&t=1275s De Leon, F. M. (2018). The diversity of Philippine music cultures. Filipinas Heritage Library. https://www.filipinaslibrary.org.ph/uncategorized /the-diversity-of-philippine-music-cultures/ del Rosario Castrillo, P. (1994). Philippine Political Theater: 1946-1985. Philippine Studies, 42(4), 528–538. http://www.jstor.org/stable/4263 3469 Filipinas Heritage Library (2018). The Philippine national anthem and R.A. 8491. Filipinas Heritage Library. https://www.filipinaslibrary.org. ph/himig/the-philippine-national-anthem-and-r-a-8491/ 2 Gil, B. A. (2017, April 7). Bayan Ko and other patriotic songs. The Philippine Star. https://www.philstar.com/entertainment/2017/04/07/ 1684879/bayan-ko-and-other-patriotic-songs GMA Playground. (2019, January 21). AHA! Ano nga ba ang pinagmulan ng Ati-atihan festival? YouTube. https://www.youtube.com/watch ?v=r- wfwq_aEBM&ab_channel=GMAPlayground GovPH. (2013, July 2). Post war rehabilitation of the Philippines. YouTube. https://www.youtube.com/watch?v=aAAQTSR3jzs Great Big Story. (2020, September 17). In Malaysia, Darth Vader is leading a shadow puppetry revival. YouTube. https://www.youtube.com /watch?v=7HGy2ncM010&t=10s Im Walde. (2020, August 21). Constancio de Guzmán: Ang Bayan Ko. YouTube. https://www.youtube.com/watch?v=HJioWQWEw28 Jose, R. T. (2021, July 2). July 4, 1946: The Philippines Gained Independence from the United States. The National WWII Museum: New Orleans. https://www.nationalww2museum.org/war/articles/july-4-1946-philippines-independence KlasiksPinoy. (2010, June 18). “Sisa” (1951): A film by Gerry de Leon. YouTube. https://youtu.be/GZBTIV6WOB4?si=TmOKHnQKV3qqnSdu. Knight, G. and Brown, C. (2005, May). Theatre for development sourcebook. Village Volunteers. https://villagevolunteers.org/wp-content/ uploads/2011/07/Theatre-for-Development.pdf. Knowledgia. (2020, November 7). History of Indonesia in 12 minutes. YouTube. https://www.youtube.com/watch?v=PA7gFnYfBqo. Kohn, H. (2023, December 9). Nationalism. Britannica. https://www.britannica.com/topic/nationalism Kundiman.org. (n.d.). What does kundiman mean? https://www.kundiman.org/what-is-kundiman. Le Paul (2011, April 20). Freddie Aguilar- Bayan Ko. D’Concorde Recording Corporation (Released 2007). YouTube. https://www.youtube.com /watch?v=7sIJUdrp9vs Li, J., Thanon Ram Intra, Khwaeng Anusawari, Khet Bang Khen, Krung Thep, Maha Nakhon. (2021). Transforming force and national consciousness: the music in Philippines. International Journal of Research Publication and Reviews Vol (2) Issue (7) (2021), 333-337. Lynn, A. (2016, January 11). Bodabil: a documentary on a Philippine art form. YouTube. https://youtu.be/eZYj4Ar9cOo?si=5sMMlY1s_hnx Ev5u Lyric Player. (2022, March 7). Indonesia Pusaka versi original- Ismail Marzuki (1949), English subtitle. Youtube. https://www.youtube.com/ watch?v=2IbYDzgRKUE Macapinlac, M. Jr. M. (2012). The golden age of Philippine theater: an unintended consequence of the Japanese occupation of Manila. Philippine E-journals. https://ejournals.ph/article.php?id=3171 Nanglihan, G., Ong, W., and Sinocruz, M. (2018, December 18). From the stage to the streets: The challenging art of street theater. Ocampo, A. (1980). Ang buhay at musika ni Maestro Nicanor Abelardo. Manila: Cultural Center of the Philippines. Orangenaranja. (n.d.). The magnificent Dinagyang festival 2023 of Iloilo City. The Sneaky Traveller. https://thesneakytraveller.com/the-dinag yang-festival-of-iloilo-city/#google_vignette Phnom Penh Art Vibe. (2023, September 8). Khmer Music: The golden era. Sra’ Art Studio. https://www.sraartstudios.com/post/khmer-music- golden-era 3 Rappler. (2015, June 12). A day of revolution in Philippine theater. YouTube. https://www.youtube.com/watch?v=aATWjK0fgJs Relucano, D. (2020, April 10). Senakulo 2020: Cinematic video highlights. YouTube. https://youtu.be/QAVEr6uiIjw?si=nyBkCj3BZf6-1vi3 Ro Akeanon. (2018, November 27). Ati-atihan 1963. Facebook. https://web.facebook.com/photo/?fbid=2323256417896092&set=pcb.2323 257514562649 Ro Akeanon. (2019, March 1). This 1974 video proves Ati-atihan is the mother of all Philippine festivals. Facebook. https://web.facebook.com/ watch/?v=2255967184466536 Santos, R.P. (2005). Tunugan: Four essays on Filipino music. Diliman, Quezon City: University of the Philippines Press. Siamese Empire. (2021, May 30). Historical Anthem of the Philippines. YouTube. https://www.youtube.com/watch?v=jDgJvU_nIyk TBA Studios. (2022, January 28). Habambuhay: Remembering Philippine cinema | Episode 1: Sandaan, Sangandaan. YouTube. https://youtu be/p15Kh0AGFs8?si=QdAmhFywLAZqcOFz TEDx Talks. (2013, November 15). How Lupang Hinirang ought to be sung: Joey Ayala at TEDxDiliman. YouTube. https://www.youtube.com /watch?v=41guxaNk9FY The History TV (2023, June 3). The Post-Independence Period: A Journey of Struggles and Resilience in the Philippines. YouTube. https://www. youtube.com/watch?v=v9T9vlIg-Wk The La Sallian (2023). https://thelasallian.com/2018/12/18/from-stage-to-streets-the-challenging-art-of-street-theater/ Tiatco, S.A. P. and Viray, B. (2019). From revolution to figuration: A genealogy of protest performances in the Philippines.” Routledge Companion to Theatre and Politics, edited by Peter Eckersall and Helena Graham, New York and London: Routledge, 89-92. Timbrook, R. (2021, May 28). Senakulo. https://expertworldtravel.com/philippines/senakulo/ Treñas, J. (2021, January 24). Virtual Dinagyang mass 2021 and one Dinagyang digital presentation. YouTube. https://www.youtube.com /watch?v=aUoj2kI5aKo III. TEACHING AND LEARNING PROCEDURE NOTES TO TEACHERS A. Activating Prior WEEK 1: DAY 1 Knowledge 1. Short Review Video clips may already be A1. The teacher will open the class with two video clips related to last quarter’s downloaded ahead of time for a lessons on conventional traditional local folk Music and Arts (pre-war) common smoother lesson flow and no- to the Philippines and Malaysia, one of the three Southeast Asian countries glitch viewing. With this, the selected last quarter to put things in perspective. teacher can share the video A1.1 The first video clip features a cinematic translation of some parts of the clippings for students to view Suguidanon epic of the Panay Bukidnons, highlighted in the award- on their own time/pace. Unless indicated through video time 4  winning film by Ilonggo film director, producer and multidisciplinary artist, stamps, all videos should be Elvert Bañares: https://www.youtube.com/watch?v=1XBcq6A3Fmk played in its entirety. A1.2 The second video clip shows the ancient art of wayang kulit with Star Wars motif by Tintoy Chou and Pak Dain, a 13th generation master puppeteer: https://www.youtube.com/watch?v=7HGy2ncM010&t=10s. B1. Activity 1: Recall and Analyze The teacher will arrange the class into several groups and give them time to discuss their thoughts on the three questions given below. Their responses may be shared within their group mates, and if time allows, may be presented to the plenary (the whole class) afterwards. B1.1 Which of the two video clips resonate with you when we talk about pride and belongingness to one’s country? Why? Note: Both videos showcase pride and belongingness to one’s country. The cinematic portrayal of the Panay Bukidnon’s suguidanon, the first of its kind which was strongly supported by the Panay Bukidnons of Calinog, Iloilo, opens up the sophisticated Indigenous practice of suguidanon or epic chanting through the contemporary medium of film. In that way, more visual images, movements, and film interpretation, contribute to the understanding of the Indigenous community’s expressive culture. By being proud of who they are through their culture, arts, and traditions, the Panay Bukidnons develop a collective sense of belonging and taking part in nation-building through nurturing their expressive culture. By using contemporary characters in putting up wayang kulit, the traditional form of puppet-shadow play practiced in Indonesia and Malaysia, the performers take part in innovating and enriching an already highly developed cultural practice. In effect, the stories portrayed in the play about good and evil, heroism, For both video clips, what may and love for country, are enhanced, which strengthens the way it would impact speak towards loyalty and love audience of all ages. for one’s nation are the following: B1.2 How do you think is loyalty and love for one’s nation is expressed in the Love for one’s expressive two video clips you have just watched? culture (suguidanon & wayang B1.3 How is one’s appreciation and understanding of conventional traditional kulit) local folk music and arts in the Philippines, like the suguidanon of the Showcase of culture shared between members of the group Panay Bukidnons, and the wayang kulit in Indonesia and Malaysia, play a and with their ancestors but role in creating a sense of unity and identity among the citizens of their also their respective audience respective nations? 5  Serve as events that unite people and connect them to their roots. Both suguidanon & wayang Foster a sense of cultural awareness and identity. kulit may also be prone to and used as romanticized Pushes for a collective action to safeguard and enrich one’s culture. nationalist concepts C1. Furthermore, the teacher may then ask the students’ collective experiences Shared expressive culture can putting up a group creative presentation based on the relevant concepts, be seen to contribute to a sense processes, techniques, and/or practices of conventional traditional or local folk of national unity music and arts (Pre-war) common to the Philippines & selected Southeast Both forms of art may stand as Asian countries (Thailand or Indonesia) last quarter. Sample questions may living legacies of resistance to include: colonial domination and C1.1 What were your inspirations in coming up with such presentations? imperial intrusion C1.2 What were your best takeaways from those experiences that you think will be helpful as we move forward with our class lessons? D1. The teacher may thank the students for their sharing, thoughts, and insights. The teacher will then ask the students to go back to their respective seat assignments for the continuation of the lesson. B. Establishing 1. Lesson Purpose Lesson Purpose A1. Using a prepared slide deck, the teacher will open the lesson by asking the The teacher may run the next question “Why is the appreciation and understanding of pre-war music and two weeks with flexibility in arts in the Philippines and selected Southeast Asian countries needed as we terms of implementing student- proceed with our new lesson focused on post-war Music and Arts in the country engagement activities and and that of our nearby Southeast Asian neighbors? breaking down the music and One’s understanding and appreciation of pre-war music and arts in the the arts aspect of the quarter to country and in selected Southeast Asian countries will position students to: efficiently use the lesson Gain a better understanding of how nationalism after the war influenced the exemplar and maximize development of performing and visual arts in the Philippines and selected opportunities for collaborative Southeast Asian countries. learning. Use their experiences in learning pre-war music, theater, dance, and visual arts in the Philippines and nearby Thailand, Laos, and Indonesia in delving The teacher may also into the characteristics of nationalistic creative works common to the interchange, merge, or bracket the topics as necessary. Philippines and Indonesia. Harmonize nationalistic music and the arts from the Philippines and its selected Southeast Asian neighboring countries. A2. To get a better grasp of post-war Philippines, the teacher will share a video clip showcasing post-war rehabilitation of the Philippines in cooperation with the 6  United States of America and the Filipino public: https://www.youtube.com/watch?v=aAAQTSR3jzs Another video may be played as supplementary material: https://www.youtube.com/watch?v=v9T9vlIg-Wk The teacher may discuss the students’ understanding of the video clips they have just watched before proceeding to unlocking vocabularies involved in the discussion of the lessons. 2. Unlocking Content Area Vocabulary B1. The teacher will then proceed to unlocking terms that the students may find helpful in understanding the lessons for Week 1 and 2. Using the next set of slides, the teacher may present the following terms: B1.1 Kundiman- a classic form of Filipino love song—or so it seemed to colonialist forces in the Philippines. In Kundiman, the singer who expresses undying love for his beloved is actually singing for love of country (Kundiman, 2023). B1.2 Nationalism- ideology based on the premise that the individual’s loyalty and devotion to the nation-state surpass other individual or group interests (Britannica, 2023). B1.3 Post-War Philippines- many scholars consider the beginning of post-war Philippines as the period when the country gained full independence from its American colonizers in 1946 until the 1970s (Jose, 2021). C. Developing and WEEK 1: DAY 2 Deepening SUB-TOPIC 1: Philippine National Anthem (Lupang Hinirang) [Marcha Understanding National Filipina], Composer: Julián Felipe), Part 1 of 2 Learning Objective: Discuss post-war nationalism in the Philippines and Indonesia in relation to the figuration of each country’s respective performing arts. 1. Explicitation A1. The teacher will open the lesson by guiding the students to watch, listen, and practice a significant post-war song learned by Filipinos in the country and abroad. The Philippine National Anthem of our country, also known as Lupang Hinirang, was also known as Marcha National Filipina. Lupang Hinirang was composed by Julián Felipe in 1898. The lyrics were adopted from the Spanish poem "Filipinas", written by José Palma in 1899. The national anthem’s last revision was made in 1962. 7 A2. Activity 2: Note Me See worksheet for the activity The teacher will then tell the students that the Philippines had various which students will accomplish. historical anthems before and along the process of finalizing the present national anthem of the Philippines. If time permits, the students A3. The teacher will then discuss that the national anthem of the Philippines is may also listen to the national played or sung during flag ceremonies in various government and non- anthem of Cambodia: government offices and different occasions, from the local to the international https://www.youtube.com/wat level. Lupang Hinirang is sung with pride, dignity, utmost respect, and ch?v=oBk64xStymM&ab_chann allegiance to the country. el=JakeCardoza. The singing and playing of the Philippine national anthem is governed by the law, specifically R.A. 8491 or the “Flag and Heraldic Code of the Philippines.” The teacher will then distribute As stipulated in Section 37, “The rendition of the National Anthem, whether a worksheet entitled Note Me. played or sung, shall be in accordance with the musical arrangement and Students will individually fill up composition of Julian Felipe” (Filipinas Heritage Library, 2018). their worksheets with Moreover, according to Section 38, the attending public shall sing the important points they would anthem whenever it is played at a public gathering. While doing so, the public reflect on by watching and shall stand at attention facing the Philippine flag as a sign of respect. The other listening to this video clip: provisions on the national anthem are detailed in Chapter II, Sections 35 to 39 https://www.youtube.com/wat of R.A. 8491 (Filipinas Heritage Library, 2018). ch?v=jDgJvU_nIyk. The development of the Philippine national anthem into what it is today took several years. It began in 1898 with Julian Felipe’s composition titled The teacher may then ask the Marcha Nacional Filipina (also known as Himno Nacional Filipino). In 1899, students what they think about Jose Palma’s poem Filipinas was used as lyrics which were later translated into the video clip they watched English in the 1920s. It was translated into Filipino in 1956 and the version regarding the Philippine which is now sung publicly is a product of revisions made in 1962 (Filipinas historical anthems using their Heritage Library, 2018). worksheets as cue cards to 2. Worked Example reference their responses. B1. Activity 3: Sing It Level 1: The teacher will lead the class in singing Lupang Hinirang in acapella, with an upright (standing) position, and with the right palm placed near the heart. Level 2: Using the teacher’s desk (tap for downbeat) and clapping their hands 2 (upbeat) to introduce the time signature, the teacher will sing with the students 4 using movement to establish rhythmic pattern. The teacher will then ask the students to follow through (with a tap & clap rhythmic pattern) while they sing 8  the Philippine national anthem. Another variation may include tapping their hands on their legs followed by a clapping motion (establishing the downbeat and upbeat part of the rhythmic pattern). B2. The teacher will also emphasize that after the American regime and Japanese occupation of the country, the heightened experimentation of Filipino composers with European styles during the American period continued. From the American period onwards, there was a production of nationalistic Filipino composers who used their formal training and expertise in music by incorporating ethnic elements in their works. One of these composers is Francisco Santiago, regarded as the “father of nationalism in music,” who transformed the kundiman from folk song to art song, a song that “requires advanced vocal technique and musical maturity for its performance, usually on the concert stage”. In the 1930s to 1940s, Antonino Buenaventura also used nationalist themes in his compositions like Pandanggo sa Ilaw and Mindanao Sketches which was based on Manobo themes. Other composers who made use of indigenous themes were Juan Hernandez in Mga Katutubong Tanawin and Lucio San Pedro in the Malakas at Maganda Overture. B3. Activity 4: Tune In The teacher will play Antonino R. Buenaventura’s Mindanao Sketches that he composed in 1947 as performed by the Royal Philharmonic Orchestra, a British symphony orchestra based in London, conducted by Redentor Romero: https://www.youtube.com/watch?v=y6NC5Q8J_kA. Timestamp: It was first performed by the Municipal Symphony Orchestra of Manila on 0:00 I. Offering to the Gods May 15, 1948 at the UST Gymnasium. The world premiere performance of 3:52 II. A Village Festival Dance Mindanao Sketches was on Aug. 19, 1948 in Honolulu, Hawaii. It was also If time permits, the teacher may performed in USA, Europe and Soviet Russia. A recording was cut by London also ask the students on what Symphony Orchestra under conductor Redentor Romero. The Mindanao they think about Mindanao Sketches is based on rhythm of the dances and songs of the Manobo tribe who Sketches. The teacher may ask duel in the hinterland of Bukidnon. what instruments stood out to The use of native gongs, clapping of hands, human voices and other the students while listening to percussion instruments make the two movements "Offering to the Gods" and "A Buenaventura’s work. Village Festival Dance" depicts its original form in a most enjoyable experience. 9 3. Lesson Activity C1. Activity 5: Watch and Learn For the next iteration, the teacher will play a video clip showing an example of the step-by-step process in conducting the Philippine National Anthem: https://www.youtube.com/watch?v=7nfllORsr-Q. After which, the teacher will assist the students in doing the same. The Philippine national anthem may be sung twice or thrice with everybody conducting all at the same. Source: Conducting Patterns, https://brainly.ph/question/5259101 C2. Activity 6: Pair/Trio and Share For this activity, the teacher will ask the students to find a partner. For the first round, student A will do the tap and clap approach (rhythmic pattern) while student B will do the conducting approach while singing the Philippine national anthem. The students will exchange roles for the next round. Student A will do the conducting approach and Student B will do the tap and clap approach. In the third iteration of this activity, group the students into 3. Student A will sing the national anthem, Student B will do the conducting, while Student C will do the rhythmic pattern (tap and clap approach). WEEK 2: DAY 1 SUB-TOPIC 1: Indonesia National Anthem (Indonesia Raya; Wage Rudolf Supratman (writer) and Jos Cleber (composer), Part 2 of 2 Learning Objective: Discuss post-war nationalism in the Philippines and Indonesia in relation to the figuration of each country’s respective performing arts. 1. Explicitation A1. The teacher will introduce the national anthem of Indonesia, Indonesia Raya: https://www.youtube.com/watch?v=KWlSgtyUpsw. 10  Written by Wage Rudolf Supratman in 1928, “Indonesia Raya” was first recorded in 1950, in a performance by Dutch composer Jos Cleber and the resident symphony orchestra of Republic of Indonesia Radio (RRI). It became the official recording, used by RRI and the government for almost 50 years (Agato, 2021). It was adopted by Indonesia since the Proclamation of Indonesian Independence on August 17, 1945. Indonesia Raya, as a national anthem is full of optimism. Indonesia’s founding president, Soekarno, was involved in the musical arrangement of “Indonesia Raya”. “During the pre-chorus or bridge, it turns soft. While the previous part is tutti [all instruments playing], Soekarno wanted the bridge to be calmer and more textured, less monotonous so that when it hits the chorus, it soars (Agato, 2021). For legendary composer and conductor Addie Muljadi Sumaatmadja, better known as Addie M.S., the Indonesian national anthem is uniquely memorable for its directness. 2. Worked Example B1. To contextualize how Indonesia Raya came to be, a look at Indonesia’s history is vital: https://www.youtube.com/watch?v=PA7gFnYfBqo. B2. Activity 7: Sing It The teacher will then lead the class in singing Indonesia Raya (Great The class will try to sing in the Indonesia) with music, on upright (standing) position, feet together, arms on the Indonesian language using this side. During the rendition or singing of the national anthem, everyone should video clip as a guide: stand, face toward the music, and pay respect. Those who are members of https://www.youtube.com/watc the Armed Forces, and other persons in uniform must render the military salute. h?v=Rc2dG7uMlhA. This activity 3. Lesson Activity may be repeated as necessary. C1. Activity 8: Compare & Contrast The teacher will ask the students to use the given worksheet to compare and See worksheet for the activity contrast Lupang Hinirang and Indonesia Raya. The teacher will give time for the which students will accomplish. students to figure out their responses on the worksheet. After 10-15 minutes, the teacher will ask the students to find a partner to discuss their answers. After which, the students’ responses may be discussed in the class (as a whole). WEEK 2: DAY 2 11 SUB-TOPIC 2: Vocal and Instrumental Music: Bayan Ko (Music by: Constancio de Guzmán, Lyrics: José Corazón de Jesús aka Huseng Batute) as performed by Arturo Navera (Baritone) and Julie Mendoza (Piano) Learning Objective: Explain the similarities and differences in nationalistic Music and Arts common to the Philippines and Indonesia. 1. Explicitation A1. Activity 9: What If? The teacher will benchmark from the students’ experiences on the previous See worksheet for the activity day’s discussion and emphasize how Lupang Hinirang is an example of which students will accomplish. nationalistic music. The teacher will then show a video clip, showcasing former music committee chair of the National Commission for Culture and the Arts and singer-songwriter, Joey Ayala’s take on Lupang Hinirang and see what students think: https://www.youtube.com/watch?v=41guxaNk9FY. Using a worksheet, students will individually answer the following guide questions jumping off from a “What If” perspective (if the students are given the chance to change/critique parts of the Lupang Hinirang, as Joey Ayala constructively suggests) 2. Worked Example B1. The teacher will then segue in discussing nationalism in post-war Philippines (Li et al., 2021) and how it influenced the performing and visual arts of the Philippines. The Philippines is one country whose history is paved with the challenges of transition and transformation. A colony of Spain for 400 years, its music is in tune with its historical landmarks of colonization, oppression and liberation. The music of its culture is very much influenced by its traditions and nationalistic overtones. The indigenous music in the country is very popular among masses. Influenced primarily by Spanish and American colonizers, Filipino music has been a fusion of its rich culture, heritage and foreign influence. Nevertheless, there are no more beautiful words in a song than those written by Filipinos whose passions rise amidst the ebb and flow of interests that drive the national consciousness of a people in a country seeking transformation from the bonds of political and social oppression. Innate among Filipinos is their love of country and identity. In the subconscious mind of every Filipino, there lies a dormant desire for independence and freedom from all forms of oppression and 12  this subconscious domain is easily reached by messages imbedded in lyrics and musical form that ignites the emotions within the heart of each Filipino. To this end, musical composers of the past and the present write songs and music that evoke and convey nationalistic sentiments which have enabled music to play a large role in reawakening national identity among Filipinos. B.2 Activity 10: Music and Lyrics The teacher will play a recording of a nationalistic vocal music and its See worksheet for the activity accompanying musical instrument (piano) entitled Bayan Ko (Version 1): which students will accomplish. https://www.youtube.com/watch?v=5jWtwdzJcns. Constancio de Guzmán (music) and José Corazón de Jesús [Huseng Batute] (lyrics) were the men responsible behind this kundiman. This version was Responses may include: performed by Arturo Navera (Baritone) and Julie Mendoza (Piano). Smooth, flowing, and gentle Prior to providing more information, the teacher will ask the students to rhythm characterize the song Bayan Ko. The students will write their responses using Dramatic interval their worksheet. Usually a love song, that The Spanish lyrics of Bayan Ko were originally written for the Severino may translate to love for the Reyes’ zarzuela, Walang Sugat ("no wound"). Attributed to the propagandista, nation General José Alejandrino, the song expressed opposition to the ongoing American Sentimental Occupation (Araneta, 2007). The popular and mainly used 1929 Tagalog version Affectionate lyrics is attributed to José Corazón de Jesús, and the music to Constancio de Guzmán. Brings out untold emotions While the popular Bayan Ko was mainly used during the American colonization, Expression of intense it continued to be sung during the Philippine post-war period. longing for loved one or the Bayan Ko, as a kundiman, is about the Philippines’ struggle for motherland independence during the American regime. Because of this nationalistic Deep feelings of emotional sentiment, the song was also performed to convey the same desire for freedom love during the Japanese occupation (and even after the war), including the protest Soulful and lofty marches against the Marcos government in the early ‘80s (Gil, 2017). Tells a story The kundiman, known to be songs of admiration and longing for a woman’s love, became translatable to declarations of love to the mother country. It influenced the composers to branching out kundiman out from love songs to nationalistic songs, albeit done incognito. The kundiman served to hide its true nature – a secret battle cry with strong anti-colonialist sentiment. It allowed Spain (and even Americans) to continue thinking that Filipinos were just singing their miserable love songs. Some claim that there were guerilla battle codes and instructions embedded in the lyrics of the kundiman songs (Aguilar, 2023). 13 3. Lesson Activity C1. Using a slide deck, the teacher will then emphasize that composer Francisco Santiago (1889-1947) is sometimes called the “Father of Kundiman Art Song.” While his masterpiece is considered to be his Concerto in B flat minor for pianoforte and orchestra, one of his most significant pieces is his song “Kundiman, (Anak Dalita)”, the first Kundiman art song. Santiago regarded the Kundiman art song as something “that expresses the lofty sentiment of love, and even heroism in a melancholy mood.” Given the cross-fertilization of Spanish and Filipino cultures in the 19th century, Kundiman art songs were typically a blend of melodic material from native folksong and European music traditions. The result is a song characterized by smooth flowing lines and beautiful melodies. The teacher will also point out the use of piano in kundiman. The piano accompaniments are typically full in texture, sometimes containing countermelodies, sometimes merely harmonizing with the vocal line in thirds and sixths. For Filipino composer Nicanor Abelardo, the piano accompaniment generally follows the contour of the melody. The inner voices of harmony run in contrary motion to the melody. Abelardo set the text to music, making the piano accompaniment match the declamation of the text and creating text painting. His subsequent song compositions showed a more mature technique of text painting with more interplay between text and music. He also used various ranges in the piano to achieve tone colors that match the text (Santos, 2005). C2. Activity 11: Plenary Analysis The teacher will play two more video clip recordings of Bayan Ko for the Guide questions: students to listen to. The students will also be asked to compare the first version Which of the three versions of they heard to the next two versions that the teacher will share with them: Bayan Ko resonated with you Version 2: Bayan Ko, (arranged by Redentor Romero for Violin and Piano); the most and why? Bronte Ficek (Violin): https://www.youtube.com/watch?v=HJioWQWEw28. What musical qualities did each rendition share in Version 3: Bayan Ko by Freddie Aguilar (on guitar): common? https://www.youtube.com/watch?v=7sIJUdrp9vs. How did the rendered In the 1930s, there was a massive cultural movement of "Filipinism" among performances contrast from several Filipino artists. The movement purported to forward nationalism to each other? Filipinos and as a response to the cultural integration imposed by the United How is nationalism evoked in States. Being affected by the said movement, Felipe De Leon, along with his fellow each rendition of Bayan Ko? composer Lucio San Pedro, continued the nationalist tradition of Antonio Molina, 14  Francisco Santiago, and Nicanor Abelardo by using the material from Filipino folk If time permits, the teacher may songs as the basis of their own created compositions. De Leon also wrote articles also ask the students about and publications highlighting the importance of music as an expression of Bayan Ko’s relevance to the nationalism. youth nowadays. The teacher Bayan Ko has renditions of by different composers and singers, notably by may also ask in what other Lucio D. San Pedro (National Artist for music), Asin, and Freddie Aguilar. Aguilar's ways does the kundiman cover is one of the most famous renditions of the song; an often-overlooked detail resonate with them or the is that the instrumental section of this version is Pilipinas Kong Mahal, another situation that our country is in Filipino patriotic song. now. The Filipino struggle for freedom identity and dignity has a long and continuous history since the 16th century when Spanish colonization began. The Filipinos were the very first Asian peoples to wage and win a war in 1898 against Western colonialism in Asia. We were also the first Constitutional Republic in Asia. A commitment to one’s country and pride in being Filipino, though only discernible among a minority (thus, a subculture), is as alive today as it was in the past, and this devotion has always been well-served by the musical expressions of the nation, particularly the kundiman, a song of devotion to a selfless and noble cause. It is the kundiman that has always embodied the Filipinos’ intense and lofty patriotism, as in the songs Bayan Ko, Jocelynang Baliwag, and Sariling Bayan (De Leon, 2018). The kundiman is a tenderly lyrical song in moderately slow triple meter with melodic phrases often ending in quarter and half note values. It is mainly a song of selfless devotion to a loved one, the motherland, a spiritual figure, an infant, a lofty cause or an object of compassion (De Leon, 2018) D. Making 1. Learners’ Takeaways Generalizations The teacher may group the class into three and give them time to share their responses with their group mates for the following questions: 1. What have you noticed thus far with the creative works (music) of post-war Philippines and selected Southeast Asian countries? 2. Why is nationalism a common theme with the creative works (music) we have tackled in the last two weeks? 2. Reflection on Learning From groups of three, the teacher will merge sub-groups to form four big groups. The teacher will then give each big group time to make a collage showcasing their reflections of the lessons they have encountered in class. 15  The second part, if time permits, should be a performance response in relation to the topic they have been assigned as a group. The performance may come in the form of explaining their output (collage), responding to the collage with a dance, an original song composition, or a poem. IV. EVALUATING LEARNING: FORMATIVE ASSESSMENT AND TEACHER’S REFLECTION NOTES TO TEACHERS A. Evaluating 1. Formative Assessment Learning The teacher will post themes on the board regarding the major topics discussed in the class and allow students to elaborate their thoughts. Themes may include: Lupang Hinirang Indonesia Raya Bodabil Bayan Ko B. Teacher’s Note observations on any The teacher may take note of some Effective Practices Problems Encountered observations related to the effective Remarks of the following areas: practices and problems strategies explored encountered after utilizing the different strategies, materials materials used used, learner engagement and other related stuff. learner engagement/ interaction Teachers may also suggest ways to improve the different activities explored/ lesson exemplar. others C. Teacher’s Reflection guide or prompt can be on: Teacher’s reflection in every lesson Reflection principles behind the teaching conducted/ facilitated is essential What principles and beliefs informed my lesson? and necessary to improve practice. You may also consider this as an Why did I teach the lesson the way I did? input for the LAC/Collab sessions. students What roles did my students play in my lesson? What did my students learn? How did they learn? ways forward What could I have done differently? What can I explore in the next lesson? 16