Republic of the Philippines
Department of Education
Regional Office IX, Zamboanga Peninsula
8
Zest for Progress
Z P
eal of
MUSIC
Quarter 2, Wk. 2 - Module 2
East Asian Music
Name of Learner:
Grade & Section:
Name of School:
___________________________
0
___________________________
___________________________
artnership
WHAT I NEED TO KNOW
East Asian Music consists of vocal and instrumental music of
countries such as Japan, China, and Korea.
In this module, you will encounter how East Asian Music
shows the culture of Japan, China, and Korea through the
musical elements namely: timbre, rhythm, melody, texture, and
form or style.
You will also learn the different cultural and musical
practices of Japan, China, and Korea as shown through their
feelings towards each other, to their environment, their history,
and culture.
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At the end of this module, you are expected to:
 Describe how the musical elements reflect East Asian
Culture.(MU8SE-IIa-g-1)
 Compare the musical instruments of East Asian
countries.
 Improvise and perform a simple musical accompaniment
to selected East Asian Music.(MU8SE-IIc-h-6)
What I Know
Directions: Below are the pictures of costumes, folk symbols, and
artworks. Identify the origin of these objects whether from Japan,
China or Korea.
1.__________________________
2. ___________________________
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3. ____________________________
4. ____________________________
5. _______________________________
WHAT’S IN
Activity 1- Recognize Me
Directions: Arrange the jumbled letters to identify the
following symbols.
1. terem:________________________
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2. thmrhy:______________________________________
3. harnymo:__________________________
4. lodyme:_______________________________________________
5. turetex:_______________________________________________
WHAT’S NEW
Directions: Based on the succeeding information about
East Asian countries, explain briefly about the importance of
music in the lives of the people of Japan, China, and Korea.
Japanese music as an art is focused on the combination of
vocal and instrumental sounds for beauty of form or emotional
expression.
Chinese music is so important because the best body of
individuals living together in a certain community was to be
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controlled by rites, ritual and ceremonial functions, but not by
law or unlimited power of law. In a culture where people function
according to ritual and ceremony, music is used to help manage
and regulate them.
Korean music is focused on court music, folk music,
poetic songs, and religious music used in shamanistic and
Buddhist traditions. Traditional Korean music is referred to as
gugak which literally means "national music."
Japan______________________________________________________
________________________________________________________________
______________________________________________.
China____________________________________________________
___________________________________________________________________________
____________________________________.
Korea_____________________________________________________________________
___________________________________________________________________
_____________________________.
WHAT IS IT
Directions: Based on the succeeding information about East Asian
countries, identify the characteristics of music of Japan, China, and
Korea.
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The Japanese music is usually slow, sad, and uses the low
notes. The musical instruments used are keyboard, piano, guitar
or any traditional Japanese instruments. They seldom use high
notes when playing their music.
The tonality of Chinese music is pentatonic which means a
scale of five notes or tones. The texture of Chinese music is often
monophonic, where only one instrument is playing, or
heterophonic (more than one instrument are playing). Timbre is
very basic in Chinese music.
Traditional Korean Music uses bright rhythms and melodies
and offers a more energetic and often changing difference to the
nation's collection of classical music works.
East
Asian
Countries
Characteristics of Music
Japan
China
Korea
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WHAT’S MORE
Odaiko- is a big drum
originating from Japan.
Shinobue- is a high-pitched
sound flute
originating from Japan.
Biwa- is a Japanese
short-necked fretted
lute similar to a
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Changgo- is an hourglassshaped drum from Korea.
Pengling- is a small bell
originating from China.
Hornbostel-Sachs
Classification
1. Membranophone
2.Chordophone
3.Aerophone
4.Idiophone
Definition
1. any musical instrument which
produces sound by way of a
vibrating stretched membrane such
as a drum.
2.
a musical instrument that
makes sound by way of a vibrating
string or strings stretched between
two points such as a guitar.
3. a musical instrument that
produces sound by causing a body
of air to vibrate, without the use of
strings or membranes such as a
trumpet.
4. any class of musical instruments
(such as a bell or gong) whose
sound is generated by striking,
rubbing, plucking, or blowing.
Task 1: Compare and Classify.
Directions: Based on the information on the previous page,
identify the name and the country of origin of the musical
instruments below. Then, tell whether they are membranophone,
chordophone, aerophone, or idiophone.
Name of the
Country of origin
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Classification
Musical
Instruments
1.
1.
2.
2.
3.
3.
4.
4.
5.
5.
1.
2.
3.
4.
5.
Task 2: Let’s Appreciate!
Directions: In one or two sentences, describe the use/s and/or
function/s of the musical notes.
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WHAT I HAVE LEARNED
Directions: Write at least 3-5 sentences about the things you
have learned from the lesson.
I have learned
that______________________________
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__________________________________
__________________________________
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WHAT CAN I DO
Directions: In this activity, you will sing any of the songs of East
Asian countries such as Sakura of Japan, Mo Li Hua of China, or
Arirang of Korea. Then, you can use any musical instrument as
your accompaniment like the sound of any musical instruments
of Japan, China, and Korea which are available in your place,
town, or barangay. This activity will develop your musical
awareness and appreciation of East Asian Music. Follow the
rubric below.
Note: Due to the pandemic that we are now experiencing, you will
create a music video performance as mentioned above using any
device such as cell phone. Then, send it to my fb or personal
messenger account.
Suggested musical instruments to be used in your activity:
(You may choose & use one or more musical instruments.)
1. Guitar for playing biwa, shamisen, or pipa
2. Water container or gallon for playing drums like taiko
3. Any metal for playing bells
4. Bamboo for playing flutes like shinobue, or piri
5. anything around you that would sound the same with the
sound of any
East Asian musical instruments
Rubric for Music Performance
Category
5
4
3
11
2
1
Voice
Very
powerful
and
strong
Powerful
and
strong
Partially
powerful
and
strong
Could
hardly be
heard
No sound at
all
Accompanimen
t
Very
Clear and
beautiful
All
directions
were
followed.
Clear
and
beautiful
Most
directions
were
followed.
Partially
clear and
beautiful
Some
directions
were
followed.
Could
hardly be
heard
Very few
directions
were
followed.
No
accompanime
nt at all
Never followed
directions at
all
Submitte
d on time
Submitte
d a day
after the
deadline
Submitte
d 2 days
after the
deadline
Submitte
d 3 days
after the
deadline
Submitted 4
days
after the
deadline
Following
directions
Punctuality
ASSESSMENT
Directions: Read carefully the following statements below. Encircle the letter
only of the correct answer.
1. It is an important aspect of Japanese music.
a. used for rituals
b. used music in religious activities
c. used music to control people
d. concerned with combining vocal or instrumental sounds for beauty of
form or emotional expression
2. It is an important aspect of Chinese music.
a. concerned with court music, folk music, poetic songs
b. used music in shamanistic and Buddhist traditions
c. used music to help conduct and govern themselves
d. concerned with economy
3. It is an important aspect of Korean music.
a. used for aesthetics
b. used music in shamanistic and Buddhist traditions
c. used music to help augment business
d. concerned with territorial disputes
4. It is a characteristic of Japanese music.
a. octave
b. usually slow, sad, and uses the low notes
c. heptatonic
d. augmented
5. It is a characteristic of Chinese music.
a. chromatic
b. diminished
c. octatonic
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d. pentatonic
6. It is a characteristic of Korean music.
a. bright rhythms and melodies
b. harmonic
c. reggae
d. rock
7.It is a big drum from Japan.
a. Changgo
b.Pengling
c.Shinobue
d.Odaiko
8. It is a high-pitched sound flute originating from Japan.
a. Changgo
b. Pengling
c. Shinobue
d. Odaiko
9.It is a small bell originating from China.
a. Changgo
b. Pengling
c. Shinobue
d. Odaiko
10. It is an hourglass-shaped drum from Korea.
a. Changgo
b. Pengling
c. Shinobue
d. Odaiko
Additional Activity
Directions: Put the sound in writing the music of East Asia that
you have recorded for the music video performance as if you are creating a
musical notation. This could serve as a memory aid for you. You can do the
notation in notes, words, or symbols. Below is an example of what the
notation might look like with combination of instruments and voice.
Musical Notation
Guitar
Water container
Boom/ti/ti/ti/ Boom/ti/ti/ti/ Boom/ti/ti/ti
metal
Tong -tong- tong-tong
Bamboo or voice
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Write your answer in the box below.
Musical Notation
Guitar
Water
container
metal
Bamboo
or voice
ANSWER KEY:
What I Know
1. Japan 2. China
3. Korea 4. Korea 5. China
What’s In
1.meter
2. rhythm
3. harmony
4. melody
What’s New (Answers will vary.)
What is it
Japan- usually slow, sad, and uses the low notes
China- pentatonic
Korea- bright rhythms and melodies
What’s MoreTask 1:
1. Odaiko-Japan-membranophone
5. texture
2. Shinobue-Japan-aerophone
3. Biwa-Japan-chordophone
4. Pengling-China-idiophone
5. Changgo-Korea-membranophone
Task 2- Let’s Appreciate! Answer: A note indicates sound, represents pitch
and duration of a sound
What I Have Learned (Answers will vary.)
What Can I Do- video performance
Assessment
1. d
2. c
3. b
4. b
5. d
6. a
7. d
8. c
9. b
10. a
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Region IX: Zamboanga Peninsula Hymn – Our Eden Land
Here the trees and flowers bloom
Here the breezes gently Blow,
Here the birds sing Merrily,
The liberty forever Stays,
Gallant men And Ladies fair
Linger with love and care
Golden beams of sunrise and sunset
Are visions you’ll never forget
Oh! That’s Region IX
Here
Here
Here
With
Hardworking people Abound,
Every valleys and Dale
Zamboangueños, Tagalogs, Bicolanos,
the
the
the
the
Badjaos roam the seas
Samals live in peace
Tausogs thrive so free
Yakans in unity
Cebuanos, Ilocanos, Subanons, Boholanos, Ilongos,
All of them are proud and true
Region IX our Eden Land
Region IX
Our..
Eden...
Land...
My Final Farewell
Farewell, dear Fatherland, clime of the sun caress'd
Pearl of the Orient seas, our Eden lost!,
Gladly now I go to give thee this faded life's best,
And were it brighter, fresher, or more blest
Still would I give it thee, nor count the cost.
Let the sun draw the vapors up to the sky,
And heavenward in purity bear my tardy protest
Let some kind soul o 'er my untimely fate sigh,
And in the still evening a prayer be lifted on high
From thee, 0 my country, that in God I may rest.
On the field of battle, 'mid the frenzy of fight,
Others have given their lives, without doubt or heed;
The place matters not-cypress or laurel or lily white,
Scaffold or open plain, combat or martyrdom's plight,
T is ever the same, to serve our home and country's need.
Pray for all those that hapless have died,
For all who have suffered the unmeasur'd pain;
For our mothers that bitterly their woes have cried,
For widows and orphans, for captives by torture tried
And then for thyself that redemption thou mayst gain
I die just when I see the dawn break,
Through the gloom of night, to herald the day;
And if color is lacking my blood thou shalt take,
Pour'd out at need for thy dear sake
To dye with its crimson the waking ray.
And whe n the dark ni gh t wraps the grave yard around
With only the de ad in the ir vi gil to se e
Bre ak not my re pose or th e myste ry profound
And pe rchance thou mays t he ar a sad hym n re sound
'T is I, O my country, rais ing a song un to the e .
My dreams, when life first opened to me,
My dreams, when the hopes of youth beat high,
Were to see thy lov'd face, O gem of the Orient sea
From gloom and grief, from care and sorrow free;
No blush on thy brow, no tear in thine eye.
And e ve n my grave is re me mbe red no more
Unmark'd by ne ve r a cros s nor a s tone
Le t the plow swe e p through i t, the spade turn it o'e r
That my ashe s may carpe t e arthly floor,
Be fore into nothing ne ss at last the y are blown.
Dream of my life, my living and burning desire,
All hail ! cries the soul that is now to take flight;
All hail ! And sweet it is for thee to expire ;
To die for thy sake, that thou mayst aspire;
And sleep in thy bosom eternity's long night.
The n wil l oblivion b ring to me no care
As ove r thy vale s and plai ns I swe e p;
Throbbing and cle anse d in thy space and air
With color a nd lig ht, wi th song and lame nt I fa re ,
Eve r re pe ating the fai th that I kee p.
If over my grave some day thou seest grow,
In the grassy sod, a humble flower,
Draw it to thy lips and kiss my soul so,
While I may feel on my brow in the cold tomb below
The touch of thy tenderness, thy breath's warm power.
My Fathe rland ador'd, tha t sadne ss to my sorrow le nds
Be love d Filipinas, he ar n ow my last good -by!
I give the e all: pare nts an d kindre d and frie nds
For I go whe re no slave before the oppre ssor be nds,
Whe re faith can ne ve r kill , and God re igns e 'e r on h igh!
Let the moon beam over me soft and serene,
Let the dawn shed over me its radiant flashes,
Let the wind with sad lament over me keen ;
And if on my cross a bird should be seen,
Let it trill there its hymn of peace to my ashes.
Fare we ll to you all, from my soul torn awa y,
Frie nds of my childhood i n the home disposse sse d!
Give thanks tha t I re st fro m the we arisome day!
Fare we ll to thee , too, swee t frie nd that ligh te ne d my way;
Be love d cre ature s all, fare we ll! In de ath the re is re st!
I Am a Filipino, by Carlos P. Romulo
I am a Filipino–inheritor of a glorious past, hostage to the uncertain
future. As such I must prove equal to a two-fold task–the task of
meeting my responsibility to the past, and the task of performing
my obligation to the future.
I sprung from a hardy race, child many generations removed of
ancient Malayan pioneers. Across the centuries the memory comes
rushing back to me: of brown-skinned men putting out to sea in
ships that were as frail as their hearts were stout. Over the sea I see
them come, borne upon the billowing wave and the whistling wind,
carried upon the mighty swell of hope–hope in the free abundance
of new land that was to be their home and their children’s forever.
I am a Filipino. In my blood runs the immortal seed of heroes–seed
that flowered down the centuries in deeds of courage and defiance.
In my veins yet pulses the same hot blood that sent Lapulapu to
battle against the first invader of this land, that nerved Lakandula
in the combat against the alien foe, that drove Diego Silang and
Dagohoy into rebellion against the foreign oppressor.
The seed I bear within me is an immortal seed. It is the mark of my
manhood, the symbol of dignity as a human being. Like the seeds
that were once buried in the tomb of Tutankhamen many thousand
years ago, it shall grow and flower and bear fruit again. It is the
insignia of my race, and my generation is but a stage in the
unending search of my people for freedom and happiness.
I am a Filipino, child of the marriage of the East and the West. The
East, with its languor and mysticism, its passivity and endurance,
was my mother, and my sire was the West that came thundering
across the seas with the Cross and Sword and the Machine. I am of
the East, an eager participant in its spirit, and in its struggles for
liberation from the imperialist yoke. But I also know that the East
must awake from its centuried sleep, shake off the lethargy that has
bound his limbs, and start moving where destiny awaits.
I am a Filipino, and this is my inheritance. What pledge shall I give
that I may prove worthy of my inheritance? I shall give the pledge
that has come ringing down the corridors of the centuries, and it
shall be compounded of the joyous cries of my Malayan forebears
when first they saw the contours of this land loom before their eyes,
of the battle cries that have resounded in every field of combat from
Mactan to Tirad Pass, of the voices of my people when they sing:
“I am a Filipino born to freedom, and I shall not rest until freedom
shall have been added unto my inheritance—for myself and my
children and my children’s children—forever.”
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