Music 7 - Q3 Module 1: The Beauty and Elegance of the South (Vocal Music of Muslim Filipinos) PDF

7 Music Quarter 3 – Module 1: The Beauty and Elegance of the South Vocal Music of Muslim Filipinos CO_Q3_Music 7_ Module 1 Music – Grade 7 Alternative Delivery Mode Quarter 3 – Module 1: The Beauty and Elegance of the South (Vocal Music of Muslim Fili...

7 Music Quarter 3 – Module 1: The Beauty and Elegance of the South Vocal Music of Muslim Filipinos CO_Q3_Music 7_ Module 1 Music – Grade 7 Alternative Delivery Mode Quarter 3 – Module 1: The Beauty and Elegance of the South (Vocal Music of Muslim Filipinos) First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this book are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio Development Team of the Module Author: Howard Bong M. Abao Content Editor: Emmanuel C. Alveyra Language Editors: Cherrie Rose L. Desaliza, Gladys F. Cantos Reviewer: Emmanuel C. Alveyra Illustrator: Reymark L. Miraples, Louie J. Cortez, Richard Amores, Pablo M. Nizal, Jr., Jan Christian D. Cabarrubias Layout Artist: Reymark L. Miraples Management Team: Benjamin D. Paragas, Mariflor B. Musa, Freddie Rey R. Ramirez, Danilo C. Padilla, Annabelle M. Marmol, Florina L. Madrid, Norman F. Magsino, Dennis A. Bermoy, Emmanuel C. Alveyra Printed in the Philippines by ________________________ Department of Education – MIMAROPA REGION Office Address : Meralco Avenue, Cor. St. Paul Road, Pasig City, Metro Manila Telephone : (02)863 - 14070 E-mail Address: : [email protected]  7 Music Quarter 3 – Module 1: The Beauty and Elegance of the South Vocal Music of Muslim Filipinos Introductory Message This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson. Each SLM is composed of different parts. Each part shall guide you step-by- step as you discover and understand the lesson prepared for you. Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these. In addition to the material in the main text, Notes to the Teacher are also provided to our facilitators and parents for strategies and reminders on how they can best help you on your home-based learning. Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task. If you have any questions in using this SLM or any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator. Thank you.  What I Need to Know Learning Competencies The learner: 1. describes the musical characteristics of representative music selections from Mindanao after listening; MU7MN-IIIa-g1 2. analyzes the musical elements of some Mindanao vocal and instrumental music; MU7MN-IIIa-g2 3. identifies the musical instruments and other sound sources of representative music selections from Mindanao. MU7MN-IIIa- g3 Are you fond of singing different kind of music? Have you tried to sing foreign songs? or are you an avid fan of Filipino songs? This module will help you know and experience the different features and characteristics of songs particularly that of the Mindanao music. Before you start discovering what this module is all about, try to read its overview for you to know what awaits you upon exploring this module. Ready. Get set. Go! Let yourself be informed about this simple yet very important concept about music. Here in the Philippines, we usually listen to different OPM or Original Pilipino Music. As we know, these are popular music (pop music) that our radio network and television channels play every day. So popular these songs are popular that even a 2-year-old child tries to sing its lyrics of these songs. Enjoyment beyond expectation normally results to the Last Song Syndrome or LSS, which is evident whenever we love a song and repeatedly sing its melody. On the other hand, Genuine OPM is also an Original Pilipino Music but unlike the first type, this one is not that popular. We rarely hear these songs being performed on TV or radio. These songs are deeply rooted on the culture and tradition of its composer. Every region in the country has its own Genuine OPM using their own musical elements, which remains the same from the time of their ancestors until the present time. This kind of music is created with the highest form of artistry; that even professional musicians cannot write exactly its equivalent to western music. One concrete example of this kind of music is the Islamic Music of Mindanao. Our Muslim brothers were able to preserve their unique musical style from the time Islam came to the Philippines until now. Scholars said that some of the Islamic music were already existing before Islam came to Mindanao. Darangen, for example, is a pre-Islamic art form which literally means to narrate in a song. This 72,000 - line epic was awarded in 2005 UNESCO as one of the Masterpiece of the Oral and 1 CO_Q3_Music 7_ Module 1 Intangible Heritages of Humanity. In fact, this Maranao epic has been chosen among 90 proclamations by international organizations around the world which evidently shows how rich Mindanao culture is! This time, you will find out the enthralling music of Mindanao and this is what this module has prepared for you! Learning Objectives After working on this module, you should be able to: 1. Identify the musical characteristics of Mindanao Islamic vocal music and its relation to the cultural and geographical background of the region. 2. Distinguish the different musical elements found in the Islamic vocal music of Mindanao 3. Compare the vocal music of Mindanao to the vocal music of the Luzon and Visayas lowlands and other ethnic groups in the Philippines. What I Know You have almost reached the end of the module and you have explored so far in this journey of exploration and discovery of insights from the concepts you previously had. It is a good way to think that after all the challenging activities you have answered, you can now have practical applications of concepts and skills. This time, you are tasked to answer the following questions. Directions: Read the questions carefully and choose the letter of the best answer. Write your answers on your activity notebook. 1. Which of the following is NOT a characteristic of vocal music of Mindanao? A. throaty sound C. fixed rhythm B. melismatic singing D. uses tremolo 2. In Islamic music, the vocal aspect must overpower the instrumental. What does the given statement mean? A. Same volume for instrumental and vocal parts B. More emphasis on the vocal parts than the instrumental part. C. Musical accompaniment is required. D. A full band must sing the song. 2 CO_Q3_Music 7_ Module 1 3. Why is Mindanao music different from Luzon and Visayas folksongs? A. Because the Spaniards were not able to penetrate Mindanao during their era. B. Because Mindanao has a different set of instruments for their songs C. Because most recording companies are situated in Luzon and Visayas. D. Because their way of life is different. 4. Aside from rituals, which of the following is the other purpose of Islamic music? A. sports C. entertainment B. education D. birthdays 5. The Paggabang are songs accompanied by a gabbang and byula. These songs are also said to be less serious in nature. What Islamic music tradition speaks of these practice? A. The melismatic style of singing. B. The vocal aspect must overpower the instrument. C. The delicate patterns of melody and rhythm. D. Songs for rituals must be sung in acapella while those for entertainment requires a musical instrument. 6. Why is singing important to Islamic music? A. Because it is a form of expression of ideas. B. Because the singers can do their vocal exhibitions. C. Because it is like talking to Allah. D. Because they lack musical instruments. 7. Islamic vocal music requires improvisation. How must a singer apply this characteristic when singing their native songs? A. The singer must always sing the original tune. B. The singer must always rely on the musical piece. C. The singer’s voice must be versatile. D. The singer can also be a composer. 8. Which of the following characteristics is present in the vocal music of Islamic Mindanao? A. the use of tremolo in singing. B. the time signature. C. a fixed ending for songs. D. the observance of the instrumental accompaniment 9. What do you mean by Tausug? A. Moro people C. People of Mindanao B. Muslim people D. People of the current 3 CO_Q3_Music 7_ Module 1 10. The music of Mindanao has not changed for a very long time. What character traits does this show? A. The people of Mindanao are not open for changes. B. The people of Mindanao are only patronizing what is from them. C. The people of Mindanao value their culture and tradition. D. The people of Mindanao are not open-minded people. 11. What kind of song is the Pangantin? A. funeral C. baptism B. birthday D. wedding 12. Which of the following songs can be accompanied by a musical instrument? A. Lugu C. langkit B. pangantin D. baat 13. Which of the following songs is usually performed by women in Mindanao? A. Lugu C. baat B. langan batabata D. sindil 14. Which of the following terms is used for epic legends? A. Baat C. pangantin B. kissa D. sindil 15. Which of the following songs is characterized by high vocal tension, slow tempo long and sustained notes and melismatic and tremolo singing. A. Pangantin C. langkit B. kissa D. lugu 4 CO_Q3_Music 7_ Module 1  Lesson The Beauty and Elegance of the South 1 Vocal Music of Muslim Filipinos What’s New As you begin to embark on this learning module, don’t forget to remember the most important concepts because these will surely be applied with full understanding at the end of the lesson. Let start by getting to know the music of our Muslim brothers and sisters. Below is an illustration that shows different people. Now, your first task is to identify who among them are Muslims. Try to draw them in your activity notebook and let us see if you are able to identify them correctly. Were you able to find them? Well, it is obvious that you identified who among the people in the illustration are Muslims. That is great job. Now, read the text below so that you could have more understanding about them. 5 CO_Q3_Music 7_ Module 1  Historians say that there are evidences of early settlers in the southern part of the country as early as prehistoric times. Arab traders from Malaysia and Indonesia came in contact with the natives with their products, culture and religion. In 1280, the first Muslim community in the Philippines was established in Sulu by Tuan Masha’ika. In the middle of 14th century, a religious missionary in the name of Karim-ul-Makhdum also came to Sulu. But, it was during the time of Rajah Baginda (early 15th century) that Islam’s political aspect was first introduced to the natives. The Sulu Sultanate was established by his son-in-law Abu Bakar. However, it was during the mid-15th century that Islam propagated to greater part of Mindanao through the effort of Sharif Kabungsuan. The word Mindanao is coined after the Maguindanaons who constituted the largest sultanate. The natives used this word to refer to their island at that time. When the Spaniards came to the Philippines, Islam was well established in Mindanao, and they were not able to penetrate this Philippine region. That is why until now they were able to preserve their culture, traditions and identity as people. In the Philippines, 93% of the entire Islamic population resides in Mindanao. Among this 93% are 13 ethno-linguistic groups situated in different places in the region. These are the Jama Mapuns of Cagayan de Tawi-Tawi; the Iranons of Cotabato; the Kaagans of Davao del Norte, Davao del Sur and Davao Oriental; the Kalibugans of Zamboanga; the Maguindanaons of Maguindanao; the Maranaos of Marawi; the Palawanons and Molbogs of Palawan; the Samas of Tawi-Tawi; the Sangils of Sarangani; the Tausugs of Sulu; the Yakans of Basilan, and the Bangingis of Tongkil and Zamboanga. Only five among this group can be found in Mainland Mindanao. They are the Iranon, Kaagan, Kalibugan, Maranao and Maguindanao. The Bangingis can be found in both mainland (Zamboanga) and island province Tongkil. These ethno-linguistic groups may have different literary art forms but they are all united to one culture - Muslim. The table below shows the top ten provinces with the largest Muslim population. Let us see how large their population is as well the percentage of the provinces’ population. Muslim Population % of Province's Province (2010) Pop. 1. Sulu 706,229 98.32% 2. Tawi-Tawi 353,865 96.83% 3. Lanao del Sur 872,678 94.00% 4. Maguindanao 993,040 81.73% (including Cotabato City*) 6 CO_Q3_Music 7_ Module 1  Muslim Population % of Province's Province (2010) Pop. 5. Basilan 311,004 79.56% (including Isabela City**) 6. Lanao del Norte 285,861 30.80% 7. Sultan Kudarat 209,917 28.13% 8. Cotabato 318,602 26.02% 9. Zamboanga del Sur 336,840 19.13% 10. Zamboanga 84,835 14.53% Sibugay Source: 2010 Census, NSO So, have you noticed their differences when it comes to their percentage and population? It seems that you are surprised how this happened, arent you? Most of the people in Mindanao are composed of different Muslims. That is why, it is not already a surprise why Mindanao is really a home of our Muslim brothers and sisters. Now, let us find out more about them. Accomplish the given activity as presented below. Directions: Using the map below, locate the provinces mentioned in the table above. Afterwards, answer the following questions below. In accomplishing this activity, your facilitator will give you a copy of the map. Processing questions: 1. In what part of the map do the majority of the provinces being located? 2. What do you think is the implication of this location to the preservation of their culture and tradition? 3. In your opinion, in what way do these places share common good? 7 CO_Q3_Music 7_ Module 1  What is It You are now in the section where a lot of ideas and concepts are discussed. As aforementioned, this module focuses on the Mindanao music based on its characteristics, musical elements, culture and geography. So, prepare yourself as you discover them one by one! Let us find out! Islamic Music in general is characterized by delicate patterns of melody and rhythm. To the Muslims, music is a vertical connection to Allah. That is why the Quran must be recited in a singing-like manner. In Islamic music, the vocal aspect must overmaster the instrumental. It is based on the skill of the artist which is given the freedom to improvise the piece. Here, the performer also becomes a composer. Using the traditional musical elements, the artist is encouraged to improvise with the guidance of a specific emotional or philosophical foundations of the music. One of the literary art forms of our Muslim brothers and sisters are their epics. Epics are long, narrative poems telling about heroic deeds of significant characters. In Muslim culture in Mindanao, the epics may be narrated in a form of a poem or song. At present, only three of the 13 Muslim community groups have their epics identified. This is because of the lack of informants or researchers because of peace and order situation in some areas for research. The Bantugan and Darangen of the Maranao or People of the Lake, the Indarapatra at Sulayman of Maguindanao or People of the Flood Plains, and the Parang Sabil hi Abdulla iban hi Isara of the Tausugs People of the Current. Darangen The Darangen is an epic song about Maranao people. The story, together with the Qur’an , the central religious text of Islam, serves as a cultural foundation on their community. Although it is used by a Muslim community, scholars said that most of its content dates back before the arrival of the first Muslims in Mindanao. Therefore, it is a mixture of both Islamic and non-Islamic way of life, and for the Maranao people, this Anonen A Rawaten or The Way of the Ancestors is worth imitating. Only 18 out of 25 song cycles of the Darangen has been recorded and studied. The epic deals not only about relationships and adventures but also ancestral political laws like kingship and succession. Even today elders of the community still refer to the text of the epic in dealing with various laws. Literally this epic means “to narrate in song”. For this, it will require specialized male and female performers a good memory, a skill to improvise, an imaginative and creative mind, knowledge on customary laws and traditions, a good, 8 CO_Q3_Music 7_ Module 1 clear voice, and the ability to get the audience attention for long hours of performance. Like most of our ethnic literary art forms, it is passed down from generation to generation by oral tradition but some parts have ancient transcriptions based on Arabic writing system. An Onor plays the lead role in a Darangen performance. Her responsibilities include singing the traditional songs, being a dancer, and playing the Kulintang, a set of eight small gongs. She is also expected to portray the characteristics of a Maranao princess, setting a royal standard for Maranao women. This epic is usually performed in weddings and lasts up to several nights of performances. Below is the link that you can use to listen to the Darangan Epic Song. https://youtu.be/ROqbx9VptlA Ballads Most ballads (poem that tells a story) in Muslim Mindanao are religious and historical. But would you believe that these two types of ballads are related to each other? Religious because they talk about Islamic faith. Historical because they talk about historical personality and their works - mostly to propagate or to defend the Islamic faith. And like most of their literary art forms, they are handed down from generation to generation by oral tradition. These art works are usually done in song form and accompanied by instruments like the gabbang kulintang and byula. Islamic Music retains its original form and style. There are two main uses of Islamic music. The first one is for rituals and the other is for entertainment. Music for rituals is mainly vocal with no instrumental accompaniment. Various Islamic tribes still possess the same vocal music style like the ones used by their early ancestors. Music with musical instruments attached to its performance are normally for entertainment purposes only. Tausug Vocal Music The Tausug vocal music called the “Palangan” can be categorized into narrative and lyrical songs. Narrative songs tell a story which include the Kissa or epic legends and the lyric songs which both deal with their normal and daily way of life. Lyric songs are also sub-categorized into Lugu and paggabang types. The lugu is a religious chant usually done by women. This song is related to Muslim rituals like wedding, funeral, birth, and the paggunting (traditional cutting of an infant boy’s hair during baptism.) The lugu is characterized by high vocal tension, a slow tempo, long and sustained notes, and with a tremolo at some parts of the phrase. Since this type of song is for rituals, it is sung in acapella. The paggabang, on the other hand, are songs usually accompanied by the gabbang or bamboo xylophone and the byula or violin. These songs are less serious in nature. 9 CO_Q3_Music 7_ Module 1  Lyric songs consist of the langan bata-bata or Children’s song, the Baat or occupational song. This form includes the Baat callaw or Funeral song which has a very sad melodic line, pangantin or the wedding song which the newly-wed couple dances while the singer or a modern band performs it. Traditionally, this song has a soothing melody. Another example of the Baat is the song of fishermen or farmers which has a happy melody. Moreover, sindil is another form of vocal music. It is their local version of the balagtasan wherein a man and a woman exchange ideas for a certain topic. It is usually done in weddings. Here are the links of the songs to further deepen your understanding about the different types of vocal music, please visit the following YouTube links below for the audio and video samples of the specific type of the songs. 1. Kissa https://youtu.be/K_dm_-f7Vik 2. Langan Batabata https://youtu.be/X_W4A6i4Ti4 3. Sindil https://youtu.be/Lut7EZzOduE 4. Liangkit https://youtu.be/FkiM14YlGNU 5. Luguh https://youtu.be/Nr7FIY3ePgY Another forms of vocal music of Mindanao are the Diker or death song of Maranao and the Dekil or Maguindanaon mournful song. All of these songs regardless of its tribe of origin have some common characteristics: 1. Melismatic style of singing. Melisma means a group of notes sung in one syllable of the text. The following YouTube links will help you understand the melismatic style of singing. Listen to these two songs as you answer the two questions below. Write your answers on your activity notebook. Queen of Melisma. (https://youtu.be/6qTnKl5yUFw) Luguh (https://youtu.be/Nr7FIY3ePgY) 1.1. What are the commonalities of the two songs? 1.2. How does it differ from the Luzon and Visayas folk songs? 2. Use of tremolo (rapid reiteration of a single note). The tremolo produces a musical effect which resembles a shaky sound of notes. 3. Long and slow melodic phrase. Unlike the regular song which has a fixed meter or number of syllables for each line in stanza, these songs have indefinite length of lines which results from the singer’s improvisation of the tune of the song. 4. Strained or throaty voice. This style of singing is very common to ethnic groups wherein the singer uses his/her speaking voice to execute the song. 5. Free rhythm. Vocal music of Mindanao uses the free rhythm style. It means there are no fixed measures in the song. You cannot distinguish if the song you are hearing is done in duple, triple or quadruple. And because the singer has always the freedom to improvise the piece, one cannot predict the length of each line of the song. 10 CO_Q3_Music 7_ Module 1  What’s More Congratulations! You have just finished knowing important concepts about the lesson of this learning module. Do not forget that Mindanao Islamic vocal music has very distinct characteristics that you cannot find in any other ethnic group in the country. This time, try to extract the most valuable details among the concepts that you have learned about the Vocal Music of Muslim Filipinos. Below is a table that you need to complete and accomplish. So, together, let’s do it. Activity 1: Check the Music! Directions: Compare the Sulu vocal music from various ethnic groups in the Philippines through accomplishing the table below and find its distinct characteristics from other music samples. Put a check mark on the corresponding space where the musical element practices are observed. Please write your answers on your activity notebook. Make sure to copy the table. BONTOC PALAWAN (Ifugao - MINDORO (Cuyunon - SULU MUSICAL ELEMENT Hudhud) (Mangyan song) Kulial Ni Ligal) (Tausug - Lugu) PRACTICES https://youtu.b https://youtu.b https://youtu.b https://youtu.b e/H_INh21NMp e/bfN4qgWn_r0 e/QBNM8HtDzC e/Nr7FIY3ePgY U Y Long melodic phrases Melismatic style of singing Throaty Uses tremolo Uses vocal harmony Now, try to respond to the following questions below. Write your answers on your activity notebook. 1. What performance practices are observed in the ethnic group samples? Write them with their corresponding ethnic groups. 2. What performance practice is present only in Sulu ethnic group? How would you describe its performance? 11 CO_Q3_Music 7_ Module 1 Activity 2: Ethnic vs Folk Directions: Make an analysis of the vocal music of Mindanao and vocal music of the lowlands of Luzon and Visayas then, write your observations for each element based on the samples from the YouTube links provided. Copy and complete the table in your activity notebook. Luzon and Visayas samples: 1. Mabuhay singers Folk songs collection https://youtu.be/T_OQNpyNcgY 2. Ili-ili Tulog Anay https://youtu.be/reffH9YQzXk 3. Si Pilemon https://youtu.be/irydqcYOY5c 4. Rosas Pandan https://youtu.be/PU8gKA_LLsc Mindanao samples: 1. Kissa https://youtu.be/K_dm_-f7Vik 2. Langan Batabata https://youtu.be/X_W4A6i4Ti4 3. Sindil https://youtu.be/Lut7EZzOduE 4. Luguh https://youtu.be/Nr7FIY3ePgY LUZON AND VISAYAN MUSICAL ELEMENT MINDANAO SAMPLE SAMPLES Melody Tempo Dynamics Texture Harmony Meter Please answer the following questions on your activity notebook. 1. Based on the samples, which element is the most obvious among the songs of Mindanao? 2. How do these elements affect the overall sound of the song? 3. Are those elements also present in the songs from Luzon and Visayas? Why do you say so? 4. How do the cultural, historical, and geographical backgrounds affect the musical elements present in vocal music of Mindanao? Explain and cite examples. Cultural Background Historical Background Geographical Background 12 CO_Q3_Music 7_ Module 1  Good Job! It seems that you had a wonderful time answering the activities about the Vocal music of Mindanao. For sure, this had been really worth your while. Indeed, you have shown great performance in the previous sections of this learning module. What I Have Learned Now, for the record, treasure your experience through writing your most valuable insights and reflections about the lesson discussed. This section will determine how much you have learned from this learning module. Do your best and write with understanding. Write your reflection on your activity notebook. My Reflections ______________________________________________________ ______________________________________________________ ______________________________________________________ ______________________________________________________ ______________________________________________________ ______________________________________________________ ______________________________________________________ ______________________________________________________ ______________________________________________________ 13 CO_Q3_Music 7_ Module 1  What I Can Do You deserve a commendation for reaching the end of the module. You have just proved that no matter what the challenging activities are, you can still answer those with flying colors. Great job! Lastly, enrich your learning through accomplishing this activity. Activity 1: Sing Like, Sound Like Directions: Using the Tausug lullaby lyrics, create your own tune and apply the vocal elements of Islamic vocal music in your performance. Your teacher facilitator will set the schedule for your face to face or online performance for this activity. The rubrics below will guide you in the preparation of the song. Record a 1-minute performances using your cellphone or other media devices and submit it to your facilitator through messenger, e-mail or other media platforms. Criteria 4 3 2 1 Voice The song was The song was The song was The song was quality sung clearly clearly heard clearly heard not clearly and 3 to 5 but only 1 or but the heard and the elements were 2 elements elements were elements were use. were used. not used. not used. Creativity The tune was The tune was Other parts of The tune was original and the original but the melody not original manner of the manner were original and the singing was as of singing and some were manner of good as a was not good. not. singing was genuine not good. Tausug. Mastery The song was The lyrics The performer The lyrics and flawlessly were used a copy the tune were performed memorized for the lyrics not memorized (memorized but there but the tune (either sung lyrics and tune were evident was mastered. without and mistakes in There were mistakes but performance the execution mistakes in with a copy or elements were of the song. the without a copy properly performance. but mistakes executed.) were evident in the performance.) 14 CO_Q3_Music 7_ Module 1  Assessment Directions: Read the questions carefully and choose the letter of the best answer. Write your answers on your activity notebook. 1. Which of the following is NOT a characteristic of vocal music of Mindanao? A. throaty sound C. fixed rhythm B. melismatic singing D. uses tremolo 2. In Islamic music, the vocal aspect must overpower the instrumental. What does the given statement mean? A. Same volume for instrumental and vocal parts B. More emphasis on the vocal parts than the instrumental part. C. Musical accompaniment is required. D. A full band must sing the song. 3. Why is Mindanao music different from Luzon and Visayas folksongs? A. Because the Spaniards were not able to penetrate Mindanao during their era. B. Because Mindanao has a different set of instruments for their songs C. Because most recording companies are situated in Luzon and Visayas. D. Because their way of life is different. 4. Aside from rituals, which of the following is the other purpose of Islamic music? A. sports C. entertainment B. education D. birthdays 5. The Paggabang are songs accompanied by a gabbang and byula. These songs are also said to be less serious in nature. What Islamic music tradition speaks of these practice? A. The melismatic style of singing. B. The vocal aspect must overpower the instrument. C. The delicate patterns of melody and rhythm. D. Songs for rituals must be sung in acapella while those for entertainment requires a musical instrument. 6. Why is singing important to Islamic music? A. Because it is a form of expression of ideas. B. Because the singers can do their vocal exhibitions. C. Because it is like talking to Allah. D. Because they lack musical instruments. 15 CO_Q3_Music 7_ Module 1 7. Islamic vocal music requires improvisation. How must a singer apply this characteristic when singing their native songs? A. The singer must always sing the original tune. B. The singer must always rely on the musical piece. C. The singer’s voice must be versatile. D. The singer can also be a composer. 8. Which of the following characteristics is present in the vocal music of Islamic Mindanao? A. the use of tremolo in singing. B. the time signature. C. a fixed ending for songs. D. the observance of the instrumental accompaniment 9. What do you mean by Tausug? A. Moro people C. People of Mindanao B. Muslim people D. People of the current 10. The music of Mindanao has not changed for a very long time. What character traits does this show? A. The people of Mindanao are not open for changes. B. The people of Mindanao are only patronizing what is from them. C. The people of Mindanao value their culture and tradition. D. The people of Mindanao are not open-minded people. 11. What kind of song is the Pangantin? A. funeral C. baptism B. birthday D. wedding 12. Which of the following songs can be accompanied by a musical instrument? A. Lugu C. langkit B. pangantin D. baat 13. Which of the following songs is usually performed by women in Mindanao? A. Lugu C. baat B. langan batabata D. sindil 14. Which of the following terms is used for epic legends? A. Baat C. pangantin B. kissa D. sindil 15. Which of the following songs is characterized by high vocal tension, slow tempo long and sustained notes and melismatic and tremolo singing. A. Pangantin C. langkit B. kissa D. lugu 16 CO_Q3_Music 7_ Module 1  Additional Activities Below is the lyrics of the song Itadyak by Maan Chua. For your reference about the whole song please follow this link: https://youtu.be/ET2md07sGrA Your task is to make an interpretation of the song through drawing. Accomplish this activity on a sheet of bond paper. Itadyak - Maan Chua Mindanao, Mindanao Lumingon sa mga yapak ng tribo Mindanao, Mindanao Pakinggan mga pangaral nito Itadyak ang mga paa Awitin mga himig ng kalikasan Iwagayway ang mga kamay Sumabay sa indak ng kasaysayan Papuri sa kalangitan, araw, buwan Itadyak ang mga paa at kalikasan Iwagayway ang mga kamay Itadyak ang mga paa Papuri sa kalangitan, araw, buwan at Iwagayway ang mga kamay kalikasan Papuri sa kalangitan, araw, buwan Itadyak ang mga paa at kalikasan Iwagayway ang mga kamay Hanapin ang bukal ng buhay Papuri sa kalangitan, araw, buwan at Diligan ang lupang uhaw sa kalikasan kaalaman Iguhit sa mga ulap ng kaisipan Lumipad sa langit ng kamalayan Mga pahina't yugto ng nakaraan Tuklasin ang tunay na kalayaan Damhin ang dugo na dumadaloy sa Itadyak ang mga paa kaugatan Iwagayway ang mga kamay Tungo sa ilog ng lupang kinagisnan Papuri sa kalangitan, araw, buwan Itadyak ang mga paa at kalikasan Iwagayway ang mga kamay Itadyak ang mga paa Papuri sa kalangitan, araw, buwan at Iwagayway ang mga kamay kalikasan Papuri sa kalangitan, araw, buwan Itadyak ang mga paa at kalikasan Iwagayway ang mga kamay Mindanao, Mindanao, Mindanao Papuri sa kalangitan, araw, buwan at Mindanao, Mindanao, Mindanao kalikasan Itadyak ang mga paa Iwagayway ang mga kamay Papuri sa kalangitan, araw, buwan at kalikasan 17 CO_Q3_Music 7_ Module 1 CO_Q3_Music 7_ Module 1 18 What I Know/ Assessment 1. B 2. B 3. A 4. C 5. D 6. C 7. D 8. A 9. D 10. C 11. D 12. C 13. A 14. B 15. D Answer Key References Velasco, Faye. “Tausug Performing Arts.” Sulu Online Library, November 2, 2015. https://tausugbyfvelasco.wordpress.com/performing-arts/. “Mindano Music KOLINTANG TAGONGKO and KAPANIRONG.” seasite, n.d. Accessed May 29, 2020 http://www.seasite.niu.edu/Tagalog/Mindanao_Culture/mindanao_music.h tm. Llames, Elmer. “Music of MIndanao (Islam and Non-Islam).” Slideshare.net, February 15, 2015. Accessed May 29, 2020 https://www.slideshare.net/elmerllames/music-of-mindanao-islam-and- nonislamppt-1-k12. Ecla, Czarina Lynne S. “Tausug Culture.” Slideshare.net, January 12, 2012.Accessed May 30, 2020 https://www.slideshare.net/Shimi092811/tausug- culture?next_slideshow=1. Roger, Allen, and Amnon Shiloah. “Islamic Arts.” Encyclopedia Britanica, July 20, 1998.Accessed may 30, 2020 https://www.britannica.com/topic/Islamic- arts. Yusuf, Sami. “What Is Islamic Music.” The Muslim 500. Accessed May 29, 2020. https://www.themuslim500.com/guest-contributions-2016/what-is- islamic-music/. Asain, Calbi A. “Folk Literature of the Muslim Cultural Communities.” NCCA.gov.ph. GOV.PH.Accessed June 1, 2020. https://ncca.gov.ph/about- ncca-3/subcommissions/subcommission-on-cultural-communities-and- traditional-arts-sccta/central-cultural-communities/folk-literature-of-the- muslim-cultural-communities/. Rastrollo, R. “Darangen Epic of the Maranao People of Lake Lanao.” ich.unesco.org. UNESCO, 2008.Accessed June 1, 2020 https://ich.unesco.org/en/RL/darangen-epic-of-the-maranao-people-of- lake-lanao-00159. 19 CO_Q3_Music 7_ Module 1 For inquiries or feedback, please write or call: Department of Education - Bureau of Learning Resources (DepEd-BLR) Ground Floor, Bonifacio Bldg., DepEd Complex Meralco Avenue, Pasig City, Philippines 1600 Telefax: (632) 8634-1072; 8634-1054; 8631-4985 Email Address: [email protected] * [email protected]