2010 Secondary Education Curriculum
Music I
MUSIC I
General Standard: The learner demonstrates understanding of basic concepts and
principles of folk songs and arts of the Philippines and the world, through active
participation in artistic and cultural performances for the promotion of cultural identity,
expansion of one’s world vision and for self development.
2010 Secondary Education Curriculum
Music I
Quarter 1 : Philippine Folk Songs
Topic: Philippine Folk Songs
Content Standard:
The learner demonstrates understanding of musical concepts
used in Philippine folk songs as influenced by history and
culture.
Time Frame: 8 hours/sessions
Stage 1
Performance Standard:
The learner performs examples of Philippine folk songs alone and with others
in clear tone and correct pitch, rhythm, expression and style.
(Singing/Playing/Improvising)
Essential Understanding(s):
The varied ways in which the musical elements are combined gives
a unique style to a specific folk song.
Essential Question(s):
How is culture reflected in our folk songs?
Why do Philippine folk songs vary in style?
Philippine folk songs communicate fundamental ideas about human
experience and help us understand people’s ideas, emotions and
beliefs.
Do you think our folk songs are still relevant today? Why?
Learners will know:
Learners will be able to:

Different functions of folksongs in the Philippines
1.
2.
3.
4.
5.
6.

Ballads / Narrative Songs
Lullabies
Love and Courtship Songs
Friendship and Conviviality
Work Songs
Ritual Songs

sing/play/improvise using the folk songs of the Philippines

listen/describe/compare the folk songs from the Philippines

evaluate the quality of their own and others’ performances and
improvisations of Philippine folk songs using developed criteria

compare in two or more arts/disciplines outside the arts how the
characteristic materials of each can be used to transform similar events,
scenes, emotions or ideas into works of art

describe distinguishing characteristics of representative Philippine folk
songs from the different regions in relation to history and culture
How the musical elements are employed in folk songs
1.
2.
3.
4.
5.
Timbre / Tone Color
Rhythm
Melody
Harmony and Texture
Form
2010 Secondary Education Curriculum
Music I

Foreign influences as seen in Philippine folksongs
Spanish colonization that is shown through the
use of the head voice (light voice that represents
heaven), major and minor tonality (representing a start
and an end in man’s life), homophonic texture
(representing the dynamics of soloist-accompanist in
performance) as shown in the songs from the Ilocano,
Kapampangan, Tagalog in Luzon, Cebuano, Hiligaynon
in Visayas and Chavacano in Mindanao.
Chinese influences that has shown through the
use of the pentatonic scale (representing a non-ending
cycle of life as shown in the Bontoc Salidummay from
Northern Luzon.
Hindu Arabic influences as shown in the music of
Muslim Mindanao through the use of the Koran text in
Dayo, Dayo Kupita (Maranao), chesty, melismatic singing
resulting from chant by groups such as the Maranao,
Maguindanao and Bukidnon of Mindanao.
2010 Secondary Education Curriculum
Music I
Product or Performance Task:
Group Performance of Philippine Folk
Songs


Singing
Playing and Improvising
Accompaniment
Product:
Created Accompaniment
(Standard/Graphic Notation)
Stage 2
Evidence at the level of understanding
Explanation
Explain how the different elements of music are used to
convey the message of a specific folk song
Criteria
 Accurate description of the different elements
 Appropriate use of terminology
Interpretation
Illustrate through movements how the different elements
of music are used in a selected folk song to
communicate ideas and experiences
Criteria
 Clear illustration of movements showing
characteristic musical elements
 Meaningful illustration of movements
 Appropriate expression and technical accuracy
Application
Create an accompaniment to a selected Philippine folk
song using standard or graphic notation applying
understanding of musical concepts
Criteria
 Appropriate accompaniment to the song
 Correct rhythm/chordal accompaniment
Evidence at the level of performance
Evaluation of a Performance of Philippine folk
songs based on the following criteria:
Clear tone quality
Correct expression and style
Accurate pitch
Accurate rhythm
Evaluation of Created Accompaniment based on
the following criteria:
Easy to Follow Standard/Graphic Notation
Appropriate use of symbols
Appropriate rhythm/chord
2010 Secondary Education Curriculum
Music I
Stage 3
Teaching/Learning Sequence:
1. Explore
In this phase, engage the learners in viewing examples of Philippine indigenous arts and listening to folk songs. Assess their background
knowledge on the topic.
Example:
 *Have the learners look at the picture of the sarimanok and the ideas that it reminds them of. Connect this to the story of the mythical bird
and how art and music reflect ideas and experiences that humans want to represent.
 *Have the learners look at the P1,000 peso bill and find the manunggul jar. Ask them what they think when they see it. Relate this to the
Igorot burial jar as the symbol for the journey of the spirit to the spirit world.
 Have the learners listen to a recording of a love folk song from the Philippines and draw out their feelings and ideas based from their initial
hearing. Ask the students to imagine how they could express their admiration towards another person through a song. Ask them of how
music can express ideas such as love, work, friendship, belief in God.
 Tell the learners to be guided by the following essential questions:
How is culture reflected in our folk songs? Why do Philippine folk songs vary in style? Do you think our folk songs are still relevant
today? Why?
 Explain to the learners that to be able to nurture cultural identity, they will learn the different functions of Philippine folksongs, the different
styles and their relevance to the lives of the Filipino then and now. Have the students understand that they will listen and compare, perform and
improvise, evaluate their group performance of Philippine folk songs.
Ask the learners what is the story behind every song as they listen to a recording of the songs from the Philippines. Have them draw out
their feelings and ideas based from their initial hearing.
2010 Secondary Education Curriculum
Music I
2. Firm Up
In this phase, the learners will be engaged in analyzing examples of folk songs based on how the different elements of music were used.

Tell the learners how the story behind the song is translated into music using the musical elements. Review the terms for musical elements
under timbre, rhythm, melody, harmony/texture and form in the listening guide using descriptive words and listening examples.
Title of the Song:

Timbre: head voice/falsetto (light), chest/speaking voice
(throaty), guttural voice (raspy/growl)
Rhythm: fast (4 beats/second), moderate (2 beats/second) or
slow tempo (1 beat/second)
Meter: Regular Meter in 2 (1-2), in 3 (1-2-3), in 4 (1-2-3-4),
Irregular Meter
Melody: Narrow Range (1-3 tones), Moderate (5 tones), Wide
(8 tones and above)
Harmony: Major Tonality (do-re-mi-fa-so-la-ti-do), Minor
Tonality (la-ti-do-re-mi-fa-so-la), Pentatonic (do-re-mi-so-la),
Modal (combination of different tonal patterns)
Texture: Monophony (melody alone), Homophony (melody
with instrumental accompaniment), Polyphony (two or more
different melodies sung at the same time), Heterophony (similar
melodies sung at the same time)
Form: Syllabic phrasing (one tone per syllable), Melismatic
phrasing (many tones per syllable)
Have the learners listen to a recording of the songs from the Philippines once more and describe each song using the listening guide.
2010 Secondary Education Curriculum
Music I

Song Title
Pamulinawen
MUSICAL CROSSWORD: Give the background information for each song and have the students compare and contrast the different types
of Philippine folksongs by filling up the table in the listening guide. After filling up the table, have the students discuss in class how the
elements of music were used to convey popular feelings, events, and stories as based on the background information on the song and how
the students felt while listening.
Type of Song according to Function
Encircle the number of your choice.
1.
2.
3.
4.
5.
6.
Ballads / Narrative Songs
Lullabyes
Love and Courtship Songs
Friendship and Conviviality
Work Songs
Ritual Songs
Description in terms of Musical Elements
Encircle the answer of your choice.
Timbre: head voice/falsetto (light),
chest/speaking voice (throaty), guttural
voice (raspy/growl)
Rhythm: fast (4 beats/second), moderate
(2 beats/second) or slow tempo (1
beat/second)
Meter: Regular Meter in 2 (1-2), in 3 (1-23), in 4 (1-2-3-4), Irregular Meter
Melody: Narrow Range (1-3 tones),
Moderate (5 tones), Wide (8 tones and
above)
Harmony: Major Tonality (do-re-mi-fa-sola-ti-do), Minor Tonality (la-ti-do-re-mi-faso-la), Pentatonic (do-re-mi-so-la), Modal
(combination of different tonal patterns)
Texture: Monophony (melody alone),
Homophony (melody with instrumental
accompaniment), Polyphony (two or
more different melodies sung at the same
time), Heterophony (similar melodies
sung at the same time)
Form: Syllabic phrasing (one tone per
syllable), Melismatic phrasing (many
tones per syllable)
2010 Secondary Education Curriculum
Music I
ANSWER KEY
Song Title
Pamulinawen (Ilocano)
Type of Song according to Function
Love or Courtship Song
Atin Cu Pung Singsing (Kapampangan)
Ballad or Narrative Song (SongStory)
Salidummay (Western Bontoc)
Friendship Song
Doon Po Sa Amin (Tagalog)
Song of Conviviality / Humorous
Song
Si Nanay, Si Tatay Di Co Babayaan
(Bicolano)
Condansoy (Visayan)
Love (Parental) Song
Lawiswis Kawayan (Waray)
Song of Conviviality
Ili Ili Tulog Anay
Lullaby
Ka Sadya ning Taknaha (Cebuano)
Ritual Song / Religious Festival
Song
Dayo Dayo Kupita (Maranao)
Song of Friendship
Kaisa-isa Niyan (Maguindanao)
Song of Conviviality
Pamuwa sa Bata (Bukidnon)
Lullaby
No Te Vayas (Chavacano)
Love or Courtship Song
Drinking song / Song of Conviviality
Description in terms of Musical Elements
Head voice, Moderate tempo, Meter in 2, Major
tonality, Moderate Range, Homophonic Texture,
Syllabic Phrasing
Head voice, Moderate tempo, Meter in 3, Major
tonality, Moderate Range, Homophonic Texture,
Syllabic Phrasing
Chest voice, Moderate tempo, Meter in 2, Pentatonic
tonality, Moderate Range, Monophonic Texture,
Syllabic Phrasing
Head voice, Moderate tempo, Meter in 3, Major
tonality, Wide range, Homophonic Texture, Syllabic
Phrasing
Head voice, Slow tempo, Meter in 3, Minor tonality,
Wide range, Homophonic Texture, Syllabic Phrasing
Head voice, Fast tempo, Meter in 3, Major tonality,
Wide range, Homophonic Texture, Syllabic Phrasing
Head voice, Moderate tempo, Meter in 3, Minor
tonality, Wide range, Homophonic Texture, Syllabic
Phrasing
Head voice, Slow tempo, Meter in 3, Minor Tonality,
Wide range, Homophonic Texture, Syllabic Phrasing
Head voice, Fast tempo, Meter in 2, Minor-MajorMinor tonality, Wide range, Homophonic Texture,
Syllabic Phrasing
Chest voice, Fast tempo, Meter in 4, Pentatonic
Tonality, Moderate range, Monophonic Texture,
Melismatic Phrasing
Chest voice, Fast tempo, Meter in 4, Pentatonic
Tonality, Narrow range, Monophonic Texture, Syllabic
Phrasing
Chest voice, Slow tempo, Irregular Meter, Pentatonic
Tonality, Moderate range, Monophonic Texture,
Melismatic Phrasing
Moderate tempo, Meter in 2, Major Tonality, Wide
range, Homophonic Texture, Syllabic Phrasing
2010 Secondary Education Curriculum
Music I

Discuss the types of folksongs according to functions. As the teacher discusses each type of folksong, the students listen to a recorded
example.
TYPES OF FOLKSONGS BASED ON FUNCTIONS:
Ballad: narrative song or songs that tell a story (example: Atin Cu Pung Singsing)
Lullabye: songs for rocking the baby to sleep (example: Ili-Ili Tulog Anay, Pamuwa sa Bata)
Songs of Friendship and Conviviality: drinking songs, humorous songs, welcoming songs (example: Salidummay, Doon Po Sa Amin,
Condansoy)
Love and Courtship Songs: love songs (parental and romantic love), courtship songs (example: Si Nanay,Si Tatay di co Babayaan,
Pamulinawen, No Te Vayas)
Ritual or Religious Songs: used for worship or marking rites or ceremonies (example: Ka Sadya ning Taknaha)
3. Deepen

MUSICAL COLLABORATION: Have the students imagine themselves to be in one of the situations presented in the folksongs: being happy
in love with someone/one’s family, putting a baby to sleep, being happy with friends, being part of a religious celebration, story telling using
a song. Group the students into five groups. Assign 1 folksong for each group. Select a conductor and choreographer to study the music
and the movement for each song. Have the students interpret the Philippine folk songs through singing, playing and improvising
accompaniment on instruments (guitar or improvised instruments).

REFLECTION: Have the students process their performance by self-evaluation and assessment using the rubrics:




Assessment Criteria for Performance:
Clear tone quality
Correct expression and style
Accurate pitch
Accurate rhythm



Evaluation of Created Accompaniment based on the following criteria:
Easy to Follow Standard/Graphic Notation
Appropriate use of symbols
Appropriate rhythm/chord
2010 Secondary Education Curriculum
Music I
 SYNTHESIS: Have the students realize through questioning technique that though there are songs that have the same functions, their
sounds vary due to foreign influences that affect the way the musical elements are used in folksongs such as:
Spanish colonization that is shown through the use of the head voice (light voice that represents heaven), major and minor
tonality (representing a start and an end in man’s life), homophonic texture (representing the dynamics of soloist-accompanist in
performance) as shown in the songs from the Ilocano, Kapampangan, Tagalog in Luzon, Cebuano, Hiligaynon in Visayas and
Chavacano in Mindanao.
Chinese influences that has shown through the use of the pentatonic scale (representing a non-ending cycle of life as shown
in the Bontoc Salidummay from Northern Luzon.
Hindu Arabic influences as shown in the music of Muslim Mindanao through the use of the Koran text in Dayo, Dayo Kupita
(Maranao), chesty, melismatic singing resulting from chant by groups such as the Maranao, Maguindanao and Bukidnon of Mindanao.

SUMMARY: Have the students realize the essential understanding that:
The varied ways in which the musical elements are combined give a unique style to a specific folk song.
Philippine folk songs communicate fundamental ideas about human experience and help us understand people’s ideas,
emotions and beliefs.
4. Transfer
 MUSICAL CONNECTIONS: Have the students listen to a modern recording of any of the folk songs discussed in class such as Grace Nono’s
rendition of Salidummay or the Philippine Madrigal Singers’ arrangement of Kaisa-isa Niyan or Dayo Dayo Kupita. Ask the students to imagine
being a native speaker of the particular folksong and how they feel when they hear their own folk songs being interpreted by others.
Criteria

Open

Perceptive

Responsive

Sensitive

Tactful
 SELF-KNOWLEDGE: Have them write reaction on fusion of Western elements to Philippine folk songs in their journal log.
Criteria

Insightful

Reflective

Self-adjusting
2010 Secondary Education Curriculum
Music I
Resources (Web sites, Software, etc.)
Borromeo, Mauricia (1997) “Philippine Folk Songs.” In Anthology of Philippine Folk Literature. Dela Salle University Press.
Damiana Eugenio (1997). Anthology of Philippine Folk Literature: The Folk Songs. Dela Salle University Press.
Damiana Eugenio (2007). “Folk Songs.” Philippine Folk Literature. University of the Philippines Press.
Jose Maceda (1998). Gongs and Bamboo. University of the Philippines Press.
www.youtube.com search terms: Philippine Madrigal Singers Dayo Dayo Kupita and Kaisa-isa Niyan, Grace Nono Salidummay
Materials/Equipment Needed:
Recordings and Musical Scores of the songs: Pamulinawen, Atin Cu Pung Singsing, Doon Po Sa Amin, Si Nanay, Si Tatay Di Co Babayaan, Condansoy,
Lawiswis Kawayan, Ili- Ili Tulog Anay, Ka Sadya ning Taknaha, Dayo Dayo Kupita, Kaisa-isa Niyan, Pamuwa sa Bata, No Te Vayas
Audio Player, pictures of the sarimanok or scanned P1000 bill, guitar, improvised instruments, advanced organizers for musical crossword