Special Program in the Arts
Curriculum Guide
MUSIC
GRADE 8
1
SPA MUSIC CURRICULUM
CONCEPTUAL FRAMEWORK
Music occupies a very important role in Philippine society. Its function is well entrenched in the various occasions and festivals and in the day
to day activities of households. Music is used as a means to express and convey messages to members of the community. In the Philippine context,
there is no direct translation for the word music but there is a multitude of words relating to music which describe song forms, musical instruments,
and processes. This just means that music is more than just an abstraction as it is found in the everyday experiences of the people.
The SPA music curriculum focuses on four threads which at the end of the program will equip the learner as an engaged artist in the field of
music: 1. music as borne of the expression of the self as seen in the Filipino tales, epics, rituals, and festivals; 2. music as a community resource
rooted in the natural, tangible, and intangible heritage of the people; 3. music as an continuing expression of the people‘s history and; 4. music as a
contextualized reality from the local to global perspectives in the contemporary times.
Along with four threads, the curriculum will develop the learner‗s knowledge, appreciation, and skills in music using the seven building blocks
of music distributed across the curriculum (Philosophy of Music; Overview of Music; Music Elements and Concepts; Music Processes and Skills;
Musical Instruments; Music Genre and Styles; People of Music). The SPA program is a spiraling program, grounded on performance-based learning.
At the end of the program the learners will have gained the basic and intermediate skills in music which will prepare them for a career and/or higher
education in music and other art disciplines.
The philosophical foundations upon which standards and competencies are based on are aligned with the regular K-12 program for music
and the arts. These include among others, the following sources: A Process of Education by Jerome Bruner, Performance-Based Learning by
Cleve Miller, Aesthetic Education by Bennett Reimer, Praxial Music Education by David Elliott, Multiple Intelligences by Howard Gardner, A
Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced
by the National Research Council of the Philippines, Dictionary of Filipino Musical Terms produced by the UP Center for Ethnomusicology, Content
Standards from the National Standards for Arts Education by Music Educators National Conference (MENC), Integrating Music Throughout the
2
Curriculum by Claudia Cornett, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor
Lowenfeld and W. Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both
produced by the Cultural Center of the Philippines, and Malikhaing Guro by ARTISTS, Inc.
SPA MUSIC CURRICULUM
PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION
Source: K-10 Philosophy and Rationale for Music Education
Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a tapestry moving in
time. The global weavings of this tapestry in historical and cultural contexts are diverse—having spurred a continued metamorphosis to include a
full range of purposes, functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature
of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that
addresses the human spirit, and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a
continuing art. Aaron Copland describes this characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for
man‘s individual quest for self-expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds
needs to be developed. The student must learn to hear, speak, and think in the medium of music. Simultaneously, growth and development in
3
the skills that enable the application of the learner‘s knowledge should be encouraged, through active involvement in the various musical processes.
Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by
the SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thoughts about
contemporary general education. We envision that Music in the K-10 Program will effectively nurture and refine the learner‘s artistic expression and
cultural literacy, and celebrate his/her national heritage, while it instills, within every individual Filipino learner, pride in his/her own cultural identity.
SPA MUSIC CURRICULUM
GRADE 8
Course Description:
This is a course in SPA- Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles,
and skills of MUSIC relevant to creating seminal works on Community Realities and Life Sources for the AWARENESS and EXPLORATION
of creativity, sense of self and cultural identity, and social responsibility
MUSIC GRADE 8 :
FIRST QUARTER FIRST GRADING PERIOD
Community/Folk life and music, Introduction to Music II-A
4
CONTENT
CONTENT
STANDARDS
A. INTRODUCTION TO THE
NATURAL AND CULTURAL The learner…
HERITAGE OF A
COMMUNITY:
1. Cultural Heritage
2.The Different
Dimensions of Society:
Ecology, Governance,
Cultural, Social, Human,
Economic, and Spiritual
3. Assessing the Music
Resources of a
Community
 demonstrates
an
understanding
of cultural
heritage
PERFORMANCE
LEARNING
STANDARDS COMPETENCIES
The learner…
 Creates a
cultural map
depicting the
community
heritage
(tangible and
intangible).
 demonstrates
an
understanding
of the different
dimensions or
modalities of
society as
applied in a
 assesses the
community
and their
music
various
resources of
relationships
the
community
The learner…
1.describes
the
dimensions
of society
and applies
them on an
analysis of
his
community
POSSIBLE
ACTIVITIES
The
learner…
 draws and
explains
SPA_MC
the various H8-Ib-1
dimension
s of society
and its
reflections
in his /her
community

conducts
survey of the
music
resources of
the
community
4.Basic Social Mapping
5
B. INTRODUCTION TO MUSIC
1.Elements of Music :







Rhythm (Simple &
Compound Meter,
Syncopated ) 
Melody (Key 
Signatures, Scale
Degree names
Types and
Qualities of
Intervals),
Harmony (Chord
Functions, Tonic,
Dominant, Chord
Progressions), 
Tempo
(Grave, Lento,
Prestissimo,
Ritardando,
Accelerando,
Rubato), 
Dynamics(crescen
do, decrescendo,
diminuendo), 
Timbre
(Hornboestel- 
SPA_MC
H8-Ib-2
2.illustrates
social maps
with clarity,
analysis,
and interest
 demonstrates
an
understanding
of basic social
mapping
methods 


 demonstrates
an
understanding
of basic music
reading, basic
vocal
techniques,
instrument
playing
techniques,
and sight
reading skills 

Performs
sightreading,
singing and
playing 


 evaluates
music
applying the
basic musical
elements and
skills 



performs
music through
solo and with
accompaniment 
3. evaluates
music
applying the
basic
musical
elements
and skills
4.explains
how specific
elements of
music are
 draws
social
maps 







 reads and
analyzes
music 


 rehearses
pieces 


 applies
technique 
SPA_MI
M8-Ij-3
SPA_MI
M8-Iad-4
6
Sachs
Classification,
Voice –SATB,
Solo, Duet,
Trio,Quartet ),
 Form (Canon,
Fugue, Sonata
Allegro, Concerto, 
Symphony)
2. Importance
of Music
 as an
expression
of life; 

 as a tool for
communicat
ion; 
 as an 
expression
of personal
and cultural
identity;
 as an
expression
of history; 
 as a
repository
of values; 

 as
a
means for 
applied in
particular
pieces
in singing
or playing
instrument
s
7









promoting
personal
and social
growth 3.
Application of the
Elements of Music
through the chosen
specialization:
voice and
instrument-playing.
InstrumentPlaying/Singing
(Continuation
from Grade 7) 
Finger
positions/Posture 
Tone Production
& Resonance 
Embouchure (winds);
bowing/plucking
(strings); 
Articulation 
Sight Singing 
Basic Sight Reading 
Repertoire Study 
*NOTE
Teachers are free to
choose what elements
of music he/she thinks is
8
necessary to apply in the
course.
MUSIC GRADE 8 :
SECOND QUARTER
2nd Q: Ecology and natural resources, Introduction to Music II-B;
CONTENT
A. OUR LIFE SOURCES
1.Ecological Mapping:
Creative Presentation of Local
Natural Resources (marine,
terrestrial, aerial ecosystems
of a community)
CONTENT
STANDARDS
PERFORMANCE LEARNING
STANDARDS
COMPETENCIES
The learner…
The learner…
 demonstrates
an
understanding
of the natural
 Map an
inventory of
the natural
resources of
The learner…
1. identifies
the different
natural
resources of
POSSIBLE
ACTIVITIES
The
learner…
resear
ches on
ecosystems
SPA_ML
S8-IIa-b1
9
resources of
his/her
community and
its different
ecosystems
the
community ,
ecosystems
and give
their
significance.

2.Earth Music Fusion
illustrates
the varied
ecosystems
in his/her
community
through an
ecological
map or
visual
collage 
the
community
and their
significance.
 demonstrates
understanding
of the
relationship of 

SPA_ML
2.creates
ecological
maps of the
natural
resources
of his/her
community
3.creates
soundscapes
of human and
ecological
situations
based on
these maps
B. INTRODUCTION TO
MUSIC (Continuation)
1. Elements of
and their
significance


draws
or creates
visual
collages or
community
maps
illustrating
various
ecosystems 
 explores
various
soundsca
pes 
S8-IIa-b2
SPA_ML
S8-IIa-b3
create a
fusion of
earth music
through 
10
Music :
 Rhythm
(Simple &
Compound
Meter,
 Syncopated 
 )
 Melody 
(Key
Signatures,
Scale
Degree
names
Types and
Qualities of
Intervals),
 Harmony
Chord
Functions,
Tonic,
Dominant,
Chord
Progression
s), 
 Tempo 
(Grave,
Lento,
Prestissimo,
Ritardando,
Accelerand
music elements
to the earth
 demonstrates
the
basic
aural skills 







 demonstrates
understanding
of the various
methods and 
improvisatio
n
 performs
music with an
ecological
content 


 creates
simple
accompanim
ents to local
music 





 demonstrate
s skills in
music
reading and
ensemble
playing and
singing 


 stages
musical
performance
with an 
4. identifies
the elements
of music

applies
technique in
singing or
playing
instruments
SPA_MI
M8-IIa-d4

writes
an
experience
paper on
the quarter
activities
11






o, Rubato),
techniques of
singing and
Dynamics(c 
instrumentrescendo,
playing
decrescend
o,
diminuendo)   demonstrates
understanding
,
of melody,
Timbre
harmony,
(Hornboeste
balance, and
l-Sachs
blending
Classificatio
through
n, Voice –
ensemble
playing and
SATB, Solo,
group singing
Duet,
ecological
content
 performs
music
through solo
and with
accompani
ment
studies

new pieces
applying
music
theory and
sight
reading
skills
 rehear
ses small
group
ensembles
Trio,Quartet ), 

Form
(Canon,
Fugue,
Sonata
Allegro,
Concerto,
Symphony) 

2. Application of
the Elements of
Music through
the chosen
specialization:
voice and
instrument12
playing.
3. InstrumentPlaying/Singing
(Continuation
from Grade 7)
 Finger
positions/Posture 
 Tone Production
& Resonance 
 Embouchure
(winds);
bowing/plucking
(strings); 
 Articulation 

 Sight Singing 

 Basic Sight
Reading 
 Repertoire Study 

 Choral Harmony,
Balance &
Blending 
4.Rehearsals and
Performance of Pieces
with Ecological Content
MUSIC GRADE 8 :
THIRD QUARTER
13
3rd Q: Basic research, mapping of tangible and intangible musical cultures, Introduction
to Music II-C;
CONTENT
A. OUR CULTURAL
HERITAGE
 CULTURAL MAPPING of
Cultural Resources: Tangible
and Intangible Using Creative
Integrated Arts Approaches
CONTENT
STANDARDS
PERFORMANCE LEARNING
STANDARDS COMPETENCIES
The learner…
The learner…
The learner…
 demonstrates
an
understanding
of the cultural
resources of
his/her
community, its
different types,
and
significance

1.
Identifies and
Classifies the
tangible and

 demonstrates
an
Map an
inventory of
the tangible
and
intangible
cultural
resources
from their
community
and
establish its
significance.
.
illustrates
the heritage
icons in
his/her
intangible
cultural
resources in
his/her
community and
its significance.
2.creates
maps of the
cultural
resources of
communities
POSSIBLE
ACTIVITIES
The
learner…
SPA_MC
resear H8-IIIa-b
ches on
1
his/her
communit
y‘s
cultural
heritage
resources
and
establishe
s their
significan
ce
SPA_MC

draws H8-IIIa-2
or creates
visual
collages or
14
understanding
of local
heritage icons
and their
conditions
B. INTRODUCTION TO
MUSIC (Continuation)
1. Elements of Music :
Rhythm (Simple &

Compound Meter,
Syncopated , Ostinato,
Drone),

Melody (Key
Signatures, Scale
Degree names Types
and Qualities of
Intervals, Modes),

Harmony (Chord
Functions, Tonic,
Dominant, Chord
Progressions, Drone &
Melody),
community
through a
cultural map
or visual
collage
3.creates
scenes of
human and
socio-cultural
situations
based on
these maps
4. identifies
the music
features of a
short heritage
piece
community
maps
illustrating
various
tangible
and
intangible
cultural
resources

explor
es various
music
techniques
to portray
heritage
icons and
human
situations
SPA_MC
H8-IIIa-3
SPA_MC
H8-IIIa-4

perfor
ms music
with a
heritage
content
15

Tempo (Grave,
Lento, Prestissimo,
Ritardando,
Accelerando, Rubato), 

Dynamics(crescen 
do, decrescendo,
diminuendo),

Timbre
(Hornboestel-Sachs,
Bel Canto, Indigenous
Vocal Styles), 

Form ( Sonata 
Allegro, Concerto,
Symphony, Theme &
Variations, Cyclic form,
Indigenous Forms)
2.Application of the
Elements of Music
through the chosen
specialization: voice
and instrument-playing.
 demonstrates
an
understanding
of basic
elements of
performance
and music
interpretation 

 demonstrates
an
understanding
of features
related to
dynamics, tone
gradation,
articulation,
and tempo 

 demonstrates
understanding
of elements of
Instrumentmusic as
Playing/Singing
applied to
(Continuation)
indigenous
 Finger
forms 
positions/Posture 

 Tone Production

& Resonance 

 Embouchure 
 demonstrates 
 performs
basic musical
skills in voice
and/or
instrumentplaying 




 performs
music
pieces with
cultural
heritage
content 




 performs
music
through solo
and with
accompani
ment 



stages 
music 

writes 
an
experience
paper on
the quarter
activities 


rehear
ses small
group
ensembles 
16
(winds);
an
understanding
bowing/plucking
of cultural
(strings);
research
 Articulation 

 Sight Singing 

 Basic Sight
 demonstrates
Reading 
understanding
 Repertoire Study 

of the
 Choral Harmony,
performance of
Balance & 
music pieces
Blending
with cultural
3.TECHNIQUE CLASS (Voice
heritage
and Instrument): Performance
content drawn
of Local Music Pieces
from local
community
(Community Resources)
resources 
4.CULTURAL RESEARCH
Field Research Approaches
Creating Cultural Heritage
Maps and Selecting Icons for
Music Performance
performance
with a cultural
heritage
content
 PERFORMANCE of Pieces
with
CULTURAL
HERITAGE content 
*NOTE
Teachers are free to
choose what elements
of music he/she thinks is
17
necessary to apply in the
course.
MUSIC GRADE 8 :
FOURTH QUARTER
4th Quarter: Performance: instrument/voice/choir, Collaboration of the Different Art
Fields;
CONTENT
CONTENT
STANDARDS
PERFORMANCE
LEARNING
COMPETENCIES
POSSIBLE
ACTIVITIES
STANDARDS
A. MUSIC PERFORMANCE The learner…
ON LIFE SOURCES AND
CULTURAL HERITAGE
1.INTRO TO MUSIC:
 demonstrates
ANALYSIS. The
identification of features
an
played in a short heritage
understanding
piece. The features would
of program
relate to the ELEMENTS OF
planning,
rehearsal
MUSIC
preparation,
and staging
B. PROGRAM PLANNING
using the
Basics of Planning a
integrated arts
Music Performance
approach
The learner…

perform
fundamental
processes in
music with
creativity

The learner…
1.applies the
appropriate
musical
elements
needed in the
piece
The
learner…
SPA_MM
P8-IVa-1
performs
basic
18
Rehearsal Preparation
Staging the
Performance
C. REHEARSALS AND
PERFORMANCE: Plays
and/or Music
Performances pertaining
to Life Sources,
Heritage and Culture



demonstrates
an
understanding
of the staging
process
utilizing
elements of
production
values like
music, design,
and movement 
demonstrates
an
understanding
of rehearsal
and staging
methods
leading to runthroughs and
performances 
musical
skills for
voice
and
instrume
nts

performs
music pieces
with cultural
heritage
content
 performs
music
through solo
and with
accompani
ment
2.analyzes
the
importance of
a good music
programming,
rehearsal
preparation,
and staging
3.improvises
music based
on local
cultural
heritage










4.identifies
acceptable
rehearsal
methods
applicable to
good program
planning

plans
for a music
program 

condu
cts various
rehearsals
and runthroughs 

perfor
ms in front
of an
audience 

condu
cts a
feedback
session
with the
audience 


SPA_MP
P8-IVa-2
SPA_MM
P8-IVa-b3
SPA_MP
P8-IVab-4
performs
improvisa
tion of 
19

employs
acceptable
rehearsal
methods to
good program
planning
 applies
aspects of
the
integrated
arts
approach
in the
staging
music
performanc
es
local
musical
materials

evalua
tes the
production
process in
class 


writes
a journal of
experience
s of the
entire
Grade 8 
*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the
other art fields
GRADE 8: Community Realities and Life Sources
20
Schedule
MONDAY
3-4
TUESDAY
INTRO TO MUSIC II
PM
4-5
PM
INSTRUMENTAL
WEDNESDAY
INTRO TO MUSIC II
THURSDAY
VOCAL ENSEMBLE
FRIDAY
INTRO TO MUSIC II
ENSEMBLE
SOLO INSTR
SOLO INSTR
SOLO INSTR
Coverage of INTRO TO MUSIC II:
1st Q: Community/Folk life and music; Introduction to Music II-A
2nd Q: Ecology and natural resources; Introduction to Music II-B
3rd Q: Basic research, mapping of tangible and intangible musical cultures; Introduction to Music II-C
4th Q: Performance: instrument/voice/choir; Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b)
INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed;
c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by
Theodore Lynn
Community/Folk Music: Dictionary of Filipino Musical Terms (UPCE), Anthology of Philippine Folk Songs by Damiana Eugenio,
CCP Encyclopedia of Music, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis); Compendium of
Humanities by NRCP, Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda
Ecology: Soundscape by Murray Schafer, Earth Music by Arvin Villalon
Rondalla: Celso Espejo Rondalla Methods by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla
21
by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by
Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First
Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of
Concone, Marchesi, MacClosky, Foundations of Singing by Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino
(unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music
by Kristina Benitez, Tuklas Sining, CCP Encyclopedia, ―Mangalimog ako: Finding one‘s voice in Sugidanon (epic chanting)‖ by Christine
Muyco in Songs of Memory in Islands of Southeast Asia , Musika Jornal, Sonic Orders, Songs of the Babaylan (Grace Nono) Musics of
ASEAN , Compendium on the Humanities NRCP
nd
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2 edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series
by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano
Adventures, The Contemporary Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred
String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla
by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by
Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First
Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts
Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu,
www.upethnom.com
Prepared by:
As of June 25, 2014
College of Music, UP Diliman
Jocelyn T. Guadalupe,
Christine M. Muyco,
Jose S. Soliman, Jr.,
Leticia G. Del Valle,
Arvin Manuel R. Villalon