SPA MUSIC CG 2014-Writeshop 2

MUSIC
FOR SPECIAL PROGRAM IN THE ARTS (SPA)

CURRICULUM GUIDE
Draft prepared by:
Jocelyn T. Guadalupe,
Christine M. Muyco,
Jose S. Soliman, Jr.,
Leticia G. Del Valle,
Arvin Manuel R. Villalon
As of June 25, 2014

College of Music, UP Diliman
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 peoples 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 learners 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.

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 diversehaving 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 mans 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
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the skills that enable the application of the learners 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 learners 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.
PROMOTES A FILIPINO PERSPECTIVE IN

THE *UNDERSTANDING AND
MUSIC
ELEMENTS
AND
CONCEPTS
*READING AND WRITING

MUSIC
*LISTENING TO,
ANALYZING, AND
DESCRIBING MUSIC
Culture
& History
*UNDERSTANDS MUSIC
AND ITS RELATIONSHIP
TO OTHER ARTS
DISCIPLINES
MUSIC
CONTEXT
Local & Global

Community
RELATIONA
L
MENTALEMOTIONAL
Spirit
Self
VALUES
*UNDERSTANDS MUSIC
IN RELATION TO
HISTORY AND CULTURE
SENSORYAESTHETI
Lifecycle
C
*IMPROVISING
MELODIES, VARIATIONS
AND ACCOMPANIMENTS
*CREATING AND
ARRANGING MUSIC
USING NATURAL AND
ELECTRONIC MATERIALS
WITHIN SPECIFIC
MUSICGUIDELINES
PROCESSES
AND
SKILLS
*EVALUATING MUSIC
AND MUSIC
PERFORMANCES
Land
MUSIC
EXPRESSION
AND
PERFORMANCE
*SINGING AND/OR
PLAYING INSTRUMENTS,
ON SOLO or GROUP
PERFORMANCE on
VARIED REPERTOIRE OF
MUSIC
GRADE 12 ADVANCED
- MUSIC
SPECIALIZATION II
COMPETENCE
GRADE 11 COMPETENCE
- MUSIC
SPECIALIZATION I
GRADE 10 PROFICIENCY
WESTERN,
and CONTEMPORARY
PERSPECTIVES
GRADE 9 MUSIC SKILLS DEVT II:
- MUSIC IN ASIAN,
GLOBAL
-PHILIPPINE
MUSIC: INDIGENOUS,
EXPLORATION
TRADITIONAL, WESTERN
MUSICAL COMPARATIVE HISTORICAL
HISTORICAL
GRADE 8 MUSIC SKILLS DEVT I:
COMMUNITY: LIFE SOURCES

AWARENESS & EXPLORATION
CULTURAL HERITAGE
GRADE 7 ELEMENTS OF MUSIC
&
-BASIC
ELEMENTS AND
MUSIC APPRECIATION &
PRINCIPLE OF ALL THE ARTS
BASIC MUSIC SKILLS
& THE GROUP
-SELF
FIGURE 2. THE CONTENT OF SPA MUSIC CURRICULUM PER GRADE LEVEL

*BUILDING BLOCK I:
PHILOSOPHY: WHY STUDY MUSIC
Music as an Expression of Life
Music as a Communication
Tool
Music as an Expression of
Personal and Cultural Identity
Music as an Expression of
History
Music as a Repository of
Values
Music as a Means for
Promoting Personal and Social
Growth
BUILDING BLOCK II:
OVERVIEW OF MUSIC
What is Music
Music in Relation to the Other
Arts
Purpose and Role of Music in
Society
Defining Music in the
BUILDING BLOCK III:

MUSIC ELEMENTS AND CONCEPTS
Timbre
Dynamics
Rhythm
Melody
Pitch
Harmony
Tempo
Form
BUILDING BLOCK IV:
MUSIC PROCESSES OR SKILLS
Listening
Reading
Imitating
Responding
Creating
Improvising
Performing
Evaluating
Analyzing critically
Applying
Researching
BUILDING BLOCK V:
MUSICAL INSTRUMENTS
Voice and the Body
Sound makers
Idiophones
Membranophones
Aerophones
Chordophones
Rondalla, Orchestra and
band
Indigenous instruments and
ensemble
Electronic Musical
Instruments
MUSIC SPECIALIZATION:
1. VOICE
2. INSTRUMENT
3. CREATIVE MUSIC
WRITING AND
ARRANGING
BUILDING BLOCK VI:

MUSIC LITERATURE
4. PERFORMANCE
Music of the Philippines

Music of Asia
Music of the West
Music of Africa, Latin
America, South Pacific
Contemporary Musical
Philippine Context
Using music technology

Instrumentmaking/repairing
Writing Music
Forms and Styles

BUILDING BLOCK VII:
PEOPLE
OF MUSIC
Famous
musicians
in history
National Artists and Gawad
Manlilikha ng Bayan
Roles in Music Making
Careers in Music
*Adapted From National Standards for Arts Education, 1994
TABLE 1. BASIC REFERENCE FOR MUSIC

LEARNING AREA STANDARD:
The learner demonstrates an appreciation and understanding of the concepts and principles of Music, Aesthetics, and History within the context of
Philippine cultural and historical realities. The course ends with musical performances imbued with artistic creativity, sense of community, and pride of
place. Each performance incorporates sensitive interaction with Filipino indigenous heritage, values of human and social development, and
mobilizing skills for a career in the arts.
KEY STAGE STANDARD
GRADES 7-10
GRADES 11-12
The learner demonstrates an appreciation and understanding of the The learner demonstrates Competency in the Mastery and Application of
concepts and principles of Music, Aesthetics, and History within the the concepts and principles of Music, Aesthetics, and History directly
context of Philippine cultural and historical realities. The course ends with applicable for towards a career and profession in various fields of Music.
musical performances imbued with artistic creativity, sense of community,
and pride of place. Each performance incorporates sensitive interaction
with Filipino indigenous heritage, values of human and social
development, and mobilizing skills for a career in the arts.
GRADE LEVEL STANDARDS

GRADE
LEVEL
Grade 7
GRADE LEVEL STANDARDS

The learner demonstrates an appreciation and understanding of the basic language of the creative arts, focusing on MUSIC as
an INTEGRATED LANGUAGE of personal, group, and cultural expression and creativity in stories, ritual, myth, and
cultural enactments for the RELEASE of creativity, and AWARENESS of self and cultural identity, and sense of social
responsibility.
Grade 8
The learner 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
Grade 9
The learner demonstrates an understanding of the basic concepts, principles, skills of MUSIC relevant to creating processes
and works reflecting History and Heritage for the EXPLORATION of creativity, sense of self and cultural identity, and social
responsibility
Grade 10
The learner demonstrates an understanding of the basic concepts and principles of MUSIC interacting with other disciplines
relevant to the creation of major works reflecting Con temporary Realities for the PROFICIENCY in artistic creativity, leading
to a sense of self, cultural identity, and social responsibility
Grade 11
The learner demonstrates COMPETENCE in the application of the concepts and principles of Music, Aesthetics, and History in
their own MUSIC SPECIALIZATION towards a productive career and profession in various fields of Music.
Grade 12
The learner demonstrates an ADVANCEMENT in COMPETENCE in the application of the concepts and principles of Music,
Aesthetics, and History in their own MUSIC SPECIALIZATION towards a productive career and profession in various fields of
Music.
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CURRICULUM CONTENT AND MATERIALS FOR SPA MUSIC

Expected Graduates of SPA Music:
Track A: Tertiary Education
Track B: Practitioner of Music (performer, church music trainer, arranger, music technician)
Course Scope, Content and Materials:

GRADE Level: Quarter or Grading Period
MONDAY
3-4
PM
INTRO TO MUSIC
4-5
PM
SOLO INSTR
TUESDAY
INSTRUMENTAL ENSEMBLE
WEDNESDAY
INTRO TO MUSIC
SOLO INSTR
THURSDAY
VOCAL ENSEMBLE
FRIDAY
INTRO TO MUSIC
SOLO INSTR
11

GRADE 7
COURSE DESCRIPTION:
This is a course in SPA music specialization that aims the learner to demonstrates an appreciation and understanding of the basic language
of the creative arts, focusing on MUSIC as an INTEGRATED LANGUAGE of personal, group, and cultural expression and creativity in
stories, ritual, myth, and cultural enactments for the RELEASE of creativity, and AWARENESS of self and cultural identity, and sense of social
responsibility.
MUSIC GRADE 7 :
FIRST QUARTER FIRST GRADING PERIOD
1st Quarter: Artistic Expressions, Integrated Arts , Soundscapes and Warm-Ups for Voice and Instruments
CONTENT
CONTENT
STANDARDS
The learner
PERFORMANCE
STANDARDS
The learner
LEARNING
COMPETENCIES
CODES
The learner
A. THE LANGUAGE OF
ARTISTIC EXPRESSION
Elements of Artistic Expression
in all the arts:
1.Space
2.Line
3. Movement
4.Texture
5. Sound
demonstrates
understanding
of the different
artistic
expressions;
its elements,
processes,
principles, and
illustrate
examples of the
integrated art
processes in the
different art forms
1. defines the different

elements of artistic
expression
SPA_MAE7Ia-1
2. describes how the

SPA_MAE7different elements are used Ia-2
12
6. Silence
7. Rhythm
8.Form
B. Principles of Artistic
Organization common in the
arts
1.Unity and Variety
2.Form
3. Function and Intent
C. Characteristics of the
different Art Forms and its
Artistic Expressions:
1. Music
2.Dance
3.Drama
4. Literature
5.Visual Arts
6.Film
D. Soundscapes
(Music from the Natural
Environment)
interrelations.
Develops the
fundamental artistic
process such as
music with artistic
awareness and
creativity in
expressing oneself.
SPA_MPAO
3. explains the principles of 7-Ia-3
artistic organization in the
different art forms.
SPA_MCAF7
4. explains the
-Ia-4
characteristics of the
different art forms
SPA_MAF7Ia-5
5. distinguishes clearly
the commonalities and
differences among the
different art forms
6. analyzes elements
and processes of artistic
expression in the different SPA_MAE7Ia-6
art forms.
7. demonstrates the
elements of artistic
expressions using
soundscapes in music
using the available
resources in your
SPA_MS7Ib-7
13
community
8.practice regular warmup for vocal and
instrumental ensemble.
SPA_MVC7Ij-8
E. Warm-Ups and Caring for

the Voice and Instruments
MUSIC GRADE 7 :
SECOND QUARTER
SECOND GRADING PERIOD
2nd Quarter: Legends and Myths, Sounds as narrative, Introduction to Music I-A
CONTENT
CONTENT
STANDARDS
A. THE LANGUAGE OF
CREATIVE EXPRESSION
The learner...
IN LEGENDS AND MYTHS:
1. Sound as Narratives in
demonstrates
Local Legends and
understanding
Myths
of local
stories,
legends and
myths as
reflections of
PERFORMANCE
STANDARDS
The learner...
performs
chants or songs
from stories,
legends and myths
in their local
context with clarity.
LEARNING
COMPETENCIES
The learner...
1. describes the narratives
citing their place of origin
SPA_MLCE7
-IIa-1
14
Filipino
values,
ingenuity
2.
Interpretations/
Meaning-Making (Local
Views)
3. Depictions through 2-3
Integrated Art Forms
(e.g.
Chants/Instruments,
Movement, Poetry, etc.)
B. INTRODUCTION TO
MUSIC
1.Why Study Music
2.Overview of Elements of
Music :
Rhythm
Melody
Harmony
Tempo
Dynamics
Timbre
Form
2. interprets stories,
guided by basic Filipino
cultural perspectives
3.relates how these
narratives reflect aspects
through Filipino
perspective
4.establishes a set of
values and insights
relevant to their life and
community.
5.analyzes narratives in
terms of literary and
musical elements
demonstrates
understanding
of the
importance of
studying
SPA_MLCE7
-IIa-2
SPA_MLCE7
-IIa-3
SPA_MLCE7
-IIa-4
SPA_MLCE7
-IIb-5
6.identify the importance of

studying music.
SPA_MIM7IIa-6
7.sings chants from

stories, myths and legends
SPA_MLCE7
-IIb-7
15
3. Instrumental
music and its

elements.
8.applies the use of music

in the integrated arts in
depicting the narratives
creatively
Identification of
Instruments
Parts of the Instrument
Proper techniques of
playing the instrument
4. Vocal
Main features and

proper care of the
voice
Classifications of
voice: SATB
demonstrates
recognition of
the
instruments
used; its
parts,and
proper
technique of
playing.
demonstrates
proper warmup and vocal
care.
executes the
proper
technique of
playing the
instrument.
executes the
proper way of
vocal care.
SPA_MLCE7
-IIb-8
9. identifies the different

SPA_MIM7instruments used and their IIa-9
parts .
10. applies the proper
techniques in playing the
instrument.
SPA_MIM7IIa-10
SPA_MIM711. explains the main

IIa-11
features and proper care of
the voice
12. distinguishes the
classifications of voice
(SATB)
SPA_MIM7IIa-12
16
MUSIC GRADE 7 :
THIRD QUARTER
3rd Quarter: Rituals and Festivals, Introduction to Music I-B

CONTENT
A. THE LANGUAGE OF
CREATIVE EXPRESSION IN
RITUALS AND FESTIVALS
1.Local/ Regional Rituals
and Festivals
2.Analysis of Artistic
Expressions in Rituals and
Festivals
CONTENT
STANDARDS
The learner
demonstrates
understanding
of local rituals
and festivals
reflective of
Filipino
values,
ingenuity
demonstrates
understanding
3.Contextual Interpretations
(Local)
PERFORMANCE
STANDARDS
The learner
Performs
rituals and festivals
according to
local/regional
traditions.
LEARNING
COMPETENCIES
The learner..
.
1. describes rituals and
festivals citing their
history, place of origin,
and context
SPA_MCER
F7-IIIa-1
2. analyzes significant
use of the arts and
SPA_MCER
F7-IIIa-2
17
of music
concepts and
processes as
applied to the
music of
rituals and
festivals
4. Depictions through 2-3
Integrated Art Forms
(Visual Arts, Movement, Music,
Literary Arts, Drama)
B. INTRODUCTION TO MUSIC
1.Elements of
Music
Rhythm (Beat,
Meter, Note
Values)
Melody (Modes,
Tonality, Scales)
creative expressions in
rituals and festivals
demonstrates
understanding
to the use of
different art
forms and
media to
portray rituals
and festivals
executes skills
required in
solo and
group
performance
3.re-enact rituals and

festivals using the
integrated process
involving elements from
dance, drama, music,
writing, visual arts, and
media arts.
SPA_MCER
F7-IIIc-3
4.demonstrates the various

artistic expressions present
in the rituals and festivals
and establishes their
functions
SPA_MCER
F7-IIIb-4
5. identify the basic

elements of music in a
given music example
SPA_MIM7IIIa-5
6..sing/play instruments
SPA_MIM718
Harmony
(Intervals &
Triads)
Tempo (Adagio,
Moderato, Allegro,
Presto, Vivace)
Dynamics( piano,
forte, mezzo
piano, mezzo
forte)
Timbre (vocal,
instrumental,
environmental)
Form (Cyclic,
Phrases, Period,
Section, Binary,
Ternary, Rounded
Binary, Rondo,
Song Forms)
*the teachers are free to
choose what elements of music
he/she think is necessary to
apply.
2.Importance of Music
as an expression of life
as a tool for
communication
as an expression of
personal and cultural
identity
alone or with others
IIIj-6
19
as an expression of
history
as a repository of
values
as a means for
promoting personal and
social growth
3. Application of the
Elements of Music through
the chosen specialization:
voice and instrumentplaying.
Instrument-Playing/Singing
Finger
positions/Posture
Embouchure (winds);
bowing/plucking
(strings);
Articulation
Tone Production and
Resonance
MUSIC GRADE 7 :
FOURTH QUARTER
20
4th Quarter: Performance, Introduction to Music (I-C) , Collaboration of the Different Art Fields
CONTENT
A. INTRODUCTION TO
MUSIC
1.Continuation of Review of
Elements of Music :
Rhythm (Beat, Meter, Note
Values),
Melody (Direction and Contour,
Modes, Tonality, whole and half
steps,
Tetrachords, Scales and
Intervals),
Harmony (Texture, Intervals &
Triads),
Tempo (Adagio, Moderato,
Allegro, Presto, Vivace),
Dynamics( piano, forte, mezzo
piano, mezzo forte),
Timbre (vocal-chest & head,
instrumental, environmental),
Form (Cyclic, Phrases, Period,
Section, Binary, Ternary,
Rounded Binary, Rondo, Song
Forms)
Basic Music Reading: Notes,
CONTENT
STANDARDS
The learner...
demonstrates
an understanding of
the importance of
music, elements of
music, music literacy,
folk music and its
functions, aspects of
music ensemble
practice and
integrated musical
performance
PERFORMANCE
STANDARDS
The learner...
performs the
epics, folktales,
rituals, and
festivals with
music.
performs basic
music reading skills
through sight
reading and singing
of their local music
(e.g.HaranaBulacan)
LEARNING
COMPETENCIES
The learner...
1.describes the elements
of music
SPA_MIM7IVj-1
2.analyzes musical
elements in epics, rituals,
festivals meaningfully
SPA_MIM7IVj-2
3.analyzes meaningfully
the dynamics of self and
group through music and
the integrated arts
approach
SPA_MIM7IVj-3
21
Rests, Time Signature, Clefs

*NOTE
Teachers are free to choose
what elements of music he/she
thinks is necessary to apply in
the course.
Application of the Elements of

Music through the chosen
specialization: voice and
instrument-playing.
Finger positions/Posture
Tone Production &
Resonance
Embouchure (winds);
bowing/plucking (strings);
Articulation
Solo and ensemble playing of
Pieces/works related to rituals
and festivals
Integrated Arts Approach to
staging a music performance
based on Filipino legends,
myths, rituals, and festivals
Applies the
elements of music
through singing and
playing
applies aspects
of the integrated
arts approach in
the staging music
performances
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*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the
other art
fields.
Course Scope, Content and Materials:

GRADE 7: Integrated Language
MONDAY
3-4
PM
INTRO TO MUSIC
I
4-5
PM
SOLO INSTR
TUESDAY
INSTRUMENTAL ENSEMBLE
WEDNESDAY
INTRO TO MUSIC I
SOLO INSTR
THURSDAY
VOCAL ENSEMBLE
FRIDAY
INTRO TO MUSIC I
SOLO INSTR
Coverage of INTRO TO MUSIC:

1st Q: Artistic Expressions, integration, and Soundscapes; warm-up to instrument/voice;
2nd Q: Legends and Myths, sounds as narrative; Introduction to Music I-A
3rd Q: Rituals and Festivals; Theory, Listening, Introduction to Music I-B
23
4th Q: *Performance, Theory, Listening, Introduction to Music I-C, Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir--- 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
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of Concone, Marchesi,
MacClosky; Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda, Dictionary of Filipino Musical Terms (UPCE),
Philippine Traditional Music by Kristina Benitez, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis)
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 3, 2nd 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, LikhaTugtog-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
24

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
25
CONTENT
A. INTRODUCTION TO THE
NATURAL AND CULTURAL
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
CONTENT
STANDARDS
PERFORMAN
CE
STANDARDS
The learner
The learner
demonstrates
an
understanding
of cultural
heritage
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
LEARNING
COMPETENCI
ES
The learner
1.describes
the
dimensions
of society
and applies
them on an
analysis of
his
community
POSSIBLE
ACTIVITIES
The
learner
draws and
SPA_MC
explains
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

26
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
Performs
sightreading,
singing and
playing
demonstrates
an
evaluates
understanding
of basic music music applying
the basic
reading, basic
musical
vocal
elements and
techniques,
skills
instrument
playing
techniques,
performs
and sight
music through
reading skills
solo and with
accompaniment
draws
social
maps
3. evaluates
music
applying the
basic
musical
elements
and skills
reads and
analyzes
music
SPA_MI
M8-Ij-3
rehearses
pieces
4.explains
how specific
elements of
music are
applies
technique
SPA_MI
M8-Ia-d4
27
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
28
promoting
personal
and social
growth
3. Application of the
Elements of Music
through the chosen
specialization: voice
and instrumentplaying.
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
29
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
PERFORMAN
CE
STANDARDS
The learner
The learner
demonstrates
an
understanding
of the natural
Map an
inventory of
the natural
resources of
LEARNING
COMPETENCI
ES
The learner
1. identifies
the different
natural
resources of
POSSIBLE
ACTIVITIES
The
learner
resear
ches on
ecosystems
SPA_ML
S8-IIa-b1
30
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.
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
demonstrates
understanding
of the
relationship of
and their
significance
draws
or creates
visual
collages or
community
maps
illustrating
various
ecosystems
explores
various
soundsca
pes
SPA_ML
S8-IIa-b2
SPA_ML
S8-IIa-b3
create a
fusion of
earth music
through
31
Music :
music elements
improvisatio
to the earth
n
Rhythm
(Simple &
performs
Compound
music with an
Meter,
ecological
Syncopated
content
)
Melody
(Key
creates
Signatures,
simple
Scale
accompanim
Degree
ents to local
names
music
Types and
Qualities of
Intervals),
Harmony
(Chord
demonstrates
Functions,
demonstrate
the
basic
aural
Tonic,
s skills in
skills
Dominant,
music
Chord
reading and
ensemble
Progression
playing and
s),
singing
Tempo
(Grave,
demonstrates
Lento,
stages
understanding
Prestissimo,
musical
of the various
Ritardando,
performance
methods and
Accelerand
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
32
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
SATB, Solo,
playing and
Duet,
group singing
Trio,Quartet
),
Form
(Canon,
Fugue,
Sonata
Allegro,
Concerto,
Symphony)
2. Application of
the Elements of
Music through
the chosen
specialization:
voice and
instrument-
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
33
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
34
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
PERFORMAN
CE
STANDARDS
LEARNING
COMPETENCI
ES
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
intangible
cultural
resources in
his/her
community and
its significance.
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
2.creates
maps of the
cultural
resources of
communities
POSSIBLE
ACTIVITIES
The
learner
SPA_MC
H8-IIIa-b1
resear
ches on
his/her
communit
ys
cultural
heritage
resources
and
establishe
s their
significan
ce
SPA_MC
H8-IIIa-2
draws
or creates
visual
collages or
35
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
36

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
instrument-playing.
(Continuation)
Finger
positions/Posture
Tone Production
& Resonance
Embouchure
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
music as
applied to
indigenous
forms
demonstrates
performs
basic musical
skills in voice
and/or
instrumentplaying
performs
music
pieces with
cultural
heritage
content
writes
an
experience
paper on
the quarter
activities
rehear
ses small
group
ensembles
performs
music
through solo
and with
accompani
ment
stages
music
37
(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
content drawn
and Instrument): Performance
from local
of Local Music Pieces
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
38
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
A. MUSIC PERFORMANCE The learner

ON LIFE SOURCES AND
CULTURAL HERITAGE
1.INTRO TO MUSIC:
demonstrates
ANALYSIS. The
an
identification of features
understanding
played in a short heritage
of program
piece. The features would
planning,
relate to the ELEMENTS OF
rehearsal
MUSIC
preparation,
and staging
B. PROGRAM PLANNING
using the
Basics of Planning a
integrated arts
Music Performance
approach
PERFORMAN
CE
STANDARDS
The learner
perform
fundamental
processes in
music with
creativity
LEARNING
COMPETENCI
ES
The learner
1.applies the
appropriate
musical
elements
needed in the
piece
POSSIBLE
ACTIVITIES
The
learner
SPA_MM
P8-IVa-1
performs
basic
39
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
2.analyzes
the
importance of
a good music
programming,
rehearsal
preparation,
and staging
3.improvises
music based
on local
cultural
heritage
performs
music
4.identifies
through solo acceptable
and with
rehearsal
accompani
methods
ment
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-IVa-b4
performs
improvisa
tion of
40

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

41
Schedule
MONDAY
3-4
PM
INTRO TO MUSIC II
4-5
PM
SOLO INSTR
TUESDAY
INSTRUMENTAL
ENSEMBLE
WEDNESDAY
INTRO TO MUSIC II
THURSDAY
VOCAL ENSEMBLE
SOLO INSTR
FRIDAY
INTRO TO MUSIC II
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
42
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 ones 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
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
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
SPA CURRICULUM MUSIC

43
GRADE 9
Course Description
This is a course in SPA-Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles, skills
of MUSIC relevant to creating processes and works reflecting History and Heritage for the EXPLORATION of creativity, sense of self and
cultural identity, and social responsibility
MUSIC GRADE 9 :
FIRST QUARTER
Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A
CONTENT
CONTENT
STANDARDS
The learner
A. Functions of Music in Daily Life
(Phil. & Western):
1.Rituals,
2.Worship
3.Leisure & Entertainment
4.Historical and Geographical
Background
Personages:
Philippines: Ritualists (Babaylan,
Baki, etc.) GAMABA
Western: Troubadors, Minstrels,
demonstrates an
understanding of
cross-cultural
comparison
between Philippine
and Western
musical
development
PERFORMANCE
STANDARDS
The learner
performs
Philippine and
Western music
based on its
functions to
daily life
LEARNING
COMPETENCIES
The learner
1. distinguishes
the different
functions of
music in
Philippine and
western setting
2. displays
familiarity in various
performance
practice of Western
POSSIBLE
ACTIVITIES
The learner
makes a
table of
comparison
for both
Philippine
and Western
music
development
traces the
linear
SPA_MF9Ia-1
SPA_MF944
Monks, Dancing Masters, Major

Composers
music and Philippine

music
3.Outline the historical
and geographical
background of
Philippines and
Western countries
performs basic
musical skills
for voice and
instruments
performs
music through
solo and with
accompaniment
(Continuation)
demonstrates an
understanding of
basic music
reading, basic
vocal techniques,
historical
development
of Philippine
and Western
music
alongside
historical
events
4.analyzes how sociocultural functions and

historical events
affects musical forms
across Philippine and
Western society
5.distinguishes how
Philippine and
Western music
developed alongside
each other through
finding
commonalities and
differences
applies
additional
musical skills for
voice and
Ia-2
SPA_MF9Ia-3
SPA_MF9Ia-4
SPA_MIM9 rehearses
Ia-e-5
music showing
knowledge of the
musical elements
as applied in the
music
sings or
plays
instruments with
technique
45
instrument playing
techniques, and
sight reading skills
instrument
playing
appropriate to
the piece.
Rhythm (Free Meter, Speech

Meter, Changing Meter, Metric,
Syncopated , Ostinato, Drone),
Melody (Modes),
Harmony (Drone & Melody,
Organum),
Tempo (Grave, Lento, Prestissimo,
Ritardando, Accelerando, Rubato),
Dynamics (Articulationslegato,
staccato, portamento, portato),
Timbre (Local Instrument
Classification, Hornboestel-Sachs,
Bel Canto, Indigenous Vocal
Styles,
Musical Instruments:
Gongs, Bamboo, Drums & Lutes
(Philippines); Recorder Consort,
Psaltery, Lutes, Viols, Tambor),
Form (Musical Genres:
Philippines: Ballads & Epics, Mimetic

Dances,
Western: Plainchant, Madrigals,
Secular & Sacred, Mass, Dance
Suites
3. Application of the Elements of
46

instrument-playing.
(Continuation)
Tone Production & Resonance
Embouchure (winds);
Articulation
Basic Sight Reading
Repertoire Study
Choral Styles
MUSIC GRADE 9 :
SECOND QUARTER
Spanish Colonial Period versus Baroque, Classic and Romantic Periods, Introduction to Music III-B
CONTENT
A.Functions of Music in Daily Life
(Phil. & Western):
1.Sacred Music
2.Secular Music
CONTENT
STANDARDS
The learner
PERFORMANCE
STANDARDS
The learner
LEARNING
COMPETENCIES
The learner
1. describes the
POSSIBLE
ACTIVITIES
The learner
SPA_MF947
2.Historical & Geographic : Colonial

Expansion & the Rise of Nationalism
Personages: Adonay, Bonus, Illustre
Troubadors, Minstrels, Monks,

Dancing Masters,
3.Major Composers
demonstrates an
understanding of
cross-cultural
comparison
between
Philippine and
Western musical
development
displays
familiarity in
various
performance
practice of
Western music
and Philippine
music
different
functions of
music in
Philippine and
western setting
2.distinguishes sacred
from secular music
3..identifies the
historical and
geographical
background of
Philippines and
western
4. enumerates major
composers of the
Spanish colonial
period in the
Philippines.
5. enumerates the
major composers of
the baroque, classical
and romantic periods.
6.analyzes how
socio-cultural
functions and
makes a
table of
comparison
for both
Philippine
and Western
music
development
traces the
linear
historical
development
of Philippine
and Western
music
alongside
historical
events
rehearses
music
showing
knowledge of
the musical
elements
applied in the
music
IIa-1
SPA_MF9IIa-2
SPA_MF9IIa-3
SPA_MF9IIa-4
SPA_MF9IIa-5
SPA_MF9IIa-6
48
historical events
affects musical forms
across Philippine and
Western society
7..distinguishes how
Philippine and
Western music
developed alongside
each other through
finding
commonalities and
differences
(Continuation)
Rhythm (Review of Simple

and Compound Meter),
Melody (Review of Major
and Minor Tonality),
Harmony (Basso Continuo,
Figured Bass, Alberti Bass),
Tempo (Grave, Lento,
demonstrates
an understanding of demonstrates
basic
music
basic musical
reading, basic vocal
skills in voice
techniques,
and/or
instrument playing
instrumenttechniques,
and
playing
performs
music through
solo and with
8. applies additional
musical skills for
voice and instrument
playing
SPA_MF9IIa-7
sings or
plays
instruments
with
technique
appropriate
to the
performance
practice of
the piece.
SPA_MI9IIa-e-8
49
Prestissimo, Ritardando,
Dynamics(Articulations,
legato, staccato,
portamento, portato),
Timbre ( Instruments of the
Orchestra HornboestelSachs, Bel Canto,
accompaniment
applies
appropriate
technical skills
in performing
Philippine and
Western music
Musical Instruments:
Baroque, Classic & Romantic
Orchestras
Music Genres:
Philippines: Kundiman, Misa,
Balitaw, Danza, Kumintang, Jota,
Curacha, Habanera, Sarswela,
Komedya, Pasyon, Subli,
Senakulo, Panunuluyan, Gozo,
Villancico, Pastores, Daigon
Western: Oratorio, Opera, Sonata,
Symphony, Concertos, Tone Poem,
Program Music, Art Songs,
(Chansons, Lied, etc.)
2. Application of the Elements of Music

through the chosen specialization:
voice and instrument-playing.
50
(Continuation)
Embouchure (winds);
Articulation
Basic Sight Reading
Repertoire Study
Interpretations
Choral Styles
*NOTE
Teachers are free to choose what
elements of music he/she thinks is
necessary to apply in the course.
51
MUSIC GRADE 9 :
THIRD QUARTER
3rd Quarter: American and Japanese Occupation. Introduction to Music III-C

CONTENT
A.Functions of Music in Daily Life
(Phil. & Western):
1.Leisure and Entertainment
2.Art Music
3.Popular Music
4.Historical & Geographic
Background
Personages: Philippines:
Abelardo, Santiago, Molina
National Artists for Music
Major Composers & Major Works
(Continuation)
1. Elements of Music
CONTENT
STANDARDS
The learner
demonstrates an
understanding of
cross-cultural
comparison
between Philippine
and Western
musical
development
PERFORMANCE
STANDARDS
The learner
displays
familiarity in
various
performance
practice of
Western music
and Philippine
music
demonstrates an
understanding of
basic music
demonstrates
reading, basic vocal
LEARNING
COMPETENCIES
The learner
1.describes the
different
functions of
music in
Philippine and
western setting
2.identifies the
historical and
geographical
background of
Philippines and
western
3.analyzes how
socio-cultural
functions and
historical events
POSSIBLE
ACTIVITIES
The learner
makes a
table of
comparison
for both
Philippine
and Western
music
development
traces the
linear
historical
development
of Philippine
and Western
music
alongside
SPA_MF9IIIa-1
SPA_MF9IIIa-2
SPA_MF9IIIa-3
52
Rhythm (Free Meter,

Changing Meter, Mixed
Meter , Polymeter),
Melody (Whole-Tone,
Polytonal, TwelveTone),
Harmony (Quartal
Chords, Quintal,
Heptachords,
Hexachords),
Tempo (Grave, Lento,
Prestissimo,
Ritardando,
Dynamics (extreme
dynamics and
articulations ex.
Fortississimo),
Timbre (Unconventional
Instruments and
Manners of Playing,
Prepared Piano,
Electronic instruments,
Popular
music instruments)
techniques,
instrument playing
techniques, and
basic musical
skills in voice
and/or
instrumentplaying
performs
music through
solo and with
accompaniment
applies
appropriate
technical skills
in performing
Philippine and
Western music
affects musical
forms across
Philippine and
Western society
4.distinguishes
how Philippine
and Western
music
developed
alongside each
other through
finding
commonalities
and differences
5. applies
additional
musical skills for
voice and
instrument
playing
historical
events
rehearses
music
showing
knowledge of
the musical
SPA_MF9elements as
IIIa-4
applied in the
music
sings or
plays
instruments
with
technique
appropriate
to the
performance
practice of
SPA_MF9the piece.
IIIa-e-5
Form (Musical Genres:

Philippines: Sarswela, Kundiman,
Bodabil, Music from the Japanese Period
53
Western: Gesamknswerke,
Neoclassical, Avante-Garde,
Minimalist Music, ,
Chance/Aleatory Music,
Indeterminacy, Jazz, Rhythm and
Blues
2.Application of the Elements of
instrument-playing.
(Continuation)
Embouchure (winds);
Articulation
Basic Sight Reading
Repertoire Study
Choral Styles
*NOTE
Teachers are free to choose what
elements of music he/she thinks is
necessary to apply in the course.
54
MUSIC GRADE 9 :
FOURTH QUARTER
FOURTH GRADING PERIOD
4th Quarter: Performance of instrument/voice/choir; Collaboration of the Different Art Fields;

CONTENT
A. Application of the Elements of
specialization:
1.voice
2. instrument-playing.
(Continuation)
Embouchure (winds);
Articulation
Basic Sight Reading
Repertoire Study
Choral Styles
B.PROGRAM PLANNING
1.Basics of Planning a Music
Performance
2.Rehearsal Preparation
3.Staging the Performance
CONTENT
STANDARDS
PERFORMANCE
STANDARDS
LEARNING
COMPETENCIES
The learner
The learner
The learner
demonstrates an
understanding of
basic music
reading, basic
vocal techniques,
instrument playing
techniques, and
demonstrates
basic musical
skills in voice
and/or
instrumentplaying
1. displays knowledge
in performing basic
musical performances
performs
music through
solo and with
accompanime
nt
employs
acceptable
rehearsal
methods to good
program
planning
2.displays knowledge
in music program
planning
POSSIBLE
ACTIVITIES
The learner
makes a practice
plan detailing
technical
requirements for
pieces
rehearses
music showing
knowledge of the
musical elements
as applied in the
music
sings or
plays instruments
with technique
appropriate to the
performance
practice of the
piece.
SPA_MA9IVa-1
SPA_MA9IVa-2
55
applies
aspects of
the integrated
arts approach
in the staging
music
performances
*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the
other art fields
GRADE 9: History and Heritage

MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
56
3-4
PM
HERITAGE AND MUSIC
4-5
PM
SOLO INSTR
INSTRUMENTAL
ENSEMBLE/VOICE/CHOIR
HERITAGE AND MUSIC

SOLO INSTR
INSTRUMENTAL
ENSEMBLE/VOICE/CHOIR
/
HERITAGE AND MUSIC

SOLO INSTR
INTRO TO HERITAGE:
1st Q: Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A
2nd Q: Spanish and Baroque, Classic and Romantic Period, Introduction to Music III-B
3rd Q: American and Modern Period, Introduction to Music III-C
4th Q: Performance of instrument/voice/choir, Collaboration of the Different Art Fields
Solo Performance/ Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL ENSEMBLE:
INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:
History: CCP Encyclopedia of Music, History of Music by Jose Maceda, Groves Dictionary of Music and Musicians, Garland Encyclopedia of Music
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn, Thinking
About Music by Bonnie Wade
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 byVan 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 ones 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
57
Strings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder,
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

GRADE 10
Course Description
58
This is a course in SPA- Music Specialization that aims the learner to demonstrates an understanding of the basic concepts and principles
of MUSIC interacting with other disciplines relevant to the creation of major works reflecting Contemporary Realities for the PROFICIENCY
in artistic creativity, leading to a sense of self, cultural identity, and social responsibility
MUSIC GRADE 10 :
FIRST QUARTER
1ST QUARTER: LOCALIZATION (NATIONAL AND ASIAN), Composition I-A

CONTENT
A. The Philippines from

Independence to Present
Times: Modern &
Contemporary Music)
1946-60s:
Influence of
Modern and British
Music;
Pilita Corrales
Diomedes Maturan
Ric Manrique
Mabuhay Singers,
Levi Celrio, Lucio
San Pedro, Felipe
deLeon Sr.,
70s-80s: Rise of
Filipino
CONTENT
STANDARDS
The learner
1.Demonstrates
understanding of
Philippine music
development from
Philippine
Independence to
Present times.
PERFORMANCE
STANDARDS
The learner
Performs the genres

of music (vocal
/instrumental) from
Philippine
Independence to
present times.
LEARNING
COMPETENCIE
S
The learner
Identifies
the genres and
proponents of
music from
Philippine
Independence
to the present
POSSIBLE
ACTIVITIES
The learner
SPA_M
110-Ia-1
59
Nationalism;
Protest Songs,
Manila Sound,
OPM , Filipino
Novelty,Edsa
revolution
90s to Present:
Filipino Rap,
Filipino Pop,
Korean Invasion,
Broadway (Miss
Saigon, etc)
2.Issues Intellectual
Property Rights,
3.Performers Rights
demonstrates
understanding of
issues related to
the music
profession
Institutions: CCP,
NCCA, NCIP,
NAMCYA, OPM,
Filscap,
conducts interviews
to local artists about the
different issues in the music
profession.
3.Advocates
intellectual
property rights.
Composes music
B.Basic
2.Outlines the
different issues
affecting the
music
profession.
demonstrates
compos
es or
arranges for
particular
instruments
and/or voices
for given
SPA_MI
10-Ia-2
SPA_M
themes/func BC10tions
Ia-j-3
discuss
es the
reasons
behind the
issues
besetting
SPA_M
60
Composition
(Conceptualization,
Representation of
Sound: Standard or
Graphic Notation,
Instrumentation
an understanding
of basic
compositional
concepts and
techniques
4.Employs
creativity in
composition
and
arrangements.
Arranges music
1.Arranging
C. Music
Technology
Software
D. Application of the
Elements of Music
through
composition and
the chosen
Instrument-
demonstrates
familiarity with
music software
for notation,
recording,
sequencing
demonstrates
an
understanding
of basic music
reading, basic
vocal
techniques,
instrument
playing
techniques, and
sight reading
skills
Performs basic skills for

voice and instrumentplaying.
Notates, transcribes,
records, or sequences
music.
performs music through
solo and with
accompaniment
Performs diverse
musical skills
5.familiarizes
with various
performance
having diverse
musical styles.
6. applies music
technology
software in
notating,
sequencing and
recording.
6. Shows
mastery of
musical
elements
through varied
musical
the music
profession
and how
these can
be
addressed
makes
a database
of
organization
s that
advocate
music and
performers
rights for
future
reference
rehear
ses music
showing
knowledge
of the
musical
elements
and styles
sings
or plays
instruments
AE10Ia-j-4
SPA_M
MT10Ia-c-5
SPA_M
AE10Ia-j-6
61
Playing/Singing
(Continuation)
performance.
Finger
positions/Posture
Tone Production &
Resonance
Embouchure
(winds);
bowing/plucking
(strings);
Articulation
Basic Sight
Reading
Repertoire Study
Choral Styles
Interpretation of
composed works
MUSIC GRADE 10 :
with
technique
appropriate
to the
performanc
e practice of
the piece.
SECOND QUARTER
2nd Quarter: LOCALIZATION (NATIONAL AND ASIAN), Composition I-B

CONTENT
CONTENT
STANDARDS
PERFORMANCE
STANDARDS
LEARNING
COMPETENCIES
POSSIBLE
ACTIVITIES
62
The learner
A. The Philippines in the
Context of ASEAN;
e.g. IndonesiaGamelan/Anklung; folk
songs , integrated arts in
the ASEAN context
(dance-drama; shadow
puppet, music theater)
Demonstra
tes
understanding
of Philippine
music in the
ASEAN
context. .
The learner
Presents a simulated
performance of ASEAN
music.
The learner
The learner
1.distinguishes
Philippine music
from ASEAN
music .
SPA_M
110-IIa1
1.Tradition &
Change: ASEAN
MUSIC
2.ASEAN Integration,
Cultural Ethics
B .Issues; Tradition and
Change; ASEAN
Integration
C. Simulated
Performance of ASEAN
Music
create basic music

compositions or
arrangements
compo
ses or
arranges for
particular
instruments
63
D. Continuation of
Basic Composition
(Conceptualization,
Representation of
Sound: Standard or
Graphic Notation,
Instrumentation
1.Arranging
C.Music
Technology
Software
demonstrates
an
understanding
of basic
compositional
concepts and
techniques
demonstrates
an
understanding
of basic music
reading, basic
vocal
techniques,
instrument
playing
techniques,
and sight
reading skills
demonstrates
familiarity with
demonstrates basic
musical skills in voice
and/or instrument-playing
2.develops
creativity in
conceptualizing
basic music
compositions or
arrangements
3.displays
familiarity in
various
performance
practice of
diverse musical
styles
uses technology to
notate, transcribe,
record or sequence
music
4.displays
knowledge in
using music
technology
software
and/or voices
for given
themes/functi SPA_MI
10-IIa-2
ons
notates
, transcribes,
SPA_M
sequences,
BC10-IIrecords
a-j-3
music using
appropriate
music
technology
tools
discuss
es the
reasons
behind the
SPA_M
issues
AE10IIbesetting the
a-j-4
music
profession
and how
64
music
software for
notation,
recording, and
sequencing
D. .Application of the
Elements of Music
through composition
and the chosen
and instrument-playing.
(Continuation)
Finger
positions/Posture
Tone Production &
Resonance
Embouchure
(winds);
bowing/plucking
(strings);
Articulation
Basic Sight
Reading
Repertoire Study
Choral Styles
Interpretation of
composed works
performs music with

fundamental musicianship
(performs alone and with
others in pitch, rhythm,
expression, and style )
applies appropriate
technical skills in
performing diverse
musical styles
these can be
addressed
5. displays
mastery of the
basic musical
elements
through musical
performances.
intervie
ws or
corresponds
with music
organizations
regarding
SPA_M
issues in
MT10music
IIa-c-5
rehear
ses music
showing
knowledge of
the musical
elements
and styles
sings
or plays
instruments
with
technique
appropriate
to the
performance
65
practice of
the piece.
MUSIC GRADE 10 :
THIRD QUARTER
THIRD GRADING PERIOD
3rd Quarter: GLOBALIZATION, MASS MEDIA AND MUSIC TECHNOLOGY, Composition I-C
CONTENT
CONTENT
STANDARDS
PERFORMANCE
STANDARDS
LEARNING
COMPETENCIES
POSSIBLE
ACTIVITIES
66
The learner
A. Philippines and
Globalization (e.g.
Middle East, South
Pacific, East Asian,
African, Latin
American,
Fusion/Cross-over
Music)
Issues in Music:
1.Tradition & Change,
2.Commercialization,
3.Globalization
4. Diaspora,
5.Work Exploitation &
Labor Laws,
6.Cultural Ethics
7. Intellectual Property
Rights,
demonstrates
an
understanding
of
globalization
in music.
demonstrates
understanding
of issues
related to the
music
profession
The learner
performs a musical
genre for each
region of the world.
1.distinguishes
each musical
genre .
conducts
researches about
music
organizations that
deal with issues and
music advocacy
analyzes
the reasons
behind the
issues in the
musical
profession
2.displays
awareness in
music advocacy
and issues
The learner
compo
ses or
SPA_M
arrang
110-IIIaes for
1
particul
ar
instrum
ents
and/or
voices
for
given
themes
/functio
ns
SPA_MI
10-IIIa-2
B .Music in Media:
Radio, TV, Film,
Internet, Print
Institutions:
IMusicCouncil,
IPhilippine Society for
Music Education,
The learner
create basic music

compositions or
arrangements
notates
,
transcribes,
sequences,
records
67
demonstrates basic
and/or instrumentplaying
PASAMBAP,PHILBAND
A,Council for Trad
Music, IFederation of
Choral Music, ISociety
of Contem Music, Asian
Composers League,
PCDA, UNESCO
C. Continuation of Basic
Composition
(Conceptualization,
Representation of Sound:
Standard or Graphic
Notation, Instrumentation
Arranging
D. Music
Technology
Software
E. Application of the
Elements of Music
through composition
and the chosen
(Continuation)
Finger
demonstrates
an
understanding
of basic
music
reading, basic
vocal
techniques,
instrument
playing
techniques,
and sight
reading skills
demonstrates
an
understanding
of basic
compositional
concepts and
techniques
uses technology to
notate, transcribe,
record or sequence
music
performs music with

fundamental
musicianship (performs
alone and with others in
pitch, rhythm,
expression, and style )
applies appropriate
technical skills in
performing diverse
musical styles
music using
appropriate
music
technology
tools
discuss
3.develops
es the
creativity in
conceptualizing
reasons
basic music
behind the
compositions or
issues
arrangements
besetting
the music
profession
and how
4.displays
these can
familiarity in
be
various
addressed
performance
interviews
practice of
or
diverse musical
corresponds
styles
with music
organization
s regarding
issues in
music
rehear
5.displays
ses music
knowledge in
showing
using music
SPA_M
BC10III-a-j-3
SPA_M
AE10IIIa-j-4
68
positions/Posture
Tone Production &
Resonance
Embouchure
(winds);
bowing/plucking
(strings);
Articulation
Basic Sight
Reading
Repertoire Study
Choral Styles
Interpretation of
composed works
demonstrates
familiarity with
music
software for
notation,
recording, and
sequencing
technology
software
6. displays
mastery of the
basic musical
elements
through musical
performances.
knowledge
of the
musical
elements
and styles
sings
or plays
instruments
with
technique
appropriate
to the
performanc
e practice of
the piece.
SPA_M
MT10IIIa-c-5
SPA_M
AE10IIIa-j-6
69
MUSIC GRADE 10 :
FOURTH QUARTER
FOURTH GRADING PERIOD
4th Q:Careers in Music, Contemporary Perspective , Performance/Collaboration

CONTENT
CONTENT
STANDARDS
PERFORMANCE
STANDARDS
The learner
The learner
A .CAREERS IN
MUSIC
demonstrate
demonstrate creativity
1.Composers /
an
in conceptualizing and
Arrangers
understanding
making music
2.Conductors
of the nature of
compositions or
3.Music Educators /
the
work
of
arrangements
Mentor
various music
4.Musicologist /
careers
demonstrates basic
Researcher
5. Music Producer /
Manager
and/or instrument6.Music Technologist
playing
/ Sound Engineer
7.Music Therapist
LEARNING
COMPETENCIES
The learner
1.identifies the
various music
professions,
their training and
nature of work
2.evaluates
ones aptitude,
interest and
POSSIBLE
ACTIVITIES
The learner
compo SPA_M
C10ses or
arranges for IVa-b-1
particular
instruments
and/or voices
for given
themes/functi
ons
prepares a
70
8.Performers
(Singers,
Instrumentalists)
B.PROGRAM
PLANNING
1.Basics of Planning
a Music
Performance
2.Rehearsal
Preparation
3.Staging the
Performance
C. Application of the
Elements of Music
through the chosen
and instrument-playing.
demonstrates an
understanding of
program
planning,
rehearsal
preparation, and
staging using
the integrated
arts approach
demonstrates
an
understanding
of basic music
reading, basic
vocal
techniques,
instrument
playing
techniques,
and sight
reading skills
demonstrates
abilities in
relation to the
various music
professions
employs acceptable
rehearsal methods
applicable to good
program planning
music
portfolio of
music
performance
s using
appropriate
music
technology
tools
3.displays
familiarity in
various
performance
practice of
diverse musical discusses the
makes
styles
compositions and
types of work
arrangements for
and training
various musical
for certain
forms and functions
careers in
music
interviews or
performs music
corresponds
with fundamental
with various
musicianship
music
(performs alone
professionals
and with others in
6. displays mastery regarding the
pitch, rhythm,
of the basic
training and
expression, and
musical elements
nature of
style )
through musical
their music
performances.
profession
rehearses
music
SPA_M
C10IVa-2
SPA_M
AE10IVa-j-3
71
(Continuation)
Finger
positions/Posture
Tone Production &
Resonance
Embouchure (winds);
bowing/plucking
(strings);
Articulation
Basic Sight Reading
Repertoire Study
Choral Styles
an
understanding
of basic
compositional
concepts and
techniques
demonstrates
an
understanding
of the staging
process
utilizing
elements of
production
values like
music, design,
and movement
uses technology to
document music
performances
applies aspects of the

integrated arts
approach in the
staging music
performances
*the performance
standards for the fourth
quarter will be
showcased in
collaboration with all the
other SPA art fields
showing
knowledge of
the musical
elements
and styles
sings or plays
instruments
with
technique
appropriate
to the
performance
practice of
the piece.
SPA_M
AE10IVa-j-6
plans for a
music
program
conducts
various
rehearsals
and runthroughs
performs in
front of an
audience
72
evaluates the
production
process in
class
writes a
journal of
experiences
of the entire
Grade 10
experience
GRADE 10: CONTERMPORARY REALITIES
MONDAY
3-4
PM
MUSIC in
Contemporary times
4-5
PM
SOLO INSTR/CREATIVE
MUSIC WRITING
TUESDAY
WEDNESDAY
INSTRUMENTAL
ENSEMBLE/VOICE/CHOI
R
MUSIC in
Contemporary times
SOLO
INSTR/CREATIVE
MUSIC WRITING
THURSDAY
INSTRUMENTAL
ENSEMBLE/VOICE/C
HOIR/
FRIDAY
MUSIC in Contemporary
times
SOLO INSTR/CREATIVE
MUSIC WRITING
1ST AND 2ND Q: Issues in Music, LOCALIZATION (NATIONAL AND ASIAN) Composition I-A/B;
3rd: GLOBALIZATION and MASS MEDIA AND MUSIC (TECHNOLOGY) Composition I-C;
Q: 4th Q: Careers in Music, Contemporary Perspective ; Performance/Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL
ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR
73
DIVISI
MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland
Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil
Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San
Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice
Methods of Concone, Marchesi, MacClosky, 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
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto
Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
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 II, 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 Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by
Polvoriza, Muyco, Trangco, and Perez
Computer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition
www.upethnom.com
74

GRADES 11 & 12
75
GRADE 11: MUSIC AND SPECIALIZATION I

MONDAY
3-4
PM
MUSIC AND DISCIPLINE
4-5
PM
SOLO INSTR/CREATIVE
MUSIC WRITING
TUESDAY
INSTRUMENTAL
ENSEMBLE/VOICE/CHO
IR
WEDNESDAY
MUSIC AND
DISCIPLINE
SOLO
INSTR/CREATIVE
MUSIC WRITING
THURSDAY
INSTRUMENTAL
ENSEMBLE/VOIC
E/CHOIR/
FRIDAY
MUSIC AND
DISCIPLINE
SOLO
INSTR/CREAT
IVE MUSIC
WRITING
MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos,
Garland Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art
of Noise, The Devil Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory
Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral
Works by Lucio San Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of
Italian Arias, Voice Methods of Concone, Marchesi, MacClosky, 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
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 3, 2 nd edition (2002), Mel Bay, Hohmann-Wohlfarth
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin
by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
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 II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings,
76
Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba,
Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
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
www.upethnom.com
GRADE 12: MUSIC AND SPECIALIZATION II

MONDAY
3-4
PM
MUSIC AND DISCIPLINE

II
4-5
PM
SOLO INSTR/CREATIVE
MUSIC WRITING
TUESDAY
INSTRUMENTAL
ENSEMBLE/VOICE/CHOI
R
Internship
WEDNESDAY
MUSIC AND DISCIPLINE II
SOLO INSTR/CREATIVE
MUSIC WRITING
THURSDAY
INSTRUMENTAL
ENSEMBLE/VOICE/CHOI
R
Internship
FRIDAY
MUSIC AND
DISCIPLINE II
SOLO
INSTR/CREATIVE
MUSIC WRITING
1ST Q: Performance, Technology, and Research; 2nd and 3rd Q: Music Management; 4th Q: Integration
Performance: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL ENSEMBLE: INDIGENOUS
MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland Encyclopedia
77
of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil Running with the Music,
Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San
Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice
Methods of Concone, Marchesi, MacClosky, 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
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto Espino,
Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
Strings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder,
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by
Polvoriza, Muyco, Trangco, and Perez
78

SPA MUSIC CG 2014-Writeshop 2

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MUSIC

FOR SPECIAL PROGRAM IN THE ARTS (SPA)

Draft prepared by:

As of June 25, 2014

SPA MUSIC CURRICULUM

2. music as a community resource

SPA MUSIC CURRICULUM

A keen sensitivity to environmental and musical sounds

PROMOTES A FILIPINO PERSPECTIVE IN

*READING AND WRITING

Local & Global

SPA MUSIC CURRICULUM

GRADE 9 MUSIC SKILLS DEVT II:

GRADE 8 MUSIC SKILLS DEVT I:

COMMUNITY: LIFE SOURCES

GRADE 7 ELEMENTS OF MUSIC

FIGURE 2. THE CONTENT OF SPA MUSIC CURRICULUM PER GRADE LEVEL

BUILDING BLOCK III:

MUSIC PROCESSES OR SKILLS

BUILDING BLOCK VI:

Music of the Philippines

Using music technology

Forms and Styles

*Adapted From National Standards for Arts Education, 1994

TABLE 1. BASIC REFERENCE FOR MUSIC

LEARNING AREA STANDARD:

GRADE LEVEL STANDARDS

GRADE LEVEL STANDARDS

CURRICULUM CONTENT AND MATERIALS FOR SPA MUSIC

Track A: Tertiary Education

Course Scope, Content and Materials:

SPA MUSIC CURRICULUM

FIRST QUARTER FIRST GRADING PERIOD

1. defines the different

2. describes how the

E. Warm-Ups and Caring for

SECOND GRADING PERIOD

6.identify the importance of

7.sings chants from

music and its

8.applies the use of music

Main features and

9. identifies the different

SPA_MIM711. explains the main

3rd Quarter: Rituals and Festivals, Introduction to Music I-B

3.re-enact rituals and

4.demonstrates the various

5. identify the basic

alone or with others

Rests, Time Signature, Clefs

Application of the Elements of

Course Scope, Content and Materials:

Coverage of INTRO TO MUSIC:

SPA MUSIC CURRICULUM

FIRST QUARTER FIRST GRADING PERIOD

Community/Folk life and music, Introduction to Music II-A

3. Assessing the Music

4.Basic Social Mapping

Rhythm (Simple &

necessary to apply in the

2nd Q: Ecology and natural resources, Introduction to Music II-B;

A. OUR LIFE SOURCES